DOCSLIB.ORG

The Musical Times and Singing Class Circular, Vol. 41, No. 693 (Nov

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Musical Times and Singing Class Circular, Vol. 41, No. 693 (Nov A Visit to Tenbury Author(s): F. G. E. Source: The Musical Times and Singing Class Circular, Vol. 41, No. 693 (Nov. 1, 1900), pp. 713-719 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366900 Accessed: 09-01-2016 08:05 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 and Singing Class Circular. http://www.jstor.org This content downloaded from 129.96.252.188 on Sat, 09 Jan 2016 08:05:23 UTC All use subject to JSTOR Terms and Conditions The Musical Times.] [November,1900oo. rs. -?1 This content downloaded from 129.96.252.188 on Sat, 09 Jan 2016 08:05:23 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-NOVEMBER I, 19oo. 713 does not appear to be a serious drain upon THE MUSICAL TIMES their resources,at least so far as the natives AND SINGING-CLASS CIRCULAR. are concerned. ' Horridstuff,' was the verdict passed in our hearing upon the waters of the NOVEMBER I, I900. wells by a Tenburyite,who, by the way, has a certain interestin the manufactureof cider! But our pilgrimageis to St. Michael's College, Two extra Supplements are presented gratis withwhich the name of Ouseleyis inseparably with this number. A Portrait the late Rev. associated. A delightfulup-hill stroll of two of milesin this fertile us to an Sir Frederick A. Gore at the regionbrings open Ouseley, Bart., breezy spot. From this pleasant table land age of sixty, from a Photograph taken by may be seen in the distance the blue Clee Hill Messrs. T. 5ones, Son and Harper, Photo- and the Ludlow Vinhalls. Here we are at the graphers,Ludlow; and an Anthemfor Christmas, 'Old Wood' common. Adjacent theretothe entitled the late Rev. Sir FrederickArthur Gore Ouseley, 'Hark glad sound,' composed by in some ten B. Bart., purchased, June, 1852, Myles Foster. acres of land, in orderto erect his celebrated College, and to bringinto living actualitythe dream of his life. The initial stage of St. A VISIT TO TENBURY. Michael's College was at Lovehill House, Langley, Buckinghamshire,in 1851. Writing ALTHOUGH is an from Langley, Ouseley said: ' I must have Tenbury out-of-the-way choral Service: choir must be a place, it well repays a visit. Geographicallydaily my modelchoir: and I will not up anythingif speaking,it is of a somewhathybrid nature-- give that is to it is situatedin the north-westI once commence.' say, laid corner of Worcestershire,within a mile of The foundationstone of the College was where the three counties of on May 3, 1854, and the finely-proportioned Shropshire, All Herefordshire,and Worcestershiremeet at church,dedicated to St. Michaeland Angels, the ofthe riversTeme and was consecrated on Michaelmas Day, 1856. junction Ledwyche. As the were into in The sleepy littletown is served by a branch clergy forming procession whose trains are not on their thevestry, one was heardto whisperto another, railway, always 'This is the firstEcclesiastical Foundation mettle in regard to punctuality. You may to an of its kind since the Reformation.' At the perchance plan your journey join consecration the treblesin the choir express trainat Birminghamfor London; but ceremony a will advise to at included C. J. Corfe,now Bishop in Korea, friendlyguard you change and Arthur then one of the Children 'Kiddy '-railwayesque forKidderminster-and Sullivan, to travelsouth vid Worcester.The leisurelinessof the Chapel Royal, who sang the treblepart in the middle movementof Goss's anthem of the trains will probably land you at an hour or so later than ' Praise the Lord.' Ouseleyhimself was one of Paddington you the four and the Rev. the anticipatedon Saturdaynight, but is it not all altos, JohnHampton, in a Festival week's ? presentWarden, formed one of a dozen tenors. enjoyment of was at the To approachTenbury from Hereford is quite Elvey, Windsor, organ--a very an matter. And what could furnisha fine instrument-and the service included easy in I have builtThee moredelightful coda to a Three ChoirsFestival Rogers D, Boyce's ' surely than a visit to. when an house,' Elvey's ' Praise the Lord of heaven,' Ouseleyland,especially and the Goss anthem mentioned. A the mostdistinguished of Tenburyex-organists already has his desire to in the High Churchmanof the old-fashionedsort, expressed join you had a touch of in the pilgrimagethereto? Thus it happened that, Ouseley Medimevalism on a I was met at promptingsof his nature which found its