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Blackburn Cathderal Newsletter
1 Howard was your editor’s most generous host when he (JB) and Lords Lieutenant, High Sheriffs and Mayors round every was invited to lead a Master-Class for the choristers of Chichester corner – yet Howard looked after his own guest superbly. In and Winchester Cathedrals at the Southern Cathedrals’ Festival in other words, he is not only supremely efficient (as we in Chichester last summer. Blackburn know) but also a most gracious and generous Howard lives in the Close, right next door to the Deanery, in a friend. It was a most happy visit. most delightful ‘Tardis’ house which is considerably bigger inside Although Howard than out. From one of his three guest bedrooms there’s an has three assistant unparalleled view of the cathedral. His garden, too, is exquisite. vergers, yet he is always on call through his mobile phone. He dealt with at least one crisis most calmly and efficiently: the loudspeaker system had a glitch, which had to be rectified before a major service. Within half an hour all was well, and no one, apart from Howard and his assistant, knew what he had done. Even though he was rushed off his feet during the four very It was such privilege for your editor to lead a 75-minute busy days of the Festival – for not only were there two visiting Master Class with the choristers of Chichester and cathedral choirs, Winchester and Salisbury, but also their Girls’ Winchester, for they were so talented, so professional and choirs, and clergy of those two cathedrals plus a visiting orchestra, so co-operative. -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16 -
BARSTOW, Robert Squire, 1936- the THEATRE MUSIC of DANIEL PURCELL
This dissertation has been microfilmed exactly as received 6 9 -4 8 4 2 BARSTOW, Robert Squire, 1936- THE THEATRE MUSIC OF DANIEL PURCELL. (VOLUMES I AND II). The Ohio State University, Ph.D., 1968 Music University Microfilms, Inc., Ann Arbor, Michigan Copyright by Robert Squire Barstow 1969 - THE THEATRE MUSIC OF DANIEL PURCELL .DISSERTATION Presented in Partial Fulfillment of the Requirements for_ the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Squire Barstow, B.M., M.A. ****** The Ohio State University 1968 Approved by Department of Music ACKNOWLEDGMENTS To the Graduate School of the Ohio State University and to the Center of Medieval and Renaissance Studies, whose generous grants made possible the procuring of materials necessary for this study, the author expresses his sincere thanks. Acknowledgment and thanks are also given to Dr. Keith Mixter and to Dr. Mark Walker for their timely criticisms in the final stages of this paper. It is to my adviser Dr. Norman Phelps, however, that I am most deeply indebted. I shall always be grateful for his discerning guidance and for the countless hours he gave to my problems. Words cannot adequately express the profound gratitude I owe to Dr. C. Thomas Barr and to my wife. Robert S. Barstow July 1968 1 1 VITA September 5, 1936 Born - Gt. Bend, Kansas 1958 .......... B.M. , ’Port Hays Kansas State College, Hays, Kansas 1958-1961 .... Instructor, Goodland Public Schools, Goodland, Kansas 1961-1964 .... National Defense Graduate Fellow, The Ohio State University, Columbus, Ohio 1963............ M.A., The Ohio State University, Columbus, Ohio __ 1964-1966 ... -
Judith Bingham
RES10108 THE EVERLASTINGCROWN JUDITH BINGHAM Stephen Farr - Organ The Everlasting Crown Judith Bingham (b. 1952) The Everlasting Crown (2010) 1. The Crown [3:52] Stephen Farr organ 2. Coranta: Atahualpa’s Emerald [3:20] 3. La Pelegrina [4.38] 4. The Orlov Diamond [2:56] 5. The Russian Spinel [4:22] 6. King Edward’s Sapphire [5:34] 7. The Peacock Throne [7:09] About Stephen Farr: Total playing time [31:54] ‘ superbly crafted, invigorating performances, combining youthful vigour and enthusiasm with profound musical insight and technical fluency’ All tracks are world premiere recordings and were Gramophone recorded in the presence of the composer ‘[...] in a superb and serious organ-recital matinee by Stephen Farr, the chief work was the world premiere of The Everlasting Crown by Judith Bingham’ The Observer The Everlasting Crown The gemstone is seen as somehow drawing these events towards itself: its unchanging Ideas for pieces