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Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. -
8Th RESIDENTIAL SUMMER MUSIC ACADEMY
13th – 20th July 2013 CANDILI, EUBOEA, GREECE 8th RESIDENTIAL SUMMER MUSIC ACADEMY Applications are invited to Singers and Lute Players, to attend a week of Masterclasses, Lessons, Concerts, and related activities, with the Counter-Tenor, Michael Chance, in the historic and stunning setting of Candili, on the Island of Euboea (Εύβοια), Greece. As in the past, there will be a range of musical activity, with ample opportunity to attend classes, have private tuition, work with accompanists, perform daily, and enjoy leisure time on the famed estate. The landscape around Candili is idyllic, with natural forest, mountains, and beaches all close by. Michael Chance We are delighted to welcome our distinguished friends, Lyric Soprano Lynne Dawson, Head of the School of Vocal Studies at RNCM, Manchester, UK, Lutenist Paul Beier, with whom Michael regularly performs, and the experienced Alexander Technique teacher Fiona Tree, of the Royal Conservatorium in The Hague, Holland. There will be harpsichord and piano accompaniment available for singers in lessons and classes. The cost will be 700 Euros for the full week or 350 Euros for the final days (Thursday morning, 18th July – Saturday evening, 20th July), during which the final concert will take place. This covers Lynne Dawson accommodation, three daily meals, and all tuition. Single rooms may be possible by arrangement. The cost for non-participating partners, or friends, will be 65 Euros per day, on a room-sharing basis. You are invited to send your application, using the form at http://www.michaelchancecountertenor.co.uk/masterclasses/ Please include a short biography, and singing experience. Successful applicants will then receive more details about the content of the course, and the request to pay a registration fee of 50 Euros, by bank transfer. -
Spring 2018/2 by Brian Wilson and Dan Morgan
Second Thoughts and Short Reviews - Spring 2018/2 By Brian Wilson and Dan Morgan Reviews are by Brian Wilson unless signed [DM]. Spring 2018/1 is here. Links there to earlier editions. Index: ADAMS Absolute Jest; Naïve and Sentimental Music_Chandos BACH Keyboard Music: Volume 2_Nimbus - Complete Organ Works Volume 7_Signum BEETHOVEN Triple Concerto_DG (+ BRAHMS) BORENSTEIN Violin Concerto, etc._Chandos BRAHMS Double Concerto_DG (+ BEETHOVEN) BRUCKNER Symphony No. 3_Profil - Symphony No. 4 in E-flat ‘Romantic’_LSO Live BUSONI Orchestral Works_Chandos ELGAR Violin Sonata, etc._Naxos_Chandos GERSHWIN Rhapsody in Blue_Beulah GUILMANT Organ Works_Chandos (+ WIDOR, FRANCK, SAINT-SAËNS) IRELAND Downland Suite, etc._Chandos - Mai Dun, Overlanders Suite, etc._Hallé JANITSCH Rediscoveries from the Sara Levy Collection_Chandos KARAYEV Symphony No.1; Violin Concerto_Naxos - Seven Beauties Suite, etc._Chandos LIDSTRÖM Rigoletto Fantasy_BIS (+ SHOSTAKOVICH Cello Concerto) LISZT A Faust Symphony_Alpha LUDFORD Missa Videte miraculum, etc._Hyperion MAHLER Symphony No.1_CAvi - Symphonies Nos. 4-6_Signum - Symphony No. 6_BIS MONTEVERDI Lettera Amorosa_Ricercar - Clorinda e Tancredi: Love scenes_Glossa - Night - Stories of Lovers and Warriors_Naïve PALUMBO Three Concertos_BIS RACHMANINOV The Bells, Symphonic Dances_BRKlassik ROSSINI Overtures – Gazza Ladra, Guillaume Tell_Beulah SAUER Piano Concerto No.1_Hyperion (+ SCHARWENKA) SCHARWENKA Piano Concerto No.4_Hyperion (+ SAUER) SHOSTAKOVICH Cello Concerto No.1_BIS (+ LIDSTRÖM) TALLIS Lamentations and Medieval Chant_Signum TIPPETT Symphonies Nos. 1 and 2_Hyperion VIVALDI Concertos Op.8/1-12_Chandos - Double Concertos_Chandos WESLEY, Samuel Symphonies_Chandos WESLEY, Samuel Sebastian Ascribe unto the Lord - Sacred choral works_Chandos WIDOR Organ Works_Chandos (see GUILMANT) Electric Django (Reinhardt)_Beulah *** MusicWeb International April 2018 Second Thoughts and Short Reviews - Spring 2018/2 Nicholas LUDFORD (c.1490-1557) Ninefold Kyrie (at Ladymass on Tuesday, Feria iii) [4:45] Alleluia. -
