DOCSLIB.ORG

THE CONTRAPUNTAL STYLE of HEALEY WILLAN by WILLIAM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE CONTRAPUNTAL STYLE of HEALEY WILLAN by WILLIAM THE CONTRAPUNTAL STYLE OF HEALEY WILLAN by WILLIAM JONATHAN MICHAEL RENWICK .Mus., The University of British Columbia, 19 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF MUSIC We accept this thesis as conforming .to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March 1982 © William Jonathan Michael Renwick, 1982 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of .Music The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date March 19, 1982 Abstract Healey Willan was a Canadian composer who succeed• ed in integrating a broad range of stylistic character• istics into a personal musical idiom. It is the object of this paper to examine various elements which make up the unique style of this composer, so as to provide a foundation for a better appreciation of the value of his work. The first chapter deals with the varied influences on the composer's development, . and outlines the dif• ferent styles which affected his work. A discussion of his pedagogical methods illustrates that his teaching bears a close relation to his compositional work. Chapter Two begins the actual study of Willan's music by examining in detail two important aspects of the music's surface structure: dissonance treatment and parallelism. Willan's treatment of dissonance usually follows the rules of traditional part writing, but he attempts to express new ideas within the established norms. Willan often uses parallelism asa way of enriching a basic contrapuntal structure, and this chapter examines a variety of textures which result from such enrichment. The following chapter deals with aspects of the music which serve as recurring "fingerprints" of the composer. The special recurring features treated here are 1) con• secutive minor chord patterns, 2) chromatically based ii episodes, 3) a characteristic pattern of initial ascent and 4) the use of a closing formula based on the Gregorian "Amen". Following this discussion of the various surface aspects of Willan's style, Chapter Four turns to a study of the composer's harmonic technique, as mani• fested on various levels of structure. An outstanding feature of Willan's harmonic style is his avoidance of the dominant function, which is often replaced with material from the subdominant side of the harmonic spectrum. Both in the surface melodic patterns and in the larger formal designs of entire pieces, this avoidance of the dominant is clearly in evidence. The final chapter of this thesis discusses Willan' use of two-part counterpoint, both as a surface organiz ational procedure, and as a basis for the design of entire pieces. The final analyses illustrate the combination of a rigourous contrapuntal structure in the form of a two-part framework, and a harmonic plan which deliberately avoids the dominant in favour of harmonies involving the subdominant. It is hoped that by examining significant aspects of Willan's style, this study will enable an assessment of the value of his work. iii William E. Benjamin Thesis Supervisor Table of Contents Abstract ii List of Examples v List of Figures xi Acknowledgements xii Introduction 1 I Willan's Musical Development 3 II Surface Structures 26 III Personal Elements 77 IV Tonal Functions 100 V Two-Part Framework 127 Conclusion 153 Appendix: Longer Musical Examples 155 Bibliography 167 Index of Works Cited 171 iv List of Examples Ex. 1.1 All Hail, All Hail, mm. 1-20. page 7 Ex. 1.2 Fugue in g minor, mm. 34-37. 18 Ex. 1.3 Fugue in g minor, mm. 33-35. 18 Ex. 1.4 Byrd, Ave Verum Corpus, mm. 33-37. 19 Ex. 1.5 Willan, Ave Verum Corpus, mm. 38-44. 20 Ex. 2.1 Behold, the Tabernacle of God, mm. 7-8. 