DOCSLIB.ORG

The Gesualdo Six: English Motets

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Gesualdo Six: English Motets The Gesualdo Six: English Motets Available to watch as many times as you like St Martin-in-the-Fields from 7.30pm, Thursday 15 April 2021, Trafalgar Square and available for 30 days. London WC2N 4JJ 020 7766 1100 www.smitf.org PROGRAMME Come, Holy Ghost – Orlando Gibbons (1583-1625) Ave verum corpus – William Byrd (c.1539/40-1623) Aspice Domine – Byrd Veni Sancte Spiritus – John Dunstaple (c.1390-1453) Ave Maria Mater Dei – William Cornysh (1465-1523) All people, clap your hands – Thomas Weelkes (1576-1623) Viri Galilaei – Byrd (c.1539/40-1623) Christe qui lux es et dies I – Robert White (c.1538-1574) If ye love me – Thomas Tallis (c.1505-1585) If ye be risen again with Christ – Christopher Tye (c.1505-1572/73) A new commandment – William Mundy (c.1529-1591) Laudate pueri Dominum – Byrd Loquebantur – Tallis Drop, drop slow tears – Gibbons PROGRAMME NOTES by Sarah Maxted The sublime choral music of the English Renaissance was shaped by seismic shifts in religious politics. Tudor England was Catholic until Henry VIII’s controversial separation from Rome in 1534; his heir Edward VI ruled a Protestant nation, then six years later the country returned to Catholicism under Mary I. When Elizabeth I came to power in 1558, she established the Church of England but maintained a pragmatic partial tolerance of Catholicism, hoping to foster a period of peace and stability – an aim upheld by her successor James I, despite unrest and conspiracy. The leading composers of this tumultuous period responded to the challenges of political change with remarkable flexibility and innovation. In this beautiful programme by The Gesualdo Six, we witness the rich tapestry of faith, artistry and resilience expressed through two hundred years of sacred vocal music. Orlando Gibbons (1583-1625) was a Gentleman musician of the Chapel Royal, taking up the role shortly after coronation of James I and serving until after his death in 1625. During this time Gibbons composed a great range of English madrigals and anthems for the Protestant church. Come, Holy Ghost is an English translation of the Latin hymn Veni Creator Spiritus by George Wither, published in his 1623 collection Hymnes and Songs of the Church. The long and celebrated career of William Byrd (c.1539/40-1623) traversed the religious turbulence of the late Tudors and the reign of James I. As a result, Byrd’s works encompass exquisite settings of both English and Latin texts, but his Roman Catholic sympathies and recusancy shine through his volumes of Latin motets, particularly those published during his later years. Ave verum corpus is from the first volume of Byrd’s Gradualia ac cantiones sacrae. Published in 1605, the collection was temporarily banned in the aftermath of the Gunpowder Plot against James I, when anti-Catholic sentiment was especially volatile. Earlier, in 1575, Byrd had worked together with Thomas Tallis to print one of the first sets of sacred music in England, Cantiones Sacrae. The pieces were contributed in equal number by the two composers, Byrd still in his youth and Tallis approaching old age. One of Byrd’s compositions for the collection was Aspice Domine, a lament for a once resplendent city, now laid low. This is an example of Byrd’s support for the Catholic plight through his works. Despite some degree of tolerance during the Elizabethan age, Catholics were persecuted for practising their religion openly, so Byrd emphasised themes of exile and desolation in his choice of biblical texts. John Dunstaple (c.1390-1453) was a significant composer of late medieval period but, sadly, most of his manuscripts were lost during the Dissolution of the Monasteries under Henry VIII. Veni Sancte Spiritus is an isorhythmic motet, setting the Catholic liturgical sequence for Pentecost. Ave Maria Mater Dei is a motet from the Eton Choirbook, one of the precious few manuscripts of Latin liturgical music which survived the English Reformation. The collection was compiled at the start of the sixteenth century and includes several compositions attributed to William Cornysh. Modern scholars believe this contribution represents the work of two composers, Cornysh the Elder (died c.1502) and Cornysh the Younger (died 1523), a prominent court musician and dramatist. Thomas Weelkes (1576-1623) was a prolific composer of vocal works who published four volumes English madrigals before focusing his later years on church music. All people, clap your hands is an exultant anthem for Ascension with text based on Psalms 47 and 33, concluding with a luxuriously extended Amen. William Byrd’s effervescent Viri Galilaei also celebrates the feast of Ascension and was published in the second volume of his monumental Gradulia in 1607. Christe qui lux es et dies is a hymn for compline, the final service