DOCSLIB.ORG

LC Presenter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LC Presenter 03-29 DCINY 3/23/09 9:18 AM Page 1 Sunday Evening, March 29, 2009, at 8:30 Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents DISTINGUISHED CONCERTS SINGERS INTERNATIONAL DISTINGUISHED CONCERTS ORCHESTRA INTERNATIONAL JOHN RUTTER For the Beauty of the Earth JOHN RUTTER What Sweeter Music JOHN RUTTER Gloria Daniel Hughes, Guest Conductor Intermission GEORGE FRIDERIC HANDEL Te Deum in D major ("Dettingen"), HWV 283 Dwight Uphaus, Guest Conductor Debra Scroggins, Alto Frederick Frey, Bass Christopher Benjamin, Tenor 1. We praise Thee, O God, Chorus 2. All the earth doth worship thee, Alto solo and Chorus 3. To thee, all angels cry aloud, 4. To thee Cherubim and Seraphim continually do cry, 5. The glorious company of the apostles, praise thee. 6. Thine honourable, true, and only Son, Chorus 7. Thou art the King of Glory, Bass solo and Chorus 8. When thou tookest upon thee to deliver man, Bass solo Avery Fisher Hall Please make certain your cellular phone, pager, or watch alarm is switched off. 03-29 DCINY 3/23/09 9:18 AM Page 2 9. When thou hadst overcome the sharpness of death 10. Thou didst open the kingdom of heav’n to all believers. Chorus 11. Thou sittest at the right hand of God Trio—Alto, Tenor, Bass 12. Sinfonia, Adagio 13. We therefore pray thee, 14. Make them to be numbered with thy saints… 15. Day by day, we magnify Thee, 16. And we worship thy name, ever world without end. Chorus 17. Vouchsafe, O Lord, Bass solo 18. O Lord, in thee have I trusted, Alto solo and Chorus Notes on the Program of Westminster Choir College, Princeton, and in 1988, a Fellow of the Guild of For the Beauty of the Earth Church Musicians. What Sweeter Music Gloria Rutter uses Henry Pleasants’ philosophy JOHN RUTTER as a working definition for his music: he Born September 24, 1945, in London, England believes music is a song and dance, and the further it diverges from these roots, Rutter received his first musical training as the more chance it will have to fail. The a chorister at Highgate School and was quality of innocence and purity is dominant educated at Clare College, Cambridge. As in his choral style, and his selection of an undergraduate he wrote his first pub- such texts as childhood lyrics and lished compositions and conducted his first Christmas carols provide him with lyrical recording. His compositions include large diatonic melodies to which he gives a and small-scale choral works, various serene, light texture. He frequently uses orchestra and instrumental pieces, a piano word painting, integrating text and music concerto, two children’s operas, music for in an aurally accessible fashion. television, and compositions for groups such as the King’s Singers. He worked for For the Beauty of the Earth the BBC providing music for educational The Beauty of the Earth is one of Rutter’s series, and in 1979 began the Cambridge many popular anthems and has also been a Singers, a chamber chorus mostly dedi- frequently performed work at weddings. cated to recording. The Beauty of the Earth, published in 1980, sets the well-known words by F. S. Pierpoint His larger choral works, Requiem of 1985 (1835–1917) as they appear in their reduced and Magnificat of 1990, have been performed version in the New English Hymnal. Pierpoint many times in this country, in Britain, and originally wrote an extended form of the elsewhere. He has guest-conducted or lec- hymn, which he called “The Sacrifice of tured at many concert halls, universities, Praise,” for Holy Communion. Rutter, using a churches, music festivals, and conferences changed title, set the work for Rosemary in Europe, Scandinavia, and North America. Heffley and the Texas Choral Directors’ In 1980 he was made an honorary Fellow Association. Intended to be sung by school or 03-29 DCINY 3/23/09 9:18 AM Page 3 Lincoln Center amateur choirs, this lovely work has become also seemed to sum up exactly what carols immensely popular and is performed widely. are for and what Christmas is all about.” What Sweeter Music Gloria In his choral setting of What Sweeter Rutter’s Gloria for chorus and brass Music by the 17th-century British poet and ensemble captures the spirit of traditional country clergyman Robert Herrick liturgical music and incorporates a religious (1591–1674), Rutter strikes a balance text, although it was actually conceived as between text depiction and musical flow. a concert work. Composed for his first U.S. Composed for Stephen Cleobury and the engagement, Gloria is characterized by its renowned Choir of King’s College at soaring vocal lines. Cambridge and published in 1988, it has a contemporary accessible sound, joined One of Rutter’s earliest works, Gloria with a lush, sonorous vocal texture that fol- combines a