Christmas 2016 Programme Final
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HERBERT HOWELLS’ SIR PATRICK SPENS: A GUIDE TO PERFORMANCE CONSIDERATIONS by ALICIA W. WALKER (Under the Direction of Allen Crowell) ABSTRACT Sir Patrick Spens, a large-scale work for chorus, orchestra, and baritone solo, is an important example of the early music of English composer Herbert Howells (1892-1983). Although Howells’ works from the period 1915-1919 were much neglected through most of the twentieth century, the recent revival and subsequent recording of Sir Patrick Spens indicate the renewed interest in his earliest significant compositions. Standing in contrast to the body of sacred music and organ works for which the composer is best known, Sir Patrick Spens (1917) is a setting of a Scottish ballad. It is characterized by harmonies and orchestrations akin to those of Ralph Vaughan Williams, melodic gestures related to folksong, a text setting with very little repetition, and performing forces on a grander scale than Howells had previously attempted. Only in the closing measures of the work does Howells give indications of the sustained lines and thick choral textures that would become his sonic signature. Sir Patrick Spens stands thus as a significant marker on Howells’ compositional journey. It is reflective of the initial influences on his music while yielding indications of the composer he would become. The general characteristics of the vocal music of Herbert Howells include, but are not limited to, a tonal/modal harmonic structure, associations with folksong, and an inextricable link to the text. All of these are present in Sir Patrick Spens and will form the basis for analysis of the piece. -
Schu CD Booklet
An music for oboe and strings classicsOboe English inspired by Léon Goossens CC2009 Renaissance Recording the Bliss Quintet at St Michael’s Church, Highgate, London, January 27th 2004. L to R: Simon Blendis, David Adams, George Caird, Jane Salmon, Louise Williams. Inset: Alison Dods (violin 2 in Maconchy, Gow). George Caird (oboe) and friends An English Renaissance Bliss • Britten • Gow • Maconchy • Moeran Elizabeth Maconchy (1907-94): Dorothy Gow (1893-1982): An music for oboe and strings Quintet for Oboe and Strings (1932) Oboe Quintet in one movement (1936) English inspired by Léon Goossens 1 Moderato 4:59 8 Moderato – 2 Poco sostenuto 3:40 Andante tranquillo – Renaissance 3 Allegro non troppo 3:42 Scherzando – Tempo primo 14:00 George Caird (oboe) Simon Blendis (violin), Louise Williams (viola), Jane Salmon (cello), Arthur Bliss (1891-1975): Alison Dods (violin 2 in Maconchy, Gow), David Adams (violin 2 in Bliss) Quintet for Oboe and String Quartet E J Moeran (1894-1950): (1926) Fantasy Quartet (1946) 4 Recorded at St Michael’s Church, Highgate, London, Jan 27-29 and March 1 2004 Assai sostenuto 7:56 9 Allegro moderato – Producer: Paul Spicer 5 Andante con moto 7:44 Tempo moderato – Engineering, Editing and Mastering: Tony Wass, Ninth Wave Audio 6 Vivace 5:46 Andante – Oboe by Püchner Lento – Cover Picture: Duncan Grant, Dancers (c1910-11) © Tate, London 2004 Oboe image courtesy Howarth of London Tempo primo – Benjamin Britten (1913-76): Photos of George Caird by Phil Hitchman; Session photos by Jeremy Polmear Molto affrettando – CD design by STEAM Phantasy Quartet for Oboe and French translation by Pierre Béguin Strings (1933) Cadenza – German translation by Ulrike Salter-Kipp 7 Allegro con brio 13:27 Music publishers: Boosey and Hawkes (Britten); Chester Music (Maconchy, Moeran); OUP (Bliss). -
Choral Music by the GLORY and the DREAM
THE GLORY AND THE DREAM SOMMCD 0184 Choral Music by Céleste Series RICHARD RODNEY BENNETT (1936-2012) THE GLORY AND THE DREAM Royal Birmingham Conservatoire Chamber Choir Nicholas Morris organ† Paul Spicer director Choral Music by RICHARD RODNEY BENNETT 1 I wonder as I wander* 2:41 9 III. Con moto appassionato 6:34 bl IV. Vivo e leggiero 7:27 2 Lullaby Baby* 3:15 bm 3 The Sorrows of Mary* 4:32 This Day* 2:41 bn Two Madrigals A Contemplation Upon Flowers* 3:54 4 I. Still to be neat* 1:01 bo Madrigal ‘And can the physician’* 1:29 5 II. The hour-glass* 2:07 bp Time* 3:33 6 Remember, O thou man* 4:36 bq One Equal Music* 2:36 The Glory and the Dream† [30:02] 7 I. Con anima 11:31 8 II. Andante lento 4:28 Total recording time 62:43 *First recordings Recorded at St. Alban the Martyr, Highgate, Birmingham on June 26-28, 2017 Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Front cover: Stormy Sea with a Cliff, after Simon Jacobsz de Vlieger, 17th Century, oil on panel, Pinacoteca del Castello Sforzesco, Milan / Bridgeman Images Royal Birmingham Conservatoire Chamber Choir Design: Andrew Giles Booklet Editor: Michael Quinn DDD © & 2018 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Nicholas Morris organ Paul Spicer director Made in the EU able to respond to a wide array of commissions, large and small, which Choral Music by regularly came his way during his immensely successful composing career based in New York after 1979. -
