DOCSLIB.ORG

CHAN 6603 Booklet.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHAN 6603 Booklet.Indd CHANDOS COLLECT A Choral Festival CHAN 6603 including How lovely is Th y dwelling-place Brother James’ Air O Lord, our Governor Choirs of Westminster Abbey and Ely Cathedral A Choral Festival Johannes Brahms (1833 –1897) Thomas Attwood (1765–1838) 1 How lovely is Thy dwelling-place* 6:40 6 Turn Thy face from my sins* 3:58 from A German Requiem, Op. 45 Arthur Wills (b. 1926) James Bain (dates unknown) 7 The Carol of King Canute* 1:59 2 Brother James’ Air* 3:35 Arranged by Ian Humphris Sir Walter Parratt (1841–1924) 8 Confortare 1:04 Georges Bizet (1838 –1875) 3 Agnus Dei* 4:33 Sir Walter Galpin Alcock (1861–1947) Arranged by Ian Humphris 9 Sanctus 2:22 (1852 –1924) Sir Charles Villiers Stanford Sir George Dyson (1883 –1964) 4 Te Deum in B fl at* 5:54 10 O Praise God 2:03 from Morning, Communion and Evening Services in B fl at, Op. 10 5 * Jubilate 3:53 Sir Edward C. Bairstow (1874 –1946) from Morning, Communion and Evening Services in B fl at, Op. 10 11 Let my prayer come up into Thy presence 2:03 2 3 CCHANHAN 66603603 BBooklet.inddooklet.indd 22-3-3 228/11/068/11/06 009:49:539:49:53 A Choral Festival Sir Charles Villiers Stanford In the latter part of the nineteenth century, The cathedral tradition has a long history 12 Gloria in excelsis 5:14 reforms in church and cathedral resulted of ‘lollipops’ (to use Sir Thomas Beecham’s from Festal Communion Service in B fl at, Op. 128 in a marked increase in the repertoire of phrase) and The Lord Is My Shepherd, the recently composed music by such composers 23rd Psalm, has long been sung to the tune as Stainer, Sullivan, Parry and Lloyd, and in of Brother James’ Air, composed in the Healey Willan (1880 –1968) the last decade of the century a considerable nineteenth century by James Bain. 13 O Lord, our Governor 3:02 library of new church anthems was published, Another such popular piece is the Agnus particularly by Novello. Extracts from well- Dei by Georges Bizet, the composer of Carmen. Ralph Vaughan Williams (1872 –1958) known cantatas and oratorios, including A cantata submitted by the fi fteen-year-old for 14 Sanctus 2:25 Handel’s Messiah, were also widely sung, and the Prix de Rome in 1856 won only second among these there would certainly have been prize, but the following year he succeeded, with from Mass in G minor the chorus recorded here, translated into Clovis et Clotilde. At the Villa Medici he started 15 Festival Te Deum 7:22 English, from Brahms’s then new Requiem. much but completed comparatively little, TT 57:22 In London A German Requiem was fi rst including an extended Te Deum. However, the heard privately in 1871. Given a fi rst public popular short movement recorded here is, in Choir of Ely Cathedral* performance in 1872, it did not make a fact, a choral arrangement of an interlude from Gerald Gifford organ strong impression until it was taken up by the familiar music to L’Arlésienne, dating from Choir of Westminster Abbey the Bach Choir. One only has to compare the early 1870s. this favourite movement, How lovely is Thomas Attwood is perhaps most Timothy Farrell organ * Thy dwelling-place (Wie lieblich sind Deine celebrated for having been Mozart’s pupil. Arthur Wills Wohnungen), to the choral writing of Parry After gaining a considerable reputation as a Douglas Guest and his contemporaries, however, to realise theatre composer he served as organist at the work’s infl uence in the last quarter of St Paul’s Cathedral from 1798 until his death. the nineteenth century. Parry heard the work He achieved recognition as having a feeling early on, indeed he may well have sung it as for the anthem, new in its day, which made a member of the Bach Choir. Stanford, too, a virtue of a soft and sensitive approach to was impressed, conducting it in Cambridge words, one that seventy years later would on 23 May 1876. have been regarded as sentimental. The 4 5 CCHANHAN 66603603 BBooklet.inddooklet.indd 44-5-5 228/11/068/11/06 009:49:539:49:53 anthem Turn Thy face from my sins was The coronation of King Edward VII Music, Alcock represented the extension In that latter year music was required written in the last year of Attwood’s life and launched a new age. It had been so long of the infl uence and professionalism of from a new generation of composers, which with its treble solo and tuneful freshness since Queen Victoria’s coronation that the Parratt. He composed a number of large- included Sir George Dyson, the newly even has pre-echoes of Mendelssohn’s choral ceremony had to be virtually invented anew. scale anthems, recognisably