On Sale Soon Carols by Candlelight

Total Page:16

File Type:pdf, Size:1020Kb

On Sale Soon Carols by Candlelight November 2011 Issue 38 Hemiola St George’s Singers INSIDE THIS ISSUE: ‗THE CHRISTMAS LIFE‘—ON SALE SOON Messiah—the text 2 Watkins Shaw 3 Thinking of Christmas pre- tom-tom, triangle sents? Then we have just the and recorder Handel—film star 4 thing to fill up those stock- providing the ac- CD recording weekend 5 ings—St George‘s Singers‘ new companiment, this How to sing and play 6 CD of Christmas carols. is a truly joyous I used to be a choir boy ... 7 work to set the Entitled ‗The Christmas Life— tone for your Floral arrangements 8 Carols from St George’s Singers‘ Christmas festivi- James MacMillan 9 the CD will be available at our ties. Other new carol concert on 3rd December. works include the St George’s News 10 Wedding Belles 11 A wonderful selection of old gentle O My Dear favourites and lovely new Heart by David A medal for Mary 12 works, some of which have Jepson (also writ- Cultural vandalism 13 been specially written for St ten for St Social evening 14 George‘s, there is something George‘s), plus a Poetry corner 15 here for everyone. new arrangement of I Saw Three The title of the CD comes from Ships by Darius a fabulous new carol that was Battiwalla. Traditional favour- ST GEORGE’S SINGERS certs, from members of the written for us by Sasha Johnson ites are not neglected though— Choir, or through our website: PRESIDENT: Manning, to words by poet and you‘ll find plenty of these www.st-georges-singesr.org.uk. Wendy Cope to celebrate our to sing along with; Ding Dong, Brigit Forsyth We’ll be singing some of the Golden Jubilee in 2005. (Some Sussex Carol, Star Carol, In the VICE PRESIDENTS: of you may have heard it at our Bleak Midwinter amongst others. carols from our new CD at our Sue Roper annual carol concerts.) With CDs are available at our con- 3rd December concert! Come and Mark Rowlinson listen! SPECIAL POINTS OF INTEREST:Stephen Threlfall Stephen Williams Briefly highlight your point of interest here. MUSICAL Briefly highlight DIRECTOR: your point of interest here. Briefly highlight your point of interest here. CAROLS BY CANDLELIGHT Briefly highlight yourNeil point of Taylor interest here. ASSISTANT MUSICAL DIRECTOR: After the bliz- milder! This year you rousing choruses and gen- Calum Fraser zards and our annual Carols tle melodies, along with season- freezing tem- and Brass by Candle- al readings. Tickets are £12, ACCOMPANIST: peratures of light concert is on £10 concessions, and £2 stu- Jeffrey Makinson 2010, we‘ve Saturday 3 Decem- dents and children—and the got our fingers ber, at 7.30 pm in St price includes mulled wine and Registered Charity no 508686 crossed that George‘s Church, mince pies. Member of Making Music, the National the weather Stockport. We join Tel: 01663 764012, email tick- Federation of Music Societies for our 2011 with our friends [email protected], www.st-georges-singers.org.uk carol concert from VBS Poynton or online at www.st-georges- will be a little Brass Band to bring singers.org.uk. Page 2 Hemiola 26 November 2011, 7.00 pm MESSIAH AT THE MONASTERY— Gorton Monastery, Manchester MORE TEXT PLEASE, WE‘RE ENGLISH Choirs can usually find a good copies were smuggled to Brit- new version), and the result, the Tickets: £16, £13 concessions, reason to do Handel‘s Messiah. ain—but many were burned, as King James Bible, also known £5 students This time St George‘s has come was Tyndale in 1538, his last as the King James Version up with three. words being ―Lord! Open the (KJV) or Authorised Version, King of England‘s eyes‖. was published in 1611. Tel: 01663 764012 The first is the anniversary of Email: [email protected] the King James Bible, on which And indeed, the King‘s eyes The KJV remains the most Online: www.st-georges-singers.org.uk Handel based the text for his were opened. Furious that the widely published text in the oratorio. During the Middle Pope refused to annul his mar- English language. British sail- Ages, the Catholic Church had riage to Katherine of Aragon, ors took the Bible on voyages a rigid control over the Bible Henry established the Church around the globe; through the and would not allow it to be of England, claiming he was no work of the East India Compa- translated from Latin into the longer answerable to the Pope. ny it was taken to India and to vernacular. But in 1376 the the colonies in Africa, Australia Henry had a Church of Eng- Oxford theologian John Wyclif and New Zealand: one reason land, but no English bible. So argued that the Church should why English is the world lan- in 1539 he gave approval for a not have wealth or possessions guage that it is today. translation by Myles Coverdale, and that the Pope had no right who had worked with Tyndale. The second anniversary is that to claim sovereignty over kings. Completed in 1540, it became of Watkins Shaw (see page 3). Maintaining that all authority known as the ‗Great Bible‘, and And the third (albeit a little derived from the scriptures, he Henry decreed that it should be premature) is the 50th anniver- worked on an English transla- available to everyone in every sary of Coventry Cathedral. In tion of the Bible, so that every- church in England. 