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St Paul's Cathedral Melbourne
T AUL S ATHEDRAL Dean: The Very Revd Dr Andreas Loewe S P ’ C Precentor: The Revd Canon Heather Patacca MELBOURNE Director of Music: Mr Philip Nicholls CONVERSION OF ST PAUL TO EPIPHANY 5: 29 JANUARY TO 5 FEBRUARY, WEEK 5, 2017 Canon in Residence: The Dean Sunday 29 January CONVERSION OF PAUL THE APOSTLE W Thursday 2 February THE PRESENTATION OF CHRIST IN THE TEMPLE W 8am BCP Holy Communion 12.15pm Eucharist 9am Sung Eucharist: Gloria: TiS757b; Grad: Christ is our cornerstone 5.10pm Choral Evensong: Lay Clerks Off: We know God’s love; Dis: Thy hand, O God, has guided (vv.1-2&5) Responses: Ferial 10.30am Choral Eucharist: Boys’ and Men’s Voices Psalm: 48 Chant: William Russell (1777–1813) Setting: ‘Collegium Magdalenae Oxoniense’ – Kenneth Leighton (1929-88) Hymns: Proc: All who walk; Grad: Christ is our cornerstone (GA: G); Anthem: Hail, gladdening light – Charles Wood (1866-1926) Off: We know God’s love; Dis: Thy hand, O God, has guided Hymn: Sing how the age-long promise of a Saviour Setting: Mass, Op. 36 – Charles-Marie Widor (1844-1937) Psalm: 117 Chant: Pelham Humphrey (1647-74) Friday 3 February FIRST ANGLICAN SERVICE AT SYDNEY COVE (1788) W Motet: Te Deum from the Morning Service in B Flat – 12.15pm Eucharist Charles Villiers Stanford (1852-1924) 5.10pm Choral Evensong: Boys’ and Men’s Voices Postlude: Toccata from the Symphony No. 5, Op. 42 – Responses: Ferial Charles-Marie Widor (1844-1937): Mr Lachlan Redd, Sub–Organist Psalm: 14 Chant: John Goss (1800-80) 6pm Choral Evensong: Boys’ and Men’s Voices Setting: Evening Service -
SON 442 Einleitung
XII Einleitung Die drei in diesem Band edierten Stücke sind vom Komponis- in seinem Album bewahren will auch einige Takte nach dem ten verfasste Bearbeitungen von originalen Kirchenwerken für Choral als Vorspiel zu der letzten Nummer die er gern drucken Solostimmen, vierstimmigen Chor und Orgel. Während es sich laßen möchte. Die drollige Weise in welcher er sich darüber bei den beiden Stücken mit englischer Textierung, beim Anthem an mich schriftlich ausdrückt, ist zu possirlich daß ich Dir sie „Why, o Lord, delay for ever“ MWV A 19 und beim Hymn nicht vorenthalten kann, u. lege seinen Brief beÿ. Dieses Docu- „Hear my prayer“ MWV B 49, um Auftragswerke handelte, war ment ist eines der zahlreichen seiner absonderlichen halbver- die Übertragung der Orgelstimme des „Ave Maria“ op. 23 Nr. 2 rückten Natur.“4 In dem beigelegten Brief hatte Broadley tags MWV B 19 auf Instrumente der praktischen Notwendigkeit für zuvor gebeten: „With reference to the Prelude, you were kind Aufführungen in Düsseldorf geschuldet. enough to say you would name to Mr. Mendelssohn, I beg to say that Organists in England generally indulge on those oc- casions in a style rather florid – at one time with an extra-low Anthem „Why, o Lord, delay for ever“ MWV A 19 für Solo pedal bass – at another time on the very top of the Instrument (Alt oder Mezzosopran), Chor und Orchester either in thirds, or after the manner of some of the ad libitum passages in the Gems a la Paganini of yours; I think this has a Das Anthem MWV A 19 stellt die Orchestrierung und Umarbei- very good effect for organ Prelude, particularly on theSwell . -
Mendelssohn, Bruckner, Whitacre, Stainer
Mendelssohn, Bruckner, Whitacre, Stainer Hear my prayer Felix Mendelssohn (1809-1847) Felix Mendelssohn-Bartholdy has a good claim to be considered the greatest prodigy in musical history. Although Mozart was composing fluent, sometimes large-scale, pieces in his childhood and teens, almost none of his juvenilia have actually survived in the repertoire, whereas Mendelssohn’s Octet (written aged 16), Midsummer Night’s Dream Overture (17), Fingal’s Cave Overture (20) and Italian Symphony (24) are masterpieces which have never slipped from the repertoire since their first publication. Mendelssohn showed an