DOCSLIB.ORG

Organ Recital Series 2021 Wednesdays at 7.30 P.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Organ Recital Series 2021 Wednesdays at 7.30 P.M Organ Recital Series 2021 Wednesdays at 7.30 p.m. 2 Organ Recital Series 2021 Wednesday 28 July Daniel Cook Master of the Choristers and Organist, Durham Cathedral Wednesday 4 August Oliver Morrell Organ Scholar, Durham Cathedral Wednesday 11 August Peter Stevens Assistant Master of the Music, Westminster Cathedral Wednesday 18 August Andrew Scott Director of Music, St Michael and All Angels, Croydon; Head Voicer, Harrison and Harrison Sunday 29 August at 6pm Martin Baker Freelance Organist and Conductor Wednesday 1 September Joseph Beech Sub-Organist, Durham Cathedral Durham Cathedral Organ Recitals 2022 Wednesday 19 January Olivier Messiaen: La Nativité du Seigneur Played by the organists of Durham Cathedral Our Summer Organ Recital Series will run on Wednesdays from 27 July until 7 September. For more organ recitals, please see www.organrecitals.com 3 Wednesday 28 July Daniel Cook Coronation March: Orb and Sceptre William Walton (1902-1983) arr. William McKie Handel in the Strand Percy Grainger (1882-1961) Sonata in G major, Op. 28 Edward Elgar i. Allegro maestoso (1857-1934) ii. Allegretto iii. Andante espressivo iv. Presto (comodo) Scherzo in G minor Marco Enrico Bossi (1861-1925) Symphonie No. 1 in D minor, Op. 14 Louis Vierne i. Prélude (1870-1937) iv. Allegro vivace v. Andante vi. Final 4 Daniel Cook is Master of the Choristers and Organist of Durham Cathedral and is recognised internationally as a liturgical and concert organist of the highest order. He maintains a busy schedule of recitals, concerts and recordings, both as performer and producer, as well as being in demand as a conductor, teacher and singer. In addition, he is Diocesan Organ Advisor for Newcastle. Previously Daniel spent four years as Sub-Organist of Westminster Abbey where he was the principal organist to the Abbey Choir and Assistant Director of Music to James O'Donnell. He accompanied the Abbey Choir for all major services, performed with them in concerts and on tours in Europe and the USA, as well as appearing in their famous series of recordings for Hyperion Records. He also performed with the Abbey Choir in several concerts in London, notably in Buckingham Palace and at the Royal Albert Hall, and was the organist for all of the broadcast services and concerts between 2013 and 2017. Before moving to the Abbey, Daniel was Organist and Master of the Choristers of St Davids Cathedral and Artistic Director of the St Davids Cathedral Festival, where he was responsible for the maintenance and development of the cathedral’s musical ministry. Under his direction the Cathedral Choir made several broadcasts and recordings for BBC Radio and Television, toured in Italy and performed with the BBC singers in the City of London Festival. Before moving to St Davids, Daniel spent six years as Assistant Director of Music of Salisbury Cathedral where he was the principal organist. He has worked widely as a choral conductor and has been Music Director of the Dyfed Choir, the Farrant Singers, St Davids Cathedral Festival Chorus and the Grange Choral Society and Orchestra, with whom he directed many major choral works including Bach: Christmas Oratorio, Dyson: Canterbury Pilgrims, Elgar: The Dream of Gerontius, Handel: Messiah and Verdi: Requiem. 5 Daniel received his early musical education at Durham Cathedral with Keith Wright. Following a year as Organ Scholar at Worcester Cathedral, he moved to London to take up a place at the Royal Academy of Music where he studied with Nicolas Kynaston, James O'Donnell and Patrick Russill and participated in master classes with many of the world’s leading organists including Marie-Claire Alain, Lionel Rogg and Jon Laukvik. While at the Academy, he worked as Organ Scholar at Southwark Cathedral and Westminster Abbey before graduating with first-class honours in July, 2003. He was subsequently Assistant Organist of Westminster Abbey from 2003 until 2005. Daniel has twice been a finalist in the St Albans International Organ Competition. As a recitalist, he has played across the UK, Europe and Australia with performances in most of the cathedrals in Britain, the Royal Albert Hall, the Royal Festival Hall, and in the Grand Organ Festival at Westminster Cathedral. Increasingly in demand as an ensemble performer, recent engagements have included concerts with the Orchestra of the Age of Enlightenment in the City of London Festival, BBC National Orchestra of Wales in the St Davids Cathedral Festival, Onyx Brass in The Hythe Festival and The London Mozart Players in JAM on the Marsh. His work as an accompanist has taken him all over the world and he regularly works with many of the distinguished vocal ensembles and choral groups in the UK such as the BBC Singers, both as a conductor and organist. He has made several solo organ recordings for Priory