The Nativity of Our Lord Jesus Christ: Christmas

Total Page:16

File Type:pdf, Size:1020Kb

The Nativity of Our Lord Jesus Christ: Christmas THE NATIVITY OF OUR LORD JESUS CHRIST: CHRISTMAS EVE December 24, 2019 • Holy Eucharist: Rite II • 10:00 pm Trinity Episcopal Church • Founded in 1746 • Staunton, Virginia Music for the Nativity Gaudete, Christus est natus ex Maria Virgine Sung by the choir Medieval Carol Gaudete, Gaudete! Christus et natus Ex maria virgine, Gaudete! Tempus ad est gratiae, Hoc quod optabamus; Carmina laetitiae, Devote redamus. Deus homo factus est, Natura mirante; Mundus renovatus est A Christo regnante. Ezechiellis porta Clausa pertransitur; Unde lux est orta Salus invenitur. Ergo nostra cantio, Psallat iam in lustro; Benedicat Domino: Salus Regi nostro. Rejoice, rejoice! Christ is born of the Virgin Mary, rejoice! It is now the time of grace that we have desired; Let us sing songs of joy, let us give devotion. God was made man, and nature marvels; The world was renewed by Christ who is King. The closed gate of Ezechiel has been passed through; From where the light rises salvation is found. Therefore let our assembly now sing, sing the psalms to purify us; Let it praise the Lord: Greetings to our King. Carol: Angels from the realms of glory Sung by all Regent Square • Hymnal 93 The Shepherd's Carol Sung by the choir Bob Chilcott (b. 1955) We stood on the hills, Lady, our day’s work done, watching the frosted meadows that winter had won. Silence more lovely than music. There was a star, Lady, shone in the night, larger than Venus it was and bright. Oh, a voice from the sky, Lady, it seemed to us then telling of God being born in the world of men. And so we have come, Lady, our day’s work done, our love, our hopes, ourselves we give to your son. Hereford Carol Sung by the choir Traditional English carol; arr. Christopher Robinson (b. 1936) Come all you faithful Christians that dwell here on earth, come celebrate the morning of our dear Savior’s birth. This is the happy morning, this is the blessed morn: to save our souls from ruin, the Son of God was born. Behold the angel Gabriel, in scripture it is said, did with his holy message come to the virgin maid: ‘Hail blest among all women!’, he thus did greet her then, ‘Lo, thou shalt be the mother of the savior of all men.’ Her time being accomplished, she came to Bethlehem, and then was safe delivered of the savior of all men. No princely pomp attended him, his honors were but small; a manger was his cradle, his bed an ox’s stall. Now to him that is ascended let all our praise be; may we his steps then follow and he our pattern be; so when our lives are ended, we all may hear him call: ‘Come, souls, receive the kingdom prepared for you all.’ Carol: O little town of Bethlehem Sung by all St. Louis • Hymnal 79 Donkey Carol Sung by the choir John Rutter (b. 1945) Donkey riding over the bumpy road, carry Mary all with her heavy load; Follow Joseph, leading you on your way until you find a stable, somewhere to rest and stay. Donkey watching over the Jesus child, see the baby, all with his mother mild; hear the angels singing their song on high: ‘Nowell, nowell, nowell,’ their caroling fills the sky. Donkey resting all in a manger stall, with the oxen worship the Lord of all. Hush, he lies asleep on his bed of hay while Mary sings so sweetly, ‘Lulla, lullalay.’ Alleluia, alleluia, alleluia, Christ is born today. 2 The friendly beasts Sung by the choir English, 12th century; arr. Audrey Snyder Jesus, our brother, kind and good, was humbly born in a stable rude, and the friendly beasts around him stood; Jesus, our brother, kind and good. I, said the donkey, shaggy and brown, I carried His mother uphill and down, I carried her safely to Bethlehem town; I, said the donkey, shaggy and brown. I, said the cow, all white and red, I gave Him my manger for His bed, I gave Him my hay to pillow His head; I, said the cow, all white and red. I, said the sheep with curly horn, I gave Him my wool for His blanket warm, He wore my coat on Christmas morn; I, said the sheep with curly horn. I, said the dove from the rafters high, I cooed Him to sleep that He should not cry, We cooed Him to sleep, my mate and I; I, said the dove from the rafters high. Thus, every beast by some good spell, in the stable dark was glad to tell of the gift he gave Immanuel, the gift he gave Immanuel. Carol: Good Christian friends, rejoice Sung by all In dulci jubilo • Hymnal 107 Prelude