DOCSLIB.ORG

A Radio Program for the King of Instruments

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Radio Program for the King of Instruments A RADIO PROGRAM FOR THE KING OF INSTRUMENTS Program No. 1223 6/4/2012) Bordeaux) K617 079 & Harrison/Coventry Cathedral, England) A la Francaix…a delectation of French music, PAUL HINDEMITH: Organ Concerto (1962) Chandos 10489 with particular emphasis on the organ works of –Frankfurt Radio Orchestra/Werner Andreas SCOTT JOPLIN: The Entertainer –Gabriel centenarian Jean Francaix (1912-1997) Albert, conductor; Rosalinde Haas (1957 Dessauer (1985 Mayer/St. Bonifatius, GASPARD CORRETTE: Kyrie Versets, fr Mass Förster & Nicolaus/Hessian Radio Studio, Wiesbaden, Germany) DANIEL PINKHAM: on the 8th Tone –Choir from the Dominican Frankfurt) cpo 999.261 Solemnities for Trombone and Organ (2000) Convent of St. Maximin; Pierre Bardon (1774 J. S. BACH: Concerto No. 1 in d, BWV –Bron Wright, trombone; Abbey Hallberg Isnard/Basilica of St. Maximin, Provence) 1052 –Northern Sinfonia/Richard Hickox, Siegfried (1969 Noack/Trinity Lutheran Syrius 141388 conductor; Peter Hurford (1969 Grant, Degens Church, Worcester, MA) Arsis 143 JOHN JEAN FRANCAIX: Suite Profane –Gillian & Bradbeer/Lyons Concert Hall, University BEHNKE: Partita on Ebenezer –John Behnke Weir (1974 Phelps/ Hexham Abbey, of York, England) Argo 425.479 1989 Steiner-Reck/Concordia University Northumberland, Great Britain) Priory 752 RICHARD BARTMUSS: Organ Concerto No. Chapel, Mequon, WI) Behnke 12001 2 in g, Op. 33 –Capriccio Baroque Orchestra/ GABRIEL NIVERS: Kyrie Versets, fr Organ Program No. 1226 6/25/2012 Book No. 2—John Elwes, tenor; Frédéric Dominik Kiefer, conductor; Ulrich Meldau Oh, Canada!…a collection of Canadian Munoz (1789 Cavaillé/St. Guilhem-le-Desert, (1988 Kleuker-Steinmeyer/ Tonehalle, composers, competition winners, and pipe organs France) XCP 5003 Zurich) Motette 40311 in celebration of Canada Day. JEAN FRANCAIX: Suite Carmelite –Georges Program No. 1225 6/18/2012 J. S. BACH: Prelude & Fugue in e, BWV 548 Athanasiades (1950 Kuhn/Basilica of St. Variations on America…music by our resident –Marie-Hélene Greffard (prelude) and Mark composers always makes a good impression. Maurice, Switzerland) Tudor 7130 Edwards (fugue), organists CHARLES GOUNOD: Moderato maestoso, fr CHARLES IVES: Variations on America –E. CESAR FRANCK: Priere –Mark Edwards, Suite Concertante –Ingolstadt Philharmonic/ Power Biggs (1875 Hutchings-Plaisted/1st organist Alfredo Ibarra, conductor; Franz Hauk (1977 Universalist Church, Woodstock, VT) MARCEL DUPRÉ: Variations sur un Noël, Op. Klais/Ingolstadt Cathedral) Guild 7185 Columbia Masterworks MS-6161 20. BACH: Chorale-prelude, Allein Gott in JOSEPH BONNET: Etude de Concert (No. 2) & GORDON YOUNG: Variations on an American der Höh’ sei Ehr, BWV 676 –Marie-Helene Deuxieme Legende (No. 10), fr 12 New Pieces, Hymn –Robert Scoggin (Moeller-Sipe organ/ Greffard, organist Op. 7 –Frédéric Ledroit (1965 Beuchet- Christ United Methodist Church, Rochester, RAYMOND DAVELUY: Epilogue on Nun Debierre/St. Peter Cathedral, Angouleme) MN) Pipedreams Archive (r. 5/5/92) Danket and Ballerma –Mark Edwards, organist Skarbo 1026 HAROLD FRIEDELL: Cantabile, fr Symphony Greffard (1st) and Edwards (2nd & Daveluy MARCEL DUPRÉ: Chorale, Je t’appelle, for Organ –William Trafka (1971 Aeolian- Prize) were the