COMPOSER’S NOTE

The sixth piece from Songs of Innocence collection, A Cradle Song aims to compliment the deep beauty of William Blake’s text. 

Essentially a lullaby, the ‘song’ aims to create a sense of sweetness and calm with its rocking piano figurations and flowing melody.  Into this structure is woven a whole range of emotions – sheer delight in the newborn, a mother’s protectiveness, the pain of motherhood – and a sense that the whole experience is a gift from God.  For me, the phrase ‘Sweet babe in thy face, Holy image can I trace‘ sums up the poem’s sentiments.  

For the full beauty of the text to be conveyed, a performance should maintain the flowing rhythms and phrases of the music, free from mannered changes in dynamic and tempo.

The Sheet Music for the complete collection of Songs of Innocence and the other standalone work The Lamb is also available.

Click here for more information on Songs of Innocence >

COMPOSER’S NOTE

In 2012, I was very pleased to be asked by Decca Records to write a whole album on the theme of angels.  The resulting album – Angel – recorded with the Choir of New College Oxford and the Royal Philharmonic Orchestra, went straight in at Number One in the UK classical charts.

This is an a cappella setting of the opening words of the Angelus, an ancient Christian prayer dating from at least the 11th Century and I dedicated this work to Edward Higginbottom and the Choir of New College Oxford as a ‘thank you’ for the joy it gave me to work with them and for their expert performance on the album.

COMPOSER’S NOTE

In 2012 I was very pleased to be asked by Decca Records to write a whole album on the theme of angels.  The resulting album – Angel – recorded with the Choir of New College Oxford and the Royal Philharmonic Orchestra, went straight in at Number One in the UK classical charts.

The Archangel Suite, with texts by my brother Andrew, brings together the four Christian archangels, and I’ve used a different type of solo voice to depict each of them and their nature.  Strings, harp and choir add colour and depth to the words of each archangel.

Gabriel, the third movement in the suite, depicts the messenger (sung by a baritone) delivering his world-changing message to Mary with an air of quiet authority.  The piece is full of the Christmas spirit and points towards the Annunciation and the very beginning of the Christian faith.

COMPOSER’S NOTE

COMPOSER’S NOTE

A setting of some of the last sentences of the Bible from the Book of Revelation, perfect for Advent.

Written for choir and organ, this was a gift from me to my alma mater of St Chad’s College, Durham University for the climax of their Advent Procession in Durham Cathedral.

• Virga Jesse
• Puer Natus
• Nesciens Mater
• Gaudete Omnes

COMPOSER’S NOTE

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 ‘fanfare’ 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.

COMPOSER’S NOTE

A new setting of the traditional carol for choir, organ, brass, and percussion, with congregational participation.

From the Publisher’s website: “Majestic and grand, this will be an incredible addition to your choral library.”

COMPOSER’S NOTE

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.

COMPOSER’S NOTE

I wrote this work whilst I was still a teacher at Charterhouse for Mark Blatchly and the Charterhouse Special Choir and then, more recently, it was recorded by the superb Voce Chamber Choir of Connecticut.

COMPOSER’S NOTE

This setting of Joy to the World is a magnificent new option for choir, organ, brass, and percussion.  This will be a great fit for church, community, and collegiate choir Christmas programs.