DOCSLIB.ORG

Joseph Barnby (1838-1896) It Was a Lover and His Lass J.Barnby

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Joseph Barnby (1838-1896) It Was a Lover and His Lass J.Barnby It was a lover and his lass AS YOU LIKE IT William Shakespeare (1564-1616) Joseph Barnby (1838-1896) It was a lover and his lass J.Barnby Allegro molto vivace h = 84 > > S f . j > & b C Œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ It. was a lov - er. and. his. lass,. Withœ a hey, and a ho, andœ a hey no - ni - A f > > > b C Œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ It. was. a. lov. - er. and. his. lass,. Withœ œa hey, and a ho, andœ œa hey no - ni - T f . >œ V b C Œ œ œ œ œ œ œ œ œ Œ Œ œ œ Œ Œ œ œ It was. a lov. - er. and his lass, and a ho, no - ni - B ? f . j . > > b C Œ œ œ œ œ œ œ. œ œ œ œ œ Œ Œ œ œ œ Œ It was a. lov. - er. and. his. lass, With a hey, and a hey 5 F . S > > œ œ œ >œ > œ œ œ œ œ œ. œ. œ. œ. & b œ œ nœ œ œ nœ œ œ œ no, with a hey, and a ho, and a hey no - ni - no, That o’er the green corn - field did > > > A > F . & b œ œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ #œ nœ no, withœ œa hey, and a ho, andœ œa hey no - ni - no, That o’er. the. green. corn. - field. did F T >œ >œ >œ . œ. V b œ œ Œ Œ œ œ Œ Œ œ œ œ nœ œ œ no, with a hey, and a hey That o’er the green corn - field did F B >œ œ . œ. #œ. ? b Ó Œ œ œ Œ Œ œ œ œ œ œ œ œ and a ho, no - ni - no, That o’er the. green corn - field did 9 S . œ œ œ & b œ œ œ nœ œ œ œ nœ Ó Œ nœ œ œ pass In spring - time, the on - ly pret - ty ring - time,œ When birds do A & b œ œ nœ œ #œ œ nœ œ œ œ #œ œ œ #œ œ œ pass. In spring - time, the pret - ty ring - time, When birds#œ do sing, when birds#œ do T œ. œ œ œ œ œ œ œ œ œ œ V b nœ œ œ nœ œ œ pass In spring - time, the pret - ty ring - time, When birds do sing, when birds do B œ. > ? b œ œ œ œ œ œ œ ˙ œ œ œ œ œ pass In spring œ - time, the on - ly pretœ - tyœ ring - time, When birds do sing, Hey, Edition and “engraving” © 2014 SHORCHOR™. May be freely distributed, duplicated, performed and recorded under the TERMS OF USE described elsewhere in this publication. This edition is not a source for a secondary edition. It was a lover and his lass 3 13 S >œ œ œ œ œ œ 2 œ & b nœ œ œ œ œ nœ œ Œ Ó ∑ 4 Œ C sing, Hey, ding a ding a ding, hey, ding a ding a ding, hey, A > b Œ Œ Œ Œ 2 Œ C & #œ œ œ œ œ œ œ œ œ œ œ œ œ 4 sing, Hey, ding œa dingœ nœa ding,œ hey, ding a ding a ding,œ hey, ding a ding a ding,œ T œ >œ œ œ œ œ œ œ œ œ V b Œ œ œ nœ œ œ œ nœ œ œ #œ œ œ #œ 42 œ œ œ C sing, Hey, ding a ding a ding, hey, ding a ding a ding, ding a dinga ding, hey, ding a dinga ding, ding a B œ œ œ œ ? b œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ #œ œ 42 œ œ nœ C ding a ding a ding,œ ding a ding, ding a ding, ding a ding, ding a ding, hey,œ ding a dinga ding, hey,œ ding a ding œa 18 S œ œ. > . & b C œ nœ œ #œ œ nœ œ œ #˙ ˙ nœ œ œ #œ w ding a ding a ding, Sweet lov - ers love. the Spring, sweet lov - ers. love. the. Spring. A . > & b C Ó Œ nœ œ. #œ œ. œ n˙ œ Sweet lov - ers. love the. Spring,˙ sweet lov. - ersœ. loveœ. theœ. Spring.w T œ. œ. œ. œ. >˙ œ. V b C nœ œ #œ œ n˙ œ nœ œ w ding a ding #œa ding,œ Sweet lov - ers love the Spring, sweet lov - ers love the Spring. > B #œ. œ. w ? b C nœ œ œ œ œ œ ˙ ˙ œ œ œ ding,#œ ding a ding, Sweet lov - ers love the Spring, sweet lov - ersœ. love the Spring. 