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DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK JOHN SCOTT CONDUCTOR Matthew Martin (B
DANCING DAY MUSIC FOR CHRISTMAS SAINT THOMAS CHOIR OF MEN & BOYS, FIFTH AVENUE, NEW YORK JOHN SCOTT CONDUCTOR RES10158 Matthew Martin (b. 1976) John Rutter (b. 1945) Dancing Day 1. Novo profusi gaudio [3:36] Dancing Day Part 1 Music for Christmas Patrick Hadley (1899-1973) 17. Prelude [3:35] 2. I sing of a maiden [2:55] 18. Angelus ad virginem [1:55] 19. A virgin most pure [5:04] Benjamin Britten (1913-1976) 20. Personent hodie [1:57] A Ceremony of Carols, Op. 28 Part 2 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York 3. Procession [1:32] 21. Interlude [4:05] 4. Wolcum Yole! [1:24] 22. There is no rose [1:53] 3-15 & 17-24 5. There is no Rose [2:26] 23. Coventry Carol [3:54] Sara Cutler harp [1:46] 1 & 16 6. That yonge child 24. Tomorrow shall be my Stephen Buzard organ 7. Balulalow [1:21] dancing day [3:03] Benjamin Sheen organ 2 & 25-26 8. As dew in Aprille [1:02] 9. This little babe [1:30] Traditional English 10. Interlude [3:32] arr. Philip Ledger (1937-2012) John Scott conductor 11. In Freezing Winter Night [3:50] 25. On Christmas Night [2:00] 12. Spring Carol [1:14] (Sussex Carol) 13. Adam lay i-bounden [1:12] 14. Recession [1:37] William Mathias (1934-1992) [1:41] 26. Wassail Carol Benjamin Britten 15. A New Year Carol [2:19] Total playing time [63:58] Traditional Dutch arr. John Scott (b. 1956) About the Saint Thomas Choir of Men & Boys: 16. -
Oursaviournyc.Org 2 February 2020
T HE P ARISH OF O UR S AVIOUR S AINT S TEPHEN AND O UR L ADY OF THE S CAPULAR C HAPEL OF THE S ACRED H EARTS OF J ESUS AND M ARY in the City of New York oursaviournyc.org CHURCH OF OUR SAVIOUR CHAPEL OF THE Fifty-nine Park Avenue SACRED HEARTS OF JESUS AND MARY (at East Thirty-eighth Street) 325 East Thirty-third Street New York, NY 10016 (between First and Second Avenues) Parish Office: (212) 679–8166 New York, NY 10016 Chapel Office: (212) 213–6027 Our Saviour and Sacred Hearts are both handicapped accessible. v Rev. Robert J. Robbins, K.C.H.S., Pastor Parish Trustees: Rev. Andrew E. Kurzyna, Parochial Vicar Leilani Siri, M.D. Rev. Msgr. Kevin Sullivan, In Residence Mr. Thomas J. Travers, K.C.H.S. Rev. Msgr. Hilary C. Franco, Honorary Associate Mr. Paul J. Murray, K.C.H.S., Director of Music & Organist MASS FOR THE LORD’S DAY OUR SAVIOUR SACRED HEARTS Saturday Vigil: 5:00 p.m. (Sung) Sunday: 12:45 p.m. (Sung), Sunday: 9:00 a.m., 11:00 a.m. (Choral), 5:00 p.m. 3:00 p.m. (Korean-English bilingual), 5:30 p.m. (Sung) DAILY MASS OUR SAVIOUR SACRED HEARTS 7:45 a.m. (Monday–Friday) 5:15 p.m. (Monday–Friday) 12:05 p.m. (Monday–Saturday) SACRAMENT OF PENANCE (CONFESSION) OUR SAVIOUR SACRED HEARTS Sunday: 10:30–10:50 a.m. Sunday: 5:00–5:15 p.m. Monday– Friday: 7:20–7:40 a.m. -
THE LINK the Parish Magazine for the Parishes of St Catherine and Holy Trinity Ventnor and St Boniface Bonchurch
THE LINK The Parish Magazine for the parishes of St Catherine and Holy Trinity Ventnor and St Boniface Bonchurch SEPTEMBER 2017 The Ministry Team Rev’d Hugh Wright 01983 853729 Email: [email protected] Gill Chaloner Reader 854659 Hilary Davis Reader 855797 Jenny Hopkins Holder Reader 852575 Gill Smith Reader 856134 David Tamcken Reader 506693 Churchwardens St Catherine’s Steve Northern 856953 Adrian Pinnock Holy Trinity Jo Nicholson Mark Bell 852631 St Boniface Jonny Fitzgerald Bond 854824 Lyn Ridler-Lee 404508 Morning Prayer Tuesday - Bonchurch Old Church - 8am Wednesday - St Catherine's Church and Thursday Holy Trinity Church - 9am Friday - Bonchurch Parish Church - 8.30am All Welcome Sunday Services Please see inside Link for