Cadoganhall.Com

Total Page:16

File Type:pdf, Size:1020Kb

Cadoganhall.Com www.chelsea-pensioners.org.uk CADOGANHALL.COM 1 BOX OFFICE: 020 7730 4500 CADOGANHALL.COM CHARITY NO: 1108734 WELCOME BY WILLIAM VANN FRCO ARAM Director of Music and Organist of the Royal Hospital Chelsea Last year’s 10th anniversary of the Royal The Royal Hospital Choir’s concert is always Hospital Chelsea concert series emphasised its one of the highlights of the programme. They reputation for musical excellence: some of the perform Mozart’s Requiem, one of the most finest musicians from the UK and across Europe compelling of all choral masterpieces, alongside BECOME A performed a programme of chamber music, Bach’s stunning Magnificat before we close the choral and orchestral works and jazz in the series with a concert bringing together local wonderful setting of Christopher Wren’s Chapel. schoolchildren, musicians and prize-winning soloists for performances of Rutter’s Mass of the FRIEND This year, for the first time, we open with an Children and Britten’s St Nicolas - a real treat in opera. Purcell’s The Fairy-Queen was written the run-up to Christmas. HELP US LOOK AFTER at the same time as the Chapel was holding its very first services and will be a unique and Finally, a few words of thanks: first to all of you THE NATION’S VETERANS unmissable musical event. We continue by for your staunch support both now and over the welcoming back the Gould Piano Trio, one of past ten years; secondly, to our sponsors, whose the country’s most accomplished chamber support is crucial to the survival of the concerts, music groups, and the critically acclaimed flute and in particular to David Bowerman, who was duo of Lisa Friend and Anna Stokes playing an the inspiration behind the series and continues enchanting and fascinating programme from to support many young artists at the start of their recent album Luminance. their careers. With grateful thanks for the generous support of THE BOWERMAN CHARITABLE TRUST SILVER MEMBERSHIP GOLD MEMBERSHIP PLATINUM MEMBERSHIP THE CHAPEL MUSIC FOUNDATION Entitles you to attend some of our Enjoy the benefits of being a Silver Platinum members are invited to Silver & THE DUNARD FUND most prestigious events including the Friend plus special membership of Gold events plus an exclusive reception and Governor’s Review. the Sloane Club. private viewing of the Chelsea Flower Show. THE TILLETT TRUST THE KATHLEEN FERRIER AWARDS www.chelsea-pensioners.co.uk/become-friend-rhc For further information, please contact the Fundraising Team on 020 7881 5516 or email [email protected] BURY COURT OPERA 2 3 BOX OFFICE: 020 7730 4500 CADOGANHALL.COM Wednesday 24th September Wednesday 8th October Henry Purcell The Fairy Queen, Z. 629 Edwin York Bowen Rhapsody Trio (1926) THE FAIRY-QUEEN THE Robert Schumann Trio in G minor, Op. 110 in association with Bury Court Opera Composed in 1692, Purcell’s The Fairy-Queen Felix Mendelssohn Trio in D minor, Op. 49 consists of an astonishing set of masques, GOULD PIANO written to accompany Shakespeare’s A TRIO For over twenty years the Gould Piano Trio Midsummer Night’s Dream, and is one of the have remained at the forefront of the chamber very first English ‘operas’, representing in many music scene, having been launched into ways the culmination of Purcell’s dramatic an international career by winning the first style. It is possible that the work, with its Melbourne International Chamber Music concluding masque featuring Hymen, the God of Competition. Selected as YCAT artists they Marriage, was written for the fifteenth wedding subsequently became ‘Rising Stars’ performing anniversary of William and Mary, who were at major venues in Europe and North America. on the throne during the completion of the Familiar to listeners of BBC Radio 3, they Royal Hospital and the consecration of its Wren perform at major festivals and venues in the UK Chapel in 1691: it is hard, therefore, to think of and abroad, with regular tours to the United a more apt setting for this concert performance States. They have recently recorded the trios of Bury Court Opera’s