23 > > S . > & b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ This. ca - rol they be. - gan. that. hour,. Withœ a hey, and a ho, andœ a hey, no - ni - A > > > & b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ This. ca. - rol. they. be. - gan. that. hour,. Withœ œa hey, and a ho, andœ œa hey, no - ni - T . >œ V b Œ œ œ œ œ œ œ œ œ Œ Œ œ œ Œ Œ œ œ This ca. - rol they. be. - gan that hour, and a ho, no - ni - B . > > ? b Œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ Œ This ca - rol. they. be. - gan. that. hour, With a hey, and a hey, 4 It was a lover and his lass 27 . S > > œ œ œ >œ > œ œ œ >œ œ œ œ. œ. œ œ. œ. & b œ œ nœ œ œ nœ œ no, with a hey, and a ho, and a hey no - ni - no, How that a life was but a > > > A > > . & b œ œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ #œ nœ no, withœ œa hey, and a ho, andœ œa hey no - ni - no, How that. a. life. was. but. a T >œ >œ >œ . œ. V b œ œ Œ Œ œ œ Œ Œ œ œ œ nœ œ œ no, with a hey, and a hey How that a life was but a B >œ >œ . œ. #œ. ? b Ó Œ œ œ Œ Œ œ œ œ œ œ œ œ and a ho, no - ni - no, How that a. life was but a 31 S . œ œ œ œ œ & b œ œ nœ œ œ nœ Ó Œ nœ œ œ flow’r, In spring - time, the on - ly pret - ty ring - time,œ When birds do A & b œ œ nœ œ #œ œ nœ œ œ œ #œ œ œ #œ œ œ flow’r,. In spring - time, the pret - ty ring - time, When birds#œ do sing, when birds#œ do T œ. œ œ œ œ œ œ œ œ œ œ V b nœ œ œ nœ œ œ flow’r, In spring - time, the pret - ty ring - time, When birds do sing, when birds do B œ. > ? b œ œ œ œ œ œ œ ˙ œ œ œ œ œ flow’r, In spring œ - time, the on - ly pretœ - tyœ ring - time, When birds do sing, Hey, 35 S >œ œ >œ œ & b nœ œ œ œ œ œ œ nœ œ Œ Ó ∑ 42 sing, Hey, ding a ding a ding, hey, ding a ding a ding, A > 2 & b #œ Œ Œ œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ 4 sing, Hey, ding œa dingœ nœa ding,œ hey, ding a ding a ding,œ hey, ding a ding a T œ >œ œ œ >œ œ œ œ œ œ œ œ œ œ œ 2 V b Œ œ nœ œ œ nœ œ #œ #œ 4 sing, Hey, ding a ding a ding, hey, ding a ding a ding, ding a ding a ding, hey, ding a ding a B œ œ œ œ ? b œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ #œ œ 42 ding a ding a ding,œ ding a ding, ding a ding, ding a ding, ding a ding, hey,œ ding a ding a ding, hey,œ It was a lover and his lass 5 39 S 2 œ œ œ. > & b 4 Œ C œ nœ œ #œ œ nœ œ œ #˙ ˙ hey, ding a ding a ding, Sweet lov - ers love. the Spring, sweet A . > & b 42 Œ C Ó Œ nœ œ #œ œ n˙ ding,œ Sweet lov. - ers. love. theœ. Spring,˙ sweet T œ. œ. œ. >˙ V b 42 œ œ œ C nœ œ #œ œ œ n˙ ding, ding a ding a ding #œa ding,œ Sweet lov - ers love the Spring, sweet > B #œ. œ. ? b 42 œ œ nœ C nœ œ œ œ œ œ ˙ ˙ ding a ding œa ding,#œ ding a ding, Sweet lov - ers love the Spring, sweet 43 ƒ S .