contemporary use of harmony lows the tradition of characteristic English with interesting and memorable rhythms. vocal sound. The poem contrasts the cold It has three movements and was composed of the winter season with the renewal of for a commission from Voices of Mel Olson nature and spirit that Christmas and the in Omaha, Nebraska. Rutter was invited to Holy Nativity symbolize. conduct the premiere in May 1974. Herrick’s poem appears as “Herrick’s Carol” For its text, Rutter uses words taken from (No. 122) in The Oxford Book of Carols, the second section of the Ordinary of the where it is set to a 17th-century German Mass, the Hymn of Praise. The composer melody, one very similar to that of the comments, “My setting, which is based contemporary favorite, “While Shepherds upon one of the Gregorian chants associated Watched.” Rutter sets pairs of verses to with the text, divides into three movements his original two-part melody. The first roughly corresponding with traditional sym- theme is characterized by melodic leaps, phonic structure.” The outer movements and the second by a smooth step-wise are lively and spirited: “Make a joyful noise movement. Because of its rhythm, the unto the Lord”; the middle movement is work has a soothing dance-like feel. softer, more subdued, introspective, and ethereal. Rutter describes the moods he Rutter has explained, “I wrote What creates as “exalted, devotional and jubilant Sweeter Music in 1987… to be sung after by turns.” He enhances these feelings in the reading about the gifts of the wise men, the first and last movements by his choice and I felt that Robert Herrick’s lovely text of instrumentation, specifically his use of was not only just right in that context, but organ, brass and percussion. 03-29 DCINY 3/23/09 9:18 AM Page 4 Lincoln Center Gloria Gloria in exelsis Deo Glory be to God on high, Et in terra pax hominius bonae voluntatis. And on earth peace, goodwill towards men. Laudamus te, Benedicimus te. We praise Thee, we bless Thee. Adoramus te. Glorificamus te. We worship Thee, we glorify Thee. Gratias agimus tibi propter magnam We give thanks to Thee for Thy great glory. gloriam tuam. Domine Deus, rex coelestis. O Lord God, heavenly King Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, Jesu Christe. O Lord, the only begotten Son Jesus Chris Domine Deus, agnus Dei, Filius Patris. O Lord God, lamb of God, Son of the Father, Qui tollis peccata mundi. Thou that takest away the sins of the world, Miserere nobis; Have mercy on us; Qui tollis peccata mundi, Thou that takest away the sins of the world, Suscipe deprecationem nostram Receive our prayer; Qui sedes ad dexteram Patris Thou that sittest at the right hand of God the father Miserere nobis Have mercy on us Quoniam tu solus sanctus. Tu solus Dominus For Thou only art holy; Thou only art the Lord. Tu solus altissimus, Jesu Christe. Thou only, O Christ with the Holy Ghost, Cum Sancto Spiritu, in Gloria Dei Patris. Art most high in the glory of God the Father. Amen. Te Deum in D major ("Dettingen"), than any secular work song or love song of HWV 283 equal beauty. In the 16th century new choral GEORGE FRIDERIC HANDEL settings began to replace the chant, and Born, February 23, 1685, in Halle, Germany later composers turned again and again to Died, April 14, 1759, in London, England the noble poem, especially for works observing great national celebrations. Te Deum laudamus (“We Praise Thee, God”), a great Latin hymn of thanksgiving, On July 17, 1743 Handel began the Te Deum praise, and joy, was probably written and in D major (“Dettingen”) for performance at first sung sometime around the year 400 the Chapel Royal to commemorate English and since that time has been used as a victory in the War of the Austrian Succession song of thanksgiving to mark great events. (1740–48). Protestant England, ruled by its It has been attributed to Saint Ambrose or Hanoverian King George II, entered the war Saint Augustine or both, or to Nicetas, on the side of Catholic Austria, and on Bishop of Remesiana. The grand old plain- June 27, 1743, near the Bavarian city of song melody survived for centuries and Dettingen, was victorious over France. It was sung to celebrate military victories, was the last time an English king was seen coronations, births of royal children, and on a battlefield, but according to some state visits. It became transformed some- accounts, the victory was a fluke. The what as it was passed on through the unpopular king was a pudgy, lazy man, who generations, but it never wandered any rode into battle on an inexperienced horse, further from the consciousness of the folk which frightened by the noise and turmoil, 03-29 DCINY 3/23/09 9:18 AM Page 5 Lincoln Center ran away with its rider in the direction of Angels and Seraphim, which makes a the enemy.
