DOCSLIB.ORG

Royal Choral Society: the Resignation of Sir Frederick Bridge Author(S): Herman Klein Source: the Musical Times, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Royal Choral Society: the Resignation of Sir Frederick Bridge Author(S): Herman Klein Source: the Musical Times, Vol Royal Choral Society: The Resignation of Sir Frederick Bridge Author(s): Herman Klein Source: The Musical Times, Vol. 62, No. 945 (Nov. 1, 1921), pp. 757-758 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908950 Accessed: 21-12-2015 15:52 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 137.52.76.29 on Mon, 21 Dec 2015 15:52:43 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-NOvEMBER 1 1921 757 them, and it may be asserted without fear E 0 of contradiction that their esprit de corps has ZflusicalEimes never been stronger than it will be when AND SINGING-CLASS CIRCULAR Sir Frederick Bridge lays down his baton for the last time at the Good Friday performance NOVEMBER I 1921 of 'The Messiah' in April next. To quote the wordswritten by the secretaryof the Society in the programmeof the Jubilee Concert: ROYAL CHORAL SOCIETY : Theyare proud of their choir-proud of its fame and traditions. to themit is a potentcivilising and forcedestined to much and THE RESIGNATION OF elevating bring gladness content. SIR FREDERICK BRIDGE Paying tribute to the conductor, the same writerdeclared him to be By HERMAN KLEIN . a veteranin years,but in kindheartednessand The partingbetween friends,no matterwhen it vigourthe youngest of his generation. This is notthe comes, is always fraughtwith sadness, and long place to singhis praises,nor is it necessary,for his expectationof a melancholymoment does little,as is easilythe best-known name among English musicians a rule,to alleviate its poignancy. Otherwiseone of the day. As organistof WestminsterAbbey for might say that Sir FrederickBridge displayed his forty-fouryears (and nowretired with the honourable customary thoughtfulnessfor the feelings of his titleof Emeritus-Organist), conductor, lecturer, essayist, good friends, the members of the Albert Hall andby no meansleast, as humorist,his fame is assured. choir,when he made known to them at rehearsal recently his intention of vacating, at the end A solid and lastingrecord of his valuable labours of the present season, the post which he will then at the Royal Albert Hall is to be found in the have held for twenty-fiveyears, of conductorof the catalogue of new worksperformed there under his Royal Choral Society. The event mightnot in the direction during the second half of the Jubilee naturalcourse of thingshave been unanticipated; period. These comprise mostly compositions but it was peculiarlyfitting that the announcement of from the pens of native composers then or now it-the officialintimation, as it were-should come living. Among them may be noted Elgar's from the lips of the personage most concerned. ' King Olaf,' 'Dream of Gerontius,''The Apostles,' It was done, too, withthat fine simplicity of phrase 'The Kingdom,' 'The Music-Makers,' and and unaffecteddignity and earnestnessof manner 'The Spirit of England'; Coleridge-Taylor's 'The Blind Girl of Castel that best enable an Englishman to conceal his Hiawatha,' Cuill6,' emotions, but which nevertheless caused the 'The Atonement,'and 'A Tale of Old Japan'; inevitable lump to rise in the throatof many a Parry's 'War and Peace,' 'Invocation to Music,' singerthen facinghim. 'Pied Piper of Hamelin,' and ' The Chivalry of For, truthto tell, theyhave been on remarkablythe Sea'; Saint-Saens' 'The Promised Land'; good termswith each other,these eight hundred Mackenzie's 'The Witch's Daughter'; Cowen's and fiftychoristers and theirgenial conductor,ever 'The Veil' ; Stanford's'Stabat Mater,' ' Songs of since the latter succeeded Sir Joseph Barnby in the Sea,' ' Songs of the Fleet,' and ' At the Abbey I896. Barnby was not exactly an easy man to Gate' ; Ethel Smyth's'Mass '; Hamilton Harty's follow, being popular in the widest sense, facile 'Mystic Trumpeter' ; Vaughan Williams' 'Sea Two princeps in his line, sorifethingof a martinet,like Symphony'; Charles Wood's 'Dirge for Costa, but easier to placate, and thereforeliable to Veterans' ; Balfour Gardiner's 'News from be personallyadored. Yet, delicate and difficultWhydah'; and last, but not least, Sir Frederick's though his task at the outset, the organist of own 'Flag of England,' 'The Ballad of the WestminsterAbbey quicklyshowed thathe had the Clampherdown,' 'The Forging of the Anchor,' rightfibre to conquer with-the warmgood-nature 'A Song of the English,'and 'The Inchcape Rock,' and wittytongue; the sufficiencyof experienceas not to mentionthe