DOCSLIB.ORG

February 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
February 2020 IAN KEATLEY (Director of Music) STEPHEN DISLEY (Assistant Director of Music) FEBRUARY GILLY MYERS (Canon Precentor) RACHEL YOUNG (Succentor) 2020 ANDREW NUNN (Dean) DAY SERVICE RESPONSES PSALMS HYMNS SETTINGS ANTHEMS 2 SUNDAY 11.00am Eucharist 24 (7-end) 205 (omit v.2); Missa Aeterna Christi munera Arise my love (James Whitbourn) CANDLEMAS CP 301 (t. 408 i); 336 (Palestrina) O nata lux (Thomas Tallis) Nunc dimittis (Dyson in D) 3.00pm Evensong Smith 132 (1-10) 156 (t. 149); Stanford in A When to the temple Mary went (Johannes Eccard) 338 (omit vs. 3 & 4) 6.00pm Eucharist (Trad Rite) CP 65 (t. 33); 234 ii; 57; 44 Missa brevis (Wills) Nunc dimittis in Bb (Charles Villiers Stanford) (University of London Church Choir) Ave verum (Wolfgang Amadeus Mozart) 3 Monday 5.30pm Evensong Rawsthorne 4 457 (ii) Rubbra in A flat Mother of God, here I stand (John Tavener) 4 Tuesday 5.30pm Evensong Smith 9 (1-12) 346 Wise in F Hail, gladdening light (Charles Wood) 7 Friday 5.30pm Evensong (men’s voices) Moore 22 245 Tonus peregrinus (Plainsong) Laudem dicite Deo (John Sheppard) 8 Saturday 4.00pm Evensong (St Edmundsbury Singers) Nardone 24 242 First service (Halls) Doubt not thy Father’s care (Edward Elgar) 9 SUNDAY 11.00am Eucharist 122 (1-9) 234 ii; 285 i (omit v. 6 ); 271; Darke in F Let all mortal flesh keep silence (Edward Bairstow) III BEFORE 333 Ave verum corpus (William Byrd) LENT 3.00pm Evensong Shephard 4 481 (t. 462); CP 394 (t. 466) Magdalen service (Leighton) Timor et tremor (Francis Poulenc) 10 Monday 5.30pm Evensong Morley 28 244 Rawsthorne in D Let all the world (Ralph Vaughan Williams) 11 Tuesday 5.30pm Evensong Moore 33 (1-12) 393 Noble in B minor O thou, the central orb (Charles Wood) 14 Friday 5.30pm Evensong Moore 35 (1-9) 372 Daniel Purcell in E minor Sing joyfully (William Byrd) THE CATHEDRAL CHOIR IS ON HOLIDAY UNTIL 22nd FEBRUARY 15 Saturday 4.00pm Evensong (Plaxtol Scholars) Aston 46 Walmisley in D minor O Lord God of time and eternity (Philip Moore) 16 SUNDAY 11.00am Eucharist (Plaxtol Scholars) 136 CP 4 (t. 7); 318; Missa O quam gloriosum Ave verum (William Byrd) II BEFORE CP 254 (t. 245) (Victoria) Salvator mundi (John Blow) LENT 3.00pm Evensong ((Plaxtol Scholars) Aston 148 CP 450 (t. 103); 265 Noble in B minor Psalm 96 (Jan Pieterszoon Sweelinck) 23 SUNDAY 11.00am Eucharist 2 234 ii; CP 544 (t. 89 i); Missa Brevis in G (Mozart) Locus iste (Anton Bruckner) NEXT CP 396 (t. 413) Ave verum corpus (Wolfgang Amadeus Mozart) BEFORE LENT 3.00pm Evensong Moore 84 178; 377 Collegium Regale (Howells) How lovely are thy dwellings (Johannes Brahms) 6.00pm Compline and Eucharistic Devotions Nunc dimittis: Musikalische Salve Regina (plainchant) (Merbecke Choir) Exequien III (Schütz) Selig sind die Toten (Schütz) 24 Monday 5.30pm Evensong Plainsong 72 452 Stanford in C O nata lux (Thomas Tallis) 25 Tuesday 5.30pm Evensong Moore 74 (1-16) 424 (omit *) Wise in F Surely thou hast tasted (Bernard Rose) 26 ASH 12.45pm Eucharist (Thursday Singers) Lent Prose 445; 383 Darke in F Lord, for thy tender mercies’ sake (John Hilton) WEDNESDAY 5.30pm Eucharist Lent Prose 445; 383 Wood in the Phrygian mode Miserere mei (Gregorio Allegri) Drop, drop, slow tears (Orlando Gibbons) 28 Friday 5.30pm Evensong (men’s voices) Plainsong 31 248 ii Wood in E He that hath my commandments (William Mundy) 29 Saturday 4.00pm Evensong (Prebendal Singers) Millington 73 (1-14) 368 Sumsion in G Versa est in Luctum (Alonson Lobo) .
