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for SATB and solo cello
Music for Choir and Cello draws twelve compelling pieces for SATB voices and solo cello into a collection that may be used to form a complete concert programme. Edited by composer and cellist Becky McGlade, the anthology includes a rich diversity of styles, with an impressive array of new compositions and adaptations of works from the classical canon.
Contents A Birthday
Contents A Birthday Becky McGlade 6 My Star Owain Park 12 Agnus Dei II from Missa brevis Giovanni Pierluigi da Palestrina, 19 arr. Becky McGlade Heart, we will forget him! Bradley Ellingboe 26 Lobet den Herrn, alle Heiden Johann Sebastian Bach, 34 (BWV 230) arr. Becky McGlade The Oak Becky McGlade 52 for online perusal only To a Skylark Kristina Arakelyan 56 Recuerdo Margaret Burk 62 After Rain Howard Skempton 70 Vocalise (Op. 34, No. 14) Sergei Rachmaninoff, 74 arr. Jonathan Wikeley Ripple Effect Sarah Quartel 81 Come live with me John Rutter 94
Introduction In recent years, music for choir and cello has become increasingly popular, and I was delighted when Oxford University Press invited me to assemble a collection of pieces for this combination. The cello has a unique voice that wonderfully synergizes with the human voice, and it can be used in so many different ways to enhance the sound of the choir. After exploring possible repertoire for the anthology, we brought together twelve compositions that include adaptations of works from the classical canon, as well as new pieces from both well-known and emerging composers. These compositions demonstrate the huge versatility of the cello as both an accompanying instrument and as a solo voice, able to mingle with or stand out above or below the voices of the choir. In Rutter’s ‘Come live with me’ the cello provides a jazz walking bass; in Rachmaninoff ’s ‘Vocalise’ the cello functions as a solo instrument with the choir accompanying; the cello’s arpeggio figures in Ellingboe’s ‘Heart, we will forget him!’ provide momentum behind the choir’s static chords; and Quartel’s ‘Ripple Effect’ sees the cello at times adding melodic and rhythmic interest and at other times functioning as a solid bass below the complex rhythms in the choir. for online perusal only The pieces in this anthology display a rich diversity of styles, covering sacred and secular genres, and could be used individually or programmed together to form one exciting and varied concert. Where deemed useful, keyboard reductions have been provided for rehearsal only and are presented in their most readable and playable form. Editorial dynamics and syllabic slurs are not included in the works by J. S. Bach and Palestrina, in accordance with standard early music practice. Editorial metronome markings have not been added to the pieces by J. S. Bach, Palestrina, or Rachmaninoff, leaving the tempi to the discretion of the conductor. I am very grateful to Thomas Lydon for his enthusiastic work on this project and to Laura Jones for her careful editing, and of course to all my fellow composers for contributing their wonderful music to this collection. BECKY McGLADE October 2023
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