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preces-and-responses-westminster-abbey

Preces and Responses Westminster Abbey

$3.10

SKU: 1351 Categories: Backlist - Choral, Bestsellers, Choral, Preces and Responses Collection, Sheetmusic, Top Preces & Response Settings
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Additional information

Composer

Buonemani, James

Music Type

Choral

Difficulty

Medium

Voicing

SATB with divisi

Accompaniment

a cappella

Liturgical Celebrations

Preces and Responses, Evensong

Publication

2013

  • Description
  • Reviews (1)
  • Editorials

Description

Preces and Responses Westminster Abbey
James Buonemani

  • Composed in 1999 for St. James Church, Los Angeles; traditional 1662 Book of Common Prayer text
  • Multi-metered with rhythm based on illuminating the text

1 review for Preces and Responses Westminster Abbey

  1. musicinfo – February 28, 2019

    Buonemani’s Preces and Responses are simply one of the most beautiful sets in my experience.  Their melodic and harmonic grace cannot be overstated.  Richly rewarding for singer and listener alike, these little gems provide a vehicle for communication on a deep and memorable level.  Crafted by a real musician, these Responses will stay with you long after the service is over. – Todd Wilson, Head of the Organ Department, Cleveland Institute of Music; Director of Music, Trinity Episcopal Cathedral, Cleveland

  2. musicinfo – May 4, 2021

    We couldn’t agree more!

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Setting the Preces and Responses is a delicate balancing act, creating a microcosm with consistency and variety within a small span. Further, composers have options including whether to use traditional intonations for the officiant (as all four of these do), Rite I language (again, as all these settings do), and whether to include through-composed Lesser Litany and Lord’s Prayer.

Byron Adams composed his Preces and Responses for use with his Magnificat and Nunc dimittis in A, sharing his melodic and harmonic material between the compositions. Strong, logical harmonic motion typifies his language as well as a lively sense of rhythm. The landscape is conservative but not formulaic or derivative. Adams creates striking gestures throughout, although some longer passages meander. The key signature alternates between two- and three-sharps, requiring some special attention, but this setting is of only moderate technical dificulty with no part divisions. James Buonemani’s expansive harmonies and surprising twists in progression combine for an aurally intriguing set. Plentiful divisions, large interval leaps, and rich added-note chords make for challenging music to sing, but the easy comfortable tonal style is sure to be popular with choirs and congretations. David Jernigan’s approach is rather instrumental, posing challenges for singers. Several phrases include counter-intuitive rhythms that do not follow normal speech patterns. The wealth of imaginative gestures is engaging throughout with little musical material ever repeated.
The Journal of the Association of Anglican Musicians
November 2013
Also mentioned- Byron Adams, Preces and Responses for Evening Service in A, and David Jernigan, Preces and Responses

 

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