Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal Segal

Total Page:16

File Type:pdf, Size:1020Kb

Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal Segal THE CATHEDRAL OF ST JOHN THE EVANGELIst HELEN D. SCHUBERT CONCERts CLEVELAND OHIO Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal SEGAL BETH Ross W. Duffin, Artistic Director Friday, 6 October 2017 The Cathedral of St John the Evangelist Most Reverend Nelson J. Perez, Bishop of Cleveland Reverend Sean Ralph, Administrator Mr Gregory Heislman, Director of Music Quire Cleveland Ross W. Duffin,Artistic Director Henry Purcell: Hear My Voyce Psalms & Anthems for the Chapel Royal All Works by Henry Purcell (1659–1695) Please hold your applause until the end of each half. I will sing unto the Lord (Psalm 104) Jehova quam multi sunt hostes mei (Ps. 3) Blow up the trumpet in Sion (Joel 2) Beati omnes qui timent Domini (Ps. 128) Remember not, Lord, our offences (Litany) Funeral Sentences Man that is born of woman (Job 14) In the midst of life (Book of Common Prayer) Thou knowest, Lord (BCP) — intermission — O God, thou hast cast us out (Ps. 60) Lord, how long wilt thou be angry (Ps. 79) Miserere mei Thou knowest, Lord, the secrets of our hearts (BCP) O Lord God of Hosts (Ps. 80) Hear my prayer (Ps. 102) Save me, O God (Ps. 54) O be joyful in the Lord (Jubilate) (Ps. 100) I was glad (Ps. 122) About Quire Cleveland Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage. With highly-trained professional musicians — who collectively represent 500 years of choral singing — the ensemble has earned both popular and critical acclaim. Now in its 10th season, Quire Cleveland has presented more than 60 concerts and produced seven CDs of music from the 12th to the 21st centuries. Artistic Director Ross W. Duffin, a prize- winning musicologist, creates unique editions for Quire, and plans programs that are imaginative, appealing, and accessible, showcasing the beauty of the music and the glorious sound of voices raised in harmony. In addition to live and recorded broadcasts on classical radio, Quire recordings have been included in the Oxford Recorded Anthology of Western Music (OUP) and Listening to Music (Schirmer). An education program, initiated in 2014, offers workshops and lectures. Quire Cleveland’s concert videos posted on YouTube have had a global reach, attracting more than 680,000 views from 210 countries. Personnel SOPRANOS: Sarah Coffman, Donna Fagerhaug, Megan Kaes Long, Elena Mullins, Lisa Rainsong, Gail West ALTOS: John McElliott, Joseph Schlesinger, Beverly Simmons, Jay White TENORS: Evan Bescan, Nathan Dougherty, Bryan Munch, Corey Shotwell, Brian Wentzel BAssES: Ian Crane, Daniel Fridley, Nathan Longnecker, Brian MacGilvray, Michael McKay, Daniel Singer ORGAN: Peter Bennett Ross W. Duffin, artistic director Quire Cleveland’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music and a Distinguished University Professor, he has trained and nurtured many of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook (both published by W. W. Norton), have gained international renown. In addition to many of the works on this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103); A Josquin Anthology; A Performer’s Guide to Medieval Music; and the St. Matthew Passion by Richard Davy, recorded by Quire Cleveland for a CD just released (qc107). Texts & Translations Psalm 104 6. The Lord from out of Sion shall so bless thee: that 33. I will sing unto the Lord as long as I live: I will thou shalt see Jerusalem in prosperity all thy life long. praise my God while I have my being. 