For Contralto/ Mezzo Soprano and Piano | Range: Bb3 - to Eb5
Of Earth and Sky was commissioned by Oxford Lieder Festival and composed especially for contralto, Jess Dandy, in September 2021.
It received its world premiere on 8th October 2021 by Jess Dandy and Martin Roscoe, as part of ‘A Cumbrian Idyll’.
Jess approached me not long before receiving her debut performance at the BBC’s First Night Of The Proms. I had never heard her sing, so tuned in to the performance and was utterly blown away. The ease at which she produced this exquisite sound, seeming to be in a trance-like state as her voice sent ripples down my spine.
When Jess sent me discarded lines from Wordsworth’s ‘Michael, A Pastoral’, (as quoted in James Rebanks “The Shepherd’s Life” xix-xx), I found that the words created such feeling in my chest and visions in my mind. I swim in Ullswater and I am awe-struck by, and crave daily, the fells that frame the lake. I am in love with Cumbria, the place that I grew up and call my home.
I wanted the music to be huge, towering, to be inexplicable, enticing, dangerous and beautiful, just as Wordsworth’s words, Jess’ voice, and my experiences of the lakes and fells are.
Performance Instructions
This piece is grounded, the pulse slow, not driving forwards, but roiling and undulating. It is heavy, vast, grand and present.
The voice’s rhythm is complex - ultimately the important elements are the disparity between the voice and piano rhythms, and the semi-quaver motif. Don’t use the rhythms to drive forward, use them to sit back and swell.
Mild rubato is welcome
There are minimal dynamics. Feel free to interpret these as you wish.
Duration: 4 minutes
Please contact Ella with any questions about this piece
Copyright © Ella Jarman-Pinto 2021
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From the song cycle, Songs For Marvellous
Song for my Children (A Te) - Mezzo Soprano and Piano | Range: A3 - E5
In Memoriam
Marvellous John Bartholomew Jarman-Pinto
3rd September 2014
285g
Modena, Italy
Programme Notes
On Marvy’s first birthday, I wanted to write him a song. I took Happy Birthday and reversed and harmonised it. It’s amazing how poignant and still it can be in a different form. But there the music rested. I would try to move it forwards, and to compose more, but it never responded. It was self-contained but incomplete. It just seemed to... be.
Three years passed and Hull Urban Opera commissioned me to write a song for their Brain Jar Session #2. Marvy’s fourth birthday was in a few months; Otis, our second was a glorious two and a half years; and I was 38 weeks pregnant with our daughter, Vita. This was the perfect moment to complete the song cycle, and Songs for my Children (A Te), after four years of trying, seemed to write itself within a day.
This song is a lullaby of joy, of family and of siblings. Here I honour all of my children.
Song For My Children (A Te) is dedicated to my online “village” - a group of mums and their children who were a lifeline to me over five years.
It was premiered by Poppy Shotts, Stephanie Halsey and Ben Newton at Hull Urban Opera on 18th and 19th July 2014. With thanks to Russell Plows of HUOC for commissioning the final song in the cycle.
A note on the title: Marvellous was born in Italy and the Happy Birthday song is translated to 'Tanti Auguri a Te’.
Performance Instructions
This is a more joyful piece. It is a lullaby in its truest sense, with no metaphors of death associated with sleep
The vocal part has a light, folky lilt to it, but was written with classically trained singers in mind so stay true to your voice rather than changing the sound or genre.
The piano part is slow and steady - almost to a point of being too slow - full of presence, but with a delicate touch.
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A Collection of fourteen scores, professionally notated, printed, bound, and signed with a special message by Ella, including pieces commissioned by BBC Radio 3.
This Collection is stocked by Cambridge Pendelbury Library of Music | Guildhall School of Music & Drama | Trinity Laban Jerwood Library | Leeds Conservatoire of Music | Royal Conservatoire of Scotland
To listen to a curated playlist for the collection click here.
Free UK postage.
