Sunday 2Nd September Decani Week Trinity 14 11Am Choral Eucharist

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Sunday 2nd September Decani week Trinity 14 11am Choral Eucharist Parish Choir Processional Hymn O Jesus I have promised 420 Setting Ireland in C Psalm 45: 1-3, 7-10 Gradual Hymn Breathe on me 342 (1st tune) Offertory Hymn For the beauty of the earth 285 (1st tune) Communion Hymn 328 Motet Cantate Domino - Pitoni Recessional Hymn City of God 346 5pm Choral Evensong Parish choir Hymn God is Love 364 (Tune Abbot’s Leigh) Responses Rose Psalm 15 Canticles Sumsion in G Anthem Let all the world - Vaughan Williams Hymn As now the sun's declining rays 242 Sunday 9th September Cantoris week Trinity 15 11am Choral Eucharist Parish Choir Processional Hymn All people that on earth 334 (RVW) Setting Sumsion in F Psalm 125 Gradual Hymn When morning gilds the skies 473 Offertory Hymn Immortal love 378 Communion Hymn 308 Anthem God be in my head - Rutter Recessional Hymn Thou whose almighty word 466 5pm Choral Evensong Chamber Choir Hymn O for a thousand tongues to sing 415 (Tune 1) Responses Ayleward Psalm 146 Canticles Stanford in C Anthem O nata lux - Tallis Hymn Lord enthroned 296 Sunday 16th September Decani week Trinity 16 11am Choral Eucharist Parish Choir Processional Hymn Christ triumphant ever reigning (separate sheet) Setting Darke in E Psalm 19 Gradual Hymn Christ whose glory 234 Offertory Hymn I danced in the morning 375 Communion Hymn 272 Anthem Lord, for thy tender mercy’s sake - Farrant Recessional Hymn Praise to the holiest 439 (Gerontius) 5pm Choral Evensong Choral Scholars Hymn O blest creator of the night 150 Responses Tallis Psalm 116: 1-8 Canticles Dyson in C minor Motet In Pace - Lassus Hymn Take up thy cross 76 Sunday 23rd September Cantoris week Trinity 17 11am Choral Eucharist Parish choir Processional Hymn All my hope 333 Setting Jackson in G Psalm 1 Gradual Hymn O thou who camest from above 431 Offertory Hymn Immortal, invisible 377 Communion Hymn 305 Motet Beati Quorum Via - Stanford Recessional Hymn All hail the power 332 5pm Choral Evensong Parish Men Hymn Christ whose Glory 234 Responses Rose Psalm 54 Canticles Moore Anthem The Call - Vaughan Williams Hymn The day thou gavest 252 Sunday 30th September Cantoris week Trinity 18 11am Choral Eucharist Parish choir Processional Hymn And did those feet 488 Setting Haydn Little organ mass Psalm 124 Gradual Hymn Father of heaven 358 Offertory Hymn Lord of all hopefulness 239 Communion Hymn 275 Anthem Jesu, joy of man’s desiring - Bach Recessional Hymn Praise my soul 366 5pm Compline Parish Men .

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Choral Evensong
Summer 2017 Service & Music List Sunday 2nd July The Third Sunday after Trinity Thursday 6th July Decani Week 11.05am Eucharist said in Saint Stephen’s Chapel 9.15am Eucharist said in the Lady Chapel 5.30pm Choral Evensong sung by the Georgia Boys’ Choir 11 .15 am Choral Eucharist sung by the Maryland State Boy choir Canticles Brewer in D Responses: Hancock Setting Piccolo: Canterbury Mass Anthem All in the April evening Roberton Psalm: 34 vv 1 -10 Gradual O sing joyfully Batten Motet Ave Verum corpus Byrd Friday 7th July Preacher The Revd T.S. Forster, B.A., B.Th., M.Phil. 5.30pm Choral Evensong sung by the Georgia Boys’ Choir Prebendary of Yagoe Hymns: 334, 272, 475 3.15pm Choral Evensong sung by the Maryland State Boy choir Canticles Kelly in C Responses: Hancock Anthem Like as the hart Howells Psalm: 37 vv 1 -11 Canticle s Stanford in C Responses: Quinn An them Hail gladdening light Wood Psalm: 12 Saturday 8th July Voluntary Preludium in G Buxtehude Hymns: 483 (t.77), 252 11.05am Eucharist said in Saint Stephen’s Chapel rd Monday 3 July Saint Thomas th 5.30pm Choral Evensong sung by the Georgia Boys’ Choir Sunday 9 July The Fourth Sunday after Trinity Cantoris Week Canticles Dyson in D Re sponses: Hancock Anthem The deer’s cry Pärt Psalm: 18 vv 1 -16 9.15am Eucharist said in the Lady Chapel 11.15am Choral Eucharist sung by the Georgia Boys’ Choir Tuesday 4th July Setting Missa de Angelis 5.30pm Choral Evensong sung by the Georgia Boys’ Choir Gradual Os Justi Bruckner Motet Faire is th e Heaven Harris Canticles Hogan in D b Responses: Hancock Preacher The Revd W.P.