2012 Coventry Cathedral will one could have direct access to be celebrating the word of God. its Golden Wyclif completed his transla- Jubilee - a tion of the New Testament in landmark c1380, and the Old Testament occasion in c1384. The Church con- recognising The title page to the 1611 first edi- demned the translation as inac- the re- tion of the Authorized Version Bible curate and opinionated, but as building of by Cornelius Boel shows the Apos- the first full version in English, the Cathedral tles Peter and Paul seated centrally it proved very popular. after its de- above the central text, which is struction in flanked by Moses and Aaron. In the In 1401 Henry IV outlawed the the Second four corners sit Matthew, Mark, Luke translation as heresy, and made World War, and John, authors of the four gos- heresy a capital crime, punisha- pels, with their symbolic animals. 50 years of service to Coventry's ble by burning at the stake. Other versions of the bible fol- The rest of the Apostles (with Judas community and the world, both Although Wyclif had died in lowed: the Geneva (Calvinist) facing away) stand around Peter and through its unique international 1384, in 1415 he was declared a bible in 1560, the Bishops Bible Paul. mission of peace and reconcilia- heretic, his bones were ex- in 1568. Then in 1604, King tion, and as a cultural centre for humed and burned along with James I decided that a new the performing arts. In recogni- his books. bible was needed. He abolished tion, Graham Sutherland‘s the death penalty attached to Fast forward over 100 years to magnificent tapestry of ‗Christ To find out more about the English bible translation, and Luther. In 1521, the Pope con- the King‘ features on our con- commissioned a new version anniversary of the demned Luther‘s writings, and cert posters for Messiah. that would use the best availa- King James Version, visit there were public burnings of ble translations and sources, Of course, there is one other his books in London, under www.kingjamesbibletrust. and be free of biased commen- obvious reason for doing Messi- Henry VIII. The ban on trans- taries. A translation committee ah—it‘s just a wonderful piece org lations still stood, however, a of 47 scholars drew on many of music, and one which St ban flouted by William Tyndale sources, especially Tyndale (as George‘s Singers has not per- when he published his English much as 80% of Tyndale‘s formed in its entirety for some version of the New Testament translation was reused in this years. That‘s sufficient reason in Germany in 1526. Some for anyone. Issue 38 Page 3 WATKINS SHAW– THE CRITICAL EDITION The King James Bible is not the Shaw was the only child of non Foundation at St Michael‘s only anniversary this year. -conformist schoolteachers in College in Tenbury. When the Harold Watkins Shaw was born Bradford, and discovered his college closed in 1958, Shaw in Bradford in 1911, and died in love of music from singing in ensured that all the manuscripts Worcester in 1996. Best known chapel choirs. He studied at the in this important collection for his extensive writings on Royal College of Music, where reached the Bodleian Library— and editing of church music, he was encouraged to combine including Handel‘s conducting and closely associated with the his loves of history and music. score of Messiah, used by the Three Choirs Festival, Shaw is He held a teaching post in Lon- composer for the first perfor- remembered by choirs mainly don, was music organizer to mance in Dublin in 1742. In for his editing of Messiah. The Hertfordshire County Council, 1959 Shaw published his edi- Harold Watkins Shaw Times obituarist described and a lecturer at Worcester tion of the vocal score, followed Shaw‘s edition as being in College of Education from 1949 in 1965 by the full score. Fond- ―universal use‖ - though we‘re until his retirement in 1970. ly known simply as ‗the Wat- not sure if the angelic hosts kins Shaw‘, his edition remains In 1948 Shaw became honorary actually need a music score.
