DOCSLIB.ORG

Thomas Tomkins

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thomas Tomkins O GIVE THANKS UNTO THE LORD Choral Works BY THOMAS TOMKINS THE CHOIR OF HM CHAPEL ROYAL, HAMPTON COURT PALACE RUFUS FROWDE ORGAN CARL JACKSON CONDUCTOR O Give Thanks Unto The Lord 1. Death is swallowed up in victory [4:47] 14. Give ear to my words [5:37] Choral Music by Preces & Responses 15. The heavens declare the Thomas Tomkins (1572–1656) 2. Preces [1:26] glory of God [2:59] Magnificat & Nunc dimis 16. Remember me, O Lord [2:41] (The Fourth Service) The Choir of HM Chapel Royal, Hampton Court Palace 3. Magnificat [5:50] 17. O Lord, how manifold Rufus Frowde organ 4. Nunc dimis [3:45] are thy works [2:12] Carl Jackson conductor 5. Who can tell how o he offendeth [4:57] 18. O give thanks unto the Lord [2:05] 6. Gloria bi Trinitas [4:29] 19. Voluntary [2:00] 7. Give sentence with me, O God [7:44] Total playing me [74:25] Magnificat & Nunc dimis (The Seventh Service) 8. Magnificat [5:19] 9. Nunc dimis [2:50] Preces & Responses 10. Responses [5:09] 11. Jesus came when the About The Choir of HM Chapel Royal Hampton Court: doors were shut [3:46] ‘[...] fervent and full-blooded performances [...] The recording, in the 12. Turn unto the Lord our God [2:34] palace’s resonant chapel, is sumptuous and detailed’ BBC Music Magazine 13. A Fantasy [4:06] ‘Lusty singing [...] conveys a sense of ownership of the music’ Choir & Organ Thomas Tomkins: Choral Works sung by two boys, each of whose musical lines imitates the other with increasing Thomas Tomkins (1572–1656) may well fervour. The editor notes that this have received his inial introducon to opening recalls the scoring of the verse the Chapel Royal through his ‘ancient secons of Byrd’s ‘seminal’ anthem and much-reverenced Master, William Christ rising again. Byrd’, as Tomkins wrote in the dedicaon of his madrigal Too much I once lamented, Within the Church of England services of published in 1622. Perhaps the younger Mans and Evensong, as inially composer’s simple words carried more established in the 1549 Book of Common weight than they otherwise might, Prayer, appear two sets of versicles and since his former teacher Byrd was to responses. Each versicle – a short text die early in July the following year. In said or sung by the Minister, e.g. ‘O Lord 1621, the year before that dedicaon, open thou our lippes’ – is followed by a Tomkins had succeeded Edmund response from the congregaon and/or Hooper as one of the organists of the choir – in this case, ‘And our mouth shall Chapel Royal, into which body of shew forth thy prayse’. The first set of musicians and priests he had been versicles and responses at Mans and sworn as a Gentleman-in-Ordinary by Evensong became known as the preces at least 29 June 1620. (prayers), directly preceding the psalm, and the second the Responses, To open this programme, we are pleased directly following the Apostle’s Creed. to bring to the discography Death is The earliest musical seng of the swallowed up in victory, a verse anthem Preces and Responses appeared in for SSAABB verses, chorus and organ. John Merbecke’s The Booke of The music has been reconstructed by Common Praier Noted (1550), and by Peter James from the surviving the end of Tomkins’s life in 1656 more seventeenth-century sources – an than forty choral sengs of the preces had organ part, a tenor partbook, and a been wrien by the leading sixteenth- and separate source of the words – and seventeenth-century composers. the new printed edion was published Tomkins’s Preces and Responses form in 2000. This powerful and disncve surely one of the finest of these anthem opens with an intricate duet composions, surviving only in the Peterhouse Partbooks, which were with a sure sense of musical rhetoric. ‘presumptuous sins’, and, indeed, kept seems to have been influenced by produced in the second quarter of Anthony Boden has proposed a date innocent from the ‘great offence’. another member of the Chapel Royal, the seventeenth century. The Collect of composion around 1620 for this John Bull (1562/3–1628), whose own for the Day is sung here from an seng, placing it perhaps ten years The organ accompaniments on this such sengs Tomkins copied into his original 1589 Book of Common Prayer earlier than the more experimental recording are played on the Millennium manuscript Paris Rés 1122. printed by the depues of Christopher Fih Service. We might therefore see Organ built by Mander Organs, and Barker, ‘printer to the Queenes most Tomkins’s Fourth Service as the we are pleased to include three solo Give sentence with me, O God is a long excellent Maiese’. The