Choral Evensong Observing the Feast of St
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Choral Evensong the 18Th Sunday After Trinity
ST EDMUND HALL Choral Evensong The 18th Sunday after Trinity Speaker: The Revd Anthony Buckley Being oneself, changing the world 11 October 2020 6.30 pm What is Evensong? Evensong is one of the Church of England’s ancient services. It provides an open and generous space for quiet and reflection, for song and speech and prayer, as it draws from biblical readings, canticles, and the Church’s long tradition of hymns. All are welcome. Many have said, “Prayer is the key to the day and the lock to the night.” In the Anglican tradition, daily prayer is set at morning and evening for precisely this purpose: to give the opportunity to greet each new day as a divine gift and to prepare our hearts and minds for rest each night. It is founded in a sense of gratitude and wonder, and centred on the faith of Jesus Christ. We invite everyone to join in, as they are able, by listening attentively to the choir, readers, and ministers, and by saying together with us those prayers that are marked in bold: the Lord’s Prayer, the Grace, and the Amens. This year, we are meeting in many locations, not just in the Chapel. Space is primarily limited to the choir, readers, and speaker, but contact the chaplain to enquire about seating. Those who cannot join us in person may do so by Zoom at: https://us02web.zoom.us/j/87112377996?pwd=bm9zMWZreEl4M1RiK2to OXNvNW9aZz09 Please join us for drinks after the service. Speaker Our speaker this evening is the Revd Anthony Buckley, Vicar of St Michael at the North Gate. -
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. -
CHORAL EVENSONG World Without End
Then shall the earth bring forth her increase: and God, even our own God, shall give us his blessing. God shall bless us: and all the ends of the world shall fear him. 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: CHORAL EVENSONG world without end. Amen. Tuesday 29 May 2018 The FIRST LESSON is read Exodus 2: 11–end (NRSV p. 47) Welcome to this service of Choral Evensong All stand for the MAGNIFICAT sung by The Choir of Trinity College Cambridge Tonus peregrinus Plainsong Please ensure that all electronic devices, My soul doth magnify the Lord, and my spirit hath rejoiced including cameras, are switched off in God my Saviour. For he hath regarded the lowliness of his handmaiden. For behold, from henceforth all generations VOLUNTARY shall call me blessed. For he that is mighty hath magnified me: and holy is his Name. And his mercy is on them that Flûtes, Op. 91/4 Langlais fear him throughout all generations. He hath shewed strength with his arm; he hath scattered the proud in the INTROIT sung from the Ante-Chapel imagination of their hearts. He hath put down the mighty Benedicta sit from their seat, and hath exalted the humble and meek. Blessed be the Holy Trinity and the undivided Unity: He hath filled the hungry with good things; and the rich we will praise and glorify him, because he hath showed he hath sent empty away. He remembering his mercy hath his mercy upon us. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
UNIVERSITY SINGERS Gregory Gilmore and David Rayl, Conductors
University of Missouri-Columbia School of Fine Arts Department of Music Event No. 130 in the 1996-97 Series UNIVERSITY SINGERS Gregory Gilmore and David Rayl, conductors 8:00 p.m. Saturday, April 12, 1997 Broadway Christian Church Columbia, Missouri ♦ Program Marienlieder, Op. 22 Johannes Brahms 1 . Der englische Gross 2. Marias Kirchgang 3 . Marias W allfahrt 4. Der Jager 7. Marias Lob Ave Maria Jacques Arcadelt Quand ie vous ayme ardentement Jacques Arcadelt 11 bianco e dole cigno Jacques Arcadelt In Peace and Joy James Fritsche! Blessed Be the Name of the Lord Dale Grotenhuis University Singers Gregory Gilmore, conductor Intermission ♦ Factum est silentium Richard Dering Richte mich, Gott Felix Mendelssohn Heilig Felix Mendelssohn Schone Fremde Fanny Mendelssohn Hensel Listen to the Lambs R. Nathaniel Dett Ave Maria R. Nathaniel Dett 0 Clap Your Hands, All Ye People! Carl Staplin University Singers David Rayl, conductor ♦ Special thanks to the Thomas L. Mills University Singers Foundation for ongoing support of the MU choral program. The University Singers and the Department of Music also extend thanks to Michael Straw and the people of Broadway Christian Church of Columbia for the use of their facilities. ♦ Program Notes and Translations The Marienlieder illustrate Johannes Brahms' (1833-1897) fondness for folk songs and early music. The cycle of unaccompanied part songs uses traditional texts that are a combination of documented events and legends that praise Mary for her pure and holy spirit. Brahms composed the cycle in the style of early German church music; as a result they sound closer to strophic chorales or carols than Romantic choral music. -
The Joy of Christmas.Indd
