DOCSLIB.ORG

The Trumpet Voluntary Author(S): Charles Cudworth and Franklin B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Trumpet Voluntary Author(S): Charles Cudworth and Franklin B IranTrumpet The Trumpet Voluntary Author(s): Charles Cudworth and Franklin B. Zimmerman Source: Music & Letters, Vol. 41, No. 4 (Oct., 1960), pp. 342-348 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/733054 Accessed: 26-11-2016 04:51 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 188.118.81.43 on Sat, 26 Nov 2016 04:51:10 UTC All use subject to http://about.jstor.org/terms IranTrumpet THE TRUMPET VOLUNTARY CHARLES CUDWORTH & FRANKLIN B. ZIMMERMAN THE tercentenary of Purcell's birth has afforded an excellent oppor- tunity to summarize the known facts about the so-called 'Trumpet Voluntary' which we now know was composed by his younger contemporary Jeremiah Clarke. Year by year the evidence for Clarke's authorship grows stronger, while Purcell's claim recedes. There is no authentic evidence for the Purcellian attribution, whereas a firm ascription to Clarke appears in at least four early sources; there are also several anonymous sources. The most important of the printed sources is 'A Choice Collection of Ayres for the Harpsichord or Spinett' (London, 1700), in which the piece appears on page 13 as 'The Prince of Denmark's March by Mr Clarke' (see the reproduction opposite). The publisher, John Young, was unusually careful in affirming the genuineness of all the pieces in this 'Collection', stating categorically that he had received all the items from the composers themselves (they included Blow, Piggott, Barrett and Croft, as well as Clarke himself, but no members of the Purcell family). There are in all six tunes by Clarke in the 'Collection'. The next printed source also names Clarke as the composer, and again gives the title as 'The Prince of Denmark's March'; it is Walsh's 'The Third Book of the Harpsichord Master Being a Collection of Choice Lessons with Song Tunes and Town Ayres fitted for the Harpsichord or Spinnett' (London, I702). Purcell's name is mentioned in this collection, but only in connection with his 'Plain and Easy Rules for Learners' taken from Henry Playford's 'A Choice Collection of Lessons' of 1696. This version of the 'Trumpet Voluntary' tune corresponds with that in Young's collection, and may very well have been derived from it; both differ markedly in several respects from versions given in the anonymous sources listed below as Nos. 5-7. A third source in manuscript is in some respects the most interesting of all, for it consists of a suite of nine movements included in a set of instrumental part-books now in the British Museum (Add. 30,839 and 30,365-7). These four part-books, labelled simply first treble, second treble, tenor and bass, include a number of 342 This content downloaded from 188.118.81.43 on Sat, 26 Nov 2016 04:51:10 UTC All use subject to http://about.jstor.org/terms IranTrumpet THE TRUMPET VOLUNTARY 343 This content downloaded from 188.118.81.43 on Sat, 26 Nov 2016 04:51:10 UTC All use subject to http://about.jstor.org/terms 344 MUSIC AND LETTERS IranTrumpet overtures, suites, dances, etc., by various composers of the late seventeenth century and seem to have been copied out by a foreign musician living in England c. I700: Paisible's name has been suggested, but nothing is known for certain, except that the copyist's spelling of English names is highly eccentric and suggests a foreigner. Even so it is scarcely possible to doubt that the composer whose name he spells variously as Clark, Clarke or even Clairque can be anyone but Jeremiah Clarke, especially when we find that several of the pieces he attributes to this composer are also known under Jeremiah Clarke's name in other sources. The set of nine pieces which he calls 'Suite de Clarke' contains not only the so-called 'Trumpet Voluntary' itself (under the simple title of 'Rondeau') but also the 'Serenade' included under Clarke's name in Young's 'Choice Collection' of I700 and 'The Duke of Gloucester's March', also attributed to Clarke in British Museum, Add. 22,099. The nine numbers of the orchestral 'Suite de Clarke' are as follows: I. [The Duke of Gloucester's March] 2. Minuet 3. Sybil [i.e. Cebell] 4. Rondeau [The Prince of Denmark's March] 5. [Serenade] 6. Bourree 7. Iscossisi [i.e. l&cossais, or Scotch tune] 8. Hornpipe 9. Gigue The four part-books bear various indications