Elijah Program 2006

Total Page:16

File Type:pdf, Size:1020Kb

Elijah Program 2006 Grace Church in New York The Reverend J. Donald Waring, rector The Reverend Chase Danford, associate rector The Reverend Julia Macy Offinger, assistant rector Patrick Allen, organist and master of choristers The Choral Society and Orchestra of Grace Church in New York John Maclay, music director Tony Bellomy , associate conductor Friday, December 6, 2019, at 8:00 pm Saturday, December 7, 2019, at 3:00 pm Program CANITE TUBA (1590) Giovanni Pierluigi da Palestrina (c. 152 5–1594) THE THREE KINGS (1928) Healey Willan (188 0– 1968) HARK! THE HERALD-ANGELS SING* O MAGNUM MYSTERIUM Daniel Pinkham (192 3– 2006) from Christmas Cantata (1957) TE DEUM IN C, HOB. XXIIIC:2 (1799) Joseph Haydn (173 2–1809) THE SHEPHERD’S CAROL (2001) Bob Chilcott (b. 1955) KYRIE and GLORIA Felix Mendelssohn (180 9– 1847) ANGELS WE HAVE HEARD ON HIGH* from Die Deutsche Liturgie (1846) GOD REST YOU MERRY, GENTLEMEN* RICHTE MICH, GOTT, OP.78, NO. 2 (1844) Mendelssohn SANCTUS Mendelssohn PILGRIMS’ HYMN (1997) Stephen Paulus (194 9– 2014) from Die Deutsche Liturgie (1846) DONA NOBIS PACEM J.S. Bach from Mass in B Minor , BWV 232 (completed 1749) SANCTUS Johann Sebastian Bach (168 5– 1750) from Mass in B Minor , BWV 232 (completed 1749) HODIE CHRISTUS NATUS ES Jan Pieterszoon Sweelinck (156 2– 1621) from Cantiones sacrae (1619) In consideration of the performers and fellow audience members, please turn off all ES IST EIN ROS ENTSPRUNGEN (1609) Michael Praetorius (157 1– 1621) cellular phones, pagers and electronic devices upon entering the church. Parents and caregivers, please take restless children to the Chantry chapel IN DULCI JUBILO À 8 (1620) Samuel Scheidt (158 7– 1654) (entrance in the south transept) if they need to vocalize during the performance. * The audience is expected to stand and join in singing the carols as indicated. Notes, Texts and Translations HARK! THE HERALD-ANGELS SING* Tune by Felix Mendelssohn (180 9– 1847) Words by Charles Wesley (170 7– 1788) Adapted 1855 by W.H. Cummings (183 1– 1915) Arranged by David Willcocks (191 9– 2015) This famous carol tune was adapted from a chorale in Mendelssohn’s 1840 Festgesang , an open air work for men’s chorus and brass written to celebrate Gutenberg’s 400th CANITE TUBA (1590) Giovanni Pierluigi da Palestrina (c. 152 5– 1594) birthday. The was described by the composer in a letter to his publisher as too “sol - dierlike and buxom” to be suitable for sacred music. 1. Hark! the herald-angels sing, 2. Christ, by highest heav’n adored, Glory to the newborn King; Christ the everlasting Lord, Palestrina’s eight-part setting of this beloved Advent text blazes with hope and antici - Peace on earth and mercy mild, Late in time behold him come, pation. The arrival of the Savior is heralded by high- and low-voiced choirs, sounding God and sinners reconciled: Offspring of a Virgin’s womb: the good news for all the world to hear. The motet is typical of Palestrina’s work for Joyful all ye nations rise, Veiled in flesh the Godhead see, the papal court: a straightforward declamation of the sacred text that does not sacrifice Join the triumph of the skies, Hail th’incarnate Deity! sophistication. One can imagine him looking east from Rome, across to his birthplace With th’angelic host proclaim, Pleased as man with man to dwell, in the mountains, as he conceived of this uplifting fanfare. Christ is born in Bethelehem. Jesus, our Emmanuel. Hark! the herald-angels sing, Hark! the herald-angels sing, Canite tuba in Sion, quia prope Sound the trumpet in Sion, for the day Glory to the newborn King. Glory to the newborn King. est dies Domini: ecce venit ad of the Lord is nigh: behold, he cometh salvandum nos. for our salvation. 