Records and is one of their most recorded organists. Other projects have included a performance of the complete organ works of Olivier Messiaen in six recitals to celebrate the centenary of the composer’s birth, and CD recordings of the complete organ music of Charles Stanford, Herbert Brewer, Herbert Sumsion, George Dyson, Walter Alcock and William Harris. A solo DVD from Westminster Abbey was released in 2018. In recent years Daniel has developed a strong commitment to new music, particularly through his work as conductor, organist and panel member for the John Armitage Memorial Trust (JAM). He regularly collaborates with leading contemporary composers and has participated in first performances of works by Judith Bingham, Neil Cox, Jonathan Dove, Adam Gorb, Robin Holloway, Gabriel Jackson, Matthew Martin, Paul Mealor, Philip Moore, 6 Tarik O'Regan, Roxanna Panufnik, Paul Patterson, Julian Philips, Giles Swayne, Judith Weir and James Whitbourn. In 2009 he was the soloist for a collaborative CD release of contemporary music jointly promoted by JAM and Choir and Organ magazine. In 2013 Daniel was elected an Associate of the Royal Academy of Music (ARAM), an award offered to past students of the Academy who have distinguished themselves in the music profession and made a significant contribution to it in their particular field. For more information visit: www.danielcookorganist.com 7 Wednesday 4 August Oliver Morrell Praeludium in E minor (’Little’) Nicolaus Bruhns (1665-1697) Prelude and Fugue in A minor, BWV 551 Johann Sebastian Bach (1685-1750) Christ unser Herr zum Jordan kam, BWV 684 Movements from Six Fugues on the name B.A.C.H. Robert Schumann i. Langsam (B flat major) (1810-1856) iii. Mit sanften Stimmen (G minor) Andante in D, MWV W6 Felix Mendelssohn (1809-1847) Pièce d’Orgue, BWV 572 Johann Sebastian Bach Ricercare—Omaggio a Girolamo Frescobaldi György Ligeti (1923-2006) Canzona, BWV 588 Johann Sebastian Bach Sonata III Paul Hindemith i. “Ach Gott, wem soll ich’s klagen” (1895-1963) ii. “Wach auf, mein Hort” iii. “So wunsch ich ihr” Paean Kenneth Leighton (1929-1988) 8 Oliver Morrell has been Organ Scholar of Durham Cathedral since November 2018. He works closely with Daniel Cook and Joseph Beech, contributing to the Cathedral’s extensive provision of music in the liturgy. As well as taking a share of the service accompaniment, he is responsible for training the probationer choristers and has gained experience conducting the choir in services. Alongside duties at the Cathedral, he studied Music at Durham University, graduating with First Class Honours in July 2021. He has also been Assistant Musical Director of the Durham Singers for two years. Born in Kent, he was educated at St Olave’s Grammar School and gained formative musical training as a chorister at the Queen’s Chapel of the Savoy. Whilst at school, he founded an early music group, directed the Chapel Choir and played the organ in weekly assemblies. He started learning the organ in 2014, quickly obtaining a Distinction in his ABRSM Grade 8. This year he has been working towards the Associateship Diploma of the Royal College of Organists. He also holds a Piano Diploma (DipLCM) and ABRSM Grade 8 in Flute and Singing. An accomplished singer, he was a Choral Scholar at Gloucester Cathedral before moving to Durham. He studied with Bronwen Mills and sang with the Cathedral Choir at daily services under Adrian Partington. He has sung and acted in theatrical productions at university and school. As a composer, he has had works premiered at the London Festival of Contemporary Church Music. In September he moves to Croydon, to work at Whitgift School and Croydon Minster as a Graduate Music Assistant and Choral Scholar. 9 Wednesday 11 August Peter Stevens Praeludium in E, BWV 566 Johann Sebastian Bach (1685-1750) Prelude, Scherzo and Passacaglia Kenneth Leighton (1929-1988) Prière César Franck (1822-1890) Preludio al Vespro di Monteverdi Sir Michael Tippett (1905-1998) Prélude, Adagio et Choral Varié sur le Veni Creator Maurice Duruflé (1902-1986) 10 Peter Stevens is Assistant Master of Music at Westminster Cathedral. Born in Lancashire in 1987, he was educated at Chetham’s School of Music, subsequently holding organ scholarships at Manchester Cathedral, St George’s Chapel, Windsor Castle, and King’s College, Cambridge. He came to Westminster Cathedral in 2010, taking up his present position the following year. As well as accompanying the Cathedral Choir in its daily services, recordings and concerts, he has given solo recitals across the UK and Europe. In 2013 he became Director of the Schola Cantorum of the Edington Festival, following three years as Festival Organist. His teachers have included Thomas Trotter, David Briggs, and Colin Walsh. His first solo CD, of music by Widor, Tournemire and Dupré, was released on the Ad Fontes label earlier this year. 11 Wednesday 18 August Andrew Scott Imperial March, Opus 32 Sir Edward Elgar (1857-1934) arr.