Plango: A Cure Lament | High Soprano and Piano
(Poet Jo Brandon, Commissioned by BBC Radio 3 for International Women’s Commission 2021)
Everyday Magic | Mezzo Soprano and Piano
(PRS, Wild Plum & Cheltenham Music Festival Workshop Commission 2019)
Shunned Street | Low Mezzo Soprano and Piano
(Poet Jo Brandon, Leeds Lieder + Festival 2011)
This Little Rose | Soprano and Piano
(Poet Emily Dickinson, released on Emergence, an album by Nadine Benjamin and Nicole Panizza)
Songs for Marvellous | Voice, Piano, Harp, Horn, Cymbals and SSA
(Including 9th October 2014, Do Not Stand At My Grave and Weep, - then the letting go - (Sibling), Child and Mother and Song For My Children, 2014-18)
Lamplight | Soprano and Piano
(Poet May Wedderburn Cannan)
Breake of Day | Soprano and Piano
Do Not Stand At My Grave and Weep | SSA
(Performed by BBC Singers 2015 & 2016)
Heigh Ho - The Holly! | SSA
(Performed by BBC Singers 2016)
Lucky | Solo Tuba
(Commissioned by BBC Radio 3 2020 )
...And You Know We'll Be Alright? | Full Orchestra
(Performing parts available to hire separately)
I Remember. Like I'm The Only | wind orchestra
(Commissioned as part of the Adopt a Composer Scheme, 2012. Performing parts available to hire separately)
A Domani, People. A Domani | Guitar Ensemble
(Commissioned by Royal Philharmonic Society for Bicentenary Celebrations 2013. Inclusive of performing parts)
Lesser Trefoil | Solo Flute
(Commissioned by City of London Festival, 2012)
Three songs for Mezzo Soprano and Piano pieces from the song cycle, Songs For Marvellous
1. 9th October 2018 - Mezzo Soprano and Piano | Range: D4 - G4
2. Child and Mother - Mezzo Soprano and Harp/Piano | Range: C4 - F5
3. Song for my Children (A Te) - Mezzo Soprano and Piano | Range: A3 - E5
In Memoriam
Marvellous John Bartholomew Jarman-Pinto
3rd September 2014
285g
Modena, Italy
Programme Notes
'Songs for Marvellous' was written after our son, Marvellous, was born at 20 weeks in Modena, Italy, in 2014. I came away from the explicitly traumatic experience feeling that I needed to prove to him my worth. I had failed him, as I saw it then, in my most basic task as a parent, failed to keep him alive and failed to bring his body home.
I spent weeks and months trying to lose myself in tasks; moving house, video games, cleaning, washing, composing and transcribing music, all to keep my mind from rehashing over every single moment of my experience in Italy. I was rebuffed so many times when trying to get help for my post traumatic stress disorder, not to mention the grief.
In the midst of this, some beautiful people wound their healing hands around us, embracing us with letters, regular phone calls and texts, medical and emotional support, hugs and shoulders to cry on.
I knew that I wanted to have Marvy memorialised somehow. Writing ‘Songs For Marvellous’ was a way to grieve, heal and keep our son in our lives. The baby that only I knew; who would wriggle when I felt stressed; wake me at night with his kicking; respond instantly to my touch; who cheekily showed us his bum during scans; who was such a beautiful weight to hold and a perfect being to set eyes upon. Who is so loved, wanted and missed.
He will always journey with me.
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A Song Cycle
1. 9th October 2018 - Mezzo Soprano and Piano | Range: D4 - G4
2. Do Not Stand At My Grave and Weep - SSA | Range: B3 - F5
3. Then the Letting Go (Sibling) - Mezzo Soprano, Horn in F and Cymbals | Range: G3 - Eb5
4. Child and Mother - Soprano and Harp/Piano | Range: C4 - F5
5. Song for my Children (A Te) - Mezzo Soprano and Piano | Range: A3 - E5
In Memoriam
Marvellous John Bartholomew Jarman-Pinto
3rd September 2014
285g
Modena, Italy
Programme Notes
'Songs for Marvellous' was written after our son, Marvellous, was born at 20 weeks in Modena, Italy, in 2014. I came away from the explicitly traumatic experience feeling that I needed to prove to him my worth. I had failed him, as I saw it then, in my most basic task as a parent, failed to keep him alive and failed to bring his body home.
I spent weeks and months trying to lose myself in tasks; moving house, video games, cleaning, washing, composing and transcribing music, all to keep my mind from rehashing over every single moment of my experience in Italy. I was rebuffed so many times when trying to get help for my post traumatic stress disorder, not to mention the grief.
