Composer Arranged by Category Instrumentation Condition Location Note 1 the Holy City Adams, Stephen Salter, Sumner Choir SATB A
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The Cambridge Singers Christmas Album directed by JOHN RUTTER AROLS AND CHRISTMAS MUSIC have always formed a part of the CCambridge Singers’ recorded repertoire, and this album picks out some of my The Cambridge Singers personal favourites. Most of the 23 items are taken from the two albums Christmas with the Cambridge Singers and Christmas Day in the Morning, and there are four previously unreleased tracks which were squeezed out of those two albums and which I am happy Christmas Album to have found space for here. There are three strands to the programme: traditional carols; choruses and motets; and composers’ carols. In fact these categories are not as separate as they might appear. Composers have always loved to take traditional melodies and incorporate them into their own compositions, sometimes considerably elaborating them in the process: think of all those L’homme armé masses or of Bach’s chorale treatments. The art of the arranger, widely thought of as a twentieth-century invention, is as old as composition itself. When we listen to a ‘traditional’ carol sung by a choir, we are in fact generally hear- ing the work of an identifiable composer who has arranged, in his own style, a melody by an unidentifiable or obscure composer from an earlier era. The earliest examples on this album are Victoria’s O magnum mysterium (1572), a four-voiced motet where the melodic outlines are based on a Gregorian chant, and Scheidt’s In dulci jubilo (1620), which takes one of the best-loved of all Christmas carols and turns it into a resplendent double-choir motet with two antiphonal trumpet parts. -
In Terra Pax
Lewisham Choral Society In terra pax Christmas music for choir and audience Piano & organ: Nico de Villiers Conductor: Dan Ludford-Thomas Holy Trinity Church, Sloane Street Saturday 19 December 2015 In terra pax Choir: Alleluya, a new work is come on hand Peter Wishart Angelus ad Virginem 14th century Irish carol arr. Willcocks A Maiden most gentle French traditional melody arr. Carter Choir and audience: Of the Father's heart begotten Piae Cantiones arr. Willcocks Choir: The Shepherds' Farewell From The Childhood of Christ by Hector Berlioz Il est né le divin enfant French traditional carol arr. Willcocks Joys seven English traditional carol arr. Stephen Cleobury Choir and audience: Silent night Franz Gruber arr. John Cullen Choir: Deck the hall Welsh traditional carol arr. Willcocks Wexford Carol Irish traditional carol arr. Rutter Star Carol John Rutter INTERVAL Please join us for seasonal refreshments at the rear of the church Choir: Make we joy David Morgan Choir and audience: Unto us is born a Son Piae Cantiones arr. Willcocks Choir: In Terra Pax Gerald Finzi Choir and audience: O come, all ye faithful John Wade arr. Willcocks Peace on earth and goodwill to all! Lewisham Choral Society welcome you this year to a new venue for our annual Christmas concert: the wonderful late nineteenth century Arts and Crafts church of Holy Trinity, Sloane Street. On this occasion our theme, In Terra Pax, Peace on Earth, is reflected in traditional music from around the British Isles and across the Channel: English, Welsh, Irish and French – along with classical music from England and France – to mark this festive season. -
Henri PURCELL (1659-1695) Catalogue Des Œuvres Z.1 À 860 + Anh
Henri PURCELL (1659-1695) Catalogue des œuvres Z.1 à 860 + anh. Classement thématique alphabétique du catalogue Zimmerman (avec date de composition) Anthems (F.A./V.E. = Full/Verse anthems) Z 052, V.A., “Sing unto God” (1687) Z 001, F.A., “Awake, put on thy strength” (c. 1682-5) Z 053, V.A., “The Lord is king, be the people never so impatient” (Unknown) Z 002, F.A., “Behold, I bring you glad tidings” (1687) Z 054, V.A., “The Lord is King, the earth may be glad [thereof]” (1688) Z 003, F.A., “Behold now, praise the Lord” (c. 1680) Z 055, V.A., “The Lord is my light” (c. 1682-5) Z 004, F.A., “Be merciful unto me” (before 1683) Z 056, V.A., “The way of God is an undefiled way” (1694) Z 005, F.A., “Blessed are they that fear the Lord” (1688) Z 057, V.A., “They that go down to the sea in ships” (1685) Z 006, F.A., “Blessed be the Lord my strength” (before 1679) Z 058, V.A., “Thou know’st, Lord, the secrets of our hearts” (1687) - [There are 2 Z 007, F.A., “Blessed is he that considereth the poor” (c. 1688) arrangements of this piece, Z 058A, Z 058B, and a further Z 58C, which is a F.A.] Z 008, F.A., “Blessed is he whose unrighteousness is forgiven” (c. 1680-92) Z 059, F.A., “Thy righteousness, O God, is very high” (Unknown) Z 009, F.A., “Blessed is the man that feareth the Lord” (c. -