lovelySeptember morning, naturaloutlet in the foundationof this Tenbury Station by a valued contributorto College. THE MUSICAL in the of Mr. His practical belief in the scheme may be TIMES, person J. estimatedso far as lucre' is concerned F. R. Stainer,and outsidethe pleasanthostelry, 'filthy the of The Swan, it was at the amount of some ?30o,ooo-the cost of the bearing sign equally an endowmentof about thesame pleasant to experience another heartyhand- buildings,plus shake in the warm accorded to me sum. The Chapel, ofwhich more anon, is also greeting a Parish and the deed of endowment by the ex-organistaforementioned-Sir John Church, Stainer. is such that the Warden of the College is ipso factovicar of the parish. Thus,independently of THE EARLY DAYS OF THE COLLEGE. thechoral services, there are twoplain parochial Bustle, even on a marketday, does not seem servicesevery Sunday. Soon afterthe church to be a special characteristicof Tenbury. had been consecrateda worthyold Hereford- Easy-going to a. degree, its chief attractionshire dame gave her opinion on the eagle is a certain antiquatednessspecially exampled lectern,then a noveltyin these parts, thus- in some picturesqueold houses. It is true wise: ' O yes,' she said, ' I got a good seat; that thereare some medicinalwells, but there rightup anunstthe turkey'! This content downloaded from 129.96.252.188 on Sat, 09 Jan 2016 08:05:23 UTC All use subject to JSTOR Terms and Conditions 714 THE MUSICAL TIMES.-NOVEMBER I, 1900oo. THE ORGANISTS, AND ONE IN PARTICULAR. conclusion, Sir Frederick gave me a few words of advice and much As to the group of good kindlyencouragement. picturesque buildings-- ' The next interview I had with him was full designed the well known architect, Mr. by of momentto me it constituteda Henry Woodyer-which form the church and ; turning-point in life. I was then between sixteen and college, the view given on the adjoining page my will furnisha better idea of their attractiveness seventeen years of age, and was playing the afternoonservice at St. both Goss and than any technical The Paul's, description. beautifully absent for a few designed church is Middle Pointed, it is Cooper being days. During Early the service came into the 122 feet long with a very strikingroof, seventy Ouseley quickly organ feet in and is rich in carved woodwork loft and, aftergreeting me, watched me closely height, as I the music from the old and stained glass. The fine four-manualorgan, accompanied " scores." On the same I had a letter rebuilt and added to Father Willis in 1873, evening by fromhim to that the of his visit to occupies a raised position in the south say object St. Paul's had been to find an for St. transept. The have held organist following gentlemen Michael's and he offeredme the the post of at College, post. organist Tenbury :-John Capel I must for thus Hanbury Stainer Langdon apologise introducing myself (1856), John (1857), into this but it and how I Colborne (186o), Alfred Alexander (1874), paper,t explains why William Claxton Walter came to know so much about the character and (1877), James and friend. In Lancaster Allan Paterson abilities of my patron 1857 I1 (1886), (1889), James found after a to and Edgar C. Broadhurst, the myself, railway journey Lyon (1893), Worcester and then miles on the of present holder of the office." In this organist twenty top a settled in the which connection the following interesting incidents coach, charmingbuilding in the career of Sir Stainer, as he had raised at his own cost for the advance- early John ment of church music.' organist of St. Michael's, Tenbury (1857-59), find a may appropriately place. OUSELEY'S CANONIC FACILITY. 'It was soon after Ouseley's appointment as Professor that he came to examine the chorister Sir John Stainer bears testimony to the boys of St. Paul's, of whom I was one. I shall extraordinaryfacility with which Ouseley com- never forget the nervousness with which I posed intricate canons. 'The Bart.,' as the approached this musical and clerical dignitary Founder is still called at Tenbury, looked upon when summoned to meet him in the drawing this occupation not only as a daily delight, but in room of our master, the Rev. J. H. Coward. the nature of a daily duty. By the kindness of But I played a Prelude and Fugue by Bach, Sir John we are enabled to give the following from the 'forty-eight,'by memory, and, at its specimen:- PERPETUAL CANON, 3 IN I, AT THE UNDER-SEVENTH AND NINTH, AT THE BEAT, WITH CODA. 1_7 _1 z _____ ------I _ __rn ~=73-_ I.
