Sacred and Profane
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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 -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
1999 Spring Programme
CONCERT DIARY WINCHESTER MUSIC CLUB THE WAYNFLETE SINGERS Come and Sing ... Handel’s Messiah 10th June 1999 7.30pm Conductor: Neil Chippington in Winchester Cathedral 1 May 1999 from 2.00 pm Poulenc Gloria (Performance at 6.00 pm) Fauré Pavane WINCHESTER MUSIC CLUB in Winchester College Chapel Saint-Saëns Symphony No 3 in with a buffet supper in School C minor (Organ) afterwards Fauré Peléas et Mélisande Details from Mrs R. Halliwell, Bournemouth Symphony Orchestra 2 Southend Close, Hursley, S021 2LJ Conductor: David Hill (tel 01962 775584) ROSSINI 2nd July 1999 7.30pm WINCHESTER and COUNTY in Winchester Cathedral MUSIC FESTIVAL Verdi Requiem 8 May 1999 at 7.30 pm Bournemouth Symphony Orchestra in Winchester Cathedral Conductor: David Hill Petite Messe Solennelle Dvorák Stabat Mater Conductor: Francis Wells WINCHESTER MUSIC CLUB 25 November 1999 at 7.30 pm 15 May 1999 at 7.30 pm in Winchester Cathedral in Romsey Abbey Mendelssohn Elijah Susanna Spicer Mezzo soprano Charpentier Te Deum, WMC Choir and Orchestra Shelley Everall Contalto Vivaldi Beatus Vir Conductor: Neil Chippington Handel O Praise the Lord with Andrew Carwood Tenor One Consent Christopher Foster Baritone Conductor: Colin Howard Winchester Music Club Choir and Orchestra Tickets, except where indicated, from Music at Winchester (tel. 01962 977977). Elizabeth Russell Leader Neil Chippington NEW HALL, WINCHESTER COLLEGE Winchester Music Club is affiliated to the National Federation of Music Societies which represents and Saturday 20 March 1999 at 7:30 p.m. supports amateur choirs, orchestras and music By kind permission of the Headmaster promoters throughout the United Kingdom. Winchester Music Club is a Registered Charity No. -
Edington Music Festival Association Newsletter Winter 2007
Edington Music Festival Association Newsletter Winter 2007 E WELCOME WITH THIS ISSUE We shall miss Jeremy greatly, and we Watchfulness. The setting for Solemn Wour new chairman, Peter McGeary, extend our condolences to his wife Veryan Eucharist was William Byrd’s Mass for four who was unanimously elected at this year’s and his three children. voices. Both voluntaries at this service were AGM in succession to Andrew Carwood. by Dietrich Buxtehude in recognition of the Peter has kindly contributed a biographical Judith Rose three hundredth anniversary of his death. note which is to be found below. Meanwhile UDITH ROSE, who attended the Festival On Tuesday the focus was Foundations we thank Andrew most warmly for his hard Jalong with Paul and their children in the demonstrated well through the hymn Christ work and for his vision which led to the early years, was a founder member of the is our corner-stone and Palestrina’s Missa Tu es establishment of the Association, as a result Samaritans in Peterborough whilst Paul was Petrus. of which the Festival is on a much sounder Precentor there, trained as Reader in the This year, due to the changes in the BBC financial footing than previously. We are 1970s after the family had moved to St. radio schedules for Choral Evensong, absolutely delighted that Andrew has decided John’s, Hyde Park, and felt a deepening Wednesday was the evening for the Sequence that he is, after all, able to continue as calling to the priesthood when they returned of Music and Readings. The theme for the director of the Schola Cantorum. -
Classical Listing
23918 ChoralCat4:Layout 1 8/5/09 11:44 AM Page 405 CLASSICAL LISTING This listing includes works from a variety of publishers, including: Boosey & Hawkes Bote & Bock Eschig Fennica Gehrmann G. Schirmer Ricordi Salabert Schott Sikorski 23918 ChoralCat4:Layout 1 8/5/09 11:44 AM Page 406 406 ORATORIO, MASSES & LARGE CHORAL WORKS Vocal scores unless otherwise noted. ______49004658 Christmas with J.S. Bach Mixed choir (SATB and SSATB); keyboard instruments; APPLEFORD other inst. Schott ED4133..........................................$13.95 ______48016496 New English Mass Vocal Score ______50500030 Jesus, Priceless Treasure (Jesu, meine Freude) (Hufs- Joseph Weinberger M570050567..............................