Load more

Recommended publications
  • Southwark Cathedral Chief Operating Officer
    PRIVATE & CONFIDENTIAL Candidate Brief Southwark Cathedral Chief Operating Officer U1201 January 2021 Managing Director Sarah Thewlis [email protected] Southwark Cathedral – Chief Operating Officer – U1201 Contents 1. Welcome letter from The Very Revd Andrew Nunn, Dean 2. About Southwark Cathedral 3. The Job Description and Key Responsibilities of the Chief Operating Office 4. Remuneration and Benefits 5. Timeline, Application Process and How to apply 6. Advert 2 Southwark Cathedral – Chief Operating Officer – U1201 Welcome from The Very Revd Andrew Nunn Dean of Southwark Dear Candidate, I am delighted that you have expressed an interest in applying to be the Chief Operating Officer of Southwark Cathedral. We hope that you find the information useful in this candidate brief and also on our website: https://cathedral.southwark.anglican.org/ The Cathedral Chapter is looking to appoint a full-time Chief Operating Officer to lead and contribute across a number of strategic and managerial aspects of Cathedral life. They will drive and manage the delivery of the Cathedral’s strategy and will work with the Chapter to ensure that the Cathedral is effectively and efficiently run and is able to deliver our mission priorities. The successful candidate will report to the Dean, have oversight of all operations within the Cathedral, provide support to the Chapter in its strategic planning, and be responsible for finance, governance, administration, property and for staff who are employed to support the Cathedral’s work. They will be instrumental in amending the governance structures to conform to the new Cathedral Measure that must be completed by mid-2023. They will need to have experience of being responsible for a broad range of operational functions, an understanding of working within a complex governance and charitable structure, and the desire and motivation to support and encourage a strong sense of community.
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Records of Bristol Cathedral
    BRISTOL RECORD SOCIETY’S PUBLICATIONS General Editors: MADGE DRESSER PETER FLEMING ROGER LEECH VOL. 59 RECORDS OF BRISTOL CATHEDRAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 RECORDS OF BRISTOL CATHEDRAL EDITED BY JOSEPH BETTEY Published by BRISTOL RECORD SOCIETY 2007 1 ISBN 978 0 901538 29 1 2 © Copyright Joseph Bettey 3 4 No part of this volume may be reproduced or transmitted in any form or by any means, 5 electronic or mechanical, including photocopying, recording, or any other information 6 storage or retrieval system. 7 8 The Bristol Record Society acknowledges with thanks the continued support of Bristol 9 City Council, the University of the West of England, the University of Bristol, the Bristol 10 Record Office, the Bristol and West Building Society and the Society of Merchant 11 Venturers. 12 13 BRISTOL RECORD SOCIETY 14 President: The Lord Mayor of Bristol 15 General Editors: Madge Dresser, M.Sc., P.G.Dip RFT, FRHS 16 Peter Fleming, Ph.D. 17 Roger Leech, M.A., Ph.D., FSA, MIFA 18 Secretaries: Madge Dresser and Peter Fleming 19 Treasurer: Mr William Evans 20 21 The Society exists to encourage the preservation, study and publication of documents 22 relating to the history of Bristol, and since its foundation in 1929 has published fifty-nine 23 major volumes of historic documents concerning the city.
