John Clements: I Have Loved Flowers That Fade

Black Snake Wind

The Pima Indian text was collected in the nineteenth century. Ideas expressed in the text are depicted in musical metaphors: the vocal parts twist and run, build and fade.

Seven Poems of Robert Bridges op. 17/2 : Nr. 2 I have loved flowers that fade

A three part song for Soprano Alto and Tenor by the late British composer Gerald Finzi. Based on a poem and words by Robert Bridges. A fabulous mixed-voice a cappella.

A Whole New World : (from Aladdin)

Original 1992 film vocalists Brad Kane and Lea Salonga recently reunited on national television to sing the song that reached #1 on the Billboard charts. And if we learned anything from the result, it was that the love and power emanating from this ballad was never going to fade. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theatre for the concert stage. Original 1992 film vocalists Brad Kane and Lea Salonga recently reunited on national television to sing the song that reached #1 on the Billboard charts. And if we learned anything from the result, it was that the love and power emanating from this ballad was never going to fade. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theatre for the concert stage.

A Whole New World : (from Aladdin)

Original 1992 film vocalists Brad Kane and Lea Salonga recently reunited on national television to sing the song that reached #1 on the Billboard charts. And if we learned anything from the result, it was that the love and power emanating from this ballad was never going to fade. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theatre for the concert stage. Original 1992 film vocalists Brad Kane and Lea Salonga recently reunited on national television to sing the song that reached #1 on the Billboard charts. And if we learned anything from the result, it was that the love and power emanating from this ballad was never going to fade. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theatre for the concert stage.

A Whole New World : (from Aladdin)

Original 1992 film vocalists Brad Kane and Lea Salonga recently reunited on national television to sing the song that reached #1 on the Billboard charts. And if we learned anything from the result, it was that the love and power emanating from this ballad was never going to fade. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theatre for the concert stage. Original 1992 film vocalists Brad Kane and Lea Salonga recently reunited on national television to sing the song that reached #1 on the Billboard charts. And if we learned anything from the result, it was that the love and power emanating from this ballad was never going to fade. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theatre for the concert stage.

Regina Caeli

Originally written for SATB, this hymn to the 'Queen of the Heavens' is a glorious work, replete with dramatic changes of mood and texture. The majestic chords of the opening bars quickly give way to a spirited exchange betweenthe voices. This pattern of contrasts is repeated throughout the piece before the final jubilant chords fade away to pianissimo. This is an approachable and rewarding motet, appropriate for any time of the year andin particular, the Feast of the Blessed Virgin Mary and Eastertide. The original SATB version of Regina Caeli has also been recorded by the renowned American choir, the Phoenix Chorale, and released on aGrammyaward-winning CD by Chandos (Spotless Rose CHSA 5066).

Never weather-beaten sail

Thomas Campion’s Never weather-beaten sail is a sprightly text that powerfully evokes the sailor’s plea for God’s calming presence upon the sea’s unrelenting rushing waves. At the opening of this work for unaccompanied mixedvoices, the jaunty alto/tenor movement in thirds symbolises the curling waves of the undulating sea, the mellifluous soprano melody represents the boat’s sails, and the bass section’s never-changing ‘A’ provides the anchor. Allfour voices then come together in homophony, urging God to “come quickly...and take my soul to rest”. Rather than a simple repetition of thematic material in the manner of a standard hymn, the texture alters through the rest ofthework until the very end where all voices gradually fade away into the distance, leaving what seems like a lone voice in the wilderness to cry “to Thee”. Contrasting to other well-known setting of this text, this newwork provides a fresh interpretation, suitable for intermediate choirs.