Martha Jane Gilreath Submi Tted As an Honors Paper in the Iartment Of
A STTJDY IN SEV CENT1 CHESTRATIO>T by Martha Jane Gilreath SubMi tted as an Honors Paper in the iartment of Jiusic Voman's College of the University of Xorth Carolina Greensboro 1959 Approved hv *tu£*l Direfctor Examining Committee AC! ' IKTS Tt would be difficult to mention all those who have in some way helped me with this thesis. To mention only a few, the following have mv sincere crratitude: Dr. Franklyn D. Parker and members of the Honors -fork Com- mittee for allowing me to pursue this study; Dr. May ". Sh, Dr. Amy Charles, Miss Dorothy Davis, Mr. Frank Starbuck, Dr. Robert Morris, and Mr, Robert Watson for reading and correcting the manuscript; the librarians at Woman's College and the Music Library of the University of North Carolina through whom I have obtained many valuable scores; Miss Joan Moser for continual kindness and help in my work at the Library of the University of North Carolina; mv family for its interest in and financial support of my project; and above all, my adviser, Miss Elizabeth Cowlinr, for her invaluable assistance and extraordinary talent for inspiring one to higher scholastic achievenent. TAm.E OF COKTB 1 1 Chapter I THfcl 51 NTURY — A BACKGROUND 3 Chapter II FIRST RUB OR( 13 Zhapter III TT*rn: fTIONS IN I] 'ION BY COMPOSERS OF THE EARLY SEVE TORY 17 Introduction of nasso Continuo 17 thods of Orchestration 18 Duplication of Instruments 24 Pro.gramatic I'ses of Scoring .25 id Alternation between Instruments. .30 Introduction of Various Instrumental devices 32 Dynamic Contrasts 32 Rowing Methods 33 Pizzicato -
The Carol and Its Context in Twentieth-Century England Sean Vogt
The Carol and Its Context in Twentieth-century England Sean Vogt loria in excelsis deo, et in terra G pax hominibus (“Glory to God in the highest and on earth peace to all people”), Luke 2:14, was likely the fi rst carol ever heard, sung by the angels over the fi elds of Bethlehem. It would be more than a millennium before the next documented account of carol singing. In this case, it happened in Greccio, Italy, where St. Francis made the fi rst Christ- mas crèche (crib) in 1223, in response to the Manichaeism1 of the eleventh and twelfth centuries—recreating the stable, even obtaining an ox and ass. People from around the village began to gather around St. Francis’s biblical re-creation. As a result, the people “poured out their hearts in praises to God; and the friars sang new canticles…”2 The dawn of the Protestant Reforma- tion brought carol singing—amongst a myriad of other activities—to an abrupt halt. The Reformation during the six- teenth and seventeenth centuries re- sulted in a fragmented church. The Lu- therans viewed the feast of Christmas as a popish abuse. Since the Calvinist Gustav Holst (early 1920s) in front of movement was quite popular, Christmas Queen’s Hall (©Holst Birthplace Museum/ was consequently unpopular in England. Cheltenham Art Gallery & Museum) Christmas Day was abolished by Parlia- ment from 1644–1660; The Book of Com- Christmas Carols New and Old (1871) mon Prayer had no seasonal hymns. It being just a few examples. was not until the Supplement to the New From the Piae Cantiones, which itself Version of the Psalms (1700) that interest contained medieval carols, to the Vic- in carols was rekindled. -
100 Carols for Choirs Table of Contents
100 Carols for Choirs Table of Contents Adam lay ybounden, Warlock In the bleak mid-winter, Holst All my heart this night rejoices, Ebeling In the bleak mid-winter, Darke Alleluya, a new work is come on hand, Infant holy, infant lowly, Willcocks Wishart The Infant King, Willcocks Angels, from the realms of glory, It came upon the midnight clear, Willcocks Willcocks Jesus child, Rutter Angelus ad virginem, Willcocks Jesus Christ is risen today, Willcocks As with gladness men of old, Willcocks Jesus Christ the apple tree, Poston Ave plena gracia, Maxwell Davies Jingle, bells, Pierpont/Willcocks Away in a manger, Kirkpatrick/Willcocks Joy to the world, Mason/Rutter A babe is born, Mathias Joys seven, Cleobury Birthday Carol, Willcocks King Jesus hath a garden, Wood The cherry tree carol, Willcocks Kings of Orient, Hopkins/Willcocks Child in a manger, Rutter