DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. He composed 26 vocal pieces and 6 keyboard sonatas, the latter of which were published in Leipzig in 1788. Unto Jesus’ Cross was edited from manuscripts in the Herbst Collection and Salem Congregation Collection. Unto Jesus’ cross I’m now retiring, at my Savior’s pierced feet; dying love a grateful sense inspiring, bathed in tears, I humbly greet. May I never lose this blest sensation, but in spirit fix my happy station on those heights so dear to me, Golgatha, Gethsemane. The words of Cross of Jesus, Cross of Sorrow were written by Church of England clergyman and author William J. S. Simpson (1866); the music is by English composer, organist, and writer John Stainer (1887). None Among Us ........................................................................................................... Johannes Herbst (1735-1812) Johannes Herbst was born in Germany, and joined the Moravian Church at age 13. He served as a bookkeeper, teacher, and organist, coming to America in 1785 to serve as pastor in Lancaster and Lititz, Pennsylvania. In his spare time he wrote over 300 sacred vocal pieces for use in Moravian worship, and copied a huge collection of anthems and many larger works for his own private collection, which has become the source of many modern editions of Moravian music. He was consecrated a bishop in May of 1811; was called to Salem; and served here for seven months before being called to the more immediate presence of the Savior in January of 1812. He is buried in God’s Acre in Salem. None Among Us was evidently a well-loved anthem among the 18th and 19th century Moravians, as it exists in the congregation music collections from Salem, Bethlehem, and Lititz. The text is from Romans 14:7-8. None among us lives to self; none among us dies to self. If we live, we live unto the Lord. If we die, we die unto the Lord. Whether we live, therefore, or die, still, we are the Lord’s. Hail to You, O Life Now Fading .......................................................................... Johann Friedrich Peter (1746-1813) Johann Friedrich Peter was born in the Netherlands to missionary parents, and was educated there and in Germany. He came to America in 1770, where he soon began composing music. He served in Nazareth, Bethlehem, and Lititz, and in Salem from 1780-1790, where his leadership established the strong musical heritage that still thrives here. His many compositions have earned him the reputation as the most gifted Moravian composer in America. Hail to you, O Life now fading; hail to you within your tomb. By your wounds your strength conveying, from your griefs our life will bloom. Lost in wonder we draw near and adore with holy fear, O Redeemer! For your suffering, take our joyful hearts as offering! Requiem ......................................................................................................................................... John V. Mochnick John Mochnick, a member of Home Moravian Church, is a well-regarded composer, conductor, and jazz performer, with a teaching career including time at Wake Forest University and Southern Illinois University. The Requiem was written in memory of Steven Rierson, son of Robert and Annalise Rierson. Most of the piece is written over a basso ostinato (depicting a funeral march); the bass part changes at the final statement of the theme as the harmonies expand. The string introduction and interlude are based on the hymn Lead Us, Heavenly Father, Lead Us , and the concluding Dona Nobis Pacem text, not a part of the ancient liturgical introit, was added to provide additional comfort for the grieving. Rest eternal grant to them, O Lord, and let perpetual light shine upon them. A hymn befits thee, O God, in Zion, and to thee a vow shall be fulfilled in Jerusalem. Hear my prayer, for unto thee all flesh shall come. Grant us peace. God Was in Jesus ................................................................................................................................ Johannes Herbst This anthem was edited from Herbst’s own manuscript copy, and was written for Great Sabbath of 1782. The text is from 2 Corinthians 5:19 and a hymn by Johann Rist. God was in Jesus, and he reconciled the world to himself. Thousand, thousand times to thee, dearest Lord, we offer thanks. The Music of the Service Insert:Great Sabbath Service.42998 3/17/16 4:22 PM Page 2 Verse 1 of For Our Transgressions was written by Moravian bishop, administrator and composer Christian I. Latrobe (1758-1836), and verse 2 by German Lutheran pastor Paul Gerhardt (1607-1676; translator unidentified). The two verses were put together for the first time in the 1969 Hymnal and Liturgies of the Moravian Church . The tune dates from the early 18th century in Herrnhut. Hail to You, O Life Now Fading was also a well-loved anthem, with parts surviving in the congregation collections from Salem, Bethlehem, and Nazareth. The publication of this anthem is dedicated to the choirs and directors of the Salem Congregation churches for their Great Sabbath service. Surely He Has Borne Our Sorrows ...................................................................................................... Johannes Herbst This anthem was edited from Herbst’s own copy, and also from parts in the Salem Congregation collection. It was originally composed for Great Sabbath of 1775. Deeply moving in this anthem is Herbst’s setting of “the blows were laid on him”, with the intense repeated chords in the orchestra, so different in style than the rest of the piece. Surely he has borne our sorrows; upon himself he has taken our griefs. He was for our iniquities chastised and wounded, and for our transgressions he was afflicted. The blows were laid on him. Through him our peace was given, and from all his sorrows we have received his grace. Till at Last My Life Shall End ........................................................................ Francis Florentine Hagen (1815-1907) Francis Florentine Hagen was born and grew up in Salem, and went to Moravian Theological Seminary. He served as a pastor and teacher, but was always active in music, and his musical style reflects 18th-century Moravian roots influenced by 19th-century romanticism and gospel music styles. In addition to his well-known tune for Morning Star, he composed anthems, organ works, piano works, and songs, along with one of the earliest orchestral overtures written by an American composer. Till At Last My Life Shall End was edited from copies in the Salem Congregation collection and a manuscript book in Hagen’s own hand. The text is by Christian Gregor. The first two-thirds of the anthem is one long sentence, where the writer pledges to honor, by faith, Jesus’ passion, and to praise him in spirit until being called to the Savior’s more immediate presence. Till at last my life shall end, and my dearest Savior lays my body to its rest, as his own was buried, and until my eyes can, in the eternal pleasures which have been prepared for me, feast on him forever: I will honor still unseen all his wondrous passion, and exalt his blood and wounds, and my heart there nourish. Full of faith will I ascend to my Lord in spirit, and above with joyful voice praise and sing his glory. He is worthy without end, that in countless anthems, both in heaven and on earth, all his creatures praise him. The text to Sleep Thy Last Sleep was written by Anglican clergyman and tutor Edward Arthur Dayman (1807- 1890), and the music by English church organist and conductor Joseph Barnby (1838-1896). The hymn was introduced to the American Moravians in the Offices of Worship and Hymnal of 1891. The hymn is traditionally played at the funerals of Moravian clergy and musicians. Sleep thy last sleep, free from care and sorrow; rest, where none weep, till the eternal morrow; though dark waves roll o’er the silent river, thy fainting soul Jesus will deliver. In Slumber ................................................................................................................... Christian Gregor (1723-1801) Christian Gregor was born in Silesia and joined the Moravian Church when he was seventeen. He served the church as organist, minister, and church administrator, visiting Pennsylvania and North Carolina in that capacity in 1770-1772. He was consecrated a bishop in 1789. Gregor was instrumental in Moravian liturgical and musical development and composed several hundred musical works.
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]
  • 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.
    [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]