And Then We Knew Peace

This piece for SSA and piano accompaniment with words and music by Janet Wheeler was commissioned by Farnham Youth Choir and Joanna Tomlinson, who gave the first performance in June 2017.


I Sing and Ever Shall

Choral and Orchestral work with baritone solo.
This was commissioned by Southampton Philharmonic Choir and David Gibson, who conducted the première in the O2 Guildhall Southampton in November 2016, with Dingle Yandell as baritone soloist. The piece sets texts by Emily Dickinson, Rabindranath Tagore, Sara Teasdale, Alexander Cowley and Robert Herrick as well as one by Janet, based on the sounds of Gaelic mouth music and vocal warm-ups.
Duration c. 25′

Orchestra:1 flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings


The Ceaseless Round of Circling Planets

This choral and orchestral piece was commissioned by Saffron Walden Choral Society at the suggestion of Thaxted Festival for the 2016 centenary Festival where it was first performed in July that year.

For SATB choir with orchestra comprising: Solo Waterphone, 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (TTB) cymbals, 4 Timps, Strings

Duration: c.20′

Composer’s programme note

This piece brings together a number of different elements and inspirations linked to the idea of ‘the harmony of the spheres’, including both stars and planets.

Digitised sounds from stars (converted from their light output) have shown us that in one sense stars really do ‘sing’. Heard in this way each star has its own signature pitch, subject to various kinds of tonal modulation through its varying intensity. At the same time, each star’s life stage in its growth from white dwarf to red giant is reflected in the degree of hiss in the auditory version of its light. I have written into the opening of the piece textures and effects inspired by some of those digitised sounds. The choir is asked to sustain various pitches using sounds akin to multiphonic singing and to use other mouth sound effects.

These lead into a choral setting of the Song of the Stars – a Passamaquoddy poem in Algonquin, collected in Canada in 1822 by Charles Leland and published by him in translation two years later. I have set this to material derived from a 12th century Latin hymn ‘Naturalis Concordia Vocum cum Planetis’. The opening part of this Latin hymn eventually surfaces in its original plainsong guise in the third movement. It features a decorated cosmic scale in which each of the ‘planets’ known at the time (including the moon and the sun!) is given a different note of the scale.

Orlando Gibbons’ wonderful hymn tune and the associated 19th century words by John Chadwick ‘Eternal Ruler of the Ceaseless Round’ make their appearance in the fourth movement, with elements of variation technique. The fourth variation combines the distinctive rhythm from Holst’s Mars with the fourth verse of the hymn, before a brief return of the Stars and Planets music to finish. An important recurring element of the sound world of this piece is the solo part for waterphone, which often comes to the fore at linking passages as well as the beginnings and ends of movements.

The piece was commissioned by Saffron Walden Choral Society for their performance with Chameleon Arts Orchestra at the final concert of the Thaxted Festival in its hundredth anniversary year. My use of planetary inspiration and a Renaissance tune is a homage to Holst who began the Festival, and to his great friend Vaughan Williams.

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Psalm 121

This setting of a Scottish metrical version of Psalm 121 (I to the hills will lift my eyes) was commissioned by Lorna Rolfe in 2016, when she was High Sheriff of Essex, as an anthem for the Justice service in St Mary’s Saffron Walden.

For SATB choir (with occasional divisi) and organ accompaniment.


Harlequinade – a suite for choir and optional dancers
SATB with divisions
Duration: c. 10′

Four songs on Commedia del’Arte characters.
Lyrics for two of the songs are specially-written texts by Kaye Umansky and the other two are by the composer
. The music lends itself to dancing but there is no set choreography. In 2016 a new version was published including an optional piano accompaniment.

1. Harlequin
2. Pierrot
3. Columbine
4. Pantaloon’s Song


The Christmas Life

A setting of the poem by Wendy Cope for SATB with optional piano accompaniment, commissioned in 2015 by Janet Lincé and Choros.

