Products Archive - Hawes Music Publishing

The Wedding at Cana‘Miracle Package’

Andy Berry — Fri, 05 Dec 2025 10:03:24 +0000

The Miracle Package

from £500 (approx. US$650) includes:

Offer ends 31 January 2027

To enrol today, use the ‘Add to basket’ button above and complete your transaction.

If you would prefer to pay by bank transfer or cheque, email andyberry@hawesmusic.com and we can supply the relevant details.

After your payment has been received, we will send the details you need to access the performance scores and rehearsal resources.

^*Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Trombone, Percussion, Timpani, Harp, Strings (min. 2.2.2.2.1)
¹supplied as a PDF; up to a maximum of 100 copies per choir; additional copies to be purchased at a discounted cost of £10 / $15 ea.
²supplied as PDFs for a one-time performance. For multiple performances, prices available on request.
³maximum duration: 60 mins
⁴discount will allow those individuals wishing to use the rehearsal resources to purchase at $30 instead of the usual $50.

About The Wedding at Cana

The Wedding at Cana was Patrick’s first ever sizeable composition. Written during the second half of 1989, it was the result of a commission from Joy and Ken Whitehead who were parents of a music scholar at Pangbourne College in Berkshire, where Patrick was a teacher of Music and English. He had written a few solo piano pieces and songs which had been performed at school concerts but never imagined embarking on a large-scale work like this. The commission was for the Pangbourne Choral Society which was flourishing under its director Bob Barsby, and the singers wholeheartedly welcomed the arrival of a new composition (which was originally expected to be ten to fifteen minutes in length but finally emerged as a dramatic cantata lasting about an hour!).

Patrick’s brother Andrew suggested the subject of the Wedding at Cana and skilfully adapted the text of St John’s gospel into ten separate movements, three of which were Andrew’s own poetic reflections. Patrick spent most of the summer of 1989 at the piano of a deserted music school in the College grounds and had a life-changing experience, not only musically but in terms of my Christian faith. Bringing Christ’s first miracle to life – as well as setting the words of Christ and his mother Mary – helped to provide the foundations of a deep faith which has grown and intensified over the years. There is inevitably a youthful innocence about this work. It is totally free of any kind of pretension, and is quite simply the expression of a young man’s faith through a spontaneous and natural grasp of Western musical language. Performers should approach The Wedding at Cana in this light, never trying to analyse or be over-expressive. All that is needed is that the choir and soloists tell this magnificent story with honesty and integrity, reflect on its implications for mankind and help audiences to come to “believe in Him”.

The Waters of Love from The Wedding at Cana :

The post The Wedding at Cana
‘Miracle Package’ appeared first on Hawes Music Publishing.

The Waters of Love(Vocal Score)

Andy Berry — Tue, 14 Oct 2025 06:36:47 +0000

COMPOSER’S NOTE

This work, originally a duet for soprano and tenor, comes from the heart of the dramatic cantata The Wedding at Cana and was my first major work, written for Pangbourne Choral Society, launching my career as a full-time composer. The cantata depicts the wedding at Cana of Galilee where Jesus performed his first miracle, turning water into wine.

The words for The Waters of Love, written by my brother and poet Andrew, shine a light on the moment when the water is actually transformed into wine and reflects on the presence of the divine in human love.

THE WATERS OF LOVE

The water of love flows
from God’s heart;
like rain, like a river
to quench the parched.
The strength of the tide,
the still ocean deeps
the pounding on conscience
the caressing of dreams.

The water of love wells
from man’s heart;
sweet tears of love’s pain
and hard tears of regret.
The springs of forgiveness,
the deep pool of peace
are found in each person
and yearn for release.

The waters of love,
human and divine,
when mingled create
the most beautiful wine.
In the glass of life’s living
in the joy of our hearts
the waters are joined
and will never part.

Words: Andrew Hawes (b. 1954)

The post The Waters of Love
(Vocal Score) appeared first on Hawes Music Publishing.

A Stranger Here(Vocal Score)

Andy Berry — Tue, 09 Sep 2025 09:28:24 +0000

The text of this choral piece takes the form of the last verse of Thomas Traherne’s poem The Salutation. In many of his poems, Traherne conveys a sense of childlike wonder, and in this poem he expresses genuine awe at the mystery of having come into being. He addresses his own infant body (‘these little limbs’) as if amazed at his own incarnation, marvelling at having entered this world of beauty and light and asking where his soul was before. In the words of A Stranger Here, he expresses deep gratitude for the sheer gift of life.