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The 2007 Edition Is Available in PDF Form By
VOX The new Chapter Secretary: Nick Gale [email protected] The Academy of St Cecilia Patrons: The Most Hon. The Marquess of Londonderry Dean and Education Advisor: Sir Peter Maxwell Davies CBE John McIntosh OBE Vice Patrons: James Bowman CBE, Naji Hakim, Monica Huggett [email protected] From the master Treasurer: Paula Chandler [email protected] elcome to the 2007 edition of Vox - the mouthpiece of the Academy of St Cecilia. Registrar: Jonathan Lycett We always welcome contributions from our members - [email protected] indeed without them Vox would not exist. In this edition we announce our restructured Chapter and its new members; feature a major article on Thomas Tallis Director of Communications: whose 500th anniversay falls at this time; and we Alistair Dixon review the Academy’s most major event to date, the [email protected] chant day held in June 2006. Our new address is: Composer in Residence: Nicholas O'Neill The Academy of St Cecilia Email: [email protected] C/o Music Department [email protected] Cathedral House Westminster Bridge Road Web site: LONDON SE1 7HY www.academyofsaintcecilia.com Archivist: Graham Hawkes Tel: 020 8265 6703 [email protected] ~ Page 1 ~ ~ Page 2 ~ Advisors to the Academy Thomas Tallis (c.1505 - 1585) Alistair Dixon, a member of the Chapter of the Academy, spent ten years studying and performing the music of Thomas Tallis. In 2005 Academic Advisor: he released the last in the series of recordings with his choir, Chapelle Dr Reinhard Strohm PhD (KU Berlin) FBA HonFASC. Heather Professor of Music Oxford University du Roi, of the Complete Works of Thomas Tallis in nine volumes.
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Music List – May 2021
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Some Tho:Ughts on Antiphonal Singing
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The Plight of Anglican Church Music in the Western Cape: Three Case Studies
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Choral Evensong for the Fifth Sunday of Easter
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Robert Shay (University of Missouri)
Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper.
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The Word of God St. Patrick's Episcopal Church
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18.06.24-18.07.07
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Services and Music List
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View PDF Editionarrow Forward
THE DIAPASON SEPTEMBER 2013 The Episcopal Church of the Good Shepherd Lexington, Kentucky Cover feature on pages 30–32 CHRISTOPHER HOULIHAN (The American Organist, 2012) (The Diapason, 2013) THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 9, In this issue Whole No. 1246 This month’s issue of The Diapason includes Maxim SEPTEMBER 2013 Serebrennikov’s analysis of Baroque fugal improvisation, a Established in 1909 process that has not been widely explored in English-language Joyce Robinson ISSN 0012-2378 theoretical literature. Serebrennikov demonstrates that the 847/391-1044; [email protected] improvisation of fugue grew out of fi gured bass, often using a www.TheDiapason.com An International Monthly Devoted to the Organ, strophic-form compositional model. the Harpsichord, Carillon, and Church Music We also present Steven Egler’s interview of well-known in our fi eld. Each year we publish the Directory and mail it composer Robert J. Powell, whose music many of us have with the January issue of The Diapason. It includes complete played. Powell was interviewed during weekend festivities that information on providers of products and services related to CONTENTS celebrated both his music and his 80th birthday, and discusses the organ and all facets of church music. The deadline for composition, working relationships, and balancing musical advertising in the 2014 Resource Directory is November 1. To FEATURES styles. John Bishop’s latest installment of “In the wind . .” reserve advertising space, please send an e-mail to advertis- A Conversation with Robert Powell Celebrating his 80th birthday concerns leaps in technology—and art—that had their roots in ing sales manager Jerome Butera at [email protected], or by Steven Egler 20 traditional techniques and styles, how the past can enhance the phone him at 847/391-1045.
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