7. Yea, that thou shalt see thy children’s children: and 34. And so shall my words please him: my joy shall be in peace upon Israel. the Lord. 35. As for sinners, they shall be consumed out of the Anglican Litany (Book of Common Prayer) earth, and the ungodly shall come to an end: praise Remember not, Lord, our offences, nor the offences of our thou the Lord, O my soul, praise the Lord. forefathers: Spare us, good Lord, spare thy people, whom thou hast redeemed with thy most precious blood, and be Psalm 3: Jehova quam multi (Tremellius Psalter) not angry with us for ever. Spare us, good Lord. 1. Lord, how are they increased that trouble me: many are they that rise against me. Anglican Burial Prayer at the Graveside 2. Many one there be that say of my soul: There is no (Job 14:1-2, BCP) help for him in his God. 1. Man that is born of a woman hath but a short time to 3. But thou, O Lord, art my defender: thou art my live, and is full of misery. worship, and the lifter up of my head. 2. He cometh up, and is cut down, like a flower; he fleeth 4. I did call upon the Lord with my voice: and he heard as it were a shadow, and ne’er continueth in one stay. me out of his holy hill. 5. I laid me down and slept, and rose up again: for the In the midst of life we are in death: of whom may we seek Lord sustained me. for succour, but of thee, O Lord, who for our sins art justly 6. I will not be afraid for ten thousands of the people: displeased? that have set themselves against me round about. Yet, O Lord God most holy, O Lord most mighty, O holy 7. Up, Lord, and help me, O my God: for thou smitest and most merciful Saviour, deliver us not into the bitter all mine enemies upon the cheekbone; thou hast pains of eternal death. broken the teeth of the ungodly. 8. Salvation belongeth unto the Lord: and thy blessing is Thou knowest, Lord, the secrets of our hearts; shut not thy upon thy people. merciful ears to our prayer; but spare us, Lord most holy, O God most mighty, O holy and merciful Saviour, thou most Joel 2 worthy judge eternal, suffer us not, at our last hour, for any 15. Blow up the trumpet in Sion, sanctify a fast, call a pains of death, to fall from thee. solemn assembly: 16. Gather the people, sanctify the congregation, assemble Psalm 60 the elders, gather the children, and those that suck the 1. O God, thou hast cast us out, and scattered us abroad: breasts: let the bridegroom go forth of his chamber, thou hast also been displeased; O turn thee unto us and the bride out of her closet. again. 17. Let the priests, the ministers of the Lord, weep 2. Thou hast moved the land, and divided it: heal the between the porch and the altar, and let sores thereof, for it shaketh. them say, Spare thy people, O Lord, and give not thine 11. O be thou our help in trouble: for vain is the help of heritage to reproach, that the heathen should rule over man. them: wherefore should they say among the people, 12. Through God will we do great acts: for it is he that Where is their God? shall tread down our enemies. Psalm 128: Beati omnes (Vulgate) Psalm 79 1. Blessed are all they that fear the Lord: and walk in his 5. Lord, how long wilt thou be angry: shall thy jealousy ways. burn like fire for ever? 2. For thou shalt eat the labours of thine hands: O well is 8. O remember not our old sins, but have mercy upon us, thee, and happy shalt thou be. and that soon: for we are come to great misery. 3. Thy wife shall be as the fruitful vine: upon the walls of 9. Help us, O God of our salvation, for the glory of thy thine house. Name: O deliver us, and be merciful unto our sins, for 4. Thy children like the olive-branches: round about thy thy Name’s sake. table. 14. So we, that are thy people, and sheep of thy pasture, 5. Lo, thus shall the man be blessed: that feareth the shall give thee thanks for ever: and will alway be Lord. shewing forth thy praise from one generation to another. Miserere mei 6. An offering of a free heart will I give thee, Have mercy on me, O Jesu, have mercy on me. and praise thy Name, O Lord: because it is so comfortable. Anglican Burial Prayer at the Graveside (BCP) 7. For he hath delivered me out of all my trouble: and Thou knowest, Lord, the secrets of our hearts; shut not mine eye hath seen his desire upon mine enemies. thy merciful ears to our prayer; but spare us, Lord most holy, O God most mighty, O holy and merciful Saviour, Psalm 100: Jubilate Deo thou most worthy judge eternal, suffer us not, at our last 1. O be joyful in the Lord, all ye lands: hour, for any pains of death, to fall from thee. 2.
Recommended publications
  • November 15, 1959 776Th Concert
    NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No.
