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Out of the deep

Out of the deep by Ben Parry. Arranged for SATB choir a cappella.

Nobody Knows/ Deep River (Medley)

Nobody Knows/Deep River is an arrangement of two traditional spirituals for Soprano Solo with TTBB Chorus by Jonathan Rathbone. The Kikapust Choral Series offers choirs an extensive choice of close-harmony acappella arrangements. All of our arrangers / composers Jonathan Rathbone, Ben Parry & Mark Williams were long-standing members ofthe Swingle Singers.

Deep River

Song To The Moon

Taken from Rusalka, the eighth of Dvorak’s nine operas and the one that has remained his most popular. The story was adapted by Jaroslav Kvapil from Hans Christian Andersen’s The Little Mermaid and relocated toBohemia, with a Czech water-spirit or Rusalka in the principal role. Rusalka loves a mortal prince, a witch grants her humanity but the romance doesn’t work out and she returns, heartbroken, to the water where she joins herbeloved in death. The Song to the Moon comes from Act I. From her woodland pool, Rusalka sings of her longing in the shimmering moonlight Silver moon upon the deep, dark sky…tell me, tell me, oh where does mylovedone bide?

Wild Musick : for Double Choir and optional Chamber Organ or Piano

When Twickenham Choral commissioned this work for their centenary celebrations it made sense to choose a local poet. Alexander Pope (16881744) is regarded as one of the UKʼs finest, and with the money he had made from his translation of Homer, he was able to purchase a magnificent villa in Twickenhamʼs Cross Deep, of which his famous grotto still survives, underneath St Catherineʼs and Radnor House Schools. He was 22 when he penned his epic Ode for Musick, on St Ceciliaʼs Day although it wasnʼt published for another 13 years. Iʼve used just the exuberant first verse here, and have relished word-painting his musical depictions, using the first two lines, which imitate celebratory church bells, as a refrain. I am hugely grateful to Twickenham Choral and their conductor Christopher Herrick for commissioning this work  it has been a huge joy to write, during this riotously sunny and colourful spring. Roxanna Panufnik

Panis Angelicus - Voice/Piano

Includes versions for High, Medium or Low Voice (G, F or E flat) with Piano accompaniment. Performance note by Gordon Stewart.Preface:The words for Panis Angelicus are from a longer hymn text, SacrisSolemnis, written by St Thomas Aquinas in the thirteenth century for the newly established Feast of Corpus Christi, and would originally have been sung to a plainchant. César Franck set this verse of seven lines in1872. His deep religious feelings fashioned a memorable melody, one which is within the scope of all singers - its range is only a seventh and, if you follow the word patterns, the breathing sits comfortably. It is, in itsway,simple and direct, but with the chance to use the voice to its full. The Latin words are not hard to sing, but if you prefer to perform it in English, the translation conveys the essential meaning. Franck originally wrotePanis Angelicus for Tenor, Cello, Harp, Organ and Double Bass, but it slips easily into the Keyboard arrangement. The colours of the original scoring are evident the Organ's sustained chords, the semi-staccato notes forthe Harp and the Cello's countermelody beginning in bar 38 (which could be transferred to another melodic instrument if that suits the occasion). Some discreet repetition of the long tied notes and doubling of the bass at theoctave can give the Piano more resonance. The accompaniment probably works best with a minimum pedalling and an Organist's style of fingering. The dynamics ask for a triumphant final statement of the words 'pauper, servus' in bar53. It makes complete musical sense to make a diminuendo for the word 'humilis' in bar 56, leading to a thoughtful postlude.