Load more

Recommended publications
  • Sir Joseph Barnby. Born, August 12, 1838; Died, January 28, 1896
    THE MUSICAL TIMES.- February I, 1896. SIR JOSEPH BARNBY BORN AUGUST 12, 1838; DIED JANUARY 28, 1896. Close upon each other's steps, during what attractinghas crowds by his renderings of Bach's passed of this ominous year, death and disaster have " Passion" according both to St. Matthewand St. John. followed, and now it is our melancholy duty to record So much activity and success prepared the way for the passing away of Sir Joseph Barnby. Mournful still higher things, and, in 1875, Mr. Barnby was under any circumstances, there are some conditions appointed Precentor and Director of Musical Instruc- amid which the dissolution of the body loses much tion at Eton College. That important position he of its terror. When a man has finished his life's work, retained till shortly before election to a still more and the enfeebled frame stoops under a weight onerous of and responsible post as Principal of the years, we can calmly think, with Lord Bacon, that Guildhall School of Music. With resignation from "it is as natural to die as to be born." But the Eton, his direct, personal service to the Church ceased. case is wholly different when, in the full But vigour he worked of for the music of worship in more maturity and in the midst of work, one than is suddenlyone way, being as active with his pen as at the struck down, as by a bolt from the blue. organ or in choir practice. He leaves behind him a long Thus did Joseph Barnby die. As far as our list of Services, Anthems, hymn-tunes, and Chants, many knowledge goes, his health had lately given of which have come into general use, are highly prized, no cause for uneasiness.
    [Show full text]
  • the Delight Of
    THE EVENING STAR PI'BLISHED DAILY KXCKPT SCNDAY. AT THE STAR BUILDINGS, 3nfi, <ffye fifffe ecljoo? 1101 Pennsylvania Avenue, Cor. 11th Street, by (printers' The Evening Star Newspaper Company master of afcoertismj), Baps: S. H. KACFFMAIJN, Prest. 3f ts cfatmeb for ttk TBftsfJinjfo t ye".v York Office. 49 Potter Building, JJtftr, an5 proBaSfp frttffJfufY? IJie Evening Star Is served fo subscribers In tb<» Fit;* I>v carriers, on their own account, at 10 cents cfaimeb, t^af no offcr newspaper tvi-ek, or 44e. per mouth. Copies at the counter rrcenis each. By mo 11-anywhere in the United in ffje counfrg goes info so farj? States or Canada.postage pre-yiid-50 cents Kentb. p«r a of <iff t$e Rouses Saturday quintuple Sheet Stn*. $1.00 per year; percentage With foreign posf.se a«Mei, $2.00. a rftfcius m.fes (Entered at the Post Othce at Washington. D. C., tmtfltn of ft»cnfg is sccond-class mail matter.) ITT'All mall u!»script>>ns must be paid in advarce. from ffle office of pufificftfion. Rates of adve»tIsi:iE made known on application. WASHINGTON, D. C., MONDAY, DECEMBER 23, 1895-FOURTEEN PAGES Introduction to Lohengrin (R.Wagner): so¬ .¦.er r ;-: lippg: prano solo. Keel (Adam); maSs, Mozart's f '±% CHRISTMAS CAROLS Twelfth, entire; offertory, Adeste Fideles (Novello); Veni Creator, alto solo (Monti); HP! organ postlude, Hommage a Mozart. Mor- "I Want to Be the Jeweler Who Connies Into Yomr Mind First." ceau symphonic (J. Baptiste Calkin, Op. (>">). 'qv Celebration of the Festival At tile lOUW o'clock mass the following pro¬ Joyous gram will be rendered: Organ preiude, pas¬ a With Glad Music.