27 Ex. 2.2 0 King of Glory, mm. 45-47. 28 Ex. 2.3 Lo, In the Time Appointed, mm. 19-20. 29 Ex. 2.4 Lo, In the Time Appointed, mm. 31-32. 29 Ex. 2.5 Fair in Face, m. 2. 30 Ex. 2.6 O King, to Whom all Things do Live, m. 8. 30 Ex. 2.7 Hodie, Christus natus est, mm. 34-36. 30 Ex. 2.8 Hodie, Christus natus est, m. 44. 31 Ex. 2.9 0 King of Glory, mm. 8-9. 31 Ex. 2.10 Preserve us, 0 Lord, m. 6. 32 Ex. 2.11 O King, to Whom all Things do Live, m. 19..32 Ex. 2.12 Fair in Face, mm. 31-32. 33 Ex. 2.13a I beheld her Beautiful as a Dove, 33 mm. 3-4. Ex. 2.13b.(untitled) 34 Ex. 2.14 Behold, the Tabernacle of God, mm. 1-3. 3 5 Ex. 2.15 O King of Glory, mm. 23-24. 35 Ex. 2.16 Fair in Face, mm. 17-19. 36 Ex. 2.17 0 King of Glory, mm. 14-17. 36 Ex. 2.18 0 King, all Glorious, m. 25. 37 v Ex. 2.19 Rise up, my Love, my Fair One, page 37 mm. 3-4. Ex. 2.20 Behold, the Tabernacle of God, mm. 9-10. 38 Ex. 2.21 I beheld her Beautiful as a Dove, 38 mm.11-12. Ex. 2.22 I beheld her Beautiful as a Dove, 39 mm. 8-9. Ex. 2.23 Rise up, my Love, my Fair One, mm. 7-8. 41 Ex. 2.24 Rise up, my Love, my Fair One, mm. 25-26. 41 Ex. 2.25a I beheld her Beautiful as a Dove, m. 31. 42 Ex. 2.25b.(untitled) 42 Ex. 2.26a Rise up, my Love, my Fair One, mm. 9-10. 43 Ex. 2.26b.(untitled) 43 Ex. 2.27a Rise up, my Love, my Fair One, 44 mm. 14-15. Ex. 2.27b.(untitled) 44 Ex. 2.28 0 King, to Whom all Things do Live, 45 m. 15. Ex. 2.29a Fair in Face, mm. 24-25. 46 Ex. 2.29b.(untitled) 46 Ex. 2.30 Fair in Face, mm. 1-2. 47 Ex. 2.31a I beheld her Beautiful as a Dove, m. 11. 49 Ex. 2.31b. (untitled) 50 Ex. 2.31c. (untitled) 50 Ex. 2.31d. (untitled) 50 Ex. 2.31e. (untitled) 50 Ex. 2.31f. (untitled) 50 Ex. 2.32 I beheld her Beautiful as a Dove, m. 5. 51 Ex. 2.3 3 Rise up, my Love, my Fair One, mm. 17-18. 52 vi Ex. 2.34a Behold, the Tabernacle of God, page 53 mm. 1-2. Ex. 2.34b. (untitled) 53 Ex. 2.34c. (untitled) 53 Ex. 2.35 Behold, the Tabernacle of God, mm. 16-17. 54 Ex. 2.36 Behold, the Tabernacle of God, mm. 18-19. 55 Ex. 2.37 "Benedictus qui venit" , Missa Brevis 59 No. 4 . Ex. 2.38 Scherzo (Five Pieces for Organ), 60 mm. 5-12. Ex. 2.39 0 King,-all Glorious, mm • 30-32. 61 Ex. 2.40 Matins, mm. 18-27. 61 Ex. 2.41a 0 King of Glory, mm. 1- 4. First Manu- 63 script version Ex. 2.41b 0 King of G1o ry, mm. 1- 4. Second Manu- 63 script version Ex. 2.41c 0 King of Glory, mm. 1- 4 . Final, 63 printed version Ex. 2.42 God is Gone Up with a Shout, mm. 25-28. 64 Ex. 2.43 Hodie, Christus natus est, mm. 43-47. 65 Ex. 2.44 Ave Maris Stella (Five Preludes on 65 Plainchant Melodies), mm. 1T4. Ex. 2.45 The Spirit of the Lord, mm. 5-11. 66 Ex. 2.46 An Apostrophe to the Heavenly Hosts, 66 mm. 97-99. Ex. 2.47 Ring Out, Ye Crystall Shears from the 67 Coronation Suite, mm. 10-11. Ex. 2.48 Eternity, mm. 59-61. 67 Ex. 2.49 This Endris Nyght, mm. 7-13. 68 Ex. 2.50 0 Trinity, Most Blessed Light, mm. 47-50. 69 Ex. 2.51 The Shepherds from The Mystery of 7 0 Bethlehem, mm. 45-47. vii Ex. 2.52 Come, Thou Beloved of Christ from page 71 the Coronation Suite, mm. 98-100. Ex. 2.53 Hodie, Christus natus est, mm. 48-57. 72 Ex. 2.54 Weep You No More, Sad Fountains, 73 mm. 44-48 Ex. 2.55 Gloria Deo per immensa saecula, mm. 60-63. 74 Ex. 2.56 Who is She that Ascendeth?, mm. 10-12. 74 Ex. 2.57 Rise up, my Love, my Fair One, mm. 1-10. 75 Ex. 3.1 Prelude and Fugue in c minor, mm. 5-8. 77 Ex. 3.2 Deirdre, Act I, mm. 9-13. 78 Ex. 3.3 Deirdre, Act III, mm. 1-3. 79 Ex. 3.4 Deirdre, Act III, mm. 842-846. 79 Ex. 3.5 Urbs Hierusalem beata, mm. 58-59. 80 Ex. 3.6 Passacaglia and Fugue No. 2, in E minor, 81 mm. 1-3. Ex. 3.7 Christ ist erstanden, mm. 26-29. 81 Ex.. 3.8 Nun preiset alle, mm. 32-39 . 83 Ex. 3.9 Festival, mm. 30-35. 84 Ex. 3.10a Martyrdom, mm. 16-19. 85 Ex. 3.10b Martyrdom, mm. 35-38. 85 Ex.
