History of WCVC
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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. -
Preces and Responses
6 ?# Evensong ˙ œ œ paraclete press PPM01512 Give peaceinour time,OLord. $1.70 mf ° # ™ œ œ œ œ œ œ & œ œ™ œ œ œ œ œ œ œ œ œ nœ œ Be - cause there is none oth - er thatfight - eth for us, but ™ œ œ œ œ œ œœ œœ œ œ œ œ œ œ ¢?# œ œ œ œ œ œ œ œ mf f ° Preces and # œ œ œ œ œ™ ˙ & nœ œ œ œ œ œ ˙ Œ on - ly thou, O God. Responses œ œ œ œ ˙ ¢?# œ œ Œ f ?# ˙ œ œ OGod,make clean ourhearts with- in us. Slower p pp David Halls ° # œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œœ œ œ And take not thy Ho - ly Spir - it from us. œ œ œ œœ œ œ œ œ œ œ ¢?# œ œ œ œ œ p pp DO SATBNOT a cappella COPY Collects Very slow 1. p 2. p 3. pp ° # ° # ° # U & ˙ ˙ & ˙ ˙ & œ œ œb œ œ œ w b˙ ˙ ˙ ˙ ˙ ˙ nw A - men. A - men. A --men. b˙ n˙ #˙ ˙ U ?# œ b ˙ ˙ ?# ˙ ˙ ?# n˙ ˙˙w ¢ ¢ ¢ b ˙ w p p pp PPM01512 5 ?# ˙n œ œ OLord, save the Queen. mf ° # œ œ œ œ bœ œ œ Œ & œ œ œ œ œ œ œ œ œ œ nœ œn œœ #˙ And merc- i - ful - ly hear us when we call up - on thee. ?# œ #œ œ œ œ œ bœ #œ œb œ œ #œ œ ˙ David Halls ¢ œ œ œ œ œ œ œ bœ œ œ ˙ Œ mf Born in 1963, David Halls was taught the piano from the age of four. -
Download Booklet
booklet042 7/9/04 10:10 am Page 1 SIGCD042 DDD Thomas Tallis 20 bit digital recording The Complete Works - Volume 9 Disc One 1. In nomine I (a) [2:03] 18. Lesson: two partes in one (e) [5:24] 2. In nomine II (a) [3:32] 19. Tu nimirum (b, f) [2:00] 3. A Solfing Song (a) [2:10] 20. When shall my sorrowful 4. Salvator Mundi (trio) (a) [1:58] sighing slack (b, f) [4:35] 5. Fantasia (a) [4:20] 21. Like as the doleful dove (b, f) [1:40] 6. Felix namque II (b) [12:10] 22. O ye tender babes (b, f) [1:36] 7. Felix namque I (c) [10:46] 23. Ye sacred muses (Byrd) (a, f) [3:26] 8. When shall my sorrowful sighing slack (d) [1:40] Total running time: [75:15] 9. Like as the doleful dove (d) [1:40] 10. O ye tender babes (c) [1:32] Disc Two 11. Purge me, O Lord (d) [1:26] 12. Per haec nos (c) [1:48] 1. Litany (g) [14:29] 13. A Point (c) [0:37] 2. Verset I (e) [0:54] 14. Lesson: two partes in one (d) [5:24] 3. Verset II (e) [0:44] 15. Remember not, O Lord God (d) [3:19] 4. Felix namque I (e) [10:33] 16. Per haec nos (e) [1:19] 17. A Point (e) [0:38] Total running time: [26:44] Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK booklet042 7/9/04 10:10 am Page 3 Editions Thomas Tallis - The Complete Works Salvator Mundi Trio (track 4) edited Alistair Dixon, Fantasia (track 5) edited John Milsom, Felix namque, arranged for lute (track 6) edited Lynda Sayce, Tu nimirum (track 19) edited Christopher Godwin Tallis is dead and music dies. -
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. -
Choral Evensong
Summer 2017 Service & Music List Sunday 2nd July The Third Sunday after Trinity Thursday 6th July Decani Week 11.05am Eucharist said in Saint Stephen’s Chapel 9.15am Eucharist said in the Lady Chapel 5.30pm Choral Evensong sung by the Georgia Boys’ Choir 11 .15 am Choral Eucharist sung by the Maryland State Boy choir Canticles Brewer in D Responses: Hancock Setting Piccolo: Canterbury Mass Anthem All in the April evening Roberton Psalm: 34 vv 1 -10 Gradual O sing joyfully Batten Motet Ave Verum corpus Byrd Friday 7th July Preacher The Revd T.S. Forster, B.A., B.Th., M.Phil. 5.30pm Choral Evensong sung by the Georgia Boys’ Choir Prebendary of Yagoe Hymns: 334, 272, 475 3.15pm Choral Evensong sung by the Maryland State Boy choir Canticles Kelly in C Responses: Hancock Anthem Like as the hart Howells Psalm: 37 vv 1 -11 Canticle s Stanford in C Responses: Quinn An them Hail gladdening light Wood Psalm: 12 Saturday 8th July Voluntary Preludium in G Buxtehude Hymns: 483 (t.77), 252 11.05am Eucharist said in Saint Stephen’s Chapel rd Monday 3 July Saint Thomas th 5.30pm Choral Evensong sung by the Georgia Boys’ Choir Sunday 9 July The Fourth Sunday after Trinity Cantoris Week Canticles Dyson in D Re sponses: Hancock Anthem The deer’s cry Pärt Psalm: 18 vv 1 -16 9.15am Eucharist said in the Lady Chapel 11.15am Choral Eucharist sung by the Georgia Boys’ Choir Tuesday 4th July Setting Missa de Angelis 5.30pm Choral Evensong sung by the Georgia Boys’ Choir Gradual Os Justi Bruckner Motet Faire is th e Heaven Harris Canticles Hogan in D b Responses: Hancock Preacher The Revd W.P. -
