Truro Cathedral Author(S): Dotted Crotchet Source: the Musical Times and Singing Class Circular, Vol
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St Paul's Cathedral Melbourne
St Paul’s Cathedral Together transforming our City and Diocese MELBOURNE Services and Music List: 6 – 13 December 2020 All attendances at worship must be booked via our website: cathedral.org.au Thursday 10 Dec Sunday 6 December SECOND SUNDAY OF ADVENT 8am BCP Holy Communion. Hymn: Hark a herald voice Friday 11 December 10am Choral Eucharist. Musicians: HH, BenZ, EW, MikeZ, BO, MS, PN Hymns: Int: On Jordan’s bank; Off: Hail to the Lord’s anointed; Dis: Hark a herald Saturday 12 Dec Setting: Communion Service in F – Herbert Sumsion (1899-1995) Psalm: 85:1-2, 8-13 Chant: Frederick Ouseley (1825–89) Sunday 13 December THIRD SUNDAY OF ADVENT For the powers of heaven shall be shaken, and they shall see the Son of Man Gspl Acc: 8am BCP Holy Communion. Hymn: Christ is the world’s light coming in a cloud with power and great glory: when these things begin to come to pass, then look up, and lift up your heads, for your redemption draws nigh. 10am Choral Eucharist. Musicians: KB, SophieC, NE, TB, TJ, LR Motet: Veni, veni Emmanuel – arr. Zoltán Kodály (1882-1967) Hymns: Grad: The great forerunner of the morn; Off: On Jordan’s bank; Postlude: Introduction and Passacaglia in D minor (1899) – Max Reger (1873-1916): Dis: Christ is the world’s light Mr Mark Slavec, June Nixon Organ Scholar Setting: Gloria, Holy & Blessed: Congregational Mass – 1pm Mandarin Worship 華語崇拜 Michael Leighton Jones (b.1947) Psalm: 126 Chant: read Gspl Acc: Show us your mercy and grant us your salvation: stir up your strength, O Monday 7 December Ambrose of Milan, bishop & teacher (d.397) Lord, and come and help us. -
Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
REACHING out a Celebration of the Work of the Choir Schools’ Association
REACHING OUT A celebration of the work of the Choir Schools’ Association The Choir Schools’ Association represents 46 schools attached to cathedrals, churches and college chapels educating some 25,000 children. A further 13 cathedral foundations, who draw their choristers from local schools, hold associate membership. In total CSA members look after nearly 1700 boy and girl choristers. Some schools cater for children up to 13. Others are junior schools attached to senior schools through to 18. Many are Church of England but the Roman Catholic, Scottish and Welsh churches are all represented. Most choir schools are independent but five of the country’s finest maintained schools are CSA members. Being a chorister is a huge commitment for children and parents alike. In exchange for their singing they receive an excellent musical training and first-class academic and all-round education. They acquire self- discipline and a passion for music which stay with them for the rest of their lives. CONTENTS Introduction by Katharine, Duchess of Kent ..................................................................... 1 Opportunity for All ................................................................................................................. 2 The Scholarship Scheme ....................................................................................................... 4 CSA’s Chorister Fund ............................................................................................................. 6 Finding Choristers ................................................................................................................. -
Cathedral Statistics 2016
Cathedral Statistics 2016 Research and Statistics Church House Great Smith Street London SW1P 3AZ Tel: 020 7898 1547 Published 2017 by Research and Statistics. Copyright © Research and Statistics 2017 All rights reserved. This document is available on line at http://www.churchofengland.org/about-us/facts-stats/research-statistics.aspx. Any reproduction of the whole or any part of the document should reference: Church of England Research and Statistics, Great Smith Street, London SW1P 3AZ Email: [email protected] Twitter: @cofestats The opinions expressed in this booklet are those of the authors and do not necessarily reflect the official policy of the General Synod or National Church Institutions of the Church of England. 