2007-08 Repertoire
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Halle, the City of Music a Journey Through the History of Music
HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture. -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
Extract from Text
DISCOVER CHORAL MUSIC Contents page Track List 4 A Brief History of Choral Music , by David Hansell 13 I. Origins 14 II. Early Polyphony 20 III. The Baroque Period 39 IV. The Classical Period 68 V. The Nineteenth Century 76 VI. The Twentieth Century and Beyond 99 Five Centuries of Choral Music: A Timeline (choral music, history, art and architecture, literature) 124 Glossary 170 Credits 176 3 DISCOVER CHORAL MUSIC Track List CD 1 Anon (Gregorian Chant) 1 Crux fidelis 0.50 Nova Schola Gregoriana / Alberto Turco 8.550952 Josquin des Prez (c. 1440/55–c. 1521) 2 Ave Maria gratia plena 5.31 Oxford Camerata / Jeremy Summerly 8.553428 John Taverner (c. 1490–1545) Missa ‘Gloria Tibi Trinitas’ 3 Sanctus (extract) 5.28 The Sixteen / Harry Christophers CDH55052 John Taverner 4 Christe Jesu, pastor bone 3.35 Cambridge Singers / John Rutter COLCD113 4 DISCOVER CHORAL MUSIC Thomas Tallis (c. 1505–1585) 5 In manus tuas, Domine 2.36 Oxford Camerata / Jeremy Summerly 8.550576 William Byrd (c. 1540–1623) 6 Laudibus in sanctis 5.47 Oxford Camerata / Jeremy Summerly 8.550843 Giovanni Pierluigi da Palestrina (c. 1525/6–1594) Missa ‘Aeterna Christi Munera’ 7 Agnus Dei 4.58 Oxford Camerata / Jeremy Summerly 8.550573 Tomás Luis de Victoria (1548–1611) 8 O magnum mysterium 4.17 Oxford Camerata / Jeremy Summerly 8.550575 Claudio Monteverdi (1567–1643) Vespers of the Blessed Virgin 9 Laudate pueri Dominum 6.05 The Scholars Baroque Ensemble 8.550662–63 Giacomo Carissimi (1605–1674) Jonas 10 Recitative: ‘Et crediderunt Ninevitae…’ 0.25 11 Chorus of Ninevites: ‘Peccavimus, -
The Cathedral of All Saints
BETHESDA EPISCOPAL CHURCH Washington Street near Broadway Saratoga Springs, New York 12866 THE FIRST SUNDAY OF ADVENT 3 DECEMBER 2017 3:00 P.M. About this Service In 1934, sixteen years after he had introduced to King’s College, Cambridge, the Festival of Nine Lessons and Carols for Christmas Eve, the Dean, The Very Reverend Eric Milner-White, composed a similar service for Advent Sunday. His concern for more imaginative forms of worship appears in the Preface he wrote to that service. “In the old English liturgies, the Advent Offices made a preparation for the coming of our Lord to this earth far more evident than those of the Prayer Book.” Intended to express “the desire of all nations and ages,” this Advent Carol Service had as its purpose “not to celebrate Christmas, but to expect it.” This service of ancient precedent is a vivid expression of the Church’s preparation for the coming of the Lord Jesus both in the festival of Jesus’ Nativity and in the consummation of the ages. In it we symbolize and express the loving bond that joins all within our fellowship and the peace within the whole Church, as well as the joy and worship of us all at the advent of the Son of Man. _______________________________________________________________ THE PARISH STAFF The Very Reverend Marshall J. Vang Interim Rector The Reverend Paul F. Evans Priest Associate Mr. Landon Moore Postulant for Holy Orders Mr. Farrell Goehring Organist & Director of Music Dr. Kathleen Slezak Choral Director Barbara Latzko Parish Administrative Assistant Mr. Robert E. Bullock Verger Mr. -
Brotherhood Prayer Book Hymns Page 1
