Reading Bach Choir Repertoire 1966 to Present Day
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Caecilia V82n02 1955 01.Pdf
Intr. ~ - r iI-+-+-a--II - 5. ~-·-_-I-.-.I-.~-:;==....-._-_~~_.-·_"_-_~__· '-~__ G Ircumdede-runt me· - gemi-tus mortis, do-l6- res Intr. +-.----------- 1----· 1···~~.1 t · . }I-..I. • 1If-~---="'--=---I---~ a · ~ ~ ----!-! U Xsurge,'" qua-re obdormis Domine? exsur- Intp. I .f.------- ~ -':'"""':~=--k:~ ~~=--.-·+I-.-- ~ 6. I I.. H'.. II ... ....... € -sto mlhl - in De- um pro- te-ct6- rem, et in VOLUME 82 - Number 2 JANUARY - FEBRUARY, 1955 dlCRexneUJ OJ:CO.UloacchuRCh fr:"schoo~mUS1C What the Critics Say: "Can you imagine a hymnal in which every single entry is completely acceptable on all grounds, musical and liturgical? I am not in the pay of the publisher when I urge every organist in the country to rush out and buy the new Pius X THE Hymnal ..." Paul Hume in The Sign. • "One can earnestly recommend this outstanding hymnal for the serious consideration of all choir PIUS Inasters looking for music of exceptional quality and worth." A. C. B. in The Diapason. • "This collection is in every way superior to all our TENTH hymnals now in use". J. W. E. in The Catholic Standard, Washington, D. C. • HThe hymnal is rich in gems and choirmasters HYMNAL will find much to interest singers and to enrich their repertoire." J. V. H. in T he Catholic Choirmaster. Edited, Arranged and Compiled • by the "The organist and choir director will find in its 500 pages a rich treasure of music that blends, in PIUS TENTH SCHOOL the words of Cardinal Spelhnan, 'mind, heart and voice in adoration, praise and thanksgiving of to Almighty God and His wondrous works.'" Bartholomew Sales, OSB, in Worship. -
University of Washington School of Music St. Mark's Cathedral
((J i\A~&!d C\I~ t \LqiJ }D10 I I . I'J. University of Washington School of Music in conjunction with St. Mark's Cathedral November 11-12, 2016 Dr. Carole Terry Wyatt Smith Co-Directors On behalfof the UW School of Music, I am delighted to welcome you to this very special Reger Symposium. Professor Carole Terry, working with her facuIty colleagues and students has planned an exciting program of recitals, lectures, and lively discussions that promise to illuminate the life and uniquely important music of Max Reger. I wish to thank all of those who are performing and presenting as well those who are attending and participating in other ways in our two-day Symposium. Richard Karpen Professor and Director School of Music, University ofWashington This year marks the lOOth anniversary of the death of Max Reger, a remarkable south German composer of works for organ and piano, as well as symphonic, chamber, and choral music. On November J ph we were pleased to present a group of stellar Seattle organists in a concert of well known organ works by Reger. On November 12, our Symposium includes a group of renowned scholars from the University of Washington and around the world. Dr. Christopher Anderson, Associate Professor of Sacred Music at Southern Methodist University, will present two lectures as a part of the Symposium: The first will be on modem performance practice of Reger's organ works, which will be followed later in the day with lecture highlighting selected chamber works. Dr. George Bozarth will present a lecture on some of Reger's early lieder. -
Calmus-Washington-Post Review April 2013.Pdf
to discover, nurture & promote young musicians Press: Calmus April 21, 2013 At Strathmore, Calmus Ensemble is stunning in its vocal variety, mastery By Robert Battey Last week, two of Germany’s best musical ensembles — one very large, one very small — visited our area. After the resplendence of the Dresden Staatskapelle on Tuesday at Strathmore, we were treated on Friday to an equally impressive display of precise, polished musicianship by the Calmus Ensemble, an a cappella vocal quintet from Leipzig. Founded in 1999 by students at the St. Thomas Church choir school (which used to be run by a fellow named Bach), Calmus presented a program both narrow and wide: all German works, but spanning more than four centuries of repertoire. The group held the audience at St. Paul’s Episcopal Church in Alexandria nearly spellbound with its artistry. The only possible quibble was that occasionally there was a very slight imbalance in the upper texture; Calmus has only one female member, the alto parts being taken by a countertenor who could not always match the clear projection of the soprano. But in matters of pitch, diction and musical shaping, I’ve never heard finer ensemble singing. From the lively “Italian Madrigals” of Heinrich Schütz, to a setting by Johann Hiller of “Alles Fleisch” (used by Brahms centuries later in “Ein Deutsches Requiem”), to the numinous coloratura of Bach’s “Lobet den Herrn,” to some especially lovely part-songs of Schumann, to a performance-art work written for the group by Bernd Franke in 2010, the quintet met the demands of every piece with cool perfection. -
