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Brookland Road Poem by Rudyard Kipling
1 Brookland road Poem by Rudyard Kipling Song for Solo Voice & Piano by H. Walford Davies VOCAL SCORE 2 This score is in the Public Domain and has No Copyright under United States law. Anyone is welcome to make use of it for any purpose. Decorative images on this score are also in the Public Domain and have No Copyright under United States law. No determination was made as to the copyright status of these materials under the copyright laws of other countries. They may not be in the Public Domain under the laws of other countries. EHMS makes no warranties about the materials and cannot guarantee the accuracy of this Rights Statement. You may need to obtain other permissions for your intended use. For example, other rights such as publicity, privacy or moral rights may limit how you may use the material. You are responsible for your own use. http://rightsstatements.org/vocab/NoC-US/1.0/ Text written for this score, including project information and descriptions of individual works does have a new copyright, but is shared for public reuse under a Creative Commons Attribution NonCommercial (CC BY-NC 4.0 International) license. https://creativecommons.org/licenses/by-nc/4.0/ Cover Image: “The Vale of Dedham” by John Constable, 1828 3 The “renaissance” in English music is generally agreed to have started in the late Victorian period, beginning roughly in 1880. Public demand for major works in support of the annual choral festivals held throughout England at that time was considerable which led to the creation of many large scale works for orchestra with soloists and chorus. -
RSCM Honorary Awards 1936-2020 Hon
FRSCM (220) ARSCM (196) Hon. Life RSCM (62) RSCM Honorary Awards 1936-2020 Hon. RSCM (111) Cert. Special Service (193) Total 782 Award Year Name Dates Position FRSCM 1936 Sir Arthur Somervell 1863-1937 A Fellow of the College of St Nicolas in 1936. Chairman of Council SECM FRSCM 1936 Sir Stanley Robert Marchant 1883-1949 A Fellow of the College of St Nicolas in 1936. Principal of the Royal Academy of College FRSCM 1936 Sir Walter Galpin Alcock 1861-1947 A Fellow of the College of St Nicolas in 1936. Organist of Salisbury Cathedral FRSCM 1936 Sir Edward Bairstow 1874-1946 A Fellow of the College of St Nicolas in 1936. Organist of York Minster FRSCM 1936 Sir Hugh Percy Allen 1869-1946 A Fellow of the College of St Nicolas in 1936. Director of the Royal College of Music FRSCM 1936 The Revd Dr.Edmund Horace Fellowes 1870-1951 A Fellow of the College of St Nicolas in 1936. Choirmaster of St George's, Windsor and Musicologist FRSCM 1936 Sir Henry Walford Davies 1869-1941 A Fellow of the College of St Nicolas in 1936. Organist of the Temple Church FRSCM (i) 1936 Dr Henry George Ley 1887-1962 A Fellow of the College of St Nicolas in 1936. Precentor of Eton FRSCM (i) 1936 Sir Ivor Algernon Atkins 1869-1953 A Fellow of the College of St Nicolas in 1936. Organist of Worcester Cathedral FRSCM (i) 1936 Sir Ernest Bullock 1890-1979 A Fellow of the College of St Nicolas in 1936. Organist of Westminster Abbey FRSCM (iii) 1937 Sir William Harris 1883-1973 A Fellow of the College of St Nicolas in 1937. -
Romance of Psalter and Hymnal : Authors and Composers
Psalter and Hymnal The Leonard Library OTpcltffe College Toronto shelf No....\.:3.. .... STACKS Register No.... ...