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Magnificat: Vocal Score Free
FREE MAGNIFICAT: VOCAL SCORE PDF John Rutter | 88 pages | 01 Aug 1991 | Oxford University Press | 9780193380370 | English, Latin | Oxford, United Kingdom Vocal Score for Rutter Magnificat : Choraline For soprano or mezzo-soprano Magnificat: Vocal Score, SATB chorus and either full orchestra or chamber orchestra. Minimum recommended string forces for the chamber ensemble are 2. This edition is a publication of Oxford University Press. Full scores, vocal scores, and instrumental parts are available on hire through Oxford University Press. Home Music scores and recordings. John Rutter Magnificat. Add to wishlist. Feedback Be the first to give feedback on this product. Proceed to purchase. Additional product information. He first came to notice as a composer during his student years; much of his early work consisted of church music and other choral pieces including Christmas carols. From —79 he was Director of Music at his alma mater, Clare College, and directed the college chapel choir in various recordings and broadcasts. Since he has divided his time between composition and conducting. Today his compositions, including such concert-length works as RequiemMagnificat Magnificat: Vocal Score, Mass of the ChildrenThe Gift of Lifeand Visions are performed around the world. His music has featured in a number of British royal Magnificat: Vocal Score, including the two most recent royal weddings. In he formed his Magnificat: Vocal Score choir the Cambridge Singers, with whom he has made numerous Magnificat: Vocal Score, and he appears regularly in several countries as guest conductor and choral ambassador. Personal details. You have to be logged in to write a feedback. Magnificat: Vocal Score questions about this work There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services! Related products. -
Grand Music Gracious Word
Grand Music Gracious Word JULY 2012 / YEAR B Sing For Joy® is a production of St. Olaf College. by Pastor Bruce Benson, host f you look up the etymology the turns and tumbles of human society, and we of the English word chorus can all name at least a hundred reasons not to be Ior choir, you will be in- joyful. But I think it is safe to say that as long formed that it comes from the Latin chorus which as the Biblical message of grace, love, dignity, comes from the older Greek word χορός or χῶρος forgiveness is proclaimed among people there will (choros.) The Greek word originally applied to be joy, and where there is joy (if Plato is right!) a circle dance or singing dance in a circle. That there will very likely be choruses. Therefore, at makes sense. Even for a choir of singers who have least in the church, option 1) above seems far been instructed (as I was as a youth,) “Don’t move more likely. anything except your mouth!” the act of sing- ing together is really a kind of dance. The voices This is not to say that we can simply take the must learn to dance with each other. No stepping future of the church choir for granted; we cannot. on anyone else’s musical toes; let your movements But it is to say that every assembly of people complement each other. gathered around the Gospel will feel a tug not just to listen to a chorus but to be a chorus. -
Eastman Notes July 2006
Summer 2010 FOr ALUMNI, PARENTS, AND FrIeNDS OF THe eASTmAN SCHOOL OF MUSIC FrOm THe DeAN A musical model In December of this year, we will witness the completion of George Eastman’s original dream when we open our new addition. What many once knew as the Swan Street parking lot was a small triangular parcel of land—the last piece of real estate George needed to complete his school and theater, at least as he had originally imagined it back in 1922. But the price the owner demanded was in George’s mind too high, and so the theater project went ahead without that property. In the ensuing years, the University of Rochester purchased the lot, and we are now completing the second phase of our Eastman Theatre Renovation and Expansion Project. Although “bricks and mortar” have occupied our time, energy, and resources NOTES as of late, we are equally committed to intensifying the Volume 28, Number 2 signal Eastman sends to the nation and the world. We re- Summer 2010 turned to New York City: our Eastman Virtuosi performed at Merkin Concert Hall, and the Ying Quartet performed Editor at the Morgan Library. We continued our participation in David raymond the Kennedy Center’s Conservatory Project, as well as in Contributing writers a John Adams residency in the nation’s capital (see p. 28). Clive Gillinson Douglas Lowry We are a leader in our expanding deployment of Internet2 ramon ricker technology to enhance our “virtual partnerships” around Helene Snihur the world. Our students learn from distinguished art- Contributing photographers ists and scholars from places as far away as Oslo, and we Kurt Brownell share our perspectives with those audiences, all in real- Adam Fenster time master class exchanges. -
