Choral Services 2019 — 2020

Total Page:16

File Type:pdf, Size:1020Kb

Choral Services 2019 — 2020 THE CATHEDRAL OF ALL SAINTS IN THE CITY AND DIOCESE OF ALBANY choral services 2019 — 2020 about the choir stablished in 1872, The Cathedral Choir of Men and Boys is the oldest E continuously performing choir of its kind in the country. As the principal choir of The Cathedral of All Saints, the Choir of Men and Boys sings choral services in the Cathedral during the academic term. The choir enjoys an international reputation for musical excellence and acts as a vital link to the ancient choral traditions of England and Europe, all the while remaining distinctly American. In addition to its liturgical role, the choir is heard regularly in concert and has performed with The Albany Symphony, The Boston Symphony, and at The Tanglewood Music Festival. In recent years, the choir has made three tours of England, having completed one in February 2011, where it sang services at Hereford and Gloucester Cathedrals. The choir is made up of trebles (boys ages7–14 with unchanged voices) who sing the soprano line, while a dedicated group of professional men sings the alto, tenor, and bass parts. Boys rehearse twice weekly during the academic term, with the gentlemen joining them once each week for musical preparation. Choristers come from all parts of the Capital region, reflecting many backgrounds, faiths, and cultures. The quality of their music making, coupled with their uncommon dedication to excellence, has helped make The Cathedral Choir of Men and Boys ‘Albany’s Boy Choir’ for 147 years. The choristers are trained according to the standards set forth byThe Royal School of Church Music. As they move through the training scheme, choristers earn ribbons of various colors representing their rank in the ensemble. The boys not only work hard, but they also play hard. Choir parents organize weekly dinners for the full choir, and the boys enjoy regular non-musical outings, giving them a chance to enjoy a lighter social side of the chorister experience. Do you know a boy who likes to sing? Please tell him about the choir. The Director of Music, Woodrow Bynum, is always happy to meet with prospective choristers and their families. Auditions are held throughout the year by appointment, and no previous musical training is necessary or expected. For more information, contact the Director of Music or call 518-423-6779. the cathedral choir of men and boys © 2019 photo by Krysta Rogers 2 SEPTEMBER 15 THE FOURTEENTH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Communion Service in C & F Stanford Gradual Psalm 84 Parry Offertory I was glad Parry Communion Ave Verum Corpus Mawby 22 THE FIFTEENTH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Missa Brevis Sancti Joannis de Deo Haydn Gradual Psalm 113 Ouseley Offertory Insanæ et vanæ curæ Haydn Communion From the rising of the sun Ouseley 2:00 pm friends of the choir annual garden party Buhrmaster Barn at Pruyn House, located at 207 Old Niskayuna Road, Latham, New York Tickets are available online at gardenparty.brownpapertickets.com or by calling 1-800-838-3006 event 4309774 29 THE SIXTEENTH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Communion Service in F Darke Gradual Psalm 146 Monk Offertory Poor man Lazarus Hairston Communion O God, whose nature and property Gray OCTOBER 6 THE SEVENTEENTH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Short Service Batten Gradual Psalm 37:1–10 Howells Offertory For lo, I raise up Stanford Communion O Lord, increase my faith Loosemore 13 THE EIGHTEENTH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist sung by The Cathedral Congregation Setting Missa de Sancta Maria Magdalena Willan 3 OCTOBER continued 20 THE NINETEENTH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Missa