Choral & Organ Awards Booklet
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DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK JOHN SCOTT CONDUCTOR Matthew Martin (B
DANCING DAY MUSIC FOR CHRISTMAS SAINT THOMAS CHOIR OF MEN & BOYS, FIFTH AVENUE, NEW YORK JOHN SCOTT CONDUCTOR RES10158 Matthew Martin (b. 1976) John Rutter (b. 1945) Dancing Day 1. Novo profusi gaudio [3:36] Dancing Day Part 1 Music for Christmas Patrick Hadley (1899-1973) 17. Prelude [3:35] 2. I sing of a maiden [2:55] 18. Angelus ad virginem [1:55] 19. A virgin most pure [5:04] Benjamin Britten (1913-1976) 20. Personent hodie [1:57] A Ceremony of Carols, Op. 28 Part 2 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York 3. Procession [1:32] 21. Interlude [4:05] 4. Wolcum Yole! [1:24] 22. There is no rose [1:53] 3-15 & 17-24 5. There is no Rose [2:26] 23. Coventry Carol [3:54] Sara Cutler harp [1:46] 1 & 16 6. That yonge child 24. Tomorrow shall be my Stephen Buzard organ 7. Balulalow [1:21] dancing day [3:03] Benjamin Sheen organ 2 & 25-26 8. As dew in Aprille [1:02] 9. This little babe [1:30] Traditional English 10. Interlude [3:32] arr. Philip Ledger (1937-2012) John Scott conductor 11. In Freezing Winter Night [3:50] 25. On Christmas Night [2:00] 12. Spring Carol [1:14] (Sussex Carol) 13. Adam lay i-bounden [1:12] 14. Recession [1:37] William Mathias (1934-1992) [1:41] 26. Wassail Carol Benjamin Britten 15. A New Year Carol [2:19] Total playing time [63:58] Traditional Dutch arr. John Scott (b. 1956) About the Saint Thomas Choir of Men & Boys: 16. -
The Choir of Saint John's College, Cambridge
PROGRAM William Byrd: Civitas sancti tui Henry Purcell: Remember Not, Lord, Our Offences Rejoice in the Lord Alway J. S. Bach: Trio super Herr Jesu Christ, dich zu uns wend, BWV 655 Glen Dempsey, organ Francis Poulenc: Mass in G Major, FP 89 Kyrie Gloria Sanctus Benedictus Agnus Dei Dieterich Buxtehude: Praeludium in E Major, BuxWV 141 Glen Dempsey, organ Jonathan Harvey: The Annunciation PROGRAM: Jonathan Dove: Gloria (Missa Brevis) THE CHOIR OF INTERMISSION ST. JOHN’S COLLEGE, CAMBRIDGE C. Hubert H. Parry: Hear My Words, Ye People MARCH 29 / 7:30 PM Edward Elgar: Imperial March, op. 32 MEMORIAL CHURCH Joseph Wicks, organ William Harris: Faire Is the Heaven ARTISTS James Burton: O Thoma! Choir of St. John’s College, Cambridge Andrew Nethsingha, director of music Joseph Wicks and Glen Dempsey, organ This program is presented by the Office for Religious Life in partnership with Stanford Live, with additional support from Clint and Mary Gilliland and the Stanford Department of Music. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 26 STANFORD LIVE MAGAZINE MARCH 2016 PROGRAM: THE CHOIR OF ST. JOHN’S COLLEGE, CAMBRIDGE extraordinary and extensive discography. In 2009 the choir signed with Chandos Records, and its first 11 CDs on the label—with music spanning 500 years—have garnered international critical acclaim: Howells’ St. John’s Magnificat; Hear My Words, popular choral classics; Laudent Deum, a CD of Lassus’ works including many previously unrecorded motets; On Christmas Night; Mozart Coronation Mass; Purcell’s My Beloved Spake; Samuel Sebastian Wesley’s Ascribe unto the Lord; Sheppard’s Gaude, gaude, gaude Maria; Tomkins’ When David Heard; an album of French organ masses, O Sacrum Convivium; and The Call, a second album of popular classics released in September 2015. -
Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. -
Lessons&Carols 1 Page Web PDF2019.Indd
