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PIPEDREAMS Programs, May 2021 Spring Quarter
PIPEDREAMS Programs, May 2021 Spring Quarter: The following listings detail complete contents for the May 2021 Spring Quarter PIPEDREAMS broadcasts. The first section includes complete program contents, with repertoire, artist, and recording information. Following that is program information in "short form". For more information, contact your American Public Media station relations representative at 651-290-1225/877- 276-8400 or the PIPEDREAMS Office (651-290-1539), Michael Barone <[email protected]>). For last-minute program changes, watch DACS feeds from APM and check listing details on our PIPEDREAMS website: http://www.pipedreams.org AN IMPORTANT NOTE: It would be prudent to keep a copy of this material on hand, so that you, at the local station level, can field listener queries concerning details of individual program contents. That also keeps YOU in contact with your listeners, and minimizes the traffic at my end. However, whenever in doubt, forward calls to me (Barone). * * * * * * * PIPEDREAMS Program No. 2118 – May Flowers (distribution on 5/3/2021) Maytime Flowers . in hopes that April showers have done their work, we offer up this melodious musical bouquet. [Hour 1] AARON DAVID MILLER: A Flower Opens –Aaron David Miller (1979 Fisk/House of Hope Presbyterian Church, Saint Paul, MN) Pipedreams Archive (r. 3/18/12) SIR FREDERICK BRIDGE: Flowers of the Forest –Simon Nieminski (1913 Brindley & Foster/Freemasons Hall, Edinburgh) Pro Organo 7240) LEONARD DANEK: Flowers –Leonard Danek (1979 Sipe/Hennepin Avenue United Methodist Church, -
Philip Moore Dialogues
PROMOTIONAL COPY for reading only Philip Moore Dialogues for organ 2 Dialogues for organ Commissioned for the 29th St Albans International Organ Competitions (Interpretation Competition, Quarter Final 2), which took place on 12th, 13th and 14th July 2017 First published 2017 Duration: about 7 minutes Notes for performance 1. Registration is left to the player, but manual changes are suggested. 2. The outer sections should sound bright and incisive. 3. The middle section, from bar 78 to 113, should be more lyrical in sound. 4. The phrasing and articulation are indicated and the pattern set in the opening bars should be applied where appropriate. also available by Philip Moore for organ Impromptu Prelude and Fugue in G major Published by Encore Publications www.encorepublications.com 3 About the work The title refers to the way in which some of this work features dialogues between pedals and manuals. Dialogues is in Sonata form. Although the work is in no way serial, many of the phrases contain all twelve notes of the chromatic scale, such as the opening pedal theme as well as in the first bar where the manuals and pedals sound together. The first phrase of the second subject also uses all twelve notes. The opening pedal theme dominates the first subject and appears in various forms; for instance, its second appearance is in inversion. The first subject is in 4/4 time, although the rhythmic patterns do not always reflect this. The first and second subjects are of almost identical length, in terms of crotchet beats, but in the second subject the time signature varies constantly. -
PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer. -
The Tuesday Concert Series at Tuesday Maintain Epiphany’S Artistic Profile the Church of the Epiphany and Its Instruments
the HOW YOU CAN CONSIDER HELPING THE TUESDAY CONCERT SERIES AT TUESDAY MAINTAIN EPIPHANY’S ARTISTIC PROFILE THE CHURCH OF THE EPIPHANY AND ITS INSTRUMENTS CONCERT The Tuesday Concert Series reaches out to the entire metropolitan Washington community 52 weeks of the year, and Since the Church of the Epiphany was founded in brings both national and international artists here to 1842, music has played a vital role in the life of the parish. The Tuesday Concert Series reaches out to the SERIES Washington, DC. The series enjoys partnerships with many entire metropolitan Washington community and runs artistic groups in the area, too, most keenly with the Washington throughout the year. No other concert series follows July - December Bach Consort, the Levine School of Music, and the Avanti such a pattern and, as such, it is unique in the 2017 Orchestra. Washington, DC area. There is no admission charge to the concerts, and visitors and Epiphany houses three fine musical instruments: The regular concert-goers are invited to make a freewill offering to Steinway D concert grand piano was a gift to the support our artists. This freewill offering has been the primary church in 1984, in memory of vestry member Paul source of revenue from which our performers have been Shinkman, and the 4-manual, 64-rank, 3,467-pipe remunerated, and a small portion of this helps to defray costs of Æolian-Skinner pipe organ (1968) is one of the most the church’s administration, advertising and instrument upkeep. versatile in the city. The 3-stop chamber organ (2014), Today, maintaining the artistic quality of Epiphany’s series with commissioned in memory of Albert and Frances this source of revenue is challenging. -