interest in sacred choral music from an early age, and wrote two oratorios - Elijah (which RCS will be performing on 23 rd June 2012) and St Paul . He also wrote a number of other sacred choral works, among which one of the best known and best loved is tonight’s setting of an adaptation of Psalm 55, Hear my Prayer . The composition of this psalm took place towards the end of Mendelssohn’s tragically short life (he died aged only 38 in 1847), being completed on 25 th January 1844. It was originally composed in German as Hör mein Bitten and dedicated to his friend Wilhelm Taubert. The English version of the text, which was approved by Mendelssohn, is by William Bartholomew, an English lyricist, librettist, composer and writer who was, by profession, a chemist. It was given its first performance in English at a concert arranged by Bartholomew’s wife in January 1845. It is possible that Mendelssohn modelled it on English verse anthems, having studied examples by Purcell, Croft and others provided by Thomas Attwood, the organist at St Paul’s Cathedral. -
Download Full Biography
Duncan Honeybourne Full Biography 900 words "The heroic Duncan Honeybourne" (Musical Opinion) enjoys a colourful and diverse career as a pianist and in music education. Reviews have commended his "glittering performances" and “suave confidence” (International Piano), “terrific intensity and touches of panache” (International Record Review), "intellectual and physical stamina" (Musical Opinion) and “delicate chemistry of touch and arm weight” (Gramophone). Fanfare magazine (USA) remarked: “Honeybourne’s performance is simply beautiful, even in its most powerful and haunting moments”, whilst American Record Guide commented: "Honeybourne's playing is always polished and refined." His debut in 1998 as concerto soloist at Symphony Hall, Birmingham and the National Concert Hall, Dublin, was broadcast on radio and television, and he gave recital debuts in London, Dublin, Paris, and at international festivals in Belgium and Switzerland. Duncan's debut CD was described by Gramophone magazine as “not to be missed by all lovers of English music”, whilst BBC Music Magazine reported: “There are gorgeous things here. Hard to imagine better performances.” Honeybourne has toured extensively in the UK, Ireland and Europe as solo and lecture recitalist, concerto soloist and chamber musician, appearing at many major venues and leading festivals. His solo performances have been frequently broadcast on BBC Radio 3 and TV (UK), RTÉ (Ireland), Radio France Musique, Radio Suisse Romande, Austrian, Belgian, Dutch, Finnish and German Radio, SABC (South Africa), ABC (Australia) and Radio New Zealand. Duncan's engagements for regional music societies and arts centres across England, Wales, Scotland and Ireland have included hundreds of solo recitals as well as many partnerships with renowned artists and ensembles. -
16-12 Prog.Pdf
Fanfare for Christmas The title of our concert is taken from our opening song for the full choir - Fanfare for Christmas Day: Gloria in Excelsis Deo, an anthem, by Martin Shaw. Martin Edward Fallas Shaw OBE FRCM (1875 – 1958) was an English composer, conductor and (in his early life) theatre producer. His over 300 published works include songs, hymns, carols, oratorios, several instrumental works, a congregational mass setting (the Anglican Folk Mass) and four operas including a ballad opera With a voice of Singing is another of his anthems in our repertoire, performed several times in the past at Kowhai Singers concerts. Conductor Peter Cammell (BA, Post Grad. Dip. Mus.) studied music at Auckland and Otago Universities and then taught in secondary schools in both Auckland and London. He has sung in the Dorian Choir, Auckland Anglican Cathedral Choir, Cantus Firmus, The Graduate Choir, Musica Sacra, Viva Voce, and is currently with Calico Jam. As director of the Kowhai Singers for 21 years Peter