Eftychia Papanikolaou Is Assistant Professor of Musicology and Coordinator of Music History Studies at Bowling Green State University in Ohio
Eftychia Papanikolaou is assistant professor of musicology and coordinator of music history studies at Bowling Green State University in Ohio. Her research (from Haydn and Brahms to Mahler’s fi n-de-siècle Vienna), focuses on the in- terconnections of music, religion, and politics in the long nineteenth century, with emphasis on the sacred as a musical topos. She is currently completing a monograph on the genre of the Romantic Symphonic Mass <[email protected]>. famous poetic inter- it was there that the Requiem für Mignon polations from Johann (subsequently the second Abteilung, Op. The Wolfgang von Goethe’s 98b), received its premiere as an inde- Wilhelm Meisters Leh- pendent composition on November 21, rjahre [Wilhelm Meister’s Apprenticeship], 1850. With this dramatic setting for solo especially the “Mignon” lieder, hold a voices, chorus, and orchestra Schumann’s prestigious place in nineteenth-century Wilhelm Meister project was completed. In lied literature. Mignon, the novel’s adoles- under 12 minutes, this “charming” piece, cent girl, possesses a strange personality as Clara Schumann put it in a letter, epito- whose mysterious traits will be discussed mizes Schumann’s predilection for music further later. Goethe included ten songs in that defi es generic classifi cation. This Wilhelm Meisters Lehrjahre, eight of which article will consider the elevated status were fi rst set to music by Johann Fried- choral-orchestral compositions held in rich Reichardt (1752–1814) and were Schumann’s output and will shed light on included in the novel’s original publication tangential connections between the com- (1795–96). Four of those songs are sung poser’s musico-dramatic approach and his by the Harper, a character reminiscent of engagement with the German tradition. -
Music Brochure 2019-2020
LITURGICAL MUSIC 2019 – 2020 Musical Offerings for the Sunday 11:15 A.M. Solemn Masses & Other Special Liturgies during the Program Year ———————————————————————— The Holy Trinity Schola Cantorum Dr. Andrew H. Yeargin, Director of Music & Organist HOLY TRINITY CATHOLIC CHURCH CATHOLIC TRINITY HOLY HOLY TRINITY CATHOLIC CHURCH 213 West 82nd Street, New York, NY 10024 | (212) 787-0634 September 14, 2019 The Feast of the Exaltation of the Holy Cross Dear Friends, Welcome to a new season of ecclesiastical music at the Church of the Holy Trinity. We are pleased to share with you this music brochure outlining our week-to-week selections of liturgical music for the 2019–2020 season. In addition to the highly diverse offerings in repertoire each Sunday, we are especially excited to present a concert performance of Johannes Brahms’s German Requiem with orchestra in March 2020. We hope you can join us regularly throughout the season for an enriching year of inspiring and evocative sacred music. OUR PHILOSOPHY ABOUT SACRED MUSIC: Music is an integral part of the worship experience, and is part of what binds together the many aspects of liturgy…the “mortar between the bricks,” so to speak. At times, the congregation is invited to sing hymns or refrains, adding their voices to countless others in a unified act of prayer and celebration. At other times, the choir or cantor may sing alone— offering prayers on behalf of the entire assembly—while the congregation reflects silently. In either instance—joining in song or prayerfully listening to others—the assembled congregation is actively participating in the litury. -
The Book of Alternative Services of the Anglican Church of Canada with the Revised Common Lectionary
Alternative Services The Book of Alternative Services of the Anglican Church of Canada with the Revised Common Lectionary Anglican Book Centre Toronto, Canada Copyright © 1985 by the General Synod of the Anglican Church of Canada ABC Publishing, Anglican Book Centre General Synod of the Anglican Church of Canada 80 Hayden Street, Toronto, Ontario, Canada M4Y 3G2 [email protected] www.abcpublishing.com All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publisher. Acknowledgements and copyrights appear on pages 925-928, which constitute a continuation of the copyright page. In the Proper of the Church Year (p. 262ff) the citations from the Revised Common Lectionary (Consultation on Common Texts, 1992) replace those from the Common Lectionary (1983). Fifteenth Printing with Revisions. Manufactured in Canada. Canadian Cataloguing in Publication Data Anglican Church of Canada. The book of alternative services of the Anglican Church of Canada. Authorized by the Thirtieth Session of the General Synod of the Anglican Church of Canada, 1983. Prepared by the Doctrine and Worship Committee of the General Synod of the Anglican Church of Canada. ISBN 978-0-919891-27-2 1. Anglican Church of Canada - Liturgy - Texts. I. Anglican Church of Canada. General Synod. II. Anglican Church of Canada. Doctrine and Worship Committee. III. Title. BX5616. A5 1985 -
