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The Fall of Satan in the Thought of St. Ephrem and John Milton
Hugoye: Journal of Syriac Studies, Vol. 3.1, 3–27 © 2000 [2010] by Beth Mardutho: The Syriac Institute and Gorgias Press THE FALL OF SATAN IN THE THOUGHT OF ST. EPHREM AND JOHN MILTON GARY A. ANDERSON HARVARD DIVINITY SCHOOL CAMBRIDGE, MA USA ABSTRACT In the Life of Adam and Eve, Satan “the first-born” refused to venerate Adam, the “latter-born.” Later writers had difficulty with the tale because it granted Adam honors that were proper to Christ (Philippians 2:10, “at the name of Jesus, every knee should bend.”) The tale of Satan’s fall was then altered to reflect this Christological sensibility. Milton created a story of Christ’s elevation prior to the creation of man. Ephrem, on the other hand, moved the story to Holy Saturday. In Hades, Death acknowledged Christ as the true first- born whereas Satan rejected any such acclamation. [1] For some time I have pondered the problem of Satan’s fall in early Jewish and Christian sources. My point of origin has been the justly famous account found in the Life of Adam and Eve (hereafter: Life).1 1 See G. Anderson, “The Exaltation of Adam and the Fall of Satan,” Journal of Jewish Thought and Philosophy, 6 (1997): 105–34. 3 4 Gary A. Anderson I say justly famous because the Life itself existed in six versions- Greek, Latin, Armenian, Georgian, Slavonic, and Coptic (now extant only in fragments)-yet the tradition that the Life drew on is present in numerous other documents from Late Antiquity.2 And one should mention its surprising prominence in Islam-the story was told and retold some seven times in the Koran and was subsequently subject to further elaboration among Muslim exegetes and storytellers.3 My purpose in this essay is to carry forward work I have already done on this text to the figures of St. -
Table of Contents
Sheet TM Version 2.0 Music 1 CD Haydn, Mozart, and Beethoven Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Haydn, Mozart, and Beethoven, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the book- marks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM HAYDN MOZART BEETHOVEN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD FRANZ JOSEPH HAYDN WOLFGANG AMADEUS MOZART The Creation (Die Schöpfung) Veni Sancte Spiritus, K. 47 Part I Te Deum in C Major, K. 141/66b Part II Mass in F, K. 192 Part III Litaniae Lauretanae in D Major, K. 195/186d Mass No. 3 in C Major (Missa Cellensis) (Mariazellermesse) Mass in C Major, K. 258 (Missa Brevis) Mass No. 6 in G Major Missa Brevis in C Major, K. 259 (Organ Solo) (Mass in Honor of Saint Nicholas) Sancta Maria, Mater Dei, K. 273 Mass No. 7 in B Major b Mass in Bb Major, K. -
Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
THE NATURE and POWER of SATAN Theorizing About the Nature
CHAPTER THREE THE NATURE AND POWER OF SATAN Theorizing about the nature, origin, and cosmological status of Satan occurs among the selected writings, especially among the later ones. However, there is an obvious lack of "speculative" interest in the sense of seeking to work out a complete cosmology of evil. Concepts as to the origin, abode, and ultimate future of Satan are often very diverse, and there are only a small number of referen ces. An analysis and interpretation of the nature of Satan as conceiv ed by the early Christian tradition will be therefore necessarily less comprehensive than a discussion of his activities. There are some basic understandings as to the nature and power of Satan common to most of the selected writers, however, and they are best summarized by the New Testament phrases: Satan, the "prince of the power of the air," "ruler of demons," "ruler of the world," and "god of this age." A. SATAN: PRINCE OF THE POWER OF THE AIR 1. Origin of Satan For the most part, the New Testament writers make no theoreti cal assertions as to the origin of Satan. However, a number of passages by choice of words and phraseology seem to reflect the idea of Satan as a fallen angel who is chief among a class of fallen angels, an idea which appears frequently in apocalyptic literature.1 II Peter 2 :4, for example, refers to the angels that sinned and were cast into hell. Jude 6 mentions "the angels that did not keep their own position but left their proper dwelling .. -
The Cambridge Haydn Encyclopedia Edited by Caryl Clark , Sarah Day-O'connell Frontmatter More Information
