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An Annotated Listing of Mozart's Smaller , Sacred Choral Works
An Annotated Listing of Mozart's Smaller , Sacred Choral Works by David Rayl s we approach the 200th Editions anniversary of the death of Wolfgang Amadeus Mozart, Obviously, no two editions of the choral conductors are same work are identical; some are beginning to consider carefully edited according to scholarly Aprograms which will suitably criteria while others are poorly edited commemorate the death of this most and misrepresent the original score. amazing of composers. There will Carus-Verlag, whose publications are undoubtably be many performances of available through Mark Foster, has his Requiem and the C minor Mass, begun to publish editions of much of as well as the better-mown works Mozart's choral music. Their excellent from his tenure in Salzburg, such as editions are generally the best the "Coronation" Mass and the available, being based on the Neue Solemn Vespers of a Confessor. But Mozart Ausgabe. Each contains an there are many smaller choral works excellent forward with information which are unjustly neglected and about the origin of the work, the which deserve more frequent manuscript sources used in its performance. Most of these are not so English.) This list includes a variety of preparation, a translation of the text, difficult as to restrict their genres: six offertories (K. 34, and some ideas about appropriate performance to college! university K. 117/66a, K. 72/74f, K. 222/205b, performance practice. The problem choirs; they are eminently accessible to K. 260/248a, K. 277/272a), three with these editions is that not all the a great many high school and church Regina coeli settings (K. -
The Viola Da Gamba Society Journal
The Viola da Gamba Society Journal Volume Nine (2015) The Viola da Gamba Society of Great Britain 2015-16 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Linda Hill, Alison Kinder Ex Officio Members: Susanne Heinrich, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Esha Neogy, Marilyn Pocock, Rhiannon Evans ADMINISTRATOR Sue Challinor, 12 Macclesfield Road, Hazel Grove, Stockport SK7 6BE Tel: 161 456 6200 [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 9 (2015): Andrew Ashbee, 214, Malling Road, Snodland, Kent ME6 5EQ [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted by e-mail as well as in hard copy. A style guide is available on the vdgs web-site. CONTENTS Editorial iv ARTICLES David Pinto, Consort anthem, Orlando Gibbons, and musical texts 1 Andrew Ashbee, A List of Manuscripts containing Consort Music found in the Thematic Index 26 MUSIC REVIEWS Peter Holman, Leipzig Church Music from the Sherard Collection (Review Article) 44 Pia Pircher, Louis Couperin, The Extant Music for Wind or String Instruments 55 Letter 58 NOTES ON THE CONTRIBUTORS 59 Abbreviations: GMO Grove Music Online, ed. D. -
LCOM182 Lent & Eastertide
LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas -
The English Anthem Project the Past Century and a Half, St
Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists. -
Friday • February 17, 2006 Crystal Cathedral in Garden Grove, California
— — February — 2006 The Organizer A G O Monthly Newsletter The Atlanta Chapter L O G O AMERICAN GUILD of ORGANISTS The Organizer FEBRUARY — 2006 ____________________________________________________________________________________________________ Guest Artist Puts New Instrument A CELEBRATION Through Its Paces of the new Hailed as one of today's leading young organists by critics on CORNEL Zimmer Organ both sides of the Atlantic, J. Christopher Pardini maintains at an active concert schedule in addition to his duties as Organist and Director of Music at Shadyside Presbyterian North Decatur Presbyterian Church Church, Pittsburgh, Pennsylvania. He earned the Bachelor of 611 Medlock Road at North Decatur Music degree in Sacred Music from Westminster Choir Decatur, GA College, and a Master of Music in Organ from the Eastman 404.636.1429 School of Music, where he studied with David Higgs. In 1998 he was the first-place winner in the San Marino Organ Host: Jamie Shiell Competition in California, and has served on the Board of Directors of the Clarence Mader Scholarship Fund. Previously Christopher served as Senior Organist at the Friday • February 17, 2006 Crystal Cathedral in Garden Grove, California. His compositions are published by G.I.A. and Fred Bock Music Featuring Company. CHRISTOPHER PARDINI PROGRAM Trumpet Tune in A Major David N. Johnson Organist Soliloquy David Conte Joy of the Redeemed Clarence Dickinson _____________________________________ Hymn, "Blessing and Honor" Master Tallis' Testament Herbert Howells Punch Bowl - 6 PM Festival Toccata Percy Fletcher Hymn, "Holy, Holy, Holy" Dinner - 6:30 PM "Mein Junges Leben" Jan Pieterzoon Sweelinck $12 Reservations by 2/14/06 Toccata, Adagio and Fugue Johann Sebastian Bach Cantabile Cesar Franck Recital - 8 PM Grand Choeus Triomphal in A Alexandre Guilmant Dinner Menu for and Directions to the church may be found on Page 4 - In This Issue - March Meeting and Members Recital Mixtures . -