on Irby David Willcocks (1919–2015) Festival Holy Eucharist: Rite II THE ENTRANCE RITEI The people stand to sing the Processional Hymn, and remain standing through the Collect of the Day. PROCESSIONAL HYMN Once in royal David’s city, st. 1-3 • Irby • Hymnal 102 st. 1 sung by chorister Dylan Getsey; all join on st. 2 THE BLESSING OF THE CRÈCHE Presider O great mystery, and wonderful sacrament, that animals should see the new-born Lord, lying in a manger! Blessed is the Virgin whose womb was worthy to bear Christ the Lord. Alleluia! The Word was made flesh And dwelt a - mong us. Presider Let us pray. ALMIGHTY God, who in the Incarnation of your Son has revealed to us the holiness of creation, be pleased to bless and hallow this image of his sacred birth, so that those who gaze upon it may behold this mystery, whereby humanity shares in your very nature; through Christ our Lord. Amen. 3 PROCESSIONAL HYMN Sung by all Once in royal David’s city, st. 4-6 • Irby • Hymnal 102 Descant: Willcocks OPENING ACCLAMATION THE COLLECT FOR PURITY ALMIGHTY God, to you all hearts are open, all desires known, and from you no secrets are hid: Cleanse the thoughts of our hearts by the inspiration of your Holy Spirit, that we may perfectly love you, and worthily magnify your holy Name; through Christ our Lord. Amen. GLORIA IN EXCELSIS Sung by all Angels we have heard on high • Gloria • Hymnal 96 Descant: Bruce Neswick (b. 1956) THE COLLECT FOR CHRISTMAS The Lord be with you. And also with you. Let us pray. O GOD, you have caused this holy night to shine with the brightness of the true Light: Grant that we, who have known the mystery of that Light on earth, may also enjoy him perfectly in heaven; where with you and the Holy Spirit he lives and reigns, one God, in glory everlasting. Amen. THE WORD OF GODI The people are seated for the Old Testament Lesson, Psalm, and Epistle. THE OLD TESTAMENT LESSON God comes to restore the people • Isaiah 62:6-12 UPON your walls, O Jerusalem, I have posted sentinels; all day and all night they shall never be silent. You who remind the LORD, take no rest, and give him no rest until he establishes Jerusalem and makes it renowned throughout the earth. The LORD has sworn by his right hand and by his mighty arm: I will not again give your grain to be food for your enemies, and foreigners shall not drink the wine for which you have labored; but those who garner it shall eat it and praise the LORD, and those who gather it shall drink it in my holy courts. Go through, go through the gates, prepare the way for the people; build up, build up the highway, clear it of stones, lift up an ensign over the peoples. The LORD has proclaimed to the end of the earth: 4 Say to daughter Zion, "See, your salvation comes; his reward is with him, and his recompense before him." They shall be called, "The Holy People, The Redeemed of the LORD"; and you shall be called, "Sought Out, A City Not Forsaken." The Word of the Lord. Thanks be to God. THE GRADUAL PSALM Sung by the choir Dominus regnavit • Psalm 97 Chant: Walter Parratt 1 The LORD is King; let the earth rejoice; * let the multitude of the isles be glad. 2 Clouds and darkness are round about him, * righteousness and justice are the foundations of his throne. 3 A fire goes before him * and burns up his enemies on every side. 4 His lightnings light up the world; * the earth sees it and is afraid. 5 The mountains melt like wax at the presence of the LORD, * at the presence of the Lord of the whole earth. 6 The heavens declare his righteousness, * and all the peoples see his glory. 7 Confounded be all who worship carved images and delight in false gods! * Bow down before him, all you gods. 8 Zion hears and is glad, and the cities of Judah rejoice, * because of your judgments, O LORD. 9 For you are the LORD, most high over all the earth; * you are exalted far above all gods. 10 The LORD loves those who hate evil; * he preserves the lives of his saints and delivers them from the hand of the wicked. 11 Light has sprung up for the righteous, * and joyful gladness for those who are truehearted. 12 Rejoice in the LORD, you righteous, * and give thanks to his holy Name. 5 THE NEW TESTAMENT LESSON (EPISTLE) Saved through water and the Spirit • Titus 3:4-7 WHEN the goodness and loving kindness of God our Savior appeared, he saved us, not because of any works of righteousness that we had done, but according to his mercy, through the water of rebirth and renewal by the Holy Spirit.
