Music List 25 November 2012
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SACRED MUSIC Fall 2003 Volume 130 No.3
SACRED MUSIC Fall 2003 Volume 130 No.3 - ...... ~ . _0- -~'f'. ........ --. -, -. -~- . Aerial View. St. Peter's and Piazza, Rome Renaissance-Baroque. 1506-1668. Chief Architects: Bramante, Michelangelo, Maderna, Bernini SACRED MUSIC Volume 130, Number 3, Fall 2003 FROM THE EDITOR 3 THE CHANTS OF THE PROPRIUM MISSAE versus ALIUS CANTUS APTUS 5 Professor Laszlo Dobszay REVIEWS 27 OPEN FORUM 28 NEWS 28 CONTRIBUTORS 32 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 134 Christendom Drive, Front Royal, VA 22630-5103. E-mail: [email protected] Editorial Assistant: Christine Collins News: Kurt Poterack Music for Review: Calvert Shenk, Sacred Heart Major Seminary, 2701 West Chicago Blvd., Detroit, MI 48206 Susan Treacy, Dept. of Music, Franciscan University, Steubenville, OH 43952-6701 Membership, Circulation and Advertising: P.O. Box 960, Front Royal, VA 22630 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Father Robert Skeris Vice- President Father Robert Pasley General Secretary Rosemary Reninger Treasurer Vincent Sly Directors Rev. Ralph S. March, S.O. Cist. Kurt Poterack Father Robert Pasley Paul F. Salumunovich Rosemary Reninger Brian Franck Rev. Robert A. Skeris Calvert Shenk Susan Treacy Ralph Stewart Monsignor Richard Schuler Vincent Sly Stephen Becker Membership in the Church Music Association of America includes a subscription to SACRED MUSIC. Membership is $30.00 annually; student membership is $15.00 annually. Single copies are $7.50. Send applications and changes of address to SACRED MUSIC, P.O. -
American Canticle DALE ADELMANN, DIRECTOR • DAVID FISHBURN and PATRICK A
American Canticle DALE ADELMANN, DIRECTOR • DAVID FISHBURN AND PATRICK A. SCOTT, ORGAN THE CATHEDRAL CHOIR AND SCHOLA • CATHEDRAL OF ST. PHILIP, ATLANTA, GEORGIA American Canticle DALE ADELMANN, DIRECTOR • DAVID FISHBURN AND PATRICK A. SCOTT, ORGAN THE CATHEDRAL CHOIR AND SCHOLA • CATHEDRAL OF ST. PHILIP, ATLANTA, GEORGIA 1 | Jubilate Deo 1,4,5 Craig Phillips (b.1961) 4:25 9 | Magnificat in F 1,3 Harold Friedell (b.1905-1958) 5:13 (Cathedral of St. Philip, Atlanta ) 10 | Nunc dimittis in F 1,3 4:03 2 | Magnificat 2,3 Roland Martin (b.1955) 6:05 11 | Nunc dimittis in D 2,3 Leo Sowerby (1895-1968) 4:34 3 | Nunc dimittis 2,3 4:40 (St. Paul’s Cathedral, Buffalo, in D ) 12 | Te Deum 1,4,5 Phillips 8:41 (Cathedral of St. Philip, Atlanta ) 4 | Magnificat on Plainsong Themes 2,3 Gerald Near (b.1942) 4:30 2 5 | Nunc dimittis on Plainsong Themes 2,3 3:13 13 | Beata es, Maria plainsong antiphon 0:41 2,4,6 6 | A Canticle of Praise 2,3 Larry King (1932-1990) 2:39 14 | Magnificat Martin 6:08 15 | Nunc dimittis 2,4,6 4:28 7 | Magnificat in B flat 2,3 Howard Helvey (b.1968) 6:41 (St. Paul’s Cathedral, Buffalo, in E, for trebles ) 8 | Nunc dimittis in B flat 2,3 3:46 16 | Lord, you now have set your servant free 1,3,5 Phillips 5:33 Total: 75:26 1 Cathedral Choir | 2 Cathedral Schola | 3 David Fishburn, organ | 4 Patrick Scott, organ | 5 with brass and timpani | 6 Megan Brunning, soprano 2 the music American Canticle From the time of Thomas Cranmer and his fellow English reformers, the Church’s earliest days. -
Gregorian Chant
