DOCSLIB.ORG

Worcester Cathedral Music Muniments Item Year Subject A1.3.A1 1854 Grand Evening Concert at Music Hall, Worcester for the Benefi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Worcester Cathedral Music Muniments Item Year Subject A1.3.A1 1854 Grand Evening Concert at Music Hall, Worcester for the Benefi Worcester Cathedral music muniments Item Year Subject A1.3.A1 1854 Grand Evening Concert at Music Hall, Worcester for the benefit of the Coal Fund A1.3.A2a 1854 Grand Amateur Concert at Worcester Music Hall, for the benefit of the Wives and Children of the Soldiers who have gone to the East A1.3.A2b 1854 Concert Programme for an amateur concert at Worcester Music Hall for the benefit of Wives and Children of the Soldiers who have gone to the East A1.3.A3 1855 Concert Programme for Mr J H D'Egville's Testimonial Concert at Worcester Music Hall A1.3.A4 1855 Worcester Glee & Madrigal Union Monday Evening Concerts at the Natural History Room, Foregate Street, 12 March, 19 March, 26 March, 2 April, 9 April A1.3.A5 [1855?] Concert Programme for Worcester Glee & Madrigal Union A1.3.A6 1857 Evening concert, Mr J H D'Egville's Vocal and Instrumental Concert at the Worcester Music Hall A1.3.A7 1857 Amateur concert at Worcester Music Hall A1.3.A8 1857 Amateur concert by Ladies and Gentlemen of the City and County of Worcester in aid of the funds for the Working Man's Institute at Worcester Music Hall A1.3.A9 1858 Amateur concert in honour of the marriage of HRH the Princess Royal at the Natural History Room A1.3.A10 1864 A grand amateur concert in aid of the fund for the Restoration of Kempsey Church at Worcester Music Hall with the Festival Choral Society and others A1.3.A11 1868 Grand Vocal and Instrumental concert at Worcester Music Hall. The proceeds of the concert will be given to the Fund for the new organ for St Clements Church A1.3.A12 1879 Programme for performances on the New Organ which will be opened at Worcester Music Hall A1.3.A13 1885 Concert Programme for Worcestershire Musical Union Eleventh Concert A1.3.B1a 1867 Report and Balance Sheet for the years 1865-6 and 1866-7 for Worcester Festival Choral Society, presented at the General Meeting at the Guildhall A1.3.B1b 1868 Report and Balance Sheet for the year 1867-1868 for Worcester Festival Choral Society A1.3.B2 1862 Concert Programme for Worcester Festival Choral Society First Concert at the Music Hall - The Creation first and second parts A1.3.B3 1862 Concert Programme for Worcester Festival Choral Society Second Concert at the Music Hall - Acis and Galatea A1.3.B4 1862 Leaflet for Worcester Festival Choral Society Second Concert with programme A1.3.B5 1864 Leaflet for the Worcester Festival Choral Society First Concert at the Music Hall A1.3.B7 1864 Concert Programme for Worcester Festival Choral Society First Concert at the Music Hall A1.3.B8 1865 Concert Programme for Worcester Festival Choral Society First Concert at the Music Hall A1.3.B9 1865 Duplicate of A1.3 B8 A1.3.B10 1865 Concert Programme for Worcester Festival Choral Society Second Concert at the Music Hall A1.3.B11 1865 Concert Programme for Worcester Festival Choral Society Third Concert at the Music Hall A1.3.B12 1866 Concert Programme for Worcester Festival Choral Society First concert at the Music Hall, selections from Handel's Samson A1.3.B13a 1866 Concert Programme for Worcester Festival Choral Society second concert in the Music Hall A1.3.B13b 1866 Book of the Words for Worcester Festival Choral Society second concert at the Music Hall A1.3.B14 1866 Concert Programme for Worcester Festival Choral Society Thirsd Concert at the Music Hall A1.3.B15a 1867 Concert Programme for Worcester Festival Choral Society First Concert at the Music Hall A1.3.B15b 1867 Concert Programme for Worcester Festival Choral Society first concert at the Music Hall A1.3.B16 1867 Concert Programme for Worcester Festival Choral Society Third Concert at the Music Hall A1.3.B17 1867 Concert Programme for Worcester Festival Choral Society Third Concert at the Music Hall A1.3.B18 1867 Concert Programme for Worcester Festival Choral Society First Concert at the Music Hall A1.3.B19 1868 Concert Programme for Worcester Festival Choral Society Christmas Performance of The Messiah at the Music