St John's College Chapel Service List
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Daniel Purcell the Judgment of Paris
Daniel Purcell The Judgment of Paris Anna Dennis • Amy Freston • Ciara Hendrick • Samuel Boden • Ashley Riches Rodolfus Choir • Spiritato! • Julian Perkins RES10128 Daniel Purcell (c.1664-1717) 1. Symphony [5:40] The Judgment of Paris 2. Mercury: From High Olympus and the Realms Above [4:26] 3. Paris: Symphony for Hoboys to Paris [2:31] 4. Paris: Wherefore dost thou seek [1:26] Venus – Goddess of Love Anna Dennis 5. Mercury: Symphony for Violins (This Radiant fruit behold) [2:12] Amy Freston Pallas – Goddess of War 6. Symphony for Paris [1:46] Ciara Hendricks Juno – Goddess of Marriage Samuel Boden Paris – a shepherd 7. Paris: O Ravishing Delight – Help me Hermes [5:33] Ashley Riches Mercury – Messenger of the Gods 8. Mercury: Symphony for Violins (Fear not Mortal) [2:39] Rodolfus Choir 9. Mercury, Paris & Chorus: Happy thou of Human Race [1:36] Spiritato! 10. Symphony for Juno – Saturnia, Wife of Thundering Jove [2:14] Julian Perkins director 11. Trumpet Sonata for Pallas [2:45] 12. Pallas: This way Mortal, bend thy Eyes [1:49] 13. Venus: Symphony of Fluts for Venus [4:12] 14. Venus, Pallas & Juno: Hither turn thee gentle Swain [1:09] 15. Symphony of all [1:38] 16. Paris: Distracted I turn [1:51] 17. Juno: Symphony for Violins for Juno [1:40] (Let Ambition fire thy Mind) 18. Juno: Let not Toyls of Empire fright [2:17] 19. Chorus: Let Ambition fire thy Mind [0:49] 20. Pallas: Awake, awake! [1:51] 21. Trumpet Flourish – Hark! Hark! The Glorious Voice of War [2:32] 22. -
The Choir of Saint John's College, Cambridge
PROGRAM William Byrd: Civitas sancti tui Henry Purcell: Remember Not, Lord, Our Offences Rejoice in the Lord Alway J. S. Bach: Trio super Herr Jesu Christ, dich zu uns wend, BWV 655 Glen Dempsey, organ Francis Poulenc: Mass in G Major, FP 89 Kyrie Gloria Sanctus Benedictus Agnus Dei Dieterich Buxtehude: Praeludium in E Major, BuxWV 141 Glen Dempsey, organ Jonathan Harvey: The Annunciation PROGRAM: Jonathan Dove: Gloria (Missa Brevis) THE CHOIR OF INTERMISSION ST. JOHN’S COLLEGE, CAMBRIDGE C. Hubert H. Parry: Hear My Words, Ye People MARCH 29 / 7:30 PM Edward Elgar: Imperial March, op. 32 MEMORIAL CHURCH Joseph Wicks, organ William Harris: Faire Is the Heaven ARTISTS James Burton: O Thoma! Choir of St. John’s College, Cambridge Andrew Nethsingha, director of music Joseph Wicks and Glen Dempsey, organ This program is presented by the Office for Religious Life in partnership with Stanford Live, with additional support from Clint and Mary Gilliland and the Stanford Department of Music. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 26 STANFORD LIVE MAGAZINE MARCH 2016 PROGRAM: THE CHOIR OF ST. JOHN’S COLLEGE, CAMBRIDGE extraordinary and extensive discography. In 2009 the choir signed with Chandos Records, and its first 11 CDs on the label—with music spanning 500 years—have garnered international critical acclaim: Howells’ St. John’s Magnificat; Hear My Words, popular choral classics; Laudent Deum, a CD of Lassus’ works including many previously unrecorded motets; On Christmas Night; Mozart Coronation Mass; Purcell’s My Beloved Spake; Samuel Sebastian Wesley’s Ascribe unto the Lord; Sheppard’s Gaude, gaude, gaude Maria; Tomkins’ When David Heard; an album of French organ masses, O Sacrum Convivium; and The Call, a second album of popular classics released in September 2015. -
Sun 15Th Nov 2020 to Sat 12Th Dec 2020
