Eastertide Through Trinity 2011

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THE PARISH OF ALL SAINTS ▪ ASHMONT THE CHOIR OF MEN AND BOYS 209 ASHMONT STREET BOSTON, MA 02124 617–436–3520 [email protected] The Rev’d Michael J Godderz, Rector Andrew P. Sheranian, Organist & Master of Choristers Clarence Chaisson, Assistant Organist CHORAL MUSIC – EASTERTIDE THROUGH TRINITY 2011 May 1 – Easter II – Men and Boys Missa Brevis in D – Wolfgang Amadeus Mozart Psalm 16 – Anglican Chant by Gerald H. Knight I know that my redeemer liveth – G.F. Handel May 8 – Easter III – Men and Boys Communion Service in D – Everett Titcomb Psalm 116:1-3, 10-17 – Anglican Chant by William Crotch Ave verum – Wolfgang Amadeus Mozart May 15 – Easter IV – Men and Boys Missa Secunda – Hans Leo Hassler Psalm 23 – Anglican Chant by Edward Cuthbert Bairstow Cantate Domino – Hans Leo Hassler May 22 – Easter V – Men and Boys Communion Service in A – Harold Darke Psalm 31:1-5, 15-16 – Anglican Chant by John Barnby Rise up, my love – Healey Willan May 29 - Easter VI – Men and Boys Communion Service in D – Kenneth Leighton Psalm 66:7-18 – Anglican Chant by John Barnard Exsultate Deo - Giovanni Pierluigi da Palestrina June 5 – Sunday after Ascension – Men and Boys Communion Service ‘Collegium Regale’ – Herbert Howells Psalm 68:1-10, 33-36 – Anglican Chant by Herbert Howells God is gone up – Gerald Finzi Steal away – arr. Nicholas White June 12 – Pentecost – Men and Boys Missa Brevis – Andrea Gabrieli Psalm 104:25-35, 37 – Anglican Chant by T. Tertius Noble Grieve not the Holy Spirit of God – T. Tertius Noble June 19 – Trinity – Men and Boys Missa Brevis in D – Wolfgang Amadeus Mozart Psalm 8 – Anglican Chant by Richard Farrant I saw the Lord – John Stainer Te deum in C – Benjamin Britten.

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JEFFREY THOMAS Music Director
support materials for our recording of JOSEPH HAYDN (732-809): MASSES Tamara Matthews soprano - Zoila Muñoz alto Benjamin Butterfield tenor - David Arnold bass AMERICAN BACH SOLOISTS AMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE Jeffrey Thomas, conductor JEFFREY THOMAS music director Missa in Angustiis — “Lord Nelson Mass” soprano soloist’s petition “Suscipe” (“Receive”) is followed by the unison choral response “deprecationem nostram” (“our Following the extraordinary success of his two so- prayer”). journs in London, Haydn returned in 1795 to his work as Kapellmeister for Prince Nikolas Esterházy the younger. The Even in the traditionally upbeat sections of the liturgy, Prince wanted Haydn to re-establish the Esterházy orchestra, the frequent turns to minor harmonies invoke the upheaval disbanded by his unmusical father, Prince Anton. Haydn’s re- wrought by war and disallow a sense of emotional—and au- turn to active duty for the Esterházy family did not, however, ditory—complacency. After the optimistic D-major opening signify a return to the isolated and static atmosphere of the of the Gloria, for example, the music slips into E minor at the relatively remote Esterházy palace, which had been given up words “et in terra pax hominibus” (“and peace to His people after the elder Prince Nikolas’s death in 1790. Haydn was now on earth”); throughout the section, D-minor inflections cloud able to work at the Prince’s residence in Vienna for most of the laudatory mood of the first theme and the text in general. the year, retiring to the courtly lodgings at Eisenstadt during The Benedictus is even more startling.
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