Searching for Ben Costello - 6 results.
Although most of this work is scored for SSAATTBB, it is accessible, and contains rich harmonic textures, with some discreet jazz voicings.
A Babe Is Born is a short, vibrant and vigorous setting of this well-known
text, and makes an excellent introit.
It's been performed at St Mark's, Surbiton, and at the Actors' Church, Covent
Garden.
Composed for the boys of Shrewsbury House Preparatory School, Surbiton, this by turns vibrant and reflective setting offers a welcome addition to the small repertoire of Preces and Responses settings composed for unison voices and organ. Although originally for trebles, this accessible setting with its moderate vocal range will be enjoyed by amateur and professional choirs alike, and will be particularly welcome in any parish experiencing a shortage of singers! The manageable organ part plays a supportive role, whilst providing lively colouring for the more dramatic moments. The priest intonation is very straightforward.
Composed in 2011 for the Thames Philharmonic Choir and their Director John Bate. The Choir enjoys choral residencies at many of England's major cathedrals. The setting was designed to be sung in spaces such as these, but also works in more intimate locations, and with fewer singers; one to a part would be just as effective. The soprano line is very manageable, likewise the various divisi sections, and the priest/cantor part is also very straightforward. The harmony is rich and expressive, with vivid contrasts throughout in drama and subtlety.
Composed in 2016 for the boys of Shrewsbury House Preparatory School, Surbiton, this accessible setting of the canticles for evening prayer may be sung by boys, girls, adult voices, or any sensible combination at the discretion of the conductor. The organ part plays an important role throughout in colouring and dramatising the text. Details of registration are left to the player. Some of the thematic material is derived, albeit discreetly, from my 4th set of Preces and Responses.
This much-loved poem by the Elizabethan Jesuit priest and poet Robert Southwell lends itself remarkably well to musical settings. With its symbolism and imagery, and effective use of metaphor, it transports us vividly to the Nativity. In this setting I have tried to capture something of the gentle rocking motion of the crib, whilst attempting to allow a portrayal of the awe, wonderment, mystique, and importantly the humility of this regal birth to emerge along the way.
The setting is idiomatically set for upper voices, with some gently rewarding harmony for singers to enjoy along the way. The piano part needs rhythmic accuracy and careful pedalling, and plays an important role in colouring the scene.