The RTOS Story
The RTOS Story As told by the following brief history, the Rochester Theater Organ Society (RTOS) story is one of inspiration, luck, near failure, community involvement, perseverance and untold hours of dedication and hard work by an unstoppable band of enthusiasts and volunteers, all having the common goal of saving an important piece of Rochester's musical history through the preservation and presentation of a magnificent Wurlitzer theatre pipe organ. RTOS Story - In the Beginning In the beginning there was an organ, a theatre, and an organist. Wurlitzer Opus 1951 was built at the Rudolph Wurlitzer Company factory in North Tonawanda, NY in the summer of 1928. At that time the 2916-seat Keith-Albee Palace Theatre (later renamed RKO Palace) was well on its way to completion on Clinton Avenue North and Mortimer Street in Rochester, NY. A native of Great Britain, Tom Grierson had experience playing organs in St Louis, Brooklyn and Buffalo, and eventually settled in Rochester. Here he had held several church organist positions and played engagements at several local theatres before being retained to play at what would soon become Rochester's most beautiful movie palace. Tom custom designed the organ, a 4-manual, 21-rank, ‘special’ which was probably shipped by rail to Rochester on September 12, 1928. Installation took three months and local lore suggests that due to Tom’s close relationship with Wurlitzer (he recorded many organ player rolls for them) and since Rochester was only a short distance from the factory, that the organ was the recipient of voicing and regulating services not afforded most Wurlitzer installations. -
Download CD Booklet
ASS of the M HILDREN Cand other sacred music by JOHN RUTTER 2 3 institution of special significance to me. I will sing with the spirit (1994) is dedicated to MASS of the CHILDREN and other sacred music another institution, the Royal School of Church Music, who requested a simple anthem to serve as a theme song for their anniversary appeal. Mass of the Children was written in late 2002 and early 2003. The occasion of its first The final three pieces on the album form a group insofar as they are all for choir without performance in February 2003 was a concert in New York’s Carnegie Hall involving orchestra and on a more demanding level chorally. Musica Dei donum (1998), which has children’s choir, adult choir, soprano and baritone soloists, and orchestra. I had always wanted an important part for solo flute, is a setting of an anonymous text first set by Lassus in 1594 to write a work combining children’s choir with adult performers, not only because I find the that speaks of the power of music to draw, to soothe, and to uplift. Originally written for the sound of children’s voices irresistible but also because I wanted to repay a debt. As a boy choir of Clare College, this piece was subsequently included in A Garland for Linda, a cycle of soprano in my school choir I had been thrilled whenever our choir took part in adult works nine choral pieces by different composers in memory of Linda McCartney. I my Best- with children’s choir parts, such as the Mahler Third Symphony and the Britten War Requiem, Beloved’s am (2000) was written for the BBC Singers and first performed by them at a con- and years later I remembered this experience and wanted to write something that would give cert in Canterbury Cathedral on the theme of the seven sacraments. -
Download CD Booklet
John Rutter writes . impressed by the ease with which we came together musically, and by coincidence I was shortly afterwards asked by a US-based record company to make an album of my church music with hen I formed the Cambridge Singers in the early 1980s as a professional mixed the Gloria as the centrepiece, so the group was assembled once again to make the recording. chamber choir with recording rather than public performance as its principal focus, The Gloria album, released in 1984, marked the recording début of the Cambridge Singers. Wthe idea was a new one, and I never dreamed that we would still be recording – albeit Its unexpected success encouraged us to continue, and the Fauré Requiem, in its hitherto with changing though still Cambridge-leaning membership – thirty years later. little-known chamber version which I had edited from the composer’s manuscript, soon The seeds of the idea were sown during my days in the late 1970s as Director of Music at followed; it won a Gramophone magazine award. Through no one’s fault, there were constraints Clare College, Cambridge. It was an exciting period of change in the choral life of Cambridge and obstacles with both the labels to which these two recordings were contracted, and it seemed University: in 1972 three of our 25 or so men’s colleges, including Clare, began to admit women like the right moment to start a new record label as a permanent home for me and the students for the first time in the university’s 750-year history. -