Dr. John Blow (1648-1708) Author(S): F
Dr. John Blow (1648-1708) Author(s): F. G. E. Source: The Musical Times and Singing Class Circular, Vol. 43, No. 708 (Feb. 1, 1902), pp. 81-88 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3369577 Accessed: 05-12-2015 16:35 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 137.189.170.231 on Sat, 05 Dec 2015 16:35:56 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-FEBRUARY I, 1902. 81 THE MUSICAL composerof some fineanthems and known to TIMES everybodyas the authorof the ' Grand chant,'- AND SINGING-CLASS CIRCULAR. and William Turner. These three boys FEBRUARY I, 1902. collaboratedin the productionof an anthem, therebycalled the Club Anthem,a settingof the words ' I will always give thanks,'each young gentlemanbeing responsible for one of its three DR. JOHN BLOW movements. The origin of this anthem is variouslystated; but the juvenile joint pro- (1648-I7O8). -
Life of Mozart, Vol. 1
Life Of Mozart, Vol. 1 By Otto Jahn LIFE OF MOZART. CHAPTER I. — CHILDHOOD WOLFGANG AMADE MOZART came of a family belonging originally to the artisan class. We find his ancestors settled in Augsburg early in the seventeenth century, and following their calling there without any great success. His grandfather, Johann Georg Mozart, a bookbinder, married, October 7, 1708, Anna Maria Peterin, the widow of another bookbinder, Augustin Banneger. From this union sprang two daughters and three sons, viz.: Fr. Joseph Ignaz, Franz Alois (who carried on his father's trade in his native town), and Johann Georg Leopold Mozart, bom on November 14, 1719, the father of the Mozart of our biography. Gifted with a keen intellect and firm will he early formed the resolution of raising himself to a higher position in the world than that hitherto occupied by his family; and in his later years he could point with just elation to his own arduous efforts, and the success which had crowned them, when he was urging his son to the same steady perseverance. When Wolfgang visited Augsburg in 1777, he gathered many particulars of his father's youth which refreshed the recollections of Leopold himself. We find him writing to his son (October 10, 1777) how, as a boy, he had sung a cantata at the monastery of St. Ulrich, for the wedding of the Hofrath Oefele, and how he had often climbed the broken steps to the organ loft, to sing treble at the Feast of the Holy Cross (November 29, 1777). He afterwards became an excellent organist: a certain Herr von Freisinger, of Munich, told Wolfgang (October 10, 1777) that he knew his father well, he had studied with him, and "had the liveliest recollections of Wessobrunn where my father (this was news to me) played the organ remarkably well. -
Hodie Christus Natus
20 YEARS OF SWEET VOICES Saturday, September 7, 2013, 7:30 p.m. Holy Trinity Episcopal Church Program Surge amica mea .................................................................................................................................................. Anonymous (c. 1400) Arise, my love, my fair one, and come away. O my dove, in the clefts of the rock, in the covert of the cliff, show me your face, let your voice sound in my ears; for your voice is sweet, and your face is lovely. Rise Up My Love, My Fair One .............................................................................................................. Healey Willan (1880 - 1968) Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers appear upon the earth; the time of the singing of birds is come; arise, my love, my fair one, and come away. Když jsi v štĕsti ................................................................................................................. Jan Facilis Boleslavsky (16th century) When you are happy you have many friends. This is true, believe me. However, if there is misfortune, not one friend out of one hundred will stay. Belief, anger, unfaithfulness, all cause derision, which divides a friendship. Il bianco e dolce cigno .................................................................................................................. Jacob Arcadelt (c. 1500-1568) The white and gentle swan dies singing; and I, weeping, reach the end of my life. Destiny is ironic that he dies unconsoled and I die blessed. Death fills me full of joy and desire. If in dying I feel no other pain, I would be content to die a thousand deaths each day. The Silver Swan ................................................................................................................................ Orlando Gibbons (1583-1625) The silver Swan, who living had no Note, when death approached unlocked her silent throat. Leaning her breast against the reedy shore, Thus sung her first and last, and sung no more. -
The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194, -
