Download a Copy of the Paper Leaflet

Total Page:16

File Type:pdf, Size:1020Kb

Download a Copy of the Paper Leaflet HE EDINGTON FESTIVAL is founded DINGTON is a small village on the edge of A FESTIVAL OF MUSIC WITHIN THE LITURGY upon the goodwill of the participants and the Salisbury Plain in Wiltshire. Forty minutes’ drive T generosity of the parishioners of the benefice E from Bath or Salisbury, it lies four miles east of 20–27 AUGUST 2017 and those who join them during the course of the week. Westbury on the B3098 . For one week in August every The Society of Friends of Edington Priory Church exists year since 1956, Edington has hosted a festival of music to support the Vicar and PCC in maintaining the priory and liturgy in its magnificent fourteenth-century priory church for future generations. Further information can church. Singers from many of the great cathedral and be obtained from Mrs Susie Hancock, Dunge Farm, collegiate choirs come together to take part in the daily West Ashton, Trowbridge, Wiltshire BA14 6AX services. There are no tickets for the services and seats (Telephone 01225 754626 ). The Festival Association cannot be reserved. seeks to ensure the long-term future of the festiva l— Throughout the week the Offices of Matins and details can be obtained from Mrs Sue Lowery, 10 High Compline are sung to plainsong by the Schola Cantorum Street, Steeple Ashton, Wiltshire BA14 6EL (Telephone (directed by Peter Stevens, Assistant Master of Music, 01380 871549 ). Please help to support the parish and the Westminster Cathedral), whilst the principal services are festival through these bodies. led by a choir of men and boys (conducted by Matthew The light-hearted and convivial Musical Evening and Martin, Director of Music, Keble College, Oxford) and a Supper helps the village fund parish facilities on which Consort of mixed voices (directed by Jeremy Summerly, the festival relies. It will take place on Wednesday Director of Music, St Peter’s College, Oxford, Sterndale 23 August 2017, at 6.30 for 7pm, on the Parish Field Bennett Visiting Lecturer in Music at the Royal Academy (adjoining the Churchyard) by kind permission of of Music, Director of Music, St Luke’s Church, Chelsea, Edington Parish Council. Tickets, priced at £25 each, and conductor of Oxford Camerata). The festival is may be booked after 1 June from Hugh Hancock, directed by Richard Pinel (Fellow and Director of Music, Dunge Farm, West Ashton, Trowbridge, Wiltshire BA14 Jesus College, Cambridge). 6AX or ppc -t@hancock-office.org (01225 754626 ). Cheques The 62nd festival takes as its theme the Beatitudes. should be made payable to ‘Edington Priory Church The nine beatitudes at the beginning of Matthew’s account Music Evening’. Account details for BACS payments will of the Sermon on the Mount will provide a framework by be sent with acknowledgements of bookings. The which we can explore Christ’s teaching and ministry. Full Committee will endeavour to accommodate requests to details are given in the companion booklet, priced £5, sit with friends if this is communicated; similarly, please which is available from Tuesday 1 August. If you would give notice of any disabled parking requirements when like a copy posted to you, please send a cheque for £6 ordering tickets. (to cover p&p) to the Information Secretary, John d’Arcy, Car parking for the Musical Evening and at the The Old Vicarage, Edington, Westbury, Wiltshire, BA13 festival is provided on the verge opposite Monastery 4QF (Telephone 01380 830512 ), from whom