New College Oxford
NEW COLLEGE OXFORD POST OF ASSISTANT ORGANIST The College seeks to appoint an Assistant Organist with effect from 1 September 2020. This is a full-time post. The principal duties of the Assistant Organist are as follows: • to accompany New College Choir • to assist with the training of the choristers, in particular the Year 3 and 4 Probationers • to deputize for the Organist when he is absent • to play a key role in the administration of the choir and chapel music, including: o managing the choir library o curating a weekly organ recital series o scheduling organ maintenance, organ practice and the playing rota o managing and developing outreach activities, including the sixth-form ‘Experience Evensong’ programme • to assist with the teaching of early stage undergraduates in Keyboard Skills and Techniques of Composition (Harmony and Counterpoint) papers • to fulfil a key role in relation to the choristers, alongside the Headmaster of New College School, Chorister Tutors and the rest of the choir team, overseeing their welfare and logistics, with responsibilities in school and college: this will not conflict with musical duties The successful applicant will have time to develop his or her personal musical career alongside the post. The Assistant will be required to keep school terms (these being longer than the University terms, during which the Choir sings its daily offices), and will also be expected to be available for the periods outside term when the Choir tours and/or records. The annual salary will be equivalent to the University scale 5: 5.10 33797 5.9 32816 5.8 31866 5.7 30942 5.6 30046 5.5 29176 5.4 28331 5.3 27511 5.2 26715 5.1 25941 Current earnings will be taken into account in the calculation of the successful candidate’s salary. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
On Christmas Night
On Christmas Night Eleanor Farjeon (1881 –1965) / Christopher Steel (1938 –1991) Phillips Brooks (1835 –1893) / Henry Walford Davies (1869 –1941) 1 People, look east 3.13 10 O Little Town of Bethlehem 4.33 Johannes Brahms (1833 –1897) Anon. ( c.1300) / Benjamin Britten (1913 –1976) 2 Chorale Prelude for organ ‘Es ist ein Ros entsprungen’ 2.47 11 A Hymn to the Virgin 3.05 Op.122 No.8 Traditional French carol (arr. Stephen Jackson) Anon. 15th century / Robin Nelson (b.1943) 12 Noël nouvelet 4.30 3 Out of your sleep 2.44 Christina Rossetti (1830 –1894) / Harold Darke (1888 –1976) Thomas Campion (1567 –1620) / Richard H. Lloyd (b.1933) 13 In the bleak midwinter 4.29 4 View me, Lord 2.41 Herbert Sumsion (1899 –1995 ) Johann Sebastian Bach (1685 –1750) 14 Prelude for organ on ‘The holly and the ivy’ 4.33 5 Chorale prelude for organ ‘Wachet auf, ruft uns die Stimme’ 4.02 BWV 645 Bruce Blunt (1899 –1957) / Peter Warlock (1894 –1930) 15 Bethlehem Down 4.23 Anon. 15th century / William Mathias (1934 –1992) 6 A babe is born 3.21 John Rutter (b.1945) 16 Shepherd’s Pipe Carol 3.08 Traditional Czech carol ‘Hajej, nynjej’ (trans. Percy Dearmer) / Traditional Czech melody (collected Martin Shaw, Traditional English folk carols (collected Cecil Sharp & arr. Edward Higginbottom) Ralph Vaughan Williams) / Ralph Vaughan Williams (1872 –1958) 7 Rocking 2.16 17 Fantasia on Christmas Carols 12.45 Marcel Dupré (1886 –1971) 69.02 8 Variations on ‘Il est né le divin enfant’, offertory for organ 4.02 Choir of Magdalen College, Oxford Anon. -
