Music Sales Choral Binder 2014 Vol. 1 by ScoresOnDemand

The Music Sales Group

CHORAL BINDER 2014

VOLUME 1 SACRED, SECULAR AND CHRISTMAS

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Music Sales Choral Binder 2014 Vol.1 Sacred, Secular and Christmas All titles listed are SATB unless otherwise stated * With Accompaniment Page

Title

3 7 17 31 41 47 55 61 71 81 89 101 111 127 135 157 163

SACRED Edward Gregson: Peace, perfect, peace Patrick Hawes: I saw the Lord* Robin Hodson: This is the day* John Joubert: Locus iste Sam Lung: Arise this joyful Eastertide* Paul Mealor: All wisdom cometh from the Lord Paul Mealor: Anthem to St David Paul Mealor: The Beatitudes Paul Mealor: Blessing* Paul Mealor: Love’s as warm as tears Paul Mealor: Peace Paul Mealor: A Prayer of King Henry VI* Paul Mealor: A Welsh Prayer* Craig McLeish: Gaelic Blessing (SSA)* Rhian Samuel: Ave regina coelorum James Whitbourn: A Prayer of Cardinal Newman James Whitbourn: The Twenty-Eight Times (SSA)*

NOV293843 NOV293711 NOV294338 NOV293788 NOV294349 NOV294173 NOV294184 NOV294195 NOV293876 NOV294470 NOV293898 NOV293821 NOV294239 NOV293623 NOV294206 CH82159 CH81059

SECULAR Edward Gregson: Three John Donne Settings* Paul Mealor: Sleep On* Thea Musgrave: Nurse Songs (SA)*

NOV293832 NOV163933 NOV163955

CHRISTMAS James Burton: Balulalow (SAATB) Steven Grifﬁn: A Hymn to the Virgin (SAATBB) Gerald Hendrie: Sweet was the song (SS)* David Hill: Lullay, my liking Michael Hurd: Adam lay y-bounden (SSA)* Dominic Irving: Blessed Be That Maid Marie Stuart Nicholson (arr.): Ding dong! merrily on high (SSA)* Owain Park: Let Christians All With Joyful Mirth* Francis Pott: There is no rose of such virtue Ruth Sellar: Patapan (SA)*

NOV293964 NOV294019 NOV294118 NOV294437 NOV294052 NOV294008 NOV294316 NOV293997 NOV293524 NOV293986

177 199 207

221 225 239 245 253 257 271 283 295 307

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Catalogue Code

Members of our shop staff are happy to answer any enquiries about these featured titles or any of those listed in the full Music Sales Choral Catalogue. Please take this choral binder to one of our customer tills should you wish to purchase single or multiple copies of any of these featured titles.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Patrick Hawes I SAW THE LORD O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

for SATB chorus and organ

Novello 7

First performed on 6 July 2013 at the University Church of St Mary the Virgin, Oxford by the Choir of Magdalen College School, Oxford.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Duration: circa 4 minutes

for Jon Cullen, Peter Smith and the Choir of Magdalen College School, Oxford

I saw the Lord ANDREW HAWES (adapted from the Book of Isaiah and the First Letter to the Corinthians) With majesty q = c. 104

E B

B : 5 : 5

5: 5 B:

E G B

Pedals

5 55 555 55B 55 BBB

BB B

B 5 5 55 55 55 55 B55 55 55 5 B5 : B 55 55 5 5 5 B 5 5 5 5

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Organ

BB B

5 55 55 55 55 5 5 5

PATRICK HAWES

1 E S. G G

G i

saw

5 '

the Lord,

I saw

5 '

the Lord,

: 5 5 I saw

5 '

the Lord,

5 5: I saw

5 '

the Lord,

5 5: I saw

E ' 5 5 G ' 55 5 55 55 B55 55 555: 55 5 55 55 55 555 5 E 55 55 55 555 55 55 55 55 555 55 5 55 E

5 5:

ÂŠ 2013 Novello & Company Limited

5 BB::

the Lord,

5 B:

BB ::

High

the Lord,

5 B:

BB ::

High

the Lord,

5 BB::

BB ::

High

the Lord,

High

55 5B : 5 55 BB B B

5 and

55 and

55 55 5 BBB5 5 5: BBB5 : 5 5 555 55

' BB#:: 5 5 555

5BB :: 5 5 5 B: 5

5 5' ' 5 5

5BB:: 5 5 55 5

14 1 E : 5 B : S. G 5 5: 5 B:

4 BB ::

lift - ed up,

high

E G 5 : 5 B:

4 !B :

lift - ed up,

high

E G 55 :: 55 !BB :: i lift - ed up,

4 B:

E 5 : 5 B :

4 B:

lift - ed up,

high

and

lift

and

lift

B :

and

lift

B :

and

lift

E '5 5 5 5 5 5 5 !55 5 G 5BB 5 !' !BB :: ' 5 !5' 5 5 5 5B : 5 5 ! 555 E 5BB !B: ' G E B

1 E S. G

G G i

E E

up:

5 !' '

up:

' ' '

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5BB :: 5 5 5 B: 4

0 0

? ?