    [Show full text]
  • The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
    The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig.
    [Show full text]
  • Stonehenge WHS Committee Minutes September 2015
    Stonehenge World Heritage Site Committee Meeting on Thursday 24 September 2015 at St Barbara’s Hall, Larkhill Minutes 1. Introductions and apologies Present: Roger Fisher (Chair/Amesbury TC), Colin Shell (ASAHRG), Philip Miles (CLA), Kate Davies (English Heritage), Phil McMahon (Historic England), Rachel Sandy (Highways England), Richard Crook (NFU/Amesbury TC), Jan Tomlin (National Trust), Nick Snashall (National Trust), Patrick Cashman (RSPB), Carole Slater (Shrewton PC), Clare King (Wiltshire Council), David Dawson (Wiltshire Museum), Ian West (Winterbourne Stoke PC) Apologies: Fred Westmoreland (Amesbury Community Area Board), John Mills (Durrington TC), Henry Owen John (Historic England), Stephanie Payne (Natural England), David Andrews (VisitWiltshire), Peter Bailey (Wilsford cum Lake/WHS landowners), Melanie Pomeroy‐Kellinger (Wiltshire Council), Ariane Crampton (Wiltshire Council), Andrew Shuttleworth (Winterbourne Stoke PC), Alistair Sommerlad (WHS Partnership Panel) 2.0 Agree minutes of last meeting & matters arising Version 3 of the minutes of the last meeting was approved. 3.0 Stonehenge and Avebury WHS Management Plan Endorsing the Plan The following organisations have endorsed the plan so far: Highways England, English Heritage, Amesbury PC, Wilsford cum Lake PC, Durrington TC, Wiltshire Museum, and Salisbury Museum. Other organisations: Natural England, RSPB, Historic England and National Trust are in the process of going through their organisation’s approval process. The WHS Coordination Unit (WHSCU) would be grateful for written endorsements by the end of 2015. The WHSCU are very happy to meet with any partner organisation to explain the Management Plan to their members. WHSCU Action Plan BT circulated a table which outlined how SS and BT will cover both local and thematic responsibilities.
    [Show full text]
  • In SE1 April 2003
    The essential monthly guide to what’s on in SE1 www.inSE1.co.uk April 1 SE Issue 58 April 2003 in Free Thumbs up for C-Charge MORE THAN three-quarters of now often enjoy a clear run those responding to a poll on down Farringdon Street and the London SE1 community over Blackfriars Bridge into website are in favour of the SE1. Transport for London Congestion Charge. has issued guidance to bus This figure reflects the managers allowing them to views in other parts of central ignore the timetable rather London although the scheme than keep buses waiting. is thought to have been less •Bristol Industrial Museum’s successful around King’s 105-year-old Daimler Cross on the boundary. which hasn’t been on the A massive 77% replied road since 1947 has had a “yes’ when asked ‘Has the penalty notice for evading congestion charge had a the congestion charge in HOLY WEEK begins in Borough Market. Southwark positive impact on life in SE1?’ London Road, SE1. The Cathedral’s Palm Sunday Procession will begin in the Just 12% said “no” whilst 13% car has a maximum speed Market at 11am on Sunday 13 April. After the blessing of were undecided. of only 15mph. TfL said palms and the reading of the Gospel, the procession will Many people report buses “It would be ridiculous to make its way along Bedale Street for the Sung Eucharist. running faster than before expect there are not going the charge. Routes 63 and 45 to be individual errors.” The Coronet reopens at last LONDON’S MAJOR new as well as live performances.
