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Parry US 8/5/09 16:32 Page 12
572104bk Parry US 8/5/09 16:32 Page 12 Here God made holy Zion’s name, And did the countenance divine And here he gave them rest. Shine forth upon our clouded hills? Oh, may we ne’er forget what he hath done, And was Jerusalem builded here PARRY Nor prove unmindful of his love, Among these dark satanic mills? That, like the constant sun, On Israel hath shone, Bring me my bow of burning gold! Choral Masterpieces And sent down blessings from above. Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Songs of Farewell C.H. Parry (from Judith) Bring me my chariot of fire! I will not cease from mental fight, @ Jerusalem Nor shall my sword sleep in my hand, Manchester Cathedral Choir And did those feet in ancient time Till we have built Jerusalem Walk upon England’s mountains green? In England’s green and pleasant land. Christopher Stokes And was the Holy Lamb of God On England’s pleasant pastures seen? William Blake (1757-1827) 8.572104 12 572104bk Parry US 8/5/09 16:32 Page 2 Sir Charles Hubert Hastings Parry (1848–1918) for He is our help and our shield. His grace from above. Songs of Farewell Praise Him who hath taught you He delivered the poor in his affliction, To sing of His love. Sir Hubert Parry came from a family of some which remained dominant. Above all, in London he the fatherless and him that hath none to help him. O praise ye the Lord! distinction. -
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. -
Westminster Abbey ASERVICE to CELEBRATE the 60TH ANNIVERSARY of the CORONATION of HER MAJESTY QUEEN ELIZABETH II
Westminster Abbey ASERVICE TO CELEBRATE THE 60TH ANNIVERSARY OF THE CORONATION OF HER MAJESTY QUEEN ELIZABETH II Tuesday 4th June 2013 at 11.00 am FOREWORD On 2nd June 1953, the Coronation of Her Majesty Queen Elizabeth II followed a pattern established over the centuries since William the Conqueror was crowned in Westminster Abbey on Christmas Day 1066. Our intention in this Service of Thanksgiving is to evoke and reflect the shape of the Coronation service itself. The Queen’s entrance was marked by the Choirs’ singing Psalm 122—I was glad—set to music for the Coronation of EdwardVII by Sir Hubert Parry. The Queen’s Scholars of Westminster School exercised their historic right to exclaim Vivat Regina Elizabetha! (‘Long live Queen Elizabeth!’); so it will be today. The coronation service begins with the Recognition. The content of this part of the service is, of course, not today what it was in 1953, but the intention is similar: to recognise with thanksgiving the dutiful service offered over the past sixty years by our gracious and noble Queen, and to continue to pray God saveThe Queen. The Anointing is an act of consecration, a setting apart for royal and priestly service, through the gift of the Holy Spirit. The Ampulla from which the oil was poured rests today on the HighAltar as a reminder of that central act. St Edward’s Crown also rests today on the High Altar as a powerful symbol of the moment of Coronation. In today’s Service, a flask of Oil is carried by representatives of the people of the United Kingdom to the Sacrarium, received by theArchbishop and placed by the Dean on the High Altar. -
St Paul's Cathedral Choir
ST PAUL’S CATHEDRAL CHOIR ALED JONES ANDREW CARWOOD WITH THE CATHEDRAL CHORISTERS OF BRITAIN 1 George Frederic Handel Zadok the Priest @ William Walton Jubilate Deo 3:44 (Coronation Anthem) 5:38 Solo trebles: Hugh O’Donnell, Kasper Lootens, Oscar Pavey Solo altos: Christopher Field, Matthew Venner Felix Mendelssohn Hear my Prayer Solo tenor: Jon English Solo bass: Tim Jones 2 I. Hear My Prayer 5:39 3 II. O for the wings of a dove 5:34 £ Howard Goodall The Lord is my shepherd (Psalm 23) 3:06 Solo treble: Nathaniel Morley Solo treble: Nathaniel Morley 4 Charles Villiers Stanford Justorum Animæ 3:39 $ John Rutter The Lord bless you and keep you 3:07 5 Thomas Weelkes Hosanna to the Son of David 1:58 % Paul Mealor Ubi caritas 4:39 Solo treble: Ndiana Essien 6 Thomas Tallis Salvator mundi [I] 3:13 ^ John Rutter A Gaelic Blessing 2:06 7 Henry Purcell O God, thou art My God 3:35 & C. Hubert H. Parry I Was Glad 7:20 Solo trebles: Toby Hunt, Oscar Pavey Solo alto: David Bates Solo tenors: Roy Rashbrook, Andrew Yeats Solo bass: Martin Oxenham * John Rutter A Gaelic Blessing with Aled Jones Especially arranged by John Rutter 2:06 8 Maurice Greene Lord, let me know mine end 5:58 Solo trebles: Nathaniel Morley, Leo Greenlees 9 John Ireland Greater Love Hath No Man 6:35 Solo treble: Benjamin Irvine-Capel Solo bass: Edward Grint St Paul’s Cathedral Choir The Cathedral Choristers of Britain 1, ^, &, * 0 Ralph Vaughan Williams O Taste and See 1:49 Solo treble: Benjamin Irvine-Capel Aled Jones Baritone * Simon Johnson Organ 1-3, 7-$, ^-* ! Henry Balfour Gardiner Evening Hymn 6:36 Andrew Carwood Director 2 he album presented here created just by you and your friends. -
Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal Segal
THE CATHEDRAL OF ST JOHN THE EVANGELIst HELEN D. SCHUBERT CONCERts CLEVELAND OHIO Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal SEGAL BETH Ross W. Duffin, Artistic Director Friday, 6 October 2017 The Cathedral of St John the Evangelist Most Reverend Nelson J. Perez, Bishop of Cleveland Reverend Sean Ralph, Administrator Mr Gregory Heislman, Director of Music Quire Cleveland Ross W. Duffin,Artistic Director Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal All Works by Henry Purcell (1659–1695) Please hold your applause until the end of each half. I will sing unto the Lord (Psalm 104) Jehova quam multi sunt hostes mei (Ps. 3) Blow up the trumpet in Sion (Joel 2) Beati omnes qui timent Domini (Ps. 128) Remember not, Lord, our offences (Litany) Funeral Sentences Man that is born of woman (Job 14) In the midst of life (Book of Common Prayer) Thou knowest, Lord (BCP) — intermission — O God, thou hast cast us out (Ps. 60) Lord, how long wilt thou be angry (Ps. 79) Miserere mei Thou knowest, Lord, the secrets of our hearts (BCP) O Lord God of Hosts (Ps. 80) Hear my prayer (Ps. 102) Save me, O God (Ps. 54) O be joyful in the Lord (Jubilate) (Ps. 100) I was glad (Ps. 122) About Quire Cleveland Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage. -
What the Press Says About Hubert Parry: Songs of Farewell (NAXOS)
What the Press says About Hubert Parry: Songs of Farewell (NAXOS) “Sir Hubert Parry’s Jerusalem, with which this stirring CD ends, is inextricably linked with the Last Night of the Proms rather than the start of the season, but it sits well on a disc of his ‘choral masterpieces’. The uplifting anthem I Was Glad, written for the coronation of Edward VII in 1902, has also entered the more general choral repertoire, while the unaccompanied Songs of Farewell, written to texts by poets Henry Vaughan, John Davies, Thomas Campion, John Gibson, Lockhart and John Donne, equally merit the attention that the Manchester Cathedral Choir gives them with such care of expression. ‘Long Since in Egypt’s Plenteous Land’ from the oratorio Judith will be familiar to anyone who has sung Dear Lord and Father of Mankind in church, while Parry’s sold but malleable idiom in Hear My Words, Ye People, with Mark Rowlinson as a ringing, robust baritone soloist, will get the juices of any choral singer flowing. Telegraph rating Geoffrey Norris, The Daily Telegraph Although Parry’s Songs of Farewell are often sung by large choruses, their intimacy of sentiment is well suited to the 26 voices of the Manchester Cathedral Choir on this recording. The opening ‘My soul, there is a country’ immediately draws the listener in by its self-communing quality, and conductor Christopher Stokes intelligently punctuates Parry’s response to Henry Vaughan’s poetic adumbration of the afterlife. In the more extroverted Donne setting ‘At the round earth’s imagined corners’ a smaller group is positively beneficial in elucidating the complex seven-part writing, and Stoke’s neat, incisive clarification of mood and contrast are again impressive. -
Bernstein & the Brits
Bernstein & The Brits Parry: I Was Glad When They Said Unto Me (1911) Bernstein: Chichester Psalms Rutter: O Clap Your Hands Mealor: Stabat Mater A collaborative project of the Lawrence University Choirs and Lawrence Symphony Orchestra Dr. Phillip A. Swan, conductor John Thomas Holiday, Jr., countertenor Friday, April 26, 2019 8:00 p.m. Lawrence Memorial Chapel I Was Glad (1911) Sir Charles Hubert Hastings Parry (1848-1918) ed. John Rutter (b. 1945) Chichester Psalms Leonard Bernstein Psalm 108:2; Psalm 100 (1918-1990) Psalm 23; Psalm 2:1-4 Psalm 131; Psalm 133:1 Countertenor: John Holiday Solo quartet: Emily Austin, Aria Minasian, Luke Honeck, Alex Hadlich ♦ INTERMISSION ♦ O Clap Your Hands Rutter Stabat Mater Paul Mealor Stabat mater dolorosa (b. 1975) Eia