April 2, 2021 Good Friday Music for Lent and Tenebrae Service 6:30 P.M

Total Page:16

File Type:pdf, Size:1020Kb

April 2, 2021 Good Friday Music for Lent and Tenebrae Service 6:30 P.M April 2, 2021 Good Friday Music for Lent and Tenebrae Service 6:30 p.m. AN EXPLANATION OF THE GOOD FRIDAY TENEBRAE SERVICE This is a service of “tenebrae,” which means “darkness.” The service includes Scripture, music, prayers and a meditation, followed by seven selected readings from the Gospels marking Jesus’ betrayal, arrest and crucifixion. At the conclusion of each reading a candle will be extinguished and the lights dimmed until the Sanctuary is immersed in darkness. PRELUDE OF LENTEN MUSIC “O Sacred Head” arr. Rich Heffler The hymn tune “Passion Chorale” was originally set to a love song in Hans Leo Hassler’s “Lustgarten Neuer Deutscher Gesang” in 1601. It first appeared as a hymn tune in the third edition of Harmoniae Sacrae (1613). In 1656 Paul Gerhardt set the tune to a German translation of “O Sacred Head Now Wounded” for the first time. It has been associated with the German and English translations of this hymn ever since. “O Sacred Head” Dietrich Buxtehude “Adagio for Strings” Samuel Barber “Adagio for Strings” (1936) was originally the second movement of Samuel Barger’s “String Quartet” (Opus 11). It was first performed in 1938 by the NBC Symphony Orchestra. Music critic Alexander J. Morin wrote that the music was “full of pathos and cathartic passion” and that it “rarely left a dry eye.” In 1967 it was used for a choral setting of Barber’s “Agnus Dei” (Lamb of God). “The Crucifixion” Samuel Barber This is the fifth song in Samuel Barber’s song cycle, “Hermit Songs.” The poem is a translation of a poem by an anonymous Irish monk who lived sometime between the 8th and 13th centuries. At the cry of the first bird they began to crucify Thee, O Swan! Never shall lament cease because of that. It was like the parting of day from night. Ah, sore was the suff’ring borne by the body of Mary’s Son, But sorer still to Him was the grief which for His sake came upon His mother. “Stabat Mater” Josef Rheinberger The “Stabat Mater” is a 13th century Christian hymn which portrays Mary’s suffering as she bears witness to the crucifixion of her Son. The author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, “Stabat Mater dolorosa,” which menas “the sorrowful mother was standing.” Stabat Mater dolorosa juxta crucem lacrymosa dum pendebat Filius. At the cross her station keeping, stood the mournful mother weeping, close to Jesus to the last. Cujus animam gementem contristatam et dolentem per transivit gladius. Through her heart, His sorrow sharing, all His bitter anguish bearing, now at length the sword has passed. O quam tristis et afflicta fuit illa benedicta Mater unigeniti! O how sad and sore distressed was that mother highly blessed of the sole-begotten One! Quae moerebat et dolebat, pia Mater dum videbat nati poenas inclyti. O that silent, ceaseless mourning, O those dim eyes, never turning from that wondrous, suffering Son. Quis est homo qui non fleret matrem Christi si videnret in tanto supplicio? Is there one who would not weep, whelmed in miseries so deep Christ’s dear mother to behold? Quis non posset contristari, Christi matrem contemplari dolentem cum Filio? Who on Christ’s dear mother thinking, such a cup of sorrow drinking, would not share her sorrow deep? Pro peccatis suae gentis vidit Jesum in tormentis et flagellis subditum. For His people’s sins rejected, saw her Jesus unprotected, saw with thorns, with scourges rent. Vidit suum dulcen natum morientem desolatum dum emisit spiritum. She beheld her gentle