Brotherhood Prayer Book Hymns Sorted by “First Line” NAME FIRST LINE PAGE Occasion METER Hymnum canamus gloriae A hymn of glory let us sing 335 Ascension: 2nd Vespers LM Magnae Deus potentiae Almighty God, who from the flood 285 Thursday: Vespers LM Caelestis formam gloriae An image of that heavenly light 312 Transfiguration: Morn. LM Adesto, sancta Trinitas Be present, holy Trinity 342 Trinity: Vespers LM Urbs beata Jerusalem Blessed city, heavenly Salem 382 Anniv. Ded. Church 8.7.8.7.8.7 Veni, Creator Spiritus, Mentes Come, Holy Ghost, Creator blest 338 Pentecost: Compline LM Veni, Redemptor gentium Come, thou Redeemer of the Earth 302 Christmas Day LM Conditor alme siderum Creator of the stars of night 297 Advent 1: Vespers LM Telluris ingens Conditor Earth's mighty Maker, whose command 277 Tuesday: Vespers LM Aeterna caeli gloria Eternal Glory of the sky 287 Friday: Morning Prayer LM Aeterne Rex altissime Eternal Monarch, King most high 334 Ascension: 1st Vespers LM O Pater sancte Father, most holy, merciful and tender 342 Trinity: Morning Prayer 11.11.11.5 Nocte surgentes Father, we praise thee, now the night is over 264 Sunday: Morning Prayer 11.11.11.5 A solis ortus cardine From east to west, from shore to shore 302 Christmas Day LM Iste confessor He, whose confession God of old accepted 373 Common/Confessors 11.11.11.5 Iste confessor He, whose confession God of old accepted 379 Common/Holy Man 11.11.11.5 Verbum supernum prodiens High Word of God, who once didst come 297 Advent 1: Morning Prayer LM Sermone blando Angelus His cheering message from the grave 329 Easter 1: Morning Prayer LM Jesu redemptor omnium Jesus, the Father's only Son 301 Christmas Eve LM Jesu, Corona virginum Jesus, the virgin's crown, do Thou 377 Common/Virgins LM Jesus, dulcis memoria Jesus! The very thought is sweet 306 Circumcision: Morning Prayer LM Antra desert Let the example of St. -
WYOMING ALL-STATE CHOIR REPERTOIRE WMEA Wyoming Music Educators Association
WYOMING ALL-STATE CHOIR REPERTOIRE WMEA Wyoming Music Educators Association 2020 (Gillette) Dr. Ryan Beeken Gloria Fanfare . Jeffery Ames Hanapchap Cusicuinin . Juan Perez Bocanegra Praise the Name of God With a Song . Allen Koepke The Blue Ridge . Elaine Hagenberg Each Slow Dusk . Andrea Ramsey Luk Luk Lumbu . Budi Susanto 2019 (Casper) Andrea Ramsey, Conductor Wana Baraka . Kirchner Verleih Uns Frieden . Mendelssohn The Music of Stillness . Elaine Hagenberg Stomp on the Fire . Andrea Ramsey Daniel, Daniel, Servant of the Lord . Undine Moore As I have Love You . Andrea Ramsey 2018 (Evanston) Dr. Pearl Shangkuan, Conductor Gloria from “Harmoniemesse” . Haydn We Shall Walk through the Valley in Peace . Moses Hogan Cantate Canticum Novum . Dan Forrest Prelude to Peace . Z. Randall Stroope Libertango . Piazolla/arr. Oscar Escalada Nyon, Nyon . Jake Runestad 2017 (Cody) Dr. Anton Armstrong, Conductor Veni Sancte Spiritus (KV 47) . .Wolfgang Amadeus Mozart Lamb of God . arr. F. Melius Christiansen Be Thou a Smooth Way . .Ralph M. Johnson Zion’s Walls . Aaron Copland/arr. Glenn Koponen Fa Shu Ha . arr. Yu-Shan Tsai I Am Not Yours . David Dickau Ride On King Jesus . arr. Moses G. Hogan 2016 (Cheyenne) Dr. Scott Anderson, Conductor In Vitute Tua, Domine ...................................................................................................Gorczycki Bach(Again) ........................................................................................................ JSBach/London Cloudburst ............................................................................................................. -
World Rankings
1/12/13 Print: interkultur.com WORLD RANKINGS TOP 1000 Pos. Choir Conductor Country Points 1. Stellenbosch University Choir André van der Merwe South Africa 1211 2. University of Louisville Cardinal Singers Kent Hatteberg USA 1173 Guangdong Experimental Middle School 3. Mingjing Xie China 1165 Choir 4. Lalá Vocalensemble Austria 1154 4. Cantate Ferenc Sapszon jr. Hungary 1154 6. Akustika Chamber Singers Christo Burger South Africa 1143 7. Stellenberg Girls Choir André van der Merwe South Africa 1138 8. Magnificat Ifjúsági Kórus Szebellédi Valéria Hungary 1130 8. Coro Polifonico di Ruda Fabiana Noro Italy 1130 10. Coral San Justo Silvia L. Francese Argentina 1118 11. CantAnima - Landesjugendchor Steiermark Franz Herzog Austria 1112 12. Boğaziçi Jazz Choir