in the Stanford appointed Director of the Royal College of works on a similar scale. However, the liturgical pattern had been tradition, including one for the 1902 Music, whose beefy setting of Psalm 150, Dating from a century and a half later, established for centuries, and in fact, at coronation. He was present again in 1911 O Praise God, was the coronation anthem, Arthur Wills’s The Carol of King Canute is the coronations between that of William when his specially composed Sanctus was then given with orchestral accompaniment. an example of the way in which the popular and Mary and that of Victoria, the amount heard in the service: after a quiet opening it It reminds us of the glorious setting of the tradition continued, particularly in Christmas of music used appears to have been large, builds impressively to a fervent climax, then Benedicite (‘O all ye works of the Lord, services. The words are by Charles Stubbs, even if the administrative arrangements recedes into silence. bless ye the Lord’) in Dyson’s cantata an early twentieth-century Dean of Ely showed themselves increasingly incompetent Stanford revolutionised English cathedral Nebuchadnezzar which had been heard at Cathedral, after an Anglo-Saxon poem, and in the late eighteenth and early nineteenth music almost single-handedly, and the impact Worcester in 1935. Dyson’s masterpiece it was set by Wills for the Cathedral’s annual centuries. In 1902 the occasion had the of his Services in B fl at, Op. 10 when it fi rst remains the cantata The Canterbury Pilgrims carol service in 1967 and repeated every character of a musical celebration, with the appeared in 1879 – Stanford was twenty- of 1930. year until 1989. The music reappeared later main composers of the day strongly involved. seven – must have been considerable. The The Introit at the coronation in 1937 was in Wills’s suite The Fenlands, for brass band Sir Walter Parratt, Master of the Musick from service consisted of the Te Deum, Jubilate and Sir Edward Bairstow’s anthem Let my prayer and organ, in which it became the second 1893 to 1924, wrote the short invocation Benedictus, the Offi ce for the Holy Communion come up into Thy presence. Bairstow had subject of the fi rst movement, ‘The Vikings’. to strength Confortare (‘Be strong and play and the Magnifi cat and Nunc Dimittis, thus been Organist and Master of the Choristers We are told that Queen Victoria’s coronation the man’) with brass accompaniment – here providing music for the morning, communion at York Minster from 1914 to 1936 but is was something of a shambles. The ceremony heard with organ –, its ringing opening and evening services. The Te Deum established perhaps best remembered as the teacher of completely unrehearsed, the clergy lost their and close designed to attract attention a new idiom and, in a version with orchestra, Gerald Finzi. Bairstow composed much organ places and the choir proved inadequate. in the wide spaces of the Cathedral, for it was a noted feature of the coronation in music and choral music, of which probably Only in the fi nal decade of the century did was the music for the crowning. Parratt 1902. It is followed here by the Jubilate (‘O be the most well known are the anthems Blessed Britain become confi dent at ceremonial, the was Stanford’s exact contemporary at the joyful in the Lord all ye Lands’) from the same city, heavenly Salem (1914) and Let all mortal consequence of Victoria’s Diamond Jubilee. Royal College of Music, where he served as service. Later Stanford would write four more fl esh keep silence (1925), while his Five Musically this proved particularly important as professor of the organ from its founding in services: in A (1880, published 1895), in F Poems of the Spirit for baritone, chorus and every royal occasion now became a festival of 1883 until 1923. (1889), in G (1902, 1904) and in C (1909). He orchestra, with their sixteen-minute duration, contemporary British music. Thus any account At the organ in Westminster Abbey in also provided the Festal Communion Service showed that his imagination could work on a of our cathedral music is signposted by works 1902 was Sir Walter Galpin Alcock, assistant in B fl at, Op. 128 for the coronation of King wider canvas, given the opportunity. written for the four coronation services in the organist at the Abbey from 1896 to 1916 George V in 1911, from which comes the Also specially written for the 1937 twentieth century. Such works are strongly (then moving to Salisbury for thirty years). Gloria in excelsis in this programme. It would ceremony was Vaughan Williams’s Festival Te represented in our programme.
