DOCSLIB.ORG

Sven-David Sandstrã¶Mâ•Žs Five Pictures from the Bible

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sven-David Sandstrã¶Mâ•Žs Five Pictures from the Bible Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Sven-David Sandström's Five Pictures from the Bible: Historical Precedents, Development, and Analysis Joshua Bronfman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SVEN-DAVID SANDSTRÖM’S FIVE PICTURES FROM THE BIBLE: HISTORICAL PRECEDENTS, DEVELOPMENT, AND ANALYSIS By JOSHUA BRONFMAN A Dissertation submitted to the College Of Music in partial fulfillment of the requirements for the degree of Doctor Of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Joshua Bronfman, defended on June 14, 2010. _________________________________________ André J. Thomas Professor Directing Dissertation _________________________________________ Evan Jones University Representative _________________________________________ Judy Bowers Committee Member _________________________________________ Kevin Fenton Committee Member The Graduate School has verified and approved the above-named committee members. ii To Niki, Lucia, and Leah. iii ACKNOWLEDGEMENTS I am very grateful to my supportive and helpful committee, including Dr. Andre Thomas, chair, and Drs. Judy Bowers, Kevin Fenton, and Evan Jones. I owe debt of gratitude to the administration, faculty, and staff at the University of North Dakota. Without their support and assistance, this document would never have happened. Specifically, Chris Gable, Mike Wittgraf, James Popejoy, Janice Hoffarth for transcription and cheerleading, and Dean Martha Potvin for encouraging me to continue. Thank you to Philip and Carolyn Brunelle, who opened up their home to me while I was researching this document. Additionally, Philip and the staff at VocalEssence were especially welcoming and accommodating, and made my visit to Minneapolis both fruitful and enjoyable. Håkan Hakegård and Sven-David Sandström were obliging and considerate subjects, and their willingness to participate in an endeavor such as this was above and beyond what their international status required of them. My deep appreciation goes to all of the members of the Minnesota Commissioning Club, who were especially open and helpful. Their willingness to sit and talk with me proved invaluable to the final product. I would especially like to thank David and Judy Ranheim for allowing me to stay in their home, and Jack and Linda Hoeschler for their considerable time and efforts at providing me with research materials. Other thanks go to Wayne Johnson, for his invaluable translation services, Per Broman and Susan Swaney for article access, Roland Horovitz and Stefan Eklund at Gehrmans music publishers, Gustav Bergel, chief librarian at the Swedish Music Information Center, and Dr. Erin Haugen. Finally, my wonderful wife Niki, who put up with a lot to help make this happen. iv TABLE OF CONTENTS List of Figures........................................................................................................................vii List of Tables .........................................................................................................................ix Abstract..................................................................................................................................x 1. INTRODUCTION .....................................................................................................1 Purpose ..................................................................................................................2 Delimitations .........................................................................................................2 Need for the Study.................................................................................................3 Methodology .........................................................................................................3 Organization of the Study......................................................................................3 2. HISTORICAL DEVELOPMENT OF SWEDISH CHORAL MUSIC .....................5 Introduction ...........................................................................................................5 Nordic Bronze Age (Pre-Christian).......................................................................6 Christian Middle Ages (ca. 1050-1523)................................................................7 The Reformation....................................................................................................8 1600-1718..............................................................................................................10 1718-1809..............................................................................................................12 1809-1920 (The Romantic Era).............................................................................16 The Twentieth Century..........................................................................................24 3. LIFE AND DEVELOPMENT OF SVEN-DAVID SANDSTRÖM .........................33 Introduction ...........................................................................................................33 Life and Development...........................................................................................33 Unaccompanied Mixed Choral Music...................................................................39 General Traits in Unaccompanied Choral Music..................................................50 4. ORIGINS, EVOLUTION, AND RECEPTION OF FIVE PICTURES FROM THE BIBLE.........................................................................................................................53 Introduction ...........................................................................................................53 Minnesota Commissioning Club...........................................................................53 The Commission....................................................................................................54 Premier and Critical Reception .............................................................................58 5. ANALYSIS OF FIVE PICTURES FROM THE BIBLE............................................60 General Structural and Stylistic Traits ..................................................................60 The Waters of Meribah..........................................................................................83 Performance Considerations..................................................................................93 Conclusion.............................................................................................................99 v APPENDIX A: COMPLETE TEXT OF FIVE PICTURES FROM THE BIBLE..................101 APPENDIX B: SUGGESTED CORRECTIONS AND REVISIONS ..................................104 APPENDIX C: UNACCOMPANIED CHORAL WORKS..................................................107 APPENDIX D: INTERVIEW TRANSCRIPTS....................................................................109 APPENDIX E: COMMUNICATIONS AND PERMISSIONS ............................................160 REFERENCES ......................................................................................................................166 BIOGRAPHICAL SKETCH .................................................................................................171 vi LIST OF FIGURES 3.1 Tre Dikter, movement I, mm. 1-5..............................................................................39 3.2 A Cradle Song/the Tyger, mm. 277-284 ....................................................................40 3.3 En Ny Himmel Och En Ny Jord, mm. 92-104............................................................42 3.4 O sanna, mm. 97-99...................................................................................................43 3.5 Etyd Nr 4, som i e-moll, mm. 161-164.......................................................................44 3.6 Ave Maris Stella, mm. 1-6. ........................................................................................45 3.7 April och Tystnad, mm. 19-21 ...................................................................................46 3.8 Singet dem Herrn, mm. 24-27....................................................................................47 3.9 Credo, movement V, mm. 1-13 .................................................................................48 3.10 Credo, movement VI, mm. 6-7..................................................................................49 5.1 Jacob, mm. 67-69 ......................................................................................................64 5.2 The Samaritan, mm 46-49. ........................................................................................66 5.3 Jacob, mm. 4-16 ........................................................................................................67 5.4 The Prodigal, mm. 175-179.......................................................................................69 5.5 The Prodigal, mm. 71-76...........................................................................................70 5.6 Daniel, mm. 102-109 .................................................................................................71 5.7 Primary S-chords in FPFTB ......................................................................................72 5.8 Prodigal, mm 55-63...................................................................................................73
Load more

Recommended publications
  • Swedish Folk Music
    Ronström Owe 1998: Swedish folk music. Unpublished. Swedish folk music Originally written for Encyclopaedia of world music. By Owe Ronström 1. Concepts, terminology. In Sweden, the term " folkmusik " (folk music) usually refers to orally transmitted music of the rural classes in "the old peasant society", as the Swedish expression goes. " Populärmusik " ("popular music") usually refers to "modern" music created foremost for a city audience. As a result of the interchange between these two emerged what may be defined as a "city folklore", which around 1920 was coined "gammeldans " ("old time dance music"). During the last few decades the term " folklig musik " ("folkish music") has become used as an umbrella term for folk music, gammeldans and some other forms of popular music. In the 1990s "ethnic music", and "world music" have been introduced, most often for modernised forms of non-Swedish folk and popular music. 2. Construction of a national Swedish folk music. Swedish folk music is a composite of a large number of heterogeneous styles and genres, accumulated throughout the centuries. In retrospect, however, these diverse traditions, genres, forms and styles, may seem as a more or less homogenous mass, especially in comparison to today's musical diversity. But to a large extent this homogeneity is a result of powerful ideological filtering processes, by which the heterogeneity of the musical traditions of the rural classes has become seriously reduced. The homogenising of Swedish folk music started already in the late 1800th century, with the introduction of national-romantic ideas from German and French intellectuals, such as the notion of a "folk", with a specifically Swedish cultural tradition.
    [Show full text]
  • Sòouünd Póetry the Wages of Syntax
    SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf.
