Michaelmas Term 2018 Chapel Services and Music MAGDALEN
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The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia
Journal of Eastern Christian Studies 59(1-2), 85-101. doi: 10.2143/JECS.59.1.2023428 T©HE 2007 CHORAL by Journal COMPOSITIONS of Eastern Christian OF ARVO Studies. PÄRT All rights reserved. 85 THE CHORAL COMPOSITIONS OF ARVO PÄRT AS AN EXAMPLE OF “GOD-SEEKING” THROUGH MUSIC IN SOVIET RUSSIA TATIANA SOLOVIOVA* 1. EMERGING FROM THE UNDERGROUND OF ‘OFFICIAL ATHEISM’ OF THE SOVIET ERA Arvo Pärt was a representative of the underground music in the former Soviet Union. His music, like the works of many other musicians and art- ists, did not fit within the narrow bosom of Socialist Realism – the prevail- ing ideology of the time.1 He had to struggle in order to write the music he wanted. Nowadays there is no Soviet Empire anymore, and the composi- tions of Pärt represent “the face” of contemporary music. He is one of the few composers whose art music enjoys success similar to that of pop. He is widely known, and his works are being performed all over the world. Arvo Pärt was born in 1935 in Paide, near Tallinn, the capital of Estonia, one of the Western republics within the former USSR. Between the First and the Second World War this little country enjoyed a short period of in- dependence. Life for Pärt till 1980 was inseparably connected with his Motherland Estonia on one hand, and with Russia, which was the political and cultural dominant at that time, on the other hand. Pärt knew and loved national traditions, as well as he knew European and Russian culture: he called the composer Glazunov who taught his teacher Heino Eller ‘my musi- * Tatiana Soloviova studied at Moscow State University and obtained her PhD in His- tory. -
Choral Vespers
GONVILLE & CAIUS COLLEGE CHAPEL Easter Term 2021 CHORAL VESPERS Vespers is the sixth of the seven prayer services of the Christian day. Its name comes from the Latin vespera, which means ‘evening.’ When Thomas Cranmer created the English Prayer Book in 1549 and 1552 he combined Vespers with the night service (compline) into the service we know as Evensong. Magnificat is the Gospel Canticle of Vespers, as Nunc Dimittis is the Gospel Canticle of Compline. The service ends with a traditional antiphon (a special seasonal text, from which comes our modern word ‘anthem’) in honour of the Blessed Virgin Mary. 2nd May Fourth Sunday of Easter LUCERNARIUM (The Lighting of the Lamps) Thy word is a lantern unto my feet and a light unto my paths. Thou also shalt light my candle the Lord my God shall make my darkness to be light. The light and peace of Jesus Christ be with you and with thy spirit Light Prayer Blessed art thou, Sovereign Lord, God and Father of our Lord Jesus Christ, to thee be glory and praise for ever. Thou hast called us out of darkness into thy marvellous light that our lives may reflect thy glory and our lips repeat thy song: Blessed be God, Father, Son and Holy Spirit HYMN LUCIS Creator optime O BLEST Creator of the light, lucem dierum proferens, Who mak'st the day with radiance bright, primordiis lucis novae, and o'er the forming world didst call mundi parans originem: the light from chaos first of all; Qui mane iunctum vesperi Whose wisdom joined in meet array diem vocari praecipis: the morn and eve, and named them Day: taetrum chaos illabitur, night comes with all its darkling fears; audi preces cum fletibus. -
SERVICES & MUSIC September 2020
S ERVICES & M USIC September 2020 From the Canon Precentor The last Music List was printed at the start of March and when we compiled it we could never have guessed that the Cathedral would be silent for the remainder of Lent, Holy Week, Easter and the entire summer term. Thanks to the expertise of Cathedral staff – notably Tim Popple and Glynn Usher – we have risen to the monumental challenge of live-streaming services every day during lock down. Finally, a few weeks ago, we were permitted to offer worship which was open to the public. A few weeks after that we were allowed a cantor and organist, then last week the regulations changed again, allowing us to have a small adult choir – a wonderful moment! As you will gather, the way forward as we re-introduce choral music is painfully slow and the logistics of arranging rehearsals for our choristers are complicated. I am indebted to my colleagues Mark Lee and Sarah Jenkinson, who are making this happen. For the time being the choristers will concentrate on rehearsing and making up for lost time; choral services on Friday and Sunday will be sung by the Back Row. The number of people allowed into the Cathedral at any one time is strictly limited, so many of our large autumn services will be live-streamed or virtual. A particularly impressive virtual service was the one we broadcast on VE Day in May. Since then there have been others and we plan to continue with virtual services and live-streaming for the time being. -