Lo! he comes with clouds descending, A child is born in Bethlehem, Willcocks Willcocks Christmas night, Rutter Lo, how a Rose e'er blooming, Praetorius Coventry carol, Rutter Longfellow's carol, Percival Coventry carol, Shaw Lord of the Dance, Carter/Willcocks Cradle song, Rutter Lute-book lullaby, Ballet/Shaw The crown of roses, Tchaikovsky A maiden most gentle, Carter Deck the hall, Willcocks Mary's Lullaby, Rutter Ding dong! merrily on high, Willcocks A merry Christmas, Warrell Ding dong! merrily on high, Wood Myn lyking, R. R. Terry The first Nowell, Willcocks Nativity carol, Rutter Gabriel to Mary came, Willcocks A New Year carol, Britten Gabriel's message, Willcocks O come, all ye faithful, Wade/Willcocks God rest you merry, gentlemen, Willcocks O come, o come, Emmanuel, Willcocks Good King Wenceslas, Willcocks O little one sweet, J. -
Carols for Choirs: Vocal Score Free
FREE CAROLS FOR CHOIRS: VOCAL SCORE PDF David Willcocks,John Rutter | 208 pages | 23 Oct 1980 | Oxford University Press | 9780193535732 | English, French, Latin | Oxford, United Kingdom Free Choir Sheet Music - Go To Product. Sign In. Musicnotes features the world's largest online digital sheet music catalogue with overarrangements available to print and play instantly. Plus, organize your music into folders and set lists and much more! At a Glance. Musicnotes Pro Send a Gift Card. Toggle Carols for Choirs: Vocal Score. Save on Every Order! Musicnotes Pro. Become a Member Today! Instrument All Instruments Choir. For any instrument. See All Instruments. Scoring Choral Ensemble. Chamber Ensemble. See All Scoring. Genre Avant-Garde. See All Genres. Newest Sheet Music. Most Popular Sheet Music. Average Rating. Browse All Sheet Music. My Account. About Musicnotes. Subscribe to our Newsletter Stay Connected. We think your country is: United States Change Country. Carols for Choirs: Vocal Score House I Live In. Garrett Breeze. Come from Away. Traditional Christmas Carol. Carol of the Bells. Peter J. Nearer, My God, To Thee. BYU Vocal Point. Savior, Redeemer of My Soul. Rob Gardner. May the Road Rise to Meet You. Lori True. Just As I Am. Travis Cottrell. Avinu Malkeinu. Max Janowski. Pie Jesu. On Eagle's Wings. Michael Joncas. He Will Hold Me Fast. The Little Carols for Choirs: Vocal Score Boy. And So It Goes. Billy Joel. For All He's Done. Greater Vision. You Will Be Found. Dear Evan Hansen. You Raise Me Up. Josh Groban. This Is Me. The Greatest Showman. All Are Welcome. -
100 Carols for Choirs: Paperback Free
FREE 100 CAROLS FOR CHOIRS: PAPERBACK PDF David Willcocks,John Rutter | 388 pages | 07 Jan 1988 | Oxford University Press | 9780193532274 | English, French, German, Latin | Oxford, United Kingdom Carols For Choirs - Paperback: Arr. (David Willcocks): SATB | If you have changed your email address then contact us and we will update your details. Would you like to proceed to the App store to download the Waterstones App? We have recently updated our Privacy Policy. The site uses cookies to offer you a better experience. By continuing to browse the site you accept our Cookie Policy, you can change your settings at any time. Applied filters Choral Music. Page Prev of 91 Next. Review ratings. Geographic region. Educational qualifications. Key Stage 3. Added to basket. Add to Basket. View basket 100 Carols for Choirs: Paperback. Common Worship Psalter with Chants. Carols for Choirs 1. The John Rutter Piano Album. Making of Handel's Messiah, The. A New Heaven. I Saw Eternity the 100 Carols for Choirs: Paperback Night. Carols for Choirs 2. O Sing unto the Lord. European Sacred Music. Feel the 100 Carols for Choirs: Paperback. Carols of Comfort and Joy. Carols for Choirs 3. Carols for Choirs 4. Sacred Choruses. Four Coronation Anthems. Choir Boy. The Oxford and Cambridge Services. For the Time Being. The Novello Book of Carols. English Church Music. Not registered? Remember me? Forgotten password Please enter your email address below and we'll send you a link to reset your password. Not you? Reset password. Download Now Dismiss. 100 Carols for Choirs: Paperback reserve online and pay at the counter when you collect. -
EJV Holland Purcell and the Seventeenth-Century Voice, An
