June Clark: To Sing Thy Love

This was composed in 2008 for the Alston Moor Parish Choir, of which June Clark was the choir director. It was sung at Festal Evensong to celebrate the close of the Alston Moor Six Church Festival. The opening solo was sung then, as on this recording, by June’s son, Nick Pepin (counter tenor). ‘May the road rise up to greet you’…’may the hills around enfold you’ ….words familiar to many. The words are so apt for the hills and moorland of the North Pennines. It is a joyous blessing!

O Saviour Christ (1966) Anthem SATB CM2507a/b
Music by June Clark, words by David Pepin

This anthem was originally composed for the wedding service of June Clark and David Pepin, held in the Cathedral and Abbey Church of St.Alban in 1966 and sung by the choristers with Peter Hurford at the organ.  The words are a compilation from biblical texts, including psalms 16 v11, 121 v8, Isaiah 30 v15, Revelation 22 v20. Scored originally for two treble parts and one alto part it can be used as a wedding or a communion anthem, especially at Whitsuntide or Advent, and sung by either boys or women. This new version SATB is for standard choirs. The work begins and ends in reflective mood.  The middle section is based upon petitions to the Lord Jesus, whilst the final section gathers momentum in an ecstatic moment of joy, and the plea ‘Come, Lord Jesus, Come’, before ending as it began in quiet peace.

There is a balm in Gilead (2007) Arranged by June Clark CM2416a/b

The words and melody are African/American Spiritual.  This two part arrangement for the voices is equally balanced with the melody/descant weaving in and out throughout the piece. The piano accompaniment is complementary to the voices, picking up their style and sentiment from Old Testament scriptures.

Simple Gifts (2012) arranged for SATB by June Clark CM2411c

The Shaker Community began in Manchester in 1747, reaching America in 1774. Both tune and words were composed by Joseph Brackett (1797-1882), an Elder of the Community in Maine.  The song shows an element of the dance, as do many Shaker tunes, with a soaring descant to end.  Though it can be sung at any season, it can be sung at Christmas as it identifies with the gift of God in the birth of his Son.

To sing Thy love (2011) Anthem SATB CM2518
Music by June Clark, words by Cardinal John Henry Newman.                                            

Composed after a commission by Portsmouth Anglican Cathedral to commemorate their Patron Saint, Thomas Becket of Canterbury, it was given its first performance in the Cathedral under Dr David Price in November 2011. It is a setting of the poetic translation from the Latin by Cardinal John Henry Newman, of the Roman Catholic ‘Anima Christe’. The outer sections recall the solemnity of the Roman Mass, rising to a dramatic climax with a waterfall effect at the words ‘Wash out my stains’. The central section, beginning with counter tenor solo, is a prayer petition to Jesus, reflecting His own passion. The climax is one of joy and resurrection for all the saints.

Missa Brevis (2006) SATB CM2514b
Music by June Clark: words traditional.

This was originally conceived in the 1970s as a commission from the Church of our Lady of Lourdes in Harpenden, for a short two part setting of the Mass/Eucharist for Parish Church Choirs (CM2513).The work has since been updated to SATB and expanded, this version here recorded by Portsmouth Cathedral Choir.  Written in a contemporary style with modal overtones, it includes the Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei.

Toccata Brillante (1953) CM2305

This brilliant, showy piece for the concert platform was published and premiered in the Duke’s Hall, Royal Academy of Music, London, by June, then a student composer.  It exploits the toccare (touch) technique, with the excitement not letting up for a moment, except just before the very end of the piece. The short poco meno mosso section becomes reflective in mood, but is short-lived before the toccata rears its head again and plunges onward to a brilliant close at both ends of the keyboard.

Eight songs for children
Music by June Clark: words by David Dixon

Dell (1963) CM2501

A light-hearted unison song about thirty two squirrels telling of their antics as they dart amongst the branches.

O where is young Christopher (1963) CM2503

This little song is about a young lad who cannot be found and is finally located stuck up a tree.  It is in waltz rhythm emphasised by the piano accompaniment.