Load more

Recommended publications
  • The Call of Rome
    CORO CORO Hail, Music from Mother of the Redeemer the Sistine Chapel The Call of Rome “This is state-of-the-art Renaissance singing by “Sixteen, Sistine: a choir and conductor it’s a match made Allegri · Josquin who have done more in heaven.” than most to deepen our awareness, and the times Anerio · Victoria enjoyment, of music.” cor16088 classic fm cor16147 The Earth Resounds Palestrina: Volume 8 “The Gloria opens with “Yet another some truly delicate breathtaking singing, and the clear, example of restricted harmonies choral singing.” evoke a performance of the scotsman monumental majesty from The Sixteen.” cor16097 bbc music magazine cor16175 To find out more about The Sixteen, concert tours, and to buy CDs The Sixteen HARRY CHRISTOPHERS visit www.thesixteen.com cor16178 he power and wealth of the Catholic church in the piece has evolved over the centuries into the version audiences know and love today. TRenaissance times centred on Rome. The papacy was Although born around the same time as Allegri, Anerio died relatively young, but he supreme, and naturally it attracted the greatest composers left us a wealth of splendid double-choir motets. His setting ofRegina caeli laetare and from all over Europe. This album concentrates on that call the Litaniae Beatissimae Virginis Mariae are brilliantly crafted and, at times, break with to Rome which was irresistible for the Flemish composer tradition with just a hint of the Baroque. I think many of you listening will also be surprised Josquin and the Spaniard Victoria. Here they sit alongside by the contrapuntal skills that Allegri displays in the Gloria of his Missa In lectulo meo – Felice Anerio and Gregorio Allegri who spent their lives a far cry from the simplicity of the Miserere.
    [Show full text]
  • LCOM182 Lent & Eastertide
    LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas
    [Show full text]
  • Gregorio Allegri (1582-1652) Opere Inedite Dai Manoscritti Della Collectio Altæmps Unpublished Works from the Manuscripts of the Collectio Altæmps
    TC 550007 Gregorio Allegri (1582-1652) Opere inedite dai manoscritti della Collectio Altæmps Unpublished works from the manuscripts of the Collectio Altæmps Musica Flexanima Ensemble Cantus: Andrea Caroline Manchée, Paola Ronchetti Altus solo: Simona Braida Altus: Maria Alessandra Astolfi, Simona Braida Countertenor / Tenor: Daniele Pellegrini Tenor: Fabrizio Giovannetti Bassus: Giuliano Mazzini, Andrea Robino-Rizzet Violin I: David Simonacci Violin II: Giancarlo Ceccacci Viola: Gianfranco Russo Bass violin and Viola da gamba: Renato Criscuolo Lute: Giovanni Bellini Lute and Theorbo: Simone Colavecchi Organ: Fabiola Lekaji, Alessio Pacchiarotti Transcriptions from the original manuscripts, performance edition and conductor: Fabrizio Bigotti R Testi / Texts 1 TC 550007 2. Salutis humanae sator Missa «In Lectulo Meo» Salutis humanae sator 6. Kyrie Jesu voluptas cordium orbis redempti conditor Kyrie eleison. et casta lux amantium. Christe eleison. Kyrie eleison. Qua victus es clementia ut nostra ferres crimina mortem subires innocens 7. Gloria a morte nos ut tolleres. Gloria in excelsis Deo Perrumpis infernum chaos Et in terra pax hominibus bonae voluntatis. vinctis catenas detrahis Laudamus te, benedicimus te, victor triumpho nobilis Adoramus te, glorificamus te: ad dexteram patri sedes. Gratias agimus tibi Propter magnam gloriam tuam. Te cogat indulgentia Domine Deus, rex coelestis, ut damna nostra sarcias Deus pater omnipotens. tuique vultus compotes Domine fili unigenite Jesu Christe: dites beato lumine. Domine Deus, agnus dei, filius patris: Qui tollis peccata mundi, miserere nobis: Tu dux ad astra et semita Qui tollis peccata mundi, sis meta nostris cordibus, Suscipe deprecationem nostram: sis lachrymarum gaudium, Qui sedes ad dextram Patris, miserere nobis: sis dulce vitae premium. Quoniam tu solus sanctus, tu solus Dominus, Tu solus altissimus, Jesu Christe: Cum sancto spiritu in gloria Dei patris.