THE ANTHEM ~ “Hark! the Herald Angels Sing” ~ Arranged by DAN FORREST Hark! the herald angels sing, “Glory to the newborn King! Peace on earth, and mercy mild, God and sinners reconciled!” Joyful, all ye nations rise, Join the triumph of the skies, With th’angelic host proclaim, “Christ is born in Bethlehem!” Hark! the herald angels sing! “Glory to the newborn King!” Christ, by highest heav’n adored, Christ, the everlasting Lord! usic of hristmas Late in time, behold him come, Offspring of a virgin’s womb. M C Veiled in flesh the Godhead see, Hail th’incarnate Deity, Pleased with us in flesh to dwell Jesus, our Emmanuel, Hark! the herald angels sing! “Glory to the newborn King!” Hail the heav’nborn Prince of Peace, Hail the Sun of Righteousness! Light and life to all he brings, Ris’n with healing in his wings. Mild he lays his glory by, Born that man no more may die, Born to raise the sons of earth, Born to give them second birth, Hark! the herald angels sing! “Glory to the newborn King!” THE ANTHEM ~ “One Sweet Little Baby” MCCLURE & KINNESON ~ Arranged by SHAWN KIRCHNER O Mary, shining glory! The Lord smiles upon you. What a blessing is this little baby that you brought to our world, Refrain: O all for the love of one sweet little baby, All for the love of one sweet baby child, All for the love of one sweet little baby, we have come so far. O, a good old man named Simeon said, “I’m never gonna rest till I see that Messiah child and hold him to my breast.” Many gonna speak against you, child, they’ll crucify all that’s true. -
Preces and Responses
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Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
The Choir of Men and Boys ∙ the Parish of All Saints, Ashmont
The Choir of Men and Boys ∙ The Parish of All Saints, Ashmont 209 Ashmont Street, Dorchester Boston, Massachusetts 02124 Telephone 617–436–3520 [email protected] FAX 617–436–7320 FREDERICK BACKHAUS, Organist & Master of Choristers CHORAL MUSIC – Advent to Last Epiphany, 2008-09 (Year B) YEAR B Advent I The Gentlemen of the Choir November 25, 2008 The Great Litany in Procession (Thanksgiving weekend) Missa brevis (TTBB) – Denis Bedárd Psalm 122 (Tone I) Ecce advenit – William Byrd Remember me, O Lord – Thomas Tomkins Advent II The Choir of Men & Boys December 7, 2008 Matin Responsory and ‘Come, thou Redeemer of the earth’ Communion Service in F – William H. Harris Psalm 72:1-8 (Tone I) There is no rose – Joel Martinson O come, O come, Emmanuel – Andrew Carter Advent III The Choir of Men & Boys December 14, 2008 The Great Litany in Procession Communion Service in F – Herbert Sumsion Psalm 146:4-9 (Tone VII) This is the record of John – Orlando Gibbons Lessons & Carols (7:00 pm - Saturday) The Choir of Men & Boys December 20. 2008 St. John the Evangelist R.C. Church, Winthrop Advent IV Chamber Choir December 21, 2008 Missa brevis – Leslie Betteridge (SSA) Psalm 24:1-7 (Tone I) Ave Maria – Claudio Monteverdi (SSA) Lessons & Carols (4:00 pm - Sunday) The Choir of Men & Boys December 21, 2008 The Parish of All Saints, Ashmont Hymn: Once in royal David’s city (Irby) – David Willcocks This is the truth sent from above – Philip Moore Jesus Christ the apple tree – Anthony Piccolo There is no rose – Joel Martinson Up! good Christen folk, and listen – G.R. -
Mass in G Minor
MASS IN G MINOR VAUGHAN WILLIAMS: string of works broadly appropriate to worship MASS IN G MINOR appeared in quick succession (more than half Ralph Vaughan Williams (1872-1958) of the music recorded here emerged during this Vaughan Williams wrote of music as a means of period). Some pieces were commissioned for Mass in G Minor ‘stretching out to the ultimate realities through specific events, or were inspired by particular 1 Kyrie [4.42] the medium of beauty’, enabling an experience performers. But the role of the War in prompting the intensified devotional fervour 2 Gloria in excelsis [4.18] of transcendence both for creator and receiver. Yet – even at its most personal and remote, apparent in many of the works he composed 3 Credo [6.53] as often on this disc – his church music also in its wake should not be overlooked. As a 4 Sanctus – Osanna I – Benedictus – Osanna II [5.21] stands as a public testament to his belief wagon orderly, one of Vaughan Williams’s more 5 Agnus Dei [4.41] in the role of art within the earthly harrowing duties was the recovery of bodies realm of a community’s everyday life. He wounded in battle. Ursula Vaughan Williams, 6 Te Deum in G [7.44] embraced the church as a place in which a his second wife and biographer, wrote that 7 O vos omnes [5.59] broad populace might regularly encounter a such work ‘gave Ralph vivid awareness of 8 Antiphon (from Five Mystical Songs) [3.15] shared cultural heritage, participating actively, how men died’. -