3. Hail the heav’n-born Prince of Peace, Hail the Sun of Righteousness! Erunt prava in directa, et aspera in vias The crooked shall be made straight, and the Light and life to all he brings, planas: veni, Domine, et noli tardare. rough places plain: come, O Lord, and do not Ris’n with healing in his wings; Alleluja. delay. Alleluia. Mild he lays his glory by, — Joel 2:1, Isaiah 40:4 Born that man no more may die, Born to raise the sons of earth, Born to give them second birth. Hark! the herald-angels sing, Glory to the newborn King. Tu, devicto mortis aculeo, aperuisti When thou hadst overcome the sharpness of death, TE DEUM IN C, HOB. XXIIIC:2 (1799) Joseph Haydn (173 2–1809) credentibus regna caelorum. thou didst open the kingdom of heaven to all believers. Tu ad dexteram Dei sedes, in gloria Thou sittest at the right hand of God, in the Glory Patris. Judex crederis esse venturus. of the Father. We believe that thou shalt come to This brisk and extroverted work is Haydn’s second known setting of the Te Deum, or be our Judge. Ambrosian Hymn, one of the most ancient prayers in Christendom. By the 17th and 18th centuries, the Te Deum was routinely programmed for celebratory occasions, Te ergo quaesumus, tuis famulis We therefore pray thee, help thy servants whom coronations, and in particular to mark great military victories. Haydn’s Te Deum was subveni quos pretioso sanguine thou hast redeemed with thy precious blood. commissioned by the Austrian empress, and had its first performance at Eisenstadt in redemisti. 1800 during a visit from the English naval hero Lord Nelson (no stranger to militaris - Aeterna fac cum sanctis tuis in gloria Make them to be numbered with thy Saints in tic Te Deum settings), alongside Haydn’s “Lord Nelson” Mass. Unlike Handel, Lully numerari. glory everlasting. and other composers, Haydn took a single movement, all-choral approac h— two festive sections, surrounding a short contemplative episode, culminating in a no-nonsense Salvum fac populum tuum, Domine, O Lord, save thy people, and bless thine fugue. The opening phrase quotes from the Gregorian chant typically associated with et benedic hereditati tuae. inheritance. the Te Deum prayer; this attention-grabbing device is repeated throughout, as choral Et rege eos, et extolle illos usque in Govern them and lift them up unisons underline key moments in the sacred text. The piece is a model of concise aeternum. for ever. expression, showing Haydn at the height of his skill. Per singulos dies benedicimus te; Day by day we magnify thee; Te Deum laudamus: te Dominum We praise thee, O God:we acknowledge thee to confitemur.Te aeternum Patrem be the Lord. All the earth doth worship thee: the Et laudamus Nomen tuum in And we worship thy name, ever world omnis terra veneratur. Father everlasting. saeculum , et in saeculum saeculi. without end. Tibi omnes Angeli: tibi caeli et uni - To thee all Angels cry aloud: the Heavens, and Dignare, Domine, die isto sine pecca - Vouchsafe, O Lord, to keep us this day versae Potestates: all the Powers therein. to nos custodire. without sin. Tibi Cherubim et Seraphim incessabili To thee Cherubim and Seraphim continually Miserere nostri Domine, miserere O Lord, have mercy upon us, have mercy voce proclamant: do cry, nostri. Fiat misericordia tua, Domine, upon us. O Lord, let thy mercy lighten super nos, quemadmodum speravimus upon us, as our trust is in thee. Sanctus, Sanctus, Sanctus, Dominus Holy, Holy, Holy, Lord God of Sabaoth; in te. Deus Sabaoth. Pleni sunt caeli et terra Heaven and earth are full of the Majesty of majestatis gloriae tuae. thy glory. In te, Domine, speravi: non confun - O Lord, in thee have I trusted: let me never be dar in aeternum. confounded. Te gloriosus Apostolorum chorus, The glorious company of the Apostles praise thee. Te Prophetarum laudabilis numerus, The goodly fellowship of the Prophets praise thee. Te Martyrum candidatus laudat exercitus. The noble army of Martyrs praise thee. Te per orbem terrarium sancta con - The holy Church throughout all the world fitetur Ecclesia, Patrem immensae doth acknowledge thee; The Father of an maiestatis: Venerandum tuum verum infinite Majesty; Thine honourable, true et unicum Filium; Sanctum quoque and only Son; Also the Holy Ghost, Paraclitum Spiritum. the Comforter. Tu Rex gloriae, Christe. Thou art the King of Glory, O Christ. Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father. Tu, ad liberandum suscepturus When thou tookest upon thee to deliver man, hominem,non horruisti Virginis thou didst not abhor the Virgin’s womb. uterum. Der du die Sü nde der Welt trägst, Who takest away the sins of the world, have FOUR SACRED WORKS FOR THE BERLIN CATHEDRAL erbarme dich unser. Der du die Sü nde mercy upon us. Who takest away the sins Felix Mendelssohn (180 9– 1847) der Welt trägst, nimm an unser Gebet. of the world, hear our prayer. Der du sitzest zur Rechten des Vaters, Who sittest at the right hand of the Father, erbarme dich unser. have mercy upon us. The next four pieces on the program come from a portfolio composed by Denn du allein bist heilig, For thou alone art holy, Mendelssohn during his stint as head of music for the Berlin Cathedral. Frederick denn du allein bist der Herr, thou alone art God, William IV, who succeeded to the Prussian throne in 1840, embarked on a program to du allein bist der Allerhö chste: thou alone art most high: attract great artists to his capital city, and in the world of German music, Mendelssohn was the biggest prize. The composer ultimately found Berlin an unsatisfying platform, Jesus Christus, mit dem heiligen Jesus Christ, with the Holy Ghost, but did produce several choral gems during his time there, including the Deutsche Geiste in der Herrlichkeit Gottes des in the glory of God the Father.
Recommended publications
  • College and Career Ready Standards for Choral Music Proficiency
    College- and Career-Ready Standards for Choral Music Proficiency South Carolina Department of Education Columbia, South Carolina 2017 Page 133 Choral Music Introduction In writing the 2017 South Carolina Choral Music Standards, our goal was to bridge the 2010 South Carolina Choral Music Standards with the 2014 National Core Arts Standards for Music to create a simplified, relevant document for teachers and students to use in the Choral Music classroom. The purpose of this document and the “I can” language is to enable the teacher to become the facilitator of goals for the student using benchmarks to set achievable goals and to self-assess to take ownership of their learning. Choral students come to us from a variety of musical backgrounds and experiences. A freshman high school choral classroom may consist of students who perform at novice levels as well as students who perform at advanced levels. Moving from a grade-level based model to a proficiency-based model allows teachers to meet students at their individual ability level to differentiate learning most effectively. Many choral teachers are also teachers of general or instrumental music. For simplified planning, we have chosen to streamline the wording of several standards, benchmarks, and indicators with the other music areas. The sample learning targets are specific to Choral Music. Our hope is that the 2017 South Carolina Choral Music Standards will not only be a valuable resource for the teacher as a facilitator, but also for the learner to be actively engaged in his or her educational goals. Page 134 Choral Music Standards Artistic Processes: Creating- I can use the elements of music to communicate new musical ideas.
    [Show full text]
  • Mendelssohn's Elijah
    Boston University College of Fine Arts School of Music presents Boston University Symphony Orchestra and Symphonic Chorus Mendelssohn’s Elijah Ann Howard Jones conductor Monday, April 11 Symphony Hall Founded in 1872, the School of Music combines the intimacy and intensity of conservatory training with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas. Founded in 1839, Boston University is an internationally recognized private research university with more than 32,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multidisciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity. Boston University College of Fine Arts School of Music Boston University Symphonic Chorus April 11, 2011 Boston University Symphony Orchestra Symphony Hall Ann Howard Jones, conductor The 229th concert in the 2010–11 season Elijah, op.