&.. I ,; J^^"fl ; I I ISHiH I 999 - - and F. G. EDWARDS. Romance of Psalter and Hymnal, cr. 8vo, doth, 2s. 1889 ROMANCE OF PSALTER AND HYMNAL. Presented to Wycliffe College Library, Toronto, by Magistrate James Edmund Jones, Convener and Secretary Hymnal Committee, General Synod, 1905 - 1938 ROMANCE OF PSALTER AND HYMNAL antr gurijxcrrs KY THE REV. R. E. WELSH, M.A., AND F. G. EDWARDS, " Author of United Praise" HODDER AND STOUGHTON, 27, PATERNOSTER ROW, MDCCCLXXX1X. Printed by Hazel), Watson, & Viney, Ld., London and Aylesbury. PREFACE. r I ^HE past thirty years have witnessed the issue of a host of Hymnals, each having its own special feature or guiding purpose. The Tractarian Movement and, at an earlier period, the Methodist Revival, awakened emotions and left tastes and ten dencies which contributed largely to this outburst of the Churches into song. Roundell Palmer's Book Praise and Ancient and of ', Hymns Modern^ published in 1860, of which a million copies have been sold every year, are significant landmarks. This multiplication of Hymnals has naturally excited a new and keener curiosity regarding the makers and the historic associations of the Hymns and Psalms with which our lips have become so familiar. The present volume seeks to meet and guide this new takes of our choicest sacred curiosity ; some PREFACE. verse and endeavours to throw around it the living interest of curious origin, personal incident, and historic episode, which weave for us a veritable romance, the Romance of Sacred Piaise. -
Psalms of David
Elliot Jones, Music Director Psalms of David 3:00 p.m. Sunday, April 28, 2019 Temple Emanu-El Elliot Jones, Conductor Will Thomas, Organist Sing joyfully (Psalm 81) William Byrd (1543-1623) A new song (Psalm 96) James MacMillan (b. 1959) Beati quorum via (Psalm 119) Charles Villiers Stanford (1852-1924) Like as the hart (Psalm 42) Herbert Howells (1892-1983) Clap your hands (Psalm 47) Edwin Fissinger (1920-1990) Psalm 23 C. Hylton Stewart (1884-1932) Three Psalms from King David Arthur Honegger (1892-1955) All praise to him, the Lord of glory Thee will I love, O Lord Now my voice in song upsoaring Psalm 121 Henry Walford Davies (1869-1941) Soloists: Emily Lyons and Bradley Hann Salmo 150 Ernani Aguiar (b. 1950) 1 INTERMISSION The Song of Solomon I was asleep but my heart stayed awake. Listen! My beloved is knocking. - Song of Solomon 5:2 Quam pulcra es John Dunstable (1385-1453) How beautiful you are, and how graceful, dearest one, my delight. Your stature is like a palm tree and your breasts like clusters of grapes. Your head is like Mount Carmel, your neck like an ivory tower. Come my beloved, let us go to the fields and let us see If the grape blossoms have borne fruit and the pomegranates are in bloom. There I will give my breasts to you. Alleluia. I sat down under his shadow Edward C. Bairstow (1874-1946) My beloved spake Patrick Hadley (1899-1973) Purer than purest pure (e.e. cummings) Daniel Asia (b. 1953) Make Peace David Lang (b. -
The Lord Is My Shepherd (Psalm 23)
1 the lord is my shepherd (Psalm 23) Musical setting for tenor, solo violin & organ by H. Walford Davies VOCAL / ORGAN SCORE 2 This score is in the Public Domain and has No Copyright under United States law. Anyone is welcome to make use of it for any purpose. Decorative images on this score are also in the Public Domain and have No Copyright under United States law. No determination was made as to the copyright status of these materials under the copyright laws of other countries. They may not be in the Public Domain under the laws of other countries. EHMS makes no warranties about the materials and cannot guarantee the accuracy of this Rights Statement. You may need to obtain other permissions for your intended use. For example, other rights such as publicity, privacy or moral rights may limit how you may use the material. You are responsible for your own use. http://rightsstatements.org/vocab/NoC-US/1.0/ Text written for this score, including project information and descriptions of individual works does have a new copyright, but is shared for public reuse under a Creative Commons Attribution NonCommercial (CC BY-NC 4.0 International) license. https://creativecommons.org/licenses/by-nc/4.0/ Cover Image: “The Prayer” by William-Adolphe Bouguereau, 1865 3 The “renaissance” in English music is generally agreed to have started in the late Victorian period, beginning roughly in 1880, and was most notable for compositions by C.V. Stanford, C. Hubert H. Parry, Edward Elgar, Henry Walford Davies, Harold Darke and others. -
