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Love Bade Me Welcome

Love Bade Me Welcome by Roxanna Panufnik. Arranged for unison voices, mixed voice choir and piano.

Comfort Me With Apples

Commissioned by the Dunedin Consort in 2006, Errollyn Wallen's Comfort Me with Apples is for soloists and instrumental ensemble and sets words from The Song of Songs. First performed by Susan Hamilton (soprano), Matthew Brook (bass) and the Dunedin Consort conducted by John Butt at the Queen's Hall, Edinburgh on 22 September 2006.

Dont weep for me

Love bade me welcome

A setting for unaccompanied SATB choir with divisi of George Herbert’s poem. The richly textured homophonic piece ends with a beautiful ostinato. Duration 4’30"

Can you hear me?

A Grand Tour of Cello Technique : A practice guide for the modern cellist

A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio.Fred Sherry has introduced audiences on five continents and all fifty UnitedStates to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and ‘sideman’ on hundreds of commercial and esoteric recordings: his discography ranges from Schütz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music.

Vos dergeystu mir di yorn : Why do you pester me

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?

Earth and Sky : (4 Players)

Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with the predictions of various pundits, but their ideas seemed dizzyingly contradictory. Then the simple thought struck me that however varied and complex the answers, the big questions will always remain the same. We may now have a map of the human genome, but how to use the map? "How shall I know where I should go? How may I see the I that’s me?" As a musician I am hopeful that, no matter how the world develops, future generations will still come together to "dance and sing and play". The mysterious power of music to bind us socially and inspire us individually seems to be built into our genes. So, a song of questions; a song about music – these were the ideas which I took to Vikram Seth, who had generously agreed to write the words for me. The resulting poem provided lots of inspiration. It is entirely monosyllabic, enabling considerable variety of rhythmic treatment. I love its permutations and its imagery of paradox and inversion and I have amused myself by playing similar games with the musical material. But there is seriousness as well as fun – the text’s juxtaposition of the certainty of death with the search for purpose in life achieves great poignancy when sung by young voices. (Alec Roth)

Earth and Sky

Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with the predictions of various pundits, but their ideas seemed dizzyingly contradictory. Then the simple thought struck me that however varied and complex the answers, the big questions will always remain the same. We may now have a map of the human genome, but how to use the map? "How shall I know where I should go? How may I see the I that’s me?" As a musician I am hopeful that, no matter how the world develops, future generations will still come together to "dance and sing and play". The mysterious power of music to bind us socially and inspire us individually seems to be built into our genes. So, a song of questions; a song about music – these were the ideas which I took to Vikram Seth, who had generously agreed to write the words for me. The resulting poem provided lots of inspiration. It is entirely monosyllabic, enabling considerable variety of rhythmic treatment. I love its permutations and its imagery of paradox and inversion and I have amused myself by playing similar games with the musical material. But there is seriousness as well as fun – the text’s juxtaposition of the certainty of death with the search for purpose in life achieves great poignancy when sung by young voices. (Alec Roth)

Christ's Nativity

The text comes from the pen of the seventeenth-century Welsh poet Henry Vaughan, a leading metaphysical voice during the Commonwealth period (1649-1660), when the republican government of Oliver Cromwell banned the Anglican Church. Christ's Nativity was commissioned by the Cathedral Choral Society of Washington D.C. with support from the Richard Wayne Dirksen Memorial Endowment Fund. The selected lyrics by Welsh poet Henry Vaughan fascinated me immensely and therfore prompted me to think about a specific musical environment for the piece, best suited for merging the music into this wonderful poetic landscape. This poetry brings about a strong mixture of the Evangelicalmystery of Christ's Nativity, mystically evoked by Nature, and at the same time reveals the optimism and drama of an ordinary individual that any human being can easily identify with.

Psalm 122

An unaccompanied work for SATB choir (with no divisi) set to Psalm 122 – I was glad when they said unto me. Commissioned at the request of the Very Revd Mark Bonney, Dean of Ely Cathedral, for his father John Bonney, and first performed on 23 October 2016 by Sing Aotearoa (New Zealand Choral Federation), Kokako Singers, directed by the composer, in Rotorua, NZ.

