DOCSLIB.ORG

NSCS Pgm 12-2003

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NSCS Pgm 12-2003 A HOLIDAY TRADITION The North Shore Choral Society Donald Chen, conductor “Saint Nicolas” Benjamin Britten Mark Eldred Tenor Seasonal Delights Sunday, December 7, 2003 2:30 PM Saints Faith, Hope & Charity Church 191 Linden Street, Winnetka THE NSCS IS SUPPORTED IN PART BY THE ILLINOIS ARTS COUNCIL PROGRAM SAINT NICOLAS................................................ Benjamin Britten (1913—1976) Mark Eldred, Nicolas I. INTRODUCTION VI. NICOLAS FROM PRISON II. THE BIRTH OF NICOLAS VII. NICOLAS AND THE PICKLED BOYS III. NICOLAS DEVOTES HIMSELF TO GOD VIII. HIS PIETY AND MARVELOUS WORKS IV. HE JOURNEYS TO PALESTINE IX. THE DEATH OF NICOLAS V. N ICOLAS COMES TO MYRA AND IS CHOSEN BISHOP Intermission HODIE from A Ceremony of Carols ......................................... Benjamin Britten ONCE IN ROYAL DAVID’S CITY ............................ Henry J. Gauntlett (1805-1876) O COME, O COME, EMMANUEL ........................... Thomas Helmore (1811-1890) LO, HOW A ROSE E’ER BLOOMING .............. arr. Michael Praetorius (1571-1621) A BOY WA S BORN .................................................................... Benjamin Britten ALLELUIA ......................................................Randall Thompson (1899—1984) CAROL, WITH LULLABY ...............................Phillis Margaret Tate (1911—1987) SALVATOR MUNDI ............................................. William Mathias (1934—1992) SUSANNI CHRISTE, REDEMPTOR OMNIUM WELCOME, YULE The audience is invited to sing along in the following carols: DING DONG MERRILY ON HIGH ........................... arr. Charles Wood (1866-1926) ON THIS DAY ....................................................... arr. Gustav Holst (1874-1934) O COME, ALL YE FAITHFUL ................................ arr. John F. Wade (1711-1786) JOY TO THE WORLD ................................... George Frideric Handel (1685-1759) SAINT NICOLAS....................................................................... Benjamin Britten I. INTRODUCTION II. THE BIRTH OF NICOLAS Our eyes are blinded Nicolas was born in answer to prayer, by the holiness you bear. And leaping from his mother’s womb The bishop’s robe, the mitre, he cried – and the cross of gold. [the boy Nicolas] GOD BE GLORIFIED! Obscure the simple man within the Saint. Strip off your glory, Nicolas! and speak! Swaddling bands and crib awaited him there, But Nicolas clapped both his hands and [Nicolas] cried – Across the tremendous bridge [the boy Nicolas] GOD BE GLORIFIED! of sixteen hundred years, I come to stand in worship with you, Innocent and joyful, naked and fair, As I stood among my faithful He came in pride on earth to abide – congregation long ago. [the boy Nicolas] GOD BE GLORIFIED! All who knelt beside me theen are gone. Their name is dust, Water rippled Welcome! their tombs are grass and clay, in the bathtub by his side, Yet still their shining seed of faith He dived in open-eyed, he swam, he cried – survives in you! [the boy Nicolas] GOD BE GLORIFIED! It weathers time, it springs again in you! With you it stands like forest oak When he went to Church at Christmastide, Or withers with the grasses under foot. He climbed up to the font to be baptized. Preserve the living Faith GOD BE GLORIFIED! for which your fathers fought! For Faith was won Pilgrims came to kneel and pray by his side, by centuries of sacrifice, He grew in grace, And many martyrs died his name was sanctified. that you might worship God. [the boy Nicolas] GOD BE GLORIFIED! Help us, Lord! to find the hidden road Nicolas grew in innocence and pride, That leads from love to greater love, His glory spread a rainbow From faith to greater faith. round the countryside, Strengthen us, O Lord! “Nicolas will be a Saint!” Screw up our strength the neighbors cried. to serve Thee with simplicity. [Nicolas] GOD BE GLORIFIED! [Note: the part of the boy Nicolas is sung by Bruce Scavuzzo] III. NICOLAS DEVOTES HIMSELF TO GOD The sailors jeered at Nicolas, [Nicolas] My parents died. All too soon who paid them no regard, I left the tranquil beauty of their home, Until the hour of sunset came And knew the wider world of man. When up he stood and stopped their game Poor man! Of staking coins on cards. I found him solitary, racked by doubt: Born, bred, doomed to die. Nicolas spoke and prophesied In everlasting fear of everlasting death: a tempest far ahead. The foolish toy of time, The sailors scorned such words of fear, the darling of decay – Since sky and stars shone bright and clear, Hopeless, faithless, defying God. So ‘Non-sense!’ they all said. Heart-sick, in hope to mask the twisted face of poverty, Darkness was soon on top of them, I sold my lands to feed the poor. but still the South Wind blew. I gave my goods to charity. The Captain went below to sleep, But Love demanded more. and left the helmsman there to keep Heart-sick, I cast away all things that His course with one of the crew. could distract my mind From full devotion to His will; Nicolas swore he’d punish them I thrust my happiness behind. for mocking at the Lord But Love desired more still. The wind arose, the thunder roared, Heart-sick, I called on God Lightning split the waves that poured to purge my angry soul, In wild cascades on board. To be my only master, friend and guide. I begged for sweet humility. Water-spouts rose in majesty And Love was satisfied. until the ship was tossed Abaft, aback, astern, abeam, IV. HE JOURNEYS TO PALESTINE Lit by the lightning’s livid gleam Nicolas sailed for Palestine And all aboard cried ‘Lost!’ across the sunlit seas. The South-West Wind blew soft and fair, Lightning hisses through the night, Seagulls hovered through the air Blinding sight with living light! And spices scented the breeze. Ah! Spare us! Man the pumps! Axes! Ah! Everyone felt that land was near, Winds and tempests howl their cry all dangers now were past, Of battle through the raging sky! Except for one who knelt in prayer. Spare us! Lifeboats! Lower away! Fingers clasped and head quite bare, Waves repeat their angry roar Alone by the mizzenmast. Fall and spring again once more. Ah! Shorten sail! Reef her! Heave her to! Let her run before the wind! Shorten sail! Reef her! Thunder rends the sky asunder V. N ICOLAS COMES TO MYRA With its savage shout of wonder! AND IS CHOSEN BISHOP Ah! Come, stranger sent from God! Come, man of God! Pray to God! Stand foremost in our Church and serve Kneel and pray! this diocese Lightning, Thunder, Tempest, Ocean As Bishop Nicolas, our shield, our Praise their God with voice and motion. strength, our peace! Nicolas waited patiently [Nicolas] I, Nicolas, till they were on their knees Bishop of Myra and its diocese, Then down he knelt in thankfulness shall with the unfailing grace of God, Begging God their ship to bless defend his faithful servants, And make the storm to cease. comfort the widow and fatherless, and fulfil his will for this most blessed [Nicolas] O God! we are all weak, church. sinful, foolish men. Amen! Amen! We pray from fear and from necessity at Place the mitre on your head death, in sickness or private loss. to show your mastery of men. Without the prick of fear our conscience Take the golden robe that covers you sleeps, forgetful of Thy Grace. with Christ’s authority. Help us, O God to see more clearly. Wear the fine dalmatic Tame our stubborn hearts. woven with the cross of faith. Teach us to ask for less and offer more in Bear the crozier as a staff and comfort gratitude to Thee. to your flock. Pity our simplicity, for we are truly Set the ring upon your hand, pitiable in Thy sight. in sacramental sign, Amen. in sign of wedlock with thy God. [Nicolas] The winds and waves Serve the faith and spurn his enemies! lay down to rest. The sky was clear and calm. The ship sailed onward without harm And all creation sang a psalm of loving thankfulness. Beneath the stars the sailors slept, exhausted by their fear, While I knelt down for love of God on high And saw his angels in the sky smile down [Note: The audience is invited to at me, and wept. join in singing the following hymn tune:] CHOIR AND CONGREGATION: VI. NICOLAS FROM PRISON VII. NICOLAS AND THE PICKLED BOYS [Nicolas] Persecution sprang upon our Famine tracks us down the lanes Church and stilled its voice. Hunger holds our horses’ reins, Eight barren years it stifled under Roman Winter heaps the road with snow, rule: O we have far to go. And I lay bound, condemned to celebrate my lonely sacrament with prison Starving beggars howl their cry, bread, Snarl to see us spurring by While wolves ran loose among my flock. Times are bad and travel slow, O man! the world is set for you as for a O we have far to go. king! Paradise is yours in loveliness. We mourn our boys, our missing sons, The stars shine down for you, for you the We sorrow for three little ones. angels sing, Timothy, Mark and John are gone! Yet you prefer your wilderness. You hug the rack of self, embrace the lash Landlord take this piece of gold! of sin, Bring us food before the cold Pour your treasures out to bribe distress. Make our pangs of hunger grow You build your temples fair without and O we have far to go. foul within: You cultivate your wilderness. Day by day we seek to find Yet Christ is yours, Yours! For you he Some trace of them but oh! unkind! lived and died. Timothy, Mark and John are gone! God in mercy gave his Son to bless you all, to bring you life Let us share this dish of meat! And Him you crucified to desecrate your Come, my friends, sit down and eat! wilderness.