    [Show full text]
  • Dr. John Blow (1648-1708) Author(S): F
    Dr. John Blow (1648-1708) Author(s): F. G. E. Source: The Musical Times and Singing Class Circular, Vol. 43, No. 708 (Feb. 1, 1902), pp. 81-88 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3369577 Accessed: 05-12-2015 16:35 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 137.189.170.231 on Sat, 05 Dec 2015 16:35:56 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-FEBRUARY I, 1902. 81 THE MUSICAL composerof some fineanthems and known to TIMES everybodyas the authorof the ' Grand chant,'- AND SINGING-CLASS CIRCULAR. and William Turner. These three boys FEBRUARY I, 1902. collaboratedin the productionof an anthem, therebycalled the Club Anthem,a settingof the words ' I will always give thanks,'each young gentlemanbeing responsible for one of its three DR. JOHN BLOW movements. The origin of this anthem is variouslystated; but the juvenile joint pro- (1648-I7O8).
    [Show full text]
  • Gr. 4 to 8 Study Guide
    Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance.
    [Show full text]
  • Texas Arly Music Project Daniel Johnson, Artistic Director E
    TEXAS ARLY MUSIC PROJECT DANIEL JOHNSON, ARTISTIC DIRECTOR E It’s About Time: Companions (Arrangements & Added Polyphony by D. Johnson, except as noted) Music Direction Daniel Johnson Producers Meredith Ruduski & Daniel Johnson Story & Script Daniel Johnson with Meredith Ruduski Stage Director Phil Groeschel Choreography & Movement Toni Bravo Lighting Christopher Brockett & Wendy Brockett Stage manager Jacob Primeaux Supertitles Ethan Thyssen ACT I OVERTURE ❦ SCENE 1: ONCE UPON A TIME THERE WAS ... THERE WAS ... AND YET THERE WAS NOT IN A DREAMSCAPE ❦ SCENE 2: AN IBERIAN WEDDING GATHERING, MARCH 31, 1492 THE DEPORTATION ❦ INTERMISSION ❦ ACT II OVERTURE ❦ SCENE 1: PROMENADE INTERNATIONAL A PLEASING MELANCHOLY ❦ SCENE 2: CAFÉ DES AMANTS: FRANCE ❦ SCENE 3: ONCE UPON A TIME THERE WAS ... THERE WAS ... WASN’T THERE? EPILOGUE TEXAS EARLY MUSIC PROJECT IT’S ABOUT TIME: COMPANIONS Special Guests: Ryland Angel, tenor & alto Toni Bravo, choreographer & dancer Jordan Moser, dancer Mary Springfels, treble viol Peter Walker, bass The Singers (Featured Soloists ***) Erin Calata, mezzo-soprano *** Robbie LaBanca, tenor *** Cristian Cantu, tenor Sean Lee, alto *** Cayla Cardiff, soprano *** David Lopez, tenor Heath Dill, bass Hannah McGinty, soprano Rebecca Frazier-Smith, alto Gitanjali Mathur, soprano *** Jenny Houghton, soprano *** Susan Richter, alto Daniel Johnson, tenor *** Meredith Ruduski, soprano *** Eric Johnson, bass Jenifer Thyssen, soprano *** Jeffrey Jones-Ragona, tenor *** Shari Alise Wilson, soprano *** Morgan Kramer, bass Gil Zilkha, bass *** Sara Schneider, reader The Orchestra Elaine Barber, harp Josh Peters, oud & percussion Bruce Colson, Baroque violin Stephanie Raby, tenor viol & Baroque violin Victor Eijkhout, recorders Susan Richter, recorders Therese Honey, harp John Walters, bass viol, vielle, & mandolin Scott Horton, archlute, vihuela, & guitar Shari Alise Wilson, piano Jane Leggiero, bass viol Please visit www.early-music.org to read the biographies of TEMP artists.
