Searching for James Webb - 13 results.
Setting of words by Bishop Timothy Rees of Llandaff for SATB, piano and organ, by James Webb. Commissioned by The Children's Society, and first performed in Llandaff Cathedral at their Festival 98 service in 1998.
There are two entries for God Is Love in the catalogue, so please make sure you know what you're ordering. This page shows the full score. In addition, parts for the organist and pianist are available with a choral reduction, to facilitate page turns.
Anthem for Epiphany, for unaccompanied SATB by James Webb. Setting of the mediaeval Epiphaniam Domino.
Huic Magi has been recorded by Charterhouse Special Choir and is available on Spotify.
Setting for SATB and organ by James Webb.
Short setting for SATB of part of a hymn by Samuel T Francis. Composed by James Webb.
This is an evocative setting of words by John Keble, priest and poet, 1792-1866.
This arrangement of a Scottish folksong was designed to be played by
three 15-year old students for their GCSE Music ensemble performance.
There is a scarcity of material available for flute, oboe and violin, and I was therefore forced to compose something which would showcase the talents of the individual performers whilst at the same time allowing them to develop skills of ensemble balance, tuning and co-ordination. It would be equally useful for any small group of
students at A Level who are required to submit a group performance or as a practical example of a creative folk song arrangement.
I hope that the music evokes something of the waves, birdsong, scenery and changeable weather of the lovely isle of Arran.
The Chantry Folksongs were commissioned by Chantry Quire of Chichester as part of their 10th anniversary celebrations.
Four composers were asked to choose a folksong from England, Ireland, Scotland and Wales, and to arrange it for
unaccompanied SATB. Two of the composers followed the brief.
The folksongs are The Braes O' Balquhidder from Scotland, arranged by Neil Sands, He Gives His Beloved Certain Rhymes, an Irish text by WB Yeats set by Patrick Larley, Suo Gân, a Welsh folksong arranged by Victoria Larley, and The Keel Row, from England, arranged by James Webb with a piano accompaniment.
The set of contrasting folksongs was first sung by Chantry Quire in 2010.
This short arrangement of Gibbons' exquisite Drop, Drop Slow Tears was written
to be performed at the 2010 Easter Service of Wimbledon High School for girls.
The piano dynamic and pedal markings must be followed exactly as written to allow
deliberate blurring of the harmony in the short interludes. In addition, it is
important that the tempo is not at all fast.
Drop, Drop Slow Tears is included on the CD Penitence And Redemption, recorded by Ely Cathedral Girls' Choir, conducted by Sarah MacDonald. The CD is available from Regent Records. The MP3 performance available above is taken from Penitence And Redemption, and is used by permission of the performers and Regent Records.
This piece was composed for the girls of Wimbledon High School to sing as an introit before mass in the lower basilica of St Francis in Assisi during October 2011. It is designed as a simple, congregational setting of one of St Francis's prayers in his original Italian: the prayer before the cross. A translation is:
O most high, glorious God, enlighten the darkness of my heart. Give me true faith, firm hope and perfect charity, sense and knowledge, that I may do your holy and true will. Amen.
This simple version of Personent Hodie was written for the Senior Choir of Hull Collegiate School, to be performed at their carol service in Holy Trinity Church, Hull on December 17th 2012. In contrast to the well-known mediaeval tune, mine is in a major key and places the stresses on slightly different syllables. It is suggested to keep the tempo at a speed which enables all the words to be clearly sung.
The composer writes:
Spike Milligan's poetry for children easily rates alongside that of Lear, Lewis Carroll, Roald Dahl or any of the other great writers who specialised in this field. Despite this settings of his words are still relatively thin on the ground. I sought partially to redress the anomaly with these three short songs, composed for the Year 7 and 8 Choir of Wimbledon High School.
The first should be sung, as indicated, with rising menace: I had in my mind a recalcitrant army of vengeful zombie children, not unlike the army of ghosts which rises terrifyingly during Wagner's Der fliegende Holländer. The second should be sung with purety and piety, such as was heard from the trebles of the Chapel Choir of King's College, Cambridge in the 1960s. The final song should evoke the dramatic tension and edginess of a man genuinely afraid of jam (this text is just one of Milligan's anti-jam poems and so there is good reason to believe he did indeed dislike it.)
In this setting of the Advent Responsory I sought to evoke some of the expectant, atmospheric mystery of the words. I also set out, deliberately, to partially reverse the alternation of full chorus/unison verses found in the well-known setting by Palestrina.
This setting of the Magnificat evokes the excitement, joy and foreboding of the story
of the annunciation, often through the use of a solo organ melody as heard at the
start and end of the piece.
The Nunc Dimittis in based upon an inexorable bass line evoking the aged Simeon and his encounter with the long awaited infant Christ.