Hall A1.3.B20 1868 Concert Programme for Worcester Festival Choral Society Christmas Performance Extra Concert of The Messiah at the Music Hall A1.3.B21 1868 Concert Programme for Worcester Festival Choral Society Second Concert of the season of Mendelssohn's Oratorio St Paul in the Music Hall A1.3.B22 1868 Concert Programme for Worcester Festival Choral Society Second Concert of the season at the Music Hall A1.3.B23 1868 Concert Programme for Worcester Festival Choral Society First Concert of the Season at the Music Hall A1.3.B24 1868 Concert Programme for Worcester Choral Society Christmas Performance Extra Concert of The Messiah at the Music Hall A1.3.B25 1871 Concert Programme for Mr Done's Grand Concert at the Music Hall Worcester of Barnett's Cantata "Paradise & The Peri", first performance in Worcester A1.3.B26 1873 Grand Concert at the Music Hall Worcester, proceeds to the Worcester Choral Society of Macfarren's cantata "Christmas" A1.3.B27 1873 Concert Programme for a Grand Concert at the Music Hall Worcester of Macfarren's "Christmas" proceeds to the Worcester Choral Society A1.3.B28 1873 Concert Programme for Second Grand Concert in the Music Hall Worcester of Barnett's Cantata " The Ancient Mariner" A1.3.B29 1873 Concert Programme for the Second Grand Concert at the Music Hall Worcester, proceeds to the Worcester Choral Society of Barnett's "The A1.3.B30 1889 Concert Programme for Worcester Festival Choral Society First Concert of the Season in the Public Hall A1.3.B31 1892 Concert Programme for Worcester Festival Choral Society Second Concert of the Season in the Public Hall of Handel's Oratorio "Israel in Egypt" A1.3.B32 1892 Concert Programme for Worcester Festival Choral Society First Concert of the Season in the Public Hall A1.3.B33 1896 Concert Programme for Worcester Festival Choral Society First Concert of the Season at the Public Hall of Beethoven's Elegy in memory of the late Dr Done and Dvorak's "Spectre's Bride" A1.3.B34 1897 Concert Programme for Worcester Festival Choral Society Second Concert of the Season in the Public Hall of Edward Elgar's "King Olaf" and "Imperial" March (first performed at the Crystal Palace 19 April 1897) A1.3.B35 1899 Concert Programme for Worcester Festival Choral Society Second Concert of the Season in the Public Hall of "The Flying Dutchman" A1.3.B36 1907 Concert Programme for Worcester Festival Choral Society Second Concert of the Season in the Public Hall A1.3.C1 1879 Concert Programme for Worcester Musical Society Third Members Night at the Music Hall Worcester A1.3.C2 1870 Concert Programme for Worcester Musical Society First Members Night at Music Hall Worcester, selections from "The Messiah" A1.3.C3 1898 Concert Programme for Worcester Musical Society First Concert in the Public Hall including Edward Elgar's "Banner of St George" (first performance in Worcester) A1.3.C4 1880 Concert Programme for Worcester Musical Society Second Members Night at Music Hall Worcester A1.3.C5 1879 Concert Programme for Worcester Musical Society First Members Night at the Music Hall Worcester A1.3.C6 1881 Concert Programme for Worcester Musical Society Third Members Night at the Guildhall Worcester, A1.3.C7 1909 Book of the Words for Worcester Musical Society 34th Concert, Haydn's "Spring" and Elgar's "Black Knight" A1.3.C8 1909 Concert Programme for Worcester Musical Society Second Concert at the Public Hall A1.3.C9 1904 Concert Programme for Worcester Musical Society Second Concert at the Public Hall A1.3.C10 1879 Concert Programme for Worcester Musical Society Third Members Night at the Music Hall Worcester A1.3.D1 1881 Concert Programme for Worcester Amateur Instrumental Society Annual Concert at the Guildhall A1.3.D2 1878 Rules and Regulations of Worcester Amateur Instrumental Society, established 11 November 1876 A1.3.D3 [1878- Concert Programme of Worcester Amateur Instrumental Society First Concert of the third season in the Music Hall A1.3.D4 1882 Concert Programme for Worcester Amateur Instrumental Society Annual Concert at the Guildhall A1.3.D5 1885 Concert Programme for Worcester Amateur Instrumental Society Orchestral Concert in the Public Hall A1.3.D6 1879 Membership form for Worcester Amateur Instrumental Society and the new class or division under the