Recommended publications
  • Theatrical Drama and Franciscan Simplicity in Oratorios by Ferenc Liszt
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Interdisciplinary Studies in Musicology Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 JOANNA SUBEL Department of Musicology, University of Wroclaw Theatrical drama and Franciscan simplicity in oratorios by Ferenc Liszt ABSTRACT: The works of Ferenc Liszt are both influenced by the romantic mood and various oppos­ ing trends of the church music of his era. In his oratorios Die Legende von der heiligen Elisabeth and Christus, as well as in the unfinished St Stanislaus, one may discern such features as drama, mysti­ cism, universalism, and national elements. In these vocal-instrumental works the composer makes use of two languages, German and Latin, as well as of various types of the archaisms such as quotations from Gregorian melodies. In Liszt’s compositions, choral monodies become ‘motifs’ - the recurring themes which appear frequently and in a variety of versions. Dramatic expression and lyricism are particularly dominant in St Elisabeth. The Christus oratorio, which resembles a misterium, because of the absence of a libretto and the use of liturgical texts, is characterised by the abundance of harmonic solutions. The oratorios reveal both the composer’s uncommon piety and his striving to reform the church music of his times. KEYWORDS: Ferenc Liszt, oratorio, Die Legende von der heiligen Elisabeth, Christus, St Stanislaus Ferenc Liszt’s vocal-and-instrumental works remain almost unknown in Poland. His art songs are not performed and his oratorio works are presented extremely rarely, usually as part of festival programmes.
    [Show full text]
  • Handel's Messiah
    Handel’s Messiah THE COMBINED VOICES OF ABERDEEN BACH CHOIR & ABERDEEN CHORAL SOCIETY Conductor: Peter Parfitt Aberdeen Sinfonietta Leader: Bryan Dargie Handel’s Messiah Soprano: Judith Howarth Counter-Tenor: Nicholas Spanos Tenor: Nicholas Mulroy Bass: Dominic Barberi Sunday 15 December 2019 at 7.00pm The Music Hall Aberdeen www.aberdeenbachchoir.com Charity Number: SC008609 www.aberdeenchoral.org.uk Charity number: SCO05414 PB 1 Handel’s Messiah Handel’s Messiah And is it true? And is it true, this most tremendous tale of all? A baby in an ox’s stall? The maker of the stars and sea, become a child, on Earth, for me? Sir John Betjeman O Virgin of virgins, how shall this be? For neither before Thee was any like unto Thee, nor shall there be any after. Daughters of Jerusalem, why marvel ye at me? The thing which ye behold is a divine mystery. Antiphon for Christmas Eve MESSIAH Messiah is a biblical oratorio by George Frideric Handel (1685-1759) for SATB soloists, SATB chorus, orchestra and continuo. It was written during a three-week period in August/September 1741, and given its first performance in Dublin, on April 13th 1742 at the New Music Hall in Fishamble Street. The first London performance was a year later in Covent Garden at Easter in 1743. Originally intended as an Easter offering, Messiah these days is as bound up with Christmas as tinsel and mince pies. It is one of only two oratorios by Handel where the entire text is taken from the bible, the other being Israel in Egypt, written in 1739.