Load more

Recommended publications
  • St Paul's Cathedral Melbourne
    St Paul’s Cathedral Together transforming our City and Diocese MELBOURNE Services and Music List: 6 – 13 December 2020 All attendances at worship must be booked via our website: cathedral.org.au Thursday 10 Dec Sunday 6 December SECOND SUNDAY OF ADVENT 8am BCP Holy Communion. Hymn: Hark a herald voice Friday 11 December 10am Choral Eucharist. Musicians: HH, BenZ, EW, MikeZ, BO, MS, PN Hymns: Int: On Jordan’s bank; Off: Hail to the Lord’s anointed; Dis: Hark a herald Saturday 12 Dec Setting: Communion Service in F – Herbert Sumsion (1899-1995) Psalm: 85:1-2, 8-13 Chant: Frederick Ouseley (1825–89) Sunday 13 December THIRD SUNDAY OF ADVENT For the powers of heaven shall be shaken, and they shall see the Son of Man Gspl Acc: 8am BCP Holy Communion. Hymn: Christ is the world’s light coming in a cloud with power and great glory: when these things begin to come to pass, then look up, and lift up your heads, for your redemption draws nigh. 10am Choral Eucharist. Musicians: KB, SophieC, NE, TB, TJ, LR Motet: Veni, veni Emmanuel – arr. Zoltán Kodály (1882-1967) Hymns: Grad: The great forerunner of the morn; Off: On Jordan’s bank; Postlude: Introduction and Passacaglia in D minor (1899) – Max Reger (1873-1916): Dis: Christ is the world’s light Mr Mark Slavec, June Nixon Organ Scholar Setting: Gloria, Holy & Blessed: Congregational Mass – 1pm Mandarin Worship 華語崇拜 Michael Leighton Jones (b.1947) Psalm: 126 Chant: read Gspl Acc: Show us your mercy and grant us your salvation: stir up your strength, O Monday 7 December Ambrose of Milan, bishop & teacher (d.397) Lord, and come and help us.
    [Show full text]
  • A Eric an Choral Review
    A ERIC AN CHORAL REVIEW JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XIX • NUMBER 3 • JULY, 1977 AMERICAN CHORAL REVIEW ALFRED MANN, Editar ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD JACKSON MARTIN PICKER JACK RAMEY The AMERICAN CHORAL REVIEW is published quarterly as the official journal of the Association of Choral Conductors sponsored by The American Choral Foundation, Inc. The FOlmdation also publishes a supplementary Research Memorandum Series and maintains a reference library of current publications of choral works. Membership in the Association of Choral Conductors is available for an annual contribution of $20.00 and includes subscriptions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's Advisory Services Division and reference library. All contributions are tax deductible. Back issues of the AMERICAN CHORAL REVIEW are available to members at $2.25; back issues of the Research Memorandum Series at $1.50. Bulk prices will be quoted on request. THE AMERICAN CHORAL FOUNDATION, INC. SHELDON SOFFER, Administrative Director 130 West 56th Street New York, New York 10019 Editorial Address 215 Kent Place Boulevard Summit, New Jersey 07901 Material submitted for publication should be sent in duplicate to the editorial address. All typescripts should be double-spaced and have ample margins. Footnotes should be placed at the bottom of the pages to which they refer. Music examples should preferably appear on separate sheets. Copyright 1977 by THE AMERICAN CHORAL FOUNDATION, INC. Indexed in MUSIC INDEX and MUSIC ARTICLE GUIDE Second-class Postage Paid- New York, New York AMERICAN CHORAL REVIEW July, 1977 CONTENTS The Madrigals of Thomas Morley A Survey Daniel R Salotti 3 Notes on Renaissance Performance Practice Joel Kramme 7 Choral Performances New York Donal Henahan 13 Allen Hughes 13 Peter G.
    [Show full text]
  • LCOM182 Lent & Eastertide
    LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas
    [Show full text]
  • The Crucifixion: Stainer's Invention of the Anglican Passion
    The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras.