earlier(and perhapsbest of them a choral conductor; the mind of a sympatheticand all) 'Callirhoe' and the settingof 'Rock of Ages.' capable musician; above all, the resolute will Here, assuredly,is a list of whichany conductor to do his best in everything. may be proud. However. the whole career of this And so, conquer he did. The old choristers remarkableman has been a synonym for hard who would have gone throughfire and water for work. His interestingand amusingautobiography, 'Sir Joseph' soon found that confidence in the 'A WestminsterPilgrim,' affordseloquent proof new leader would not be misplaced, and fromthat of this. (Truly,he remindsus morethan any other time forwardthey unhesitatinglytransferred their man of Sir Charles Hall6, who, if he neither affectionsand their ready obedience to him who lectured nor wrote essays, was capable of musical in due course became 'Sir Frederick.' Their strain for longer stretchesof time than any of his successors and freshcompanions during the course contemporaries,and did not, moreover,indulge in of fiveand twentyseasons have taken the cue from a long annual holidaywith plenty of salmon-fishing This content downloaded from 137.52.76.29 on Mon, 21 Dec 2015 15:52:43 UTC All use subject to JSTOR Terms and Conditions 758 THE MUSICAL TIMES-NOVEMBER I 1921 duringthe summermonths.) An appendix to the Concerts which for some time they had been book gives a complete list of the worksperformed carryingon at St. James's Hall. It was agreed by the Royal Choral Society under the author's that Mr. Littleton should be empowered to direction from 1896 to 1918. Referringto this, nominatefrom time to timeworks selected fromthe Sir Frederick also says, '"My relationswith both Novello catalogue to be presentedby the Society, choir and orchestrahave always been veryhappy; and amongst other valuable considerations a now and then I have been betrayedinto a satirical substantialsum was to be grantedby thepublishing word, but seldom into an angry one.' He firm towards the cost of presentingthese works probably regards as his most creditableachieve- at the Society's concerts. It resulted from the ment at the Albert Hall the revival of 'The exercise of this power that in March, 1900, Messiah,' without Mozart's additional accompani- Coleridge-Taylor's'The Song of Hiawatha' was ments. 'I had always looked askance at these produced by the Society on paymentof a hundred embellishments,'he says, and 'to my mind the pounds by the publishers. gain in dispensing with these accompanimentsis This agreement lapsed theoreticallyin 892, immense.' On the whole, the public verdicthas but in practice it was continued for some years endorsed his opinion. afterwards. In the meanwhile, Alfred Henry When the time comes for complete retirementLittleton never ceased to serve-faithfully and Sir Frederick Bridge will, in the fullest degree, assiduously, as was his wont-on the Committee have earnedhis otiurmcum dignitate. Nevertheless,of Managementuntil his death in 1914. After a as all the world knows, he is still marvellouslyshort interval, Mr. AugustusLittleton was invitedto young for the seventy-sevenyears he will have take his brother'splace on the Committee,and also lived by the fifth of next December. Writinv on the sub-committee(appointed annually) whose about him in a prominentdaily paper at the time duties were-and are-to arrangethe programmes, of our presentKing's Coronation,I made allusion engage the soloists, and attend to all details to this characteristicjuvenility, which has not been connected with the Society's concerts. The affectedby what I ventured to describe then as suggestions and recommendationsof this sub- 'one of the liveliest,most excitable temperamentscommittee for each season are naturallysubmitted to be found in a professionof notoriouslyexcitable to the Committee of Management for aplproval beings.' I added, and confirmation, and it need scarcely be said that the services of Mr. Littleton He is bynature eminently practical. He is anartist, Augustus were rendered withthe same zeal butnot a dreamer;a level-headedbusiness man, ever throughout and regard for the mutual interestsat stake as had readyto soarto music'ssublimest heights in searchof markedhis late brother'stenure of office. inspirationfor an anthemor a cantata; as content just of the contract to delveamid scoresand volumesfor The signing between the Society forgotten dusty and Messrs. Novello material for a Gresham lecture. excited the highest expecta- tions
Load more

Recommended publications
  • NABMSA Reviews a Publication of the North American British Music Studies Association
    NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination.
