DOCSLIB.ORG

An Analytical, Rehearsal, and Performance Guide to Ad Majorem Dei Gloriam by Benjamin Britten

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Analytical, Rehearsal, and Performance Guide to Ad Majorem Dei Gloriam by Benjamin Britten An Analytical, Rehearsal, and Performance Guide to Ad majorem Dei gloriam by Benjamin Britten A document submitted to the CCM Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in Choral Conducting, Division of Ensembles and Conducting of the College-Conservatory of Music July 2013 by Kenneth G. Tice B.M., East Carolina University, 2003 M.M., University of Houston, 2010 Committee Chair: L. Brett Scott, D.M.A. ABSTRACT This document is a study of Ad majorem Dei gloriam (A.M.D.G.) by Benjamin Britten. It includes a motivic analysis, rehearsal preparation guide, and performance suggestions. Published posthumously in 1989, A.M.D.G. is still relatively new to many conductors, singers, and audiences. This document will serve to give a more complete picture of the work than exists in published scholarship. As more of Benjamin Britten’s previously unpublished music is catalogued and published, this rehearsal guide will not only highlight A.M.D.G., but also add to the general understanding and scholarship of the choral music output of Benjamin Britten. iii Copyright © 2013 Kenneth G. Tice All rights reserved iv To my wife, Jessica, for her constant love and support. v ACKNOWLEDGEMENTS I would like to thank Dr. Brett Scott, Dr. Earl Rivers, and Dr. Elmer Thomas for their guidance and instruction during my time at the University of Cincinnati College- Conservatory of Music. Each has given me a different perspective from which to consider choral music, from its creation, to preparation, to performance. Their insights helped me to realize what a gem Ad majorem Dei Gloriam is in the choral repertoire, and gave me the desire to promote it through this document. I would like to thank Dr. Charles Hausmann and Dr. Betsey Cook Weber at the University of Houston for their influence of score study, rehearsal technique, and concert programming. I wish to express my appreciation to Dr. Daniel Bara who inspired so many of us during his tenure at East Carolina University by showing us how diverse and wonderful the choral art really is, and his influence on the conducting technique of so many of his students. I would also like to thank Kevin Riehle and Cantare Houston for exposing me to this wonderful work. I wish to express my heartfelt love and appreciation to my parents, Timothy and Jackie Tice, for their encouragement of music in my life growing up, and supporting me in my career and education. I wish to express thanks and appreciation to the rest of my family and friends who where there for me with support over the years in pursuit of my career in music and conducting. Finally, to my wonderful wife Jessica, without whose encouragement this would not have been possible, I give my deepest love and devotion. Her love and support for me made it possible for me to pursue my graduate education, and for that I am forever grateful. These last few years have provided wonders and challenges that we will remember and cherish for the rest of our lives. vi CONTENTS ABSTRACT ...................................................................................................................... iii ACKNOWLEDGEMENTS .............................................................................................. vi LIST OF TABLES ............................................................................................................ ix LIST OF FIGURES ............................................................................................................x CHAPTERS 1 INTRODUCTION .......................................................................................................1 Why A.M.D.G. .............................................................................................................2 2 BENJAMIN BRITTEN ...............................................................................................4 The Early Years ...........................................................................................................4 Royal College of Music ...............................................................................................6 After the Royal College ...............................................................................................7 America ..................................................................................................................... 10 A.M.D.G. .................................................................................................................... 13 The Loss of the Manuscript ....................................................................................... 15 Leaving America ....................................................................................................... 16 3 GERARD MANLEY HOPKINS: BIOGRAPHY AND RELATION TO BRITTEN The Early Years ......................................................................................................... 18 The Jesuit Order ........................................................................................................ 19 The Priesthood ........................................................................................................... 21 With Consideration to Britten ................................................................................... 22 4 AD MAJOREM DEI GLORIAM ............................................................................. 