of the original orchestration, which probably included solo trumpet, strings, oboes and bassoon. By comparing the orchestral versions with other versions for harpsichord, etc. it is possible to compile a fairly com- prehensive score, although the tenor part is missing for Nos. 7 to 9. It may be, of course, that there never was a tenor part for these last three numbers, as they seem to be in fairly complete three-part harmony. All nine pieces are tuneful and have the same gay extrovert quality which has endeared the 'Trumpet Voluntary' itself to the ears and hearts of thousands of music-lovers. A manuscript recently bequeathed to H. Watkins Shaw provides yet a fourth source, which originated at the beginning of the eighteenth century. This is a pocket-size oblong duodecimo keyboard book signed by the copyist: 'Ce livre apartient a Gm Babel I7oI/ London'. The fact that all the titles and annotations in the book are in French suggests that this may have been the elder William Babel (who was born in France) rather than his more famous son (b. c. I68o), who studied with Pepusch and later published a volume of This content downloaded from 188.118.81.43 on Sat, 26 Nov 2016 04:51:10 UTC All use subject to http://about.jstor.org/terms THE TRUMPET VOLUNTARY 345 IranTrumpet keyboard music in his own name. On fo. I4v Clarke's piece is copied under his name. In the margin it is entitled 'Marche', although the heading itself reads 'Rondeau'. This version differs from that printed by Walsh only in the ornaments indicated, and in a few passages like that just before the da capo, where a few melodic passing notes are omitted. Otherwise, this source is valuable for several new transcriptions for harpsichord from Purcell's incidental music for various plays. It also contains several genuine Purcell compositions, among them his well-known 'Trumpet Tune', the 'Cybil', here appearing under the heading 'Imitation de la descente de Cybelle/H. Purcel'. Besides the above sources, in which Clarke's name is specifically mentioned, there are others in which the piece is quoted anonymously and in each case the melody differs slightly from the first printed edition of I700. The most interesting of these is probably source No. 5, contained in a manuscript harpsichord book in the British Museum (Add. 31,465); it is called simply 'Trumpet Tune', with no composer's name attached. Several slight melodic divergences from sources Nos. I-3, in particular the ornamented version of bar 7, lead one to suspect that this may have been the version used by Spark when he reprinted the piece as 'Purcell's Trumpet Voluntary' in the late nineteenth century. A sixth source is the eleventh edition of 'The Dancing Master', published in I701, one year later than the 'Choice Collection'. Significantly, it does not appear in the pre- 1700 editions. In the 170I edition it is printed as a country-dance tune, called 'The Temple'; only the tune itself is printed, and this with a clumsy variant of bar 4. Bar 7, on the other hand, takes the same shape as that in source No. 5. Source No. 7 comes from an unexpected quarter-John Gay's 'Polly', the sequel to his 'Beggar's Opera'. In 'Polly' the tune serves as finale to the whole opera, associated rather clumsily with the lines: Justice, long forbearing, Pow'r and Riches never fearing, Slow yet persevering, Hunts the villain's pace, etc. Since Gay labelled it 'The Temple', it seems fairly obvious that his source was one of the later editions of 'The Dancing Master'. Source No. 8 also seems to derive from 'The Dancing Master'. It is in a manuscript harpsichord book belonging to Lady Susi Jeans, and is called simply 'A Country Dance', with no composer's name mentioned. Like all the versions derived from 'The Dancing Master', This content downloaded from 188.118.81.43 on Sat, 26 Nov 2016 04:51:10 UTC All use subject to http://about.jstor.org/terms 346 MUSIC AND LETTERS IranTrumpet it has the clumsy version of bar 4, accompanied by an equally clumsy bass. How did the tune ever come to be associated with Purcell? It seems to have disappeared from public favour about the middle of the eighteenth century and only reappeared about a century and a quarter later, when it was published by William Spark, the organist of what is now Leeds City Hall. Spark was editor of a serial publication of organ music entitled 'Short Pieces for the Organ', published in London by Ashdown and Parry in the I870's.