$17.95 tader) SSATB Eng – Schirmer ED2913 .......................$4.95 ______50324530 Magnificat Lat/Eng – Schirmer ED2034 .....................$5.95 ARGENTO, DOMINICK ______50405570 Magnificat (Barré) Lat – Salabert SR12219 ................$7.95 ______48002907 Everyone Sang SSAATTBB a cappella ______49010404 Magnificat, BWV 243 in D Major (ed. Schering) Boosey & Hawkes M051323302..................................$9.95 Study Score Eulenburg ETP964.................................$12.95 ______48002876 I Hate and I Love SATB and percussion ______49010397 Mass in B minor, BWV 232 “High Mass” Boosey & Hawkes M051318506................................$13.95 (ed. Volbach) Study Score Eulenburg ETP959...........$26.95 ______48002851 Peter Quince at the Clavier SATB ______50323910 Mass in B minor Lat – Schirmer ED272 ...................$14.95 Boosey -
Revue Française De Civilisation Britannique, XXII-3 | 2017 « a Musician for an Occasion »: Britten, Compositeur Engagé 2
Revue Française de Civilisation Britannique French Journal of British Studies XXII-3 | 2017 Forms of Activism in the United Kingdom (Grassroots Activism, Culture, Media) « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Édition électronique URL : http://journals.openedition.org/rfcb/1443 DOI : 10.4000/rfcb.1443 ISSN : 2429-4373 Éditeur CRECIB - Centre de recherche et d'études en civilisation britannique Référence électronique Gilles Couderc, « « A musician for an occasion »: Britten, compositeur engagé », Revue Française de Civilisation Britannique [En ligne], XXII-3 | 2017, mis en ligne le 05 juillet 2017, consulté le 02 mai 2019. URL : http://journals.openedition.org/rfcb/1443 ; DOI : 10.4000/rfcb.1443 Ce document a été généré automatiquement le 2 mai 2019. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. « A musician for an occasion »: Britten, compositeur engagé 1 « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Introduction I believe that the artist must be consciously a human being. He is part of society and he should not lock himself up in an ivory tower. I think he has a duty to play towards his fellow creatures. It is not only a duty; I think it’s a pleasure too. I want to have my music used. I would rather—this seems perhaps a silly thing to say—but I would rather have my music used than to write masterpieces which were not used .1 1 Ainsi s’exprime Benjamin Britten (1913-1976) en avril 1968 dans un article sous-titré « The Moral Responsibility of the Artists toward his Fellow Man. -
William Byrd Festival 2008
This book has been published by the Church Music Association of America for distribution at the William Byrd Festival 2008. It is also available for online sales in two editions. Clicking these links will take you to a site from which you can order them. Softcover Hardcover A Byrd Celebration William Byrd 1540–1623 A Byrd Celebration LECTURES AT THE WILLIAM BYRD FESTIVAL EDITED BY RICHARD TURBET CMAA Church Music Association of America Cover picture is of the Lincoln Cathedral, England, where William Byrd was the choirmaster and organ- ist for nine years, 1563–1572. Copyright © 2008 Church Music Association of America Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com TABLE OF CONTENTS Acknowledgments . .7 Preface . .9 BIOGRAPHY . .11 William Byrd: A Brief Biography . .13 Kerry McCarthy “Blame Not the Printer”: William Byrd’s Publishing Drive, 1588–1591 . .17 Philip Brett Byrd and Friends . .67 Kerry McCarthy William Byrd, Catholic and Careerist . .75 Joseph Kerman MASSES . .85 The Masses of William Byrd . .87 William Peter Mahrt Byrd’s Masses in Context . .95 David Trendell CANTIONES . .103 Byrd’s Musical Recusancy . .105 David Trendell Grave and Merrie, Major and Minor: Expressive Paradoxes in Byrd’s Cantiones Sacrae, 1589 . .113 William Peter Mahrt Savonarola, Byrd, and Infelix ego . .123 David Trendell William Byrd’s Art of Melody . .131 William Peter Mahrt GRADUALIA . .139 Rose Garlands and Gunpowder: Byrd’s Musical World in 1605 . .141 Kerry McCarthy The Economy of Byrd’s Gradualia . .151 William Peter Mahrt 5 6 — A Byrd Celebration ENGLISH MUSIC . -
RSCM Honorary Awards 1936-2020 Hon