San Francisco Lyric Chorus Robert Gurney, Music Director Board of Directors Helene Whitson, President Elizabeth Baldridge, Director Peter Dillinger, Vice President Jim Bishop, Director Karen Stella, Secretary Kristin Schultz Oliver, Director Bill Whitson, Treasurer Welcome to the Fall 2012 Concert of the San Francisco Lyric Chorus. Since its formation in 1995, the Chorus has offered diverse and innovative music to the community through a gathering of singers who believe in a commonality of spirit and sharing. The début concert featured music by Gabriel Fauré and Louis Vierne. The Chorus has been involved in several premieres, including Bay Area composer Brad Osness’ Lamentations, Ohio composer Robert Witt’s Four Motets to the Blessed Virgin Mary (West Coast premiere), New York composer William Hawley’s The Snow That Never Drifts (San Francisco premiere), San Francisco composer Kirke Mechem’s Christmas the Morn, Blessed Are They, To Music (San Francisco premieres), and selections from his operas, John Brown and The Newport Rivals, our 10th Anniversary Commission work, the World Premiere of Illinois composer Lee R. Kesselman’s This Grand Show Is Eternal, Robert Train Adams’ It Will Be Summer—Eventually and Music Expresses (West Coast premieres), as well as the Fall 2009 World Premiere of Dr. Adams’ Christmas Fantasy. And now, join us as we celebrate the holidays with wonderful music for voice and harp! Please sign our mailing list, located in the foyer. The San Francisco Lyric Chorus is a member of Chorus America. We are recording this concert for archival purposes Please turn off all cell phones, pagers, and other electronic devices before the concert Please, no photography or audio/video taping during the performance Please, no children under 5 Please help us to maintain a distraction-free environment. -
Wexford Carol 1
q = 64 Wexford Carol 1. Good peo - ple all, this Christ-mas- time, con - si - der well and 2. The night be - fore that hap - py tide, the no - ble Vir - gin 3. Near Beth- le - hem did shep-herds keep theirflocks of lambs and 4. With thank-ful heart and joy - ful mind, the shep-herds went the 5. There were three wise men from a - far di - rec - ted by a bear in mind what our good God for us has done, in and her guide were long time seek - ing up and down to feed -ing sheep; to whom God's an - gels did ap - pear, which babe to find, and as God's an - gel had fore - told, they glo-rious star, and on they wan - dered night and day un- send-ing his be -lo - ved son. With Ma - ry ho - ly find a lodg - ing in the town. But mark how all things put the shep - herds in great fear. "Pre - pare and go," the did our Sav - ior Christ be - hold. With - in a man - ger til they came where Je - sus lay. And when they came un - WORDS: Traditional English and Irish (Mt. 1:18-2:11; Luke 2:1-20) WEXFORD CAROL MUSIC: Traditional Irish melody, arr. Martin Shaw (1875-1958) LMD Published by The General Board of Discipleship of The United Methodist Church, PO Box 340003, Nashville TN 37203. Website www.gbod.org/worship Source: The Oxford Book of Carols, compiled and edited by Percy Dearmer, R. Vaughan Williams, Martin Shaw. -
View/Download Liner Notes
1 I Saw Three Ships Come Sailing In Simon Preston 2.05 15 I Sing of a Maiden Arnold Bax 4.19 Soloists: Emilia Morton soprano, Christopher Watson tenor 16 No Small Wonder Paul Edwards 2.42 2 There Is No Rose Simon Preston 2.54 17 There Is No Rose Jonathan Lane 2.39 3 Tomorrow Shall Be My Dancing Day John Gardner 2.31 18 Come Rock His Cradle Richard Knight 4.27 4 Love Came Down at Christmas Richard Lloyd 2.32 Soloist: Stephen Kennedy baritone 5 Rejoice and Be Merry Christopher Robinson 1.55 19 I Sing of a Maiden Alec Redshaw 2.10 6 The Birds Richard Hickox 1.55 20 Balulalow John Gardner 2.37 Soloist: Grace Davidson soprano Soloist: Katie Trethewey soprano 7 Benedicamus Domino Peter Warlock 1.21 21 Mary Walked Through a Wood of Thorn Philip Radcliffe 2.01 Soloists: Grace Davidson soprano, Christopher Watson tenor 8 Adam lay ybounden Peter Warlock 1.20 22 A Gallery Carol John Gardner 2.13 9 I Saw a Fair Maiden Peter Warlock 3.47 10 Balulalow Peter Warlock 2.05 Total Timing 55.35 Soloist: Grace Davidson soprano 11 As Dew in Aprylle Peter Warlock 1.52 12 Adam lay ybounden Philip Ledger 2.01 Soloist: Nicholas Madden tenor 13 On Christmas Day Simon Preston 3.49 Soloist: Joanna Forbes L’Estrange soprano 14 On Christmas Night Philip Ledger 2.16 www.tenebrae-choir.com www.tenebrae-choir.com 2 3 Introduction from Nigel Short Love is always at the heart of the Christmas message the length and breadth of the country by either and it became clear to all of us involved with this providing beautiful music for choirs to sing My love of Christmas music stems from my own recording that all of the composers represented or by devoting themselves in some way to experience as a chorister, singing all the traditional had/have a deep felt love for both their subject choirs singing beautifully. -
Musica Britannica
T69 (2021) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, Victoria House, 23 Gruneisen Road, London N3 ILS England Telephone : +44 (0) 20 8343 3303 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website. -