    [Show full text]
  • In the Absence of a Public Accounts Committee
    In the absence of a Public Accounts Committee The Swedish Experience Louise Bringselius Associate Professor, PhD Lund University School of Economics and Management [email protected] Chapter 7 in the book “Making Governments Accountable” (2015), edited by Zahirul hoque. London/New York: Routledge. Abstract Sweden is one of the countries which does not have a Public Accounts Committee. Since the Swedish National Audit Office was formed in 2003, two non-PAC models for the channelling of audits to Parliament have been tested. This chapter discusses the Swedish experience from these. It suggests that one reason why Sweden has avoided forming a PAC is the wish to preserve a political culture focused on collaboration and pragmatic improvement, rather than confrontation and accountability debates. The current model is successful in this regard. Findings emphasise the importance of a fit between political culture and systems for accountability. Key words: Public Accounts Committee; Swedish National Audit Office; political culture; performance audit; parliamentary control 1 Introduction Public accountability is a corner stone in modern democratic governance, helping both citizens and parliaments to oversee government activities (Diamond & Morlino 2005; Przeworski, Stokes & Manin 1999). A key arena, where these accountability issues typically are played out, is the Public Accounts Committee (PAC). The PAC helps to balance the power of the government and the opposition, but it also has a symbolic function, representing a willingness among these parties to cooperate in matters of accountability (Pelizzo & Stapenhurst 2008). This is an important function, given the incentives of the PAC members - typically Members of Parliament (MPs) - to instead, act in partisan interest.
    [Show full text]
  • 'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
    ‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’.
    [Show full text]
  • Tomas Löndahl
    Makten att begära och tvånget att försaka Tourettesyndromets betydelse för Ludvig Normans liv och verk Av Tomas Löndahl Inledning Ludvig Norman (1831–85) var en av portalfigurerna i sin tids svenska musikliv. Ändå är bilden av honom som person i många fall motsägelsefull och diffus. Det är lätt att rada upp hans storartade och (i ett längre perspektiv inte sällan) avgörande insatser som hovkapellmästare, konsertorganisatör, musiker, tonsättare, pedagog, akademile- damot (även preses KMA 1874–75), debattör, skribent och kritiker. Men det som frap- perade mig i de samtida skildringarna av honom var de till synes oförenliga ytterligheterna. Han framstår som radikal men konservativ, som dådkraftig men pas- siv, som stark men vek, som stridbar men feg, som livlig men loj, som suverän diri- gent men skygg för främmande människor. Även bortsett från att varje människa äger olika egenskaper och att de flesta under livets gång utvecklar sina skilda sidor i olika grad, fanns det i detta ”glapp” något för mig lockande att utforska1. Så – vem var han egentligen som människa? Vad finns kvar när man skalar bort den svassande retoriken i hyllnings- och minnestexter? Och hur framstår han i sina egna texter? Jag har i min forskning jagat källor samt analyserat och syntetiserat de samtida vittnesbörden – både hans egna och andras – och därigenom kommit fram till en delvis helt ny bild av Norman. Fram träder nu bilden av en genom sjukdom svårt plågad man. Frågan är om de nyvunna kunskaperna har något förklaringsvärde när det gäller hans eget skapande. Dvs., kan hans musik i något avseende ha påver- kats av sjukdomen? Låt oss undersöka det! 1.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Carl Nielsen's Quintet for Winds, Op. 43: a Critical Edition
    CARL NIELSEN'S QUINTET FOR WINDS, OP. 43: A CRITICAL EDITION, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS FOR HORN BY ATTERBERG, RIES, MOZART, ROSETTI, MUSGRAVE, LARSSON, AND OTHERS Marcia L. Spence, B.M., M.M., M.B.A. APPROVED: Major Professor Minor rofessor Committee eiber Committee Member Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies ONA1If CARL NIELSEN'S QUINTET FOR WINDS, OP. 43: A CRITICAL EDITION, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS FOR HORN BY ATTERBERG, RIES, MOZART, ROSETTI, MUSGRAVE, LARSSON, AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Marcia L. Spence, B.M., M.M., M.B.A. Denton, Texas December, 1995 Spence, Marcia Louise, Carl Nielsen's Quintet for Winds, Op. 43: A Critical Edition, A Lecture Recital, Together with Three Recitals of Selected Works for Horn by Atterberg, Ries, Mozart, Rosetti, Musgrave, Larsson, and Others. Doctor of Musical Arts (Performance), December, 1995, 143 pp., 14 examples, 3 appendices, bibliography, 29 titles. The purpose of this dissertation is to prepare and present a critical edition of Carl Nielsen's Quintet fbr Winds, Op. 43, a major work in the woodwind quintet repertoire. Written for the Copenhagen Wind Quintet in 1922, it is also considered a pivotal composition in Nielsen's artistic output. The only published edition of this piece, by Edition Wilhelm Hansen, is rife with errors, a consistent problem with many of Nielsen's compositions.