24 Premiere of the Withdrawn Work ............................................................................. 25 5 MOTIVIC ANALYSIS AND REHEARSAL GUIDE .............................................. 26 “Prayer I” ................................................................................................................... 28 Preparation ......................................................................................................... 30 “Rosa Mystica” .......................................................................................................... 34 Preparation ......................................................................................................... 44 “God’s Grandeur” ...................................................................................................... 47 Preparation ......................................................................................................... 56 “Prayer II” ................................................................................................................. 58 vii Preparation ......................................................................................................... 66 “O Deus, ego amo te” ................................................................................................ 67 Preparation ......................................................................................................... 71 “The Soldier” ............................................................................................................. 74 Preparation ......................................................................................................... 80 “Heaven-Haven” ........................................................................................................ 81 Preparation ......................................................................................................... 84 6 Conclusion ................................................................................................................. 87 Preferred Performance Order .................................................................................... 90 APPENDICES A DISCOGRAPHY ....................................................................................................... 92 BIBLIOGRAPHY ............................................................................................................. 93 viii LIST OF TABLES Table 2-1 Form of “Rosa Mystica” ....................................................................... 44 Table 3-1 Form/Starting Motives of “God’s Grandeur” ........................................ 51 Table 8-1 A.M.D.G. Folio Order ............................................................................ 87 Table 8-2 A.M.D.G. Premiere Order ...................................................................... 89 Table 8-3 A.M.D.G. Tonal Centers ........................................................................ 90 ix LIST OF FIGURES Figure 1-1 “Prayer I” mm. 1-4, soprano line .......................................................... 29 Figure 1-2 “Prayer I” mm. 16-17 ............................................................................ 30 Figure 1-3 Fourths Exercise .................................................................................... 31 Figure 1-4 Modal Scales Exercise .......................................................................... 32 Figure 1-5 Triadic Progressions Exercise ............................................................... 33 Figure 2-1 “Rosa Mystica” mm. 1-4 ....................................................................... 36 Figure 2-2 “Rosa Mystica” mm. 9-14 ..................................................................... 36 Figure 2-3 “Rosa Mystica” mm. 18-28 ................................................................... 37 Figure 2-4 “Rosa Mystica” mm. 56-65 ................................................................... 38 Figure 2-5 “Rosa Mystica” mm. 82-89 ................................................................... 39 Figure 2-6 “Rosa Mystica”
Load more

Recommended publications
  • BENJAMIN BRITTEN a Ceremony of Carols IRELAND | BRIDGE | HOLST
    BENJAMIN BRITTEN A Ceremony of Carols IRELAND | BRIDGE | HOLST Choir of Clare College, Cambridge Graham Ross FRANZ LISZT A Ceremony of Carols BENJAMIN BRITTEN (1913-1976) ANONYMOUS, arr. BENJAMIN BRITTEN 1 | Venite exultemus Domino 4’11 12 | The Holly and the Ivy 3’36 for mixed choir and organ (1961) traditional folksong, arranged for mixed choir a cappella (1957) 2 | Te Deum in C 7’40 for mixed choir and organ (1934) BENJAMIN BRITTEN 3 | Jubilate Deo in C 2’30 13 | Sweet was the song the Virgin sung 2’45 for mixed choir and organ (1961) from Christ’s Nativity for soprano and mixed choir a cappella (1931) 4 | Deus in adjutorium meum intende 4’37 from This Way to the Tomb for mixed choir a cappella (1944-45) A Ceremony of Carols op. 28 (1942, rev. 1943) version for mixed choir and harp arranged by JULIUS HARRISON (1885-1963) 5 | A Hymn to the Virgin 3’23 for solo SATB and mixed choir a cappella (1930, rev. 1934) 14 | 1. Procession 1’18 6 | A Hymn of St Columba 2’01 15 | 2. Wolcum Yole! 1’21 for mixed choir and organ (1962) 16 | 3. There is no rose 2’27 7 | Hymn to St Peter op. 56a 5’57 17 | 4a. That yongë child 1’50 for mixed choir and organ (1955) 18 | 4b. Balulalow 1’18 19 | 5. As dew in Aprille 0’56 JOHN IRELAND (1879-1962) 20 | 6. This little babe 1’24 8 | The Holy Boy 2’50 version for mixed choir a cappella (1941) 21 | 7.
