Searching for Nathan Waring - 7 results.
At Night uses an original secular, contemplative text to explore our passage of time, where we've been, where we are, and where we are looking forward to. Written for 2-part upper voices with piano accompaniment, a cello solo takes the melody during the middle section, and then continues to mingle with the voices until the end, where the piece softly drifts off to oblivion.
This is a gently lilting setting of some of the text from Tennyson's Ring Out, Wild Bells, set for 3-part upper voice choir
with piano accompaniment. The first three verses begin with staggered entry, building layers of simple harmony which should be in the
grasp of ages 8+. The final verse takes the idea from the beginning but plays it in the major key, reflecting the optimism of the
text and the peace that Christ brings.
Perfect for use as a short anthem for a new year for any school or church choir.
Remembered was written in response to finding out, 100 years after the beginning of the conflict, about a lost
relative who fought and died in the First World War. William Pettigrew Waller landed in France on 30th September 1916, but
was only to see a month of fighting with the London Scottish Regiment when he was killed by enemy shells on October 28th.
His father, Christopher, was also serving in France at that time, as a Private in the Queen's Regiment. He survived the war
and received his son's pocketbook, watch and chain on his return to England.
The music and lyrics of Remembered, though quite simplistic in style, encourage the generation of today not to forget the sacrifices of the past. The trumpet's version of Last Post that joins the descant towards the end of the piece makes for an emotive final chorus.
Scored for SATB choir with tenor and bass soloists, A Lenten Prayer uses a contemporary text by William Loader to
express a prayer for Ash Wednesday. The middle section works in the BCP Collect for Lent between the two soloists before
Loader's text returns for a quiet, contemplative continuation with the whole choir.
A simple, final moment between soloists and choir ends the prayer, which is also suitable for use all year round.
This setting of three poems by Blake was commissioned by the Villages Music Festival,
Sussex, for a concert in Ripe Church in June 2016. The texts (written in 1789)
offer the universal theme of God's love and blessing through our nightly rest.
A Dream: The distinct sonic effect of open fourths and fifths throughout the piano accompaniment provide the backdrop to Blake's Dream. The violin does not have a melody as such, merely musical ideas that complement the abstract nature of the sleeper's troubled journey. The song finishes as mysteriously as it begins with no real resolve ever being found.
A Cradle Song: With its gentle rocking rhythm and syncopated violin melody, the narrative of A Cradle Song takes the form of a lullaby. The violin enjoys soaring above the piano as the text draws on images of the weeping Christ-child, yet the song finishes with the warmth of the love that He brought to earth.
Night: This setting emphasises the picture of security in which guardian angels pour blessing on all living things. The accompanying forces paint a bleak picture of the stillness of the night until the third verse, which, now in a major key, moves forward as the angels seek out and offer protection to all forms of life. Verse five becomes a little more dissonant as the words describe the pain of moving into the afterlife; and the angst, which finds reassurance and relief in the final verse.
This short setting of the Doxology utilises usual SATB forces. A solo violin
accompanies them with a repeated rising motif, stepping its way over the soprano line
to sing its own bird-like melody, high above the voices as they move towards their
Premiered by the Festival Singers in Sussex on June 26th 2016.
This a cappella SATB song was commissioned by the Brighton City Singers for inclusion in the 2017 Brighton Festival. Its theme celebrates diversity in our society with a repetitive text that reflects living together in harmony despite our differences and uniqueness. It is designed to be performed 'off-copy' with repetitive body percussion rhythms gradually expanding the texture before the voices begin, using a similar pattern of expanding textures before erupting into the main melodic theme. Body percussion rhythms can be altered as appropriate for the performers - or cut completely depending on level of ability. Equally, the piece can be shadowed by a piano/keyboard and is suitable for an improvised drum part underneath. Repeats can be repeated as many or as few times as the conductor wishes. Most importantly, the piece should be performed enthusiastically and flamboyantly!