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Nunc Dimittis : VOCES8 Singles Series

An SATB arrangement of Nunc Dimittis for VOCES8 by Paul Smith. An SATB arrangement of Nunc Dimittis for VOCES8 by Paul Smith.

Edo Lullaby

Edo Lullaby, a traditional Japanese cradle song arranged for mixed voice Choir by Paul Smith. Edo Lullaby, a traditional Japanese cradle song arranged for mixed voice Choir by Paul Smith.

Man, Woman, Child

On The Dignity Of Man

Glory to Man Op. 167

Requiem for the Condemned Man

Adagio (for Wadada Leo Smith) : for Alto Saxophone and Orchestra

Man on the Moon : An Opera for Television

The Man in the Wind and the West Moon

Man, Woman, Child : Duet Cycle for Soprano, Tenor and Piano

Anthem Op.109 No.2: When a Strong Man : Wenn ein starker Gewappneter

Let's Walk Together : VOCES8 Singles Series

The text of Let’s Walk Together, by Daniel Simpson, neatly sums up the character of its composer Paul Smith and the vocal ensemble he founded, VOCES8. Connection, interaction and movement are all characteristics. Composed forSSAATTBB unaccompanied choir with baritone solo, this three-minute piece has sonorous hymn-like chords which introduce cascading faster voices in its middle. Although composed for VOCES8 to premiere in their LIVE FromLondon Christmas festival, this piece is suitable for performance at any time of year.

Pas de deux : Five dance-inspired movements for SATB and Piano

Written for SATB choir and piano, with optional audience participation, Pas de deux is a work consisting of five movements by Paul Smith, the co-founder of VOCES8 and author of The VOCES8 Method. The movements can be performed individually or as onecomplete work. Pas de deux is inspired by the dance duet found in ballet, and the music takes the duet element of the dance to create a relationship between the performers and audience, enabling interaction between them and giving the option forperformers and audience to make music together. Suitable for all ages, this piece offers opportunities both to create and to perform, informed by Paul Smith’s expertise in leading participatory music events with hundreds of thousands of people aroundthe world.

Journey

Ivor Novello Award winner and double Grammy Award winner Paul Phoenix teams up with a cappella ensemble Apollo5 and orchestra to share tracks on the latest recording from Edition Peters Sounds.Paul Phoenix, famous as a choirboy, former member of The King’s Singers and founder of Purple Vocals presents some of his favourite tracks, including Nunc Dimittis the theme-tune from BBC TV’s Tinker, Tailor, Soldier, Spy which propelled him tostardom in 1979. Other tracks include Pie Jesu by John Brunning and U2’s MLK, important pieces on his musical path. The Journey continues with the newly composed folksong arrangement Oh You Wide Steppe on this recording. Apollo5 has been praised forits engaging and entertaining performances. With repertoire ranging from retro jazz and pop arrangements to classical they are accomplished performers on the concert platform. A part of the VCM Foundation with their home at the Gresham Centre inLondon, they regularly collaborate with Paul Phoenix. With Andrea Haines, soprano; Craig Burnett, trumpet; Nicholas Riddle, organ; the British Film Orchestra, conducted by Barnaby Smith.

Alwyn and Carwithen: Piano Works

Doreen Carwithen and her husband William Alwyn were two of the most versatile composers working in Britain in the mid- to late-20th century. Between them they scored more than 100 films, as well as music for the concert hall, including the scores for Odd Man Out (Alwyn) and Boys in Brown (Carwithen). Daniel Grimwood's recording is a wonderful introduction to the couple's extensive catalogues of piano music, containing Carwithen's taut, neoclassical Sonatina and Alwyn's 12 Preludes and Grieg-inspired Fantasy Waltzes. This is warm, lyrical music which quietly pushes boundaries while always attractive and well-written for the instrument. This is Daniel Grimwood's thirdrelease for Edition Peters Sounds following highly-acclaimed recordings of piano music by Fauré and Henselt.

My Song is Love Unknown

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeatedchords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem, Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow ofCrossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords, the word ‘crucify’ arises initially as a mere mutter from thelowervoices, so timed as to afford assonance with other words in the upper parts and thus remain barely discernible, as if only imagined. In due course, however, cries of ‘Hosanna’ find themselves on a collision coursewith a rising tide of ‘Crucify’, during which the ‘Hosanna’ faction gradually loses heart and, sheep-like, defects until a single treble voice—plaintively daring to repeat the ‘offending’word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns, this time expanding into an extended polyphonic final section for double choirand SATB soloists. The principal climax of the work subsides into a form of epilogue, crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood ofits opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton, a craftsmanand largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and

Since We Parted

When Jeffrey Skidmore of Ex Cathedra approached me to write this piece, he specified that it should be remembering the first World War and, if at all possible, the words should be by or about a woman.A friend steered me towards Vera Brittain's Testament of Youth and, spookily, the book fell open on page 163 where appeared Kathleen Coates' s poem "A Year and a Day". This was written between 1910 and 1913 but is, I think, prophetic of the impending war in its depiction of a woman and man in love, reluctantly separated and missing each other. Around the same time, my mother sent me the poem 'Since we parted, yestereve' by Victorian statesman and poet Robert Bulwer-Lytton(1831-1891) — it seemed to fit beautifully as a refrain to 'A Year and a Day'.We start with the refrain in which I try to create a sense of yearning — with harmonies that lean into each other and suspensions that only partly resolve. I have given the ladies the first verse of 'A Year and a Day' — I have used mellow flat keys as this is marked "languorously" as I picture a calm but pining Edwardian lady, reclining in a warm, English Summer's garden. When the men take over in the second verse this comes from a darker place — maybe a noisy, fetid trench where dreams of love and happiness are sometimes hard to conjure. The music shifts in harmonic uncertainty — the harp oscillates and rumbles, creating instability. This part is written in sharp keys which, I think, have a more stringent feel about them. The whole piece is made up of my typical major-minor harmonic language which sets a bittersweet atmosphere and the trumpets remind us, from time to time, of the backdrop of war. The piece ends meditatively, with 'Eleven Armistice Chimes' and lasts approximately 10 minutes. It's dedicated to Jeffrey Skidmore and Ex Cathedra and my deepest thanks go to them for commissioning the work and Jane Arthur for sponsoring the commission.