DOCSLIB.ORG

December 20, 7:30Pm Seattle Girls Choir Youtube a Ceremony of Carols, Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
December 20, 7:30Pm Seattle Girls Choir Youtube a Ceremony of Carols, Op December 20, 7:30pm Seattle Girls Choir YouTube A Ceremony of Carols, Op. 28 IVa • That Yongë Child • Anonymous, 14th century Benjamin Britten (1913-1976) When the baby Jesus began to cry, Mary sang a lullaby. The nightingale sang too, but Mary’s song was better; Anybody In May 1939, the young (25-year old) who stops listening to Mary is making a mistake! English composer Benjamin Britten and his partner, tenor Peter Pears, embarked IVb • Balulalow • Martin Luther on what they intended to be a three-month Immediately following “That Yongë Child” is Mary’s lullaby visit to Canada and the United States. They itself. Britten’s haunting music shifts seamlessly and extended their stay a little, but just as they were ready to leave constantly between parallel major and minor modes, and the start of World War II made the return trans-Atlantic journey constantly plays with the meter: At times the pulse is too perilous to attempt. They spent the next three years organized as three groups of two, at others two groups of composing and performing in the USA, until in March 1942 they three, and the barline gets deliberately obscured. The text decided to risk the trip back to England aboard the Swedish is from Martin Luther’s Christmas carol “Von Himmel hoch” cargo vessel MS Axel Johnson. During the five-week (written for his son Hans), translated into English by the journey, Britten worked. First, he reconstructed (from Wedderburn brothers in 1567. memory) his choral masterwork “Hymn to St. Cecilia,” whose manuscript had been seized by US customs V • As Dewe in Aprille • Anonymous, c. 1400 officials afraid of coded messages embedded in Using different metaphors, the poet shows us that Mary’s the music. He then turned his attention to a poetry labor was painless, a gift only fitting for such a blessed lady. anthology he had picked up during a stopover in Nova Scotia titled The English Galaxy of Shorter VI • This Little Babe • Robert Southwell (1561? – 1595) Poems, edited by Gerald William Bullett, and to two The intense music of this piece reflects on the metaphors manuals for harp composition he had brought along in of the striking text, which contrasts violent, martial imagery preparation for a harp concerto he had been commissioned with that of an infant. to write. The result was an early version of A Ceremony of VII • Interlude Carols for harp and women’s voices, which featured mostly This piece for solo harp is among the classic 15th and 16th century Middle English texts from anonymous literature for the instrument. It is written the authors. After some revisions, the Fleet Street Choir premiered key of C major, the harp’s most resonant key the work in December 1942. A year later it was published, (no, music theory nerds, it’s not the same with the addition of two more pieces (“That Yongë Child” and thing as the key of B!), and is based upon the the interlude for solo harp), and performed by the Morriston chant used in the procession and recession. Boys Choir, who subsequently made the first recording of the work under the composer’s supervision. A Ceremony of Carols VIII • In Freezing Winter Night • Robert Southwell has since become a staple of women’s and children’s choirs The most “contemporary” piece in the Ceremony, this piece Christmas repertoire across the world. is written in 5/4 and is highly dissonant due to the echo I • Procession: Hodie, Christus natus est between the first and second sopranos. The song depicts Britten borrowed this chant from the liturgy for Christmas the irony of the King of Heaven being born in a stable, by Day, where it is sung before each verse the same poet who penned “This Little Babe.” of the Magnificat (the Song of Mary). The alleluias at the IX • Spring Carol • William Cornish (d. 1523) end are Britten’s own addition, and were to be repeated A duet to thank God for the coming of Spring after winter. “when the duration of procession necessitates.” This piece bookends the entire work: It is repeated again at the X • Deo Gracias • Anonymous, 15th century conclusion of A Ceremony of Carols. According to Medieval theology, Adam remained in limbus Today Christ is born; Today the savior has appeared; patrum (“limbo of the fathers”) from the time of his death Today the angels sing on earth, The archangels rejoice; until he was redeemed through Jesus’ crucifixion (some Today the righteous rejoice, saying: “four thousand winters”). This was in punishment for taking ”Glory to God in the highest.” the fruit of the tree of knowledge (“and all was for an Alleluia. apple…that he took”). However, had the apple not been taken, then “our lady” (Mary) would never have been the II • Wolcum Yole! • Anonymous, 14th century “heavené Queen” (the Mother of God), therefore we sing This