Wenceslas

Wenceslas : Vocal score

  • Sheet music
By (composer) 

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Description

for mezzo-soprano and baritone soloists, SATB chorus, and piano, orchestra, or brass ensemble The story of Good King Wenceslas on the Feast of Stephen is presented here as a vivid musical narrative, with solo parts for the characters of Wenceslas (baritone) and Page (mezzo-soprano). Chilcott sets new words by Charles Bennett to a colourful array of styles to recount their snow-bound story. The choir sets the scene before Wenceslas and Page meet in 'Who can that be?', and the story-telling continues in several contrasting movements, including a touching solo ballad from Page entitled 'Thank you' and the strong yet reflective closing movement, 'On St Stephen's Night'. The full five verses of the well-known carol are skilfully interwoven throughout the work in different parts, with the final verse being sung by the audience or a semi-chorus, and the movements are punctuated by an instrumental interlude and triumphant fanfare. An orchestral accompaniment is available on hire/rental.show more

Product details

  • Sheet music | 60 pages
  • 217 x 273 x 8mm | 188g
  • Oxford University Press
  • Oxford, United Kingdom
  • 0193404761
  • 9780193404762

Table of contents

Wintertide ; Who can that be? ; Forth they went ; Interlude - Winter Dark ; Sleeping in winter's arms ; Thank you ; Fanfare - Winter Bright ; On Saint Stephen's Nightshow 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 worldwide.show more

Review quote

I'm happy to report that the sheer goodwill of the whole enterprise wins the day. It is stylistically eclectic, but all within Chilcott's benevolent mastery, and the danger area - a sentimental ballad of thanks from the Page - really hits home . . . The first appearance of the famous carol tune is as a metrical countermelody to a punchy, syncopated choral texture, and it made the hairs stand up on the back of my neck just reading through it . . . It's still a brilliant work: extremely accesssible, a joy for the performers, and, I can guarantee, fun for your audience - something I don't say very often. * Thomas Lydon, Music Teacher, September 15 *show more