Masis Aram Gözbek Turkey 1111 China/Hongkong 13. Diocesan Schools Choral Society Ronnie Kay Yen Cheng 1109 SAR China/Hongkong 13. Diocesan Boys' School Choir Ronnie Kay Yen Cheng 1109 SAR 15. Hwa Chong Choir Ai Hooi Lim Singapore 1107 16. The Aeolians of Oakwood University Jason Max Ferdinand USA 1106 17. Shanghai Conservatory of Music Girls Choir Hai Ling Wang China 1104 17. Elfa's Singers Elfa Secioria Indonesia 1104 17. Victoria Junior College Choir Nelson Kwei Singapore 1104 20. Tygerberg Children's Choir Hendrik D. Loock South Africa 1103 21. Mansfield University Concert Choir Peggy Dettwiler USA 1101 22. Kammarkören Sångkraft Leif Åkesson Sweden 1095 23. Dekoor Close Harmony Christoph Mac-Carty Netherlands 1093 24. Mt. San Antonio College Singcopation Bruce Rogers USA 1087 25. Foerstrovo Komorní Pěvecké Sdružení Valentina Shuklina Czech Republic 1086 4x4 Frauenchor der Pädagogischen 25. Heike Kiefner-Jesatko Germany 1086 Hochschule HD 27. -
Advent Hymns That Speak to the Light
Advent hymns which speak to the Light, which overcomes the darkness. From Veni, Veni, Emmanuel: O come, thou Dayspring from on high, And cheer us by thy drawing nigh: Disperse the gloomy cloud of night And death’s dark shadow put to flight Rejoice, rejoice Emmanuel, Shall come to thee O Israel. From the German Hymn Wachet auf: Wake, awake, for night is flying; The watchmen on the heights are crying: Awake, Jerusalem, at last! Midnight hears the welcome voices And at the thrilling cry rejoices; Come forth, ye virgins, night is past; The Bridegroom comes, awake; Your lamps with gladness take; Alleluia! And for His marriage feast prepare For ye must go and meet Him there. From Conditor Alme Siderum Creator of the stars of night, Thy people’s everlasting light Oh Christ, thou savior of us all, We pray thee hear us when we call From Vox Clara ecce intonat: Hark! a thrilling voice is sounding; “Christ is nigh,” it seems to say, “Cast away the works of darkness, O ye children of the day.” Wakened by the solemn warning Let the earthbound soul arise; Christ, her Sun, all ill dispelling, Shines upon the morning skies. From the Liturgy of St. James, 4th Century (Σιγησάτο παρα σὰρξ βροτεία): Rank on rank the host of heaven Spreads its vanguard on the way, As the Light of light descendeth From the realms of endless day, That the powers of hell may vanish As the darkness clears away. From Veni Redemptor Gentium: Thy cradle here shall glitter bright, And darkness breathe a newer light, Where endless faith shall shine serene, And twilight never intervene . -
Lessons and Carols
DVENT Lessons and Carols celebrating the season of expectation in word and song º THE COMMUNITY OF ST. PHILIP AT WORSHIP 11:00 BNt4VOEBZt%FDFNCFS 2 ADVENT LESSONS AND CAROLS INTRODUCTION In the Middle Ages, the Church kept Advent as a season of great solemnity — a time in which to meditate upon the ultimate issues of death, judgment, hell, and heaven. But Advent was also a time of great rejoicing. For Christ would come, not only as Judge, but also as Savior, and would usher in the Kingdom of God. Advent, therefore, provided a vivid preparation for Christmas. Processions from west to east, and the use of lights, spoke of the Church’s hope in the coming of Christ — the Light of the world — to banish sin and darkness. Antiphons were sung, calling upon God to deliver his people, and readings from the Old Testament were seen as pointing to the fulfillment of God’s purposes in Jesus Christ. This service aims to recapture something of that Advent longing and hope. It begins quietly with the Advent Responsory, in which Christ’s coming is announced, “Rise up, O Jerusalem!” The Blessing of Light follows, and the service unfolds. The liturgy is structured around the Advent “O” antiphons, known as the Great “Os.” These were originally sung as antiphons to the Magnificat during Vespers from December 17 to 23, and have provided a rich source of devotional imagery in Advent. The readings and music serve to complement the antiphons, and help us to reflect on the theme of Christ who comes to judge and save his people. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Stellenbosch University Research Report 2004