BUCKINGHAMSHIRE POSSE COMITATUS 1798 the Posse Comitatus, P
THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 The Posse Comitatus, p. 632 THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 IAN F. W. BECKETT BUCKINGHAMSHIRE RECORD SOCIETY No. 22 MCMLXXXV Copyright ~,' 1985 by the Buckinghamshire Record Society ISBN 0 801198 18 8 This volume is dedicated to Professor A. C. Chibnall TYPESET BY QUADRASET LIMITED, MIDSOMER NORTON, BATH, AVON PRINTED IN GREAT BRITAIN BY ANTONY ROWE LIMITED, CHIPPENHAM, WILTSHIRE FOR THE BUCKINGHAMSHIRE RECORD SOCIETY CONTENTS Acknowledgments p,'lge vi Abbreviations vi Introduction vii Tables 1 Variations in the Totals for the Buckinghamshire Posse Comitatus xxi 2 Totals for Each Hundred xxi 3-26 List of Occupations or Status xxii 27 Occupational Totals xxvi 28 The 1801 Census xxvii Note on Editorial Method xxviii Glossary xxviii THE POSSE COMITATUS 1 Appendixes 1 Surviving Partial Returns for Other Counties 363 2 A Note on Local Military Records 365 Index of Names 369 Index of Places 435 ACKNOWLEDGMENTS The editor gratefully acknowledges the considerable assistance of Mr Hugh Hanley and his staff at the Buckinghamshire County Record Office in the preparation of this edition of the Posse Comitatus for publication. Mr Hanley was also kind enough to make a number of valuable suggestions on the first draft of the introduction which also benefited from the ideas (albeit on their part unknowingly) of Dr J. Broad of the North East London Polytechnic and Dr D. R. Mills of the Open University whose lectures on Bucks village society at Stowe School in April 1982 proved immensely illuminating. None of the above, of course, bear any responsibility for any errors of interpretation on my part. -
For Immediate Release
DISCOGRAPHY TAFELMUSIK MEDIA October 30, 2015 Bach Best of German Baroque: J.S. Bach TMK2028CD Tafelmusik Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director | Ivars Taurins, Director, Tafelmusik Chamber Choir Various Best of French Baroque TMK1029CD Tafelmusik Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director | Ivars Taurins, Director, Tafelmusik Chamber Choir November 18, 2014 Handel Best of Messiah TMK1027CD Highlights of the baroque masterpiece Handel’s Messiah Directed by Ivars Taurins Soloists Karina Gauvin, Robin Blaze, Rufus Müller and Brett Polegato May 27, 2014 Various The Baroque Virtuoso TMK1026CD Limited Edition CD, featuring Jeanne Lamon as Violin Soloist Releases of past recordings on SONY and Analekta labels Proceeds go to support Tafelmusik’s Artist Training activities March 25, 2014 Beethoven Beethoven Symphonies 1-4 & Overtures (2 CD set) TMK1023CD2 Directed by Bruno Weil Includes Overture to Die Geschöpfe des Prometheus and Coriolan November 26, 2013 Various House of Dreams DVD and CD TMK1020DVDCD Narrated by Blair Williams Music by Handel, Vivaldi, Purcell, Marais, Telemann, and Bach 2014 JUNO Award nominee October 30, 2012 Handel Messiah (2 CD set) TMK1016CD2 Directed by Ivars Taurins Soloists Karina Gauvin, Robin Blaze, Rufus Müller and Brett Polegato 2013 JUNO Award nominee Beethoven/ Symphony No. 3 “Eroica” and Symphony No. 4 “Italian” TMK1019CD Mendelssohn Directed by Bruno Weil May 29, 2012 Handel Music for the Royal Fireworks TMK1011CD* 1998 JUNO Award Winner – “Best Classical -