    [Show full text]
  • ELIJAH, Op. 70 (1846) Libretto: Julius Schubring English Translation
    ELIJAH, Op. 70 (1846) Libretto: Julius Schubring Felix Mendelssohn-Bartholdy (1809-1847) English Translation: William Bartholomew PART ONE The Biblical tale of Elijah dates from c. 800 BCE. "In fact I imagined Elijah as a real prophet The core narrative is found in the Book of Kings through and through, of the kind we could (I and II), with minor references elsewhere in really do with today: Strong, zealous and, yes, the Hebrew Bible. The Haggadah supplements even bad-tempered, angry and brooding — in the scriptural account with a number of colorful contrast to the riff-raff, whether of the court or legends about the prophet’s life and works. the people, and indeed in contrast to almost the After Moses, Abraham and David, Elijah is the whole world — and yet borne aloft as if on Old Testament character mentioned most in the angels' wings." – Felix Mendelssohn, 1838 (letter New Testament. The Qu’uran also numbers to Julius Schubring, Elijah’s librettist) Elijah (Ilyas) among the major prophets of Islam. Elijah’s name is commonly translated to mean “Yahweh is my God.” PROLOGUE: Elijah’s Curse Introduction: Recitative — Elijah Elijah materializes before Ahab, king of the Four dark-hued chords spring out of nowhere, As God the Lord of Israel liveth, before Israelites, to deliver a bitter curse: Three years of grippingly setting the stage for confrontation.1 whom I stand: There shall not be dew drought as punishment for the apostasy of Ahab With the opening sentence, Mendelssohn nor rain these years, but according to and his court. The prophet’s appearance is a introduces two major musical motives that will my word.
    [Show full text]
  • Felix Mendelssohn Bartholdy Elijah (1846)
    Felix Mendelssohn Bartholdy Elijah (1846) Ex Cathedra XL Anniversary Choir Orchestra of the Age of Enlightenment Town Hall, Birmingham Saturday 18 October 2008 6.30pm The concert this evening is being recorded by BBC Radio 3 for broadcast in 2009 Welcome It gives me great pleasure to welcome you to the disappointment at the lack of melody on first hearing William Bartholomew. Faith in the City begins our imagined at the outset. Derek’s passion, intellect, first concert of Ex Cathedra’s 39th Season. This the work. Elijah is full of beautiful tunes, thrilling exploration of Jewish, Muslim and Christian music in musical intelligence, tenacity, thoroughness, performance of Mendelssohn’s great oratorio Elijah drama, and exciting orchestrations. January 2009, and the start of my short sabbatical stamina, emotional resilience, and experience are celebrates a collaboration between Ex Cathedra, (interesting word) exploring the Mediterranean basin truly inspiring. The edition is a remarkable Town Hall and the Orchestra of the Age of Mendelssohn wrote an intriguing sequence of three – Spain, Morocco, Egypt, Israel, Turkey and Italy. achievement and Derek has made a significant Enlightenment whom we welcome back for the oratorios – St Paul, Elijah and the unfinished One final thought about Elijah, the Old Testament contribution to Mendelssohn scholarship. second concert of Ex Cathedra’s 40th Anniversary Christus. He was accused of ‘oratorio-mongering’ prophet common to Judaism, Islam and Christianity, - Project. Elijah was commissioned by the city and yet Elijah is the high point of religious he was a lone voice standing up against greed, I am confident the Ex Cathedra XL Anniversary forefathers and received its first performance in this expression between Beethoven’s Mount of Olives immorality and poverty.