has worked hard to extend the choir's repertoire and singing skills and thereby their musical understanding. Accompanist Riette Ferreira (PhD) has been the choir's pianist for most of the time since August 2003 except when personal commitments such as study towards her PhD degree in Music has taken her away from us. She has wide experience teaching music in both South African and New Zealand schools and is frequently engaged as director and/or keyboard player for musical theatre productions at Centrestage Theatre, Orewa. Introit - Beata Viscera Marie Virginis† (words 12th C) Pontin Fanfare for Christmas Day: Gloria in Excelsis Deo Martin Shaw While shepherds watched their flocks (with the congregation) Welcome, Yule! (Anon. -
CHOIR MUSIC ANDREW NUNN (Dean)
PETER WRIGHT (Organist) STEPHEN DISLEY (Assistant Organist) FEBRUARY 2019 SOUTHWARK CATHEDRAL RACHEL YOUNG (Succentor) GILLY MYERS (Canon Precentor) CHOIR MUSIC ANDREW NUNN (Dean) DAY SERVICE RESPONSES PSALMS HYMNS SETTINGS ANTHEMS 1 Friday 5.30pm Evensong Smith 62 157 Stanford in B flat Look up, sweet babe (Lennox Berkeley) 3 SUNDAY 11.00am Eucharist 24 (7-end) 336; 44; SP 13 Missa Aeterna Christi munera O thou, the central orb (Charles Wood) CANDLEMAS (Palestrina) O nata lux (Thomas Tallis) Nunc dimittis (Dyson in F) 3.00pm Evensong Smith 132 (1-10) 156 (t. 288); CP 65 (t. 33) Stanford in A When to the temple Mary went (Johannes Eccard) 6.00pm Eucharist (Trad Rite) (men’s voices) 157; 57; 373 (t. CP 466); Missa Aeterna Christi munera Tout puissant (Francis Poulenc) 338 (Palestrina) Seigneur, je vous en prie (Francis Poulenc) 4 Monday 5.30pm Evensong Rawsthorne 4 457 (ii) Rubbra in A flat Mother of God, here I stand (John Tavener) 5 Tuesday 5.30pm Evensong Smith 9 (1-12) 346 Wise in F Hail, gladdening light (Charles Wood) 6 Wednesday 5.30pm Evensong (Cranleigh Voices) Byrd 34 373 (t. Coe Fen) Stanford in G And I saw a new heaven (Edgar Bainton) 7 Thursday 5.30pm Evensong (treble voices) Plainsong 118 (19-end) 338 (omit *) Rawsthorne in F Auf meinen lieben Gott (J. S. Bach) 8 Friday 5.30pm Evensong (men’s voices) Moore 22 245 Tonus peregrinus (Plainsong) Laudem dicite Deo (John Sheppard) 10 SUNDAY 11.00am Eucharist 138 377; CP 390; Darke in F Let all mortal flesh keep silence (Edward Bairstow) IV BEFORE 353 (omit v.3); CP 470 Ave verum corpus (William Byrd) LENT 3.00pm Evensong Shephard 2 254 (t. -
A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2002/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2002/1 PAGE HEADING 03 PIANO 2-HANDS 07 PIANO 4-HANDS, 2 AND MORE PIANOS, HARPSICHORD 08 ORGAN 09 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 10 VIOLIN SOLO, VIOLA SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 11 VIOLIN WITH ACCOMPANIMENT 12 VIOLIN PLAY-ALONG 13 VIOLA WITH ACCOMPANIMENT, CELLO WITH ACCOMPANIMENT 14 VIOLA DA GAMBA WITH ACCOMPANIMENT 14 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 18 FLUTE SOLO, OBOE SOLO 19 CLARINET SOLO, SAXOPHONE SOLO, BASSOON SOLO, TRUMPET SOLO 20 HORN SOLO, TROMBONE SOLO, TUBA SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 20 PICCOLO WITH ACCOMPANIMENT, FLUTE WITH ACCOMPANIMENT 22 FLUTE PLAY-ALONG, ALTO FLUTE WITH ACCOMPANIMENT 23 OBOE WITH ACCOMPANIMENT, OBOE PLAY-ALONG, CLARINET WIT ACCOMPANIMENT 24 CLARINET PLAY-ALONG 25 BASSETHORN WITH ACCOMPANIMENT, SAXOPHONE WITH ACCOMPANIMENT 27 SAXOPHONE PLAY-ALONG 28 BASSOON WITH ACCOMPANIMENT, TRUMPET WIT ACCOMPANIMENT 29 TRUMPET PLAY-ALONG, HORN WITH ACCOMPANIMENT 30 TROMBONE WITH ACCOMPANIMENT, TROMBONE PLAY-ALONG 31 TUBA WITH ACCOMPANIMENT, EUPHONIUM PLAY-ALONG 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 31 2 AND MORE WOODWIND -
Gaudent in Coelis 1
