JULY 2011 LIST Genius Within
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Le Ore Sacre Del Giorno Le Ore Dell’Ufficio Divino Nelle Basiliche Ravennati
Le ore sacre del giorno le ore dell’ufficio divino nelle basiliche ravennati The Tallis Scholars Le ore sacre del giorno le ore dell’ufficio divino nelle basiliche ravennati The Tallis Scholars Eni Partner Principale del Festival di Ravenna 2019 Basiliche della città 16 giugno, dalle ore 00.00 ringrazia Sotto l’Alto Patronato del Presidente della Repubblica Italiana con il patrocinio di Associazione Amici di Ravenna Festival Senato della Repubblica Presidenza del Consiglio dei Ministri Apt Servizi Emilia Romagna Ministero per i Beni e le Attività Culturali Autorità di Sistema Portuale del Mare Adriatico Centro-Settentrionale Ministero degli Affari Esteri e della Cooperazione Internazionale BPER Banca Classica HD Cna Ravenna Confartigianato Ravenna Confindustria Romagna con il sostegno di Consar Group Contship Italia Group Consorzio Integra COOP Alleanza 3.0 Corriere Romagna DECO Industrie Eni Federazione Cooperative Provincia di Ravenna Federcoop Romagna Fondazione Cassa dei Risparmi di Forlì Fondazione Cassa di Risparmio di Ravenna Fondazione del Monte di Bologna e Ravenna Gruppo Hera con il contributo di Gruppo Mediaset Publitalia ’80 Gruppo Sapir GVM Care & Research Hormoz Vasfi Koichi Suzuki Italdron LA BCC - Credito Cooperativo Ravennate, Forlivese e Imolese La Cassa di Ravenna SpA Legacoop Romagna Mezzo PubbliSOLE Comune di Forlì Comune di Lugo Comune di Russi Publimedia Italia Quick SpA Quotidiano Nazionale Koichi Suzuki Rai Uno Hormoz Vasfi Ravennanotizie.it Reclam Romagna Acque Società delle Fonti Setteserequi partner principale -
Earth and Air and Rain Wizen Themselves to Lankness; Reproduced by Permission of Kennels Dribble Dankness
™ Exeunt omnes Folk all fade. And whither, DDD Everybody else, then, going, As I wait alone where the fair was? And I still left where the fair was?... Into the clammy and numbing night-fog The English Song Series • 15 8.557963 Much have I seen of neighbour loungers Whence they entered hither. Making a lusty showing, Soon one more goes thither! Each now past all knowing. FINZI There is an air of blankness In the street and the littered spaces; Thoroughfare, steeple, bridge and highway Tracks 14-16 © Copyright 1965 by Boosey & Co Ltd Earth and Air and Rain Wizen themselves to lankness; Reproduced by permission of Kennels dribble dankness. Boosey & Hawkes Music Publishers Ltd By Footpath and Stile • To a Poet Roderick Williams, Baritone Iain Burnside, Piano • Sacconi Quartet 8.557963 20 Page XX Page XX PMS PMS 000 000 0 Gerald Finzi (1901–1956) And faster then and faster All night eerily! Earth and Air and Rain • To a Poet • By Footpath and Stile Shall seek our rooty bed, All wasted in disaster! - The Lady Gertrude, proud, high-bred, Earth and Air and Rain, Op. 15 31:39 But you lift not your head. Sir or Madam, 1 Summer Schemes 2:34 Am I—this laurel that shades your head; 2 When I set out for Lyonesse 2:06 “I mark your early going, Into its veins I have stilly sped, 3 Waiting both 3:24 And that you’ll soon be clay, And made them of me; and my leaves now shine, 4 The phantom 3:45 I have seen your summer showing As did my satins superfine, 5 So I have fared 2:49 As in my youthful day; All day cheerily, 6 Rollicum-Rorum 1:41 But why I seem unknowing All night eerily! 7 To Lizbie Browne 4:01 Is too sunk in to say!” 8 The Clock of the Years 4:24 - I, who as innocent withwind climb, 9 In a churchyard 3:51 ¡ Voices from things growing in a churchyard Sir or Madam. -