Sir Adrian Boult a Musical Legacy Sir Adrian Boult (1889 – 1983)
SIR ADRIAN BOULT A MUSICAL LEGACY SIR ADRIAN BOULT (1889 – 1983) In October 1919, at very short notice, the young much to the music of their contemporaries. As Wilson sing On Wenlock Edge. He even met John These were prescient remarks and, as it turned out, Adrian Boult took over conducting Sergei Ralph Vaughan Williams noted in a letter after the Philip Sousa: ‘when one gets used to the noise it is Elgar’s music (as well as the music of many of his Diaghilev’s Ballets Russes at London’s Alhambra premiere of his Piano Concerto: ‘You have made marvellous’. contemporaries) was safe in Boult’s hands for over Theatre. Over a few days Boult learnt 14 ballets impossible the composer’s time-honoured excuse half a century, much of it performed with the including Satie’s Parade and Stravinsky’s Petrushka that the work would have sounded all right if it After a performance of his Symphony No. 2 on 17 London Philharmonic Orchestra. Boult’s final public and Firebird. On 5 November 1920 he travelled had been properly played – I could not have March 1920, Sir Edward Elgar wrote to the 30-year- appearance was to conduct Elgar’s ballet The from London to the HMV studios in Hayes, imagined a better performance’. old Boult, who had just conducted the work in Sanguine Fan at the London Coliseum on 24 June Middlesex, to make his first recording with the London’s Queen’s Hall. 1978, a work he had recorded with the LPO in 1973. recently re-formed British Symphony Orchestra, The relationship that the LPO enjoyed with The great ballerina, Dame Beryl Grey, said of Boult’s of which he had just been appointed Principal Sir Adrian was a long and fruitful one. -
The Music of Heaven Contents
CHURCH MUSIC QUARTERLY JUNE 2019 THE MUSIC OF HEAVEN CONTENTS 5 EDITORIAL 38 SIMPLE WORSHIP SONGS ON THE ORGAN Miles Quick and Tom Bell provide tips for playing worship songs 6 IN ACTION on the organ. A look at a recent Strengthen 13 for Service event in Salisbury 40 CONGRATULATIONS Members’ successes and 8 WHAT’S ON RSCM awards Highlights of RSCM events across the UK, June to October 2019 42 HYMN MEDITATION Gordon Giles meditates upon 13 THE MUSIC OF Walford Davies’s God be in my head. HILDEGARD OF BINGEN Jennifer Bain looks at the music of Hildegard of Bingen and provides a 19 practical guide to using Hildegard’s 44 NEWS FROM music across the church year. PUBLISHING A look at the upcoming RSCM publication In Every Corner Sing, Book Two 19 FIVE HUNDRED YEARS OF NEGLECT Olivia Sparkhall considers the prominence of women composers 47 NOTEBOOK: from the 15th century to the NEWS AND EVENTS present day. News from the world of church music 32 24 FROM THE DIRECTOR 49 READERS’ LETTERS Hugh Morris talks about the RSCM’s new Strategic Plan. 51 OBITUARIES 26 RSCM NEWS News and reports across the RSCM’s international network 52 REVIEWS CMQ evaluates the latest church music books and CDs. 32 MY FAVOURITE HYMN Brian Kay talks to CMQ about 36 his favourite hymns and about 56 PUZZLES conducting The Really Big Chorus. 57 LOOKING TO 36 BRANCHING OUT THE FUTURE Jenny Yates, RSCM South Africa, CMQ talks to organist and conductor describes bringing sacred music Helen Smee. to some of the poorest schools on the Eastern Cape. -
Download Vocal Score
