Searching for Rex Latter - 14 results.
Short and calm setting of words by St Bernard of Clairvaux. Sung by The Bath Camerata, directed by Nigel Perrin (one of the original King's Singers), in November 1997 at Alton college, Hampshire.
Short setting of Psalm 95. Sung by The Bath Camerata, directed by Nigel Perrin (one of the original King's Singers), in November 1997 at Alton college, Hampshire.
Setting of Psalm 139 vv 6-9. Sung by Sounds Sacred of Arundel.
This enchanting setting of the famous poem by Shelley has been performed by the lay vicars of Chichester Cathedral.
Short fanfare for organ solo, performed at the AGM for the West Sussex Organists' Association on the organ of Bognor Parish Church. Written for the occasion of the priesting of the Revd John Phillips.
Dum Medium Silentium While All Things Were in Quiet Silence is an anthem with a Christmas text from the book of Wisdom, set in three imitative sections. The piece has had several performances, one being by the choir of St Wilfrid's Church in Bognor Regis at the dedication service of the newly-restored organ.
Composed originally for Sounds Sacred of Arundel, this is a gorgeously mournful and very moving setting for unison choir, but it also works well as a solo song. It's ideal for choirs with what one might call 'modest resources'!
Composed for Sounds Sacred of Arundel and performed by them a number of times, Like as the Hart can be sung by choirs of 'modest resources'.
A short gentle prelude on Burford, a tune usually sung to the hymn O God of Bethel, now alas rarely used. The melody appears on a 4' pedal stop decorated in a quasi Bach style on the manuals.
A lively Christmas carol for mixed voices and organ. (Piano will suffice if no organ is available.)
The piece is for mainly unison voices and organ. The second half puts the melody into the lower voices and adds a descant for sopranos.
This charming true story refers to a large family from Selsey whom the author knew well, with seven children. The Philippa and Oliver mentioned in the song are among the first four. The naive and childlike text belies the deeper meaning of the poem made apparent at the end.
The arrival of the Alternative Service Book in 1980 made it necessary for new settings to be composed to accommodate the new texts. This setting, like many others, was written with congregational singing in mind, with a choir to support it were possible. Therefore the vocal lines lie mainly between B below middle C and D a ninth above it.
The music is almost entirely for unison voices, the only exception being a 10-bar section for SATB in the middle of the Gloria in Excelsis, though even this will work perfectly satisfactorily in unison should four-part harmony resources not be available.
More recently, with the advent of Common Worship, further textual changes have occurred including the addition of the seasonal acclamations which follow the Eucharistic Prayer, so once again it has become necessary for musical adjustment. Accordingly this setting has been edited and revised.
In order to accommodate a wider set of tastes, there are now two settings of the Sanctus, the first powerful and exultant; the second starting quietly but rising to a climax at "Heaven and Earth...." Both versions move easily into the following Benedictus.
Finally, should it be needed, a discarded setting of the Lord's Prayer has been retrieved from an earlier version of this work and adjusted to fit what now seems to be the preferred text of this prayer.
For oboe and string orchestra, this three movement work reflects a pastoral atmosphere throughout.
The first movement, Rustic Tunes, though of an autumnal, brooding character in a minor key, does not drag, but moves con moto throughout.
This is followed by A North Country Air, a gentle, reflective melody featuring the oboe in its more expressive mode, supported by a quiet accompaniment from the strings.
Finally Rustic Dances returns to the idiom of the first movement but at a faster tempo and with an unrelenting pulsating rhythm from the lower strings. In this section several lively tunes follow one another in quick succession. Later, fragments of the earlier movements are heard, there is a climax, a short cadenza from the oboe and the suite rapidly moves on to its conclusion with a triumphant flourish.
The string parts are provided for 3 3 2 2 1 desks. Please get in touch if you need a set with more copies for your ensemble.