details of Sunday Services Midweek Services St Catherine’s - Wednesday - 10.30am Holy Communion Holy Trinity - Thursday - 10.00am Holy Communion (BCP) Ventnor & Bonchurch Parish website address www.ventnorcofe2.btck.co.uk Email: [email protected] 2 A Silly Week in August ….during which a combination of Ventnor Fringe and Ventnor Carnival made life here in Ventnor vibrant and lively, and life in Holy Trinity, St Catherine’s and St Boniface somewhat chaotic! It started with the Carnival Service held at St Catherine’s and escalated from there, with all sorts of different things happening all over town in different venues, including churches, church halls and church carparks! Concerts, plays, puppet shows, monologues, busking….it was all going on! The Fringe Book Bus was parked in St Catherine’s carpark, there was a performance of the “Isle of Wight Suite” and the Ventnor Guitar Club and Local History Society combined for “Playing with History”. -
Preces and Responses
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The Choir of Men and Boys ∙ the Parish of All Saints, Ashmont
The Choir of Men and Boys ∙ The Parish of All Saints, Ashmont 209 Ashmont Street, Dorchester Boston, Massachusetts 02124 Telephone 617–436–3520 [email protected] FAX 617–436–7320 FREDERICK BACKHAUS, Organist & Master of Choristers CHORAL MUSIC – Advent to Last Epiphany, 2008-09 (Year B) YEAR B Advent I The Gentlemen of the Choir November 25, 2008 The Great Litany in Procession (Thanksgiving weekend) Missa brevis (TTBB) – Denis Bedárd Psalm 122 (Tone I) Ecce advenit – William Byrd Remember me, O Lord – Thomas Tomkins Advent II The Choir of Men & Boys December 7, 2008 Matin Responsory and ‘Come, thou Redeemer of the earth’ Communion Service in F – William H. Harris Psalm 72:1-8 (Tone I) There is no rose – Joel Martinson O come, O come, Emmanuel – Andrew Carter Advent III The Choir of Men & Boys December 14, 2008 The Great Litany in Procession Communion Service in F – Herbert Sumsion Psalm 146:4-9 (Tone VII) This is the record of John – Orlando Gibbons Lessons & Carols (7:00 pm - Saturday) The Choir of Men & Boys December 20. 2008 St. John the Evangelist R.C. Church, Winthrop Advent IV Chamber Choir December 21, 2008 Missa brevis – Leslie Betteridge (SSA) Psalm 24:1-7 (Tone I) Ave Maria – Claudio Monteverdi (SSA) Lessons & Carols (4:00 pm - Sunday) The Choir of Men & Boys December 21, 2008 The Parish of All Saints, Ashmont Hymn: Once in royal David’s city (Irby) – David Willcocks This is the truth sent from above – Philip Moore Jesus Christ the apple tree – Anthony Piccolo There is no rose – Joel Martinson Up! good Christen folk, and listen – G.R. -
Information on Organ and Choral Scholarships in the Colleges at Oxford University Applications for Entry in 2021/2
INFORMATION ON ORGAN AND CHORAL SCHOLARSHIPS IN THE COLLEGES AT OXFORD UNIVERSITY APPLICATIONS FOR ENTRY IN 2021/2 Please note that the information here is provided by the individual colleges, and is subject to change. BALLIOL COLLEGE (ORGAN SCHOLARSHIP ONLY) BRASENOSE COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) CORPUS CHRISTI COLLEGE (ORGAN SCHOLARSHIP ONLY) CHRIST CHURCH (ORGAN SCHOLARSHIP AND ACADEMICAL CLERKSHIPS) EXETER COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) HERTFORD COLLEGE (ORGAN SCHOLARSHIP ONLY) JESUS COLLEGE (ORGAN SCHOLARSHIP ONLY) KEBLE COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) LINCOLN COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) LADY MARGARET HALL (ORGAN SCHOLARSHIP ONLY) MAGDALEN COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) MERTON COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) NEW COLLEGE (ORGAN SCHOLARSHIP AND ACADEMICAL