    [Show full text]
  • Sofia Kyrka Sofia Church
    NORDIC EDITION • SEPTEMBER 6–9, 2018 • NORDIC EDITION Svend-Ove Møller Orgel- Te Deum (1949) Sofia kyrka 1903-1949 Sofia Church J. P. E. Hartmann Sonate i g-mol, op. 58 (1855) 1805-1900 1. Allegro marcato 2. Andantino Torsdag 6 september kl 19.30 3. Allegro poco agitato Thursday September 6th, 7.30 p.m. César Franck Prière, op. 20 (1860) 1822-1890 Denmark Christian Præstholm 3 koralforspil til Den Danske Salmebog: 1972- • Alt hvad som fuglevinger fik Kristian Krogsøe, orgel (Mel: Th. Laub) • Min Jesus, lad mit hjerte få (Mel: Carl Nielsen) • Denne er dagen, som Herren har gjort (Mel: Melchior Vulpius/Laub) Maurice Duruflé Scherzo, op. 2 (1926) 1902-1986 Jeanne Demessieux Te Deum, op. 11 (1957-58) 1921-1986 Mingel efter konserten, ingen föranmälan behövs. Welcome to a mingle after the concert. 2 ORGANSPACE |2018 Kristian Krogsøe Kristian Krogsøe (b. 1982) has been the Spring 2012 his first CD was released with Aarhus Cathedral organist since 2007 and the complete organ works by Duruflé and teaches the organ at the Royal Academy of his Requiem and Motets together with Music in Aarhus. Aarhus Cathedral Choir and featuring Bo Skovhus and Randi Stene. The recording He studied with prof. Ulrik Spang-Hanssen has recently won the german critics’ award at the Royal Academy of Music in Aarhus “Preis der deutschen Schallplattenkritik”. and later on, he studied with prof. Leo van Doeselaar and Erwin Wiersinga at the Kristian has also appeared as a soloist with Soloists Class at the University of Arts in orchestras. In the year 2008 he played the Berlin, Germany.
    [Show full text]
  • Statement of the European Law Institute on the Proposal for A
    Statement of the European Law Institute on the Proposal for a Regulation on a Common European Sales Law Statement of the European Law Institute on the Proposal for a Regulation on a Common European Sales Law COM(2011) 635 final The European Law Institute The European Law Institute (ELI) is an independent non-profit organisation established to initiate, conduct and facilitate research, make recommendations and provide practical guidance in the field of European legal development. Building on the wealth of diverse legal traditions, its mission is the quest for better law-making in Europe and the enhancement of European legal integration. By its endeavours, ELI seeks to contribute to the formation of a more vigorous European legal community, integrating the achievements of the various legal cultures, endorsing the value of comparative knowledge, and taking a genuinely pan- European perspective. As such its work covers all branches of the law: substantive and procedural; private and public. ELI is committed to the principles of comprehensiveness and collaborative working, thus striving to bridge the oft-perceived gap between the different legal cultures, between public and private law, as well as between scholarship and practice. To further that commitment it seeks to involve a diverse range of personalities, reflecting the richness of the legal traditions, legal disciplines and vocational frameworks found throughout Europe. ELI is also open to the use of different methodological approaches and to canvassing insights and perspectives from
    [Show full text]
  • Texts and Translations
    SWEDEN FEBRUARY 23 | 3PM Mother Sweden Texts and Translations A Note from the Conductor Sweden has one of the world’s most eloquent and sophisticated choral voices, which emerged with the nationalist romantic era of the late nineteenth century. Composers like Jacob Axel Josephson flourished writing for men’s choruses in the popular Germanic style. A more individual national tradition developed thanks to Wilhelm Stenhammar, embracing the poetry of Verner von Heidenstam and the Dane Jens Peter Jacobsen. Meanwhile, Otto Olsson reigned supreme as a church organist and composer of florid, complex polyphony worthy of the great academies and conservatories in more southern lands. And the great tradition of men’s choral singing was championed by the great conductor Hugo Alfvén. Beginning in the 1920s, Swedish composers began stretching their wings. Note, for example, the impressionism of Hildor Lundvik, the almost orchestral writing of David Wikander, and the sumptuous harmonies of Oskar Lindberg. Other composers ensured that folksongs and folk-styles survived, including the redoubtable Alfvén, the lyrical Åke Malmfors, and Jan Håkan Åberg, whose work on today’s concert is a folksong from Sweden’s central Dalarna region. Yet folksong is never far from the internationalists, and more advanced harmonies sprinkle through the more traditional composers. By the late twentieth century, Sweden had emerged as an international powerhouse of classical music, especially for choir. Among the results of that global connection was a broader outlook in composers’ choices of text. A minimalistic handling of silences, sparse texture, and repeating motives is heard in the works of Lars Johan Werle, Jan Sandström, and (no relation) Sven-David Sandström.
