Reviews of printed music
CHORAL MUSIC
KEY
E Easy
M Medium
D Difficult
ADVENT AND CHRISTMAS MIXED VOICES
GENTLE MARY LAID HER CHILD [E-M]
Owain Park
SSATB and piano
Novello NOV296890 £2.99
Although written for a secular choral society and with piano accompaniment, this Christmas piece should certainly be considered by church choirs seeking audience-pleasing music that is comparatively easy to learn but with a level of musical invention that will satisfy everyone’s attention. The three verses are set unison, SATB, and finally with a descant. A tempo marked ‘gently’ and lilting 5/8 and 7/8 rhythms depict the wonder that the Babe can also be the Saviour.
O VIRGO VIRGINUM [D]
Gabriel Jackson
T solo, SSATB
Oxford NH220 £2.15
In England in the middle ages, an eighth Advent Antiphon, O virgo virginum, was used after the normal seven, and Wells Cathedral has been reviving this distinctively English practice. Gabriel Jackson wrote this setting for Wells, an addition to his set of Seven Advent Antiphons. Homophonic chords alternate with ecstatic melismas for solo tenor or divided sopranos singing in thirds, all above a second inversion A major chord. The imaginative music is often thrilling and at other times simply serenely beautiful.
THERE IS NO ROSE OF SUCH VIRTUE [M]
Andrew Carter
SSA soli and SATB choir
Banks Music Publications ECS 602 £1.75
Andrew Carter dwells increasingly on the final Latin words of each verse (‘Gaudeamus’ etc.) as the piece progresses, but where for example Britten simplifies the texture to a choral unison, Carter harmonizes the words exquisitely. This is more an anthem than a carol in its treatment, and full of artistic invention, including the use of three solo voices for ‘that he is God in persons three’, followed by a declamato for ‘The angels sungen’ and a fortissimo climax on the words they sang, ‘Gloria in excelsis’. The piece subsides to a thoughtful conclusion as ‘leave we all this worldly mirth’.
James L. Montgomery
MIXED VOICE CAROLS
THE HOLLY AND THE IVY [M]
Thomas Hewitt Jones
SATB and organ
RSCM A3836 £2.50
CAROL OF THE CRIB [E]
Joanna Forbes L’Estrange
SATB and organ
RSCM A3830 £2.50
GAUDETE! [M]
Luke Fitzgerald
SATB, organ and drums
RSCM RCA440 £2.95
The Holly and the Ivy receives a sparkling setting from Thomas Hewitt Jones, with the same sort of sense of fun as in John Gardner’s popular version, but with more individual characterization of each verse and variety of treatment. It would work well in carol service or concert. The Carol of the Crib, setting words by Timothy Dudley-Smith, contrasts F sharp minor ‘Dark is the night before the dawn’ with A major ‘Christ has come our life to share’. Joanna Forbes L’Estrange suggests it should be sung at Christmas Eve Crib or Christingle services although I’d recommend it more generally for Christmas use. The chorus is written to be singable by a congregation joining with the choir, as an option.
Luke Fitzgerald captures the medieval folk-carol origins of Gaudete! with the help of a couple of drums and cymbal. Slightly more elaborate than other choir settings of this piece that I have seen, it needs precise alignment between choir, organ and drums – but repays the effort. The link into the quiet start of the last verse and its build-up into the final chorus is an effective and unexpected touch.
SINFUL ADAM [E-M]
Timothy Rogers
SATB (with divisions) and organ
Encore Publications £2.50
Although words and music are newly written, this has the feeling of an arrangement of a traditional carol: I was reminded of a gently paced version of Tomorrow shall be my dancing day. Also reminiscent of some earlier carols, the text tells the story of the Fall – concluding in the fourth verse with how Jesus’ ‘life and death set all aright’. It succeeds well in marrying new and old, is easy to learn, and would form an excellent first piece in a traditional Nine Lessons and Carols, before or after the first lesson.