CLERKSHIPS) ORIEL COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) PEMBROKE COLLEGE (ORGAN SCHOLARSHIP ONLY) QUEEN’S COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) ST EDMUND HALL (ORGAN AND CHORAL SCHOLARSHIPS) SOMERVILLE COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) ST PETER’S COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) UNIVERSITY COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS) WORCESTER COLLEGE (ORGAN AND CHORAL SCHOLARSHIPS BALLIOL COLLEGE Balliol Choir has a warm and lively atmosphere. It is a wonderfully exciting place to be as an Organ Scholar. Balliol Chapel houses a three-manual electric action Harrison organ, complete with pistons and several channels. This is one of the larger college organs in OxFord and is among Oxford’s most versatile for both accompaniment and solo playing. Balliol also has a second organ in the Hall, a splendid Willis instrument previously played at the beginning of celebratory meals and other events. Plans are being made for the Willis to be restored to its full glory. -
Download Album Booklet
CHRISTMAS WITH ST JOHN’S Christmas with St John’s unhurried, easy-flowing vernacular feel as Sansom’s powerful verses, and the overall For many people, the pleasures of the Christmas structure is equally effective; the melody is 1 The Shepherd’s Carol Bob Chilcott [3.40] season can be summed up in a single word: first presented by trebles alone before the 2 The Holly and the Ivy Traditional, arr. Henry Walford Davies [2.54] tradition. However, perhaps strangely for a other voices softly enter, one by one, gradually 3 Sir Christèmas William Mathias [1.33] world so steeped in the music and practices layering a serene pillow of harmonic suspensions. 4 O Oriens Cecilia McDowall [4.35] of centuries past, the English sacred choral The one fortissimo moment comes at the 5 Adam Lay ybounden Boris Ord [1.19] scene is as much about the new as it is the central climax, when all the vocal parts join 6 A Spotless Rose Philip Ledger [2.00] in homophony, for the first and only time, 7 The Seven Joys of Mary William Whitehead [4.45] old at this time of year; Christmas presents 8 Dormi Jesu John Rutter [4.56] a golden opportunity to present brand new to describe the angels’ voices. 9 Creator of the Stars of Night Plainsong, arr. John Scott [3.41] music to wide audiences, and the role played 0 I Wonder as I Wander Carl Rutti [1.46] by St John’s College Choir in this area has Henry Walford Davies’ popular 1913 q O Little Town of Bethlehem Henry Walford Davies [4.49] been significant, as demonstrated by this arrangement of The Holly and the Ivy sticks w I Saw Three Ships Traditional arr. -
A Cathedral Training with All the Advantages of a Leading Co-Educational Independent School
NEW: 32ft Double Ophicleide installed in 2017 Application closing dates: Monday 4 November 2019 (Round 1) Saturday 8 February 2020 (Round 2) Sixth Form Open Afternoon Wednesday 9 October 2019 A cathedral training with all the advantages of a leading co-educational independent school. 16+ entry from September 2020 Boarding or Day place with a £5,000 annual grant and a means-tested allowance up to full fees available Find out more information at www.cliftoncollege.com/upper/admissions Or please contact: Mr Daniel Robson, Director of Music, Clifton College: [email protected] / 0117 3157 247 Sir David Willcocks Organ Scholarship Clifton College in partnership with Bristol Cathedral Through its 150 years, Clifton College has been noted for the importance it attaches to organists and organs in the school’s musical life. It has nurtured generations of Old Cliftonian musicians including Boris Ord, the one-handed Dr