Child dying, forsaken and defiled, as His spirit passed away. Eja mater, fons amoris, me sentire vim doloris, fac, ut tecum lugeam. O, thou mother, fount of love, touch my spirit from above, make my heart with thine accord. Fac, ut ardeat cor meum in amando Christum Deum, ut sibi complaceam. Make me feel as thou has felt; make my soul to glow and melt with the love of Christ our Lord. Sancta mater, istud agas, crucifixi fige plagas cordi meo valide: Thou, who on the cross art bearing all the pains I would be sharing, glows my heart with love for Thee. Tui nati vulnerati, tam dignati pro me pati, poenas mecum divide. By Thy glorious death and passion, saving me in wondrous fashion, Saviour, turn my heart to Thee. Fac me tecum pie flere, crucifix condolere, donec ego vixero. Let me mingle tears with thee, mourning Him who mourned for me, all the days that I may live. Justa crucem tecum stare, et me tibi sociare in planctu desidero. To stand with you beside the cross and to be your companion in grief is my desire. Virgo virginum praeclara, mihi jam non sis amara, fac me tecum plangere. Virgin, of all virgins blest, listen to my fond request; let me share thy grief divine. Fac, ut portem Christi mortem, passionis fac consortem, et plagas recolere. Make me of Thy death the bearer, in Thy passion be a sharer, taking to myself Thy pain. Fac me plagis vulnerary, fac me cruce inebriari, et cruore Filii; Let me with Thy stripes be stricken, let Thy cross with hope me quicken, that I thus Thy love may gain. Inflammatus et accensus, per te, Virgo, sim defensus in die judicii. All my heart, enflamed and burning, Saviour, now to Thee is turning; shield me in the Judgement Day. Fac me cruce custodiri, more Christi praemuniri, confoveri gratia. Let me be guarded by the cross, armed by Christ’s death and His grace cherish me. Quando corpus morietur fac, ut animae donetur paradisi gloria. While my body here decays, may my soul Thy goodness praise, safe in Paradise with Thee. CALL TO WORSHIP Rev. Oscar Clavel Leader: Today the carpenter’s hands are nailed to a cross. People: The King of kings is crowned with thorns and wears the purple robe of mockery. Leader: Today He sets us free, Himself imprisoned on a tree. People: Today is God’s Friday. Unison: We come in worship. HYMN “O Sacred Head, Now Wounded” Passion Chorale Unfortunately, for the safety of all, congregational singing is not permitted during in-person worship. Please use this time to meditate on the words of this beautiful hymn. O sacred head, now wounded, with grief and shame weighed down; Now scornfully surrounded with thorns, Thine only crown; O sacred head, what glory, what bliss till now was Thine! Yet, though despised and gory, I joy to call Thee mine. What Thou, my Lord, hast suffered was all for sinners’ gain: Mine, mine was the transgression, but Thine the deadly pain. Lo, here I fall, my Savior! ’Tis I deserve Thy place; Look on me with Thy favor, and grant to me Thy grace. What language shall I borrow to thank Thee, dearest friend, For this Thy dying sorrow, Thy pity without end? O make me Thine forever; and should I fainting be, Lord, let me never, never outlive my love to Thee. PRAYER OF CONFESSION Rev. L. John Gable Leader: Merciful God, we meet each other today at the foot of the cross, as inhabitants of one world. We wait with each other as those who inflict wounds on one another; All: Be merciful to us. Leader: As those who deny justice to others; All: Be merciful to us. Leader: As those who put our trust in power; All: Be merciful to us. Leader: As those who are greedy; All: Be merciful to us. Leader: As those who put others on trial; All: Be merciful