Music for Compline Tallis • Byrd • Sheppard
SUPER AUDIO CD Music for Compline tallis • byrd • sheppard stile antico 807419 Music for Compline tallis . byrd . sheppard . white . aston aib 1 Antiphon Libera nos I & II John Sheppard 5:35 (c. 1515–1558) 2 Antiphon Salva nos, Domine Plainchant 0:45 3 Hymn Christe, qui lux es et dies William Byrd 3:49 (c. 1540–1623) 4 Responsory In pace in idipsum John Sheppard 5:29 5 Responsory In manus tuas Thomas Tallis 2:42 (c. 1505–1585) 6 Hymn Jesu, salvator saeculi, verbum John Sheppard 5:38 7 Responsory In manus tuas I John Sheppard 4:00 8 Responsory In manus tuas II & III John Sheppard 3:18 9 Antiphon Miserere mihi, Domine Plainchant 0:30 1 0 Responsory Miserere nostri, Domine Thomas Tallis 3:12 11 Motet Miserere mihi, Domine William Byrd 2:43 12 Responsory In pace in idipsum Thomas Tallis 5:48 13 Hymn Christe, qui lux es et dies Robert White 5:55 (c. 1538–1574) 14 Antiphon Veni, Domine Plainchant 0:36 15 Canticle Nunc dimittis Gradualia I William Byrd 7:02 16 Hymn Te lucis ante terminum festal Thomas Tallis 2:56 17 Antiphon Gaude, virgo mater Christi Hugh Aston 14:32 (c. 1485–1558) stile antico Helen Ashby • Kate Ashby • Alison Hill sopranos Emma Ashby • Eleanor Harries • Carris Jones • Timothy Wayne-Wright altos Peter Asprey • Andrew Griffiths • Tom Herford tenors Oliver Hunt • Matthew O’Donovan • David Wright basses Music for Compline tallis • byrd • sheppard • white • aston 4 Music for Compline tallis • byrd • sheppard • white • aston Music for Compline tallis . byrd . sheppard . -
A Meditative and Musical Guide to by John Rutter
A Meditative and Musical Guide to Magnificat by John Rutter The Magnificat, the outpouring of spirit that Mary proclaimed when she visited her cousin Elizabeth and shared her news of the miraculous birth of the Messiah, is the quintessential liturgical text for the Advent Season. Mary’s words, patterned closely from those of Hannah as she gave thanks for the birth of her son Samuel (Samuel 2:1-10) and a close parallel to Psalm 113, are at once a joyous outburst of praise and thanksgiving, an expression of humility, a recognition of the glory of God and his mercy for humankind, a strong statement of God’s love for the humble and poor, and news of the fulfillment of God’s promise of a savior. John Rutter characterizes the text as “a canticle of praise, trust, and joy.” Movement 1 – Mary Sings Praises to God (Luke 1:46-48) Magnificat anima mea Dominum: My soul doth magnify the Lord: et exsultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his hand-maiden: ecce enim ex hoc beatam me dicent omnes for behold, from henceforth all generations shall call me generationis. blessed. The first movement is divided into 2 large sections that express contrasting perspectives of Mary’s joy. Rutter looked to the strong musical heritages of Spain and Mexico to derive the rhythmic motors for this joy. The first section begins with an orchestral fanfare that sets the stage for the clearly joyful, festive text of the first part of Mary’s Song. -
Arvo Pärt Triodion Polyphony · Stephen Layton
ARVO PÄRT TRIODION POLYPHONY · STEPHEN LAYTON TRIODION ARVO PÄRT POLYPHONYPOLYPHONY STEPHENSTEPHEN LAYTONLAYTON 30 OLYPHONY’s first Hyperion recording of Arvo Pärt’s choral music (CDA66960) focused on music written Pbetween 1988 and 1991, a particularly fertile period for the composer which coincided with a surge of international performances and recordings, and resulting acclaim. Works on that disc, and others such as the large-scale setting of Psalm 51, Miserere, suggested that Pärt was moving into more complex, exotic harmonic territory. With clusters, compound chords and use of the augmented second interval, he seemed to be stretching the crucial, characteristic boundary in his music between dissonance and consonance. Judging by the more recent music on this disc—all written between 1996 and 2002—that harmonic journey was, for Pärt, something from which he has now returned. The essential purity of the triad remains paramount, and chord progressions in works such as Triodion and Salve Regina seem more diatonically conventional. And although there is less evidence in these pieces of strict ARVO PÄRT © Tina Foster ‘tintinnabulation’—the rigidly maintained discourse during the recording sessions at Temple Church, London between stepwise and triadic part-writing—there is enough austerity of structure and harmony in other ways extended periods at his second home near Colchester in to make it unmistakably ‘Pärtian’. Essex—resulting in a noticeably greater fluency with Polyphony’s first Hyperion disc featured Pärt’s first English. But this, he insists, is not the reason for a greater setting in English (a section from Saint Matthew’s account number of English settings. -
