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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. -
14. Suspension Tallis
SUSPENSION: A SERIES OF MUSICAL REFLECTIONS No:14 Time for a little bit more choral music! As many of our previous SUSPENSIONs have been, this piece is a setting of a liturgical text, namely John 14:15-21, which is one of this Sunday’s lessons. In this instance, the gorgeous setting is by English composer Thomas Tallis, and is called ‘If Ye Love Me’. This piece is another example of a motet (see SUSPENSION 10), this time featuring four voice parts. In this case the motet is comprised of what we call ‘homophony’, meaning that all four voice parts move at the same time, save for a few instances of imitation. This differs from previous motets discussed in this series, which feature the more heavily imitative, ‘contrapuntal’ style which was also popular. In the history of English choral music and indeed, English music more widely, Tallis was just about as influential as it gets. Serving in the Chapel Royal for over 40 years, Tallis navigated his was through one of the most turbulent times in the Church’s history, through four monarchs, and multiple changes in lectionary, worship and music. Many music historians have analysed how all of those changes can be easily seen reflected in Tallis’ output through his life. In some ways that’s quite a comforting thought at this time. Christians have lived through all sorts of difficult and troubling times, and have always managed to find creative and beautiful ways to express their devotion and admiration for God, his word, and his creation. Maybe Christians of the future will look to the music of our times for comfort and inspiration. -
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 email: [email protected] CD-No. Title Composer/Track Artists GMCD 7101 Canticum Novum My soul, there is a country - Charles H.H.Parry; All Wisdom cometh from the Lord - Philip The Girl Choristers, The Boy Choristers and The Lay Vicars of Moore; Tomorrow shall be my dancing day - John Gardner; Psalm Prelude (2nd Set, No.1) - Salisbury Cathedral directed by Richard Seal / David Halls Organ / Herbert Howells; Quem vidistis pastores dicite - Francis Poulenc; Videntes stellam - Francis Martin Ings Trumpet Poulenc; The old order changeth - Richard Shepard; Even such is time - Robert Chilcott; Paean - Kenneth Leighton; When I survey the wondrous Cross - Malcolm Archer; Magnificat (Salisbury Service) - Richard Lloyd; A Hymn to the Virgin - Benjamin Britten; Pastorale - Percy Whitlock; Psalm 23 (Chant) - Henry Walford Davies; Love's endeavour, love's expense - Barry Rose; Ye Choirs of new Jerusalem - Richard Shepard GMCD 7102 Coronation Anthems & Hymns “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O The Choir of St Paul’s Cathedral directed by Barry Rose / Christopher taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Dearnley Organ Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune f GMCD 7103 In Dulci Jubilo Ad Libitum/O Come, all ye faithful - Hark! the Herald-Angels Sing - Once in Royal David's city - - Festive & Christmas Music - Paul Plunkett Trumpets & Rudolf Lutz The First Nowell - Ding Dong! Merrily on High - Away in a Manger - Angels from the Realms Organ of Glory - Noël Op. -
The Anthems of Thomas Ford (Ca. 1580-1648). Fang-Lan Lin Hsieh Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1989 The Anthems of Thomas Ford (Ca. 1580-1648). Fang-lan Lin Hsieh Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hsieh, Fang-lan Lin, "The Anthems of Thomas Ford (Ca. 1580-1648)." (1989). LSU Historical Dissertations and Theses. 4722. https://digitalcommons.lsu.edu/gradschool_disstheses/4722 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
IF YE LOVE ME By
SYMPHONIC REPERTOIRE SERIES IF YE LOVE ME by RALPH HULTGREN DURATION: 4’40” LEVEL: 4 INSTRUMENTATION 1 - Score 4 – Trumpet 1 3 – Flute 1 4 – Trumpet 2 3 – Flute 2 2 – French Horn 1 SAMPLE2 – Oboe 2SCORE – French Horn 2 2 – Bassoon 2 – Trombone 1 3 – Clarinet 1 2 – Trombone 2 3 – Clarinet 2 1 – Bass Trombone 3 – Clarinet 3 2 – Euphonium 2 – Bass Clarinet 1 – Euphonium TC 2 – Alto Saxophone 1 4 – Tuba 2 – Alto Saxophone 2 1 – Double Bass 2 – Tenor Saxophone 1 – Timpani 1 – Baritone Saxophone 1 – Glockenspiel 1 – Triangle Band Music by Australian Composers Published and printed in Australia by the BROLGA MUSIC PUBLISHING COMPANY Copyright Brolga Music 2020 CAT NO. BMC134 ISMN 9790 902250825 IF YE LOVE ME After Thomas Tallis – For Julie Ralph Hultgren Duration: 4’38” Level: 4 Program Notes: If Ye Love Me is a paraphrase setting of the Thomas Tallis four-part motet of the same name. Published in 1565 during the reign of Elizabeth the First, it incorporates new musical material woven around the beautiful yet simple motet Tallis composed for the Church of England. At the time Tallis composed the work, the Church of England decreed that all choral music must be sung in English, doing away with the Latin text commonly used. Tallis chose his text from Jesus’ words to His disciples in the Gospel of John, where He said: “If ye love me, keep my commandments. And I will pray the Father, and he shall give you another comforter, that he may 'bide with you forever; E'en the sp'rit of truth.” (John 14: 15-17, from the Tyndale translation) This setting strives to keep the comfort alluded to in the words of Christ, with a transparent setting giving the original music ‘room’ to speak and the new music a chance to embrace it. -
Sixth Sunday of Easter + “If You Love Me…”