    [Show full text]
  • A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten Through Analysis of Their Festival Te Deums
    A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums Item Type text; Electronic Dissertation Authors Jensen, Joni 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 05/10/2021 21:33:53 Link to Item http://hdl.handle.net/10150/193556 A COMPARISON OF ORIGINS AND INFLUENCES IN THE MUSIC OF VAUGHAN WILLIAMS AND BRITTEN THROUGH ANALYSIS OF THEIR FESTIVAL TE DEUMS by Joni Lynn Jensen Copyright © Joni Lynn Jensen 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joni Lynn Jensen entitled A Comparison of Origins and Influences in the Music of Vaughan Williams and Britten through Analysis of Their Festival Te Deums and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: July 29, 2005 Bruce Chamberlain _______________________________________________________________________ Date: July 29, 2005 Elizabeth Schauer _______________________________________________________________________ Date: July 29, 2005 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • John Stainer Michael Tippett Lennox Berkeley George Dyson
    Hampstead Chamber Choir Musical Director Dominic Brennan The Sun, 1909 by Edvard Munch John Stainer Like as a ship I saw the Lord Michael Tippett Five Negro spirituals Lennox Berkeley Four poems of St Teresa of Avila George Dyson Hierusalem Maud Millar – soprano Celia Walser – alto Hampstead Sinfonietta Rosslyn Hill Chapel Saturday 21 March 2015 Programme John Stainer (1840–1901) Like as a ship I saw the Lord Soprano: Maud Millar – Alto: Celia Walser Tenor: Nick Walser – Bass: Tim Shelton Michael Tippett (1905–1998) Five Negro spirituals 1. Steal away 2. Nobody knows 3. Go down, Moses 4. By and by 5. Deep river Soprano: Maud Millar – Alto: Celia Walser Tenor: Nick Walser – Bass: Ben Posen, Richard Harris INTERVAL Lennox Berkeley (1903–1989) Four poems of St Teresa of Avila 1. If, Lord, Thy love for me is strong 2. Shepherd, shepherd, hark that calling! 3. Let mine eyes see Thee, sweet Jesus of Nazareth 4. Today a shepherd and our kin Alto: Celia Walser George Dyson (1883–1964) Hierusalem Soprano: Maud Millar Stainer: Like as a ship / I saw the Lord We start the evening with John Stainer’s little-known and unpublished madrigal Like as a ship, written in 1867 for the Bristol Madrigal Society prize and edited recently by noted Stainer authority Jeremy Dibble. Based on Edmund Spenser’s Amoretti: Sonnet xxxiv, the text compares the loss of a lover to a ship lost at sea in a storm. Stainer uses the vast expanse of eight voice parts and harmonic devices to bring the text to life.
    [Show full text]
  • Choir Anthem Schedule
    Cathedral Choir Schedule Fall 2019 -- Summer 2020 (Track 1, ST) - Year C to Year A (Track 2, GT) Date Event Time Music Notes September Sunday 1 Proper 17 Ps 81:1, 10-16 (Anglican – John Stainer) Offertory Sing We Merrily (Sydney Campbell) Communion Lord For Thy Tender Mercy’s Sake (Richard Farrant) Sunday 8 Proper 18 10 AM call Ps 139:1-5, 12-17 (Anglican – Ralph Vaughan Williams) Sylvia gone Choristers Offertory Let My Heart and Soul Praise the Lord (G.F. Handel) Communion Pilgrims’ Hymn (Stephen Paulus) Sunday 15 Proper 19 10 AM call Ps 14 (Anglican – Henry Smart) Sylvia gone Offertory See What Love (Felix Mendelssohn) NEW Sunday 22 Proper 20 10 AM call Ps 79:1-9 (Anglican – T. Tertius Noble) set Anthem Be Thou My Vision (Bob Chilcott) NEW Communion Lift Thine Eyes (Felix Mendelssohn) SSA Sunday 29 Proper 21 10 AM call Ps 91:1-6, 14-16 (Anglican – Kellow John Pye) set Anthem Poor Man Lazrus (Jester Hairston) Scholars Communion Grant, We Beseech Thee (Francis W. Snow) October Sunday 6 Proper 22 10 AM call Ps 137 (Anglican – George Mursell Garrett) Anthem Behold, The Tabernacle Of God (William Harris) Sunday 13 Proper 23 10 AM call Ps 66:1-11 (Anglican – William Russell) expand from 1-8 Offertory Jubilate Deo (Benjamin Britten) in Anthems 4, pg 140 Sunday 20 Proper 24 10 AM call Ps 119:97-104 (Anglican – William Crotch) Steve gone Anthem I Lift Up My Eyes To The Hills (Maggie Burk) Zachary directs Sunday 27 Proper 25 10 AM call Ps 65 (Anglican – Edward John Hopkins) use 9-14 only Offertory Fight the Good Fight (John Gardner) Communion
    [Show full text]
  • Interpreting John Stainer's “Crucifixion”
    T A Composer at the Cross: Interpreting John Stainer’s “Crucifixion” Louise Joy Lawrence Introduction T Few could hear John 3:16–17 in quite the same way after witnessing Sir John Stainer’s 1887 setting of it.2 This Victorian composer’s oratorio The Crucifixion, of which God so Loved the World is the centrepiece, is largely based on a synthesis of the gospel accounts of the passion. These are interspersed by chorales and hymns devised by the librettist Rev. William Sparrow-Simpson. This oratorio has single-handedly kept Stainer’s legacy flourishing today. Its dramatic, meditative and memorable choruses have endeared it to many churches’ celebrations of Holy Week and instituted it as one of the most widely sung Passion oratorios in Britain. Stainer’s Crucifixion however, has not always enjoyed universal appeal. It was severely derided by some quarters in his own time. The libretto especially fuelled vehement criticism from those who found Sparrow-Simpson’s words too evocative of the liturgical styles of his time. The relative simplicity of Stainer’s score likewise came in for a measure of elitist condemnation, being variously described as ‘vulgar’ and ‘theatrical’3. If ‘vulgarity’ however, is the fiercest charge to be brought against the work, it is ‘vulgar’ in the best sense of the term4. Vulgar at base denotes association with the common people. If Stainer’s oratorio achieves anything, it fosters communion between participants, functions as a tool for worshipping God and is accessible to amateur singers in common parish choirs and congregations. The present discussion will seek to document the oratorio’s biblical antecedents.