    [Show full text]
  • Restoration Keyboard Music
    Restoration Keyboard Music This series of concerts is based on my researches into 17th century English keyboard music, especially that of Matthew Locke and his Restoration colleagues, Albertus Bryne and John Roberts. Concert 1. "Melothesia restored". The keyboard music by Matthew Locke and his contemporaries. Given at the David Josefowitz Recital Hall, Royal Academy of Music on Tuesday SEP 30, 2003 Music by Matthew Locke (c.1622-77), Frescobaldi (1583-1643), Chambonnières (c.1602-72), William Gregory (fl 1651-87), Orlando Gibbons (1583-1625), Froberger (1616-67), Albert Bryne (c.1621-c.1670) This programmes sets a selection of Matthew Locke’s remarkable keyboard music within the wider context of seventeenth century keyboard playing. Although Locke confessed little admiration for foreign musical practitioners, he is clearly endebted to European influences. The un-measued prelude style which we find in the Prelude of the final C Major suite, for example, suggest a French influence, perhaps through the lutenists who came to London with the return of Charles II. Locke’s rhythmic notation belies the subtle inflections and nuances of what we might call the international style which he first met as a young man visiting the Netherlands with his future regal employer. One of the greatest keyboard players of his day, Froberger, visited London before 1653 and, not surprisingly, we find his powerful personality behind several pieces in Locke’s pioneering publication, Melothesia. As for other worthy composers of music for the harpsichord and organ, we have Locke's own testimony in his written reply to Thomas Salmon in 1672, where, in addition to Froberger, he mentions Frescobaldi and Chambonnières with the Englishmen John Bull, Orlando Gibbons, Albertus Bryne (his contemporary and organist of Westminster Abbey) and Benjamin Rogers.
    [Show full text]
  • Download Booklet
    CORO CORO “…wonderful music, wonderfully performed… sit back and let these glorious sounds fill your ears and lift your spirits.” gramophone Compilation by: Robin Tyson – podiummusic.co.uk Re-mastering: Tom Mungall (Floating Earth) Cover image: Basílica i Temple Expiatori de la Sagrada Família, Barcelona, Spain Design: Andrew Giles – [email protected] For further information about recordings on CORO or live performances and tours by The Sixteen, call +44 (0) 20 7936 3420 or email [email protected] the voi ces of 2019 The Sixteen Productions Ltd. © 2019 The Sixteen Productions Ltd. Made in Great Britain To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16172 th Anniversary Collection The Sixteen | HARRY CHRISTOPHERS CD1 CD2 1 G.F. Handel How excellent thy name (from Saul HWV 53) 2.45 1 Igor Stravinsky Exaudi orationem meam Domine (from Symphony of Psalms) 3.02 2 James MacMillan O Radiant Dawn (From The Strathclyde Motets) 3.18 2 Frank Martin Sanctus and Benedictus (from Mass for double choir) 4.29 3 G.P. da Palestrina Surge amica mea 2.34 3 J.S. Bach Kyrie eleison II (from Mass in B minor BWV 232) 3.34 4 Tomás Luis de Victoria O Domine Jesu Christe 3.39 4 G.P. da Palestrina Ave Maria 4.26 5 Henry Purcell Remember not, Lord, our offences (Z 50) 3.00 5 Thomas Tallis Miserere nostri 2.59 6 Gregorio Allegri Miserere (Evolution version) 11.28 6 Henry Purcell Symphony / O sing unto the Lord (from O sing unto the Lord Z 44) 3.32 7 Claudio Monteverdi Deus in adiutorium meum intende (from Vespers of 1610 SV 206) 1.59 7 G.F.