    [Show full text]
  • Download Booklet
    A KNIGHT’S PROGRESS A KNIGHT’S PROGRESS According to the rubric in the service book for the 1953 Coronation, the Queen, as soon as 1 I was glad Hubert Parry (1848-1918) [4.57] Born in the seaside town of Bournemouth, Sir she entered at the west door of the Church, 2 The Twelve William Walton (1902-1983) [11.49] Charles Hubert Hastings Parry went on to study was to be received with this anthem and, while Soloists: Oscar Simms treble at Eton and then at Oxford University where it was being sung, she was to pass through Benedict Davies treble Tom Williams alto he subsequently became Professor of Music. the body of the Church, into and through the Thomas Guthrie tenor From 1895 until his death he was also Director Choir, and up to her Chair of Estate beside Christopher Dixon bass of the Royal College of Music in London. He the Altar. On that occasion the Queen’s Our present charter * Nico Muhly (b.1981) wrote music of all kinds, including an opera, Scholars of Westminster School led the choir 3 I. First [4.02] symphonies, chamber and instrumental music, in singing the central section of this anthem – 4 II. Thy Kingdome Come, O God [4.21] oratorios and church music. However, he is ‘Vivat Regina Elizabetha!’ – a section that 5 III. The Beatitudes [4.22] perhaps best known nowadays for his famous nowadays is ususally omitted in concert 6 IV. Nullus Liber Homo Capiatur [4.45] setting of William Blake’s poem, Jerusalem. performances, as it is on this recording.
    [Show full text]
  • Choir of St John's College, Cambridge Andrew Nethsingha
    Choir of St John’S COLLEGE, CAMBRIDGE ANDREW NETHSINGHA Felix Mendelssohn, 1847 Mendelssohn, Felix Painting by Wilhelm Hensel (1794 – 1861) / AKG Images, London The Call: More Choral Classics from St John’s John Ireland (1879 – 1962) 1 Greater Love hath no man* 6:02 Motet for Treble, Baritone, Chorus, and Organ Alexander Tomkinson treble Augustus Perkins Ray bass-baritone Moderato – Poco più moto – Tempo I – Con moto – Meno mosso Douglas Guest (1916 – 1996) 2 For the Fallen 1:21 No. 1 from Two Anthems for Remembrance for Unaccompanied Chorus Slow Sir Charles Hubert Hastings Parry (1848 – 1918) 3 My soul, there is a country 4:00 No. 1 from Songs of Farewell, Six Motets for Unaccompanied Chorus Slow – Daintily – Slower – Animato – Slower – Tempo – Animato – Slower – Slower 3 Roxanna Panufnik (b. 1968) 4 The Call† 4:21 for Chorus and Harp For Andrew Nethsingha and the Choir of St John’s College, Cambridge Felix Mendelssohn (1809 – 1847) Hear my prayer* 11:21 Hymn for Solo Soprano, Chorus, and Organ Wilhelm Taubert gewidmet Oliver Brown treble 5 ‘Hear my prayer’. Andante – Allegro moderato – Recitativ – Sostenuto – 5:51 6 ‘O for the wings of a dove’. Con un poco più di moto 5:29 Sir Charles Hubert Hastings Parry 7 I was glad* 5:28 Coronation Anthem for Edward VII for Chorus and Organ Revised for George V Maestoso – Slower – Alla marcia 4 Sir Charles Villiers Stanford (1852 – 1924) 8 Beati quorum via 3:39 No. 3 from Three [Latin] Motets, Op. 38 for Unaccompanied Chorus To Alan Gray and the Choir of Trinity College, Cambridge Con moto tranquillo ma non troppo lento Sir John Tavener (1944 – 2013) 9 Song for Athene 5:31 for Unaccompanied Chorus Very tender, with great inner stillness and serenity – With resplendent joy in the Resurrection Sir Charles Villiers Stanford 10 Te Deum laudamus* 6:47 in B flat major • in B-Dur • en si bémol majeur from Morning, Communion, and Evening Services, Op.