Load more

Recommended publications
  • THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
    { to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke.
    [Show full text]
  • The Postwar Expansion of Toronto's Musical Life
    the postwar expansion of Toronto's musical prepared by Hams and Fred Feuerriegel life." The "great many changes in the proves it: many of the most respected artists musical life of Toronto" between Betty Jean of the past and present were indeed Hagen's 1953 and 1987 recitals appearances sponsored for the first time in Toronto, are left to the reader to discover elsewhere. Canada, or even North America by the Almost the last allusion to the WMC's WMC, from Wanda Landowska and Joseph context is on p. 165 concerning the 1962-63 Szigeti in the 1920s, through Dietrich season, and at three sentences is the most Fischer-Dieskau and Leontyne Price in the detailed in the book. And the notes of 1950s, to Elly Ameling and the Tokyo String occasional conflict with another city musical Quartet in the 1970s. However, except for a event suggest dissonance rather than couple of passing references to the use of a counterpoint. New York artists' agency, the actual working methods of the concert convenors are not Elliott first mentions the club's "great skill explained. The underlying mystery of how in introducing important young artists" in the they did it may remain, but who they were context of programs mounted during World and what they did are revealed (Elliott's War I, notes that by the late 1950s "the stated purpose) in this official history in reputation of the WMC as a discoverer of generous detail, supported by extensive new talent was at an all-time high," and footnotes, an abstract, bibliography and list describes the 1963 debut of Hermann Prey as of sources, various appendices, and an index providing "further confirmation of the in which, as in the text women are listed WMC's reputation for introducing the most with their own personal and maiden names, exciting young singers of the day to Toronto not (as they were in their lives) by their audiences." Nearer the end, he cites the husbands' initials.
    [Show full text]
  • Volume 89 Number 1 March 2020 V Olume 89 Number 1 March 2020
    Volume 89 Volume Number 1 March 2020 Volume 89 Number 1 March 2020 Historical Society of the Episcopal Church Benefactors ($500 or more) President Dr. F. W. Gerbracht, Jr. Wantagh, NY Robyn M. Neville, St. Mark’s School, Fort Lauderdale, Florida William H. Gleason Wheat Ridge, CO 1st Vice President The Rev. Dr. Thomas P. Mulvey, Jr. Hingham, MA J. Michael Utzinger, Hampden-Sydney College Mr. Matthew P. Payne Appleton, WI 2nd Vice President The Rev. Dr. Warren C. Platt New York, NY Robert W. Prichard, Virginia Theological Seminary The Rev. Dr. Robert W. Prichard Alexandria, VA Secretary Pamela Cochran, Loyola University Maryland The Rev. Dr. Gardiner H. Shattuck, Jr. Warwick, RI Treasurer Mrs. Susan L. Stonesifer Silver Spring, MD Bob Panfil, Diocese of Virginia Director of Operations Matthew P. Payne, Diocese of Fond du Lac Patrons ($250-$499) [email protected] Mr. Herschel “Vince” Anderson Tempe, AZ Anglican and Episcopal History The Rev. Cn. Robert G. Carroon, PhD Hartford, CT Dr. Mary S. Donovan Highlands Ranch, CO Editor-in-Chief The Rev. Cn. Nancy R. Holland San Diego, CA Edward L. Bond, Natchez, Mississippi The John F. Woolverton Editor of Anglican and Episcopal History Ms. Edna Johnston Richmond, VA [email protected] The Rev. Stephen A. Little Santa Rosa, CA Church Review Editor Richard Mahfood Bay Harbor, FL J. Barrington Bates, Prof. Frederick V. Mills, Sr. La Grange, GA Diocese of Newark [email protected] The Rev. Robert G. Trache Fort Lauderdale, FL Book Review Editor The Rev. Dr. Brian K. Wilbert Cleveland, OH Sheryl A. Kujawa-Holbrook, Claremont School of Theology [email protected] Anglican and Episcopal History (ISSN 0896-8039) is published quarterly (March, June, September, and Sustaining ($100-$499) December) by the Historical Society of the Episcopal Church, PO Box 1301, Appleton, WI 54912-1301 Christopher H.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components.