Brevis Ives Gradual Psalm 121 Walford Davies Offertory Thy word is a lantern Purcell Communion Teach me, O Lord Attwood 2:30 pm cello recital played by neil keen, St. Peter’s Episcopal Church, Albany, NY 3:00 pm choral evensong Celebrating Cathedrals in Covenant Introit Ave Maria Stravinski Responses Hancock Psalm 34 Martinson & Bynum Canticles Gloucester Service Howells Anthem Mother of God, here I stand Tavener 27 THE TWENTIETH SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Mass of the Quiet Hour Oldroyd Gradual Psalm 84:1–6 Parry Offertory Behold, O God, our defender Howells Communion Fear not, O land Elgar NOVEMBER 3 ALL SAINTS’ SUNDAY: FEAST OF TITLE 10:00 am cathedral eucharist Setting Missa O quam gloriosum Victoria Gradual Psalm 149 Stanford Offertory O quam gloriosum Victoria Communion Blest are the pure in heart Walford Davies 2:30 pm organ recital played by william douglas, Lloyd Cast Organ Fellow 3:00 pm solemn evensong with procession Responses Byrd Psalm 148 Willcocks Canticles Second Service Byrd Anthem Justorum animæ Byrd 10 THE TWENTY-SECOND SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist sung by The Cathedral Congregation Setting Missa de Sancta Maria Magdalena Willan 4 NOVEMBER continued 17 THE TWENTY-THIRD SUNDAY AFTER PENTECOST 10:00 am cathedral eucharist Setting Missa Ego flos campi Padilla Gradual Psalm 98 Randall Offertory A New Song MacMillan Communion Ego sum panis vivus Esquivel 24 THE LAST SUNDAY AFTER PENTECOST: CHRIST THE KING 10:00 am cathedral eucharist Setting Truro Eucharist Briggs Gradual Psalm 46 Luther Offertory Crown of Glory Rutter Communion Sing, my soul, his wondrous love Rorem DECEMBER 1 ADVENT SUNDAY 10:00 am cathedral eucharist sung by The Gentlemen of the Choir Setting Fourteenth Century Mass Anon. The Great Litany Plainsong Gradual Psalm 122 Plainsong Offertory Zion, hört die Wächter singen Bach Communion O God, from heaven look below Prætorius 8 THE SECOND SUNDAY OF ADVENT 10:00 am cathedral eucharist Setting The Office of Holy Communion Howells Gradual Psalm 72:1–7,18–19 Norris Offertory This is the record of John Gibbons Communion A tender shoot Goldschmidt 10 TUESDAY 7:00 pm cathedral concert: handel’s Messiah Sung by The Cathedral Choir of Men and Boys, with period instrument orchestra and guest soloists: Sarah Yanovitch, soprano Emily Marvosh, alto Ruairi Bowen, tenor Edward Vogel, bass Tickets are available online at albanymessiah.brownpapertickets.com or by calling 1-800-838-3006 event 4309782 5 DECEMBER continued 15 THE THIRD SUNDAY OF ADVENT: GAUDETE 10:00 am cathedral eucharist Setting Missa Bella Stellaria Guglielmi Gradual Psalm 146:4–9 Monk Offertory E’en so Lord Jesus quickly come Manz Communion O radiant dawn MacMillan 22 THE FOURTH SUNDAY OF ADVENT 10:00 am cathedral eucharist sung by The Cathedral Congregation Setting Merbecke 2:30 pm music for brass and organ 3:00 pm a festival of nine lessons and carols sung by The Choir of Choral selections include Men and Boys Ding dong! Merrily on high arr. Willcocks Adam lay ybounden Ord The Lamb Tavener Out of your sleep Bennett Es ist ein Ros’ entsprungen Prætorius The seven joys of Mary arr. Whitehead Glory to the Christ Child Bullard I saw three ships arr. Preston The Three Kings Dove 24 CHRISTMAS EVE (TUESDAY) 4:00 pm family eucharist sung by The Cathedral Congregation Setting Communion Service Powell 11:00 pm midnight mass sung by The Cathedral Choir of Men and Boys & Choir Alumni Setting Messe pour deux chœurs Widor Gradual Psalm 96:1–6 Attwood Offertory A Child’s Prayer MacMillan Communion On Christmas night arr. Ledger Shepherd’s Carol Chilcott In the bleak midwinter Darke Quem pastores laudavere Bassi 25 CHRISTMAS DAY (WEDNESDAY) 9:00 am cathedral eucharist sung by The Gentlemen of the Choir Introit Hodie Christus natus est