John Smith
choral music composer
John Smith has had a long career in choral singing and music education. As a composer of choral compositions he values singability and an understanding of the human voice as a lyrical instrument.
John Smith's Compositions
Nunc dimmittis
“Bradford Evening Canticles written to celebrate the Bradford city of culture year 2025.
These two pieces are closely linked concluding with the same gloriawhich uses material from the choral opening to the Magnificat. Both pieces attempt to show an understanding of the meaning of the texts. The Magnificat begins out of the key with loud organ chords that give way to the entry of the choir in G major. The two soprano solos are trios based on the descending bass line. In the Nunc Dimittis the long G pedal note is meant to convey a sense of peace. After this more movement occurs in the piece in order to lead to the Gloria which should be performed at the same speed as in the Magnificat.”
Magnificat
“Bradford Evening Canticles written to celebrate the Bradford city of culture year 2025.
These two pieces are closely linked concluding with the same gloria which uses material from the choral opening to the Magnificat. Both pieces attempt to show an understanding of the meaning of the texts. The Magnificat begins out of the key with loud organ chords that give way to the entry of the choir in G major. The two soprano solos are trios based on the descending bass line. In the Nunc Dimittis the long G pedal note is meant to convey a sense of peace. After this more movement occurs in the piece in order to lead to the Gloria which should be performed at the same speed as in the Magnificat.”
Angelus ad virginem
The original Unison version of this medieval carol was written around the year 2000 for the choir of Saighton Church of England school in Chester where i was director of music. This version has now been rewritten for SATB choir. The carol is a narration of the conversation between the Virgin Mary and the Angel Gabriel.
Welcome all wonders
The genesis of this carol was inspired by the shepherds reaction to the angels message of Christ’s birth. The first section of the carol attempts to convey the “all embracing” nature of the text with it’s distinct contrasts. The carol has a concluding section which begins with a distant choir of angels to the text “Gloria in Excelsis Deo”. This section is announced with a fugato, the subject of which is derived from the opening section “Welcome” and which after the words “Pax” returns with the added emphasis of the angels to conclude with a climactic a climactic “Gloria”.
Jesu dulcedo
One of three communion motets influenced by plainsong
These 3 short motets for parish choir were influenced by gregorian chant. The compositions make initial reference to the respective chant before evolving in sympathy with the text and chant style. The style pervades all four voices and the method of performance should reflect something of the rhythm and style of the chant.
The Virgin Mary
The last of of three spirituals. “Swing low, sweet chariot” was written for St George’s day service at grosvenor Chapel Mayfair. “Let us break bread together” is intended as a communion anthem and begins with the simple basic harmonisation of the tune before the melody diffuses into the other voices. “The Virgin Mary had a baby boy” is much lighter in character and was originally written for a choir in the Netherlands. Each verse transposes up a semitone in order and a high soprano solo is added in the third verse.
Let us break bread together
One of three spirituals. “Swing low, sweet chariot” was written for St George’s day service at Grosvenor Chapel Mayfair. “Let us break bread together” is intended as a communion anthem and begins with the simple basic harmonisation of the tune before the melody diffuses into the other voices. “The Virgin Mary had a baby boy” is much lighter in character and was originally written for a choir in the Netherlands. Each verse transposes up a semitone in order and a high soprano solo is added in the third verse.
Ubi Caritas Et Amor
This setting of Ubi Caritas et Amor is scored for SATB without divisi. It is suitable for parish church choir as a communion motet or occasional anthem. This setting was composed by John Smith in 2016 for the wedding of Laura Wadsworth and Archie Montgomery.
It is one of three communion motets influenced by plainsong
These 3 short motets for parish choir were influenced by gregorian chant. The compositions make initial reference to the respective chant before evolving in sympathy with the text and chant style. The style pervades all four voices and the method of performance should reflect something of the rhythm and style of the chant.
Tantum Ergo
A setting of the communion motet Tantum ergo by John Smith for SATB choir a capella.
It is one of three communion motets influenced by plainsong
These 3 short motets for parish choir were influenced by gregorian chant. The compositions make initial reference to the respective chant before evolving in sympathy with the text and chant style. The style pervades all four voices and the method of performance should reflect something of the rhythm and style of the chant.
Swing Low Sweet Chariot
One of the arrangements of three spirituals. in John Smith’s Opus 5. “Swing low, sweet chariot” was written for St George’s day service at Grosvenor Chapel Mayfair. “Let us break bread together” is intended as a communion anthem and begins with the simple basic harmonisation of the tune before the melody diffuses into the other voices. “The Virgin Mary had a baby boy” is much lighter in character and was originally written for a choir in the Netherlands. Each verse transposes up a semitone in order and a high soprano solo is added in the third verse.
Te Lucis Ante Terminum
An evening motet is modal in style and has a clear structure. Each phrase forms an arc, each verse is an arc and all three verses form an arc. The first and last verse are centered around F, whilst the second verse is centered around C touching on G at the climax to the piece. Care should be taken of the dynamics in performing the piece.
This motet received its London premiere in the London festival of contemporary church music 2025.
Ave Maria
The first half of this piece which is in e minor is scored for four upper voices and grows outwards from a solitary E. The second half introduces the tenor and bass voices and is in the relative major G. It has an inversion of the opening 1st Soprano line moving from the dominant to the tonic. When the upper voices enter they are a transposition of the music from the first half. After a brief passage introducing E flat and B flat the whole piece concludes in the key of E. This piece received its premiere at the London Festival of contemporary church music 2025.
An Hymne of Heavenly Love
This piece was written for my younger son’s wedding. The main key of the piece is in D major. It touches on various keys throughout and the movement from the F# major chord to the Soprano solo in G major takes the music into a different realm before the final section in D major which introduces the long held D in the word “Love” which is heard at the beginning before the final climactic ending.
it is a Setting of Edmund Spenser’s “An Hymne of Heavenly Love” for SATB with minimal divisi SSAATB