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Hymn To The Blessed Sacrament

Hymn To The Blessed Sacrament

Composed in 1980 and revised in 2010 this is a setting of verses from Aquinas’s Pange lingua in modern English translation. The choral writing is appropriately hymn-like, with one a cappella passage. The organ part comprises a flowing two-part canonic texture over a very simple and sparse pedal part, accessible to experienced and 'reluctant' organists alike. Suitable for intermediate standard choirs. The original accompaniment for oboe & viola is available as a free download from Boosey.com.

SEK 86.00
1

Millennial Suite: Hymns through the Ages : No. 6 Now we return

Millennial Suite: Hymns through the Ages : No. 6 Now we return

Now we return is the final movement of the work Millennial Suite: Hymns through the Ages. The work's six movements make imaginative use of popular hymns that are presented in chronological order.The words for Now we return were written by Rev. Dr. Harold A. Wilson, and are based on the Benediction that he uses at he end of his Sunday morning service. For these words the choir sings an original melody while the organ part maintains the constant passage work that is heard in the opening few bars. By way of concluding the entire work in a triumphant fashion, the hymn tune of the second movement, Ein feste Burg ist unser Gott, enters in long note values in the pedal part.

SEK 80.00
1

Toccata Chromatica : Echoes of Sweelinck

Toccata Chromatica : Echoes of Sweelinck

“Toccata Chromatica” (subtitled “Echoes of Sweelinck”) was composed especially with the 1671 Pieter Backer organ in the Bonifaciuskerk (St Boniface Church) in Medemblik, Netherlands, in mind. The piece exploits two features of this historic instrument: (1) the 8' Trumpet stop, which does not extend below middle C, and (2) the lack of pedal stops – the pedals operate entirely as pull-downs from the Hoofdwerk, and they take the leading melodic part at the beginning and at the end on high-pitched stops. A further connection between Toccata Chromatica and the Bonifaciuskerk is that the great Netherlands organist and composer Jan Pieterszoon Sweelinck (1562–1621) was married there, soAd Wammes has based his piece on Sweelinck’s Fantasia Chromatica. A study of historical fingering led Wammes to give phrasing an important role in his piece by combining phrases of two and three notes, of three and five notes, and of five and eight notes. He has also incorporated the echo effect, frequently used by Sweelinck, the shortest echo being a semiquaver, the longest echo being two bars.The edition includes composer's note and registration scheme for the Pieter Backer organ in English, German and French.Toccata Chromatica was first recorded by Minako Tsukatani on the CD Wispering Winds part 2 (SPBO-09-01, Stichting Pieter Backer Orgel) .

SEK 186.00
1

Interludes

Interludes

Album for organ solo from the composer of the much-recorded “Miroir”. The album consists of four pieces of between 2½ and 4 minutes’ duration respectively. “Play it cool!” was composed as the mandatory test piece in the 2012 First Breda International Organ Competition, with the Grote Kerk’s four-manual Flentrop/Van den Heuvel instrument in mind. As the title suggests, the piece makes great play on syncopated, jazz- and rock-inflected figures. Suitable for advanced standard performers. “The Messenger on the Hill”, while similarly syncopated and witty, is within easy reach of intermediate standard players. Laid out for two-manual instrument it features an almost continuousoscillating left-hand figure with right-hand melody and a very simple pedal part. “Rejoice!” is an arrangement of a work for saxophone and organ, made at the request of, and in collaboration with, Thomas Trotter. A duo for contrasting manuals, with a simple, syncopated bass part in the pedals. Suitable for advanced standard performers. ­­­“­Passacaglia”, also for two-manual instrument, is composed almost entirely for the white notes. The simple passacaglia theme is repeated throughout on the pedals. Above this, melodic material derived from the theme is played in the right hand against a sustained, chordal left-hand accompaniment. Later on, there is dialogue between the hands, with some optional ornamentation in the right hand. Suitable for intermediate standard performers.

SEK 239.00
1

Requiem da Camera : Organ reduction for use instead of orchestral accompaniment

Requiem da Camera : Organ reduction for use instead of orchestral accompaniment

This organ reduction is intended to use instead of the original orchestral accompaniment; it is compatible with new edition of Requiem da Camera by Christian Alexander (BH 12681). The organ reduction was done by Francis Jackson, doyen of English cathedral organists and titulaire at York Minster for 36 years. Jackson sympathetically recreates the chamber orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particularinstrument, size of choir and acoustic setting at each individual performance.The user-friendly landscape score includes at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full.Requiem da Camera was Finzi’s first extended work; only the instrumental prelude was performed during his lifetime. The other three movements are settings of poems by John Masefield, Thomas Hardy and Wilfrid Wilson Gibson. Scored for baritone solo, small chorus (or SATB soli) and chamber orchestra, the wellspring of the Requiem’s composition was the death, during active service in 1918, of Finzi’s composition teacher, Ernest Farrar. The work may also be viewed as a metaphor – the permanence of the land, and a centuries-old pattern of rural life following the rhythm of the turning seasons, contrasted with the violent havoc and destructive dislocation wrought by war. A reflective and poignant work particularly suitable for performances commemorating the tragedy of World War I.