Plainsong Setting Mass for Three Voices Byrd Gradual Psalm 98 Randall Offertory Ave Maria Biebl Communion Spaseniye sodelal Chesnokov 6 DECEMBER continued 29 THE FIRST SUNDAY AFTER CHRISTMAS 10:00 am cathedral eucharist sung by The Cathedral Congregation Setting Missa de Sancta Maria Magdalena Willan JANUARY 5 THE SECOND SUNDAY AFTER CHRISTMAS 10:00 am cathedral eucharist sung by The Cathedral Congregation Setting Missa de Sancta Maria Magdalena Willan 12 THE FIRST SUNDAY AFTER EPIPHANY: THE BAPTISM OF OUR LORD 10:00 am cathedral eucharist Setting Missa Brevis Dove Gradual Psalm 29 Archer Offertory Greater love hath no man Ireland Communion Set me as a seal Walton 2:30 pm organ recital played by jared johnson, Trinity Cathedral, Columbia, SC 3:00 pm choral evensong Introit Bethlehem Down Warlock Responses Rose Psalm 72 Norris Canticles Evening Service in G Stanford Anthem Ascribe unto the Lord Wesley 19 THE SECOND SUNDAY AFTER EPIPHANY 10:00 am cathedral eucharist Setting Missa Brevis in D Mozart Gradual Psalm 40:1–12 Bennett Offertory I waited patiently Chapple Communion Oratio Patris Condren: O Jesu vivens in Maria Rorem 26 THE THIRD SUNDAY AFTER EPIPHANY 10:00 am cathedral eucharist Setting Missa Secunda Hassler Gradual Psalm 27:1,5–13 Cutler Offertory Beautiful Saviour Christiansen Communion Eternal Light Sowerby 7 FEBRUARY 2 CANDLEMAS (SUNDAY) 10:00 am cathedral eucharist with procession Introit We wait for thy loving kindness McKie Setting Missa Brevis Sancti Joannis de Deo Haydn Gradual Psalm 24:7–10 Barnby Offertory When to the temple Mary went Eccard Communion Nunc dimittis Wood 9 THE FIFTH SUNDAY AFTER EPIPHANY 10:00 am cathedral eucharist Setting Communion Service in D flat Candlyn Gradual Psalm 112:1–10 Thalben-Ball Offertory Christ, whose glory fills the skies Candlyn Communion Thee we adore Candlyn 2:30 pm organ recital played by robert richter, St. Christopher’s Episcopal Church Carmel, IN 3:00 pm choral evensong Responses Tomkins Psalms 47 & 48 Abdenour & Elgar Canticles Evening Service in E flat (i) Wood Anthem Hail, gladdening light Wood 16 THE SIXTH SUNDAY AFTER EPIPHANY 10:00 am cathedral eucharist sung by The Cathedral Congregation Setting Missa de Sancta Maria Magdalena Willan 23 THE LAST SUNDAY AFTER EPIPHANY 10:00 am cathedral eucharist sung by The Gentlemen of the Choir Setting Fourteenth Century Mass Anon.
Recommended publications
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Missa Brevis
    Jacob de Haan Missa Brevis Partiture per coro misto Solo per uso personale 2 Ⓡ Ⓡ Soli Deo Hon Et Gl ia 3 Missa Brevis Indice dei contenuti Kyrie .............................................. .............. 4 Gloria............................................. ............... 6 Credo.............................................. .............. 11 Sanctus ............................................ .............. 18 Benedictus......................................... ................ 20 Agnus Dei .......................................... ............... 24 4 Missa Brevis Kyrie Coro Misto Jacob de Haan ø = 80 Soprano 11 2 2 Ky ri e e lei son, Ky ri e e lei son, f f Alto 11 2 2 11 Tenore 2 8 2 Kyf ri e e lei son, Kyf ri e e lei son, 11 Basso 2 2 19 S 3 Ky ri e e lei son, Ky ri e e lei son, 2 f f A 3 2 T 3 8 2 Kyf ri e e lei son, Kyf ri e e lei son, B 3 2 28 S 3 2 3 2 3 2 3 2 Ky ri e e 2 lei son, 2 Ky ri e e 2 lei son. 2Christe e 2 lei son, 2 ff f p A 3 2 3 2 3 2 3 2 2 2 2 2 2 2 T 3 2 3 2 3 2 3 8 2 2 2 2 2 2 2 Kyff ri e e lei son, Kyf ri e e lei son. Chrip ste e lei son, B 3 2 3 2 3 2 3 2 2 2 2 2 2 2 Coro Misto 5 34 S 3 2 3 2 2 Christe e 2 lei son, e lei son, 2 Chri ste Chri ste 2Christe e A ff ff ff 3 2 3 2 2 2 2 2 T 3 2 3 2 8 2 2 2 2 Christe e lei son, e lei son, Chriff ste Chriff ste Chriff ste e B 3 2 3 2 2 2 2 2 41 S 2 2 3 2 3 lei son.