Recommended publications
  • Musica Britannica
    T69 (2020) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, PO Box 110, Victoria House, 23 Gruneisen Road, London N3 IDZ England Telephone : +44 (0) 20 8343 3303 Fax: +44 (0) 20 8343 3024 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score Pdf
    FREE G.F. HANDEL: CHORAL EDITION: MESSIAH (WATKINS SHAW) - PAPERBACK EDITION VOCAL SCORE PDF Watkins Shaw | 264 pages | 01 Aug 1999 | NOVELLO & CO LTD | 9780853602118 | English | London, United Kingdom Georg Friedrich Händel: Messiah (Watkins Shaw) | Presto Sheet Music About free-scores. Digital Sheet Music. Create a playlist. Public Not listed G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score. Other german artists. Messiah - HWV Buy sheet music books Haendel, Georg Friedrich. Connect to add to a playlist. Add Videos on this page Add a video related to this sheet music. This service works with Youtube, Dailymotion. Share this page Free-scores. Audio and video players are included. Annotate this sheet music. For 20 years we provide a free and legal G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score for free sheet music without asking you anything in exchange. If you use and like Free-scores. Do not see this window again for the duration of the session. Comfort Ye My People. Add you MP3 interpretation on this page! Every Valley Shall Be Exalted. And the glory of the Lord. Chorus: And He Shall Purify. Recitative for Alto: Behold! A Virgin Shall Conceive. Pastoral Symphony. Chorus: Glory to God. Chorus: His Yoke Is Easy. Chorus: Behold the Lamb of God. Air for Alto: He Was Despised. Band Write down your comment. You are not connected, choose one of two options G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score submit your comment Login. By mwemenakamabwe2yahoo. Was this review helpful? By Serge B.
    [Show full text]
  • Crucifixus ’ of the B Minor Mass 1 (BWV 232 II /5)
    Understanding Bach, 3, 39-54 © Bach Network UK 2008 An Early English Imprint of the ‘Crucifixus ’ of the B minor Mass 1 II (BWV 232 /5) ROBIN A. LEAVER While researching English church music repertoire of the early nineteenth century as represented in published anthologies, I came across an edition of the ‘Crucifixus ’ from the B minor Mass that does not appear to have been discussed in Bach literature. 2 It is found in the second volume of Sacred Minstrelsy published in London in 1835, that is, a year or so after the publication of the Clavierauszug of the complete work by Simrock & Nägeli in Bonn and Zurich, 3 but ten years before these publishers issued it in the second 1 This paper was originally given at the Bach Colloquium at Harvard University, May 2003, and, slightly revised, at the 3rd Dialogue meeting of Bach Network UK meeting in Oxford, January 2008; it has been further revised for its inclusion here. 2 There is no discussion or reference to it in the primary articles on early English Bach reception: F. G. E[dwards], 'Bach’s Music in England', Musical Times 37 (1896), 585–87, 652–57, 722–26, 797–800; Hans F. Redlich, 'The Bach Revival in England (1750–1850): A Neglected Aspect of J. S. Bach', Music Book: Volume VII of Hinrichsen’s Musical Year Book , ed. Max Hinrichsen (London: Hinrichsen, 1952), pp. 287–300; Stanley Godman, 'The Early Reception of Bach’s Music in England', Monthly Musical Record , 82 (1952), 255–60; Stanley Godman, 'Bach’s Music in England: 1835–1840', Monthly Musical Record , 83 (1953), 32–39, 69–71; Robert Pascall, 'Ein Überblick der frühen Bach-Rezeption in England bis ca.
    [Show full text]
  • John Stanley a Miracle of Art and Nature
    John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor James Davies Professor Susan Schweik Fall 2011 Abstract John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair This dissertation explores the life and career of John Stanley, an eighteenth-century blind organist, composer, conductor and impresario. Most historians of blindness discuss Stanley but merely repeat biographical material without adding any particular insights relating to his blindness. As for twentieth-century musicologists, they have largely ignored Stanley’s blindness. The conclusion is that Stanley’s blindness, despite being present in most of his reception, is not treated as a defining factor. This study pursues new questions about Stanley’s blindness. His disability is given pride of place, and perspectives from the fields of disability studies and minority studies are central to the work. A biographical sketch precedes a discussion of the role of Stanley’s blindness in his reception. The central role of Stanley’s amanuensis and sister-in-law, Anne Arlond, leads to a discussion of issues of gender, and the general invisibility of caregivers. Chapter 2 explores those aspects of Stanley’s life that required an engagement with literate music.
