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Evensong Live 2015
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 EVENSONG LIVE 2015 STEPHEN CLEOBURY CONDUCTOR TRACK LIST TRACK EVENSONG LIVE 2015 1 Loquebantur variis linguis – Thomas Tallis 05:12 Stephen Cleobury conductor, Choir of King’s College, Cambridge 2 Videte miraculum – Thomas Tallis 10:04 Stephen Cleobury conductor, Choir of King’s College, Cambridge 3 Ave Maria – Robert Parsons 04:17 Stephen Cleobury conductor, Choir of King’s College, Cambridge 4 Magnificat – Giles Swayne 04:17 Stephen Cleobury conductor, Choir of King’s College, Cambridge 5 Totus Tuus – Henryk Górecki 09:44 Stephen Cleobury conductor, Choir of King’s College, Cambridge QUATRE MOTETS POUR LE TEMPS DE NOëL – Francis Poulenc 6 I. O magnum mysterium 02:51 Stephen Cleobury conductor, Choir of King’s College, Cambridge 7 II. Quem vidistis pastores dicite 02:40 Stephen Cleobury conductor, Choir of King’s College, Cambridge 8 III. Videntes stellam 02:38 Stephen Cleobury conductor, Choir of King’s College, Cambridge 9 IV. Hodie Christus natus est 02:24 Stephen Cleobury conductor, Choir of King’s College, Cambridge 10 Hear my prayer – Felix Mendelssohn 10:39 Stephen Cleobury conductor, Tom Pickard treble, Douglas Tang organ, Choir of King’s College, Cambridge 11 Hear my words, ye people – Sir Charles Hubert Hastings Parry 14:35 Stephen Cleobury conductor, Daniel D’Souza bass, Douglas Tang organ, Choir of King’s College, Cambridge 12 Antiphon (from Five Mystical Songs) – Ralph Vaughan Williams 03:30 Stephen Cleobury conductor, Douglas Tang organ, Choir of King’s College, Cambridge 13 Litanies – Jehan Alain 05:35 Tom Etheridge organ Total Time 78:26 Recorded at 44.1kHz 24-bit PCM in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows, between May 2013 and March 2014. -
A PROFILE of CHARLES M. RUGGLES, BUILDER of HAND-CRAFTED MECHANICAL ACTION ORGANS by Mark A. Herris Submitted to the Faculty Of
A PROFILE OF CHARLES M. RUGGLES, BUILDER OF HAND-CRAFTED MECHANICAL ACTION ORGANS by Mark A. Herris Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Janette Fishell, Research Director ______________________________________ Christopher Young, Chair ______________________________________ Eric J. Isaacson ______________________________________ Elisabeth Wright April 6, 2016 ii Copyright © 2016 Mark A. Herris iii Dedicated to Christy, Ryan, and Sam iv Acknowledgements I am thankful for all of the support I have received in completing this project. It has been an honor to work extensively with Charles M. Ruggles over the past several months, and this project would not have been possible without his substantial support and time. I would like to thank my research director, Professor Janette Fishell, for her feedback and direction as this project came to fruition. I cannot thank her enough for challenging me to do my best. I am also indebted to Professors Christopher Young, Eric J. Isaacson, and Elizabeth Wright for graciously agreeing to serve on the committee for this paper. I am grateful for my organ teachers who have helped me get to this point, including Christopher Young, Craig Cramer, Gail Walton, and Jack Vogelgesang. I would like to acknowledge David Kazimir and Bob Finley for their assistance in developing my understanding of organ building. Special thanks goes to Leslie Weaver for her expeditious editing of my paper. -
Raising the Raisin Organ by Susan Ferre February 2006
Raising the Raisin Organ by Susan Ferré – February 2006 The Legend The Raisin organ was purchased from a Mrs. Fred Sandhop for $25 in 1958 by Rubin S. Frels, who found the old organ at the top of the stairs of what had been a stagecoach inn in the small burg of Raisin, population 50, near Victoria, Texas. Its pipes lay smashed, crushed in the bottom of the fauxbois case. Light from a nearby window had faded portions of the fake wood finish, and the damp South Texas attic environment had ravished its metal pipes, the bellows and wood. It had arrived in Texas in the 1850¹s with a Lutheran pastor from Switzerland, and had served the Trinity Lutheran Church of Victoria from the 1850¹s until 1884 when it was replaced by William Schuelke¹s Opus 33 and put in storage . It appears to have been, and may still be, the oldest extant organ to have served the early German pioneers of Texas. Housed in this stone way- station near Raisin, located between historic Goliad and thriving Victoria eight miles to the north, mud-daubers, rats and mice quietly ate away at the organ for almost 75 years before it was rescued and restored by Rubin Frels. The work was carried out by Susan Tattershall in 1980, due in large part to the urging and with the help of our dearly departed Ted W. Blankenship, Jr., then an employee in the Frels shop. The organ was purchased in 1991 by Charles Lang and the author, again with the urging of Ted Blankenship, who helped move it from Rubin Frels¹ living room to a home in Garland, near Dallas. -