    [Show full text]
  • Download Booklet
    BYRD BRITTEN Missa Brevis Benjamin Britten | q Choral Music by William Byrd (1540-1623) Kyrie [1.52] Choristers & Benjamin Britten (1913-1976) Bertie Baigent organ w Gloria [2.39] 1 O Lord, make thy servant, Elizabeth our Queen William Byrd [2.50] Choristers College Choir Bertie Baigent organ Edmund Goodman, Westcott Stark, William Barbrook treble solos 2 A Hymn of St Columba Benjamin Britten [2.07] e Chapel Choir Sanctus [1.34] Bertie Baigent organ Choristers Bertie Baigent organ 3 Nunc dimittis William Byrd [6.37] r College Choir Benedictus [1.54] Choristers 4 Jubilate Deo Benjamin Britten [2.21] Bertie Baigent organ Chapel Choir Gus Richards & Jacob Fitzgerald treble duet Jordan Wong organ t Agnus Dei [2.21] 5 Ave verum corpus William Byrd [3.53] Choristers Chapel Choir Bertie Baigent organ 6 Laudibus in sanctis William Byrd [5.02] y Quomodo cantabimus William Byrd [8.07] College Choir College Choir 7 Hymn to St Peter Benjamin Britten [5.43] u Te Deum in C Benjamin Britten [8.10] Combined Choirs Combined Choirs Jordan Wong organ Benjamin Scott-Warren, Dorothy Hoskins, Harriet Hunter solo trio Bertie Baigent organ 8 Praise our Lord, all ye gentiles William Byrd [2.32] Total timings: [67.09] Combined Choirs 9 Antiphon Benjamin Britten [5.58] Track 10 is played on the ‘Sutton’ Organ, built by Bishop & Sons in 1849. All other accompanied tracks feature the main chapel organ, built by Orgelbau Kuhn in 2007. College Choir Julia Sinclair soprano solo I Sapphire Armitage soprano solo II THE CHOIR OF JESUS COLLEGE, CAMBRIDGE Dorothy Hoskins soprano solo III Jordan Wong organ BERTIE BAIGENT & JORDAN WONG ORGAN MARK WILLIAMS DIRECTOR 0 The Queen’s Alman William Byrd [3.26] Bertie Baigent organ www.signumrecords.com William Byrd (1540-1623) and Benjamin Britten 1976, both his pacifism and his sexual orientation words are sung simultaneously.
    [Show full text]
  • Boys' Voices, Lads' Voices: Benjamin Britten and the “Raggazo
    Boys’ Voices, Lads’ Voices: Benjamin Britten and the “Raggazo” (Continental) Sound. Jim Coyle Lecturer, Sydney Conservatorium of Music, The University of Sydney, Australia. Abstract Over 20% of the opus-numbered compositions by Benjamin Britten involved the sound of young voices. In thirteen of these pieces, he stipulated a chorus of trebles. Britten is known to have had a preference for what he perceived as a natural singing sound, rather than the refined and pure tone of a cathedral choir. This study analyses these works for five musical parameters: pitch range, pitch proximity, mean pitch, phrase length, and notated dynamics to demonstrate that Britten had two distinct styles when writing for treble chorus. One is for the traditional English cathedral sound and the other is for the ‘continental’ voice produced by certain choirs for whom he wrote. There are some transitional works composed in the late 1940s and early 1950s that show characteristics of both of these styles. These conclusions will help in interpreting Britten’s works and as technical guidelines for composers seeking particular effects when writing for the treble choir. Keywords trebles, cathedral choir, Benjamin Britten, boys, continental tone, ragazzo. Introduction The Nature of the Question The use of boys’ voices is a noticeable characteristic of the music of English composer Benjamin Britten (1913-1976). He was strongly committed to writing music for children and young people of both sexes and used them as soloists, in small ensembles, and in larger choruses and choirs (Holst, 1966). Certain of the works involving a chorus of boys show a marked timbral difference from the others and were composed with that particularly robust tone colour, the continental or ragazzo sound, in mind (Ashley, 2009).