ancient text calls on the saints, martyrs and innocents “Thanks be to God.” to help proclaim the New Year. It is a miniature of the liturgical calendar of the Christmas season, naming several XI • Recession: Hodie, Christus natus est important feast days and events. III • There Is No Rose • Anonymous, 14th century Mary was unparalleled; within her body were both God and man (“Heaven and Earth”). Britten uses medieval symbolism in his treatment of this text, where the number three represents the divine, and two the mundane. Listen for the “divine” triplets that mark the Latin commentary concluding each verse: Res miranda (Miraculous thing) Pares forma (Of equal form) Gaudeamus (We rejoice) Transeamus (Let us go) Prime Voci Frances Alls Aspen Lillywhite Abigail Assadi Sylvia Lindblad Claire Balcom Kaylee Meyers Skye Duplessis Amelie Petit Seattle Girls Choir provides a Clara Foltz Madeline Price robust education in the choral Sonya Fues Greer Rattray arts, helping girls build skills to Xahria Hatch Ellie Rice succeed in life, and enriching Sophia Hillstrom Vesela Tsenkova the cultural landscape of the Pacific Northwest. Serving Arundati Iyer Lilliana Wald girls from ages 5-18, SGC is Ruby Jefferson Yuchen Yang a place where long lasting Eleanor friendships are built while Karis-Sconyers great music is made. seattlegirlschoir.org Jacob Winkler • Artistic Director, Prime Voci Conductor Jake attended the University of Washington, where he studied piano with Holly Herrmann and Marc Seales, ultimately earning his Master of Music in orchestral conducting under the late maestro Peter Erös. Jake has served on the staff of the Northwest Choirs for twenty years as an accompanist and director, advancing to the position of Associate Music Director before joining the Seattle Girls Choir in the fall of 2009. Juliet Stratton • Harpist Juliet Stratton performs regularly as soloist, chamber and orchestral musician. Prior performances include the Seattle Symphony, Seattle Opera, and Cincinnati Symphony. Her numerous recording credits include motion picture scores, video games, symphonies, choral, solo, and chamber recordings. She currently freelances throughout the Pacific NW and maintains an active ONLINE TICKETS AVAILABLE AT BYRDENSEMBLE.COM private teaching studio. Susanna Valleau • Prime Voci Accompanist DO YOU KNOW Meaghan Leferink • Executive Director A GIRL WHO Stacia Cammarano • Office Manager LOVES TO SING? Let her voice be heard! Auditions are being scheduled for Entrata choir level Seattle Girls Choir would like to acknowledge which is resuming January 2021. Entrata is designed the support and commitment of all the parents as an entry point into SGC for girls in 3rd-5th grades by during this unprecedented year. We are truly providing slightly more focused musicianship instruction so that their skill levels will more closely match honored to be working with your chorister(s). peers that started in SGC at a younger age. Let your friends know! seattlegirlschoir.org/join/ Thank you! for Placement Audition Form link..
Load more

Recommended publications
  • Britten Spring Symphony Welcome Ode • Psalm 150
    BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School
    [Show full text]
  • 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]
  • Heather Wiebe. 2012. Britten's Unquiet Pasts: Sound and Memory
    Heather Wiebe. 2012. Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. Cambridge: Cambridge University Press. Reviewed by Nina Penner Britten as a public figure. Britten as a composer of music for children, amateurs, and the church. These are sides of Britten’s legacy that have attracted little scholarly attention prior to Heather Wiebe’s recent monograph Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. More familiar is Britten as a composer of opera and art song, and as a man “at odds with . society” (Pears 1983: 152).1 Although anticipating the Britten centenary by one year, Britten’s Unquiet Pasts is much in keeping with the spirit of other Britten publications to be released this year, not least Paul Kildea’s (2013) biography. What emerges from these new perspectives is a more complex view of Britten, both as an artist whose breadth of work defies easy classification, and as a man with changing and often conflicting impulses towards his envisaged role in society. Wiebe’s study also differentiates itself from much Britten scholarship in its wider historical outlook. As she states at its outset, it is less a study of Britten and his music than of the roles music played in the project of British postwar reconstruction. Britten is not even mentioned until partway through the second paragraph of the introduction, when his works appear as part of an impressive list of source materials, which include, but are by no means limited to, “planning and arts administration documents, journalism, social surveys, public ceremonial, television and radio broadcasting, film, theatre, and literature” (1).
