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

COMPOSER’S NOTE

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

Anthem for Doomed Youth originally appeared as part of the third movement of The Great War Symphony which I wrote to commemorate the centenary of the First World War in 2018.  The well-known words by Wilfred Owen are sung against an instrumental elegy.  For this reason, the accompaniment should make perfect sense in itself with the frequently syncopated, broken choral parts suggesting a sense of grief – even of weeping.

1. Michael
2. Raphael
3. Gabriel
4. Uriel

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.

MICHAEL is the warrior and captain of the angelic host and is conveyed by a rich, vibrant tenor voice.  He sings with defiance and authority and leads the choir in words of praise.  RAPHAEL is the tender healer.  The countertenor or mezzo soprano voice sits amid a warm choral and string texture, generating a tone of ethereal beauty.  GABRIEL, the messenger (sung by a baritone) delivers 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.  URIEL’s gentleness and comforting presence are reflected in the simple key of C major and the triadic nature of the melody.  The soprano voice adds elegance and a sense of light to a piece full of optimism and reassurance.

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

This setting of the well-known text was written for the small but talented choir at the church where I worship in Norwich.  My 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.

COMPOSER’S NOTE

A setting of the well-known phrase from Psalm 46 “Be still, and know that I am God” for choir and piano.  The piano’s repeated chordal patterns flow gently throughout and the long legato choral lines help the listener drift into a world of peace and beauty.  I wrote this piece early one morning when all was still and shrouded in a thin mist.  It may be worth considering this while singing these profound but simple words.

1. The Poor in Spirit
2. Those Who Mourn
3. The Meek
4. Those who Hunger and Thirst for Righteousness
5. The Merciful
6. The Pure in Heart
7. The Peacemakers
8. Those who are Persecuted for Righteousness’ Sake

COMPOSER’S NOTE

“Beatitudes [has a] calm, serene beauty and simplicity… Creative and compelling..” GRAMOPHONE

“…capture[s] a mood of enchantment, optimism, and serenity.  Beatitudes [has] character and tenderness.” CHURCH TIMES

The eight verses of St Matthew’s Gospel which form the Beatitudes are some of the best-known and best-loved of the New Testament. They are, quite simply, some of Christ’s most comforting and beautiful words. The recurrence of the word ‘blessed’ makes for a unified collection of pieces – closely linked but each with its own particular message and character.

The Poor in Spirit has the feeling of an introduction and creates an almost mystical atmosphere with its minor key and wavelike piano patterns. Those Who Mourn is simple but deep. The falling melody in the piano and the off-beat rhythms in the choir evoke a sense of sighing and grief. The Meek is full of optimism and gradually builds to an intense climax with Christ’s inspirational promise that ‘they shall inherit the earth’. The piano writing in Those who Hunger and Thirst for Righteousness feels quite different. There is a pulsating in the rhythm and a richness in the chords which underpin the powerful sentiment that those who hunger and thirst will be satisfied. The short piano postlude lingers on the air of satisfaction and completeness. The Merciful is the longest and most involved of the musical settings. There are dotted rhythms and rich choral harmonies and, in the louder sections, these create a feeling of battle and warfare as Christ the Redeemer fights to offer mercy to those who are merciful themselves. This all provides the perfect contrast for The Pure in Heart which is indeed heartfelt and comforting. The harmonies are uncomplex, and the choir delivers the words in a straightforward but emotive manner. The Peacemakers has a feeling of greater freedom and space. The opening piano chords are almost floating and prominence is given to the innocent sound of the sopranos before a more majestic section for full choir which speaks of the sons of God. Those who are Persecuted for Righteousness’ Sake draws the Beatitudes to a conclusion by referring to rhythms, melodic fragments and piano phrases from the earlier sections. There is a brief reference to the opening bars of The Poor in Spirit, before the choir finally looks towards the kingdom of heaven.

The Sheet Music for Those Who Mourn and The Pure in Heart are both available as standalone works.

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