SKU: A0.1106987

Alan Bullard’s choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences.

Three Poems of W. B. Yeats is one of the earliest works of Alan Bullard to enter the choral repertoire. Originally written for a college choir in 1973, it was soon taken up elsewhere, and later broadcast by the BBC Northern Singers. It sets three of Yeats’ best-known poems and shows a rich and colourful response to their heady and allusive character.
The three poems are (1) The Wild Swans at Coole, (2) Running to Paradise, and (3) Sweet Dancer.

The Colne Choral Series contains a range of Bullard’s pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.

SKU: A0.549202

An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. 

Innovations

First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.

Polychoral Works

Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.

First Works

Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

SKU: A0.1291004

This is a tuneful and attractive setting of words by Danny Alorean, looking at the town of Bethlehem through the eyes of travelers who are going to see the child Jesus. The main melody is set is 8/8 time which naturally divides into groups of 3+2+3. The middle section is at first contrapuntal then more lyrical and in 4/4. It is more suitable for experienced singers. The work is scored for SAT choir with keyboard accompaniment which makes it ideal for high school and college choirs with no bass section. There are no divisi sections, but several opportunities for optional solos and the piano part is of medium difficulty but could be managed by any competent pianist. This piece would be ideal for a Christmas concert or part of a Christmas service. The vocal ranges are as follows: Soprano C4-G5; Alto A3-D4; Tenor C3-F4. (Duration: 04:09)

If you liked this piece, you might also be interested in other titles in this series of Nativity Anthems by Colin Kirkpatrick, available from the same publisher: And a Star is Shining in the East, I Saw Three Ships, Three Kings from Eastern Lands and Rejoice and Sing on Christmas Morn! All these titles are available for SATB, SSA and SAT choirs.

SKU: A0.953846

Cradle Song (Two-Part Choir) is a brand new composition that’s perfect for the Christmas season. It was inspired by a text from the great 18th century English hymn writer Isaac Watts. In addition to 700 hymns, Watts wrote Joy to the World and is considered the father of the English hymn. In my piece I used a few of Watts' most attractive lines including, Heavenly blessings without number, gently falling on thy head, and omitted those referring to Horned oxen, cursed sinners and burning flames. Cradle Song incorporates lush modern keyboard harmonies in attractive piano interludes. Pianists may recognize subtle references to Chopin’s famous Prelude in D-flat, the Raindrop Prelude. To me, raindrops falling helped paint an emotional picture of heavenly blessings gently falling on the Christ child. Comfortable vocal ranges and many unison lines make the two-part treble version sing-able by young choirs and even two soloists. Cradle Song is available in multiple formats including SATB, SAB, in addition to this Two-Part Treble for small choirs.

SKU: A0.549211

A musical monument: the first composition to employ dynamics. Instrumentation: 2 violins, 1 viola, 5 cellos 1 double bass. Arranged in two antiphonal choirs: I - string quartet, II - cello choir w/bass. The double bass part assumes low c extension; however, a non-extension bass part is included.

Giovanni Gabrieli's Sonata Pian e Forte is essential as it represents the shift from the Renaissance to the Baroque period. It is part of his 1597 Sacrae symphoniae, which contains sixty-three choral and instrumental works, many in multi-choir formations. It is the first known composition in history to employ dynamics, with Gabrieli using specific notation to indicate instrumentation and experimenting with assembling massive instrumental forces into isolated groups separated by space. This innovation contributed heavily to the Baroque Concertato style and the development of the sonata, a musical form that came into general use toward the end of the sixteenth century. The structure of the piece is defined by the dialogue between two instrumental choirs, making it a key example of Gabrieli's influential contributions to the transition in musical style during his time.