two top award-winners in Seigneur Jesus, Op. 28, no. 37. JEAN- Skinner/St. Bartholomew’s Church, New the 2011 Concours d’orgue de Québec, and BAPTISTE LULLY: 3Airs –Nicolas Planchon, York City) Pro Organo 7084 performed on the 1960 Phelps-Casavant organ trumpet; Christopher Hainsworth (1869 DUDLEY BUCK: Rondo-Caprice, Op. 35 at the Church of Holy Canadian Martyrs in Puget/St. Nazaire Cathedral,Beziers,France) –James Hamman (1863 Hook/St. John’s Quebec City (r. 6/16/2011 by Radio Canada). NPLCH 01 Episcopal Church, Quincy, IL) Raven 916 WILLIAM FRANCE: Oboe Tune. GERALD GABRIEL FAURÉ (trans. Robilliard): Pelléas SAMUEL LONG: Voluntary in A. EVERETT BALES: Petite Suite –Patricia Wright (1930- et Melisande Suite, Op. 80 –Louis Robilliard TITCOMB: Regina Coeli. J. S. BACH: 1998 Casavant/Metropolitan United Church, (1879 Cavaillé-Coll/St. Francois-de-Sales, Concerto in G, BWV 592 (1st mvt). POWELL Toronto, Ontario, CA) RCCO 8112 Lyon) Festivo 6961.942 WEAVER: Passacaglia, fr Copper Country DEREK HOLMAN: Prevent us, o Lord. FRANCAIX: L’Apocalypse selon St. Jean Sketches –Christina Harmon (1874 Garret ANDREW AGER: Missa Campanella (1939); Marche Solennelle (1956) –Bernhard House/Lake Linden Heritage Center; 1913 (Sanctus & Agnus Dei); Organ Prelude, Op. Kratzer & Martin Maier, trumpets; Jürgen Austin/Trinity Episcopal Church, Houghton; 30 –Choirs of the Cathedral of St. John/ Essl (1979 Sandtner/Rottenburg Cathedral) 1899 Barckhoff/Keweenaw Heritage Center, Maxine Thevenot, director; Maxine Thévenot Forlane 20018 Calumet; 1905 Kilgen/St. Paul the Apostle & Stephen Tharp (2002 Reuter/St. John Program No. 1224 6/11/2012 Church, Calumet, MI) Raven 928. Cathedral, Albuquerque, NM) Raven 926 Concertos…an exploration of some unusual Several of the historic pipe organs of the Copper JEANNE LANDRY: Hesychia –Maxine items found amidst the remarkably rich repertoire Country of Michigan’s Upper Peninsula will be Thévenot (1933 Skinner/Girard College of music for organ with orchestra. featured in early July concerts by Jeremy David Chapel, Philadelphia, PA) Raven 909 Tarrant, part of the Pine Mountain Music Festi- JOHANN CHRISTIAN BACH: Concerto No. BARRIE CABENA: Eine kleine Morgenmusik, val <pmmf.org> 1 in B-flat –J.C. Bach Academy Orchestra/ Op. 631 –Andrew Henderson (1937 Casavant/ Ingeborg Scheerer, director; Johannes Geffert STEPHEN PAULUS: Three Temperaments – St. John the Evangelist Church, Elora, Ontario, (Klais chamber organ) Fermate 20002 James Higdon (1996 Wolff/Bales Recital CA) SJ 101 JEAN-FRANCOIS TAPRAY: Organ Concerto Hall, University of Kansas, Lawrence, KS) RACHEL LAURIN: Introduction and Passacaglia No. 5 –Baroque Ensemble of Nice/Gilbert DCD Records 2001 on a Theme of Raymond Daveluy, Op. 44 – Bezzina, director; Dominique Ferran (1754 SAMUEL BARBER: Variations on Wondrous Isabelle Demers (2006 Casavant/Holy Angels Dom Bedos/Church of the Holy Cross, Love, Op. 34 –Iain Quinn (1962 Harrison Church, Lachine, Quebec, CA) Acis 61256 SPREAD THE WORD • PROMOTE THE SHOW • SUPPORT PUBLIC RADIO Pipedreams® is American Public Media’s weekly program dedicated to the artistry of the pipe APOBA is a proud supporter organ. Host Michael Barone’s celebration of the “king of instruments” is heard on stations of Pipedreams® nationwide and worldwide via pipedreams.org. Go online to locate a broadcast station near you. www.apoba.com.