information Gardens, and will be signposted during the week. regarding accommodation can also be obtained. Cheques Limited parking for disabled visitors is available by should be made payable to ‘Edington Music Festival sending your name, car registration, services you are Society’. attending and a stamped addressed envelope for a THE Swindon parking pass to Mrs Joanna Robertson, Beech House, M4 BA13 4PH Tinhead Road, Edington . If facilities (such M4 Chippenham EDINGTON as wheelchair access/space, etc.) are required in church, please include this information in your application. 1 Devizes Further information and late bookings can also be dealt A36 0 5 3 A A EDINGTON 34 MUSIC with on 01380 830375 . West Lavington 2 B3098 Westbury A WWW.EDINGTONFESTIVAL.ORG 3 Andover 6 0 A303 FESTIVAL Designed by Nick Flower Printed in England by Caligraving Ltd A303 —— THE EDINGTON MUSIC FESTIVAL 2017 —— Sunday 20 August ST BERNARD OF CLAIRVAUX Wednesday 23 August Friday 25 August ¶ Blessed are the merciful: for they shall obtain mercy. ¶ Blessed are they that mourn: for they shall be comforted. 9.15pm Compline 9.00am 11.30am Te lucis ante terminum THOMAS TALLIS Matins Choral Matins In pace, in idipsum THOMAS TALLIS Blessed are those who mourn ROGER PETRICH 11.30am Solemn Eucharist Nunc dimittis (Short Service) ORLANDO GIBBONS Preces & Responses RICHARD SHEPHARD Plainsong Mass for a Mean JOHN SHEPPARD Salve regina HERBERT HOWELLS Benedicite SIR WILLIAM HARRIS Beati quorum via Benedictus in C SIR CHARLES VILLIERS STANFORD SIR CHARLES VILLIERS STANFORD Monday 21 August Wie lieblich sind deine Wohnungen O salutaris hostia THOMAS TALLIS JOHANNES BRAHMS ¶ Blessed are the poor in spirit: for theirs is the kingdom of heaven. 9.00am Matins 3.30pm Choral Evensong 7.30pm Music before the service Simon Bell broadcast live on BBC Radio 3 doors close 3.25pm 8.00pm Solemn Requiem 11.30am Solemn Eucharist Beati misericordes ROBERT WALKER Requiem GABRIEL FAURÉ Mass XII PLAINSONG FESTIVAL COMMISSION Lux aeterna PLAINSONG In spiritu humilitatis GIOVANNI CROCE Preces & Responses PHILIP RADCLIFFE Chichester Service SIR WILLIAM WALTON 9.15pm Compline 7.30pm Music before the service Richard Pinel The Beatitudes ARVO PÄRT Alma redemptoris mater PLAINSONG Saturday 26 August 8.00pm Solemn Evensong ¶ Blessed are the peacemakers: for they shall be called the children of God. Preces & Responses RICHARD AYLEWARD 9.30pm Compline Second Service WILLIAM BYRD 9.00am Matins Let all the world in every corner sing Thursday 24 August ST BARTHOLOMEW 11.30am Solemn Eucharist KENNETH LEIGHTON ¶ Blessed are the pure in heart: for they shall see God. Missa simile est TOMÁS LUIS DE VICTORIA 9.15pm Compline 9.00am Matins O pray for the peace of Jerusalem HERBERT HOWELLS Blessed are the peacemakers PIERS KENNEDY Tuesday 22 August 11.30am Solemn Eucharist FESTIVAL COMMISSION ¶ Blessed are the meek: for they shall inherit the earth. Missa brevis in F WOLFGANG AMADEUS MOZART 7.30pm Music before the service Peter Stevens ¶ Blessed are they that hunger and thirst after righteousness: for they Te gloriosus Apostolorum chorus PLAINSONG shall be filled. Beati mundo corde WILLIAM BYRD 8.00pm Solemn Evensong 9.00am Matins Ubi caritas et amor OLA GJEILO Souls of the righteous THOMAS TERTIUS NOBLE Preces & Responses PHILIP MOORE Charles Maxtone-Smith 11.30am Solemn Eucharist 7.30pm Music before the service Magnificat & Nunc dimittis in G FRANCIS JACKSON Missa brevis GIOVANNI PIERLUIGI DA PALESTRINA Blessed city SIR EDWARD CUTHBERT BAIRSTOW 8.00pm Sequence of Music and Readings O quam suavis est, Domine ALONSO LOBO Beati mundo corde WILLIAM BYRD 9.15pm Compline O quam suavis est, Domine PETER PHILIPS Ubi caritas et amor OLA GJEILO 7.30pm Music before the service Matthew Martin Warum ist das Licht gegeben JOHANNES BRAHMS Sunday 27 August Ubi caritas et amor PLAINSONG ¶ Blessed are they which have been persecuted for righteousness’ sake: for theirs is the kingdom of Heaven. 