Woefully Arrayed: Sacred and Secular Choral and Polychoral Works of Jonathan David Little (b.1965) ["Woefully Arrayed", Op.13; "Kyrie", Op.5; "Gloria", Op.18; “Wasted and Worn”, Op.6; “That Time of Year", Op.2]

Little, J. D. (2017) Woefully Arrayed: Sacred and Secular Choral and Polychoral Works of Jonathan David Little (b.1965) ["Woefully Arrayed", Op.13; "Kyrie", Op.5; "Gloria", Op.18; “Wasted and Worn”, Op.6; “That Time of Year", Op.2]. [Audio]

[thumbnail of One-sheet summary: "Sacred and Secular Choral and Polychoral Works of Jonathan David Little" [Copyright J.D.Little]]
Text (One-sheet summary: "Sacred and Secular Choral and Polychoral Works of Jonathan David Little" [Copyright J.D.Little])
PARMA ONE-SHEET NOTES.pdf - Supplemental Material
Available under License Creative Commons Attribution.

Download (500kB) | Preview
[thumbnail of Jonathan David Little - Polychoral Project Summary [2015-2017] [23pp.]]
Text (Jonathan David Little - Polychoral Project Summary [2015-2017] [23pp.])
1. J.D.Little - Polychoral Project Summary.pdf - Supplemental Material
Available under License Creative Commons Attribution.

Download (4MB) | Preview
[thumbnail of Polychoral CD booklet content summary [Copyright: J.D.Little & H.Keyte] [8pp.]]
Text (Polychoral CD booklet content summary [Copyright: J.D.Little & H.Keyte] [8pp.])
PARMA CHORAL BOOKLET - Jonathan David Little + Hugh Keyte 2016.pdf - Submitted Version
Available under License Creative Commons Attribution.

Download (431kB) | Preview


“A music redolent of the past and the future”

Several of the works in this collection feature intricate, a cappella, polychoral-inspired techniques. These include multi-part, multi-divisi, and unusual spatial effects (or cori spezzati – literally “split choirs” – as the technique was referred to in the Renaissance and early Baroque periods). Therefore different sections of the choir, or different “sub-choirs” and/or vocal soloists, are sometimes placed in various arrangements around and above the audience: this ancient technique being pioneered in modern form in “Kyrie”, Op.5, for 21 individual vocal lines – where some singers are stationed in a gallery, and at a distance. Some works also feature echo effects, as well as isorhythmic fragments, melodic and rhythmic hocket, while cross-rhythms and cross-textuality may additionally be involved.

Due to the incorporation of such “polychoral”-derived techniques (in addition to some derived from Medieval music), a striking extra dimension is added both to recordings and to live performances (where the aural “spatial” interest creates a quasi-theatrical effect). The harmonic language is largely built on the composer’s personalised modal foundations, frequently complemented by very subtle use of rhythm and ornament, which can sometimes involve quite elaborate – but always delicate – “filigree”-like patterns.

All but the Kyrie are world première recordings (including the first recording of the choral version of That Time of Year), and were recorded over five separate sessions in the UK and US.

Includes an additional historical and contextual essay by Renaissance and Baroque scholar, Hugh Keyte, leading expert on early polychoralism: "Polychorality: Some Observations".

(NOTE: Opus numbers in the composer’s œuvre are apportioned according to date of initial conception, rather than by date of completion.)


Sacred and Secular Choral and Polychoral Works of JONATHAN DAVID LITTLE (b.1965)

Vox Futura, Boston (USA)
Directed by Andrew Shenton; Organ: Heinrich Christensen

‡Stanbery Singers, Cincinnati (USA)
Directed by Paul John Stanbery

†Thomas Tallis Society Choir, Greenwich (UK)
Directed by Philip Simms

1. “Woefully Arrayed”, Op.13 (Anthem for Triple Choir: AATTBB + SSA + SSA) [attrib. to John Skelton] (with Organ) (ca.26:00)

2. †Kyrie, Op.5 (SATB Double Choir with Soloists) (from Missa Temporis Perditi) (ca.4:50)

3. Gloria, Op.18 (SATB Double Choir with Soloists) (from Missa Temporis Perditi) (ca.12:00)

4. ‡“Wasted and Worn”, Op.6 (Part Song for SSAATTBB Choir with Soloists) [Lord de Tabley] (ca.12:10)

5. ‡“That Time of Year”, Op.2 (SATBarB Choir) [Shakespeare] (ca.4:45)

6. “Woefully Arrayed”, Op.13 [Reprise – abridged version] (ca.12:30)

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body (Individual International Arts Project Award 2015-17: UK-USA-Australia). Invaluable support has also been provided by the Royal Philharmonic Society (UK), through its “ENCORE Choral” Award scheme.

