DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet booklet042 7/9/04 10:10 am Page 1 SIGCD042 DDD Thomas Tallis 20 bit digital recording The Complete Works - Volume 9 Disc One 1. In nomine I (a) [2:03] 18. Lesson: two partes in one (e) [5:24] 2. In nomine II (a) [3:32] 19. Tu nimirum (b, f) [2:00] 3. A Solfing Song (a) [2:10] 20. When shall my sorrowful 4. Salvator Mundi (trio) (a) [1:58] sighing slack (b, f) [4:35] 5. Fantasia (a) [4:20] 21. Like as the doleful dove (b, f) [1:40] 6. Felix namque II (b) [12:10] 22. O ye tender babes (b, f) [1:36] 7. Felix namque I (c) [10:46] 23. Ye sacred muses (Byrd) (a, f) [3:26] 8. When shall my sorrowful sighing slack (d) [1:40] Total running time: [75:15] 9. Like as the doleful dove (d) [1:40] 10. O ye tender babes (c) [1:32] Disc Two 11. Purge me, O Lord (d) [1:26] 12. Per haec nos (c) [1:48] 1. Litany (g) [14:29] 13. A Point (c) [0:37] 2. Verset I (e) [0:54] 14. Lesson: two partes in one (d) [5:24] 3. Verset II (e) [0:44] 15. Remember not, O Lord God (d) [3:19] 4. Felix namque I (e) [10:33] 16. Per haec nos (e) [1:19] 17. A Point (e) [0:38] Total running time: [26:44] Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK booklet042 7/9/04 10:10 am Page 3 Editions Thomas Tallis - The Complete Works Salvator Mundi Trio (track 4) edited Alistair Dixon, Fantasia (track 5) edited John Milsom, Felix namque, arranged for lute (track 6) edited Lynda Sayce, Tu nimirum (track 19) edited Christopher Godwin Tallis is dead and music dies. So wrote William Byrd, Tallis’s most distinguished pupil, capturing the Tracks 1-6, and 19-23 recorded at St Andrew’s Church, Toddington, 13-15 May 2004 esteem and veneration in which Tallis was held by his fellow composers and musical colleagues in the Producer and engineer: Adrian Hunter 16th century and, indeed, by the four monarchs he served at the Chapel Royal. Tracks 7-15 recorded at Fenton House, Hampstead, 2 August 2004 Producer and Engineer: Mike Hatch (Floating Earth) Tallis was undoubtedly the greatest of the 16th century composers; in craftsmanship, versatility and Tracks 16-18 recorded at the Chapel, Knole House, 23-24 May 1999 intensity of expression, the sheer uncluttered beauty and drama of his music reach out and speak Producer: Alistair Dixon, Engineer: Simon Eadon (Floating Earth) directly to the listener. It is surprising that hitherto so little of Tallis’s music has been regularly Editor: Dave Hinitt (Floating Earth) performed and that so much is not satisfactorily published. Booklet notes: John Milsom German translation: Margarete Forsyth, French translation: Mariane Rosel-Miles This release is the ninth and final volume in a series which Booklet design & typesetting: Jan Hart covers Tallis’s complete surviving output from his five decades of Text and translation editor: Christine Darby composition, and includes the contrafacta, the secular songs and Cover design: ATX Design the instrumental music—much of which is previously Illustration of Thomas Tallis: Kate Smith unrecorded. Great attention has been paid to performance detail including pitch, pronunciation and the music’s liturgical context. As a result new editions of the music have been P 2004 The copyright in this sound recording is owned by Signum Records Ltd. required for the recordings, many of which will in time be Any unauthorised broadcasting, public performance, copying or re-recording of published by The Cantiones Press. Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from No portrait of Thomas Tallis survives from his lifetime. The Phonographic Performance Ltd, 1 Upper James Street, London W1R 3HG, England familiar picture that exists in a pair with a portrait of William Byrd is in fact an 18th century engraving from a book by © 2004 The copyright of this CD booklet, notes, translations and visual design is owned by Signum Records Ltd. N. T. Haym (1679-1729). That portrait depicts Tallis as a young man in clothes and a hair style that are about a hundred years All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or too late; rather more Jacobean than Tudor. transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records. Thomas Tallis by Kate Smith, As part of the Thomas Tallis project, Chapelle du Roi has London 1997 commissioned the London artist, Kate Smith, to produce a new Booklet part number: SIGCD042.1 CD part number: SIGCD042 portrait showing Tallis in the clothes that a senior member of the 16th century Royal Household would have worn. Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK E-mail: [email protected] Website: www.signumrecords.com - 2 - - 31 - booklet042 7/9/04 10:10 am Page 5 Academy of Ancient Music and is currently organ, although this is not apparent today. The involved in a number of projects with Charivari quarter-comma meantone temperament, with its Thomas Tallis Agreable, a period instrument ensemble based in pure thirds, is well suited to music of this period. Instrumental music and songs Oxford. He has a particular interest in the nurture of young voices and teaches singing at Laurence Cummings plays a virginals attributed various establishments, including Eton College. to Vincentius Pratensis, Italy of the late 16th or This ninth and final volume of The Complete keyboard pieces were composed for England’s early 17th century, and a single strung Works of Thomas Tallis explores the most obscure most celebrated amateur performer, Queen The London-based Chapelle du Roi is a choir harpsichord, built in Italy around 1590, builder and enigmatic corner of Tallis’s output: the Elizabeth herself. specialising in the performance of sacred unknown. secular music. The very existence of this music renaissance music. Founded in October 1994, calls for some explanation. Tallis was a An alternative performance context comes to mind the group undertakes a substantial programme Lynda Sayce plays a 7 course lute in G by Michael professional church musician for his entire adult for some of the secular music. As a member of the of concerts and recordings each year in which it Lowe (track 6 solo), a 7 course lute in F by career, and in that capacity he served as an Chapel Royal, Tallis worked alongside generations aims to present historically informed Martin Shepherd, and an 8 course bass lute in D organist, a singer, an administrator and, most of choirboys, and almost certainly there would performances of music—often repertoire which by Ivo Magherini. importantly from our modern point of view, a have been times when he assisted in their training, is less well known and deserving of greater composer of church music for voices and organ. or wrote pieces for them to perform outside their attention. To complete the series of The Complete Works His official duties did not require him to write chapel duties. In fact, there is a strong case for of Thomas Tallis we include with this final secular songs, or pieces to be played on viols, linking several of Tallis’s secular songs with volume a ‘bonus’ disc consisting of four tracks. The instruments virginals or harpsichord. Why, then, do these choirboy plays. His instrumental consort music, The first of these tracks was recorded in July ‘unofficial’ works by him exist? too, and some of the keyboard pieces, possibly 2000 as part of the recording for volume 6 in connect with pedagogy and the musical training of The organ tracks on this volume were recorded this series. Space did not permit the inclusion of There is probably more than one explanation. choristers. on the organ in the late medieval private chapel the Litany which is therefore heard here. The Some pieces may have been destined for of Knole in Kent, arguably the oldest playable remaining three tracks were recorded at the performance at the Tudor court. The English Not all the music on these discs, however, is organ in England. Knole was owned during organ in the chapel of Knole in Sevenoaks in monarchs, from Henry VII onwards, retained an ‘secular’ in its origins. Some works that Tallis Tallis's lifetime by both Archbishop Cranmer and May 1999 at the same time as the organ music impressive staff of secular musicians: keyboard conceived for choral performance in church were Henry VIII, his employers respectively at found on Volume 5. Tracks two and three players, lutenists, consorts of instrumentalists, and taken over by amateur musicians, to be arranged, Canterbury Cathedral and the Chapel Royal. should be considered dubia since in their a small ensemble of chamber singers. Their sung and played in circumstances quite different There are four ranks of oak pipes (Stopped source they appear untitled, with a composer personnel is well documented, but almost nothing from those the composer originally had in mind. Diapason 8, Principal 4, Twelfth 22/3 and ascription that is almost decipherable. Whilst is known about the music they played and sang. These annexed pieces underline the fact that Fifteenth 2) contained in a rectangular this could be read as ‘Tallis’ this is by no means Tallis, who was a member of the Chapel Royal—a Tallis’s music was used and admired far beyond ornamented chest with the keyboard at the top.
