Novello

This English folk song will be recognised instantly by British listeners as the tune formed the first few opening bars of the ‘Radio 4 UK Theme’ an orchestral arrangement of traditional British airs compiled by Fritz Spiegl which was played every morning at the switch-on of BBC Radio 4 for almost 28 years.The lyrics of Early One Morning can be found in publications as far back as 1787 but the well-known melody was not printed until ca. 1855-1859 in William Chappell’s publication of his ‘National English Airs’. As is usual with folk art of any kind no two versions of the song agree beyond the second line although the subject is always thesame - a damsel's complaint for the loss of her lover.In this Novello edition Early One Morning is arranged for SATB Voices with Piano accompaniment for practice only by Thomas F. Dunhill.

Handel's A major setting of the Te Deum (HWV282) a companion piece to the anthem Let God Arise also now available first performed at the Chapel Royal in 1724. Edited by Donald Burrows for the Novello Handel edition.

The Novello Choral Pops Series presents the smash hit ballad by R. Kelly. The former No.1 single has been arranged by David Nield for upper voices with Piano accompaniment and guitar chords. An ideal piece to bring any choral repertoire right up to date with this contemporary R'n'B favourite.

This work was commissioned by the Presteigne Festival of Music and the Arts Ltd. with theaid of funds provided by the John S. Cohen Foundation and the PRS Foundation. The firstperformance was given by Rachel Nicholls and Paul Plummer at St. Andrew’s Church Presteigne on 29 August 2005.Composer's NoteGladestry Quatrains is a setting of 12 short poems by Jo Shapcott from her collection of the same title. It originated in a project for the 2003 Presteigne Festival called A Garland for Presteigne in which 10 composers associated with the Festival were asked to write a short song each celebrating the Welsh border country the choice of poetryranged widely and I chose two of Jo Shapcott’s evocative miniatures (still adding up to slightly less than the timing I had been requested to provide!). As I wrote them I started to make sketches for some more settings from the same collection and the Presteigne Festival of Music and the Arts very kindly commissioned this new larger song-cycle proper for their 2005 Festival. The original pair of poems form the third (Gwaithla Brook) and last (Cefn Hir) of the songs in which the eighth combines two poems Burl Hill and Newchurch. Throughout I have been aware of the sights and sounds of nature the character of the landscape and the sense of history and timelessness of this beautiful part of the world as reflected in Jo Shapcott’s poetry as well as (I hope) the wit and directness of her expression. The whole work though it has eleven songs still lasts only about 20 minutes the concision of the texts and the need to find musical equivalents to this was an important part of the concept of the piece.        John McCabe 2005

Paul Mealor's setting of the Latin hymn, Ubi Caritas , was composed for the Marriage of His Royal Highness Prince William of Wales, K.G. to Miss Catherine Middleton and first performed by the Choirs of Westminster Abbey and Her Majesty's Chapel Royal, St James's Palace, conducted by James O'Donnell, at the wedding service at Westminster Abbey on Friday, 29th April 2011. For SATB choir (with divisi). 'My new piece, Ubi Caritas for the Royal Wedding, takes its text from the sixth century Christian hymn that was normally sung at the service for the washing of the feet on Maundy Thursday. The words, originally in Latin, mean: 'Where charity and love are, God is there. Let us come together in God's love and let us love each other with a sincere heart.' ' and nbsp - - Paul Mealor, guardian.co.uk, and nbsp - Friday 29 April 2011 / SATB

Paul Mealor's setting of the Latin hymn, Ubi Caritas , was composed for the Marriage of His Royal Highness Prince William of Wales, K.G. to Miss Catherine Middleton and first performed by the Choirs of Westminster Abbey and Her Majesty's Chapel Royal, St James's Palace, conducted by James O'Donnell, at the wedding service at Westminster Abbey on Friday, 29th April 2011. For SATB choir (with divisi). 'My new piece, Ubi Caritas for the Royal Wedding, takes its text from the sixth century Christian hymn that was normally sung at the service for the washing of the feet on Maundy Thursday. The words, originally in Latin, mean: 'Where charity and love are, God is there. Let us come together in God's love and let us love each other with a sincere heart.' ' and nbsp - - Paul Mealor, guardian.co.uk, and nbsp - Friday 29 April 2011 / SATB

