CHURCH of the EPIPHANY
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Frescobaldi Gesualdo Solbiati
Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Paul O'dette Program Notes
PROGRAM NOTES Known to his contemporaries as “The English Orpheus,” John Dowland was the most celebrated lutenist of his time and one of England’s greatest composers. His music was extraordinarily popular throughout Europe and was published in more cities than any other composer of the time. The celebrated Lachrimae Pavin alone survives in over 100 different versions. Nevertheless, Dowland’s career was filled with shattered dreams and frustrations, resulting in his adoption of the motto “Semper Dowland semper dolens” (Always Dowland, always sorrowing). The intense melancholy that pervades much of his music is a personal expression of the bitterness he felt due to the lack of a royal appointment and the dearth of respect shown him by younger players. At the same time, the modern preoccupation with Dowland’s melancholy creates a one-sided impression of a multi-faceted personality. Though his doleful works are justly famous, Dowland’s lively pieces, particularly his galliards and jigs, evoke a humor and wit unmatched by any of his contemporaries. Tonight's program includes some of his least frequently performed pieces alongside some of his most famous works. Dowland’s life unfolded as a colorful series of restless moves and wanderings. He had converted to Catholicism during his late teens while serving the English ambassador in Paris, and he contended until the end of his life that this conversion was the cause of his exclusion from Queen Elizabeth’s court. But it seems possible that his volatile temperament and outspokenness may have played an equal role. After his six-year sojourn in France and his return to England in 1586, he studied and worked in his native country until 1595. -
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557864bk Philips US 11/7/06 3:05 pm Page 4 Elizabeth Farr Peter Elizabeth Farr specialises in the performance of keyboard music of the seventeenth and eighteenth centuries. She has performed solo recitals on the harpsichord, organ, and pedal harpsichord to critical acclaim throughout the United States and in Germany. Her PHILIPS performances as a collaborative artist, concerto soloist, and basso-continuo player have (1560/61–1628) also earned high praise. Her recording of Elisabeth-Claude Jacquet de La Guerre’s Suites Nos. 1-6 for Harpsichord (Naxos 8.557654-55) was awarded the Preis der deutschen Schallplattenkritik, Bestenliste 1/2006. Elizabeth Farr holds degrees in harpsichord and organ performance from Stetson University, the Juilliard School, and Harpsichord Works the University of Michigan, having studied with Paul Jenkins, Vernon de Tar, and Edward Parmentier. Currently she is on the faculty of the University of Colorado where Fantasia in F • Bonjour mon cœur • Io partirò she teaches harpsichord and organ, conducts the Early Music Ensemble, and offers classes in performance practices and basso-continuo playing. Elizabeth Farr The Harpsichord Jerome de Zentis was a consummate musical instrument-maker. He built instruments first in Rome, then in Florence for the Medici family, London as the ‘King’s Virginal Maker’, Stockholm as the instrument-maker to the court, Viterbo for the Pope, and finally in Paris for the King of France. The instrument used in this recording is one he made upon his return to Italy after ten years in Sweden as the instrument-maker royal to Queen Christina. This instrument is unusual because it is clearly an Italian instrument, but appears to have been made by a North German maker, or at least an Italian maker who was fully informed of the Northern European harpsichord-making practices and materials. -
St Paul's Cathedral Melbourne