often, for me, result from and feelingless nature causes the inevitable coming across oddball books, be it anthologies ruin of the greedy, ambitious, foolish and of poetry, or out of print rarities. A few years foolhardy, before passing on to the next ago I came across Stories about Famous victim. One wonders why anyone craves the Precious Stones by Adela E. Orpen (1855- ownership of the great stones as their history 1927), published in America in 1890. In this is of nothing but ruin and despair! All of the book, it is not the scholarship that matters, stones in this piece can still be seen, many more the romance and mythology of the of them in royal collections, some in vaults. -
Choral & Organ Awards Booklet
INDIVIDUAL COLLEGE PAGES Christ’s 2 Churchill 3 Clare 4 Corpus Christi 6 Downing 8 Emmanuel 9 Fitzwilliam 11 Girton 13 Gonville & Caius 15 Homerton 17 Jesus 19 King’s 21 King’s Voices 22 Magdalene 23 Newnham (see Selwyn) 35 Pembroke (Organ Awards only) 24 Peterhouse 26 Queens’ 28 Robinson 30 St Catharine’s 31 St John’s 32 St John’s Voices 34 Selwyn 35 Sidney Sussex 37 Trinity 39 Trinity Hall 41 1 CHRIST’S COLLEGE www.christs.cam.ac.uk In addition to singing for service twice weekly in College, Christ’s choir pursues an exciting range of activities outside of Chapel, regularly performing in London and around the UK, recording CDs, broadcasting, and undertaking major international tours. The choir is directed by the Director of Music, performer and musicologist David Rowland, assisted by the Organ Scholars. Organ Scholarships The College normally has two Organ Scholars who assist the Director of Music in running and directing the Chapel choir. Organ scholars may study any subject except Architecture and the College has a history of appointing individuals reading science subjects as well as arts and humanities. The organ scholars are also encouraged to play a full part in other College musical activities through the Music Society, which offers opportunities for orchestral and choral conducting, as well as the chance to perform in chamber recitals, musicals, etc. In addition to the honorarium which an Organ Scholar receives each year, the College pays for organ lessons. Both organ scholars have designated rooms in college that are equipped with pianos and practice organs. -
SEPTEMBER 2018 All Saints Episcopal Church Southern Shores
THE DIAPASON SEPTEMBER 2018 All Saints Episcopal Church Southern Shores, North Carolina Cover feature on pages 26–27 ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO JAMES DAVID CHRISTIE 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 SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 9, A new season Whole No. 1306 As I write this on August 1, I realize you will read this at SEPTEMBER 2018 the end of this month or early September, the very last days of Established in 1909 summer. Most choirs and ensembles will soon begin rehears- Stephen Schnurr ISSN 0012-2378 als for their weekly services or seasonal concerts. The staff of 847/954-7989; [email protected] The Diapason hopes that these past weeks and months have www.TheDiapason.com An International Monthly Devoted to the Organ, provided you a bit of respite from the myriad activities you will the Harpsichord, Carillon, and Church Music soon experience. 20 Under 30 Our “Here & There” section this month contains listings for The Diapason’s 20 Under 30 program returns in December! CONTENTS many church, university, civic, and regional ensembles that will We will recognize once again young women and men whose FEATURES excite you with opportunities for excellence in organ and choral career accomplishments place them at the forefront of the organ, The 1864 William A. -
529494 Vol1.Pdf
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The organs of Westminster Abbey and their music, 1240-1908 Knight, D. S The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 The Organs of Westminster Abbey and their Music, 1240-1908 David Stanley Knight PhD, Historical Musicology King's College, University of London 2001 (LcL) Abstract This dissertation considers the history of the organs in Westminster Abbey and the music performed on them from the eleventh century to the start of the twentieth. -
Download Handbook for Studies in Eighteenth-Century English Music