    [Show full text]
  • Analysis of Compositions for Mixed Chorus As Selected by Directors in Minnesota for Use in Festivals for Adjudication
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1957 Analysis of compositions for mixed chorus as selected by directors in Minnesota for use in festivals for adjudication Robert Duane Mix The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Mix, Robert Duane, "Analysis of compositions for mixed chorus as selected by directors in Minnesota for use in festivals for adjudication" (1957). Graduate Student Theses, Dissertations, & Professional Papers. 1526. https://scholarworks.umt.edu/etd/1526 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. AN ANALYSIS OF COMPOSITIONS FOR MIXED CHORUS AS SELECTED BY DIRECTORS IN MINNESOTA FOR USE IN FESTIVALS FOR ADJUDICATION by Robert D. Mix B.A.; Luther College, 1953 Presented In partial fulfillment of the requirements for the degree of Master of Music in Music Education MONTANA STATE UNIVERSITY 1957 Approved by: Chair Dean, Graduate School^ 2 1 19$7 Date UMI Number: EP35340 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Program Notes Dramatic Vs Theological
    6 program notes Felix mendelssohn-Bartholdy elijah, opus 70 Jakob Ludwig Felix Mendelssohn was born in Hamburg on February 3, 1809, and died in Leipzig on November 4, 1847. Urged by his maternal uncle, Jakob, the family converted to Lutheranism, baptized the children and appended their name with “Bartholdy” to distinguish the Protestant Mendelssohns from the Jewish ones. “Elijah” is a two-hour, 11-minute oratorio scored for soprano, alto, tenor, and bass soloists, solo octet, mixed chorus, and an orchestra consisting of flutes, oboes, clarinets, and bassoons in pairs, four horns, two trumpets, three trombones, tuba (replacing the obsolute ophicleide called for by Mendelssohn), timpani, organ, and strings. Dramatic vs Theological (Epic) As early as August 1836, Mendelssohn asked his lifelong friend Karl Klingemann about writing a libretto for an oratorio based on Elijah, St. Peter, or even Og of Bashan to “stir me up to fresh activity…” Elijah and St. Peter both remained possible subjects for some time. Og of Bashan (one of the pagan kings conquered by the Hebrew armies under Moses (see Deuteronomy 3:1-11) was no more than a bit of Mendelssohian whimsy, however. Og was principally famous for having an enormous bed, nine cubits long and four wide—scarcely enough substance to build an oratorio on. By approaching Klingemann (who had written the libretto for his one-act operetta Die Heimkehr aus der Fremde, known in English as Son and Stranger) rather than the pastor Julius Schubring, who had assembled the text for St. Paul, it is clear that Mendelssohn was in search of a conception more dramatic than theological.
    [Show full text]
  • Liszt and Christus: Reactionary Romanticism
    LISZT AND CHRISTUS: REACTIONARY ROMANTICISM A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Robert Pegg May 2020 Examining Committee Members: Dr. Maurice Wright, Advisory Chair, Music Studies Dr. Michael Klein, Music Studies Dr. Paul Rardin, Choral Activities Dr. Christine Anderson, Voice and Opera, external member © Copyright 2020 by Robert Pegg All Rights Reserved € ii ABSTRACT This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Felix Mendelssohn Bartholdy Sielminger Straße 51 Herr, Gedenke Nicht Op