Duration 4’


Magnificat cum Angelis
Commissioned by Yellow Car Charitable Trust.
Scoring: SATB choir (with some divisions), soprano soloist, trumpet, harp, percussion (2 players), organ, strings.
Duration c 50′

Notes: Magnificat cum Angelis

The work expands the standard text of the Magnificat with three additional angel texts. First comes the Angelus, a Latin prayer sequence including the Ave Maria, sung three times. The other additions are two texts from medieval mystery plays. The first looks ahead to Mary’s own death, where six angels come to lead her to heaven, and the second is Gabriel’s farewell as he departs after the annunciation. Janet Wheeler’s music for these has touches of medieval mysticism, helped by the use of handbells, organ and harp. The first and last movements of the Magnificat proper have the flavour of Jewish dance music.

JW: I pictured Mary after receiving Gabriel’s news. Despite the complications of her situation, I thought she’d be unable to stop herself from dancing for joy as she realises what is happening to her. I’ve added hand drums, tambourine and finger cymbals to the 7/8 dance music!

The Ecce Enim and Sicut locutus sections have a more scientific inspiration. “Where the text refers to succeeding generations, I’ve composed music influenced by the structure of DNA, with its double helix represented in spiralling lines for harp and organ and subtly shifting combinations of harmonies for voices and strings.”

Magnificat cum Angelis was commissioned by Yellow Car Charitable Trust

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Excerpts from the first performance…

Magnificat Anima Mea

 

Suscepit Israel


On the breath of the sky
words by Nick Warburton
Duration: c 15’

An albatross year: 1) Prelude: 2) Chick Song: 3) Westerly: 4) Winter and Postlude

Excerpts…

Westerly (part 1)

Westerly (part 2)

Winter

Commissioned on behalf of SWCS
First performance March 17th 2007
solo soprano Bethany Halliday

for SATB choir, children’s choir, soprano solo, keyboard, percussion and alto saxophone


Train in the rain
words by Nick Warburton
Duration: c 20’

Commissioned on behalf of SWCS for SATB choir, children’s choir, keyboards and narrator

Excerpt…

Dusk Falls


A place in the choir
song by Bill Staines

Arranged for SATB choir with piano accompaniment

This piece is published by Hal Leonard/ de Haske Music, price £1.95 — Buy now >


Sea tongue
A choral and orchestral setting of a text by Kevin Crossley-Holland retelling an old East Anglian tale
Commissioned by Saffron Walden Choral Society
Duration: c 40’

For SATB choir 2-4 soloists (soprano and baritone with large ranges or soprano, mezzo, tenor and bass) orchestra: double woodwind, 2 horns, 2 trumpets, 2 perc (including tubular bells, a variety of suspended cymbals, pair of cymbals, tam-tam, toms, side drum, tenor drum, vibraslap, various shakers/maracas, guiro etc) tp (3 timps) piano, hp, strings

First performed March 2004 in St Mary’s Saffron Walden
Repeated in Kings College Cambridge Autumn 2005

I am the bell

I am the sea god

I am the cliff

I am the bell 2 (ending)

 

Janet Wheeler’s SEA TONGUE is a child of the crossing-place where earth and ocean meet and argue.  Heaving and leaping and caressing, it’s a thrilling and often moving secular oratorio –  always attentive to the words it sets, colourfully orchestrated, and within reach of amateur choirs and choral societies.’
Kevin Crossley-Holland – Poet and Writer

“I was very excited when Janet asked me to be the baritone soloist in the first performance of Sea Tongue – I was intrigued by the story and delighted to be asked to play a Sea-God! The drama of the text is echoed in Janet’s setting and the solo part offered terrific opportunity for characterisation and colour, something I am always pleased to be able to do. I hope it is a piece that will become part of choral society repertoire.”
Edward Price – Baritone Soloist