In the midst of this, some beautiful people wound their healing hands around us, embracing us with letters, regular phone calls and texts, medical and emotional support, hugs and shoulders to cry on.
I knew that I wanted to have Marvy memorialised somehow. Writing ‘Songs For Marvellous’ was a way to grieve, heal and keep our son in our lives. The baby that only I knew; who would wriggle when I felt stressed; wake me at night with his kicking; respond instantly to my touch; who cheekily showed us his bum during scans; who was such a beautiful weight to hold and a perfect being to set eyes upon. Who is so loved, wanted and missed.
He will always journey with me.
Performance Instructions
‘Songs For Marvellous’ was designed to be performed as either individual songs or as a whole. Regardless of how many pieces you choose, they must always be performed in the order below.
1. 9th October 2018 - Mezzo Soprano and Piano
2. Do Not Stand At My Grave and Weep - SSA
3. Then the Letting Go (Sibling) - Mezzo Soprano, Horn in F and Cymbals
4. Child and Mother - Soprano and Harp/Piano
5. Song for my Children (A Te) - Mezzo Soprano and Piano
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Flute/Piccolo, Guitar, Viola & Cello
Programme Notes
A Domani, People. A Domani was commissioned by the Royal Philharmonic Society as part of RPS200, a year-long celebration of the Royal Philharmonic Society’s Bicentenary in 2013, and premiered on 1st November 2013 as part of the ‘Guildhall Artists in the Barbican’ series.
This piece broke a year’s worth of self-imposed, yet impenetrable, composers’ block and despite its origins being in anger and frustration, the end result is joyful and even playful at times. This piece is dedicated to my ‘Self’; to that person who is so easy to take for granted, yet sometimes you just need to be a little kinder to.
Instrumentation
Flute / Piccolo
Guitar
Viola
Cello
Duration: 5 minutes
Performance Parts Included
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Full Orchestra
Programme Notes
In memory of Pilar Marchori
... and you know we’ll be alright? was written in 2011 during a period of both foreseen and unforeseen changes. A futile melody bumbles along and is enveloped and obliterated by the chord invading the orchestra and destroying everything in its wake.
... and you know we’ll be alright? is dedicated to those people whose lives have been affected by cancer and commemorates the incredible strength that this experience inevitably evokes.
Instrumentation
Score in C
1 Piccolo
1 Flute
2 Oboes
1 Clarinet
1 Bass Clarinet 2 Bassoons
4 Horns
2 Trumpets
2 Trombones
1 Bass Trombone
1 Tuba
1 Timpani
1 Percussion (Marimba and Tam-Tam) 1 Harp
Violin I
Violin II
Viola
Cello
Double Bass
Duration: 6 minutes
Parts are available to hire from Ella Jarman-Pinto.
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For Soprano and Piano | Range: A3 - G#5
A setting of Dr Julie Carter’s, Everyday Magic
Programme Notes
Dr Julie Carter and I met on BBC Radio Cumbria’s The Arty Show on 12th November 2018. Julie was discussing her latest poetry anthology, Is It Serious?, and I was presenting my song, Lamplight, which had been performed at the Armistice Centenary.
I was handed a red book and asked to have a flick through when I got the chance, so that I could have something to say about the anthology. I had my three month old with me, so I only managed to have a cursory glance, but immediately my breath caught in my chest. I had to close the book. Each time I attempted to read, I had the same immediate reaction. Julie’s poetry is so raw and honest and heartbreakingly beautiful.
A few months later, I was accepted onto PRS for Music’s Wild Plum Songbook workshop, and asked to write a song for mezzo soprano. Is It Serious? immediately came to mind and Julie and I discussed which poem would be best. Every time I read through the anthology, Everyday Magic kept jumping out at me. I can’t say that it was an easy poem to set; it has an uneven structure to the verses and often didn’t want to lend itself to music. I did question if music would add anything or if it just needed to be left alone. I am glad I persevered. It was only on completing the song that I realised how strongly I related to the sentiment, having had a recent bereavement and post- natal depression. It moves me every time I read it and I really have to thank Julie for allowing me to work with something so close to her heart.
Performance Instructions
This piece needs to be enjoyed, sung with genuine expression and for the words to take centre stage.