original spelling culminaon of his earlier verse style, items in order to celebrate this and dramac seng of the enrety of is preserved in the transcripon below. before the nascent Baroquisms of chamber instrument’s fine sound. Psalm 43 for two bass voices and the Fih Service, which probably (and The first, a seng of the plainchant chorus. As in much of the composer’s Thomas Tomkins’s son Nathaniel tellingly) was wrien around the same anphon Gloria bi Trinitas is dated duet wring for equal voices, one voice (1599–1681) oversaw the print publicaon me as his Songs of 3.4.5. & 6. May 1648 by Tomkins in its source, generally makes a new melodic of his father’s posthumous Musica Deo Parts (1622). the authorial holograph Paris, statement before the second repeats sacra (1668), a set of five partbooks Bibliothèque Naonale, MS Rés 1122. the same phrase with some (usually drawing together the majority of his From the voice distribuons in the verse The piece belongs to the In nomine pitch) variaon. Later in each secon sacred output under the subtle anthems of Musica Deo sacra, it is clear tradion in instrumental music, the two solo voices combine, before ‘Musick dedicated to the Honor and that Tomkins was keen to write verses wherein composers of the the chorus joins in to repeat the final Service of God, and To the Use of for those who sang the contratenor sixteenth century and later composed words of each verse. The length of Cathedral and other Churches of part. Among these, Who can tell how polyphonic music that includes not this work allows Tomkins to build England, Especially of the Chapell-Royal o he offendeth, which sets the final only the chant cantus firmus but also some considerable energy towards the of King Charles the First’. The Fourth three verses of Psalm 19 is a parcularly some of the counterpoint added to end of the piece, and the final chorus Service is one of two verse sengs of fine example. The anthem is structurally it in the Benedictus of the Missa Gloria is parcularly thrilling. It is noteworthy the cancles for evensong to be simple; each verse of the psalm begins bi Trinitas by John Taverner that there are two independent bass included in Musica Deo sacra, and has with an organ introducon, before the (c.1490–1545). In addion to fragments parts in the final chorus while only not received representaon in the countertenor soloist delivers the verse, of the In nomine material, the chant one in all of the preceding choruses. discography since the Nunc dimis (only) at the end of which the chorus repeats melody is heard as a cantus firmus This expansion to six parts is a featured in the venerable Treasury of the final few words. This simplicity of in long notes predominantly in the relavely unusual move for Tomkins, English Church Music (1966). There is form foregrounds a highly engaged le hand while divisions in increasingly and is undoubtedly successful. great variety in Tomkins’s selecon response to the text, wherein the short note values and ever more of different combinaons of solo verse melody exploits the interval of virtuosic figuraons are wrien for the Reconstructed by Peter James from the voices in the verse secons, while a semitone as an expressive device to right hand. Tomkins’s parcipaon in surviving organ part in The Baen disncve head mofs and driven arculate the peoner’s desire to be the parcularly English tradion of Organ Book (Oxford, Bodleian Library, harmonic progressions are deployed cleansed from his ‘secret faults’, wring keyboard In nomine pieces MS Tenbury 791) and making its debut in the discography is Tomkins’s Seventh & 6. parts (1622). Itself in six parts, it verses for lower voices, and as such are are thy works are somewhat more Service. Despite the name by which it numbers among the four sacred pieces sung here by the Gentlemen of the choir. conservave, but in the laer some has come to be known, there is evidence in the collecon, and was dedicated The longest, Give ear to my words sets allusions to Byrd’s English anthems are that this verse seng of the Evensong ‘To my sonne Nathaniel Tomkins’. That it the opening three verses of Psalm 5. present, including the solo voice/full cancles Magnificat and Nunc dimis was included, like the Preces and Here, Tomkins demonstrates his assured texture displacement heard at the was the second to be composed by Responses, in the Peterhouse Partbooks and refined sense of textural control by opening of, to take but one example, Tomkins, perhaps in the first decade would suggest that it was used liturgically oming the Tenor part for the enrety the earlier composer’s O God give ear of the seventeenth century.