to us. Leader: As those who refuse to receive; All: Be merciful to us. Leader: As those who are afraid of the world’s torment; All: Be merciful to us. SILENT CONFESSION ASSURANCE OF PARDON Leader: Jesus, Himself, bore our sins in His body on the cross, so that, free from sins we might live for righteousness. By His wounds you have been healed. Friends, believe the Good News of the Gospel. Unison: In Jesus Christ we are forgiven. ANTHEM “Ave Verum Corpus” Karl Jenkins Ave verum corpus natum de Maria Virgine. Hail, true body born of the Virgin Mary, Vere passum, immolatum in cruce pro homine. Who truly suffered, sacrified on the Cross for man, Cujus latus perforatum fluxit aqua et sanguine. Whose pierced side overflowed with water and blood, Esto nobis prægustatum mortis in examine. Be for us a foretaste in the test of death. Jesu dulcis! Jesu pie, Fili Mariæ. Blessed Jesus! Merciful Jesus, son of Mary. Amen. PASTORAL PRAYER AND THE LORD’S PRAYER Rev. L. John Gable Our Father who art in heaven, hallowed be Thy name, Thy kingdom come, Thy will be done on earth as it is in heaven. Give us this day our daily bread; And forgive us our debts, as we forgive our debtors. And lead us not into temptation but deliver us from evil; For Thine is the kingdom, and the power, and the glory forever. Amen. ANTHEM “Wondrous Love” arr. Eric Nelson What wondrous love is this, O my soul, O my soul? What wondrous love is this, O my soul? What wondrous love is this that caused the Lord of bliss To bear the dreadful curse for my soul, for my soul? To God and to the Lamb, I will sing, I will sing; To God and to the Lamb, I will sing. To God and to the Lamb who is the great I AM, While millions join the theme, I will sing. And when from death I’m free, I’ll sing on, I’ll sing on; And when from death I’m free, I’ll sing on.
Recommended publications
  • SAMUEL BARBER Evening During Term in the College Chapel and Presents an Annual Concert Series
    559053bk Barber 15/6/06 9:51 pm Page 5 Choir of Ormond College, University of Melbourne Deborah Kayser Deborah Kayser performs in areas as diverse as ancient Byzantine chant, French and German Baroque song and In June and July of 2005 the Choir of Ormond College gave its eleventh international concert tour, visiting classical contemporary music, both scored and improvised. Her work has led her to tour regularly both within AMERICAN CLASSICS Switzerland, Germany, Denmark, Poland and Italy. Other tours have included New Zealand, Singapore, Japan, Australia, and internationally to Europe and Asia. She has recorded, as soloist, on numerous CDs, and her work is Holland, England, Scotland, Switzerland and Belgium. These tours have received outspoken praise from the public frequently broadcast on ABC FM. As a member of Jouissance, and the contemporary music ensembles Elision and and critics alike. The choir was formed by its Director; Douglas Lawrence, Master of the Chapel Music, in 1982. Libra, she has performed radical interpretations of Byzantine and Medieval chant, and given premières of works There are 24 Choral Scholars: ten sopranos, four altos, four tenors, and six basses. The choir sings each Sunday written specifically for her voice by local and overseas composers. Her performance highlights include works by SAMUEL BARBER evening during term in the College chapel and presents an annual concert series. Each year a number of outside composers Liza Lim, Richard Barrett and Chris Dench, her collaboration with bassist Nick Tsiavos, and oratorio and engagements are undertaken. These have included concerts for the Australian Broadcasting Commission, Musica choral works with Douglas Lawrence.