of prayers at the end of the church day. This is the first of four settings of the same text by the London-born composer Robert White (c.1538-1574), each of which alternates traditional plainchant with contrastingly harmonised verse. Thomas Tallis (c.1505-1585) was perhaps the foremost composer of English church music in the decades that followed Henry VIII’s break with Rome. In accordance with Thomas Cranmer’s reformed vision for Anglican liturgy, Tallis composed masses and motets with simple, syllabic setting of Latin texts. When Edward VI introduced church services in English, Tallis expanded his range to include anthems in the vernacular. If ye love me is a classic and much-loved example of English Reformation style, primarily homophonic in the opening phrases, then developing into imitative entries which allow the individual voices to be heard in full clarity. If ye be risen again with Christ is a similarly syllabic anthem written by the composer and organist Christopher Tye (c.1505-1572/3), who was well-connected in the court of Edward VI. Tye is thought to have composed an array of church music in Latin and English but disappointingly few of his works have survived. William Mundy (c.1529-1591) was also an influential composer of the English Reformation. Like his contemporaries Tallis and Tye, Mundy adapted his compositional style to suit the shifting political mandates of the age, which can be heard in the textual clarity of his anthem A new commandment. Laudate pueri Dominum is another of Byrd’s contributions to the Cantiones Sacrae, published with Tallis in 1575. It is written in florid polyphonic style, adapted from a six-part instrumental fantasia, with a joyful text from Psalms 113, 121 and 123. The extraordinary versatility of Tallis’ vocal writing can be heard in his vibrant Pentecostal responsory Loquebantur. In great contrast to the simplicity of his English anthems like If ye love me, this work showcases the lavish intricacy that could be explored in Latin polyphony. It was probably written during England’s brief return to Catholicism under the reign Mary I. Tonight’s programme comes full circle with another timeless hymn tune composed by Orlando Gibbons for Hymnes and Songs of the Church in 1623. Drop, drop slow tears is a devotional poem by the prodigious Renaissance writer Phineas Fletcher. It is often sung to Gibbons’ melody for Passiontide services, allowing the poignancy of the text to resonate through meditative chordal simplicity. TEXTS & TRANSLATIONS Come Holy Ghost, the Maker, come; Take in the souls of thine thy place; Thou whom our hearts had being from, Oh, fill them with thy heavenly grace. Thou art that Comfort from above, The Highest doth by gift impart; Thou spring of life, a fire of love, And the anointing Spirit art. Ave, verum corpus natum Hail the true body, born de Maria Virgine: of the Virgin Mary: vere passum, immolatum You who truly suffered and were sacrificed in cruce pro homine: on the cross for the sake of man. cuius latus perforatum From whose pierced flank unda fluxit sanguine: flowed water and blood: esto nobis praegustatum, Be a foretaste for us in mortis examine. in the trial of death. O dulcis, O pie, O Jesu Fili Mariae. O sweet, O merciful, O Jesus, Son of Mary. Miserere mei. Amen. Have mercy on me. Amen. Aspice, Domine, Behold, O Lord, quia facta est desolata civitas plena divitiis. how the city full of riches is become desolate. Sedet in tristitia; She sits in mourning; Non est qui consoletur eam, nisi tu, there is none to comfort her save only thou, Deus noster. our God. Veni Sancte Spiritus superius Veni Sancte Spiritus, Come, Holy Spirit, Et emitte celitus send forth the heavenly Lucis tue radium. radiance of your light. Veni pater pauperum, Come, father of the poor, Veni dator munerum, come, giver of gifts, Veni lumen cordium. come, light of hearts. Consolator optime, Greatest comforter, Dulcis hospes anime, sweet guest of the soul, Dulce refrigerium. sweet consolation. In labore requies, In labour, rest, In estu temperies, in heat, temperance, In fletu solacium. in tears, solace. O lux beatissima, O most blessed light, Reple cordis intima fill the inmost heart Tuorum fidelium. of your faithful. Sine tuo numine, Without your grace, Nihil est in lumine, there is nothing in the light, Nihil est innoxium. nothing that is not harmful. Lava quod est sordidum, Cleanse that which is unclean, Riga quod est aridum, irrigate that which is dry, Sana quod est saucium. heal that which is wounded. Flecte quod est rigidum, Bend that which is inflexible, Fove quod est frigidum, warm that which is chilled, Rege quod est devium. correct what is deviant. Da tuis fidelibus, Give to your faithful, In te confidentibus, those who trust in you, Sacrum septenarium. the sevenfold gifts. Da virtutis meritum, Grant the reward of virtue, Da salutis exitum, grant the deliverance of salvation, Da perenne gaudium.
