Searching for Graham Keitch - 13 results.
Now [we] must honour the guardian of heaven,
This setting of O nata lux (O Light born of Light) was first sung by Antiphon in Exeter Cathedral, January 2016 and
subsequently in concert at Buckfast Abbey. It is also recorded on their O my people CD (Willowhayne Records Ltd, WHR038CDFP) from
which these notes by David Davies are taken.
'O nata lux celebrates an ecstatic text for the Feast of the Transfiguration. Keitch's expansive musical language unfolds with effective dialogue between choral textures of varying sizes, and while one senses the world of medieval monophony is never far away, the piece is shot through with richness of sound and a keen ear to the text.'
The motet is suitable for liturgical or concert use most times of the year.
This SSATB motet is a setting of words that are immediately familiar; the Church was founded on precious stones, 'the prophets, apostles and holy martyrs'. The theme appears frequently throughout the liturgical year which provides many opportunities for the motet to be sung. The text is a recent transcription by Gabriel Aydin of an ancient Syriac hymn from the School of Edessa. It speaks literally, to a foundational grounding in faith. The words 'the bars of Sheol did not and will not overcome it' remind us of the Archangel Michael's triumph over evil, while 'hallelujah' frames the Eucharistic rite. Ultimately, it is the truth that lies at the very heart of the atonement, 'for the forgiveness of sins', which brings the motet to a reflective and peaceful conclusion.
The well known words of Lully, Lullay (otherwise known as the 'Coventry Carol') date from the 16th century. They refer to the Massacre of the Innocents, in which King Herod ordered the slaughter of all infant males under the age of two in Bethlehem. This unaccompanied setting takes the form of a lullaby sung by the mothers of the unfortunate children. While settings of Lully, Lullay are often sung during Christmas carol services, the motet can be sung in the post Christmas-period of Epiphany. The popular text will also ensure it is equally at home as a concert piece at other times of the year too. Its origins can be traced back to the Coventry mystery play which was originally performed in the summer during the 1500s.
King David's grief over the loss of his son Absalom is enacted through the text of the motet, Absalon fili mi. This short setting is one
of several works composed for David and Judith Acres who requested the text to be set for their upper voices choir, Contrapunctus Early
Music. They gave the first performance at St John the Evangelist Cathedral, Cleveland, OH in April 2016. The full choir edition
published here was intended for one of the Acres' other choirs, The King's Counterpoint, based in Charleston, SC. It was first sung by
them during an all-Keitch evensong at Wells Cathedral a few months later.
The text has no specific place in the liturgical calendar and can be sung throughout most of the year. However, King David's outpouring of grief at the loss of his dear son draws a parallel with the mood of Passion Week when Christians reflect on Christ's suffering and death on the cross. The story of King David is familiar in the secular world too and the work is equally at home as a concert item.
Keitch's treatment of this powerful text reflects the restraint and sensitivity that has become the hallmark of his work and the Anglican choral tradition in general. The choir loved singing this piece, and the first night's audience demanded an encore! - David Acres
The souls of the just are in the hand of God is used throughout the year to commemorate saints and those who have given their lives in the course of public duty and service. This motet is relatively straight forward and is suitable for choirs looking for a modern alternative to the more familiar settings of these words.
The motet was first heard in Toronto (Cantabile Chamber Singers, 2014) while the UK premiere took place during the Brandenburg Choral Festival in London (Fisher Consort, 2017). The Amuse Singers gave the first US performance during their 2017 New York concert season. The first cathedral outing took place the same year at St John the Divine Cathedral, New York. Cambridge choral scholars Concanenda recorded the work for their In memoriam EP and more recently it was recorded by Cantate for the EM Records CD, Guardian of Heaven (EMR CD061).
This setting of O magnum mysterium was composed for Michael Graham and the University of Exeter Chapel choir. It was first performed at a Christmas Concert given by the choir in December 2015. The chapel choir has sung it on a number of occasions since during chapel evensong and also in Exeter Cathedral. It was included in their tour of Malta June 2016 when it was sung at St Paul's Anglican Cathedral, Valletta during a special concert and evensong for Her Majesty The Queen's 90th birthday.
The US premiere took place in the Church of the Holy Trinity, Lincoln, Nebraska when it was sung by Dulces Voces in December 2018.