4 !5

E !55 55 5 5 G !' ' mf

5 55 5 5 E !' ' !' mf

5B : 5 5 5 B: 4

B :

train

filled

the

tem

B :

filled

the

tem

! BB ::

filled

the

tem

B :

train

filled

the

tem

His train p molto legato

4 !5 ' ' His

E5 5 5 5 5 5 !55 !5' ' ' '

train

p molto legato

4 !5

5B 5 !55 5 '' B 5 ' '

BB B

ple,

5 his

4 5

ple,

his

ple,

4 5

ple,

p molto legato

His

:5 5B BB ::

p molto legato

4 !5

His

!5 -

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

his mp

his

' '

5BB:: 5 5 555

5BB 5 5 !5B 5 ' ' '

' '

5' 5 5 55

cresc.

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55 !BB

filled

the

cresc.

filled

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BB ::

E '

BB ::

the

cresc.

filled

the

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55 !BB

E ' '

1 E S. G

G G i 2

E E

filled

the

tem - ple.

BB ::

!55

filled f

the

tem - ple.

filled f

the

tem - ple.

BB ::

filled

the

BB ::

BB B BB B

tem - ple.

' ' '

BB B

!' ' '

' '

B : 5 : 5 B : 5 : 5

5 : 5 B : ?

!5 !5 !5 0

p espress.

4 E5

Yet

EB :

5 EBB ::

now

see

through a

p espress.

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' '

E B :

5 '

5 ' 5 '

!55

' ' '

55 4

tem - ple,

!' ' '

tem - ple,

55 4

BB ::

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

train

the

55 4

tem - ple,

55 !BB

filled cresc.

5 4

tem - ple,

5 !BB

B :

train

BB ::

5 5 EE' '

EB :

5 5

Yet

now

see

through a

glass

dark - ly,

glass

dark - ly,

1 E S. G

mp (unhurried)

= E5 5 E5 B: yet now I

mp (unhurried)

G ' i

see

E G 4

5B :

E ?

EB :

1 E ? S. G

G i

E E

E ? B. 2 G

' ''

E '' E

dark - ly;

EBB ::

through a glass

B ! ' '

5 5' ' 5 5

5' 5 5 5

!B'

dark - ly;

5 !5 '

5 5 EEBB ::

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

yet now I

through a glass

E5 5 E 5 B:

E ' B. 2 '

dark - ly;

55 5 '

mp (unhurried)

through a glass

mp (unhurried)

dark - ly;

5 5 !'

= E5 5 E5 BB :: yet now I

through a glass

= E5 5 E5 !B : yet now I

see

5 !5 '

p espress.

B 5 55 B

But then

I will see

p espress.

Him,

5 5 !BB

But then

I will see

Him,

p espress.

B 5 55 B

But then

I will see

p espress.

But then

I will see

Him,

B' ' !'

4 5 5 B

5 !B 4 5

Him,

I will see

5 5 !BB

I will see

4 5

4 5 5 !B

I will see

5 5 B

I will see

Him

face

Him

face

Him

BBBB

' ' ' '

' !' ' '

BBB B

Slower q = c. 86

rall.

1 Ep S. G !'

5 4 ?

face,

5 4 ?

5 5 : 5 B: 5 5 And with the

E G ' i face, p

5 4 ?

E '

5 : 5 B : 5 5

4 5 5 5 55 :: 55 BB ::

And with the

Slower q = c. 86

rall.

B p

se - ra - phim

sing:

5 will

' sing:

5 ' will

sing:

!55 ' ' will

sing:

4 B

1 E S. G 5 5 4 ?

subito p

!BB

â&#x20AC;&#x2DC;Ho

4 ?

E G 5 4 ? i

E 55 4 ? E

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â&#x20AC;&#x2DC;Ho

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4 4 ?

! BB

BB ::

ly,

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ly,

subito p

ly,

subito p

â&#x20AC;&#x2DC;Ho

subito p

â&#x20AC;&#x2DC;Ho

4 ?

will

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

se - ra - phim

face,

se - ra - phim

with the

se - ra - phim

55 ' '

face,

5 : 5 B : 5 5: 5 B: 5

with the

Ep G '

ly,

! BB

!BB

! BB

' '

ly,

5 !5 5 5 !5 5 5 5 5 5 5!5 5 !5 5 5 5 5 !5 5 5 5 5 !5 mp p molto legato !B ' ' B ' BB ! ' ' ' ! BB '

' '

ly,

ho mp

' '

!5 5 5 5 !5 5 5 5 ' ' ' '

1 E S. G

poco a poco cresc.