Load more

Recommended publications
  • The Viola Da Gamba Society Journal
    The Viola da Gamba Society Journal Volume Nine (2015) The Viola da Gamba Society of Great Britain 2015-16 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Linda Hill, Alison Kinder Ex Officio Members: Susanne Heinrich, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Esha Neogy, Marilyn Pocock, Rhiannon Evans ADMINISTRATOR Sue Challinor, 12 Macclesfield Road, Hazel Grove, Stockport SK7 6BE Tel: 161 456 6200 [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 9 (2015): Andrew Ashbee, 214, Malling Road, Snodland, Kent ME6 5EQ [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted by e-mail as well as in hard copy. A style guide is available on the vdgs web-site. CONTENTS Editorial iv ARTICLES David Pinto, Consort anthem, Orlando Gibbons, and musical texts 1 Andrew Ashbee, A List of Manuscripts containing Consort Music found in the Thematic Index 26 MUSIC REVIEWS Peter Holman, Leipzig Church Music from the Sherard Collection (Review Article) 44 Pia Pircher, Louis Couperin, The Extant Music for Wind or String Instruments 55 Letter 58 NOTES ON THE CONTRIBUTORS 59 Abbreviations: GMO Grove Music Online, ed. D.
    [Show full text]
  • The English Anthem Project the Past Century and a Half, St
    Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists.
    [Show full text]
  • Friday • February 17, 2006 Crystal Cathedral in Garden Grove, California
    — — February — 2006 The Organizer A G O Monthly Newsletter The Atlanta Chapter L O G O AMERICAN GUILD of ORGANISTS The Organizer FEBRUARY — 2006 ____________________________________________________________________________________________________ Guest Artist Puts New Instrument A CELEBRATION Through Its Paces of the new Hailed as one of today's leading young organists by critics on CORNEL Zimmer Organ both sides of the Atlantic, J. Christopher Pardini maintains at an active concert schedule in addition to his duties as Organist and Director of Music at Shadyside Presbyterian North Decatur Presbyterian Church Church, Pittsburgh, Pennsylvania. He earned the Bachelor of 611 Medlock Road at North Decatur Music degree in Sacred Music from Westminster Choir Decatur, GA College, and a Master of Music in Organ from the Eastman 404.636.1429 School of Music, where he studied with David Higgs. In 1998 he was the first-place winner in the San Marino Organ Host: Jamie Shiell Competition in California, and has served on the Board of Directors of the Clarence Mader Scholarship Fund. Previously Christopher served as Senior Organist at the Friday • February 17, 2006 Crystal Cathedral in Garden Grove, California. His compositions are published by G.I.A. and Fred Bock Music Featuring Company. CHRISTOPHER PARDINI PROGRAM Trumpet Tune in A Major David N. Johnson Organist Soliloquy David Conte Joy of the Redeemed Clarence Dickinson _____________________________________ Hymn, "Blessing and Honor" Master Tallis' Testament Herbert Howells Punch Bowl - 6 PM Festival Toccata Percy Fletcher Hymn, "Holy, Holy, Holy" Dinner - 6:30 PM "Mein Junges Leben" Jan Pieterzoon Sweelinck $12 Reservations by 2/14/06 Toccata, Adagio and Fugue Johann Sebastian Bach Cantabile Cesar Franck Recital - 8 PM Grand Choeus Triomphal in A Alexandre Guilmant Dinner Menu for and Directions to the church may be found on Page 4 - In This Issue - March Meeting and Members Recital Mixtures .