Load more

Recommended publications
  • THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
    { to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke.
    [Show full text]
  • The Postwar Expansion of Toronto's Musical Life
    the postwar expansion of Toronto's musical prepared by Hams and Fred Feuerriegel life." The "great many changes in the proves it: many of the most respected artists musical life of Toronto" between Betty Jean of the past and present were indeed Hagen's 1953 and 1987 recitals appearances sponsored for the first time in Toronto, are left to the reader to discover elsewhere. Canada, or even North America by the Almost the last allusion to the WMC's WMC, from Wanda Landowska and Joseph context is on p. 165 concerning the 1962-63 Szigeti in the 1920s, through Dietrich season, and at three sentences is the most Fischer-Dieskau and Leontyne Price in the detailed in the book. And the notes of 1950s, to Elly Ameling and the Tokyo String occasional conflict with another city musical Quartet in the 1970s. However, except for a event suggest dissonance rather than couple of passing references to the use of a counterpoint. New York artists' agency, the actual working methods of the concert convenors are not Elliott first mentions the club's "great skill explained. The underlying mystery of how in introducing important young artists" in the they did it may remain, but who they were context of programs mounted during World and what they did are revealed (Elliott's War I, notes that by the late 1950s "the stated purpose) in this official history in reputation of the WMC as a discoverer of generous detail, supported by extensive new talent was at an all-time high," and footnotes, an abstract, bibliography and list describes the 1963 debut of Hermann Prey as of sources, various appendices, and an index providing "further confirmation of the in which, as in the text women are listed WMC's reputation for introducing the most with their own personal and maiden names, exciting young singers of the day to Toronto not (as they were in their lives) by their audiences." Nearer the end, he cites the husbands' initials.
    [Show full text]
  • Volume 89 Number 1 March 2020 V Olume 89 Number 1 March 2020
    Volume 89 Volume Number 1 March 2020 Volume 89 Number 1 March 2020 Historical Society of the Episcopal Church Benefactors ($500 or more) President Dr. F. W. Gerbracht, Jr. Wantagh, NY Robyn M. Neville, St. Mark’s School, Fort Lauderdale, Florida William H. Gleason Wheat Ridge, CO 1st Vice President The Rev. Dr. Thomas P. Mulvey, Jr. Hingham, MA J. Michael Utzinger, Hampden-Sydney College Mr. Matthew P. Payne Appleton, WI 2nd Vice President The Rev. Dr. Warren C. Platt New York, NY Robert W. Prichard, Virginia Theological Seminary The Rev. Dr. Robert W. Prichard Alexandria, VA Secretary Pamela Cochran, Loyola University Maryland The Rev. Dr. Gardiner H. Shattuck, Jr. Warwick, RI Treasurer Mrs. Susan L. Stonesifer Silver Spring, MD Bob Panfil, Diocese of Virginia Director of Operations Matthew P. Payne, Diocese of Fond du Lac Patrons ($250-$499) [email protected] Mr. Herschel “Vince” Anderson Tempe, AZ Anglican and Episcopal History The Rev. Cn. Robert G. Carroon, PhD Hartford, CT Dr. Mary S. Donovan Highlands Ranch, CO Editor-in-Chief The Rev. Cn. Nancy R. Holland San Diego, CA Edward L. Bond, Natchez, Mississippi The John F. Woolverton Editor of Anglican and Episcopal History Ms. Edna Johnston Richmond, VA [email protected] The Rev. Stephen A. Little Santa Rosa, CA Church Review Editor Richard Mahfood Bay Harbor, FL J. Barrington Bates, Prof. Frederick V. Mills, Sr. La Grange, GA Diocese of Newark [email protected] The Rev. Robert G. Trache Fort Lauderdale, FL Book Review Editor The Rev. Dr. Brian K. Wilbert Cleveland, OH Sheryl A. Kujawa-Holbrook, Claremont School of Theology [email protected] Anglican and Episcopal History (ISSN 0896-8039) is published quarterly (March, June, September, and Sustaining ($100-$499) December) by the Historical Society of the Episcopal Church, PO Box 1301, Appleton, WI 54912-1301 Christopher H.