    [Show full text]
  • Appendix: Catalogue of Restoration Music Manuscripts Bibliography
    Musical Creativity in Restoration England REBECCA HERISSONE Appendix: Catalogue of Restoration Music Manuscripts Bibliography Secondary Sources Ashbee, Andrew, ‘The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts’, in Andrew Ashbee and Peter Holman (eds.), John Jenkins and his Time: Studies in English Consort Music (Oxford: Clarendon, 1996), 243–70. Ashbee, Andrew, Robert Thompson and Jonathan Wainwright, The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 2 vols. (Aldershot and Burlington: Ashgate, 2001–8). Bailey, Candace, ‘Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177’, Royal Musical Association Research Chronicle, 32 (1999), 119–35. ‘New York Public Library Drexel MS 5611: English Keyboard Music of the Early Restoration’, Fontes artis musicae, 47 (2000), 51–67. Seventeenth-Century British Keyboard Sources, Detroit Studies in Music Bibliography, 83 (Warren: Harmonie Park Press, 2003). ‘William Ellis and the Transmission of Continental Keyboard Music in Restoration England’, Journal of Musicological Research, 20 (2001), 211–42. Banks, Chris, ‘British Library Ms. Mus. 1: A Recently Discovered Manuscript of Keyboard Music by Henry Purcell and Giovanni Battista Draghi’, Brio, 32 (1995), 87–93. Baruch, James Charles, ‘Seventeenth-Century English Vocal Music as reflected in British Library Additional Manuscript 11608’, unpublished PhD dissertation, University of North Carolina at Chapel Hill (1979). Beechey, Gwilym, ‘A New Source of Seventeenth-Century Keyboard Music’, Music & Letters, 50 (1969), 278–89. Bellingham, Bruce, ‘The Musical Circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, Journal of the Viola da Gamba Society of America, 19 (1982), 6–71.
    [Show full text]
  • Robert Shay (University of Missouri)
    Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper.
    [Show full text]
  • The Letters of Samuel Wesley: Social and Professional Correspondence, 1797-1837
    Olleson, Philip (2000) The letters of Samuel Wesley: social and professional correspondence, 1797-1837. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11279/1/312203_VOL1.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] THE LETTERS OF SAMUEL WESLEY: SOCIAL AND PROFESSIONAL CORRESPONDENCE, 1797-1837 Vol.
    [Show full text]
  • John Stanley a Miracle of Art and Nature
    John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor James Davies Professor Susan Schweik Fall 2011 Abstract John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair This dissertation explores the life and career of John Stanley, an eighteenth-century blind organist, composer, conductor and impresario. Most historians of blindness discuss Stanley but merely repeat biographical material without adding any particular insights relating to his blindness. As for twentieth-century musicologists, they have largely ignored Stanley’s blindness. The conclusion is that Stanley’s blindness, despite being present in most of his reception, is not treated as a defining factor. This study pursues new questions about Stanley’s blindness. His disability is given pride of place, and perspectives from the fields of disability studies and minority studies are central to the work. A biographical sketch precedes a discussion of the role of Stanley’s blindness in his reception. The central role of Stanley’s amanuensis and sister-in-law, Anne Arlond, leads to a discussion of issues of gender, and the general invisibility of caregivers. Chapter 2 explores those aspects of Stanley’s life that required an engagement with literate music.
    [Show full text]
  • Thomas Morley and the Business of Music in Elizabethan England
    THOMAS MORLEY AND THE BUSINESS OF MUSIC IN ELIZABETHAN ENGLAND by TERESA ANN MURRAY A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Thomas Morley’s family background in Norwich and his later life in London placed him amongst the educated, urban, middle classes. Rising literacy and improving standards of living in English cities helped to develop a society in which amateur music-making became a significant leisure activity, providing a market of consumers for printed recreational music. His visit to the Low Countries in 1591 allowed him to see at first hand a thriving music printing business. Two years later he set out to achieve an income from his own music, initially by publishing collections of light, English-texted, madrigalian vocal works. He broadened his activities by obtaining a monopoly for printed music in 1598 and then by entering into a partnership with William Barley to print music.