Cambridge University Press 978-1-107-12901-6 — The Cambridge Haydn Encyclopedia Edited by Caryl Clark , Sarah Day-O'Connell Frontmatter More Information The Cambridge Haydn Encyclopedia For well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented – held up as a celebrity, and disparaged as a mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new per- spective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania capture the vitality of Haydn studies today – its variety of perspectives and methods – and ultimately inspire further exploration of one of Western music’s most innovative and influential composers. CARYL CLARK is Professor of Music History and Culture at the Faculty of Music, University of Toronto, and a Fellow of Trinity College. Editor of The Cambridge Companion to Haydn (Cambridge, 2005), and author of Haydn’s Jews: Representation and Reception on the Operatic Stage (Cambridge, 2009), her research interests include Enlightenment aesthetics, interdisciplinary opera studies, Orpheus and Orphic resonances, and the politics of musical reception – all generously funded by the Social Sciences and Humanities Research Council of Canada. -
Missa Brevis Harmoniemesse
HAYDN Missa brevis (1749) Harmoniemesse Trinity Choir • REBEL Baroque Orchestra J. Owen Burdick • Jane Glover 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 1 23/09/2010 13:54 Joseph HAYDN (1732–1809) Missa brevis 11:41 in F major (Hob.XXII:1; 1749) 1 Kyrie 1:03 2 Gloria 1:34 3 Credo 2:39 4 Sanctus 0:59 5 Benedictus 2:55 6 Agnus Dei 1:27 7 Dona nobis pacem 1:04 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 Richard Lippold, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader J. Owen Burdick 8.572126 2 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 2 23/09/2010 13:54 Joseph HAYDN (1732–1809) Missa brevis 11:41 Missa, ‘Harmoniemesse’ 40:30 in F major in B flat major (Hob.XXII:1; 1749) (Hob.XXII:14; 1802) 1 Kyrie 1:03 8 Kyrie 7:09 2 Gloria 1:34 9 Gloria 1:59 3 Credo 2:39 0 Gratias agimus tibi 5:16 4 Sanctus 0:59 ! Quoniam tu solus sanctus 3:17 5 Benedictus 2:55 @ Credo 2:44 6 Agnus Dei 1:27 # Et incarnatus est 3:04 7 Dona nobis pacem 1:04 $ Et resurrexit 2:44 % Et vitam venturi 1 2 1:45 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 ^ Sanctus 2:45 Richard Lippold, bass & Benedictus 4:08 Trinity Choir * Agnus Dei 2:37 Rebel Baroque Orchestra ( Dona nobis pacem 3:02 Jörg Michael Schwarz, leader J. Owen Burdick Nacole Palmer, soprano • Nina Faia, soprano 1 Kirsten Sollek, alto • Daniel Mutlu, tenor Matthew Hensrud, tenor 2 • Andrew Nolen, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader Jane Glover 3 8.572126 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 3 23/09/2010 13:54 Haydn’s Masses The ‘father of the symphony’ and master of for composing in sixteen parts before I understood two- conversational wit in the string quartet, [Franz] Joseph part setting.’3 Reutter’s instruction was predominantly Haydn is viewed today principally in the light of his practical in nature; although Haydn remembered only instrumental music. -
Fra Sabba Da Castiglione: the Self-Fashioning of a Renaissance Knight Hospitaller”
“Fra Sabba da Castiglione: The Self-Fashioning of a Renaissance Knight Hospitaller” by Ranieri Moore Cavaceppi B.A., University of Pennsylvania 1988 M.A., University of North Carolina 1996 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University May 2011 © Copyright 2011 by Ranieri Moore Cavaceppi This dissertation by Ranieri Moore Cavaceppi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Ronald L. Martinez, Advisor Recommended to the Graduate Council Date Evelyn Lincoln, Reader Date Ennio Rao, Reader Approved by the Graduate Council Date Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Ranieri Moore Cavaceppi was born in Rome, Italy on October 11, 1965, and moved to Washington, DC at the age of ten. A Fulbright Fellow and a graduate of the University of Pennsylvania, Ranieri received an M.A. in Italian literature from the University of North Carolina at Chapel Hill in 1996, whereupon he began his doctoral studies at Brown University with an emphasis on medieval and Renaissance Italian literature. Returning home to Washington in the fall of 2000, Ranieri became the father of three children, commenced his dissertation research on Knights Hospitaller, and was appointed the primary full-time instructor at American University, acting as language coordinator for the Italian program. iv PREFACE AND ACKNOWLEDGMENTS I deeply appreciate the generous help that I received from each member of my dissertation committee: my advisor Ronald Martinez took a keen interest in this project since its inception in 2004 and suggested many of its leading insights; my readers Evelyn Lincoln and Ennio Rao contributed numerous observations and suggestions. -
Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob
Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob. XXII:11) Kirchenmusikalische Kompositionen für liturgische Zwecke, insbesondere zur Ausgestaltung der römisch-katholischen Messe, erscheinen in allen Schaffensphasen von Joseph Haydn: Die Missa brevis in F (Hob. XXII:1) schrieb der junge Haydn um 1749 – das Jahr, in dem er infolge des Stimmbruchs Abschied als Chorknabe am Wiener Stephansdom nehmen musste und in dem für ihn eine beschwerliche Phase als freischaffender Musiker begann. Am Ende dieser Reihe steht die Harmoniemesse (Hob. XXII:14), die erstmals 1802 in der Eisenstädter Bergkirche erklang. Danach war es dem mittlerweile 70-jährigen Haydn körperlich nicht mehr möglich, zu komponieren oder öffentlich aufzutreten. Auffällig sind zwei Lücken (zwischen 1750 und 1766 sowie zwischen 1782 und 1796), in denen kein größeres geistliches Werk entstand. Die zweite Lücke war eine Folge der kirchlichen Reformen von Kaiser Joseph II., die nicht nur zur Auflösung der meisten Klöster in den Ländern der Habsburgermonarchie führten, sondern die Liturgie auch von als überflüssig empfundenen Prunk befreiten. Es wurden zahlreiche Verordnungen erlassen, die unter anderem den Einsatz von orchestraler Musik im Gottesdienst regelten und im Ergebnis einschränkten. Aufträge für solche Kompositionen gingen daher erheblich zurück. Erst als Franz II. 1792 die österreichische Regentschaft übernommen hatte, lockerten sich die Vorschriften wieder. In diese Phase fällt die Entstehung von Haydns sechs späten Messen (die sogenannten Hochämter), darunter die der Nelsonmesse. Sie gehören zu den letzten Werken des Komponisten. Die erwähnte kirchenmusikalische Pause, in die auch die beiden Londoner Aufenthalte fielen, hatte Haydn indes zur Erprobung neuer kompositorischer Techniken in Sinfonien und Kammermusik genutzt. Dies zeigte sich nun beispielsweise in „souveräner Beherrschung der Formgestaltung‟, der Hinwendung zur liedhaften Thematik, der „Verfeinerung des Orchestersatzes‟ sowie im „Trend zu einer deutlichen Individualisierung des Einzelwerks‟. -
Bärenreiter Organ Music
>|NAJNAEPAN KNC=JIQOE? .,-.+.,-/ 1 CONTENTS Organ Music Solo Voice and Organ ...............30 Index by Collections and Series ...........4–13 Books............................................... 31 Edition Numbers ....................... 34 Composers ....................................14 Contemporary Music Index by Jazz .............................................. 29 A Selection ..............................32 Composers / Collections .........35 Transcriptions for Organ .........29 Photo: Edition Paavo Blåfi eld ABBREVIATIONS AND KEY TO FIGURES Ed. Editor Contents Ger German text Review Eng English text Content valid as of May 2012. Bärenreiter-Verlag Fr French text Errors excepted and delivery terms Karl Vötterle GmbH & Co. KG Lat Latin text subject to change without notice. International Department BA Bärenreiter Edition P.O. Box 10 03 29 H Bärenreiter Praha Cover design with a photograph D-34003 Kassel · Germany SM Süddeutscher Musikverlag by Edition Paavo Blåfi eld. Series E-Mail: paavo@blofi eld.de www.baerenreiter.com a.o. and others www.blofi eld.de E-Mail: [email protected] Printed in Germany 3/1206/10 · SPA 238 2 Discover Bärenreiter … www.baerenreiter.com Improved Functionality Simple navigation enables quick orientation Clear presentation Improved Search Facility Comprehensive product information User-friendly searches by means of keywords Product recommendations Focus A new area where current themes are presented in detail … the new website3 ORGAN Collections and Series Enjoy the Organ Ave Maria, gratia plena Ave-Maria settings The new series of easily playable pieces for solo voice and organ (Lat) BA 8250 page 30 Enjoy the Organ I contains a collection of stylistically varied Bärenreiter Organ Albums pieces for amateur organists Collections of organ pieces which are equally suitable for page 6-7 use in church services and in concerts. -
Sacred Music, 136.4, Winter 2009
SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan. -
The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24 -
DVOŘÁK's CHAMBER and PIANO MUSIC in Preparation in High-Standard Reprints
Titles DVOŘÁK'S CHAMBER AND PIANO MUSIC in preparation in high-standard reprints Serenade in D minor Op. 44 Our publishing house's lasting care for quality sheet Piano four hands BA 9565 From the Bohemian Forest Op. 68 for wind instruments, violoncello and double bass music of this most-performed classic Czech composer is Edited by Robin Tait BA 9547, BA 9548 Slavonic Dances Op. 46 and Op. 72 BA 10424 score also re ected in a new series of reprints of mostly chamber BA 10424-22 parts in slipcover and piano music from the Antonín Dvořák Complete Violin and Piano To appear in September 2016 BA 9576 Romantic Pieces Op. 75 DVOŘÁK Edition (ADCE), prepared by the best Czech editors The new Urtext edition of this masterpiece of its genre and Dvořák specialists of the day (Jarmil Burghauser, B Ä R E N R E I T E R U R T E X T is based jointly on the autograph and the ¦ rst Simrock Piano Trio / Quartet / Quintet BA 9578 Piano Trio in B- at major Op. 21 edition (1879). The editor revised the editorial decisions Antonín Čubr, Antonín Pokorný, Karel Šolc, František To appear in May 2016 made in the 1879 print, restoring some of Dvořák's Bartoš, etc.). With their combination of modern printing BA 9564 Piano Trio in F minor Op. 65 original ideas and clarifying certain inconsistencies BA 9538 Piano Trio in G minor Op. 26 in articulation. The current edition contains a critical and Bärenreiter-brand quality, the ADCE reprints re ect BA 9537 Piano Quartet in E- at major Op.