8.00pm Solemn Evensong ¶ Blessed are ye when men shall reproach you, and persecute you, and utter all 9.15pm God be in my head SIR HENRY WALFORD DAVIES Compline kinds of evil against you falsely, for my sake. Preces & Responses PHILIP RADCLIFFE 9.00am Matins Chichester Service SIR WILLIAM WALTON Faire is the heaven SIR WILLIAM HARRIS Painting credit: Les Béatitudes by Joseph Matar 11.30am Solemn Eucharist reproduced by kind permission of the artist Messe à deux chœurs CHARLES -M ARIE WIDOR 9.15pm Compline www.lebanonart.com Surrexit pastor bonus JEAN LHÉRITIER O sacrum convivium OLIVIER MESSIAEN Ave Maria ROBERT PARSONS.
Recommended publications
  • Guillaume Du Fay Discography
    Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14). Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses II. Mass Movements and Propers III. Other Sacred Works IV. Songs (Italian, French) Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label, and the issue number(s). Each recorded performance is indicated, if known, as: with instruments, no instruments (n/i), or instrumental only. Album titles of mixed collections are added. ‘Se la face ay pale’ is divided into three groups, and the two transcriptions of the song in the Buxheimer Orgelbuch are arbitrarily designated ‘a’ and ‘b’.
    [Show full text]
  • Extract from Text
    DISCOVER CHORAL MUSIC Contents page Track List 4 A Brief History of Choral Music , by David Hansell 13 I. Origins 14 II. Early Polyphony 20 III. The Baroque Period 39 IV. The Classical Period 68 V. The Nineteenth Century 76 VI. The Twentieth Century and Beyond 99 Five Centuries of Choral Music: A Timeline (choral music, history, art and architecture, literature) 124 Glossary 170 Credits 176 3 DISCOVER CHORAL MUSIC Track List CD 1 Anon (Gregorian Chant) 1 Crux fidelis 0.50 Nova Schola Gregoriana / Alberto Turco 8.550952 Josquin des Prez (c. 1440/55–c. 1521) 2 Ave Maria gratia plena 5.31 Oxford Camerata / Jeremy Summerly 8.553428 John Taverner (c. 1490–1545) Missa ‘Gloria Tibi Trinitas’ 3 Sanctus (extract) 5.28 The Sixteen / Harry Christophers CDH55052 John Taverner 4 Christe Jesu, pastor bone 3.35 Cambridge Singers / John Rutter COLCD113 4 DISCOVER CHORAL MUSIC Thomas Tallis (c. 1505–1585) 5 In manus tuas, Domine 2.36 Oxford Camerata / Jeremy Summerly 8.550576 William Byrd (c. 1540–1623) 6 Laudibus in sanctis 5.47 Oxford Camerata / Jeremy Summerly 8.550843 Giovanni Pierluigi da Palestrina (c. 1525/6–1594) Missa ‘Aeterna Christi Munera’ 7 Agnus Dei 4.58 Oxford Camerata / Jeremy Summerly 8.550573 Tomás Luis de Victoria (1548–1611) 8 O magnum mysterium 4.17 Oxford Camerata / Jeremy Summerly 8.550575 Claudio Monteverdi (1567–1643) Vespers of the Blessed Virgin 9 Laudate pueri Dominum 6.05 The Scholars Baroque Ensemble 8.550662–63 Giacomo Carissimi (1605–1674) Jonas 10 Recitative: ‘Et crediderunt Ninevitae…’ 0.25 11 Chorus of Ninevites: ‘Peccavimus,
    [Show full text]
  • Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
    METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • PMMS L'homme Arme' Masses Discography