GAUDENT IN COELIS CHORAL MUSIC BY SALLY BEAMISH, JUDITH BINGHAM & JOANNA MARSH THE CHOIRS OF ST CATHARINE’S COLLEGE, CAMBRIDGE EDWARD WICKHAM RES10185 Sally Beamish (b. 1956) Judith Bingham & Gaudent in coelis 1. Gaudent in coelis [3:05] Charles Hubert Hastings Parry (1848-1918) Choral Music by Sally Beamish, 15. Distant thunder [5:13] Judith Bingham & Joanna Marsh Joanna Marsh (b. 1970) 16. My soul there is a country [3:51] 2. Lord, thou hast searched me and known me [3:23] Sally Beamish St Catharine’s Service Judith Bingham (b. 1952) 17. Magnificat [3:29] Edington Service 18. Nunc Dimittis [3:22] 3. Magnificat [5:48] The Choirs of St Catharine’s College, Cambridge 4. Nunc Dimittis [3:26] Edward Wickham conductor Total playing time [69:08] Joanna Marsh Missa Brevis: Collegium Sanctae Catharinae 5. Kyrie [3:28] 6. Gloria [6:25] 7. Sanctus & Benedictus [3:29] 8. Agnus Dei [3:22] Sally Beamish Two Canticles 9. Canticle by the Lax Pool [3:24] 10. Among the Sundered People [3:21] Judith Bingham & Thomas Tallis (c. 1505-1585) 11. The Spirit of truth [4:05] About The Choirs of St Catharine’s College & Edward Wickham: 12. If ye love me [2:20] ‘[...] splendidly performed by these exceptionally well-trained singers’ Judith Bingham & The Observer Samuel Sebastian Wesley (1810-1876) 13. The darkness is no darkness [4:06] ‘St Catharine’s […] acquit themselves well in some tricky music 14. Thou wilt keep him in in the lustrous wood surroundings of the college’s little chapel’ perfect peace [3:21] Gramophone Gaudent in coelis: Choral Music by In heaven rejoice the souls of the saints, Sally Beamish, Judith Bingham & who have followed the steps of Christ; Joanna Marsh and, because for his love they shed their blood, therefore with Christ they exult forever. -
Edward Elgar: the Dream of Gerontius Wednesday, 7 March 2012 Royal Festival Hall
EDWARD ELGAR: THE DREAM OF GERONTIUS WEDNESDAY, 7 MARCH 2012 ROYAL FESTIVAL HALL PROGRAMME: £3 royal festival hall PURCELL ROOM IN THE QUEEN ELIZABETH HALL Welcome to Southbank Centre and we hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. During the performance: • Please ensure that mobile phones, pagers, iPhones and alarms on digital watches are switched off. • Please try not to cough until the normal breaks in the music • Flash photography and audio or video recording are not permitted. • There will be a 20-minute interval between Parts One and Two Eating, drinking and shopping? Southbank Centre shops and restaurants include Riverside Terrace Café, Concrete at Hayward Gallery, YO! Sushi, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon and Feng Sushi, as well as our shops inside Royal Festival Hall, Hayward Gallery and on Festival Terrace. If you wish to contact us following your visit please contact: Head of Customer Relations Southbank Centre Belvedere Road London SE1 8XX or phone 020 7960 4250 or email [email protected] We look forward to seeing you again soon. Programme Notes by Nancy Goodchild Programme designed by Stephen Rickett and edited by Eleanor Cowie © London Concert Choir 2012 www.london-concert-choir.org.uk London Concert Choir – A company limited by guarantee, incorporated in England with registered number 3220578 and with registered charity number 1057242. Wednesday 7 March 2012 Royal Festival Hall EDWARD ELGAR: THE DREAM OF GERONTIUS Mark Forkgen conductor London Concert Choir Canticum semi-chorus Southbank Sinfonia Adrian Thompson tenor Jennifer Johnston mezzo soprano Brindley Sherratt bass London Concert Choir is grateful to Mark and Liza Loveday for their generous sponsorship of tonight’s soloists. -