Douglas Fox (famed for his radio broadcasts and recitals), C.S. Lang, and Sir David Willcocks himself. More recent alumni organists include Charles Matthews (winner of the Franz Liszt Organ Competition), Andrew Nethsingha (Director of Music at St John’s College, Cambridge), and current Oxbridge organ scholars. All have benefited from the four-manual organ in the College chapel, still maintained by its original maker, Harrison and Harrison. Sir David Willcocks MC CBE (1919-2015) Old Cliftonian Director of Music, King’s College, Cambridge (1957-73) Present-day life at the College — daily assemblies with hymns (the congregational singing supported by the College’s 2012 Hymn Book), choral services on Sundays, and the numerous concerts and oratorios performed in the chapel with the organ — ensures that the instrument and its players remain at the heart of College life. -
A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten Through Analysis of Their Festival Te Deums
A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums Item Type text; Electronic Dissertation Authors Jensen, Joni Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 21:33:53 Link to Item http://hdl.handle.net/10150/193556 A COMPARISON OF ORIGINS AND INFLUENCES IN THE MUSIC OF VAUGHAN WILLIAMS AND BRITTEN THROUGH ANALYSIS OF THEIR FESTIVAL TE DEUMS by Joni Lynn Jensen Copyright © Joni Lynn Jensen 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joni Lynn Jensen entitled A Comparison of Origins and Influences in the Music of Vaughan Williams and Britten through Analysis of Their Festival Te Deums and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: July 29, 2005 Bruce Chamberlain _______________________________________________________________________ Date: July 29, 2005 Elizabeth Schauer _______________________________________________________________________ Date: July 29, 2005 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
'Musical Pitch Ought to Be One from Pole to Pole': Touring Musicians and the Issue of Performing Pitch in Late Nineteenth
2011 © Simon Purtell, Context 35/36 (2010/2011): 111–25. ‘Musical Pitch ought to be One from Pole to Pole’: Touring Musicians and the Issue of Performing Pitch in Late Nineteenth- and Early Twentieth-century Melbourne Simon Purtell In 1869, English vocal teacher Charles Bishenden complained that the high performing pitch in use in England was ‘ruinous to the voice.’ The high pitch, he reported, was the very reason why many European singers did not perform in Britain.1 ‘For a Continental larynx,’ French soprano Blanche Marchesi (1863–1940) later explained, ‘it is a real torture to sing to different pitches.’ ‘The muscles of a trained larynx act like fine clockwork,’ she wrote, and ‘a change of tone, up or down, alters the precision of their action.’ For this reason, Marchesi believed that ‘musical pitch ought to be one from pole to pole.’2 A standard of performing pitch comprises three fundamental concepts: sound frequency, note-name, and standard. A sound frequency, expressed in Hertz (Hz) or cycles per second (cps), becomes a pitch when assigned to a note in the musical scale, thus determining the pitch of every other note in a particular system of tuning. If, in equal temperament, the A directly above middle C equals 440 Hz, then the C directly above it equals 523.25 Hz. A pitch that is agreed upon, at a given time and place, as the reference point for building and tuning musical instruments to play together, is a pitch standard. Standards of pitch are usually expressed in relation to the note A directly above middle C. -
About the Christmas Eve Music