The Choral Music of Keaton Lee Scott with a Conductor's Analysis Of
University of South Carolina Scholar Commons Theses and Dissertations 2016 The horC al Music of Keaton Lee Scott ithW A Conductor’s Analysis Of Requiem Damion Womack University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Other Music Commons Recommended Citation Womack, D.(2016). The Choral Music of Keaton Lee Scott itW h A Conductor’s Analysis Of Requiem. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3904 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE CHORAL MUSIC OF KEATON LEE SCOTT WITH A CONDUCTOR’S ANALYSIS OF REQUIEM By Damion Womack Bachelor of Music Education Alabama A&M University, 1997 Master of Music Education Alabama State University, 2003 _______________________________________ Submitted in Partial Fulfillments of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2016 Accepted by: Larry Wyatt, Major Professor Alicia Walker, Committee Member Andrew Gowan, Committee Member Samuel Douglas, Committee Member Cheryl L. Addy, Vice Provost and Dean of The Graduate School ACKNOWLEDGEMENTS First, I am thankful to God for an amazing life, family, and career. I would like to thank my parents, Charlie and Edna Womack, my sister Darlene Brown, and my brother, Rodrick Hill for their support. I would also like to thank my wife Sonechka Womack for her continuous love and support. My mentors have also been instrumental in my progression as a conductor. -
Angels of Light December 8 & 9, 2012
Angels of Light December 8 & 9, 2012 Serenity Ola Gjeilo (b. 1978) Remember, O Thou Man Abbie Betinis (b. 1980) Beth Shirley, soloist with Carlene Seppala, Ken Short, Ben Schroeder, Emilie Bishop, Grace Van Cleef, PJ Livesey A Sound of Angels Christopher Tye (c. 1505 – c. 1572) The Night Went Wild with Angels Thomas Pavlechko (b. 1962) Shalom Aleichem Israel Goldfarb (1879-1956), arr. Elliot Z. Levine (b. 1948) David Green, Alice Allen, Murray Spiegel, Emanuel Meli Denn Er hat seinen Engeln Felix Mendelssohn (1809-1847) Magnificat Claudio Monteverdi (1567-1643) Elise Figa and Laura Winslow, sopranos; Greg Paradis, Matthew Shurts, Ken Short, tenors Ave Regina Coelorum William Byrd (1539-1623) Let All Mortal Flesh Keep Silence Edward C. Bairstow (1874-1946) Robert Emmerich, Ted Roper, soloists See Amid the Winter Snow Jocelyn Hagen (b. 1980) Linda Clark, solo CHAMBER SINGERS Angelus ad Virginem Andrew Carter (b.1939) Var inte rädd för mörkret Fredrik Sixten (b. 1962) Ropa ut den glädje Sixten Lux Aurumque Eric Whitacre (b. 1970) Rachel Clark, soprano Ave Maria (NJ Premiere) Thomas Keesecker (b. 1956) Arma Lucis Jackson Berkey (b. 1942) Marilyn Kitchell, soprano Alumni song: Ding Dong Merrily on High Audience: Maoz Tzur (Rock of Ages) & O Praise Ye the Lord (1982 hymnal) Betelehemu Nigerian Carol, Via Olatunji (1927-2003) arr. Whalum/Brooks Mark & Mia Hewitt, Devin McGuire, Eric Roper, drums Featured Instrumentalists: Joseph Arndt, organ Terrence Thornhill, cello 2 AnAnAngelsAn gels of Light ––– Program Notes One of the best things about being in the field of choral music for over 25 years is the amazing repertoire from which to draw. -
Restoration Keyboard Music
Restoration Keyboard Music This series of concerts is based on my researches into 17th century English keyboard music, especially that of Matthew Locke and his Restoration colleagues, Albertus Bryne and John Roberts. Concert 1. "Melothesia restored". The keyboard music by Matthew Locke and his contemporaries. Given at the David Josefowitz Recital Hall, Royal Academy of Music on Tuesday SEP 30, 2003 Music by Matthew Locke (c.1622-77), Frescobaldi (1583-1643), Chambonnières (c.1602-72), William Gregory (fl 1651-87), Orlando Gibbons (1583-1625), Froberger (1616-67), Albert Bryne (c.1621-c.1670) This programmes sets a selection of Matthew Locke’s remarkable keyboard music within the wider context of seventeenth century keyboard playing. Although Locke confessed little admiration for foreign musical practitioners, he is clearly endebted to European influences. The un-measued prelude style which we find in the Prelude of the final C Major suite, for example, suggest a French influence, perhaps through the lutenists who came to London with the return of Charles II. Locke’s rhythmic notation belies the subtle inflections and nuances of what we might call the international style which he first met as a young man visiting the Netherlands with his future regal employer. One of the greatest keyboard players of his day, Froberger, visited London before 1653 and, not surprisingly, we find his powerful personality behind several pieces in Locke’s pioneering publication, Melothesia. As for other worthy composers of music for the harpsichord and organ, we have Locke's own testimony in his written reply to Thomas Salmon in 1672, where, in addition to Froberger, he mentions Frescobaldi and Chambonnières with the Englishmen John Bull, Orlando Gibbons, Albertus Bryne (his contemporary and organist of Westminster Abbey) and Benjamin Rogers.