MARCH, 2007 First Church in Oberlin, United
THE DIAPASON MARCH, 2007 First Church in Oberlin, United Church of Christ Oberlin, Ohio Cover feature on pages 30–31 recording artist) as well as performances series: March 18, Bach birthday con- of Buxtehude’s organ and choral works cert; April 22, Eastertide concert; May THE DIAPASON by David Rothe and Scarlatti sonatas 20, members of the Santa Barbara AGO A Scranton Gillette Publication played on harpsichord, fortepiano, mod- chapter. For information: Ninety-eighth Year: No. 3, Whole No. 1168 MARCH, 2007 ern piano and organ by Robert Bowman. <www.trinitysb.org>. Established in 1909 ISSN 0012-2378 Bowman will also lead a performance of J. S. Bach’s Musical Offering. For infor- The Cathedral of the Madeleine, An International Monthly Devoted to the Organ, mation: <[email protected]>. Salt Lake City, continues its music the Harpsichord, the Carillon and Church Music series: March 18, Founders Day concert The Church of St. Ignatius Loy- (Pärt, Berliner Mass; Rachmaninov, ola, New York City, continues its music Vespers); May 18 and 20, The series: March 14, Michel Bouvard; May Madeleine Festival Concert (Bernstein CONTENTS Editor & Publisher JEROME BUTERA [email protected] 10, Paul Halley, Andrew Henderson, and Ives). For information: 847/391-1045 and Renée Anne Louprette, works for <www.saltlakecathedral.org>. FEATURES organ, piano, and harpsichord by Paul Daniel Pinkham (1923–2006): Halley. The choir and orchestra are fea- The Church of the Covenant, A Memoir tured on March 28, music of Wagner Cleveland, Ohio, has announced its by James McCray 20 Associate Editor JOYCE ROBINSON [email protected] and Mendelssohn (Symphony No. -
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. -
By John Brombaugh, 1997 Discussions About Building A
by John Brombaugh, 1997 Discussions about building a special organ for Duke University’s Memorial Chapel began some 12 years ago. Since the room is relatively small, the milder sound of the early Italian organ was considered a most suitable complement to the large Flentrop and Æolian organs in the main part of the Chapel. Meantone tuning, customary for organs before the 18th century, would also offer a wider scope of unusual musical opportunities. To avoid diminishing even further the limited seating space, the new organ would be placed in a “swallow’s nest” loft made by the organbuilder to match the organ case. A contract was signed in the spring of 1991, actual construction began in the Brombaugh shop in the summer of 1995, and the organ was installed in the Memorial Chapel during the summer of 1997. The result is a new organ — consisting of 21 ranks, 23 stops, and some 960 pipes — that may very well be the only modern example of its type in the Western Hemisphere. The early Renaissance organs in southern Europe seldom made the aggressive sounds that became common later in France and Germany. These organs were remarkably simple compared to their northern cousins, but (especially in Tuscany) they made a wonderful, sweet sound. Instruments in Italy seldom had more than one manual keyboard, and the limited pedals, if present at all, assisted only in playing occasional bass notes. Nonetheless, these bass pipes could be quite large, as one can still see in the 24' front pipes of the Epistle organ in the Basilica of San Petronio in Bologna. -
Westfield Newsletter, Vol. XXI, No. 10, Fall 2010
E-Newsletter of the Westfield Center, Volume XXI, No. 10 A National Resource for the Advancement of Keyboard Music, Serving Professionals and the Public Since 1979 Fall 2010 Warm greetings to all. Westfield members have been busy over the past months with confer- ences, publications, performances and planning—and we are glad to bring reports of some of these activities to you with this issue of Westfield. The most recent news is that Cornell University has formally agreed to provide the Westfield Center with an administrative home, initially for two years. Westfield will have an office at the Cornell music department, and some administrative help funded by the university. While Westfield will remain fully independent as a not-for-profit organization, this affiliation is going to help us run our programs, commu- nicate with our members, and develop new projects with efficiency and enthusiasm. Our new administrative assistant this year is musicology graduate student Evan Cortens, who has been doing stellar work already, and from whom many of you will likely hear in due course. We are very fortunate to have him on board, and to have the support of Cornell. The past six months have been wonderfully productive for Westfield members, with two con- ferences, on which we report below, the creation of a packed third issue of Keyboard Perspectives, and with exciting plans for a new project which we hope to announce formally in a couple of weeks. Many thanks to all of you for your continued support for all that we do. Annette Richards Executive -