mater, fons amoris Virgo virginum praeclara Christe, cum sit hinc exire Soloists: Emily Richter, Nicolette Puskar In 2018 all lighting in Memorial Chapel was updated to LED. Spray foam insulation with an R-value of R40 was added to the attic. The savings associated with these projects are estimated to be more than 105,000 kilowatt hours and $10,000 per year. Project funded in part by the LUCC Environmental Sustainability Fund. Program Notes and Translations I Was Glad As a composer, Sir C. Hubert H. Parry is best known for the choral composition, Jerusalem and his setting of the coronation anthem I was glad. His orchestral works include five symphonies and a set of symphonic variations. At the encouragement of his father, Parry began his career in insurance, but soon left that pursuit and was hired by George Grove, first as a contributor to Grove’s Dictionary of Music and Musicians. -
Psalms for the Spirit 8 Psalm 93 (Garrett) ‘Sing Us One of the Songs of Sion.’ 1
557781bk Psalms US 15/9/06 4:14 PM Page 8 @ My Prayer 4. These things will I remember as I pour out my soul verse 1 from Psalm 102 (Chilcott) within me: Hear my prayer, O Lord: how I went with the multitude, and brought them Let my crying come unto thee. forth into the house of God, 5. With the voice of praise and thanksgiving, Hear my prayer, O Lord: a multitude keeping holy-day. Let my crying come unto thee. 6. Why art thou so full of heaviness, O my soul? # Psalm 111 (Larkin) and why art thou so disquieted within me? 7. O put thy trust in God; for I will yet give him thanks, 1. I will give thanks unto the Lord with my whole heart, who is the help of my countenance and my God. in the council of the faithful and in the congregation. 8. My soul is vexed within me; therefore will I PSALMS 2. The works of the Lord are great, remember thee sought out of all them that have pleasure therein. from the land of Jordan, from Hermon and the Little 3. His work is worthily to be praised and had in honour; Hill. and his righteousness endureth forever. 9. One deep calleth another because of the noise of thy FOR 4. The merciful and gracious Lord hath so done his torrents; marvellous works, all thy waves and thy billows are gone over me. that they ought to be had in remembrance. 10. The Lord will grant his loving-kindness in the day-time; THE 5. -
Download Sunday's Bulletin
HARVARD The Memorial Church Sunday Worship in the Knafel Center -0- Freshman Sunday Sunday, August 28, 2016 please silence all electronic devices upon entering the main hall of the knafel center. Order of Worship PRELUDE Georgian Suite, op. 81 (1990) Francis Jackson (b. 1917) I. Prelude II. Invention IV. Sa rabande VI. Jig HYMN All People That on Earth Do Dwell Old Hundredth The congregation standing All peo -ple that on earth do dwell, sing For why? The Lord our God is good, his to the Lord with cheer - ful voice; him serve with mirth, his mer - cy is for - ev - er sure; his truth at all times praise forth tell, come ye be-fore him and re - joice. firm - ly stood, and shall fromage to age en - dure. A- men. INVOCATION 2 CONFESSION In unison: Eternal God, in whom we live and move and have our being, whose face is hidden from us by our sin, and whose mercy we forget: cleanse us from all offenses, and deliver us from proud thoughts and vain desires; that humbly we may draw near to thee, confessing our faults, confiding in thy grace, and finding in thee our refuge and our strength, through Jesus Christ our Lord. ASSURANCE OF PARDON HYMN Let the Whole Creation Cry Llanfair GREETING THE PEACE All are invited to join in singing. We gath- er to- geth - er to ask theLord’s bless- ing. He chas- tens and has- tens his will to make known; the wick- ed op-press- ing now cease fromdis- tress- ing. Sing prais- es to his name; he for- gets not his own. -
ROYAL CELEBRATION Friday, October 19 & Saturday, October 20, 2018 at 7:30 P.M