    [Show full text]
  • IFCM Enews 2014 February
    IFCM eNEWS February 2014 INTERNATIONAL FEDERATION FOR CHORAL MUSIC monthly electronic newsletter WORLD SYMPOSIUM ON CHORAL MUSIC WSCM10 Have you made your reservations yet? Only once every three yeArs do the finest choirs, presenters And chorAl musiciAns from Around the world GAther to shAre ideAs, skills, repertoire And friendship. Only once every three yeArs do ‘like-minded musiciAns’ from Around the world hAve A chAnce to meet At this type of chorAl event… And the IFCM welcomes new members to come And mAke new ‘like-minded friendships’ Across the world. WHERE: 10th World Symposium on ChorAl Music, Seoul, South KoreA WHEN: 6 - 13 AuGust 2014. For more informAtion Go to www.wscm10.com A SAMPLE OF PARTICIPATING CHOIRS harmonia ensemble wAs founded in 2009 As A chAmber choir composed of members who formerly sAnG in the World Youth Choir As well As younG And professionAlly-trAined sinGers from music colleGes. LocAted in JapAn, the members of the Group, without a conductor, creAte music voluntArily and produce music while exchAnGinG opinions.. Their repertoire includes not only works from the RenAissAnce to the 21st century but also pop, jazz and folklore. The Manado State University Choir conducted by André de QuAdros comes from the province of North SulAwesi in IndonesiA. It is A mixed voice chAmber choir of 24 sinGers And hAs been AcclAimed for its Artistry and beautiful sound. The choir performs A wide ranGe of repertoire from the Western canon as well as trAditionAl IndonesiAn music with choreoGrAphy, Also populAr music And SoutheAst AsiAn chorAl music. It represents not only IndonesiA but Also new directions in chorAl music worldwide, redefininG chorAl And trAditionAl music by creAtinG cross-culturAl And time-sensitive bridGes.
    [Show full text]
  • Travels in America: Aelred Carlyle, His American “Allies,” and Anglican Benedictine Monasticism Rene Kollar Saint Vincent Archabbey, Latrobe, Pennsylvania
    Travels in America: Aelred Carlyle, His American “Allies,” and Anglican Benedictine Monasticism Rene Kollar Saint Vincent Archabbey, Latrobe, Pennsylvania N FEBRUARY 1913, Abbot Aelred Carlyle and a majority of the Benedictine monks of Caldey Island, South Wales, renounced the Anglican Church and converted to I Roman Catholicism.1 For years, the Caldey Island monastery had been a show piece of Anglo-Catholicism and a testimony to the catholic heritage of the Anglican Church, but when Charles Gore, the Bishop of Oxford, tried to regularize their status within Anglicanism by forcing Carlyle and the monks to agree to a series of demands which would radically alter their High Church liturgy and devotions, the monks voted to join the Church of Rome. The demands of the Great War, however, strained the fragile finances of the island monastery, and during the spring of 1918, Abbot Carlyle traveled to America to solicit funds for his monastery. “And it was indeed sheer necessity that took me away from the quiet shores of Caldey,” he told the readers of Pax, the community’s magazine, but “Caldey has suffered grievously through the war.”2 Abbot Carlyle saw a possible solution to his problems. “In our need we turned to our Catholic Allies in the United States, and my duty seemed obvious that I should accept the invitation I had received to go to New York to plead in person the cause of Caldey there.” Carlyle had not forgotten lessons from the past. During his years as an Anglican monk, the American connection proved to be an important asset in the realization of his monastic dreams.
    [Show full text]