    Mendelssohn Bartholdy Das geistliche Vokalwerk · Sacred vocal music · Musique vocale sacrée Carus Alphabetisches Werkverzeichnis · Works listed alphabetically Adspice Domine. Vespergesang op. 121 25 Hymne op. 96 19, 27 Abendsegen. Herr, sei gnädig 26 Ich harrete des Herrn 30 Das geistliche Vokalwerk · The sacred vocal works · La musique vocale sacrée 4 Abschied vom Walde op. 59,3 33 Ich weiche nicht von deinen Rechten 29 Die Stuttgarter Mendelssohn-Ausgaben · The Stuttgart Mendelssohn Editions Ach Gott, vom Himmel sieh darein 15 Ich will den Herrn preisen 29 Les Éditions Mendelssohn de Stuttgart 8 Allein Gott in der Höh sei Ehr 26 Jauchzet dem Herrn in A op. 69,2 28 Orchesterbegleitete Werke · Works with orchestra · Œuvres avec orchestre Alleluja (aus Deutsche Liturgie) 26, 27 Jauchzet dem Herrn in C 30 Amen (aus Deutsche Liturgie) 26, 27 Jauchzet Gott, alle Lande 29 – Die drei Oratorien · The three oratorios · Les trois oratorios 11 Auf Gott allein will hoffen ich 26 Jesu, meine Freude 17 – Die fünf Psalmen · The five psalms · Les cinq psaumes 13 Aus tiefer Not schrei ich zu dir op. 23,1 27 Jesus, meine Zuversicht 30 – Die acht Choralkantaten · The eight chorale cantatas · Les huit cantates sur chorals 15 Ave Maria op. 23,2 27 Jube Domne 31 – Lateinische und deutsche Kirchenmusik · Latin and German church music Ave maris stella 24 Kyrie in A (aus Deutsche Liturgie) 26, 27 Musique sacrée latine et allemande 19 Beati mortui / Selig sind op. 115,1 25 Kyrie in c 31 Werke für Solostimme · Works for solo voice · Œuvres pour voix solo 24 Cantique pour l’Eglise Wallonne 26, 31 Kyrie in d 21 Christe, du Lamm Gottes 15 Lasset uns frohlocken op.
    [Show full text]
  • “Viewing Mendelssohn, Viewing Elijah”
    APRIL 29-MAY 1, 2009 “Viewing Mendelssohn, Viewing Elijah” assimilation, interpretation and culture Ariella Amar a rreses eearcharch cconferenceonference atat ArizonaArizona StateState UniversityUniversity Hebrew University of Jerusalem Julius Reder Carlson University of California, Los Angeles David Conway University College London Sinéad Dempsey-Garratt University of Manchester, England Colin Eatock University of Toronto, Canada Todd Endelman University of Michigan Deborah Hertz University of California, San Diego Luke Howard Brigham Young University sponsored by Daniel Langton University of Manchester, England JEWISH STUDIES an academic unit of the College of Liberal Arts and Sciences Jonathan D. Lawrence Canisius College Angela Mace FACULTY OF RELIGIOUS STUDIES Duke University IN THE SCHOOL OF HISTORICAL, PHILOSOPHICAL AND RELIGIOUS STUDIES Sara Malena Wells College an academic unit of the College of Liberal Arts and Sciences Michael Ochs Ochs Editorial SCHOOL OF MUSIC an academic unit of the Herberger College of the Arts Marcus Rathey Yale University Jeffrey Sposato University of Houston http://jewishstudies.asu.edu/elijah Michael P. Steinberg Brown University R. Larry Todd Duke University Donald Wallace United States Naval Academy Barry Wiener Graduate Center, City University of New York Viewing Mendelssohn, Viewing Elijah: assimilation, interpretation and culture a research conference at Arizona State University / April 29 – May 1, 2009 Conference Synopsis From child prodigy to the most celebrated composer of his time: Felix Mendelssohn
    [Show full text]
  • Season Brochure