    [Show full text]
  • Autumn 2014 Concert Programme
    Dumfries Choral Society Autumn Concert Bach: Cantata No.140, “Sleepers, Wake!” Finzi: In Terra Pax Bach / Gounod: Ave Maria Gounod: St Cecilia Mass Organ: John Kitchen Piano: Margaret Harvie Conductor: Ian Hare Rebecca Tavener (Soprano) Malcolm Bennett (Tenor) Philip Gault (Bass) St John’s Church, Newall Terrace, Dumfries Saturday 15th November, 7.30pm www.dumfrieschoralsociety.co.uk Programme Scottish Charity Number SC002864 £1.50 ACKNOWLEDGEMENTS Honorary President: The Duchess of Buccleuch and Queensberry Scottish Charity No. SC002864 Website: www.dumfrieschoralsociety.co.uk Dumfries Choral Society, a member of Making Music Scotland, gratefully acknowledges the generous financial assistance and services given by the following Patrons, Friends, and Sponsors: Patrons Friends The Duchess of Buccleuch Mr & Mrs Peter Boreham Mr Ian P M Meldrum Mrs Margaret Carruthers Mrs Jessie Carnochan Mr & Mrs James More Mrs Barbara Kelly Mrs Mary Cleland Mr Hugh Norman Miss Gerry Lynch, MBE Mrs Maureen Dawson Mr & Mrs Frank Troup Mr J & Dr P McFadden Mrs Agatha Ann Graves Mr John Walker Rev & Mrs Andrew Mackenzie Mrs Nan Kellar Mrs Maxine Windsor Mrs Agnes Riley Mr A Hamish MacKenzie Mrs Jennifer Taylor Sponsors The Aberdour Hotel Barnhill Joinery Ltd Asher Associates Elite Display Barbours, Dumfries Weesleekit Web Design Dumfries Choral Society extends especial thanks to the Directors of Bibliographic Data Services – a local employer serving global markets – for their extremely generous assistance with the creation of the Society’s new website. If you would like information about becoming a Friend, Patron, or Sponsor of Dumfries Choral Society, please contact the Patrons’ Secretary, Mrs Sheena Meek (07753 824073), or visit the website at: www.dumfrieschoralsociety.co.uk The Society gratefully acknowledges a generous donation received from the Buccleuch Charitable Trust.
    [Show full text]
  • B E T H E S D a P in E C H a P E L S T. P H Il Ip S Im
    ARDMORE CALVARY KONNOAK HILLS CHRIST MESSIAH HOME FAIRVIEW TRINITY Service:Great Sabbath Service.42998 3/18/16 8:14 AM Page 1 L A I R O M E M S E I R F N E D E W E N L E U N A M M I S P I L I H P . T S L E P A H C E N I P A D S E H T E B Sabbath Great 2016 The Music of the Service Insert:Great Sabbath Service.42998 3/17/16 4:22 PM Page 1 The Music of the Service The anthems for this evening’s worship represent but a small portion of the great body of works composed by Moravians for the Great Sabbath service. Of the composers represented here, Johannes Herbst, Johann Friedrich Peter, Francis Florentine Hagen, and John Mochnick have lived and served in the Salem community, and Christian Gregor visited here (1770-1772). These anthems were chosen in thanksgiving for the 250th anniversary of the founding of Salem and the 60th anniversary of the Moravian Music Foundation. May the music we make together this evening be a foretaste of the heavenly harmony to come. O may our imperfect songs and praises be well pleasing unto you, Lord Jesus . Unto Jesus’ Cross .............................................................................................................. John Gambold (1760-1795) John Gambold, Jr. was born in London and educated in Germany. While he was inclined towards scholarly research, the church assigned him to teach in its schools for young people, where he spent the remainder of his life.