Load more

Recommended publications
  • Henry Purcell Jeremiah Clarke
    SON OF ENGLAND HENRY PURCELL JEREMIAH CLARKE LES CRIS DE PARIS LE POÈME HARMONIQUE VINCENT DUMESTRE MENU › TRACKLIST › TEXTE FRANÇAIS › ENGLISH TEXT › DEUTSCH KOMMENTAR › SUNG TEXTS SON OF ENGLAND JEREMIAH CLARKE (1674-1707) ODE ON THE DEATH OF HENRY PURCELL 1 I. OVERTURE 3’30 2 II. COME, COME ALONG FOR A DANCE AND A SONG 2’30 3 III. MR. CLARKE’S CEBELL 1’32 4 IV. HOLD, SHEPHERDS, HOLD! 3’48 5 V. NO MORE THIS LING’RING BLOW 2’03 6 VI. OH, DISMAL DAY! 5’58 7 VII. AND SEE, APOLLO HAS UNSTRUNG HIS LYRE 1’42 8 VIII. MR. PURCELL’S FAREWELL 1’26 9 IX. ALL’S UNTUNED, BUT YOND DIVINER SPHERE 2’53 HENRY PURCELL (1659-1695) FUNERAL SENTENCES FOR THE DEATH OF QUEEN MARY II 10 I. THE QUEEN’S FUNERAL MARCH SOUNDED BEFORE HER CHARIOT 2’46 11 II. MAN THAT IS BORN OF A WOMAN 2’27 12 III. IN THE MIDST OF LIFE 1’31 13 IV. YET, O LORD, MOST MIGHTY 2’44 14 V. CANZONA 2’09 15 VI. THOU KNOWEST, LORD 2’30 › MENU WELCOME TO ALL THE PLEASURES Z 339 16 I. SYMPHONY 1’59 17 II. WELCOME TO ALL THE PLEASURES 1’58 18 III. HERE THE DEITIES APPROVE 4’44 19 IV. WHILE JOYS CELESTIAL 3’12 20 V. BEAUTY, THOU SCENE OF LOVE 3’08 21 VI. IN A CONSORT OF VOICES 1’06 TOTAL TIME: 55’44 KATHERINE WATSON SOPRANO NICHOLAS TAMAGNA ALTO JEFFREY THOMPSON TENOR GEOFFROY BUFFIÈRE BASSE LES CRIS DE PARIS LE POÈME HARMONIQUE VINCENT DUMESTRE LES CRIS DE PARIS GEOFFROY JOURDAIN ANNE-MARIE BEAUDETTE, ADÈLE CARLIER*, ELLEN GIACONE, CÉCILE LARROCHE, MARIE PICAUT, AMANDINE TRENC SOPRANOS CÉCILE BANQUEY, ANNE-LOU BISSIERES, JOSQUIN GEST, STÉPHANIE LECLERCQ, WILLIAM SHELTON ALTO S ALBAN DUFOURT,
    [Show full text]
  • ACET Junior Academies'
    ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression.
    [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]
  • Juilliard415 Rachel Podger, Director and Violin
    Juilliard415 Rachel Podger, Director and Violin The Juilliard School presents Juilliard415 Rachel Podger, Director and Violin Recorded on March 31, 2021 Peter Jay Sharp Theater Madness and Enchantment: Music of the English 17th Century by Purcell, Clarke, and Matteis Sett 1: Music from Shakespeare's Plays by Purcell and Clarke JEREMIAH CLARKE Overture to Titus Andronicus (c. 1674-1707) HENRY PURCELL First Music: Hornpipe from The Fairy Queen (1659-95) Second Music: Air from The Fairy Queen Rondeau from The Fairy Queen Curtain Tune from Timon of Athens First Act Tune: Jig from The Fairy Queen Song Tune: “If Love’s a Sweet Passion” from The Fairy Queen Dance for the Fairies from The Fairy Queen Second Act: Introduction from King Arthur Air from King Arthur Air: “How Blest Are Shepherds” from King Arthur Air: “Fairest Isle” from King Arthur Passacaglia: “How Happy the Lovers” from King Arthur Sett 2: Chamber Music by Purcell and Matteis PURCELL Pavan in B Flat, Z. 750 Three Parts Upon a Ground, Z. 731 Fantasia Upon One Note, Z. 745 Fantasia à 4 in G Major, Z. 742 NICOLA MATTEIS Suite in D Minor (c. 1670-1713) Preludio in D la sol rè Grave Ground in D la sol re per far la mano Program continues 1 Sett 3: Music for The Tempest MATTHEW LOCKE First Musick: Introduction (c. 1621-77) Galliard Gavot Second Musick: Sarabrand Lilk Curtain Tune First Act Tune: Rustick Air Second Act Tune: Minoit Third Act Tune: Corant Fourth Act Tune: A Martial Jigge Conclusion: A Canon 4 in 2 Welcome to the 2020-21 Historical Performance season! The Historical Performance movement began as a revolution: a reimagining of musical conventions, a rediscovery of instruments, techniques, and artworks that inspire and teach us, and a celebration of diversity in repertoire.
