Benedict Sheehan A Christmas Carol
for narrator, SATB soloists, and SATB choir unaccompanied, with optional bones In this compelling work for narrator, soloists, and choir, Sheehan presents an engaging musical dramatization of Charles Dickens's A Christmas Carol. Dickens's text has been artfully abridged by Matthew Guard to facilitate concert performance, and the narration is seamlessly woven into Sheehan's richly diverse score. Suited to performance in a variety of settings, this work sees imaginative arrangements of traditional carols and vibrant and accessible original music combine to bring a familiar festive tale to life.
for narrator, SATB soloists, and SATB choir unaccompanied, with optional bones
In this compelling work for narrator, soloists, and choir, Sheehan presents an engaging musical dramatization of Charles Dickens's A Christmas Carol. Dickens's text has been artfully abridged by Matthew Guard to facilitate concert performance, and the narration is seamlessly woven into Sheehan's richly diverse score. Suited to performance in a variety of settings, this work sees imaginative arrangements of traditional carols and vibrant and accessible original music combine to bring a familiar festive tale to life.
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37<br />
11. Fezziwig’s Ball<br />
STAVE 2, Scene 3<br />
Sir Roger de Coverley<br />
English traditional<br />
arr. BENEDICT SHEEHAN<br />
They were now in the thoroughfares of a city. The Ghost stopped, and opened a warehouse door. “Why, I apprenticed here!” said Scrooge. At sight of an old<br />
gentleman, Scrooge cried in great excitement: “Why, it’s old Fezziwig! Bless his heart; it’s Fezziwig alive again!” Old Fezziwig called out in a rich, fat, jovial<br />
voice: “Yo ho, my boys! No more work tonight. <strong>Christmas</strong> Eve, Dick, Ebenezer! Clear away, my lads, let’s have lots of room here!”<br />
[CHOIR BEGINS] In came a fiddler with a music-book, in came Mrs Fezziwig (one vast substantial smile). In came the three Miss<br />
Fezziwigs, beaming and loveable. In came the six young followers whose hearts they broke.<br />
SOPRANO 1<br />
&<br />
Jig—‘tuning up’ q. = 100<br />
8<br />
9<br />
p<br />
†<br />
U U<br />
Œ . Œ . jœ .<br />
U<br />
˙ . nœ .<br />
.<br />
˙ . œ .<br />
˙ . jœ .<br />
˙ . nœ .<br />
.<br />
SOPRANO 2<br />
&<br />
9<br />
8<br />
* ih<br />
p<br />
U U<br />
˙ . œ .<br />
U<br />
˙ . œ .<br />
.<br />
˙ . œ .<br />
ih<br />
˙ . œ .<br />
˙ . œ .<br />
.<br />
* ih<br />
ALTO<br />
&<br />
9<br />
8<br />
U<br />
∑<br />
U<br />
∑<br />
.<br />
∑<br />
∑<br />
∑<br />
.<br />
TENOR<br />
V<br />
9<br />
8<br />
U<br />
∑<br />
U<br />
∑<br />
.<br />
∑<br />
∑<br />
∑<br />
.<br />
BASS<br />
?<br />
9<br />
8<br />
U<br />
∑<br />
U<br />
∑<br />
.<br />
p<br />
. ˙. ˙<br />
* ih<br />
œ .<br />
œ .<br />
. ˙. ˙<br />
. ˙. ˙<br />
. œ . œ<br />
.<br />
BONES<br />
ã<br />
8<br />
9<br />
U<br />
∑<br />
for online perusal only<br />
U<br />
∑<br />
.<br />
∑<br />
∑<br />
∑<br />
.<br />
&<br />
?<br />
Jig—‘tuning up’ q. = 100<br />
8<br />
9<br />
8<br />
9<br />
U U<br />
˙ . #œœ .<br />
p<br />
U<br />
∑<br />
U U<br />
˙ ˙. œ .<br />
U<br />
∑<br />
.<br />
.<br />
˙ . œ .<br />
. ˙. ˙<br />
. œ . œ<br />
˙ . #œœ .<br />
. œ . œ<br />
. ˙. ˙<br />
˙ ˙. œ .<br />
. ˙. ˙<br />
. œ . œ<br />
.<br />
.<br />
* As the i in ‘did’, and mimicking violins.<br />
† , , and denote that accidentals should be sung slightly above correct pitch.
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