JOB DESCRIPTION JOB TITLE Tenor Lay Clerk LINE MANAGER Director
JOB DESCRIPTION JOB TITLE Tenor Lay Clerk LINE MANAGER Director of Music JOB PURPOSE Lay Clerks sing at regular daily services as part of the Cathedral Choir and also participate in concerts, recordings and other events CONTEXT Ely Cathedral is the mother church of the Diocese of Ely. It is the seat of the Bishop and a centre of worship and mission. Originally founded in 673 as a double monastery by St Etheldreda, it became a Cathedral in 1109. The City of Ely has a population of 20,000 and enjoys excellent road and rail communications to all parts of the country. Currently a team of 6 Lay Clerks are joined by the Boy and Girl Choristers, together with their separate Directors of Music and Assistant Organists, to provide daily sung worship as detailed in the schedule below. The Music Department also includes Ely Cathedral Octagon Singers (a voluntary choir) and the Ely Imps (children’s choir). All Cathedral employees are required to work together to enable the Cathedral to fulfil its mission of “Joyfully proclaiming the love of God in worship, outreach, welcome and care”. SALARY Cathedral salary: £8,670 (reviewed annually). This is supplemented substantially by extra fees for concerts, recordings and non-statutory services. These are listed below. DUTIES Lay Clerks will attend all services and rehearsals as in the Cathedral Choir’s calendar according to the following Schedule of Commitments: Detail Commitment Sundays 9.30 Rehearsal 10.30 Eucharist 3.00 Rehearsal 4.00 Evensong Weekdays: usually four each week, 5.00 Rehearsal (Mondays, -
JOB TITLE: Tenor Lay Clerk LOCATION
JOB TITLE: Tenor Lay Clerk LOCATION: Durham Cathedral and other locations outside the Cathedral ACCOUNTABLE TO: The Master of the Choristers and Organist RESPONSIBLE FOR: This post has no supervisory responsibilities. KEY RELATIONSHIPS: Organist, Sub-Organist, Organ Scholars, Canon Precentor, Music Administrator, Lay Clerks, Choral Scholars, Choristers, Members of Chapter, Vergers, and other members of Cathedral staff and volunteers. BACKGROUND: Durham Cathedral Choir consists of up to 48 Choristers, (boys and girls singing in alternation), 6 Choral Scholars and 6 Lay Clerks. The Choir sings the daily Cathedral services during Choir term. The Choir performs a wide, exciting and varying repertoire extending from plainsong works written in Durham eight centuries ago to works written in the last ten years, including works commissioned especially for the Cathedral. It also appears regularly in concerts, in both the Cathedral and elsewhere. The Choir also tours from time to time. JOB SUMMARY: To sing the daily Cathedral services during Choir term and participate in additional services sometimes arranged at short notice as well as participating in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs in Newcastle and Edinburgh. Lay Clerks also participate in recordings, broadcasts, and other Cathedral concerts from time to time. MAIN DUTIES AND RESPONSIBILITIES: 1. To participate in the weekly timetable of services 2. To participate in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs. 3. To participate in diocesan services or concerts as directed by the Organist. 4. To participate in recordings, broadcasts and other concerts in Durham Cathedral as directed by the Organist. 5. To take an active part in the worship of the Cathedral including full support for and commitment to the Cathedral’s Christian ethos. -