The glissandi are almost like you’ve run out of breath, but are so excited you keep trying to make your point. They need to be quite light, but don’t shy away from them. The second glissando from E - G# (bars 91 & 115) is optional.
As with all my pieces, steady tempos and rhythmic accuracy is key to making the piece work. Non rubato without losing the sense of flow and feeling of joy and relief, gratitude, sadness and lightness.
Duration: 3 minutes 20 seconds
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For Wind Orchestra
Programme Notes
I Remember. Like I’m the Only is inspired by the Row for Freedom team of five women who rowed across the Atlantic, breaking two world records whilst raising awareness of human trafficking. Julia Immonen, Debbie Beadle, Helen Leigh, Kate Richardson and Katie Pattison-Hart became “The First 5-woman Team to Row Any Ocean” and broke the world record for “The Fastest Crossing of The Atlantic Ocean by an All-Female Team”. They completed the 2613 mile-long crossing from The Canary Islands to Barbados in just 45 days 15 hours and 26 minutes from December 2011 to January 2012.
The story of Row For Freedom inspired me not only for the awareness that it raised about human trafficking for many people, including myself, but also for the sheer strength that these five women demonstrated in doing so. I wanted to respond to this story in my own way and have been truly privileged to be able to do so in collaboration with Kew Wind Orchestra, who brought Row for Freedom to my attention.
I Remember. Like I’m the Only aims to explore the idea of being in a situation that nobody else can ever experience; the insecurity, fear, loneliness, awe and countless other indescribable emotions that may be endured by an individual when venturing into the unknown, whether by choice or by force.
I Remember. Like I’m the Only was commissioned as part of the Adopt-a-Composer scheme run by Making Music and PRS for Music Foundation in 2012 and was premiered on Saturday 13th October 2012 at the Musical Museum by Kew Wind Orchestra.
On a final note, the piece uses Row, Row, Row, Your Boat as found material. No one has been able to spot it as of yet without me telling them, so there’s a challenge for you.
Performance Instructions
The music can be hard to make sense of as
setting. The piece is very much a sum of its parts, like water molecules coming together to make waves.
The accents are extremely important.
Instrumentation
Score in C
1 Piccolo
Flute I, II
Oboe
1 Cor Anglais Clarinet I, II, III
Bass Clarinet Contrabass Clarinet 2 Alto Saxophones Tenor Saxophone Baritone Saxophone 2 Bassoons
2 Trumpets
Horns I, II, III, IV
2 Tenor Trombones Bass Trombone
Euphonium Tuba
Timpani
Percussion:
- Cymbal
- Medium Tom Tom - 4 rough rocks/pebbles (that fit in palms of hands)
- 5 Wine Glasses tuned to: - Tam-tam
- Bass Drum
- Four-Octave Marimba
Parts are available to hire from Ella Jarman-Pinto.
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For Mezzo Soprano and Piano | Range Bb3 - Eb5
A setting of John Donne’s, Breake of Day
Programme Notes
Breake of Day was written in the Annex of Guildhall School of Music and Drama. I had been desperate to write another song and so flipped through a book of Donne’s poetry. I was struck by how playful this poem is in setting out all of the arguments for why their spouse should not leave the marriage bed for work in the morning. I love the narrator’s wittiness and lightheartedness, (rather than sadness), and find this poem a joyful celebration of love and marriage. I have written the song for Mezzo Soprano, however, the gender of the narrator is not defined in the poem. For me, the gender of the narrator fluctuates every time I think of this piece.
Performance Instructions
This piece is upbeat and joyful, witty and mischievous, spoken by a person (of any gender) who is secure in their relationship, but bemoaning the loss of warmth after a night in bed.
Be aware of the metric modulation in bar 33. Don’t rush this section.
The melody is lyrical and floats freely over the accompaniment. The singer can favour
lyricism over rhythmic accuracy.
The piano part is the rhythmic bedrock of the piece and should be played without rubato
unless indicated.
Duration: 3 minutes
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High Soprano and Piano
Poet Jo Brandon
‘It is a piece of such power and beautify that it took my breath away’ - Olwen Fisher, BBC Radio 3 Producer
Plango: A Cure Lament was commissioned by BBC Radio 3 for International Women’s Day and was premiered by Soprano, Nazan Fikret, and Pianist, Rebecca Cohen on BBC Radio 3’s In Tune on 8th March 2021.