Grand Music Gracious Word
Grand Music Gracious Word OCTOBER 2011 / YEAR A Sing For Joy is a production of St. Olaf College. by Pastor Bruce Benson, host y Sing For Joy colleagues and room on trucks and planes for delivery of recorded tell me it is time to remind programs to radio stations across the country. So if you Myou that music and money are willing and able to share the music of the faith with are not mutually exclusive. In the realm of popular others, we think a few dollars given to Sing For Joy is a music, we all know that very well. Music is big business. great gift on your part. We can’t use the money to buy And I’m sure you also know that when it comes to either the Gospel or music; but we can and will use it to bringing music to our radio stations around the country share both. Thank you. and around the world, the one depends upon the other. That is, the music depends upon the money. Peace be with you, In a way, it is strange that money and music have anything to do with each other because anyone who tried to put a dollar fi gure on the worth of music would be ridiculed. The worth of music can’t be measured in A special note from our communications coordinator: dollar amounts. Likewise, nobody tries to teach children “the value of a buck” by comparing it to music. Hello good folks, A dollar might get you a hot-dog or a 16 ounce soft The truth is, Sing For Joy doesn’t often ask “outright” drink or a city bus ride, but how much music will it get for money. -
03 June Newsletter
August 2004 Sing For Joy host Pastor W. Br uce Benson From the host Sometimes Sing For Joy seems to me like a fish — to be as long as there is some nourishment and a few let’s make that a specific fish: a native trout — resting places to keep from being grabbed like a twig swimming upstream in a fast current. A great deal of and carried off. radio programming is a gushing torrent of talk and a flood of nothing-but-new music rushing like a river out Also, from the era of the Hebrew prophets, through of its banks across America. How can a program like the ministry and proclamation of Jesus, and down Sing For Joy swim against the stream of all that? through the centuries since, the call of Biblical faith We play music five years old and 500 or 1,000 years has been a call to faithfulness — faithfulness not to old. We listen, not to celebrities, but to Bible stories. currents of the time but to justice and love. The How do we keep from being swept away? prophets proclaimed their message “upstream” against the current of their times. Jesus did the same, We are like the wily trout. and so have churches and synagogues during the centuries since. We have not always done it perfectly, First, the trout does not try to live everywhere in the to be sure. We have sometimes confused plain river at once; it finds the best places to thrive. And stubbornness or fearful paralysis with faithfulness. the radio river is wide; the currents are not the same But that is not sufficient reason to be despairing or to from station to station. -
Brombaugh Organ Timeline and Selected Quotes Prepared Summer 2010 by Brian Wentzel Updated September 2014 DSB – David Boe
Brombaugh Organ timeline and selected quotes Prepared summer 2010 by Brian Wentzel Updated September 2014 DSB – David Boe FLC – First Lutheran Church JBB – John Brombaugh RAB – Robert Boettger WM – William Mock Date Event Documentation Nov. 30, 1924 Möller pipe organ installed “First Hundred Years” history in FLC directory 1960 Möller organ’s condition begins to be a concern 70.06.21 Dedication Service program August 23, 1962 DSB takes position of organist and choir director 62.06.11 Church Council He was 26 years old minutes March 3, 1963 Christian Education Building dedicated “First Hundred Years” $180,000 history in FLC directory 1963 JBB graduates from Cornell University (Ithaca, NY) with 10.07.23 email from JBB MS in Electrical Engineering thesis on the acoustic properties of organ pipe sounds Feb. 10, 1964 “Mr. Boe would come before council at some future 64.02.10 Church Council meeting to more fully explain a Worship and Music minutes Committee 1964 goal to start an organ fund for about $30,000 over a 10 year period.” Feb. 1964 JBB starts 2 years’ apprenticeship with Fritz Noack 10.07.23 email from JBB Sept. 14, 1964 “Mr. Parsons talked about the new organ in the new 64.09.14 Church Council church building and some things to look for and plan to minutes do.” Oct. 12, 1964 DSB talks to council. Recommends buying a new organ 64.10.12 Church Council for the new sanctuary. Recommends contracting with an minutes organ builder to work directly with architect for new building. June 14, 1965 “An organ fund was discussed.” 