SATB unaccompanied Archives - Hawes Music Publishing

Remember(Vocal Score)

Andy Berry — Fri, 16 Aug 2024 07:34:28 +0000

This setting of the iconic poem by Christina Rossetti began as a song for soprano – first with piano and then with orchestra. Another version followed for choir and string quartet, and it seemed inevitable that a purely a cappella setting would eventually appear.

The deep yearning of the words certainly calls out for musical expression and, with unadulterated vocal textures, it is possible for the full impact of bereavement on the human soul to be powerfully and uniquely conveyed.

The original instrumental introduction and interludes have word underlay rather than open vowel sounds, and it is important that these passages become contrasted in dynamic and timbre to the pillar-like components of Rossetti’s poetry.

Remember me when I am gone away,

Gone far away into the silent land;

When you can no more hold me by the hand,

Nor I half turn to go yet turning stay.

Remember me when no more day by day

You tell me of our future that you plann’d:

Only remember me; you understand

It will be late to counsel then or pray.

Yet if you should forget me for a while

And afterwards remember, do not grieve:

For if the darkness and corruption leave

A vestige of the thoughts that once I had,

Better by far you should forget and smile

Than that you should remember and be sad.

Words: Christina Rossetti (1830-1894)

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(Vocal Score) appeared first on Hawes Music Publishing.

Minstrels (Vocal Score)

Andy Berry — Fri, 14 Jun 2024 06:24:10 +0000

Upper and lower voices are divided into two distinct choral ‘worlds’ in this setting of William Wordsworth’s poem.

The sopranos and altos narrate Wordsworth’s majestic text while tenors and basses take on the role of minstrels playing ’their Christmas tune’. In performance, it may be preferable to have physical space between the two groups but this should not be seen as obligatory. The lower voices, in so far that it is achievable, should aim to create a sense of a strummed guitar, and their tone should be sotto voce throughout. The much more prominent upper voices should provide shape and contrast within the strophic format. Above all else, the storytelling of the text must always be clearly conveyed to the audience.

The minstrels played their Christmas tune
To-night beneath my cottage-eaves;
While, smitten by a lofty moon,
The encircling laurels, thick with leaves,
Gave back a rich and dazzling sheen,
That overpowered their natural green.

Through hill and valley every breeze
Had sunk to rest with folded wings:
Keen was the air, but could not freeze,
Nor check, the music of the strings;
So stout and hardy were the band
That scraped the chords with strenuous hand.

And who but listened?-till was paid
Respect to every inmate’s claim,
The greeting given, the music played
In honour of each household name,
Duly pronounced with lusty call,
And ‘Merry Christmas’ wished to all.

Words: William Wordsworth (1770 – 1850)

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(Vocal Score) appeared first on Hawes Music Publishing.

What Child Is This? (Vocal Score)

Andy Berry — Wed, 20 Mar 2024 11:23:35 +0000

A simple, but beautiful, strophic Christmas carol setting the words of the poem by William Chatterton-Dix.

The tempo is fairly flexible and there are no set dynamic markings. However, care should be taken to mirror the text’s juxtaposition of question and answer as well as the contrasting moods of each verse. It may be interesting to note that the premiere performance asked the questions at a quieter dynamic than the ensuing answers, and the last verse began with a confident forte.

What Child is this who, laid to rest
On Mary’s lap is sleeping?
Whom angels greet with anthems sweet,
While shepherds watch are keeping?

Refrain:
This, this is Christ the King,
Whom shepherds guard and angels sing;
Haste, haste, to bring Him laud,
The Babe, the Son of Mary.