    [Show full text]
  • University of Victoria Archives AR194 Healey Willan Collection
    University of Victoria Archives AR194 Healey Willan collection 1. Fonds-level description Title Healey Willan collection Dates 1937-1981 Extent 10 cm of textual records, 11 photographs Biographical sketch James Healey Willan was born 12 October 1880 in Balham, London. In 1897 he became an Associate of the Royal College of Organists, and in 1899 a Fellow. From 1903 until 1913 he served as organist and choirmaster at St. John the Baptist Kensington. In 1913 Healey immigrated to Canada, settling in Toronto. In Toronto Willan held various positions at St. Mary Magdalene, St. Paul’s, and the Toronto Conservatory. Willan died 16 February 1968. Scope and content The collection primarily consists of memorabilia and newspaper clippings, collected by Willan's son, Patrick Willan. Files include correspondence and minutes of the Healey Willan Centennial Celebration Committee, 1978-1980; programmes, 1936-1980; clippings, 1936?-1965; programmes and clippings of Willan's opera, Deirdre; obituaries and memorials, 1968; Church of St. Mary Magdalene, 1979-1980; Willan Centenary, 1980; articles on Willan, 1980-1981; memorabilia, 1968-1979; and photographs of Willan with family and musicians. Notes Gifted by Patrick Willan to music librarian Sandy Acker, who transferred the materials to Special Collection in the fall of 1988. 2. Structure (no series or files) 3. Inventory Accession 1989-020 1.1 Correspondence and minutes Picture postcard of Queen Elizabeth II with Prince Philip, Prince Charles and Princess Anne, 1953. Autograph note signed "Dad", to Pat & Lorna; no date. Typed letter signed from Fred Clarke to Mr. and Mrs. [Patrick] Willan. 8 Jan., 1978; 1 page.
    [Show full text]
  • March 12, 2020 Geoffrey Harris Ward, Organ Program Toccata in D Minor, Opus 59, No. 5 (1901) Max Reger (1873-1916) from Trio So
    March 12, 2020 Geoffrey Harris Ward, organ Program Toccata in D Minor, Opus 59, No. 5 (1901) Max Reger (1873-1916) from Trio Sonata in C Major No. 5, BWV 529 (1727) Johann Sebastian Bach Largo (1685-1750) Prelude and Fugue, Opus 109, #3 in C Major (1898) Camille Saint-Saëns (1835-1921) Master Tallis’ Testament (1940) Herbert Howells (1892-1983) Variations sur un theme de Clément Jannequin, JA 118 (1937) Jehan Alain (1911-1940) Litanies, JA 119 (1937) Dr. Geoffrey Harris Ward is from Brampton, Ontario, Canada. He studied piano performance at the Royal Conservatory of Music in Toronto and earned his Bachelor degrees in trumpet performance and education at Mount Allison University in Sackville, New Brunswick. Dr. Ward completed the Master of Music degree at Arizona State University in Tempe, AZ before completing his Doctorate in Musical Arts in Organ Performance, Church Music at the University of Kansas in Lawrence, KS. His lecture-recital at KU was “The three mass of Jehan Alain (1911-1940)”. Dr. Geoffrey Harris Ward commenced his duties as University Organist and Choirmaster at the University of the South in July 2016. He is also on the faculty for the Department of Music teaching organ and conducting lessons, directing the University Choir and teaching courses in music history and theory. Dr. Ward came to Sewanee from Memphis, TN where he served Saint John’s Episcopal Church and was the Artistic Director of the Memphis BoyChoir Inc. for 10 years. He also taught organ lessons at the University of Memphis. Geoffrey met his wife Hilary in Kansas.