    [Show full text]
  • Durham Cathedral Annual Review and Accounts Year Ended 31 March
    DURHAM CATHEDRAL ANNUAL REVIEW AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2019 Durham Cathedral, AcCounts for the year ended 31 MarCh 2019 Durham Cathedral Is a ChrIsJan ChurCh of the AnglICan CommunIon, the shrIne of St Cuthbert and the seat of the BIshop of Durham. It is a focus of pIlgrimage and spIritualIty in North East England. Our Purpose Our purpose is to worship God, share the gospel of Jesus Christ, welcome all who come, celebrate and pass on our rich Chris:an heritage and discover our place in God’s crea:on. Our Vision Following the example of Saints Cuthbert and Bede, we share our faith and heritage globally and empower people to transform the communi:es in which we live and serve. Our Place We inhabit a treasured sacred space set in the natural and human landscape of the World Heritage Site. What We Do Six areas of life, experienced as strands in a rope which, as they interweave, touch and support each other, make Durham Cathedral what it is today. 1. WorshIp and SpIrItualIty We worship God through daily prayer and praise, and celebrate the contribu:ons of music and art to the spiritual life of the Cathedral. 2. WelCome and Care We welcome all who cross our threshold and express Chris:an care in all aspects of our life as a community. 3. Learning, Nurture and FormaJon We help people to encounter God and grow in faith and discipleship by offering opportuni:es for dialogue, learning and research. 4. Outreach and Engagement We work in ac:ve partnerships for the good of the Diocese and the communi:es of North East England and to contribute to Durham’s flourishing and significance.
    [Show full text]
  • Lent Term 2010
    KING’SCOLLEGE CAMBRIDGE CHAPELSERVICES LENTTERM HOLYWEEKANDEASTER 2010 NOT TO BE TAKEN AWAY THE USE OF CAMERAS, RECORDING EQUIPMENT, VIDEO CAMERAS AND MOBILE PHONES IS NOT PERMITTED IN CHAPEL [ 2 ] NOTICES SERMONSAND ADDRESSES 17 January Dr Edward Kessler Director Woolf Institute of Abrahamic Faiths, Cambridge; Fellow St Edmund’s College 24 January The Revd Richard Lloyd Morgan Acting Dean 31 January The Revd Abi Smetham Assistant Curate of Sheffield Manor Parish 7 February The Revd Canon Michael Hampel Acting Dean and Precentor, St Edmundsbury Cathedral 14 February The Revd Canon Anna Matthews St Albans Cathedral 21 February The Very Revd Dr John Hall Dean of Westminster 28 February The Rt Revd Dr Richard Cheetham Bishop of Kingston 7 March The Revd Canon Brian Watchorn Assistant Chaplain Maundy Thursday Professor Ellen Davies Amos Ragan Kearns Professor, Duke Divinity School, North Carolina Easter Day The Revd Richard Lloyd Morgan Acting Dean SERVICE BOOKLETS Braille and large print service booklets are available from the Chapel Administrator for Evensong and Sung Eucharist services. CHORAL SERVICES Services are normally sung by King’s College Choir on Sundays and from Tuesdays to Saturdays. Services on Mondays are sung by King’s Voices, the College’s mixed voice choir. Exceptions are listed. ORGAN RECITALS Each Saturday during term time there is an organ recital at 6.30 p.m. until 7.15 p.m. Admission is free, and there is a retiring collection. There is no recital on 16 January; the recital on 20 February will last 30 minutes and start at 6.45 p.m. following the longer Evensong that day.
    [Show full text]
  • Wagnerskt Orgelbrus
    CG9010 Självständigt arbete, kyrkomusik, 15 hp Kandidatprogram, musiker, kyrkomusik 2021 Institutionen för klassisk musik (KK) Handledare: Incca Rasmusson Ludvig Käll Wagnerskt orgelbrus Att transkribera Richard Wagners musik för orgel Till dokumentationen hör följande inspelning: Morgenpracht inspelad i Sankt Görans kyrka Sammanfattning I orgeltranskriberingens historia så har Richard Wagners musik fått en särställning genom organisten Edwin H. Lemares massiva transkriptionsarbete. I det här arbetet undersöks hur Lemares transkriptionskonst är utformad och hur hans metoder kan appliceras på eget transkriptionsarbete. Lemares och andras transkriptioner jämförs med Wagners originalpartitur för att metoder och verktyg ska kunna observeras. Dessa appliceras på en egen transkription, vars skapelseprocess redogörs för. Detta arbete visar att Lemare använder sig av en metodisk teknik som i stora drag grundar sig på det klangliga resultatets slutliga kvalitet. I det här arbetet beskrivs denna teknik relativt ingående, för att om möjligt bidra med insikter och metoder för den av transkriptioner intresserade. Nyckelord: Wagner, Lemare, transkription, orgel, Parsifal, orkester, Gesamtkunstwerk, opera, musikdrama Innehållsförteckning 1 Inledning och bakgrund ..................................................................................................... 1 5.1 Richard Wagners musik ............................................................................................. 1 5.2 Om Wagner-transkription .........................................................................................