    Missa L’homme armé Discography Compiled by Jerome F. Weber This discography of almost forty Masses composed on the cantus firmus of L’homme armé (twenty- eight of them currently represented) makes accessible a list of this group of recordings not easily found in one place. A preliminary list was published in Fanfare 26:4 (March/April 2003) in conjunction with a recording of Busnoys’s Mass. The composers are listed in the order found in Craig Wright, The Maze and the Warrior (Cambridge and London: Harvard University Press, 2001), p. 288; the list is alphabetical within broad eras. In particular, he discusses Du Fay (pp. 175ff.), Regis (pp. 178ff.), the Naples Masses (pp. 184ff.), and Josquin des Prez (pp. 188ff.). Richard Taruskin, “Antoine Busnoys and the L’Homme armé Tradition,” Journal of AMS, XXXIX:2 (Summer 1986), pp. 255-93, writes about Busnoys and the Naples Masses, suggesting (pp. 260ff.) that Busnoys’s Mass is the earliest of the group and that the Naples Masses are also by him. Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997, pp. 62ff.), suggests that Ockeghem’s setting is the earliest. Craig Wright, op. cit. (p. 175), calls Du Fay’s the first setting. Alejandro Planchart, Guillaume Du Fay (Cambridge, 2018, p. 594) firmly calls Du Fay and Ockeghem the composers of the first two Masses, jointly commissioned by Philip the Good in May 1461. For a discussion of Taruskin’s article, see Journal of AMS, XL:1 (Spring 1987), pp. 139-53 and XL:3 (Fall 1987), pp. 576-80. See also Leeman Perkins, “The L’Homme armé Masses of Busnoys and Okeghem: A Comparison,” Journal of Musicology, 3 (1984), pp.
    [Show full text]
  • R. Larry Todd, Discovering Music Audio Credits Part I Chapter 3
    R. Larry Todd, Discovering Music Audio Credits Part I Chapter 3 Listening Map 1: “The Young Person’s Guide to the Orchestra, Op. 34” Composed By: Benjamin Britten Performed By: London Symphony Orchestra, Steuart Bedford Chapter 6 Listening Map 2: “The Stars and Stripes Forever” Composed By: John Philip Sousa Performed By: Royal Artillery Band, Keith Brion Part II Chapter 8 Listening Map 3: “Viderunt Omnes” Composed By: Anonymous Performed By: CantArte Regensburg, Hubert Velten Chapter 9 Listening Map 4 “O viridissima virga” Composed By: Hildegard Von Bingen Performed By: Oxford Camerata, Jeremy Summerly Chapter 10 Listening Map 5 “Viderunt Omnes” Composed By: Leonin Performed By: Tonus Peregrinus, Antony Pitts Chapter 11 Additional Audio, Page 81 “A chantar m'er de so qu'ieu non volria” Composed By: La Comtesse de Die Performed By: Mara Kiek, Sinfonye Chapter 12 Listening Map 6 “Songs from Le Voir Dit: Rondeau 18: Puis qu’en oubli” Composed By: Guillaume Machaut Performed By: Oxford Camerata, Jeremy Summerly Listening Map I.1 “Jula Jekere” Performed By: Foday Musa Suso Recorded By: Verna Gillis Part III Chapter 14 Listening Map 7 “Se la face ay pale” Composed By: Guillaume Dufay Performed By: The Binchois Consort, Andrew Kirkman Chapter 15 Listening Map 8 “Ave Maria” Composed By: Josquin des Prez Performed By: Oxford Camerata, Jeremy Summerly Chapter 16 Listening Map 9 “Missa Papae Marcelli, “Pope Marcellus Mass”: Kyrie” Composed By: Giovanni Pierluigi da Palestrina Performed By: Oxford Camerata, Jeremy Summerly Chapter 17 Additional Audio, Page 114 “Moro, lasso, al mio duolo” Composed By: Carlo Gesualdo Performed By: Musicae Delitiae, Marco Longhini Listening Map 10 “As Vesta was, from Latmos hill descending” Composed By: Thomas Weelkes Performed By: Sarum Consort, Andrew Mackay Chapter 18 Listening Map 11 “Pavana and Galiarda in F Major, No.