    [Show full text]
  • Britten's Choral Music
    SLUG Benjamin Britten at Crag House c.1949: the seeming inevitability of his response to words is one of his hallmarks 22 CHOIR & ORGAN MARCH/APRIL 2013 www.choirandorgan.com C&O - March April - FEATURES - Reed Britten - Tweeked.indd 22 20/02/2013 18:10:43 BRITTEN’S CHORAL MUSIC Sacred and profane Whether writing a cappella church music or a major symphonic choral work, Benjamin Britten responded to texts with depth of insight. In the composer’s centenary year, Philip Reed argues that there is much still to discover in his choral canon he seeming inevitability of nal setting for eight-part chorus in a faux Britten’s response to words is one medieval style. It was first performed in Tof the hallmarks of his output. 1931 by the Lowestoft Choral Society Indeed, so idiomatic are his settings that (in which the composer’s mother sang), it remains difficult, when reading a text he along with his unaccompanied carol, The has set, for one’s mind’s ear not to conjure Sycamore Tree, a setting of a text related to up Britten’s music. This remains as true of the more familiar carol I saw three ships, his wide-ranging choral music as it does of which Britten did not publish (in a revised his numerous song-cycles and operas. But version) until 1967. whereas in his operas and orchestral song- Christmastide remained a favourite cycles Britten was something of a pioneer, season for Britten, one to which he repeat- establishing a national tradition for opera edly responded in his compositions.
    [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]
  • A Celebration of Women in Song Music By, About & for Women
    PRESENTS A CELEBRATION OF WOMEN IN SONG Music By, About & For Women Directed by Paul Thompson Sunday, November 15th, 2015 at 1:00 pm Mount Calvary Lutheran Church | Boulder CantabileSingers.org A CELEBRATION OF WOMEN IN SONG PROGRAM A Song by Anna Amalia Herzogen von Sachsen Regina Coeli Laetare Amalia Herzogen von Sachen (1739-1807) Soloists: Jenifer Burks, Lucy Kelly, Ben Herbert, Tom Voll Cellist: Libby Murphy Songs for Queen Elizabeth I Triumphs of Oriana All Creatures Now Are Merry-Minded John Bennet (1575–1614) As Vesta Was Thomas Weelkes (1576–1623) Fair Nymphs, I Heard One Telling John Farmer (1570?–1601) Songs by Fanny Hensel Gartenlieder, Op. 3 Fanny Hensel (1805–1847) No. 2 Schöne Fremde No. 5 Abendlich Schon Rauscht Der Wald No. 4 Morgengruß A Song about Mary the Mother Totus Tuus Henryk Górecki (1933–2010) INTERMISSION A Song about the Feminine Imbolc from Wheel of the Year, a Pagan Song Cycle Leanne Daharja Veitch (b. 1970) Soloist: Hari Baumbach Cellist: Libby Murphy Songs for Athene, the goddess, princess, and companion Song for Athene John Tavener (1944–2013) Songs about St. Cecilia, the muse Hymn to St. Cecelia, Op. 27 Benjamin Britten (1913–1976) Soloists: SusanWiersema, Katja Stokley, Julien Salmon, Brian Underhill Songs by Gwynthyn Walker How Can I Keep from Singing? Gwyneth Walker (b. 1947) CantabileSingers.org A CELEBRATION OF WOMEN IN SONG TEXTS Regina Coeli Laetare Regina Coeli Laetare Regina coeli, laetare, alleluja. Queen of heaven rejoice! Alleluia! Quia quem meruisti portare, alleluja. For He whom Thou didst merit to bear, alleluia, Resurexit, sicut dixit alleluja.
    [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]
  • Ceremony of Carols Benjamin Britten (1913-1976) Anna Maria Mendieta, Harp Judith Tauber-Lovik, Soprano Vicki Hanson, Soprano
    Janice Gunderson, Music Director Benjamin Britten Choral and Instrumental Works of the Season Anna Maria Mendieta, Harp Alex Bootzin, Piano Pamela Ravenelle, Flute First Baptist Church of Palo Alto Saturday, December 4, 2004 A Ceremony of Carols Benjamin Britten (1913-1976) Anna Maria Mendieta, harp Judith Tauber-Lovik, soprano Vicki Hanson, soprano 1. Procession Gloria in excelsis Deo! Gaudamus Leave we all this werdly mirth, Hodie Christus natus est: And follow we this joyful birth. Hodie Salvator apparuit: Alleluia, Resirnranda, Paresforma, Hodie in terra canunt angeli Gaudeamus, Transeamus. Laetantur archangeli: Hodie exsultant justi dicentes: 4. That yonge child Gloria in excelsis Deo. Alleluia! That yonge child when it gan weep With song she lulled him asleep: 2. Wolcum Yole! That was so sweet a melody It passed aile minstrelsy. Wo1cum, be thou hevene king, The nightingale sang also: Wo1cum, Yole! Her song is hoarse and nought thereto: Wo1cum, born in one morning, Whoso attendeth to her song Wo1cum for whom we sall sing! And leaveth the first then doth he wrong. Wo1cum, Thomas marter one, Wo1cum, seintes lefe and dere 4b. Balulalow Wo1com, Innocentes every one, Wo1cum, Twelfthe Day both in fere, o my deare hert, young Jesu sweit, Wo1cum be ye good Newe Yere, Prepare thy creddil in my spreit, Wo1cum, Yole! And I sall rock thee to my hert, Candelmesse Quene of bliss, And never mair from thee depart. Wo1cum, bothe to more and lesse. But I will sail praise thee evermoir Wo1cum, be ye that are here, With sanges sweit unto thy gloir; . Wo1cum alle and make good cheer.