Load more

Recommended publications
  • SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12Th Century, Paris, Bibl
    SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12th century, Paris, Bibl. Nat., ms . lat. 17,328) SACRED MUSIC Volume 99, Number 1 , Spring 1972 BERNSTEIN'S MASS 3 Herman Berlinski TU FELIX AUSTRIA 9 Reverend Robert Skeris MUSICAL SUPPLEMENT 13 REVIEWS 20 FROM THE EDITOR 25 NEWS 26 SACRED MUSIC Continuation of Caeci/ia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publication: 548 Lafond Avenue, Saint Paul, Minne­ sota 55103. Editorial office: Route 2, Box I, Irving, Texas 75062. Editorial Board Rev. Ralph S. March, S.O.Cist., Editor Mother C. A. Carroll, R.S.C.J. Rev. Lawrence Heiman, C.PP.S. J. Vincent Higginson Rev. Peter D. Nugent Rev. Elmer F. Pfeil Rev. Msgr. Richard J. Schuler Frank D. Szynskie Editorial correspondence: Rev. Ralph S. March, S.O.Cist., Route 2, Box I, Irving, Texas 75062 News: Rev. Msgr. Richard J. Schuler, 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Mother C. A. Carroll, R.S.C.J., Manhattanville College of the Sacred Heart, Purchase, New York 10577 Rev. Elmer F. Pfeil 3257 South Lake Drive Milwaukee, Wisconsin 53207 Membership and Circulation: Frank D. Szynskie, Boys Town, Nebraska 68010 AdvertisinR: Rev. Ralph S. March, S.O.Cist. CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Dr. Roger Wagner Vice-president Noel Goemanne General Secretary Rev. Robert A. Skeris Treasurer Frank D. Szynskie Directors Robert I.
    [Show full text]
  • Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 As a Stylistic Guide
    The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2008 Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide Jonathan Candler Kilgore University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Catholic Studies Commons, Composition Commons, Liturgy and Worship Commons, and the Other Music Commons Recommended Citation Kilgore, Jonathan Candler, "Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide" (2008). Dissertations. 1129. https://aquila.usm.edu/dissertations/1129 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC GUIDE by Jonathan Candler Kilgore A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2008 COPYRIGHT BY JONATHAN CANDLER KILGORE 2008 The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC
    [Show full text]
  • Maurice Duruflé Requiem Joseph Jongen Mass
    Joseph Jongen Mass Maurice Duruflé Requiem San Francisco Lyric Chorus Robert Gurney, Music Director Jonathan Dimmock, Organ Saturday, August 23 & Sunday, August 24, 2014 Mission Dolores Basilica San Francisco, California San Francisco Lyric Chorus Robert Gurney, Music Director Board of Directors Helene Whitson, President Julia Bergman, Director Karen Stella, Secretary Jim Bishop, Director Bill Whitson, Treasurer Nora Klebow, Director Welcome to the Summer 2014 Concert of the San Francisco Lyric Chorus. Since its formation in 1995, the Chorus has offered diverse and innovative music to the community through a gathering of singers who believe in a commonality of spirit and sharing. The début concert featured music by Gabriel Fauré and Louis Vierne. The Chorus has been involved in several premieres, including Bay Area composer Brad Osness’ Lamentations, Ohio composer Robert Witt’s Four Motets to the Blessed Virgin Mary (West Coast premiere), New York composer William Hawley’s The Snow That Never Drifts (San Francisco premiere), San Francisco composer Kirke Mechem’s Christmas the Morn, Blessed Are They, To Music (San Francisco premieres), and selections from his operas, John Brown and The Newport Rivals, our 10th Anniversary Commission work, the World Premiere of Illinois composer Lee R. Kesselman’s This Grand Show Is Eternal, Robert Train Adams’ It Will Be Summer—Eventually and Music Expresses (West Coast premieres), as well as the Fall 2009 World Premiere of Dr. Adams’ Christmas Fantasy. Please sign our mailing list, located in the foyer. The San Francisco Lyric Chorus is a member of Chorus America. We are recording this concert for archival purposes Please turn off all cell phones, pagers, and other electronic devices before the concert Please, no photography or audio/video taping during the performance Please, no children under 5 Please help us to maintain a distraction-free environment.
