DOCSLIB.ORG

England's Phœnix:William Byrd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
England's Phœnix:William Byrd England’s Phœnix:William Byrd divine music for choir may 21 & 22, 2016 akron & cleveland QClevelanduire Ross W. Duffin Artistic Director This is the final concert of Quire Cleveland’s 8th season. Founded in 2008, we hoped to fill a gap in the rich cultural community of Northeast Ohio, which had lacked an independent professional chorus for more than a decade. From the start, Quire has been embraced by audience and critics alike and, for that, we thank YOU! It has been our privilege to sing for you from Cleveland Heights to Medina to Akron to Erie, PA. We are especially fortunate to sing in the glorious acoustics of Historic St. Peter’s, the Cathedral of St. John the Evangelist, and Trinity Cathedral in downtown Cleveland, as well as St. Bernard Catholic Church in downtown Akron, and many other inspiring venues. In Quire Cleveland programs, you get to hear the earliest AND the latest in choral music! We’ve presented many world premieres of exquisite and fascinating music that has lain dormant for centuries, reconstructed and/or edited for Quire by our artistic director, Ross Duffin. We’re excited to announce our 9th season in 2016–17*: September 30–October 1, 2016 Monteverdi: Mantuan Masterpieces December 2–4, 2016 Carols for Quire from the Old & New Worlds (8th annual) April 9 & tba, 2017 St. Matthew Passion by Richard Davy (from the Eton Choirbook) *Dates & programs are subject to change. For the most up-to-date information, visit quirecleveland.org and join our emailing list. In addition to coming to our concerts, we invite YOU to join in the Quire — sing in the shower; hum around the house; croon in the car; warble at work; yodel in the yard; belt at the bar; harmonize with humanity — and always keep a song in your heart! Beverly Simmons Executive Director When you shop on smile.amazon.com, select Quire Cleveland as your charitable organization and Amazon will donate 0.5% of the price of your eligible AmazonSmile purchases to support our programs. QClevelanduire Ross W. Duffin, Artistic Director PROGRAM England’s Phœnix: William Byrd (c.1540–1623) May 21, 2016 May 22, 2016 St. Bernard Catholic Church, Akron Historic St. Peter Church, Cleveland Please hold your applause until the end of each half. Sing joyfully BL MS Add. 29372–7 (1616) Ne irascaris — Civitas sancti tui Cantiones Sacræ I (1589) Kyrie eleison from the Mass for Five Voices Printed without TP (c.1595) Venite exultemus Gradualia II (1607) Exalt thyself, O God Worcester Cathedral Library MS A 3.3 Gloria from the Mass for Five Voices INTERMISSION Credo from the Mass for Five Voices In resurrectione tua Cantiones Sacræ I (1589) Tollite portas Gradualia I (1605) Sanctus from the Mass for Five Voices Hæc dicit Dominus Cantiones Sacræ II (1591) Ave verum corpus Gradualia I (1605) Agnus dei from the Mass for Five Voices ABOUT QUIRE CLEVELAND Quire Cleveland is a professional chamber choir established in 2008 to explore the vast and timeless repertoire of choral music over the last 9 centuries. Quire’s programs introduce audiences to music not heard in the modern era — including modern premieres of works newly discovered or reconstructed — breathing life into the music of our shared heritage. With highly-trained professional musicians — who collectively represent 500 years of choral singing — the ensemble has earned both popular and critical acclaim. Quire contributes to the artistic life of our community in unique ways, including collaborations with such organizations as the Cleveland Museum of Art, Cleveland Composers Guild, Music & Art at Trinity, CityMusic Cleveland, The Cleveland Foundation, WCLV, as well as Summit Choral Society and other choruses. Now in its eighth season, Quire Cleveland has presented more than 50 concerts and produced five CDs of music from the 12th to the 21st centuries. Artistic Director Ross W. Duffin creates unique editions for Quire, and plans programs that are appealing and accessible. In addition to live and recorded broadcasts on classical radio, Quire recordings have been included in the Oxford Recorded Anthology of Western Music (OUP) and Listening to Music (Schirmer). An education program, initiated in 2014, offers workshops and lectures. With concert videos posted on YouTube, Quire Cleveland’s reach has indeed been world-wide, attracting over 485,000 views from 208 countries. Soprano: Margaret Carpenter Haigh, Katie Cross, Donna Fagerhaug, Angela Mitchell, Elena Mullins, Lisa Rainsong Alto: Kerry McCarthy, John McElliott, Joseph Schlesinger, Beverly Simmons, Jay White Tenor: Evan Bescan, Kevin Foster, Peter Hampton, Bryan Munch, Corey Shotwell, Tyler Skidmore, Brian Wentzel Bass: Ian Crane, José Gotera, Nicolas Haigh, Nathan Longnecker, Michael McKay, Daniel Singer Thank you so much for coming! Performing