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This setting of the Magnificat and Nunc Dimittis is mainly homophonic with a flowing organ accompaniment in the Magnificat. The key is a Modal D minor. The Nunc Dimittis begins with a Bass solo. The piece Exists in Ms form and has not, as yet, been performed.
This carol was written for two sopranos in the Choir of St Laurence's Church, Ludlow - Katherine Mount and Rebecca Wainwright. They performed this carol with the choir in December 1991.The refrain uses the two soloists most of the time.The main choir sings individual verses. The piece exists in Ms form.
This Festival anthem was written for the occasion of the visit of St Laurence's Choir, Ludlow to Langwasser, Nurnberg in Germany, with whom the church has a link. It was first sung by St laurence's Choir and Kantorei Langwasser at a concert in the Paul Gerhardt Ev.Luth. Church, Langwasser in the Summer of 1993. The anthem is fairly short, homophonic and reasonably easy to sing.
"Here beauty dwells" is set to words by Greville Cooke. It was commissioned by the Jerwood Foundation and first performed by the Choir of St Laurence's Church, Ludlow at a service commemorating the centenary of the poet A.E. Housman's collection;"A Shropshire Lad".
"Jazz Breaks" was written in January 1996 for the young gifted violinist Jamie Walker who was a pupil at Moor Park School, Ludlow, where the Composer teaches piano. It has not, as yet been performed. Bowings etc in the violin part were suggested by Steve Dunachie.
This piece was thoroughly revised in 2008 and the last section was expanded. It awaits a first performance in its new format.
This anthem was the second to be written for the Choir of St Laurence's, Ludlow and Kantorei Langwasser (Nuremberg, Germany with whom St Laurence's is linked. It was first performed by the joint choirs in St Laurence's Church,Ludlow at a concert on May 29th on the occasion of Kantorei Langwasser's visit to Ludlow with their music director, Martin Schiffel.
The set of simple Versicles and Responses were written in June 1996 for the Choir of St Laurence's Church, Ludlow to sing at the weekly BCP Matins service. They are in use there regularly.
The exact moment of inspiration for this set of Variations for organ came on August 21st, 1996 during a visit to Habo Church (near Jonkoping, Lake Vattern, Sweden) while the composer was on holiday with his friend,Ran Ogston - the honorary assistant organist at St Laurence's Church, Ludlow. On the music rest of a small one manual organ lay a copy of hymn tunes, and one caught the composer's eye, dated "Breslau 1842". It was recognised to be the melody of the anthem "Fairest Lord Jesus" which Martin How had arranged for the RSCM years ago. The melody appeared to have unlimited possibilities for variation treatment.
First performance was by Paul Derrett at a recital at KLiverpool Metropolitan Cathedral on September 1st, 2007.
It has since been recorded by Paul Derrett at the same venue as part of the double CD "Mystical Vision".
On October 16th, 1996, the composer gave his first organ recital at the Church of St Anne's, Alderney,thus beginning a long standing connection with this island. As a result of this visit, the composer was inspired to write a short anthem for the choir of St Anne's,Alderney and its musical director, Marion Bates.The words are adapted from Richard Baxter (1615-1691) and the piece is cast in the form of a simple hymn-anthem. It is dedicated to the late Stephen Charles Ingham (1949-1999), Vicar of Alderney. The anthem was first performed at St Anne's church, Alderney during Easter 1997, and on August 31st when the composer returned to the island to give another organ recital.
The score of this anthem is dated October 26th, 1996. The words were originally Latin from the 17th century, and the arrangement by Henry Williams Baker is well known as a hymn. The anthem is fairly homophonic throughout. Verse 2 has some quite tricky chromatic moments. The last verse includes short solos for Tenor and Soprano/Treble, ending with a soaring Amen to a top A. The piece has been performed by the Choir of St Laurence, Ludlow at a recital of sacred music in Holy week, 1997.
The composer has for a long time been associated with the Choir of St Deiniol Cathedral, Bangor, North Wales and its Director of Music, Andrew Goodwin. This Festival anthem is dedicated to them. It is dated January 21/22 1997 and was written in Ludlow.It is lively, freely tonal, and has a quite demanding organ part. It is, as yet, unperformed.