    [Show full text]
  • Billy Budd Composer Biography: Benjamin Britten
    Billy Budd Composer Biography: Benjamin Britten Britten was born, by happy coincidence, on St. Cecilia's Day, at the family home in Lowestoft, Suffolk, England. His father was a dentist. He was the youngest of four children, with a brother, Robert (1907), and two sisters, Barbara (1902) and Beth (1909). He was educated locally, and studied, first, piano, and then, later, viola, from private teachers. He began to compose as early as 1919, and after about 1922, composed steadily until his death. At a concert in 1927, conducted by composer Frank Bridge, he met Bridge, later showed him several of his compositions, and ultimately Bridge took him on as a private pupil. After two years at Gresham's School in Holt, Norfolk, he entered the Royal College of Music in London (1930) where he studied composition with John Ireland and piano with Arthur Benjamin. During his stay at the RCM he won several prizes for his compositions. He completed a choral work, A Boy was Born, in 1933; at a rehearsal for a broadcast performance of the work by the BBC Singers, he met tenor Peter Pears, the beginning of a lifelong personal and professional relationship. (Many of Britten's solo songs, choral and operatic works feature the tenor voice, and Pears was the designated soloist at many of their premieres.) From about 1935 until the beginning of World War II, Britten did a great deal of composing for the GPO Film Unit, for BBC Radio, and for small, usually left-wing, theater groups in London. During this period he met and worked frequently with the poet W.
    [Show full text]
  • Rejoice in the Lamb Benjamin Britten (1913-1976) This 'Festival Cantata
    Rejoice in the Lamb Benjamin Britten (1913-1976) This 'Festival Cantata' for soloists, choir and organ, written in 1943 for the fiftieth anniversary of the consecration of St. Matthew's Church, Northampton, was the first in a celebrated series of commissions by the Rev. Walter Hussey for the church's annual patronal festivals; the series later included, in music, Finzi's Lo, the Full Final Sacrifice and, in other fields of the arts, works by Henry Moore, Graham Sutherland and W.H.Auden. At the 1943 celebrations Britten himself conducted the church choir in his new work, sharing the limelight with the Band of the Northamptonshire Regiment performing another festival commission by Michael Tippett. The cantata is a setting of lines selected by Britten from a long poem, Jubilate Agno (over 1200 lines long, in fact – and unfinished) by the ultimately tragic figure of Christopher ('Kitty') Smart (1722-1771), who also wrote as 'Mrs. Midnight' and 'Ebenezer Pentweazle', and was a deeply religious man but, as Hussey himself puts it, "of a strange and unbalanced mind". The poem was in fact written while Smart was confined in an asylum for alleged 'religious mania', and has been seen on the one hand as a vast hymn of praise to God and all his works, and on the other as no more than the ravings of a madman. Published only in 1939, with the subtitle A Song from Bedlam, it was brought to Britten's attention by W.H.Auden. Such a choice of text might seem odd for a jubilee, but there is in the product of such a mind a kind of childlike innocence which in the poet Peter Porter's words "shows the rest of us that heaven does indeed lie about us".