    [Show full text]
  • Missa Brevis (From "Requiem") for SATB Choir (With Divisi) and Organ Chris Hutchings Lord, Have Mercy (Kyrie)
    Missa Brevis (from "Requiem") for SATB choir (with divisi) and organ Chris Hutchings Lord, Have Mercy (Kyrie) Maestoso q = 100 & 23 ∑ ∑ ∑ ∑ 42 Sw. strings p Organ #˙ n˙ ˙ w w. ? 23 ∑ Ó ˙ ˙ ˙ w#w w. 42 8' solo reed P 3 3 ? 3 Œ Œ 4 2 œ œ œ œ œ œ w. ˙ ˙ œ œ œ œ œ œ ˙ 2 5 Sw. p & 42 ∑ 23 ∑ Ó Œ ˙b . 5 #˙ n˙ ˙. #œ w. œ b˙ ? 4 Œ ˙ ˙ ˙. # œ 3 w. œ b ˙ bb˙. 2 3 ˙# . œ 2 w. œ n ˙ 3 ? 42 23 Œ w w œ# œ œ œ œ# œ w œ œb Con moto ( q = c 120 ) 8 accel. P S & ∑ 42 ∑ Ó Ó ˙. œ 23 Lord,˙. haveœ A P & ∑ 42 ∑ Ó Ó 23 Lord,˙˙. haveœœ T 4 3 V ∑ 2 ∑ ∑ 2 8 B ? ∑ 42 ∑ ∑ 23 3 4 3 & 2 2 ˙ w ˙. ˙b ˙ ˙ œ œœ ˙˙ ww 8 œb ˙ nw bw nw ˙ ˙ w ? ˙ b w 42 b w b w ˙n ˙ w 23 3 3 strings ? 4 ˙ w w 3 œ œb œb ˙b ˙ ˙ 2 w© Chris Hutchings˙ 2012 2 www.hutchingsmusic.co.uk 2 Lord, Have Mercy 11 F 3 P 3 S 3 ˙ œ w œ ŒÓ Œ œ & 2 mer˙ - œ cy, w œ haveœ mer˙ - œ cy, w F 3 3 A P & 23 ŒÓ Œ #mer˙˙ - œ cy,œ ww œœ #haveœœ mer˙n ˙ - œ cy,œ ww P 3 T P V 23 Ó Ó Œ œ œ œ œ œ ˙. Ó Ó Œ œ Have mer-- cy u pon us, have 11 P 3 P B ? 3 2 Ó Ó Œ œ œ œ œ ˙ Ó Ó Œ Have mer-- cyœ u pon us, .