WE THREE KINGS OF ORIENT ARE [M]
Andrew Carter
SATB and organ
Banks Music Publications BMP018 £1.95
This is a jolly arrangement with unusual touches. The initial verses are as expected, sung by men, in threes or solo or a small group. But the tune of the refrain is never on top, but mostly given to the altos, leaving the other voices to harmonize and illustrate the ‘star of wonder’. Then the final verse starts as a canon between TB and SA, builds to a climax on ‘Alleluya the earth replies’, and relaxes in dynamic and tempo for a more inward ‘guide us to thy perfect light’.
James L. Montgomery
EASY SATB ANTHEMS
LORD, WITH GLOWING HEART I’D PRAISE THEE [E]
Howard Helvey
SATB and organ
Oxford X734 £2.95
Words by Francis Scott Key (author of The Star-Spangled Banner) are set to music by the American composer and church musician, Howard Helvey. He has written a hymn tune, Charleston (named after the place for where it was written, rather than the dance!), the most striking aspect of which is a change to the flattened submediant (complete with change of key signature) halfway through. Unison first verse followed by SATB followed by unison plus descant follow a conventional pattern. It is a written in a grand manner that would be effective with large forces.
HOW GOOD IS OUR GOD [E]
Alan Bullard
SATB
Oxford EVR9 £1.90
This easy anthem was written to be sung in churches along the route of last September’s Cantus Firmus walk from Friston to Aldeburgh. It is perfect for quick learning and enjoyable singing, even if basses may not like sitting on a D for the first eight bars, but it is important for the music that they are there! Ranges are in the middle of each voice: even the two soprano F sharps have an optional S2 alternative. I particularly liked the strong consecutive fifths and octaves for ‘great is his power’, returning in the final Amens.
James L. Montgomery
UPPER VOICES
MAY THE ROAD RISE TO MEET YOU [E/M]
Michael Higgins
SSA and piano
Oxford W206 £2.15
Demand for settings of the ‘Gaelic Blessing’ shows no sign of abating – this ‘new’ one may be in the tradition of Bib Chilcot’s Irish Blessing, moved from common time to triple time, but it has its own musical language that is easy on the ear, with a warm romanticism and an idiomatic piano part that contains much of the interest. There is variety in the choral textures, and I’m sure that young singers would enjoy it.
SWEET WAS THE SONG [E]
David Bednall
SA and organ
Oxford W204 £1.90
This is a lovely setting of these words, with a haunting opening phrase that returns as a ‘rocked him sweetly’ motif, appropriate for a lullaby. The harmonies have an expressive tenderness; each verse builds to a musical climax, but always restrained since, indeed, ‘sweet was the song’. Warmly recommended for upper voices at Christmas.
James L. Montgomery
MIXED VOICE ANTHEMS
GOD BE IN MY HEAD [M]
Richard Allain
SSAATTBB
Novello NOV297432 £2.25
One might wonder whether there is room for another setting of this ancient prayer, but this one is decidedly different. Two separate SATB choirs call and answer each other, coming together at the end of each clause, until ‘God be in my heart’ where the eight vocal lines intertwine and build up to a rich climax. As expected, the ending is quiet (‘and at my departing’), but I liked the way in those final bars one choir takes over from the other on each chord as the melody rises. At either a wedding (for which it was written) or a funeral it would provide a moving meditative prayer.
O SING UNTO THE LORD [M/D]
Cecilia McDowall
SATB (with divisions) and organ
Oxford X752 £2.95
This exhilarating setting of Psalm 98 was written for performance at King’s College, Cambridge, in memory of a former King’s choral scholar. It needs rhythmically alert choir and organist to project the dancing rhythmic sidesteps and harmonic false relations that make the piece so enjoyable. Confident performers would make it a memorable, celebratory song of praise.