Load more

Recommended publications
  • Preces and Responses” Has Been Performed Throughout the US and in England and Is Fast Becoming a Staple of the Evensong Repertoire
    Evensong paraclete press PPM01351 $2.90 Selected Works Published by Paraclete Press Ashdown, Franklin D. My Song Is Love Unknown—PPM01313 SATB and Organ Morning Canticle—PPM01314 SATB with some divisi and Organ Bratt, C. Griffith Bread of the World—PPM01305 SATB and Organ Forster, Stuart It is a Good Thing to Give Thanks unto Preces and the Lord–PPM01317 SATB and Organ Galetar, Charles Humbly, I Adore Thee—PPM01318 SATB a cappella Responses Livingston, Donald O Sons and Daughters—PPM01320 SATB with some divisi, Organ, Brass, Timpani, and Percussion Westminster Abbey Lovelace, Austin Benedictus es Domine—PPM01306 SATB and Organ Copy Nelson, Daniel Wherever I May Wander—PPM01322 SATB and Piano Phillips, Craig Communion Service in G: Rite I—PPM01328 SATB a cappella with divisi James Buonemani Powell, Robert Concerto on Jesus Shall Reign—PPM01307 SATB, Congregation, Trumpets, and Organ Stearns, Peter Pindar Spirit of Mercy, Truth and Love—PPM01302 SATB and Organ Not Weidner, Raymond From the Rising of the Sun—PPM01308 SATB a cappella SATB a cappella Do with some divisi paraclete press P.O. Box 1568, Orleans, MA 02653 1-800-451-5006 www.paracletesheetmusic.com James Buonemani James Buonemani (b. 1956) began his musical career at age 13 when he was appointed Assistant Organist to then Director of Music William Ferris at Sacred Heart Cathedral, Rochester, NY. An early interest in composition won him first prize in a national competition for composers sponsored by Baylor University, at age 15. Since then he has composed music exclusively for the church, much of which can be found on his website MusicaBellaLuna.com.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Choral Evensong with Carols
    THE CATHEDRAL AND METROPOLITICAL CHURCH OF CHRIST, CANTERBURY Choral Evensong with Carols Christmas Eve Thursday 24th December 2020 5.30pm Welcome to Canterbury Cathedral for this Service For your safety Please keep social distance at all times Please stay in your seat as much as possible Please use hand sanitiser on the way in and out Please avoid touching your face and touching surfaces Cover Image: The Nativity (Christopher Whall) South West Transept, Canterbury Cathedral Transept As part of our commitment to the care of the environment in our world, this Order of Service is printed on unbleached 100% recycled paper Please ensure that mobile phones are switched off. No form of visual or sound recording, or any form of photography, is permitted during Services. Thank you for your co-operation. An induction loop system for the hard of hearing is installed in the Cathedral. Hearing aid users should adjust their aid to T. Large print orders of service are available from the stewards and virgers. Please ask. Some material included in this service is copyright: © The Archbishops' Council 2000 © The Crown/Cambridge University Press: The Book of Common Prayer (1662) Hymns and songs reproduced under CCLI number: 1031280 Produced by the Music & Liturgy Department: [email protected] 01227 865281 www.canterbury-cathedral.org ORDER OF SERVICE All stand as the choir and clergy enter the Nave Welcome The Dean Please remain standing Introit O little one sweet, O little one sweet, O little one mild, O little one mild, thy Father’s purpose thou hast fulfilled; with joy thou hast the whole world filled; thou cam’st from heav’n to mortal ken thou camest here from heaven’s domain equal to be with us poor men, to bring men comfort in their pain, O little one sweet, O little one sweet, O little one mild.
    [Show full text]
  • ORDINATION 2021.Pdf
    WELCOME TO THE CATHEDRAL OF SAINT PAUL Restrooms are located near the Chapel of Saint Joseph, and on the Lower Level, which is acces- sible via the stairs and elevator at either end of the Narthex. The Mother Church for the 800,000 Roman Catholics of the Archdiocese of Saint Paul and Minneapolis, the Cathedral of Saint Paul is an active parish family of nearly 1,000 households and was designated as a National Shrine in 2009. For more information about the Cathedral, visit the website at www.cathedralsaintpaul.org ARCHDIOCESE OF SAINT PAUL AND MINNEAPOLIS SAINT PAUL, MINNESOTA Cover photo by Greg Povolny: Chapel of Saint Joseph, Cathedral of Saint Paul 2 Archdiocese of Saint Paul and Minneapolis Ordination to the Priesthood of Our Lord Jesus Christ E Joseph Timothy Barron, PES James Andrew Bernard William Duane Duffert Brian Kenneth Fischer David Leo Hottinger, PES Michael Fredrik Reinhardt Josh Jacob Salonek S May 29, 2021 ten o’clock We invite your prayerful silence in preparation for Mass. ORGAN PRELUDE Dr. Christopher Ganza, organ Vêpres du commun des fêtes de la Sainte Vierge, op. 18 Marcel Dupré Ave Maris Stella I. Sumens illud Ave Gabrielis ore op. 18, No. 6 II. Monstra te esse matrem: sumat per te preces op. 18, No. 7 III. Vitam praesta puram, iter para tutum: op. 18, No. 8 IV. Amen op. 18, No. 9 3 HOLY MASS Most Rev. Bernard A. Hebda, Celebrant THE INTRODUCTORY RITES INTROITS Sung as needed ALL PLEASE STAND Priests of God, Bless the Lord Peter Latona Winner, Rite of Ordination Propers Composition Competition, sponsored by the Conference of Roman Catholic Cathedral Musicians (2016) ANTIPHON Cantor, then Assembly; thereafter, Assembly Verses Daniel 3:57-74, 87 1.