The support and advice of music publishers Anne Keats, OAM, and Brennan Keats, OAM, Directors of Wirripang Pty Ltd (Australia), of Ben Hall and staff at the University of Chichester (UK), of Professor Craig De Wilde of the University of Singapore, of music copyist David Turner (UK), of Bob Lord and all his team at PARMA Recordings (USA), and of James M. Kendrick (Director and Treasurer of ASCAP, USA), is gratefully acknowledged.

Publication Type: Audio
Additional Information: SACRED WORKS: 1. Woefully Arrayed, Op.13 [“Wofully araide”] or, Crucifixus pro vobis Vox Futura, directed by Dr. Andrew Shenton Wicks 1938 3-manual pipe organ (designed by Henry Vincent Willis), played by Heinrich Christensen Recorded 19th November 2016 in the Romanesque Revival “Church of the Holy Name”, West Roxbury (Archdiocese of Boston), USA Anthem for AATTBB Choir and 2 x SSA Soloists (or Choirs) – with optional Organ and Instrumental accompaniment (reinforcing and/or vocal part replacement): 1. AATTBB Choir [Choir 1] (minimum 2 voices per line) (stage middle front) + 2. SSA Soloists [or Choir 2, if doubling parts]* (stage left back, or left gallery) + 3. SSA Soloists [or Choir 3, if doubling parts]* (stage right back, or right gallery) = 1. AAAATTTTBBBB + 2. SSA + 3. SSA; or a minimum of 18 singers: 4 sopranos; 6 altos; 4 tenors, 4 basses (* If treating 2 & 3 as Choirs rather than Soloists, min.6 per choir = 2. SSSSAA + 3. SSSSAA: thus 24 overall – being effectively a 12-part ‘Triple Choir’) (From excerpts of text attributed to John Skelton) (composed June-August, 2016) Written to commemorate the 50th Anniversary of the National Boys’ Choir of Australia (founded 1964), and dedicated to the memory of Harold Bird, OAM (1922-2015). The score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefuleness. The intimate verses, by contrast, are marked, “Teneramente e sostenuto” (“Tenderly and sustained”). Abridged versions of Woefully Arrayed can be performed by commencing the work from either the Second or Third Refrain. FIRST REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE ONE Beholde me, I pray thee, with all thine whole reson, And be not hard-herted for this encheson, That I for thy saule sake was slaine in good seson, Begylde and betraide by Judas fals treson; Unkyndly entretid, With sharpe corde sore fretid, The Jewis me thretid, They mowid, they grynned, they scornyd me, Condempnyd to deth, as thou maist se, Wofully araide. SECOND REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE TWO Thus nakyd am I nailid, O man, for thy sake! I love thee, then love me; why slepist thou? awake! Remembir my tendir hart rote for thee brake, With panys my vaynys constreyned to crake; Thus toggid to and fro, Thus wrappid all in woo, Whereas neuer man was so, Entretid thus in most cruell wyse, Was like a lombe offerd in sacrifice, Wofully araide. THIRD REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE THREE Of sharpe thorne I haue worne a crowne on my hede, So paynyd, so straynyd, so rufull, so red; Thus bobbid, thus robbid, thus for thy loue ded, Onfaynyd, not deynyd my blod for to shed; My fete and handes sore The sturdy nailis bore; What might I suffir more Than I haue don, O man, for thee? Cum when thou list, wellcum to me, Wofully araide. FINAL (expanded) REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. Attributed to John Skelton (ca.1463-1529) 2. Kyrie, Op.5 (from Missa Temporis Perditi) Thomas Tallis Society Choir, directed by Philip Simms Recorded November 2005 in the former Royal Peculiar Church of St. Alfege, Greenwich, UK * * * ROYAL PHILHARMONIC SOCIETY / BBC RADIO 3 “ENCORE Choral” Award Winner * * * For a cappella SATB Double Choir, with SSA and SA Soloists (first sketches ca.1985; completed 2005): 1. SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) + 2. SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) + 3. Gallery/Offstage Soloists 1: 2xS (for divisi) + 1xA (3) (SSA) (at a distance or offstage, and set antiphonally to:) 4. Gallery/Offstage Soloists 2: 1xS + 1xA (2) (SA) (in a high and more distant gallery or offstage) = 1. SSAATTBB + 2. SSAATTBB + 3. SSA + 4. SA; or a minimum of 21 singers: 7 sopranos; 6 altos; 4 tenors, 4 basses (* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 5 soloists = 37 singers) This a cappella setting for SATB double choir and soloists of the first section