Sixth Sunday of Easter + “If you love me…” Read: John 14:15-21 Reflection The sixteenth-century church music composer Thomas Tallis lived in turbulent times. During his lifetime, the national religion of England went from Catholic to Protestant, then Catholic again, and finally more moderately Protestant, when the Elizabethan settlement established the Anglican Communion more or less as we know it today. Very little is known about Tallis’ life and character, but we can glimpse a few clues from his music. We know he was adaptable and willing to compromise, as he varied his style according to the liturgical requirements of the times. But it is also clear that he maintained his personal, catholic faith even when it was dangerous to do so. One of Tallis’ most famous anthems sets the words that we heard in today’s Gospel. It uses the 1539 translation by William Tyndale: “If ye love me, keep my commandments, and I will pray to the Father, and he shall give you another comforter, that he may abide with you forever, e’en the spirit of truth.” As this was written during the reign of the strongly Protestant Edward VI, one can’t help but wonder how Tallis felt as he composed music for these words. In the midst of religious turmoil, when many of those who kept to the old faith were persecuted, did he feel the need for reassurance that, as long as he loved Jesus, the Holy Spirit, the “Spirit of truth”, would be there to comfort him? Today’s Gospel is part of Jesus’ farewell speech to his disciples at the Last Supper, just after Judas has gone out to betray him. -
About the Choirs at All Saints’
Music All Saints’ 2018-2019 WELCOME September 2018 Dear Friends, We are delighted to welcome you to this season of Music at All Saints’! The coming year continues our tradition of offering glorious sacred choral music at both Sunday Eucharist, monthly Evensong, Compline, Lessons and Carols for Advent and Christmas, and in concert. In addition, we are thrilled share the first season of All Saints’ Chamber Choir’s concert series offering George Frederic Handel’s The Messiah in its entirety on December 2nd as well as small scale sacred cantatas by Dieterich Buxtehude, J. S. Bach, and Heinrich Schutz in early March. We also celebrate the opening of All Saints’ Music School, a community outreach of All Saints’ Parish. Our Sunday Evensong Organ recital series resumes in October and continues through May. This booklet outlines the musical offering for the coming season, particularly the 9 & 11 AM Holy Eucharist services on Sunday mornings. Also included is an envelope for your support of Friends of Music at All Saints’. Whether you are a parishioner or a friend of music, we hope you will consider making a donation to support our musical presence in North Central Phoenix, for the worship or concert setting. We hope to see you at All Saints’ for worship, music education or concert very soon! Joseph Ripka Director of Music Joseph Ripka Ilona Kubiaczyk-Adler Trevor Carolan Director of Music Associate Director of Music Assistant Organist 2 About the Choirs at All Saints’ Music is central to the worship life at All Saints’. All who enjoy music and would like to assist in enriching our worship services are encouraged to join our music program. -
Grand Music Gracious Word
Grand Music Gracious Word SEPTEMBER 2014 / YEAR A Sing For Joy® is a production of St. Olaf College. “Sing For Joy ... deals with the kinds of truths, commitments and experiences for which words alone are not enough.” by Pastor Bruce Benson, host his past week my sister and her husband little musical poem. He had more than a profes- were in town for a few days visit. Since sional concern for the congregation he was Tthey were staying at our house, she agreed serving; he had a genuine personal love for the to sort through a couple boxes of my late people and the place, and often such feelings are mother’s papers. Layered down in one of those difficult to communicate. My dad needed music boxes, like a fossil preserved in sedimentary rock, to express the kind of affection he felt for the was a one-page manuscript of a piano composi- congregation. tion in my long-deceased father’s handwriting. My dad was not a musician, he was a pastor, but If you are a newcomer to Sing For Joy, you might he was musically literate and a lover of all things not know that over the years we have often said musical. The manuscript was his own composi- that the program deals with the kinds of truths, tion, written for the centennial celebration of the commitments and experiences for which words rural congregation he was serving at the time. It alone are not enough. I think it was exactly such has been 35 years since any of us in the family a dilemma — if one can call it that — that have seen or heard that composition. -
Choral Evensong February 2, 2020 5:00 P.M
Choral Evensong February 2, 2020 5:00 p.m. WELCOME TO FIRST PRESBYTERIAN CHURCH Grace and peace to you as we gather for worship! Here in this place, the seasons of our lives are marked: the children of God of every age are baptized, marriages are celebrated, and when one grieves, the whole body grieves together. We are a family of faith. And just as Christ Jesus has welcomed each person to this church for over three hundred years, we extend our word of welcome in his name. Christ loves all, calls all, and welcomes all, and so whether this is your first time here, or you have worshipped here for years, everyone enters this place with the profound welcome of Jesus Christ. This congregation is steeped in history – three members of the church signed the Declaration of Independence. We are a part of the history of this city from its earliest days. But make no mistake about it: this is a living, breathing congregation seeking in real and tangible ways to make the grace of God known to our very modern world. We would love to know you, and for you to know us. Please stay after the service and join in our fellowship time together where we enjoy refreshments, and most importantly, share our lives together. And if in getting to know us, you feel God is calling you to join together with us in living God’s grace in this place, it would be our joy for you to become a part of this community. Baron Mullis, Pastor Choral Evensong has a long history, dating back to the time of the Reformation. -