    [Show full text]
  • Hodie Christus Natus
    20 YEARS OF SWEET VOICES Saturday, September 7, 2013, 7:30 p.m. Holy Trinity Episcopal Church Program Surge amica mea .................................................................................................................................................. Anonymous (c. 1400) Arise, my love, my fair one, and come away. O my dove, in the clefts of the rock, in the covert of the cliff, show me your face, let your voice sound in my ears; for your voice is sweet, and your face is lovely. Rise Up My Love, My Fair One .............................................................................................................. Healey Willan (1880 - 1968) Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers appear upon the earth; the time of the singing of birds is come; arise, my love, my fair one, and come away. Když jsi v štĕsti ................................................................................................................. Jan Facilis Boleslavsky (16th century) When you are happy you have many friends. This is true, believe me. However, if there is misfortune, not one friend out of one hundred will stay. Belief, anger, unfaithfulness, all cause derision, which divides a friendship. Il bianco e dolce cigno .................................................................................................................. Jacob Arcadelt (c. 1500-1568) The white and gentle swan dies singing; and I, weeping, reach the end of my life. Destiny is ironic that he dies unconsoled and I die blessed. Death fills me full of joy and desire. If in dying I feel no other pain, I would be content to die a thousand deaths each day. The Silver Swan ................................................................................................................................ Orlando Gibbons (1583-1625) The silver Swan, who living had no Note, when death approached unlocked her silent throat. Leaning her breast against the reedy shore, Thus sung her first and last, and sung no more.
    [Show full text]
  • 14. Suspension Tallis
    SUSPENSION: A SERIES OF MUSICAL REFLECTIONS No:14 Time for a little bit more choral music! As many of our previous SUSPENSIONs have been, this piece is a setting of a liturgical text, namely John 14:15-21, which is one of this Sunday’s lessons. In this instance, the gorgeous setting is by English composer Thomas Tallis, and is called ‘If Ye Love Me’. This piece is another example of a motet (see SUSPENSION 10), this time featuring four voice parts. In this case the motet is comprised of what we call ‘homophony’, meaning that all four voice parts move at the same time, save for a few instances of imitation. This differs from previous motets discussed in this series, which feature the more heavily imitative, ‘contrapuntal’ style which was also popular. In the history of English choral music and indeed, English music more widely, Tallis was just about as influential as it gets. Serving in the Chapel Royal for over 40 years, Tallis navigated his was through one of the most turbulent times in the Church’s history, through four monarchs, and multiple changes in lectionary, worship and music. Many music historians have analysed how all of those changes can be easily seen reflected in Tallis’ output through his life. In some ways that’s quite a comforting thought at this time. Christians have lived through all sorts of difficult and troubling times, and have always managed to find creative and beautiful ways to express their devotion and admiration for God, his word, and his creation. Maybe Christians of the future will look to the music of our times for comfort and inspiration.
    [Show full text]
  • The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
    The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194,
    [Show full text]
  • Angels of Light December 8 & 9, 2012
    Angels of Light December 8 & 9, 2012 Serenity Ola Gjeilo (b. 1978) Remember, O Thou Man Abbie Betinis (b. 1980) Beth Shirley, soloist with Carlene Seppala, Ken Short, Ben Schroeder, Emilie Bishop, Grace Van Cleef, PJ Livesey A Sound of Angels Christopher Tye (c. 1505 – c. 1572) The Night Went Wild with Angels Thomas Pavlechko (b. 1962) Shalom Aleichem Israel Goldfarb (1879-1956), arr. Elliot Z. Levine (b. 1948) David Green, Alice Allen, Murray Spiegel, Emanuel Meli Denn Er hat seinen Engeln Felix Mendelssohn (1809-1847) Magnificat Claudio Monteverdi (1567-1643) Elise Figa and Laura Winslow, sopranos; Greg Paradis, Matthew Shurts, Ken Short, tenors Ave Regina Coelorum William Byrd (1539-1623) Let All Mortal Flesh Keep Silence Edward C. Bairstow (1874-1946) Robert Emmerich, Ted Roper, soloists See Amid the Winter Snow Jocelyn Hagen (b. 1980) Linda Clark, solo CHAMBER SINGERS Angelus ad Virginem Andrew Carter (b.1939) Var inte rädd för mörkret Fredrik Sixten (b. 1962) Ropa ut den glädje Sixten Lux Aurumque Eric Whitacre (b. 1970) Rachel Clark, soprano Ave Maria (NJ Premiere) Thomas Keesecker (b. 1956) Arma Lucis Jackson Berkey (b. 1942) Marilyn Kitchell, soprano Alumni song: Ding Dong Merrily on High Audience: Maoz Tzur (Rock of Ages) & O Praise Ye the Lord (1982 hymnal) Betelehemu Nigerian Carol, Via Olatunji (1927-2003) arr. Whalum/Brooks Mark & Mia Hewitt, Devin McGuire, Eric Roper, drums Featured Instrumentalists: Joseph Arndt, organ Terrence Thornhill, cello 2 AnAnAngelsAn gels of Light ––– Program Notes One of the best things about being in the field of choral music for over 25 years is the amazing repertoire from which to draw.