Load more

Recommended publications
  • JOB DESCRIPTION JOB TITLE Tenor Lay Clerk LINE MANAGER Director
    JOB DESCRIPTION JOB TITLE Tenor Lay Clerk LINE MANAGER Director of Music JOB PURPOSE Lay Clerks sing at regular daily services as part of the Cathedral Choir and also participate in concerts, recordings and other events CONTEXT Ely Cathedral is the mother church of the Diocese of Ely. It is the seat of the Bishop and a centre of worship and mission. Originally founded in 673 as a double monastery by St Etheldreda, it became a Cathedral in 1109. The City of Ely has a population of 20,000 and enjoys excellent road and rail communications to all parts of the country. Currently a team of 6 Lay Clerks are joined by the Boy and Girl Choristers, together with their separate Directors of Music and Assistant Organists, to provide daily sung worship as detailed in the schedule below. The Music Department also includes Ely Cathedral Octagon Singers (a voluntary choir) and the Ely Imps (children’s choir). All Cathedral employees are required to work together to enable the Cathedral to fulfil its mission of “Joyfully proclaiming the love of God in worship, outreach, welcome and care”. SALARY Cathedral salary: £8,670 (reviewed annually). This is supplemented substantially by extra fees for concerts, recordings and non-statutory services. These are listed below. DUTIES Lay Clerks will attend all services and rehearsals as in the Cathedral Choir’s calendar according to the following Schedule of Commitments: Detail Commitment Sundays 9.30 Rehearsal 10.30 Eucharist 3.00 Rehearsal 4.00 Evensong Weekdays: usually four each week, 5.00 Rehearsal (Mondays,
    [Show full text]
  • JOB TITLE: Tenor Lay Clerk LOCATION
    JOB TITLE: Tenor Lay Clerk LOCATION: Durham Cathedral and other locations outside the Cathedral ACCOUNTABLE TO: The Master of the Choristers and Organist RESPONSIBLE FOR: This post has no supervisory responsibilities. KEY RELATIONSHIPS: Organist, Sub-Organist, Organ Scholars, Canon Precentor, Music Administrator, Lay Clerks, Choral Scholars, Choristers, Members of Chapter, Vergers, and other members of Cathedral staff and volunteers. BACKGROUND: Durham Cathedral Choir consists of up to 48 Choristers, (boys and girls singing in alternation), 6 Choral Scholars and 6 Lay Clerks. The Choir sings the daily Cathedral services during Choir term. The Choir performs a wide, exciting and varying repertoire extending from plainsong works written in Durham eight centuries ago to works written in the last ten years, including works commissioned especially for the Cathedral. It also appears regularly in concerts, in both the Cathedral and elsewhere. The Choir also tours from time to time. JOB SUMMARY: To sing the daily Cathedral services during Choir term and participate in additional services sometimes arranged at short notice as well as participating in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs in Newcastle and Edinburgh. Lay Clerks also participate in recordings, broadcasts, and other Cathedral concerts from time to time. MAIN DUTIES AND RESPONSIBILITIES: 1. To participate in the weekly timetable of services 2. To participate in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs. 3. To participate in diocesan services or concerts as directed by the Organist. 4. To participate in recordings, broadcasts and other concerts in Durham Cathedral as directed by the Organist. 5. To take an active part in the worship of the Cathedral including full support for and commitment to the Cathedral’s Christian ethos.
    [Show full text]
  • Why Do Singers Sing in the Way They
    Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.
    [Show full text]
  • Lay Clerkships at Bristol Cathedral
    Bristol Cathedral Choir L A Y C L E R K S Revised April 2019, TP Lay Clerkships at Bristol Cathedral Bristol Cathedral is one of the city’s most beautiful buildings, containing architecture from the 12th century (most famously in the stunning Chapter House) right through to the 19th (the Nave). It has perfect acoustics for the singing of choral music and is possessed of one of the finest Edwardian Cathedral Organs in the country (built in 1907 by the prestigious firm of J W Walker, and completely restored in 1990). Further information about the Cathedral and its life can be found by visiting bristol-cathedral.co.uk There has been a choir at Bristol Cathedral since its foundation in 1542, and probably since the days of the Augustinians (from 1140). Services are sung six times a week during term time by either the Cathedral Choir (Lay Clerks & Choral Scholars and boys/girls) or the Cathedral Consort. The Choir The Cathedral Choir consists of up to 28 choristers (14 boys and 14 girls), probationary choristers, six Lay Clerks, and four Choral Scholars. The Cathedral Choir encourages singers from the University of Bristol and UWE through the Choral Scholarship scheme. The current pattern for sung worship in the Cathedral (as it affects Lay Clerks) is as follows: Monday, Tuesday rehearsal (4.45pm) for Evensong (5.15 pm) sung by the full Choir Friday rehearsal (4.45pm) for Evensong (5.15pm) sung by the Lay Clerks Saturday rehearsal (2.30pm) for Evensong (3.30pm) sung by the full Choir. There is a Saturday off once a month.
