Cataloging Service Bulletin 117, Fall 2007
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The Hymns Album, Vol. 2 Y Abide with Me (Eventide) William Henry Monk [3.46] U O Perfect Love Joseph Barnaby (1838-1896) [2.12] I the Lord Is My Shepherd Will Todd (B
The Hymns Album, Vol. 2 y Abide with Me (Eventide) William Henry Monk [3.46] u O Perfect Love Joseph Barnaby (1838-1896) [2.12] i The Lord is my Shepherd Will Todd (b. 1970) [3.47] 1 Thy Hand, O God, has Guided (Thornbury) Basil Harwood (1859-1949), arr. Darius Battiwalla [2.24] o When I Survey the Wondrous cross (Rockingham) Edward Miller (1731-1807) [3.11] 2 All Things Bright and Beautiful William Henry Monk (1823-1889) [2.27] p Alleluya, Sing to Jesus (Hyfrydol) Richard Huw Pritchard (1811-1887) [3.47] 3 Guide Me, O Thou Great Jehovah (Cwm Rhondda) John Hughes (1873-1932) [2.32] a Come ye Thankful People, George Elvey (1816-1893) [2.49] 4 How Firm a Foundation, Samuel Jarvis (d.1785) [1.53] Come (St George’s Windsor) O Saints of the Lord (Montgomery) s I am the Bread of Life Suzanne Toolan (b. 1927), arr. Pulkingham [3.20] 5 Praise my Soul the King of Heaven (Lauda Anima) John Goss (1800-1880), arr. Battiwalla [2.24] d O Praise ye the Lord (Laudate Dominum) Hubert Parry (1848-1918) [2.12] 6 Amazing Grace (New Britain) Traditional, arr. Richard Wilberforce (b. 1984) [3.28] f All Creatures of our God Traditional, arr. Battiwalla [2.48] 7 Be Still, For the Presence of the Lord David Evans (b. 1957), arr. Simon Mold [2.31] and King (Lasst uns erfreuen) 8 Father We Love You Donna Adkins (b. 1940) [2.18] Total timings: [66.52] 9 Make me a Channel of your Peace Sebastian Temple (b. -
SPECIAL ORGAN RECITALS 2016 350Th Anniversary Celebration Series
SPECIAL ORGAN RECITALS 2016 350th Anniversary Celebration Series Wednesdays at 7:30pm The Organ of Gloucester Cathedral Thomas Harris 1666; Henry Willis 1847; Harrison & Harrison 1920 Hill, Norman & Beard 1971; Nicholson & Co. 1999, 2010 CHOIR SWELL PEDAL Stopped Diapason 8 Céleste 8 Flute 16 Principal 4 Salicional 8 Principal 16 Chimney Flute 4 Chimney Flute 8 Sub Bass 16 Fifteenth 2 Principal 4 Quint 102/3 Nazard 11/3 Open Flute 4 Octave 8 Sesquialtera II Nazard 22/3 Stopped Flute 8 Mixture III Gemshorn 2 Tierce 62/5 Cremona 8 Tierce 13/5 Septième 44/7 Trompette Harmonique 8 Mixture IV Choral Bass 4 Great Reeds on Choir Cimbel III Open Flute 2 Tremulant Fagotto 16 Mixture IV Trumpet 8 Bombarde 32 GREAT (* speaking west) Hautboy 8 Bombarde 16 Gedecktpommer 16 Vox Humana 8 Trumpet 8 Open Diapason 8 Sub-Octave coupler Shawm 4 Open Diapason* 8 Tremulant Bourdon 8 COUPLERS Spitz Flute* 8 WEST POSITIVE (Manual IV) Swell to Great** Octave 4 Gedecktpommer 8 Choir to Great* Prestant* 4 Spitz Flute 4 West Positive to Great* Stopped Flute 4 Nazard 22/3 Swell to Choir Flageolet 2 Doublette 2 West Positive to Choir Quartane* II Tierce 13/5 Great to Pedal** Mixture IV-VI Septième 11/7 Swell to Pedal* Cornet IV Cimbel III Choir to Pedal* Posaune* 16 Trompette Harmonique ` 8 Manual IV to Pedal* Trumpet* 8 Tremulant Combination Couplers: Clarion* 4 West Great Flues on IV Great and Pedal combined West Great Flues Sub-Octave Great Reeds on IV Generals on Swell toe pistons COMPASS ACCESSORIES Manuals C-A = 58 notes Reversible thumb pistons to stops Six thumb pistons to Choir Pedals CC-G = 32 notes marked* Eight toe pistons to Pedal Reversible thumb and toe pistons to Eight toe pistons to Swell Two mechanical swell pedals to East stops marked** Eight General thumb pistons and West Swell shutters Four stepper pistons (2+ and 2-) General Cancel Four thumb pistons to W. -
Second Sunday of Lent – 8Th March 2020