A large scale dramatic cantata for Narrator, Soloists, Children's Chorus (large) +
A.T.B. support. Smaller sub-choruses (Angels, Animals etc) and Orchestra.
Words by James Sage.
c. 120 mins +
(Unpublished)Orchestra; 2 Flutes, 2 Oboes, 2 Clarinets (B flat) 2 Bassoons, 2 Alto Saxophones in E flat 2 Horns in F, 2 Trumpets (B flat) 2 Trombones. Timpani. Percussion; (5 Players) Side Drum (snares), Bass drum, Tam Tam, Cymbals (clashed), Suspended Cymbal (soft sticks) Tublar Bells, Glockenspiel (or small bell),Triangle, Woodblock, Drumkit (wire brushes), Tambourine, Harp, Piano, Organ, Electronic keyboard or synthesizer. Strings.
"This Little Child" was finished in short score on 17th March, 1997. The full score was completed on March 12th, 1999. The libretto was written by the American children's author, James Sage. This is a highly ambitious large-scale dramatic cantata based on the Christmas story continuing via the Slaughter of the Innocents and the Flight into Egypt. The whole piece culminates in a large-scale Finale. The main intention of the piece is the involvement of children in the performance.To this end, "This Little Child" can either be performed as a dramatic cantata in concert performance, or otherwise as a kind of Masque, with stage movement and dancing etc while the music is being performed.
This setting was written in September 1997 and exists in Ms form only. The Magnificat is homophonic and gently lyrical. The piece is inscribed "Homage To C.V.S." (Charles Villiers Stanford),one of the great composers in this form. The Nunc Dimittis begins in A flat and is unaccompanied throughout. The Gloria, Also unaccompanied return to the key of E flat.
"The St Anne's, Alderney Service".
S.A.T.B. and Organ.
Published by
INTRADA 20032.
This is the second of the series of choral works written for Marion Bates and the Choir of St Anne's, Alderney. The piece has proved to be popular, and the Choir of St Laurence's, Ludlow have performed it on several occasions.It has also proved popular in Holland, and has been recorded by the Cantorij of the Martinikerk, Sneek conducted by Gerben van der Veen with Dirk S.Donker (organ).In 2001, INTRADA asked for the organ part to be arranged for a wind ensemble, and the piece was performed in this form by the Choir, "Capella 92" and the Frysk Blazers Ensemble (Friesian Wind Ensemble) conducted by Gerben van der Veen.This performance has also been recorded. The Magificat has a simple, unforced beauty, and the Nunc Dimittis is underpinned by a repetitive syncopated figure, with some surprising changes of key.
The score is inscribed; "For; Otto Gittel, The Langwasser Posaunenchor, Martin Schiffel, Kantorei Langwasser, Nurnberg and the Choir of St Laurence's, Ludlow.
This is the first piece written in June 1998 for Otto Gittel and the Langwasser Posaunenchor, and has been performed by this Brass group both in Langwasser and Ludlow on several occasions.In each case it has been performed by 5 players, but it could be performed by a larger group. The piece has proved very popular with this ensemble. It is short, astringent and very rhythmical.The opening makes much use of rests and is influenced by Jazz and Pop music. The short middle section has an element of the Parade ground about it. The opening returns, but is rhythmically varied.
The song cycle, "Some things are dark" was written in June and July of 1998 and is dedicated to the Soprano singer, Barbara Kalman who lives in Ludlow (later to become Mrs Barbara Francis in April 2004). The words of the poems are by the American poetess, Edna St Vincent Millay (1892-1950) who was much associated with the area around Camden, Maine. The mood of the words is often dark, pessimistic and sometimes tragic.The nature of the words necessitated a transformation of style in the composer, and the language is often more freely atonal,the textures sparser,and the overall style more radical.(especially no.4). Not all the songs are atonal, there is more consonant harmonies in nos. 2 and 5. A recording exists of the cycle sung by Barbara Kalman with the composer at the piano.The cycle has not, as yet received a public performance.
Whilst on holiday in Ireland in August 1997, the composer and friend Ran Ogston visited Drumcliff churchyard (where Yeats is buried), and it was during this visit that Ran Ogston suggested that the final part of Yeats' great poem might be set to music - a daunting challenge indeed!
