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St Pancras Canticles (Te Deum, Magnificat, Nunc dimittis - a5) By Antony Pitts
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Commissioned by and first performed at the London Festival of Contemporary Church Music, and broadcast on BBC Radio 3's Choral Evensong, these virtuosic 5-part settings of the Te Deum, the... More > Magnificat, and the Nunc Dimittis by British composer Antony Pitts are suited for liturgical and concert performance.< Less
Missa Unitatis By Antony Pitts
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The first new mass setting to have been commissioned by the Illustre Lieve Vrouwe Broederschap (founded in 's-Hertogenbosch in 1318) in almost 500 years, and as such resonates strongly with the... More > sound, aesthetic, and intention of its noble forebears. Inspired by the Brotherhood's uniquely balanced membership - precisely as many Protestants as Roman Catholics (thus acknowledging the Church's need for unity while simultaneously exposing the present lack of it) - this 'Mass of Unity' is designed to be performed by two choirs separately and/or together. Somewhat in the tradition of Ockeghem's Missa Prolationum and Missa Cuiusvis toni, the conceit is that there exists an invisible source - an original score - of which the two versions are radically different editions, thus playing with the tension between intention and interpretation, original and modern notation. The musical magic is that these two versions can also be sung together. The difficulty level varies between movements from moderate to virtuosic.< Less
Christe, der du bist Tag und Licht By Antony Pitts
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The Orgelbüchlein Project (http://www.orgelbuechlein.co.uk/) is a long-term project to complete the unfinished portion of J S Bach’s collection known as Orgelbüchlein (Little Organ... More > Book). The project has been conceived by the organist William Whitehead, and will involve collaboration from composers all round the world. The eventual goal is publication and recording of the ‘complete’ Orgelbüchlein, a twenty-first century act of homage to Bach, containing a range of new pieces from beginner’s level to recital standard. This dazzling chorale prelude is Antony Pitts's contribution to the project.< Less
Seven Letters By Antony Pitts
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The words of the Seven Letters from the Book of Revelation are over 1900 years old, yet speak with a remarkably contemporary voice. The Laodiceans, the last of the seven churches addressed, think... More > they are rich in worldly terms, but do not realize that spiritually they are “wretched, pitiful, poor, blind, and naked”. Each of these letters is declaimed by a solo – at times virtuosic – voice (originally written for individual members of the ensemble TONUS PEREGRINUS and recorded on Hyperion CDA67507), and each letter ends with the urgent refrain: “He who has an ear, let him hear what the Spirit says to the Churches”. The cover painting is by David Jenks: 'Finale'.< Less
Jerusalem-Yerushalayim vocal score By Antony Pitts
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An oratorio for our times. The city of Jerusalem has a complex, multi-layered history stretching back thousands of years, and continues today to be the literal and symbolic focus of many, often... More > conflicting, aspirations. This oratorio traces the outlines of the Biblical story of the city through twelve windows or snapshots in which Jerusalem is either the subject or the background. The libretto is based as closely as possible (given the limitations of English translation, the transliterations of ancient Hebrew, and the musical setting itself) on texts from the Tanakh or Old Testament – texts which are both historical and prophetic, full of archetypes and resonances, and are at the same time about real people with their dreams, tragedies, and hopes. Ultimately, the story is a universal one of hope that extends from these Semitic roots to a vision of lasting peace for all people.< Less
Come, let us sing for joy! By Antony Pitts
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Commissioned as an introit for the London Festival of Contemporary Church Music 2014 for first performance at St Pancras Parish Church & live broadcast on BBC Choral Evensong on 14 May 2014, this... More > short and lively anthem is a setting of the first two verses of Psalm 95: "Come, let us sing for joy to the LORD; let us shout aloud to the Rock of our salvation. Let us come before Him with thanksgiving and extol Him with music and song."< Less
In the year that King Uzziah died By Antony Pitts
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A modern prelude and fugue for organ (manuals and pedals), written in response to the vision of Isaiah: “In the year that King Uzziah died I saw also the Lord sitting upon a throne, high and... More > lifted up, and his train filled the temple. Above it stood the seraphims: each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain did he fly. And one cried unto another, and said, Holy, holy, holy, is the LORD of hosts: the whole earth is full of his glory. And the posts of the door moved at the voice of him that cried, and the house was filled with smoke.” (Isaiah 6:1-4) Duration: c.4'30" performance by Charles Cole: https://dl.dropbox.com/u/10497886/antonypitts.com/sounds/ItytKUd.mp3< Less
Jerusalem-Yerushalayim full score By Antony Pitts
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An oratorio for our times. The city of Jerusalem has a complex, multi-layered history stretching back thousands of years, and continues today to be the literal and symbolic focus of many, often... More > conflicting, aspirations. This oratorio traces the outlines of the Biblical story of the city through twelve windows or snapshots in which Jerusalem is either the subject or the background. The libretto is based as closely as possible (given the limitations of English translation, the transliterations of ancient Hebrew, and the musical setting itself) on texts from the Tanakh or Old Testament – texts which are both historical and prophetic, full of archetypes and resonances, and are at the same time about real people with their dreams, tragedies, and hopes. Ultimately, the story is a universal one of hope that extends from these Semitic roots to a vision of lasting peace for all people.< Less
They shall awake By Antony Pitts
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A virtuoso setting of famous words by John Donne "no noise nor silence but one equal music" in their original context - from A Sermon Preached at White-hall, February 29, 1627/8. ... More > Commissioned by the Cheltenham Music Festival for first performance in July 2013 by the Choir of Royal Holloway, this 10-minute motet for SATB soli (ideally in a gallery) and SSAATTBB chorus is the coda to the composer's extensive Requiem inspired by the death of Alexander Litvinenko.< Less
A Thousand Years By Antony Pitts
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A millennial anthem commissioned for James O'Donnell & the Choir of Westminster Cathedral. Like BCAD (written the same year for the Swingle Singers), this motet is in two halves separated by a... More > pause, or possibly even by other music or events in a service or recital. It takes as its starting-point the biblical concept of God's relationship with time and eternity - "with the Lord a day is like a thousand years and a thousand years like one day" - and incorporates a further patchwork of texts that refer both to Christ's first coming as a babe in Bethlehem two thousand years ago, and to His promised second coming at the end of the age. The first half of the motet is slow, the second a fast exploration of the same musical material. First performed at Westminster Cathedral on 17 & 21 December 2000, conducted by Martin Baker; duration: c.8'. A recording by TONUS PEREGRINUS directed by the composer is available on the album Alpha and Omega (Hyperion CDA67668).< Less