    [Show full text]
  • Other Side of Sullivan Transcript
    Other Side of Sullivan Transcript Date: Wednesday, 11 June 2008 - 12:00AM THE OTHER SIDE OF SULLIVAN Professor Robin Wilson When you think of Sullivan, you probably think of something like this: Three little maids from school But there was another side to Sullivan, which is less familiar: Extract from Overture to Macbeth - part of the incidental music to Henry Irving's production ofM acbeth at the Lyceum Theatre in 1888. Today I want to explore this other side of Sir Arthur Sullivan, with examples of his art songs, his church and choral music, his grand opera, and his orchestral output. This lecture is part of the Gresham series of lectures marking the tercentenary of St Paul's Cathedral, a building with which Sullivan had associations throughout his life. Indeed, after his death in 1900, Queen Victoria insisted that he should receive a State funeral at St Paul's, and his grave can still be seen in the crypt. The pall-bearers at his funeral included Sir John Stainer, a life-long friend and composer of 'Stainer'sCrucifixion', and his close friends and contemporaries Sir George Martin, organist of St Paul's, and Sir Frederick Bridge, organist of Westminster Abbey and Gresham Professor of Music. The music played at the funeral included Brother, thou art gone before us, which Sullivan had composed twenty years earlier for his sacred musical drama The Martyr of Antioch. Brother, thou art gone before us Early days Arthur Sullivan was born on 13 May 1842 in Lambeth. His father was a theatre musician who was appointed bandmaster at the Royal Military College at Sandhurst when Arthur was 3.
    [Show full text]
  • The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study
    The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and infomation derived from it should be acknowledged. The Music of Sir Alexander Campbell Mackenzie (1847-1935): A Critical Study Duncan James Barker A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) Music Department University of Durham 1999 Volume 2 of 2 23 AUG 1999 Contents Volume 2 Appendix 1: Biographical Timeline 246 Appendix 2: The Mackenzie Family Tree 257 Appendix 3: A Catalogue of Works 260 by Alexander Campbell Mackenzie List of Manuscript Sources 396 Bibliography 399 Appendix 1: Biographical Timeline Appendix 1: Biographical Timeline NOTE: The following timeline, detailing the main biographical events of Mackenzie's life, has been constructed from the composer's autobiography, A Musician's Narrative, and various interviews published during his lifetime. It has been verified with reference to information found in The Musical Times and other similar sources. Although not fully comprehensive, the timeline should provide the reader with a useful chronological survey of Mackenzie's career as a musician and composer. ABBREVIATIONS: ACM Alexander Campbell Mackenzie MT The Musical Times RAM Royal Academy of Music 1847 Born 22 August, 22 Nelson Street, Edinburgh. 1856 ACM travels to London with his father and the orchestra of the Theatre Royal, Edinburgh, and visits the Crystal Palace and the Thames Tunnel. 1857 Alexander Mackenzie admits to ill health and plans for ACM's education (July). ACM and his father travel to Germany in August: Edinburgh to Hamburg (by boat), then to Hildesheim (by rail) and Schwarzburg-Sondershausen (by Schnellpost).
    [Show full text]
  • Walter Wilson Cobbett and the English Phantasy
    WALTER WILSON COBBETT AND THE ENGLISH PHANTASY Kathryn L. Lent A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2008 Committee: Eftychia Papanikolaou, Advisor Mary Natvig Robert Fallon © 2008 Kathryn Lent All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Walter Wilson Cobbett (1847-1937), amateur violonist and philanthropist during the English Musical Renaissance, supported the composition and performance of chamber music in England. In 1905 and 1907 Cobbett held competitions, followed by a series of commissions over the next decade, for compositions that he called Phantasies. According to Cobbett’s announcement, the phantasies were to be twelve minutes in length, have sections that differed in tempo and meter, and had parts of equal importance. These works were to be reminiscent of the early English fantasies and were intended to supplement the longer chamber works that were popular at the time. Following a discussion of the English Fantasia and Cobbett’s musical knowledge, this thesis examines Cobbett’s phantasy competitions and commissions in addition to his definition of the term “phantasy.” After Cobbett’s ideas are established, the reactions and comments of his contemporaries are presented and discussed. The final pages discuss and analyze three of the award winning phantasies in terms of Liszt’s thematic transformation and Brahms’s developing variation. iv To My Mom v ACKNOWLEDGMENTS I feel incredibly lucky to have had the opportunity to work with Dr. Eftychia Papanikolaou. Her patience, encouragement and knowledge have been inspiring. I would like to thank Dr.