    [Show full text]
  • Winter 2020 NEWSLETTER : BULLETIN Hiver 2020
    Société d' Opéra National Capital de la Capitale Nationale Opera Society Winter 2020 NEWSLETTER : BULLETIN Hiver 2020 Frankenstein - The Opera, 2019 by Shelagh Williams How did you celebrate Hallowe’en? You should have actually done! In his work he is supported by his been enjoying Andrew Ager’s Frankenstein: The Op- fiancée Elizabeth, sung by soprano Bronwyn Thies- era, 2019! Thompson, his friend Clerval, sung by baritone James Composer Ager himself adapted the novel Fran- Coole-Stevenson, and his brother William, sung by kenstein for his original production, sung in English, 12-year old Elliott Mennier, head chorister of Christ and for this Ottawa premier adjusted some of the voice Church Cathedral. parts for this cast, just as Mozart would do! The result The charming mountain interlude was animated was a fully-staged production directed by Suzanne by baritone Gary Dahl, who sang the sympathetic blind Bassett and featuring excellent Canadian and Ottawa old DeLacey, and soprano Carmen Harris and tenor singers. The composer himself was on one of the two Jeffrey Boyd, who portrayed the young couple. pianos playing the score, with Ian Bevell on the thun- But the centre of the opera is the Creature created dering organ for the ex- by Victor Frankenstein: a citing events, and Zac very large figure with a Pulak on percussion. complex nature. For this Set designer Mark role, Ager had carefully Shulist supplied the selected huge bass Con- electrical machine to stantine Meglis, whom “awaken” the Creature, he had introduced at the and it was quite impres- Opera Launch this sum- sive, with umpteen cop- mer.
    [Show full text]
  • Download Full Publication
    REPORT UP IN SMOKE HOW THE EU’S FALTERING CLIMATE POLICY IS UNDERMINING THE CITY OF LONDON Will Straw and Reg Platt with Jimmy Aldridge and Esther Cowdery November 2013 © IPPR 2013 Institute for Public Policy Research ABOUT THE AUTHORS Will Straw is associate director for climate change, energy and transport at IPPR. Reg Platt is a senior research fellow at IPPR. Jimmy Aldridge is a research intern at IPPR. Esther Cowdrey is an economic consultant and a finance lecturer in Lyon, France. She is the founder of Carbon- Politics, an economic thinktank devoted to researching how financial markets can best serve the environment. ACKNOWLEDGMENTS The authors would like to thank John Ashton, Graeme Cooke, Richard Folland, Liz Gallagher, Michael Jacobs and Neil Morisetti for their insightful comments on an earlier draft. A number of colleagues at the Department for Energy and Climate Change and Foreign and Commonwealth Office have provided expert advice and guidance throughout the project. We are grateful to them all. All the views contained in the report, of course, remain the authors alone. The following people attended a roundtable discussion at the City of London Corporation on 3 September 2013: Andrew Ager, Richard Folland, Fan Gao, Richard Gledhill, Anthony Hobley, Jonathan Grant, Tom Jackson, Neil Johnson, Abyd Karmali, Simon Kennedy, Niall Mackenzie, Neil Morisetti, David Peniket and Ingo Ramming. Thanks to all of them for their contribution which formed the basis of the discussion in Chapter 4. In addition, we owe a debt of gratitude to a number of other people with whom we spoke over the course of the research.
    [Show full text]
  • Minister's Message
    Volume 34, Number 2 May 2020 CHURCHPOST RIDEAU PARK UNITED CHURCH Rideau Park’s website: Minister’s Message www.rideaupark.ca E-mail: o much of life is about doing the best we can in whatever circumstances [email protected] S life places in our path. That is certainly true in our present situation. We Telephone #: turn on the news and the reality of Covid-19 hits home. Anxiety and fear rise in (613) 733-3156 us as each day brings a higher count of those infected and those who have died. And yet, despite the discouragement, we’re all doing our best to deal with Fax #: (613) 733-1657 life as we know it during a pandemic. “Stay Positive”, advises a sign in the window of a house I pass on my daily walks. I’m trying. Adopting OUR MINISTRY TEAM a positive attitude during a pandemic isn’t easy; on Ministers the other hand, when do we need it more? A posi- Rev. Elizabeth Bryce tive attitude is good for both our emotional and [email protected] spiritual health. And when you think about it, being Ext. 224 positive – looking to the future with hope – is part Rev. Steve Clifton of a Christian’s DNA. We are, after all, an Easter people. [email protected] Ext. 225 If we look beyond the negative, we see every day, right alongside the bad of coronavirus, the good of the people working to combat it. Aren’t you prouder Rev. Georgina Fitzgerald [email protected] than ever to be Canadian? Our political leaders, of every stripe, are working Ext.