SEK 229.00
1

A Hymn Of St Columba : Regis regum rectissimi

A Hymn Of St Columba : Regis regum rectissimi

Text: attributed to St. Columba (in Latin) Publisher: Boosey & Hawkes Difficulty level: 2 This short work was commissioned for the 1400th anniversary of the voyage Columba made from Ireland to the island of Iona. Rather bizarrely,the first performance was given outdoors at Churchill, Co. Donegal where St. Columba was said to have preached and was apparently inaudible because of the strength of the wind! The anthem is wonderfully effective and is a verygood example of Britten s ability to create an original canvas within the traditions of the Anglican Church. The piece is all about the fire in Columbas belly for his missionary task. The words are almost a variation on the DiesIrae: 'King of Kings and Lord most high, his day of judgement comes near, Day of wrath and vengeance, Day of shadows and dark clouds...' etc. Britten brilliantly sets the mood with a disturbing pedal ostinato which keeps returningthroughout the piece sometimes in the manuals and often in the pedals. The broad unison melody which begins the anthem returns at the end briefly as a canon between sopranos/tenors and altos/basses before closing, without slowingdown, with two almost menacing, but ever-quietening repetitions of the word 'domini'. Don't let the brevity of this work put you off from programming it. In fact, Britten wrote four 'Hymns' (Virgin/St. Peter/St. Columba/St.Cecilia) which work very well together in a concert and around which an imaginative programme can be built. Its brevity also makes it either suitable as an introit for a service Mixed Voices with keyboard commemorating Columba, orperhaps, at All Souls or even Remembrance. It would serve equally as an anthem. In performance it is Britten's direction that it should be sung 'with fire' which should underpin the interpretation. As always, making the most ofdynamic variation will give the work some of its colour. The wonderful moment when, after a diminuendo, the first theme returns pianissimo and with a crescendo (...maeroris ac tristitiae, Regis regum rectissimi,) where the words'King of Kings' are uttered with hushed awe needs special care and thought about tone quality. Duration: 3 minutes Paul Spicer, Lichfield, 2011

SEK 144.00
1

Antiphon

Antiphon

for SATB with three treble/soprano solos (which Britten indicates can be reduced to one soloist or a semi-chorus) and organ Text: George Herbert Publisher: Boosey & Hawkes Difficulty level: 3 This work was written for thecentenary of St. Michael's College, Tenbury. As so often, Britten uses treble or soprano solos which he indicates should be sung preferably in a gallery apart from the choir. Ever the practical composer, however, he also allowsthat these solo parts can be reduced to one voice or be sung by a small group of voices. The anthem is an interesting conception and its structure takes its cue both from the early part of Herbert's text which says: 'Praise be theGod of Love, Here below And here above...', and the end of the poem which says: 'Praise be the God alone, Who has made of two folds one'. It is this division into two which led him into the idea of two groups of singers. It ismore than this, though, as the first group, the main choir, has two roles, the singing of energetic phrases in a quicker tempo, and the quiet response to a slower solo line. Having moved backwards and forwards between these twocharacters the choir eventually sings an uplifting 'fugato' which builds up a terrific head of steam with the organ part growing into crashing alternate hand chords and the pedals taking wing from the bottom to the top (literally)of the pedal board. A brief silence, and a chorale-like line subsides into a magical quiet ending where the three soloists sing triads to the word 'one' whilst the chorus responds with a lower triad on the word 'two'. The wholething resolves onto a widely-spaced chord of F major and everyone singing the word 'one'. A slightly sentimental or glib touch? No, take it at face value after all that has gone before and appreciate Herbert's imagery. It is awonderful resolution of the two elements played out through the piece. As with many other such works, the Antiphon requires an accomplished organist. The choir also needs to be confident both in their notes and rhythm. This is ararely performed work which should really be much better known and more often performed than at present. It is certainly within the grasp of a reasonably competent choir looking for less well-known music by a great composer.

SEK 128.00
1