Baltic Songs for Male Voices : Volume One

This collection of 11 works for male voices includes titles by the Latvian composers riks Ešenvalds, Rihards Dubra, Valts P ce, Juris Karlsons and Em ls D rzi š. The book also includes a pronunciation guide andtranslations for the Latvian texts.

Thank you thats all we need for today? : A Practical Guide to Music Theatre Auditions

Thank you - that's all we need for today... is full of practical advice for anyone who auditions for musical theatre shows, whether professional or amateur. Contents: Starting with the earliest stages, it coversevery aspect of the audition process: choosing and learning songs looking after your voice deciding what to wear preparing CVs and photos how to make a good impressionwho's who on the audition panel Also Included: a CD of vocal warm-ups - helps you get the best out of your voice

The Art of Auditioning (Revised Edition) : A Handbook for Opera Singers, Coaches and Accompanists

Edition Peters, the world’s leading publisher of vocal music for more than 200 years, has joined forces with Anthony Leggeto produce this revised and updated edition of the best-selling guide – The Art of Auditioning . Essential reading for everyaspiring and professional singer, it contains:• authoritative advice on how to approach and prepare for your auditions• a directory of more than two hundred recommended audition arias• information about what to expect after your first successful audition and how to prepare for professional engagements.Having won many competitions and survived many auditions – and now singing all over the world, including 250performances of the role of Violetta, and having had the thrill of singing with Placido Domingo – I can recommend this bookas an invaluable guide for achieving success. Ermonela Jaho, International Soprano.This invaluable and much needed guide to the process of auditioning includes a comprehensive list of svuitable arias withhelpful comments on how they should be performed. Singers and pianists alike will benefit greatly from it. Dame Anne Evans.Anthony Legge has worked regularly with the principal British opera companies, Opera Australia, many European operacompanies and at Bayreuth, where he worked on The Ring and Die Meistersinger . He spends much time on audition andcompetition panels. His experience as a conductor, accompanist and vocal coach has given him a broad overview of theprofession.

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.

Metodo Pratico - High voice

Vaccai's Metodo Pratico (Practical Method) for High Voice focuses on the art of the Italian language in performance. This advanced guide discusses different styles of singing and how to grasp the language inperformance. The German singing translation has been provided by John Bernhoff. Lyrics are therefore presented in Italian and German, and the all commentaries and notes are provided in English, French and German.

Russian Operatic Arias for Soprano : 19th and 20th Century Repertoire

Fifteen arias from the Russian operatic canon that span the breadth of the 19th and 20th centuries, selected and edited by David Fanning for Soprano and Piano.Each aria is complete with translations in English, German andFrench, as well as a pronunciation guide. You'll find a full synopsis of each featured opera explaining fully the context in which each aria is presented. Includes works by Glinka, Shostokavich and Tchaikovsky.

The Pearl

When I was approached by Salisbury Cathedral to write a 30th anniversary anthem for their Girl Choristers, I immediately thought of the traditional 30th wedding anniversary symbol  a pearl. When George Herbert was also requested, it was incredible serendipity that he had actually written a poem of that title: The Pearl. Matthew 13:45. This was inspired by the very short parable which compares the immense value of the Kingdom of Heaven to the most exquisite pearl a merchant could sell: a merchant seeking goodly pearls, on finding one of great price, went and sold all that he had and bought it. Herbert expands all that he had to include things of worldly worth such as learning, honour and pleasure, but concludes that there is an immeasurably greater and more priceless gift: the costly love of Christ which is the Kingdom of Heaven. I worried that a poem claiming knowledge of some quite grown-up things might not be suitable for the girls, but their luminescent ageless sound and their incredibly mature attitude in rehearsal dispelled that fear. They gave me a list of things theyʼd like included in the piece  I managed nineteen out of twenty-three requests: smooth, soft, strong, high, staccato, triplets, semiquavers, minor keys, suspension, high parts, gentle bits, two part harmony, medium pace, soft but nice, quick and music telling a story. I am very grateful to John and June Chichester and the Salisbury Cathedral Girl Choristersʼ; Foundation for this prestigious and exciting commission, to David Halls and Precentor Anna Macham for their musical and theological collaboration throughout the creative process and especially to the girl choristers themselves, for suggesting me for the job. Roxanna Panufnik, 24th March, 2020