    [Show full text]
  • University of Victoria Archives AR194 Healey Willan Collection
    University of Victoria Archives AR194 Healey Willan collection 1. Fonds-level description Title Healey Willan collection Dates 1937-1981 Extent 10 cm of textual records, 11 photographs Biographical sketch James Healey Willan was born 12 October 1880 in Balham, London. In 1897 he became an Associate of the Royal College of Organists, and in 1899 a Fellow. From 1903 until 1913 he served as organist and choirmaster at St. John the Baptist Kensington. In 1913 Healey immigrated to Canada, settling in Toronto. In Toronto Willan held various positions at St. Mary Magdalene, St. Paul’s, and the Toronto Conservatory. Willan died 16 February 1968. Scope and content The collection primarily consists of memorabilia and newspaper clippings, collected by Willan's son, Patrick Willan. Files include correspondence and minutes of the Healey Willan Centennial Celebration Committee, 1978-1980; programmes, 1936-1980; clippings, 1936?-1965; programmes and clippings of Willan's opera, Deirdre; obituaries and memorials, 1968; Church of St. Mary Magdalene, 1979-1980; Willan Centenary, 1980; articles on Willan, 1980-1981; memorabilia, 1968-1979; and photographs of Willan with family and musicians. Notes Gifted by Patrick Willan to music librarian Sandy Acker, who transferred the materials to Special Collection in the fall of 1988. 2. Structure (no series or files) 3. Inventory Accession 1989-020 1.1 Correspondence and minutes Picture postcard of Queen Elizabeth II with Prince Philip, Prince Charles and Princess Anne, 1953. Autograph note signed "Dad", to Pat & Lorna; no date. Typed letter signed from Fred Clarke to Mr. and Mrs. [Patrick] Willan. 8 Jan., 1978; 1 page.
    [Show full text]
  • March 12, 2020 Geoffrey Harris Ward, Organ Program Toccata in D Minor, Opus 59, No. 5 (1901) Max Reger (1873-1916) from Trio So
    March 12, 2020 Geoffrey Harris Ward, organ Program Toccata in D Minor, Opus 59, No. 5 (1901) Max Reger (1873-1916) from Trio Sonata in C Major No. 5, BWV 529 (1727) Johann Sebastian Bach Largo (1685-1750) Prelude and Fugue, Opus 109, #3 in C Major (1898) Camille Saint-Saëns (1835-1921) Master Tallis’ Testament (1940) Herbert Howells (1892-1983) Variations sur un theme de Clément Jannequin, JA 118 (1937) Jehan Alain (1911-1940) Litanies, JA 119 (1937) Dr. Geoffrey Harris Ward is from Brampton, Ontario, Canada. He studied piano performance at the Royal Conservatory of Music in Toronto and earned his Bachelor degrees in trumpet performance and education at Mount Allison University in Sackville, New Brunswick. Dr. Ward completed the Master of Music degree at Arizona State University in Tempe, AZ before completing his Doctorate in Musical Arts in Organ Performance, Church Music at the University of Kansas in Lawrence, KS. His lecture-recital at KU was “The three mass of Jehan Alain (1911-1940)”. Dr. Geoffrey Harris Ward commenced his duties as University Organist and Choirmaster at the University of the South in July 2016. He is also on the faculty for the Department of Music teaching organ and conducting lessons, directing the University Choir and teaching courses in music history and theory. Dr. Ward came to Sewanee from Memphis, TN where he served Saint John’s Episcopal Church and was the Artistic Director of the Memphis BoyChoir Inc. for 10 years. He also taught organ lessons at the University of Memphis. Geoffrey met his wife Hilary in Kansas.