    [Show full text]
  • A Graduate Recital in Voice
    Pittsburg State University Pittsburg State University Digital Commons Electronic Thesis Collection 5-2014 A Graduate Recital in Voice Jung Hee Lee Pittsburg State University Follow this and additional works at: https://digitalcommons.pittstate.edu/etd Part of the Music Performance Commons Recommended Citation Lee, Jung Hee, "A Graduate Recital in Voice" (2014). Electronic Thesis Collection. 47. https://digitalcommons.pittstate.edu/etd/47 This Thesis is brought to you for free and open access by Pittsburg State University Digital Commons. It has been accepted for inclusion in Electronic Thesis Collection by an authorized administrator of Pittsburg State University Digital Commons. For more information, please contact [email protected]. A GRADUATE RECITAL IN VOICE A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Music Jung Hee Lee Pittsburg State University Pittsburg, Kansas May, 2014 A GRADUATE RECITAL IN VOICE Jung Hee Lee APPROVED: Thesis Advisor _____________________________________________________ Mrs. Stella Hastings, Music Committee Member _____________________________________________________ Dr. Susan Marchant, Music Committee Member _____________________________________________________ Mr. Patrick Howle, Music Committee Member _____________________________________________________ Dr. Donald Viney, History, Philosophy and Social Sciences ACKNOWLEDGMENTS I would first like to thank Mrs. Stella Hastings who has guided me and helped me prepare for the graduate recital and thesis consistently as my voice teacher and thesis advisor. Also, I’d like to thank the committee members, Dr. Susan Marchant, Mr. Patrick Howle, and Dr. Donald Viney; I appreciate the time and effort they devoted for my graduate thesis. My graduate program advisor, Dr. Russell Jones, has supported me throughout my graduate education.
    [Show full text]
  • Narrating the Lives of Saints and Sinners in Samuel Barber's Hermit
    1 NARRATING THE LIVES OF SAINTS AND SINNERS IN SAMUEL BARBER’S HERMIT SONGS Jennifer A. Konowal Honors Thesis Dr. Daniel Kazez May 13, 2015 2 The solitary, peaceful life of a hermit resonated with Samuel Barber. The theme of solitude appears in some of his works, including the Hermit Songs and Despite and Still, and many of the places where he gathered inspiration or retreated to for comfort were removed from society.1 A cottage in the Pocono Lake Reserve provided Barber with a sanctuary, a home of rest, during the mid-1900s, and it was called The Hermit.2 Even though Barber told his uncle in a letter that he was not actually a hermit, the concept of hermitage clearly appealed to the quieter part of his mind and soul.3 In November of 1952, Samuel Barber wrote to his uncle and role model Sidney Homer to announce that he had found a few early Irish poems that he planned to set to music.4 His interest in these poems was the result of a recent trip to Donegal, Ireland, which he had taken to explore some of the places associated with his favorite Irish authors, such as William Butler Yeats and James Joyce.5 An admirer of Irish poetry since his childhood, Barber told his uncle that he found the poems he had discovered to be “very direct, unspoiled and often curiously contemporaneous in feeling.”6 They were written by Irish monks and scholars in the 8th through 13th centuries in the margins of various types of manuscripts that were being illuminated or copied, and, because they were in Gaelic, Barber had to locate—and, in a few cases, commission—translations into English that he found suitable for his work.7 These poems represented a wide variety of subjects, 1 Barbara Heyman, Samuel Barber: The Composer and His Music (New York: Oxford University Press), 335.
    [Show full text]
  • Fulfillment of the Requirements
    /Yo. 366o THE HERMIT SONGS OF SAMUEL BARBER THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Julia Ann Lansford, B. M. E. Denton, Texas May, 1964 TABLE OP CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. BIOGRAPHICAL BACKGROUND . M. 0,9 !99 09. !9. * 9 f99 w.9 1 II. BARBERS SONGFORM . 14 III. BARBER'S ACCOMPANIMENTS . 30 IV. BARBER'S MELODY .-. -. - - 53 APPBNDIR- . 9 9 . 9 9 9 9 9 . 69 BIBIOGRAPH -.--. ... .. 9. 9 . .0 . .9 72 iii LIST OF ILLUSTRATIONS Figure Page 1. At Saint Patrick's Purgatory, mm. 3-5 . 18 2. The Heavenly Banquet, mm. 1-3---. .. 21 3. The Crucifixion, mm. 1-9 . 22 Promiscuity, 4. m. 1-3- . t. t. 9 . 24 5, The Monk and His Cat, mm. 6-8". .. « . 9 . .9 26 6. The Praises of God, mm. 21-26 . 28 7. At Saint Patrick's Purgatory, mm. 1-3 * . 9 9 . 32 8. At Saint Patrick's Purgatory, mm. 27-28-- 33 At . 9. Saint Patrick's Purgator, mm. 31-32 . 34 . 10. Church Bell at iht, mm. 1-2 -t * - . 35 . .9 11. St. Ita's Vision, Recitative Accompaniment 35 9 . .9 12. St.. Ita's Vision, mm. 16-17 . 36 St. 9 . 13. Ita's Vision, mm. 26-27 . 37 The 14. Heave.LBanque t, mm. 1-3 . 39 . 9 . 15. The Crucifixion, mm. 3-4 .. ... 41 16. The Praises of God, mm. 1-2 . .. 48 The Praises of . .9 17.