    [Show full text]
  • Healey Columbia, He Began His Professional Career in Vancouver Where He Served for Many Years As Director of Music at Christ Church Cathedral
    557375bk Willan USA 4/12/05 9:26 pm Page 8 Patrick Wedd Canadian born Patrick Wedd directed his first church choir at the age of twelve. Having obtained degrees in organ performance from the Universities of Toronto and British Healey Columbia, he began his professional career in Vancouver where he served for many years as Director of Music at Christ Church Cathedral. In 1986 he moved to Montreal to become WILLAN Artistic Director of the Tudor Singers, a professional ensemble which toured extensively in Canada, and Music Director of the Church of St Andrew and St Paul. In 1991 he Organ Works became Music Director of the Church of St John the Evangelist. Since September 1996 he has assumed the position of Director of Music at Christ Church Cathedral, Introduction, Passacaglia and Fugue Montreal. Patrick Wedd has played recitals in Canada, the United States, Australia and England. He has appeared as Prelude and Fugue No. 2 soloist with the Vancouver Symphony, the Orchestre Symphonique de Montréal and the Orchestra of the Canadian Broadcasting Corporation (CBC), and his recordings include Patrick Wedd contemporary music for the Canadian Music Centre, light classics for the CBC, and the Poulenc and Jongen concertos with the Calgary Philharmonic Orchestra. He has given many workshops and conductors’ master-classes, and for three years was in charge of the choral programme of the Faculty of Music at the Université de Montréal. He is currently Artistic Director of the Montreal Boys’ Choir Course, and Founder/Director of the choral ensemble Musica Orbium. A recording of Christmas music with the choirs of Christ Church Cathedral appears on the ATMA label, and a disc of music for trombone and organ with renowned virtuoso Alain Trudel is already available on Naxos.
    [Show full text]
  • Season of Events
    2019-2020 season of events James K. Wright, Professor of Music at Carleton University Louis Applebaum Distinguished Visitor in Film Composition presents “They shot, he scored: Eldon Rathburn and the legacy of the National Film Board” Thursday, January 23, 2020 at 7:30 pm | Walter Hall, 80 Queen’s Park The Louis Applebaum Distinguished Visitor in Composition was established by Sandra and Joseph Rotman to honour the memory of the Canadian film composer Louis Applebaum (1918-2000). James Wright is a Professor of Music at Carleton and recorded by artists and ensembles from around University, Ottawa. A McGill University Governor the globe. His Letters to the Immortal Beloved (for General’s Gold Medal recipient, Dr. Wright studied piano trio and baritone or mezzo-soprano) – settings of music theory and composition with Barrie Cabena, excerpts from Beethoven’s passionate letters of 1812, to Owen Underhill, Bengt Hambreaus, Donald Patriquin, a woman whose identity has been cloaked in mystery Brian Cherney and Kelsey Jones, and has taught – has been performed on five continents, with notable composition, music history, music perception/cognition, performances in Brazil, Portugal, China, Australia, and post-tonal music theory and analysis at McGill Canada, the Netherlands, and the USA. Two acclaimed University, the University of Ottawa, and Carleton recordings of the work have been issued by the Juno University. His scholarly contributions include two Award-winning Gryphon Trio: on the Naxos label in award-winning books on the life and work of Arnold 2015 (with mezzo-soprano Julie Nesrallah) and on the Schoenberg, and They Shot, He Scored (Montreal: Analekta label in 2019 (with baritone David Pike).
    [Show full text]
  • Benjamin Britten's Liturgical Music and Its Place in the Anglican
    Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10074906 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society.
    [Show full text]
  • Healey Willan and the Church of St. Mary Magdalene
    TORONTO REGION NEWSLETTER April- May- June, 2018 In this issue: Of Note: Healey Willan 1 Reading Review 15 In the Spotlight: The Annex Singers 6 Playing opportunities 17 Feature: Elise Bradley 7 Concert Notices 17 Schedule of Readings 12 Management Committee 2017 -2018 19 OF NOTE: HEALEY WILLAN AND THE CHURCH OF ST. MARY MAGDALENE Written by Andrew Adair Director of Music, Church of St. Mary Magdalene. Willan in his latter years. 1 “English by birth; Canadian by adoption; Irish by extraction; Scotch by absorption” is how Healey Willan (12 October 1880–16 February 1968) often described himself. His musical career began in 1889 as a chorister at St. Saviour’s Church in the English seaside town of Eastbourne, Sussex. St. Saviour’s had an excellent choir school which furnished Willan with a first-class general and musical education, and under the tutelage of Dr. Walter Hay Sangster, Willan received a rigorous grounding in harmony, counterpoint, and organ performance. It was this education that would set him on a path destined for excellence. After successfully passing the FRCO examination (Fellow of the Royal College of Organists) at age eighteen, Willan embarked upon a career as a professional musician in London. He conducted various choirs and became the Organist and Choirmaster of St. John the Baptist, Holland Road in Kensington, and began publishing his compositions. Willan in his London days. Despite his success as a blossoming professional musician, Willan did not earn enough money to support his growing family. His organist position paid £100 per year, which in today’s currency is around £10,000, and his additional income from teaching, publishing, and performing was not lucrative.