About the Christmas Eve Music – 5:30 Service By Caitlin & Trystan Bennett Hodie Christus Natus Est This Gregorian chant is the antiphon for the Magnificat, when sung at the close of Vespers on Christmas Day. The text translates to: ‘Today Christ is born, today the Savior has appeared, today on earth sing the Angels, the Archangels rejoice: today the just exult, singing “Glory to God in the highest, alleluia.’ On This Day Earth Shall Ring ‘Personent Hodie’ is a Christmas carol originally published in the 1582 Finnish song book ‘Piae Cantiones’, a volume of 74 Medieval songs with Latin texts collected by Jaakko Suomalainen, a Swedish Lutheran cleric. A similar melody was published in 1360 in Moosburg, Germany, and it is from this manuscript that the tune is usually dated. The English translation was done by Jane A. Joseph, a pupil and later associate of Gustav Holst, who assisted him in transcriptions, arrangements and translations. Holst arranged this carol for unison voices and orchestra in 1916 and its organ reduction is often used as a processional hymn, as found in the 1982 Hymnal. Chorale Prelude on ‘Vom Himmel hoch, da komm ich her’ This choral prelude to Martin Luther’s Christmas carol ‘Vom Himmel hoch’, was composed by Johann Pachelbel, who is primarily known today for his ‘Cannon in D.’ Originally published in Erster Theil etlicher Choräle, a collection of liturgical organ music. Johann Christoph Bach (1671–1721), Johann Sebastian's eldest brother and one of Pachelbel's most important pupils, may have assisted with the publication of the first edition of this work, for the engraving closely resembles his handwriting. -
The Solemnity of the Nativity of Our Lord 2011
The Solemnity of The Nativity of Our Lord 2011 Cathedral Basilica of Saints Peter and Paul Philadelphia, Pennsylvania Cathedral Basilica of Saints Peter and Paul Philadelphia, Pennsylvania Most. Rev. Charles J. Chaput,O.F.M. Cap., Archbishop of Philadelphia Rev. Msgr. Arthur E. Rodgers, Rector-Primus Rev. Edward P. Burke, Parochial Vicar Rev. Charles J. Kennedy, Parochial Vicar Rev. Kieran Udeze, Parochial Vicar Rev. Gerald Dennis Gill, Director of the Office for Divine Worship Dr. John A. Romeri, Director of the Office for Liturgical Music CONTENTS CHORAL PRELUDE TO 7:30 P.M. VIGIL MASS (7:00 p.m.) page 2 CHORAL PRELUDE TO MIDNIGHT MASS (11:00 p.m.) page 3 PRELUDE TO 10:00 A.M. MASS (Selections from Midnight) page 3 ALL MASSES page 12 The Solemnity of The Nativity of the Lord Cover Artwork: The Nativity. 1523. Oil on wood; Lorenzo Lotto ~ Choral Prelude to 7:30 p.m. Mass ~ Archdiocesan Boy Choir of Philadelphia Veni, Veni Emmanuel Chant, XV Century O Come, O Come, Emmanuel Hodie, Christus Nactus Est Chant Christ Is Born Today Procession of the Choirboys Jeremy Triplett, Organ Lo How a Rose E’er Blooming Theodore Baker Lullay My Liking R. R. Terry Text 15th Century English arr. Tom Windfleder In Nativitate Christi Traditional For the Birth of Christ arr. and orch. by Tom Windfelder A collection of traditional Christmas music from around the world Il Est Ne (He is Born) Stille Nacht (Silent Night) What Child Is This? Angels We Have Heard on High Archdiocesan Boy Choir of Philadelphia Director, Thomas Windfelder Accompanist, Jeremy Triplett, Choir Alumnus Cantor, James Corcoran, Choir Alumnus Psalmist, Michael Zubert, Choir Alumnus Harp, Joana ShawRuss 1st Violin, Lenuta Atanasiu 2nd Violin, Doris Loder Viola, Andrea Quinn Cello, George Atanasiu 1st Trumpet, William Hughes 2nd Trumpet, Catherine Dierkes Trombone, Alex Siniavski Timpani, William Kerrigan -2- ~ Choral Prelude to Midnight Mass ~ Cathedral Basilica Choir, Cathedral Brass Quintet, Violin, Timpani, Organ Fanfare and Variations on “Noel Nouvelet” French Carol Trumpets and Organ arr.