Load more

Recommended publications
  • “Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
    “Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
    [Show full text]
  • Britten Spring Symphony Welcome Ode • Psalm 150
    BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Britten's Acoustic Miracles in Noye's Fludde and Curlew River
    Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations.
    [Show full text]
  • Billy Budd Composer Biography: Benjamin Britten
    Billy Budd Composer Biography: Benjamin Britten Britten was born, by happy coincidence, on St. Cecilia's Day, at the family home in Lowestoft, Suffolk, England. His father was a dentist. He was the youngest of four children, with a brother, Robert (1907), and two sisters, Barbara (1902) and Beth (1909). He was educated locally, and studied, first, piano, and then, later, viola, from private teachers. He began to compose as early as 1919, and after about 1922, composed steadily until his death. At a concert in 1927, conducted by composer Frank Bridge, he met Bridge, later showed him several of his compositions, and ultimately Bridge took him on as a private pupil. After two years at Gresham's School in Holt, Norfolk, he entered the Royal College of Music in London (1930) where he studied composition with John Ireland and piano with Arthur Benjamin. During his stay at the RCM he won several prizes for his compositions. He completed a choral work, A Boy was Born, in 1933; at a rehearsal for a broadcast performance of the work by the BBC Singers, he met tenor Peter Pears, the beginning of a lifelong personal and professional relationship. (Many of Britten's solo songs, choral and operatic works feature the tenor voice, and Pears was the designated soloist at many of their premieres.) From about 1935 until the beginning of World War II, Britten did a great deal of composing for the GPO Film Unit, for BBC Radio, and for small, usually left-wing, theater groups in London. During this period he met and worked frequently with the poet W.
    [Show full text]
  • CHARLES MUNCH Musical Director
    'or..er goat ea 7tav • Excellent Food, Gracious Service in the Hendrick Hudson Candlelight Room • Your Favorite Cocktail or Highball in our New Hudson Room COMPLETE FACILITIES for WEDDING FESTIVITIES BANQUETS, PARTIES and All SOCIAL FUNCTIONS 712;05rrik, SOUVERIR PROGRflifi . IN WHICH is carried pertinent information on the event of the evening; insight in- to coming events, and a suggestion of the past More than three-quarters of a million dollars has been poured into the RPI Field House in order to make it the versatile structure it is today. The original shell was a former Navy warehouse in Davisville, Rhode Island. (Cover photo by Airs. George H. Lee) NOLO • MILLER • OFFSET • ROTARY • LETTERPRESS Printers of your Field House Program 7 GRAND ST. TROY, N.-Y. *-ta.t 9 AS 2-6650 LIVINGSTON W. HOUSTON President Rensselaer Polytechnic Institute The RPI FIELD HOUSE has in the last seven years of operation become a unique forum for thought and ex- pression in the Capital District. This is partially the result of great words and ideas voiced from the FIELD HOUSE stage by outstanding leaders in many diverse fields — ed- ucation, politics, religion, drama, and many more. It is also the result of cultural expression — enduring music performed by the major symphony orchestras of America and Europe, choral groups and artists. As such, the audi- torium has fulfilled the major objective laid down by the college, Rensselaer Polytechnic Institute, which brought it into being and operates it today to enrich the lives of the college family and the people of the large surrounding community.