SUNDAY 15 NOVEMBER 0945 THE CATHEDRAL EUCHARIST NAVE ALTAR SUNDAY 22 0945 THE CATHEDRAL EUCHARIST NAVE ALTAR SECOND SUNDAY Missa Brevis Lennox Berkeley Hymns 571, 385, 148 CHRIST THE KING Missa brevis in D (K. 194) Wolfgang Amadeus Mozart Hymns 166 (vv1, 4, &5), 56 BEFORE ADVENT O salutaris hostia Thomas Tallis Psalm 90. 1-8 Ave verum corpus Colin Mawby 398 Preacher: The Revd Duncan Myers Preacher: The Revd Canon Mavis Wilson Psalm 95. 1-7 Prelude and Fugue on a theme of Vittoria Benjamin Britten The Sunday Next before Advent Hymne d’actions de graces: Te Deum Jean Langlais 1800 EVENSONG NAVE 1800 EVENSONG NAVE Evening service (Jesus College) William Mathias Hymns 22, 37 Evening service (Chichester Cathedral) William Walton Hymns 165, 172 Faire is the heaven William Harris Psalm 89.19-29 Hallelujah, Amen! (Judas Maccabeus) Georg Frederic Handel Psalm 93 Wild Bells Michael Berkeley Responses: Sanders Final (Symphonie No 2) Charles Marie Widor Responses: Shephard MONDAY 16 0800 MORNING PRAYER PRESBYTERY MONDAY 23 0800 MORNING PRAYER PRESBYTERY Margaret, Queen of Scotland, 0830 HOLY COMMUNION Clement, Bishop of Rome, 0830 HOLY COMMUNION Philanthropist, Reformer of the 1730 EVENSONG NAVE Martyr, c.100 1730 EVENSONG NAVE Church, 1093 Magnificat Quinti toni Cristóbal de Morales Responses: Moore (I) Evening service (Fauxbourdons) Katherine Dienes-Williams Responses: Tallis Edmund Rich of Abingdon, Nunc Dimittis Quinti toni plainsong Ave verum corpus Gerald Hendrie Archbishop of Canterbury, 1240 Te lucis ante terminum Thomas Tallis TUESDAY 24 -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
Mass in G Minor
MASS IN G MINOR VAUGHAN WILLIAMS: string of works broadly appropriate to worship MASS IN G MINOR appeared in quick succession (more than half Ralph Vaughan Williams (1872-1958) of the music recorded here emerged during this Vaughan Williams wrote of music as a means of period). Some pieces were commissioned for Mass in G Minor ‘stretching out to the ultimate realities through specific events, or were inspired by particular 1 Kyrie [4.42] the medium of beauty’, enabling an experience performers. But the role of the War in prompting the intensified devotional fervour 2 Gloria in excelsis [4.18] of transcendence both for creator and receiver. Yet – even at its most personal and remote, apparent in many of the works he composed 3 Credo [6.53] as often on this disc – his church music also in its wake should not be overlooked. As a 4 Sanctus – Osanna I – Benedictus – Osanna II [5.21] stands as a public testament to his belief wagon orderly, one of Vaughan Williams’s more 5 Agnus Dei [4.41] in the role of art within the earthly harrowing duties was the recovery of bodies realm of a community’s everyday life. He wounded in battle. Ursula Vaughan Williams, 6 Te Deum in G [7.44] embraced the church as a place in which a his second wife and biographer, wrote that 7 O vos omnes [5.59] broad populace might regularly encounter a such work ‘gave Ralph vivid awareness of 8 Antiphon (from Five Mystical Songs) [3.15] shared cultural heritage, participating actively, how men died’. -
Spring 2018/2 by Brian Wilson and Dan Morgan
Second Thoughts and Short Reviews - Spring 2018/2 By Brian Wilson and Dan Morgan Reviews are by Brian Wilson unless signed [DM]. Spring 2018/1 is here. Links there to earlier editions. Index: ADAMS Absolute Jest; Naïve and Sentimental Music_Chandos BACH Keyboard Music: Volume 2_Nimbus - Complete Organ Works Volume 7_Signum BEETHOVEN Triple Concerto_DG (+ BRAHMS) BORENSTEIN Violin Concerto, etc._Chandos BRAHMS Double Concerto_DG (+ BEETHOVEN) BRUCKNER Symphony No. 3_Profil - Symphony No. 4 in E-flat ‘Romantic’_LSO Live BUSONI Orchestral Works_Chandos ELGAR Violin Sonata, etc._Naxos_Chandos GERSHWIN Rhapsody in Blue_Beulah GUILMANT Organ Works_Chandos (+ WIDOR, FRANCK, SAINT-SAËNS) IRELAND Downland Suite, etc._Chandos - Mai Dun, Overlanders Suite, etc._Hallé JANITSCH Rediscoveries from the Sara Levy Collection_Chandos KARAYEV Symphony No.1; Violin Concerto_Naxos - Seven Beauties Suite, etc._Chandos LIDSTRÖM Rigoletto Fantasy_BIS (+ SHOSTAKOVICH Cello Concerto) LISZT A Faust Symphony_Alpha LUDFORD Missa Videte miraculum, etc._Hyperion