The motet has also been sung elsewhere during Midnight Mass for which this peaceful and haunting setting is well suited, aided by a few bars of quasi plainsong. The piece concludes with a joyous alleluia.
Click for rehearsal tracks from Kinnison Choral Co.
This setting of The Beatitudes for divided trebles and organ was composed during the spring of 2021 when many choirs faced uncertainty and depleted resources due to lockdown restrictions. Although intended for choir, the setting works equally well with two singers.
The anthem maintains a steady and flowing pace with repeating motives in the accompaniment. It concludes in an exciting and uplifting manner in response to the words 'Rejoice and be glad. Great is your reward in heaven'.
The text is well know and comes from the Sermon on the Mount as recorded in the Gospel by Matthew. The anthem is suitable for liturgical use throughout most of the year, and also other events such as weddings and concerts.
Recording here is by Alexandra Burch.
This mass setting was composed with several objectives in mind. Both the Kyrie and Agnus Dei should be relatively simple and non-intrusive to respect the parts of the service during which they are usually sung. The other objective was to ensure these two movements, together with the more uplifting Sanctus and Benedictus, shouldn't be too difficult for parish choirs used to singing mass settings by e.g. Darke and Wood, but not necessarily the Gloria.
It isn't uncommon for the Agnus Dei to be sung prior to the communion anthem when members of the congregation are receiving Holy Communion, so a gentle and quiet approach has been adopted for this movement.
The Gloria has a wide dynamic range. It begins in a loud and triumphant manner before settling into a quieter and more reflective mood, dictated by the text. The energy builds again towards the end.
The setting is mostly SATB with a little upper voice divisi. A couple of soprano soloists or a smaller group of singers can be used for a few bars of Agnus Dei.
The mass has been sung on a number of occasions in Wells Cathedral by the Chamber Choir to whom it was dedicated in 2017.
This setting of Like as the hart is very flexible and can be sung by unison, upper or lower voice choirs of any size, or by a soloist. The text is based on the first few verses of Psalm 42 and the phrases could also be sung by alternate voice types to mimic antiphonal singing. The anthem is suitable for use throughout the year and would be a handy addition to any choir library. It was composed during the pandemic and was designed for use whenever something might be needed at short notice or when voice resources are depleted, overstretched or uncertain. Like as the hart was composed as a companion work alongside The Beatitudes which is also published by CMP.
This set of Preces and Responses for unaccompanied SATB resulted from an opportunity to compose a relatively straightforward edition of The Lord's Prayer for In Ecclesia Exon. It was sung during evensong in Exeter Cathedral in February 2022. This was the choir's first outing after a period of inactivity due to pandemic restrictions.
The setting has no divisi and ends with three simple amens for each of the collects. This would be a useful addition for choirs looking to expand their evensong repertoire with a new set of Responses, and a setting of The Lord's Prayer which works with the set by Reading and some others which lack that particular prayer.
Resplenduit facies ejus was composed at the request of The King's Counterpoint for their 2021 residency at Canterbury Cathedral. This motet, together with O nata lux (also published by Chichester Music Press) was to be sung for the Feast of the Transfiguration. The residency was cancelled because of the pandemic and their 2022 visit didn't coincide with the feast. However, was aired at Buckfast Abbey before the choir began its residency at Canterbury.
The motet was intended as an introit. It was composed with that purpose in mind, and also to take advantage of the vast space afforded by the cathedral. There are few settings of this text so the motet would be a useful resource for visiting choirs in residency when the feast occurs on August 6th.
Recording by Kinnison Choral.
His face shone like the sun, and his clothes likewise became as white as snow. And behold, there appeared to them Moses and Elijah, speaking with Jesus.
This short and solemn SATB setting is most effective when sung at an unhurried pace. However, there's room for flexibility depending on the resources, acoustics and the occasion. It has been sung by small and large choirs alike at various Remembrance Day services and other occasions to commemorate those who have lost their lives during the course of public duty.
The setting was first performed by the choir of St Michael and All Angels, Mount Dinham at the Devon County Festival of Remembrance in the University Great Hall, Exeter. It was also sung by Exeter Cathedral choir during the civic service for Remembrance Sunday, 2014. The choir has also used this motet for an Armistice Day concert held in the same cathedral.