Salisbury Vespers

Salisbury Vespers : Vocal score

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for chorus, chamber choir, and children's choir, or large divisi chorus, with orchestra and organ or brass ensemble and organ. Showcasing Chilcott's exceptional talent for large-scale choral writing, Salisbury Vespers pays homage to this most ancient of services, combining settings of the traditional Vespers psalms with anonymous early texts and words from the Sarum Primer of 1516. Marian motets punctuate the psalm settings, and the work is concluded with a substantial setting of the Magnificat, using the plainsong melody from the same section in Monteverdi's Vespers of 1610. With driving rhythms, passages of reflective contemplation, and expansive, powerful textures, this is sure to become a mainstay of the modern choral repertory for years to come. Written for large mixed choir, chamber choir, and children's choir, Salisbury Vespers could equally be performed by a large mixed choir, with the parts for chamber choir and children's choir being sung by smaller sections taken from within the large choir. Vocal scores are available on sale and on hire/rental.
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Product details

  • Sheet music | 104 pages
  • 212 x 278 x 10mm | 258.55g
  • Oxford University Press
  • Oxford, United Kingdom
  • English
  • 019336395X
  • 9780193363953
  • 1,239,784

Review quote

Remarkable contrasts would have to be the trademark of Chilcott's work. From the crisp, buoyant phrases of the 'Dixit Dominus' to the unaccompanied legato lines of the motet 'I Sing of a Mayden', the listener got a sense of a myriad of styles that seemed to inform Chilcott's journey as a composer. Though it was is considered one 'major' work, Chilcott's Salisbury Vespers is like listening to several mini-masterworks in the context of one performance. Perhaps
the crowning achievement of this is the large scale, multi-movement 'Magnificat', which brings the vespers to its end. The 'Song of Mary', extolling praise to God, took on new meaning as each phrase was given its own musical contrast. In the 'Deposuit Potentes', the full opening compliment of voices and
instruments swelled to a full forte, with a remarkable contrasting section that leaned toward a dark, mysterious sound. * Patrick D. McCoy,, June 15 *
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Table of contents

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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
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