1 tune thy music to thy heart Verse by Thomas Campion Madrigal for SATBarB a cappella chorus by H. Walford Davies VOCAL SCORE 2 This score is in the Public Domain and has No Copyright under United States law. Anyone is welcome to make use of it for any purpose. Decorative images on this score are also in the Public Domain and have No Copyright under United States law. No determination was made as to the copyright status of these materials under the copyright laws of other countries. They may not be in the Public Domain under the laws of other countries. EHMS makes no warranties about the materials and cannot guarantee the accuracy of this Rights Statement. You may need to obtain other permissions for your intended use. For example, other rights such as publicity, privacy or moral rights may limit how you may use the material. You are responsible for your own use. http://rightsstatements.org/vocab/NoC-US/1.0/ Text written for this score, including project information and descriptions of individual works does have a new copyright, but is shared for public reuse under a Creative Commons Attribution NonCommercial (CC BY-NC 4.0 International) license. https://creativecommons.org/licenses/by-nc/4.0/ Cover Image: “Portrait of a Man Playing a Lute” by Bartolomeo Passerotti, 1576 3 The “renaissance” in English music is generally agreed to have started in the late Victorian period, beginning roughly in 1880. Public demand for major works in support of the annual choral festivals held throughout England at that time was considerable which led to the creation of many large scale works for orchestra with soloists and chorus. -
Anglican Chants from Rochester Cathedral
ROCHESTER CATHEDRAL OLD CHORISTERS’ ASSOCIATION Archivist: James Strike, chorister 1950-52. ANGLICAN CHANTS FROM ROCHESTER CATHEDRAL Hearing the Psalms of David sung to an Anglican Chant is part of our Christian experience; part of our Liturgy and Worship. This article looks at the number of Anglican Chants which derive from the Choir of Rochester Cathedral. Chants which were composed by Rochester Cathedral Organists and have, over a period of time, and through the publication of Chant Books, become established in Cathedrals, Greater Churches, Chapels and Royal Foundations in England and around the world. Singing Myles Coverdale’s English wording of the psalms, to what we now know as the Anglican Chant, was first introduced in the early seventeenth century. The origin of the Anglican Chant has been widely debated, but there are two strong recognized beginnings: early Gregorian plainsong for the Latin Rite, and simple ‘hymn tunes’ used for the Protestant Metrical Psalters of the Reformation. (1) Chanting the Psalms can be traced back to St. Gregory (Pope, 590 –604) who fostered the liturgical music of Plainsong; chanting which was model, vocal and unaccompanied. The English monk, scholar and historian, Venerable Bede, writing in the early eighth century, records: ‘ When Theodore arrived in England in 664, sacred music was only known in Kent. And when Putta was consecrated Bishop of Rochester in 669, he was extraordinarily skilful in the Roman Style of music which had been learned from the disciples of the Holy Pope Gregory’. (2) The Period of Restoration (from 1543) caused considerable disruption to church music. Eventually, after a turbulent time, the Protestant Service in the English language became accepted. -
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ALSO AVAILABLE 2CD KGS0001 + CD hybrid SACD KGS0002 MOZART NINE REQUIEM LESSONS & REALISATIONS CAROLS STEPHEN CLEOBURY CONDUCTOR ELIN MANAHAN THOMAS STEPHEN CLEOBURY CHRISTINE RICE CONDUCTOR JAMES GILCHRIST CHRISTOPHER PURVES ACADEMY OF ANCIENT MUSIC ENGLISH NINE LESSONS & CAROLS MOZART REQUIEM REALISATIONS Stephen Cleobury, Choir of King’s College, Cambridge Stephen Cleobury, Elin Manahan Thomas, Christine Rice, James Gilchrist, Christopher Purves, Academy of HYMN Music and readings from A Festival of Nine Lessons and Carols (2010 service), plus carol commissions Ancient Music, Choir of King’s College, Cambridge and a specially-composed work by John Rutter ANTHEMS CD + SACD dual layer CD + SACD KGS0003 hybrid SACD KGS0005 STEPHEN CLEOBURY BRITTEN FAURÉ SAINT REQUIEM CONDUCTOR NICOLAS CANTIQUE DE JEAN RACINE HYMN TO ST CECILIA MESSE BASSE REJOICE IN THE LAMB STEPHEN CLEOBURY CONDUCTOR STEPHEN CLEOBURY GERALD FINLEY CONDUCTOR TOM PICKARD ANDREW