St Paul’s Cathedral Together transforming our City and Diocese MELBOURNE Services and Music List: 10 – 17 February 2019 Sunday 10 February Fifth Sunday after Epiphany Thur 14 February Cyril (d.869) and Methodius, bishop (d.885) missionaries to the Slavs 8am BCP Holy Communion. Hymn: Dear Lord and Father 12.15pm Eucharist 9am Sung Eucharist: Grad: The eternal gifts of Christ the King; Off: Dear Lord and Father; 5.10pm Choral Evensong: Lay Clerks Dis: God gives us a future Responses: Ferial 10.30am Choral Eucharist: Choir of Girls and Lay Clerks Psalm: 2 Chant: John Goss (1800-80) Hymns: Int: Be thou my vision; Grad: The eternal gifts of Christ the King; Setting: Fourth Evening Service – Adrian Batten (1591-1637) Off: Dear Lord and Father of mankind; Dis: God gives us a future Anthem: Siderum rector – William Byrd (1543-1623) Setting: Missa Rorate Coeli desuper, Hob XXII:3 – Joseph Haydn (1732-1809) Ruler of the stars, gracious God, spare our sins, pardoning our offences: so that with a pure Psalm: 138 Chant: William Hayes (1708–77) heart we may sing unto thee a gracious song. Motet: Almighty God, who caused the light – Eric Austin Phillips (b.1947) Hymn: Ye servants of God Postlude: Cathédrales, Op.55 No.3 – Louis Vierne (1870-1937): Mrs Roslyn Carolane, Assistant Organist Friday 15 February 6pm Choral Evensong: Choir of Boys and Men [7.45am Girls’ Rehearsal at Lowther Hall] Hymns: Int: Be thou my vision; Coll: Dear Lord and Father of mankind; 12.15pm Eucharist Dis: God gives us a future 5.10pm Choral Evensong: Choir of Boys and Men Responses: William Smith (c.1557-1603) Responses: Ferial Psalm: 119:145-152 Chant: June Nixon Psalm: 130 Chant: after Henry Purcell (1659-95) Setting: Evening Service in A flat – Basil Harwood (1859-1949) Setting: Evening Service in F – Harold Friedell (1905-58) Anthem: O thou the central orb – Charles Wood (1866-1926) Anthem: Tantum ergo sacramentum – Herbert Sumsion (1899-1995) So great a sacrament let us venerate with bowed heads. -
The Liturgical Year 2021-22 Solemn Liturgies Are Celebrated on Sunday Mornings at 11 O’Clock Unless Otherwise Noted
The Liturgical Year 2021-22 Solemn Liturgies are celebrated on Sunday mornings at 11 o’clock unless otherwise noted Twenty-seventh Sunday in Ordinary Time Saturday, October 6, 2021 Messe Breve in C, Charles Gounod Da Nobis Pacem, See What Love, Felix Mendelssohn In salutari tuo anima mea, Gregorian chant Twenty-eighth Sunday in Ordinary Time October 10, 2021 Music of Ludovico da Viadana Missa “L’Hora Passa” Exsultate Justi & O Sacrum Convivium Aufer a me opprobrium et contemptum, Gregorian chant Twenty-ninth Sunday in Ordinary Time October 17, 2021 Mass of the Quiet Hour, George Oldroyd Prayer to Jesus, G. Oldroyd Sing We Merrily, Sidney Campbell Domine Dominus noster, Gregorian chant Thirtieth Sunday in Ordinary Time October 24, 2021 Music of Adrian Batten Short Communion Service O Sing Joyfully & When the Lord Turned Again Laetabimur in salutari tuo, Gregorian chant Thirty-first Sunday in Ordinary Time October 31, 2021 Mass for 4 Voices, John Stainer Jubilate in Bb & Beati Quorum Via, C. V. Stanford Notas mihi fecisti, Gregorian chant Thirty-second Sunday in Ordinary Time November 7, 2021 Music of Gabriel Fauré, for women’s voices Messe Basse Ave Verum & Tantum Ergo (Op. 65, #2) Dominus regit me, Gregorian chant Thirty-third Sunday in Ordinary Time November 14, 2021 Missa Brevis in Bb (K. 275), Wolfgang Mozart Ave Verum, Mozart Lo, in the Time Appointed, Healey Willan Amen dico vobis, Gregorian chant Our Lord, Jesus Christ, King of the Universe November 21, 2021 Music of Paul French for brass, organ, & choir (Braeburn Brass Quintet, guest artists) The Greater Gifts, Christ is the Image Festive hymn arrangements First Sunday of Advent November 28, 2021 Gregorian chant Ordinary and English Propers for men’s voices. -
Music Listening for the Easter Season David Hurd, Mus.D
Music Listening for the Easter Season David Hurd, Mus.D. Organist and Music Director Church of Saint Mary the Virgin, NYC This article continues a series begun during Holy Week, intended to highlight musical compositions which might normally be experienced live, but cannot be at this time due to our need to refrain from gathering. As with the two previous articles, I offer some background on selected compositions and their composers, the texts of the works, and links to YouTube performances so that the music can speak for itself. This is, of course, only a small sampling of the vast musical resources which exist, much as any liturgy is but a small piece of the worship which might be offered. My hope is that this small sampling of Easter music may