G i

ho pp

the

Lord

ho pp

the

Lord

poco a poco cresc.

!BB

poco a poco cresc.

' '

! 55 55

BB ly

the

Lord

the

Lord

poco a poco cresc.

B -

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

' '

5 5

5 E 5 !5 5 5 5 5 5 5 !55 5 55 5 !5B 5 5 5 5B 5 5 5 G !5 5 5 5 5 !5 5 5 !5 5 5 p poco a poco cresc. 55 :: E ! ' ' ! ' = G !5 5 !B ' ' BB 5: ' 5B 5 BB B E B ' ' ' B

1 E B :: S. G B

God

Al - migh

f sempre

E G !B :

God

Al - migh

E B : G B: i God

f sempre

Al - migh f sempre

E !BB ::

God

Al - migh

BB::

4 !B

ty,

The

BB ::

The

BB::

The

BB ::

5 5

The

G !' B' E '

B B

B BB

BBB

4 BBB

!5 is

whole earth

555 5 5 5 5 5 5 E !5 5 5 B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 = 4 ? G B E

whole earth

4 !B

ty,

whole earth

4 !B

ty,

whole earth

4 !B

ty,

555 = 4 ? 5

5= 4 ?

71 1 E BB !55 5 !BB S. G

full

of His glo

G B

5 B !55 5 B

full

of His glo

E B G B i full

55 !55 !B

of His glo

E BB

5 55 BB

full

of His glo

' '

ry,

BB -

' '

ry,

B -

ry,

whole earth

5 ! BB ::

the

whole earth

ry,

5 55' 5 5 5 5 5 55 55 5 55 5 55 5 5 5 5

M 55 55

5 EBB ::

the

' '

55 !B : is

whole earth

B the

whole earth

full

55 !BB ::

full

4 ?

55 4 ? 55

M 5=4 ?

5 EBB ::

5 B :

full

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

' ' '

BB B

55 5

555

poco rall. ff

tempo primo (q = c. 104)

1 E !' G '

' '

His

E G '

G i

of ff

His

E !' '

' '

His

E ' ' 2

' '

His

poco rall.

E ' ' G '' ff

' E ' ' E

' ff

glo -

poco rall.

ry,

tempo primo (q = c. 104)

' ' ' '

B BBB

BB BB

' ' '

BB BB

BBB B

5: ?

poco rall.

5 B:

5 B: 0

55 5 55 5 5 5 5 55

BB B

55 555 55B 55 BB B

BB B

molto maestoso q = c. 92

allargando f

1 E G

5 5

: 5 5 55 55 BB

the whole earth is

5 5

full

E B G 5 5 i the whole earth f B E 5 5

5 5 is

5 5

the whole earth

His

glo

5 5 B full

full

glo

' ' :: glo

His

glo

molto maestoso q = c. 92

allargando

E G 5 5 B55 55

55 55

: E B5 B E B

B 5 5 5 B 55 5 ' 55 5 '

55 55

55 55 ' 5 ' 5 5

f 88

5 4

BB ::

' ' ::

His

5 5 BB

His

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

full

' ' ::

5 4

5 5 5 5 B:

the whole earth is

1 E 5 BB S. G 5 4 -

rit.

5 5B 5 5BB 5 55BB 5 B

5B 5 5BB 5 BBB B

' '

ry!’

E G 55 4 BB

E G 55 4 BB i ry!’

' '

E 5 4 B

ry!’

5 5

!' ' !' '

5 E 5 5 5

5 E 5 5 55 5 5

5 5 E5 5

5 5 5 5 5 5 E5

E 5 5 5 5

5 5 5 5 '

5 5 E 5 5

E G 5 5 5 5

rit.

5 ! ' ' '

4 = 55 BB 55 BB

fff 4 = 555 BBB

4 = 5 B

' ' ' '

' ' '

fff

123456789

Novello New Chor al Series

Robin Hodson This is the day

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

SATB/organ

Sacred

Novello

Robin Hodson This is the day This is the day was originally written while I was still an undergraduate at Oxford, as a composition exercise. It was later edited several times for performance in various churches in London, and has also been arranged with additional brass parts for use on Easter Day, when more instrumental forces might be available.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Robin Hodson (b. 1964, England) is now a naturalised US citizen living in Maryland. He sang in the British choral tradition for many years, including at Magdalen College, Oxford; Canterbury Cathedral; and St Paulâ&#x20AC;&#x2122;s, Knightsbridge, where This is the day was ďŹ rst performed. He has written widely for SATB forces, as well as writing in the contemporary Christian genre. Robin is also active as an arranger, recording engineer, songwriter and pop/rock keyboard player.