    [Show full text]
  • A Paean of Praise for Choir and Organ
    ABERDEEN BACH CHOIR Patrons: Dame Emma Kirkby, Professor John Butt OBE Musical Director: Peter Parfitt I WAS GLAD A Paean of Praise for Choir and Organ Accompanied by organist David Gerrard with organ solos by Dr Roger Williams MBE Sunday 28 April 2019 at 7.45pm St Machar’s Cathedral PROGRAMME Zadok The Priest George Frideric Handel (1685-1759) Greater Love Hath No Man John Ireland (1879-1962) My Beloved Spake Patrick Hadley (1899-1973) The Beatitudes Arvo Pärt (b1935) Organ Solo – King’s Toccata John McLeod (b1934) Magnificat And Nunc Dimittis (St Paul’s) Herbert Howells (1892-1983) Like As The Hart Herbert Howells Let All The World In Every Corner Sing Ralph Vaughan Williams (1872-1958) INTERVAL Before the concert please check that you have switched off your mobile phone. God Is Gone Up Gerald Finzi (1901-1956) Photography and recording are not permitted. And I Saw A New Heaven Edgar Bainton (1880-1956) Please return to your seats promptly after the interval. Blest Pair Of Sirens Charles Hubert Hastings Parry (1848-1918) Organ Solo - Wild Mossy Mountains Judith Weir (b1954) Toilets are located in the choir vestry at the back of the Cathedral, and in the Give Unto The Lord Edward Elgar (1857-1934) Gatehouse. Viri Galilæi Patrick Gowers (1946-2014) In an emergency remain seated until given instructions by the stewards. I Was Glad When They Said Unto Me Charles Hubert Hastings Parry Programme notes and musical commentary by Peter Parfitt. 1 “With antique pillars, massy proof, composed under the patronage of the Earl of Caernarvon (James Brydges, 1st Duke of Chandos and prominent patron of the arts).
    [Show full text]
  • Vol. 13, No. 1 March 2003
    Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • MotElgar d'Amour Society • Bizarrerie • O Happ Eyes • My Love Dwelt in a Northern Land • Froissart • Spani Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • Theournal Snow • Fly, Singing Bird • From the Bav Highlands • The Light of Life • King Olaf • Imperial March • T Banner of St George • Te Deum and Benedictus • Caractacu Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • Three Characteristic Pieces • The Dream of Gerontius • Serenade Lyrique • Pomp Circumstance • Cockaigne (In London Town) • Concert Alleg Grania and Diarmid • May Song • Dream Children • Coronati Ode • Weary Wind of the West • Skizze • Offertoire • The Apo • In The South (Alassio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • How Ca the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No 2 • O Heark Thou • Coronation March • Crown of India • Great is the Lor Cantique • The Music Makers • Falstaff • Carissima • Sospiri Birthright • The Windlass • Death on the Hills • Give Unto th • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • TheMARCH Spirit 2003of England Vol. 13, • TheNo.1 Fr of the Fleet • The Sanguine Fan • Violin Sonata in E minor • Q t t i E i Pi Q i t t i A i C ll C The Elgar Society Founded 1951 President Richard Hickox, CBE Vice-Presidents Professor-Emeritus Ian Parrott Sir David Willcocks, CBE, MC Dr Percy Young Diana McVeagh Dr Vernon Handley Michael Kennedy, CBE Dr Jerrold Northrop Moore Michael Pope Lady Barbirolli, OBE E.
    [Show full text]
  • Advent-Lessons-And-Carols-2019.Pdf
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist ADVENT LESSONS AND CAROLS Sunday, December 15, 2019 3:00 PM The four weeks of Advent look to Christ’s coming—in meekness and mercy at his Incarnation and in judgement and glory at the end of time. During this season of expectancy and anticipation, the Church focuses our attention on the Messianic prophecies of the Old Testament through which the ancient people of God were taught to hope for their Savior so that we can understand God’s new covenant, not as an abolishment of the ancient Law or the Prophets, but rather as a fulfillment of them. The lessons of today’s service survey the message of these Prophets of the Advent, with each emphasizing a different aspect of the Messiah’s nature (i.e. his restoration of Israel; his association with the Holy City; his conception in the Virgin; his humble birth in the ‘House of Bread’; his radiant joy; his justice; and his lineage as King). A retiring free-will offering will be accepted. Thank you for your generosity. A reception follows in St. Dominic’s Hall on the second floor of the Priory. All are cordially invited. Because of this Service, Vespers will not be sung this afternoon at St. Vincent Ferrer. PRELUDE Alexandre Guilmant March on a Theme by Handel, Op. 15, No. 2, ‘Marche Religieuse’ [Lift up your heads] (1837-1911) The People stand to sing.
