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Showing 1 - 25 of
25 matches in All Departments
for SATB unaccompanied This gentle anthem, written for the Choir of
St Chad's College, Durham, sets a text that is adapted from several
prayers of St Chad. Warm dynamic swells and rich harmonies
emphasize the meaning of these prayers. Bednall has added movement
to this calm and reflective piece through the use of melismatic
vocal phrases and falling triplet figures.
for SATB and organ Light Triumphant Breaks combines the text of the
Sarum introit from the second Sunday of Advent and a translated
anonymous Greek text using dancing dotted rhythms and intricate
articulation. A free use of metre and contrapuntal movement make
this a lively and jubilant piece that would be enjoyed by church
and cathedral choirs alike.
With a host of accessible, quality new settings, and with pieces
based on all the major hymn tunes, these volumes are a must for
every church organist's library.
for SATB and organ, with optional congregation This congregational
mass setting is short and accessible, with a congregational part
that may be intuitively learnt. The organ plays a supportive role
throughout, while the choral parts are of melodic and harmonic
interest, but always keeping the discernibility of the text at the
fore. The congregational part, which may be photocopied, is
available at the back of the vocal score.
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Rhapsody (Book)
David Bednall
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R370
Discovery Miles 3 700
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Ships in 12 - 17 working days
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This powerful piece, dating from 2010, shows off the full resources
of any organ it is played on. Its driving rhythms and exhilarating,
often bitonal, harmonies recall such French organist-composers as
Langlais and Messiaen, and while there is often an improvisatory
feel, the music is far from formless, and its carefully planned
structure contributes crucially to its success.
for SATB unaccompanied In this bittersweet pastoral setting
Bednall's flowing melody lines are paired with the tender words of
the contemplative First World War poet, Siegfried Sasson. The 5/4
metre lends a wistful whimsical feel to the music, allowing the
piece to flow freely, whilst retaining the playful syncopation so
familiar in folk music. The poem itself is a rare step outside
Sassoon's typical First World War themes. Rather, Idyll describes a
summer garden where he wishes to meet somebody, who, it seems, has
passed away. A beautifully creative work offering heartache and
warmth in equal measure.
Commissioned for the 40th birthday of the organist Paul Walton,
Walton's Paean is a work of great verve, with compelling rhythms,
exciting harmonies, and catchy melodies propelling the celebratory
music forward. Through the boisterous excitement, legato passages
emerge as the piece hurtles towards the resounding finale. There is
also a little joke in the occasional references to the music of
Paul Walton's namesake, William.
for SS and organ This movement from Make We Merry sets the words of
the seventeenth-century Christmas text 'Sweet was the song' to a
straightforward and lyrical solo line in the first soprano part,
with an imitative second soprano part joining towards the end. The
organ accompaniment gently underpins the tender vocal lines
throughout.
for SATB unaccompanied The Scholar is a sensitive setting of Robert
Southey's poem that explores a man's kinship with the dead. With
Bednall's characteristic metrical fluidity and effective word
setting, this piece will provide a moment of quiet reflection in a
concert programme.
for SSATB unaccompanied This simple and exquisite miniature keeps
the text, the fourth-century Latin Hymn to the Virgin Mary, at the
fore, with instructions from the composer to accent the melodic
lines according to word stress rather than position in the bar. The
musical style is a fusion of old and new, with plainchant-like
melodies and tonality set against expressively dissonant
contemporary harmonies. Tota pulchra est was recorded by The
Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian,
DCD34189)
for SATB unaccompanied Aspire to God, my soul sets a macaronic text
by Canon John Dilnot, with the titular words recurring throughout
the setting as an emphatic refrain. This short anthem is optimistic
and uplifting in tone, with frequently changing time-signatures
that convey a rhythmic fluidity and the flexibility to follow the
declamation of the words.
for SATB unaccompanied A group of three miniatures for
unaccompanied mixed voices, Some corner of a foreign field sets
poems by three First World War soldiers: John William Streets,
Goldfeld (about whom no more than his surname is known), and Rupert
Brooke. Bednall's settings are slow, expansive, and expressive,
giving space for the listener to reflect on the profoundly moving
texts. Brooke's 'The Soldier' brings a particularly poignant
conclusion to the set, with melismas employed for dramatic effect.
for SATB unaccompanied This high-energy, majestic setting of
well-known words from the psalms is a welcome addition to the
service repertory. The changing metre brings the text to the fore,
and the semiquaver movement that passes between parts creates a
sense of motion and drive that is fitting for this uplifting and
joyous hymn of praise.
for unison upper voices, solo violin, and organ or piano Bednall's
beautiful setting of this much-loved prayer is warm, simple, and
immediate. The vocal line is expertly lyrical and the accompaniment
suitably supporting, with a serene line for solo violin that soars
above the texture. Ave Maria was recorded by Benenden Chapel Choir,
conducted by Edward Whiting, Jennifer Pike (violin), and David
Bednall (organ) on the CD 'Stabat Mater' (Regent, REGCD481).
for SATB or unison voices and organ This joyous, celebratory
introit sets well-known words from Psalm 95 and features appealing
recitative-like melodies, striking harmonies, and fluctuating
metre. The flexible scoring facilitates performance by SATB choir,
unison voices, or high voices, and the organ part provides a
supportive yet compelling accompaniment. O come, let us sing has
been recorded by Wells Cathedral Choir, conducted by Matthew Owens,
on the CD 'Flame Celestial' (REGCD320).
for SATB (with divisions) and organ This jubilant carol sets a
fifteenth-century text that rejoices in the birth of the baby
Jesus. Bednall's rhythmically exciting setting features frequently
changing time signatures, with 7/8 passages creating a jaunty feel.
There are a variety of tempi and textures: a slower, tender middle
section contrasts with the lively outer sections, and an
unaccompanied section for the choir is juxtaposed against
glittering, rhythmic organ passages. An ideal opener for any
Christmas Carol concert, the work is featured on the Choir of Truro
Cathedral's CD A Year at Truro (Regent Records).
for SATB unaccompanied This warm and expressive carol sets a
Christmas poem by English poet U. A. Fanthorpe that centres on the
moment of Christ's birth. Fleeting unisons call the listener's
attention to the focal point of the text, the 'moment', and the
rich, luminous harmonies create a sense of wonder at this momentous
event.
for SATB and organ, and optional brass ensemble and timpani Make We
Merry is an eight-movement piece which sets texts from the 15th to
19th centuries to a variety of choral textures with a highly
characterful accompaniment. A vast array of sentiments is depicted,
from quiet expectance and gentle wonder to boisterous jubilation,
and the different movements provide a wonderfully paced journey
through these moods. The final movement brings back motifs from the
opening and grows to a thrillingly climactic ending to this
exciting Christmas concert work. This piece was originally
commissioned in a version for upper voices by Benenden School.
for SSAA and organ, and optional brass ensemble and timpani
Commissioned by Benenden School, Make We Merry is an eight-movement
piece which sets texts from the 15th to 19th centuries to a variety
of choral textures with a highly characterful accompaniment. A vast
array of sentiments is depicted, from quiet expectance and gentle
wonder to boisterous jubilation, and the different movements
provide a wonderfully paced journey through these moods. The final
movement brings back motifs from the opening and grows to a
thrillingly climactic ending to this exciting Christmas concert
work.
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