Paul Mealor's setting of the Latin hymn Ubi Caritas was composed for the Marriage of His Royal Highness Prince William of Wales K.G. to Miss Catherine Middleton and first performed by the Choirs of Westminster Abbey and Her Majesty's Chapel Royal St James's Palace conducted by James O'Donnell at the wedding service at Westminster Abbey on Friday 29th April 2011.For SATB choir (with divisi). 'My new piece Ubi Caritas for the Royal Wedding takes its text from the sixth century Christian hymn that was normally sung at the service for the washing of the feet on Maundy Thursday. The words originally in Latin mean: 'Where charity and love are God is there. Let us come together in God's love and let us love each other with a sincere heart.' '  - Paul Mealor guardian.co.uk   Friday 29 April 2011

The quintessential 70s soft rock song ‘Feelings’ first became a big hit for its Brazilian co-writer Morris Albert and French composer Louis Gasté in 1974. It was later recorded by many artists from Ella Fitzgerald to Engelbert Humperdinck and acquired a variety of lyrics in different languages over the years. Here the very definition of an international hit song has been arranged for SATB choir with piano accompaniment.

This set of six Scottish Welsh and Irish folksongs includes versions of My Darling Ploughman Boy My Love She’s A Venus The Barnyards O’Delgaty The Factory Girl The Queen Among The Heather and Brian O’Linn. They are expertly rendered for the ranges of the instruments.Paul Harvey is a highly respected clarinetist bass clarinetist contrabass clarinetist and Saxophonist music educator and composer of hundreds of works for clarinet and Saxophone. During his long career Harvey was bass clarinet of the Scottish National Orchestra freelanced in London for the BBC Symphony Orchestra and many West End musicals as well as performing on many film and television recordingsessions. He was co-founder and leader of the Londong Saxophone Quartet and Professor of Clarinet at the Royal Military School of Music. He has been recognized for his contributions to the world of the clarinet. Among his many commissions is a work for Bass Clarinet Choir which was given its premiere by a choir of 149 bass clarinetists conducted by Harvey himself.

Commissioned by David McCleery to celebrate the wedding of John Chambers and Rachel Fisher at St Aengus Church Burt Co Donegal on 27th December 2003.

Matthew Martin's Missa Speravimus for SATB and Organ. Co-commissioned by the Edington Festival of Music within the Liturgy and by Edward and Sarah Armitage to commemorate their 20th wedding anniversary. Duration: c. 10 minutes

Acallam na Senórach by Tarik O'Regan was co-commissioned by the National Chamber Choir of Ireland The DeBartolo Performing Arts Center at University of Notre Dame Indiana and Peak Performances at Montclair State University Montclair New Jersey.First performed on 25 November 2010 at St Ann’s Church Dublin by the National Chamber Choir of Irelandwith Stewart French (Guitar) directed by Paul Hillier.The Guitar part was edited by Stewart French.Tarik O'Regan on the music:In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patricksimply converting the pagan warriors he is encouraged to listen to Ca lte’s stories and poems of an earlier time in which the saint delights.This secular/sacred osmosis is maintained unwaveringly throughout the entire text. By the end of the narrative one has witnessed not only the arrival of a new religion in Ireland but also a richly-recounted secular narrative map of the entire island: the peaceful and enriching shaking of two great hands.In preparing the libretto (the sung text) I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have however kept the skeleton albeit smaller of the overall frame in place. Finally for the sake of simplicity Ois n is removed from the primary narrative.The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changing combination of voices and guitar. The one exception is Cas Corach the musician of the s d (underworld) who is most closely embodied throughout this setting in the solo interludes for guitar.The music itself is not ethnographically inclined; that is I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally and especially in the guitar writing is imbued with an air

Eminent Domains - Three interludes for solo guitar from Acallam na Senórach. Created for Stewart French.These interludes for solo guitar were extrapolated from Acallam na Senórach originally co-commissioned by the National Chamber Choir of Ireland the University of Notre Dame’s DeBartolo Performing Arts Center Notre Dame Indiana and Peak Performances at Montclair State University Montclair New Jersey.Duration: c.12’