For the Love of God was written as an expression of thankfulness ‘to the Almighty and Ever-Loving God who mercifully forgives my occasionally irreverent disposition’, as reads the dedication. Because of the nature of this love and mercy, it seemed natural that such a piece would be of a celebratory tone, energetic and jubilant. It was my intention that bright harmonies tonally centered on A, predominantly neo-classical textures, and quick tempi would work together to create such a mood, and that the addition of microtones, multiphonics, and even a passage of deliberately conflicting tempi between the performers in a piece of such a light-hearted character would make this a genuine enjoyment to play. It is indeed a work written, as the title indicates, for the love of God. (N.B. – Contrary to possible misinterpretations, the title is not simply a clever act of word-play, nor is it a terrible pun on the name of Wolfgang Amadeus Mozart. Also, any thematic or structural resemblance to the first movement of that same composer's Concerto in A for Clarinet (K. 622)—a work for which I have the deepest of affections—is, in my most humble of opinions, merely indicative of a shared genius and not at all some base act of artistic thievery.)

For the Love of God was premièred on 20 November 2006 in Houghton, New York in the composer's senior composition recital All Things New, with the composer, clarinet, and Robert Speicher, piano.