FRSCM (220) ARSCM (196) Hon. Life RSCM (62) RSCM Honorary Awards 1936-2020 Hon. RSCM (111) Cert. Special Service (193) Total 782 Award Year Name Dates Position FRSCM 1936 Sir Arthur Somervell 1863-1937 A Fellow of the College of St Nicolas in 1936. Chairman of Council SECM FRSCM 1936 Sir Stanley Robert Marchant 1883-1949 A Fellow of the College of St Nicolas in 1936. Principal of the Royal Academy of College FRSCM 1936 Sir Walter Galpin Alcock 1861-1947 A Fellow of the College of St Nicolas in 1936. Organist of Salisbury Cathedral FRSCM 1936 Sir Edward Bairstow 1874-1946 A Fellow of the College of St Nicolas in 1936. Organist of York Minster FRSCM 1936 Sir Hugh Percy Allen 1869-1946 A Fellow of the College of St Nicolas in 1936. Director of the Royal College of Music FRSCM 1936 The Revd Dr.Edmund Horace Fellowes 1870-1951 A Fellow of the College of St Nicolas in 1936. Choirmaster of St George's, Windsor and Musicologist FRSCM 1936 Sir Henry Walford Davies 1869-1941 A Fellow of the College of St Nicolas in 1936. Organist of the Temple Church FRSCM (i) 1936 Dr Henry George Ley 1887-1962 A Fellow of the College of St Nicolas in 1936. Precentor of Eton FRSCM (i) 1936 Sir Ivor Algernon Atkins 1869-1953 A Fellow of the College of St Nicolas in 1936. Organist of Worcester Cathedral FRSCM (i) 1936 Sir Ernest Bullock 1890-1979 A Fellow of the College of St Nicolas in 1936. Organist of Westminster Abbey FRSCM (iii) 1937 Sir William Harris 1883-1973 A Fellow of the College of St Nicolas in 1937. -
Download Booklet
CORO CORO “…wonderful music, wonderfully performed… sit back and let these glorious sounds fill your ears and lift your spirits.” gramophone Compilation by: Robin Tyson – podiummusic.co.uk Re-mastering: Tom Mungall (Floating Earth) Cover image: Basílica i Temple Expiatori de la Sagrada Família, Barcelona, Spain Design: Andrew Giles – [email protected] For further information about recordings on CORO or live performances and tours by The Sixteen, call +44 (0) 20 7936 3420 or email [email protected] the voi ces of 2019 The Sixteen Productions Ltd. © 2019 The Sixteen Productions Ltd. Made in Great Britain To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16172 th Anniversary Collection The Sixteen | HARRY CHRISTOPHERS CD1 CD2 1 G.F. Handel How excellent thy name (from Saul HWV 53) 2.45 1 Igor Stravinsky Exaudi orationem meam Domine (from Symphony of Psalms) 3.02 2 James MacMillan O Radiant Dawn (From The Strathclyde Motets) 3.18 2 Frank Martin Sanctus and Benedictus (from Mass for double choir) 4.29 3 G.P. da Palestrina Surge amica mea 2.34 3 J.S. Bach Kyrie eleison II (from Mass in B minor BWV 232) 3.34 4 Tomás Luis de Victoria O Domine Jesu Christe 3.39 4 G.P. da Palestrina Ave Maria 4.26 5 Henry Purcell Remember not, Lord, our offences (Z 50) 3.00 5 Thomas Tallis Miserere nostri 2.59 6 Gregorio Allegri Miserere (Evolution version) 11.28 6 Henry Purcell Symphony / O sing unto the Lord (from O sing unto the Lord Z 44) 3.32 7 Claudio Monteverdi Deus in adiutorium meum intende (from Vespers of 1610 SV 206) 1.59 7 G.F. -
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. -
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. -
Durham E-Theses
Durham E-Theses Benjamin Britten, Herbert Howells, and Silence as the Ineable in English Cathedral Music PAULEY, JOHN-BEDE How to cite: PAULEY, JOHN-BEDE (2013) Benjamin Britten, Herbert Howells, and Silence as the Ineable in English Cathedral Music, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9499/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ABSTRACT Benjamin Britten, Herbert Howells, and Silence as the Ineffable in English Cathedral Music John-Bede Pauley Silence’s expressive potential came to the fore in twentieth-century arts and letters as never before. Its role in Christian theology and spirituality has a much longer history, but by the beginning of the twentieth century, its expressive potential had not been significantly recognized in liturgical choral music. This study examined the relationship between twentieth-century musical silence and the expression of silence as the ineffable in Anglican choral music (referred to as English cathedral music or ECM) of the middle of the twentieth century.