    [Show full text]
  • Barockkonzert FR 03.06.2016 SA 04.06.2016 Jan Willem De Vriend Dirigent Iestyn Davies Countertenor
    B4 Barockkonzert FR 03.06.2016 SA 04.06.2016 Jan Willem de Vriend Dirigent Iestyn Davies Countertenor 14780_rph1516_b4_16s_PRO_K1.indd 1 10.05.16 15:54 RING BAROCK B4 PAUSE FR 03.06.2016 18 UHR Let Thy Hand Be Strengthened HWV 259 HERRENHAUSEN NDR Radiophilharmonie Coronation Anthem Nr. 2 GALERIEGEBÄUDE Knabenchor Hannover (Erstaufführung 11. Oktober 1727) (Jörg Breiding, Einstudierung) SA 04.06.2016 Jan Willem de Vriend Dirigent 16 UHR Iestyn Davies Countertenor „Cara sposa“ aus „Rinaldo“ HWV 7a ST.-GEORGEN-KIRCHE (Erstaufführung 24. Februar 1711) WISMAR Georg Friedrich Händel | 1685 – 1759 „Venti turbini“ aus „Rinaldo“ HWV 7a (Erstaufführung 24. Februar 1711) Zadok The Priest HWV 258 Coronation Anthem Nr. 1 The King Shall Rejoice HWV 260 (Erstaufführung 11. Oktober 1727) Coronation Anthem Nr. 3 (Erstaufführung 11. Oktober 1727) „Oh Lord, whose mercies numberless“ aus „Saul“ HWV 53 SPIELDAUER: CA. 40 MINUTEN (1738, Erstaufführung 16. Januar 1739) „Despair no more shall wound me“ aus „Semele“ HWV 58 (1743, Erstaufführung 10. Februar 1744) My Heart Is Inditing HWV 261 Coronation Anthem Nr. 4 (Erstaufführung 11. Oktober 1727) SPIELDAUER: CA. 30 MINUTEN Das Konzert wird aufgezeichnet und am 10. Juli 2016 um 11 Uhr auf NDR Kultur gesendet. (Hannover: 98,7 MHz) 14780_rph1516_b4_16s_PRO_K1.indd 2 10.05.16 15:54 14780_rph1516_b4_16s_PRO_K1.indd 3 10.05.16 15:54 Biografie In Kürze Die Dinge verliefen günstig für Georg Friedrich Händel im Jahre 1727. Seit 1712 in London lebend, war er 1723 zum „Composer of Musick for his Majesty’s Chappel Royal“ ernannt worden. Im Februar 1727 nun wurde seinem Antrag auf Einbürgerung stattgegeben, und so wurde aus dem ehemaligen „Caro Sassone“, dem italophilen Sachsen, ein wahrer englischer Komponist.
    [Show full text]
  • Music for Mercer's: an Analysis of Eighteenth-Century Manuscript
    Music for Mercer’s: an analysis of eighteenth-century manuscript sources O'Hanlon, T. (2010). Music for Mercer’s: an analysis of eighteenth-century manuscript sources. The Musicology Review, (6), 27-56. https://www.themusicologyreview.com/previous-issues/issue-6-edited-by-majella-boland- and-jennifer-mccay/ Published in: The Musicology Review Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright UCD 2010. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:03. Oct. 2021 Abstract Music for Mercer’s: an analysis of eighteenth-century manuscript sources The Mercer’s Hospital music collection includes fifty vocal and instrumental manuscript part-books for works by Handel, Greene, Boyce, Purcell, Humfrey and Corelli. Selected works from this collection were performed at the hospital’s annual benefit concerts, the first of which took place on 8 April 1736. Preliminary examination of the part-books raises several questions surrounding the lineage and dating of these sources.
    [Show full text]
  • Parry US 8/5/09 16:32 Page 12
    572104bk Parry US 8/5/09 16:32 Page 12 Here God made holy Zion’s name, And did the countenance divine And here he gave them rest. Shine forth upon our clouded hills? Oh, may we ne’er forget what he hath done, And was Jerusalem builded here PARRY Nor prove unmindful of his love, Among these dark satanic mills? That, like the constant sun, On Israel hath shone, Bring me my bow of burning gold! Choral Masterpieces And sent down blessings from above. Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Songs of Farewell C.H. Parry (from Judith) Bring me my chariot of fire! I will not cease from mental fight, @ Jerusalem Nor shall my sword sleep in my hand, Manchester Cathedral Choir And did those feet in ancient time Till we have built Jerusalem Walk upon England’s mountains green? In England’s green and pleasant land. Christopher Stokes And was the Holy Lamb of God On England’s pleasant pastures seen? William Blake (1757-1827) 8.572104 12 572104bk Parry US 8/5/09 16:32 Page 2 Sir Charles Hubert Hastings Parry (1848–1918) for He is our help and our shield. His grace from above. Songs of Farewell Praise Him who hath taught you He delivered the poor in his affliction, To sing of His love. Sir Hubert Parry came from a family of some which remained dominant. Above all, in London he the fatherless and him that hath none to help him. O praise ye the Lord! distinction.