for you gives us joy in singing. But we have these small requests: • Please turn off cell phones and other noisemakers. • Please refrain from photography and audio/video recording. • If you’re suffering from a cough, DO help yourself to the cough drops available from the ushers and DON’T sit near a microphone. Quire’s founding Artistic Director, Ross W. Duffin, is an award-winning scholar, specializing in the performance practice of early music. Director since 1978 of the nationally recognized Historical Performance Practice Program at Case Western Reserve University, where he is Fynette H. Kulas Professor of Music, he has trained and nurtured some of today’s leading performers and researchers in the field. His weekly radio show, Micrologus: Exploring the World of Early Music, was broadcast on 140 NPR stations throughout the United States. His books, How Equal Temperament Ruined Harmony (and Why You Should Care) and Shakespeare’s Songbook, have gained international renown. In addition to many of the works on this concert, Ross has edited Cantiones Sacræ: Madrigalian Motets from Jacobean England (A-R Editions), which Quire recorded complete as Madrigalian Motets (qc103); A Josquin Anthology; the St. Matthew Passion by Richard Davy, which will be featured in Quire’s 2016–17 season; and A Performer’s Guide to Medieval Music. He has sung with Apollo’s Fire since its inception in 1992. Guest Lecturer & Artist Kerry McCarthy is a musician and author known for her work on early English music. Her recent book about William Byrd (published by Oxford University Press in 2013) won the ASCAP Nicolas Slonimsky Award for musical biography of the year. It was celebrated and reviewed in the London Review of Books (“intelligent and affectionate biography”), the New York Review of Books (“Kerry McCarthy’s fine, thoughtful new book ... will now be the starting point for all enthusiasts for [Byrd’s] music”), and other journals of note. Kerry received a B.A. from Reed College and a Ph.D. from Stanford University. She spent eleven years as professor of music history at Duke University in North Carolina. In 2014, she returned to her home town of Portland, Oregon, where she enjoys a wonderful variety of singing gigs. Her current projects include a new book about the composer Thomas Tallis and a study of the motet in 16th-century England. OCT 15 & 16, 2016 MARCH 11 & 12, 2017 Songs Without Machaut’s Remede Words de Fortune 2016 / 17 JAN 20, 2017 APRIL 8 & 9, 2017 8 TH SEASON Mozart in Paris Fated Lovers TICKETS ON SALE IN AUGUST | DETAILS AT WWW.LESDELICES.ORG NOTES William Byrd loved the sound of the human voice. He wrote in 1588 that “there is not any Musicke of Instruments whatsoever comparable to that which is made of the voyces of Men, where the voyces are good, and the same well sorted and ordered.” This concert offers a broad selection of Byrd’s vocal music: Latin and English, public and private, melancholy and joyful. Byrd’s Mass for Five Voices is the golden thread running through our program. It is surprising that anyone was writing this kind of thing at all in Elizabethan England. Catholic worship was illegal there, punishable by heavy fines at best and gruesome execution at worst. Byrd knew the risks he was taking when he composed music for it. For many other Renaissance composers, writing masses was the bread and butter of everyday musical life. (We have a letter from the prolific Palestrina, reassuring one of his patrons that he could produce one every ten days.) Byrd took a different approach. He wrote only three masses, one each for three, four, and five voices. Unlike his European colleagues, he did not build them on pre-existing materials such as popular songs or chant melodies. He never even gave them names—or, if he did, the names have been long lost. He brought his own unique approach to each movement in the five-voice mass, from the beautifully quirky setting of the Creed to the emotional intensity of the Agnus Dei. In the 16th century, the Agnus was generally treated as a grand finale, a place to pile on extra voices and show off technical skill. Here it is a poignant appeal for mercy and peace, two things that were certainly needed in Byrd’s day. Alongside his three masses, Byrd also wrote a large selection of music for different times and seasons of the church year. Tollite portas is a piece for Advent, a setting of the “Lift up your heads, O ye gates” so familiar from Handel’s Messiah. It offers some perfect examples of Byrd’s own principle, as reported by his loyal student Thomas Morley: “You must haue a care that when your matter signifieth ascending, high heauen, and such like, you make your musicke ascend: for it will be thought a great absurditie to talke of heauen and point downwarde to the earth.” Ave verum corpus, from the same collection of music, is a traditional rhyming prayer in honor of the Eucharist.
