KEN
STOTT
MUSIC
Compositions
The Day is Ended
A Cantata for SATB Choir, Organ and Orchestra, or for Choir and Organ
This cantata is based on the ancient service of Compline (or Evening Prayer), which means completion. It thus forms the completion or final service of the day, a time of prayer and reflection as the day draws to its close.
The text is taken and adapted from the traditional language Anglican version of Night Prayer (Compline). The cantata comprises 12 sections:
I Introductory hymn II Preparation III The Hymn
IV The Psalm V Gloria VI The Scripture
VII Responsory VIII Nunc Dimittis IX Prayers
X The Collect XI The Conclusion XII Closing Hymn
Benediction: May the Grace of Christ
This short benediction was written in 2014. It may be sung in unison by either female or male voices, or both; or there is a comparatively easy four part setting, with piano or organ accompaniment.
Psalm 19
For solo soprano, piano and strings (or soprano and piano only).
This 2014 setting of a psalm that has inspired many composers is characterised by beautiful melodic lines and a flowing accompaniment.
Ode V
For SATB, with piano or organ accompaniment
This is based on the ancient poetry of Synesius, translated by Chatfield 1808-96. It is of moderate difficulty and well within the reach of most experienced choirs. The harmonic effect is most impressive in a bright acoustic setting.
Fanfare Processional for Organ
Written in 1998, this piece of organ music has been used for both the bridal entry and the wedding postlude. It is based on the contemporary Christian song In Christ Alone I Place My Trust. The piece commences with a fanfare and then states the theme of In Christ Alone. A short play on the theme than leads to a triumphal conclusion.
The Lords Prayer
For SATB and Piano or Organ
This 1999 setting, arranged by Cainan Mui, is a beautifully lyrical interpretation of the famous prayer and has been used in churches in the UK, Australia and SE Asia.
An Ancient Benediction
For SATB, either a capella or with piano accompaniment
This is one of several benedictions that Ken has written. Its flowing melodic line is complemented by a delightful change of key for the second part, while the threefold Amen moves effortlessly from F minor through Db major to F major.