    [Show full text]
  • SPRING TERM REVIEW 2019 Evensong at Winchester Cathedral
    SPRING TERM REVIEW 2019 Evensong at Winchester Cathedral supporting a piano masterclass in May with pianist Caroline Palmer, CHAIR'S LETTER who is Professor of Piano and Chamber Music at the Guildhall, and Dear Members, who will also give a public recital in the evening. Hopefully we will see Wow! What a term that was! As predicted in my last letter, the Spring you all at one or more of these events. Term showcased both the breadth and depth of musical talent at the The HSMS committee continues to meet twice a term, and we school. Audiences were treated to chamber, rock, jazz, choral and remain very grateful for the ongoing support of members who volun- classical performances during the term, with truly impressive musi- teer behind the bar, write concert reviews and help with other tasks. cianship demonstrated by many soloists and ensembles. It is hard to Our thanks to everyone who has played a role over the last term. choose a favourite event so I will remain neutral and trust that the Summer is, of course, the time when U6 boys (and therefore their reviews in this newsletter will transport you back to relive some of parents!) leave the school, so we will be looking for new committee your personal highlights. members over the coming months. If you would like to know more The Summer Term will be slightly less busy, but will include the about what that would involve, we would love to hear from you. Leavers’ Concert on the 7th May, a new event in the music calen- With best wishes for a happy and musical summer term, dar.
    [Show full text]
  • Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church
    THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Sir Frederick Ouseley, the foundation of St Michael's college, Tenbury Wells, and the ideals of Anglican choral tradition in the Victorian age Scott, Ellen Rachel How to cite: Scott, Ellen Rachel (1997) Sir Frederick Ouseley, the foundation of St Michael's college, Tenbury Wells, and the ideals of Anglican choral tradition in the Victorian age, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4674/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Ellen Rachel Scott SIR FREDERICK OUSELEY, THE FOUNDATION OF ST MICHAEL'S COLLEGE, TENBURY WELLS, AND THE IDEALS OF ANGLICAN CHORAL TRADITION IN THE VICTORIAN AGE Thesis for the degree of Master of Arts 1997 The copyright of tliis thesis rests witli tlie autlior. No quotation from it should be published witliout die written consent of the autlior and information derived from it should be acknowledged.
    [Show full text]
  • St Michael's College, Tenbury
    St Michael’s College, Tenbury Register of Broadcasts and Recordings 1934 – 1985 Compiled by Frederick Appleby The Library at St Michael’s College, Tenbury, with College Librarian, Harold Watkins-Shaw (1911-96) 2 St Michael’s College, Tenbury Register of Broadcasts and Recordings 1934 – 1985 Compiled by Frederick Appleby The Martlet House London 3 Copyright © 2015 – compilation by Frederick Appleby Published by The Martlet House, London For private circulation only Printed by Prontaprint, East Sheen Set in Gill Sans MT 4 Dedication: To all the wonderful teachers who inspired me during my time at the College 5 The Rev Sir Frederick Arthur Gore Ouseley, Bart (1825 – 1889) – Founder of the College Woodbury Type, from Men of Mark: A Gallery of Contemporary Portraits (London 1882) 6 CONTENTS 1. Laurence Crosthwaite 2. Maxwell Menzies 3. Kenneth Beard 4. Lucian Nethsingha 5. Roger Judd 6. Posthumous Broadcasts Different Organists viii Preface This catalogue seeks to create a comprehensive register of all the radio broadcasts and recordings made of the music at St Michael’s College, as well as broadcast programmes relating to the College. My main source is the *BBC Genome Project (see below), which has scanned the Radio Times across the years to create an active database of all BBC broadcasts. They admit that the scanning software used for this is unreliable, and many spelling mistakes and misreadings are the result. I have attempted to emend these for this document. The principal events are broadcasts of Choral Evensongs, and Choral and Organ Recitals. Additionally there are Talks from and about the College.
    [Show full text]