Jacob and The Angel (first 2 movements) performed by FifteenB and Camerata Santa Dorotea, conductor Paul Ayres, recorded live.
NEW New to the catalogue:Crossing
005001Vocibus Mulierum - Women's Voices20'F
Choir: SSAATTBB + Mezzo-Soprano Solo
'I decline the honour of being an Angel'
1. Ave Maria   words
2. Inviolata   words
3. Women's Voice   words
4. Litany   words
The cantata sets Latin texts from the Roman Missal alongside English words from a Victorian child-rearing manual, texts by the author and extracts from the writings of Maria Deraisnes (the French nineteenth century Feminist). The cantata explores the historical relationship between the Church and women. It contrasts the idealised ecclesiastical view of womankind, as epitomised by the Virgin Mary, with various historical views of women and sexuality. The movements consist of a dialogue between the choir, expressing the views of the church and the soloists expressing the views of women, culminating in the mezzo-soprano soloist and female chorus echoing Maria Deraisnes words "I decline the honour of being an angel. No-one has the right to force me to be both dupe and victim
005002Regina Coeli - Queen of Heaven20'F
Choir: SSAATTBB + Mezzo-Soprano Solo
1. Ave Maria   words
2. Inviolata   words
3. Salve Regina   words
4. Litany   words
A cycle of Latin Hymns to the Blessed Virgin Mary for Mixed Chorus and Solo Mezzo-Soprano
A Latin version of the Cantata Vocibus Mulierum
005004The Young Man and Death - A Dialogue (vocal score)25'J
Choir: SATB and Wind Octet (2 Clarinets, 2 Oboes, 2 Horns and 2 Bassoons)
'I am a friend and do not come to punish you, you will sleep sweetly in my arms.'
   First Dialogue - Preludium; First Chorale
   Second Dialogue - Denial; Second Chorale
   Third Dialogue - Anger; Third Chorale
   Fourth Dialogue - Bargaining; Fourth Chorale
   Fifth Dialogue - Depression; Fifth Chorale
   Sixth Dialogue - Acceptance; Sixth Chorale
   Final Chorus
Cantata for Choir and Wind Octet based on the poetry of Rabindranath Tagore, in the form of a dialogue between Death and a dying man as he gradually comes to a form of acceptance.
words programme note music
005005Here be Angels (choral part only)15'F
Choir: SSAATTBB with Organ Continuo (Ad Lib)
Commissioned by the Crouch End Festival Chorus
1. The Celestia Hierarchy   words music

2. Of Angels, Names and Pins   words

3. The Rebel Angels   words

Setting words from a wide range of sources, this motet/cantata explores medieval attitues to angels, with descriptions of the heavenly hierarchy from De Celestia Hierarchia, the controversy over how many angels could stand on the head of a pin, the lists of angels' names from The Book of Enoch and Milton's descripton of Satan and the Rebel Angels
The Libretto for the final movement, 'The Rebel Angels', the composer's adaption of passages from Milton's Paradise Lost, was published in the poetry magazine 'This Is'.
'Hugill's inventive Here be Angels' - Rick Jones, London Evening Standard, March 1998
programme note
005005Here be Angels (full score)15'I
005006Jacob and the Angel - A Nocturne (vocal score)14'G
Choir: SATB and String Orchestra (Solo Violin and 5-part ensemble)
1. Nocturne words

2. Ludus words

3. Aubade words

4. Love Song words

5. Envoi words

An exploration of the rather curious story from Genesis in which Jacob spends a whole night wrestling with an Angel. When the Angel does not prevail in the wrestling, he renames Jacob and calls in Israel.
programme note
listen - third movement
listen - fifth movement (excerpt)
005006Jacob and the Angel - A Nocturne (full score)14'I
005007The Barbarian at the Gate25'
Choir: S(S)AT(T)B and Three Trumpets
1. Lament for Troy words

2. Lament for Aquilea Destroyed, and Never to be Built Again words

3. On the Killing at Lindisfarne words

Settings of three of Helen Waddell's haunting translations from medieval Latin, evoking the distant worlds of mythical Troy captured by the Greeks, Roman Aquilea destroyed by Attila the Hun and Saxon Lindisfarne invaded by marauding Vikings. The fanfare The Barbarians are Coming uses themes from the cantata.
programme note
005009The Testament of Dr. Cranmer12'F
Choir: SATB words
A setting of extracts from Thomas Cranmer's final speech, just before his execution, evoking his final moments and reiterating Cranmer's commitment to a reformed Protestant Church. Performed by the Eight:Fifteen Vocal Ensemble, conductor Paul Brough, at the University Church, Oxford, as part of the commemoration of the 450th anniversary of Cranmer's execution
programme note
005010The Magi12' 15E
Choir: SSAATTBB words
Using extracts from the sermon by Lancelot Andrewes, which inspired W.H.Auden, this 3-movement work uses bi-tonality to evoke the descriptions of the Magi.
The Magi is part of Mass of the Epiphany, a striking work which, rather than setting the Ordinary of the Mass (Kyrie, Gloria etc), sets the Propers for the Feast of the Epiphany along with the Epistle set for that day. At the centre of Mass of the Epiphany is Robert Hugill's The Magi, a setting of Lancelot Andrewes 1622 Sermon on the Nativity, the work which inspired T. S. Eliot's poem Journey of the Magi. Full details here. music
Choir: SSAATTBB + organ words
A spectacular setting of the Latin Alleluiatic Sequence
005012Crossing NEW12'D
Choir: SATB + organ words music
A setting of two poems by Rabindranath Tagore, verses 77 and 78 from Crossing. Premiered by FifteenB in 2006, conductor Paul Ayres, organ Malcolm Cottle.
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