    [Show full text]
  • Healey Columbia, He Began His Professional Career in Vancouver Where He Served for Many Years As Director of Music at Christ Church Cathedral
    557375bk Willan USA 4/12/05 9:26 pm Page 8 Patrick Wedd Canadian born Patrick Wedd directed his first church choir at the age of twelve. Having obtained degrees in organ performance from the Universities of Toronto and British Healey Columbia, he began his professional career in Vancouver where he served for many years as Director of Music at Christ Church Cathedral. In 1986 he moved to Montreal to become WILLAN Artistic Director of the Tudor Singers, a professional ensemble which toured extensively in Canada, and Music Director of the Church of St Andrew and St Paul. In 1991 he Organ Works became Music Director of the Church of St John the Evangelist. Since September 1996 he has assumed the position of Director of Music at Christ Church Cathedral, Introduction, Passacaglia and Fugue Montreal. Patrick Wedd has played recitals in Canada, the United States, Australia and England. He has appeared as Prelude and Fugue No. 2 soloist with the Vancouver Symphony, the Orchestre Symphonique de Montréal and the Orchestra of the Canadian Broadcasting Corporation (CBC), and his recordings include Patrick Wedd contemporary music for the Canadian Music Centre, light classics for the CBC, and the Poulenc and Jongen concertos with the Calgary Philharmonic Orchestra. He has given many workshops and conductors’ master-classes, and for three years was in charge of the choral programme of the Faculty of Music at the Université de Montréal. He is currently Artistic Director of the Montreal Boys’ Choir Course, and Founder/Director of the choral ensemble Musica Orbium. A recording of Christmas music with the choirs of Christ Church Cathedral appears on the ATMA label, and a disc of music for trombone and organ with renowned virtuoso Alain Trudel is already available on Naxos.
    [Show full text]
  • Benjamin Britten's Liturgical Music and Its Place in the Anglican
    Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10074906 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society.
    [Show full text]
  • Healey Willan and the Church of St. Mary Magdalene
    TORONTO REGION NEWSLETTER April- May- June, 2018 In this issue: Of Note: Healey Willan 1 Reading Review 15 In the Spotlight: The Annex Singers 6 Playing opportunities 17 Feature: Elise Bradley 7 Concert Notices 17 Schedule of Readings 12 Management Committee 2017 -2018 19 OF NOTE: HEALEY WILLAN AND THE CHURCH OF ST. MARY MAGDALENE Written by Andrew Adair Director of Music, Church of St. Mary Magdalene. Willan in his latter years. 1 “English by birth; Canadian by adoption; Irish by extraction; Scotch by absorption” is how Healey Willan (12 October 1880–16 February 1968) often described himself. His musical career began in 1889 as a chorister at St. Saviour’s Church in the English seaside town of Eastbourne, Sussex. St. Saviour’s had an excellent choir school which furnished Willan with a first-class general and musical education, and under the tutelage of Dr. Walter Hay Sangster, Willan received a rigorous grounding in harmony, counterpoint, and organ performance. It was this education that would set him on a path destined for excellence. After successfully passing the FRCO examination (Fellow of the Royal College of Organists) at age eighteen, Willan embarked upon a career as a professional musician in London. He conducted various choirs and became the Organist and Choirmaster of St. John the Baptist, Holland Road in Kensington, and began publishing his compositions. Willan in his London days. Despite his success as a blossoming professional musician, Willan did not earn enough money to support his growing family. His organist position paid £100 per year, which in today’s currency is around £10,000, and his additional income from teaching, publishing, and performing was not lucrative.