Notes: Sea Tongue

In Medieval times Dunwich was a great city but, over the years the sea has eaten away at the land and most of the original city is now lost. The most recent of the many churches to crumble into the sea was All Saints, whose abandoned shell, perched high on the crumbling cliff, was painted by Turner. The legend of bells sounding under the sea is commonly found in many areas where the land is retreating, and Dunwich is no exception. This idea forms the basis for Kevin Crossley-Holland’s Sea tongue.The story is structured in fourteen sections, each told in the first person, from the shifting standpoints of humans (the bellwoman, the fisherman, the living, the dead) abstract and supernatural characters (the sea-god, the night-storm, the morning) and concrete entities (the church, the cliff, the boat and crucially the bell).

It was this structure which immediately suggested a vocal setting to me. The language is poetic, yet concise and I wanted the music to illuminate the story without holding up the action unduly on the one hand, or becoming an unmelodic stream of recitative on the other.

Beyond the obvious 14-part structure dictated by the text there is also a kind of ‘patchwork’ structure to the piece, also prompted to a large extent by the text. A prose text tends to provide fewer opportunities than verse for musical repetition but there are in Sea Tongue various strands of ideas and images echoed across different sections. I have taken them up musically to provide points of repetition and unity over a larger scale, rather like leitmotifs. Some of these are obviously pictorial, others represent a musical character.

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Carol of the poor children
(words by Richard Middleton)
SATB + piano
Duration 2’30”


MAZE
A cantata commissioned by Yellow Car Charitable Trust for MazeMusic.
Scoring:
Combined choirs, solo baritone solo soprano, narrator and orchestra: flute (picc) oboe (cor anglais) clarinet (bass clarinet) bassoon, trumpet, horn, timps, marimba and other perc, strings
Duration: 45′

“There are mazes all around” – a song from the cantata MAZE. Sung here at the first performance by  the Saffron Walden Youth Choir – SignuptoSing, with Saffron Walden Choral Society and Granta Chorale, accompanied by Britten Sinfonia.

Notes: MAZE

A cantata with words by Nick Warburton and music by Janet Wheeler

The words maze and labyrinth are often used interchangeably, but in a technical sense they can indicate two different types of what we commonly call mazes. Unlike a maze or puzzle maze (like the hedge maze in the Bridge End Garden in Saffron Walden) a labyrinth has one path all the way through with no junctions or choices (like Saffron Walden’s turf maze). You follow it to the centre and out again.
MAZE presents the journey through both these types in a series of stages. The choir, narrator and baritone soloist lead us through this journey in a mixture of narration and almost recitative-like singing, interspersed with songs and semi-dramatic episodes.

The songs

To make a labyrinth describes the way in which a labyrinth shape can be drawn or plotted, starting with a cross.

Three Ways to Proceed explores three ways in which people moved through a labyrinth. For this the singers are divided. The youth choir races through, the women dance through and the men pray through it. Labyrinths have historically been associated with all three activities.  The colourful names of some ancient labyrinths hint at some of these activities – The Shepherd’s Race was a turf labyrinth near Sneinton, Nottinghamshire (and of course Saffron Walden children can often be seen racing through our labyrinth). Labyrinth designs are commonly found in Greek and Roman remains and there is a link between the labyrinth and the Greek chorus.  The chorus was a body of dancers who performed in the orchestra  – a levelled sand-strewn area on which the patterns of a dance could be marked out like a labyrinth.
In Christian times labyrinths came to be associated with Jerusalem and the fact that they can be found marked out in the black and white floor tiles in some churches and cathedrals (Chartres, Amiens, Ely etc.) reinforces this link. There is a theory that following the tortuous path was a substitute for taking the pilgrimage to Jerusalem, and that ‘pilgrims’ would actually crawl round the labyrinth on their knees, praying. The three groups of singers are eventually combined in one journey, running, dancing and praying simultaneously.

There are mazes all around looks at some of the many structures, places and patterns in our lives that are mazes in everything but name.