    [Show full text]
  • Voices of the Land and Sea with Special Guest Jenny Blackbird
    Voices of the Land and Sea with special guest Jenny Blackbird Sunday, October 21, 2018 2:30 pm Church of the Redeemer, 162 Bloor Street West MacMillan Singers David Fallis, conductor Lara Eden-Dodds, collaborative pianist Women’s Chamber Choir Lori-Anne Dolloff, conductor Valeska Cabrera, assistant conductor Eunseong Cho, pianist We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron-Wendat, the Seneca, and most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. Program MacMillan Singers David Fallis, conductor Lara Eden-Dodds, collaborative pianist Ambe Andrew Balfour (b. 1967) Trapped in Stone Andrew Balfour Gloria Deo Healey Willan (1880-1968) She’s like the Swallow arr. Harry Somers (1925-1999) Feller from Fortune arr. Harry Somers J’entends le moulin arr. Donald Patriquin (b. 1938) Intermission Women’s Chamber Choir Lori-Anne Dolloff, conductor Valeska Cabrera, assistant conductor Eunseong Cho, pianist Of Whalers and Whales Frobisher Bay James Gordon (b. 1955) Claire Laosinsky, soprano Sorrow Song of Whales Jeff Enns Paddling Songs V’la l’Bon Vent arr. Allison Girvan Valeska Cabrera, conductor Solo Quartet: Abigail Sinclair, Ineza Mugisha, Dayie Chung, Alyssa Meyerowitz Grammah Easter’s Lullaby Pura Fé (b. 1960) The Silent Voices For those who cannot go home again Jenny Blackbird Jenny Blackbird and the Faculty of Music Singing and Drumming Ensemble Our Inland Sea Begin Alice Ping Yee Ho (b.
    [Show full text]
  • Ce Document Est Tiré Du Registre Aux Fins De La Loi Sur Le Patrimoine De L
    This document was retrieved from the Ontario Heritage Act Register, which is accessible through the website of the Ontario Heritage Trust at www.heritagetrust.on.ca. Ce document est tiré du registre aux fins de la Loi sur le patrimoine de l’Ontario, accessible à partir du site Web de la Fiducie du patrimoine ontarien sur www.heritagetrust.on.ca. ------------,--------~-··· • ' • • • • • IN THE MATTER OF THE ONTARIO HERITAGE ACT • R.S.0. 1980, CHAPTER 337 AND 469 MANNING AVENUE C.ITY OF TORONTO, PROVINCE OF ONTARIO NOTICE OF PASSING OF BY-LAW To: Rector and Church Wardens of the Church of St. Mary Magdalene 479 Manning Avenue Toronto, Ontario M6G 2V8 • Ontario Heritage Foundation Take notice that the Council of the Corporation of the City of Toronto has passe.d By-law No. 524-91 to designate the above-mentioned property to be of· architec.tural value or interest. Dated at Toronto this 22nd day of October, 1991. Ba·rbara G. Caplan City Cl rk • - • • No. 524-91. A BY-LAW To designate the property at 469 Manning Avenue (Church ofSt. Mary Magdalene) ofarchitectural and historical value or interest. l (Passed September 16, 1991.) I ,· Whereas by Clause 11 of Neighbourhoods Committee Report No. 11, adopted by Council at its meeting ·t held. on September 16, 1991, authority was granted to designate the property at 469 Manning Avenue of architectural and historical value or interest; and Whereas the Ontario Heritage Act authorizes the Council of a municipality to enact by-laws to designate real property, including all the buildings and structures thereon, to be of historic or architectural value or interest; and Whereas the Council of The Corporation of the City of Toronto has caused to be served upon the owners of the lands and premises known as 469 Manning Avenue and upon the Ontario Heritage.
    [Show full text]