GREGORIAN CHANT GREGORIAN CHANT A TEXTBOOK FOR SEMINARIES, NOVITIATES AND SECONDARY SCHOOLS by REV. ANDREW F. KLARMANN Published by GREGORIAN INSTITUTE OF AMERICA TOLEDO, OHIO Imprimatur *MOST REV. THOMAS E. MOLLOY, S.T.D. Bishop of Brooklyn Nihil Obstat REV. JOHN F. DONOVAN Censor Librorum JANUARY 27, 1945 Desclee and Company of Tournai, Belgium, has granted permission to the author to use the rhythmic marks in this textbook. COPYRIGHT, 1945. BY GREGORIAN INSTITUTE PRINTED IN U.S.A. ALL RIGHTS RESERVED Dedicated to MOST REVEREND THOMAS E. MOLLOY BISHOP OF BROOKLYN FOREWORD In the following pages Father Klarmann presents a clear, orderly, systematic treatment of liturgical chant. At the very beginning of his treatise he provides an explanation of certain fundamental terms, such as notation, signs, rhythm, chant structure, etc., which is very serviceable in preparing the reader for the fuller development of the general theme in the sub- sequent chapters of this book. With the same thought and purpose the author more particu- larly gives an early definition of the chief subject of discussion, namely, chant, which he defines, in the usually accepted sense, as liturgical music in the form of plain song, which is monophonic, unaccompanied and free in rhythm. Very interestingly also chant structure is explained. The author then proceeds to record the his- torical development of chant at least in its salient features. It is readily understood of course that the Infant Church could not promote a notable advancement in liturgical music during the period of ruthless persecution. And still it seems quite certain that even in the catacombs hymns were used in connection with religious worship. -
Textbook of Gregorian Chant
TEXT BOOK OF GREGORIAN CHANT ACCORDING TO THE SOLESMES METHOD BY Dom Gregory SUNOL, 0. S. B., Monk of Montserrat TRANSLATED FROM THE SIXTH FRENCH EDITION WITH AN INTRODUCTION BY G. M. DURNFORD OBLATE OF SOLESHES. SOCIETY OF ST JOHN EVANGELIST D£SCLEE & Co Printers to the Holy See and the Sacred Coogr. of Rites TOURNAI (Belgium) PREFACE. Few words are necessary to introduce the present work to English speaking students of plainsong. Such a handbook has long been needed and is sure of its welcome. Neither the well- known Stanbrook Grammar of Plainsong nor Madame Ward's valuable school courses cover so much ground as Dom Gregory Suflol in his Spanish " Metodo ". The book first appeared in 1905, prefaced by a commendatory letter from Dom Andre Mocquereau, the famous director of the Solesmes School. Its author has many years of teaching experience behind him, as well as sound theoret- ical knowledge of his subject. His work has proved its popu- larity and practical usefulness by going through a number of editions in the original Spanish, besides being translated into French and German. Indeed by compressing the Solesmes teach- ing within the narrow limits of a general text book Dom Sufiol has rendered good service to the Gregorian cause. Not everyone has access to the monumental publications of Solesmes, the Mono- graphies gregoriennes or the Paleographie Musicale> and countless students will be glad to find the subject matter of this latter Work, especially the important seventh volume on Gregorian Rhythm, here summed up and analysed, while the extensive quotations from Dom Mocquereau's Nombre Musical gregorien, with which the Spanish author has enriched his later editions, will make them desirous of seeing this fascinating synthesis of the whole subject brought out in English. -
LALEMANT POLYPHONIC “19 October 2017”
LALEMANT POLYPHONIC “19 October 2017” The first number is crucial. This unique identifier (4 digits) allows your choir members to instantly find the rehearsal videos—for each individual voice part—on the Lalemant Polyphonic website : CCWATERSHED.ORG/POLYPHONY 4687 • “O Esca Viatorum” (SATB) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7 5294 • Kyrie Eleison “Missa Iste Sanctus” � � � � � � � � � � � � � � � � � � � � � � � � 10 Francisco Guerrero (d. 1599), who studied with Fr. Cristóbal de Morales. 