direction of Mr E W Elgar and note by Wiliam D'Egville, Honorary Secretary A1.3.E1 1884 Concert Programme for Worcester Philharmonic Society the Concluding Concert of the season at the Public Hall A1.3.E2 1851 Concert Programme for Worcester Philharmonic Society Fourth Subscription Concert A1.3.E3 1880 Concert Programme for Worcester Philharmonic Society Third Concert of the Season at the Music Hall Worcester A1.3.E4 1852 Concert Programme for Worcester Harmonic Society First Concert of the Season at Worcester Music Hall A1.3.E5 1877 Concert Programme for Worcester Philharmonic Society Third Concert, last of the Season at the Music Hall Worcester of Handel's Grand Oratoria "Judas Maccabaeus" A1.3.E6 1853 Concert Programme for Philharmonic Concert at the New Music Hall Worcester A1.3.E7 1853 Concert Programme for Worcester Philharmonic Society First Concert of the Season at the Music Hall Worcester A1.3.E8 1855 Concert Programme for Worcester Philharmonic Society First Concert of the Season at the Music Hall Worcester A1.3.E9 1857 Concert Programme for Philharmonic Concert at Music Hall Worcester A1.3.E10 1877 Concert Programme for Worcester Philharmonic Society First Concert of the Season at the Music Hall Worcester A1.3.E11 1879 Concert Programme for Worcester Philharmonic Society Second Concert of the Season at the Music Hall Worcester
Load more

Recommended publications
  • NABMSA Reviews a Publication of the North American British Music Studies Association
    NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination.
    [Show full text]
  • Howard J. Garber Letter Collection This Collection Was the Gift of Howard J
    Howard J. Garber Letter Collection This collection was the gift of Howard J. Garber to Case Western Reserve University from 1979 to 1993. Dr. Howard Garber, who donated the materials in the Howard J. Garber Manuscript Collection, is a former Clevelander and alumnus of Case Western Reserve University. Between 1979 and 1993, Dr. Garber donated over 2,000 autograph letters, documents and books to the Department of Special Collections. Dr. Garber's interest in history, particularly British royalty led to his affinity for collecting manuscripts. The collection focuses primarily on political, historical and literary figures in Great Britain and includes signatures of all the Prime Ministers and First Lords of the Treasury. Many interesting items can be found in the collection, including letters from Elizabeth Barrett Browning and Robert Browning Thomas Hardy, Queen Victoria, Prince Albert, King George III, and Virginia Woolf. Descriptions of the Garber Collection books containing autographs and tipped-in letters can be found in the online catalog. Box 1 [oversize location noted in description] Abbott, Charles (1762-1832) English Jurist. • ALS, 1 p., n.d., n.p., to ? A'Beckett, Gilbert A. (1811-1856) Comic Writer. • ALS, 3p., April 7, 1848, Mount Temple, to Morris Barnett. Abercrombie, Lascelles. (1881-1938) Poet and Literary Critic. • A.L.S., 1 p., March 5, n.y., Sheffield, to M----? & Hughes. Aberdeen, George Hamilton Gordon (1784-1860) British Prime Minister. • ALS, 1 p., June 8, 1827, n.p., to Augustous John Fischer. • ANS, 1 p., August 9, 1839, n.p., to Mr. Wright. • ALS, 1 p., January 10, 1853, London, to Cosmos Innes.
    [Show full text]
  • Harpton Court Estate Records, (GB 0210 HARPTON)
    Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Harpton Court Estate Records, (GB 0210 HARPTON) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 03, 2017 Printed: May 03, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH This description follows NLW guidelines based on ISAD(G) Second Edition; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/harpton-court-estate-records archives.library .wales/index.php/harpton-court-estate-records Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Harpton Court Estate Records, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Trefniant | Arrangement .................................................................................................................................. 4 Nodiadau | Notes ............................................................................................................................................