    [Show full text]
  • 2012–2013 Season | Week 6 Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate
    2012–2013 season | Week 6 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate Table of Contents | Week 6 7 bso news 13 on display in symphony hall 14 the boston symphony orchestra 17 casts of character: the symphony statues by caroline taylor 24 this week’s program Notes on the Program 26 The Program in Brief… 27 Kaija Saariaho 37 Benjamin Britten 41 Antonín Dvorákˇ 50 To Read and Hear More… Guest Artists 55 Juanjo Mena 56 Gil Shaham 58 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information the friday preview talk on november 2 is given by bso assistant director of program publications robert kirzinger. program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO associate concertmaster Tamara Smirnova by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charlies W.
    [Show full text]
  • AM060919 Pentecost Communion
    DECATUR PRESBYTERIAN HURCH PresbytC erian Church (USA) Every child of God ~ belonging, engaging, being transformed June 9, 2019 Day of Pentecost 10:30 a.m. GATHERING AROUND THE WORD (*Please stand, as you are able) WORDS OF WELCOME Rev. Dr. Todd Speed On the Day of Pastor: The LORD be with you. Pentecost we celebrate the gift of the Holy People: And also with you. Spirit descending in a mighty rush of wind and *CALL TO WORSHIP Rev. Alex Rodgers flame to inspire the church’s proclamation Leader: A wind breathes among us, calling us to gather in the name of the Holy One. of Christ’s rising and to People: A fire burns within us, calling us to service, calling us to prayer. empower its mission and ministry to the Leader: A spirit moves around us, calling us to turn in joy toward the sorrows of the world. (See Acts 2:1-13; world. see also Joel 2:28-32.) People: Burning, breathing, Spirit of Compassion, we bring our lives to you. The Call to Worship today comes from *PROCESSIONAL HYMN 515 Dove of Peace seekerschurch.org I Come with Joy Processional Hymn: This text afWrms that Christian unity is not *PRAYER OF ADORATION AND PRAISE achievement but gift, one renewed each time we gather for the Lord’s CHORAL INTROIT Let Every Christian Pray Joseph Barnby Supper. Each of us Chancel Choir enters as an “I” and Let every Christian pray, This day and every day, Come, Holy Spirit, come! Was not the church leaves as part of “we.” we love Commissioned from above? Come, Holy Spirit come! The unadorned language of this text is [Fred Pratt Green] well matched to the simple shape-note tune CALL TO CONFESSION that sets it here.
    [Show full text]
  • The Choral Anthems of Alice Mary Smith
    THE CHORAL ANTHEMS OF ALICE MARY SMITH: PERFORMANCE EDITIONS OF THREE ANTHEMS BY A WOMAN COMPOSER IN VICTORIAN ENGLAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY CHRISTOPHER E. ELLIS DR. ANDREW CROW - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY, 2014 ACKNOWLEDGMENTS I would like to thank my lovely wife, Mandy, for her constant support during the entire doctoral program. Without her, I would have struggled to maintain my motivation to continue pursuing this degree. My two children, Camden and Anya, have also inspired me to press forward. The joy I see in their faces reminds me of the joy that I find in conducting choral music. I am truly grateful for my wonderful family. I would also like to thank all of the committee members. They each gave generously of their time to meet and guide me through the doctoral process. I would especially like to thank Dr. Crow, who kindly guided me through the steps of the dissertation process, providing insight, direction, and caution, all while pushing me to improve the final product. His advice as an instructor and mentor in matters of conducting and choral music, especially early in the degree program were greatly encouraging and instilled some needed confidence in me. Dr. Ester inspired me to be a better teacher, and proved to be an excellent model to follow as a college professor. I am more confident and effective as a teacher as a result of his teaching and advice. Dr. Karna’s friendliness and prompt communication first attracted me to the program at Ball State, and his flexibility allowed me to balance the course work and caring for my family.