    [Show full text]
  • The Music of Three Dublin Musical Societies of the Late Eighteenth And
    t 0 - ^r\b 3 NUI MAYNOOTH Ollscoil na hÉireann Mà Nuad The music of three Dublin musical societies of the late eighteenth and nineteenth centuries: The Anacreontic Society, The Antient Concerts Society and The Sons of Handel. A descriptive catalogue. Catherine Mary Pia Kiely-Ferris Volume III of IV: The Sons of Handel Catalogue and The Antient Concerts Society Main Catalogue Thesis submitted to National University of Ireland, Maynooth for the Degree of Master of Literature in Music. Mead of Department: Professor Gerard Gillen Music Department National University of Ireland, Maynooth Maynooth Co. Kildare Supervisor: Dr Barra Boydell Music Department National University of Ireland, Maynooth Maynooth Co. Kildare July 2005 TABLE OF CONTENTS Volume III of IV 1: Cataloguing procedures and user guide.............................................1 2: The Sons of Handel Catalogue......................................................... 13 3. The Antient Concerts Society Main Catalogue...............................17 Accompanying photographs to Sons of Handel Catalogue: CD 2 Accompanying photographs to The Antient Concerts Society Main Catalogues CD 3a & 4a CATALOGUING PROCEDURES AND USER GUIDE: THE SONS OF HANDEL AND THE ANTIENT CONCERTS SOCIETY This catalogue was produced to fulfill the requirements of the Royal Irish Academy of Music library and to provide researchers with a descriptive and detailed catalogue of each score and manuscript associated with the Sons of Handel and The Antient Concerts Society. For one to be able to utilize the catalogue, one must first understand the methods of cataloguing and the format that the catalogue takes. The format for this catalogue is derived from three sources: the Royal Irish Academy of Music library’s current cataloguing standards, Anne Dempsey’s catalogue of the Armagh Cathedral Collection1, and the Anglo-American Cataloguing Rules.
    [Show full text]
  • The Bible in Music
    The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
    [Show full text]
  • The English Anthem Project the Past Century and a Half, St
    Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists.
    [Show full text]
  • Download Booklet
    A KNIGHT’S PROGRESS A KNIGHT’S PROGRESS According to the rubric in the service book for the 1953 Coronation, the Queen, as soon as 1 I was glad Hubert Parry (1848-1918) [4.57] Born in the seaside town of Bournemouth, Sir she entered at the west door of the Church, 2 The Twelve William Walton (1902-1983) [11.49] Charles Hubert Hastings Parry went on to study was to be received with this anthem and, while Soloists: Oscar Simms treble at Eton and then at Oxford University where it was being sung, she was to pass through Benedict Davies treble Tom Williams alto he subsequently became Professor of Music. the body of the Church, into and through the Thomas Guthrie tenor From 1895 until his death he was also Director Choir, and up to her Chair of Estate beside Christopher Dixon bass of the Royal College of Music in London. He the Altar. On that occasion the Queen’s Our present charter * Nico Muhly (b.1981) wrote music of all kinds, including an opera, Scholars of Westminster School led the choir 3 I. First [4.02] symphonies, chamber and instrumental music, in singing the central section of this anthem – 4 II. Thy Kingdome Come, O God [4.21] oratorios and church music. However, he is ‘Vivat Regina Elizabetha!’ – a section that 5 III. The Beatitudes [4.22] perhaps best known nowadays for his famous nowadays is ususally omitted in concert 6 IV. Nullus Liber Homo Capiatur [4.45] setting of William Blake’s poem, Jerusalem. performances, as it is on this recording.