"Images of Leonin" is probably the most advanced of the composers works for organ to date. Its language is freely atonal and it is rhythmically complex and offers a severe technical challenge to any recitalist willing to attempt it. The piece pays homage to the great 12th century movement in Paris called "Ars Antiqua" and its representative composers Leonin and Perotin. It attempts to forge a link between 12th century Organum and contemporary musical practices. The main theme of the Toccata is a rhythmical organum. Other examples can be found in the piece. None These organa bear direct relation to Leonin and Perotin. They are original creations. The piece has yet to receive a first public performance.
This piece was revised in 2007.
On Advent Sunday, the choir of St Laurence's, Ludlow always used to sing this haunting hymn tune by Thomas Ravenscroft to the words "Remember, O thou man". Thomas Ravenscroft (c.1582 - 1635) was an Englsih composer, theorist and music editor. He was a chorister at St paul's cathedral, London before taking a Cambridge B.Mus degree in 1605. His published works include a substantial revision of Thomas Este's 1592 Psalter ("The Whole Book of psalms 1621) and three volumes of songs,canons and catches entitled "Pammelia", "Deuteromelia" and "Melismata" (1611) from which the present theme is taken. After a quiet, reflective Introduction, the theme is unfolded as a Trio.A Variation sets the theme on a 4' Pedal stop with a chordal texture in the manuals. A further link leads to a "Fuga" which develops the theme further and eventually leads to a grand restatement.
First performed by Paul Derrett at a recital at the Church of St Francis de Sales, Liverpool in September, 2007
The piece was recorded by Paul Derrett at Liverpool Metropolitan Cathedral as part of a double CD, "Mystical Vision".
On the 9th August, 1998, Ran Ogston and the composer attended morning service at Turku Cathedral in Finland and heard the glorious Virtainen organ in action. During the service, the congregation sang Hymn no.151 in Virsikija, and the composer noted down the tune after the service, realising its potential for Variation treatment. The Variations were written in Ludlow during October 1998.
First performance by Anthony Gritten at a lunch-time recital at St Michael's, Cornhill, London on September 15th, 2008 and subsequently at St Mary, Recliffe, Bristol on September 18th, 2008.
"The Bells of St Anne's" was written in April 1999 at Ludlow. It was first performed by the composer at an organ recital given in St Anne's Church, Alderney on July 20th, 1999. The basis of this organ piece is the poem "The Bells of St Anne's" by T.H.White, the author of "The sword in the stone", who lived in Alderney. In 1940 the Germans occupied Alderney and the church of St Anne was used as a store. The belfry was used as an observation post. The opening of the piece suggests this derelict period. The island was liberated in 1945 and the bells of St Anne's had to be transported to the mainland for repair.They were finally rehung and continue to this day resounding over the island.The organ piece continues with a gradual awakening and a fanfare, leading to a full-flung carillion - a paean of joy!
The composer has always had a strong love of Holland and the Dutch people in particular. He has maintained a friendship with his publisher, Jan de Jong who founded the firm INTRADA, based near Heerenveen, as well as the choral conductor, Gerben van der Veen. He has also maintained a friendship with the Dutch organist Erik van der Kolk, who has given several organ recitals at St Laurence's Church, Ludlow and made many recordings."In praise of Sweelinck" is dedicated to Erik van der Kolk , and is written in honour of the great Dutch composer Jan Pieterszoon Sweelinck (1562-1621) whose sets of variations on secular tunes have often been played by the composer in his organ recitals.The piece actually quotes a substantial section of a Fantasia by Sweelinck which emerges during the course of the piece (Page 7) .From page 10 onwards a return is made to the contemporary world, and the piece ends on an emphatic A major chord.
First performance by Anthony Gritten at a lunch-time recital at St Mary's Church, Swansea on July 15th, 2008 and subsequently at the church of All Hallows by the Tower, London and later at the Temple Church, London.
This short piece was written in haste in September 1999 for an organ recital given by the composer on the historic Adema organ (1867) at the Holy Ghost Church, Heerenveen, the Netherlands on October 28th, 1999. The piece is again dedicated to the Dutch organist, Erik van der Kolk, and has also been played by the composer in further recitals in the UK. Following a festive, joyful opening, the middle section is a tranquil Trio suggestive of the flat landscape and polders of Holland as portrayed by Jan van Goyen and others in their pictures. The festive opening is repeated leading to a joyful conclusion.