    [Show full text]
  • Liszt and Christus: Reactionary Romanticism
    LISZT AND CHRISTUS: REACTIONARY ROMANTICISM A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Robert Pegg May 2020 Examining Committee Members: Dr. Maurice Wright, Advisory Chair, Music Studies Dr. Michael Klein, Music Studies Dr. Paul Rardin, Choral Activities Dr. Christine Anderson, Voice and Opera, external member © Copyright 2020 by Robert Pegg All Rights Reserved € ii ABSTRACT This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany.
    [Show full text]
  • Christus Lutheran Church
    Christus Lutheran Church Luke 2:28-32 28 he took him up in his arms and blessed God and said, 29 “Lord, now you are letting your servant depart in peace, according to your word; 30 for my eyes have seen your salvation 31 that you have prepared in the presence of all peoples, 32 a light for revelation to the Gentiles, and for glory to your people Israel.” Large Print 8:00 & 10:30 December 31, 2017 PRELUDE Ann Crocker WELCOME INVOCATION P: In the name of the Father, and of the Son, and of the Holy Spirit. C: Amen CONFESSION & ABSOLUTION P: “If we say we have not sinned, we make God a liar, and His word is not in us.” [James 1:10] Let us by all means confess that God and His word are Truth by confessing our sins. Kneel as you are able or remain seated – Silence to reflect on the sins that trouble us P: God of mercy; C: We cannot deny that we are prone to sin, and are easily overcome by many temptations. In our own strength, we are helpless to resist. For the sake of your beloved Son, forgive us our sins, which are many, that we may love you much. Then strengthen us by your Spirit to resist the devil, that he may flee from us. We ask in Jesus’ name. Amen P: Your heavenly Father hears your heart, and for the sake of the suffering and death of Jesus Christ, forgives you all your sins, and grants you a new life in Him.
    [Show full text]
  • Salvation in Luke: the Impact of Allusions to the Cult on His Soteriology
    Salvation in Luke: the impact of allusions to the cult on his soteriology by Anthony John Talbot A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS BY RESEARCH Department of Theology and Religion College of Arts and Law University of Birmingham December 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines possible allusions to the cult in Luke and indicates their potential impact on his soteriology. Various Jewish concepts of ‘salvation’ current in Luke’s day are discussed. This is followed by a critical examination of the Nazareth pericope (Lk 4.16-30) and the Emmaus encounter (Lk 24.13-35), as possible allusions to the Jubilee, and that Jesus might be presented as the fulfilment of the prophetic redemption contained therein. The sabbath-day healings are considered as possible indications that Luke’s Jesus deliberately healed on the sabbath in order that the sick might, being healed, receive shalom. Indications that Luke and his contemporaries may have understood the consecration of the sabbath in Genesis to be, at least partly, a celebration of shalom as the work of creation, is presented as possible evidence that the healing ministry of Jesus in Luke was fulfilling the purpose of the Temple cult (the ritual re-creation of Edenic shalom), and that Jesus applied to himself the exemption from sabbath-day rest granted to the Temple priests.
    [Show full text]
  • The Holy See
    The Holy See POST-SYNODAL APOSTOLIC EXHORTATION CHRISTUS VIVIT OF THE HOLY FATHER FRANCIS TO YOUNG PEOPLE AND TO THE ENTIRE PEOPLE OF GOD 1. Christ is alive! He is our hope, and in a wonderful way he brings youth to our world, and everything he touches becomes young, new, full of life. The very first words, then, that I would like to say to every young Christian are these: Christ is alive and he wants you to be alive! 2. He is in you, he is with you and he never abandons you. However far you may wander, he is always there, the Risen One. He calls you and he waits for you to return to him and start over again. When you feel you are growing old out of sorrow, resentment or fear, doubt or failure, he will always be there to restore your strength and your hope. 3. With great affection, I address this Apostolic Exhortation to all Christian young people. It is meant to remind you of certain convictions born of our faith, and at the same time to encourage you to grow in holiness and in commitment to your personal vocation. But since it is also part of a synodal process, I am also addressing this message to the entire People of God, pastors and faithful alike, since all of us are challenged and urged to reflect both on the young and for the young. Consequently, I will speak to young people directly in some places, while in others I will propose some more general considerations for the Church’s discernment.