Load more

Recommended publications
  • Jan Dismas Zelenka's Missae Ultimae
    Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) Item Type text; Electronic Dissertation Authors Cho, Hyunjin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 20:42:28 Link to Item http://hdl.handle.net/10150/195489 JAN DISMAS ZELENKA‟S MISSA DEI PATRIS (1740): THE USE OF STILE MISTO IN MISSA DEI PATRIS (ZWV 19) by HyunJin Cho ______________________ Copyright © HyunJin Cho 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by HyunJin Cho entitled Jan Dismas Zelenka‟s Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts ___________________________________________________ Date: 07/16/2010 Bruce Chamberlain ___________________________________________________ Date: 07/16/2010 Elizabeth Schauer ___________________________________________________ Date: 07/16/2010 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate‟s submission of the final copy of the document to the Graduate College.
    [Show full text]
  • 20 Greatest Gloria Hits Vol. 1 Bb Trumpet 3 a 38
    20 Greatest Gloria Hits Volume 1 Trumpet (B) & Piano / Organ Arr.: Colette Mourey EMR 25110 VOLUME 1 VOLUME 2 1. Gloria Cantata BWV 191 (Bach) 11. Gloria The Heavens Declare… (Macpherson) 2. Gloria Missa Solemnis (Beethoven) 12. Gloria Ehre sei Gott in der Höhe (Mendelssohn) 3. Gloria Mass in Fm (Bruckner) 13. Gloria Coronation Mass (Mozart) 4. Gloria Messe de Minuit (Charpentier) 14. Gloria Mass Papae Marcelli (Palestrina) 5. Gloria Mass in A (Franck) 15. Gloria Missa di Gloria (Puccini) 6. Gloria Sacrae Symphoniae (Gabrieli) 16. Gloria (Purcell) 7. Gloria Mass N° 2 in G (Gounod) 17. Gloria Missa N° 2 in G (Schubert) 8. Gloria (Grigny) 18. Gloria In Excelsis Deo (Traditional) 9. Gloria (Händel) 19. Gloria Gloria in D (Vivaldi) 10. Gloria 1st Mass in B (Haydn) 20. Glory To Thee, My Good (Vogrich) Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch 1. Gloria | Photocopying is illegal! from Cantata BWV 191 (excerpts) Johann Sebastian Bach (1685-1750) Allegro q = 152-160 Arr.: Colette Mourey (original 3/8) Trumpet in B b leggiero Organ / Piano mp 5 f 10 15 f EMR 25110 © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED www.reift.ch 2. Gloria 7 | from Missa Solemnis (excerpts) Photocopying is illegal! Ludwig Van Beethoven (1770-1827) Arr.: Colette Mourey Allegro vivace q = 160 Trumpet in B b ff Organ / Piano f 6 11 ff 16 ff ff ff EMR 25110 www.reift.ch 12 3.
