Alexander L'Estrange circle image.png

ALEXANDER L'ESTRANGE

audio Block
Double-click here to upload or link to a .mp3. Learn more

"When I was 12, a chorister at New College, Oxford, I had a rare day off school, ill. My mother saw an advert for a composing competition run by the Ernest Reed Music Association, who used to organise Saturday morning children’s concerts at the South Bank Centre in London. I saw the words of the poem they had set, instantly heard the tune in my head, and set about writing it down, complete with a jazzy piano accompaniment.  Dear Reader, I won that competition, and my piece was played with a full symphony orchestra and a huge choir!"

Features on

UPHELD BY STILLNESS

new orange.jpeg

MUSIC

SHOW ME, DEARE CHRIST

A reflection on the Credo of Byrd’s 5-part Mass

What fascinated me most about this commission was the question of what “Credo” would have meant for William Byrd, a well-known “recusant” (a Catholic who refused to go to church). This was, after all, an age when being caught with Latin “popish” books, celebrating Catholic Mass, or even worse, harbouring a priest in your house, could mean jail, or, for Jesuit martyrs like Edmund Campion, Robert Southwell and many others, much worse – hanging, drawing and quartering and then having your body parts boiled in salt water and cumin seed before being displayed on pikes around the city. Lovely. With this in mind I chose to set John Donne’s Holy Sonnet XVIII, which expresses the poet’s lifelong distree about the fragmentation of the church (“the bride of Christ”). Donne himself was a Catholic – his brother died in prison, guilty of “harbouring a seminary priest” – who eventually converted to Angicanism in 1615 and later became Dean of St Paul’s. Interpolated are words from Campion and Southwell, William Byrd’s will and other contemporary sources, as well as both Latin and English “intonations” from the “Credo” (plainchant) and “Creed” (Marbecke’s English setting).

website grey.png

BIOGRAPHY

"If you had to create from scratch the perfect 21st century musician, Alexander L'Estrange would be your template.” Howard Goodall CBE 


Alexander L’Estrange is one of Britain's most popular living choral composers and arrangers.  L’Estrange arranges for the world's leading a cappella groups including The Swingle Singers, Voces 8 and The King's Singers, for whom he wrote and produced the Great American Songbook album. As Consultant Editor of Faber Music’s popular Choral Basics series, he has written hundreds of arrangements of songs from across the musical spectrum. L’Estrange was a chorister at New College, Oxford, and gained a First in Music from Merton College, Oxford. Aside from writing, he is a highly accomplished jazz double bass player and pianist, choral workshop leader, musical director of musicals, presenter of children's concerts and jazz examiner/trainer for the ABRSM. A passionate advocate for the importance of singing in schools and the wider community, he presents his music with a mixture of energy, fun and consummate musicianship that has become synonymous with his name.