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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.
37 11. Fezziwig’s Ball
37 11. Fezziwig’s Ball STAVE 2, Scene 3 Sir Roger de Coverley English traditional arr. BENEDICT SHEEHAN 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 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 voice: “Yo ho, my boys! No more work tonight. Christmas Eve, Dick, Ebenezer! Clear away, my lads, let’s have lots of room here!” [CHOIR BEGINS] In came a fiddler with a music-book, in came Mrs Fezziwig (one vast substantial smile). In came the three Miss Fezziwigs, beaming and loveable. In came the six young followers whose hearts they broke. SOPRANO 1 & Jig—‘tuning up’ q. = 100 8 9 p † U U Œ . Œ . jœ . U ˙ . nœ . . ˙ . œ . ˙ . jœ . ˙ . nœ . . SOPRANO 2 & 9 8 * ih p U U ˙ . œ . U ˙ . œ . . ˙ . œ . ih ˙ . œ . ˙ . œ . . * ih ALTO & 9 8 U ∑ U ∑ . ∑ ∑ ∑ . TENOR V 9 8 U ∑ U ∑ . ∑ ∑ ∑ . BASS ? 9 8 U ∑ U ∑ . p . ˙. ˙ * ih œ . œ . . ˙. ˙ . ˙. ˙ . œ . œ . BONES ã 8 9 U ∑ for online perusal only U ∑ . ∑ ∑ ∑ . & ? Jig—‘tuning up’ q. = 100 8 9 8 9 U U ˙ . #œœ . p U ∑ U U ˙ ˙. œ . U ∑ . . ˙ . œ . . ˙. ˙ . œ . œ ˙ . #œœ . . œ . œ . ˙. ˙ ˙ ˙. œ . . ˙. ˙ . œ . œ . . * As the i in ‘did’, and mimicking violins. † , , and denote that accidentals should be sung slightly above correct pitch.
38 6 & In came all the young men and women employed in the business. In they all came, one after another. ˙ . œ . ˙ . œ . ∑ p Œ . ˙ . ˙ . œ . ih ih & ˙ . œ . ˙ . œ . ˙ . œ . ˙. Œ . l ˙. œ . ih & V ? ∑ p l œ . 2 œ . ih ˙. . ˙ ih . œ . œ 2 ∑ l œ . œ . ih œ . ˙. . ˙ ˙ . ih 2 l œ . œ . ih œ . ih œ . œ . . œ . œ œ . 2 ˙ . l œ . œ . ih ˙. . ˙ . œ œ . ih 2 œ . œ . n œ . . nœ œ ih œ . ih . œ . œ . œ . œ & ? ˙ œ . # œ . œ . . ˙. ˙ 2 . œ . œ ˙ œ . # œ . œ . œ . 2 ˙. . ˙ 2 œ . # œ œ œ œ . œ . œ . œ . œ . œ œ #œ . œ 2 œ œ . ˙. . ˙ . œ œ . # œ . œ . œ . œ n œ œ . 2 œ œ . œ . œ œ 11 & & There were dances, and more dances, and there was cake, and there was a great piece of Cold Roast, ˙ . œ . Œ . œ . P lœ . ˙ . œ œ . ih j œ œ J œ œ œ œ ˙ . Œ . œ j œ œ œ œ Œ . ih for online perusal only P œ j œ œ œ J œ œ # œ yn da dn di did - dl - ee Œ . p l œ . œ . yn da dn di did - dl - ee yn da did - dl - ee ih & ˙ . œ . œ . 2 œ . ˙ . œ . œ . 2 œ . V ? & ? œ . œ . œ . œ ih œ . . œ œ . ih œ . œ . . œ . œ . œ # œ . œ œ . ih œ . . œ . œ ih ˙. . ˙ œ . œ œ œ œ ih j œ œ œ J œ œ œ œ œ œ œ œ . 2 j œ œ œ . œ œ . . œ . œ œ œ œ . œ . . ˙. ˙ œ . j œ œ œ œ Œ . œ œ . œ . ih œ . œ . œ ih œ . ih œ . P . œ . œ j œ . œ . œ #œœ œ œ œ . 2 œ . . œ . œ j œ œ œ # œ œ Œ . œ . œ œ
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