1 Executive summary This report presents information about worship and other activities taking place in Church of England cathedrals from 1st January to 31st December 2016. Data are collected from all 42 Church of England cathedrals, and from Westminster Abbey, in the annual cathedral statistics survey. Among other things, the survey asks about attendance at Sunday and midweek services; Easter and Christmas services; school visits; baptisms, marriages, and funerals; musical activities and volunteering. For reference, the survey form and guidance notes can be found in the appendix. Attendance (pages 7 to 11) • 37,000 people per week (82% adults and 18% children aged under 16) were reported attending cathedral services in 2016. This remains the same as in 2015, but is an increase of 17% from 31,600 in 2006. • Community roll increased by 2% from 15,900 in 2015 to 16,200 in 2016; there was a slight decline of 1% from 16,300 in 2006. -
OLD MASTER PAINTINGS Wednesday 4 July 2018
OLD MASTER PAINTINGS Wednesday 4 July 2018 BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Brian Koetser Bun Boisseau Junior Specialist Consultant Junior Cataloguer, London London London – – – Mark Fisher Madalina Lazen Director, European Paintings, Senior Specialist, European Paintings Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant MacDougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. OLD MASTER -
Heir of the Month: May 2016
HEIR OF THE MONTH: MAY 2016 Princess Victoria of Kent How to educate a last minute heir: The Duchess of Kent and the Kensington System Jennifer Henderson Crane In 1861 Queen Victoria suffered a devastating loss that brought her to the brink of collapse. “The dreaded calamity has befallen us,” she recorded in her journal at Windsor Castle, “which seems like an awful dream, from which I cannot recover.” For those even remotely familiar with Queen Victoria, the image of the black-draped monarch is immediately evoked, a wife in perpetual mourning for the beloved husband she lost in 1861. However, the quoted line does not refer to the passing of Albert the Prince Consort, but instead to that of his paternal aunt and mother-in-law, Victoire, the Duchess of Kent, who passed away in March of the same year. Henry Bone: The duchess of Kent with her daughter, the future queen Victoria (c. 1824/25) Victoria had an at times fraught relationship with her mother, but Victoire’s death appeared to erase the past difficulties and animosities, leaving her daughter feeling like a bereft child. She opened herself fully to her grief, so much so that her obsessive hold onto mourning protocol provoked much commentary even outside of court circles. In her work, Magnificent Obsession, Helen Rappaport quotes an American diplomat lamenting that, “‘the Queen carries her sorrow at her mother’s death to an absurd extent… There are no balls this season and in lieu 1 HEIR OF THE MONTH: MAY 2016 thereof but one concert, and to this only the Ministers, and their Ladies and Chief Secretaries only are to be invited’.” Just as Victoria held varying emotions for her mother, so too have historians held variant stances on Victoire, as well as on her perceived motives and ambition. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Durham E-Theses
Durham E-Theses Sir Frederick Ouseley, the foundation of St Michael's college, Tenbury Wells, and the ideals of Anglican choral tradition in the Victorian age Scott, Ellen Rachel How to cite: Scott, Ellen Rachel (1997) Sir Frederick Ouseley, the foundation of St Michael's college, Tenbury Wells, and the ideals of Anglican choral tradition in the Victorian age, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4674/ 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 Ellen Rachel Scott SIR FREDERICK OUSELEY, THE FOUNDATION OF ST MICHAEL'S COLLEGE, TENBURY WELLS, AND THE IDEALS OF ANGLICAN CHORAL TRADITION IN THE VICTORIAN AGE Thesis for the degree of Master of Arts 1997 The copyright of tliis thesis rests witli tlie autlior. No quotation from it should be published witliout die written consent of the autlior and information derived from it should be acknowledged. -
St Michael's College, Tenbury
