On the Third Day - SATB

Johannis Cantabrigiense-Nico Muhly's Third Service (Magnificat & Nunc Dimittis) is a work for SATB Choir and Organ Accompaniment. Commissioned by the Master and Fellows of St John's College Cambridge it was first performed by St John's College Choir on 29th May 2016. A full performance lasts around 7.5 minutes. 'The American composer Nico Muhly has often spoken of his love of the early English church music which he sang as a choirboy and his recent choral works include a Third Service composed for St John's College Cambridge. (Given his love of music by Thomas Weelkes we can perhaps hope for at least six more.) This setting though has nothing to do with the early English repertoire and is in a bold modern idiom more akin to Tippett's famous setting for St. John's. The Organ plays a varied and independent role throughout sometimes with dynamics that are quite different to those in the voice parts. The Organ part is sometimes written on two staves without further comment and it's not entirely clear what is required between pages 3 and 4 where three staves become two. The vocal parts include some modest vocal effects and there are Soprano and Alto solos in the Nunc dmittis. The Gloria of the Nunc is a varied repeat of the Magnificat Gloria together with a subtly reworked conclusion to match the general mood of the movement. - Geoffrey Webber Choir & Organ Magazine 

From Heaven Distilled a Clemency is the third movement of Triptych a cantata for choir and string orchestra. The aspirational text is underpinned by rhythmically-driving strings allowing the voices to soar excitedly overheard.

Haydn composed six settings of the Mass text for the name day of Princess Maria Josepha Hemengild Esterhazy. The Nelson Mass is the third of these written between 10 July and 31 August 1798. Scored for soprano alto tenor and bass soloists SATB chorus organ and orchestra. This is the revised edition by Michael Pilkington. The text is in Latin with an introduction in English.

Richard Allain's A Perfect Friend for unaccompanied SATB choir.This piece is a setting of text by Robert Louis Stevenson. Duration: 3 minutes. 'Robert Louis Stevenson's poem A Perfect Friend provides the text for Richard Allain's third piece in this review a slow-paced setting of the hymn to the perfect female friend which in its big crescendos and diminuendos seems to be trying somewhat too hard to inject emotion - but in the hands of a sympathetic and skilful choir it could no doubt work its end upon our senses.' - David Lindley Organists Review December 2017

The third of a set of four madrigals on rose texts 'Now Sleeps the Crimson Petal' for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir conducted by Michael Bawtree on October 28th 29th & 31st 2010.

Written for SATB choir and organ. Magnificat-Fifth Tone D. Nunc Dimittis-Third Tone B.

From Einstein On The Beach-Einstein On The Beach the opera from which Knee Play 3 was extracted was a seminal work that broke all the rules being non-linear non-narrative episodic dreamlike and five hours long.Knee Play 3 is one of the number songs composed for scene changes using numbers and solfege syllables as text. American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.' Glass' operas among them therenowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip GlassEnsemble.This eight minute piece is the third Knee Play from Einstein On The Beach and is scored for unaccompanied SATB chorus.

No. 4 - In Search of Hope-In Search Of Hope from Garden of Light (A Millennium Symphony) for soprano mezzo-soprano tenor baritone chorus and orchestra was commissioned for the Third Millennium Celebration by Walt Disney Pictures premiered in October 1999 by the New York Philharmonic conducted by Kurt Masur with the New York Choral Artists and The American Boychoir. Arranged for Soprano Mezzo Soprano Tenor Baritone SATB Choir and Piano accompaniment.Named one of 75 ‘American Masterpieces of Choral Music’ by the National Endowment for the Arts.

(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in

The Lines from 'The Youth of Man' is dedicated to the University of Birmingham Motet Choir. Crafted with the composer's usual skill in choral writing it uses the technique whereby two voice parts often double each other an octave apart. In three continuous sections it rises to three climaxes the third of them which is the biggest has much subdivision at the words 'Depths of thyself'. These are then repeated as the quietening peroration.

Following an initial quite straightforward first verse the melody moves to the Tenor Voice with the Soprano and Alto harmony sometimes crossing over. In the third Voice unaccompanied Chorale is used. In the fourth and final Voice a few Soprano Voices provide a descant. This moving arrangement of Lord of All Hopefulness by Dr Barry Rose was written in the fullness of a long distinguished career that included thirty years as Organist at Guildford Cathedral. His last post was Organist and Master of the Choristers for St Albans Cathedral

Edward C Bairstow’s compositional output was somewhat hampered by a busy and useful life and the bulk of his compositions were created for the Anglican church. His setting of Let All Mortal Flesh Keep Silence is widely performed. This setting for The Office for Holy Communion in D is one of three settings he created for the mass. It is an effective and sensitive setting and in particular the pianissimo moment created for ‘And was made man’ and fortissimo phrase just before ‘And the third day’ leading into the double choir passage for the ascension are the work of a great talent immersed in religious understanding.Organist teacher composer and conductor Edward CBairstow (1874 1946) spent most of his professional life happily in the role of Organist at York Minster playing teaching leading the choir giving recitals writing music and works of musical pedagogy. When offered the position of Organist at Westminster Abbey Bairstow had no hesitation in declining and remaining in his native Yorkshire. He is best known as a teacher having had a remarkable number of students and for his extreme straightforwardness and high standards for himself his singers and the composers whose work he chose to perform or present.

Here for the first time in one collection are well-known traditional spirituals in the King's Singers own performing editions. This third volume in the Colour of Song series contains works from their past repertoire as well as two brand new arrangements. Also includes performance notes for each song.

This is the third work by DiOrio for chorus and marimba. Where “A Dome of Many Coloured Glass” (50498607) explores the virtuosic capabilities of this combination and “Alleluia” (50498734) is a work ofextroverted exuberance this work is concerned instead with the narrative demands of telling a story.

Kali-Yuga is a short symbolic piece for choirs representing in a simple almost child-like way the last days of the Kali-Yuga the Dark Age of Hinduism. We live in these days. The ?ugliness? of the modern world is portrayedin the first two sections as the singers from Choir II are given a free rein to represent ?triviality? in the first song and ?ugliness? in the second while the singing chorus in Choir I describes the events in Schuon?s Germanpoetry. The third section represents ?weeping humanity? personified by the two women and two men from the choirs as the rest sing with great dignity and solemnity about the Kali-Yuga.The musical material is tightly knitthroughout and the performance should be as vivid and imaginative as possible.