    [Show full text]
  • Psalms Psalm
    Cultivate - PSALMS PSALM 126: We now come to the seventh of the "Songs of Ascent," a lovely group of Psalms that God's people would sing and pray together as they journeyed up to Jerusalem. Here in this Psalm they are praying for the day when the Lord would "restore the fortunes" of God's people (vs.1,4). 126 is a prayer for spiritual revival and reawakening. The first half is all happiness and joy, remembering how God answered this prayer once. But now that's just a memory... like a dream. They need to be renewed again. So they call out to God once more: transform, restore, deliver us again. Don't you think this is a prayer that God's people could stand to sing and pray today? Pray it this week. We'll pray it together on Sunday. God is here inviting such prayer; he's even putting the very words in our mouths. PSALM 127: This is now the eighth of the "Songs of Ascent," which God's people would sing on their procession up to the temple. We've seen that Zion / Jerusalem / The House of the Lord are all common themes in these Psalms. But the "house" that Psalm 127 refers to (in v.1) is that of a dwelling for a family. 127 speaks plainly and clearly to our anxiety-ridden thirst for success. How can anything be strong or successful or sufficient or secure... if it does not come from the Lord? Without the blessing of the Lord, our lives will come to nothing.
    [Show full text]
  • Music for a While’ (For Component 3: Appraising)
    H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner.
    [Show full text]
  • Westminster Abbey ASERVICE to CELEBRATE the 60TH ANNIVERSARY of the CORONATION of HER MAJESTY QUEEN ELIZABETH II
    Westminster Abbey ASERVICE TO CELEBRATE THE 60TH ANNIVERSARY OF THE CORONATION OF HER MAJESTY QUEEN ELIZABETH II Tuesday 4th June 2013 at 11.00 am FOREWORD On 2nd June 1953, the Coronation of Her Majesty Queen Elizabeth II followed a pattern established over the centuries since William the Conqueror was crowned in Westminster Abbey on Christmas Day 1066. Our intention in this Service of Thanksgiving is to evoke and reflect the shape of the Coronation service itself. The Queen’s entrance was marked by the Choirs’ singing Psalm 122—I was glad—set to music for the Coronation of EdwardVII by Sir Hubert Parry. The Queen’s Scholars of Westminster School exercised their historic right to exclaim Vivat Regina Elizabetha! (‘Long live Queen Elizabeth!’); so it will be today. The coronation service begins with the Recognition. The content of this part of the service is, of course, not today what it was in 1953, but the intention is similar: to recognise with thanksgiving the dutiful service offered over the past sixty years by our gracious and noble Queen, and to continue to pray God saveThe Queen. The Anointing is an act of consecration, a setting apart for royal and priestly service, through the gift of the Holy Spirit. The Ampulla from which the oil was poured rests today on the HighAltar as a reminder of that central act. St Edward’s Crown also rests today on the High Altar as a powerful symbol of the moment of Coronation. In today’s Service, a flask of Oil is carried by representatives of the people of the United Kingdom to the Sacrarium, received by theArchbishop and placed by the Dean on the High Altar.
    [Show full text]
  • PROGRAM NOTES Henry Purcell
    PROGRAM NOTES by Phillip Huscher Henry Purcell - Suite from King Arthur Born sometime in 1659, place unknown. Died November 21, 1695, London, England. Suite from King Arthur Purcell composed his semi-opera King Arthur, with texts by John Dryden, in 1691. The first performance was given at the Dorset Garden Theatre in London in May of that year. The orchestra for this suite of instrumental excerpts consists of two oboes and english horn, two trumpets, timpani, and strings, with continuo provided by bassoon and harpsichord. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra has performed music from Purcell's King Arthur (Trumpet Tune, "Ye blust'ring brethren of the skies," with Charles W. Clark as soloist, and Grand Dance: Chaconne) only once previously, on subscription concerts at the Auditorium Theatre on December 13 and 14, 1901, with Theodore Thomas conducting. Henry Purcell is the one composer who lived and worked before J. S. Bach who has found a place in the symphonic repertory. The Chicago Symphony played Purcell's music as early as 1901, when it programmed three selections from King Arthur on the first of its new "historical" programs designed to "illustrate the development of the orchestra and its literature, from the earliest times down to the present day." Purcell still stands at the very beginning of the modern orchestra's repertory, although he is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's twentieth- century classic, the Young Person's Guide to the Orchestra. Purcell is regularly described as the finest English composer before Edward Elgar, if not as the greatest English composer of all.
    [Show full text]