    [Show full text]
  • Bristol Choral Society
    BRISTOL CHORAL SOCIETY. Updated MUSIC FOR SALE. November 2020 COMPOSER WORK Quantity PRICE per copy Hire Bach St Matthews Passion 1 £1.50 St John Passion 1 £4.00 Jesus Priceless treasure 1 £1.50 B Minor Mass 5 £4.00. £2.00 & £1.00 Magnificat 1 £3.00 Come Redeemer 1 50p Christmas Oratorio 3 £5.00. £1.00. 50p Cantata 152. Walk the heavenly way (in Englsh) 1 50p Cantata 28 O Praise the Lord. (In English) 1 50p Cantata 1. How brightly shines. (In English) 1 50p Cantatas: ,21, 34x 2,, 80,82 1 of each 75p, & 30p Motet “Lobet den Herrn” ( legal copies) 59 hire Motet “Lobet den Hern” 4 £1.00 & 50p Komm Jesu Komm. (Legal downloads) 36 Hire Motet. “sing ye to the Lord” 3 £1.50, Motet “ The spirit also helpeth us” 1 50p St Lukes Passion (In English) 1 50p Bednell David O praise God in his holiness 20 new £3.75 Hire “ “ “ 1 £1.50 Beethoven An die Freude (choral scores) 5 50p “ “ (Full Score) 1 £2.00 Choral Fantasia 7 50p Hire Mass in D 2 £2.00 & 75p Choral Symphony (Last movement) 1 £1.00 Meeresstille 1 25p Berger Brazilian Psalm 1 £1.00 Berlioz Te Deum 16 £2.50 hire Requiem 4 £2.00 & £1.50 Bernstein Chichester Psalms 3 £2.00 & £1.50 Choral selection from West side story 1 £1.50 Bliss Pastoral 1 £1.50 Morning Heroes 1 £1.50 Boulanger Old Buddhist Prayer 1 25p Psalm 129 1 25p Brahms Schicksalslied 8 £2.00 hire A German Requiem in German & English 1 £3.00 A German requiem in English 2 £1.50 & £1.00 A German Requiem in German 1 £1.00 Wie lieblich sind (from German requiem) ( legal copies) 80 hire Liebeslieder 2 £2.00 & £1.50 Song of Destiny 3 50p Britten Spring Symphony (choral scores) 9 £1.00 hire Spring Symphony (vocal scores) 2 50p St Nicholas 2 £2.00 Rejoice in the lamb 3 £2.50 & £1.00 AMDG 1 £2..50 Cantata Academica/Carmen Basiliense 1 £2.00 War Requiem 2 £5.50 & £1.50 Festival Te Deum 1 £1.00 Bruckner Te Deum 8 £2.00 & £1.00 hire Mass in E minor 11 £3.00 .£2.00 & £1.00.
    [Show full text]
  • Download Booklet
    CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on Coro Fen and Meadow Blest Cecilia A Ceremony of Carols Britten Choral Works III Britten Choral Works I cor16006 Britten Choral Works II cor16034 Hymn to the Virgin A Ceremony of Carols Hymn to St Cecilia A Boy was Born Rejoice in the Lamb A Shepherd's Carol Te Deum in C The Sycamore Tree Jubilate Deo Sweet was the Song Festival Te Deum Missa Brevis in D C HORAL D ANCES FROM 'G LORIANA ' Ikon of Light Barber Agnus Dei F IVE F LOWER S ONGS John Tavener cor16015 An American Collection cor16031 S ACRED AND P ROFANE The Lamb Samuel Barber Two Hymns to the Leonard Bernstein Mother of God Aaron Copland Today the Virgin Irving Fine Ian Partridge The Tyger Steve Reich The Sixteen Page 1 Eonia Del Tredici THE VOICES OF HARRY CHRISTOPHERS To find out more about The Sixteen, concerts, tours, and to buy CDs, visit www.thesixteen.com cor16038 In December 1977, as a member of the choir of Fen and Meadow Lady Barnard was composed in 1943 for a Westminster Abbey, I sang at Britten’s memorial friend, Richard Wood, who was in a prison Benjamin Britten camp in Germany, for him and his fellow service; at that time, I was also a member of English prisoners to perform there. The score was Music Theatre, successor to English Opera Group ritten's opera Gloriana celebrated sent out page by page by microfilm letter. and the brainchild of conductor Steuart Bedford Queen Elizabeth II's coronation The Wedding Anthem, Amo Ergo Sum, and producer Colin Graham but with the blessing Bby depicting scenes from the life composed for the marriage of Marion Stein and support of Britten.