Armenian State Chamber Choir
Saturday, April 14, 2018, 8pm First Congregational Church, Berkeley A rm e ni a n State C h am b e r Ch oir PROGRAM Mesro p Ma s h tots (362– 4 40) ༳ཱུའཱུཪཱི འཻའེཪ ྃཷ I Knee l Be for e Yo u ( A hym n f or Le nt) Grikor N ar e k a tsi ( 9 51–1 0 03) གའཽཷཱཱྀུ The Bird (A hymn for Easter) TheThe Bird BirdBir d (A (A(A hymn hymnhym forn for f oEaster) rEaster) East er ) The Bird (A hymn for Easter) K Kom itas (1869–1 935) ཏཷཱྀཿཡ, ོཷཱྀཿཡ K K K Holy, H oly གའཿོའཱུཤའཱུ ཤཿརཤཿ (ཉའཿ ༳) Rustic Weddin g Son g s (Su it e A , 1899 –1 90 1) ༷ཿཱུཪྀ , རཤཾཱུཪྀ , P Prayer r ayer ཆཤཿཪ ེའཱུ འཫའཫ 7KH%UL The B ri de’s Farewell ༻འརཽཷཿཪ ཱིཤཿ , ལཷཛཱྀོ འཿཪ To the B ride g room ’s Mo th er ༻འརཽཷཿ ཡའཿཷཽ 7KH%ULGH The Bridegroom’s Blessing ཱུ༹ ལཪཥའཱུ , BanterB an te r ༳ཱཻུཤཱི ཤཿཨའཱི ཪཱི ུའཿཧ , D ance ༷ཛཫ, ཤཛཫ Rise Up ! (1899 –190 1 ) གཷཛཽ འཿཤྃ ོའཿཤཛྷཿ ེའཱུ , O Mountain s , Brin g Bree z e (1913 –1 4) ༾ཷཻཷཱྀ རཷཱྀཨའཱུཤཿར Plowing Song of Lor i (1902 –0 6) ༵འཿཷཱཱྀུ Spring Song(190 2for, P oAtheneem by Ho vh annes Hovh anisyan) Song for Athene Song for Athene A John T a ve n er (19 44–2 013) ThreeSongSong forfSacredor AtheneAth Hymnsene A Three Sacred Hymns A Three Sacred Hymns A Three Sacred Hymns A Alfred Schn it tke (1 934–1 998) ThreeThree SacredSacred Hymns H ymn s Богородиц е Д ево, ра д уйся, Hail to th e V irgin M ary Господ и поми луй, Lord, Ha ve Mercy MissaОтч Memoriaе Наш, L ord’s Pra yer MissaK Memoria INTERMISSION MissaK Memoria Missa Memoria K K Lullaby (from T Lullaby (from T Sure on This Shining Night (Poem by James Agee) Lullaby (from T SureLullaby on This(from Shining T Night (Poem by James Agee) R ArmenianLullaby (from Folk TTunes R ArmenianSure on This Folk Shining Tunes Night (Poem by James Agee) Sure on This Shining Night (Poem by James Agee) R Armenian Folk Tunes R Armenian Folk Tunes The Bird (A hymn for Easter) K Song for Athene A Three Sacred Hymns PROGRAM David Haladjian (b. -
History of the Stetson University Concert Choir Gregory William Lefils Jr
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 History of the Stetson University Concert Choir Gregory William Lefils Jr. Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HISTORY OF THE STETSON UNIVERSITY CONCERT CHOIR By GREGORY WILLIAM LEFILS, JR. A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Gregory William LeFils, Jr. defended this dissertation on July 10, 2014. The members of the supervisory committee were: Kevin Fenton Professor Directing Dissertation Christopher Moore University Representative Judy Bowers Committee Member André J. Thomas Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to take this opportunity to thank the many individuals who helped me in the creation of this document. First I would to thank Gail Grieb for all of her help. Her tireless dedication as Stetson University Archives Specialist has been evident in my perusal of the many of thousands of documents and in many hours of conversation. I would also like to thank Dr. Suzanne Byrnes whose guidance and editorial prowess was greatly appreciated in putting together the final document. My thanks go to Dr. Timothy Peter, current director of the Concert Choir, and Dr. Andrew Larson, Associate Director of Choral activities, for their continued support and interest throughout this long process. -