This is the day

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Robin Hodson

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

123456789

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Novello New Chor al Series

Sam Lung Arise! This joyful Eastertide

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

SATB/organ

Sacred 41

Novello

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Paul Mealor THE BEATITUDES

for SATB divisi chorus unaccompanied

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Novello

The Beatitudes was commissioned by St Macharâ&#x20AC;&#x2122;s Cathedral, Aberdeen for Remembrance Sunday 2013. It was first performed on 10 November 2013 by the University of Aberdeen Chamber Choir and St Salvatorâ&#x20AC;&#x2122;s Chapel Choir, conducted by Michael Bawtree.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Duration: circa 4 minutes

Dedicated to The Rev. Dr Alan Falconer

The Beatitudes MATTHEW 5:3-12

PAUL MEALOR

Molto espressivo e legato q = c. 62 ppp

1 EEEE E 5 5 5 5 5 SOPRANO G

5 5 5 5 5

55 BB

Bles -sed are the poor

spi - rit:

ppp

spi - rit:

E EE G E E 5 5 5 5 5 5 i Bles -sed are the poor in

theirs

5 5 5I 5 5

is the king -dom of 3

55I

55 55 5I5 55 55

for

theirs

is the king -dom of

5 5 5I 5 5

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

TENOR

5 for

Bles -sed are the poor ppp

E EE G E E

ALTO

ppp

BASS

E E 2 E EE 5 5 5 5 5

spi - rit:

Bles -sed are the poor

for

theirs

spi - rit:

55 I

for

theirs

55 5 55 5

is the king -dom of 3

55 55 5I 5 5

is the king -dom of

Molto espressivo e legato q = c. 62

Piano (for rehearsal only)

E EE G E E 5 5 EEEE 5 E 5

4 1 EEEE G E 5 B: I

hea - ven.

I5 B:

E EE G E E I5 B: i hea - ven. EEEE E I5 B : 2

EE G E EE

EEEE E

hea - ven.

55 55

BB :: BB ::

5 5

ppp

555

BBB

555

5 5

B B

5 5

5 5 5 5I I5

Bles - sed are they that ppp

mourn:

for

they

5 5 5 5I I5

hea - ven.

E EE G E E

BB ::

55 BB

Bles - sed are they that ppp

mourn:

5 5 5 5I I5

BB ::

Bles - sed are they that ppp

mourn:

for

they

5 5 5 5I I5

BB ::

Bles - sed are they that

for

5 5

they

mourn:

for

they

5 5

shall be

55 5 55 5

5 5

5 5 B:

55 55 5 5 B:

shall be

5 5

shall be

5 5 shall be

com - for - ted.

5 5 B:

com - for - ted.

5 5 B:

com - for - ted.

55 55

BB :: BB ::

55 55

BBB

555 555

55 55

BB :: B:

55 5

com - for - ted.

ÂŠ 2013 Novello & Company Limited

555 555 555

55 BB :: 55 BB ::

K K

1 EEEE G E 5 5 5

Bles - sed are

the

meek:

for

they shall in - he - rit

5 5 5

Bles - sed are

BB ::

the

meek:

E EE G E E 5 5 5 i Bles - sed are

5 the

meek:

Bles - sed are

the

for

EE G E EE 5 5 EEEE 5 E 5

13 1 EEEE G E

meek:

5 5

B : BB ::

5 5

5B:

the

for

earth.

0 0

55 5

' ''

5 5

' '

Bles

sed

ppp

BB IB

Bles

Adagissimo con espress. q = c. 46

EEEE E

5B 5 5 BB B

5 5B

BB :: B:

sed

ah 3

5 5 5

for

they

for

they

55 5

for

BB B

they

shall be

I I 5 5 I I

shall be

55 I5

shall be

Tempo I (q = c. 62)

5B : BB :: ( B:

Tempo I (q = c. 62)

I I3 I I 3I I 5 5 5B 5 5 5 5 5 5B: 5 5 B I

E E 2 E EE BB B EEEE E

earth.

ppp Bles - sed are they which do hun -ger and thirst af -ter righ - teous - ness:

3 EE G E EE 5B 5 5 5 i

the

55 55 5 35 5

they shall in - he - rit

earth.

