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This work reflects several compositional approaches that I have been exploring in my recent compositions. The first one is the concept of pitch space distance and melodic attractions developed by cognitive music theory. The second is the musical relative interdependence of pitch hierarchies, rhythm, and modes of performance, especially the structural pathways of pitch space and melodic attraction.

Lætare Vox,  takes its title from the name often used to denote the fourth Sunday of Lent – Lætare Sunday.  As the very season season of Lent, the piece gradually unfolds from the inner piece at the very beginning to the agonizing intensity of its climax; the work concludes with a sense of inward rejoicing portrayed by the overtone singing.  Lætare Vox was written for soprano Henriët Fourie.