1 Music Notes: Second Sunday of Lent – 8th March 2020 The mass setting at the Solemn Eucharist this week is the Missa Brevis by William Walton (1920–1983). This piece was the result of a commission from the Friends of Coventry Cathedral in 1965, and was first performed there in 1966. The commission came just three years after the Cathedral had first opened in May 1962, having been built alongside the ruins of the bombed-out 14th century church that was destroyed in the Second World War. At the end of May 1962, the War Requiem by Benjamin Britten (1913–1976) was premiered there. Its fruition was the result of another commission by the cathedral for a work to mark the consecration of the new building designed by the architect Basil Spence. Michael Tippett (1905–1998) had also been commissioned to provide a work for the arts festival associated with the consecration, and he provided the opera King Priam. So, there was commissioning fever in the air, and William Walton was certainly a key British composer who could rank alongside Britten and Tippett. In fact, he was really rather jealous of Britten’s success and resented his seemingly easy access to the upper echelons of the British establishment. He believed that this was the result of a gay cabal from which resolutely heterosexual composers such as he were unreasonably excluded, all the more unfair, he thought, as the members of his tribe were surely the ‘normal’ ones. (This is a reasonably accurate paraphrase of several comments he made.) Coventry Cathedral was, as a result of the War Requiem, inextricably connected with Britten, so one can just imagine what he felt when he was approached just three years later to provide a work of his own. -
Evensong Thursday, January 30, 2020 5:15 P.M
Our vision A spiritually alive world Our mission Reimagining church with courage, joy and wonder Evensong Thursday, January 30, 2020 5:15 p.m. Evensong Thursday in the Third Week after The Epiphany • 30 January 2020 • 5:15 pm Grace Cathedral is pleased to welcome the Choir of Trinity College, University of Melbourne, Australia on their North American tour, and we thank them for singing tonight’s service. Voluntary Saraband Processional William H. Harris Introit The people stand as the procession enters. Richard Lloyd Choir Blessed be the Holy Trinity, who created and governs everything, now and for ever. Amen. –Introit for Trinity Sunday Opening Sentence Said by the Dean. The Invitatory and Psalter Preces The people stand. Anthony Piccolo Cantor O Lord, open thou our lips. Choir And our mouth shall shew forth thy praise. O God, make speed to save us. O Lord, make haste to help us. Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now and ever shall be, world without end. Amen. Praise ye the Lord. The Lord’s name be praised. Hymn 448 Sung by all. Deus tuorum militum text: Latin, 15th cent.; tr. Benjamin Webb (1819-1885), alt.; music: from Antiphoner, 1753; adapt. The English Hymnal, 1906, alt.; harm. after Basil Harwood (1859-1949) 1 Psalm 111 Sung by the choir, the people sit. Richard Lloyd (BCP, p. 754) The Readings Readings may be found near the end of this service leaflet. Deuteronomy 18: 15–20 The Magnificat The people stand. -
ST. LUKE's EPISCOPAL CHURCH San Antonio, TX
September 4 Pentecost16 Charles Gounod: Sanctus from St. Cecilia Mass (827) Camille Saint-Saëns:Fantaisie in E flat (RJ) ST. LUKE’S EPISCOPAL CHURCH September 11 Rally Day (9:15 for 10:00) San Antonio, TX Martin Shaw: With a voice of singing (376) William Mathias: Fanfare (DH) September 18 Pentecost 18 MUSIC LIST L.J. White: Prayer of St Richard of Chichester (115) 2016-2017 Roy Douglas: Jubilate (DH) September 18 Choral Evensong (3:30 for 4:30) Christopher Tye: O Holy Spirit, Lord of Grace (806) Responses: Ayleward Psalm 34 (Norris) Canticles: Friedell in F (791) Anthem: Evening Hymn – Henry Balfour Gardiner (154) Voluntary: Te lucis (Tombeau de Titelouze) – Marcel Dupré (RJ) September 25 Pentecost 19 J.S. Bach: Subdue us by thy goodness (846) J.S. Bach: Praeludium in G, S.568 (RJ) The Rev. David G. Read Rector October 2 Pentecost 20 The Rev. John Badders Henry Loosemore: O Lord, increase our faith (784) Associate Rector Donald Verkuilen III: Toccata on “Gather Us In” (DH) October 9 Pentecost 21 Russell Jackson FLCM Anonymous: Rejoice in the Lord alway (785) Organist & Director of Music J.S. Bach: Prelude in C, S.547 (RJ) Dr. David Heller Associate Organist October 16 Pentecost 22 Felix Mendelssohn: Hear my prayer (T) Felix Mendelssohn: Fugue in D minor (DH) October 16 Choral Evensong November 23 – No Rehearsal Ralph Vaughan Williams: Let us now praise famous men (695) Responses: William Smith (812) Psalm 115 (Knight) November 27 Advent Sunday Canticles: Vaughan Williams in C (488) J.S. Bach: Wachet auf, ruft uns die Stimme (Cantata 140) Anthem: O for the wings of a dove (ms) J.S. -