of the traditional Latin Mass – “Kyrie eleison” – is based around permutations of one central motif. The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness. At least 21 voices are required to perform the work (2 choirs: SSAATTBB, SSAATTBB + soloists: SSA, SA). The short central section of this ternary form composition (“Christe eleison”) features high C's in both treble parts – as if calling up to heaven – and requires extra soprano and alto soloists to be present offstage (or situated in a gallery), a little removed from the main body of the choir. Kyrie was first sketched out in 1985 – and only completed, published and recorded, twenty years later. By a quirk of fate, the composer was on the verge of throwing out all of his early sketches and compositions in 2004 (they sat in a box for two decades), at the exact time that an offer of publication was received from Wirripang – now Australia’s leading independent publisher of fine music by native-born composers – and so the score is dedicated to Wirripang’s founders: Brennan Keats, OAM, and Anne Keats, OAM. Kyrie was first performed in November 2005, during the historic Thomas Tallis 500th anniversary concerts held at Waltham Abbey, Essex (where Tallis worked) and St. Alfege, Greenwich (his burial place), and subsequently performed at the Good Friday “Tenebrae” concert in Wells Cathedral in 2007 with the Bath Camerata, conducted by Nigel Perrin. Following selection by expert jury for the Royal Philharmonic Society and BBC Radio 3’s “ENCORE Choral” Programme, Kyrie will receive a major new workshop, performance and live broadcast in the UK during 2017-18. It is appropriate, perhaps, that this work should first have been heard alongside such grand, 40-part polychoral motets as Tallis’s Spem in alium and Striggio’s Ecce beatam lucem. Just prior to the second performance, it was recorded here with over 60 voices of the Thomas Tallis Society Choir at the Church of St. Alfege, in Greenwich, UK, in November 2005. During the original performance, there were two main, separate (and separated) double choirs (a “stereo”-like SSAATTBB x 2), supplemented by two additional groups of more remote soloists (SSA set at some distance away, and SA positioned above and behind the audience, in a more distant gallery). Kyrie eleison. Christe eleison. Kyrie eleison. 3. Gloria, Op.18 (“Et in Arcadia ego”) (from Missa Temporis Perditi) Vox Futura, directed by Dr. Andrew Shenton Recorded 22nd January 2017 in Futura Studios, Boston, USA For a cappella SATB Double Choir, with 2 x SA Soloists (completed November 2016): 1. SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) + 2. SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) + 3. Gallery/Distant Soloists 1: 1xS + 1xA (2) (SA) (at a distance or in a gallery, and set antiphonally to:) 4. Gallery/Distant Soloists 2: 1xS + 1xA (2) (SA) (at a distance or in a gallery) The solo parts may be doubled, if necessary. = 1. SSAATTBB + 2. SSAATTBB + 3. SA + 4. SA; or a minimum of 20 singers: 6 sopranos; 6 altos; 4 tenors, 4 basses (* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 4 solo parts [also doubled] = 40 singers). This Gloria is a companion piece to the previous Kyrie, Op.5 – both of which are part of a large-scale mass setting (as yet uncompleted) – and its main section is founded on related material. As with all other works, while sometimes archaic sounding, the materials are entirely original, though here with the one exception of the incorporation of a very short sequence of chords, heard at the commencement of the final “Amen” section. These chords derive from an anonymous 14th-century three-part setting of Ave maris stella (“Hail, Star of the Sea”) – a Vespers hymn to the Virgin Mary, itself based on a chant harking back at least to the 9th century. Gloria in excelsis Deo. Et in terra pax hominibus bonæ voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram Patris, O miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen. SECULAR WORKS: 4. Wasted and Worn, Op.6 [“And calm of mind all passion spent.”] Stanbery Singers, directed by Paul John Stanbery Recorded 22nd April 2016 in the First United Methodist Church, Hamilton, Ohio, USA Part Song for a cappella SSAATTBB Choir, with Soloists (text from “A Parting”, by John Leicester Warren) (first sketches 2005; completed March 2016) Marked at the head of