Elgar Organ Works
THE DOBSON ORGAN OF MERTON COLLEGE, OXFORD Elgar BENJAMIN NICHOLAS Organ wor ks EDWARD ELGAR (1857–1934): ORGAN WORKS THE DOBSON ORGAN OF MERTON COLLEGE, OXFORD Sonata for Organ in G major, Op. 28 Benjamin Nicholas 1 I. Allegro maestoso [9:03] 2 II. Allegretto [4:37] 3 III. Andante espressivo [6:31] 4 IV. Presto (comodo) [7:05] 5 ‘Nimrod’ from ‘Enigma’ Variations, Op. 36 [3:56] transcr. by W. H. Harris 6 Prelude to The Kingdom, Op. 51 [9:43] transcr. by A. Herbert Brewer* 7 Gavotte [5:50] transcr. by Edwin H. Lemare Vesper Voluntaries, Op. 14 8 Introduction: Adagio – [1:33] 9 I. Andante [1:20] 10 II. Allegro [2:57] 11 III. Andantino [2:42] 12 IV. Allegretto piacevole [1:56] 13 Intermezzo [0:44] 14 V. Poco lento [2:03] 15 VI. Moderato [1:57] 16 VII. Allegretto pensoso [2:00] 17 VIII. Poco allegro – Coda [4:27] Recorded on 25-26 June 2015 in Cover design: John Christ Join the Delphian mailing list: the Chapel of Merton College, Oxford Booklet design: Drew Padrutt www.delphianrecords.co.uk/join Total playing time [68:33] Producer/Engineer: Paul Baxter Benjamin Nicholas photo: John Cairns 24-bit digital editing: Adam Binks Booklet editor: John Fallas Like us on Facebook: 24-bit digital mastering: Paul Baxter Delphian Records Ltd – Edinburgh – UK www.facebook.com/delphianrecords *premiere recording of this arrangement Cover & booklet photography © Dobson www.delphianrecords.co.uk Pipe Organ Builders Ltd Follow us on Twitter: @delphianrecords With thanks to the Warden and Fellows of the House of Scholars of Merton College, Oxford Notes on the music The first recording of Merton’s new organ – post of Organist and Choirmaster in his own offering music and seeking commissions with attractively individual, quirky charm. -
Choral Music
SHOWSTOPPERS INTERNATIONAL INVITATIONAL AT DISNEYLAND@ PARK Anaheim, CA / April 17-20, 1997 KEYNOTE CHORAL FESTIVAL SERIES NASHVILLE CHORAL FESTIVAL Nashville, TN / April 17-20, 1997 KEYNOTE CHORAL FESTIVAL SERIES MANHATTAN CHORAL FESTIVAL New York, NY / May 1-4, 1997 CHILDREN IN HARMONY CHORAL FESTIVAL Orlando, FL / May 22-25, 1997 !lew! CHILDREN'S CELEBRATION SHOWSTARTERS CHORAL FESTIVAL SHO\,T CHOIR WORKSHOPS Anaheim, CA / June 26-29, 1997 Coming to an area near you ... September - November 1996 CONCERT TOURS Domestic & International/Year Round CHILDREN'S HOLIDAY CHORAL FESTIVAL AMERICA SINGS! FESTIVALS Orlando, FL / December 5-8, 1996 Los Angeles, CA / March 21-22, 1997 Orlando, FL / April 4-5, 1997 MEN OF SONG SHOWCASE Pittsburgh, PA / April 25-26, 1997 AT WALT DISNEY \VORLD@ RESORT Chicago, IL / May 9-10, 1997 Lake Buena Vista, FL February 27 - March 2, 1997 MAGIC MUSIC DAYS AT WALT DISNEY WORLD RESORT@ SHOWSTOPPERS & DISNE\'LlLND@PARK INTERNATIONAL INVITATIONAL Lake Buena Vista, FL / Anaheim, CA AT WALT DISNEY WORLD@ RESORT Year Round Lake Buena Vista, FL / March 13 -16, 1997 SHOWSTOPPERS NATIONAL --f!W- SHOW CHOIR INVITATIONAL I-= -::. --::. Chicago, IL / March 20-23, 1997 KEYNOTE ARTS ASSOCL\TES KEYNOTE ARTS ASSOCIATES COLLEGIATE 1637 E. ROBINSON ST. SHOWCASE INVITATIONAL ORLANDO, FL 32803 AT \VJ-\LT DISNEY \"X"TORLD@ RESORT Lake Buena Vista, FL / April 10-13, 1997 T407-897-8181 F407-897-8184 TOLL FREE 800-522-2213 KEYNOTE CHORAL FESTIVAL SERIES EMAIL [email protected] CHICAGO CHORAL FESTIVAL Chicago, IL / April 10-13, 1997 Official Publication of the American Choral Directors Association Volume Thirty-seven Number One AUGUST 1996 CHORALJO John Silantien Barton L.Tyner Jr. -
Grand Music Gracious Word
