Searching for Olivia Sparkhall - 4 results.
Amy Beach Canticles pairs the Nunc Dimittis, one of Amy Beach's earliest published works of 1891, with a newly-composed Magnificat by Olivia Sparkhall. The adaptation of phrases from Beachâs Nunc Dimittis, combined with portions of Tone VIII, provides a partner which is sympathetic to Beachâs style. The straight-forward SATB a cappella setting makes it ideal for a weekday evensong, or for a choir of modest forces. A keyboard reduction is provided for rehearsal purposes, or to provide light support in the service if needed.
Suitable for use at services which include a baptism or christening, this setting of the Collect for the Feast of the Baptism of our Lord commemorates the baptism of Jesus by John the Baptist. The feast day itself is celebrated on the first Sunday after Epiphany.
The sound-world of The Baptism of Jesus embraces the sharpened fourth, which creates a timeless quality typical of modal writing. The composition is intentionally restrained in its scoring, with no divisi, and no extremes of register, making it easily performed on little rehearsal.
The Baptism of Jesus can be performed a cappella, or gently accompanied on piano or organ, if needed.
Grant to us, who are born again by water and the Spirit, that we may be faithful to our calling as your adopted children.
This is an arrangement of the traditional Irish tune, Londonderry Air. Suitable for Christmas carol services and concerts, the lyrics tell of the night of Jesus' birth, the visit of the shepherds, and, in the final verse, of the three wise men. The final verse makes the piece also suitable for Epiphany.
There is neither Jew nor Greek, there is neither slave nor free, there is neither male nor female; for you are all one in Christ Jesus. Galatians 3:28.
You Are All One was conceived as a musical representation of the diverse voices of a body of people coming together to speak as one. This is achieved through chant-like repetition, at times in unison, then in harmony, with snippets of melody for each voice-part and, for a time, the upper voices becoming a chattering multitude over a sustained lower voices chord. It is about difference and similarity, about the individual voice and the collective; it ultimately captures the strength that exists when we act in community with each other.
The work opens in unison, with brief moments of harmony highlighting particular words, comes apart when many voices repeat independently, and then finds consensus, ending in chordal homophony. It has a rhythmic impetus which follows the natural metre of the verses from Paulâs letter to the Galatians, falling into a lilting 7/8 for much of the piece.
Written for a cappella SATB (no divisi) and with a modest vocal range to suit most choirs, You Are All One is ideal for general use, and especially when exploring themes of unity, diversity, and inclusion.