The Music of Heaven Contents
CHURCH MUSIC QUARTERLY JUNE 2019 THE MUSIC OF HEAVEN CONTENTS 5 EDITORIAL 38 SIMPLE WORSHIP SONGS ON THE ORGAN Miles Quick and Tom Bell provide tips for playing worship songs 6 IN ACTION on the organ. A look at a recent Strengthen 13 for Service event in Salisbury 40 CONGRATULATIONS Members’ successes and 8 WHAT’S ON RSCM awards Highlights of RSCM events across the UK, June to October 2019 42 HYMN MEDITATION Gordon Giles meditates upon 13 THE MUSIC OF Walford Davies’s God be in my head. HILDEGARD OF BINGEN Jennifer Bain looks at the music of Hildegard of Bingen and provides a 19 practical guide to using Hildegard’s 44 NEWS FROM music across the church year. PUBLISHING A look at the upcoming RSCM publication In Every Corner Sing, Book Two 19 FIVE HUNDRED YEARS OF NEGLECT Olivia Sparkhall considers the prominence of women composers 47 NOTEBOOK: from the 15th century to the NEWS AND EVENTS present day. News from the world of church music 32 24 FROM THE DIRECTOR 49 READERS’ LETTERS Hugh Morris talks about the RSCM’s new Strategic Plan. 51 OBITUARIES 26 RSCM NEWS News and reports across the RSCM’s international network 52 REVIEWS CMQ evaluates the latest church music books and CDs. 32 MY FAVOURITE HYMN Brian Kay talks to CMQ about 36 his favourite hymns and about 56 PUZZLES conducting The Really Big Chorus. 57 LOOKING TO 36 BRANCHING OUT THE FUTURE Jenny Yates, RSCM South Africa, CMQ talks to organist and conductor describes bringing sacred music Helen Smee. to some of the poorest schools on the Eastern Cape. -
From Oldham to Oxford: the Formative Years of Sir William Walton
From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Abraham Kaplan Giselle E. Wyers Program Authorized to Offer Degree: School of Music © Copyright 2014 Gary D. Cannon University of Washington Abstract From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon Chair of the Supervisory Committee: Professor Geoffrey Boers Choral Conducting, School of Music The formative years of William Walton (1902–1983) are rarely considered when studying the composer’s life and works. However, careful study of that period indicates many of the directions that the adult Walton would take. Industrial Lancashire was more musically active during the period of Walton’s youth (covering the years 1902 to 1912) than is generally considered. His time as a chorister and later undergraduate at Christ Church, Oxford (1912 to 1920), is replete with influential interactions with talented adults and fellow students. Detailed consideration of Walton’s juvenilia reveals a keen thinker who assimilated these various influences in a unique manner. Far more than merely a springboard for a future talent, these years resulted in inspired works and a firm purpose for the budding composer. From Oldham to Oxford The Formative Years of Sir William Walton Contents Introduction.................................................................................................................................................. -
2014-2015 Anthems