Grand Music Gracious Word JULY 2015 / YEAR B Sing For Joy® is a production of St. Olaf College. “My grace is sufficient for you, for power is made perfect in weakness.” by Pastor Bruce Benson, host his past month I accepted an enjoyable assign- between strength — let’s call it power — and gentle- ment to serve as narrator with an all-volunteer ness in the performance of music can help us under- Tcommunity orchestra performing a composi- stand Paul’s point. We all, of course, enjoy hearing a tion for orchestra and spoken word. Needless to say, large choir or orchestra cranking up the volume and it took us more than one rehearsal to achieve a good sending music like a wave of sound washing over us. balance between orchestra and narration. Orchestra, It is exhilarating. And yet ... when that same power- voice and sound system all needed tweaking and fine- ful ensemble hushes to a barely audible pianissimo, it tuning to make music together. And each has limits. is enough to make us hold our breath. It is, to para- At the final rehearsal the conductor said, “We aren’t phrase Paul, almost as if strength (or power) is made a large enough orchestra to play as softly as I would perfect in that softness. like.” To be sure, there is a difference between gentleness and At first that sounds strange. It is certainly counter- weakness, at least in the way we normally use those intuitive. Shouldn’t it be more, not less, difficult for a words. But perhaps just as often, “weakness” is a label large ensemble to play sensitive pianissimo sections? given inappropriately to gentleness. -
2018 INDEX of ARTICLES Published in the TIBIA, the BOMBARDE
1955 - 2018 INDEX of ARTICLES published in THE TIBIA, THE BOMBARDE, and THEATRE ORGAN [2019 Edition] by Jack Moelmann 1955-2018 INDEX OF ACTICLES PUBLISHED IN THE TIBIA, THE BOMBARDE, and THEATRE ORGAN by Jack Moelmann This is an index of major items which appeared in THE TIBIA, 1955-1958; THE BOMBARDE, 1964- 1966; and THEATRE ORGAN, 1959-2018. No attempt has been made to list the many smaller items such as Chapter News/Notes, Concert News, Nuggets, etc. In addition, other items routinely published are also not included, e.g., committees, Directors/Staff/Editors, classified ads, advertisements, the President’s Message, Letters to the Editor/Members’ Forum, meeting notices, advertising rates, items from the ATOS International News newsletter, some items from the Pipes and Personalities section, election announcements, Annual Membership Meeting announcements, Special Services/ATOS Marketplace items available, scholarship and competition program announcements, and other items of that nature. Since THEATRE ORGAN is issued bi-monthly, issues are identified by the first month of their issue. Abbreviations used in this index include: C=Classical; CA=Audio Cassette Tape; CD=Compact Disc; E=Electronic Instrument; P=Pipe Organ; M=Mechanical Instrument; VC=Video Cassette Tape; Spr=Spring Issue; Win=Winter Issue; Sum=Summer Issue; Supp=Supplemental publication. Corrections/comments/additions should be sent to Jack Moelmann; 1015 Matthew Drive, O’Fallon, Illinois 62269; Phone: (618) 632-8455; Fax: (618) 632-8456; E-mail: [email protected] Copyright - none TABLE OF CONTENTS Page 1. ATOS ARCHIVE & LIBRARY and SPECIAL/MEMBER SERVICES ............................................... 3 2. ATOS CHAPTER OPERATIONS .................................................................................................... 3 3. ATOS COMMITTEE REPORTS and NOTES ................................................................................ -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
August 2014 Vol.18, No. 5 the Elgar Society Journal the Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected]
Journal August 2014 Vol.18, No. 5 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2014 Vol. 18, No. 5 Editorial 3 President Julian Lloyd Webber FRCM ‘A sort of symphony in four divisions’: The Black Knight and its first performances 4 Richard Smith Vice-Presidents A Personal Reminiscence 21 Julius Harrison Sir David Willcocks, CBE, MC Diana McVeagh Imperial propaganda and Caractacus: 25 Michael Kennedy, CBE Chivalry, Militarism and the multi-faceted character of Elgar’s British Army Michael Pope Bryson Mortensen Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 37 Sir Andrew Davis, CBE Martin Bird Donald Hunt, OBE Christopher Robinson, CVO, CBE Book reviews 39 Andrew Neill Steven Halls, Ann Merivale, Andrew Neill, Julian Rushton Sir Mark Elder, CBE Martyn Brabbins CD reviews 45 Martin Bird, J.P.E. Harper-Scott, Roger Neighbour, Richard Wiley Letters 53 Chairman Richard Abram, Kevin Allen, John Knowles, Geoff Sansome, Robin Taylor Steven Halls Recording notes 56 Vice-Chairman Michael Plant Stuart Freed 100 Years Ago 57 Treasurer Clive Weeks The Editor does not necessarily agree with the views expressed by contributors, Secretary nor does the Elgar Society accept responsibility for such views. Helen Petchey Front Cover: Elgar and Algernon Blackwood on 18 February 1916 at the recording sessions for ‘The Starlight Express’. (Photo: HMV) Julius Harrison was the conductor of the stage production. Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much Editorial preferred) in Microsoft Word or Rich Text Format.