The University of Sheffield E. J. V. Holland Purcell and the Seventeenth-Century Voice, An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music PhD (Performance Studies) 2002 Purcell and the Seventeenth-Century Voice,0 An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music Elizabeth Jane Violet Holland PhD (Performance Studies) Department of Music University of Sheffield June 2002 Acknowledgments I wish to express my gratitude to the following individuals for their help and advice during the researching and writing of this thesis. Firstly, my thanks to my academic supervisor, Mr. Tony Bennett (University of Sheffield) for his support and advice. I would also like to thank Professor Eric Clarke (University of Sheffield) for suggestingstandard deviation as the most suitable method for the statistical calculation of tessitura, and Dr. John Powell (University of Nottingham) and Mr. Luke Jobling BSc for confirming the scientific validity of the final statistical formula. i Elizabeth J. V. Holland Purcell and the Srventeen th-Century Voic c An Inv estigation of Singers and Voice Ty pes in H!cnry Purc ell's Voca l Music0 Abstract This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenthcentury. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addressesthe issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type. -
An Evening of Carols
The South Dakota School of Mines and Technology presents the thirty-third annual Holiday Cathedral Choral Concert Concert Choir University Choir Master Chorale directed by James D. Feiszli An evening of carols Cathedral of Our Lady of Perpetual Help, Rapid City, SD December 5 & 6, 2015, 7:30pm Carols evolved from folkdance traditions. Sung at winter and spring solstice celebrations, carols existed before pre- Christian times. The early church overlaid pre-Christian celebrations with Christian holidays (“holy-days”), but the elements of boisterous joy and dance remained in the songs that became popular with the uneducated populace of Western Europe. Since the general populace did not speak, read, or write Latin, macaronic carols (songs using both Latin and the local language) arose. Nativity plays in the Middle Ages frequently used carols to teach biblical doctrine to the illiterate. This development is partially responsible for the spread of the carol through Europe. As Europe emerged from the Middle Ages and Renaissance, the influence of the Church waned – particularly after the Reformation and the secularism of the Enlightenment. Holiday celebrations became associated with other ancient traditions which, in turn, led to a re-birth of carols as Christian musicians and clergy sought to reclaim the awe and joy of the Christmas season. The four-part hymn-like carols of the nineteenth century became what most of us think about when we hear the term. Tonight we present an entire concert of carols both old and modern from Europe and the U.S. I – Candlelight Carols Jesus Christ the Apple Tree ……………….….. Elizabeth Poston Infant Holy, Infant Lowly ………………………… David Willcocks Carol of the Drum ………………..…………… Katherine K. -
Christmas Is Not Just for Christmas
Christmas is not just for Christmas An exploration of the Christmas Story and its meaning, as told by members of the congregation at the Festival of Nine Lessons and Carols held at York Minster on Christmas Eve 2007 Rachel Phillips M.A. Thesis submitted to the University of Nottingham for the degree of Master of Philosophy July 2011 Abstract This thesis explores the content and meaning of the Christmas Story, as expressed by members of the congregation at York Minster on Christmas Eve 2007. The work was developed through a Pilot Study in York Minster and Derby Cathedral over Christmas 2006, involving telephone and email interviews and Focus Group discussions. This enabled a questionnaire to be developed for use at York Minster‟s Festival of Nine Lessons and Carols, held on Christmas Eve 2007; the questionnaires invited Respondents to tell the Christmas Story in their own words and to say what they thought the Christmas Story means. Completed questionnaires were analysed using grounded theory, and themes of the Respondents‟ understanding emerged. These themes are explored in relation to passages of Scripture read in the service and to carols sung in the service. The explicit and implicit theology of the Respondents is then compared with orthodox Christian belief, as set out in the Nicene Creed, in order to explore how Respondents‟ understanding did or did not correlate with what the Church of England believes. There is then reflection on issues which those constructing Christmas carol services might usefully take in to account. The thesis concludes by proposing theories for testing in further research. -
Voice Syllabus / 2012 Edition
74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home .