Handbook for studies in eighteenth-century English music, Michael Burden, Irena Cholij, Faculty of Music, University of Edinburgh, 1999, 0953170829, 9780953170821, . DOWNLOAD http://bit.ly/1boYayN History of English music , Henry Davey, 1921, Music, 505 pages. London music in 1888-89 as heard by Corno di Bassetto (later known as Bernard Shaw) with some further autobiographical particulars, Bernard Shaw, 1917, Music, 419 pages. Music at Oxford in the Eighteenth and Nineteenth Centuries , , 2001, Music, 250 pages. In addition, the author examines the achievements of a number of individual musical personalities, drawing particular attention to the role of William Crotch, Frederick Ouseley .... The English musical renaissance , Frank Stewart Howes, 1966, Music, 381 pages. History of English music and composers, the influences on them during the 19th century, the folk-song revolution and the growth of an English tradition in music in the 20th .... A survey of musical activities in Cornwall , Myrna May Combellack, 1974, Music, 16 pages. The Pleasures of the Imagination English Culture in the Eighteenth Century, John Brewer, Mar 12, 2013, Art, 564 pages. "First published in 1997 by Farrar, Straus and Giroux.". A social history of English music , Eric David Mackerness, 1964, Music, 307 pages. ASECS News Circular , , Jan 1, 1988, History, . The Countess of Stanlein Restored , Nicholas Delbanco, 2001, Music, 104 pages. Antonio Stradivarius of Cremona was the greatest of instrument makers. His violins and cellos remain the Platonic ideal and the template for contemporary luthiers; they show .... The English Urban Renaissance Culture and Society in Rhe Provincial Town 1660-1770, Peter Borsay, 1991, History, 416 pages. -
Choral & Organ Awards Booklet
INDIVIDUAL COLLEGE PAGES Christ’s 2 Churchill 3 Clare 5 Corpus Christi 7 Downing 8 Emmanuel 9 Fitzwilliam 11 Girton 13 Gonville & Caius 15 Homerton 17 Jesus 19 King’s 21 King’s Voices 22 Magdalene 23 Newnham (see Selwyn) 35 Pembroke (Organ Awards only) 24 Peterhouse 26 Queens’ 28 Robinson 30 St Catharine’s 31 St John’s 32 St John’s Voices 34 Selwyn 35 Sidney Sussex 37 Trinity 39 Trinity Hall 41 1 CHRIST’S COLLEGE www.christs.cam.ac.uk In addition to singing for service twice weekly in College, Christ’s choir pursues an exciting range of activities outside of Chapel, regularly performing in London and around the UK, recording CDs, broadcasting, and undertaking major international tours. The choir is directed by the Director of Music, performer and musicologist David Rowland, assisted by the Organ Scholars. Organ Scholarships The College normally has two Organ Scholars who assist the Director of Music in running and directing the Chapel choir. Organ scholars may study any subject except Architecture and the College has a history of appointing individuals reading science subjects as well as arts and humanities. The organ scholars are also encouraged to play a full part in other College musical activities through the Music Society, which offers opportunities for orchestral and choral conducting, as well as the chance to perform in chamber recitals, musicals, etc. In addition to the honorarium which an Organ Scholar receives each year, the College pays for organ lessons. Both organ scholars have designated rooms in college that are equipped with pianos and practice organs. -
Press Information
PRESS INFORMATION News Desk From: To: Christine Doyle Date: Thursday 11th September 2014 Tel: 07769738180 Coventry Cathedral’s lunchtime organ concert on Monday 15th September at 1pm On Monday 15th September the guest organist at the Cathedral’s lunchtime concert will be Benjamin Chewter from Chester Cathedral. Benjamin will be performing Veni Creator Spiritus (1: Plein Jeu, 2: Fugue à 5, 3: Duo, 4: Récit du Cromorne, 5: Dialogue sur les Grands Jeux) by de Grigny, Ave Maria, Ave Maris Stella (Trois Paraphrases Grégoriennes, Op.5 No.2) by Langlais, Aria by Peeters and Allegro deciso (Evocation) by Dupré. Admission to the lunchtime concert series is free of charge. For details of all the concerts, visit www.coventrycathedral.org.uk or pick up a leaflet at the Cathedral entrance or Gift Shop. -ends- Notes to Editors Benjamin Chewter is the Assistant Director of Music at Chester Cathedral where he is responsible for the accompaniment of the statutory