Programme Notes
Ella and Jo relished the opportunity to work together once again and set about focusing on the impact of the 2020 pandemic on women and, in particular, mothers.
While drafting different ideas for the poem, Jo stumbled across the concept of sound cures and how church bells had been rung to ward off the plague. That led on to discovering the word ‘plango’ (Latin) meaning a lament or expression of grief like beating the chest or wailing.
From there, the piece morphed into the idea that the expression of all these pent-up emotions and responsibilities could be a kind of ‘sound cure’ like the church bells; a way of communally sharing our fears and finding comfort and empowerment in expression, rather than quietly trying to get on and make the best of things. The piece was written especially for
Performance Instructions
The piano part makes use of both the sostenuto and sustain pedals. Please feel free to add other pedalling as desired without impacting on the effects of what is written in the score.
The piece changes it’s style wildly and rapidly throughout. Make the most of pauses, notated rubato and straight rhythmic sections.
There are no half-hearted sections of this piece! It builds and builds, ebbs, builds, ebbs, builds, explodes, but the energy is always high and on high alert.
This piece is to be sung and played as if you are someone who has held their tongue for a very long time, and it is now all bursting free.
Emotions: Grief, Despair, Depression, Anxiety, Hope, Numbness, Healing, Anger, Fear, Loneliness, Stress, Guilt and hope again.
Duration: 5 minutes, 20 seconds.
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Solo Tuba
“They are lucky that what Black people are looking for is equality and not revenge.” Kimberley Jones, 2020
Programme Notes
Lucky was commissioned by BBC Radio 3 as part of their Postcards from Composers series in response to the Covid-19 Lockdown of 2020.
When asked to write this piece, I thought of the Black Lives Matter movement and protests that have spanned the globe over the last month. As a Black, mixed-race woman raised in a predominantly white area, who studied and works in a predominantly white industry, who manages to ‘fit in’ until someone ‘others’ me (read: racism), and who has been silenced when trying to stand up to this, these protests were incredibly inspiring… and the inevitable backlash devastating. This is my response. It has taken courage to submit this. But I will not be silenced any longer.
The title comes from Kimberley Jones’ succinct and rage-inducing exploration of the economic history of slavery and how this relates to today. I urge you to watch the original film by David Jones Media here: https://www.youtube.com/watch?v=sb9_qGOa9Go
Lucky received its world premiere by Daniel Trodden, in principal tuba, BBC National Orchestra of Wales, on 22nd September 2020, BBC Radio 3 Breakfast and online.
Performance Instructions
Play every note in relation to the beat. The piece is non rubato
Vocalisations: There are a mixture of set pitches and non-set pitches. Sing in the range that is most suitable for your voice. If you need to change any pitches, please keep the intervallic relationship between them the same.
Duration: 42 seconds
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Soprano and Piano | Range: Bb3 - F5 (NB this original key is different to the one published by Trinity College London, but is still valid for exam entry)
Poet Emily Dickinson
Grade 8, Trinity College London syllabus 2023
Released on Emergence, an album by Nadine Benjamin and Nicole Panizza.
For a review of the song click here
Programme Notes
This Little Rose was written on a sun-bathed dining room piano at the vibrant Caer Llan Jazz Workshop in Wales, on a beautiful summer’s day in 2010. It was then workshopped by Nico Muhly in the Barbican Arts Centre, London, in October 2010.
The song was recorded and released in 2019 by Nadine Benjamin and Nicole Panizza as part of their album, ‘Emergence’, celebrating the works of Emily Dickinson. It was described as ‘one of the most memorable songs on this disc’ by Music-Web International, and has since received multiple broadcasts on BBC Radio 3 and performed widely.
Performance Instructions
This is a delicate yet powerful piece that should not be underestimated.
There is a rhythmic contrast between the piano and voice, as the piano ‘feels’ as if it is in 6/8 underneath the voice’s 3/4. HOWEVER, the pianist should refrain from playing in 6/8 otherwise the accompaniment loses its intricacy and may speed up. The off-beat is important and should never be played as an on-beat.
