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Music at St. George's Music at St. George’s Program St. George’s offers multiple opportunities for talented volunteer musi- The St. George Voices cians to share their gifts during worship. Our eclectic music program Moonglow Will Hudson, Eddie DeLange and Irving Mills Arr. Darmon Meader has something for everyone. Singers and instrumentalists can choose What’s New? Bob Haggart and Johnny Burke from a variety of ensembles and styles, including: Orange Colored Sky Milton DeLugg and Willie Stein Someone to Watch Over Me George and Ira Gershwin Arr. Jay Althouse Adult Choirs Do Nothin’ Till You Hear From Me Duke Ellington The Jazz Ensemble Choir Arr. Darmon Meader The Choir of St. George’s My Attorney Bernie Dave Frishberg The St. George Voices Centerpiece Harry “Sweets” Edison and Jon Hendricks Compline Choir Charleston Alley Edgar Sampson and John Hendricks Children’s Choirs Arr. Darmon Meader St. George’s Compline Choir St. George’s Little Choristers Es ist ein Ros entsprungen Michael Praetorius (1571 – 1621) The St. Georgians Youth Choir Puer Natus In Bethlehem Chant, 14th C Instrumental Ensembles Ein Kind Geboren Zu Bethlehem Michael Praetorius (1571 – 1621) Ther is No Rose of Swych Vertu Anonymous, Trinity Carol Roll, 15th c. Jazz Ensemble Gaudete! Anonymous, Piae Cantiones, 1582 Chamber Ensemble Gaude Virgo, Mater Christi Josquin des Prez (1450 – 1521) Recorder Ensemble Celtic Ensemble Antiphon: Rorate Coeli Ne Irascaris Domine & Civitas Sancti Tui William Byrd (1540 – 1623) Handbell Choir For more information, e-mail: Verbum Caro Factum Est: y la Virgen le Dezia Anonymous, Cancionero de Upsala, 16th c. [email protected] O Magnum Mysterium Tomás Luis de Victoria (1548-1611) Star in the East William Walker (1809 – 1875) The Southern Harmony Christum Wir Sollen Loben Schon Lucas Osiander (1534 – 1604) The St. George Voices Thanks to the following subscribers of the 2015- John Vreeland—Director 2016 Chamber Music Series Mary Vreeland—Soprano Elizabeth Anderson—Alto 1 Laurel Loch—Alto 2 Elizabeth Anderson Kenneth and Emily Kidwell John Vreeland—Tenor, Piano Achim Loch—Baritone, Piano Earl and Pat Baughman Gene Kubal The St. George Voices was founded by St. George’s Director of Music Anne Beals Tom and Jan Meredith Ministries John Vreeland in 2006. Since then the group has sung a Lisa and Hurley Bogardus Mr. and Mrs. Herbert W. Morris varied repertoire of sacred motets, madrigals, vocal jazz and contempo- Cornelia Bryant Mr. and Mrs. Ronald Parsons rary choral music. Today’s program features some of our favorite jazz Sean Carroll Diane S. and Ralph W. Powell standards. The St. George Compline Choir Mr. And Mrs. James Christie JoAnne Rose Trystan Bennett—Director Debbie Haliday James and Beth Spragins Wendy Cannon, Caitlin Durham—Soprano Jane Jackson Hunsucker Peggy A. Verdine Lucy Monte, Erin Wysong—Alto Trystan Bennett, Joe Price—Tenor Peggy H. Johnson Judge and Mrs. J.M.H. Willis Jr. Joe Blackwell, Achim Loch, Brian Seals—Bass Founded in 2013, the St. George Compline Choir leads the Office of To subscribe, visit www.stgeorgesepiscopal.net/chamberseries Compline every Sunday at 8 PM in the candle-lit Nave with Gregorian Chant, and Renaissance Polyphony. This is their first appearance out- side of the regular service. The Office of Compline is one of four ma- jor offices in the Anglican tradition and originates from the ancient The Friends of Music at St. Georges monastic tradition of ending the day in prayer. The word itself is de- are the volunteers who help make these events possible. We can use your help with everything from taking tickets to graphic de- rived from the Latin word ‘completes’, meaning ‘complete’, and also sign. To learn more, contact [email protected] marks the time of silence until morning. St. George’s 2015-2016 Organ Recital NOTES Es ist ein Ros entsprungen Series The melody for the Advent Carol Es ist ein Ros entsprungen first appeared in the 1599 Speyer Hymnal in Cologne and its popular Praetorius har- Featuring the organists of St. George’s monization was printed shortly after in 1609. Known in English speak- Trystan Bennett, Kelly Kazik, Achim Loch and John Vreeland ing countries by its 1894 translation, “Lo, How a Rose E’er Blooming”, Friday, October 30—7:30 pm the carol references both Luke 1-2 and Matthew 2, as well as Isaiah’s prophecies about a ‘Rose’ from the ‘Stem of Jesse’ (Isa. 11:1; 35:1-2). Scary Music for Organ Puer Natus In Bethlehem & Ein Kind Geboren Zu Bethlehem The earliest source for this non-liturgical Christmas hymn was found in a Benedictine chant collection dating from the beginning of the 14th Thursday, December 31—8:30 pm century. Not to be confused with the Christmas Day Introit, Puer Natus New Years Eve Concert Est, Puer Natus in Bethlehem enjoyed particular popularity in the 16th and 17th centuries throughout Europe. Its Latin text, which is found