services; he also assists with the training of the choristers and directs the Cathedral’s Nave Choir. Benjamin was educated at Christ's Hospital School and held the Organ Scholarship at Canterbury Cathedral before going up to Emmanuel College, Cambridge as Organ Scholar (where he read Music and was Organist of King’s Voices, the mixed-voice choir of King’s College Chapel). Subsequently he held the Organ Scholarship at Westminster Abbey and was Assistant Organist of Lincoln Cathedral for three years before taking up his current post. As an organist and conductor he has performed extensively throughout the UK (at venues including Westminster Abbey, Lichfield, Gloucester, St Paul’s, Canterbury, St Albans and Westminster Cathedrals, and St John's Smith Square in London) and abroad (Sweden, Mexico, Latvia, France, Belgium, Poland and Germany). -
July2007fullissue.Pdf
THE DIAPASON JULY, 2007 Our Lady of Mt. Carmel Parish Kenosha, Wisconsin Cover feature on pages 26–27 “The 50th anniversary celebration of the Bach Festival culminated in a very impressive organ recital by Huw Lewis. A performer with an international reputation, he presented an almost-all-Bach program of thoroughly challenging works....With panache, Lewis deftly negotiated the many moods and rapid-fire register changes that make this work (Liszt BACH) such a dynamic closing number.” (Kalamazoo Gazette MI) “Dr. Lewis played with great authority, but also with an elegance and sensitivity to style, room, and instrument, and received the first standing ovation of the [AGO] convention.” (The American Organist) “Superb music, superbly executed...His repertoire includes the greatest, most demanding of the master works for organ and he plays them with great understanding, technical mastery and sensitivity....Lewis, with incredible technical skill, kept everything under control and tasteful.” (The Holland Sentinel MI) “Apart from being immensely enjoyable, it was an object lesson in how to prepare for, and give, a performance at the highest level on an instrument not of your choosing. Another memorable feature was the marvelous freshness of [his] playing following so many hours of grinding practice.” (K. B. Lyndon, RCCO, London ON) HuwHuw LewisLewis Concert Organist Faculty, Hope College, Holland, Michigan “I must tell you how delighted we were with the masterful performance by Huw Lewis...I am thrilled with the musicality of his playing. Anyone who can command the attention of an audience made up of non-concert- goers on the most gorgeous Sunday afternoon of the fall while playing a Bach Trio-Sonata on the most mediocre of instruments is an artist indeed.” (Larry L. -
Body.Pdf (2.213Mb)
Introduction The rise of English Protestantism and the ultimate victory of Oliver Cromwell produced a curious phenomenon in early modern England: the silencing and eventual destruction of the pipe organ in cathedrals and parish churches across the land. In this dissertation I examine the complex social conditions that led to this state of affairs. It is my contention that in England during the course of the sixteenth and seventeenth centuries, this ecclesiastical instrument figuratively embodied and literally gave voice to the Roman Catholic Church. When the Protestant Reformation silenced the Catholic Mass, the pipe organ was silenced as well. Because this ancient technology was emblematic of much that was despised in Catholicism, it came under assault by the Anglicans, the Puritans, the Monarchy, the Parliament, Oliver Cromwell’s army, and even the militant rabble-rouser in the street. Attackers ranged from the Acts of the English Parliament to the axe of the Parliamentary soldier. My hypothesis is that the symbolic role played by the pipe organ in early modern English society was responsible for causing this instrument to become the tangible target of wide-ranging aggression. This hypothesis is further enhanced by an investigation of the events that immediately followed the Commonwealth Era in England. With the Restoration of the Monarchy came the restoration of the organ.1 By the close of the seventeenth century, the King of Instruments had not merely survived; it had fully recovered and had begun to flourish in the wake of the devastation that had forced it to forsake its long-accustomed role in English society.