critically acclaimed 2014 by Dvorak and Mendelssohn for Champs Hill production, moving to the Royal Hospital for one Records and on 8th October they perform night only: an unmissable treat to open our 2014 three highlights of the trio repertoire: once RH Concert Series. dubbed the ‘English Rachmaninov’, York Bowen’s music is enjoying ‘a remarkable revival’ (The Eloise Irving, Flore Philis soprano Times) and his haunting rhapsody appears Lily Papaioannou mezzo-soprano alongside Schumann’s late, passionate trio and Magid El-Bushra, John Lattimore counter-tenor Mendelssohn’s first trio: one of his most popular David Webb tenor chamber works and a romantic masterpiece. Richard Latham baritone Aidan Smith bass Julia Burbach director Lucy Gould violin Simon Over, William Vann musical directors Alice Neary cello The Wren Players Benjamin Frith piano “THE CAST’S ENUNCIATION WAS BEYOND ONE’S WILDEST HOPES... “PURE GOULD... TRIO PLAYING AT ITS BEST.” THE TIMBRES OF AIDAN SMITH’S VOICE ARE QUITE GORGEOUS... The Strad SHE TOOK HALF PURCELL’S PLUM SOPRANO ARIAS AND TURNED THEM INTO GOLD.” TheArtsDesk.com 4 5 BOX OFFICE: 020 7730 4500 CADOGANHALL.COM Wednesday 22nd October Wednesday 5th November Internationally-renowned, British flautists Lisa Johann Sebastian Bach Magnificat, BWV 243 LUMINANCE: Friend and Anna Stokes joined forces for their THE CHAPEL Wolfgang Amadeus Mozart Requiem, K. 626 LISA FRIEND & critically acclaimed 2014 CD Luminance, and on CHOIR OF THE 22nd October they perform this unique recital Mozart’s Requiem Mass in D minor is undoubtedly ANNA STOKES of romantic and charming arrangements for ROYAL HOSPITAL the most famous of all unfinished musical flute duo with cello and piano accompaniment. compositions. Composed in Vienna in 1791, the work was only partially complete when Gabriel Fauré Cantique de Jean Racine Works by the French composers Fauré, Ibert Mozart died of a fever on 5th December and Jaques Ibert Deux Interludes and Saint-Saëns are performed alongside music was completed the following year by Franz Xaver Ennio Morricone Cinema Paradiso by Argentine Piazzolla, who revolutionised the Süssmayr, in order to fulfil the original commission Ástor Piazzolla Oblivion tango and Ennio Morricone, one of the most by Count Franz von Walsegg, an amateur chamber Camille Saint-Saëns Odelette prolific film composers of all time, and some rare musician who routinely commissioned works by and other works by Joachim Andersen, Franz treats by lesser-known composers. composers and passed them off as his own! On Doppler, Philippe Gaubert and Georges Hüe. Since its release, Luminance has been chosen 5th November we hear the Requiem alongside as Classic FM’s CD of the Week (January 2014), Bach’s 1733 Magnificat, a stunning extended David Mellor’s Album of the Week (5 Star setting of the Virgin Mary’s speech from Luke’s Review) in the Mail on Sunday (January 2014) gospel for choir, soloists and orchestra. The and aired on BBC Radio 3, BBC Radio 2, Classic Royal Hospital’s own, critically acclaimed Chapel FM and RTE Lyric FM. They are delighted to be Choir, which is formed from some of London’s joined for the evening by cellist Martin Radford finest professional choral singers and musicians, and pianist Mark Kincaid. provides the chorus and soloists and William Vann, Director of Music, conducts. Lisa Friend flute Anna Stokes flute The Chapel Choir of the Royal Hospital Chelsea Martin Radford cello The Wren Players Mark Kincaid piano William Vann conductor “IF THE SOUND OF ONE FLUTE IS ATTRACTIVE, THE SOUND OF “A VIVIDLY INVOLVING SEQUENCE OF CHORUSES, TWO, PLAYED AS WELL AS THEY ARE HERE, IS EXHILARATING.” THE CHOIR COMBINED CHARACTERFUL PERFORMANCE Mail on Sunday (Album of the Week review) WITH SOME FINELY FOCUSSED SINGING. EACH [SINGER] CONTRIBUTED HIGHLY CHARACTERFUL “BEAUTIFUL PLAYING” AND TECHNICALLY ACCOMPLISHED SINGING... BBC Music Magazine (April 2014) THIS WAS A MARVELLOUSLY INVOLVING PERFORMANCE.” Robert Hugill’s review of the Chapel Choir’s performance of Israel in Egypt, 2013 6 7 BOX OFFICE: 020 7730 4500 CADOGANHALL.COM Wednesday 19th November CHARITY NO: 1076414 