    [Show full text]
  • MU 331 - Supplemental Recordings - Contents
    MU 331 - Supplemental Recordings - Contents CD 1 1. Hurrian Cult Song from Ancient Ugarit [Kilmer] (2:04) Sounds from Silence: Recent Discoveries in Ancient Near Eastern music, Anne Draffkom Kilmer and Richard L. Crocker - Bit Enki Records BTNK 101 2. Hurrian Cult Hymn [Duchesne-Guillemin] (1:48) Personal recording, 2004 3. Hurrian Hymn To Nikkal / No. 6 (1400 B.C.) [Dumbrill] (5:20) Brayden Olson, https://www.youtube.com/watch?v=tAc2KDNHEw4 4. Guido d’Arezzo: Ut queant laxis (hymn) (:38) The Music Men, Randall Compton, dir. 5. Raimbaut de Vaqueiras: Kalenda Maya (dansa) (:44) Musica Antique of Aims, Carl Bleyle, dir. 6. Raimbaut de Vaqueiras: Kalenda Maya (dansa) (2:54) French Court Music of the Thirteenth Century, Musica Reservata and John Beckett - L’oiseau lyre 7. Anonymous: Pange lingua (hymn) (:43) Ensemble Clément Janequin; Marcel Pérès, dir. - harmonia mundi s.a. 8. Guillaume de Machaut: Qui es promesses / Ha! Fortune – Et non est qui adjuvat (isorhythmic motet) (1:53) Music of the Gothic Era, The Early Music Consort of London, David Munrow, cond. - Archiv 415 292-2 9. L’homme armé (chanson) (:48) L’homme armé (1450-1650): Musique de Guerre et de Paix, Frank Kelley – Erato NUM 75252 10. L’homme armé (chanson) (:36) Johannes Ockeghem, Ensemble Vocal Coeli et Terra, Maurice Bourbon, cond. - Arion ARN 68149 11. L’homme armé (chanson) (:36) The Norton Recordings, 9th ed., Oxford Camerata, Jeremy Summerly, cond. – Sony A8A 58840 12. Guillaume Dufay: Missa L’homme armé, “Agnus Dei” (5:31) Berkeley Chamber Singers, Alden Gilchrist, cond. - Lyrichord Discs 13. Ockeghem: Missa L’homme armé, “Kyrie” (2:00) Johannes Ockeghem, Ensemble Vocal Coeli et Terra, Maurice Bourbon, cond.