Stephen Patterson
SERVICE MUSIC
FESTAL EUCHARIST [M]
Charles Villiers Stanford
ed. Philip Cowling
SATB choir and soli
Fagus-music.com £6.00
Stanford’s ‘Coronation’ Gloria was written for the 1911 coronation of George V and also heard at the coronations of George VI and Elizabeth II. It was published in 1912 as part of Stanford’s Festal Communion Service, Opus 128, for chorus and orchestra, and Stanford also arranged the accompaniment for organ. The Gloria is well known and it is good to have this edition of the complete work (with Sanctus, Benedictus and Agnus Dei), clearly printed and with the organ part on three staves.
THE WELLS SERVICE [M]
Richard Allain
SS (SA) and organ
Novello NOV297319 £3.50
THE WELLS RESPONSES [M]
Richard Allain
SS (SA) and organ
Novello NOV297330 £2.25
The service (of Magnificat and Nunc Dimittis) is comparatively easy for choirs to sing because the energetic music is in the organ part, leaving the singers with slower vocal lines – but with many changes of time signature to keep them concentrating. The 4/4 sections tend to have a calypso 3+3+2 pulse. It is a bright and breezy approach to the Magnificat that should have delighted the Wells Cathedral choristers. In the Nunc dimittis choir and organ have a gentler time until the organ kicks off again for ‘to be a light’. The final Gloria is quiet once more, much in contrast with that of the Magnificat.
The accompanying Responses start with the same sort of busy organ and sustained choir, this time with a 9/8 pulse divided 4+3+2, the organ surprisingly marked ‘growling’ in the louder music and ‘purring’ in the quieter responses – doubtless providing more enjoyment for the choristers. Upper voice choirs singing BCP evensong should certainly consider taking these imaginative settings into their repertoire.
Julian Elloway
ORGAN MUSIC
E Easy
M Medium
D Difficult
ORGAN VOLUNTRIES
REFLECTION (E–M)
Stephen Burtonwood
Fagus-music.com £5.00
A melody that is appropriately ‘reflective’ reappears in various guises, each time signalling clearly its arrival by starting with a rising octave. This is a well-shaped piece with a yearning climax almost exactly half-way through and a satisfying return to the feel and tonality of the opening. As often with this publisher, the music is unbound, printed single-sided on light card and enclosed in an A4 plastic pocket.
AVE MARIA
Dora Pejačević
arr. Kyle McCallum
Fagus-music.com £5.00
This is a lovely piece. Dora Pejačević (1885–1923), member of a noble Croatian family, completed before her untimely death a symphony and a powerful piano quartet of which score and parts are available on the IMSLP website, where also may be found the published score of an Ave Maria for soprano, violin and piano. It arranges well for organ – here with indications for a three-manual instrument so that the solo violin and voice are kept distinct from each other, but it would work perfectly well on two.
ELEGY
Christopher Maxim
Paraclete Press PPM01836M £3.99
Some elegies are resigned, calming pieces, but this one has a yearning, restless feeling after the opening eight bars that is not dissipated by the quiet ending. The sadness of whatever sparked the elegy permeates the music, but in a haunting and bitter-sweet way. It is a short piece that compresses a lot into its 26 bars. There are just two pages of music, so why did the publisher print them starting on a right-hand page followed by a page turn before the second page, and then two blank pages?
Duncan Watkins
MARCH – ‘THE DAMBUSTERS’ and THE RAF MARCH PAST [E–M]
Eric Coates and Henry Walford Davies
arr. Antony Baldwin
Banks Music Publications 14098 £4.50
These are both pieces that organists are asked to play at funerals and other occasions. If you have used up to now a piano arrangement, or in my case a brass band piano-conductor score, for The Dambusters, you will be grateful to Antony Baldwin for this arrangement, the first published organ adaptation of the orchestral score, and with much more detail and interest included than found elsewhere. This and the RAF March Past arrangement fall easily under hands and feet – skilful, effective arrangements. The publication includes fascinating introductions to each piece, including the fact that Coates’s march was not written for The Dambusters film but predates it, and that the trio section of Walford Davies’s march was written by George Dyson.
Julian Elloway