MAHLER Symphony No.1_CAvi - Symphonies Nos. 4-6_Signum - Symphony No. 6_BIS MONTEVERDI Lettera Amorosa_Ricercar - Clorinda e Tancredi: Love scenes_Glossa - Night - Stories of Lovers and Warriors_Naïve PALUMBO Three Concertos_BIS RACHMANINOV The Bells, Symphonic Dances_BRKlassik ROSSINI Overtures – Gazza Ladra, Guillaume Tell_Beulah SAUER Piano Concerto No.1_Hyperion (+ SCHARWENKA) SCHARWENKA Piano Concerto No.4_Hyperion (+ SAUER) SHOSTAKOVICH Cello Concerto No.1_BIS (+ LIDSTRÖM) TALLIS Lamentations and Medieval Chant_Signum TIPPETT Symphonies Nos. 1 and 2_Hyperion VIVALDI Concertos Op.8/1-12_Chandos - Double Concertos_Chandos WESLEY, Samuel Symphonies_Chandos WESLEY, Samuel Sebastian Ascribe unto the Lord - Sacred choral works_Chandos WIDOR Organ Works_Chandos (see GUILMANT) Electric Django (Reinhardt)_Beulah *** MusicWeb International April 2018 Second Thoughts and Short Reviews - Spring 2018/2 Nicholas LUDFORD (c.1490-1557) Ninefold Kyrie (at Ladymass on Tuesday, Feria iii) [4:45] Alleluia. -
Andrew Nethsingha and the Choir of St John's College
Andrew Nethsingha and The Choir of St John’s College, Cambridge release Magnificat 2 Album features world premiere recording of Julian Anderson’s Evening Canticles and booklet introduction by former Archbishop of Canterbury Dr Rowan Williams Signum Records ¦ 16 April 2021 ¦ SIGCD667 Andrew Nethsingha and The Choir of St John’s College, Cambridge, release Magnificat 2, the second volume in their highly-praised Magnificat and Nunc Dimittis series. The album, due to be released on Signum Records on 16 April, features nine settings of the Evening Canticles. This album continues to explore the breadth of imagination with which composers have approached the Magnificat and Nunc Dimittis texts, having been utilised in Christian worship for over 1,000 years. This repertoire is the lifeblood of the Choir, who sing settings of these texts on a daily basis. The nine settings of Magnificat and Nunc Dimittis featured on Magnificat 2 fall into two groups - four by celebrated Organist-Composers, written between 1932 and 1952, and four by non-church musicians from 1974-1989. The recording culminates with a contemporary setting by Julian Anderson, composed for the 150th anniversary of St John’s Chapel, a neat follow-on from the previous album’s final track of canticles by Michael Tippett, commissioned for the College’s 450th anniversary. The aim of the recording is to compare the varied ways in which composers have created musical form out of these timeless texts, and Andrew Nethsingha has selected these choices due to a variety of links between them. These include notable clergymen-commissioners of the mid-twentieth century; Christ Church, Oxford as the place Walton was chorister, Watson was Organist and for which Swayne composed Magnificat I; and French influences for both the works by Berkeley and Anderson. -
Gloucester Cathedral Lay Clerks
GLOUCESTER CATHEDRAL ORGAN SCHOLARSHIP The Dean & Chapter of Gloucester Cathedral annually seek to appoint an organ scholar for each academic year. He/She will play a key role in the Cathedral music department, working closely with Adrian Partington (Director of Music), Jonathan Hope (Assistant Director of Music), Nia Llewelyn Jones (Singing Development Leader) and Helen Sims (Music Department Manager). The organ scholarship is open to recent graduates or to gap-year applicants of exceptional ability. Duties The organ scholar plays for Evensong every Tuesday, and in addition plays the organ or directs the choirs as necessary when the DoM or the ADoM is away. He/She will also play for many of the special services which take place in the Cathedral, for which additional fees are paid (see remuneration details below). The organ scholar is fully involved with the training of choristers and probationers and the teaching of theory