    [Show full text]
  • Some Tho:Ughts on Antiphonal Singing
    SOME THO:UGHTS ON ANTIPHONAL SINGING placement of organs in two separate arms Decani choir (south side of the Cathe• LEONARD VAN CAMP of this cross caused the experimentation dral) and a Cantoris choir (north side of Prepared for the Fourth Annual High with alternating the sound of the two the Cathedral). Many works which we School Choral Clinic, Southern Illinois instruments (which had been done ear- think to be for four-part choir were in• University, Edwardsville Campus, ·by Dr. lier in other places). Further exploration stead intended to be sung by alternate Van Camp, Director of Choral Activities showed the feasibility of placing separate choirs, including for example (in the choirs across the nave from each other. writer's opinion) the oft-performed A marvelously colorful musical experi- With each succeeding generation of mas- "Lord, for Thy Tender Mercies' Sake" ence awaits the director and choir who ter composers the Venetian school of by Richard Farrant (c. 1530-1581) and undertake choral music which. incorpor-' polychoral singing developed to a higher Christopher Tye's (c. 1500-c. 1572) "O ates antiphonal singing. We must first and more colorful peak. The height of Come, Ye Servants of the Lord," both of of all answer the question: "What do you this development which began in earnest which take mi new meaning when per• mean, antiphonal singing?" The term at St. Mark's in 1527 with Adrian Wil- formed in this way. The Roman School, refers, in a general way, to music for laert (c. 1490-1562), and continued even especially Antonio Lotti (1667-1740) two choirs in which one choir imitates after the days of the famous composer, and Antonio Caldara ( 1670-1736), was or echoes the music of the other.
    [Show full text]
  • Course Information Music 331 (Music History I: Music of the Middle Ages and Renaissance) - Winter 2004 Professor: Dr
    Cal Poly SLO - Department of Music - Course Information Music 331 (Music History I: Music of the Middle Ages and Renaissance) - Winter 2004 Professor: Dr. Alyson McLamore Office Phone: 756-2612 Office: 132 Davidson Music Center Email: [email protected] Web Site: http://cla.calpoly.edu/~amclamor Office Hours: Mon 1:30-3; Tues 3-4; Wed 1:30-3; Thurs 3-4; other times by appointment—just ask! Course Description: During this course, we'll look at western Medieval and Renaissance art music from several perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic 'problems,' and as artworks derived from changing social milieus. We'll emphasize the development of skills in talking and writing 'about' music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations. Required Course Materials: Books and Scores: Stolba, K Marie. The Development of Western Music: A History. Third Edition. Boston: McGraw-Hill, 1998. Stolba, K Marie, ed. The Development of Western Music: An Anthology - Volume I (From Ancient Times through the Baroque Era). Third Edition. Boston: McGraw-Hill, 1998. Course Reader - available for a small fee from Dr. McLamore (from MU 320): Hacker, Diana. A Writer's Reference. 5th ed. Boston: Bedford Books, 2003. Listening Materials: Compact Disks to accompany The Development of Western Music: An Anthology - Volume I (From Ancient Times through the Baroque Era) (Third Edition), edited by K Marie Stolba, Boston: McGraw-Hill, 1998. Supplemental Listening CD –a master recording will be available for listening in the Music Department Office.
    [Show full text]
  • 2008-09 Repertoire
    Cathedral Gallery Singers and Diocesan Chorale 2008-2009 Choral Repertoire Cathedral of Saint Joseph the Workman La Crosse, Wisconsin Brian Luckner, DMA Director of Music and Organist September 14 Exaltation of the Holy Cross November 2 Commemoration of All the Faithful Departed Nos autem gloriari Felice Anerio Requiem aeternam I (Requiem, Movt. III) Herbert Howells 1560–1614 1892–1983 Christus factus est pro nobis obediens Anton Bruckner Requiem aeternam II (Requiem, Movt. V) Herbert Howells 1824–1896 1892–1983 For God So Loved the World Craig Phillips Requiem aeternam (Introit) Gregorian Chant b. 1961 I Heard a Voice from Heaven (Requiem, Movt. VI) Herbert Howells September 21 Twenty–fifth Sunday in Ordinary Time 1892–1983 Psalm 121 (Requiem, Movt. IV) Herbert Howells Lead Me, Lord Samual Sebastian Wesley 1892–1983 1810–1876 Verily, Verily, I Say unto You Thomas Tallis November 9 Dedication of the Lateran Basilica c. 1505–1585 Deus in loco sancto suo (Introit) Gregorian Chant September 28 Twenty–sixth Sunday in Ordinary Time Locus iste Tarik O’Regan Christus factus est pro nobis obediens Francesco Maria Zuccari b. 1978 169?–1788 The Altar Nicholas White Come, Let’s Rejoice John Amner (1999) 1579–1641 November 16 Thirty–third Sunday in Ordinary Time October 5 Twenty–seventh Sunday in Ordinary Time Beati quorum via (Op. 38, No. 3) Charles Villiers Stanford The Peace Which Passeth Understanding James F. Hopkins 1852–1924 (1991) Justorum animae William Byrd Praise Ye the Lord, Ye Children Christopher Tye 1543–1623 c. 1505–c. 1572 November 23 Christ the King October 12 Twenty–eighth Sunday in Ordinary Time Dignus est Agnus, qui occisus est (Introit) Gregorian Chant O Taste and See Stuart Forster b.