John Rutter Mass of the Children MASS OF THE Benjamin Britten Saint Nicolas, Op. 42 CHILDREN/SAINT Last year’s opening concert in the RH Concert NICOLAS Series brought together professional musicians alongside singers and orchestral players from supported by the Tillett Trust local schools in a stunning performance of and the Kathleen Ferrier Awards Britten’s Noye’s Fludde and this year we repeat the feat. Rutter’s Mass of the Children, first performed at Carnegie Hall in 2003, is a non- liturgical Missa brevis, setting the traditional Latin and Greek Mass text interwoven with several English poems. Britten’s cantata Saint Nicolas ushers in the Christmas season with a text by Eric Crozier, written after extensive research into the legendary life of Saint Nicholas, Bishop of Myra, and is a dramatic portrait of the life of, and legends associated with, this mystical figure. The English Chamber Choir celebrated their fortieth SUPPORT anniversary in 2012, and join soloists Keri Fuge, Thomas Herford, 2013 Kathleen Ferrier Award THE CHELSEA PENSIONERS winner Gareth Brynmor John, the Wren Players and local schoolchildren under the baton of the Royal Hospital’s Director of Music, William Vann. The English Chamber Choir The Wren Players The Choirs of Garden House School, St Barnabas’ CE Primary School & Thomas’s School, Battersea “KERI FUGE SANG WITH Keri Fuge soprano DRAMATIC FORCE AND Thomas Herford tenor Gareth Brynmor John baritone VOCAL SPLENDOUR” William Vann conductor FUNDRAISE FOR US MAKE A DONATION THE GIFT OF A LEGACY Ceasefire Magazine From running a marathon to baking a If you share our vision you may wish to Legacy gifts play a crucial role in cake, we’d love to help you with your help us by making a donation.
Recommended publications
  • “Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
    “Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
    [Show full text]
  • 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]
  • Britten's Acoustic Miracles in Noye's Fludde and Curlew River
    Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations.
    [Show full text]
  • Information to Users
    Benjamin Britten's "The Company of Heaven". Item Type text; Dissertation-Reproduction (electronic) Authors Weber, Michael James. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 04:21:02 Link to Item http://hdl.handle.net/10150/185097 INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thy-,;" tIme thesis and dissertation .copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Benjamin Britten's Noye's Fludde
    BENJAMIN BRITTEN’S NOYE’S FLUDDE An Intergenerational Experience for Church Music Programs Joshua Hawkins Nannestad Joshua Hawkins Nannestad is a doctoral student of choral conducting at Boston University. He teaches music to students aged fi ve to eighty-fi ve in central Massachusetts. <[email protected]> certainly write music for human be- ings, directly and deliberately. I consider their voices, the range, the power, the I subtlety, and the colour potentialities of them all. I consider the instruments they play, their most expressive and suitable in- dividual sonorities, and where I may be said to have invented an instrument (such as the Slung Mugs of Noye’s Fludde), I have borne in mind the pleasure the young performers will have in playing it. I also take note of the human circumstances of music, of its environment and conventions. I believe, you see, in occasional music. Almost every piece of music I have ever written has been composed with a certain oc- casion in mind, usually for defi nite performers, and certainly always human ones.1 The Britten centennial year provides a little- needed excuse to program beloved works by the English master. No doubt huge-scale produc- tions of War Requiem will be mounted, Jubilate Deo in C will resonate in church choir lofts, and Rejoice in the Lamb will continue to occupy conducting syllabi everywhere. One hopes that young singers will delight in Old Abram Brown at the same time that The Ballad of Little Musgrave and Lady Barnard inspires a new crop of young men in high school and college choirs.