    [Show full text]
  • Download Booklet
    A KNIGHT’S PROGRESS A KNIGHT’S PROGRESS According to the rubric in the service book for the 1953 Coronation, the Queen, as soon as 1 I was glad Hubert Parry (1848-1918) [4.57] Born in the seaside town of Bournemouth, Sir she entered at the west door of the Church, 2 The Twelve William Walton (1902-1983) [11.49] Charles Hubert Hastings Parry went on to study was to be received with this anthem and, while Soloists: Oscar Simms treble at Eton and then at Oxford University where it was being sung, she was to pass through Benedict Davies treble Tom Williams alto he subsequently became Professor of Music. the body of the Church, into and through the Thomas Guthrie tenor From 1895 until his death he was also Director Choir, and up to her Chair of Estate beside Christopher Dixon bass of the Royal College of Music in London. He the Altar. On that occasion the Queen’s Our present charter * Nico Muhly (b.1981) wrote music of all kinds, including an opera, Scholars of Westminster School led the choir 3 I. First [4.02] symphonies, chamber and instrumental music, in singing the central section of this anthem – 4 II. Thy Kingdome Come, O God [4.21] oratorios and church music. However, he is ‘Vivat Regina Elizabetha!’ – a section that 5 III. The Beatitudes [4.22] perhaps best known nowadays for his famous nowadays is ususally omitted in concert 6 IV. Nullus Liber Homo Capiatur [4.45] setting of William Blake’s poem, Jerusalem. performances, as it is on this recording.
    [Show full text]
  • Fellows of the Royal Society 1660 – 2007
    Library and Information Services List of Fellows of the Royal Society 1660 – 2007 K - Z Library and Information Services List of Fellows of the Royal Society 1660 - 2007 A complete listing of all Fellows and Foreign Members since the foundation of the Society K - Z July 2007 List of Fellows of the Royal Society 1660 - 2007 The list contains the name, dates of birth and death (where known), membership type and date of election for all Fellows of the Royal Society since 1660, including the most recently elected Fellows (details correct at July 2007) and provides a quick reference to around 8,000 Fellows. It is produced from the Sackler Archive Resource, a biographical database of Fellows of the Royal Society since its foundation in 1660. Generously funded by Dr Raymond R Sackler, Hon KBE, and Mrs Beverly Sackler, the Resource offers access to information on all Fellows of the Royal Society since the seventeenth century, from key characters in the evolution of science to fascinating lesser- known figures. In addition to the information presented in this list, records include details of a Fellow’s education, career, participation in the Royal Society and membership of other societies. Citations and proposers have been transcribed from election certificates and added to the online archive catalogue and digital images of the certificates have been attached to the catalogue records. This list is also available in electronic form via the Library pages of the Royal Society web site: www.royalsoc.ac.uk/library Contributions of biographical details on any Fellow would be most welcome.
    [Show full text]
  • Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]
    Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 email: [email protected] CD-No. Title Composer/Track Artists GMCD 7101 Canticum Novum My soul, there is a country - Charles H.H.Parry; All Wisdom cometh from the Lord - Philip The Girl Choristers, The Boy Choristers and The Lay Vicars of Moore; Tomorrow shall be my dancing day - John Gardner; Psalm Prelude (2nd Set, No.1) - Salisbury Cathedral directed by Richard Seal / David Halls Organ / Herbert Howells; Quem vidistis pastores dicite - Francis Poulenc; Videntes stellam - Francis Martin Ings Trumpet Poulenc; The old order changeth - Richard Shepard; Even such is time - Robert Chilcott; Paean - Kenneth Leighton; When I survey the wondrous Cross - Malcolm Archer; Magnificat (Salisbury Service) - Richard Lloyd; A Hymn to the Virgin - Benjamin Britten; Pastorale - Percy Whitlock; Psalm 23 (Chant) - Henry Walford Davies; Love's endeavour, love's expense - Barry Rose; Ye Choirs of new Jerusalem - Richard Shepard GMCD 7102 Coronation Anthems & Hymns “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O The Choir of St Paul’s Cathedral directed by Barry Rose / Christopher taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Dearnley Organ Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune f GMCD 7103 In Dulci Jubilo Ad Libitum/O Come, all ye faithful - Hark! the Herald-Angels Sing - Once in Royal David's city - - Festive & Christmas Music - Paul Plunkett Trumpets & Rudolf Lutz The First Nowell - Ding Dong! Merrily on High - Away in a Manger - Angels from the Realms Organ of Glory - Noël Op.