    [Show full text]
  • Treasures of Tudor England
    CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings on CORO The Eton Choirbook Collection Philip & Mary Slipcase of all 5 of The Sixteen's acclaimed A Marriage of England and Spain CDs of the Eton Music by Spanish and Choirbook English composers "Sit back and let including Tallis's great these glorious Mass Puer natus as it sounds fill your may have been ears and lift your performed by choirs spirits" from both countries on Christmas Day 1554. the gramophone cor16037 cor16040 Robert Carver The Flowering of Genius Treasures of Celebrating one of the great masters of the Guerrero, Tallis, Byrd, Victoria, Sheppard Scottish Renaissance. • O bone Jesu "The Sixteen’s sound Tudor England • Missa Dum sacrum mysterium is distilled, ethereal – hard to imagine a more " …a momentum and sublime performance." expressive conviction Parsons • White • Tye that isn’t matched by bbc music magazine any other recordings." The Sixteen cor16051 the independent cor16001 The Voices of HARRY CHRISTOPHERS To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16056 of both were cut short by misfortune - White died of the plague in Thy Muse lives on ... Westminster and Parsons drowned in the River Trent – they, thankfully, The wealth of music emanating from left us works of extraordinary beauty. Listen to the soaring phrases of Tudor England deserves to be preserved Parsons' much-loved Ave Maria and his highly unusual devotion on the and this recording brings you some name of Jesus, O bone Jesu. But it is White's Lamentations that, I guarantee, remarkable works that will amaze you in will astound you.
    [Show full text]
  • IF YE LOVE ME By
    SYMPHONIC REPERTOIRE SERIES IF YE LOVE ME by RALPH HULTGREN DURATION: 4’40” LEVEL: 4 INSTRUMENTATION 1 - Score 4 – Trumpet 1 3 – Flute 1 4 – Trumpet 2 3 – Flute 2 2 – French Horn 1 SAMPLE2 – Oboe 2SCORE – French Horn 2 2 – Bassoon 2 – Trombone 1 3 – Clarinet 1 2 – Trombone 2 3 – Clarinet 2 1 – Bass Trombone 3 – Clarinet 3 2 – Euphonium 2 – Bass Clarinet 1 – Euphonium TC 2 – Alto Saxophone 1 4 – Tuba 2 – Alto Saxophone 2 1 – Double Bass 2 – Tenor Saxophone 1 – Timpani 1 – Baritone Saxophone 1 – Glockenspiel 1 – Triangle Band Music by Australian Composers Published and printed in Australia by the BROLGA MUSIC PUBLISHING COMPANY Copyright Brolga Music 2020 CAT NO. BMC134 ISMN 9790 902250825 IF YE LOVE ME After Thomas Tallis – For Julie Ralph Hultgren Duration: 4’38” Level: 4 Program Notes: If Ye Love Me is a paraphrase setting of the Thomas Tallis four-part motet of the same name. Published in 1565 during the reign of Elizabeth the First, it incorporates new musical material woven around the beautiful yet simple motet Tallis composed for the Church of England. At the time Tallis composed the work, the Church of England decreed that all choral music must be sung in English, doing away with the Latin text commonly used. Tallis chose his text from Jesus’ words to His disciples in the Gospel of John, where He said: “If ye love me, keep my commandments. And I will pray the Father, and he shall give you another comforter, that he may 'bide with you forever; E'en the sp'rit of truth.” (John 14: 15-17, from the Tyndale translation) This setting strives to keep the comfort alluded to in the words of Christ, with a transparent setting giving the original music ‘room’ to speak and the new music a chance to embrace it.
    [Show full text]