    [Show full text]
  • Benjamin Britten
    Benjamin Britten “Britten” redirects here. For other uses, see Britten the operas are the struggle of an outsider against a hostile (disambiguation). society, and the corruption of innocence. Britten’s other works range from orchestral to choral, solo vocal, chamber and instrumental as well as film mu- sic. He took a great interest in writing music for chil- dren and amateur performers, including the opera Noye’s Fludde, a Missa Brevis, and the song collection Friday Af- ternoons. He often composed with particular performers in mind. His most frequent and important muse was his personal and professional partner, the tenor Peter Pears; others included Kathleen Ferrier, Jennifer Vyvyan, Janet Baker, Dennis Brain, Julian Bream, Dietrich Fischer- Dieskau and Mstislav Rostropovich. Britten was a cel- ebrated pianist and conductor, performing many of his own works in concert and on record. He also per- formed and recorded works by others, such as Bach's Brandenburg concertos, Mozart symphonies, and song cy- cles by Schubert and Schumann. Together with Pears and the librettist and producer Eric Crozier, Britten founded the annual Aldeburgh Festival in 1948, and he was responsible for the creation of Snape Maltings concert hall in 1967. In his last year, he was the first composer to be given a life peerage. Britten in the mid-1960s (photograph by Hans Wild) 1 Life and career Edward Benjamin Britten, Baron Britten, OM CH 1.1 Early years (22 November 1913 – 4 December 1976) was an English composer, conductor and pianist. He was a central fig- ure of 20th-century British classical music, with a range of works including opera, other vocal music, orchestral and chamber pieces.
    [Show full text]
  • Benjamin Britten Françaises (Victor Hugo and Verlaine) and the Anonymous 14Th Century a Hymn to the Virgin
    Women: A Wealden Trio, Hilaire Belloc’s The Birds, Quatre Chansons Benjamin Britten Françaises (Victor Hugo and Verlaine) and the anonymous 14th Century A Hymn to the Virgin. At sixteen Britten won a scholarship to the Royal College of Music and so left Gresham’s for London, where he shared a flat with his sister Beth. He studied composition with John Ireland, whom he admired but often found difficult to work with, and piano with the genial Arthur Benjamin. Although the training he received was a useful supplement to his work with Bridge he was frustrated by a perceived lack of interest in the kind of music that he wished to write. From these three years at the College come his String Quartet in D major (1931), the Phantasy in F minor for string quintet, the Sinfonietta op.1 for chamber orchestra, Phantasy op. 2 for oboe, violin, viola Benjamin Britten photo © Angus McBean and cello (all 1932) and the choral variations for unaccompanied voices A Boy was Born op.3 (1933). __1934-1936__ A Boy was Born was broadcast by the __A survey of Benjamin Britten's Life and Works__ Text © courtesy of the BBC in February 1934, gaining Britten recognition in musical circles as a Britten-Pears Library __1913-1919__ Edward Benjamin Britten was born in composer of so much promise that his Phantasy op. 2 was chosen by the the East Suffolk town of Lowestoft in 1913 on 22 November, the feast of Saint International Society for Contemporary Music for performance at their Festival Cecilia, patron saint of music.
    [Show full text]
  • MARCH 31, 2017 at 11 AM BYRD (Arr. Muhly) Miserere Mei BRITTEN Violin Concerto No. 1, Op. 15 Augustin Hadelich
    National Flag of the United Kingdom “Union Jack” “WALTON + BRITTEN” MARCH 31, 2017 AT 11 AM TEDDY ABRAMS, CONDUCTOR BYRD (arr. Muhly) Miserere Mei BRITTEN Violin Concerto No. 1, Op. 15 Augustin Hadelich, violin CLYNE Masquerade WALTON Selections from Façade 1 & 2 Chad Sloan, Narrator PARRY Jerusalem Walton + Britten program Classical music in Brit- ain, like much of Eu- The Composers rope, was split be- tween the sacred (church) and the sec- William Byrd (1539/43—1623) ular (entertainment). In addition, the ups Byrd became one of the English Renais- and downs of the Brit- sance composers alongside Thomas Tallis ish monarchy also af- and came to define the sound of Tudor era fected the fortunes of consort and keyboard fantasia as well as many composers. the development of the English madrigal. During the 16th Cen- His London birth is believed to have been between 1539-1543 to Thomas and Margery tury Protestant Refor- Byrd. Much is unknown about his early life, mation, Catholic mu- other than it was likely he was a chorister at sic, along with the Chapel Royal where he met and studied monasteries, was de- with Thomas Tallis. His first official employ- stroyed. And during ment was as an organist and master of the Cromwell’s Common- choristers at Lincoln Cathedral in 1563. Byrd wealth of England married Julian Burley in 1568 and by all ac- (mid-17th century), counts, had a happy marriage (they had at least seven children). cathedrals were Byrd held the post until 1572 when he was made Gentleman of the closed so most music Chapel Royal and shared organist duties alongside Tallis.