    [Show full text]
  • The Text of Georg Friedrich Handel's „Messiah“
    TThhee tteexxtt ooff GGeeoorrgg FFrriieeddrriicchh HHaannddeell’’ss „„MMeessssiiaahh““ Study material for small groups Introduction Using the following notes we would like to get to know of the most important sacred works better: Handel’s "Messiah". Nowadays, many sacred works are seen "purely musically" and performed in a corresponding manner. The close connection between text and music often does not receive enough attention. The "Messiah" is concerned with the message of biblical texts. If we understand these, Handel’s music will also be better accessible to us. Because they lead us into the centre of the biblical message, they also help us to understand better the Christian faith - the most important basis of western cultural history. Most of the texts of the "Messiah" come to us in the form of the "prophetic word". They are addressed first of all to the people of Israel. But they also speak to us. We are also included amongst the intended hearers - we, with our needs and fears, with our hope of salvation and finally with our joy and our faith. If we allow the texts of the "Messiah" come close to us in this way and discuss them in groups, we may find some points a little strange, because "another world" is opened to us. But opening oneself to the unknown is the particular privilege and gift of every artist. So - we wish you much joy with the "Messiah"! How to use this material? • You can use it in weekly small groups for Christians and others. • It would be good to have 1-2 sessions for each chapter.
    [Show full text]
  • 2. Solus Christus Acts 4:1-12, Especially V 12 1. Announcements
    2. Solus Christus Acts 4:1-12, especially v 12 1. Announcements a. SS b. Personnel changes 2. Sermon introduction a. There are many things we do to be popular i. In grade school, being a popular boy is not complicated. Whoever can kick the ball the farthest or burp the loudest is usually the most popular. I don’t know how it works for girls. ii. In junior high and high school, being popular is a little more nuanced. At Lewis and Clark high school, where I attended, the cool kids listened to Pearl Jam and Nirvana, wore grunge clothing, smoked pot, drank beer, drove SUVs, wore North Face Jackets, and put all their school supplies in huge brand name mountaineering backpacks. iii. When you’re married with kids the criteria for being popular changes but there is still the drive to be cool. And the cool people know intuitively what is required to be cool or popular!!! iv. Admit it, we all spend some energy and effort trying to be cool. b. But no matter what season of life you’re in it is easy to become unpopular or uncool by making one simple statement. What is that statement? i. Jesus Christ is the only way to God (for everyone). ii. If this is so unpopular than why say it? Because this is what the Bible clearly teaches. Let me remind you of last week’s sermon text, 2 Tim. 3:16, “All scripture is God breathed.” When the bible speaks, god speaks and the bible says that Jesus is the only way to God, therefore God says that Jesus is the only way to God.
    [Show full text]
  • Theatrical Drama and Franciscan Simplicity in Oratorios by Ferenc Liszt
    Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 JOANNA SUBEL Department of Musicology, University of Wroclaw Theatrical drama and Franciscan simplicity in oratorios by Ferenc Liszt ABSTRACT: The works of Ferenc Liszt are both influenced by the romantic mood and various oppos­ ing trends of the church music of his era. In his oratorios Die Legende von der heiligen Elisabeth and Christus, as well as in the unfinished St Stanislaus, one may discern such features as drama, mysti­ cism, universalism, and national elements. In these vocal-instrumental works the composer makes use of two languages, German and Latin, as well as of various types of the archaisms such as quotations from Gregorian melodies. In Liszt’s compositions, choral monodies become ‘motifs’ - the recurring themes which appear frequently and in a variety of versions. Dramatic expression and lyricism are particularly dominant in St Elisabeth. The Christus oratorio, which resembles a misterium, because of the absence of a libretto and the use of liturgical texts, is characterised by the abundance of harmonic solutions. The oratorios reveal both the composer’s uncommon piety and his striving to reform the church music of his times. KEYWORDS: Ferenc Liszt, oratorio, Die Legende von der heiligen Elisabeth, Christus, St Stanislaus Ferenc Liszt’s vocal-and-instrumental works remain almost unknown in Poland. His art songs are not performed and his oratorio works are presented extremely rarely, usually as part of festival programmes. The same applies to Polish literature. A general description of Liszt’s oratorio works can be found in volume five of Formy muzyczne [Musical Forms] by Chominski;1 they are also mentioned in the first Polish monograph of the composer, written by Stanislaw Szenic.2 It is surprising that a book over 500 pages long devotes only half a page to the Christus oratorio, two and a half pages to the Die Legende von der heiligen Elisabeth [The Legend of St.
