St. Moses the Black

A composition for solo piano by Michael Abu-Ali

Developed through the 2025 Summer Composing Mentorship

Mentored by Soheil Shirangi

Piano:Qin Lan Zhang

Published by Zang Records in August 2026

Beyond what the score implies, I ask that the pianist is:
1. acquainted with the story of St. Moses the Black
2. diligently expressing dynamic markings and articulations
3. clear about distinguishing the characteristics of each movement
Whether or not the performer is Christian does not matter to the interpretation of
the music. What matters is that the pianist genuinely approaches this performance
with a heart of humility; and to most importantly serve the narrative that the music must tell.

In Eastern Orthodox Christianity, St. Moses the Black serves as the perfect
example of an ideal orthodox monk: a devout servant of God who lived to achieve
a Christ-like mentality. The intention of my piece is to convey the narrative of his
life, and to musically reflect the experience he may have felt from his life of sin to
absolute asceticism.
My intention was to create a chronological narrative between 4 distinct movements
and glue them together despite their melodic, harmonic, rhythmic, and dynamic
differences. The beginning is particularly bewildering. There is little direction as to
what life means for St. Moses. He cannot define his purpose, and nor does the
music. This lack of direction is a recurring theme in the piece; but it progressively
becomes suppressed by his higher calling.
The second movement introduces the adulthood of St. Moses, where he basks in
murder, robbery, and material pleasure. It is blunt, aggressive, and confusing. This
instability prompts a moment of reflection (measure 56), where he then embraces
his call to monasticism.
Movement 3 alludes to his childhood, reviving previous thematic ideas; and
ultimately the piece prepares itself for the climax. As his monastery is attacked by
a band of criminals, his martyrdom for God is proven. The tragedy of his death is
unexpectedly met with the sound of a gentle cadence to major—signifying the
otherworldly joy of salvation created by the sacrifice of life.
Movement 4 references Tone 1 of the Orthodox Church tradition, a melodic phrase
that is celebrated on his name day in the Church. I end the narrative of St. Moses
the Black with a resonating ostinato—just as he is remembered and glorified in the
Church for centuries (and centuries to come) after his wordly repose

Michael Abu-Ali is a composer, pianist, sound designer, and performer currently studying Electronic Production & Sound Design and Composition at Berklee College of Music. His work spans composition, live sound, music production, and DJ performance, with experience in both the U.S. and Spain. He is skilled in Ableton Live, Logic Pro, music notation, synthesis, audio editing, piano, and orchestration