    [Show full text]
  • Review of Benjamin Britten, Sacred and Profane, AMDG, Five Flower Songs, Old French Carol, Choral Dances from Gloriana, Polyphony, Stephen Layton, Conductor
    Marshall University Marshall Digital Scholar Music Faculty Research School of Music 5-2003 Review of Benjamin Britten, Sacred and Profane, AMDG, Five Flower Songs, Old French Carol, Choral Dances From Gloriana, Polyphony, Stephen Layton, conductor. Hyperion, 2000 Vicki Stroeher Marshall University, [email protected] Follow this and additional works at: https://mds.marshall.edu/music_faculty Part of the Musicology Commons Recommended Citation Stroeher, Vickie. Review of Benjamin Britten, Sacred and Profane, AMDG, Five Flower Songs, Old French Carol, Choral Dances From Gloriana, Polyphony, Stephen Layton, conductor. Hyperion, 2001. Choral Journal 43 (May 2003): 59-63, 65. This Review of a Music Recording is brought to you for free and open access by the School of Music at Marshall Digital Scholar. It has been accepted for inclusion in Music Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. MAY 2003 CHORAL JOURNAL <[email protected]> Benjamin Britten maturity. SacredAnd Profane • A.MD. G. Britten's choral works were composed most often to fulfill commissions, either RECORDING COMPANIES Five Flower Songs • OldFrench Carol THIS ISSUE ChoralDances From Gloriana from church choirs or individuals, or in the commemoration of specific occasions. Arts Music GmbH Polyphony, Stephen Layton, conductor Allegro, agent Recorded in Te mple Church, London, The Five Flower Songs (1950), the first 14134 NE Airport Way on October 6, 1999 and April 26 and 27, selections on the current disc, are a case Portland, OR 97230 in point. Britten composed these pieces 2000 Hyperion: CDA67140, ODD, Deutsche Grammophon 61'26 co honor Leonard and Dorothy Elmhirsc, Universal Classics Group, agent contributors to Britten's English Opera Worldwide Plaza Group, on the occasion of their silver 825 Eighth Avenue Editor's Note: Dr.
    [Show full text]
  • Benjamin Britten's Noye's Fludde
    BENJAMIN BRITTEN’S NOYE’S FLUDDE An Intergenerational Experience for Church Music Programs Joshua Hawkins Nannestad Joshua Hawkins Nannestad is a doctoral student of choral conducting at Boston University. He teaches music to students aged fi ve to eighty-fi ve in central Massachusetts. <[email protected]> certainly write music for human be- ings, directly and deliberately. I consider their voices, the range, the power, the I subtlety, and the colour potentialities of them all. I consider the instruments they play, their most expressive and suitable in- dividual sonorities, and where I may be said to have invented an instrument (such as the Slung Mugs of Noye’s Fludde), I have borne in mind the pleasure the young performers will have in playing it. I also take note of the human circumstances of music, of its environment and conventions. I believe, you see, in occasional music. Almost every piece of music I have ever written has been composed with a certain oc- casion in mind, usually for defi nite performers, and certainly always human ones.1 The Britten centennial year provides a little- needed excuse to program beloved works by the English master. No doubt huge-scale produc- tions of War Requiem will be mounted, Jubilate Deo in C will resonate in church choir lofts, and Rejoice in the Lamb will continue to occupy conducting syllabi everywhere. One hopes that young singers will delight in Old Abram Brown at the same time that The Ballad of Little Musgrave and Lady Barnard inspires a new crop of young men in high school and college choirs.
    [Show full text]
  • Benjamin Britten's Compositions for Children and Amateurs: Cloaking
    i O ^ 3 3 1 Benjamin Britten’s compositions for children and amateurs: cloaking simplicity behind the veil of sophistication by Angie Flynn Thesis submitted to the National University of Ireland, Maynooth as part- fulfilment for the degree of Master of Arts in Historical Studies Head of Department: Professor Gerard Gillen Department of Music National University of Ireland Maynooth Co. Kildare Supervisor: Dr Mark Fitzgerald Department of Music National University of Ireland Maynooth Co. Kildare Naas, July 2006 \ 7 h N o r w i c h E a s t S u f f o l k s o u t h w o l d ; PEASENHA1X N o /\ t h YOXFORD SAXMUNDHAM GREAT flLC N H A M AL JOE BURGH PART OP j THE To I p n v ith & L o n d o n SUFFOLK COAST Contents Preface ii Acknowledgements v Introduction vii Benjamin Britten’s compositions for children and amateurs: cloaking simplicity behind the veil of sophistication Chapter 1 - 1 Chapter 2- 16 Chapter 3 - 30 Chapter 4 - 44 Conclusion 57 Appendix A 60 Appendix B 62 Appendix C 71 Appendix D 75 Bibliography 76 Abstract 80 Preface This thesis conforms to the house style of the Department of Music, National University of Ireland, Maynooth. As far as possible an adherence to The Oxford Dictionary of English has been made for spellings, where a choice is necessary. Any direct quotations from Britten’s letters or diaries (or, indeed, any correspondence relating to him) maintain his rather idiosyncratic and variable spelling style (e.g. ‘abit’) and his practice for underlining words, which would appear to be a habit he retained from childhood, and no attempt has thus been made to alter them.