Great Sacred Music Sunday, January 10, 2021
Great Sacred Music Sunday, January 10, 2021 Conrad Kocher, arr. by David Willcocks: As with gladness men of old Choir of King's College, Cambridge, Sir David Willcocks Ian Hare, organ Thomas Tallis: O salutaris hostia Magnificat, Philip Cave John Rutter: Open thou mine eyes Atlanta Sacred Chorale, Eric Nelson The text for the hymn “As with gladness men of old” was written by William Chatterton Dix (1837- 1998). From Linnrecords.com: “Magnificat was formed in 1991 by its conductor, Philip Cave, to explore the rich diversity of choral music from the last five centuries. The ensemble specialises in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries.” John Rutter was commissioned by the Texas Choral Directors Association to write Open thou mine eyes. The text was written by Lancelot Andrews (1555-1626). Pierre Villette: O sacrum convivium The Rodolfus Choir, Ralph Allwood Mikhail Ippolitov-Ivanov: O Gentle Light of Holy Glory Chamber Choir "Lege Artis", Boris Abalyan Herbert Howells: Like as the hart desireth the waterbrooks Choir of St. Paul's Cathedral, John Scott Christopher Dearnley, organ French composer Pierre Villette (1926-1998) was a student of Maurice Durufle. Mikhail Ippolitov- Ivanov (1859-1939) was a student of Rimsky-Korsakov. Herbert Howells wrote his ravishing setting of Psalm 42 “Like as the hart desireth the waterbrooks” in one day on January 8, 1941. Commentary: Alan McClellan Peter Cornelius: The Three Kings Voces 8 Josef Haydn: The Heavens are Telling the Glory of God~The Creation Atlanta Symphony Orchestra and Chamber Chorus, Robert Shaw Jeanne Brown, soprano; Oliver Sueing, tenor; Wayne Baughmann, bass Guillaume Dufay: Letabundus Pomerium, Alexander Blachly German composer Peter Cornelius published Weihnachtslieder, Op.8 in 1856. -
Royal Free Music Society Choir Summer Concert
Royal Free Music Society Choir Summer Concert Saturday 18th June, 7.30pm Puccini: Messa di Gloria & summer songs by Vaughan Williams, Dvorak, Elgar & Parry Conductor: Benjamin Wolf Soloists: William Petter (tenor) Benjamin Seifert (baritone) Programme Elgar: As Torrents in Summer; My love dwelt in a Northern land Vaughan Williams: The Dark Eyed Sailor; Just as the Tide was Flowing Dvor a k: Melodies fell into my soul; In the rye fields; Come, let us dance and sing together Parry: My Soul, There is a Country; I Know My Soul hath Power Stanford: Justorum Animae; Beati Quorum Via Ireland: Ladslove; Goal and Wicket; The Vain Desire (Tenor solo) Tosti: Oh! Quanto io t'amerei!; Ideale (Baritone solo) Interval Puccini: Messa di Gloria Conductor: Benjamin Wolf Soloists William Petter (tenor) Benjamin Seifert (baritone) The choir is accompanied by Gillian Cracknell on piano Welcome Dear Audience Welcome to our Summer concert! Tonight the choir will be singing Puccini’s Messa di Gloria which we recently performed in Genoa with a wonderful Italian choir and orchestra in the sumptuous surroundings of the Ducal Palace. We look forward to singing this piece again in the beautiful surroundings of St John’s Wood Church. We will also be singing a selection of shorter pieces by Vaughan Williams, Dvorak, Elgar and Parry, and our wonderful soloists will be performing some solo pieces. As always, we would like to extend our thanks to our Music Director, Benjamin Wolf and to our excellent accompanist, Gill Cracknell, as well as to the members of the committee who oversee the running of the choir. -