    [Show full text]
  • Bristol Choral Society
    BRISTOL CHORAL SOCIETY. Updated MUSIC FOR SALE. November 2020 COMPOSER WORK Quantity PRICE per copy Hire Bach St Matthews Passion 1 £1.50 St John Passion 1 £4.00 Jesus Priceless treasure 1 £1.50 B Minor Mass 5 £4.00. £2.00 & £1.00 Magnificat 1 £3.00 Come Redeemer 1 50p Christmas Oratorio 3 £5.00. £1.00. 50p Cantata 152. Walk the heavenly way (in Englsh) 1 50p Cantata 28 O Praise the Lord. (In English) 1 50p Cantata 1. How brightly shines. (In English) 1 50p Cantatas: ,21, 34x 2,, 80,82 1 of each 75p, & 30p Motet “Lobet den Herrn” ( legal copies) 59 hire Motet “Lobet den Hern” 4 £1.00 & 50p Komm Jesu Komm. (Legal downloads) 36 Hire Motet. “sing ye to the Lord” 3 £1.50, Motet “ The spirit also helpeth us” 1 50p St Lukes Passion (In English) 1 50p Bednell David O praise God in his holiness 20 new £3.75 Hire “ “ “ 1 £1.50 Beethoven An die Freude (choral scores) 5 50p “ “ (Full Score) 1 £2.00 Choral Fantasia 7 50p Hire Mass in D 2 £2.00 & 75p Choral Symphony (Last movement) 1 £1.00 Meeresstille 1 25p Berger Brazilian Psalm 1 £1.00 Berlioz Te Deum 16 £2.50 hire Requiem 4 £2.00 & £1.50 Bernstein Chichester Psalms 3 £2.00 & £1.50 Choral selection from West side story 1 £1.50 Bliss Pastoral 1 £1.50 Morning Heroes 1 £1.50 Boulanger Old Buddhist Prayer 1 25p Psalm 129 1 25p Brahms Schicksalslied 8 £2.00 hire A German Requiem in German & English 1 £3.00 A German requiem in English 2 £1.50 & £1.00 A German Requiem in German 1 £1.00 Wie lieblich sind (from German requiem) ( legal copies) 80 hire Liebeslieder 2 £2.00 & £1.50 Song of Destiny 3 50p Britten Spring Symphony (choral scores) 9 £1.00 hire Spring Symphony (vocal scores) 2 50p St Nicholas 2 £2.00 Rejoice in the lamb 3 £2.50 & £1.00 AMDG 1 £2..50 Cantata Academica/Carmen Basiliense 1 £2.00 War Requiem 2 £5.50 & £1.50 Festival Te Deum 1 £1.00 Bruckner Te Deum 8 £2.00 & £1.00 hire Mass in E minor 11 £3.00 .£2.00 & £1.00.
    [Show full text]
  • Download Booklet
    CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on Coro Fen and Meadow Blest Cecilia A Ceremony of Carols Britten Choral Works III Britten Choral Works I cor16006 Britten Choral Works II cor16034 Hymn to the Virgin A Ceremony of Carols Hymn to St Cecilia A Boy was Born Rejoice in the Lamb A Shepherd's Carol Te Deum in C The Sycamore Tree Jubilate Deo Sweet was the Song Festival Te Deum Missa Brevis in D C HORAL D ANCES FROM 'G LORIANA ' Ikon of Light Barber Agnus Dei F IVE F LOWER S ONGS John Tavener cor16015 An American Collection cor16031 S ACRED AND P ROFANE The Lamb Samuel Barber Two Hymns to the Leonard Bernstein Mother of God Aaron Copland Today the Virgin Irving Fine Ian Partridge The Tyger Steve Reich The Sixteen Page 1 Eonia Del Tredici THE VOICES OF HARRY CHRISTOPHERS To find out more about The Sixteen, concerts, tours, and to buy CDs, visit www.thesixteen.com cor16038 In December 1977, as a member of the choir of Fen and Meadow Lady Barnard was composed in 1943 for a Westminster Abbey, I sang at Britten’s memorial friend, Richard Wood, who was in a prison Benjamin Britten camp in Germany, for him and his fellow service; at that time, I was also a member of English prisoners to perform there. The score was Music Theatre, successor to English Opera Group ritten's opera Gloriana celebrated sent out page by page by microfilm letter. and the brainchild of conductor Steuart Bedford Queen Elizabeth II's coronation The Wedding Anthem, Amo Ergo Sum, and producer Colin Graham but with the blessing Bby depicting scenes from the life composed for the marriage of Marion Stein and support of Britten.