    [Show full text]
  • Benjamin Britten. a Ceremony of Carols. 1 Fl
    Benjamin Britten. A Ceremony of Carols. 1 Fl. Bourgne — Chorus 14 (2000) Prononciation/notations : La colonne de droite donne la prononciation, à lire ‘à la française’. Les voyelles — Pas de diphtongues sauf les rares qui sont indiquées, c’est-à-dire ïou, èou et èï. On distingue ü/ou (purée/poulet) ; é/è/e (mémé/fermière/oeuf) ; ô/o (beauf/bof) Les consonnes – Jamais de h aspiré, merci les Normands !!! (mais on roule les r) ‘th’ en anglais médiéval: θ, se dit comme ‘th’ dans thin ou thought (on peut dire f à la place), en anglais Renaissance: aussi th, se dit comme ‘th’ dans that moderne(on peut dire v). ‘w’ j’ai noté w ou ou, se dit ‘ou’ comme dans Oui-oui. ‘v’ j’ai noté v, se dit comme dans verve. ‘ch’ j’ai différencié ch, tch, sh (nishtingale cf. l’alld ‘nicht’), CH (noCHt, cf. ‘aCH c’est l’orach’) J’ai noté la différence entre ss et z en finale, mais en vérité ‘s’ se dit toujours ss (‘singen’ se dit ssinnguen et pas zinngen), sauf qd j’ai noté z. 1. Procession Aujourd’hui le Christ est né Hodie Christus natus est: aujourd’hui le Sauveur est apparu hodie Salvator apparuit: aujourd’hui les anges chantent sur la terre hodie in terra canunt angeli, les archanges se réjouissent, laetantur archangeli: aujourd’hui les justes exultent et disent : hodie exsultant justi dicentes: gloria in excelsis Deo, Alleluia! Alleluia! Alleluia! 2. Wolcum, Yole! / 14e siècle. Rappel : ‘th’ se dit θ (‘th’ dans thin, ou ‘f’) Bienvenu, Bienvenu, Wolcum, Wolcum, wolcoum, wolcoum, Bienvenu sois-tu, roi des cieux Wolcum be thou hevenè king, wolcoum bé θou èvne
    [Show full text]
  • Prolongation in the Choral Music of Benjamin Britten
    Prolongation in the Choral Music of Benjamin Britten by David Lamar Forrest, B.M., M.M. A Dissertation In FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Matthew Santa, chair Michael Berry Dominick Casadonte Peter Martens Paul Pare Fred Hartmeister Dean of the Graduate School May, 2009 Copyright 2009, David Lamar Forrest Texas Tech University, David Forrest, May 2009 Acknowledgements I would like to express my extreme gratitude to a few individuals without whom this dissertation would not have been possible. I owe an enormous debt to Dr. Michael Berry, Dr. Peter Martens and Dr. Matthew Santa, each of whom have given unselfishly of their time and expertise. The genesis of this dissertation was developed under the guidance of Michael Berry. The work began as a term paper for his class in post- tonal analysis. As an independent study project he helped me develop the paper into my first research conference presentation. His practical and informed approach to analysis, grammar, research and presentation have been invaluable and will forever influence my work. To Peter Martens I owe my fascination with Schenkerian analysis. Prolongation opened new analytical doors to my analysis and, as the first word of the title suggests, is the cornerstone of this dissertation. Dr. Martens was always eager to help and his extensive knowledge, quick wit and deep vocabulary has proven essential to my development as a researcher. The steady balance of challenge and encouragement I received from Matthew Santa has raised the integrity of my work.
    [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]