Setting of The incantation of The three witches in Shakespeare's Macbeth, for three altos and guitar. Performed by The composer.

Setting for three altos and ostinato guitar of The witches' cauldron scene in Shakespeare's Macbeth. Created specially for Halloween.

Setting of The incantation of The three witches in Shakespeare's Macbeth, for three altos and guitar. Performed by The composer. Thrice The brinded cat hath mew'd Thrice and once The hedgepig whin'd Harper cries: 'Tis time, 'tis time. ...  moreSetting of The incantation of The three witches in Shakespeare's Macbeth, for three altos and guitar. Performed by The composer. Thrice The brinded cat hath mew'd Thrice and once The hedgepig whin'd Harper cries: 'Tis time, 'tis time. Round about The cauldron go; In The poison'd entrails throw. Toad, that under cold stone Days and nights hast thirty one Swelter'd venom sleeping got, Boil thou first i' The charmed pot. Double, double toil and trouble; Fire burn and cauldron bubble. Fillet of a fenny snake, In The cauldron boil and bake; Eye of newt, and toe of frog, Wool of bat, and tongue of dog, Adder's fork, and blind-worm's sting, Lizard's leg, and howlet's wing, for a charm of powerful trouble, Like a hellbroth boil and bubble. Double, double toil and trouble; Fire burn and cauldron bubble. Scale of dragon, tooth of wolf, Witch's mummy, maw and gulf Of The ravin'd saltsea shark, ...    less

witches' Chorus from Macbeth from Cantores Celestes CD, Women of Light. Composer: G. Verdi Directed by Kelly Galbraith with Ellen Meyer on piano Recorded in Toronto, Ontario, Canada.

La Folia (literally "madness") was a Portuguese dance from The renaissance, and it has been used by many composers in The ensuing centuries. This version is for voices and guitar. It introduces The Theme as a repeated verse on voice 1 and Then adds a co...  moreLa Folia (literally "madness") was a Portuguese dance from The renaissance, and it has been used by many composers in The ensuing centuries. This version is for voices and guitar. It introduces The Theme as a repeated verse on voice 1 and Then adds a couple of vocalize additions above and below it. The pdf file contains The score and a separate guitar part. The sound sample is performed by The composer. Let's sing la Folia Oh let's sing la Folia Oh let's sing la Folia as in The Baroque time Oh let's sing la Folia Oh let's sing la Folia It spans all The centuries up to now (la la la) (cu cu cu!)  less

As The finale to The Vocal Art Ensemble's "INKSPELL--Choral Music Inspired by Masters of Poetry" concerts, we performed Jaako Maantijaarvi's first three Shakespeare Songs, culminating on our playful, crafty interpretation to this famous text from Macbeth....  moreAs The finale to The Vocal Art Ensemble's "INKSPELL--Choral Music Inspired by Masters of Poetry" concerts, we performed Jaako Maantijaarvi's first three Shakespeare Songs, culminating on our playful, crafty interpretation to this famous text from Macbeth. The women shed Their shawls and toss Them into The center to represent The ingredients being dropped into The bubbling 'cauldron'.  

Our music for your choir - sheet music and mp3's available through www.stoneandtara.com/songbook The witches' Dialogue©2021 Anke de Bruijn & Peter Duiverman for SATB choir a capella. Background notes to 'The witches' Dialogue' On a rainy Novembe...  moreOur music for your choir - sheet music and mp3's available through www.stoneandtara.com/songbook The witches' Dialogue©2021 Anke de Bruijn & Peter Duiverman for SATB choir a capella. Background notes to 'The witches' Dialogue' On a rainy November morning, I was taking a walk with a friend. We found ourselves talking about a man who we knew only vaguely and who had been very ill for several years. We had heard recently that he was dying of cancer. The only thing we really knew about him was that he had lived a fairly miserable life. My friend told me how she and two oTher women had once helped a dying man by holding his feet, letting him know that it was safe to let go. Then we stopped short on The forest road and looked at each oTher. ‘I think we should hold his feet,’ one of us said. ‘Now?’ ‘We can always try. Thoughts have power.’ So we closed our eyes, stood for minutes next to an old, gnarled tree, and focused on The man who we imagined as lying alone in a hospital bed. When we opened o...    less

My Love - a hypnotic and strangely yearning canon for three equal voices, with an ostinato guitar motif, composed and performed by David W Solomons (aka dwsChorale). My love is far from here I sense in my dreams that she's dreaming of me far off in...  moreMy Love - a hypnotic and strangely yearning canon for three equal voices, with an ostinato guitar motif, composed and performed by David W Solomons (aka dwsChorale). My love is far from here I sense in my dreams that she's dreaming of me far off in that country dreaming that we shall once more sing our old song We'll sing in harmony longing for The day when harmony can sooThe our sorrows and make us smile to think that harmony can sooTher our sorrows dreams far off.  

My Love - a hypnotic and yearning quasi-canon for three equal (alto) voices, with an ostinato guitar motif.

Scores in various keys are available at The link below "He makes men pure from Their sins..." A simple duet for two equal voices with guitar chords, suitable for evangelical meetings. Taking words from St Paul's letter to The Hebrews. The recording (in...  moreScores in various keys are available at The link below "He makes men pure from Their sins..." A simple duet for two equal voices with guitar chords, suitable for evangelical meetings. Taking words from St Paul's letter to The Hebrews. The recording (in D) was performed by The composer (in those far off religious days!).