5294 • Alternate version (with Solfège markings) � � � � � � � � � � � � � � � � � � � 17 5612 • Gloria “Missa Iste Sanctus” � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 22 5454 • Sanctus & Hosanna “Missa Iste Sanctus” � � � � � � � � � � � � � � � � � � 30 5305 • Benedictus “Missa Iste Sanctus” � � � � � � � � � � � � � � � � � � � � � � � � � � 36 5512 • Agnus Dei “Missa Iste Sanctus” (SSATB) � � � � � � � � � � � � � � � � � � � 40 5984 • Credo — Fr� Guillaume de Machaut (d� 1377) � � � � � � � � � � � � � � � 44 Mixing Plainsong & Polyphony, arranged by Laurent Chaumonot. 4456 • “O Sanctissima” arr� Maria Quinn (d� 1977) � � � � � � � � � � � � � � � � � 50 Contains sections for two voices with organ and sections for SATB. 4297 • Agnus Dei “Missa Mille Regretz” � � � � � � � � � � � � � � � � � � � � � � � � � � 54 Six-voice setting by Fr. Cristóbal de Morales (d. 1553) 5909 • “O Filii Et Filiae” arr� Msgr� Jules Van Nuffel (d� 1953) � � � � � � � � � 58 4884 • Kyrie Eleison “Missa Pro Defunctis” (SSATTB) -
CHAPTER III the Development of Ecclesiastical Chant from the Beginnings Which Have Been So Far Described Was Completed in the Gr
CHAPTER III A GENERAL SURVEY OF THE DEVELOPMENT OF THE LITURGY AND OF THE LITURGICAL CHANT IN THE MIDDLE AGES. x The development of Ecclesiastical Chant from the beginnings which have been so far described was completed in the Greek and Latin Churches in different ways. Yet until the Great Schism (about 1o5o) there were influences on the Latin Liturgy from the Greek, i.e. the Byzantine, which were not without musical results. The question how much the Latin Liturgies in their oldest forms are on the whole indebted to the Greek has not yet received comparative investigation. There are two facts to be especially borne in mind with respect to this : first, until the end of the 3rd century the liturgical language in Rome was Greek, and Latin was only secondarily thus used. S. Paul wrote his Epistle to the Romans in Greek, not in Latin, and all the religious documents preserved to us from early Christian Rome are written in the Greek language. Accordingly at first the Liturgy at Rome was performed in Greek, and thus they sang in Greek. Secondly, the first and most complete development of the liturgical chant took place, as we know, in the countries of the East; it was from thence that the alternate chant of the psalms and the antiphons penetrated to the West, into Italy, Gaul and Spain; and the hymns also. Many roots therefore of the liturgical chant of th~ West extend to the East, to Jerusalem, Antioch, Alexandria and Constantinople. I The sources for the material which occupies the following chapter on the history of the Liturgy in the Middle Ages are the following : the Ordines Romam·, the old Roman books of ceremonial (printed in Patr. -
The Holy Eucharist the Third Sunday in Lent March 4, 2018 • 11:15 Am Washington National Cathedral
The Holy Eucharist The Third Sunday in Lent March 4, 2018 • 11:15 am Washington National Cathedral The people’s responses are in bold. The Entrance Rite organ voluntary Romance, from Symphony IV, Op. 32 Louis Vierne (1870-1937) introit Teach me, O Lord Thomas Attwood (1765-1838) Teach me, O Lord, the way of thy statutes; and I shall keep it unto the end. (Psalm 119:33) The people stand. processional hymn • 152 Kind Maker of the world, O hear A la venue de Noël the lenten acclamation Bless the Lord who forgives all our sins. His mercy endures for ever. the penitential sentences If we say that we have no sin, we deceive ourselves, and the truth is not in us. If we confess our sins, he who is faithful and just will forgive us our sins and cleanse us from all unrighteousness. (1 John 1:8, 9) the confession & absolution Most merciful God, we confess that