For the Sake of St. Cecilia: Analysis and Re- Orchestration of Gerald Finzi's for St
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 For the Sake of St. Cecilia: Analysis and Re- Orchestration of Gerald Finzi's For St. Cecilia, Op. 30 Christopher Brent Rosborough Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Rosborough, Christopher Brent, "For the Sake of St. Cecilia: Analysis and Re-Orchestration of Gerald Finzi's For St. Cecilia, Op. 30" (2015). LSU Doctoral Dissertations. 298. https://digitalcommons.lsu.edu/gradschool_dissertations/298 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. FOR THE SAKE OF ST. CECILIA: ANALYSIS AND RE-ORCHESTRATION OF GERALD FINZI’S FOR ST CECILIA, OP. 30 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Christopher Brent Rosborough B.M.E., Howard Payne University, 2008 M.M., Mercer University, 2012 May 2016 ACKNOWLEDGEMENTS Give instruction to a wise man, and he will be still wiser; teach a righteous man, and he will increase in learning. —Proverbs 9:9, [ESV] The author wishes to express his gratitude to the following: Dr. John Dickson, a cultivator of gifts, who has favored me with scholarship, mentorship, friendship, and loyalty. -
Whitehall Choir ROSSINI Petite Messe Solennelle Petite Messe Solennelle
Whitehall Choir ROSSINI Petite Messe solennelle Conductor Paul Spicer with the longfordbrown piano duo (James Longford harmonium and Lindy Tennent-Brown piano ) Soprano Rhiannon Llewellyn Alto Anna Harvey Tenor Sam Furness Bass Adam Marsden Programme: £2£2£2 Tuesday, 26 June 2012, 7.30pm St Peter’s Church, Eaton Square, London SW1 Gioachino Rossini (1792-1868) Photograph by Étienne Carjat Gioachino Antonio Rossini was born into a family of musicians in Pesaro. His father, Giuseppe, was a horn player and inspector of slaughterhouses, and his mother, Anna, a singer and a baker’s daughter. Rossini’s parents began his musical training early, and by the age of six he was playing the triangle in his father’s musical group. The family later moved to Bologna. Rossini remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang. After an apprenticeship to a blacksmith, Rossini subsequently found a congenial music master, and learned to sight-read, play accompaniments on the piano, compose, and sing well enough to take solo parts in the church when he was ten years of age. Rossini became a capable horn player himself. In 1806 he became a cello student at the Conservatorio di Bologna, and was later admitted to the counterpoint class. However, his skills in orchestration are generally ascribed to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart. Rossini’s official first opera, La cambiale di matrimonio , was produced in Venice when he was 18. -
From Oldham to Oxford: the Formative Years of Sir William Walton
From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Abraham Kaplan Giselle E. Wyers Program Authorized to Offer Degree: School of Music © Copyright 2014 Gary D. Cannon University of Washington Abstract From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon Chair of the Supervisory Committee: Professor Geoffrey Boers Choral Conducting, School of Music The formative years of William Walton (1902–1983) are rarely considered when studying the composer’s life and works. However, careful study of that period indicates many of the directions that the adult Walton would take. Industrial Lancashire was more musically active during the period of Walton’s youth (covering the years 1902 to 1912) than is generally considered. His time as a chorister and later undergraduate at Christ Church, Oxford (1912 to 1920), is replete with influential interactions with talented adults and fellow students. Detailed consideration of Walton’s juvenilia reveals a keen thinker who assimilated these various influences in a unique manner. Far more than merely a springboard for a future talent, these years resulted in inspired works and a firm purpose for the budding composer. From Oldham to Oxford The Formative Years of Sir William Walton Contents Introduction.................................................................................................................................................. -