    [Show full text]
  • The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study*
    Performance Practice Review Volume 5 Article 2 Number 2 Fall The mplicI ations of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1992) "The mpI lications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study," Performance Practice Review: Vol. 5: No. 2, Article 2. DOI: 10.5642/perfpr.199205.02.02 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Keyboard Fingering The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study* Desmond Hunter The fingering of virginalist music has been discussed at length by various scholars.1 The topic has not been exhausted however; indeed, the views expressed and the conclusions drawn have all too frequently been based on limited evidence. I would like to offer some observations based on both a knowledge of the sources and the experience gained from applying the source fingerings in performances of the music. I propose to focus on two related aspects: the fingering of linear figuration and the fingering of graced notes. Our knowledge of English keyboard fingering is drawn from the information contained in virginalist sources. Fingerings scattered Revised version of a paper presented at the 25th Annual Conference of the Royal Musical Association in Cambridge University, April 1990.
    [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]
  • Lent Term 2010
    KING’SCOLLEGE CAMBRIDGE CHAPELSERVICES LENTTERM HOLYWEEKANDEASTER 2010 NOT TO BE TAKEN AWAY THE USE OF CAMERAS, RECORDING EQUIPMENT, VIDEO CAMERAS AND MOBILE PHONES IS NOT PERMITTED IN CHAPEL [ 2 ] NOTICES SERMONSAND ADDRESSES 17 January Dr Edward Kessler Director Woolf Institute of Abrahamic Faiths, Cambridge; Fellow St Edmund’s College 24 January The Revd Richard Lloyd Morgan Acting Dean 31 January The Revd Abi Smetham Assistant Curate of Sheffield Manor Parish 7 February The Revd Canon Michael Hampel Acting Dean and Precentor, St Edmundsbury Cathedral 14 February The Revd Canon Anna Matthews St Albans Cathedral 21 February The Very Revd Dr John Hall Dean of Westminster 28 February The Rt Revd Dr Richard Cheetham Bishop of Kingston 7 March The Revd Canon Brian Watchorn Assistant Chaplain Maundy Thursday Professor Ellen Davies Amos Ragan Kearns Professor, Duke Divinity School, North Carolina Easter Day The Revd Richard Lloyd Morgan Acting Dean SERVICE BOOKLETS Braille and large print service booklets are available from the Chapel Administrator for Evensong and Sung Eucharist services. CHORAL SERVICES Services are normally sung by King’s College Choir on Sundays and from Tuesdays to Saturdays. Services on Mondays are sung by King’s Voices, the College’s mixed voice choir. Exceptions are listed. ORGAN RECITALS Each Saturday during term time there is an organ recital at 6.30 p.m. until 7.15 p.m. Admission is free, and there is a retiring collection. There is no recital on 16 January; the recital on 20 February will last 30 minutes and start at 6.45 p.m. following the longer Evensong that day.
    [Show full text]
  • The 2007 Edition Is Available in PDF Form By
    VOX The new Chapter Secretary: Nick Gale [email protected] The Academy of St Cecilia Patrons: The Most Hon. The Marquess of Londonderry Dean and Education Advisor: Sir Peter Maxwell Davies CBE John McIntosh OBE Vice Patrons: James Bowman CBE, Naji Hakim, Monica Huggett [email protected] From the master Treasurer: Paula Chandler [email protected] elcome to the 2007 edition of Vox - the mouthpiece of the Academy of St Cecilia. Registrar: Jonathan Lycett We always welcome contributions from our members - [email protected] indeed without them Vox would not exist. In this edition we announce our restructured Chapter and its new members; feature a major article on Thomas Tallis Director of Communications: whose 500th anniversay falls at this time; and we Alistair Dixon review the Academy’s most major event to date, the [email protected] chant day held in June 2006. Our new address is: Composer in Residence: Nicholas O'Neill The Academy of St Cecilia Email: [email protected] C/o Music Department [email protected] Cathedral House Westminster Bridge Road Web site: LONDON SE1 7HY www.academyofsaintcecilia.com Archivist: Graham Hawkes Tel: 020 8265 6703 [email protected] ~ Page 1 ~ ~ Page 2 ~ Advisors to the Academy Thomas Tallis (c.1505 - 1585) Alistair Dixon, a member of the Chapter of the Academy, spent ten years studying and performing the music of Thomas Tallis. In 2005 Academic Advisor: he released the last in the series of recordings with his choir, Chapelle Dr Reinhard Strohm PhD (KU Berlin) FBA HonFASC. Heather Professor of Music Oxford University du Roi, of the Complete Works of Thomas Tallis in nine volumes.