    [Show full text]
  • Gloucester Cathedral Lay Clerks
    GLOUCESTER CATHEDRAL ORGAN SCHOLARSHIP The Dean & Chapter of Gloucester Cathedral annually seek to appoint an organ scholar for each academic year. He/She will play a key role in the Cathedral music department, working closely with Adrian Partington (Director of Music), Jonathan Hope (Assistant Director of Music), Nia Llewelyn Jones (Singing Development Leader) and Helen Sims (Music Department Manager). The organ scholarship is open to recent graduates or to gap-year applicants of exceptional ability. Duties The organ scholar plays for Evensong every Tuesday, and in addition plays the organ or directs the choirs as necessary when the DoM or the ADoM is away. He/She will also play for many of the special services which take place in the Cathedral, for which additional fees are paid (see remuneration details below). The organ scholar is fully involved with the training of choristers and probationers and the teaching of theory and general musicianship. They will also be expected to help with the general administration of the music department, attending a weekly meeting and assisting other members of the department in the music office. Gloucester Cathedral Choir Today’s choir is the successor to the boys and monks of the Benedictine Abbey of St Peter, who sang for daily worship nine centuries ago. The choir of today stems from that established by Henry VIII in 1539, consisting of 18 choristers (who receive generous scholarships to attend the neighbouring King’s School), 12 lay clerks and choral scholars. The choir plays a major part in the internationally renowned Three Choirs Festival, the world’s oldest Music Festival, which dates back to 1715.
    [Show full text]
  • MUSICWEB INTERNATIONAL Recordings of the Year 2019
    MUSICWEB INTERNATIONAL Recordings Of The Year 2019 This is the seventeenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2018-November 2019). The 128 selections have come from 27 members of the team and 65 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, one has received three nominations: An English Coronation on Signum Classics and ten have received two nominations: Gounod’s Faust on Bru Zane Matthias Goerne’s Schumann Lieder on Harmonia Mundi Prokofiev’s Romeo & Juliet choreographed by John Cranko on C Major Marx’s Herbstymphonie on CPO Weinberg symphonies on DG Shostakovich piano works on Hyperion Late Beethoven sonatas on Hyperion Korngold orchestral works on Chandos Coates orchestral works on Chandos Music connected to Leonardo da Vinci on Alpha Hyperion was this year’s leading label with nine nominations, just ahead of C Major with eight. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year one recording in particular put itself forward as the obvious candidate. An English Coronation 1902-1953 Simon Russell Beale, Rowan Pierce, Matthew Martin, Gabrieli Consort; Gabrieli Roar; Gabrieli Players; Chetham’s Symphonic Brass Ensemble/Paul McCreesh rec.
    [Show full text]
  • The Big Picture - Welte’S Instruments, Rolls, Recording, Digital Editing
    The big picture - Welte’s instruments, rolls, recording, digital editing by David Rumsey The Welte Philharmonie - or Philharmonic to most English-speakers - was an ingenious musical instrument. Its origins lay in both the pneumatics and acoustics of the ancient Greeks, to say nothing of their mechanics, hydraulics or music. In the 20th century, both the “Phil”, as it is affectionately known in some circles, and aeronautical engineering, brought human arts and sciences of using air to their zenith. Pneumatic organ actions were then transformed to electric actions although there was a later reaction back to mechanics. For the aviation industry it was seminal: aircraft now replaced steam engines and organs as the most complex technology known to civilisation. The many ages and stages between the ancient Greeks, and Welte’s early 20th century automatic instruments, produced a train of incremental invention. Each epoch found ways of making organs play and sound the way it wanted them to. That changed with every new aesthetic from gothic, renaissance, baroque, “neo- classical” late 18th century, through the romantic era and on to a second, “neo- classical” phase, in the 20th century. It differed from country to country, culture to culture, even language to language: whether French, German, Italian, English or Netherlands, organs were also expressions of national ethos. By the early 19th century, the means of controlling the aesthetic qualities of organ pipes had long been established by empirical means: if it sounded good, then that was the way it was done. Sounding good, of course, differed according to Welte’s original proposal for the appearance of whether you were a medieval Britannic’s Philharmonie on board Netherlander, a renaissance Spaniard, a baroque Saxon, or your language and culture were “classical” French.
    [Show full text]