Keep rubato to a minimum. The key to the piece is it’s steady pulse and rhythmic intricacies.
The ‘ah’ section from bar 71 is a spontaneous vocalisation of internal emotion.
Please forgive the addition of the word ‘sweet’ to the music. It is a genuine mistake, but had become part of the music before I realised.
Duration: 3 minutes
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SSA | Range: A3 - F#5
Poet, William Shakespeare
Programme Notes
Heigh-ho, the Holly! was inspired by a call for scores looking at the theme of ‘winter’. Composed for the Carvetii Trio, (Clare Eccles, Sarah Wallcook and Ella Jarman-Pinto), in 2015, the piece was revised and completed in time for my mother, Jilly Jarman’s, 60th birthday celebrations. The BBC Singers performed the work in October 2016.
Performance Instructions
This piece has dramatic mood changes, with chilling, sarcastic verses and a light-hearted and mocking refrain.
Voices should be light and percussive, but allowed to soar on the long notes.
The piece should be rhythmic and flowing, with the refrain especially hearty! Treat it almost like a drinking/folk song.
Duration: 2 minutes
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SSA | Range: A3 - F#5
Poet, William Shakespeare
Programme Notes
Heigh-ho, the Holly! was inspired by a call for scores looking at the theme of ‘winter’. Composed for the Carvetii Trio, (Clare Eccles, Sarah Wallcook and Ella Jarman-Pinto), in 2015, the piece was revised and completed in time for my mother, Jilly Jarman’s, 60th birthday celebrations. The BBC Singers performed the work in October 2016.
Performance Instructions
This piece has dramatic mood changes, with chilling, sarcastic verses and a light-hearted and mocking refrain.
Voices should be light and percussive, but allowed to soar on the long notes.
The piece should be rhythmic and flowing, with the refrain especially hearty! Treat it almost like a drinking/folk song.
Duration: 2 minutes
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SSA | Range: A3 - F#5
Poet, William Shakespeare
Programme Notes
Heigh-ho, the Holly! was inspired by a call for scores looking at the theme of ‘winter’. Composed for the Carvetii Trio, (Clare Eccles, Sarah Wallcook and Ella Jarman-Pinto), in 2015, the piece was revised and completed in time for my mother, Jilly Jarman’s, 60th birthday celebrations. The BBC Singers performed the work in October 2016.
Performance Instructions
This piece has dramatic mood changes, with chilling, sarcastic verses and a light-hearted and mocking refrain.
Voices should be light and percussive, but allowed to soar on the long notes.
The piece should be rhythmic and flowing, with the refrain especially hearty! Treat it almost like a drinking/folk song.
Duration: 2 minutes
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3 Licensed Copies
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For more than 30 copies, contact Ella directly
Lamplight | Soprano and Piano | Range: B3 - F5
Poet, May Wedderburn Cannan
Programme Notes
Lamplight (1917) was a poem that I studied whilst at school. It stayed with me throughout my teenage years and so was first choice when we were asked to write a song in my first year at Guildhall School of Music & Drama. Each time I sing, perform, or hear it, I am struck by the sheer simplicity, beauty and gut-wrenching power that this poem conjures.
Lamplight is used with kind permission from Mrs Clara Abrahams
Performance Instructions
Sing as if speaking. Rhythm is important, but go with what feels natural.
Take your time.
The most important thing is allowing the words to shine through
Duration: 5 minutes
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Low Mezzo Soprano and Piano | Range: F3 - G5
(Poet Jo Brandon, Leeds Lieder + Festival 2011)
Programme Notes
Shunned Street explores the legend of Pope Joan, a female Pope who was widely assumed to be male and only discovered when she gave birth in the street whilst on procession. It is said that even today the street is shunned by the Papal procession. The Church strongly denies Pope Joan’s existence.
This was the first collaboration between the poet, Jo Brandon and myself. We met whilst poet and composer “speed dating” at Leeds Lieder+ festival in 2011 and have relished all opportunities to work together ever since.
Shunned Street was premiered on 8th October 2011 at the Leeds Lieder+ Festival, by Clare Ghigo and Hannah Gill.
Performance Instructions
Piano is non rubato throughout
There is an element of improvisation within strict parameters to the piano part (see score for further information)
The vocal part is authoritarian, imposing, spitting with fury - yet elements of uncertainty, fear, sorrow and loneliness.