    [Show full text]
  • CHURCH and THEATER on a COLOSSAL SCALE The
    CHURCH AND THEATER ON A COLOSSAL SCALE The juxtaposition of ancient and modern elements in Franz Liszt’s Oratorio Christus by Maria C. Hagan Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Kyle Adams, Research Director __________________________________________ Betsy Burleigh, Chair __________________________________________ Carolann Buff __________________________________________ Walter Huff December 7, 2018 ii Copyright © 2018 Maria C. Hagan iii Acknowledgements This document would not have been possible without the support of many. I would like to express my sincere gratitude to the members of my committee, Dr. Kyle Adams, Dr. Dominick DiOrio, Dr. Betsy Burleigh, Mr. Walter Huff, and Dr. Carolann Buff. I am most grateful of your support of this project and of my studies throughout my years at Indiana University. I would especially like to thank my research director, Dr. Kyle Adams, for his guidance during this project. I would also like to acknowledge the various professors and mentors that I have had the privilege to work with during my time at the Jacobs School of Music. Although there are too many to list here, I would particularly like to recognize Dr. Halina Goldberg and Ms. Jane Dutton, my minor field advisors. I would also like to thank Fr. Raymond-Marie Bryce, O.P. and Fr. Patrick Hyde, O.P., both of whom provided consultation on theological topics and Latin translations.
    [Show full text]
  • American Appropriation of the Hallelujah Chorus Leah Harrison
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Handel for the Holidays: American Appropriation of the Hallelujah Chorus Leah Harrison Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HANDEL FOR THE HOLIDAYS: AMERICAN APPROPRIATION OF THE HALLELUJAH CHORUS By LEAH HARRISON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Fall Semester, 2010 The members of this committee here approve the thesis of Leah Harrison submitted on 1 June 2010. __________________________________________________ Douglass Seaton, Committee Chair __________________________________________________ Michael Broyles __________________________________________________ Charles E. Brewer The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS Without question or surprise, this project ranks among the most personally meaningful of my life. I can only imagine how empty it would have been without the immeasurable support of the following people and institutions. My sincerest gratitude is felt for the British Library and Trinity College of Dublin, whose archives provided invaluable information and a blissful experience. For countless insights and brilliant ideas, I thank my committee members, Charles E. Brewer and Michael Broyles. To my committee chair, Douglass Seaton, never had I conceived of such patience, gusto, wisdom, and helpfulness; I am a better person for having known you. I am always rendered speechless when I consider the magnitude of support I have received from friends throughout this project, namely Kaley, Joy, Grace, Brian, Abby, Lucy, Jillian and Bryn, The Sarvers, Greg, Todd, Katelyn, The Vanemans, and Barret.
    [Show full text]
  • Liszt As Kapellmeister: the Development of the Symphonic Poems on the Weimar Stage
    LISZT AS KAPELLMEISTER: THE DEVELOPMENT OF THE SYMPHONIC POEMS ON THE WEIMAR STAGE by JOANNE CORMAC A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Music Department College of Arts and Law University of Birmingham September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poems. The thesis returns four of the symphonic poems (Tasso, Orpheus, Festklänge, and Hamlet) to their original dramatic performance contexts. In doing so, it reveals that the Weimar productions or festivals in which they were premiered had a significant impact on their conception and development in numerous, diverse, and sometimes surprising ways.
    [Show full text]