    [Show full text]
  • TEM Issue 66-67 Cover and Back Matter
    Musical Opinion Aaron Copland A MAGAZINE FOR ALL INTERESTED IN MUSIC Founded 1877 Published on the 1st of each month N O NET Among regular features are: Articles on Music and Musicians Reviews of New Music, Books and for Strings Gramophone Records Current Musical News Organists' Notes and News Full score >sl~ MONTHLY, ONE SHILLING AND Set of parts 20/- SIXPENCE Extra parts each 2/6 ANNUAL SUBSCRIPTION, £1 post free Free specimen copy on request Pocket score 6/- MUSICAL OPINION LTD. 26-27 HATTON GARDEN Boosey & Havvkes LONDON, E.C.I. MICHAEL TIPPETT recently published compositions KING PRIAM Vocal score 84/- opera in 3 acts Libretto 5/- PIANO SONATA No. 2 10/6 MAGNIFICAT AND NUNC DIMITTIS 4/- for SATB and organ PRAELUDIUM Min. score 10/6 for brass, bells and percussion IN THE PRESS CONCERTO FOR ORCHESTRA Min. score SONGS FOR ACHILLES for tenor and guitar SONGS FOR ARIEL for voice and harpsichord (or piano) SCHOTT 48 GREAT MARLBOROUGH STREET, LONDON Wl: GER 1246 Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 28 Sep 2021 at 11:20:21, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200036275 HAWKES POCKET SCORES Benjamin Britte n 734 A Midsummer Night's Dream 90s Od 719 Cantata Academica 17s 6d 83 Four Sea Interludes from "Peter Grimes" 10s Od 39 Les Illuminations 8s 6d 713 Nocturne 10s Od 84 Passacaglia from "Peter Grimes" 6s 6d 749 Peter Grimes 100s. Od 10 Phantasy 5s 6d 31 Quartet No.
    [Show full text]
  • Fairfield County Chorale Repertoire
    Fairfield County Chorale Repertoire Adler Brahms A Winter Triptych A German Requiem, Op. 45 Alto Rhapsody, Op. 53 Axelrod Four Songs, Op. 17, #1 River of Words Liebeslieder Waltzes Nänie Op. 82 Bach Neue Liebeslieder Waltzes, Op. 65 Cantata "Christ lag in Todes Banden" BWV 4 Schicksalslied, Op. 54 Cantata "Erschallet, ihr Lieder, erklinget, ihr Saiten!" BWV 172 Tafellied (Chorus of Homage) Op. 93b Cantata "Nun danket alle Gott" BWV 192 Vineta, Op. 42 #2 Cantata "Nun ist das Heil und die Kraft" BWV 50 Zigeunerlieder Cantata "Schlage doch, gewünschte Stunde" BWV 53 Christmas Oratorio BWV 248 Britten Magnificat in D major BWV 243 Choral Dances from "Gloriana" Op. 53 Mass in B Minor BWV 232 Rejoice In the Lamb Op. 30 Motet "Jesu, meine Freude" BWV 227 Saint Nicolas Motet, "Komm, Jesu, komm" BWV 229 Te Deum St. Matthew Passion BWV 244 War Requiem Jauchzet, frohlocket! From the Christmas Oratorio, BWV 248 (1734) Brubeck Bach, C.P.E. Lenten Triptych Magnificat Wq 215 Voice of the Holy Spirit (Tongues of Fire) Bartok Bruckner Four Slavic Folk Songs Mass in E Minor Te Deum Bassett Alleluia Byrd Ave Verum Corpus Beethoven Choral Fantasy, Op. 80 Cabaniss Choruses from "Fidelio", Op. 72 A Christmas Carol Medley Elegiac Song, Op. 118 Behold the Star Mass in C Major, Op. 86 My Song is a Fire Meerestille und Gluckliche Fahrt, Op. 112 Missa Solemnis, Op. 123 Carissimi Ruins of Athens, March & Chorus Op. 113 Jephte Symphony #9, Op. 125 Jonas Berlioz Charpentier L'enfance du Christ Le Reniement de Saint Pierre, H.424 Requiem Messe de Minuit pour Noël,
    [Show full text]
  • Britten Saint Nicolas Hymn to St Cecilia Rejoice in the Lamb
