SKU: HL.48021234
ISBN 9781458423542. UPC: 884088642037. 6.75x10.5 inches.
Text: in Latin compiled from the charter of the University, and from older orations in praise of Basle by Bernhard Wyss.Publisher: Boosey & HawkesDifficulty level: 4 (for chorus)Britten's genius lifts this work above being just a worthy celebration of the 500th anniversary of the foundation of Basle University. It is tongue-in-cheek and mockingly non-academic while referring all the time to academic musical forms and formulae. It is written in two parts (everything is in the statutory Latin including the titles of the parts - Pars I and Pars II). The titles of the movements show Britten's intention to show off a wide variety of techniques. Here are some examples: Chorale/Alla Rovescio (the theme is given and responded to with the same melody upside down)/Recitativo/Tema seriale con fuga/Canone ed ostinato. There is a good deal of humour here.There are seven movements in Pars I and six in Pars II. The tenor soloist is given three florid recitatives, accompanied only by a piano, which act as bridges between other orchestrally accompanied movements. Of these the most noteworthy are the Arioso con canto popolare for soprano solo with tenors and basses who hum a student song; another terrific Britten scherzo; and a wonderfully raucous final pair of movements (Canon ed ostinato and Corale con canto) where Britten seems to be aping the Vivat Regina! cries in Parry's I was glad or encouraging the kind of noisy 'I'm from the best university' kind of student touchline shout. This has outrageously high notes for the tenors (top B) which further endorse this feeling. There are real echoes of the Spring Symphony (see separate entry) final movement here which are further underlined by the last section of the Cantata which brings in the bells, piano, huge percussion and the inevitable chorale in which the choir sings 'that a free academy may thrive in a free community, for ever the ornament and treasure of illustrious Basle'.This may not be Britten at his most soul-searching but, as always, there is plenty here to enjoy, especially if the work is not taken too seriously. It is a celebratory, occasional piece and it could be well taken up by other academic establishments celebrating big anniversaries. The chorus parts are not very difficult, though they do present challenges for the choir - not least in having tenors capable of those very high notes at the end. The Tema seriale con fuga is sinewy and needs careful tuning. It also has the subject regularly given upside down after its initial sounding by the basses. All good fun.Duration: 21 minutesPaul Spicer, Lichfield, 2011.
SKU: LO.10-5232L
ISBN 9780787764104.
Stan Pethel provides us with a buoyant and joyous proclamation appropriate for Easter or Eastertide. This easily learned anthem really sparkles with the inclusion of optional handbells (2 octaves).
SKU: GI.G-5542
UPC: 785147554202. English. Text by Herman G. Stuempfle, Jr.
With just four handbells, this is a remarkably crafted piece for SATB voices and bells, with no other accompaniment. Much of the score is 3-part, either STB or SAB, creating a lovely transparency that only minimally goes into four voices. The choir sings, the bells punctuate. 4 Handbells. .
SKU: HL.35030447
UPC: 888680069896. 6.75x10.5 inches.
A regal hymn of the faith is adorned with an auspicious treatment featuring festive brass and solid traditional choral textures. The divine characteristics of the eternal God are exalted in this classic hymn, and the scope of the arrangement reflects the lofty ideals of the poetry. The rich alleluias are great moments, and the piano, brass and percussion are a brilliant support system, undergirding the theatre of this noble anthem. Score and Parts (hn, tpt 1-3, tbn 1-2, bells/chm, perc, timp) available as a digital download.
SKU: HL.48024554
Composer's note: “Ring the bells was commissioned by the London Philharmonic Choir and its first performance was given by the choir at the Royal Albert Hall, London on 20 December 2017, conducted by Toby Purser. Lively outer sections contrast with a more contemplative middle section based around a chorale theme. The piece should be easily manageable by any good amateur choir.†- Paul Fincham -.
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