we have sinned against you in thought, word, and deed, by what we have done, and by what we have left undone. We have not loved you with our whole heart; we have not loved our neighbors as ourselves. We are truly sorry and we humbly repent. For the sake of your Son Jesus Christ, have mercy on us and forgive us; that we may delight in your will, and walk in your ways, to the glory of your Name. Amen. The presider offers absolution and the people respond, Amen. the trisagion David Hurd (b. 1950) The Word of God the collect for the third sunday in lent The Lord be with you. -
Gregorian Adaptations and Accompaniments for the Liturgical Seasons of Advent and Lent in Spanish
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Service & Music List
Summer Term 2020 Service & Music List Sunday 31st May The Day of Pentecost Thursday 4th June Decani Week 5.30pm Choral Evensong sung by the Lay Vicars Choral 3.15pm Choral Evensong sung by the Cathedral Choir Canticle Nunc Dimittis Dines in E Responses: Rose Introit Come Holy Ghost Plainsong Responses: St Patricks Anthem Sunset and evening star Hewson Psalm: 23 Canticles Noble in B minor Psalm: 150 Anthem A hymn to the virgin Britten Friday 5th June 1.00pm Organ Recital David Leigh Monday 1st June Visitation of the Blessed Virgin Mary music by Bach, Buxtehude & Duruflé 1.00pm Organ Recital David Leigh 5.30pm Choral Evensong sung by the Lay Vicars Choral Messe de la Pentecôte Messiaen Canticle Nunc Dimittis Morley (Fauxbourdons) Resp: Plainsong 5.30pm Choral Evensong sung by the Cathedral Choir Anthem Salvator mundi Tallis Psalm: 29 b Canticle Magnificat Stanford in B Responses: Clucas Anthem A hymn to the virgin Britten Psalm: 8 Saturday 6th June Tuesday 2nd June Sunday 7th June Trinity Sunday Cantoris Week 5.30pm Choral Evensong sung by the Cathedral Choir 11.15am Choral Matins sung by the Cathedral Choristers Canticle Magnificat Noble in A minor Responses: Clucas Canticles Te Deum Plainsong Responses: Plainsong Anthem Save us O Lord Bairstow Psalm: 12 Jubilate Deo Dines in G Psalm: 36 vv 5-12 Wednesday 3rd June Anthem A Gaelic Blessing Rutter 5.30pm Choral Evensong sung by the Cathedral Choir 3.15pm Choral Evensong sung by the Cathedral Choir Canticle Magnificat Wood in D Responses: Clucas Canticle Magnificat Howells (St Paul’s) Responses: -
Beethoven, Merryman, St. Pierre
Beethoven - Merryman - St. Pierre Performed October 23, 1999 This evening's concert opens with two works which evoke different images of the sea and man's relationship to it: Beethoven's Meerestille und Glückliche Fahrt and Marjorie Merryman's Jonah. Beethoven: Meerestille und Glückliche Fahrt Meerestille and Glückliche Fahrt are two separate poems by Goethe but have always been published back to back and appear to provide a continuous narrative. Their juxtaposition of contrasting elements has inspired their share of musical versions, including Beethoven's 1815 choral setting and Mendelssohn's famous concert overture. The title is often translated as "Calm Seas and Prosperous Voyage", but that fails to convey the sense of the text. Meerestille is better translated as "Becalmed" and the glückliche Fahrt is a happy or successful voyage only in the sense that the travelers finally reach port safely. In the days before steam power, being becalmed at sea was perhaps the worst fate which could befall a ship, and Beethoven does a masterful job not only of conveying the ominous, deadly calm of the ocean but also of suggesting an edge of barely suppressed hysteria. The music brightens as the wind freshens and the prospects of a safe return home suddenly become real, but there is still something a bit frantic about the repeated phrase "schon seh' ich das Land!" (I can already see land!) At the time he was composing Meerestille, Beethoven was also heavily involved in concerts given in conjunction with the Congress of Vienna, which marked the end of the Napoleonic Wars. One of the main attractions was an otherwise eminently forgettable novelty piece of his which enjoyed a brief popularity, Wellington's Victory. -