View Concert Programme
WHITEHALL CHOIR Conductor PAUL SPICER with the longfordbrown piano duo DYSON The Blacksmiths PARRY Lord, let me know mine end BAX Moy Mell STRAVINSKY Symphony of Psalms Programme £2 Monday 11 July 2011, at 7pm The Banqueting House, Whitehall, London SW1A 2ER P R O G R A M M E Dyson The Blacksmiths Parry Songs of Farewell No 6 : ‘Lord, let me know mine end’ Bax Moy Mell Stravinsky Symphony of Psalms The concert will finish at about 8.10pm. Supper will be served in the crypt afterwards. George Dyson (1883-1964) Sir George Dyson is a well-known English musician and composer whose son is the physicist and mathematician Freeman Dyson; and among his grandchildren are the science historian George Dyson and Esther Dyson. He was born in Halifax, Yorkshire, on 28 May 1883. George Dyson was from a poor family in the industrial north, but his parents encouraged him as an organist in the local church. He became a Fellow of the Royal College of Organists (FRCO) at the age of sixteen, and in 1900 he won a scholarship to the Royal College of Music, where he later became Director. He was a pupil of Sir Charles Villiers Stanford, and in 1904 won the Mendelssohn Scholarship, and travelled to the continent, where he met many leading musicians, including Strauss and Nikisch. On his return Dyson became Director of Music at the Royal Naval College, Osborne, and later moved to Marlborough College, but on the outbreak of war in 1914 he enlisted. During the war he became celebrated for his training pamphlet on grenade warfare, which was widely disseminated. -
ANALYSIS of FIVE WORKS by HERBERT HOWELLS, with REFERENCE to FEATURES of the COMPOSER’S STYLE By
1 ANALYSIS OF FIVE WORKS BY HERBERT HOWELLS, WITH REFERENCE TO FEATURES OF THE COMPOSER’S STYLE by MARTIN JOHN WARD A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham April 2005 2 Abstract 3 Abstract Hitherto much research into Herbert Howells has focused on the biographical aspects of his life and works. The prime intention of this study is to reveal more about particular features of the composer’s style. This is achieved through the analysis of five contrasting works; the Elegy for Viola, String Quartet and String Orchestra (1917), Blessed are the Dead (1920), Hymnus Paradisi (circa 1938), Take Him, Earth, for Cherishing (1964) and Stabat Mater (1965). The analyses consider the construction of each work, notably the thematic material and its implementation. In addition, other intriguing points surrounding the musical content are identified, particularly musical ideas or passages which were reused in other compositions or were taken from other works. The five pieces also serve as the starting point for the identification of important fingerprints of Howells’ musical style1 which include harmonic, rhythmic, and melodic features, as well as matters relating to orchestration. To enable a comprehensive study of the composer’s style, the five works cover a substantial period of Howells’ compositional life and embrace different genres and styles.2 The first chapter assumes a different format to the others as Howells’ quasi-modal scale is considered, without any particular work acting as the start point. The reason for this is simply to allow more space to be devoted to this crucial subject matter. -
English Visionaries
English Visionaries Céleste Vaughan Williams, Gustav Holst, Herbert Howells Series English Visionaries BIRMINGHAM CONSERVATOIRE CHAMBER CHOIR SOMMCD 0159 NICHOLAS MORRIS organ Vaughan Williams, Gustav Holst, Herbert Howells PAUL SPICER director VAUGHAN WILLIAMS HOLST 1 A Vision of Aeroplanes 10:07 9 The Evening Watch Op. 43 No. 1 4:14 solo: Victoria Adams soli: Richard James, Eloise Waterhouse 2 Prayer to the Father of Heaven 4:30 bl Sing me the Men 5:23 Mass in G minor HOWELLS soli: Elizabeth Adams, Nicola Starkie, bm The House of the Mind 8:03 David Emerson, William Gee 3 Kyrie 3:40 VAUGHAN WILLIAMS 4 Gloria 3:48 bn Lord, Thou hast been our refuge 8:41 5 Credo 5:56 soli: Elizabeth Adams, Lucy Morton, 6 Sanctus – Osanna I 2:21 Richard James, Andrew Randall. 