KENNEDY ORCHESTRA OF THE AGE ALISON BALSOM BRITTEN SINFONIA OF ENLIGHTENMENT BRITTEN SAINT NICOLAS FAURÉ REQUIEM Stephen Cleobury, Andrew Kennedy, Stephen Cleobury, Gerald Finley, Tom Pickard, Britten Sinfonia, Choir of King’s College, Cambridge Orchestra of the Age of Enlightenment, Also includes “Hymn to St Cecilia” and “Rejoice in Choir of King’s College, Cambridge the Lamb” Also includes “Cantique de Jean Racine” and “Messe basse” KGS0004 HYMN-ANTHEMS late Victorians, and on into the 20th century. Cathedral services, once sparsely att ended or even closed to outsiders, ENGLISH The traditional English anthem was based on a prose were now being opened up to the general public, who text taken from the bible, most often from the Psalms, or naturally liked the sound of a familiar tune. -
Michael Jones – 'Some Forgotten Anniversaries of 2019: Sir Henry (Walford) Davies and Arthur Hinton'
MICHAEL JONES - ESSAY - Some Forgotten Anniversaries of 2019: Sir Henry (Walford) Davies and Arthur Hinton Michael Jones Independent 2019 marks the 150th anniversary of the birth of two composers who were exact contemporaries. During their lifetimes, one was a major establishment figure, though today they are names unfamiliar to the mainstream establishment. Both completed two symphonies during the 1890s - other orchestral works include pieces for piano and orchestra, operettas and chamber music (including a Piano Quintet, a Piano Trio, violin sonatas, and songs). Both wrote comfortably in the Romantic style of the late nineteenth- and early twentieth centuries, which, however, made them vulnerable to the major stylistic changes which took place more rapidly after World War One. Hinton - in particular – fell into relative obscurity at this time. In contrast, Davies occupied a place in the establishment: his appointments include being Master of the King's Music from 1934 till 1941, Director of Music at the Temple Church and St George's Chapel, Windsor, the first Professor of Music at the University of Wales, and the leading pioneer in music education broadcasting during the 1920s and '30s. In this overview I wish to present brief biographical sketches, together with annotated work lists of both composers in order to attempt to convey a picture of the musical environment of their time and their places within it. Henry (Walford) Davies was born in Oswestry, Shropshire (on the edge of Wales) on 6 September 1869 into a musical family.1 In -
From Oldham to Oxford: the Formative Years of Sir William Walton
From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Abraham Kaplan Giselle E. Wyers Program Authorized to Offer Degree: School of Music © Copyright 2014 Gary D. Cannon University of Washington Abstract From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon Chair of the Supervisory Committee: Professor Geoffrey Boers Choral Conducting, School of Music The formative years of William Walton (1902–1983) are rarely considered when studying the composer’s life and works. However, careful study of that period indicates many of the directions that the adult Walton would take. Industrial Lancashire was more musically active during the period of Walton’s youth (covering the years 1902 to 1912) than is generally considered. His time as a chorister and later undergraduate at Christ Church, Oxford (1912 to 1920), is replete with influential interactions with talented adults and fellow students. Detailed consideration of Walton’s juvenilia reveals a keen thinker who assimilated these various influences in a unique manner. Far more than merely a springboard for a future talent, these years resulted in inspired works and a firm purpose for the budding composer. From Oldham to Oxford The Formative Years of Sir William Walton Contents Introduction..................................................................................................................................................