INTERVIEWS with the DIRECTORS of Five ENGLISH CHOIRS of MEN and BOYS by Ronald R
•••••••• CI ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• INTERVIEWS WITH THE DIRECTORS OF FIvE ENGLISH CHOIRS OF MEN AND BOYS by Ronald R. Sider HE FOLLOWING British choirs touring under the History and Tradition interviews were conducted auspices of Truckenbrod during July of 1990. The management are: Christ Church, History and tradition surround these five directors included were Oxford (March 1992); Trinity choirs. At St. Paul's Cathedral, selected because they and College, Cambridge (September music spans at least 800 years. The their choirs were scheduled 1992); Clare College, Cambridge earliest written records show a choir to tour the United States in (September 1993); and Canterbury school's existence in the 12th the ensuing several years, Cathedral (April 1994) . Choirs century. At King's College, when the and it was felt that American statutes of the College were choral conductors would .STEPF-IEN'·CEEOBURV'::-'"'' ""'1 laid down in 1445, six welcome information about fN, 'r2C1 0', III, ITT ~":r!R'I' singing men and 15 singing the choirs and their touring If1llUIJ VLll.JLU1...Ii boys were on the list of schedules. ' 'd establishment. St. John's St. John's College Choir, Camh, .n~e College received its charter in under George Guest, who 1511, and a chapel choir has has recently retired, com .PHILIP MOORE . '1,i sung daily services since that pleted a tour in October of rCYT'Pl1 -u: 1 time. Perhaps most impres- 1990; York Minster Choir, YORK.M1IY0.ll...JI:l.lJork . sive is York Minster, which under Philip Moore, toured I has had a functioning choir this past spring. The tour NELL,' III school since 6271 Tradition plans for Westminster -JAMES O'DON' defines and delineates Cathedral Choir, under 'W.ESf.MllYsmR.(JfJJf]5DRALfl function, and consequently J ames O'Donnell, did not 'T X-.nA,, OYJ, : ,Iii the service of Evensong is develop. -
Gabriel Jackson
Gabriel Jackson Sacred choral WorkS choir of St Mary’s cathedral, edinburgh Matthew owens Gabriel Jackson choir of St Mary’s cathedral, edinburgh Sacred choral WorkS Matthew owens Edinburgh Mass 5 O Sacrum Convivium [6:35] 1 Kyrie [2:55] 6 Creator of the Stars of Night [4:16] Katy Thomson treble 2 Gloria [4:56] Katy Thomson treble 7 Ane Sang of the Birth of Christ [4:13] Katy Thomson treble 3 Sanctus & Benedictus [2:20] Lewis Main & Katy Thomson trebles (Sanctus) 8 A Prayer of King Henry VI [2:54] Robert Colquhoun & Andrew Stones altos (Sanctus) 9 Preces [1:11] Simon Rendell alto (Benedictus) The Revd Canon Peter Allen precentor 4 Agnus Dei [4:24] 10 Psalm 112: Laudate Pueri [9:49] 11 Magnificat (Truro Service) [4:16] Oliver Boyd treble 12 Nunc Dimittis (Truro Service) [2:16] Ben Carter bass 13 Responses [5:32] The Revd Canon Peter Allen precentor 14 Salve Regina [5:41] Katy Thomson treble 15 Dismissal [0:28] The Revd Canon Peter Allen precentor 16 St Asaph Toccata [8:34] Total playing time [70:22] Recorded in the presence Producer: Paul Baxter All first recordings Michael Bonaventure organ (tracks 10 & 16) of the composer on 23-24 Engineers: David Strudwick, (except O Sacrum Convivium) February and 1-2 March 2004 Andrew Malkin Susan Hamilton soprano (track 10) (choir), 21 December 2004 (St Assistant Engineers: Edward Cover image: Peter Newman, The Choir of St Mary’s Episcopal Cathedral, Asaph Toccata) and 4 January Bremner, Benjamin Mills Vapour Trails (oil on canvas) 2005 (Laudate Pueri) in St 24-Bit digital editing: Session Photography: -
The TUESDAY CONCERT SERIES