    [Show full text]
  • Boys' Voices, Lads' Voices: Benjamin Britten and the “Raggazo
    Boys’ Voices, Lads’ Voices: Benjamin Britten and the “Raggazo” (Continental) Sound. Jim Coyle Lecturer, Sydney Conservatorium of Music, The University of Sydney, Australia. Abstract Over 20% of the opus-numbered compositions by Benjamin Britten involved the sound of young voices. In thirteen of these pieces, he stipulated a chorus of trebles. Britten is known to have had a preference for what he perceived as a natural singing sound, rather than the refined and pure tone of a cathedral choir. This study analyses these works for five musical parameters: pitch range, pitch proximity, mean pitch, phrase length, and notated dynamics to demonstrate that Britten had two distinct styles when writing for treble chorus. One is for the traditional English cathedral sound and the other is for the ‘continental’ voice produced by certain choirs for whom he wrote. There are some transitional works composed in the late 1940s and early 1950s that show characteristics of both of these styles. These conclusions will help in interpreting Britten’s works and as technical guidelines for composers seeking particular effects when writing for the treble choir. Keywords trebles, cathedral choir, Benjamin Britten, boys, continental tone, ragazzo. Introduction The Nature of the Question The use of boys’ voices is a noticeable characteristic of the music of English composer Benjamin Britten (1913-1976). He was strongly committed to writing music for children and young people of both sexes and used them as soloists, in small ensembles, and in larger choruses and choirs (Holst, 1966). Certain of the works involving a chorus of boys show a marked timbral difference from the others and were composed with that particularly robust tone colour, the continental or ragazzo sound, in mind (Ashley, 2009).
    [Show full text]
  • Britten's Choral Music
    SLUG Benjamin Britten at Crag House c.1949: the seeming inevitability of his response to words is one of his hallmarks 22 CHOIR & ORGAN MARCH/APRIL 2013 www.choirandorgan.com C&O - March April - FEATURES - Reed Britten - Tweeked.indd 22 20/02/2013 18:10:43 BRITTEN’S CHORAL MUSIC Sacred and profane Whether writing a cappella church music or a major symphonic choral work, Benjamin Britten responded to texts with depth of insight. In the composer’s centenary year, Philip Reed argues that there is much still to discover in his choral canon he seeming inevitability of nal setting for eight-part chorus in a faux Britten’s response to words is one medieval style. It was first performed in Tof the hallmarks of his output. 1931 by the Lowestoft Choral Society Indeed, so idiomatic are his settings that (in which the composer’s mother sang), it remains difficult, when reading a text he along with his unaccompanied carol, The has set, for one’s mind’s ear not to conjure Sycamore Tree, a setting of a text related to up Britten’s music. This remains as true of the more familiar carol I saw three ships, his wide-ranging choral music as it does of which Britten did not publish (in a revised his numerous song-cycles and operas. But version) until 1967. whereas in his operas and orchestral song- Christmastide remained a favourite cycles Britten was something of a pioneer, season for Britten, one to which he repeat- establishing a national tradition for opera edly responded in his compositions.
    [Show full text]
  • Benjamin Britten's Liturgical Music and Its Place in the Anglican
    Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10074906 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society.
    [Show full text]
  • The Music of Randall Thompson a Documented
    THE MUSIC OF RANDALL THOMPSON (1899-1984) A DOCUMENTED CATALOGUE By Carl B. Schmidt Elizabeth K. Schmidt In memory of RANDALL THOMPSON ' for VARNEY THOMPSON ELLIOTT (†) CLINTON ELLIOTT III EDWARD SAMUEL WHITNEY THOMPSON (†) ROSEMARY THOMPSON (†) RANDALL THOMPSON JR. HAROLD C. SCHMIDT (†) and for E. C. SCHIRMER MUSIC COMPANY a division of ECS Publishing Group © 2014 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing 1727 Larkin Williams Road, Fenton, MO 63026-2024 All rights reserved. Published 2014 Printed in the United States of America ISBN 978-0-911318-02-9 Library of Congress Cataloging-in-Publication Data Schmidt, Carl B. The music of Randall Thompson (1899-1984) : a documented catalogue / by Carl B. Schmidt [and] Elizabeth K. Schmidt. pages cm Includes bibliographical references and index. ISBN 978-0-911318-02-9 1. Thompson, Randall, 1899-1984--Bibliography. I. Schmidt, Elizabeth K. II. Title. ML134.T42S36 2015 016.78092--dc23 2014044640 Since I first went to Rome in 1922, Italian culture, the Italian people and the Italian language have been the strongest single influence on my intellectual and artistic development as a person and as a composer. So true is this that I cannot imagine what my life would be without all the bonds that bind me in loyalty and devotion to Italy and to my Italian friends. 13 June 1959 letter from Thompson to Alfredo Trinchieri Thompson always makes you think there is nothing as beautiful, as rich, or as varied as the sounds of the human voice. Alfred Frankenstein, San Francisco Chronicle (24 May 1958) It is one of the lovely pieces our country has produced, that any country, indeed, has produced in our century.