Choral Music for the Liturgy Cathedral Choir 2009-2010
Choral Music for the Liturgy Christ Church Cathedral, Nashville TN Michael Velting, Organist & Choirmaster Jon Johnson, Assistant Organist & Choirmaster Cathedral Choir 2009-2010 September 13 Offertory Jesu, the very thought of thee Richard Proulx Communion Teach us, good Lord (women) Sydney Nicholson September 20 Offertory Expectans, expectavi Charles Wood Communion He who is down need fear no fall John Dowland September 27 Offertory King of glory, king of peace Richard Webster Communion God be in my head John Rutter October 4 Offertory Christus factus est Anton Bruckner Communion A new commandment Paul Wright October 11 Offertory Give almes of thy goods Christopher Tye Communion Here, O my Lord Eleanor Daley October 18 Choir Switch Offertory Christus factus est Anton Bruckner Communion Here, O my Lord Eleanor Daley October 25 Parish Choir November 1 Feast of All Saints Offertory O how glorious is the kingdom Basil Harwood Communion Gaudeamus omnes in Domino William Byrd November 1 Evensong for the Feast of All Saints Introit Let my prayer come up as the incense Peter Hallock Responses Guildford Cathedral Philip Moore Psalms 148 and 150 Smart/Parratt Canticles The Second Service Kenneth Leighton Anthems And I saw a new heaven Edgar Bainton The souls of the righteous Geraint Lewis November 8 Offertory Listen sweet dove Grayston Ives Communion Blessed are the pure in heart Walford Davies November 15 Offertory Never weather-beaten sail Gary Davison Communion O salutaris hostia Michael Rickelton November 22 Christ the King Offertory Let all the world in every corner sing Ralph Vaughan Williams Communion O God my King John Amner November 22 Installation of the Very Rev. -
Thomas Tallis the Complete Works
Thomas Tallis The Complete Works Tallis is dead and music dies. So wrote William Byrd, Tallis's most distinguished pupil, capturing the esteem and veneration in which Tallis was held by his fellow composers and musical colleagues in the 16th century and, indeed, by the four monarchs he served at the Chapel Royal. Tallis was undoubtedly the greatest of the 16th century composers; in craftsmanship, versatility and intensity of expression, the sheer uncluttered beauty and drama of his music reach out and speak directly to the listener. It is surprising that hitherto so little of Tallis's music has been regularly performed and that so much is not satisfactorily published. This series of ten compact discs will cover Tallis's complete surviving output from his five decades of composition, and will include the contrafacta, the secular songs and the instrumental music - much of which is as yet unrecorded. Great attention is paid to performance detail including pitch, pronunciation and the music's liturgical context. As a result new editions of the music are required for the recordings, many of which will in time be published by the Cantiones Press. 1 CD 1 Music for Henry VIII This recording, the first in the series devoted to the complete works of Thomas Tallis, includes church music written during the first decade of his career, probably between about 1530 and 1540. Relatively little is known about Tallis’s life, particularly about his early years. He was probably born in Kent during the first decade of the sixteenth century. When we first hear of him, in 1532, he is organist of Dover Priory, a small Benedictine monastery consisting of about a dozen monks. -
Choral Evensong
CHORAL EVENSONG July 26, 2020 5:00 P.M. WELCOME TO CHORAL EVENSONG The American Cathedral of the Holy Trinity welcomes all people. Wherever you are on your spiritual journey, whatever your questions, whatever your situation, we are glad you are here and invite you to find out more about our life together. The American Cathedral in Paris 23, Avenue George V 75008 PARIS CHORAL EVENSONG Choral Evensong (Evening Prayer/Vêpres Chantées) is one of the real jewels of the Anglican tradition, and has been so for over 400 years. A service of timeless beauty and heritage, it dates from the English Reformation, when the medieval Latin monastic offices of Vespers and Compline were translated into English to be used in all parish and cathedral churches. Along with sung Mattins (Morning Prayer), Evensong was one of the principal Sunday services of the Anglican Church until the late nineteenth-century, when the Eucharist became increasingly prevalent. The service as we have it today is essentially unchanged from Archbishop Thomas Cranmer’s 1549 Book of Common Prayer -- from which the current Episcopal Prayer Book draws its origins. The style of English language (Rite I) used is similar to the language of Shakespeare, dating from the sixteenth century. Much of Evensong is sung by the choir -- giving the congregation the opportunity to listen to the fine Anglican choral tradition of music, and to be inspired and uplifted in worship. It is a musical offering of praise to God. The text of Evensong is taken almost entirely from the Scripture. A portion of the psalter is beautifully chanted by the choir.