5 5 5 5 5

Adagissimo con espress. q = c. 46

EE G E EE

the

5 5 5 5 5

they shall in - he - rit

. 5

earth.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

E EE 2 E E 5 5 5

the

5 5 5 5 5

EE G E EE

5 B

K 5 5

55 5)

BB B

55 5

1 EEEE G E

ppp

55 55 55

5 55 55 BBB 5 I

Bles - sed are

E EE GE E

5 5 5 5 55 55 B 5 5 5 5 5I 5 B

filled.

' ' %

filled.

BB :: B:

filled.

555 555 555 5 5 5

EEEE ' ' E ' ' ('

BBB ::: BB :: )

21 1 EEEE G E ' '

E EE GE E ' '

ppp

E EE G E E 55 55 55 55 55 55 i Bles -sed are the pure in ppp

E E 2 E EE 55 55 55 55 55 5 5 5 5 5

Bles -sed are the pure

55 5

E EE G E E '' ' ' EEEE E

the

B: B:

EEEE E' ' ' EE G E EE

for

they shall ob - tain

mer -ci - ful:

5 5

for

55 BB :: mer - cy.

55 BB ::

55 55 55 BB I I

they shall ob - tain

mer - cy.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

mer -ci - ful:

I I 55 55 55 5B 5 I I

ppp

Bles - sed are

EE G E EE i

the

555

555 5 (5

5 555

5 5 BB 55 55 B

555

?55

55 5B

B 55 55 B

5 5

55 B

555 5 5

55 55 5

55 5 5)

: ?

heart:

for

they

5 55

BB B

for

they

5 5

BBBB :::

5B : B:

BBI ::

I 5B 5 B :: I heart:

BB :: 555 5 5

555

B B

5 5 5 5

shall

see

55 5 5 5

' '

God.

' ' '

shall

see

God.

5 55 5

' ' ' ' ('

SOLO (ad lib.)

ppp

1 EEEE G E 5 5 5 5 5 25

5 5 5 5 5 5 5 5

Bles -sed are the peace - mak - ers:

chil - dren

E EE G E E i

staggered breathing

EEEE ' E ' '

55 5

' ' '

EE G E EE 5

EEEE ' E ' '

55 5

' ' '

1 EEEE G E' EE G E EE

)

ppp

E EE GE E i

5 5 5 -

ppp

BB B

Bles

sed

BB IB

BB :: B:

sed

Adagissimo con espress. q = c. 46

EE G E EE ' EEEE E

0 (

BB B)

righ- teous -ness' sake:

I I3 I I I3 5 5 5 5 B 5 5 5 5B: 5 I 3

Bles

E EE 2 E E

Bles - sed are they which are per - se - cu - ted for

5 5 5

5B BB

Tempo I (q = c. 62)

God.

Adagissimo con espress. q = c. 46

' ' '

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

shall be called the

EE G E EE

ppp subito

for they

5 5 B

5 5 5

5B :

(

BB :: B:

I 5 B

for

55 for

55 5 for

Tempo I (q = c. 62)

K 5 5

55 5)

Adagissimo con espress. q = c. 46

31 1 EEEE G E

E EE GE E

ppp Bles - sed are ye, when men shall re - vile you, and TUTTI

I I3 I 5B 5 5 5 5 5B 5 5 5 5 5 I 3

Bles ppp

Bles

theirs is

EE G E EE 55 i

EEEE 55 E 5

55 5

theirs is

EEEE E

55 I

the king - dom

55 5

55 5I

55 5

the king - dom

EEEE E

5 of

sed

B IB

sed

heav'n.

' '

heav'n.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

theirs is

the king - dom

55 5

3 3

' ' '

BB B

heav'n.

Adagissimo con espress. q = c. 46

(

' ' ' '

per - se -cute you, and say all man -ner of

5BB B

BBB B)

5 BB

5 5

EE G E EE

e - vil a - gainst you false -ly,

B IB

' '

E EE GE E i

E E 2 E EE

for my sake.

EE G E EE EEEE E

5' 5 5 ' '

55 I

0 5

5 5

5B 5 5 5 5 B B

IB B

lunga

KI 5

lunga

Re ff

lunga

Re ff Re -

5 55 55 BB B B 55 55

Re ff

5 I5 IBB

for my sake.