    [Show full text]
  • Download Booklet
    DISCOVER EARLY MUSIC Contents page Track list 4 Early Music, by Lucien Jenkins 9 I. What were the Middle Ages? 11 II. The Church and Music 13 III. Secular Music 21 IV. Notation 27 V. Instruments 29 VI. Towards the Renaissance 33 VII. What was the Renaissance? 40 VIII. The Renaissance Madrigal 46 IX. Europe Divided 49 X. Europe United 59 Sources of featured panels 64 A Timeline of Early Music (music, history, art and architecture, literature) 66 Further Listening 78 Early Music Composers 81 Map 86 Glossary 87 Credits 92 4 DISCOVER EARLY MUSIC Track List CD 1 Anonymous 1 Antiphona post Evangelium 3.21 In Dulci Jubilo / Alberto Turco 8.553502 Anonymous 2 Versus Alleluiatici: Adorabo 2.21 Nova Schola Gregoriana / Alberto Turco 8.550711 Hildegard of Bingen (1098–1179) 3 Ordo Virtutum: Procession 4.25 Oxford Camerata / Jeremy Summerly 8.550998 Léonin (fl. 1150s–c. 1201) 4 – 9 Viderunt omnes 9.30 Tonus Peregrinus / Anthony Pitts 8.557340 Traditional 10 Gaudete Christus est natus 1.39 Oxford Camerata / Jeremy Summerly 8.550751 5 DISCOVER EARLY MUSIC Anonymous 11 Cantiga de Santa Maria 2.20 Unicorn Ensemble / Michael Posch 8.554256 Anonymous 12 Exiit diluculo 2.47 Oni Wytars Ensemble / Unicorn Ensemble 8.554837 Guiraut Riquier (c. 1230–c. 1300) 13 Humils forfaitz 7.01 Unicorn Ensemble / Michael Posch 8.554257 Guillaume Dufay (1397–1474) 14 Adieu ces bons vins de Lannoys 5.32 Unicorn Ensemble / Michael Posch 8.553458 Francesco Landini (c. 1325–1397) 15 Non avrà ma’pietà questa mia donna 4.19 16 Non ara may pieta questa mia dona 3.35 Unicorn Ensemble / Michael Posch 8.553618 John Dunstable (c.
    [Show full text]
  • Early Music Segment Catalogue
    Early Music Mysticism to Majesty - the era of Early Music While the chronology of early music may resist an exact defi nition, the advancement of European musical styles portrayed in this catalogue takes us on a fascinating journey from the emergence of gregorian chant (c.750) up to the development of early Baroque music (c.1600). Vocal, instrumental, sacred and secular works are gathered either in discrete discs of the more celebrated composers from the Mediaeval and Renaissance periods, such as Leonin, Perotin, Byrd and Monteverdi, or appear in themed compilations: French chansons, German lute songs, Italian dramatic laments, for example. Life during those distant eras is brought vividly to life through the music. The exuberant and bawdy 11th- and 12th-century texts of Carmina Burana, spread by itinerant scholars and clerics, remind us how Latin was a pan-european language that superseded those of individual nations. The madrigals of Carlo Gesualdo, the calculating murderer of his wife and her lover, play out against the untouchable status that a Venetian nobleman then enjoyed. With the absence of lighting and sets, the dramatic importance of music in Shakespeare’s plays is underscored by the musical subtleties created for his texts by composers contemporary with the bard. The artistic interest shown by influential rulers is reflected not only in the sound of the compositions, but also in the splendour of their presentation. The works of Desprez, de la Rue and Willaert were as beautiful to look at through the glorious calligraphy of the A-La-mi-Re manuscripts as they were to listen to.
    [Show full text]
  • MEDIEVAL and TUDOR SACRED and SECULAR MUSIC Some Select Recordings Compact Disc;  Cassette Tape; (See Final Note Re Access)
    MEDIEVAL AND TUDOR SACRED AND SECULAR MUSIC Some Select Recordings compact disc; cassette tape; (see final note re access) (1) CD 789.ANON 6 Gregorian Chant: Death and Resurrection; Chant for Good Friday, Easter Sunday, and Ascension Day, performed by the Choralscola of the Benedictine Abbey of Münsterschwarzach, dir. Fr. Godehard Joppich OSB (rec. 1981- 2); Archiv Galleria 427 120-2 (booklet with full texts, in Latin and English). See also survey articles on 'Gregorian and Old Roman Chant' and 'Gregorian Chant' in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie [Caian] (20 vols, London, 1980; also available online at: http://www.grovemusic.com), Vol. 7, pp. 693-7, 697-8 (Caius Lib.: Ref 780.3 G), and James McKinnon, 'The Emergence of Gregorian Chant in the Carolingian Era', in James McKinnon (ed.), Man & Music; Antiquity and the Middle Ages; From Ancient Greece to the 15th Century (Houndmills, 1990), Chap. IV (Caius Lib.: 780.9 M). The fullest and most technical account of this chant tradition and its historical evolution is Kenneth Levy, Gregorian Chant and the Carolingians (Princeton, 1998) (Caius Lib.: 782.3222 L); or see Richard Crocker and David Hiley (eds), The Early Middle Ages to 1300 (New Oxford History of Music, II; Oxford, 1990), Chap. IV (Caius Lib.: 780.9 NO). For detailed context and practice see also John Harper, The Forms and Orders of Western Liturgy, from the Tenth to the Eighteenth Century; A Historical Introduction and Guide for Students and Musicians (Oxford, 1991), Chap. 9 on 'Holy Week and Easter' (Caius Lib.: 264.02 H), and for insights into the relation of chant to conventionalised speech see John Stevens, Words and Music in the Middle Ages; Song, Narrative, Dance and Drama, 1050-1350 (Cambridge, 1986), pp.