    [Show full text]
  • Proquest Dissertations
    "It is a song that I have made": A performer's perspective on ten early songs of Samuel Barber Item Type text; Dissertation-Reproduction (electronic) Authors Eckenroth, Karen Louise 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 01/10/2021 06:53:14 Link to Item http://hdl.handle.net/10150/284070 INFORMATION TO USERS This manuscript has been reproducad from tha microfilm mastar. UMI films the text directly from ttia original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others nuiy t>e from any type of computer printer. The quality of this rBproduction ia dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality iHustrations and photographs, print Meedthrough, substandard margins, and improper alignment can adversely affsct reproduction. In the unlikely event that the author did rK>t serKJ UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be rsmoved. a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, t)eginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs included in the original manuscript have been reproduced xerographically in this copy.
    [Show full text]
  • The Role of the Piano in Samuel Barber's "Despite and Still". Bruce Leslie Gibbons Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1987 The Role of the Piano in Samuel Barber's "Despite and Still". Bruce Leslie Gibbons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gibbons, Bruce Leslie, "The Role of the Piano in Samuel Barber's "Despite and Still"." (1987). LSU Historical Dissertations and Theses. 4395. https://digitalcommons.lsu.edu/gradschool_disstheses/4395 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print.
    [Show full text]
  • Barber, Samuel (1910-1981) by Patricia Juliana Smith
    Barber, Samuel (1910-1981) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Samuel Barber in 1944. American composer Samuel Barber made an enduring contribution to the cultural life Photograph by Carl van Vechten, December 11, of the United States and the world, though he is also remembered for the spectacular 1944. failure of his opera Antony and Cleopatra. Library of Congress Prints and Photographs Barber was born on March 9, 1910 in West Chester, Pennsylvania, to a musical family; Division. his aunt was the prominent mezzo-soprano Louise Homer. He began composing at the age of seven, and at fourteen became one of the first students of the prestigious Curtis Institute of Music. During his studies at Curtis (1924-1932), he met the young Italian composer Gian Carlo Menotti (b. 1911), a fellow student who became his life partner and occasional artistic collaborator. The two men traveled extensively in Europe during the 1930s, a period that saw the composition of Barber's best known and most enduring work, the Adagio for Strings (1938). In 1943, Barber and Menotti bought a house in Mount Kisco, New York, which served for many years as their artistic retreat. Although Virgil Thomson and Aaron Copland had blazed a trail in the creation of a characteristically "American" mode of orchestral and vocal music in earlier decades, by the 1950s Barber had achieved a level of mainstream recognition virtually unprecedented for an American classical music composer working in a traditional European style. With the end of World War II, he embarked on a succession of ambitious commissioned works, including the Cello Concerto (1947), the ballet Medea (1946) for Martha Graham, and the dance score Souvenirs (1952) for Lincoln Kirstein and the Ballet Society of New York.