John Rutter: Choral Ambassador
October 2017 Issue 56 Hemiola St George’s Singers JOHN RUTTER: CHORAL AMBASSADOR INSIDE THIS ISSUE: BY NEIL TAYLOR Rachmaninov Vespers 2 Chanting Russia’s history 3 To my mind, John Rutter is a He’s also a thoroughly engag- Verdi Requiem review 4 skilled craftsman, a gifted com- ing, warm and generous man. I Christmas with Rutter 5 poser and a classy interpreter. first met him when, as a student, I had a call one Saturday after- Letter from the Editor 5 Let’s look: a definitive version of noon asking if I could come and SGS News 6 the Fauré Requiem in its original make drinks at a Cambridge scoring; many brilliant record- Singers’ recording session in Kath Dibbs remembered 6 ings with his own group, The Robert Brooks: interview 7 Hampstead, North London. Everybody tells me, who has sung in a choir, I hopped on the tube, arrived Costa Rica: final memories 8 that they feel better for doing it. Whatever the Song for Diana 9 at University College cares of the day, if they meet after a School, listened to the ses- long day’s school or work, somehow Beethoven’s Fantasy 10 they leave their troubles at the door. sions with that amazing Carol concert and Messiah 11 group and the wonderful Jill White as producer, and Cambridge Singers over the past brewed up. 35 years; such an accomplished Since then, I’ve had the privi- eye and ear for instrumental and vocal colours; beautifully hand- lege of working with John and ST GEORGE’S SINGERS whilst he is charming and anec- written music notation; well- dotal, he does demand much of PRESIDENT: crafted melodies; skilled and apt use of texts; a brilliant interpreter his fellow musi- Choral music is not one of life’s frills. -
An Analysis of Sergei Rachmaninov's All-Night Vigil “Now Let Thy Servant
An Analysis of Sergei Rachmaninov’s All-Night Vigil “Now Let Thy Servant Depart” Lance Morrow Lance Morrow is music director at Salem United Methodist Church and an adjunct faculty member of the Department of Music at Austin Peay State University, both in Clarksville, TN. He holds choral music and conducting degrees from the University of North Alabama and Austin Peay State University [email protected] Introduction the Saturday-evening service preceding major feast days n the years just prior to 1915, Sergei Rachmaninov and includes Vespers (or Great Compline, depending on toured the United States, Austria, and Poland. He the occasion), Matins, and the First Hour. Originally, the I returned to Russia just before the enforcement All-Night Vigil stretched throughout the night, hence its of traveling restrictions due to the Great War. In only title; however, most modern parishes simply use the Nunc two weeks in early 1915 (almost thirty years before his Dimittis, from the Vespers service, as one of the last read- death), he completed his All-Night Vigil, now considered ings before lying down to sleep. a masterpiece of choral literature. This was the last of a Also called the “Canticle of Simeon,” the Nunc Dimittis few sacred settings in a small body of choral works, and [Now Let Thy Servant Depart] originates in Luke 2:29–32 Rachmaninov dedicated it to the memory of Stepan Vasi- of the New Testament. This prayer to “depart in peace” lyevich Smolensky, the respected church music historian, correlates with a tranquil death—a serene decline—an idea who had introduced him to Orthodox sacred music. -
Michaelmas -- the Festival of Courage
Why do Waldorf Schools have Michaelmas-Festival of Courage? The Festivals Committee has realized that many of the parents at WSB ask this question. In response, we offer the following as a window to deeper understanding. MICHAELMAS -- THE FESTIVAL OF COURAGE …We live in a time of hard tests for humanity, of hard tests which must become still harder. We live in a time in which a whole host of old forms of civilization to which humankind still erroneously clings, are sinking into the abyss, a time in which the claim insistently arises that we must find our way to something new. Rudolf Steiner At autumn time, as the life forces of nature recede, turning toward a winter sleep, the inner life of the human soul is awakening. It is a time of conscious selfhood, a time when we celebrate the building and strengthening of our inner life. In many cultures, the autumn time marks the beginning of a new year. The forces of nature are transiting with the autumnal equinox, as the relationship of light and darkness changes the world around us. The equinox is for us a turning point, a change in the relation of light and darkness in the world around us. On September 29th the autumn festival traditionally known as Michaelmas is celebrated. This festival is named for the Archangel Michael, conqueror of the powers of darkness, the harvester of the deeds of human souls. It is at this time that the image of Michael with the dragon appears before us as a mighty imagination, challenging us to develop strong, brave, free wills, to overcome love of ease, anxiety and fear. -