    [Show full text]
  • Edward Elgar's the Music Makers
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Edward Elgar’s the Music Makers: A Choral Conductor’s Analysis and Score Preparation Guide David Klement Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Klement, David, "Edward Elgar’s the Music Makers: A Choral Conductor’s Analysis and Score Preparation Guide" (2018). Dissertations. 523. https://digscholarship.unco.edu/dissertations/523 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 DAVID KLEMENT ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School EDWARD ELGAR’S THE MUSIC MAKERS: A CHORAL CONDUCTOR’S ANALYSIS AND SCORE PREPARATION GUIDE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts David Klement College of Performing and Visual Arts School of Music Choral Conducting May 2018 iii This Dissertation by: David Klement Entitled: Edward Elgar’s The Music Makers: A Choral Conductor’s Analysis And Score Preparation Guide has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Arts and Sciences in School of Visual and Performing Arts, Music Accepted by the Doctoral Committee Dr. Galen Darrough, D.M.A., Research Advisor Dr. Jill Burgett, D.A., Committee Member Dr. Michael Oravitz, Ph.D., Committee Member Dr. Michael Welch, Ph.D., Faculty Representative Date of Dissertation Defense March 27, 2018 Accepted by the Graduate School Linda L.
    [Show full text]
  • Music in the Performance of Shakespeare at the Globe, 19
    0 “ENTER OFELIA PLAYING ON A LUTE, AND HER HAIRE DOWNE SINGING” – MUSIC IN THE PERFORMANCE OF SHAKESPEARE AT THE GLOBE, 1997-2005 by CECILIA KENDALL WHITE A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY The Shakespeare Institute Department of English College of Arts and Law University of Birmingham December 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 1 Abstract This thesis is an examination of the subject of music in original practices productions of Shakespeare at the Globe from the viewpoint of practical musicianship in addition to textual analysis of the plays and examination of the wider place of music in Shakespeare’s society. The thesis elucidates the concepts of soundscape and aural narrative (the diegetic sounds and their signifying function). The use of the aural narrative developed during the Rylance years, rendering music not simply decorative, but a tool used increasingly to shape meaning and interpretation of character in performance. This thesis evaluates how the Globe team has used music within original practice productions, and if this is compatible with the principles of original practices laid down at the Globe’s conception.
    [Show full text]
  • Rcl18r10 an Index of the Musicians of Rochester Cathedral Archive Report A
    Rochester Cathedral Research Guild Homepage: www.rochestercathedralresearchguild.org RCL18r10 An index of the musicians of Rochester Cathedral Archive Report A. Ashbee Abstract: Archive report on the compilation of an index of the choristers, organists and lay-clerks at Rochester Cathedral from records of the Dean and Chapter of Rochester Cathedral. To cite this report: Ashbee, A. (2018) An index of the musicians of Rochester Cathedral. Rochester Cathedral Research Guild archive report RCL18r10. To link to this article: https://rochestercathedralresearchguild.org/reports/rcl18r10 Published online: 13th May 2018 General Queries: [email protected] Produced by permission of the Dean and Chapter of Rochester Cathedral. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Any views and opinions expressed in this work are those of the authors alone and do not necessarily reflect the official policy or position of the Dean and Chapter. RCL18r10 An index of the musicians of Rochester Cathedral A. Ashbee 2018 Contents Section Page 1. Introduction 1 2. Index of records 1 3. Data Delivery, Reporting & Archiving 1 4. Bibliography 26 5. Acknowledgements 26 1. Introduction 1.1 2. Index of records 2.1 Choristers Number Earliest Latest Forename Surname Notes References 1679 William Davison Cooper (1956, 5) -1684 William Popsley Cooper (1956, 5) -1680 William Rolywell ( ?) Cooper (1956, 5) -1683 or 4 John Nash (?) Cooper (1956, 5) -1680 Edward Dayton Cooper (1956, 5) -1679 or
    [Show full text]