Load more

Recommended publications
  • November 15, 1959 776Th Concert
    NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No.
    [Show full text]
  • Handel's Sacred Music
    The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • 9914396.PDF (12.18Mb)
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C.
    [Show full text]
  • Vespers 2020 Music Guide
    MILLIKIN UNIVERSITY® 2 0 2 0 ALL IS BRIGHT MUSIC GUIDE VESPERS MEANS ‘EVENING’ AND IS ONE OF THE SEVEN CANONICAL HOURS OF PRAYER. MILLIKIN UNIVERSITY | SCHOOL OF MUSIC BELL CAROL (2017 All Choirs) William Mathias “AlltheBellsonEarthShallRing”wastheVespersthemeinMathias’compositionwastheperfect openingTheprocessionendeavorstorevealtoaudiencemembersthatbellsaregiftssounds(musicifyou will)oeredtothemangerIndeedtheremainderoftheprogramdisplayedbellsinbothcelebratoryand reflectivemomentsThepiecewascomposedforSirDavidWillcocksthechoirmasterwhobroughtsomuch attentiontotheLessonsandCarolsofKing’sCollegeCambridge ALLELUIA(2018 University Choir) Fredrik Sixten “SingAlleluia”wasthethemeofVespersinandSixten’sreflectivesettingcameearlyintheprogram givingthiswordusuallyconsideredfestiveinmoodasenseofadventhope LAUDATE DOMINUM (2015 Millikin Women) Gyöngyösi Levente LaudateDominumhasservedmanycomposersinincludingMozartwhouseditinhiswellknownSolemn VespersContemporaryHungariancomposerGyöngyösicombinesanincessantmantraonasinglenotewith complexrhythmsforthissettingofPs(“OPraisetheLordallyenations”)Harmonicdensityincreasesand joinstherhythmicdrivetothefinalAlleluiawheretheadditionofatambourineaddsafinalcelebratorynote MAGNIFICAT(2017 Collegiate Chorale) Bryan Kelly EvensongtheAnglicanversionofVespersalwaysincludesasettingoftheMagnificatEventhough thisiscomposedforEnglishearsBryanKelly’senthusiasmforLatinAmericanmusicisclearlyevident inthissettingfromthes GLORIA PATRIMAGNIFICAT (2019 All Choirs) John Rutter ThefinalmovementofRutter’sMagnificatgathersmanyofthework’sthemesintoatriumphantfinale
    [Show full text]
  • Soprano Cornet
    SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor
    [Show full text]
  • The Grande Messe Des Morts (Requiem), Op. 5 by Hector Berlioz
    THE GRANDE MESSE DES MORTS (REQUIEM), OP. 5 BY HECTOR BERLIOZ: A CONDUCTOR’S GUIDE TO THE HISTORICAL BACKGROUND, ORCHESTRATION, RHETORICAL/DRAMA-LITURGICAL PROJECTION AND FORMAL/STRUCTURAL ANALYSIS BY KRISTOFER J. SANCHACK 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 2015 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 ______________________________________ Jan Harrington, Research Director ______________________________________ Jan Harrington, Chair ______________________________________ Betsy Burleigh ______________________________________ Dominick DiOrio ______________________________________ Frank Samarotto 30 November 2015 ii Copyright © 2015 Kristofer J. Sanchack iii Dedicated to my parents and grandparents who have supported me through a very long process iv Acknowledgements There are so many people to whom I am extremely grateful. First I would like to thank my family. My parents, grandparents, sister and niece have continued each and every day to encourage me to finish this paper. Without their support, I doubt this project would have been completed. I also want to thank my partner, who throughout the process was supportive, helpful, understanding and caring. I would like to thank Dr. Carmen-Helena Téllez who began with me on this odyssey, and my mentor, friend and research chair Dr. Jan Harrington, who believed and continued to be a pillar of strength to me throughout this endeavor. I am also indebted to Dr. Betsy Burleigh, Dr. Dominick DiOrio and Dr. Frank Samarotto, who graciously agreed to serve on the committee for this paper.