This song, dated July 26th, 1999 was written as a bit of fun, and was originally dedicated to my wife, Barbara's, cat Augustus (Gussie) and all felines who wander!. The words are by American children's author, James Sage, and the music is set in pastiche style. Sadly Gussie died in May 2008.
Dedicated to Barbara Kalman, now this short humorous song is set to words by James Sage. The words are adapted from the notebooks of Dr Edward Jenner (1745 - 1823), the English physician and discoverer of vaccination, who was forever curious! When he was not experimenting in his laboratory, he like nothing better than to wander the countryside collecting weather lore. The piece is largely atonal, making it quite difficult to perform and is often grotesque!
This piece for Organ solo, with an extraordinary title, is one of three written for the remarkable Italian organist Alessandro Bianchi. Alessandro has visited the U.K. on numerous occasions to give organ recitals, including St Laurence, Ludlow. He is a very fine player and is keen to explore the by-ways of organ music, often performing pieces which he has discovered and are worth an airing (providing they have tunes!). He also has a fine sense of humour."L'Organo magnifico di Pantalone" was written to suit his quirky sense of humour and is cast in pastiche style. The opening of the Overture commences with a final cadence! leading to the "Marcia di Pantalone" underlined "In stile di grande Gavoli" (In the style of a fairground organ). The theme of Commedia dell'arte is continued in the "Musetta di Columbina" which opens with a gentle "Intermezzo" before the elegant "Musetta". A stirring "Fanfara" leads to the Rossini-like "Grand Galoppa Frenetica", which is a virtuosic moto perpetuo.
First performance by Alessandro Bianchi at a recital at St Laurence's Church, Ludlow on July 21st, 2001.
The piece has been recorded by Paul Derrett on the organ of Hull City Hall as part of the double CD, "Mystical Vision".
"The Unforgettable Waltz" is the second of three pieces to have been written for Otto Gittel and the Langwasser Posanunenchor (Nurnberg). He has since formed a small group from the Posaunenchor called the Nurnbergisches Barock Blaser (Nuremberg Baroque Brass Ensemble). The piece was written in Ludlow during August 1999 and has been peformed several times by this ensemble. The "over-the-top" title has initiated a series of pieces the composer has written breathing new-life into dated dance-forms.The harmonic style, like "Tanz" is rather pungent! And there is an overall sense of parody! After a short introduction, the "Unforgettable Waltz" is launched in all its glory. Then follows a Trio section ("No less unforgettable"!) before a reprise of the Introduction. The Waltz returns ("One more time") and it is treated to a heated accelerando before a short coda rounds off the piece.
This short Advent Antiphon was written in October 1999 for use by the Choir of St Laurence's, Ludlow at an Advent Carol service. It uses the Mode 4 Plainchant; "Conditor alme siderum".The voices are in unison, with a quiet organ accompaniment. It could be sung in an opening procession. The piece exists in Ms form.
The words of this carol are Traditional. The nature of this setting suggests a soprano voice of some power and maturity rather than a younger softer-grained soprano or treble. The organ part is instructed to adjust to the solo voice. The declamatory opening; "Awake, Awake good people all" leads to a gentle dawn-awakening, "The early cock so early crows" over a rocking accompaniment. Declamatory elements return at the fanfare; "For the trumpet shall sound". A reprise of the Introductory music leads into the final section ; "A branch of May I have brought to you"- which is fast and vigorous leading to a carillion in the accompaniment. The musical language is freely tonal. The piece is dated Ludlow, December 28th, 1999 and exists in Ms form. It has yet to receive a public performance.
This song of thanksgiving was written in January 2000 for soprano, piano and violin obbligato. The piece has not yet received a public performance. The words are by Henry van Dyke (1852 - 1933). It begins with a warm tranquil introduction in E flat (it is freely tonal). The singer enters with the main melody .."By the breadth of the blue that shines in silence over me".Each verse is linked by the music of the opening.Verse 3 owes a little to Rachmaninov's "Vocalise". Verse 4 returns to the opening material, bringing the piece to a peaceful close.
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