    [Show full text]
  • The Fourth Sunday in Advent
    Rejoice, Give Thanks and SING! Music Sunday – 16 May 2010 The Seventh Sunday of Easter elcome to this Service of Worship at The First Congregational Church as we celebrate Music Sunday. On this special day we celebrate and give thanks for all the wonderful gifts of Wmusic which enrich and nurture our worship life. May the prayers and praise, the meditation and music of this service inspire in you a deeper faith and commitment to God. Blessings for the journey! PREPARING FOR WORSHIP *All who are able, please stand ‡Seating of latecomers PRELUDE Mary Fike, flute; John Stansell, piano; The Palmer Handbells from La Flûte de Pan Jules Mouquet Pan and the Shepherds Declare the Maker’s Praise Joseph D. Daniel, arranged by Tammy Waldrop CALL TO COMMUNITY Rev. Dr David D. Young PRAISING GOD INTROIT The Cherub Choir; Lisa Flanagan, director; Debbie Berner, piano Sing, Rejoice, Clap Your Hands Mark Patterson Sing, rejoice, clap your hands, sing a song of praise to the Lord. Sing, rejoice, clap your hands, sing a song of praise, let your voice be raised, sing a song of praise to the Lord. Shout from the mountaintops, whisper through the trees, come everyone now rejoice and sing. CALL TO WORSHIP *‡OPENING HYMN AND PROCESSION Rejoice, Give Thanks and Sing New Century (black) Hymnal 303 OPENING PRAYER Great God of Life, Set a note of joy in our hearts and a song of praise on our lips as we gather to worship you. We seek your presence both in our speaking and in the music that we might hear your voice and respond with faithful living through Jesus Christ our Lord.
    [Show full text]
  • Program May 2018.Pdf
    New Amsterdam Singers Clara Longstreth, Music Director Bryan Zaros, Assistant Conductor Nathaniel Granor, Chamber Chorus Assistant Conductor Pen Ying Fang, Piano Raymond Nagem, Organist Saint Ignatius of Antioch Church 554 West End Avenue, New York City Wednesday, May 30, 2018 at 8 p.m. Nunc dimittis Arvo Pärt (b. 1935) Lauren Goff, soprano soloist Concord; Time and Concord (from Gloriana) Benjamin Britten (1913–1976) Green Broom (from Five Flower Songs) Benjamin Britten Nathaniel Granor, conductor I See; Do You Believe? (from Three Spirituals) Robert S. Cohen (b. 1945) The Chamber Chorus The Wave Rises Ben Moore (b. 1960) On Life So the days pass I want to appear a success But when the self speaks to the self Now is life very solid On Beauty It was nothing of course On Death And in me too Pen Ying Fang, piano Commissioned by New Amsterdam Singers in honor of its founder and Music Director, Clara Longstreth on the occasion of the chorus’s 50th anniversary Intermission Rejoice in the Lamb Benjamin Britten Rejoice in God, O ye tongues For I will consider my Cat, Jeoffry Clara Schuhmacher, soprano soloist For the Mouse is a creature of great personal valor Robin Beckhard, alto soloist For the flowers are great blessings Scott Wilson, tenor soloist For I am under the same accusation with my Savior For H is a Spirit Jason Hill, bass soloist For the instruments are by their rhimes Hallelujah from the heart of God Raymond Nagem, organ Hark, I Hear the Harps Eternal Trad., arr. Alice Parker (b. 1925) Rachel Georges, soprano soloist Bryan Zaros, conductor Unclouded Day Rev.