    [Show full text]
  • 6.5 X 11.5 Doublelines.P65
    Cambridge University Press 978-0-521-45613-5 - The Cambridge Companion to Handel Edited by Donald Burrows Index More information Index Abraham, Gerald, 126–7, 308, 310 Armenia, 260 Abell, John, 87 Arne, Susanna, see Cibber, Susanna Abingdon (Oxfordshire), 255 Arne, Thomas Augustine, 69, 73, 75, 91, 153, Dall’Abaco, Giuseppe, 80 296 Academy of Vocal [Ancient] Music, 70–1, 152 Arsinoe, see Clayton Accademia della Crusca, 27 Atterbury Plot, 97, 175 Accademia Filarmonica (Bologna, Verona), 32 Augsburg, 39, 320 Accademia della Morte (Ferrara), 32 August, Duke of Saxony, 12–13, 15–16 Accademia dello Spirito Santo (Ferrara), 32 Augusta, Princess of Saxe-Gotha, Princess of Ackermann, Rudolph, 268 Wales, 178 Act of Settlement, 46 Austria, Emperor of, see Leopold I Adlington Hall, Cheshire, 217 Austrian Succession, War of the, 179–80 Addison, John, 52, 85, 90 Avelloni, Casimiro Aix-la-Chapelle, 178 Aix-la-Chapelle, Treaty/Peace of, 180 Babell, William, 69 d’Alay, Mauro, 80 Bach, J. S., 172, 195, 208, 218 Alberti, Johann Friedrich, 21, 210 Baker, Janet, 327 Albinoni, Tomaso, 38–9, 197–8 Banister, John, 68, 193 Aldrovandini, Giuseppe, 38 Barberini, Signora [Campanini, Barbarina], 85 Alexander the Great, 155–6 Barbier, Jane, 76 Alexander VIII, Pope (Ottoboni), 28 Baretti, Julia, 88 Amadei, Filippo, 80, 242 Barn-Elms [Barnes], Surrey, 66 Amiconi, Jacopo, 86 Barsanti, Francesco, 80–1 Amsterdam, 24, 39, 214, 217 Bartolotti, Girolamo, 80 Ancona, 26 Basel, 40 Andrews, Mr, 66 Baselt, Bernd, 22, 316 Angelini, Antonio Giuseppe, 41, 310 Bath, 84 Anne, Queen
    [Show full text]
  • Easter Day the Resurrection of Our Lord Jesus Christ
    Do not be afraid; I know that you are looking for Jesus who was crucified. He is not here; for he has been raised, as he said. —Matthew 28:5b-6a EASTER DAY THE RESURRECTION OF OUR LORD JESUS CHRIST FESTIVAL HOLY EUCHARIST SUNDAY, APRIL 20, 2014 WASHINGTON NATIONAL CATHEDRAL EASTER DAY THE SUNDAY OF THE RESURRECTION SUNDAY, APRIL 20, 2014 • EIGHT & ELEVEN AM American Sign Language interpretation at the 11 am service is offered in the south transept. Please ask an usher for direction. carillon prelude He is risen, he is risen! Unser Herrscher; arr. Frank P. Law (1917–1985) Prélude sur L’Alleluia de Fulbert de Chartres (évèque 1007–1029) Louis Delapierre (1899–1981) The day of resurrection! Ellacombe; arr. Sally Slade Warner (1932-2009) Hallelujah! for carillon Hilton J. Rufty (1904-1974) Jesus Christ is risen today Easter Hymn; arr. F.P. Law organ voluntary Saraband for the Morning of Easter Herbert Howells (1892-1983) Fantasia in G (Pièce d’Orgue), BWV 572 Johann Sebastian Bach (1685-1750) Pastorale, from Symphony No. 1 Louis Vierne (1870-1937) Dankpsalm Max Reger (1873-1916) brass prelude Fanfare, from Water Music George Frederic Handel (1685-1759), arr. Chuck Seipp Trumpet Voluntary William Boyce (1711-1779), arr. C. Seipp Overture & La Rejouissance, from Music for the Royal Fireworks G. F. Handel, arr. C. Seipp Prelude to Te Deum Marc-Antoine Charpentier (1634-1704), arr. C. Seipp welcome introit This joyful Eastertide arr. Charles Wood (1866-1926) This joyful Eastertide, away with sin and sorrow! My love, the Crucified, hath sprung to life this morrow.