The Evening Hour
THE EVENING HOUR 0 Behold thou hast made my days Orlando Gibbons (1583-1625) [5.30] th th British Choral Music from the 16 and 20 Centuries Chapel Choir Jaliya Senanayake tenor solo, Benjamin Morris chamber organ q Evening Watch Gustav Holst (1874-1934) [4.39] 1 God be in my head Philip Radcliffe (1905-1986) [1.29] College Choir College Choir Jake Dyble tenor solo, Elizabeth Edwards alto solo 2 Save us, O Lord Edward Bairstow (1874-1946) [4.56] w The Lord’s Prayer John Tavener (1944-2013) [3.08] Chapel Choir Chapel Choir Benjamin Morris organ e Bring us O Lord God William Harris (1883-1973) [4.09] 3 In manus tuas John Sheppard (c. 1515-1558) [4.02] College Choir College Choir r In Pace John Blitheman (c. 1525-1591) [4.14] 4 Song at Evening Richard Rodney Bennett (1936-2012) [3.25] Chapel Choir Choristers t Bertie Baigent organ Evening Prayers Philip Moore (b. 1943) [6.03] College Choir 5 Miserere mihi Domine William Byrd (1540-1623) [2.49] Max Cockerill baritone solo, Sapphire Armitage soprano solo College Choir y Miserere nostri Thomas Tallis (c. 1505-1585) [3.22] 6 Creator of the stars of night Gabriel Jackson (b. 1962) [3.52] College Choir College Choir u Hannah Woodhouse soprano solo, Benjamin Morris organ Blessèd city, heav’nly Salem Edward Bairstow (1874-1946) [9.10] Combined Choirs 7 The Lord is my Shepherd Lennox Berkeley (1903-1989) [4.43] Theo Amies, Kieran Hazell-Luttman, James Patterson, Gus Richards, Combined Choirs Jamie Wilkinson, Eleanor Hussey, Julia Sinclair solo group, Benjamin Morris organ Bertie Baigent organ Total timings: [77.58] 8 Christe qui lux es et dies IV Robert Whyte (c. -
SACRED MUSIC Volume 97, Number 2, Summer 1970 SACRED MUSIC
SACRED MUSIC Volume 97, Number 2, Summer 1970 SACRED MUSIC Volume 97, Number 2, Summer 1970 PROBLEMS OF AMERICAN CHURCH MUSIC 3 Arthur B. Hunkins SINGING FOR AN ENGLISH LITURGY 8 Rev. Bruno Becker, O.S.B. MUSICAL SUPPLEMENT 19 · REVIEWS 27 FROM THE EDITOR 32 NEWS 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: 548 Lafond Avenue, Saint Paul, Minne sota 55!03. Editorial office : Route 2, Box 1, Irving, Texas 75060. Editorial Board Rev. Ralph S. 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 Editorial correspondence: Rev. Ralph S. March, S.O.Cist., Route 2, Box I, Irving, Texas 75060. News: Rev. Richard J. Schuler, 548 Lafond Avenue, Saint Paul, Minnesota 55103 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 Dr. Roger Wagner Vice-president Noel Goemanne General Secretary Rev. Robert A. Skeris Treasurer Frank D. Szynskie Directors Robert I. Blanchard Rev. -
Adaptations of Hooker by Shakespeare and Voegelin
The Pneumopathology of the Puritan: Adaptations of Hooker by Shakespeare and Voegelin Copyright 2003 Jeffrey Tessier In The New Science of Politics as well as in The History of Political Ideas, Voegelin comes to his analysis of Puritanism by way of Richard Hooker, focusing in part on Hooker's account of the psychological techniques through which Puritanism advanced its cause. While mindful of Hooker's shortcomings as a philosopher, Voegelin praises and relies on his diagnostic acumen. His analysis of "the psychological mechanism that is put into operation in the creation of mass movements"1 [1] is as useful now for understanding modern gnostic movements as it was then in analysing the radical response to the emergent Anglican ecclesiastical order. It was Hooker's insight into the psychological origins and political consequences of the Puritan movement that enabled him to present the mechanism by which the Puritans would implement on a mass scale the desire of the movement's egomaniacal members that their private will be established as the public will, a revolution which would destroy the reality of and hope for the common weal of the nation.2 [2] 1 [1] Eric Voegelin, The Collected Works of Eric Voegelin, vol. 23, History of Political Ideas, vol. 5: Religion and the Rise of Modernity, ed. James L. Wiser (Columbia: University of Missouri Press, 1998), 94-5. 2 [2] Ibid, 98. In his discussion of Hooker, Voegelin draws attention to an interesting problem. If the Puritans are as Hooker says they are, then the deformed condition of their souls makes them immune to the sort of persuasive speech that characterises his writing.