    [Show full text]
  • Education : Music (As Singer) : Concert and Tour Organisation : Teaching
    MARTIN RENSHAW brief CV as at end January 2017 Born 20 April 1945, Leicester ; father priest in Church of England (d. 1955) Education : Primary schools in Ellistown (near Coalville) and Leicester. St Paul’s cathedral choir school, January 1955 – Easter 1959. St Edmund’s (clergy orphan) school, Canterbury, 1959-1964. Christ Church, Oxford, 1964-7 ; BA/MA in English Language and Literature. Music (as singer) : St Paul’s cathedral chorister, 1955-9 (up to 13 services a week) Cantoris tenor lay-clerk, Canterbury cathedral, January 1970 – January 1976 (six days a week, many broadcasts, major services). Kent Opera chorus tenor and Equity representative, January 1976 – April 1977. Founder member of Canterbury Clerkes (trio), 1973-2002 (six recordings, tours for National Trust etc., concerts throughout England, and in Germany, Holland and France, TV and radio). Ensemble Vocal de Nantes, 1990-2005 (including tours and broadcasts, Folles Journées). Maitrise de Bretagne, Rennes, 1993-2003. Ensemble Raspiev, Rennes (Russian liturgical and folk music), 1998-2004 Freelance soloist in oratorio, chamber groups, etc. to date ; most recently in Italy and London. Concert and tour organisation : Five organ restoration study weekends, with concerts, in Leicestershire and Yorkshire, 1980s. Two organ and cultural study tours, with concerts, in northern Brittany, 1998 and 2005. Work with René Martin, concert organiser in Nantes, since 1991 to date, including work for the Folles Journées festival (Nantes, Bilbao, Lisbon) since its inception in 1995, including heading organisation/tuning of up to 60 ‘baroque’ keyboard instruments since 2000. Work for other festivals in France : Lanvellec, La Chabotterie, Fontevrault etc. Teaching : Secondary school, 1969-70 ; teaching O-level English, History and Music – and putting on performances of ‘Pirates of Penzance’ by pupils.
    [Show full text]
  • Lay Clerk and Director of the Scholars
    Principal Lay Clerk and Director of the Cathedral Scholars St Mary’s Cathedral, Sydney Applications are invited for the position of Principal Lay Clerk and Director of the Cathedral Scholars at St Mary’s Cathedral. This part-time role represents a unique opportunity for an outstanding singer and educator to further their career and experience whilst working as part of a dynamic team at this national centre of liturgical and musical excellence. The position is currently available. Introduction St Mary’s Cathedral is the Mother Church of Australian Catholicism, and the seat of the Archbishop of Sydney. The Cathedral plays a vital role in the spiritual and cultural life of Sydney, as well as Australia in general. The Cathedral Choir is Australia’s oldest continuing musical organisation and is integral to the Cathedral’s life and worship. Continuing support from successive Archbishops has provided for a professional music foundation encompassing 24 boy choristers who are educated at the Cathedral’s on-site (non-boarding) Choir School, 12 lay clerks who are professional singers, a specialised program for former choristers whose voices have changed (the Cathedral Scholars), and an adult volunteer choir. Every week during school term time there are at least nine choral services (Mass and Vespers) sung by the Cathedral Choir (or part thereof), with an additional five non-choral services staffed by a cantor and organist. The Cathedral Music Department operates an extensive program, providing and facilitating music for all services and events that take place in the Cathedral. Music at St Mary’s Cathedral The Choir of St Mary’s Cathedral traces its origins to the very earliest days of the colony, and since 1955, consistent with the Benedictine English tradition from which the Cathedral’s founders came, the Choir has been a male-voice liturgical choir.
