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 relationship between 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 over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)
SKU: CF.CM9475
ISBN 9781491145791. UPC: 680160903290. 6.875 x 10.5 inches. Key: F major. 17th Century German Carol & 16th Century English Carol.
Debra Morton's coupling of Lo, How a Rose E're Blooming with an original melody using the well-known text, There is No Rose of Such Virtue, provides numerous opportunities for sensitive music-making. With a simplistic yet supportive piano accompaniment, novice and refined treble ensembles alike are sure to shine and grow musically.
SKU: SU.27020340
Soloists, SATB Chorus & Organ Duration: ca. 5' Composed: 2021 Published by: Graham Gordon Ramsay Minimum order quantity: 8 copies. To order quantities fewer than 8, please call customer service at (973) 857-3440.
SKU: OU.9780193523845
ISBN 9780193523845. 10 x 7 inches.
For SATB (with divisions) unaccompanied McGrath's setting of this well-known fourteenth-century macaronic text is expressive and rich. The melodies have a chant-like quality and the metrical changes create a compelling ebb and flow. This carol is evocative of an ancient choral tradition, while at the same time offering a fresh choral sound.
SKU: AU.9781506456911
ISBN 9781506456911. 7x10.25 inches.
A sensitive, lyrical setting of the well-known 15th-cent English carol. This music is accessible to most choirs and provides lots of opporunity to practice legato singing, phrasing, word stress, and tuning.