3 3 1 EEEE 5 5 5 5 5 G E' 5 5 5 5 5 5 5 5 5 5 B B 5 5 5 55I I55 I ah

Re -

Molto agitato con rubato q = c. 68

5 5B 5 5 5

1 EEEE : G E B 37

- joice,

re -

EE G E EE ' '

re - joice, and be

B: B:

5 5

- joice, re - joice,

B: B: B:

great

5 5 B: B: : BBB : B :: B:

EEEE 5' 5 E ' ' ('

1 EEEE 5 G E

your

EE G E EE B : B:

re -

joice,

5' 5 5 5

5B : 5 5 5 5

re - joice,

' ' '

E EE GE E i E EE 2 E E

your

re - ward

5B: 5

' '

BB :: B:

joice,

' ' '

55 5

BB :: ' '

55 55 5

5' ' ' '

)

55 5

re - joice,

5 BB ::

5 4

5 ' '

5BB :: BB : :

5 5

5' ' ' '

BB ::

cu - ted

they

5 the

' '

re - joice,

per - se - cu - ted

joice,

' ' '

(

per - se

joice,

heav'n: for

re -

ward in heav'n: for

5 5

5' 5 5 5

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E Molto agitato con rubato q = c. 68

' '

re - joice,

55 55 5

-joice,

EE G E EE B': '

re - joice, and be ex - ceed - ing glad: re - joice, for great is

-joice,

EEEE ' E ' '

5 5 5

ex - ceed -ing glad: for

BB ::

' '

re - joice,

EE 5 5 B: G E EE 5' 5 B: i

5 5 55 5

joice,

- joice,

BB::

5B : 5

they the

5 5

pro

re - joice,

BB :: B:

joice,

' ' '

re -

joice,

EE G E EE

5 BB::

55 5

55 ' '

5 BB ::

5 4

EEEE E

5B BB ::: B:

55 55 5

5' ' ' '

5 ' '

5BB :: B: B:

5 5

5' ' ' '

)

(

molto rall.

1 EEEE 5 G E 46

pro

phets which

EE G E EE B : B:

5 5

which - phets which

E EE G E E 5B: 5 i

were

55 5

were

you. fff

5 5

re - joice.

5 ' % 5

' '

- fore

you. fff you.

5' 5 ' %

' ' '

55 5

5 BB ::

EEEE E

5B BB ::: B:

55 55 5

5BB :: B: B:

)

poco a poco

- fore

4 5

5 ' ' % 5' ' ' ' %

55 5 5

5 5

K B

A - men,

ppp

ppp - men,

5 5 5

' '

men,

ppp

men,

55 5

rall. poco a poco

BB :: B:

' ' '

4 ' 5

4 55 5

(

a - men,

. . .men,

4 B:

a - men,

EEEE BB :: E B:

EEEE E

ppp

E EE 4 G E E B: 5 5 5 ' ' i . . .men, a - men,

EE G E EE

55 5

5' ' 5 %

' ' ' ')

B 0

5 5

q = c. 56

' ' ' ' '

5' ' %

a - men.

SOLO

4 5 5 5 '

' a

men.

a K ' 0

men.

' ' '

K 5

' ' %

4 ' '

' 0

' ' ' '

' ' ' ' '

. . .men.

(

you.

molto rall.

5 BB::

E EE GE E

- fore

' '

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

were

fff

. B

' '

were, re - joice,

EE G E EE

1 EEEE rall. G E

5 5

re - joice.

BB ::

BB :: B:

which

were, re - joice,

5B : 5

which

E E 2 E EE BB :: B:

q = c. 56 fff

' ' ' % ' ' ' '

)

" "

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

100

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

102

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Novello New Chor al Series

Cr aig McLeish A Gaelic Blessing

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

SSA/Piano

Sacred

127

Novello

Cr aig McLeish A Gaelic Blessing A Gaelic Blessing was written as a dedication of thanks to the Milton Keynes Youth Choir, which delights me on a weekly basis with its enthusiastic and versatile singing. The piece was written to help the choir in singing contrapuntal lines and harmonies. My aim was to write something accessible and yet challenging.

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

The second soprano part repeats the tune at bar 33 and should dominate here; the ﬁrst sopranos and altos should support appropriately. Ease and beauty of tone should be of paramount importance throughout. Craig McLeish began his musical life as a chorister at St Paul’s Cathedral under Barry Rose. He began composing at the age of ten and his preces and responses for four trebles are still in the repertoire. After a degree at York University he returned to London to study at the Guildhall and sang again at St Paul’s as a tenor. At the time he also arranged and copied music for West End shows such as Les Miserables and Miss Saigon, and played bass guitar for various groups. This led to a spell in the cult pop band ‘Fat & Frantic’, who shaved the top 100 twice with the whimsical anthem Last night my wife hoovered my head. He also worked as musical assistant for David Heneker (Half a Sixpence) and David Fanshawe (African Sanctus). In 1992 Craig became director of the Methodist Association of Youth Clubs Orchestra and Singers, performing concerts throughout the UK and becoming involved in a number of recordings and BBC broadcasts. During this time he arranged more than 250 orchestral scores ranging from Queen to Calamity Jane, Stravinsky and Stevie Wonder. Alongside this he began arranging and writing songs for children’s collections (Big Blue Planet, Love Shone Down) and producing recordings and string arrangements for various artists (Sheila Walsh, Kim Hill, Matt Redman). He is also well known as a conductor and arranger for Songs of Praise. Recently Craig has collaborated with composer Tolga Kashif writing orchestrations for the RPO’s Seo Taiji Symphony, the Classic FM chart-topping CD by saxophonist Tyler Rix, and the Genesis Suite which was premiered at the Barbican. He has been musical director of Young Voices UK for 13 years, bringing large school choirs together to play with a live band and solo artists, and currently conducts the Milton Keynes Community Choir, Hart and Soul Community Choir and the Milton Keynes Youth Choir. 128