    [Show full text]
  • Britten: Saint Nicolas, Hymn to St Cecilia & Rejoice in the Lamb
    The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRITTEN SAINT NICOLAS HYMN TO ST CECILIA REJOICE IN THE LAMB STEPHEN CLEOBURY CONDUCTOR ANDREW KENNEDY BRITTEN SINFONIA T BRITTEN rack SAINT NICOLAS Andrew Kennedy tenor * Sawston Village College Choir (Janet Macleod chorus director) Choir of King’s College, Cambridge ^ CUMS Chorus Britten Sinfonia (Jacqueline Shave leader) L Stephen Cleobury conductor & organ ist SAINT NICOLAS 1 i. Introduction 05:35 2 ii. The Birth of Nicolas (Tom Pickard treble) 02:43 3 iii. Nicolas devotes himself to God 04:34 4 iv. He journeys to Palestine * 08:19 5 v. Nicolas comes to Myra and is chosen Bishop *^ 07:02 6 vi. Nicolas from Prison 02:59 7 vii. Nicolas and the Pickled Boys (Adam Banwell, Rupert Peacock, James Wells trebles) * 06:42 8 viii. His piety and his marvellous works * 05:03 9 ix. The Death of Nicolas *^ 06:45 10 HYMN TO ST CECILIA 10:25 Alexander Banwell, William Hirtzel trebles, Andreas Eccles-Williams alto, Ruairi Bowen tenor, Daniel D’Souza bass 11 REJOICE IN THE LAMB 16:25 William Crane treble, Feargal Mostyn-Williams alto, Ruairi Bowen tenor, Simon Chambers baritone, Ben San Lau organ Total Time 76:32 Recorded at 96kHz 24-bit PCM in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows, 23-24 June 2012 (Hymn to St Cecilia & Rejoice in the Lamb) and 14-15 January & 20 May 2013 (Saint Nicolas). Producer & Editor Simon Kiln Recording Engineers Arne Akselberg, Jonathan Allen Mixing Engineer Arne Akselberg Technical Engineer Richard
    [Show full text]
  • Fairfield County Chorale Repertoire
    Fairfield County Chorale Repertoire Adler Brahms A Winter Triptych A German Requiem, Op. 45 Alto Rhapsody, Op. 53 Axelrod Four Songs, Op. 17, #1 River of Words Liebeslieder Waltzes Nänie Op. 82 Bach Neue Liebeslieder Waltzes, Op. 65 Cantata "Christ lag in Todes Banden" BWV 4 Schicksalslied, Op. 54 Cantata "Erschallet, ihr Lieder, erklinget, ihr Saiten!" BWV 172 Tafellied (Chorus of Homage) Op. 93b Cantata "Nun danket alle Gott" BWV 192 Vineta, Op. 42 #2 Cantata "Nun ist das Heil und die Kraft" BWV 50 Zigeunerlieder Cantata "Schlage doch, gewünschte Stunde" BWV 53 Christmas Oratorio BWV 248 Britten Magnificat in D major BWV 243 Choral Dances from "Gloriana" Op. 53 Mass in B Minor BWV 232 Rejoice In the Lamb Op. 30 Motet "Jesu, meine Freude" BWV 227 Saint Nicolas Motet, "Komm, Jesu, komm" BWV 229 Te Deum St. Matthew Passion BWV 244 War Requiem Jauchzet, frohlocket! From the Christmas Oratorio, BWV 248 (1734) Brubeck Bach, C.P.E. Lenten Triptych Magnificat Wq 215 Voice of the Holy Spirit (Tongues of Fire) Bartok Bruckner Four Slavic Folk Songs Mass in E Minor Te Deum Bassett Alleluia Byrd Ave Verum Corpus Beethoven Choral Fantasy, Op. 80 Cabaniss Choruses from "Fidelio", Op. 72 A Christmas Carol Medley Elegiac Song, Op. 118 Behold the Star Mass in C Major, Op. 86 My Song is a Fire Meerestille und Gluckliche Fahrt, Op. 112 Missa Solemnis, Op. 123 Carissimi Ruins of Athens, March & Chorus Op. 113 Jephte Symphony #9, Op. 125 Jonas Berlioz Charpentier L'enfance du Christ Le Reniement de Saint Pierre, H.424 Requiem Messe de Minuit pour Noël,
    [Show full text]