Spring 2018/2 by Brian Wilson and Dan Morgan
Second Thoughts and Short Reviews - Spring 2018/2 By Brian Wilson and Dan Morgan Reviews are by Brian Wilson unless signed [DM]. Spring 2018/1 is here. Links there to earlier editions. Index: ADAMS Absolute Jest; Naïve and Sentimental Music_Chandos BACH Keyboard Music: Volume 2_Nimbus - Complete Organ Works Volume 7_Signum BEETHOVEN Triple Concerto_DG (+ BRAHMS) BORENSTEIN Violin Concerto, etc._Chandos BRAHMS Double Concerto_DG (+ BEETHOVEN) BRUCKNER Symphony No. 3_Profil - Symphony No. 4 in E-flat ‘Romantic’_LSO Live BUSONI Orchestral Works_Chandos ELGAR Violin Sonata, etc._Naxos_Chandos GERSHWIN Rhapsody in Blue_Beulah GUILMANT Organ Works_Chandos (+ WIDOR, FRANCK, SAINT-SAËNS) IRELAND Downland Suite, etc._Chandos - Mai Dun, Overlanders Suite, etc._Hallé JANITSCH Rediscoveries from the Sara Levy Collection_Chandos KARAYEV Symphony No.1; Violin Concerto_Naxos - Seven Beauties Suite, etc._Chandos LIDSTRÖM Rigoletto Fantasy_BIS (+ SHOSTAKOVICH Cello Concerto) LISZT A Faust Symphony_Alpha LUDFORD Missa Videte miraculum, etc._Hyperion MAHLER Symphony No.1_CAvi - Symphonies Nos. 4-6_Signum - Symphony No. 6_BIS MONTEVERDI Lettera Amorosa_Ricercar - Clorinda e Tancredi: Love scenes_Glossa - Night - Stories of Lovers and Warriors_Naïve PALUMBO Three Concertos_BIS RACHMANINOV The Bells, Symphonic Dances_BRKlassik ROSSINI Overtures – Gazza Ladra, Guillaume Tell_Beulah SAUER Piano Concerto No.1_Hyperion (+ SCHARWENKA) SCHARWENKA Piano Concerto No.4_Hyperion (+ SAUER) SHOSTAKOVICH Cello Concerto No.1_BIS (+ LIDSTRÖM) TALLIS Lamentations and Medieval Chant_Signum TIPPETT Symphonies Nos. 1 and 2_Hyperion VIVALDI Concertos Op.8/1-12_Chandos - Double Concertos_Chandos WESLEY, Samuel Symphonies_Chandos WESLEY, Samuel Sebastian Ascribe unto the Lord - Sacred choral works_Chandos WIDOR Organ Works_Chandos (see GUILMANT) Electric Django (Reinhardt)_Beulah *** MusicWeb International April 2018 Second Thoughts and Short Reviews - Spring 2018/2 Nicholas LUDFORD (c.1490-1557) Ninefold Kyrie (at Ladymass on Tuesday, Feria iii) [4:45] Alleluia. -
1999 Spring Programme
CONCERT DIARY WINCHESTER MUSIC CLUB THE WAYNFLETE SINGERS Come and Sing ... Handel’s Messiah 10th June 1999 7.30pm Conductor: Neil Chippington in Winchester Cathedral 1 May 1999 from 2.00 pm Poulenc Gloria (Performance at 6.00 pm) Fauré Pavane WINCHESTER MUSIC CLUB in Winchester College Chapel Saint-Saëns Symphony No 3 in with a buffet supper in School C minor (Organ) afterwards Fauré Peléas et Mélisande Details from Mrs R. Halliwell, Bournemouth Symphony Orchestra 2 Southend Close, Hursley, S021 2LJ Conductor: David Hill (tel 01962 775584) ROSSINI 2nd July 1999 7.30pm WINCHESTER and COUNTY in Winchester Cathedral MUSIC FESTIVAL Verdi Requiem 8 May 1999 at 7.30 pm Bournemouth Symphony Orchestra in Winchester Cathedral Conductor: David Hill Petite Messe Solennelle Dvorák Stabat Mater Conductor: Francis Wells WINCHESTER MUSIC CLUB 25 November 1999 at 7.30 pm 15 May 1999 at 7.30 pm in Winchester Cathedral in Romsey Abbey Mendelssohn Elijah Susanna Spicer Mezzo soprano Charpentier Te Deum, WMC Choir and Orchestra Shelley Everall Contalto Vivaldi Beatus Vir Conductor: Neil Chippington Handel O Praise the Lord with Andrew Carwood Tenor One Consent Christopher Foster Baritone Conductor: Colin Howard Winchester Music Club Choir and Orchestra Tickets, except where indicated, from Music at Winchester (tel. 01962 977977). Elizabeth Russell Leader Neil Chippington NEW HALL, WINCHESTER COLLEGE Winchester Music Club is affiliated to the National Federation of Music Societies which represents and Saturday 20 March 1999 at 7:30 p.m. supports amateur choirs, orchestras and music By kind permission of the Headmaster promoters throughout the United Kingdom. Winchester Music Club is a Registered Charity No. -
