Euangelion (Drehmer, Earl Richard)

1. Dios ng Pag-ibig (1981)
2. Ein Feste Burg (1982)
3. O Sinner Man (1984)
4. O Sacred Head (1981)
5. Something About That Name (1984)
6. Amazing Grace (1983)
7. Come Ye Sinners (1985)

1. Pastor Dave Magalong
2. Martin Luther (1483–1546) and Yemeni Jews
3. Charles Ives (1874–1954)
4. Jesus Christ
5. Olivier Messiaen (1908–1992)
6. Jesus Christ
7. Jesus Christ

• 1st movement: I had heard the beautiful song "Sapagkat Ang Dyos ay Pag-ibig" ("Because God is Love") by Dave Magalong, performed by the Papuri! Singers. I mixed this tune with one of my own. The first melody you hear is developed and gradually disintegrated until it is replaced by the Philippine tune. At that point it is shown to be related via inversion of the first 3 notes of each melody.
  synopsis: first melody melts away as second melody coalesces
  
• 2nd movement: "Ein Feste Burg" short for "Ein Feste Burg ist Unser Gott" ("A Mighty Fortress is our God"), written by Martin Luther between 1527 and 1529, begins with an ancient Jewish melody from Yemen. I gradually mix in bits and pieces of the melody of Ein Feste Burg.
  synopsis: anonymous Yemen Jewish tune mixed in with Ein' Feste Burg
  
• 3rd movement: "O Sinner Man", uses the old Negro Spiritual but it is is so disintegrated that you never hear it in its original form but only in bits and pieces. Near the end, when the sinful man is suffering in the flames of the fires of Hell, morse code is used to give the solution to man's sin, which is Jesus.
  synopsis: Negro Spiritual with some Morse Code at the end spelling out S.O.S. and Jesus Saves. Uses number 6 to represent sin.
  
• 4th movement: "O Sacred Head", uses music by Hans Leo Hassler, written around 1600 for a secular love song, "Mein G'müt ist mir verwirret", which first appeared in print in the 1601 Lustgarten Neuer Teutscher Gesäng. The tune was appropriated and rhythmically simplified for Gerhardt's German hymn in 1656 by Johann Crüger. The lyrics are based on a long medieval poem attributed to Bernard of Clairvaux, 'Salve mundi salutare'. This poem talks about Christ's body, as he suffered and hung on the cross. It has seven sections, each addressing a part of Jesus' body: his feet; knees; hands; side; breast; heart; and head. My use of this tune is so disintegrated that you never hear it in its original form but only in bits and pieces. This movement has 3 layers of notes, each layer lasting a different number of measures and repeating so that the same sounds in each layer don't coincide more than once. One layer has 21 measures and is played 10 times -- end to end. Another layer has 30 measures and plays 7 times. The third layer has 70 measures and plays 3 times.
  synopsis: 3 repeated layers of 21, 30, and 70 measures. 1,3,7,10 used in their multiplications with each other.
  
• 5th movement: "Something About That Name", uses the tune written by Bill and Gloria Gaither, but it is is so disintegrated that you never hear it in its original form but only in bits and pieces.
  synopsis: 1,3,7,10 added in combinations to form rhythmic groups, meter, and chords
  
• 6th movement: "Amazing Grace", uses music written by an anonymous composer hundreds of years ago. The lyrics were written by John Newton for a sermon for his 1773 New Year's service at the Church of St. Peter and St. Paul. The tune is introduced in a disintegrated form at first, but later is heard in full but in a minor key, in 2 beats per measure, and "ragged up". This movement does not use the numbers 1,3,7, or 10. It follows a traditional ragtime piano form used by Scott Joplin.
  synopsis: traditional-sounding piano rag. Fragmented tune. Full tune in minor and 2/4 time.
  
• 7th movement: "Come Ye Sinners", uses a Negro Spiritual tune, disintegrated for the most part, but occasionally played in full, but with somewhat different harmony. The movement is in the form of a theme and variations, but with the theme only revealed after some variations.
  synopsis: theme and variations. Free use of 1,3,7, and 10
  

Each movement more or less uses the numbers 1, 3, 7, and 10 in rhythms, form, and intervals. Only movement 6 uses no numbers.