    [Show full text]
  • Eton College Author(S): Dotted Crotchet Source: the Musical Times, Vol
    Eton College Author(s): Dotted Crotchet Source: The Musical Times, Vol. 49, No. 790 (Dec. 1, 1908), pp. 765-774 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907820 Accessed: 05-11-2015 10:05 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. http://www.jstor.org This content downloaded from 159.178.22.27 on Thu, 05 Nov 2015 10:05:08 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL I, TIMES.-DECEMIBER I908. 765 who foundedWinchester College and New College, mZusi ime. Oxford,the one being a nursery,so to speak, of 6b ccal the other. Thus the gentle and saintly scholar- king did for Cambridge what the eminent DECEMBER I, I908. ecclesiastic had done for Oxford. The original charterof Eton- dated October i i, I44o-decreed that the College was to consist of 'a Provost,ten Fellows, four Clerks, six Choristers, a School- ETON COLLEGE. master, twenty-fivepoor and indigent Scholars, and the same number of poor and infirmmen.' Ye distantSpires, ye antiqueTowers, To quote furtherfrom Sir Henry Maxwell Lyte's That crownthe wat'ryGlade, History of Eton College (1889): 'This scheme Wheregrateful Science stilladores be said to have united the characteristicsof a Her Henry'sholy Shade ; may And thatfrom the Brow college of secular priests,a school for boys, and ye stately an almshouse for men.
    [Show full text]
  • STABAT MATER Op. 58 Antonin Dvořák (September 8, 1841- May 1, 1904) Composed 1876 – 1877
    1 San Jose State University Doss-Johnson Doss-Johnson Doss-Johnson STABAT MATER Op. 58 Antonin Dvořák (September 8, 1841- May 1, 1904) Composed 1876 – 1877 Brigitte Doss-Johnson MUS 242 Dr. Jeffrey Benson May 20, 2016 2 A choir may have two to five concerts per year. One of those concerts may be devoted to a large work that takes over an hour to perform. At the rate of one per year, opportunities to sing and conduct large works are small. Some large works have been able to be enjoyed through representative movementsDoss-Johnson of shorter duration such as “He Watching Over Israel” from Mendolssohn’s Elijah, “Christ is Risen” from Handel’s Judas Maccabaeus, “Awake the Harp” from Haydn’s Creation, and “The Shepherd’s Farewell” from Berlioz’s L’Enfance du Christ. Dvořák’Doss-Johnsons Stabat Mater lasts near ninety minutes. Even in situations where a choir performed the entire piece, the likelihood of repeating it in ten to fifteen years would be slim. In addition to Doss-Johnsonscheduling considerations, a choir may not have the vocal stamina, access to a venue with chairs, or the level of musicianship to perform entire large works. This paper will examine how Dvořák’s Stabat Mater may be performed as a partial work and set criteria for determining what sections of the Stabat Mater would fit smaller time constraints. The benefits for this approach are increased exposure, more variety in text and composers, and broader education for the conductor, vocalist, and audience. First a history of this piece, and the text will be given.