    [Show full text]
  • The Book of Common Prayer
    The Book of Common Prayer and Administration of the Sacraments and Other Rites and Ceremonies of the Church Together with The Psalter or Psalms of David According to the use of The Episcopal Church Church Publishing Incorporated, New York Certificate I certify that this edition of The Book of Common Prayer has been compared with a certified copy of the Standard Book, as the Canon directs, and that it conforms thereto. Gregory Michael Howe Custodian of the Standard Book of Common Prayer January, 2007 Table of Contents The Ratification of the Book of Common Prayer 8 The Preface 9 Concerning the Service of the Church 13 The Calendar of the Church Year 15 The Daily Office Daily Morning Prayer: Rite One 37 Daily Evening Prayer: Rite One 61 Daily Morning Prayer: Rite Two 75 Noonday Prayer 103 Order of Worship for the Evening 108 Daily Evening Prayer: Rite Two 115 Compline 127 Daily Devotions for Individuals and Families 137 Table of Suggested Canticles 144 The Great Litany 148 The Collects: Traditional Seasons of the Year 159 Holy Days 185 Common of Saints 195 Various Occasions 199 The Collects: Contemporary Seasons of the Year 211 Holy Days 237 Common of Saints 246 Various Occasions 251 Proper Liturgies for Special Days Ash Wednesday 264 Palm Sunday 270 Maundy Thursday 274 Good Friday 276 Holy Saturday 283 The Great Vigil of Easter 285 Holy Baptism 299 The Holy Eucharist An Exhortation 316 A Penitential Order: Rite One 319 The Holy Eucharist: Rite One 323 A Penitential Order: Rite Two 351 The Holy Eucharist: Rite Two 355 Prayers of the People
    [Show full text]
  • The Nativity of Our Lord Jesus Christ Festival Holy Eucharist Dear Friends, Merry Christmas! We’Re So Glad You’Ve Joined Us Here for a Cathedral Christmas
    The Nativity of our Lord Jesus Christ festival holy eucharist Dear friends, Merry Christmas! We’re so glad you’ve joined us here for a Cathedral Christmas. Please know that the doors of this Cathedral are always open to you, and that everyone has a home here in this house of prayer for all people. During this busy time of year, I sometimes wonder what draws people to church, especially for those who rarely or never go to church for the rest of the year. There are so many demands on our time, and the places we go or the people we visit say something about what’s important. So why do churches tug on our heartstrings at this time of year? The Christmas story, at its core, is about that moment in time when God chose to dwell among us. In the church, we call it the Incarnation. Christmas is about that moment when God came closest to us, when the veil between heaven and earth slipped away and we could see and touch the very face of God. I think churches are the same way, or at least we try to be. In this glorious Cathedral, where the majestic space draws our eyes toward Heaven, we get a glimpse of that moment when God comes close. If you pause for a moment, you can feel the same sense of the incarnate God, Emmanuel, God with us. This is a place where God feels close. Maybe that’s why you’re here, in this Cathedral, this Christmas. However you got here or whatever drew you here, thank you for letting us share that experience with you, and for joining us to encounter God anew at Christmas.
    [Show full text]
  • Download CD Booklet
    ASS of the M HILDREN Cand other sacred music by JOHN RUTTER 2 3 institution of special significance to me. I will sing with the spirit (1994) is dedicated to MASS of the CHILDREN and other sacred music another institution, the Royal School of Church Music, who requested a simple anthem to serve as a theme song for their anniversary appeal. Mass of the Children was written in late 2002 and early 2003. The occasion of its first The final three pieces on the album form a group insofar as they are all for choir without performance in February 2003 was a concert in New York’s Carnegie Hall involving orchestra and on a more demanding level chorally. Musica Dei donum (1998), which has children’s choir, adult choir, soprano and baritone soloists, and orchestra. I had always wanted an important part for solo flute, is a setting of an anonymous text first set by Lassus in 1594 to write a work combining children’s choir with adult performers, not only because I find the that speaks of the power of music to draw, to soothe, and to uplift. Originally written for the sound of children’s voices irresistible but also because I wanted to repay a debt. As a boy choir of Clare College, this piece was subsequently included in A Garland for Linda, a cycle of soprano in my school choir I had been thrilled whenever our choir took part in adult works nine choral pieces by different composers in memory of Linda McCartney. I my Best- with children’s choir parts, such as the Mahler Third Symphony and the Britten War Requiem, Beloved’s am (2000) was written for the BBC Singers and first performed by them at a con- and years later I remembered this experience and wanted to write something that would give cert in Canterbury Cathedral on the theme of the seven sacraments.