be useful in focusing devotion and meditation on the great themes of this vibrant season the Church year. Prelude and Procession The late medieval hymn O filii et filiae is certainly one of the great songs of the Easter season. Its history is complex, but its words come to us clothed in a melody thought to be of French folk origin. The Hymnal 1940 (#99) presented this hymn in a nine-stanza form as translated by John Mason Neale (1818–1866). The music, as arranged by Winfred Douglas, has the triple-meter feeling of a carol. The Hymnal 1982, however, presents O filii et filiae in two distinct forms. At #203 one finds five stanzas, corresponding to stanzas 1, 2, 3, 4 and 9 of Neale’s translation in the 1940 edition. -
Sun 7Th Mar 2021 to Sat 3Rd Apr 2021
SUNDAY 7 MARCH 0945 THE CATHEDRAL EUCHARIST ONLINE ONLY SUNDAY 14 0945 THE CATHEDRAL EUCHARIST NAVE ALTAR THIRD SUNDAY Missa in honorem sacratissimi cordis Henrik Andriessen Hymns Lent Prose, 395, 547 FOURTH SUNDAY Missa simplex Katherine Dienes-Williams Hymns 499 (omit vv3-9), 238, OF LENT Prevent us, O Lord Alan Ridout Psalm 19. 7-end OF LENT God so loved the world (Crucifixion) John Stainer 535 (133ii), 507 Preacher: The Venerable Stuart Beake Laetare Sunday Preacher: The Revd Canon Chris Hollingshurst Prelude in B minor (BWV 544) Johann Sebastian Bach Mothering Sunday Regina Pacis (Symphony No 1) Guy Weitz 1800 EVENSONG NAVE MONDAY 8 Evening service Sancti Ioannis Cantabrigiensis Philip Moore Hymns 163 (omit v 2), 109 Edward King, Lo, the full final sacrifice Gerald Finzi Responses: Ebdon Bishop of Lincoln, 1910 In manus tuas Jeanne Demessieux Psalm 107. 1-9 Felix, Bishop, Apostle to the East Angles, 647 Geoffrey Studdert Kennedy, MONDAY 15 1730 EVENSONG NAVE Priest, Poet, 1929 Magnificat Secundi toni Philippe de Monte Responses: Harris Nunc Dimittis Secundi toni plainsong Ubi caritas Philip Moore TUESDAY 9 1930 LENT TALK III: THE KINGDOM, THE POWER AND THE GLORY ONLINE ONLY The Very Revd Dianna Gwilliams For further details, please email [email protected] TUESDAY 16 0800 MORNING PRAYER PRESBYTERY 0830 HOLY COMMUNION 1730 EVENSONG NAVE WEDNESDAY 10 Short Evening service Thomas Weelkes Responses: Byrd Nolo mortem peccatoris Thomas Morley 1930 LENT TALK IV: THE KINGDOM, THE POWER AND THE GLORY ONLINE ONLY THURSDAY 11 The Very Revd Dianna Gwilliams For further details, please email [email protected] FRIDAY 12 WEDNESDAY 17 0900 MORNING PRAYER PRESBYTERY Patrick, Bishop, Missionary, 0930 HOLY COMMUNION SATURDAY 13 Patron of Ireland, c.460 THURSDAY 18 0900 MORNING PRAYER PRESBYTERY Cyril, Bishop of Jerusalem, 0930 HOLY COMMUNION Teacher of the Faith, 386 1730 FIRST EVENSONG OF JOSEPH OF NAZARETH NAVE Evening service in E minor Pelham Humphrey Responses: Byrd The Cherry Tree Carol traditional, arr. -
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 email: [email protected] CD-No. Title Composer/Track Artists GMCD 7101 Canticum Novum My soul, there is a country - Charles H.H.Parry; All Wisdom cometh from the Lord - Philip The Girl Choristers, The Boy Choristers and The Lay Vicars of Moore; Tomorrow shall be my dancing day - John Gardner; Psalm Prelude (2nd Set, No.1) - Salisbury Cathedral directed by Richard Seal / David Halls Organ / Herbert Howells; Quem vidistis pastores dicite - Francis Poulenc; Videntes stellam - Francis Martin Ings Trumpet Poulenc; The old order changeth - Richard Shepard; Even such is time - Robert Chilcott; Paean - Kenneth Leighton; When I survey the wondrous Cross - Malcolm Archer; Magnificat (Salisbury Service) - Richard Lloyd; A Hymn to the Virgin - Benjamin Britten; Pastorale - Percy Whitlock; Psalm 23 (Chant) - Henry Walford Davies; Love's endeavour, love's expense - Barry Rose; Ye Choirs of new Jerusalem - Richard Shepard GMCD 7102 Coronation Anthems & Hymns “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O The Choir of St Paul’s Cathedral directed by Barry Rose / Christopher taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Dearnley Organ Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune f GMCD 7103 In Dulci Jubilo Ad Libitum/O Come, all ye faithful - Hark! the Herald-Angels Sing - Once in Royal David's city - - Festive & Christmas Music - Paul Plunkett Trumpets & Rudolf Lutz The First Nowell - Ding Dong! Merrily on High - Away in a Manger - Angels from the Realms Organ of Glory - Noël Op. -