    [Show full text]
  • Music Suggestions for Weddings at Brick Church
    MUSIC SUGGESTIONS FOR WEDDINGS AT BRICK CHURCH PROCESSIONAL PIECES: Air on the G String - Bach Jesu, Joy of Man’s Desiring - Bach Rigaudon - André Campra Prelude to Te Deum - Marc-Antoine Charpentier Trumpet Voluntary in D – Jeremiah Clarke Musique Royale – Michel Delalande Air from Water Music Suite in F – George Frideric Handel Psalm 19 The Heavens Declare the Glory of God - Benedetto Marcello Rondeau (Masterpiece Theatre) – Jean-Joseph Mouret Canon in D - Johann Pachelbel Trumpet Tune in D – Henry Purcell Trumpet Voluntary in D – John Stanley Wedding March (Here Comes the Bride) – Richard Wagner Crown Imperial March - William Walton RECESSIONAL PIECES: Now Thank We All Our God - Bach Ode to Joy - Beethoven Prelude to Te Deum - Marc-Antoine Charpentier Trumpet Voluntary in D – Jeremiah Clarke Arrival of the Queen of Sheba - Handel Hornpipe from Water Music Suite in F – Handel La Rejouissance from Music for the Royal Fireworks – Handel Fanfare- Lemmens Psalm 19 The Heavens Declare the Glory of God - Benedetto Marcello Wedding Recessional from A Midsummer Night’s Dream –Felix Mendelssohn Rondeau (Masterpiece Theatre) – Jean-Joseph Mouret Trumpet Voluntary in D – John Stanley Toccata from Symphonie No. V – Charles Marie Widor HYMNS: All Creatures of Our God and King - #455 Be Thou My Vision - #339 Christ is made the sure foundation – #417 For the beauty of the earth – #473 Joyful, joyful, we adore thee – #464 Love divine, all loves excelling – #376 Morning Has Broken - #469 Now thank we all our God – #555 Praise, my soul, the King of heaven – #478 Praise Ye the Lord, the Almighty – #482 The King of Love My Shepherd Is - #171 CHORAL MUSIC (if you are having a choir): Rejoice in the Lord alway anon.
    [Show full text]
  • BARSTOW, Robert Squire, 1936- the THEATRE MUSIC of DANIEL PURCELL
    This dissertation has been microfilmed exactly as received 6 9 -4 8 4 2 BARSTOW, Robert Squire, 1936- THE THEATRE MUSIC OF DANIEL PURCELL. (VOLUMES I AND II). The Ohio State University, Ph.D., 1968 Music University Microfilms, Inc., Ann Arbor, Michigan Copyright by Robert Squire Barstow 1969 - THE THEATRE MUSIC OF DANIEL PURCELL .DISSERTATION Presented in Partial Fulfillment of the Requirements for_ the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Squire Barstow, B.M., M.A. ****** The Ohio State University 1968 Approved by Department of Music ACKNOWLEDGMENTS To the Graduate School of the Ohio State University and to the Center of Medieval and Renaissance Studies, whose generous grants made possible the procuring of materials necessary for this study, the author expresses his sincere thanks. Acknowledgment and thanks are also given to Dr. Keith Mixter and to Dr. Mark Walker for their timely criticisms in the final stages of this paper. It is to my adviser Dr. Norman Phelps, however, that I am most deeply indebted. I shall always be grateful for his discerning guidance and for the countless hours he gave to my problems. Words cannot adequately express the profound gratitude I owe to Dr. C. Thomas Barr and to my wife. Robert S. Barstow July 1968 1 1 VITA September 5, 1936 Born - Gt. Bend, Kansas 1958 .......... B.M. , ’Port Hays Kansas State College, Hays, Kansas 1958-1961 .... Instructor, Goodland Public Schools, Goodland, Kansas 1961-1964 .... National Defense Graduate Fellow, The Ohio State University, Columbus, Ohio 1963............ M.A., The Ohio State University, Columbus, Ohio __ 1964-1966 ...