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 View from the Archives of Durham, St Paul's, and York Minster
Cathedral music and the First World War: A view from the Archives of Durham, St Paul’s, and York Minster Enya Helen Lauren Doyle Master of Arts (by research) University of York Music July 2016 Abstract This thesis explores the impact of the First World War on English Cathedral music, both during the long four years and in its aftermath. Throughout this study, reference will be made specifically to three English cathedrals: York Minster, Durham and St Paul’s. The examination will be carried out chronologically, in three parts: before the war (part one), during the war (part two) and after the war (part three). Each of these three parts consists of two chapters. Chapter 1 and Chapter 2 help to set the scene and offer context. In chapters 2- 5 there is a more focused and systematic investigation into the day-to-day administrative challenges that the Cathedrals faced, followed in each chapter by an assessment of the musical programme. Chapter 6 examines the long-term impact of the war on British cathedral music, especially in the centenary anniversary years. The Great War is often perceived as a complete break with the past, yet it also represented an imaginative continuity of sorts. As such, 1914-18 can be seen as a period of twilight in a lot of senses. The war managed to bring the flirtation with modernism, which was undoubtedly happening at the beginning of the century, to at least a temporary halt. Through the examination of the archives of the three cathedrals, this thesis investigates how the world war left its mark on the musical life of this portion of English religious and music life, during and after the war, drawing national comparisons as well as showing the particulars of each cathedral. -
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. -
The 2007 Edition Is Available in PDF Form By
VOX The new Chapter Secretary: Nick Gale [email protected] The Academy of St Cecilia Patrons: The Most Hon. The Marquess of Londonderry Dean and Education Advisor: Sir Peter Maxwell Davies CBE John McIntosh OBE Vice Patrons: James Bowman CBE, Naji Hakim, Monica Huggett [email protected] From the master Treasurer: Paula Chandler [email protected] elcome to the 2007 edition of Vox - the mouthpiece of the Academy of St Cecilia. Registrar: Jonathan Lycett We always welcome contributions from our members - [email protected] indeed without them Vox would not exist. In this edition we announce our restructured Chapter and its new members; feature a major article on Thomas Tallis Director of Communications: whose 500th anniversay falls at this time; and we Alistair Dixon review the Academy’s most major event to date, the [email protected] chant day held in June 2006. Our new address is: Composer in Residence: Nicholas O'Neill The Academy of St Cecilia Email: [email protected] C/o Music Department [email protected] Cathedral House Westminster Bridge Road Web site: LONDON SE1 7HY www.academyofsaintcecilia.com Archivist: Graham Hawkes Tel: 020 8265 6703 [email protected] ~ Page 1 ~ ~ Page 2 ~ Advisors to the Academy Thomas Tallis (c.1505 - 1585) Alistair Dixon, a member of the Chapter of the Academy, spent ten years studying and performing the music of Thomas Tallis. In 2005 Academic Advisor: he released the last in the series of recordings with his choir, Chapelle Dr Reinhard Strohm PhD (KU Berlin) FBA HonFASC. Heather Professor of Music Oxford University du Roi, of the Complete Works of Thomas Tallis in nine volumes. -
Why Do Singers Sing in the Way They
Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.