and general musicianship. They will also be expected to help with the general administration of the music department, attending a weekly meeting and assisting other members of the department in the music office. Gloucester Cathedral Choir Today’s choir is the successor to the boys and monks of the Benedictine Abbey of St Peter, who sang for daily worship nine centuries ago. The choir of today stems from that established by Henry VIII in 1539, consisting of 18 choristers (who receive generous scholarships to attend the neighbouring King’s School), 12 lay clerks and choral scholars. The choir plays a major part in the internationally renowned Three Choirs Festival, the world’s oldest Music Festival, which dates back to 1715. -
Armstrong Gibbs (1889-1960)
Armstrong Gibbs (1889-1960) Symphony No. 3 in B flat, Op. 104 “Westmorland” (1944) Moderato (I will lift up mine eyes) Lento (Castnel Fell) Scherzo Vivace con fuoco (Weathers) With complete serenity (The Lake) Armstrong Gibbs (he always hated his first given name, Cecil) was one of the most prolific of his generation of British composers, but since his death on 12 May 1960 has become one of the most neglected. His small surviving reputation is based on a mere handful from his nearly 200 songs but he also wrote operas, incidental music, a great many choral works ranging from small unaccompanied pieces, through a long series of secular and sacred cantatas with orchestra, to the hour-long choral Symphony “Odysseus”, instrumental and chamber music including at least a dozen string quartets, and orchestral music embracing symphonic poems, concertos, numerous light music suites, and the two full-scale symphonies. By the time Gibbs came to compose his Symphony No. 3 Westmorland, he and his family were evacuees in the Lake District - refugees, virtually, from the comfortable home now requisitioned for war purposes - with an income by no means secure, and stricken by wartime tragedy. Their son David had been killed in action on 18 November 1943, and it is impossible not to feel that this eloquent and moving work - perhaps Armstrong Gibbs’ masterpiece, and certainly his most considerable purely orchestral composition - is music both of mourning and of consolation. The first movement (headed “I will lift up mine eyes”) begins with a 44- bar Moderato introduction which nevertheless has a numbed funereal quality, with quiet drumbeats and rolls underlying a climbing figure on horns and trombones, full of foreboding. -
Choir of St John's College, Cambridge Andrew Nethsingha
Choir of St John’S COLLEGE, CAMBRIDGE ANDREW NETHSINGHA Felix Mendelssohn, 1847 Mendelssohn, Felix Painting by Wilhelm Hensel (1794 – 1861) / AKG Images, London The Call: More Choral Classics from St John’s John Ireland (1879 – 1962) 1 Greater Love hath no man* 6:02 Motet for Treble, Baritone, Chorus, and Organ Alexander Tomkinson treble Augustus Perkins Ray bass-baritone Moderato – Poco più moto – Tempo I – Con moto – Meno mosso Douglas Guest (1916 – 1996) 2 For the Fallen 1:21 No. 1 from Two Anthems for Remembrance for Unaccompanied Chorus Slow Sir Charles Hubert Hastings Parry (1848 – 1918) 3 My soul, there is a country 4:00 No. 1 from Songs of Farewell, Six Motets for Unaccompanied Chorus Slow – Daintily – Slower – Animato – Slower – Tempo – Animato – Slower – Slower 3 Roxanna Panufnik (b. 1968) 4 The Call† 4:21 for Chorus and Harp For Andrew Nethsingha and the Choir of St John’s College, Cambridge Felix Mendelssohn (1809 – 1847) Hear my prayer* 11:21 Hymn for Solo Soprano, Chorus, and Organ Wilhelm Taubert gewidmet Oliver Brown treble 5 ‘Hear my prayer’. Andante – Allegro moderato – Recitativ – Sostenuto – 5:51 6 ‘O for the wings of a dove’. Con un poco più di moto 5:29 Sir Charles Hubert Hastings Parry 7 I was glad* 5:28 Coronation Anthem for Edward VII for Chorus and Organ Revised for