MISSA WELLENSIS MISSA WELLENSIS Duration, None Longer Than 25 Minutes
MISSA WELLENSIS MISSA WELLENSIS duration, none longer than 25 minutes. These JOHN TAVENER (1944-2013) late-flowering pieces marked a step away from Death came close to John Tavener in December the expansive gestures present in much Missa Wellensis * 2007. The composer, in Switzerland for the of his music of the early 2000s; they also 1 Kyrie [6.06] first performance of his Mass of the encompassed a refinement of Tavener’s 2 Gloria [5.42] Immaculate Conception, was struck by a heart universalist outlook, part of a personal quest 3 Sanctus and Benedictus [3.01] 4 Agnus Dei [2.15] attack that knocked him into a coma for Sophia perennis or the perennial wisdom and demanded emergency surgery. When he common to all religious traditions. 5 The Lord’s Prayer [2.19] regained consciousness, Tavener the convalescent 6 Love bade me welcome [6.02] discovered that the familiar fervour of his The works of Tavener’s final years, including 7 Preces and Responses Part One * [2.07] faith in God was no longer there; he had the Missa Wellensis and Preces and Responses Cantor: Iain MacLeod-Jones (tenor) also lost his desire to write music. Tavener’s for Wells Cathedral, were driven by an intention 8 Psalm 121: I Will Lift up Mine Eyes unto the Hills [5.17] long recovery at home, a trial endured for to recover the essence of sacred or spiritual Magnificat and Nunc dimittis ‘Collegium Regale’ three years, was marked by physical weakness texts, to renew their vitality and immediacy, 9 Magnificat [7.25] and extreme pain and their correlates, to connect with their deepest claims to truth. -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
A Celebration of Women in Song Music By, About & for Women
PRESENTS A CELEBRATION OF WOMEN IN SONG Music By, About & For Women Directed by Paul Thompson Sunday, November 15th, 2015 at 1:00 pm Mount Calvary Lutheran Church | Boulder CantabileSingers.org A CELEBRATION OF WOMEN IN SONG PROGRAM A Song by Anna Amalia Herzogen von Sachsen Regina Coeli Laetare Amalia Herzogen von Sachen (1739-1807) Soloists: Jenifer Burks, Lucy Kelly, Ben Herbert, Tom Voll Cellist: Libby Murphy Songs for Queen Elizabeth I Triumphs of Oriana All Creatures Now Are Merry-Minded John Bennet (1575–1614) As Vesta Was Thomas Weelkes (1576–1623) Fair Nymphs, I Heard One Telling John Farmer (1570?–1601) Songs by Fanny Hensel Gartenlieder, Op. 3 Fanny Hensel (1805–1847) No. 2 Schöne Fremde No. 5 Abendlich Schon Rauscht Der Wald No. 4 Morgengruß A Song about Mary the Mother Totus Tuus Henryk Górecki (1933–2010) INTERMISSION A Song about the Feminine Imbolc from Wheel of the Year, a Pagan Song Cycle Leanne Daharja Veitch (b. 1970) Soloist: Hari Baumbach Cellist: Libby Murphy Songs for Athene, the goddess, princess, and companion Song for Athene John Tavener (1944–2013) Songs about St. Cecilia, the muse Hymn to St. Cecelia, Op. 27 Benjamin Britten (1913–1976) Soloists: SusanWiersema, Katja Stokley, Julien Salmon, Brian Underhill Songs by Gwynthyn Walker How Can I Keep from Singing? Gwyneth Walker (b. 1947) CantabileSingers.org A CELEBRATION OF WOMEN IN SONG TEXTS Regina Coeli Laetare Regina Coeli Laetare Regina coeli, laetare, alleluja. Queen of heaven rejoice! Alleluia! Quia quem meruisti portare, alleluja. For He whom Thou didst merit to bear, alleluia, Resurexit, sicut dixit alleluja. -
