The Parish of All Saints • Ashmont Liturgical Music

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The Parish of All Saints • Ashmont Liturgical Music The Parish of All Saints • Ashmont Liturgical Music February 3 The Feast of the Presentation – Candlemas Evensong with the Choir of All Saints’, Worcester – Bernard Rose Baptism through Easter 2019 Preces and Responses Psalm 84 Anglican Chant: C. Hubert H. Parry Evening Service in E major – Horatio Parker The Rev’d Michael J. Godderz, Rector I was glad – C. Hubert H. Parry Andrew P. Sheranian, Organist and Master of Choristers Organ Sister Christine, SSM Evening Song – Edward Cuthbert Bairstow Michael Raleigh, Associate Choirmaster At Eventide – Charles V. Stanford Ross Wood, Associate Organist February 10 The Fifth Sunday after the Epiphany January 13 The Feast of the Baptism of Christ Communion Service in F major – Herbert Sumsion Messe ‘Cum jubilo’ – Maurice Duruflé Psalm 85:7-13 Anglican Chant: A.S. Hemmings Psalm 89:20-29 Anglican Chant: R. Massey I’ve been in the storm so long – arr. by Jeffrey Ames Sicut cervus – Giovanni Pierluigi da Palestrina Organ Organ Eclogue – Gerald Finzi Méditation – Maurice Duruflé Forlana – Gerald Finzi Sicilienne – Maurice Duruflé February 17 The Sixth Sunday after the Epiphany January 20 The Second Sunday after the Epiphany Missa brevis – Philip Radcliffe Missa Salve Regina – Everett Titcomb Psalm 1 Anglican Chant: G. Elvey Psalm 96:1-10 Anglican Chant: Charles V. Stanford Daniel, Daniel – arr. Undine Moore O pray for the peace of Jerusalem – Herbert Howells Organ ? (Symphony No. 2) — Charles-Marie Widor Organ Adagio ? Cantilène (Suite Brève) – Jean Langlais Méditation (Symphony No. 1) — Charles-Marie Widor Lebhaft (Sonata II) – Paul Hindemith February 24 The Seventh Sunday after the Epiphany January 27 The Third Sunday after the Epiphany Communion Service in the Phrygian Mode – Charles Wood Communion Service in G minor – Searle Wright Psalm 37:3-10 Anglican Chant: H. West Psalm 113 Anglican Chant: F.A.G. Ouseley There is a balm in Gilead – arr. by William Dawson North Port – Sacred Harp Organ Organ Prélude sûr le nom d’Alain – Maurice Duruflé Fugue sûr le nom d’Alain – Maurice Duruflé Improvisation on North Port Jubilo – Dan Locklair March 3 The Last Sunday after the Epiphany February 3 The Fourth Sunday after the Epiphany Mass in G major – Franz Schubert Missa brevis in C “Organ-solo Mass” – W.A. Mozart Psalm 99 Anglican Chant: Percy Whitlock Psalm 71:1-6, 15-17 Anglican Chant: W. Gray Christ, whose glory fills the skies – T. Frederick Candlyn Steal away to Jesus – arr. by Patrick Dupré Quigley Organ Organ Vater unser – Georg Böhm & Ein feste Burg – Dietrich Buxtehude Suite – Nicolas de Grigny Improvisation sûr le ‘Te Deum’ – Charles Tournemire Prelude in C minor (BWV 546) – Johann Sebastian Bach March 6 The First Day of Lent: Ash Wednesday April 7 The Fifth Sunday of Lent sung by the Full Choir Mass for Five Voices – William Byrd Mass for Three Voices – William Byrd Psalm 126 Anglican Chant: J. Turle Psalm 103:8-14 Anglican Chant: I. Atkins Ave verum corpus – William Byrd Lord, let me known mine end – Maurice Greene Organ Organ Elegy – George Thalben-Ball Prelude in B minor (BWV 544) – Johann Sebastian Bach Elegie – C. Hubert H. Parry Fugue in B minor (BWV 544) – Johann Sebastian Bach April 14 Palm Sunday March 10 The First Sunday of Lent Communion Service in B minor – T. Tertius Noble Missa Simile est regnum caelorum – Tomás Luis de Victoria Psalm 22:1-11 Anglican Chant: C. Hylton Stewart Psalm 91:9-15 Anglican Chant: J. Goss Agnus Dei (Adagio for Strings) – Samuel Barber Wash me throughly – Samuel Sebastian Wesley Organ Organ Valet will ich dir geben (BWV 736) – Johann Sebastian Bach O Mensch, bewein dein’ Sünde groß (BWV 622) – Johann Sebastian Bach Soliloquy – David Conte Cantabile – César Franck April 18 Maundy Thursday March 17 The Second Sunday of Lent Mass on Armenian Church Melodies – Andrew Sheranian Communion Service in D minor – Kenneth Leighton Psalm 78:14-20, 23-25 Anglican Chant: C.B. Rootham Psalm 27:10-18 Anglican Chant: J. Turle Ubi caritas – Maurice Duruflé Like as the hart – Herbert Howells Ave verum corpus – William Byrd Organ Organ Prière – César Franck Le Banquet célèste – Olivier Messiaen Elegie – Flor Peeters April 19 Good Friday March 24 The Third Sunday of Lent Psalm 22:1-21 – Plainsong Mass for Four Voices – William