It is essential that choirs are sensitive to this sense of gratitude. This is not a gratitude which is sung from the rooftops but is the product of quiet and profound reflection and revelation. The glory of our existence is a mysterious glory, seen through the eyes of strangers in the world. With the words ‘But that they mine should be’, comes the realisation that the world’s treasures are an extraordinary gift to us all – and there must be a sense of this growing realisation as the music gradually moves towards great peace and a sense of fulfilment in the final tonic chords of the pure and nourishing key of D flat major.

A STRANGER HERE

From the last verse of the poem The Salutation:

A stranger here
Strange things doth meet, strange glory see;
Strange treasures lodged in this fair world appear,
Strange all and new to me;
But that they mine should be, who nothing was,
That strangest is of all, yet brought to pass.

Words: Thomas Traherne (1636 – 1674)

The post A Stranger Here
(Vocal Score) appeared first on Hawes Music Publishing.

The Son of Man (Full Score)

Andy Berry — Thu, 24 Apr 2025 08:45:35 +0000

The Son of Man is an oratorio is in two parts, each lasting approximately fifty minutes and scored for choir, three soloists and chamber orchestra. The baritone soloist takes on the role of the Son of Man, while the soprano and tenor add commentary to the unfolding story. A special symbiosis of music and poetry opens up the visions of Ezekiel, the dreams of Daniel, the meditations of the Psalmist, and the revelations of St John the Divine.

Following in the footsteps of Handel’s Messiah, the work uses texts from both the Old and New Testaments. Unlike Messiah, however, which is a devotional work in adoration and praise of the man Jesus, The Son of Man addresses eternal questions: What does it mean to be human? How are we to understand the purpose and destiny of our life? What does a fully realised human life look like?

Expressed in Patrick’s unique way, the music is thoroughly accessible, lyrical and emotive.

The oratorio received a rapturous response at its World Premiere in Houston, Texas September 2024, performed by the Grammy® award-winning Houston Chamber Choir and Houston Symphony.

Find out more here >

Also available:

Vocal Score
Orchestral Parts available on hire (Email: andyberry@hawesmusic.com)

The post The Son of Man
(Full Score) appeared first on Hawes Music Publishing.

The Son of Man (Vocal Score)

Andy Berry — Thu, 24 Apr 2025 08:22:14 +0000

Expressed in Patrick’s unique way, the music is thoroughly accessible, lyrical and emotive.

The oratorio received a rapturous response at its World Premiere in Houston, Texas September 2024, performed by the Grammy® award-winning Houston Chamber Choir and Houston Symphony.

Find out more here >

Also available:

Full Score
Orchestral Parts available on hire (Email: andyberry@hawesmusic.com)

The post The Son of Man
(Vocal Score) appeared first on 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)

The post Remember
(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)

The post Minstrels
(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)

The post What Child Is This? (Vocal Score) appeared first on Hawes Music Publishing.

This Endernight(Vocal Score)

Andy Berry — Wed, 20 Mar 2024 11:11:32 +0000

A beautiful setting of this unusual fifteenth-century text. There is an overriding atmosphere of joy and intense love, as well as touching moments of pathos, especially in relation to the premonition of Calvary.

Choirs should aim to have a clear understanding of the nuances of the text, particularly in terms of the dialogue between Mary and Joseph.

Underlying the entire performance should be a subtle sense of urgency as the poet’s dream unfolds. An optimistic tempo should remain rock-solid throughout and a sense of forward momentum must be maintained. The quaver patterns in the organ call for a bright registration, but not at a volume which dominates.

This endernight I saw a sight,
All in my sleep:
Mary, that may, she sang lullay
And sore did weep;
To keep she sought full fast about
Her Son from cold.
Joseph said, “Wife, my joy, my life,
Say what ye would.”
“Nothing, my spouse, is in this house
Unto my pay;
My Son a king, that made all thing,
Lieth in hay.
“Ah, my dear Son,” said Mary, “ah, my dear,
Kiss Thy mother, Jesu, with a laughing cheer.”

“My mother dear, amend your cheer
And now be still;
Thus for to lie it is soothly
My Father’s will;
Derision, great passion,
Infinitely,
As it is found, many a wound
Suffer shall I;
On Calvary that is so high
There shall I be,
Man to restore, nailëd full sore
Upon a tree.”
“Ah, my dear Son,” said Mary, “ah, my dear,
Kiss Thy mother, Jesu, with a laughing cheer.”

Words: Traditional 15th Century

The post This Endernight
(Vocal Score) appeared first on Hawes Music Publishing.

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 – )

The post Pacis et Caritas
(Vocal Score) appeared first on Hawes Music Publishing.