Why lies He in such mean estate,
Where ox and ass are feeding?
Good Christians, fear: for sinners here
The silent Word is pleading. Refrain

So bring Him incense, gold, and myrrh,
Come, peasant, king to own Him.
The King of kings salvation brings;
Let loving hearts enthrone Him. Refrain

Words: William Chatterton Dix (1837 – 1898)

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Pacis et Caritas(Vocal Score)

Andy Berry — Wed, 20 Mar 2024 10:33:12 +0000

Scroll to 17:25 – Pacis et Caritas reprise with video

Performers will notice that this piece is in the pure, unadulterated key of C major. While this has an enormously positive impact on atmosphere by creating a sense of simplicity and transparency, a lack of even the most subtle modulation means that a performance runs the risk of losing buoyancy. Buoyancy, therefore, must be created through a strong and engaging pulse and an awareness of the underlying lilt of the phrasing. Alternating choral textures (semi-chorus and tutti) provide inbuilt contrast, but this should be enhanced by expressive dynamic phrasing and a clear sense of the subtleties of the text. There must always be an air of prayerful meditation as well as a driving towards climaxes at the appropriate points.

Carmina lungas pacis et caritas
Sempiterno cum desideravit;
Voces veniunt angulis terrae,
Praeter tamen semper conventus.

Singing together of peace and love
While longing for eternity,
Voices from the corners of the earth,
Though set apart, are forever bound in unity.

Words: Mark Strachan (1958 – ); adapted by Andrew Hawes (1954 – )

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(Vocal Score) appeared first on Hawes Music Publishing.

In Bethlehem, That Noble Place(Vocal Score)

Andy Berry — Wed, 20 Mar 2024 09:27:52 +0000

This attractive fifteenth-century text has inspired a setting which is reminiscent of medieval tonality and rhythm.

Dynamic contrast is important within the strophic framework but the choral tone should not be too rich, with a more restrained approach towards expression being preferable. The frequent changes of time signature are intended to point both conductor and singers towards an idiomatic sense of phrasing but the quaver moment must be even throughout, without unnecessary stresses at the beginning of a bar. Some of the verse openings are exposed and it is advised that the first note of a verse is placed firmly and confidently in order to maintain momentum.

In Bethlehem, that noble place,
As by prophecy said it was,
Of the Virgin Mary full of grace,
Salvator mundi natus est.

Refrain:
Be we merry in this feast,
In quo Salvator natus est.

On Christmas night, an Angel it told
To the shepherds keeping their fold,
That into Bethlehem with beastës would,
Salvator mundi natus est. Refrain

The shepherds were encompassed right,
About them was a great light;
“Dread ye naught,” said the angel bright,
Salvator mundi natus est.” Refrain

“Behold, to you we bring great joy.
For why? Jesus is born this day;
To us, of Mary, that mild may,
Salvator mundi natus est.” Refrain

And thus in faith find it ye shall,
Lying poorly in an ox-stall.
The shepherds then lauded God all,
Quia Salvator mundi natus est. Refrain

Words: James Ryman (15th Century)

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(Vocal Score) appeared first on Hawes Music Publishing.

Ave Maria(Vocal Score)

Andy Berry — Wed, 20 Mar 2024 08:35:15 +0000

This setting of the well-known text was written for the small but talented choir at the church where Patrick worships in Norwich. His aim was always to create a warm and intimate sound world which would reflect the prayerful and devotional feast of The Assumption of Our Lady.

The individual lines are not too demanding but performers must be fully aware of the occasional surprising change of tonality within the group as a whole. Dynamic contrast is essential to the atmosphere, especially over the final five bars of the piece.

Ave Maria, gratia plena,
Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui, Iesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.

Hail Mary, full of grace,
The Lord is with thee.
Blessed art thou amongst women,
And blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
Pray for us sinners,
Now and at the hour of our death. Amen.

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(Vocal Score) appeared first on Hawes Music Publishing.

Four Christmas Motets (Vocal Score)

Andy Berry — Fri, 27 Oct 2023 11:45:16 +0000

These four motets aim to create a fresh and dramatic approach to well known ancient texts. They are intended to be sung either as a complete set in the context of a concert or as individual items within a carol service or other liturgical setting.