Cathedral Anthems 2014-2015 Sept 14 William Smith – Ride the Chariot Sept 21 Rutter – God be in my head Sept 28 Szymko - Nada te turbe (Let nothing disturb you) October 5 Schütz – Who shall separate us (“Wer will uns scheiden”) October 12 Mendelssohn – O come everyone that thirsteth (Elijah) October 19 – Arvo Pärt – Tribute to Caesar October 26 – Wesley – I am thine, O save me November 2 – All Saints/All Souls Bainton – And I saw a new heaven Byrd – Beati mundo corde November 9 Sweelinck – Or sus, serviteurs du Seigneur (Ps. 90) November 16 Berger – The eyes of all wait upon thee (Ps. 145) November 23 (Christ the King) Britten – Jubilate Deo in C (Ps. 100) November 23 Evensong for the Close of the Church Year w/ guests The Cathedral Choir of Delaware Phos Hilaron – David Hogan (CCD trebles) Responses - Stephen Caracciolo (PCS) Psalm – Britten Jubilate Deo in C Canticles - Walmisley – Service in D minor Anthem - Basil Harwood - O How Glorious is the Kingdom November 30 (Advent I) Dawson – Soon-ah will be done December 7 Mendelssohn – How lovely are the messengers (St. Paul) December 14 Elgar – The Spirit of the Lord is Upon Me (The Apostles) December 21 Lloyd – This is the truth sent from above December 24 O Come Emmanuel – arr. Lloyd Sussex Carol – Willcocks Vaughan Williams “The Blessed son of God” from Hodie Wexford Carol – arr. Lloyd John Joubert - The Christ-child lay (Chesterton) Jan 4 - Victoria – O Magnum Mysterium Jan 11 – Kalinnikov – Svjetje Tihi (Gladsome Light) Jan 18 – Byrd - Surge, illuminare Jan 25 – Hampton – True Light Feb 1 – Lloyd – Nunc dimittis Feb 8 – Dawson – Balm in Gilead Feb 15 – Lee Cloud – My Good Lord’s Done Been Here Feb 22 – Lent I - Wood – Who through the desert vale Mar 1 - Kitson – Lord, it belongs not to my care Mar 1 - An Evensong for Lent (w/ guest choir Sounds of Joy, Sheila Booker, director) - Ellington - Preces and Litany - Trevor Weston - St. -
'The Meretricious Charms of Melody'?
‘The meretricious charms of melody’? On Late Victorian Settings of the Nicene Creed PAUL RODMELL In the late summer and early autumn of 1889 a protracted and fractious debate occu- pied the readers of the journal, The Musical World. At its heart was an argument as to how composers of that time should set the Nicene Creed for use in the Anglican Communion service; the chief protagonists were Frederick Harford, a Minor Canon of Westminster Abbey, and Charles Stanford, one of the United Kingdom’s most highly regarded composers.1 By the end of the debate, even senior members of the Anglican Church, up to the Archbishop of Canterbury, had been drawn into the argument. The debate’s origins lay in two letters from Harford in which he gave detailed guidelines concerning the theological meanings, and grammatical and syntactical constructions of the Creed which, he suggested, should guide composers. Well-meaning as Harford’s intentions were, his highly didactic approach was not universally welcomed. But the debate provides a stimulus for an examination of word-setting in representative examples of one of the most important texts in Christian belief in the context of the late Victorian Anglican Church, and invites an appraisal of the extent to which church composers of the time and, most particularly, Stanford himself, considered the meanings and structures of texts they set on a routine basis. The episode also sheds more light on the contemporaneous politics of music and the dynamics of the relation- ship between clergy and the increasingly professionalized and confident musicians they employed, at a time when a heightened awareness of music’s importance within the liturgy, both in terms of religious edification and social status, was prevalent. -
CATALOGUE2019 Oxrecs
CATALOGUE2019 OxRecs RETAIL PURCHASING All OxRecs recordings are available to purchase or order through cathedral shops, specialist classical recorded music dealers, and the larger retail stores throughout the UK. Most of the catalogue titles are available to DIGITAL purchase online from iTunes, Amazon, and other digital download sites. Customer orders may also be placed by contacting the address below, sending an email to [email protected], or visiting our website at http://www.oxrecs.com/ where you may order from the online catalogue, read reviews and listen to sound samples. Choral DISTRIBUTION Worldwide Organ OxRecs DIGITAL, Maytree Cottage, 51 Eaton Road, Appleton, Abingdon, OXON OX13 5JH Tel: +44 (0) 1865 862310 Piano/Harpsichord (from November 2018) RSK Entertainment Ltd, Unit 3, Home Farm, Welford, Newbury, BERKSHIRE RG20 8HR Tel: +44 (0) 1488 608900, Email: [email protected] Orchestral Chamber Ensemble DIGITAL DOWNLOADS AVAILABLE: PROMOTIONAL & ARCHIVE VIDEOS: https://www.youtube.com/c/OxrecsDIGITAL Updated January 2019 http://www.oxrecs.com/ 12 1 The Organs of Cambridge: Vol 1 (Richard Marlow, Anne Page, Ralph Woodward, Andrew Linn) Trinity College Nun komm, der Heiden Heiland (BWV 659, 660, 661) – J S Bach, Voluntary in F (Op 7, No 6) – John Stanley, Voluntary in E (Op 7, No 7) – John Stanley Emmanuel United Reformed Church Sonata No 6 (Op 65) – Felix Mendelssohn, Andante in E minor – Henry Smart, Sortie in B flat – Louis Lefébure-Wély Queens' College Sonata No 2 Op 65 (Allegro Maestoso & Allegro Moderato) – Felix Mendelssohn, -
The Organs and Organists of Ely Cathedral to the Effect That He Held the Degree of Mus.D
The Organs and Organists of Ely Cathedral by Nicholas Thistlethwaite with an Appendix on the Organists by Watkins Shaw Original line drawing of the Gilbert Scott case - John Maddison I From the earliest times to 1644 We shall probably never know the date of Ely's first organ, its location, or the precise use to which it was put. However, Ely's links with Winchester, and its status as a Benedictine house after Aethelwold's refoundation in 970, encourage the thought that there may have been an organ in the minster before the Norman Conquest. Benedictine monasticism was instrumental in developing the technology of organs, clocks and other mechanical apparatus, and its products were disseminated throughout western Christendom through the network of Benedictine monasteries. The Old Minster at Winchester had a remarkable organ built (or perhaps enlarged) c990. Knowing, as we do, that other Saxon monastic churches possessed organs, and that an organ was used at the dedication of nearby Ramsey in 991, it is a not unreasonable conjecture that Ely would have acquired an organ by a similar date. What were these early organa? That they had bellows to raise a supply of wind, a wooden chest to support the pipes, and a set of levers to admit wind to the pipes, thus causing them to sound, is all that can be said with any confidence. Perhaps they were used as signalling devices (like bells) or to enrich the liturgy at the great festivals. There was certainly no question of them being used as accompanimental instruments at this early date - both mechanism and sound would have been too crude for that. -
Organ Voluntary Overture Preces
12 JANUARY 2020 ✝ THE 1ST SUNDAY AFTER THE EPIPHANY SOLEMN EVENSONG ✝ 4:30 PM It is a great pleasure to welcome you to St. James’ Church. If you do not already have a church home we invite you to worship with us as often as you would like and to consider joining our parish family. Evensong in an Anglican Church is a magnificent act of worship. Sung daily since the sixteenth century, this service is one piece of the total worship of God offered by Christian people at every hour of the day and night in every part of the world. Drawn almost entirely from the Bible, its primary purpose is to proclaim the wonderful works of God in history and in the life, death, and resurrection of Jesus Christ. Its secondary purpose is to evoke from the worshiper a response of praise, penitence, prayer and obedience. This is a service of Choral Evensong in which much of the music is sung by the Choir to classical and often elaborate settings dating from the time of the English Reformation (and earlier) to the present day. The form of our worship is drawn from the first Prayer Book of King Edward VI (1549) and subsequent revisions. We invite you to join silently in worship with the Choir, while they sing the prayers, Psalms, canticles, responses and other music. Please join the Choir in singing the hymns, the Creed, and in adding the Amen to the said prayers. Organ Voluntary Overture Music: From Oratorio “St. Paul” by Felix Mendelssohn (1809-1847), arr.