    [Show full text]
  • Classical by Composer
    Classical by Composer Adolphe Adam, Giselle (The Complete Ballet), Bolshoi Theater Orchestra, Algis Zuraitis,ˆ MHS 824750F Isaac Albeniz, Iberia (complete), Maurice Ravel, Rapsodie Espagnole, Jean Morel, Paris Conservatoire Orchestra, RCA Living Stereo LSC-6094 (audiophile reissue) 2 records Tomaso Albinoni, Adagio for Strings and Organ, Concerto a Cinque in C Major, Concerto a Cinque in C Major Op. 5, No. 12, Concerto a Cinque in E Minor Op. 5, No. 9, The Sinfonia Instrumental Ensemble, Jean Witold, Nonesuch H-71005 Alfonso X, El Sabio, Las Cantigas de Santa Maria, History of Spanish Music, Volume I MHS OR 302 Charles Valentin Alkan, Piano Pieces Bernard Ringeissen Piano Harmonia Mundi B 927 Gregorio Allegri, Miserere, and other Great Choral Works CD ASV CD OS 6036 DDD, ADD 1989 Gregorio Allegri, Miserere, and other Choral Masterpieces CD Naxos 8.550827 DDD 1993 Gregorio Allegri, Miserere, Giovanni Pierluigi, Stabat Mater, Hodie Beata Virgo, Senex puerum portabat, Magnificat, Litaniae de Beata Virgine Maria, Choir of King’s College, Cambridge, Sir David Willcocks, CD London 421 147-2 ADD 1964 William Alwyn, Symphony 1, London Philharmonic Orchestra, William Alwyn, HNH 4040 Music of Leroy Anderson, Vol. 2 Frederick Fennell, Eastman-Rochester “POPS” Orchestra, 19 cm/sec quarter-track tape Mercury Living Presence ST-90043 The Music of Leroy Anderson, Frederick Fennell, Eastman-Rochester Pops Orchestra, Mercury Living Presence SR-90009 (audiophile) The Music of Leroy Anderson, Sandpaper Ballet, Forgotten Dreams, Serendata, The Penny Whistle Song, Sleigh Ride, Bugler’s Holiday, Frederick Fennell, Eastman-Rochester POPS Orchestra, 19 cm/sec half-track tape Mercury Living Presence (Seeing Ear) MVS5-30 1956 George Antheil, Symphony No.