Virga Jesse calls for an atmosphere of timelessness and deep prayer which may be made all the more meditative by the hushed alleluias. Puer Natus should be an unabashed announcement to the world of the life-changing news of Christ’s birth, with the rhythmic propulsion and more explosive alleluias painting a scene of unrestrained celebration. Nesciens Mater essentially pays homage to those great Renaissance polyphonists who paved the way of the major and minor key system. It was the expressive and uniquely characterful nature of the individual voice parts which not only gave their music life but also a profound spirituality, and it is hoped that something of this same spirituality is in evidence here. After the opening unison fanfares of Gaudete Omnes, the syncopated rhythms and agile melodic elements of the motet should pass freely between the voices, creating a sense of dialogue and, ultimately, elation.

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The Nativity(Vocal Score)

Andy Berry — Fri, 27 Oct 2023 07:30:54 +0000

The Nativity is a collection of six carols with brand-new texts by Patrick’s brother. Three of these – The Infant, The Shepherds and The Magi – which are more upbeat in nature, follow the structure of verse and chorus and intersperse themselves with the more reflective poetry of The Manger, The Oxen and The Star, thereby providing a sense of overall momentum and contrast.

The Manger, The Oxen and The Star are all relatively static elements of the nativity story, demanding a more meditative approach to tempo, atmosphere and structure whereas The Infant, The Shepherds and The Magi are each about human protagonists, full of the Holy Spirit and the wonder and excitement which accompanies new life.

As a whole, they make an effective collection for concert performance but are also designed for individual use within the context of a Christmas service.

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(Vocal Score) appeared first on Hawes Music Publishing.

Still, Still The Night(Vocal Score)

Andy Berry — Fri, 18 Sep 2020 06:53:50 +0000

During the 2020 Coronavirus Pandemic, many singers were in self-isolation, regular choir rehearsals and concerts had been postponed or cancelled. The Self-Isolation Choir was created by a superb team to bring together – virtually – thousands of singers from around the world.

As part of the choir’s Virtual Summer School series, the choir chose to perform Patrick’s Quanta Qualia. Patrick created a series of videos talking singers through their part for Quanta Qualia helping each singer to master their part.

Following on from the success of that performance, Patrick decided to write the choir a new work to premiere as part of their Christmas 2020 concert. Still, Still The Night sets new words by Patrick’s librettist brother Andrew, the carol is imbued with both a sense of longing and the hope that a healing light may be born to comfort mankind. It wonderfully draws together the familiar Nativity story and, with the pandemic still very much present, a hope for better things to come.

The work subsequently featured on Patrick’s Christmas album, The Nativity.

Still, still the night.
Black, black the sky.
A star is rising bright and sheds a healing light:
O lux aeterna natus est.

Slow, slow it dawns;
Soft, soft the sound.
The star is singing high and clear this melody:
O lux aeterna natus est.

Light, light as fire,
Falls, falls like sparks,
This melody and harmony is burning hearts:
O lux aeterna natus est.

Shine! Shine! O Light!
Sing! Sing! O star!
Humility and tenderness is in your gift –
O lux aeterna natus est.

Lift! Lift your voice!
Seek! Seek this light!
Nativity in simplicity transfigures all –
O lux aeterna natus est.

Words: Andrew Hawes (1954 – )

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(Vocal Score) appeared first on Hawes Music Publishing.

The Lord’s Prayer (from The Edenham Eucharist)(Vocal Score)

Andy Berry — Tue, 03 Oct 2017 10:32:06 +0000

This simple version of The Lord’s Prayer is taken from The Edenham Eucharist – a communion setting written for parishes belonging to Patrick’s brother Andrew. Some unexpected key changes help to sustain the momentum although the overriding approach is one of straightforward harmonies and rhythms.

In the context of the Eucharist setting this piece is marked at a slower tempo and has organ accompaniment. However, when we were recording this as a standalone piece for the Revelation album, the conductor Noel Edison felt that as a separate piece of music in performance it benefitted from greater forward movement. He was absolutely right and so the tempo marking in this standalone version has been increased and the dynamic range has been expanded.

It may be obvious to state this – but it is essential that choirs actually ‘pray’ the prayer. Only if this approach is taken will the true effect of the music be conveyed to an audience.

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(Vocal Score) appeared first on Hawes Music Publishing.