    [Show full text]
  • Prelude to Te Deum EUROVISIONS - FANFARE
    Komp.: Marc-Antoine Charpentier Arr: Roland J.Bauer Prelude to Te Deum EUROVISIONS - FANFARE Trumpet/Clarinet Bb b 2 œ œ ˙ Mœ™ œ (Part 1) &b 2 œ ™ œ œ œ J Trumpet/Clarinet Bb b 2 (Part 2) b ™ œ œ œ œ™ œ & 2 œ ™ œ œ œ œ J Baritone/ Tenor Sax B b 2 œ œ œ œ œ œ œ™ œ (Part 3) &b 2 œ ™ J Tuba/Bass C (Part 4) ? b b 2 ™ j b b 2 œ ™ ˙ œ œ œ œ œ™ œ œ ˙ œ œ œ œ™ œ Tpt. 1 b œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ Tpt. 2 bb œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ Bar. b œ œ œ œ œ ˙ œ œ œ &b œ œ œ œ Tba. ? bbbb œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ œ 1. 2. ˙ M œ M œ M U Tpt. 1 bb œ™ œ œ œ œ œ™ œ ˙™ ™ œ œ œ œ™ œ w & J J œ ™ J U Tpt. 2 bb œ œ™ œ œ œ j ™ œ œ j & œ J œ™ œ ˙™ œ ™ œ™ œ w œ œ U Bar. b œ œ œ™ œ œ œ™ œ ˙™ œ œ™ œ w &b J J œ ™ J U Tba. ? j bbbb œ œ œ œ œ ˙ œ ™ œ œ œ w œ œ ™ œ œ œ ™ œ œ œ œ œ™ œ œ œ ˙™ œ œ w © 2020 by Roland J.
    [Show full text]
  • Grande Messe Des Morts: Hector Berlioz's Romantic Interpretation Of
    GRAND MESSE DES MORTS: HECTOR BERLIOZ'S ROMANTIC INTERPRETATION OF THE ROMAN CATHOLIC REQUIEM TRADITION Amber E. Broderick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2012 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2012 Amber E. Broderick All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Hector Berlioz (1803-1869) was commissioned by the French government in 1836 to compose a requiem mass for a state ceremony and to restore sacred music to a respected position in France. Berlioz envisioned a requiem that both continued the Roman Catholic requiem tradition and expanded it in context of the Romantic era and Kunstreligion. Berlioz conceived his Grande messe des morts (Requiem) as a “music drama,” in which the thirteenth-century Latin prose wa s used as secular poetry rather than an immutable sacred text. Berlioz’s Requiem is not religious in strict theological terms but relates more closely to what Frank Heidlberger calls an artistic statement of “secular moral philosophy.” Berlioz devised a first-person physiological narrative which presented the listener with a private emotional experience, achieving this psychological journey, in part, through a Romantic interpretation: textual alterations, programmatic orchestration, and the innovative use of antiphonal brass orchestras. The text was freely edited and rearranged to produce a libretto-type program, which Edward Cone deems a “dramatic portrayal of an imaginary progress through this world and the next.” Berlioz enhanced his interpretation by shifting from the traditional third-person perspective to the first-person. This adjustment required minimal changes to the text but maximum changes for the listener, who experienced a personal journey focused on the individual, rather than the divine.
    [Show full text]
  • Te Deum Laudamus from the Morning, Evening and Communion Service in B Flat, Charles Villiers Stanford Op
    Te Deum Laudamus From the Morning, Evening and Communion Service in B flat, Charles Villiers Stanford Op. 10, 1878 Trumpet and timpani parts added by David Cameron, 2002 Trumpet 1 Trumpet 2 Timpani in B flat, F, & E flat SOPRANO We praise thee, O ALTO We praise thee, O TENOR We praise thee, O BASS We praise thee, O ORGAN 10 Tpt 1 Tpt 2 Timps cres. S God, we ac - know - ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. A God, we ac - know - ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. T God, we ac - know - ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. B God, we ac - know- ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. Gt. Arrangement copyright © 2016 CPDL 2 Stanford: Te Deum Laudamus 18 Tpt 1 Tpt 2 Timps S Fa- ther ev-- er last- ing. the heav'ns and A Fa- ther ev-- er last - ing. the heav'ns and T Fa- ther ev-- er last- ing. To thee all an gels cry a- loud. the heav'ns and B Fa- ther ev-- er last- ing. To thee all an gels cry a- loud. the heav'ns and dim. 27 Tpt 1 Tpt 2 cres. cres. S all the powers there - in, to thee che-- ru bin and Se ra phin con --- tin-- ual ly do cres. A all the powers there - in, to thee che-- ru bin and Se-- ra phin con - tin-- ual T all the powers there- in, con - B all the powers there - in, Sw.
    [Show full text]