65.06.14 Church Council “possibility of starting a memorial fund for the future minutes purchase of an organ.” Fall 1965 Mark Brombaugh begins sophomore year at Oberlin, 10.07.23 email from JBB studies with DSB because Garth Peacock on sabbatical January 1966 JBB finishes his Op. -
Cross Accent NOV 2000
The John Brombaugh Organ (1970) at First Lutheran Church, Lorain, Ohio David Boe THE YEAR 2000 marks the thirtieth anniversary of developed, John Brombaugh became increasingly the completion of John Brombaugh’s organ for First desirous of capturing the sheer beauty of sound that Lutheran Church in Lorain, Ohio. At the time of its he experienced in historic instruments such as the design and installation, this instrument represented a Arp Schnitger Rückpositiv in Der Aa-Kerk in significant departure from the mechanical Groningen. As his respect for the old action organs, most of them from European First Lutheran’s masters grew, so did his resolve to makers, which were being built and imported understand the intricacies of their in the late sixties and early seventies. commitment to techniques, a quest not unlike the effort of First Lutheran’s commitment to a new violinmakers to replicate the art of a instrument grew out of the need to replace a new Stradivarius or Guarneri ‘del Jesù’. The a tired and inadequate instrument, resulting plan for First Lutheran reflects this installed in chambers at the front of the instrument strong historical orientation and was to church when the sanctuary was built in grew out of the become an important first step in the devel- 1924. A decision was made to place a new opment and maturing of Brombaugh’s art. mechanical action organ, together with need to replace Brombaugh gave considerable thought seating for the choirs, at the rear of the to the acoustical qualities of the casework. church. I had come to know John a tired and Because of the non-resonant characteristics Brombaugh through his brother, Mark, who of plywood, the case is made almost entirely was studying organ at the Oberlin inadequate of solid wood, as are the tableboards and Conservatory at the time. -
By Robert Parkins, University Organist, 1997 the Significance of The
by Robert Parkins, University Organist, 1997 The significance of the new Brombaugh organ in Memorial Chapel extends far beyond that of a purely functional instrument to accompany services, although it will most certainly do that. Like the Flentrop organ installed in Duke University Chapel in 1976, it is an organ of national, even international, importance. Among a mere handful of modern meantone organs at American colleges and universities (including Berkeley, Oberlin, and Wellesley), the Brombaugh is further distinguished by its early Italian orientation. Moreover, the Chapel is one of the very few settings in this country that could be considered architecturally and acoustically ideal for this kind of instrument. As a complement to the Chapel’s Flentrop and Æolian organs, the Brombaugh will specialize in music written before the age of J. S. Bach. Keyboard literature of the 16th and 17th centuries is rich and varied, embracing a wealth of liturgical and secular music in a number of national styles. To be sure, the core of this instrument is a modest though complete organ in pre-18th-century Italian style, but a judicious expansion allows for the performance of late Renaissance and early Baroque repertoire of other schools — most notably the southern European countries — without disturbing the instrument’s integrity. Although thoroughly new, this organ sounds “old,” for in using the kinds of techniques and materials employed by the ancient builders, John Brombaugh has created an instrument that emulates the sound of antique organs. The sensitive mechanical action, flexible winding, low wind pressure, and historical pipe scalings all contribute to producing with crystalline clarity the kinds of sounds that would have been recognizable to composers like Cabezon, Frescobaldi, and Pachelbel.