the score, “Bittersweet and With Dignity (yet always expressive)”, this work is dedicated to the memory of the artist, John William Godward (1861-1922) – whose work was largely overlooked during his lifetime – yet who ploughed on regardless, despite being ostracised by his own family in the pursuit of his art, and its technical perfection. Radically changing tastes and the aftermath of the First World War led him to feel that the possibility of realising an artistic golden age had vanished, ultimately leading him to take his own life. Upon reaching the culmination of many years of work, and at the height of his powers, Godward’s art had become “old-fashioned”, and seemingly worthless overnight, yet he was never truly recognised for the brilliance of his images even when he was creating them (a situation only rectified several decades later). Godward’s fate is perhaps representative of the condition of many hardworking and talented solitary artists, especially those lacking early advantage; and so the score of “Wasted and Worn” also includes this head-quotation from Elegy Written in a Country Church-Yard (1751) by Thomas Gray (1716-71): “Along the cool sequester’d vale of life / They kept the noiseless tenour of their way.” Wasted and worn that passion must expire, Which swept at sunrise like a sudden fire Across the whitened crest of happy waves. Now lonely in a labyrinth of graves, His footsteps foiled, his spirit bound and numb, Grey Love sits dumb. [From: “A Parting”, in Orpheus in Thrace and Other Poems, 1901] John Byrne Leicester Warren, Lord de Tabley (1835-1895) 5. That Time of Year (Thou Mayst In Me Behold), Op.2 Stanbery Singers, directed by Paul John Stanbery Recorded 12th March 2016 in the First United Methodist Church, Hamilton, Ohio, USA For a cappella SATBarB soloists or choir (text from Sonnet 73, by Shakespeare) (first sketched 1985; completed 2004; minor revisions 2016) That Time of Year is an a cappella setting of one of Shakespeare’s most poignant sonnets (No.73). The overall mood is one of gentle melancholy – sometimes almost sombre in tone, influenced by the weight of the three male voices (against only two female lines), and often matched by the archaic-sounding modal harmonies and cadences, in part derived from the Italian madrigal tradition – echoing, at times, the gloomy, pained music of Carlo Gesualdo (1566-1613). The frequently subdued dynamics and wide vocal range require a firm degree of control. The soprano line is the most demanding, because of its high, but often very quiet notes. The “quasi-distant” middle section (marked “tranquillo e misterioso”) comprises a group of phrases from which the singers are free to choose, but all are calculated to sound well together. During this middle section, the baritones and basses should ideally move to the front centre of the stage, while all others retreat backwards, and further out, to form a wide, distant arc – so producing a “ghostly” vocal effect. (At this point, adventurous and well-practised singers may even wish to move around while performing, either randomly or in a set pattern, at the back of the stage.) All singers then come together again for the final section. The Shakespearean text setting is also appropriate to the year of recording (2016), when the 400th anniversary of the poet's death was celebrated (1564-1616) – Shakespeare being, in fact, an almost exact contemporary of Carlo Gesualdo, that extraordinary Neapolitan composer. That Time of Year was given a workshop performance by the BBC Singers at BBC Maida Vale Studios on 4th October 2016, led by Judith Weir, CBE, Master of the Queen’s Music, and conducted by James Morgan – under the auspices of the British Academy of Composers, Authors and Songwriters (BASCA). That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs, where late the sweet birds sang; In me thou see’st the twilight of such day As after sunset fadeth in the west. Which by and by black night doth take away, Death’s second self, that seals up all in rest. In me thou see’st the glowing of such fire That on the ashes of its youth doth lie, As the death-bed whereon it must expire, Consumed with that which it was nourished by. This thou perceiv’st, which makes thy love more strong, To love that well which thou must leave ere long. William Shakespeare (1564-1616) 6. Woefully Arrayed, Op.13 [“Wofully