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Benedicamus Domino
A group of three Christmas Carols written for Jonathan Willcocks and Portsmouth Choral Union in 1997, in which Latin, French and English phrases are spun together in the medieval texts. The unaccompanied middle carol is contemplative and in contrast to the two outer ones. Joyful syncopated fun rounds off the sequence.
- Novo Profusi Gaudio
- That Yonge Child
- Verbum Caro Factum Est
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Performance
Portsmouth Choral Union 1997; Portsmouth Baroque Choir 1998; Grosse Pointe Farms, Michigan 2003. |
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Cantate Domino
An anthem, commissioned for the completion of the nave organ at Romsey Abbey, 1999. It was written for performance by two choirs (SA & SATB) and two organs, however it is equally possible and acceptable to perform this work with one choir and one organ, or with two choirs and one organ - all from the same edition. A rhythmic piece with lively syncopations and joie de vivre. |
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Performances
Romsey Abbey / Jeffrey Williams and recorded; Portsmouth Baroque Choir 2000 |
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Dormi Jesu
A lovely Christmas carol; a simple canon. Though composed for St. Edmund's School Choir, this may be sung by two solo voices or by upper voices of any chorus - a delightful piece. |
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Fire From Heaven
This cantata was written for Portsmouth Baroque Choir, with baritone soloist, brass, percussion and organ. The libretto is compiled by Daphne Burgess from the Book of Daniel of the Old Testament; with interpolations from Isaiah and Psalms. It deals with Nebuchadnezzar, Shadrach, Mesach and Abednego, and the super-heated burning fiery furnace. The music, full of drama, vividly conveys the rages, the beseeching and the fear of the story - with fabulous brass writing and a stunning ending. |
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| Cost of music |
| Instrumental parts available for hire only |
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Performances
Portsmouth Baroque Choir 1983, 1988; Manchester Cathedral Cantata Choir 2001; Malvern Festival Chorus 2003.
Reviews
"direct in its emotional appeal ... superb control of form and forces. A triumph " - The News, Portsmouth
"the dramatic contrasts are well sustained and there is plenty for the choir to enjoy. The choral writing is grateful to sing and the musical language accessible ... choral societies would enjoy Fire from Heaven. Its possibilities are well worth exploring." - Organists' Review
"a substantial work in one continuous movement ... The music is highly dramatic with a great variety of textural contrast very much in the vein of the 20th century English Oratorio tradition and would be a challenging addition to the repertoire" - Sheet Music
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Lauda Sion
Written for Portsmouth Baroque Choir. The full 6-part sections of this anthem are juxtaposed with 'statement and answer' sections between the upper and lower voices. There are passages of sumptuous harmonies, terminating in an extended Alleluia. |
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Performance
Portsmouth Baroque Choir 2000 |
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Magnificat and Nunc Dimittis
A setting, in Latin, of the Canticles for Evensong, extending to 6 minutes and 3 minutes respectively. They are suitable for cathedral service or concert performance - perhaps a bit too much for parish church choirs. The first Gloria and Amen bring the Magnificat to an exuberant conclusion. The Nunc Dimittis opens with a treble or soprano solo, the music matching the idiosyncrasies of the text throughout. The second Gloria and Amen give this setting a reflective conclusion. |
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Review
"Ian Schofield's Latin setting of the canticles has a lot of rhythmic vitality and some challenging vocal writing (with occasional divisi). While the music is broadly tonal, the key centre often shifts ... imaginative" - Church Music Quarterly |
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Messa Martellata
Lasting about 22 minutes, this setting of the Mass is ideal for concert performance by a good, competent chamber choir. The Kyrie and 3-fold Agnus Dei are written in an unaccompanied quasi Renaissance idiom, without being in any way pastiche - the concluding Agnus Dei is in seven vocal parts and includes a series of elaborate canons. The Gloria and Sanctus/Benedictus are highly rhythmic, whilst the central Credo is harmonically the most adventurous movement. A substantial work of quality. |
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Performance
Portsmouth Baroque Choir 1995 |
Reviews
"a contemporary yet very accessible idiom .. many changes of colour .. lovely moments. Sanctus: dancing rhythms, cross accentuations and an exciting richly scored Hosanna" - Church Music Quarterly
"a fairly compact work; It is varied, with frequent changes of texture and style, now in chromatic polyphony, now in imitative chanting, reminiscent of medieval plainsong. Throughout, there seems to be a conscious effort to set the words as colourfully as possible." - Sheet Music |
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Of A Rose
This is another Christmas carol with a medieval text. Two soprano soloists sing gently of the Christmas mystery, whilst the choir revels in catchy syncopated octaves and four part harmony as they delight in the birth of Mary's son. |
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Review
"a short anthem for Christmas. Its chromatic harmonies and changes of metre give it a sense of freedom and the 'misterium mirabile' of the text is amply reflected in the music." - Sheet Music |
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The Preces and Responses
Written for the Cappella Singers in Chichester Cathedral. Here is a nicely perceptive setting of the Preces and Responses. Schofield combines majesty and humanity, at times dividing the voices into six parts, notably for 'The Lord's name be praised', and into seven parts for the final Amen. |
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Review
"Harmonically stark in places, the five- and six-part textures add richness while the music is characterful. There is no setting of the Lord's Prayer in Schofield's set, but it is worthy of recommendation" - Choir & Organ |
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Sing Alleluia (in preparation)
Three anthems: i. an English hymn, ii. a medieval poem, iii. Jubilate (in English); which can be performed together in their entirety, or independently. The style of this new work maintains Schofield's established musical characteristics - idiomatic, rewarding and enjoyable. For festive occasions, these movements are fully approachable by amalgamated church choirs. |
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Performance
first & second performances: Petersfield Festival 2006. |
