The eighth movement of Messiaen's oratorio "La Transfiguration de Notre Seigneur Jésus-Christ" (1965–69) features "a shimmering halo of tone-cluster glissandi" in the strings, evoking the "bright cloud" to which the narrative refers (). Orchestral clusters are employed throughout Stockhausen's "Fresco" (1969) and "Trans" (1971). In Morton Feldman's "Rothko Chapel" (1971), "Wordless vocal tone clusters seep out through the skeletal arrangements of viola, celeste, and percussion." Aldo Clementi's chamber ensemble piece "Ceremonial" (1973) evokes both Verdi and Ives, combining the original extended-duration and mass cluster concepts: a weighted wooden board placed on an electric harmonium maintains a tone cluster throughout the work. Judith Bingham's "Prague" (1995) gives a brass band the opportunity to create tone clusters. Keyboard clusters are set against orchestral forces in piano concertos such as Einojuhani Rautavaara's first (1969) and Esa-Pekka Salonen's (2007), the latter suggestive of Messiaen. The choral compositions of Eric Whitacre often employ clusters.