    The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRITTEN SAINT NICOLAS HYMN TO ST CECILIA REJOICE IN THE LAMB STEPHEN CLEOBURY CONDUCTOR ANDREW KENNEDY BRITTEN SINFONIA T BRITTEN rack SAINT NICOLAS Andrew Kennedy tenor * Sawston Village College Choir (Janet Macleod chorus director) Choir of King’s College, Cambridge ^ CUMS Chorus Britten Sinfonia (Jacqueline Shave leader) L Stephen Cleobury conductor & organ ist SAINT NICOLAS 1 i. Introduction 05:35 2 ii. The Birth of Nicolas (Tom Pickard treble) 02:43 3 iii. Nicolas devotes himself to God 04:34 4 iv. He journeys to Palestine * 08:19 5 v. Nicolas comes to Myra and is chosen Bishop *^ 07:02 6 vi. Nicolas from Prison 02:59 7 vii. Nicolas and the Pickled Boys (Adam Banwell, Rupert Peacock, James Wells trebles) * 06:42 8 viii. His piety and his marvellous works * 05:03 9 ix. The Death of Nicolas *^ 06:45 10 HYMN TO ST CECILIA 10:25 Alexander Banwell, William Hirtzel trebles, Andreas Eccles-Williams alto, Ruairi Bowen tenor, Daniel D’Souza bass 11 REJOICE IN THE LAMB 16:25 William Crane treble, Feargal Mostyn-Williams alto, Ruairi Bowen tenor, Simon Chambers baritone, Ben San Lau organ Total Time 76:32 Recorded at 96kHz 24-bit PCM in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows, 23-24 June 2012 (Hymn to St Cecilia & Rejoice in the Lamb) and 14-15 January & 20 May 2013 (Saint Nicolas). Producer & Editor Simon Kiln Recording Engineers Arne Akselberg, Jonathan Allen Mixing Engineer Arne Akselberg Technical Engineer Richard
    [Show full text]
  • Benjamin Britten's Contribution to Church Music Marcella Rauch Ouachita Baptist University
    Ouachita Baptist University Scholarly Commons @ Ouachita Graduate Theses Archives and Special Collections 1969 Benjamin Britten's Contribution to Church Music Marcella Rauch Ouachita Baptist University Follow this and additional works at: http://scholarlycommons.obu.edu/grad_theses Part of the Composition Commons, Music Pedagogy Commons, and the Practical Theology Commons Recommended Citation Rauch, Marcella, "Benjamin Britten's Contribution to Church Music" (1969). Graduate Theses. 22. http://scholarlycommons.obu.edu/grad_theses/22 This Thesis is brought to you for free and open access by the Archives and Special Collections at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. BEK JAHIN BRITTEN'S CONTRIBUTION TO CHURCH "t-1USIC A ThPsis Presented to The Director of Graduate Studies Ouachita Baptist University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Church Music Riley Librc>ry Ouachita Baptist University_ by ~farce lla Rauch Nay 1969 RILEY -HICKINGBOTHAM LIBRARY -. __ ,,.._,..,. • u..u\Jr-n~ITV APPROVAL SHEIT BENJANI)J BRITTEN'S CONTRIBt.:TION TO CHURCH NtJSIC By "<ARCELLA RA11Cll r AC'Kl\JOWLFDGENENT S The writer wisl~s to express her appreciation to the memhcrs of her committee for the time and assistance they gave so generously during the preparation of this thesis , and to the staff of Riley Library of Ouachita Baptist Uni­ versity for their help in obtair ing books a~d ~cores. Special acknowledgements go to t-lr. Alee \vyton, Organist and Choirmaster at the Cathedral of St.
    [Show full text]