    [Show full text]
  • Completions and Reconstructions of Musical Works Part 1: Introduction - Renaissance Church Music and the Baroque Period by Stephen Barber
    Completions and Reconstructions of Musical Works Part 1: Introduction - Renaissance Church Music and the Baroque Period by Stephen Barber Introduction Over the years a number of musical works have been left incomplete by their composers or have been partly or wholly lost and have been reconstructed. I have a particular interest in such works and now offer a preliminary survey of them. A musical work in the Western classical tradition is the realization of a written score. Improvisation usually plays a very small part, and is replaced by interpretation, which means that a score may be realized in subtly different ways. The idiom in most periods involves a certain symmetry in design and the repetition, sometimes varied, sometimes not, of key parts of the work. If the score is unfinished, then a completion or reconstruction by a good scholar or composer allows us to hear at least an approximation to what the composer intended. The use of repetition as part of the overall design can make this possible, or the existence of sketches or earlier or later versions of the work, or a good understanding of the design and idiom. Without this the work may be an incomplete torso or may be unperformable. The work is not damaged by this process, since, unlike a picture, a sculpture or a building, it exists not as a unique physical object but as a score, which can be reproduced without detriment to the original and edited and performed without affecting the original version. Completions and reconstructions may be well or badly done, but they should be judged on how well they appear to complete what appears to be the original design by the composer.
    [Show full text]
  • John Amner's Sacred Hymnes
    Domestic Sacred Music in Jacobean England: John Amner’s Sacred Hymnes … for Voyces and Vyols (1615) Mark Keane Dissertation submitted to the University of Dublin in partial fulfilment of the requirements for the degree Doctor in Music Performance ROYAL IRISH ACADEMY OF MUSIC Supervisor: Dr Denise Neary January 2019 Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor in Music Performance, is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: Mark Keane ID No.: 133072051 Date: 24 January 2019 Terms and Conditions of Use of Digitised Theses from Royal Irish Academy of Music Copyright statement All material supplied by Royal Irish Academy of Music Library is protected by copyright (under the Copyright and Related Rights Act, 2000 as amended) and other relevant Intellectual Property Rights. By accessing and using a Digitised Thesis from Royal Irish Academy of Music you acknowledge that all Intellectual Property Rights in any Works supplied are the sole and exclusive property of the copyright and/or other Intellectual Property Right holder. Specific copyright holders may not be explicitly identified. Use of materials from other sources within a thesis should not be construed as a claim over them.
    [Show full text]
  • The Byrd Edition & English Madrigalists
    T74 (2020) THE BYRD EDITION and THE ENGLISH MADRIGALISTS (including the INVITATION Series) William Byrd 1543 — 1623 STAINER & BELL ORDERING INFORMATION This catalogue contains titles in print at the date of its preparation and provides details of volumes in The Byrd Edition, The English Madrigalists and the Invitation Series. A brief description of contents is given and full lists of contents may be obtained by quoting the CON or ASK sheet number given. Many items by William Byrd and composers included in The English Madrigalists are available as separate items and full details can be found in our Choral Catalogue (T60) and our Early Music Catalogue (T71). Items not available either separately or in a small anthology may be obtained through our ‘Made-to-Order’ Service. Our Archive Department will be pleased to help with enquiries and requests. Alternatively, Adobe Acrobat PDF files of individual titles from The Byrd Edition and The English Madrigalists are now available through the secure Stainer & Bell online shop. Please see pages 5 and 13 for full details. Other catalogues containing our library series which will be of interest are: T69 Musica Britannica T75 Early English Church Music T108 Purcell Society Edition Prices, shown in £ sterling, are recommended retail prices exclusive of carriage and are applicable from 1st January 2020. Prices and carriage charges are subject to change without notice. In case of difficulty titles can be supplied directly by the publisher if prepaid by cheque, debit or credit card or by sending an official requisition. Card payments (Visa, Mastercard, Maestro or Visa Debit) are accepted for orders of £5.00 or over and can be made via our secure online ordering system on our website (www.stainer.co.uk) or by letter, telephone, email or fax.
    [Show full text]