    [Show full text]
  • Anronin DVORAK's REQUIEM an INTRODUCTION by Thomas Sheets
    · ........................................................................ ANrONIN DVORAK'S REQUIEM AN INTRODUCTION by Thomas Sheets This article coincides with the expressive manner. The harmonic had been performed in England centennial of the Requiem's language reflects the Czecho­ previously, it was apparently the premiere, October 9, 1891. slovakian composer's well­ London performance of his Stabat documented nationalistic style, but a Mater in March of 1883, ,conducted HE REALM OF NINE­ look beneath the surface reveals the by Joseph Barnby, which galvanized teenth-century musical influence of Wagner, whom Dvorak the interest of the English musical settings of the Roman had revered since his youth. establishment. Catholic liturgy Missa pro The composer's music, well-known Dvorak made his first visit to dejunctis includes a broad in his own country and central England in March of 1884. It was, range of in Dvorak's own words, a compositions by great success, and he many prominent correctly predicted that it composers. Considered in would result in a long­ terms of musical grandeur, lasting musical relationship: this genre is clearly dominated by the Verdi "As soon as I appeared, I Requiem; however, there was received by the are several other settings audience, which consisted which deserve attention. of 12,000 people, with Among the lesser-known stormy applause. From works of this repertoire - item to item the general which includes compositions enthusiasm grew, and at by Donizetti, Bruckner, the end the applause was Liszt, and Schumann - is a so great that I had monumental work by repeatedly to thank the Antonin Dvorak, his audience. At the same time Requiem, opus 89.
    [Show full text]
  • Stabat Mater Performing Arts, Eugene, Oregon, USA Art Director: Lutz Seifert Op
    3.K ANTONIN DVORˇÁK (1841–1904) Produzent / Producer: Karen Wilson Toningenieur / Sound engineer: Don Harder, Steve Hangebrauk (Assistenz / Assistant) Aufnahme / Recording: 8.–11. Juli 1995; Silva Concert Hall in the Hult Center for the Stabat Mater Performing Arts, Eugene, Oregon, USA Art Director: Lutz Seifert op. 58 Redaktion / Editing: Katharina Fritz Einführungstext / Programme notes: Nick Strimple Marina Shaguch, Sopran Deutsche Übersetzung: Almut Laing Ingeborg Danz, Alt Höhe: 120 mm Design: Zeichen D, Ann-Marie Falk James Taylor, Tenor Cover: Flämische Schule (15. Jahrhundert), Mater Dolorosa Groeningemuseum, Thomas Quasthoff, Bass Bruges, Belgium / Bridgeman Oregon Bach Festival Orchestra und Chorus Eine große Auswahl von über 800 Klassik-CDs und DVDs finden Sie bei Helmuth Rilling hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Download-Möglichkeiten und Künstlerinformationen. E-Mail-Kontakt: [email protected] Enjoy a huge selection of more than 800 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. E-mail contact: [email protected] 98.006_Vokal|Booklet_© 3.indd 2-3 Breite: 121 mm Breite: 121 mm 03.12.12 15:54 CD 1 Stabat Mater op. 58 CD 2 Stabat Mater op. 58 Solisten, Chor Chor Andante con moto: Stabat mater dolorosa 11 20:46 Andante con moto quasi allegretto: Tui nati vulnerati 11 4:33 Solisten Tenor, Chor Andante sostenuto: Quis est homo qui non fleret 12 11:23 Andante con moto: Fac me vere tecum flere
    [Show full text]
  • University of Cincinnati
    U UNIVERSITY OF CINCINNATI Date: I, , hereby submit this original work as part of the requirements for the degree of: in It is entitled: Student Signature: This work and its defense approved by: Committee Chair: Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: A Conductor’s Guide to the Masses of Charles Gounod A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Ensembles and Conducting Division of the College-Conservatory of Music August 19, 2009 by Dirk Johnson 100 Joseph Street Charleston, WV 25303 [email protected] B.M., Brigham Young University, 2002 M.M., Brigham Young University, 2006 Committee Chair: Earl Rivers, DMA ABSTRACT Sacred music holds a prominent place in the overall output of the French Romantic composer, Charles François Gounod. Despite this emphasis on sacred genres, Gounod is much better known as a master of French opera than as a composer of religious works. Likewise, Gounod’s choral music, the majority of which is sacred, remains largely unfamiliar. His sacred choral music includes sixty-five motets, six Anglican anthems, three oratorios, four sacred cantatas, nineteen French devotional partsongs, and twenty-one masses. This document examines Gounod’s twenty-one mass settings to clarify the importance of religious choral music in his creative activities while identifying qualities of his sacred compositional style.
    [Show full text]