Because my musical upbringing was equal parts Bach, Beatles, and Michael Jackson, I often find atonal music to be more trouble than it’s worth. I get that modern composers don’t want to simply re-hash the ideas of the past, but the idea that all tonality needs to be rejected seems flawed to me.

Or to put it another way: if a piece of music’s atonality is the entire point, I guess I’m not interested. If a piece of music uses atonality as a means to an end, I can get on board.

Which is why I’m very much on board with Canadian composer Harry Somers, who would have turned 100 this month, and whose works push my tolerance for atonality right to the edge before paying off with moments of pure bliss.

What makes this a beautiful song:

1. The opening piano lines. The chords are very straightforward at first – my son overheard it and asked why I was listening to the Minecraft music – but then every two bars the chords become more and more unusual until the choir comes in.

2. The way the choir floats into a delicious crunchy chord at 4:06.

3. The sublime high D at 4:50.

Recommended listening activity:

Taking one small step outside of your comfort zone.

Buy it here.

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