We are delighted to announce that we are commissioning Jason Max Ferdinand to write a piece for Tenebrae as part of our 25th Anniversary celebrations. Professor, Conductor, Composer and Speaker, Jason is an inspirational musician, leader and teaching mentor whose gifts are sought after by choirs and orchestras in the USA and internationally. Since 2022 he has served as the Director of Choral Activities at the University of Maryland, College Park, having spent the preceding 14 years as professor at Oakwood University. He is the founding artistic director of The Jason Max Ferdinand Singers and led its debut at the BBC Proms at the Royal Albert Hall in 2024. He is a published author and composer with GIA Publications, featuring the book Teaching with Heart: Tools for Addressing Societal Challenges Through Music, and The Jason Max Ferdinand Choral Series.
We spoke to Jason to get a closer look at his composition, writing process and influences – read on for the full quick-fire interview!
Photo credit: Giana Snell
Hello Jason! We’re delighted that you’re writing a piece for us for our 25th Anniversary celebrations. Are there any composers that you have drawn influence from, or any pieces that you could picture your composition being paired with?
Very good question. I think all my listening over the years will find landing spots in this piece. Lately, I’ve been revisiting Samuel Coleridge-Taylor—his harmonic palette really resonates with me. And of course, my enduring love of a cappella music—Take 6, The Singers Unlimited, Cedric Dent, and others—continues to shape my thinking.
What text are you using for your composition?
I felt inspired to do my own text for this commission.
Are you drawing from any non-musical sources to shape the narrative or mood of the piece?
Yes — the state of the world certainly gives us much to ponder. “The Journey” feels like such an apt title. The many life transitions, the ongoing wars, and the waves of political instability are all shaping my reflections.
Do you imagine this work being performed in a particular kind of space or setting? Has that influenced how you’re writing it?
I think the piece would translate beautifully in most spaces. I’m imagining a subtle use of distancing to evoke the sense of a journey—of moving from and toward, of departure and arrival.
Has writing for Tenebrae changed the way you would normally approached a composition? What are you most excited about seeing the choir bring to life?
Beyond the honor and excitement of writing for Tenebrae, I approached this piece much as I normally would. However, I was especially intent on crafting a melody that I hope will linger in hearts, voices, and minds. I’ve also tried to keep the writing “simple”—at least by my standards—to allow for greater clarity and immediacy in its delivery. I truly cannot wait to hear it brought to life!
Is there anything specific about harmony or vocal techniques you’ve considered?
Vocal technique–wise, I have the Tenebrae sound in mind—moments of transparent, pure tone balanced with passages that call for a more robust, resonant sound. This ensemble embodies that contrast so beautifully. Harmonically, I’ve sought to weave in tonal shifts that suggest a sense of “journey.” It is my hope that the chorus will linger and take hold in the listener’s ear.