Invitatories, Antiphons, Responsories and Versicles
Invitatories, Antiphons, Responsories and Versicles Advent INVITATORY BEHOLD, the King cometh: O come, let us worship Him. ANTIPHONS Behold, the Name of the Lord cometh from far: and let the whole earth be filled with His glory. Come, O Lord, and make no tarrying: loosen the bonds of Thy people Israel. Rejoice greatly, O Jerusalem: behold. Thy King cometh. Behold, the Lord shall come, and all His saints with Him: and in that day the light shall be great. Hallelujah. RESPONSORY BEHOLD, the days come, saith the Lord, that I will raise unto David a righteous Branch, and a King shall reign and prosper, and shall execute judgment and justice in the earth. And this is His Name whereby He shall be called. The Lord our Righteousness. V. In His days shall Judah be saved, and Israel shall dwell safely. And this is His Name whereby He shall be called, The Lord our Righteousness. Glory be to the Father, and to the Son, and to the Holy Ghost. And this is His Name whereby He shall be called, The Lord our Righteousness. VERSICLES V. Out of Zion, the perfection of beauty, God hath shined. R. Our God shall come. Hallelujah. V. Prepare ye the way of the Lord. Hallelujah. R. Make His paths straight. Hallelujah. V. Drop down, ye heavens, from above, and let the skies pour down righteousness. R. Let the earth open and bring forth salvation. Christmas INVITATORY UNTO us the Christ is born: O come, let us worship Him. ANTIPHONS The Lord hath said unto Me: Thou art My Son, this day have I begotten Thee. -
The History and Use of Invitatories, Responsories, Versicles, and Antiphons
The History and Use of Invitatories, Responsories, Versicles, and Antiphons In The Lutheran Hymnal beginning at page 95 there are lists of suggested Invitatories, Antiphons, Versicles, and Responsories for use in various seasons throughout the Church’s year. Unfortunately, these are rarely used by the local parish. Part of the reason is that these are typically used in the daily Offices of Matins and Vespers. The Offices used to be a daily part of the worship of the local parish in Lutheran circles. Daily praying of Matins and Vespers was the norm, and rubrics governing their use are in most, if not all, of the Church Orders of the Sixteenth and Seventeenth centuries. 1 That these Offices would be used in the local parish was assumed, especially in the city churches where there would be a school, and a larger population would be typical. Even in the case of the rural parish, the Offices were expected to be said daily, the only difference commonly listed was that instead of the parts being sung by a boys’ choir, that the parts would be read. The fact that these sets of Invitatories, Antiphons, Responsories, and Versicles have been retained in our modern hymnals, and the fact that the daily Offices of Matins and Vespers are also provided in our hymnals, assumes that these chants would be retained among us also. This paper will look at the history of these chants, and why and how we should use them. It will also explore how they fell into disuse and look at ways to restore them to usage among the parishes of our diocese. -
Concerts Lux Aeterna Requiem
ASTASTRRRRAAAA CONCERTS 2 0 1 3 555 pm, Sunday 888 DecDecemberember SACRED HEART CHURCH Carlton, Melbourne György Ligeti LUX AETERNA Dan Dediu O MAGNUM MYSTERIUM Thomas Tallis O NATA LUX TE LUCIS ANTE TERMINUM Ruth Crawford-Seeger CHANTS DIAPHONY Max Reger REQUIEM Heitor Villa-Lobos PRAESEPE Catrina Seiffert, Elizabeth Campbell, Jerzy Kozlowski Mardi McSuMcSulllllea,lea, Elise Millman, Alister Barker The Astra Choir and ensemble Catrina Seiffert soprano Elizabeth Campbell mezzo-soprano Jerzy Kozlowski bass Mardi McSullea flute Elise Millman bassoon , Alister Barker cello Aaron Barnden violin , Phoebe Green viola, Nic Synot double bass , Craig Hill clarinet , Robert Collins trombone , Kim Bastin piano , Joy Lee organ The Astra Choir soprano Irene McGinnigle, Gabriella Moxey, Susannah Polya, Catrina Seiffert, Kristy de la Rambelya, Yvonne Turner Jenny Barnes, Louisa Billeter, Jean Evans, Maree Macmillan, Kate Sadler, Haylee Sommer alto Amy Bennett, Laila Engle, Gloria