    [Show full text]
  • MAST03- Festive Cantatas
    the artists programme musical direction & violin soloist Antonio Vivaldi Monica Huggett (1678-1741) oboe trumpet Debra Nagy Kris Kwapis Lætatus Sum rv 607 Concerto for Oboe and Trumpet in D major rv 563 CHORUS ORCHESTRA Debra Nagy oboe soloist soprano violin i Kris Kwapis trumpet soloist Linda Melsted Kathleen Allan 1. Allegro Emily Cheung Christi Meyers Angela Malmberg 2. Grave Arwen Myers 3. Allegro Margaret Obenza violin ii alto Chloe Meyers (principal second) Magnificat rv 610 Danielle Sampson Chloe Kim Jane Long 1. Magnificat Elyssa Lefurgey-Smith 2. Et exultavit Catherine Webster Noémy Gagnon-Lafrenais Quia respexit (Jane Long soprano; Debi Wong alto) tenor viola 3. Et misericordia Liz Hamel Mieka Michaux 4. Fecit potentiam Laura Pudwell Joanna Hood 5. Deposuit potentes Vicki St. Pierre 6. cello Esurientes implevit bass 7. Suscepit Israel Beiliang Zhu Christina Stelmacovich 8. Sicut locutus Marina Hasselberg Laura Beckel Thoreson 9. Gloria Debi Wong violone Natalie Mackie interval chorus master bassoon Vicki St. Pierre Katrina Russell ♭ lute Concerto for Oboe and Violin in B major rv 548 Deborah Fox Debra Nagy oboe soloist violin soloist organ & harpsichord Monica Huggett Christina Hutten 1. Allegro 2. Largo supported by 3. Allegro Bryan & Gail Atkins and 589 Anona Thorne & Takao Tanabe Gloria rv 1. Gloria in excelsis Deo 2. Et in terra pax 3. Laudamus te (Arwen Myers soprano i ; Danielle Sampson soprano ii) 4. Gratias agimus tibi In association with 5. Propter magnam gloriam Chan Endowment Fund at the University of 6. Domine Deus (Arwen Myers soprano) British Columbia 7. Domine, Fili unigenite Pre-concert chat at 6:45 with host Matthew White: 8.
    [Show full text]
  • VIVALDI Gloria in D Major, RV 589 (C
    2017 2018 SEASON Nicholas McGegan, conductor Friday, December 1, 2017 at 8:00PM Sherezade Panthaki, soprano Saturday, December 2, 2017 at 8:00PM Leann Schuering, soprano Jay Carter, countertenor Thomas Jöstlein and Christopher Dwyer, horns Erin Schreiber and Melody Lee, violins Bjorn Ranheim, cello St. Louis Symphony Chorus Amy Kaiser, director VIVALDI Concerto for Strings in C major, RV 114 (c. 1718) (1678–1741) Allegro – Adagio – Ciaccona VIVALDI “Gelosia, tu già rendi l’alma mia” from Ottone in villa (1713) Sherezade Panthaki, soprano “L’ombre, l’aure, e ancora il rio” from Ottone in villa Sherezade Panthaki, soprano Leann Schuering, soprano Andrea Kaplan and Jennifer Nitchman, flutes Erin Schreiber and Melody Lee, violins VIVALDI “Nel profondo cieco mondo” from Orlando furioso (1727) “Mentre dormi, amor fomenti” from L’Olimpiade (1734) Jay Carter, countertenor VIVALDI “In braccio de’ contenti” from Gloria ed Imeneo (1725) Sherezade Panthaki, soprano Jay Carter, countertenor VIVALDI Concerto for Two Horns and Strings in F major, RV 538 Allegro Largo Allegro non molto Thomas Jöstlein and Christopher Dwyer, horns INTERMISSION 23 VIVALDI Concerto grosso in D minor, RV 565 (c. 1711) Allegro Adagio e spiccato – Allegro Largo e spiccato Allegro Erin Schreiber, violin Melody Lee, violin Bjorn Ranheim, cello VIVALDI Gloria in D major, RV 589 (c. 1715) Gloria in excelsis Deo Et in terra pax hominibus Laudamus te Gratias agimus tibi Propter magnam gloriam Domine Deus, Rex coelestis Domine Fili unigenite Domine Deus, Agnus Dei Qui tollis peccata mundi Qui sedes ad dexteram Patris Quoniam tu solus sanctus Cum Sancto Spiritu Sherezade Panthaki, soprano Leann Schuering, soprano Jay Carter, countertenor St.