INTERVIEWS with the DIRECTORS of Five ENGLISH CHOIRS of MEN and BOYS by Ronald R
•••••••• CI ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• INTERVIEWS WITH THE DIRECTORS OF FIvE ENGLISH CHOIRS OF MEN AND BOYS by Ronald R. Sider HE FOLLOWING British choirs touring under the History and Tradition interviews were conducted auspices of Truckenbrod during July of 1990. The management are: Christ Church, History and tradition surround these five directors included were Oxford (March 1992); Trinity choirs. At St. Paul's Cathedral, selected because they and College, Cambridge (September music spans at least 800 years. The their choirs were scheduled 1992); Clare College, Cambridge earliest written records show a choir to tour the United States in (September 1993); and Canterbury school's existence in the 12th the ensuing several years, Cathedral (April 1994) . Choirs century. At King's College, when the and it was felt that American statutes of the College were choral conductors would .STEPF-IEN'·CEEOBURV'::-'"'' ""'1 laid down in 1445, six welcome information about fN, 'r2C1 0', III, ITT ~":r!R'I' singing men and 15 singing the choirs and their touring If1llUIJ VLll.JLU1...Ii boys were on the list of schedules. ' 'd establishment. St. John's St. John's College Choir, Camh, .n~e College received its charter in under George Guest, who 1511, and a chapel choir has has recently retired, com .PHILIP MOORE . '1,i sung daily services since that pleted a tour in October of rCYT'Pl1 -u: 1 time. Perhaps most impres- 1990; York Minster Choir, YORK.M1IY0.ll...JI:l.lJork . sive is York Minster, which under Philip Moore, toured I has had a functioning choir this past spring. The tour NELL,' III school since 6271 Tradition plans for Westminster -JAMES O'DON' defines and delineates Cathedral Choir, under 'W.ESf.MllYsmR.(JfJJf]5DRALfl function, and consequently J ames O'Donnell, did not 'T X-.nA,, OYJ, : ,Iii the service of Evensong is develop. -
American Choral Review Journal of the American Choral Foundation, Published by Chorus America | Timothy Newton, Editor
Volume 57 Number 1 Summer/Fall 2017 American Choral Review Journal of The American Choral Foundation, published by Chorus America | Timothy Newton, Editor Editor’s Note of Introduction With this issue, I assume the editorship of the to cover, I immediately looked forward to the next American Choral Review, following in the steps of no- one. A few years later, I had the opportunity to meet table choral musicians and scholars Arthur Mann, Alfred Mann while studying with William Weinert William Weinert, and James John. While living in during an Eastman Summer Session. I was so pleased Chicago in the early 90s, I had the opportunity to to meet the founder of this journal, and also the per- coach with one of my choral heroes, Margaret Hillis, son who trained one of my favorite musicology pro- from whom I had absorbed ideas of score preparation. fessors at Ithaca, a young Donald Boomgaarden. So, it She helped me prepare The Creation when a conduc- is the great respect I have for Alfred Mann, William tor for whom I accompanied suddenly became indis- Weinert, and my colleague James John that compelled posed. As a result of working with her, I remember me to accept this position. I want to thank Jim and receiving my first copy of the journal in the mail in Bill for the years of detailed excellence and contribu- 1993, and being enthralled with the scholarly arti- tions to this journal and to the field of choral music cles, the reviews of recordings, music, and concerts. research. I look forward to their continued guidance Paired with the professional focus and advocacy of on the Editorial Board, along with the notable scholar Chorus America, I appreciated the niche that this and conductor David DeVenney at West Chester Uni- concise journal provided for focused choral research versity, and musicologist Michael Alan Anderson at articles and reviews.