Bob Chilcott Songbook

Bob Chilcott Songbook : Vocal score

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for SATB choir, unaccompanied and with piano Nine classic Chilcott songs including original pieces and arrangements of traditional material. The varied nature of the collection highlights Chilcott's prodigious gifts. Some of the pieces are published here for the first time. Orchestral arrangements for Ar Hyd y Nos (fl, ob, hn, hp, str), O Danny boy (, and The Skye Boat Song ( are available on more

Product details

  • Sheet music | 72 pages
  • 174 x 249 x 5mm | 155g
  • Oxford University Press
  • Oxford, United Kingdom
  • English
  • 019335571X
  • 9780193355712
  • 1,309,890

Table of contents

Aka-Tonbo ; Ar Hyd y Nos ; Composed upon Westminster Bridge, September 3, 1802 ; Dance in the Street ; O Danny boy ; Over the Wave ; The Lily and the Rose ; The Runner ; The Skye Boat Songshow more

About Bob Chilcott

Bob Chilcott has been involved with choral music all his life, first as a Chorister and then a Choral Scholar at King's College, Cambridge. Later, he sang and composed music for 12 years with the King's Singers. His experiences with that group, his passionate commitment to young and amateur choirs, and his profound belief that music can unite people, have inspired him both to compose full-time and, through proactive workshopping, to promote choral music more

Review quote

All these pieces are available separately, but this is a worthwhile investment; apart from anything, the pieces are well crafted and fun to sing, and you may find some new Chilcott gems here you otherwise may have missed. * Jonathan Wikeley, Music Teacher Sept 07 * The idiom [of 'The Lily and the Rose'] is gentle, restrained and melancholy without being remote, the harmonies warm and plangent without being cloying, the rhythms crisp and often (deliberately) repetitive, the form clean, clear, and concise, the whole well and sensitively conceived for the forces for which it was written, in this case a youth choir. . . . There is originality [in 'The Runner'] in the rhythmic huffings and pantings of the voices that underlay the canonic interplay of the sung parts, and real drive in the latter stages as Whitman's text is abandoned and the wordless, jagged rhythms articulated earlier in the piece take over and are developed into a climactic, jazzy, angular, multi-layered harmony. * Matthew Greenall, The Singer, June 07 *show more