program music director MUSIC FOR A ROYAL CELEBRATION Friday, October 19 & Saturday, October 20, 2018 at 7:30 p.m. Knight Theater at Levine Center for the Arts Christopher Warren-Green, conductor Charlotte Symphony Chorus G. F. HANDEL Zadok the Priest, Coronation Anthem No. 1 (1685-1759) HANDEL Water Music (selected movements) Suite I in F major: Overture, Adagio e staccato, Allegro, Air, Bourree, Hornpipe Suite III in G major: Sarabande, Rigaudon, Allegro, Minuet, Gigue Suite II in D major: Allegro, Hornpipe INTERMISSION Hubert PARRY I was Glad (1848-1918) HANDEL Music for the Royal Fireworks I. Ouverture II. Bourrée III. La Paix IV. La Réjouissance V. Menuet I VI. Menuet II William WALTON Crown Imperial: Coronation March (1902-1983) (arr. Taursky) This concert will end at approximately 9:15 p.m. The Classical Series is presented to the community by 9B program notes GEORGE FRIDERIC HANDEL Handel was born in Halle, Germany, on February 23, 1685, and died in London, England, on April 14, 1759. Zadok the Priest, HMV 258 (1727) AT A GLANCE... On June 11, 1727, King George I died The first performance took place at while in Osnabrück. Prior to his death, Westminster Abbey in London on the king signed a decree granting British October 11, 1727. citizenship to the German-born composer Handel wrote this anthem for the George Frideric Handel. Handel’s first duty coronation ceremony of King George II as a British citizen was to write a series of and Queen Caroline. Zadok the Priest anthems for the coronation ceremony of has been included in every subsequent King George II and Queen Caroline. -
Wells Cathedral Choir Rehearse Under the Direction of Their Organist and Master of the Choristers, Matthew Owens
Vol. 7 No. 9 Wells Cathedral Choir rehearse under the direction of their Organist and Master of the Choristers, Matthew Owens. I am pleased to welcome you all to a new era in the ongoing life of the Federation of Cathedral Old Choristers Associations. We live in an ever changing world, and FCOCA is no exception. On a very sad note Michael Barry editor of this publication for many years died on 10 th March 2016 after a long illness. Michael had devoted much time and energy to revitalising the magazine for which we all owe him a great debt of gratitude. Circumstances have worked against us but after much discussion it was agreed at the Wakefield AGM this year that an electronic publication would be prepared which could be read on a computer or printed in the high street. The result is this publication which is as far as we could establish a complete set of reports sent from the various associations. If there are any omissions in this edition please accept my apologies. We have tried very hard! We have had a number of other changes on the committee recently. I would like to take this opportunity to thank Ian Henderson and Richard Belton for their many years of service as Chairman and Secretary. If you would like to join the committee as Magazine Editor or Secretary you would be most wel- come. Alastair Pollard. Chairman FCOCA [email protected] Wells FCOCA Festival 2016 Please download full details from www.fcoca.org.uk Belfast, St. Anne’s Cathedral Past Choristers’ Association The Very Rev. -
Restoration Cathedral Music Oral Introductions at Concert Welcome
Restoration Cathedral Music Oral Introductions at Concert Welcome to our recital of Restoration cathedral music, part of the day-long symposium being held here on campus and also the associated L.I.F.E. class. The idea for the symposium was prompted by the receipt by WIU of a very important and valuable manuscript of music from the late seventeenth century. The choir is about to present a program of church music from this period by several of its leading composers. This is music composed primarily for the Chapel Royal – the monarch’s private chapel – by leading musicians of the day employed as singers and composers for that institution. Some of this music gradually filtered out in copies to other cathedrals around the kingdom – which is why we have called the symposium Restoration Cathedral Music, not Chapel Royal music. All of these composers are inter-connected in some way. Most of them started out as boy choristers and grew up together to become professional colleagues, performing each others’ music on a regular basis. The music you will hear today falls into one of two categories: service music or anthems. In the Anglican (i.e. Episcopalian) Rite certain passages of scripture were set aside to be sung at either morning or evening services: the Magnificat and Nunc Dimittis belong to this category being canticles for the evening service known as ‘Evensong’ sung daily in cathedrals. The big difference between this and the Roman Catholic ritual being that these were sung in English not Latin. Anthems were settings of scripture to be sung at particular points in the service but not with ‘appointed’ words – composers were given more latitude as to choice of texts.