3 Jazz Hymnes Ralph Vaughan Williams

Titel (DE): Three jazz hymns -
Titel (EN): Three jazz hymns -
Titel (FR): Three jazz hymns -
Komponist / Composer: Rowlands, William Penfro / Vaughan Williams, Ralph
Herausgeber / Editor:
Bearbeiter / Arranger: Todd, Will
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: gemischter Chor (SATB divisi) und Klavier; Jazz-Ensemble optional / mixed choir (SATB divisi) and piano; Jazz-ensemble optional
Besetzungsdetails:
Kompositionsjahr / Date of Composition:
Aufführungsdauer / Duration:
Verlag / Publisher: Boosey & Hawkes
Erscheindungsdatum / Date of Publishing: 04.03.2020
Ausgabe / Publication: Chorpartitur - Choral score - Optionale Instrumentalbegleitung digital erhältlich auf boosey.com
optional additional Instruments avalable digitally on boosey.com - - -
Seiten / Pages: 28
Verarbeitung: Rückendrahtheftung - Saddle-wire stitching
Schwierigkeitsgrad / Difficulty: fortgeschritten - advanced - avancé
Sprache / Language: Englisch
Reihe / Series: Contemporary Choral Series
ISMN: M-060-13641-2
ISMN-13: 979-0-060-13641-2
ISMN-EAN: 9790060136412
UPC: 840126930696

These jazz arrangements of well-known hymns were written for Andrew Earis and choirs of St Martin-in-the-Fields, London for various services and BBC broadcasts from that church. The setting of Come down, O Love divine supplies some new harmonic moves to Vaughan Williams' lovely tune Down Ampney, gradually adding vocal harmony through the verses, with a short descant section in the final verse. The compound-time arrangement of God is Love, which can also be sung to the supplied words of Charles Wesley's hymn Love Divine, again adds more of Todd's iconic jazz harmonies and textures in the vocal parts with each successive verse. The setting of Let all mortal flesh keep silence is structured to gradually build layers over the moody piano chords and the pedal harmony. At the end the music builds to a large climax for Lord most high'. The hymns can be performed using the supplied piano part or using the chord symbols above. Double bass may also be used in addition to piano, again following the supplied chord symbols, and parts for optional jazz ensemble are available. Performers of these hymns should feel free to include the congregation or audience in imaginative ways.

Vaughan Williams/Tood: Come down, O Love Divine (Down Ampney) - Rowlands/Todd: God is Love / Love Divine (Blaenwern) - French Traditional/Todd: Let all mortal flesh keep silence (Picardy)

[FR]
These jazz arrangements of well-known hymns were written for Andrew Earis and choirs of St Martin-in-the-Fields, London for various services and BBC broadcasts from that church. The setting of Come down, O Love divine supplies some new harmonic moves to Vaughan Williams' lovely tune Down Ampney, gradually adding vocal harmony through the verses, with a short descant section in the final verse. The compound-time arrangement of God is Love, which can also be sung to the supplied words of Charles Wesley's hymn Love Divine, again adds more of Todd's iconic jazz harmonies and textures in the vocal parts with each successive verse. The setting of Let all mortal flesh keep silence is structured to gradually build layers over the moody piano chords and the pedal harmony. At the end the music builds to a large climax for Lord most high'. The hymns can be performed using the supplied piano part or using the chord symbols above. Double bass may also be used in addition to piano, again following the supplied chord symbols, and parts for optional jazz ensemble are available. Performers of these hymns should feel free to include the congregation or audience in imaginative ways.

Vaughan Williams/Tood: Come down, O Love Divine (Down Ampney) - Rowlands/Todd: God is Love / Love Divine (Blaenwern) - French Traditional/Todd: Let all mortal flesh keep silence (Picardy)

für gem Chor und Klavier Chorpartitur (en)