    Brookline, MA 02446 MA Brookline, 1428 PO Box Music Director Lisa Graham, CHORALE METROPOLITAN METROPOLITAN Lisa Graham, CHORALE the Evelyn Barry Director 2019–2020 of Choral Programs at Wellesley College, is beginning her 16th Lisa Graham season as Music Direc- Music Director Beethoven’s Symphony No. 9, Op. 125 with New Philharmonia Orchestra Op. 9, No. Symphony Beethoven’s – with Original Gravity Girl Passion Match Little The David Lang’s Exhibitions the International from Musical portraits Fair: World’s – with New England Philharmonic Apart and Together Musica Opus 60 with Chorus Pro Walpurgisnacht, Die erste tor of the Metropolitan Chorale. Dr. Graham has grown the chorale to over 100 members and has shaped the programming to include contemporary, Ameri- can, and lesser-known programs,alongside the masterworks of the repertory. In a review of her guest appearance conducting the Metro- politan Chorale and the Boston Pops, Broad- way World praised Dr. Graham as “a spellbind- ing maestro, balletic in her direction … a great connection with her performers on stage.” Be Inspired. Be Moved. Be Uplifted. PERMIT NO. 538 NO. PERMIT ORGANIZATION BOSTON, MA BOSTON, US POSTAGE NONPROFIT PAID Plus our Holiday Pops Tour! FRIDAY, NOVEMBER 8, 2019 HOLIDAY POPS 2019 SUNDAY, MARCH 15, 2020 8pm • Jordan Hall • Boston WITH KEITH LOCKHART 3pm • Sanders Theater CHORUS PRO MUSICA and The Chorale joins Keith Lockhart Cambridge METROPOLITAN CHORALE and the Boston Pops on their WORLD’S FAIR: MUSICAL PORTRAITS FROM Jamie Kirsch and Lisa Graham, Conductors annual Holiday Tour THE INTERNATIONAL EXHIBITIONS Felix Mendelssohn: DIE ERSTE • Saturday, November 30 • 8:00pm Providence Performing Arts Center – Providence, RI Come hear the musical stories from the World Expositions WALPURGISNACHT, OPUS 60 (1843) of Paris, London, New York, Chicago, and bring fresh ears to Zoltán Kodály: BUDAVÁRI TE DEUM (1936) • Sunday, December 1 • 4:00pm what an imagined World’s Fair might be in Boston, 2020.
    [Show full text]
  • 2019 Music Church
    2019 music for the church GIA PUBLICATIONS, INC. giamusic.com/ritualsong RITUAL SONG —SECOND EDITION giamusic.com/ritualsong A BALANCED MIX OF MUSICAL STYLES FROM CHANT TO CONTEMPORARY AND EVERYTHING IN BETWEEN Recordings Children’s Book pages 8 Wedding Resource page 9 pages 8 BLEST NEW are those WHO LOVE MUSIC FOR THE 2019 WEDDING LITURGY Hymnody Liturgical Collections pages 12 & 13 pages 6 & 7 Masses page 11 KNOWN UNK NOW NS O UR H EARTS A RE R ESTLESS Deep and Lasting Peace Michael Joncas 100 CONTEMPORARY TEXTS VOLUME 2 TO COMMON TUNES MASS of JOHN L. BELL & GRAHAM MAULE L I F E the LAMB I S John L. Bell • David Bjorlin • Mary Louise Bringle • Ben Brody CHANGED, Rory Cooney • Ruth Duck • Delores Dufner, OSB • David Gambrell Francis Patrick O’Brien Michael Joncas • Jacque Jones • Sally Ann Morris • Adam Tice New Instrumental Music E PHREM F EELEY GIA PUBLICATIONS, INC. page 10 & 13 N O T ENDED GIA PUBLICATIONS, INC. Volume 3 PAUL TATE Gathered to Worship Organ Music based on Hymn Tunes Prayer Resources GIA PUBLICATIONS, INC. Arranged by Mary Beth Bennett pages 6 & 7 Edwin T. Childs J. William Greene Raymond H. Haan Benjamin Kolodziej David Lasky Harold Owen Books for the Pastoral Musician Nicholas Palmer Robert J. Powell Bernard Wayne Sanders pages 9 & 10 HYMNS, PSALMS & PRAYERS TO END THE DAY Sing as Christ Inspires Your ong s Touchstones for Pastoral Musicians EVOKING SOUND GIA PUBLICATIONS, INC. DaviD haas The Complete Choral Warm-Up Sequences New Hymnal & Worship A COMPANION TO THE CHORAL WARM-UP CANTOS PARA Resource page 12 James Jordan EL PUEBLO DE DIOS Jesse Borower ONE LORD, ONE FAITH, ONE BAPTISM SONGS FOR THE PEOPLE OF GOD Skill Building Resources page 14 WELCOME We’ve been busier than ever developing new resources effort (page 12) .
    [Show full text]