Gamboz, Anna Gifford, Judy Gunson, Xina Hawkins, Katie Richardson Beverley Bencina, Heather Bienefeld, Jane Cousens, Joy Lee, Joan Pollock, Sarah Siddiqi , Aline Scott-Maxwell tenor Stephen Creese, Greg Deakin, Matthew Lorenzon, Ronald McCoy, Ben Owen, Richard Webb, Simon Johnson bass Robert Franzke, Steven Hodgson, Nicholas Tolhurst, Stephen Whately Jerzy Kozlowski Tim Matthews Staindl, Chris Rechner, Chris Smith, John Terrell conducted by John McCaughey Concert Manager: Margaret Lloyd Recording: Michael Hewes, Steve Stelios Adam Astra Manager: Gabrielle Baker Front of House: Stiabhna Baker-Holland, George Baker-Holland 2 PROGRAM György Ligeti LUX AETERNA (1966) 16-part choir Dan Dediu O MAGNUM MYSTERIUM (2013) 6-part choir Thomas Tallis O NATA LUX (1575) vespers hymn, 5-part choir Ruth Crawford DIAPHONIC SUITE No.1 (1930) solo flute I. -
Historicism and German Nationalism in Max Reger's Requiems
Historicism and German Nationalism in Max Reger’s Requiems Katherine FitzGibbon Background: Historicism and German During the nineteenth century, German Requiems composers began creating alternative German Requiems that used either German literary material, as in Schumann’s Requiem für ermans have long perceived their Mignon with texts by Goethe, or German literary and musical traditions as being theology, as in selections from Luther’s of central importance to their sense of translation of the Bible in Brahms’s Ein Gnational identity. Historians and music scholars in deutsches Requiem. The musical sources tended the late nineteenth and early twentieth centuries to be specifically German as well; composers sought to define specifically German attributes in made use of German folk materials, German music that elevated the status of German music, spiritual materials such as the Lutheran chorale, and of particular canonic composers. and historical forms and ideas like the fugue, the pedal point, antiphony, and other devices derived from Bach’s cantatas and Schütz’s funeral music. It was the Requiem that became an ideal vehicle for transmitting these German ideals. Although there had long been a tradition of As Daniel Beller-McKenna notes, Brahms’s Ein German Lutheran funeral music, it was only in deutsches Requiem was written at the same the nineteenth century that composers began time as Germany’s move toward unification creating alternatives to the Catholic Requiem under Kaiser Wilhelm and Bismarck. While with the same monumental scope (and the same Brahms exhibited some nationalist sympathies— title). Although there were several important he owned a bust of Bismarck and wrote the examples of Latin Requiems by composers like jingoistic Triumphlied—his Requiem became Mozart, none used the German language or the Lutheran theology that were of particular importance to the Prussians. -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
Philharmonic Concert
________ Geza Hosszu Legocky "aka" Gezalius ________ _______________ Piotr Kalina, tenor _______________ _________________ Organised by ______________ Geza Hosszu Legocky already impresses the most demanding audiences He comes from Kraków. His artistic achievements are based on many solo whilst affirming a non-conventional mind-set with various musical genres. concerts, in places such as Kraków Philharmonic, Podkarpacka Philharmo- Born in Switzerland as an American citizen from Hungarian-Ukrainian pa- nic, Silesian Philharmonic, Zabrze Philharmonic and NOSPR chamber hall. for Auschwitz rents, Geza Hosszu Legocky began to attract the audience at the age of 6, In his repertoire, he has integrated arias from many opera and oratorio after entering the Vienna Music Academy as an especially gifted violin pro- pieces, including "Norma", "Tosca", "Die Zauberflöte", "Messa da Requiem" digy. At the age of 14 he made his big debut performances with the NHK (G. Verdi), "Stabat Mater" (G. Rossini), "Elias" (F. Mendelssohn-Bartholdy) Philharmonic Orchestra with Charles Dutoit, and also with other Orchestras such as The and "Das Lied von der Erde" (G. Mahler). He worked with many outstan- Radio France Philharmonic Orchestra under M. w. Chung, The Swiss-Italian Radio Orchestra ding conductors. He participated in many masterclasses with, inter alia, under Jacek Kapszsyk, just to name a few. His exceptional gift for music and his capacity to Piotr Beczała, Teru Yosihara and Markus Schäfer. He learned the art of sin- transmit his emotions directly into the heart of his audiences lead him to work in his early ging from Jolanta Kowalska-Pawlikowska and from Jacek Ozimkowski. He _________________ ______________ career with living legends such as Martha Argerich, Mischa Maisky, Charles Dutoit, Yehudi was awarded at different vocal competitions.