Searching for Nia Llewelyn Jones - 3 results.
These responses are a simple set, written for the inaugural set of Girl Choristers at Gloucester Cathedral, and first performed at their
second Evensong. The voice parts are pleasingly melodic, with flashes of rhythmic flair, and minimal divisi. The organ part provides
both colour and ample support to the voices, with plenty of scope for bright registration. The responses are based on sequences of
parallel fifths, evoking an organum-style soundworld, coupled with more contemporary harmonic progressions. A climax is reached at
'Because there is none other...'; the large crescendo and increasing rhythmic and harmonic interest peaks at 'God', but immediately
subsides in awe, with a dramatic 'forte piano'.
This was written to make the most of the unparalleled acoustic of the quire of Gloucester Cathedral, but the drama is equally effective in a drier building. The responses are suitable for any group of upper voices from cathedral choristers to school choirs, due to their simple, attractive nature.
St Joseph of Nazareth can be a somewhat overlooked figure. There are certainly minimal musical settings in which he assumes the prominent role. This motet evokes Joseph's dream in which he is visited by an angel who tells him not to worry, as the child conceived within Mary is of the Holy Ghost. The motet evokes a dream-like lullaby, with the soloist or semichorus often soaring effortlessly above the hypnotic ostinato.
Ecce Concipies, Behold thou shalt conceive, depicts the seminal moment of the Annunciation to Mary. The opening evokes the agitation and surprise that might have overcome the Blessed Virgin on being greeted by an angel. The message is announced with a fanfare figure, whist the list of what and who the holy child will become builds in momentum, with the texture becoming busy and almost too much to absorb. The ending comes to a standstill, setting John 1:14 as Mary accepts God's will, and the word becomes flesh.