the HOW YOU CAN CONSIDER HELPING THE TUESDAY CONCERT SERIES AT TUESDAY MAINTAIN EPIPHANY’S ARTISTIC PROFILE THE CHURCH OF THE EPIPHANY AND ITS INSTRUMENTS CONCERT Since the Church of the Epiphany was founded in The Tuesday Concert Series reaches out to the entire 1842, music has played a vital role in the life of the metropolitan Washington community 52 weeks of the year, parish. The Tuesday Concert Series reaches out to SERIES and brings both national and international artists here to the entire metropolitan Washington community and Washington, DC. The series enjoys partnerships with many runs throughout the year. No other concert series July - December artistic groups in the area too, most keenly with the follows such a pattern and, as such, it is unique in 2016 Washington Bach Consort, the Levine School of Music, and the Washington, DC area. the AVANTI Orchestra. Epiphany houses three fine musical instruments: There is no admission charge to the concerts and visitors and The Steinway D concert grand piano was a gift to the regular concert-goers are invited to make a freewill offering to church in 1984, in memory of vestry member Paul support our artists. This freewill offering has been the primary Shinkman, and the 4-manual, 64-rank, 3,467-pipe source of revenue from which our performers have been Æolian-Skinner pipe organ (1968) is one of the most remunerated and a small portion of this helps to defray costs of versatile in the city. The 3-stop chamber organ the church’s administration, advertising and instrument (2014), commissioned in memory of Albert and upkeep. -
Alan Hovhaness Across the Ages Troy1805 Albany Records U.S
ALAN HOVHANESS ACROSS THE AGES WWW.ALBANYRECORDS.COM TROY1805 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 christina gullans, cello ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD jeremy filsell, piano TEL: 01539 824008 © 2020 ALBANY RECORDS MADE IN THE USA DDD sowne ensemble WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Gullans_1805_book.indd 1-2 1/29/20 8:29 AM THE RECORDING the Indian jhala rhythmic pattern akin to a Western toccata. The third movement, Intermezzo, Across the Ages features cello works written by the prolific American composer Alan Hovhaness begins with a light-hearted dialog that gradually evolves into an exuberant celebration while (1911-2000). Inspired by elements of ancient Armenian, Japanese, and Indian music, the collec- the next movement, Tremolando glissando, creates a haunting, wintery atmosphere, present tion of works reflects Hovhaness’ renowned ability to synthesize different musical traditions. in many of Yakamochi’s poems. The Suite ends with the Requiem movement, which is a somber Utilizing the cello’s rich and expressive nature, Hovhaness’ music reveals the timeless connec- reflection ultimately closing on a philosophical note. The movement brings to mind the follow- tion we have to past civilizations, to nature, and to one another. ing poem written by Yakamochi: THE MUSIC This world Alan Hovhaness’ music is universal and spiritually uplifting. His profound understanding of Does not go on forever- Western and non-Western musical traditions came from having an early mentorship under Men know it, yet Jean Sibelius (Finland), from being a student of Frederick Converse (England Conservatory), With the chilly autumn wind from being a long-time organist for St. -
Organ Ccwatershed.Org/Campion
UID SUM MISER TUNC DICTURUS? QUEM PATRONUM ROGATU- A ConcertRUS, CUM for VIX JUSTUS All SIT SaintsSECURUS? QUI MARIAM and ABSOLVISTI, All ET Souls Q LATRONEM EXAUDISTI, MIHI QUOQUE SPEM DEDISTI. (Sequence) Quia in qua venit omnes hora John 5: 28 HAT SHALL I, WRETCHED, THEN SAY? WHOM The ChoirSHALL of I INVOKEThe Church AS PROTECTOR, of the Epiphany WHEN EVEN THE JUST SHALL HARDLY BE SECURE? THOU WHO DIDST ABSOLVEWashington, MARY, ANDD.C. DIDST HEARKEN WTO THE THIEF, TO ME ALSO THOU HAST GIVEN HOPE. St. Edmund CampionDr. Missal Jeremy & Hymnal Filsell, for Director the Traditional Latin Mass Christopher Betts, Organ ccwatershed.org/Campion St. John the Evangelist Roman Catholic Church Lambertville, NJ Saturday, October 31, 2015 6:00 p.m. Program Gaudeamus (from Sequence for All Saints) Kenneth Leighton (1929-1988) Gaudeamus. Rejoice in the Lord, O ye righteous: for it becometh well the just to be thankful. Rejoice all and praise the Lord; celebrating a holy day in honor of all the saints. Alleluia. Give us the wings of faith to rise within the veil and see the saints above, how great their joys, how bright their glories be. I ask them whence their victory came: They, with united breath, Ascribe their conquest to the Lamb, Their triumph to His death. Our glorious Leader claims our praise for His own pattern giv’n; While the long cloud of witnesses show the same path to Heav’n. Beati mundo corde William Byrd (1540-1623) Beati mundo corde, Blessed are the pure in heart, quoniam ipsi Deum videbunt. for they shall see God. -