    [Show full text]
  • Ce Document Est Tiré Du Registre Aux Fins De La Loi Sur Le Patrimoine De L
    This document was retrieved from the Ontario Heritage Act Register, which is accessible through the website of the Ontario Heritage Trust at www.heritagetrust.on.ca. Ce document est tiré du registre aux fins de la Loi sur le patrimoine de l’Ontario, accessible à partir du site Web de la Fiducie du patrimoine ontarien sur www.heritagetrust.on.ca. ------------,--------~-··· • ' • • • • • IN THE MATTER OF THE ONTARIO HERITAGE ACT • R.S.0. 1980, CHAPTER 337 AND 469 MANNING AVENUE C.ITY OF TORONTO, PROVINCE OF ONTARIO NOTICE OF PASSING OF BY-LAW To: Rector and Church Wardens of the Church of St. Mary Magdalene 479 Manning Avenue Toronto, Ontario M6G 2V8 • Ontario Heritage Foundation Take notice that the Council of the Corporation of the City of Toronto has passe.d By-law No. 524-91 to designate the above-mentioned property to be of· architec.tural value or interest. Dated at Toronto this 22nd day of October, 1991. Ba·rbara G. Caplan City Cl rk • - • • No. 524-91. A BY-LAW To designate the property at 469 Manning Avenue (Church ofSt. Mary Magdalene) ofarchitectural and historical value or interest. l (Passed September 16, 1991.) I ,· Whereas by Clause 11 of Neighbourhoods Committee Report No. 11, adopted by Council at its meeting ·t held. on September 16, 1991, authority was granted to designate the property at 469 Manning Avenue of architectural and historical value or interest; and Whereas the Ontario Heritage Act authorizes the Council of a municipality to enact by-laws to designate real property, including all the buildings and structures thereon, to be of historic or architectural value or interest; and Whereas the Council of The Corporation of the City of Toronto has caused to be served upon the owners of the lands and premises known as 469 Manning Avenue and upon the Ontario Heritage.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Benjamin Britten, Herbert Howells, and Silence as the Ineable in English Cathedral Music PAULEY, JOHN-BEDE How to cite: PAULEY, JOHN-BEDE (2013) Benjamin Britten, Herbert Howells, and Silence as the Ineable in English Cathedral Music, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9499/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ABSTRACT Benjamin Britten, Herbert Howells, and Silence as the Ineffable in English Cathedral Music John-Bede Pauley Silence’s expressive potential came to the fore in twentieth-century arts and letters as never before. Its role in Christian theology and spirituality has a much longer history, but by the beginning of the twentieth century, its expressive potential had not been significantly recognized in liturgical choral music. This study examined the relationship between twentieth-century musical silence and the expression of silence as the ineffable in Anglican choral music (referred to as English cathedral music or ECM) of the middle of the twentieth century.
    [Show full text]
  • Download Booklet
    557037 bk Faire 11/4/03 12:26 PM Page 5 Paul Halley 1 GORDON SLATER (1896-1979) arr. PAUL HALLEY (b. 1952): Jesu, The Very Thought of Thee 4:45 DDD 2 HEALEY WILLAN (1880-1968): Gloria Deo Per Imensa Saecula 7:46 FAIRE IS THE HEAVEN Paul Halley was born in Romford, England in 1952, received his early musical training in Ottawa, Canada, and at 3 SYDNEY CAMPBELL (1909-1974): Sing We Merrily unto God our Strength 2:19 8.557037 the age of sixteen was made an Associate of the Royal Conservatory of Toronto. Having been awarded the organ scholarship at Trinity College, Cambridge, Halley received his M.A., and was made a Fellow of the Royal College 4 HEALEY WILLAN:I Beheld Her 2:15 Hymns and Anthems of Organists. 5 HEALEY WILLAN: Fair in Face 2:19 From 1977 to 1989, Paul Halley was Organist and Choirmaster at the Cathedral of St John the Divine in New York City. He transformed the Cathedral’s music programme into a rich combination of classical and contemporary 6 HEALEY WILLAN: Rise Up My Love 2:01 Mozart • Mendelssohn • Howells • Willan music. He was also a principal member of the Paul Winter Consort, and earned three Grammy Awards for his 7 HERBERT HOWELLS (1892-1983): Te Deum 8:22 contributions as a featured writer and performer on many Consort recordings. Halley’s music has been performed 8 SAMUEL S. WESLEY (1810-1876): O Thou Who Camest From Above (Hymn - “Hereford”) 2:36 and recorded by many notable artists and ensembles, including the New Jersey Symphony, and John Williams and Choir of St John’s, Elora • Noel Edison the Boston Pops Orchestra.
    [Show full text]
  • THE CONTRAPUNTAL STYLE of HEALEY WILLAN by WILLIAM
    THE CONTRAPUNTAL STYLE OF HEALEY WILLAN by WILLIAM JONATHAN MICHAEL RENWICK .Mus., The University of British Columbia, 19 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF MUSIC We accept this thesis as conforming .to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March 1982 © William Jonathan Michael Renwick, 1982 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of .Music The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date March 19, 1982 Abstract Healey Willan was a Canadian composer who succeed• ed in integrating a broad range of stylistic character• istics into a personal musical idiom. It is the object of this paper to examine various elements which make up the unique style of this composer, so as to provide a foundation for a better appreciation of the value of his work. The first chapter deals with the varied influences on the composer's development, . and outlines the dif• ferent styles which affected his work. A discussion of his pedagogical methods illustrates that his teaching bears a close relation to his compositional work.
    [Show full text]