    [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]
  • Concert Programme
    Registered charity: 1013945 www.trinityhospice.org.uk Trinity Hospice provides care for people with advanced illnesses within their homes or at the hospice. We passionately believe that people who use our services should be able to live their lives in the way they choose. Our aim is to enable them to make the decisions that are right for them and to support them in achieving the best possible quality of life. Everyone is treated with the greatest respect and dignity. They receive the treatment and support they require however long it is needed, absolutely free of charge. Baroque Classics Keep up to date with all the latest from Pegasus on our website: www.pegasusmusic.org.uk PEGASUS with players from the Royal College of Music Upcoming Pegasus dates for 2009 Conductor: Matthew Altham Tickets are available from our charity partners for the following concerts Sunday 1 November Pamela Spofforth Memorial Concert for Pro Corda 19:30 featuring the Bach Mass in B Minor St Paul’s, Knightsbridge A Voices for Hospices Concert in support of Saturday 5 December Carol Concert for Friends of Shakespeare's Globe, 18:30 St. Giles-in-the-Fields, Covent Garden Saturday 12 December Candlelight Christmas with Princess Alice Hospice, 19:30 Holy Trinity Church, Claygate Registered charity: 1013945 Sunday 13 December Christmas through the Ages with Handel House 15:00 Grosvenor Chapel, Mayfair Saturday 10 October, 7.30pm For further information, please e-mail [email protected] Holy Trinity Church, Prince Consort Road Programme Players First Violins Violas
    [Show full text]
  • Jean Clay Radice, Organ Jean Clay Radice
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 8-31-2012 Faculty Recital: Jean Clay Radice, organ Jean Clay Radice Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Radice, Jean Clay, "Faculty Recital: Jean Clay Radice, organ" (2012). All Concert & Recital Programs. 3894. https://digitalcommons.ithaca.edu/music_programs/3894 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Faculty Recital: Jean Clay Radice, organ Ford Hall Friday, August 31, 2012 7:00 p.m. Program Four Centuries of Organ Music in the Anglican Tradition Voluntary for Double Organ Henry Purcell (1659-1695) Voluntary I in D Major William Boyce (1711-1779) On a Theme of Orlando Gibbons (Song 34) Charles Villiers Stanford The Angels' Song, Op.105, No.1 (1852-1924) Intermezzo Founded Upon an Irish Air, Op.189 On a Theme of Orlando Gibbons (Song 22), Op.105, No.4 Three Preludes Founded on Welsh Hymn Ralph Vaughan Williams Tunes (1872-1958) I. Bryn Calfaria II. Rhosymedre (or "Lovely") III. Hyfrydol Psalm-Prelude, Op.32, No.2 Herbert Howells Dalby's Fancy, from Two Pieces for Organ Manuals (1892-1983) Only Prelude on "Slane" Gerry Hancock (1934-2012) Alleluyas Simon Preston At his feet the six-winged Seraph; Cherubim with (b. 1938) sleepless eye, Veil their faces to the Presence, as with ceaseless voice they cry, Alleluya, Alleluya, Alleluya, Lord most high.
    [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]