Wwciguide November 2019.Pdf
From the President & CEO The Guide The Member Magazine for WTTW and WFMT Dear Member, Renée Crown Public Media Center This month, WTTW will bring you a film about the transformative power of 5400 North Saint Louis Avenue Chicago, Illinois 60625 education. College Behind Bars follows twelve incarcerated men and women who hope to turn their lives around by earning a college degree, as we follow their Main Switchboard four-year journey through the famously rigorous Bard Prison Initiative. Join us (773) 583-5000 on two consecutive nights for a compelling documentary on America’s criminal Member and Viewer Services (773) 509-1111 x 6 justice system. Also on WTTW, The Chaperone reunites three talents from Downton Abbey – Websites actor Elizabeth McGovern, series creator Julian Fellowes, and director Michael wttw.com wfmt.com Engler – for this 1920s era story of a Kansas woman who accompanies an aspiring teen dancer on a tumultuous trip to New York City. A new series on WTTW Kids, Publisher Xavier Riddle and the Secret Museum, introduces children aged 4-7 to historical Anne Gleason figures. On wttw.com, learn more about the small-town fraud that went on in Art Director Tom Peth Dixon, Illinois in our interview with the filmmaker of the documentary,All the WTTW Contributors Queen’s Horses. Julia Maish Lisa Tipton WFMT will present a live performance from New York’s Carnegie Hall by WFMT Contributors Riccardo Muti and the Chicago Symphony Orchestra. And in observance of Andrea Lamoreaux Veterans Day, Chicago Tribune film critic Michael Phillips will present his sampling of music from war-themed movies old and new. -
TEM Issue 17 Cover and Front Matter
TEMPAUTUMN O195° CONTENTS NOTES AND NEWS RALPH HAWKES KIRSTEIN, BALANCHINE AND OTHERS Cyril Beaumont KODALY'S LATER ORCHESTRAL MUSIC (I) John S. Weissmann RICHARD STRAUSS'S " DIE FRAU OHNE SCHATTEN " Dr. Otto Erhardt MUSIC IN ISRAEL Friede Rothe BOOK GUIDE RECORD GUIDE NUMBER QUARTERLY 17 TWO SHILLINGS Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.226, on 01 Oct 2021 at 07:56:33, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200054358 "HIS MASTER'S VOICE" New Records VICTORIA DE LOS ANGELES BENIAMINO GIGLI TULLIO SERAFIN with THE PHILHARMONIA Alba e tramonto—Gibilaro ORCHESTRA STABILE ORCHESTRA Che sso' turnato a fa ?—di Veroli ACCADEMIA DI SANTA CECILIA Elisabeth's Greeting "Tannhauser" DB2I096 Overture " L'ltaliana in Algeri "— (Act II)—Wagner : Elsa's Dream Rossini G4OI2 '* Lohengrin " (Act I)—Wagner (in ARTHUR FIEDLER German) DB2I095 BOSTON PROMENADE GUIDO CANTELLI ORCHESTRA N.B.C. SYMPHONY Overture " Fra Diavolo "—Auber ORCHESTRA JOAN HAMMOND and RUDOLF C40I0 Symphony No. 93 in D Major—Haydn SCHOCK with THE DB2I0I4-6 PHILHARMONIA ORCHESTRA cond. by Issay Dobrowen AMADEUS STRING QUARTET DESIRE DEFAUW Quartet in G Major, K. 387—Mozart CHICAGO SYMPHONY Cherry Duet : Suzel, buon di : Tutto (8th side) Serenade (Andante cantabile) ORCHESTRA tace *' L'Amico Fritz," Act II— from Quartet in F major, Op. 3, Overture "The Bartered Bride"— Mascagni DB2I098 (No. 5)—Haydn C40I4-7 Smetana DB2I088 All the above are standard records which can be enjoyed on your existing Gramophone or Radiogram THE GRAMOPHONE COMPANY LTD. -