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 email: [email protected] CD-No. Title Composer/Track Artists GMCD 7101 Canticum Novum My soul, there is a country - Charles H.H.Parry; All Wisdom cometh from the Lord - Philip The Girl Choristers, The Boy Choristers and The Lay Vicars of Moore; Tomorrow shall be my dancing day - John Gardner; Psalm Prelude (2nd Set, No.1) - Salisbury Cathedral directed by Richard Seal / David Halls Organ / Herbert Howells; Quem vidistis pastores dicite - Francis Poulenc; Videntes stellam - Francis Martin Ings Trumpet Poulenc; The old order changeth - Richard Shepard; Even such is time - Robert Chilcott; Paean - Kenneth Leighton; When I survey the wondrous Cross - Malcolm Archer; Magnificat (Salisbury Service) - Richard Lloyd; A Hymn to the Virgin - Benjamin Britten; Pastorale - Percy Whitlock; Psalm 23 (Chant) - Henry Walford Davies; Love's endeavour, love's expense - Barry Rose; Ye Choirs of new Jerusalem - Richard Shepard GMCD 7102 Coronation Anthems & Hymns “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O The Choir of St Paul’s Cathedral directed by Barry Rose / Christopher taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Dearnley Organ Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune f GMCD 7103 In Dulci Jubilo Ad Libitum/O Come, all ye faithful - Hark! the Herald-Angels Sing - Once in Royal David's city - - Festive & Christmas Music - Paul Plunkett Trumpets & Rudolf Lutz The First Nowell - Ding Dong! Merrily on High - Away in a Manger - Angels from the Realms Organ of Glory - Noël Op. -
Wexford Carol 1
q = 64 Wexford Carol 1. Good peo - ple all, this Christ-mas- time, con - si - der well and 2. The night be - fore that hap - py tide, the no - ble Vir - gin 3. Near Beth- le - hem did shep-herds keep theirflocks of lambs and 4. With thank-ful heart and joy - ful mind, the shep-herds went the 5. There were three wise men from a - far di - rec - ted by a bear in mind what our good God for us has done, in and her guide were long time seek - ing up and down to feed -ing sheep; to whom God's an - gels did ap - pear, which babe to find, and as God's an - gel had fore - told, they glo-rious star, and on they wan - dered night and day un- send-ing his be -lo - ved son. With Ma - ry ho - ly find a lodg - ing in the town. But mark how all things put the shep - herds in great fear. "Pre - pare and go," the did our Sav - ior Christ be - hold. With - in a man - ger til they came where Je - sus lay. And when they came un - WORDS: Traditional English and Irish (Mt. 1:18-2:11; Luke 2:1-20) WEXFORD CAROL MUSIC: Traditional Irish melody, arr. Martin Shaw (1875-1958) LMD Published by The General Board of Discipleship of The United Methodist Church, PO Box 340003, Nashville TN 37203. Website www.gbod.org/worship Source: The Oxford Book of Carols, compiled and edited by Percy Dearmer, R. Vaughan Williams, Martin Shaw. -
Choral Evensong for the Fifth Sunday of Easter
Choral Evensong For the Fifth Sunday of Easter May 6, 2012 5:00 PM The Rev. Judith L. Rhodes, Rector The Reverend Dr. Paul J. Carling, Associate Rector The Reverend Kristin K. Miles, Assistant for Formation The Saint Paul’s Choir, John Abdenour, Director Joseph Ripka, Organ Welcome to this service of Choral Evening Prayer, or Evensong. In the Episcopal Church, the Daily Office—that is , services of Morning and Evening Prayer—celebrate the sacramental nature of the movement of time. Rooted in ancient monastic tradition, the services focus on the Word of God as it is revealed through the Lessons (scripture readings), the Canticle(s) (at Evening Prayer drawn from the Gospel of Luke), the Psalm, and the prayers, which are always grounded in Scripture. This service will be conducted as a ‘choir’ service, that is, a service being held in the choir—or chancel—of the church, and sung primarily by the choir and Precentor (cantor). The congregation is invited to sing the hymns and to participate through listening, contemplation, and prayer. Hymns may be found in the blue Hymnal 1982 in the pew rack in front of you. Order of Service Organ Voluntary Adagio e dolce from Sonata III BWV 527 Johann Sebastian Bach (1685-1750) The People stand as the Choir and Officiant enter. Introit John Abdenour (b. 1962) I will bless the Lord at all times * his praise shall ever be in my mouth. Look upon him and be radiant, * Nor let your faces be ashamed. Taste and see that the Lord is good; * Happy are they that trust in him.