Searching for Edward-Rhys Harry - 14 results.
Originally written for the choir at Queen Mary's College, this piece takes the familiar words of Christina Rossetti and translates them into a semi dramatico setting, exploring the atmosphere and images projected from the text. The main intent was to explore the relationship between the music and the words. In ABA form, the piece moves from one minor key to another before returning to its original state.
Essentially in arch form, this piece is predominantly homophonic
in nature, and explores the relationship between triple and
quintuple time alongside the tonal relationship between a key
and its relative minor. The piece was commissioned by Bristol
Chamber Choir who gave its premiere performance in December
2007. The text is the familiar Latin setting:
O magnum mysterium et admirabile sacramentum, ut animalia viderent Dominum natum, jacentem in praesepio! Beata Virgo, cujus viscera meruerunt portare Dominum Christum. Alleluia.
O great mystery and wonderful sacrament, that animals should see the new-born Lord, lying in a manger! Blessed is the Virgin whose womb was worthy to bear Christ the Lord. Alleluia!
This setting of the familiar Latin text was written to allow the
opportunity for a soprano soloist to perform, accompanied by a
mixed choir, as part of a public concert given by a choral
The piece calls for a soprano with a good upper range, enabling her voice to soar above the choral texture beneath. The piece is in sonata form and accessible to both chamber and larger choral forces.
Originally written for the Soprano Anna Koukoulis, the work received its première performance by Anna and Côr Bro Ogwr (one of Wales's largest mixed choirs, based in Bridgend) in November 2009.
The ceaseless determination to prolong life by medical advances and
stave off the process of ageing has made death the final taboo ‒ an
insult rather than an inevitability. As a result, the loss of a loved
one comes as an appalling shock; the physical and emotional pain can
be overwhelming. These dark moments are explored and reflected upon
in Requiem Of Loss.
Requiem Of Loss is principally a choral work which takes the listener on the journey from the first impact of losing someone, through the many aspects of mourning, ending in one final, devastating realisation: there is no option but to say goodbye.
The work is in nine movements, from the enraged Requiem Aeternam and the masculine, rhythmic Kyrie Eleison to the feminine, ethereal Pie Jesu, and the final reflection of O Lord Now Lettest Thou Thy Servant Depart In Peace. The Libera Me is set as a duet a conversation between a man and a woman who have lost a child. This movement is dedicated to all those who have suffered a similar loss.
The requiem is set to the traditional Latin texts used in the Catholic funeral service with added verses from the Bible.
Requiem Of Loss was written for and premiered by Bristol Chamber Choir in 2008.
Oboe doubling cor anglais
Clarinet in B flat
Trumpet in B flat
Setting for Llandaff Cathedral School
Remember me when I am gone away,
Our childhood memories and favourite stories can often help shape the adults we become.
The Little Black Lamb, written by Marjorie Proctor, is a story told to me as a young child and was part of Blandford's Very First Bible Stories.
I had been waiting for a reason to include a reference to it in a choral piece for some time before it happened. It becomes a 'break from the action' moment in the cantata Gabriels Trumpet which I wrote some time ago for Bristol Chamber Choir.
The setting is designed to conjure up the images of the tiny lost little lamb, far away from its mother and crying in the wilderness... only to be found and returned home. And to aid this I have written my own words.
It is set for SATB choir with optional keyboard accompaniment, though it works far better a cappella.
In The Shadow Of Mamayev is a choral work for SATB and children's choir, soprano solo and chamber ensemble. The work may
also be performed with reduced instrumentation or with piano or organ accompaniment only.
In The Shadow of Mamayev is a work of seven movements that serves as an act of remembrance for the victims of war. The movements have all been inspired by monuments built across the world that commemorate those who have fallen, or who have survived, yet are still victims, either physically or emotionally. The text is a combination of previously published (Rossetti), newly written (Peter J Bulchin) and sacred texts.
The work was written firstly as a featured new work in the choral festival 'Voces Volgograd' in Volgograd, Russia - the statue of Mamayev stands over the city, formerly known as Stalingrad. It also formed part of the inaugural season of The Harry Ensemble, a vocal ensemble that exists to promote British choral music outside the UK.
The premiere took place in April 2012, at the Tsaritsyn Opera House, Volgograd, with The Harry Ensemble, Tsaritsyn Opera House Chorus and Orchestra, Nerys Jefford (soprano) and VIKTORIA Children's Choir, conducted by Edward-Rhys Harry.
Following the performance, a question-and-answer session with the performers and audience revealed that many in attendance had lost relatives at the famous Siege of Stalingrad.
As this work is published so close to the centenary of the beginning of the First World War, it is hoped that we will all Remember...
The story of Santes Dwynwen, the patron saint of lovers and love in Wales, is centuries old. To this day greetings cards are
sent on the date of her passing: January 25th.
The larger work is presented here in suite form. The story has been amended to be much shorter for this short cantata setting, designed for choirs of any age or size. The solo passages are written with the thought that the soloists themselves might be members of the choir who are performing.
The piece is written as either a feature item for a service of worship or as a filler in a concert programme.
Santes Dwynwen (suite version) was performed by The Harry Ensemble as part of their 2013/14 season, with performances in Warminster, Reading, London and New York.
A setting of the famous folksong
Programming secular choral music can sometimes be hampered by either works that are too long or too short. And how to represent the
Celtic nations in one piece?
This arrangement of three Celtic folksongs was put together for Reading Festival Chorus as part of a secular programme of pieces, providing the listener with something familiar but set in a slight more 'modern' manner than that which we are accustomed to hearing.
Scotland, Wales and Ireland are represented here with three well-known and well-loved folksongs put together as an entertaining sing and a relaxing listen. I do hope you enjoy performing them!
Alexander Pope (1688-1744) was an 18th-century English poet, best known for his satirical verse and for his translation of
Homer. He didn't enjoy good health and became hunchbacked from the age of 12 after developing Potts' disease. After being forced to
move out of London with his family — because of laws against the Catholic faith — he eventually settled in Twickenham.
Famous for his use of the heroic couplet, he is the third-most frequently quoted writer in The Oxford Dictionary of Quotations, after Shakespeare and Tennyson.
This setting of Pope's poem Ode for Music on St Cecilia's Day aims to highlight the dramatic scenes played out in the poem, in a musical style that may be easier to listen to — and perform — than the setting by CHH Parry.
The work is for mixed voice chorus with soprano and baritone solo, and can be performed with either the keyboard accompaniment or the chamber orchestra accompaniment found in the full score.
The premiere performance took place in University of Reading Great Hall, performed by Reading Festival Chorus and Reading Haydn Choir, accompanied by The British Sinfonietta, on November 22nd 2014.
Matthew 25: 35-40
2 Corinthians 13: 11&14