Searching for Laurence Caldecote - 11 results.
In 2012, and with the WWI cententary approaching, I wanted to write a new remembrance piece, dedicated to those from the British colonies who had fought for the Allies in many parts of the world. I was particularly minded to set In Flanders Fields, as it was written by a Canadian serving in Europe. Having read it a few times, the music soon followed and it was written within 48 hours. Whilst there is a melancholy feel conveyed through the various dissonances, there is also a sense of hope. Peace and stillness are conveyed through the use of simple rhythms.
The North Walsham Service was commissioned in January 2014, for ATB and organ. I wanted to make it a very user-friendly setting that would be at home in a parish church context, but would also suit a cathedral context. Although through-composed, there are definite themes in the voices and the accompaniment, and a good range of textures used. It is tuneful and memorable, adding to its appeal.
I like to write new settings of familiar hymn texts. This text is very special for the friend this is dedicated to.
The text lends itself to quite an English folksong-style tune and harmony. The accompaniment reflects the relaxed nature. Unison voices
creates a sense of strength whilst the harmony verse adds interest and each part is given an interesting line, the descant in the final
verse capping the piece well. I wrote it to be accessible and flexible.
The Missa Brevis in G is suitable for general use, as well as more festal occasions. The material is derived from the simple incantation of the Gloria, which can heard at various points in the Gloria. This theme is hinted at in the Sanctus and Benedictus - both movements having a gentle sway, mirroring the sway of the thurible. The gentle Agnus Dei affords the chance for soloists or a small group to sing the first part and the remainder to join in the later sections. The harmony is clean and simple, with a few occasional deviations, is very approachable and memorable, and not overly complicated.
I was commissioned by Tom Edwards to write a new communion service setting for the top line of girls in his choir. The opening motif in the Kyrie is found throughout the setting, giving it a more modal feel. To make it a flexible setting, it is possible for mens' voices to perform this, or indeed a full two-part setting with sopranos and tenors taking the top line, altos and basses taking the bottom line.
The Magnificat and Nunc Dimittis was conceived as a homage to Howells. The
various voices each have their turn, representing the different moods of the lines of
the text and Mary's response. It's not until "he hath showed strength with his arm"
that all four parts sing together.
There is plenty of strong unison to emphasise the occasions where there is harmony.
The organ part gently supports the voices but does have the odd moment where it can
shine.
A most accessible setting but with a few tricky sections for singers to get their
teeth into!
The setting of Away in a manger was written for Dave Ballard and the Choir of St Nicholas North Walsham. A mixture of unison and harmony, very much set in the early 20th century style, reminiscent of Warlock's Bethlehem Down. The melody was written so that, if so desired, it can be sung congregationally.
The All Saints' Service was written in late December 2017 as a gift upon my appointment as Assistant Organist of All Saints' Northampton, for
our girl choristers.
The melody is very singable, and the setting can be sung as unison (singing the upper notes where there are two), or in two parts. It can be
used a teaching tool for work on intervals and musical notation, containing most of the basic notation which choristers will need. It is fairly
simple with a few challenges along the way.
This piece was conceived and written in one evening and was a response to only a few versions of the text being available. Dominated by a very memorable tune, which all parts have the opportunity to sing, there is also an unaccompanied harmonised version in which all four parts have decent lines. The last verse gives a descant which enhances but doesn't detract from the melody.
I loved this text when I first came across it and wanted to write my own setting. The change between 4/4 and 5/4 gives a lilting, comforting feel, while in contrast, the harmonic shifts in the second and fourth verses add an urgency to be cleansed and trusting in God.
Although written as SATB the soprano part could be sung by tenors an octave down, making an ATTB anthem.
Missa Corona was written during the first coronavirus lockdown in 2020 for our choir to rehearse and perform, so a Sanctus, Benedictus, and Agnus Dei written for a cappella' choir. Later in the year, I was asked to write a Gloria to complete the setting, and it was written with organ, and so the Sanctus, Benedictus, and Agnus Dei were rewritten with an organ accompaniment.
The setting has a slightly modal feel, all four parts have interest and there is the scope for having sections for soloists or smaller groups, to contrast the full choir. I wrote it to appeal to not only the musicians involved but for the congregation as well, and indeed the soprano line of the Sanctus, Benedictus and Agnus Dei could be sung by a congregation.