Performance Practice of Johann Sebastian Bach's Passio
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Performance Practice of Johann Sebastian Bach's Passio Secundum Johannem a Study of 25 Years of Recorded History (1982-2007) as Influenced by Events Surrounding the Historically Informed Performance Movement Michael Troy Murphy Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERFORMANCE PRACTICE OF JOHANN SEBASTIAN BACH‟S PASSIO SECUNDUM JOHANNEM – A STUDY OF 25 YEARS OF RECORDED HISTORY (1982-2007) AS INFLUENCED BY EVENTS SURROUNDING THE HISTORICALLY INFORMED PERFORMANCE MOVEMENT By MICHAEL TROY MURPHY A Dissertation submitted to the College of Music In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 Copyright 2008 Michael Troy Murphy All Rights Reserved The members of the Committee approve the dissertation of Michael Troy Murphy on June 24, 2008. ____________________________________ André J. Thomas Professor Directing Dissertation ____________________________________ Judy K. Bowers Committee Member ____________________________________ Charles Brewer Outside Committee Member ____________________________________ Kevin Fenton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to my best friend and wife, Claire and my sons William and Colin, for your love, patience and encouragement iii ACKNOWLEDGMENTS I would like to thank my committee members for the encouragement and guidance they have offered me during my graduate studies at The Florida State University College of Music. This dissertation is a synthesis of their influence and my studies while pursuing my degree at Florida State University. -
Georg Friedrich Händel ~ Saul
G EOR G F RIEDRICH H ÄNDEL ~ S AUL uthentic Classical Concerts zu veröffentlichen, heisst für uns, herausragende Aufführungen und Konzerte für die Die vorliegende Konzertaufnahme ist Teil eines Zyklus von Oratorien und Messen, die Jürgen Budday im Rahmen der ANachwelt festzuhalten und zu vermitteln. Denn Künstler, Publikum, Werk und Raum treten in einen intimen Dialog, Klosterkonzerte Maulbronn über mehrere Jahre hinweg aufführt. Die Reihe verbindet Musik in historischer Auffüh- der in Form und Ausdruck - in seiner Atmosphäre - einmalig und unwiederbringlich ist. Diese Symbiose, die Spannung rungspraxis mit dem akustisch und atmosphärisch optimal geeigneten Raum der einzigartigen Klosterkirche des Welt- der Aufführung dem Hörer in all ihren Facetten möglichst intensiv erlebbar zu machen, indem wir die Konzerte direkt kulturerbes. Dieser Idealort verlangt geradezu nach der Durchsichtigkeit des Musizierens und der interpretatorischen in Stereo-Digital aufzeichnen, sehen wir als Ziel, als Philosophie unseres Hauses. Das Ergebnis sind einzigartige Inter- Freilegung der rhetorischen Gestik der Komposition, wie sie durch die historische Aufführungspraxis in besonderer pretationen von musikalischen und literarischen Werken, schlichtweg - audiophile Momentaufnahmen von bleibendem Weise gewährleistet ist. So wird ausschließlich mit rekonstruierten historischen Instrumenten musiziert, die in den zu Wert. Blühende Kultur, dem Publikum vor Ort und nicht zuletzt auch Ihnen zur Freude, sind somit jene Werte, welche Lebzeiten der Komponisten üblichen Tonhöhen gestimmt sind (in dieser Aufführung a‘ = 415 Hz). wir in unseren Editionen und Reihen dokumentieren. „An Oratorio or Sacred Drama“ ist die Bezeichnung im Originaltextbuch (1738). Es wurde erstmals am 16. Januar 1739 Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding perfor- unter Händels Leitung im königlichen Theater am Hay-Market in London aufgeführt.