    [Show full text]
  • Download Booklet
    CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on Coro Fen and Meadow Blest Cecilia A Ceremony of Carols Britten Choral Works III Britten Choral Works I cor16006 Britten Choral Works II cor16034 Hymn to the Virgin A Ceremony of Carols Hymn to St Cecilia A Boy was Born Rejoice in the Lamb A Shepherd's Carol Te Deum in C The Sycamore Tree Jubilate Deo Sweet was the Song Festival Te Deum Missa Brevis in D C HORAL D ANCES FROM 'G LORIANA ' Ikon of Light Barber Agnus Dei F IVE F LOWER S ONGS John Tavener cor16015 An American Collection cor16031 S ACRED AND P ROFANE The Lamb Samuel Barber Two Hymns to the Leonard Bernstein Mother of God Aaron Copland Today the Virgin Irving Fine Ian Partridge The Tyger Steve Reich The Sixteen Page 1 Eonia Del Tredici THE VOICES OF HARRY CHRISTOPHERS To find out more about The Sixteen, concerts, tours, and to buy CDs, visit www.thesixteen.com cor16038 In December 1977, as a member of the choir of Fen and Meadow Lady Barnard was composed in 1943 for a Westminster Abbey, I sang at Britten’s memorial friend, Richard Wood, who was in a prison Benjamin Britten camp in Germany, for him and his fellow service; at that time, I was also a member of English prisoners to perform there. The score was Music Theatre, successor to English Opera Group ritten's opera Gloriana celebrated sent out page by page by microfilm letter. and the brainchild of conductor Steuart Bedford Queen Elizabeth II's coronation The Wedding Anthem, Amo Ergo Sum, and producer Colin Graham but with the blessing Bby depicting scenes from the life composed for the marriage of Marion Stein and support of Britten.
    [Show full text]
  • Cadoganhall.Com
    www.chelsea-pensioners.org.uk CADOGANHALL.COM 1 BOX OFFICE: 020 7730 4500 CADOGANHALL.COM CHARITY NO: 1108734 WELCOME BY WILLIAM VANN FRCO ARAM Director of Music and Organist of the Royal Hospital Chelsea Last year’s 10th anniversary of the Royal The Royal Hospital Choir’s concert is always Hospital Chelsea concert series emphasised its one of the highlights of the programme. They reputation for musical excellence: some of the perform Mozart’s Requiem, one of the most finest musicians from the UK and across Europe compelling of all choral masterpieces, alongside BECOME A performed a programme of chamber music, Bach’s stunning Magnificat before we close the choral and orchestral works and jazz in the series with a concert bringing together local wonderful setting of Christopher Wren’s Chapel. schoolchildren, musicians and prize-winning soloists for performances of Rutter’s Mass of the FRIEND This year, for the first time, we open with an Children and Britten’s St Nicolas - a real treat in opera. Purcell’s The Fairy-Queen was written the run-up to Christmas. HELP US LOOK AFTER at the same time as the Chapel was holding its very first services and will be a unique and Finally, a few words of thanks: first to all of you THE NATION’S VETERANS unmissable musical event. We continue by for your staunch support both now and over the welcoming back the Gould Piano Trio, one of past ten years; secondly, to our sponsors, whose the country’s most accomplished chamber support is crucial to the survival of the concerts, music groups, and the critically acclaimed flute and in particular to David Bowerman, who was duo of Lisa Friend and Anna Stokes playing an the inspiration behind the series and continues enchanting and fascinating programme from to support many young artists at the start of their recent album Luminance.
    [Show full text]