The extract above includes the 2nd movement, 5th movement and coda.
Performed by the University of Bristol Schola Cantorum and Bethan Waters (solo sop)
This piece (for small female choir and solo soprano) was originally written in 2011 and revised in 2016. It was written for an un-auditioned choir who specialise in singing early chant... they openly admitted their fear of new music. I made it my challenge to convince them that they could sing (and enjoy singing) 'scary', new music.
My thanks go to Bethan Waters and Cora Bethke, both sopranos helped shape the piece enormously.
Extract from programme note:
"Directly inspired by 12th Century chant from Aquitaine, much of the material is based on the striking melismatic flourishes in the original chant manuscript. Its structure makes a feature of the long silences between phrases that in traditional performance practice were intended as periods of reflection upon the words being sung. The virtuosic solo part elaborates on the melody of the chant while the choir extends the textural implications of the medieval polyphony."
Performed by the University of Bristol Schola Cantorum and Bethan Waters (solo sop)
This piece (for small female choir and solo soprano) was originally written in 2011 and revised in 2016. It was written for an un-auditioned choir who specialise in singing early chant... they openly admitted their fear of new music. I made it my challenge to convince them that they could sing (and enjoy singing) 'scary', new music.
My thanks go to Bethan Waters and Cora Bethke, both sopranos helped shape the piece enormously.
Extract from programme note:
"Directly inspired by 12th Century chant from Aquitaine, much of the material is based on the striking melismatic flourishes in the original chant manuscript. Its structure makes a feature of the long silences between phrases that in traditional performance practice were intended as periods of reflection upon the words being sung. The virtuosic solo part elaborates on the melody of the chant while the choir extends the textural implications of the medieval polyphony."