Byrd The Passion according to St. John – Tomás Luis de Victoria Psalm 103:1-11 Anglican Chant: Ivor Atkins O vos omnes – Pablo Casals Turn thy face from my sins – Thomas Attwood Organ God so loved the world – John Stainer Fantasia sopra “Ut, re, mi, fa, sol, la” – Johann Jakob Froberger Were you there? – arr. someone other than Chilcott Fantasia sopra “Ut, re, mi, fa, sol, la” – William Byrd April 20 The Great Vigil of Easter March 31 The Fourth Sunday of Lent Communion Service in F major – Harold Darke Missa brevis Sancti Joannis de Deo – Franz Josef Haydn Sing ye to the Lord – Edward Cuthbert Bairstow Psalm 34:1-8 Anglican Chant: Thomas Attwood Organ Insanae et vanae curae – Franz Josef Haydn Toccata (Symphony V) – Charles-Marie Widor Organ O Lamm Gottes (BWV 656) – Johann Sebastian Bach April 21 Easter Day An Wasserflüssen Babylon (BWV 653) – Johann Sebastian Bach Communion Service in B-flat and F – Charles V. Stanford Psalm 118:14-17, 22-24 Anglican Chant: P. Whitlock Ye choirs of New Jerusalem – Charles V. Stanford Organ Sarabande for the morning of Easter – Herbert Howells Final (Symphony VI) – Louis Vierne .
Recommended publications
  • Finzi Bagatelles
    Gerald Finzi (1901-1956): Five Bagatelles for clarinet and piano, Opus 23 (1945) Prelude: Allegro deciso Romance: Andante tranquillo Carol: Andante semplice Forlana: Allegretto grazioso Fughetta: Allegro vivace Better known for his vocal music, Finzi also wrote well for the clarinet: these Five Bagatelles and his later Clarinet Concerto are frequently played. Born to a German/Italian Jewish family in London, the teenage Finzi was taught composition in Harrogate by Ernest Farrar, a pupil of Stanford, and by Edward Bairstow, Master of Music at York Minster. His subsequent friends and colleagues included Vaughan Williams, R.O.Morris, Holst, Bliss, Rubbra and Howard Ferguson; his music is firmly within this English tradition. He was attracted to the beauty of the English countryside and to the poetry of Traherne, Hardy and Christina Rosetti. The Five Bagatelles had a tortuous birth. In the summer of 1941, increasingly confident in his powers as a composer, Finzi completed three character pieces for clarinet and piano before being drafted into the Ministry of War Transport. He used “20-year-old bits and pieces”, which he had been working on since 1938. A fourth was added in January 1942 and the whole group performed at a wartime National Gallery lunchtime concert. Leslie Boosey wanted to publish the pieces separately, but in July 1945 Finzi persuaded him to publish them as a group, together with an additional fast finale. Somewhat to Finzi's chagrin, they became his most popular piece: ‘they are only trifles... not worth much, but got better notices than my decent stuff’. The first movement shows Bach's influence on Finzi and contains a slow central section with characteristically wistful falling minor 7ths.
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  • Notes from the Bench September – December 2016 by Dr. James Gerber December 18, 2016 “Ave Maria” by Franz Biebl Ave Mari
    Notes from the Bench September – December 2016 by Dr. James Gerber December 18, 2016 “Ave Maria” By Franz Biebl Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Amen. Hail Mary, full of grace, the Lord is with thee; blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen. The “Ave Maria” or “Hail Mary” is a traditional devotional prayer that is often prayed by Christians within the Roman Catholic and Eastern Orthodox traditions as well as many Anglo-Catholics among our Anglican tradition. The first half of this prayer text is derived from Luke 1:28, 30-31; the remainder is a prayer of intercession. This text may be used as an individual prayer, or incorporated into a larger prayer form such as the Rosary, which is a meditation on the mysteries of Christ’s life, and the Angelus, a devotional prayer that commemorates the Incarnation of Christ. “Ave Maria” has been set to music by a countless number of composers; we have musical settings in the styles of plainsong, choral polyphony, solo arias, and popular folk songs just to name a few. The setting sung by our Senior Choir today was composed by Franz Biebl (1906-2001), a twentieth century German composer. He incorporates three introductory versicles from the Angelus prayer in this setting. Angelus Domini notiavit Mariae, et concepit de Spiritu sancto.