A Gaelic Blessing Craig McLeish

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Anon.

129

130

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

131

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

133

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

134

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

140

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

143

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

144

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

145

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

146

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

147

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

148

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

149

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

150

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

162

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

James Whitbourn THE TWENTY-EIGHT TIMES O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

for SSA chorus and organ

Chester Music

163

164

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Commissioned by the United Westminster Schools and Grey Coat Hospital Foundation to commemorate the fiftieth anniversary of the assassination of John F. Kennedy*, and performed in Westminster Abbey on 25 October 2013 by the choir of Queen Anne’s school, Caversham.

THE TWENTY-EIGHT TIMES ECCLESIASTES 3: 1-8

JAMES WHITBOURN

q = 56

SOPRANO 1

4 4 4 4

To mf

ev - ’ry thing

there is

To mf

ev - ’ry thing

there is

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

SOPRANO 2

4 4

ALTO

ev - ’ry thing

q = 56

4 4

ORGAN

4 4

4 S.1

sea - son,

and

time to ev

’ry

pur - pose, e

ve - ry

S.2

sea - son,

and

time to ev

’ry

pur -- pose, e - ve - ry pur - pose

sea - son,

and

time to ev

’ry

pur -- pose, ev

’ry

p Stopped Diapasons

* This ancient Hebrew text from Ecclesiastes (Qoheleth) was a favourite of President Kennedy and formed part of the Eulogy delivered at his funeral service on 25 November 1963. He was assassinated on 22 November 1963.

165

S.1

pur

pose,

pur

pose,

pur

pose,

pur

pose,

3 S.2

pur

pose,

ve 3

pose,

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

pur

Con anima (q = q.)

8 S.1

e - ve - ry

pur - pose

S.2

e - ve - ry

pur - pose

heav’n:

12 8

un-der the 3

pur - pose

12 8

heav’n:

12 8

un-der the

Con anima (q = q.)

12 8 f

12 8

166

heav’n:

12 8

9 8

S.1

time to be born, and a

time

to die; a

time

to plant, and a time to pluck up

that

9 8

S.2

time to be born, and a

time

to die; a

time

to plant, and a time to pluck up

that

9 8

12 S.1

time

9 8

to plant, and a time to pluck up

that

9 8

time

kill,

and a

time

to heal;

time

kill,

and a

time

to heal;

time

kill,

and a

time

to heal;

12 8

which is plant - ed;

9 8

12 8

which is plant - ed;

time

12 8

which is plant - ed;

S.2

to die; a

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

time to be born, and a

12 8 ff

9 8

12 8

9 8

12 8

167

p sub.

S.1

time to break down, and a time to build up; A

time to weep,

and a time

p sub. S.2

time to break down, and a time to build up; A

time to weep,

p sub. A.

time to weep,

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

time to break down, and a time to build up; A

16 S.1

ha-ha - ha

ha - ugh;

S.2

ha-ha - ha

ha - ugh;

time

mourn,

and a

time

mourn,

and a time

time

mourn,

and a

rit.

168

time

rit.

ha - ugh;

time

molto con moto (q. = 70) 18

S.1

dance,

to dance;

dance,

to dance;

dance,

to dance;

f S.2

dance,

f A.

dance,

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

molto con moto (q. = 70)

rall.

20 S.1

Tempo primo (q. = 56)

S.2

rall.

time to cast a-way stones, and a

Tempo primo (q. = 56) Solo

169

9 8

S.1

time

to ga

ther stones

to - ge - ther;

A time

time

to ga

ther stones

to - ge - ther;

A time

time

to ga

ther stones

12 8 to em -

9 8

to em -

9 8

S.2

12 8

to - ge - ther;

A time

12 8 to em -

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

9 8

12 8

9 8

24 S.1

12 8

- brace,

S.2

12 8

time to re-frain from em - brac - ing

- brace, and a time to re-frain from em - brac - ing

12 8 12 8

- brace, and a time to re-frain from em - brac - ing

Solo

12 8 12 8 12 8

170

6 8

S.1

time to get, and a time to lose; a

time

to keep, and a time

to cast a - way;

time to get, and a time to lose; a

time

to keep, and a time

to cast a - way;

time to keep, and a time

to cast a - way;

12 8

to rend, and a

time

to sew;

time

to rend, and a

time

to sew;

time

to rend, and a time

to sew;

12 8

6 8

12 8

6 8

12 8

time

rit.