St Michael’s College, Tenbury Register of Broadcasts and Recordings 1934 – 1985 Compiled by Frederick Appleby The Library at St Michael’s College, Tenbury, with College Librarian, Harold Watkins-Shaw (1911-96) 2 St Michael’s College, Tenbury Register of Broadcasts and Recordings 1934 – 1985 Compiled by Frederick Appleby The Martlet House London 3 Copyright © 2015 – compilation by Frederick Appleby Published by The Martlet House, London For private circulation only Printed by Prontaprint, East Sheen Set in Gill Sans MT 4 Dedication: To all the wonderful teachers who inspired me during my time at the College 5 The Rev Sir Frederick Arthur Gore Ouseley, Bart (1825 – 1889) – Founder of the College Woodbury Type, from Men of Mark: A Gallery of Contemporary Portraits (London 1882) 6 CONTENTS 1. Laurence Crosthwaite 2. Maxwell Menzies 3. Kenneth Beard 4. Lucian Nethsingha 5. Roger Judd 6. Posthumous Broadcasts Different Organists viii Preface This catalogue seeks to create a comprehensive register of all the radio broadcasts and recordings made of the music at St Michael’s College, as well as broadcast programmes relating to the College. My main source is the *BBC Genome Project (see below), which has scanned the Radio Times across the years to create an active database of all BBC broadcasts. They admit that the scanning software used for this is unreliable, and many spelling mistakes and misreadings are the result. I have attempted to emend these for this document. The principal events are broadcasts of Choral Evensongs, and Choral and Organ Recitals. Additionally there are Talks from and about the College. -
The Musical Times and Singing Class Circular, Vol. 41, No. 693 (Nov
A Visit to Tenbury Author(s): F. G. E. Source: The Musical Times and Singing Class Circular, Vol. 41, No. 693 (Nov. 1, 1900), pp. 713-719 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366900 Accessed: 09-01-2016 08:05 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 and Singing Class Circular. http://www.jstor.org This content downloaded from 129.96.252.188 on Sat, 09 Jan 2016 08:05:23 UTC All use subject to JSTOR Terms and Conditions The Musical Times.] [November,1900oo. rs. -?1 This content downloaded from 129.96.252.188 on Sat, 09 Jan 2016 08:05:23 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-NOVEMBER I, 19oo. 713 does not appear to be a serious drain upon THE MUSICAL TIMES their resources,at least so far as the natives AND SINGING-CLASS CIRCULAR. are concerned. ' Horridstuff,' was the verdict passed in our hearing upon the waters of the NOVEMBER I, I900. -
Truro Cathedral Baptistery
Truro Cathedral Baptistery By Michael Swift, Canon Philip Lambert and Judith Whitehouse OCCASIONAL MONOGRAPH No.3 February 2014 THE ICONOGRAPHY OF THE BAPTISTERY. The baptistery area in this monograph is defined as the baptistery itself AND the adjoining Chapel of Saint Samson and Saint Boniface. This Chapel was created in the 1930’s from what was termed by Pearson and Benson ‘the baptistery vestibule’. This monograph shows how the iconography of these two areas must be treated as a whole, as it was originally intended by Benson and Mason. All the window schemes in Truro Cathedral complement and develop the relationship between liturgical and architectural spaces, whilst each sequence of windows presents a multi-layered narrative on the profoundest theological themes. The iconography of the windows of the baptistery is a reflection on the themes of Baptism and of Christian Mission. Between 1887 and 1904 the main cathedral entrance was through the south transept door. The baptistery vestibule therefore would have been reached by immediately turning left on entering the south transept door, up a flight of three steps, across the vestibule, with a further set of steps leading directly to the baptistery proper (mirroring the ascending approach to the quire and sanctuary). Since the 1930s however, the vestibule and the baptistery itself are entered directly from the south nave aisle, and the subtle links between the iconography of the windows in the two areas, the liturgy of the baptismal service, and the spatial dimension of a progression through ever smaller and more intimate spaces has been lost for many decades. -
British Art Studies April 2017 British Art Studies Issue 5, Published 17 April 2017
British Art Studies April 2017 British Art Studies Issue 5, published 17 April 2017 Cover image: Francis Alexander Skidmore and Sir George Gilbert Scott, Hereford Screen (detail), 1862, painted wrought and cast iron, brass, copper, timber, mosaics, and hardstones. Collection of the Victoria & Albert Museum, London, Given by Herbert Art Gallery and Museum, Coventry (M.251:1 to 316-1984).. Digital image courtesy of Justin Underhill PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Liturgy and Music in Hereford Cathedral in the Time of Queen Victoria and Beyond, Tessa Murdoch Liturgy and Music in Hereford Cathedral in the Time of Queen Victoria and Beyond Tessa Murdoch Abstract The Victorian Gothic Revival and its focus on liturgical neo-medievalism inspired the 1860s restoration of the medieval Hereford Cathedral.