The Birmingham Preces and Responses
Craig Phillips

Composer Craig Phillips
Text 1662 Book of Common Prayer
Voicing SATB a cappella
Topic Evensong
Price $2.50 (U.S.)
Released 1/19
Catalog no. 410-926
Difficulty Mod. difficult

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Anthem text
O Lord, open thou our lips:
And our mouth shall show forth thy praise.

O God, make speed to save us:
O Lord, make haste to help us.

Glory be to the Father,
and to the Son,
and to the Holy Ghost:
As it was in the beginning,
is now and ever shall be,
world without end. Amen.

Praise ye the Lord:
The Lord’s name be praised.

The Lord be with you:
And with thy Spirit.

Let us pray.
Lord, have mercy upon us,
Christ, have mercy upon us,
Lord, have mercy upon us.

The Lord’s Prayer

O Lord, show thy mercy upon us:
And grant us thy salvation.

O Lord, save the State:
And mercifully hear us when we call upon thee.

Endue thy ministers with righteousness:
And make thy chosen people joyful.

O Lord, save thy people:
And bless thine inheritance.

Give peace in our time, O Lord:
Because there is none other
that fighteth for us,
but only thou, O God.

O God, make clean our hearts within us:
And take not thy Holy Spirit from us.

The Collects
Amen. Amen. Amen.

review copy

Description
A setting of the traditional Preces & Responses text for Evensong (1662 Book of Common Prayer text). Included is a full motet setting of the Lord’s Prayer. Commissioned for the choir of the Cathedral Church of the Advent, Birmingham, Alabama, in honor of the 20th anniversary of Dr. Stephen G. Schaeffer
as Director of Music and Organist, commissioned by their St. Cecilia Fund.

Review
"The expert skill in handling choral forces that typifies Phillips' compositions is apparent on every page of these responses written to honor AAM member Dr. Stephen Schaeffer's twentieth anniversary at the Birmingham, Alabama, cathedral. Phillips opted for a setting that follows the implied rhythm of speech to shape the metrical organization. Occasional measures of 3/8 delightfully unsettle the dominant quarter-note pulse, while drawing attention to the rhetoric of the prayers. Phillips achieves a mature, nuanced tonal language even without use of chromatic alterations. Harmonies are interestingly unconventional even when entirely diatonic. His confident writing flows from his prolific experience as a choral composer, and lines are unfailingly vocally conceived. Altos and basses divide from time to time, yet these responses lie well within the reach of most choirs who routinely sing evensong." –AAM Journal



 

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