OCTOBER 2019 the Church of the Redeemer Chestnut Hill
THE DIAPASON OCTOBER 2019 The Church of the Redeemer Chestnut Hill, Massachusetts Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN RAéL PRIETO RAM°REZ ^^d/E,/E> 2019 W®ÙÙ^͘çWÊÄã &®ÙÝãWÙ®þt®ÄÄÙ >ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄ ò®½½®Äã«h͘^͘ ¦®ÄĮĦ®ÄÝçÃÃÙ JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 10, The Gruenstein Award Whole No. 1319 Last month’s issue unveiled our OCTOBER 2019 new S. E. Gruenstein Award, Established in 1909 honoring the founder and fi rst edi- Stephen Schnurr ISSN 0012-2378 tor of The Diapason. Nominations 847/954-7989; [email protected] are being accepted through January www.TheDiapason.com An International Monthly Devoted to the Organ, 31, 2020, recognizing the scholarly the Harpsichord, Carillon, and Church Music work of a young author who has not advertising inquiries, please contact Jerome Butera (jbutera@ reached her or his 35th birthday as of sgcmail.com; 608/634-6253). The deadline for listings and CONTENTS January 31, 2020. advertising is November 1. FEATURES Submissions must be original Olivier Messiaen Competition: Church of research and essays by the author, In this issue St. -
Friday Music at Midday
FRIDAY MUSIC AT MIDDAY 5 THOMAS CIRCLE, NW WASHINGTON, DC 20005 carol feather martin Organist November 13, 2020 12:15 p.m. keepers of the legacy: music of the organists of notre-dame Final Louis Vierne from 1re Symphonie (1898-1899) (1870-1937) Fuga V. (1784) Jean-Jacques Beauvarlet-Charpentier from Six Fugues pour l’Orgue, Op. 6 (1734-1794) Préludes XIV, XI, VII, (1965-1975) Jean-Pierre Leguay From 19 Préludes pour orgue (1939- ) Scherzo symphonique (1974) Pierre Cochereau Improvisation transcribed by Jeremy Filsell (1924-1984) meet the artist Carol Feather Martin, a native of North Carolina, graduated from Oberlin Conservatory with a BM in piano performance and MM degree in Organ Performance and Piano Chamber Music and Accompanying Performance from Catholic University. Carol is Director of Music and Arts and Organist at Trinity Presbyterian Church in Arlington, Virginia where she works with all ages of singers, handbell ringers and instrumentalists. She also is a Artist instructor of piano for Mason Community Arts Academy and Arts and Minds Academy. For 10 years, Carol was the Artistic Director of Virginia Bronze, an auditioned community handbell ensemble. Through the years, Carol’s diverse musical tastes have served her well as she has arranged music and uniquely constructed programs for various ensembles and guest artists. Solo and chamber music recitals have taken Carol to many areas of the U.S. and also Canada and Germany. She is a champion of newly composed and American music as well as standard repertoire and transcriptions. She is a frequent clinician and consultant for professional music organizations. -
The Best of Kevin Bowyer Discover
The Best of Kevin Bowyer Discover NI 1708 1 NI 1708 DISCOVER … Organ Masterworks of the 20th Century Also available by Kevin Bowyer Kevin Bowyer Marcussen Organs at The Chapel of St. Augustine, Tonbridge School, Kent, UK and at * Odense Cathedral, Denmark DISC ONE 78.14 1 Carl Nielsen (1865-1931) Commotio Op. 58 (1931) *21.21 Franz Syberg (1904-1955) 2-4 Präludium, Intermezzo og Fugato (1934) *17.13 www.wyastone.co.uk ‘search’ bowyer I Praludium (5.58) II Intermezzo (5.03) III Fugato (6.14) 5-7 Paul Hindemith (1895-1963) Sonate II (1937) *10.45 I Lebhaft (3.57) II Ruhig bewegt (4.00) III Fuge. Massig bewegt, heiter (2.48) Arnold Schoenberg (1874-1951) 8 Variations on a Recitative Op. 40 (1941) *14.40 Peter Maxwell Davies (1934-2016) 9 Fantasia on ‘O Magnum Mysterium’ (1960) 14.13 2 NI 1708 NI 1708 23 DISC TWO 78.06 1-3 Per Nørgård (b.1932) Partita Concertante Op. 23 (1958) *19.40 I Fantasia (7.06) II Canto variato (5.57) III Toccata (6.43) Malcolm Williamson (1931-2003) 4-5 Epitaphs for Edith Sitwell (1965) 5.28 I Adagio (3.09) II Adagio (2.19) 6 Jean Langlais (1907-1991) Poem of Happiness (1967) 6.21 Recorded at the Carthy Organ, Jack Singer Concert Hall, Calgary, Canada 7 Jehan Alain (1911-1940) Le Jardin Suspendu 6.25 Alan Ridout (1934-1996) 8-14 The Seven Last Words (1967) 18.25 I ‘Father forgive them: for they know not what they do’ (1.40) II ‘Woman, behold thy son…Behold thy mother’ (3.02) III ‘My God, my God, why hast Thou forsaken me?’ (1.32) IV ‘Verily I say unto thee: Today shalt thou be with me in paradise’ (3.05) V ‘I thirst’ (1.51) VI ‘It is finished’ (3.35) VII ‘Father, into Thy hands I commend my spirit’ (3.40) 15 Henryk Górecki (1933-2010) Kantata Op.