araide”] [REPRISE] This is an abridged version of Woefully Arrayed, commencing at the Third Refrain. In the context of the times in which the text was written, it can be argued that Woefully Arrayed is as much a “secular” as a “sacred” work – which is to say (much as today), it was not necessarily primarily intended for, or else to be confined to, church use. Even so, of course, it remains most appropriate for the Lenten season, in the lead up to Eastertide, and supremely fitting for performance on Good Friday. About the COMPOSER JONATHAN DAVID LITTLE (b.1965) was the first Australian-born composer to be awarded the John Clementi Collard Fellowship, one of the most prestigious awards of the City of London’s ancient Worshipful Company of Musicians (est.1500) – and one of the most coveted musical awards in Britain. He was also the first composer of any nationality to receive a Professional Development Award from the UK music business’s own charity, the Musicians’ Benevolent Fund – and one of only seven living British composers whose choral work was selected by an expert jury for the Royal Philharmonic Society’s “ENCORE Choral” Programme – for performance and live broadcast in conjunction with BBC Radio 3 during 2017-18. The creation and recording of the majority of the new, multi-part, polychoral-inspired works on this album – featuring three choirs from the UK and US – was made possible thanks largely to an inaugural Australian Government / Australia Council “Individual International Arts Project Award”. The atmospheric and evocative music of Jonathan David Little is notable for its “mystical beauty, intensity and richness of material”. His historically-informed compositional style (with its echoes of past times, its expansive and visionary inner landscapes, and deep-rooted musical heritage) has been variously described as “Archaic Futurism”, “Ecstatic Minimalism”, and “Picturesque Archaism” – blending art music, folk/Celtic, and other sacred and secular musical influences, from as far back as the fourteenth century, with new and innovative textures and orchestration (sometimes also including spatial effects, or contemporary cori spezzati). Little studied music at the University of Melbourne – winning the Lady Turner Exhibition for overall excellence – then undertook a PhD studying the development of “exotic” orchestration in 19th- and 20th-century music at Monash University. A former Prefect of the Australian National Boys’ Choir and member of the Australian Youth Orchestra (participating in the 1988 Grand Bicentennial European Tour), Little performed with the Melbourne Symphony Orchestra and for new music workshops of the Australian Opera. Little’s compositions have won multiple ASCAP and critics’ choice awards in the USA, as well as PRS, Bliss and Leighton Trust Awards in the UK. His first major album was one of Fanfare magazine’s top recommended recordings for 2008 – acclaiming “a major new, original and quite brilliant classical voice” – while his 2012 album, Polyhymnia, featuring three European orchestras, was nominated in Spain for “Best Album of the Year”. He was “Featured Composer” at the CNU Contemporary Music Festival (USA) in 2016 – including a showcase concert of his works in the Music and Theatre Hall, Ferguson Center for the Arts, in Virginia. His music is published in Australia by Wirripang. From 2001 to 2005, Jonathan David Little was Principal of the UK’s Academy of Contemporary Music, which was, at that time, Europe’s leading institution for students of contemporary music and the first music education institution to win the Queen’s Award for Enterprise (Innovation Category). He was subsequently appointed to the unique dual title of Reader in Music Composition and Music History at the University of Chichester. Amongst his writings on music is a “vast” and “erudite” two-volume study of musical and literary orientalism (winner of an Authors’ Foundation / Royal Literary Fund Award in 2010), and he was formerly Consultant Editor of the Musicians’ and Songwriters’ Yearbook. He is a Fellow of the Royal Society of Arts, and a Fellow of the Incorporated Society of Musicians. www.JonathanLittle.org About the MUSICAL DIRECTORS and CHOIRS Dr. Andrew Shenton and Vox Futura (Boston, USA) Woefully Arrayed, Op.13; Gloria, Op.18 Born in England, Andrew Shenton trained at the Royal College of Music in