    [Show full text]
  • Emma Donmoyer & Carolynne Waddington
    presents Emma Donmoyer Piano & Carolynne Waddington Soprano in Senior Recital Assisted by Naomi Tripp, piano Recital Hall Center for the Arts Monday, April 1st, 2019 6:30 p.m. Program It Is Well arr. Mark Hayes (b. 1953) Carolynne Waddington, soprano Emma Donmoyer, piano Jesu, Joy of Man’s Desiring, BWV 147 J. S. Bach (1685-1750) arr. Myra Hess Emma Donmoyer, piano Die junge Nonne, D.828 Franz Schubert (1797-1828) Hermit Songs, Op. 29 Samuel Barber III. St. Ita’s Vision (1910-1981) Carolynne Waddington, soprano Naomi Tripp, piano Sonata in E Major, K. 380 Domenico Scarlatti (1685-1757) Emma Donmoyer, piano Theodora, HWV 68 George F. Handel When Sunk in Anguish and Despair (1685-1759) The Maid of Orleans Pyotr I. Tchaikovsky Joan’s Aria (1840-1893) Carolynne Waddington, soprano Naomi Tripp, piano Sonata No. 3 in E minor, H.34 F. Joseph Haydn I. Presto (1732-1809) II. Adagio III. Molto Vivace Emma Donmoyer, piano Ici-bas! Gabriel Fauré (1845-1924) Ici-bas! F. Paolo Tosti (1846-1916) Ici-bas! Aimée de Valbranca (1870-1936) Carolynne Waddington, soprano Naomi Tripp, piano Polichinelle, Op. 3 No. 4 Sergei Rachmaninoff (1873-1943) Emma Donmoyer, piano Young Frankenstein Mel Brooks Together Again (b. 1926) Carolynne Waddington, soprano Suzannah Waddington, soprano Naomi Tripp, piano We would like to thank the Houghton College administration for its faithful support of the Greatbatch School of Music. Shirley A. Mullen, President Jack Connell, Provost and Dean of the Faculty Dale Wright, Chief Financial Officer Greatbatch School of Music Faculty, Staff, and Administration Emma Donmoyer, a student of Dr.
    [Show full text]
  • Samuel Barber's Settings of James Joyce's
    University of South Carolina Scholar Commons Theses and Dissertations 2016 Samuel Barber’s Settings of James Joyce’s Chamber Music: A Proposal for a Posthumous Song Cycle Michael Pierre LaRoche University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation LaRoche, M. P.(2016). Samuel Barber’s Settings of James Joyce’s Chamber Music: A Proposal for a Posthumous Song Cycle. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3914 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]. Samuel Barber’s settings of James Joyce’s Chamber Music: A proposal for a posthumous song cycle by Michael Pierre LaRoche Bachelor of Music University of Delaware, 2000 Master of Music East Carolina University, 2002 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2016 Accepted by: Walter Cuttino, Major Professor Tina Milhorn Stallard, Committee Member Lynn Kompass, Committee Member J. Daniel Jenkins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Michael Pierre LaRoche, 2016 All Rights Reserved. ii ABSTRACT Samuel Barber’s Opus 10 songs are some of his most well-known vocal works. These settings from Chamber Music by James Joyce were published in 1939, but posthumous research by biographer Barbara Heyman and a complete vocal recordings project by Thomas Hampson, Cheryl Studer, and John Browning led to the discovery and recording of ten additional songs, including three more Joyce settings.