George V Maestoso – Slower – Alla marcia 4 Sir Charles Villiers Stanford (1852 – 1924) 8 Beati quorum via 3:39 No. 3 from Three [Latin] Motets, Op. 38 for Unaccompanied Chorus To Alan Gray and the Choir of Trinity College, Cambridge Con moto tranquillo ma non troppo lento Sir John Tavener (1944 – 2013) 9 Song for Athene 5:31 for Unaccompanied Chorus Very tender, with great inner stillness and serenity – With resplendent joy in the Resurrection Sir Charles Villiers Stanford 10 Te Deum laudamus* 6:47 in B flat major • in B-Dur • en si bémol majeur from Morning, Communion, and Evening Services, Op. -
Season of 1700-01
Season of 1700-1701 he first theatrical season of the eighteenth century is notable as the T last year of the bitter competition between the Patent Company at Drury Lane and the cooperative that had established the second Lincoln’s Inn Fields theatre after the actor rebellion of 1695.1 The relatively young and weak Patent Company had struggled its way to respectability over five years, while the veteran stars at Lincoln’s Inn Fields had aged and squabbled. Dur- ing the season of 1699-1700 the Lincoln’s Inn Fields company fell into serious disarray: its chaotic and insubordinate state is vividly depicted in David Crauford’s preface to Courtship A-la-Mode (1700). By late autumn things got so bad that the Lord Chamberlain had to intervene, and on 11 November he issued an order giving Thomas Betterton managerial authority and operating control. (The text of the order is printed under date in the Calendar, below.) Financially, however, Betterton was restricted to expenditures of no more than 40 shillings—a sobering contrast with the thousands of pounds he had once been able to lavish on operatic spectaculars at Dorset Garden. Under Betterton’s direction the company mounted eight new plays (one of them a summer effort). They evidently enjoyed success with The Jew of Venice, The Ambitious Step-mother, and The Ladies Visiting Day, but as best we can judge the company barely broke even (if that) over the season as a whole. Drury Lane probably did little better. Writing to Thomas Coke on 2 August 1701, William Morley commented: “I believe there is no poppet shew in a country town but takes more money than both the play houses. -
Service Scheme August 2019
Service Scheme August 2019 Regular Authorised services 18 Sunday 08:00 Holy Communion The Ninth Sunday 10:00 The Cathedral Eucharist Hymns on service sheet After Trinity Communion Service in F Herbert Sumsion Preacher: The Very Revd Harry Kraus Dean Emeritus, Providence Visiting Choir: Ubi Caritas Ola Gjeilo Rhode Island The Open University Choir 11:30 BCP Eucharist Hymns: 9, 226 (*3), 134 Communion Service in F Herbert Sumsion Psalm: 95 Ubi Caritas Maurice Duruflé 15:30 Choral Evensong Responses: Andrew Mildinhall Cyril Rootham in E minor Hymns: 396, 206 The Spirit of the Lord is upon me Edward Elgar Psalm: 93, 94 (vv1 - 14) 19 Monday 08:30 Morning Prayer 12:30 Holy Communion 17:30 Evening Prayer 20 Tuesday 08:30 Morning Prayer Bernard, Abbot of Clairvaux, Teacher, 1153 12:30 Holy Communion 17:30 Evening Prayer 21 Wednesday 08:30 Morning Prayer 12:30 Holy Communion 17:30 Evening Prayer 22 Thursday 08:30 Morning Prayer 12:30 Holy Communion 13:10 Organ Recital Lee Ward (Liverpool Cathedral) 17:30 Evening Prayer 23 Friday 08:30 Morning Prayer 12:30 Holy Communion 17:30 Evening Prayer 24 Saturday 09:30 Holy Communion Bartholomew the Apostle 16:15 Choral Evensong Responses: Richard Ayleward Visiting Choir: The Gloucester Service Richard Shepherd Hymn: 357 St Stephen’s Church, Canterbury Teach me, O Lord Stephen Barker Psalms: 119 (vv 1 - 32) Very Reverend Dr Tim Stratford Dean Canon Jeremy Dussek Canon Precentor Canon Jane Brooke Canon Missioner Philip Rushforth Director of Music Service Scheme August 2019 Regular Authorised services 25 Sunday