    [Show full text]
  • MIT Concert Choir William Cutter, Conductor Joseph Turbessi, Pianist/Organist Sunday, December 6 4Pm Kresge Auditorium
    MIT Concert Choir William Cutter, conductor Joseph Turbessi, pianist/organist Sunday, December 6 4pm Kresge Auditorium The MIT Concert Choir Dr. William Cutter, conductor Joseph Turbessi, pianist/organist Sunday, December 6, 2009 4:00 PM Kresge Auditorium PROGRAM Fanfare Anon. Hodie Christus Natus Est Jan Pieterszoon Sweelinck (1562-1621) Christmas Cantata Daniel Pinkham (1923-2006) (Sinfonia Sacra) I. Maestoso: Quem vidistis pastores II. Adagio: O magnum mysterium III. Allegro: Gloria in excelsis Deo Hymn to the Virgin Benjamin Britten (1913-1976) Lauren Shields, soprano; Paulina Sliwa, mezzo-soprano Martin Frankland, tenor; Thorston Maly, bass Ave Maria Franz Biebl (1906-2001) Jiahao Chen, tenor Lauren Shields, Elizabeth Maroon, Paulina Sliwa, soprano trio In Dulci Jubilo J.S. Bach (1685-1750) Canon at the Octave from Das Orgelbüchlein Joseph Turbessi, organ Vom Himmel Hoch J.S. Bach Freut euch un jubiliert Lullay my liking Gustav Holst (1874-1934) Amy Hailes, soprano; Paulina Sliwa, mezzo-soprano; Martin Frankland, tenor; Joshua Hester, bass Gloria John Rutter (b. 1945) Lauren Shields, soprano solo Tammy Ngai, Elizabeth Maroon, Tina Tallon, soprano trio Hodie Christus Natus Est Jan Pieterszoon Sweelinck (1562-1621) Jan Pieters Sweelinck was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented one of the highest pinnacles attained in keyboard contrapuntal complexity and refinement before J.S. Bach. However, he was a skilled composer for voices as well. Some of Sweelinck’s innovations were of profound musical importance, including the fugue - he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach.
    [Show full text]
  • RV 589 by JOO YEON HWANG BA, Chung Ang University, 2008
    ANALYSIS AND REHEARSAL CONSIDERATION ON ANTONIO VIVALDI’S GLORIA – RV 589 by JOO YEON HWANG B.A., Chung Ang University, 2008 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2012 Approved by: Major Professor Julie Yu-Oppenheim Abstract This report presents the biography of the composer Antonio Vivaldi, background of his composition Gloria, musical characteristics and analysis. Moreover, for a successful performance, rehearsal plans and techniques are also included. Antonio Vivaldi (1678-1741), one of the representative composers in Baroque period (1600-1750), wrote Gloria, in the early 18th century. The composition date is still disputed between scholars. He composed three settings of the Gloria text: RV 588, 589 and 590. Out of them RV 589 is the most performed setting. Gloria consists of twelve movements and orchestration of trumpet, oboe, strings, and continuo. Homophonic and polyphonic style is prevalent in this work. In addition, focus should be placed on the harmonic suspensions, the flow of chromatic melodic lines and melismas. For the recital, Chamber Singers consisted of 23 people who were the members of Concert Choir who have training focusing on clean and light tone with non-vibrato style. Table of Contents List of Figures ................................................................................................................................. iv List of Tables ..................................................................................................................................
    [Show full text]
  • JOHN RUTTER Anthems, Hymns and Gloria for Brass Band Arr
    JOHN RUTTER Anthems, Hymns and Gloria for Brass Band arr. Luc Vertommen Black Dyke Band Sheffield Philharmonic Chorus Nicholas Childs • Darius Battiwalla John Rutter (b. 1945) Anthems, Hymns and Gloria for Brass Band John Rutter was born in London and educated at engagement in the United States. The work was Friendship pure and simple is one key inspiration for number of his shorter choral pieces with orchestra might Highgate School in North London. As a young boy commissioned by The Voices of Mel Olsen in Omaha, John Rutter’s music. As the Bridegroom to His Chosen work in a purely orchestral form. soprano he took part in the first recording of Benjamin Nebraska, who invited Rutter to direct the first was written for the wedding of Jeremy Taylor and Mary John Rutter’s anthems All Things Bright and Beautiful Britten’s War Requiem under the composer’s baton in performance on 5 May 1974. The words come from the Mure, two members of Rutter’s own Cambridge Singers. and For the Beauty of the Earth for mixed voices are short 1963. Rutter began to develop speedily into the multi- second section (the Hymn of Praise) of the Ordinary of There are few better examples of the classic Rutter talent sacred choral works in the tradition of the Anglican church faced composer of international repute that he is today. the Mass, which in the liturgy follows the Kyrie. The for writing gracious, melting melodies that caress the mind music. The choral song This is the Day was composed for He then read music at Clare College, Cambridge, familiar opening words are those of the angels for days.