    [Show full text]
  • The Canterbury Association
    The Canterbury Association (1848-1852): A Study of Its Members’ Connections By the Reverend Michael Blain Note: This is a revised edition prepared during 2019, of material included in the book published in 2000 by the archives committee of the Anglican diocese of Christchurch to mark the 150th anniversary of the Canterbury settlement. In 1850 the first Canterbury Association ships sailed into the new settlement of Lyttelton, New Zealand. From that fulcrum year I have examined the lives of the eighty-four members of the Canterbury Association. Backwards into their origins, and forwards in their subsequent careers. I looked for connections. The story of the Association’s plans and the settlement of colonial Canterbury has been told often enough. (For instance, see A History of Canterbury volume 1, pp135-233, edited James Hight and CR Straubel.) Names and titles of many of these men still feature in the Canterbury landscape as mountains, lakes, and rivers. But who were the people? What brought these eighty-four together between the initial meeting on 27 March 1848 and the close of their operations in September 1852? What were the connections between them? In November 1847 Edward Gibbon Wakefield had convinced an idealistic young Irishman John Robert Godley that in partnership they could put together the best of all emigration plans. Wakefield’s experience, and Godley’s contacts brought together an association to promote a special colony in New Zealand, an English society free of industrial slums and revolutionary spirit, an ideal English society sustained by an ideal church of England. Each member of these eighty-four members has his biographical entry.
    [Show full text]
  • Review of 2015 from the Director and Chair of Council
    REVIEW OF 2015 FROM THE DIRECTOR AND CHAIR OF COUNCIL We are pleased to present the RSCM’s Annual Review for 2015, to let you, the RSCM’s affi liates, members and donors, know what we achieved during the year. Three new posts took shape in 2015, and you will see below the work that we have been able to do in training worship leaders, developing singers, encouraging music-making in rural churches, and supporting worship with instruments. We are showing this through the stories of some of those who benefi ted from these programmes. The provision of a full-time post in training clergy and lay ministers Registered Offi ce 19 The Close is a particular ‘game-changer’. The gamut of RSCM’s work continues to be backed Salisbury up with relevant publications and sustained through the invaluable help of our Wiltshire SP1 2EB local Area volunteers. In these programme changes, and through a hymn book Registered Charity Number 312828 survey feeding into revisions to Sunday by Sunday, we are listening to the needs of Company Registration Number 250031 churches and members and, we hope, matching RSCM’s resources to those needs. Royal Patron Her Majesty the Queen 2015 has seen generous giving to the RSCM especially from its members and supporters, from grant-making trusts, and in several liberal bequests. We are Patrons The Right Revd The Moderator most grateful for your gifts which help to sustain and develop our work. We look of the General Assembly of forward to your feedback on the direction the RSCM is pursuing, and on how we the Church of Scotland His Grace the Archbishop of can best serve your needs.
    [Show full text]
  • 574163 Itunes Haydn
    Michael HAYDN Missa Sancti Nicolai Tolentini Vesperae Pro Festo Sancti Innocentium Anima Nostra Harper • Owen • Charlston Marko Sever, Organ Lawes Baroque Players St Albans Cathedral Girls Choir Tom Winpenny 1 46 8 ! @ $ & ) ¡ Michael Jenni Ha2rpe46r –80–@ $ –& ) –¡ , Emily Owen – – – – $, S&o ) pr¡ano H(1A73Y7–1D806N ) Helen Charlston, Mezzo-soprano – Missa Sancti Nicolai Tolentini, MH 109 (1768) 36:40 Marko Sever, Organ (Text: Latin Mass) 1 Kyrie eleison 3:31 1 @L $ aw*e s) B¡aroque Players1 @ $ * ) ¡ 2 Kati Debretzeni – – , Miles Golding – – , Violin 3 Gloria in excelsis Deo 3:16 1 @ $ ¡ Henrik Persson, Cello – – 4 Qui tollis 2:27 1 @ $ * ) ¡ – – 5 Quoniam 2:37 Peter McCarthy, Double bass 1 25 6 8 @ 6 Cum Sancto Spiritu 2:15 Thomas Hewitt, Ellie Lovegrove, Trumpet – – – 7 Credo in unum Deum 2:22 1 35 6 8 0 @ ¡ 8 Et incarnatus est 2:51 St Albans Cathedral Girls Choir – – – – Et resurrexit 4:49 9 Tom Winpenny 0 Sanctus 1:55 Benedictus 3:57 ! Recorded: 23–24 July 2019 at St Saviour’s Church, St Albans, Hertfordshire, UK, Agnus Dei 3:20 @ by kind permission of the Vicar and Churchwardens Dona nobis pacem 3:12 Producer, engineer and editor: Adrian Lucas (Acclaim Productions) Vesperae Pro Festo Sancti Innocentium (1774–87) 36:05 Production assistant: Aaron Prewer-Jenkinson (compiled by Nikolaus Lang, 1772–1837) # $ % ^ & * Booklet notes: Tom Winpenny 1 @ (Text: Psalms 69, v. 1 , 109 , 110 , 111( , 129 , 131 ), Publisher: Carus-Verlag, ed. Armin Kircher – , Aurelius Clemens Prudentius, c.348–c.413 , Luke I: 46–55 ) # ¡ # Edition: Manuscript, ed. Tom Winpenny – $ Deus in adjutorium meum, MH 454 1:02 % Dixit Dominus, MH 294 5:17 ^ Confitebor tibi, MH 304 4:52 Michael Haydn (1737–1806): Missa Sancti Nicolai Tolentini & Beatus vir, MH 304 4:06 Vesperae Pro Festo Sancti Innocentium • Anima Nostra * De profundis clamavi, MH 304 6:21 Michael Haydn was born in Rohrau, an Austrian village Haydn’s first professional appointment (by 1760) was ( Memento Domine David, MH 200 5:58 close to the Hungarian border.