in many different versions ranging from six to twelve stanzas, very likely Sunday, April 24—3:00 pm has been composed by several authors. Consequently, it has undergone many changes due to omissions, revisions, and additions. It was trans- Afternoon Organ Concert lated into German by Heinrich von Laufenberg in 1439 and several pe- Concerts are free riod sources indicate that this translation was directly inserted between each Latin stanza. Some scholars have surmised that the choir sang the original Latin in alternatum with the congregation singing the vernacu- Upcoming Musical Events at St. George’s lar translation. Praetorius and several of his contemporaries composed multiple harmonizations of this hymn. Sunday, January 17—3:00pm Ther is No Rose of Swych Vertu Ayreheart—Music for Lute, Voice and Percussion Ther is No Rose of Swych Vertu is the last of 13 surviving carols from the Sunday, February 21—3:00pm Trinity Carol Roll, a 15th century manuscript held by the Wren Library The St. George Chamber Orchestra and Choir at Trinity College, Cambridge. This secular collection is one of the ear- www.stgeorgesepiscopal.net/chamberseries liest surviving examples of polyphonic music written originally in Eng- lish and was compiled sometime after 1415, as evident by the inclu- sion of the ‘Agincourt carol’. All of the works in the collection are either written in Middle English, or in combination of Middle English Thank you ! and Latin, as is our selection. Celebrating 87 Years of Trust Gaudete! in Serving Fredericksburg 903 Caroline St. “Gaudete” is a sacred Christmas carol which is thought to have been 540-373-9243 * Exquisite Designer Jewelry composed in the 16th century, but the melody may have originated as One Family–One Location * Delightful Gifts a monophonic hymn in the late medieval period. Our source is from Since 1928 www.ulmansjewelery.com * Casual & Formal Tableware the first publication in the 1582 Piae Cantiones, which is a collection of Finnish/Swedish sacred songs. No music is provided for any of the Custom Jewelry Designs verses, but these are adapted from melodies found in older liturgical Repairs & Appraisals books. The Latin text is a typical medieval song of praise and follows a standard pattern of a uniform series of four-line stanzas, each preceded by a two-line refrain (The ‘Burden’). Gaude Virgo, Materi Christi – Josquin des Prez Gaude Virgo sets an Advent Marian text that rejoices in the mysteries of Christ including his conception, birth, resurrection and ascension. It celebrates Christ’s strength and honor while rejoicing in Mary’s role in not only conceiving and bearing The Christ, but also mourning and celebrating with us in Jesus’ death and resurrection. Rare in the list of renaissance composers for being highly celebrated in his lifetime, Jos- quin De Prez was the chief figure in the Franco-Flemish composition school and is still considered one of the most important European composers between Dufay and Palestrina. His extensive and varied output includes both sacred and secular music, including early satirical works, and is marked by a particular sensitivity to expressive text set- ting. Rorate Coeli, Ne Irascaris Domine & Civitas Sancti Tui – William Byrd The antiphon ‘Rorate Coeli’ is sung throughout the season of Advent as part of ‘The Advent Prose’ and translates to "Drop down, ye heav- ens from above \ and let the skies pour down righteousness." Origi- nating in the medieval church, The Advent Prose is a hymn composed of four scripture passages that express the longings of the Patriarchs and Prophets, and symbolically of the Church, for the coming of the Messiah. Ne Irascaris Domine is the first verse of four contained in the Advent Prose and is set in two parts by the English Tudor composer William Byrd. It was first published in Byrd’s 1589 Cantiones Sacrae, and is also extant in the 1581 Dow Partbook manuscripts. While both parts have always appeared together in original sources, the second part “Civitas Sancti Tui” has enjoyed greater popularity within the rep- ertoire and is also commonly performed as it’s English Contrafactum “Bow Thine Ear, O Lord”. Scholars have argued that the publication of this work in particular clearly illustrates both the prayers and ‘quiet dissent’ of William Byrd as a persecuted Catholic living amongst the increasingly tumultuous Protestant England under Elizabeth I. While Byrd and his immediately family are known to have held special pro- tection from the ‘recusancy’ laws on account of holding the Queen’s favor (herself an accomplished keyboardist and musician), it is also known that Byrd continued to lend at least musical support to English Catholicism, and that the mere possession of any of Byrd’s later Cath- olic works (such as his three mass settings, published between 1592 and 1594) could result in severe punishment or even death.
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