7 Benedictus – Osanna II 2:11 Jonathan Sheppard (trumpet) 8 Agnus Dei 4:01 Total duration 63:00 Recorded at St Alban the Martyr, Highgate, Birmingham, 22-23 June 2015 BIRMINGHAM CONSERVATOIRE Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor CHAMBER CHOIR Front Cover: Hambledon Hill, Dorset (detail) by John Philip Giles, oil on canvas NICHOLAS MORRIS organ Design: Andrew Giles © & 2016 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND PAUL SPICER director DDD Made in the EU The voluminous spaces that inspired the work can be heard in the slowly English Visionaries interweaving chant-like lines of the Kyrie, soloists and double choir (a Assumptions about the music of Ralph Vaughan Williams (1872-1958), configuration similar to that of the Fantasia on a Theme of Thomas Tallis), Gustav Holst (1874-1934), and Herbert Howells (1894-1983) are, too often, and in the spacious harmonies that open the Gloria. -
Four Part-Songs by Herbert Howells (1892-1983)
Four Part-Songs by Herbert Howells (1892-1983) Item Type text; Electronic Dissertation Authors Zosel, Heather Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 12:32:07 Link to Item http://hdl.handle.net/10150/242453 FOUR PART-SONGS BY HERBERT HOWELLS (1892-1983) By Heather Zosel _______________________ Copyright © Heather Zosel 2012 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Heather Zosel entitled Four Part-Songs by Herbert Howells (1892-1983) and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. __________________________________________________ Date: June 14, 2012 Bruce Chamberlain __________________________________________________ Date: June 14, 2012 Elizabeth Schauer __________________________________________________ Date: June 14, 2012 John T. Brobeck Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document -
Tracing the Genesis of the English Requiem Through Selected Works V
University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 Tracing the Genesis of the English Requiem Through Selected Works V. Dwight Dockery, Jr. Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Dockery, Jr., V. D.(2019). Tracing the Genesis of the English Requiem Through Selected Works. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5144 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. TRACING THE GENESIS OF THE ENGLISH REQUIEM THROUGH SELECTED WORKS by V. Dwight Dockery, Jr. Bachelor of Music Maryville College, 2005 Master of Music East Carolina University, 2008 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2019 Accepted by: Alicia Walker, Major Professor Andrew Gowan, Committee Member Sarah Williams, Committee Member Larry Wyatt, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by V. Dwight Dockery, Jr., 2019 All Rights Reserved. ii DEDICATION This is dedicated to the memory of: Reba Dockery (1921-2016), grandmother Patte Dockery (1947-2017), stepmother Marie Maddox (1949-2017), mother-in-law Raymond Casteel (1924-2017), grandfather Requiem aeternam, dona eis Domine. In paradisum deducant te Angeli. iii ACKNOWLEDGEMENTS A project like this requires assistance from so many. While an attempt to thank everyone who contributed to the completion of this document would be futile, a few acknowledgements are necessary. -
Britten the Choral Edition
BRITTEN The Choral Edition The Finzi Singers Paul Spicer © Brian Seed / Lebrecht Music & Arts Photo Library Benjamin Britten, at the seashore, Aldeburgh, June 1964 Benjamin Britten (1913 – 1976) The Choral Edition COMPACT DISC ONE 1 Hymn to St Peter, Op. 56a* 5:57 Julie Cooper soprano 2 A Hymn of St Columba* 2:04 3 A Hymn to the Virgin 2:43 Julie Cooper soprano Stephen Carter alto Mark Milhofer tenor Matthew Brook bass 3 Hymn to St Cecilia, Op. 27 10:34 Carys Lane soprano Belinda Yates soprano Kathryn Cook alto Andrew Carwood tenor Matthew Brook bass 4 I ‘In a garden shady this holy lady’ – 2:44 5 II ‘I cannot grow’ – 2:06 6 III ‘O ear whose creatures cannot wish to fall’ 5:44 Rejoice in the Lamb, Op. 30* 17:02 Carys Lane soprano Richard Wyn Roberts alto James Gilchrist tenor Simon Preece bass 7 ‘Rejoice in God, O ye Tongues’ – 1:29 8 ‘Let Nimrod, the mighty hunter’ – 1:19 9 ‘Hallelujah from the heart of God’ – 1:04 10 ‘For I will consider my Cat Jeoffry’ – 2:20 11 ‘For the Mouse is a creature of great personal valour’ – 0:58 12 ‘For the flowers are great blessings’ – 2:05 13 ‘For I am under the same accusation with my Saviour’ – 2:49 14 ‘For H is a spirit and therefore he is God’ – 1:07 15 ‘For the instruments are by their rhimes’ – 2:29 16 ‘Hallelujah from the heart of God’ 1:18 4 Choral Dances from ‘Gloriana’ 9:32 17 1 Time 1:26 18 2 Concord 2:17 19 3 Time and Concord 1:26 20 4 Country Girls – 0:58 21 5 Rustics and Fishermen – 1:00 22 6 Final Dance of Homage 2:16 A.M.D.G.