    [Show full text]
  • WEDDING MUSIC SELECTION FORM Old St
    WEDDING MUSIC SELECTION FORM Old St. Joseph’s Church y Philadelphia PA Please complete all parts of this form and fax to 215.574.8529 Or, if you prefer to mail the form, please send it to Normand Gouin, Pastoral Assistant for Liturgy and Music, Old St. Joseph’s Church, 321 Willings Alley, Philadelphia, PA, 19106. After the form is received, we will contact you to finalize your wedding music plans. Wedding Date: Time: Priest: Bride: Groom: Email: Email: Work Phone: Work Phone: Fax Number: Fax Number: Home Home Phone: Phone: Address: Address: City: City: State: State: Zip: Zip: LITURGY DETAILS Our wedding liturgy will be a: full mass, with communion Marriage ceremony, without communion Number of bridesmaids in processional: Number of children in processional: (Please include the maid/matron of honor and any junior bridesmaids, flower girls / ring bearers.) MUSICIANS Please indicate here the musicians you would like for your wedding liturgy. Note that extra fees will apply for each musician hired. Musicians to be hired by Old St. Joseph’s Church: CANTOR / VOCAL SOLOIST 1 TRUMPET 2 TRUMPETS VIOLIN STRING QUARTET FLUTE CHORAL ENSEMBLE (SATB) MUSIC PRELUDE — Organists, cantors and instrumentalists of Old St. Joseph’s Church are prepared to offer music selections 15 minutes prior to the wedding liturgy as people gather for the marriage celebration. OSJ musicians are experienced, professional church musicians who draw from a wide selection of appropriate repertoire. If you have specific selections that you would like to include that would otherwise not be appropriate during the marriage celebration, OSJ musicians can perform these selections during the prelude.
    [Show full text]
  • Wedding Music Worksheet
    Church Street United Methodist Church Wedding Music Worksheet Edie Johnson, Organist The prelude to your wedding service begins thirty minutes prior to the ceremony and sets the tone for this sacred occasion. Please encourage your guests to arrive at least thirty minutes prior to the ceremony, so that they may enjoy the prelude. You may choose a prelude with a more vibrant and joyful tone, a set of selections with a more romantic, quiet mood, or a combination of the two. Joyful: Concerto in G Major by Bach, Trumpet Voluntaries, Handel Concertos, In Dir Est Freude, Quiet, Reflective: Rhosymedre, Andante Sostenuto from Suite Gothique by Widor, Sonata Movement by Felix Mendelssohn, Air by Handel or Telemann Favorite hymns that would be appropriate for a wedding prelude Soloists or instrumentalists can be arranged if desired, for additional fees that are determined by the individuals. Seating of the Mothers ___ Jesu, Joy of Man’s Desiring Johann Sebastian Bach ____Largo from Xerxes George Frederick Handel ___Air from Water Music George Frederick Handel ____Prelude in G Major Felix Mendelssohn ____Allegretto from Sonata IV Felix Mendelssohn ____Andante Sostenuto from Symphonie Gothique Charles-Marie Widor Other: Entering Procession for Attendants ____Canon in D Johann Pachelbel ____Trumpet Voluntary Jeremiah Clarke ____Overture to Royal Fireworks Music Geroge Frederick Handel ____Rigaudon Andre Campra ____Heroic March in D Major Georg Phillip Telemann Other: 1 Church Street United Methodist Church Wedding Music Worksheet Bridal Procession
    [Show full text]
  • 2016 Fall Music List
    THE PARISH OF ALL SAINTS • ASHMONT LITURGICAL MUSIC LATE PENTECOST THROUGH CHRISTMAS 2016 The Rev’d Michael J. Godderz – R ector Andrew P. Sheranian – Organist and Master of Choristers Sr. Christine Smith, S ociety of St. Margaret Christian Haigh – Organ Scholar Michael Raleigh – A rchibald T. Davison Fellow September 18 The Eighteenth Sunday after Pentecost Communion Service in F – H arold Darke Psalm 138 Anglican Chant: Samuel Sebastian Wesley O sacrum convivium – T homas Tallis Organ Rhapsody (Opus 17, No. 1) – H erbert Howells Präludium in G minor – Dietrich Buxtehude September 25 The Nineteenth Sunday after Pentecost Communion Service in E-flat – E ric Thiman Psalm 146:4-9 Anglican Chant: Edward Cuthbert Bairstow I have longed for thy saving help – William Byrd Organ Prelude in C major (BWV 547) – J ohann Sebastian Bach Fugue in C major (BWV 547) – J ohann Sebastian Bach October 2 The Twentieth Sunday after Pentecost Communion Service in the Phrygian Mode – C harles Wood Psalm 37:3-10 Anglican Chant: Joseph Barnby Never weather-beaten sail – C harles Wood Organ Cantabile – César Franck Cortège et Litanie – Marcel Dupré October 9 The Twenty-first Sunday after Pentecost Missa secunda – Hans Leo Hassler Psalm 113 Anglican Chant: Thomas A. Walmisley Dixit Maria – H ans Leo Hassler Organ Suite du deuxième Ton – L ouis-Nicolas Clérambault Caprice sûr les grands jeux – L ouis-Nicolas Clérambault October 16 The Twenty-second Sunday after Pentecost Communion Service in F major – H erbert Sumsion Psalm 121 Anglican Chant: Henry Walford Davies I will lift up mine eyes unto the hills – L eo Sowerby Organ Meditation on ‘Picardy’ – L eo Sowerby Adoro te devote – Healey Willan October 16 Choral Evensong with St.
