Placeholder Picture

Latest addition

Live with me and be my love - R&B / Soul mix

Live With Me ...  is new twist on my setting of this (see below). Originally written for piano and SATB choir, I've now given it a 21st century makeover, for an ensemble of female soul singers and a combo of piano, electric bass and drums.   

An den Wassern

This is a setting of Psalm 137, sung in German, with taken from the 1984 revision of the Luther Bibel.

Scored for SATB Choir, Organ and Percussion, it was originally written as a composition competition entry.

Kubla Khan

A setting of the by Samuel Taylor Coleridge, for solo voice and orchestra. The original conception of the piece called for a tenor soloist, but it is also suitable for soprano (sung an octave higher).

In the recording featured here Canadian mezzo-soprano Jennifer McKillop sings the vocal line.

Live with me and be my love - SATB Choir mix

A setting for choir and piano of a by William Shakespeare - one of his "Sonnets to Sundry Notes of Music".

As listeners may realise this recording was produced totally in the digital domain, with the virtual choir courtesy of the "Symphonic Choirs" sampling software from East West Sounds. This was a first attempt at using it.

Song Cycle: Poems of John McCrae

Settings of by Canadian poet John McCrae, scored for solo voice (soprano in the manuscript) and piano. In this the first set of six songs the poet's main preoccupation is with mortality and death.

In the recordings featured here the songs are transposed for countertenor, and sung by friend and fellow composer David Solomons.

  • Click here to preview the score

The Raven

The Raven  is a setting of the narrative by American writer Edgar Allan Poe, for a large choir and full orchestra. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere.  


A setting for choir and string orchestra of the by 19th-century French poet Arthur Rimbaud.

Written in 1871, the poem is seemingly synaesthetic, drawing correspondences between vowels and colours. However, the arbitrariness of these correspondences, and Rimbaud's own admission that they were simply inventions, suggests the poem might have been written tongue-in-cheek.

True or not, the music picks up on this possibility, supporting the fun with its cloyingly programmatic style.

  • Click here to preview the score

© 2008-2019 Mike Roberts/Emarro Music.
All rights reserved.