STELLENBOSCH UNIVERSITY RESEARCH REPORT 2004 Editor: Senior Director: Research Stellenbosch University Stellenbosch 7602 ISBN 0-7972-1170-5 i FOREWORD The 2004 Research Report provides a comprehensive record of the University's research outputs. In addition to this overall survey of research at the institution, perspectives are provided on the performance of individual faculties and departments. Further statistical perspectives on research output and the nature of research activities are presented in other publications of the Division of Research Development, i.e. Research @ Stellenbosch; and Perspectives of Stellenbosch University. As in the past, a variety of persons and organizations contributed to the University's research programme. Stellenbosch University wishes to express particular recognition to the statutory research councils and commissions, government departments, private enterprises, foundations and individuals for their continued support of our research. As far as research funding is concerned, researchers at South African universities are increasingly dependent upon new sources for research funding. This includes national and international opportunities alike. Stellenbosch University therefore attaches great value to regional cooperation and substantive scientific agreements with other universities local and abroad, and to bilateral research and development agreements between South Africa and other countries. Apart from the active support of research by the University's management, a variety of internal support services provide assistance to researchers. These include the library and information services, capacity building workshops, information technology, infrastructure, the maintenance of laboratories and equipment, central analytical services, and support from the administrative and financial divisions, without which it would be impossible to conduct research of this calibre. We acknowledge with appreciation the dedication and excellent contributions made by Stellenbosch University staff members to the institution's research output. -
Before the Service December 10, 2017 Second Sunday of Advent Holy Eucharist Rite I 11:00 Am
December 10, 2017 Second Sunday of Advent Holy Eucharist Rite I 11:00 AM Before the Service Opening Acclamation Hymnal S80 Please keep a moment of silence to prepare your W Bless the Lord who forgiveth all our sins. hearts and minds for worship and if you so desire you His mercy endureth forever. may use the following prayer: O Almighty God, who pourest out on all who desire it Invitation to the Confession the spirit of grace and of supplication: Deliver us, when BCP 320 we draw near to thee, from coldness of heart and wan- 1 John 1:8,9 derings of mind, that with steadfast thoughts and kindled If we say that we have no sin, we deceive ourselves, and affections we may worship thee in spirit and in truth; the truth is not in us; but if we confess our sins, God is through Jesus Christ our Lord. Amen. faithful and just to forgive our sins, and cleanse us from Prelude Veni, Veni Emmanuel all unrighteousness. Gerald Near Confession Processional Hymn Hymnal 72, vs 1-4 BCP 320 [Please stand as you are able] Let us humbly confess our sins unto Almighty God. Hark! the glad sound! the Savior comes, [Please kneel as you are able] the Savior promised long; [Silence is kept] let every heart prepare a throne, and every voice a song. Most merciful God, we confess that we have sinned against thee He comes, the prisoners to release in thought, word, and deed, in Satan’s bondage held; by what we have done, the gates of brass before him burst, and by what we have left undone.