蒂皮特对威尔士民歌“Gwenllian”的处理,第一次见面,是相当陌生的;看似无调性的歌词片段分散在声部之间,似乎故意隐藏了实际上相当有调性的民谣旋律延伸。一旦不同的部分意识到,在某个特定的时刻,他们掌握了这段旋律——一旦他们自己唱完了这段旋律——事情就变得更加安全了,尽管还有一段路要走。男高音有一个反复出现的E - C - F主题片段,偶尔出现;第一个音符的音高和上升词组的音准是一个挑战。
我们开始在沃恩·威廉姆斯(Vaughan Williams)的莎士比亚作品背景中“丰富而奇怪”的铿锵声中摸索全英寻五英寸这是他“三首莎士比亚之歌”中的第一首。”We started by putting together the wonderful eleven-part chords on the word ‘strange’ at roughly the mid-point of the piece; not only is it my favourite moment, but it’s a way of showing the group what the key moment of the piece is that we’re heading for. The rhythmic feel to the piece is entirely flexible, moving in different fashion in each part at the same time: the altos are steadily tolling the crotchets, the sopranos moving in triplets across the half-bar, and the basses moving in triplets on every other beat. This creates a wonderfully loose sense of movement, not wholly dissimilar to the ebb and flow of the sea – the key element of the poem – and you really have to keep your head in order to make sure your part is moving correctly in time with everyone else.