The Minotaur features two mazes, the one inhabited by the monster but also the figurative moral maze facing Ariadne as she decides whether to help Theseus  destroy her brother the Minotaur or not.

Hampton Court Maze is the setting for an episode from Jerome K. Jerome’s Three Men in a Boat in which all involved get spectacularly lost.

After revisiting all the previous stages of the maze, the final stage is reached – ‘Standing in stillness apart, with home and peace in your heart’.

Janet Wheeler and Nick Warburton have collaborated previously on Orpheus, a musical for BBC School Radio and on two cantatas: Train in the Rain for SWCS’s project Singing on Track (2004) and On the Breath of the Sky for Wingbeats (2007) a joint project between SWCS and RSPB. In composing MAZE Janet Wheeler was very much aware of the challenge of writing for a mixture of amateur choirs and professional orchestra. The marimba was featured in the composing project with SWCHS and Janet decided also to include a marimba part in MAZE, where it has proved very useful for sustaining harmonies under some of the narration.

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Welcome yole
A Christmas Processional
Duration: 1′ 20″


Homage to Albright
An atmospheric setting of the word Alleluia for spatially separated choir (SATB, all voices singing independently)
with organ

Notes: Homage to Albright
Duration variable, typically 4’ or 5’The American composer William Albright wrote ‘An Alleluia Super Round’ in which twenty-three musical fragments are sung freely and independently by all the singers in a choir, building in range and dynamic and then gradually subsiding. This homage uses a similar technique but with a generally more modal tone-set and the addition of a through-composed organ part. It also divides the SATB choir spatially with sopranos and tenors singing one set of fragments and altos and basses singing another from a separate space. All singers sing independently at their own speed. The tenors and sopranos start their series of fragments on just two notes, gradually introducing more notes. When they have spanned an octave and risen to forte, they begin to sing through the phrases in reverse order, while the altos and basses join in loudly on their music and then all parts gradually subside. The organ underlines the mode by providing a backwash of various pedal harmonies, interspersed with more arabesques- like phrases.Reviewing the premiere in Saffron Walden in June 2011, David Parry-Smith says: Homage to Albright was especially successful, mixing choral improvisation based on written-out fragments with spatial separation of sections of the choir – a real surround-sound performance!

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The spirit of Christmas
(words by Martin Angel and Janet Wheeler)
SATB with optional children’s choir and piano
Duration 4′


A la media noche (At the hour of Midnight)
Arrangement of Puerto Rican carol of SATB + trebles choir + piano duet. Additional English words by the composer
Duration: 4’30”


Listen to the angels
A jazzy carol which combines an original tune with the traditional carol Of the Father’s Heart Begotten
SATB choir plus trebles and piano

Duration 3′


I ask
A setting of words by Inazo Nitobe (adapted)
For treble voices in 2-parts with piano accompaniment
Commissioned by Martin Wilson for a performance by the Joint Quaker Junior Schools in 2006

Duration 3′


Light will shine
For treble voices in 3 parts with piano accompaniment
Commissioned by Martin Wilson for a performance by the Joint Quaker Junior Schools in 2006

Duration 2’30”


To God the Giver of Grace
(subtitle) May none of God’s wonderful Works Keep Silence

This short setting of an Egyptian Doxology for SSA with organ accompaniment was written for St Albans High School for Girls and premiered in St Albands Cathedral back in the 1980s, but published more recently.
Duration: c. 2’30”

Text:
May none of God’s wonderful works keep silence, night or morning.
Bright stars, high mountains, the depths of the seas, sources of rushing rivers:
May all these break into song as we sing to Father, Son and Holy Spirit.
May all the angels in the heavens reply: Amen! Amen! Amen!
Power, praise, honour, eternal glory to God, the only Giver of Grace.
Amen! Amen! Amen!

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Te Deum
This lively and melodic setting composed in 1986 is for SSA and organ.
Duration: c. 5′