    [Show full text]
  • Melbourne Symphony Orchestra Chorus 50Th Anniversary
    Melbourne Symphony Orchestra Chorus 50th Anniversary Concert Wednesday 7 October at 8pm Elisabeth Murdoch Hall, Melbourne Recital Centre WHAT’S ON OCTOBER – DECEMBER 2015 AN AMERICAN IN PARIS TCHAIKOVSKY AND GRIEG SIBELIUS’ FINLANDIA Friday 30 October Friday 13 November Thursday 19 November Saturday 14 November Friday 20 November Gershwin’s An American in Paris evokes a journey through the Asher Fisch conducts three Yan Pascal Tortelier celebrates the bustling streets of the French masterworks that defined the 150th anniversary of two Nordic capital, punctuated by taxi horns Romantic era. Tchaikovsky’s masters. Sibelius’ majestic Finlandia and a bluesy trumpet solo. Also stirring Romeo and Juliet is followed is balanced against Nielsen’s spirited featured in this program is by Grieg’s poignant Piano Concerto Violin Concerto. Also featured in this Ravel’s Piano Concerto in G and and the high-voltage intensity program is Sibelius’ Symphony No.5 Saint-Saëns’ Symphony No.3 Organ. of Tchaikovsky’s Fourth Symphony. and tone poem The Swan of Tuonela. BRAHMS AND TCHAIKOVSKY MESSIAH CHRISTMAS CAROLS Thursday 26 November Saturday 5 December Saturday 12 December Friday 27 November Sunday 6 December Sunday 13 December Saturday 28 November Join conductor Bramwell Tovey, Bramwell Tovey joins the MSO Divertimento, Bartók’s dark take the MSO Chorus and renowned as conductor, pianist and host on the Baroque, kick-starts this international soloists for one of in this celebration of the great night of European festivities. the MSO’s most beloved Christmas musical traditions of Christmas, Brahms’ Violin Concerto delivers traditions, Handel’s Messiah. from famous orchestral works and a fiery, gypsy-inspired rondo and favourite Christmas songs to the Tchaikovsky’s Serenade for Strings most beloved of Yuletide carols.
    [Show full text]
  • Verity Wingate (Soprano) Storge, His Wife ………………… Anna Harvey (Mezzo-Soprano) Zebul, His Half-Brother …………
    Programme: £2.00 In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061. Website: www.sjss.org.uk. George Frideric Handel (1685-1759) Handel is famous for his operas, oratorios, and concerti grossi. He was born in Halle in Germany, trained in Italy, and spent most of his life in England, where he settled in 1712. He was strongly influenced by the techniques of the great composers of the Italian Baroque era, as well as by the English composer Henry Purcell. Like Johann Sebastian Bach and Domenico Scarlatti, Handel was born in 1685. While his mother encouraged his musical aspirations, his father was opposed to his wish to pursue a musical career, preferring him to study law, despite early evidence of his musical talent. Nevertheless, the young Handel was permitted to take lessons from Friedrich Wilhelm Zachow, the organist of the Liebfrauenkirche (Church of Our Lady) in Halle. From him Handel learned about harmony and contemporary styles. He analyzed scores and learned to work fugue subjects and copy music. Sometimes he would take his teacher’s place as organist for services.
    [Show full text]
  • The Preces, Responses, and Litany of the English Church: a By-Way of Liturgical History Author(S): J
    The Preces, Responses, and Litany of the English Church: A By-Way of Liturgical History Author(s): J. M. Duncan Source: The Musical Times, Vol. 61, No. 930 (Aug. 1, 1920), pp. 551-552 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/910321 Accessed: 09-01-2016 04:36 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp 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]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 138.253.100.121 on Sat, 09 Jan 2016 04:36:50 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-AUGUST I 1920 551 Lord, Cburcbanb Groan flnteic (8.) Cristjt. have mercyupon us: THE PRECES, RESPONSES, AND LITANY [ ] OF THE ENGLISH CHURCH: A BY-WAY OF LITURGICAL HISTORY BY J. M. DUNCAN Ky - ri -e e - le - i - son. Chris - - te e - le - i - son. [ The writerwishes to acknowledgethe help kindlygiven him bythe librarians of the various librariesnamed in this In the English Litany,however, for the sake of article,and also byMr. G. E.
    [Show full text]
  • SERVICES & MUSIC February 2020
    S ERVICES & M USIC February 2020 From the Canon Precentor February starts with the Feast of Candlemas, the occasion when the infant Christ was presented in the Temple and an elderly man, Simeon, recognised him as the Light of the World. Simeon’s words have become known as the Nunc Dimittis, which is sung by the Cathedral choir every day at Evensong: Master, now you are dismissing your servant in peace, according to your word, for my eyes have seen your salvation, which you have prepared in the presence of all peoples, a light for revelation to the Gentiles and for glory to your people Israel. February draws to a close with Ash Wednesday, which often follows hot on the heels of Candlemas but this year falls on 26 February because Easter is a little later, so we have a few weeks of ‘ordinary time’ to prepare for Lent. The start of Lent – Ash Wednesday – is a day when we are encouraged to reflect on our shortcomings and the times we have failed to behave as people who are made in the image of God. We hold three services on Ash Wednesday: at 8.00am (BCP), at 12.30pm (said) and 6.00pm (sung, to include Allegri’s beautiful Miserere Mei). The Imposition of Ashes is offered at all three services. Despite the sombre, penitential atmosphere these services are beautiful and thought-provoking, with the words ‘Remember that you are dust and to dust you shall return. Turn away from sin and be faithful to Christ’, reminding us of our utter dependence upon the mercy of God.