London, where he studied under a scholarship from The Royal College of Organists. While at the RCM, he read for a B.Mus. degree at London University, and was an organ scholar at St. Paul’s Cathedral. He moved to the US to study for a Master’s degree in organ performance at the Institute for Sacred Music, Worship and the Arts at Yale University, and then for a Ph.D. in musicology at Harvard University. He has toured extensively in Europe and the US as a conductor, recitalist and clinician. In addition to diplomas in both piano and organ, Dr. Shenton holds the Choir Training Diploma of the Royal College of Organists. He has pioneered contemporary music in a variety of styles and has given more than fifty world or US premieres. Dr. Shenton has been the recipient of numerous scholarships and awards including a Harvard Merit Fellowship, Harvard’s Certificate of Distinction in Teaching and a Junior Fellowship from the Center for the Humanities at Boston University – where he is now based. Vox Futura is New England’s premier recording choir, and consists of members of many of Boston’s leading professional choirs. Heinrich Christensen, organ Woefully Arrayed, Op.13 A native of Denmark, in the year 2000 Heinrich Christensen was appointed Music Director of the prestigious King’s Chapel in Boston (established in 1713, and the first church in New England to acquire an organ). Heinrich studied at the Århus Conservatory, Conservatoire de Saint-Maur, and the Boston Conservatory. He is a prize winner at the international organ competitions in Odense and Erfurt, and has given solo recitals on four continents. Paul John Stanbery and The Stanbery Singers (Cincinnati, USA) Wasted and Worn, Op.6; That Time of Year, Op.2 Paul John Stanbery is founder of The Stanbery Singers, and currently Music Director of the Hamilton Fairfield Symphony, Ohio Mozart Festival, Great Miami Youth Symphony, and has been Associate Conductor of the Lima Symphony in Ohio. Guest appearances have included the Western Piedmont Symphony, Mississippi Symphony Orchestra, University of Cincinnati and the Shreveport Symphony Orchestra. He is a regular guest with the Miami University Symphony Orchestra. A native of Toledo, Ohio, Paul John Stanbery studied at Bowling Green State University and the University of Cincinnati. Along with his symphony conducting, he directs the 90-voice symphony chorale. As a choral conductor with the Cincinnati May Festival, he collaborated with such noted conductors as Robert Shaw, Jesus Lopez-Cobos, James Conlon, Robert Porco, Eric Kunzel, and Keith Lockhart for performances in Carnegie Hall, Cincinnati's Music Hall and the Riverbend Music Center. He now teaches Music Composition, Music Theory and Conducting at Northern Kentucky University. In 2005, Mr. Stanbery won the prestigious Post-Corbett Award. Philip Simms and The Thomas Tallis Society Choir (Greenwich, London, UK) Kyrie, Op.5 Philip Simms is a versatile conductor, chorus master and instrumentalist, with an unusually varied musical background. Educated at the Royal Academy of Music, he received tuition in conducting from Sir Adrian Boult, Sir Colin Davis, Antal Dorati, George Hurst and Sir Charles Mackerras. Philip has conducted in all London’s concert halls and throughout the UK with orchestras such as the LSO and London Mozart Players. The Thomas Tallis Society, which celebrated its 50th anniversary season in 2015-16, was founded by Philip Simms, who was organist and choirmaster at St. Alfege from 1964 to 2000. With around 40 auditioned voices, TTS presents four or five concerts a year, the majority performed in the beautiful setting of St. Alfege, but also occasionally in the Old Royal Naval College Chapel or Blackheath Concert Hall.
Uncontrolled Keywords: Woefully Arrayed, Kyrie, Gloria, Wasted and Worn, That Time of Year, polychoral, cori spezzati, a cappella, a capella, multi-divisi, spatial effects, split choirs, sub-choirs, echo effects, isorhythm, hocket, cross-rhythm, cross-textuality, polychorality, polychoralism
Subjects: M Music and Books on Music > M Music
Divisions: Academic Areas > Conservatoire
Media of Output: AUDIO CD
Related URLs:
Depositing User: Jonathan Little
Date Deposited: 26 Jan 2017 14:58
Last Modified: 16 Mar 2021 11:44
URI: https://eprints.chi.ac.uk/id/eprint/2379

Actions (login required)

View Item
View Item
▲ Top

Our address

I’m looking for