Nordic Choir Allen Hightower, Conductor
Nordic Choir Allen Hightower, conductor WINTER TOUR 2014 1 TOUR PROGRAM WINTER 2014 APPEARANCES THIS IS THE DAY THE LORD HAS MADE Saturday, January 25 / 7:30 p.m. Haec Dies Wartmann Artist Series William Byrd (1543–1623), Edgerton Performing Arts Center ed. G.A.C. Braginetz Edgerton, Wisconsin Choral Public Domain Library Sunday, January 26 / 4 p.m. (Sung in Latin) Lourdes Chapel–Assisi Heights Rochester, Minnesota This is the day the Lord has made: Let us be glad and rejoice in it. Thursday, January 30 / 7:30 p.m. Illinois College Fine Arts Series Alleluia. Rammelkamp Chapel at Illinois College Jacksonville, Illinois Friday, January 31 / 7 p.m. OF THE FATHER, SON, AND HOLY SPIRIT St. Mary’s Episcopal Church Concert Series Memphis, Tennessee I. Kyrie eleison from Missa Rigensis Saturday, February 1 / 7:30 p.m. Uğis Prauliņš (b. 1957) Grace Presbyterian Church Novello & Co. Ltd. Houston, Texas (Sung in Latin) Sunday, February 2 / 8:45 a.m. Lord have mercy. Church Service Christ have mercy. Tallowood Baptist Church Houston, Texas Lord have mercy. Sunday, February 2 / 10:50 a.m. Church Service Der Geist hilft unsrer Schwachheit auf (BWV 226) Christ the King Lutheran Church Johann Sebastian Bach (1685–1750) Houston, Texas C.F. Peters Corp. Monday, February 3 / 7:30 p.m. (Sung in German) First Baptist Church San Antonio, Texas The Spirit doth our weakness help, For we do not know what we should be Tuesday, February 4 / 7 p.m. asking or what is proper; First Baptist Church Midland, Texas Rather, the Spirit intercedes for us, ineffably sighing. -
Music of Hope and Remembrance
RHODES COLLEGE presents Rhodes MasterSingers Chorale Timothy W. Sharp, Conductor David Ramsey, Associate Conductor MUSIC OF HOPE AND REMEMBRANCE April 1, 2001 3:00 p. m. Church of the Holy Communion 4645 Walnut Grove Road Ebi5 performance i5 mabe po55ibte by a gift from Elartba f/orton, labobe5 eta55 of 1978, in bonor of abib Ram5ep [71 PROGRAM KANTATE: CHRIST LAG IN TODESBANDEN BWV 4 Johann Sebastian Bach (1685-1750) Text: Martin Luther (1524) SINFONIA VERSUS I Christ lag in Todesbanden fur unsre Siind gegeben, er ist wieder erstanden, und hat uns bracht das Leben; des wir sollen frohlich sein, Gott loben und ihm dankbar sein und singen Halleluja, Halleluja! Christ lay in bonds of death sacrificed for our sins, He is again arisen, and has brought life to us; therefore we shall be joyful, praise God and be thankful to him and sing Hallelujah, Hallelujah! VERSUS II Duet: Shauntina Phillips, soprano; Katie Castille, alto Den Tod niemand zwingen kunnt bei allen Menschen kindern, das macht alles unsre Sund, kein Unschuld war zu finden. Davon kam der Tod, der Tod so bald und nahm fiber uns Gewalt, hielt uns in seinem Reich gefangen. Halleluja! No man could conquer death among all mortal children, our sin has caused all this, no innocence was to be found. Hence came death so suddenly and took power over us, kept us imprisoned in his realm. Hallelujah! VERSUS III Jesus Christus, Gottes Sohn, an unser Statt ist kommen, und hat die Sfinde weggetan, damit dem Tod genommen all sein Recht und sein' Gewalt, da bleibet nichts denn Tod's Gestalt, den Stach'l hat er verloren.