Lessons and Carols
MARSH CHAPEL AT BOSTON UNIVERSITY A CHRISTMAS SERVICE OF LESSONS AND CAROLS SUNDAY, DECEMBER 8TH, 2019 THE SECOND SUNDAY OF ADVENT ELEVEN O’CLOCK IN THE MORNING DANIEL L. MARSH CHAPEL OU BORE FOR ME the one who came to bless And bear for all and make the broken whole. YYou heard his call, and in your open ‘yes’ You spoke aloud for every living soul. Oh, Gracious Lady, child of your own child, Whose mother-love still calls the child in me, Call me again, for I am lost and wild Waves surround me now. On this dark sea Shine as a star and call me to the shore. Open the door that all my sins would close And hold me in your garden. Let me share The prayer that folds the petals of the Rose. Enfold me too in Love’s last mystery And bring me to the one you bore for me. Theotokos Malcolm Guite (b. 1957) MARSH CHAPEL AT BOSTON UNIVERSITY A Service of Christmas Lessons and Carols Sunday, December 8th, 2019 — 11:00 a.m. The Second Sunday of Advent The Reverend Doctor Robert Allan Hill, Dean HYMN AT THE PROCESSION The congregation stands at the chiming of the hour. 1. Solo 2. Choir NCE IN ROYAL DAVID’S CITY He came down to earth from heaven Stood a lowly cattle shed, Who is God and Lord of all, Where a mother laid her baby And his shelter was a stable, O In a manger for his bed: And his cradle was a stall; Mary was that mother mild, With the poor, and mean, and lowly, Jesus Christ her little child. -
Anglican Principles for Liturgical Revision
ATR/92:3 Expressing What Christians Believe: Anglican Principles for Liturgical Revision J. Barrington Bates* What principles have guided liturgical revision in the Anglican Communion? This essay attempts to address that question for each of four historical periods, as well as offer suggestions for fu- ture revision. The author asserts that we cannot simply forge ahead with more experimental texts and trial liturgies if we truly endeavor both to value the inherited tradition and to move where the Spirit is leading us. By working toward a shared understand- ing of principles for liturgical revision, the Episcopal Church and other entities in the Anglican Communion can potentially avoid fractious conflict, produce better quality liturgical texts, and foster confidence that we are following divine guidance. “Liturgy expresses what Christians believe. To change the liturgy therefore runs the risk of changing doctrine—or at least those doctrines which worshippers regularly hear and absorb and which become part of their Christian identity.”1 Since the formal establishment of a separate identity for the Church of England from that of Rome in the sixteenth century, the various church entities that now form the Anglican Communion have made numerous revisions to their liturgy. What principles have guided these efforts? This essay attempts to address that question for each of four historical periods: (1) the reforms of the sixteenth cen- tury, focusing on the claims made by Thomas Cranmer and Richard * J. Barrington Bates currently serves as rector of the Church of the Annunciation in Oradell, New Jersey (www.annunciationoradell.org). He holds a Ph.D. in liturgical studies from Drew University, as well as master’s degrees from the Church Divin- ity School of the Pacific, the Graduate Theological Union, the General Theological Seminary, and Drew. -
Read Book New English Hymnal Full Music Edition
NEW ENGLISH HYMNAL FULL MUSIC EDITION PDF, EPUB, EBOOK English Hymnal Co. | 1312 pages | 01 Jan 1986 | CANTERBURY PRESS NORWICH | 9780907547518 | English | London, United Kingdom New English Hymnal Full Music Edition PDF Book The text of the song reminds us that because of Jesus, none of us are ever lost because God is with us always. Pirpoint; Tunes: Dix — W. Weight: Chiron Media Wallingford, United Kingdom. Publisher: Canterbury Press Norwich. Stock photo. It includes general hymns; hymns for feasts, seasons and saints' days; office hymns for the liturgical year; an enlarged eucharistic section; responsorial psalms; and a new English folk mass setting. Seller Rating:. Book Description Condition: New. Seller Inventory GRD There are 0 reviews and 0 ratings from Canada. Seller rating : This seller has earned a 2 of 5 Stars rating from Biblio customers. Schrijf een review. Showing Book Description Condition: New. More about the hymns. There are more copies of this book View all search results for this book. Seller Inventory V Words and Music: Horatio Gates Spafford. Amazon Music Stream millions of songs. Condition: New. Want to Read saving…. About this product. He went home and immediately penned this song, realising that God was reaching out to his creation and inviting everyone to come and worship. Find out how. Height: 21 cm. See all reviews. Bookseller Inventory ST It was made particularly popular by a recording of it, sung by Cat Stevens, that made no. Show details. Other editions. In , the Composer Herbert Howells was sent the words by a friend and apparently thought of a tune immediately and wrote it down over breakfast.