    [Show full text]
  • From Purcell to Wardour Street: a Brief Account of Music Manuscripts from the Library of Vincent Novello Now in the British Library
    FROM PURCELL TO WARDOUR STREET: A BRIEF ACCOUNT OF MUSIC MANUSCRIPTS FROM THE LIBRARY OF VINCENT NOVELLO NOW IN THE BRITISH LIBRARY CHRIS BANKS Good music at all out of the common line was either enormously dear or in manuscript, and had to be copied at the British Museum. The publications of the house of Novello and its imitators have altered all this, and have banished to the shelf a mass of copies of old Italian and old English music made during hundreds of delightful half-hours snatched from the day's work in the old reading room in Montague Place, long before the building of Panizzi's dome. Not that this labour was useless. On the contrary, it was fraught with good. The searching for the works, the balancing of one service, motett, madrigal, or cantata against another, the eager poring over the manuscript volumes of Burney's Extracts, Tudway, or Needler's Collection, forced one involuntarily into the acquisition of much knowledge. Further, this copying taught one clefs and figured bass; it obliged one to play from score or to write one's own accompaniment - in fact, gave one knowledge against one's will for which the modern student has little or no occasion. George Grove is describing here^ what Novello and others needed to do in order to initiate the process of publishing cheap editions. The publishing activities alone of Vincent Novello are enough to establish his energetic passion for making music available to a wider public. ^ In 1986 and 1987 Novello and Company presented to the British Library a substantial collection of scores written or collected by Novello, which had remained in the possession of the company, perhaps since its foundation.
    [Show full text]
  • Jeremiah Clarke
    Jeremiah Clarke Jeremiah Clarke, was born in 1670, and he is considered a composer in the Baroque tradition. The first thing I discovered in researching him is that his name is misspelled in our Hymnal: it lacks the final “e” on Clarke, that all other sources show. You can imagine how that made researching him difficult at first. He lived a fairly short life, and there is not a lot to say about him, so let’s get right into singing one of his hymns. Hymn 142 is described in the Hymnal Notes as “a fluent, graceful tune.” Hymn 142 – 1st & 4th According to the Hymnal Notes, “Clark[e] was almoner and master of the choristers at St. Paul’s Cathedral, and then organist.” Another source clarified that he was organist at St. Paul’s from 1699 until his death. So what’s an “almoner”? It’s a church officer whose job is to distribute alms to the poor or, more generally, to represent the church in meeting the needs of the poor. Hymn 328 – all Clarke is best remembered for a piece commonly called the “Trumpet Voluntary.” For nearly a century, it was attributed to Henry Purcell. Then starting in the 1940s the realization spread that it was composed by Clarke under the title, “The Prince of Denmark's March.” Clarke's piece is a popular choice for wedding music, and has been used in royal weddings, including that of Prince Charles and Princess Diana in 1981. Would you like to hear some of it? Interestingly this piece, like most of Clarke’s work was originally composed for the harpsichord.
    [Show full text]
  • Stainer & Bell
    T71 STAINER & BELL LTD Early Music 2020 ER & B IN E A L T L S E & S S B 7 T 0 A 9 B 1 L I S H E D Including the editions of AUGENER GALLIARD JOSEPH WILLIAMS WEEKES EARLY MUSIC Contents Preface ................................................................................................................. 2 Ordering Information............................................................................................. 3 Keyboard Music .................................................................................................... 4 Composer Collections ..................................................................................... 4 Anthologies ..................................................................................................... 5 Piano Duet ...................................................................................................... 6 Music for Organ ............................................................................................... 6 Instrumental: Strings, Wind and Brass ................................................................. 7 Violin ............................................................................................................... 7 Viola ................................................................................................................ 7 Cello ................................................................................................................ 7 Double Bass ...................................................................................................
    [Show full text]