From the Score (the live version features visual and theatrical elements): It is the nature of the world for life to consume life. Animals ravage plants, animals dissect other animals, humans murder, consume, and poison everything they can. However, amidst all this destruction that, at its core is necessary to the sustaining of life—no matter how perverted it has become with the dawn of humanity—humans have managed to set aside a special bond for those animals whom we deem companions. It is this special bond that I wish to explore, and those who are deemed worthy of our compassion that I wish to honor and remember. I wish to honor those animals with whom we share this special bond. By writing a requiem honoring those loved and unloved animals whom we have invited into our circle of humanity on some level, I hoped to help breed compassion and empathy for our domestic animals, whether we care passionately about them or merely put up with their presence, innocent or vindictive as they may be in their individual personalities. The title is taken from Pope John Paul II speaking of St. Francis of Assisi, the patron saint of animals, in which the pope stated: “It is my hope that the inspiration of Saint Francis will help us to keep ever alive a sense of 'fraternity' with all those good and beautiful things which Almighty God has created.” The images triggered by the singers were acquired by a social media search, whereby individuals submitted images to me of animals that have deeply impacted their lives. These images are incredibly personal, and display a wide variety of emotions and bonds between animals and humans. This piece is very much for those who submitted these images as well as those who invite animals into their circle of humanity. And, of course, this piece is for the animals themselves. (More specific program notes are found in the text. There are no specific program notes for the acoustic/textual movements because I wish the text to speak to the movements and for the audience to use the text in shaping their interpretation of the music, much as the program notes shape the interpretation of the electroacoustic movements.) Please note that there is a period for silent prayer, meditation, reflection, and/or contemplation towards the end of movement eight (Communion), for all involved in the production (including audience). -Dan Lis, September 2015