    [Show full text]
  • Written by Darren Henley Darren Henley the STORY of CLASSICAL MUSIC
    Written by Darren Henley Darren Henley THE STORY OF CLASSICAL MUSIC CONTENTS Track List 2 Classical Music – from the notes on the page, through history, to performance today 30 Biographies: Darren Henley and Aled Jones 34 Aled Jones Feature 35 Historical Timeline 40 Acknowledgements and Credits 53 Other titles available from Naxos AudioBooks 55 2 1 The Story of Classical Music 2:14 THE MEDIEVAL PERIOD (600–1490) 2 The Year 600 – Music in Churches 2:06 Music featured: Anonymous Gregorian chant from the Proper of the Mass: Introitus – Adorate Deum Nova Schola Gregoriana; Turco 8.550711 3 Hildegard of Bingen (1098–1179) 2:31 Music featured: O ignis spiritus Oxford Camerata; Summerly 8.550998 THE RENAISSANCE PERIOD (1490–1600) 4 Medieval to Renaissance 2:37 Giovanni Pierluigi da Palestrina (1525/6–1594) Music featured: Missa Papae Marcelli Oxford Camerata; Summerly 8.550573 5 The Birth of Opera 3:45 Claudio Monteverdi (1567–1643) Music featured: ‘Ecco pur ch’a voi’ from L’Orfeo Cappella Musicale di S Petronio di Bologna; Vartolo 8.554094–95 3 Concerto: Duo seraphim from Vespers of the Blessed Virgin The Scholars Baroque Ensemble 8.550662–63 Franciscus Bossinensis (fl.1510) Music featured: Recercar Christopher Wilson, lute 8.553694 THE BAROQUE PERIOD (1600–1750) 6 Into the 17th Century 3:04 Jean-Baptiste Lully (1632–1687) Music featured: Entrée from Ballet des plaisirs Aradia Baroque Ensemble; Mallon 8.554003 7 London 2:10 Henry Purcell (1659–1695) Music featured: Voluntary in G Joseph Payne, organ 8.550718 Dido’s Lament from Dido and Aeneas Kym Amps, soprano; The Scholars Baroque Ensemble 8.553108 4 8 Germany 2:05 Johann Pachelbel (1653–1706) Music featured: Canon Anna Holbling, violin; Capella Istropolitana; Krcek 8.553221 9 Italy 2:04 Arcangelo Corelli (1653–1715) Music featured Concerto grosso No.
    [Show full text]
  • 10A Fuller CD Labels
    Music 10A CD 1 1. Easter Mass Introit Resurrexi (1a, p.2). Benedictine Monks 5:50 2. Alleluia Pascha nostrum (1f, p.9). Benedictine Monks 2:20 3. Rex caeli Domine (4a., p.32). Pro Cantione Antiqua :30 4. Sit gloriaDomini (4b., p.33) :30 5. Wulfstan of Winchester Alleluia Te martyrum (5, p. 35). Pro Cantione Antiqua 2:00 6. Antiphon Ave regina caelorum (7a, p. 38). Schola Cantorum Francesco Coradini 1:24 *7. Hildegard of Bingen O quam mirabilis est (Antiphon). Sequentia,Jill Feldman, sop. 2:37 *8. Hildegard of Bingen O virtus sapientiae (Antiphon). Sequentia 2:47 *NOT IN ANTHOLOGY 9. Bernart de Ventadorn Can vei la lauzeta mover (8a, p.42). Paul Hillier 2:45 10. Gaucelm Faidit Fortz chausa es (8c, p.45). Verses 1 and 7 only. 5:30 11. Gace Brulé Biaus m'est estez (8e, p.49) Verses 1 and 3 only. Studio der frühen Musik 4:34 12. Leonin Alleluia Pascha nostrum , first 4 lines (10a,p.58) 1:44 13. Leonin revision 10b continues from 10a, p.60). Capella Antiqua of Munich 4:16 14. Perotin Alleluia Pascha nostrum (11, p.67). Capella Antiqua of Munich 3:00 15. Deus in Adjutorium (12a, p.74). Capella Antiqua of Munich 1:50 16. Ad solitum vomitum/Regnat a 2 (13b, p.78) :57 17. Ad solitum vomitum/Regnat a 3 (13c) :56 18. Depositum creditum/Ad solitum/Regnat (13d, p.80). Capella Antiqua of Munich 1:00 19. L'autre jour/Au tens pascour/In seculum (13f, p.83). Pro Musica Antiqua 3:10 20.
    [Show full text]