Written at the request of Jenna McBride-Harris, who has long felt that there was a need for accordion flare in the horn repertoire, the melodic and harmonic ideas for Let this be recorded came from Koors' improvising at the piano with a waltz-like character in mind. The piece is song-like with its opening waltz section reminiscent of Parisian street music. Unlike the piano whose pitches decay more quickly, the accordion is able to sustain notes for longer durations. This quality, its unique timbre, and capacity for expression are explored in the middle section of the piece while the horn plays a more "introverted" melody above the accordion. A reprise of the waltz leads to a gentle winding ending as, like the slowing of a wheel, the dance of the horn and accordion halts to an end.
The title of the work comes from Psalm 102, "A prayer of an afflicted man," in which the laments of the Psalmist turn to praise as he thanks the Lord for his sovereignty and the renewal that he will bring to his people. The Psalmist encourages his readers, "Let this be recorded for a generation to come, so that a people yet unborn may praise the Lord."
– note written by Jenna Harris-McBride
The Psalmist's encouragement captures the intentions with which I write music, including my desire for my body of work to outlive me and inspire future generations to praise the Lord.
The title of the work comes from Psalm 102, "A prayer of an afflicted man," in which the laments of the Psalmist turn to praise as he thanks the Lord for his sovereignty and the renewal that he will bring to his people. The Psalmist encourages his readers, "Let this be recorded for a generation to come, so that a people yet unborn may praise the Lord."
– note written by Jenna Harris-McBride
The Psalmist's encouragement captures the intentions with which I write music, including my desire for my body of work to outlive me and inspire future generations to praise the Lord.