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  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Of Text and Tune: The Relationship between Words and Music in the Choral Music of Gerald Finzi A Doctoral Document submitted to the Graduate School of the University of Cincinnati In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Division of Ensembles and Conducting College-Conservatory of Music University of Cincinnati, Ohio By Graeme Langager Fayetteville, AR 07 August 2006 B.M. Capilano College (North Vancouver, British Columbia, Canada), 1994 M.M. California State University, Long Beach, 1997 Committee Chair: Dr. Stephen Coker ABSTRACT The life and music of English composer, Gerald Finzi (1901-56) has received relatively little critical study; that which has been done, however, especially regarding the choral and vocal music, often focuses on Finzi’s gift for setting words to music. On account of this unique gift, Finzi has been referred to as the English Hugo Wolf. This document focuses on his special ability to interrelate the words and music, and on the set of key factors that helped him develop this talent. A brief biographical study will reveal three major influences on Finzi’s life and music: an association with the finest English composers of the late nineteenth and early twentieth century; a fondness for all things English, including Great Britain’s musical heritage, its manner, its unique geography, and its great authors and poets; and a worldview affected by tragic events and losses in his life.
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  • New Singing Competition, Singfinzi2021, Honours Gerald Finzi
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  • Patrick Hadley Gerald Finzi
    SRCD.238 STEREO ADD Patrick Hadley THE TREES SO HIGH PATRICK HADLEY (1899-1973) The Trees so High Gerald Finzi Symphonic Ballad in A minor INTIMATIONS OF IMMORTALITY 1 1. Adagio (10’58”) 3 3. Vivace (5’04”) 2 2. Andante tranquillo (4’38”) 4 4. Adagio – ‘The Trees so High’ (13’26”) Vernon Handley soloists Thomas Allen & Ian Partridge (34’07”) Thomas Allen (baritone) New Philharmonia Orchestra • Guildford Philharmonic Choir & Orchestra Guildford Philharmonic Choir • New Philharmonia Orchestra (leader Carl Pini) conducted by Vernon Handley GERALD FINZI (1901-1956) Intimations of Immortality * Ode for tenor solo, chorus and orchestra 5 1. Prelude (4’45”) 10 6. V: Our birth is but a sleep… (3’45”) 6 2. I: There was a time when… (4’05”) 11 7. VI: Earth fills her lap… (1’34”) 7 3. II: The Rainbow comes & goes (2’34”) 12 8. IX: O joy! that in our embers… (7’55”) 8 4. III: Now, while the birds… (3’50”) 13 9. X: Then sing, ye Birds sing… (3’30”) 9 5. IV: Ye blessèd Creatures… (6’26”) 14 10. XI: And O, ye Fountains… (4’41”) (43’12”) Ian Partridge (tenor) Guildford Philharmonic Choir & Orchestra conducted by Vernon Handley Total playing time (77’19”) The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1979 *ൿ 1975 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering ൿ 2007 Lyrita Recorded Edition, England.
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  • Teaching the Songs of Ivor Gurney
    Teaching the Songs of Ivor Gurney: An Applied Studio Guide to the Utilization of Fourteen Songs DMA Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Errik M. Hood, BM, MM Graduate Program in Music The Ohio State University 2015 DMA Document Committee Dr. Robin Rice, Advisor Professor Joseph Duchi Professor Kristine Kearney Dr. Scott McCoy Copyright by Errik M. Hood 2015 Abstract Brilliant and tortured composer Ivor Gurney produced some three hundred songs, only one third of which have been published. Resistant to criticism from others and suffering from erratic behavior and a slow decline of his mental faculties, Gurney’s songs range from masterpieces of the genre to indecipherable muddle. Recently, well-deserved attention has been paid to the hidden gems that exist in Gurney’s output. Writings and recordings have brought about critical analysis and thoughtful performances of these songs; however, little has been written about how these songs can be utilized where they will have the largest impact on future generations of singers and audience members: the applied studio. This document will give a brief background on the life and compositional output of Gurney, with special attention paid to the composition and publication of his art songs. It will discuss many high-quality writings that delve into analyzing and advising performance of these songs. Lastly, this document will summarize observations from these works with additional observations from this author, and there will be a discussion regarding the use of this repertoire to address specific pedagogical issues in the voice studio with fourteen of Gurney’s published songs.
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