    [Show full text]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]
  • Number Composer Arranger Title Publisher Instrumentation Inventory 504 Don't Sit Under the Apple Tree MS 9 651 Carols for Choirs
    number composer arranger title publisher instrumentation inventory 504 Don't sit under the apple tree MS 9 Oxford 651 Carols for choirs 3. The Oxford Book - SATB 13 University Press Oxford 650 Carols for choirs 1,The Oxford Book - SATB 140 University Press Paulus 957 Pilgrims' Hymn (from the Church Opera The Three Hermits) Publications SATB a cappella 56 SP101 Jenson Distinctive 647h Dale Warland Christmas editions, Vol. II Publications 419- accompaniment 57 23054/Vol II s 73 Adamo, Mark Supreme Virtue, No. 10 MS - 1 copy only Double choir 1 906 Aguiar, Ernani Psalm 150 (Salmo 150) earthsongs SATB a cappella 54 983 Albright, William Chichester Mass (Agnus Dei, Gloria, Kyrie, Sanctus) Editions Peters SATB 43 Walton Music Corporation WGK-111; AB 26 Alfven, Hugo Maiden is in a Ring, A (Och jungfrun hon gar I ringen) SATB a cappella 37 Carl Gehrmans Musikforlag. Stockholm 55 Alfven, Hugo Aftonen Walton Music 51 Augsburg 382 Alwes, Chester Let all the people praise thee SATB 8 Publishing 358 Anonymous Verbum caro: dies est laetitiae MS 44 357 Anonymous Nova, nova MS 46 399 Anonymous Ave maria (Gregorian chant) MS SATB 17 Boosey & SATB, 172 Argento, Dominick I Hate and I Love 51 Hawkes percussion SATB, Boosey & 847 Argento, Dominick Toccata of Galuppi's, A harpsichord, 41 Hawkes string quartet Boosey & 239 Argento, Dominick Peter Quince at the clavier SATB, piano 40 Hawkes Boosey & 480 Argento, Dominick Gloria (from The Masque of Angels) SATB 96 Hawkes Boosey & SSA Harp and 63 Argento, Dominick Tria Carmina Paschalia Hawkes B.H. Bk. 21 Guitar
    [Show full text]
  • Hugo Distler (1908-1942)
    HUGO DISTLER (1908-1942): RECONTEXTUALIZING DISTLER’S MUSIC FOR PERFORMANCE IN THE TWENTY-FIRST CENTURY by Brad Pierson A dissertation Submitted in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Giselle Wyers Steven Morrison Program Authorized to Offer Degree: School of Music © Copyright 2014 Brad Pierson ii Acknowledgements It has been an absolute joy to study the life and music of Hugo Distler, and I owe a debt of gratitude to many people who have supported me in making this document possible. Thank you to Dr. Geoffrey Boers and Dr. Giselle Wyers, who have served as my primary mentors at the University of Washington. Your constant support and your excellence have challenged me to grow as a musician and as a person. Thank you to Dr. Steven Morrison and Dr. Steven Demorest for always having questions and forcing me to search for better answers. Joseph Schubert, thank you for your willingness to always read my writing and provide feedback even as you worked to complete your own dissertation. Thank you to Arndt Schnoor at the Hugo Distler Archive and to the many scholars whom I contacted to discuss research. Your thoughts and insights have been invaluable. Thank you to Jacob Finkle for working with me in the editing process and for your patience with my predilection for commas. Thank you to my colleagues at the University of Washington. Your friendship and support have gotten me through this degree. Finally, thank you to my family. You have always supported me in everything I do, and this journey would not have been possible without you.