Solo

9 8 9 8

to keep si - lence, and a

12 8

to keep si - lence, and a

12 8

rit.

time

6 8

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

time to get, and a time to lose; a

S.2

12 8

6 8

S.1

6 8

S.2

12 8

9 8

keep si - lence, and a

9 8

12 8

9 8

12 8

9 8

171

(rit.) 31 S.1

9 8 time

time

6 8

speak;

Meno mosso (e = 114)

(rit.)

6 8

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

9 8

6 8

speak;

9 8

speak;

9 8

S.2

Meno mosso (e = 114)

6 8

35 S.1

9 8

6 8

9 8

6 8

time

love,

S.2

time

love,

e=e

4 4

and a

time

love,

time

love,

4 4 and a

time

love,

4 4 and a

e=e

4 4

4 4 4 4

172

40 S.1

4 4 time,

4 4

S.2

time,

4 4 4 4

43 S.1

a time to

hate;

a time of

war,

hate;

a time of

war,

a time to

a time

S.2

hate;

a time of

war,

and

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

time,

4 4

a time to f

4 4

a time

peace,

peace.

(pp)

173

Andante (q = 64)

S.1

ev - ry thing there is

sea - son,

and a time to e

ve - ry

pur- pose,

ev - ry thing there is

sea - son,

and a time to e

ve - ry

pur- pose,

S.2

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

Andante (q = 64)

52 S.1

time to ev

’ry

pur - pose,

time to ev

’ry

S.2

time to ev - ’ry

pur

174

pose,

time to ev - ’ry

S.1

pur

pose,

ev - ’ry thing

there is

sea - son,

and

ev - ’ry thing

there is

sea - son,

and

ev - ’ry thing

there is

sea - son,

and

f S.2

pur

pose,

f A.

to ev -’ry pur- pose, To

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

time

58 S.1

time

to e

ve - ry

pur - pose,

time to e

ve - ry

S.2

time

to e

ve - ry

pur - pose,

’ry

time

to e

ve - ry

pur

pose, to

175

61 S.1

pur- pose,

ev - ’ry thing

there is

sea - son,

and a time to ev

’ry

pur- pose,

ev -’ry thing

there is

sea - son,

and a time to ev

’ry

pur- pose,

ev -’ry thing

there is

sea - son,

and a time to ev

’ry

S.2

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

65 S.1

pur - pose

der the

heav’n,

S.2

pur - pose

the

heav’n.

the

heav’n.

the

heav’n.

der the

heav’n,

un - der

der the

heav’n,

un - der

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176

177

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

178

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

179

O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E

180

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Steven Griffin A HYMN TO THE VIRGIN

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Blessed be that maid Marie was a winning entry in the ‘A Carol for Christmas’ competition, premiered on 18 December 2012 by the combined choirs of Inner Voices, Quay Voices, CBSO Young Voices and King's Junior Voices, and subsequently broadcast on Classic FM.

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Blessed be that maid Marie; Born He was of her body; Very God ere time began, Born in time the Son of Man. Eya! Ihesus hodie Natus est de Virgine.

(Lo! Today, Jesus is born of the Virgin)

In the manger of an ass Jesu lay and lulled was; Born to die upon the Tree Pro peccante Homine.

(for the sins of Man)

Sweet and blissful was the song Chanted of the Angel throng, ‘Peace on Earth! Alleluya! In excelsis Gloria.’

(Glory in the highest)

Fare three kings from far-off land, Incense, gold and myrrh in hand; In Bethlem the Babe they see, Stelle ducti lumine.

(led by the bright star)

Make we merry on this fest, In quo Christus natus est. On this Child I pray you call, To assoil and save us all.

(on which Christ is born)

Order number: NOV294008

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Ding dong! Merrily on high 16th-century French tune arr. Stuart Nicholson

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Novello New Chor al Series

Fr ancis Pott There is no rose of such virtue

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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.

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.

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To Valerie Withams, with love and thanks

There is no rose of such virtue Francis Pott

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O N NL O IN T FO E P R ER U U S S E A IN L P SC E O R R FO E R ON M A LY N C E Exclusive distributors: Music Sales Ltd Newmarket Road Bury St Edmunds Suffolk, IP33 3YB

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14/15 Berners Street London W1T 3LJ

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