THE ACCOMPANIMENT of GREGORIAN CHANT by Patricia Burgstahler A.B., Nazareth College, 1956
THE ACCOMPANIMENT OF GREGORIAN CHANT by Patricia Burgstahler A.B., Nazareth College, 1956 Submitted to the Department of Music and the Faculty of the Graduate School of the University of Kansas in partial fulfill- ment of the requirements for the degree of Master of Arts. April, 1959 ACKNOWLEDGEMENTS I wish first of all to thank my husband, whose constant interest and encouragement made it possible for me to write this thesis, and then Dr. Joseph Yasser, to whom I am deeply indebted for his generous reading of this entire manuscript, his many constructive comments and bibliographical sugges- tions, and his enthusiastic approval of this application of his quartal harmonic system. To Dr. Milton Steinhardt and to Mr. George Michael I express my gratitude for their help- ful direction and valuable advice. 11 CONTENTS Page ACKNOWLEDGEMENTS· . 11 INTRODUCTION .... iv CHAPTER I HISTORICAL SURVEY OF GREGORIAN CHANT .... l Origins . ... 2 Early Forms ...... 3 Medieval Period .... 5 Modern Period ............. 9 ChronoloF," of the Chants. 11 CHAPTER II HISTORICAL SURVEY OF GREGORIAN CHANT ACCOMPANIMENT . 14 Early Polyphonic Settings and Later Art Forms . 16 Early Tertian Harmonizations ....•.• 18 Modern Tertian Harmonizations . .. 19 The Theory of Quartal Harmony ..... 26 CHAPTER III CURRENT RHYTHMIC THEORIES 35 The Mensuralist School. 36 The Accentualist School . 39 The Solesmes School 44 CHAPTER IV METHOD OF THE PRESENT ACCOMPANIMENT . 51 Harmony ....... 52 Rhythm. 57 Selection of Chants .. 60 CHAPTER V QUARTAL ACCOMPANIMENTS .. 63 Mass I. 64 Mass IV . 68 Mass XV • • • • • • • • • • • 73 Mass XVI with Ambrosian Gloria .. 77 Credo I . 81 Tones of the Gloria Patri . ... 85 Psalm Tones . • 87 Nativity Proper: Midnight Mass .•. -
Shaw-Rebecca-MA-MUSIC-June
Differentiae in the Cantus Manuscript Database: A Cross-Manuscript Analysis by Rebecca Shaw Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia June 2019 © Copyright by Rebecca Shaw, 2019 Table of Contents List of Tables ....................................................................................................................... iv List of Figures ..................................................................................................................... vii Abstract……………………………………………………………………………………………………………………….viii List of Abbreviations Used .................................................................................................. ix Acknowledgements .............................................................................................................. x Chapter 1: Introduction and Differentia Standardization ................................................... 1 1.1 Overview of the Differentia Standardization Project ..................................... 9 1.2 Analysis enabled by the Differentia Standardization Project ....................... 11 Chapter 2: Differentiae and Mode in Theory and Practise ................................................ 14 2.1 Theorists’ Explanation of Differentia and Mode .......................................... 16 2.2 Elements of Unity and Disparity Within and Between Modes ..................... 19 2.3 Multi-Modal Saeculorum Openings .............................................................