Captain Leather (2005) CM2509

The sea captain is a happy fellow who thrives on weather, good or bad, singing his songs, and dancing the hornpipe, despite the gales and waves.  The accompaniment is a jolly hornpipe throughout.

The Miller (2005) CM2511

With perhaps some apologies to Schubert this song is supported by a turning semiquaver accompaniment to suggest the mill wheel while the voice sings a jaunty melody above. The miller seems happy enough with the company only of his cats.  The wheel gradually slows down and stops at the end of the song.

The Colonel’s Gallop (2005) CM2510

Colonel Hadly Gadly Brown is a typical extrovert, who has the effrontery to ride through the town…on a rhinoceros, dressed in a top hat and dressing gown!  He gallops away, unable to stop and finally vanishes out of town and over the hills.

Mr. Pennyfather (2005) CM2508

This strange old man was always dreaming of a better place to be rather than where he actually was.  His wishes seemed eventually to come true and at the end of the song he just ‘disappeared from view’. The accompaniment trots hopefully along in the outer verses while in the middle becomes more reflective as the old man dreams. He finally floats away to his ‘Isle of Gladness’.

Spring Breezes (2005) CM2512

Written as a two-part canon for two treble voices, (though it can be sung as unison) the song has lilting accompaniment and the words tell how the breeze passes ‘softly, invisibly over the grasses’. It is a gentle evocation of spring and how the breeze brings out the smells of rain and the countryside, yet we do not know whence the breezes come or where they go.

Og (1963) CM2502

This is a song about a cat called Og. We cannot remember why he is called such a silly name, but think it is because Og is really a rather silly, scared cat. The piano accompaniment ambles along like the daft pussy cat, ending with an upward out-of- key scale as the frightened Og flees away.

Burlesca (1953) CM2308

Originally composed and premiered as a companion piece to the Toccata Brillante, the score of the Burlesca then languished forgotten in a drawer, until being resurrected and published in 2011. The piece fluctuates from 7/8 to 6/8 time with dance-like chordal accompanied semiquavers and tongue-in-cheek style extrovert treble scale passages.  The middle section is a conversation between treble and bass (crossed hands) over a persistent chordal accompaniment. The reprise of the first section ends in great triumph.

Sadly, both this piece and the Toccata were never recorded while June was still playing in public, but here they are realised superbly by William Drakett.

Sleep now O Babe of Bethlehem (1967)
Music & words by June Clark  CM2505

This SATB carol is a cradle song to the baby Jesus.  For a fleeting moment in v.2 we are given a glimpse into the future when the grown man will have the world’s sorrow on his shoulders. The rocking lullaby again brings the carol to a quiet, reflective ending, as the babe lies sleeping.

Let us light a candle to the Christ Child (1966)
Music & words by June Clark CM2504

During a Nine Lessons and Carols Service in St.Albans Cathedral in 1965 this SATB carol was inspired by a ‘what if?’ vision of the red-cassocked choirboys with their lighted candles processing beyond the door of the cathedral and continuing on and on until they reached the stable in Bethlehem. Such was its strong inspiration the carol was completed during the small hours of the following night and morning.

Three Christmas ensemble arrangements (2011) A.A.T.T.B + piano by June Clark

Deck the Hall CM2405c

A boisterous setting of a well-known carol with piano accompaniment that trips along jauntily throughout.  There are lots of ‘fa-la-las’ which become ever more complex and energetic.

Ding, Dong! Merrily on high CM2414c

The sixteenth century French tune with words by G.R. Woodward begins with some bell ringing (on the piano), assisted by the voices. The bells then take the form of chimes and peals, using syncopation to good effect.

We wish you a merry Christmas CM2415c

Not quite a Viennese waltz, this arrangement of the traditional West Country carol dances along at great pace. Spiced up with some chromatic harmonies, the voices drive on to unrestrained jollity, almost daring us not to have a Merry Christmas.

(June Clark, 2011)