Searching for Alan Smith - 7 results.
Written in 1994, For the Fallen was first performed in November 2003 by the choir of St Mary's Episcopal Church,
Aberdeen, conducted by Geoffrey Atkinson. The text is taken from a well known poem by Laurence Binyon; it has recently come
into the public domain which is why this piece is only now available for publication.
The setting is for soprano solo and SATB choir accompanied by organ. The first verse is sung by the soloist while verse two
repeats the same text, this time scored for mixed voices.
The six pieces in this volume were first performed on Saturday 20 July 2013 in St Paul's Church, Chichester, by the girl
choristers of Salisbury and Winchester Cathedrals and the West Sussex County Youth Choir. This event was the final of a
composition competition organised as part of the Southern Cathedrals Festival, generously sponsored by the Pallant
Charitable Trust, and adjudicated by James MacMillan; the pieces were those that had been shortlisted for the final from
many entries.
| The whole bright world rejoices now | Martin Neill |
| Song of Triumph | Christopher Boodle |
| Blessed is the Lord | Jack Oades |
| Great and wonderful | Stuart McKerracher |
| This is the day | John Reeman |
| The whole bright world rejoices now | Alan Smith |
This straightforward anthem for Ascensiontide uses a text by Bishop Reginald Heber.
The piece is in three sections. The opening uses a declamatory fanfare-like figure
which matches the text well. The second section — in the minor key — is a contrast,
using unison male voices answered by unison upper voices. This leads back into the
third section, which is basically a repeat of the first, but with a coda.
The piece started life as an anthem for three voices (SAMen)
and it was in this format that it received its first performance on Ascension Day 2015 at St Andrew's,
Burgess Hill, where the composer is Director of Music. It has been expanded into a
4-part setting for this publication.
This straightforward anthem for Ascensiontide uses a text by Bishop Reginald Heber.
The piece is in three sections. The opening uses a declamatory fanfare-like figure
which matches the text well. The second section — in the minor key — is a contrast,
using unison male voices answered by unison upper voices. This leads back into the
third section, which is basically a repeat of the first, but with a coda.
The piece received its first performance on Ascension Day 2015 at St Andrew's,
Burgess Hill, where the composer is Director of Music. It is also available as a
4-part setting (SATB).
Composed for Pentecost 2016, this anthem is a setting for three voices (SAMen).
The organ introduction uses a falling motif that appears throughout the piece,
although the theme is inverted at the opening of verse one.
There is some imitation between the voices before the first section concludes with a
slightly unusual modulation to A major.
The second section repeats the inverted theme, this time in the men's part. A 3-bar
organ interlude separates verses 2 and 3 and is used to modulate back to the key of F
major.
The final verse is essentially a repeat of the first verse, but with some augmentation
to extend the main theme before the opening organ music returns to conclude the piece.
This piece was written for the Easter Saturday vigil service at St Andrew's, Burgess Hill in 2003. It evokes a mood of stillness and
anticipation, so the Alleluias which close the work are ones of quiet rapture, rather than the celebratory exultation associated with
Easter Day.
The piece falls into three sections (bars 1-12, 12-18 and 19-35). The outer sections use broadly similar material which is based around
an F# minor/A major tonality. The central section is more chromatic and features an enharmonic modulation into the unrelated key of Eb
major, before resolving back into the earlier material.
The music is only of moderate difficulty and choirs who can sing unaccompanied with confidence and are able to manage the shifting
tonality of the central section could find this a useful addition to the limited repertoire for Easter Eve.
This Easter anthem sets five verses of Charles' Wesley's hymn. The opening toccata-like organ introduction helps to create a suitably
jubilant mood, whilst the use of the asymmetric 7/8 time signature gives the piece some rhythmic interest. Verse two (bar 21) uses
tenor and bass voices only and introduces some new melodic material, though the buoyant mood is maintained. Verse three (bar 37) sees a
return to the opening theme.
Midway through verse three, there is a change of mood and tempo, marking the middle section of the piece. The new theme is treated in
imitation between the voices before a chordal texture is established. There is a slight increase in tempo moving into verse four
(bar 67) where the material is set in imitation between the soprano and alto voices. The final section of the piece - verse 5
(bar 87) - is marked by a repeat of the opening theme, plus a short coda to conclude the piece with a dramatic flourish.
The anthem was first performed by the choir of Jefferson Avenue Presbyterian Church, Detroit, conducted by their Director of Music,
Philip J. Michéal, on Easter Sunday, April 2007.