    [Show full text]
  • The-John-Rutter-Christmas-Album
    HIS ALBUM GATHERS TOGETHER most of the carols I have Tcomposed over the years, plus a sprinkling of my arrangements of traditional carols, grouped to form a programme which narrates, reflects upon, and celebrates the Christmas story. The I have always enjoyed carols ever since I first sang them as a member of my school choir, and it was not long before I began to write carols of my own— in fact my first two published compositions, written in my teens, were the John Rutter Nativity carol and the Shepherd’s pipe carol. This was more subversive than it sounds: at the time, the only officially approved style of composition for a classically-trained music student was post-Webernian serialism, which never appealed to me much, and writing Christmas carols was an undercover way of Christmas slipping a tune or two into circulation at a time of year when music critics are generally on vacation. No one seemed to mind, so from time to time I have continued to write and arrange carols, encouraged by Sir David Willcocks, my Album senior co-editor on several volumes of the Carols for Choirs series. For any musician involved in choral music, Christmas is an especially joyous time, and I am indeed happy that it has played a part in my musical life for so many years. JOHN RUTTER 2 3 The John Rutter Christmas Album 9 Star carol (2' 50") The Cambridge Singers • The City of London Sinfonia Words and music: John Rutter with Stephen Varcoe (baritone) 10 Candlelight carol (4' 06") Words and music: John Rutter directed by John Rutter 11 Total playing time: 78' 05" Shepherd’s pipe carol (2' 54") Words and music: John Rutter Prologue 12 Christmas lullaby (4' 04") 1 Wexford Carol (3' 58") Irish traditional carol Words and music: John Rutter arranged by John Rutter 13 Dormi, Jesu (4' 35") Baritone solo: Stephen Varcoe Words: medieval, and S.
    [Show full text]
  • Choral Music
    WORCESTER MUSIC LIBRARY : CHORAL MUSIC NOTE The choral pieces are presented in Composer order. There are many collections, and these are presented under 'Various'. Collections of Carols and other seasonal items are presented under 'Xmas'. Composer Title Abba arr. Marsh Mamma Mia! And Other Abba Hits Arnold The John Clare Cantata Bach J.S. Cantata 142 Bach J.S. Christ lay in Death's Dark Prison Bach J.S. Christmas Oratorio HB Bach J.S. Christmas Oratorio SB Bach J.S. Christmas Oratorio SB Bach J.S. Coffee Cantata Bach J.S. Come, Jesus, Come (Komm, Jesu, Komm) Breitkopf Bach J.S. Come, Jesus, Come (Komm, Jesu, Komm) Novello Bach J.S. Hold in Affection Jesus Christ Bach J.S. Mass in B Minor Bach J.S. Motetten (Motets) Bach J.S. Praise the Lord all ye nations Bach J.S. Sleepers Wake Bach J.S. St John's Passion Bach J.S. St Matthew Passion Bart Oliver! Beach Boys ed Lojeski Best of thre Beach Boys Beatles With a Little Help From My Friends Beatles ed Lojeski The Beatles in Revue Beethoven Choral Sympathy Beethoven Mass in C Beethoven Mass in D Beethoven The Choral Fantasia Bennett All the King's men Bennett Woman of Samaria Berkeley All the King's men Berkeley Or Shall We Die? Berlioz Messe Solennelle Berlioz Requiem Berlioz The Childhood of Christ Berloiz Requiem ed Schirner Bernstein Chichester Psalms (in three movements) Bernstein Vocal selection from West Side Story Bernstein West Side Selection Bernstein West Side Story Bizet Te Deum Blake The Song of St.
    [Show full text]