Duration: 3 minutes
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Solo Flute (with voice)
Programme Notes
Lesser Trefoil was commissioned by Clare Whistler as part of Where the Wildflowers Are, a celebration of wildflowers through poetry and music. The Lesser Trefoil is a common garden plant, also known as Yellow Suckling Clover. I wanted to explore Lesser Trefoil as a weed, linking its determination to survive with the exhaustion someone of trying, unsuccessfully, to get rid of it. I worked very closely with flautist Hannah Watts to develop a vocal part that could be sung at the same time as playing the flute. Lesser Trefoil was premiered on 30 June 2012 at the City of London Festival, by Hannah Watts.
Performance Instructions
Standard notation: play as you would per instructions
Diamond note-head: blow air soundlessly through the flute, either using ‘pah’ or ‘hah’ sounds, with key clicks
Divisi to flute (standard note-head) and voice (circles with dots). Try to keep the feeling and emotion of the score’s performance instructions in mind regardless of the end result sound.
Duration: 2 minutes
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Choral: SSA | Range: B3 - F5
With piano reduction
Poet: Mary Elizabeth Frye
Programme Notes
This choral work was written for the Carvetii Trio and premiered at Lanercost Priory, Cumbria, on 7th December 2014. The BBC Singers gave the work further performances in 2015 and 2016
In the autumn of 2014 we lost our unborn son, Marvellous, and my Nanny, Vita Pinto. This poem struck me initially as Marvellous was born in Italy and we had an awful experience trying and failing to bring him home. It then chimed with me again at my Nanny's funeral as we all stood around her grave singing our hearts out. I have added a later dedication to my Nana, Stella Jarman, who died in Autumn 2018. This piece is part of ‘Songs for Marvellous’, a song-cycle dedicated to our son.
Performance Instructions
Each phrase of the piece must be allowed to stand on its own merit.
Treat the rests between phrases as timed pauses. The length of the rests can be slightly flexible.
Duration: 2 minutes
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Choral: SSA | Range: B3 - F5
With piano reduction
Poet: Mary Elizabeth Frye
Programme Notes
This choral work was written for the Carvetii Trio and premiered at Lanercost Priory, Cumbria, on 7th December 2014. The BBC Singers gave the work further performances in 2015 and 2016
In the autumn of 2014 we lost our unborn son, Marvellous, and my Nanny, Vita Pinto. This poem struck me initially as Marvellous was born in Italy and we had an awful experience trying and failing to bring him home. It then chimed with me again at my Nanny's funeral as we all stood around her grave singing our hearts out. I have added a later dedication to my Nana, Stella Jarman, who died in Autumn 2018. This piece is part of ‘Songs for Marvellous’, a song-cycle dedicated to our son.
Performance Instructions
Each phrase of the piece must be allowed to stand on its own merit.
Treat the rests between phrases as timed pauses. The length of the rests can be slightly flexible.
Duration: 2 minutes
PDF Digital Download
3 Licensed Copies
Please support self-published composers and buy extra copies rather than photocopying
Choral: SSA | Range: B3 - F5
With piano reduction
Poet: Mary Elizabeth Frye
Programme Notes
This choral work was written for the Carvetii Trio and premiered at Lanercost Priory, Cumbria, on 7th December 2014. The BBC Singers gave the work further performances in 2015 and 2016
In the autumn of 2014 we lost our unborn son, Marvellous, and my Nanny, Vita Pinto. This poem struck me initially as Marvellous was born in Italy and we had an awful experience trying and failing to bring him home. It then chimed with me again at my Nanny's funeral as we all stood around her grave singing our hearts out. I have added a later dedication to my Nana, Stella Jarman, who died in Autumn 2018. This piece is part of ‘Songs for Marvellous’, a song-cycle dedicated to our son.
Performance Instructions
Each phrase of the piece must be allowed to stand on its own merit.
Treat the rests between phrases as timed pauses. The length of the rests can be slightly flexible.
Duration: 2 minutes
PDF Digital Download
15 Licensed Copies
Please support self-published composers and buy extra copies rather than photocopying.
For more than 30 copies, contact Ella directly
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