    [Show full text]
  • Music for the Order of Mass According to the Third Edition of the Roman Missal with Recommended Mass Settings
    Music for the Order of Mass According to the Third Edition of the Roman Missal with Recommended Mass Settings Archdiocese of Philadelphia 2011 The Order of Mass THE INTRODUCTORY RITES The Priest sings or says: In the name of the Father, and of the Son, and of the Holy Spirit. The people reply: A B & œ œ œ œ œ A - men. A - men. Then the Priest greets the people: 1. The grace of our Lord Jesus Christ, and the love of God and the communion of the Holy Spirit be with you all. 2. Grace to you and peace from God our Father and the Lord Jesus Christ. 3. The Lord be with you. The people reply: A B & œ œ œ œ œ á œ And with your spir - it. And with your spir - it 2 THE PENITENTIAL ACT A The Confiteor Brethren (brothers and sisters), let us acknowledge our sins, and so prepare ourselves to celebrate the sacred mysteries. Then all recite together the formula of general confession: I confess to almighty God and to you, my brothers and sisters, that I have greatly sinned, in my thoughts and in my words, in what I have done and in what I have failed to do, And, striking their breast, they say: through my fault, through my fault, through my most grievous fault; Then they continue: therefore I ask blessed Mary ever-Virgin, all the Angels and Saints, and you, my brothers and sisters, to pray for me to the Lord our God. The absolution by the Priest follows: May almighty God have mercy on us, forgive us our sins, and bring us to everlasting life.
    [Show full text]
  • The Renaissance Period (1400 – 1600) a Cappella: the Golden Age
    General Music Cycle 7 Mr. Hamilton Period 3A The Renaissance Period (1400 – 1600) Renaissance means rebirth. This period saw a rebirth in knowledge. The Renaissance was turning from God to man. Science and the arts were becoming more important. Christopher Columbus discovered America and Michelangelo was painting the Sistine Chapel. William Shakespeare was writing his famous plays. Secular music is non-religious music and it was becoming more popular during this time. There was a rise in instrumental music and dance music, too. Johannes Gutenberg invented the printing press during the Renaissance. Some people consider the printing press to be the most important contribution to civilization in the last one thousand years! The printing press allowed documents to be printed quickly. Before the Renaissance, documents had to be copied by hand. One of the most famous persons from the Renaissance was Leonardo da Vinci. He was known as a Renaissance man because he could do many things well. He was a painter, architect, inventor, scientist, poet, musician, and teacher. A Cappella: The Golden Age of Singing This was the golden age of the a cappella style. That means that singers sang without instruments. At this point in history, vocal music was still more important than instrumental music. Madrigals were popular during the Renaissance. These song forms were performed in groups of four, five, or six singers. A madrigal is secular music. This is non-religious music. Madrigals were usually love songs. Religious music was still very important. Choral music of the Renaissance was an extension of the Gregorian chant. It was sung a cappella and sung in Latin.
    [Show full text]
  • AGNUS DEI (From Missa Papae Marcelli) Giovanni Pierluigi Da Palestrina (1562) 2
    AGNUS DEI (from Missa Papae Marcelli) Giovanni Pierluigi da Palestrina (1562) 2 AGNUS DEI from Missa Papae Marcelli (Pope Marcellus Mass) By Giovanni Pierluigi da Palestrina (Italy) Renaissance (1562) LESSON INTRODUCTION Important Terms and Concepts • Timbre: the “color” or quality of sound • Sacred Music: music that was intended for use in a religious setting • Texture: the way in which the melodies, harmonies, and rhythms of a piece are structured or layered • Monophonic: one melodic line only • Homophonic: one main melodic line supported by chords/harmonies • Polyphonic: more than one independent melodic line BEHIND THE MUSIC Giovanni Pierluigi (c. 1525 – 1594) was born in Palestrina, Italy, during the Renaissance. Not much is known about Giovanni’s early life, but it is said that he sold his family farm products on the streets of Rome and would sing songs while he walked around the streets. The choirmaster of Santa Maria heard his impressive vocal talents and started training him in music. Choral music was widely popular, and many composers, including Palestrina, lived their lives attached to the service of the church. At the time, many people felt that music in the church had become too secular. The Pope met with church officials to discuss the situation; and it was suggested that all music be removed except the old Gregorian chant. Legend has copyright 2016 Shreveport Symphony Orchestra www.shreveportsymphony.com 3 it that Palestrina was commissioned to write a choral mass as a test case. The result was Missa Papae Marcelli (the Mass of Pope Marcellus), a work so beautiful that it influenced officials to vote in favor of keeping music.
    [Show full text]