Interval Song für Singstimme und Klavier

Every interval there is, all in one song!'The idea of Interval Song is for students to get to know the intervals in the most enjoyable way. It is useful for students of any age and I observed whilst recording thissong that the young choir sang it without realising its didactic aim. They also learnt it by heart with no effort. Secret teaching is the aim!' - Django BatesThe Education Pack Includes:sheet music - voice, pianoand chordsphotocopiable lyric sheetsa CD including a performance, learning tracks and a backing tracka guide to all the intervals contained in the song

Everlasting Voices (Medium High) : Selection of Songs within Comfortable Range for older Singers

Increasing numbers of people are taking to singing in later life, in part driven by increasing medical evidence of the health benefits it brings. Singing aids physical and neurological well-being, but above all it brings enjoyment, not only to those who have a lifetime experience of singing (both in choirs and solo), but also to those whom it is an entirely new activity. Everlasting Voices , compiled specifically for the older singer, contains: • 24 songs with a modest vocal range, in a wide range of styles • background notes about the songs and their composers • pronounciation guides for singing in Italian, German, Spanish and French • a guide to keeping your voicehealthy • performing advice and technical guidance.

Everlasting Voices (Medium Low) : Selection of Songs within Comfortable Range for older Singers

Increasing numbers of people are taking to singing in later life, in part driven by increasing medical evidence of the health benefits it brings. Singing aids physical and neurological well-being, but above all it brings enjoyment, not only to those who have a lifetime experience of singing (both in choirs and solo), but also to those whom it is an entirely new activity. Everlasting Voices , compiled specifically for the older singer, contains: • 24 songs with a modest vocal range, in a wide range of styles • background notes about the songs and their composers • pronounciation guides for singing in Italian, German, Spanish and French • a guide to keeping your voicehealthy • performing advice and technical guidance.

Songs of Love & Friendship

When the Groot Omroepkoorʼs (Netherlandʼs Radio Choir) Chief Conductor Benjamin Goodson and Stiftfestivalsʼ violinist-director Daniel Rowland approached me to write a piece for them, I immediately googled Dutch poets. I was intrigued to find the French-sounding name, Isabelle de Charrire (1740  1805). Also known as Belle van Zuylen, she was born and brought up in Utrecht, where the premiere of this new composition would take place. In the 18th century, it was common for well-to-do families to appoint French tutors for their children and, as a result, everything Belle wrote was in that language. Her writings cover all aspects of life and love, but I was particularly drawn to these two poems. 1. Companion, for which I have taken three verses from her longer poem Heureux moineaux, tells of her envy at how much easier sparrowsʼ relationships with each other are than those between humans. The poem was Belleʼs reaction to hearing of the philandering Marquis de Lassay, inspiring her to express that it is good to flee from love and to prefer a less jealous, less worrisome friendship. The violin sets the scene, imitating authentic sparrow calls from Californian, Argentinian and Spanish sparrows and the choir enters, taking the sparrowsʼ rhythms and harmonizing the pitch progressions. Here, the English words feature alongside the original French as a bird-like accompaniment. 2. Conquest, or Quels accents vien-je dʼentendre is a beautifully structured and intensely passionate poem, written as a song for Mademoiselle de Tuyll de Serooskerken, elder daughter of Lord of Zuylen. It was originally set to the air: Vous amants, que jʼintresse  possibly a pre-existing tune or one composed by Belle herself. I have relished creating overtly romantic harmonies with restless textures in English accompanying the yearning melody in French. The violin alternates between accompanying them in lilting broken chords and soaring ardently over the choir. I am deeply grateful to both Benjamin and Daniel for asking me to do this and to AVROTROS and the Stiftfestival for commissioning the work, on the occasion of Benjaminʼs inaugural concert as the choirʼs Chief Conductor. Roxanna Panufnik (8 June, 2020)

Arion and the Dolphin

Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to bebringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At the end of his song, he jumps overboard, and one of thedolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In RobertGraves’account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after hisrescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  Thisis one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to writea choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create anatmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, hadsuggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldlyquality of this