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Reviews Bizzarini, Marco. Luca Marenzio. The Career of a Musician Between the Renais- sance and the Counter-Reformation, trans. James Chater. Aldershot, UK/Burlington, VT: Ashgate, 2003. xvii, 370 pp. ISBN 0-7546-0516-7 US.$ 84.95 “Muti una volta quel suo antico stile / Ch’ogni uom attrista e me po far sì lieto.” In setting this phrase from Petrarch’s famous sestina Mia benigna fortuna (Rime, 332), sixteenth-century composer Luca Marenzio underscored the contradiction between the grief that death brings to all men, and the happiness that it might bring the poet, by juxtaposing slow moving, unusual vertical progressions and linear chromaticism with lively tunefulness and harmonic sweetness. This kind of word painting is an integral part of the sixteenth-century madrigal. To Maren- zio, however, goes the distinction of a musical style that most artfully mirrors the contrast between piacevolezza and gravità so popular with sixteenth-century poets and composers. Marco Bizzarini’s study of Marenzio is itself grounded in this idea of contrast, suggesting that such varietà characterises not only Maren- zio’s music, but also a “musical career suspended between the glittering worldli- ness of the late Renaissance and the more introspective spirit of the Counter Reformation” (p. ix). This book is a translation (revised and expanded) from the original Italian version published in 1998. Several book-length studies of Marenzio’s music already exist and, perhaps for this reason, Bizzarini forgoes detailed musical analysis in favour of a close study of the web of personal and professional connections that influenced the course of Marenzio’s career. -
Chelys 15 Titles
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 15 (1986) Editorial, p. 2 Joan Wess Musica Transalpina, Parody, and the Emerging Jacobean Viol Fantasia Chelys, vol. 15 (1986), pp. 3-25 John R. Catch Praetorius and English Viol Pitch Chelys, vol 15 (1986), pp. 26-32 Richard Charteris English Music in the Library of Moritz, Landgrave of Hessen-Kassel, in 1613 Chelys, vol. 15 (1986), pp. 33-37 Graham Dixon Continuo Scoring in the early Baroque: The Role of Bowed-Bass Instruments Chelys, vol. 15 (1986), pp. 38-53 Music and Book Reviews Chelys, vol. 15 (1986), pp. 54-62 Margaret Urquhart The Handwriting of Christopher Simpson Chelys, vol. 15 (1986), pp. 62-63 EDITORIAL As promised in last year's editorial, Chelys 1986 makes a return To the early seventeenth century, and in so doing introduces an Italian flavour. -
Service Scheme October 2018
Service Scheme October 2018 Regular Authorised services 1 Monday 08:30 Morning Prayer 12:30 Holy Communion 17:30 Choral Evensong The First Service Philip Moore Responses: Stephen Cleobury Hear my prayer Adrian Batten Psalms: 6, 7, 8 2 Tuesday 08:30 Morning Prayer 12:30 Holy Communion 17:30 Choral Evensong Basil Harwood in A flat Responses: Humphrey Clucas O hearken thou Edward Elgar Psalms: 12, 13, 14 3 Wednesday 08:30 Morning Prayer : 12:30 Holy Communion 17:30 Said Evening Prayer 4 Thursday 08:30 Morning Prayer 12:30 Holy Communion Francis of Assisi, Friar, 13:10 Organ Recital Founder of the Friars Minor, 1226 Friedhelm Flamme (Germany) 17:30 Choral Evensong Responses: Thomas Ebdon The Short Service William Byrd Hymn: 263 *(4, 5, 6) Hear, O Lord John Amner Psalms: 22, 23 5 Friday 08:30 Morning Prayer 12:30 Holy Communion 17:30 Choral Evensong Herbert Sumsion in D Responses: Harrison Oxley Ave verum Arthur Wills Psalms: 27, 28, 29 6 Saturday 09:30 Holy Communion 16:15 Choral Evensong Responses: Richard Lloyd William Tyndale, Hugh Blair in B minor Psalms: 32, 33, 34 Translator of the Scriptures, Reformation Blessed be the God and father S S Wesley Hymn: 199 Martyr, 1536 7 Sunday 08:00 Holy Communion 11:00 The Cathedral Eucharist: Hymns on service sheet The Nineteenth Harvest Festival Preacher: The Very Revd Dr Tim Stratford Sunday After Missa Brevis Lennox Berkeley ` Trinity Fear not, O land Edward Elgar 15:30 Choral Evensong Responses: Richard Lloyd Hymns: 414, 413 Herbert Howells in G Psalm: 37 Welcome, Sweet and Sacred Feast Gerald