    [Show full text]
  • Precious Nonsense
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY March 1992 -- Issue 33 ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ Her honeymoon With that buffoon At seven commences, so you shun her! Although this isn't June, this seems to be the season for engagements and brides (see the "Oh, Members" section for an explanation). There is also a wedding afoot in the Cole household: S/A Cole's brother is getting married, so for the past two months she has been occupied with helping make arrangements. That's why the Nonsense was delayed (again). But we tried to make it worth the wait. We have a couple of book reviews, a lot of production announcements, the long, long delayed Membership Cards, and even a couple of prize giveaways. So let's toddle away, with or without the Lord High Executioner. ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ Oh, Members, How Say You, What is it What Cheer! What Cheer! {Midwest- You've Done? ern} Jeordano Martinez was responsible for the ac- Hugh Locker has reported that the Chicago radio claimed production of Mikado recently presented at station WFMT (98.7 FM) is going to be airing a com- North Central College in Naperville (Illinois). As far as plete survey of the Gilbert and Sullivan Operas during we know, this was the first substantial G&S performance April, at 1:00 on Thursday afternoons. Some of you to take place at North Central College since the 1970's, may remember a talk given at the Basingstoke! G&S so it was nice to see a return to the classics. Weekend in 1989, where the presenter lamented the fact that so little G&S was broadcast in the Chicago area.
    [Show full text]
  • St John's Magnificat
    includes premiere recordings ST JOHN’S MAGNIFICAT CHORAL WORKS BY Herbert Howells Choir of St John’s College,Cambridge ANDREW NETHSINGHA CHAN 10587 Herbert Howells (1892 –1983) St John’s Magnificat © Clive Barda / ArenaPAL 1 A Sequence for St Michael 10:02 Pablo Strong tenor 2 By the Waters of Babylon* 10:11 3 A Spotless Rose 3:24 Gareth John baritone Magnificat and Nunc Dimittis (Gloucester Service) 11:26 4 Magnificat 6:50 5 Nunc Dimittis 4:31 premiere recording 6 Psalm 142 4:14 premiere recording 7 A Grace for 10 Downing Street 2:29 Dominic Kraemer baritone Francis Williams tenor Herbert Howells 3 8 One Thing Have I Desired 5:38 9 Like as the Hart 5:50 The Choir of St John’s College, Cambridge Thomas Mullock treble Director of Music Andrew Nethsingha Magnificat and Nunc Dimittis Senior Organ Scholar Timothy Ravalde (Collegium Sancti Johannis Cantabrigiense) 7:33 10 Magnificat 4:26 treble counter-tenor tenor bass 11 Nunc Dimittis 3:03 Patrick Baldwin Dominic Collingwood Samuel Furness George Dye Robert Baldwin Oliver Hunt Nicholas Morell Gareth John Ethan Bamber Leo Tomita Bradley Smith Tristan Hambleton 12 Salve Regina 4:44 Alexander Bower-Brown Tom Verney Pablo Strong Dominic Kraemer Thomas Last treble Edward Campbell Francis Williams Basil McDonald Harry Cheatle Henry Neill 13 Te Deum (Collegium Regale) 9:01 Theodore Day Julius Foo TT 75:33 Benjamin Glass * Peter Hicks Paul Whelan baritone William Jackson David Adams violin* Thomas Last Alice Neary cello* Thomas Mullock George Smith Choir of St John’s College, Cambridge Justin Stollery Andrew Nethsingha Thomas Williams 4 5 years was funded by the Carnegie UK Trust ‘48’ in concerts at St John’s.
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]