    [Show full text]
  • MOZART, W.A.: Missa Brevis, K. 194 and 275 / Regina Coeli, K. 127 8.573092
    MOZART, W.A.: Missa brevis, K. 194 and 275 / Regina coeli, K. 127 8.573092 http://www.naxos.com/catalogue/item.asp?item_code=8.573092 Regina coeli in B flat major, K. 127 [1] Regina coeli laetare, alleluja. Rejoice, O Queen of heaven, alleluia. [2] Quia quem meruisti portare, alleluja, For he whom you were worthy to bear, Resurrexit, sicut dixit. Alleluja. has arisen, as he said. Alleluia. Ora pro nobis Deum. Pray for us to God. [3] Alleluja. Alleluia. Missa brevis in B flat major, K. 275, Missa brevis in D major, K. 194 [4] & [11] Kyrie Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. [5] & [12] Gloria Gloria Gloria in excelsis Deo Glory be to God on high, et in terra pax hominibus bonae voluntatis. and in earth peace, good will towards men. Laudamus te. Benedicimus te. We praise thee, we bless thee, Adoramus te. Glorificamus te. we worship thee, we glorify thee, Gratias agimus tibi propter magnam gloriam tuam. we give thanks to thee for thy great glory. Domine Deus, Rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens, God the Father Almighty. Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesu Christ: Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer.
    [Show full text]
  • Benjamin Britten's Compositions for Children and Amateurs: Cloaking
    i O ^ 3 3 1 Benjamin Britten’s compositions for children and amateurs: cloaking simplicity behind the veil of sophistication by Angie Flynn Thesis submitted to the National University of Ireland, Maynooth as part- fulfilment for the degree of Master of Arts in Historical Studies Head of Department: Professor Gerard Gillen Department of Music National University of Ireland Maynooth Co. Kildare Supervisor: Dr Mark Fitzgerald Department of Music National University of Ireland Maynooth Co. Kildare Naas, July 2006 \ 7 h N o r w i c h E a s t S u f f o l k s o u t h w o l d ; PEASENHA1X N o /\ t h YOXFORD SAXMUNDHAM GREAT flLC N H A M AL JOE BURGH PART OP j THE To I p n v ith & L o n d o n SUFFOLK COAST Contents Preface ii Acknowledgements v Introduction vii Benjamin Britten’s compositions for children and amateurs: cloaking simplicity behind the veil of sophistication Chapter 1 - 1 Chapter 2- 16 Chapter 3 - 30 Chapter 4 - 44 Conclusion 57 Appendix A 60 Appendix B 62 Appendix C 71 Appendix D 75 Bibliography 76 Abstract 80 Preface This thesis conforms to the house style of the Department of Music, National University of Ireland, Maynooth. As far as possible an adherence to The Oxford Dictionary of English has been made for spellings, where a choice is necessary. Any direct quotations from Britten’s letters or diaries (or, indeed, any correspondence relating to him) maintain his rather idiosyncratic and variable spelling style (e.g. ‘abit’) and his practice for underlining words, which would appear to be a habit he retained from childhood, and no attempt has thus been made to alter them.
    [Show full text]
  • <I>Missa Brevis</I>, a Work for Chamber Choir, Soloists, and Chamber
    Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 2008 Missa Brevis, a work for chamber choir, soloists, and chamber ensemble score and analysis Joshua Adam Bornfield Follow this and additional works at: http://commons.emich.edu/theses Part of the Music Performance Commons Recommended Citation Bornfield, Joshua Adam, "Missa Brevis, a work for chamber choir, soloists, and chamber ensemble score and analysis" (2008). Master's Theses and Doctoral Dissertations. 170. http://commons.emich.edu/theses/170 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Missa Brevis a Work for Chamber Choir, Soloists, and Chamber Ensemble Score and Analysis by Joshua Adam Bornfield Thesis Submitted to the Department of Music and Dance Eastern Michigan University in partial fulfillment of the requirements for the degree Master of Arts in Music Theory and Literature March 15, 2008 Ypsilanti, Michigan ii APPROVAL Missa Brevis: a Work for Chamber Choir, Soloists, and Chamber Ensemble Score and Analysis by Joshua Adam Bornfield APPROVED Dr. Anthony Iannaccone________________________Date_________ Director Dr. C. Nelson Amos ___________________________Date_________ Committee Member Dr. David Pierce _____________________________Date_________ Committee Member Dr. David Woike _____________________________Date_________ Head, Department of Music and Dance Dr. Deb Delaski-Smith _________________________Date_________ Dean, Graduate School iii ABSTRACT The Missa Brevis displayed and discussed herein is composed for chamber choir, vocal soloists, and a chamber ensemble of nine instrumental performers.