    [Show full text]
  • 2019 Canterbury Christ Church University
    CANTERBURY CHRIST CHURCH UNIVERSITY 12th Music in Nineteenth-Century Britain Conference 3-5 July 2019 CONTENTS Welcome 2 Conference Commi.ee 2 Acknowledgements 2 Sponsorship 2 Conference Programme 3 Campus Map 6 Town Map 7 General Information 8 Biographies & Abstracts 9 Keynote 1: David Wright 9 Keynote 2: Dr Paul Rodmell 10 Judy Barger 10 Helen Barlow 11 Mie Othelie Berg 11 Bruno Bower 12 Paul Bri.en 12 Russell Burdekin 13 Michael Busk 14 Rachel Cowgill 14 Therese Ellsworth 15 Karl Traugo. Goldbach 15 Julia Hamilton 16 Barbara Haws 16 Deborah Heckert 17 Bradley Hoover 17 Peter Horton 18 Rachel Johnson 19 George Kennaway 19 Sarah Kirby 20 James Brooks Kuykendall & Elyse Ridder 20 Leanne Langley 21 John Ling 21 Douglas MacMillan 22 Danielle Padley 22 Rosalía Polo Cal 23 Chris Price 23 Christopher Redwood 24 Tadhg Sauvey 24 Inja Stanović 25 Benedict Taylor 26 Chloe Valenti 26 Paul Wa. 27 Phyllis Weliver 27 Alexander Wilfing 28 Hanna Winiszewska 28 Benne. Zon 29 Panel: Music, society, and politics in Britain, 1800–1850 30 Oskar Cox Jensen 30 David Kennerley 31 Eamonn O’Keeffe 31 1 WELCOME Dear Delegates, Welcome — to the beautiful city of Canterbury; to Canterbury Christ Church University; and to the twelfth Music in Nineteenth-Century Britain Conference. We hope your time here proves to be stimulating, enjoy- able, and refreshing. History, it has to be said, is one thing Canterbury does very well. The wise visitor will dive into the side streets off the beaten tourist path, or wander around the remnants of the city walls, to find a palimpsest of the centuries which have made the city what it is today.
    [Show full text]
  • 2017 Ago Mid-Atlantic Regional Convention
    2017 AGO MID-ATLANTIC REGIONAL CONVENTION RICHMOND VIRGINIA June 25 – 28 WELCOME to Richmond and the Convention! We’re very glad you’ll be with us for what promises to be an invigorating and inspirational three-plus days. We hope the experiences you have will inform, challenge, delight, and refresh . and that you’ll leave with fantastic memories and a rejuvenated spirit. Please be sure to let us know how we can make your days here even more enjoyable. Don’t hesitate to ask questions. We love questions. We love trying to answer them. Relax, and let us guide you through a wonderful convention. Again, WELCOME ! 3 Bruce Stevens Recitals Masterclasses Organ Tours Christ the King Lutheran Church Richmond, Virginia AGO Chapter Workshops Casavant Frères, Opus 3108, 1971 The Organ Works of Josef Rheinberger Two Manuals Anton Heiller’s Perspectives on the Orgel-Büchlein Twenty-five Stops Twenty-nine Ranks Instructor of Organ, University of Richmond Historic Organ Study Tours (HOST) This instrument was moved from North [email protected] Carolina, Completely Rebuilt in our Baltimore workshop with All New Solid State Equipment, and Redesigned for a Dramatic Presence. Versatility was increased through Tonal Expansion and Revoicing. A Wonderful Organ, perfect for Christ The King Church. Another successful collaborative project with Casavant Frères. David M. Storey, Inc. Pipe Organ Building and Restoration Baltimore, Maryland Celebrating 35 Years of Professional Service Mid-Atlantic, Puerto Rico, Atlantic Canada 410-889-3800 [email protected] 4 Convention book designed, compiled, edited, and created by Bruce Stevens © 2017 All rights reserved Please report any mistakes in the printed infromation to the Convention Coordinator.
    [Show full text]