    [Show full text]
  • Analysis, Interpretation and Performance of the Concerto for Violin and Orchestra by Samuel Barber
    Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship Spring 3-28-1997 Analysis, Interpretation and Performance of the Concerto for Violin and Orchestra by Samuel Barber Elizabeth Ruth Flood Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Music Commons, and the Performance Studies Commons Recommended Citation Flood, Elizabeth Ruth, "Analysis, Interpretation and Performance of the Concerto for Violin and Orchestra by Samuel Barber" (1997). Undergraduate Honors Thesis Collection. 59. https://digitalcommons.butler.edu/ugtheses/59 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTI_ER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Applicant e:: Ii "2-0 b e>J h Ru'f LI) t=Lood (Name as it is to appear on diploma) Thesis title --J) nO I:F5 i ;S) :J lDi-e-rp,e=fcd::lOf), o:~?cl pc r-rov-mqYlLe d '-Ihe (CYZC(2t1-{-o -coY V,oluJ QV7d Q a: [Itt? :5 iva bld.5o IIItI u-e i :&I[b e if Intended date of commencement _---L::.&ulOcl....l4~----L..I.:::::.O-f-) ---!.1----!q_qL7:...- _ Read and approved by: Thesis adviser(s) ~'#~ 4/1/9'1 ~ Date ~-~kk ;;4j/lcr1, -'ate Reader(s) 1,'7 /7 IDe'6 Date Accepted and certified: shivD e For
    [Show full text]
  • Junior Recital: Michael Alcorn, Tenor
    Department of Music presents Junior Recital Michael Alcorn, tenor Sherri Barrett, piano Saturday, May 10, 2008 5:00 pm Music Building Recital Hall Eighty-fourth Concert of the 2007-2008 season Kennesaw State University Ernest Charles (1895 - 1984) is known for his simple, Department of Music unpretentious American art songs. Most of which were Junior Recital published in the 1930’s and 1940’s. Michael Alcorn, tenor Sherri Barrett, piano “He began his career as a singer in Broadway revues and in vaudeville; also wrote songs in an appetizing May 10, 2008 st 5:00 pm semi-classical genre, suitable for recitals. His 1 commercial success came in 1932 when the popular baritone John Charles PROGRAM Thomas sang his song Clouds in a N.Y. recital. Encouraged, Charles put out something like 50 solo songs, many of which I made the top listing among recitalists.” Comfort ye my people (Isaiah 40:1-3) George Frideric Handel (1685-1759) (Baker’s Biographical Dictionary of Musicians; 8th edition, Have comfort, saith your God, for he has heard your cries and rid your iniquities. compiled by Nicolas Slonimsky) Ev’ry valley shall be exalted (Isaiah 40:4) . Let every valley be lifted up, and every mountain and hill made low. Let all your strife be eased. from Messiah ✤✤✤✤ II Ständchen (Kügler) Johannes Brahms (1833-1897) In the midst of a moonlit night, three students play and sing music in the garden, while two young lovers whisper to one another “forget me not. Abendstern (J. Mayrhofer) Franz Schubert (1797-1828) Oh beautiful star! Why do you linger alone? “ I expose my love, but get nothing in return, therefore I stay here alone and still.” Des Müllers Blumen (Müller) from Die Schöne Müllerin The flowers by the brook are like the miller’s daughter’s eyes, bright and blue! I will plant the flowers outside her window so when she wakes she will see my tears of devotion upon their petals.
    [Show full text]
  • ABSTRACT a Discussion of the Choral Music of Samuel Barber
    ABSTRACT A Discussion of the Choral Music of Samuel Barber Michael Berg, M.M. Thesis Chairperson: Jean Boyd, Ph.D. Within the world of music history, choral music seems to drop off of the map with the end of the Baroque era, and only a handful of major works, such as masses and oratorios, are typically studied in an academic setting. As a result, many exquisite pieces are often largely neglected in many music history courses and textbooks, and it is my firm belief that such a neglect is to our detriment. With that in mind, I have undertaken a study of the published choral music of Samuel Barber (1910-1981). In this thesis, I undertake a study of Barber’s music by observing stylistic techniques in his choral music, particularly those techniques that remain consistent throughout his choral works. A Discussion of the Choral Music of Samuel Barber by Michael W. Berg, B.M. A Thesis Approved by the School of Music ___________________________________ William V. May, Jr., Ph.D., Dean ___________________________________ David W. Music, D.M.A., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee ___________________________________ Jean Ann Boyd, Ph.D., Chairperson ___________________________________ Eric C. Lai, Ph.D. ___________________________________ Laurel E. Zeiss, Ph.D. ___________________________________ Wallace C. Christian, Ph.D. Accepted by the Graduate School August 2008 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2008 Michael W.
    [Show full text]