    [Show full text]
  • KODALY's SACRED CHORAL MUSIC 7 Reverend Francis J
    SACRED MUSIC Volume 95, Number 4, Winter 1968 THE SERIOUS CONTEMPORARY COMPOSER AND THE CHURCH TODAY 3 Arthur B. Hunkins KODALY'S SACRED CHORAL MUSIC 7 Reverend Francis J. Guentner, S.J. MUSICAL SUPPLEMENT 13 REVIEWS 22 NEWS 31 FROM THE EDITOR 33 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publication: 2115 Summit Avenue, Saint Paul, Minne­ sota 55101. Editorial office: University of Dallas, University of Dallas Station, Texas 75061. Editorial Board Rev. RalphS. March, S.O.Cist., Editor Mother C. A. Carroll, R.S.C.J. Rev. Lawrence Heiman, C.PP.S. J. Vincent Higginson Rev. Peter D. Nugent Rev. Elmer F. Pfeil Rev. Richard J. Schuler Frank D. Szynskie Rt. Rev. Rembert G. Weakland, O.S.B. Editorial correspondence: Rev. RalphS. March, S.O.Cist., University of Dallas, University of Dallas Station, Texas 75061 News: Rev. Richard J. Schuler, College of St. Thomas, Saint Paul, Minnesota 55101 Music for Review: Mother C. A. Carroll, R.S.C.J., Manhattanville College of the Sacred Heart, Purchase, New York 10577 Rev. Elmer F. Pfeil 3257 South Lake Drive Milwaukee, Wisconsin 53207 Membership and Circulation: Frank D. Szynskie, Boys Town, Nebraska 68010 Advertising: Rev. Ralph S. March, S.O.Cist. CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Theodore Marier Vice-president Noel Goemanne General Secretary Rev. Robert A. Skeris Treasurer Frank D. Szynskie Directors Robert I.
    [Show full text]
  • Reflections on and Around Britten's War Requiem at Yale Mervyn
    Reflections on and around Britten’s War Requiem at Yale Mervyn Cooke Adapted from the Tangeman Lecture delivered April 28, 2007 On 28 April 2007 a magnificent performance of Benjamin Britten’s War Requiem was given in Woolsey Hall, New Haven, by the Philharmonia Orchestra of Yale under the conductor Shinik Hahm, with Sara Jakubiak, James Taylor, and Detlef Roth the soprano, tenor, and baritone soloists, the Yale Schola Cantorum, Yale Camerata, Yale Glee Club, Trinity Church Boys’ and Girls’ Choirs, and Elm City Girls’ Choir; the performance had been given by the same forces at Boston’s Symphony Hall on the previous day. Before the Yale concert it was my privilege to offer some thoughts on Britten’s work in the shape of the Yale Institute of Sacred Music’s annual Tangeman Lecture. Our discussion focused not only on Britten’s economical and highly communicative musical idiom, but also on the various levels of irony presented by this multi-layered and thought-provoking score, which brings together – often in direct and disquieting collisions – vernacular settings of anti-war texts by the First World War poet Wilfred Owen (1893-1918), delivered in English by solo tenor and baritone voices with chamber-orchestral accompaniment, and the Latin Missa pro defunctis, declaimed by an operatic soprano soloist, large choir, and full orchestra; these together provide a more conventional backdrop sometimes reminiscent of the operatic style of Giuseppe Verdi. Britten’s work had been commissioned in the late 1950s to mark the consecration of the modern cathedral built at Coventry (in the British county of Warwickshire), the city’s old cathedral having been destroyed by German bombing in November 1940; his score was first performed in the new building, designed by the architect Basil Spence and poignantly erected alongside the ruins of the medieval building it replaced, on 30 May 1962.
    [Show full text]