Multivocal Performances

dwsChorale at HostBaby
New recordings:
Wondrous Cool, thou woodland quiet - Johannes Brahms
Sixteen Tons
Negro spiritual arranged for TTBB by Alan Cruise Johnston (with my cadenza).
(remix also available here)
Des Abends, des Morgens und Mittags
Written by Johann Christoph Pezel and edited by Johan Tufvesson
sung by me on May 4th 2006 as ("soloists" from) the dwsChorale and accompanied by solo strings of the Garritan and Edirol orchestras mixed together, making quite a heady mixture of sound
. The score of this work can be obtained free from Johan Tufvesson's site here
By the light of the silvery moon
Written by Ed Madden and Gus Edwards and arranged for SATB by Andrew Emmet
sung by me on April 23rd 2006 as the dwsChorale
(remix also available here)
Safe in the power of love
Written by Melanie Dolinski and arranged for SATB by Andrew Emmet
sung by me on April 30th 2006 as the dwsChorale
The Goddess is dancing
Written by Rick Fenn (of 10cc) and arranged for SATB by Andrew Emmet
sung by me on April 23rd 2006 as the dwsChorale
Performances of some more arrangements by Andrew Emmet can also be found on my Toptempo page
The Long Day Closes - (by Sir Arthur Sullivan) (4 parts - SATB)
Written by Sir Arthur Sullivan on a poem by Henry Chorley.
Brightly dawns our wedding day - composed by Gilbert and Sullivan (4 parts - SATB and piano)
Written by Sir Arthur Sullivan and WS Gilbert - this madrigal comes in the Mikado.The falala thems is typical of the earlier renaissance madrigals and the whole thing is (musically) a sort of wry look at the past.
Strange Adventure - by Gilbert and Sullivan (SATB and orchestral interludes)
Written by Sir Arthur Sullivan and WS Gilbert - this comes from Yeomen of the Guard. A good friend from Manchester Cathedral suggested that I should include this one. . . .
Sweet Kate (by Robert Jones) (2 voices and harpsichord)
Composed by Robert Jones in the 17th century.Ths performance uses the Papelmedia harpsichord and (as ever) my voice
I have also composed a set of variations based on this tune for guitar solo, which has been beautifully performed by Bruce Paine here
It was a lover and his lass (by Thomas Morley) (2 voices and harpsichord)
Feel the Love of the Lord (by William C Sveglini)
I contacted Bill Sveglini through the composers' forum and he was very interested in my multivocal efforts.So I decided to have a go at performing some of his works.They are in a style that I've not sung for over 20 years (evangelical church choir), but the old fervour still comes out in the performance: I was transported back to those good old days as I sang. This piece is for piano, guitar, bass guitar and 4 part choir, but I decided to use the contrabass pizzicato and to add a cello to the bass vocal line by way of support.
Emmanuel (by Bob McGee, arranged with added descant by William C Sveglini)
Bill Sveglini arranged this classic Bob McGee a-capella piece, including the addition of a descant line. It is rather fine in its simplicity hiding and then revealing a multitude of harmonic possibilities, starting as it does in unison and suddenly breaking into glorious harmony. Bill's descant is a nice touch, like adding a cherry to the cake.
A Child's Eyes (by William C Sveglini)
A somewhat more complex piece from the modulation point of view, but very effective.I'm not sure I know any children as innocent as this, but. . . well. . . it's a nice idea!
Again I have added cello to the bass part, it just seemed right with my voice. . . The cello pizzicato and guitar at the beginning is vaguely reminiscent of the Villa Lobos Bachianas Brasileiras!
Though Philomela (shewoopdewop!) (by Richard McHale)
Richard McHale wrote this piece a few years ago especially for the final dinner entertainment of the annual early music course in Ambleside, and it went down very well. It is a rather unusual "modern" version of the old madrigal "Though Philomela lost her love".
Well, I recently dug up the score and decided to give it the "dwsChorale treatment". Great fun. The improvisational section near the end is my own invention.
Philomela through the Centuries
hear the original madrigal alongside the "she woop de wop" version
Debussy - Trois Chansons
(My performance of Dieu qu'il la fait bon regarder is now available on my new dwsChorale site:
Dieu qu'il la fait bon regarder)
A love poem by Charles d'Orléans, set in the most effective modes by the master of impressionistic music.
Quand j'ai ouy le tabourin sonner
Debussy's passing harmonies are amazing here, and his evocation of the little drum calling the young folks to the May festival is exquisite.The soloist, of course, is more interested in the joys of sleeping in and doesn't follow the call of the drum! The sudden slowing down at the end works beautifully, the soloist hears everything getting slower as the drowsiness prevails.
Yver, vous n'estes qu'un vilain
[Hiver, vous n'êtes qu'un vilain]
Fun stuff, as Charles d'Orléans and Debussy malign the winter season in favour of the sweet summer. This also contains one of my favourite canonical motifs as each voice takes turn to tell winter that it is nothing but a scoundrel
If you would like to follow the words of these songs (with translation) click here
O Vos Omnes (by Jachet of Mantua)
A setting of the passiontide text "All you who pass by, look and see if there is any sorrow like mine." Jachet of Mantua (real name Jacques Colebault) (1483 - c.1559) was a French composer. He came to Italy, probably between 1513 and 1515, and eventually became maestro di cappella at Mantua cathedral.
Visitation of the BVM (composed by Robin Escovado based on the Lutheran chorale)
Robin Eugene Escovado, a fellow member of the Delian Society (a group promoting tonal music in the 21st century), responded to my offer for the dwsChorale to sing some Delians' works; more Delians' offerings will appear here in due course.
This particular piece is a three part setting of the old Lutheran Magnificat Chorale and is inspired by the Bach setting (Chorale R358).
Street Scene (by Anthony Frost - poem by Adrian Lowe)
Adrian Lowe wrote this description of the "generation gap in action" and Anthony set it for SATB choir and strings, mainly in D Dorian.This version is in B flat Dorian, which of course works a little darker.
It is a fun piece but with serious intent. Are we all guilty of making assumptions about strangers? Of course!
If you wish, you can follow the poem here
Kyrie from the Mass of John the Baptist (by Edward Gold)
Edward Gold wrote the Mass of John the Baptist for men's voices and organ and sent me the Kyrie for inclusion in the ongoing dwsChorale project. The harmonies are luscious and reminiscent of Ravel. With his approval I orchestrated it for flute, woodwind ostinato, cello and horn ensembles, and of course transposed it for my voices, as ever.
Later I also sang his Gloria from the same setting:
mp3 of the Gloria
Pastime with good company (attrib. King Henry VIII of England)
Remix also available here
A jolly number for vocal trio attributed to Henry VIII, which I have also used for a set of variations for classical guitar and even in the octatonic mode for a tuba quartet (Henry's Tune).
Catch on the Cats at Midnight (Michael Wise 1648-1687)
A silly little round for midnight moggies! (When I recorded this, my cats just stood and stared at me - totally upstaged! Maybe one day I'll sample their miaows and use them in a piece but for now you'll have to do with my own human felinity!)
Das Vöglein (Dvorak)
From a series of duets by Dvorak, this song is of a mother who sorrows because her son is leaving the nest, like a bird seeking distant parts. Special guest singer Rosemary Dewey joins me in this one, singing the tenor part and I sing the alto.