    [Show full text]
  • Edmund Hooper: a Study of His Style Compared to Orlando Gibbons and Prevailing Tudor Polyphony
    ALLRED II, EDWARD WILLIAM, D.M.A. Edmund Hooper: A Study of His Style Compared to Orlando Gibbons and Prevailing Tudor Polyphony. (2008) Directed by Welborn E. Young. 72 pp. Edmund Hooper (1553–1621) held a prominent place among church musicians of his generation. He became Master of the Choristers at Westminster Abbey in 1588 and organist of the Chapel Royal in 1615, holding both positions until his death in 1621. Additionally, most of the surviving manuscript sources of pre-Restoration English liturgical music contain his compositions. Twentieth- and twenty-first-century reception of his music, however, is limited, published editions of his anthems are rare, and choirs seldom perform his music. The main focus of the study is a comparative analysis of an anthem by Hooper and another by Orlando Gibbons, the leading composer of that generation. This study includes a description of the prevailing characteristics of Tudor polyphony, providing a point of reference for comparison to Hooper’s style of composition. Additionally, the document addresses the issues pertaining to the editing of Tudor church music and includes a reference score of Hooper’s anthem, I will magnify Thee O Lord. Hooper’s method of text setting, his harmonic language, and his contrapuntal part writing is consistent with the characteristics common to other anthems of the Tudor period. The style analysis of his anthem revealed Hooper’s advanced control of dissonance and rhythm in middle and large dimensions which parallels that of his contemporary, Gibbons. EDMUND HOOPER: A STUDY OF HIS STYLE COMPARED TO ORLANDO GIBBONS AND PREVAILING TUDOR POLYPHONY by Edward William Allred, II A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by Welborn E.
    [Show full text]
  • The Letters of Samuel Wesley
    THE LETTERS OF SAMUEL WESLEY: SOCIAL AND PROFESSIONAL CORRESPONDENCE, 1797-1837 Vol. 1 Edited by Philip John Olleson, MA ýýý-ý71Nß/ýqý AIA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, January 2000 CONTENTS Abstract iii Acknowledgements v Abbreviations and Cue Titles ix Chronology -- xxii Biographical Introduction xxix Textual Introduction lxxxix The Letters 1 Appendix: undatable letters 984 ABSTRACT The life of the composer and organist Samuel Wesley (1766-1837) encompassedmomentous changes in British society. Born in the early years of the reign of George III, Wesley died in the first months of the reign of Victoria. He saw equally momentouschanges in music. As a child he was taught by musicians who rememberedand in some cases had played for Handel; in adult life, he witnessedthe introduction of the music of Haydn, Mozart, and Beethoveninto England, and late in his career saw the visits to London of Liszt, Weber, and Mendelssohn. Wesley's life on both a personal and professionallevel was highly unconventional.Born into the first family of Methodism - his father was the hymn-writer Charles Wesley (1708-88), his uncle was John Wesley (1703-91) - he converted in his teens to Roman Catholicism and spent most of his life alienated from his family and from his Methodist upbringing. His marriage to Charlotte Louisa Martin in 1793 followed years of family opposition and a period when the couple lived togetherunmarried. In 1810 he left her for his teenagehousekeeper, with whom he lived until his death. His professional career was brilliant but uneven,bedevilled by periods of mental illness which left him incapacitatedfor long periods.
    [Show full text]
  • Handel Messiah Pdf Download
    Handel messiah pdf download Continue Welcome to the Daily Download, a hand-picked, free, downloadable piece of classical music available every weekday. Today's part: George Frideric Handel - Messiah: Hallelujah Scholars Baroque Ensemble Naxos 8.557977 Direct MP3 download link Subscribe You can subscribe to this podcast in Apple Podcasts, or via the Daily Download podcast RSS feed. Purchase this ArkivMusic Amazon iTunes recording Welcome to the Daily Download, a hand-picked, free, downloadable piece of classical music available every weekday. Be sure to subscribe to the new daily Download newsletter, so you never miss a free MP3! This week, we're featuring work for Easter: - Download: Click here to save today's track! George Friederik Handel - Messiah: Hallelujah Scholars Baroque Ensemble Read more about today's track: Naxos 8.550827 Courtesy of Naxos America, Inc. Download: Click here to save today's track! Apple Users: How to get a daily download on iPhone and iPad Subscribe you can subscribe to this podcast in Apple Podcasts, or via the Daily Download RSS feed podcast. Buy this record ArkivMusic Amazon There is a request for daily download? Send it to Randy Salas in [email protected]. Catalogue number LSO0607 UPC 82223160724 James Mallinson producer Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd Balance Engineers Recorded December 2006, Barbican, London DSD (Direct Stream Digital) record Notes in English / en France / Auf Deutsch Performance: Record: There is no denying that this is a high quality game. BBC Music Magazine - The LSO's contribution is excellent, and some of Davis's options are intriguing again.
    [Show full text]