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Cathedral Choir

   Found CDs: 21
 

The Stanford Canticles from Ely

The Stanford Canticles from Ely
ID: GMCD7117
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Cathedral Choir


Recorded in Ely Cathedral 17-19th May 1991
12.00 eur Buy

Magnificat - The Life of the Blessed Virgin Mary in Music

Magnificat - The Life of the Blessed Virgin Mary in Music
ID: GMCD7158
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Cathedral Choir

We fly to thy patronage, O holy Mother of God, despise not our petitions in our necessities, but deliver us from all danger, O ever glorious and blessed Virgin.’ The earliest known text of this prayer Sub tuum Praesidium confirms that devotion to the Blessed Virgin Mary and reliance on the efficacy of her prayers were already known before the end of the 3rd century. In A.D. 431 the Council of Ephesus concluded a century of doubt with the declaration that Mary was to be confessed without qualification as Mother of God. Alongside devotion flourished the stories of her life. Their narrow stream within the New Testament itself grew within two hundred years to become a broad and powerful river in the Church’s landscape. A belief in the Virgin’s own Immaculate Conception is already suggested and the story of Christ’s birth in a cave recorded in the Protevangelium of James, c. A.D. 160. Days were designated for the Virgin’s honour and music composed for their celebration. Its repertory extends back to the earliest layers of Western notated music, of the 9th century. Such plainsong melodies, the oldest form of setting, are still heard in some of the pieces recorded here, from Palestrina’s of the 16th century to Dupré’s of our own. From the first period represented in the present programme come the works of Palestrina, Soriano, Eccard, Parsons and Byrd. The first two spent most of their professional lives in Rome, Eccard was a Lutheran German, Parsons and Byrd were Catholic Englishmen. Palestrina’s Alma Redemptoris Mater, setting a sophisticated 11th century poem, illustrates one use of plainsong in the Renaissance: the opening of the chant is heard by itself, its remainder is used in a simplified form as the basis of the soprano part. Robert Parsons wrote music for both Catholic and Reformed rites, but the exact context for his Ave Maria is not known. It is not a liturgical form of the text: it stops short of the intercessory prayer ‘Sancta Maria Mater Dei.’ This piece is not based on plainsong, although the long notes in the top part, just after the opening, might suggest otherwise. This phrase is repeated twice, at successively higher pitches, leading to a rhetorical climax at ‘Dominus tecum.’ William Byrd’s Benedicta et venerabilis, on the other hand, is certainly liturgical in intent, being from the first cycle of Mass Propers, the Gradualia, that he published in 1605 for the Catholic rite. It is a short, beautifully crafted piece of work, perfectly fitted for a function that it can only rarely and clandestinely have fulfilled in his day, when Catholics lived under persecution. (In November 1605 a Jesuit was arrested for possessing certain ‘papistical books’ by Byrd; their dedication, which the charge records, shows them to have been the part-books of these Gradualia.) The second group of composers, from Schubert to Rachmaninov, spans the Romantic era. Schubert set the first two stanzas of the Stabat Mater for voices and orchestra at the age of eighteen. In an original and effective device he sets the words twice, starting off his second section as he had the first, but then varying and developing the material. Bruckner, whose Ave Maria opens the programme, stands virtually at the end of the Viennese tradition to which Schubert belonged, although by writing for unaccompanied voices he allies himself also with the Romantic recovery of Renaissance ideals. It is instructive to compare his short, intense setting with Parsons’: Bruckner’s is harmonically far more complex and is predominantly homophonic whereas the earlier work is contrapuntal. In Bruckner’s we hear the Holy Name (omitted by Parsons) three times in block chords, each louder than the last. Rachmaninov creates a different effect again, with more melodic continuity than Bruckner and great harmonic simplicity: there are no accidentals in the piece from beginning to end. Each of these three settings achieves its devotional effect through highly sensitive though very different uses of vocal texture. Both Widor and his pupil Dupré are represented here by plainchant settings. Widor’s Salve Regina is a product of his later years, when he had become interested in such possibilities, and replaced the original fourth movement of his second Organ Symphony. The Dupré piece is based on a plainsong Office hymn, ‘Hail, Star of the Sea.’ In a recollection of medieval practice Dupré alternates the setting of stanzas between organ and choir. He composes movements for the hymn’s second, fourth and sixth stanzas and for the Amen. Before and between them we hear the plainsong chant of the other four stanzas. The Romantic element was also strong in English music of the first half of the 20th century. Ist most striking exponent was Howells, brought up in the Brahmsian tradition as a pupil of Stanford. But his most noteworthy contribution to the choral tradition, a series of canticle and other settings dedicated to the choirs of various collegiate and cathedral churches, began only in the 1940s with the present Magnificat and its associated Nunc Dimittis for King’s College, Cambridge. Its warm lyricism has precedents in Stanford and Wood (another of his teachers), but the particular blend of modality and chromaticism is very much Howells’ own. The three short Christmas pieces by Joubert, Tavener and Britten have in common an extreme simplicity. Britten’s Hymn to the Virgin was published in 1935, and has never left the repertory since. Joubert came to England from South Africa in 1946, when he was 19 years old; his most effective contribution to the Anglican choral repertory has been in such straightforward hymns as the carol There is no Rose heard here. Tavener has made simplicity of structure a feature of even his largest compositions; it is not surprising to find it in his smallest. The Hymn to the Mother of God is a chordal canon for two choirs; the Hymn for the Dormition draws its idiom from the melismatic chanting, both melodic and chordal, of the Byzantine and Russian traditions. David Sanger’s Salve Regina is distinctive in style and technique; there is a hint of Messiaen, perhaps, in the combination of extreme chromaticism and a diatonic conclusion, and in the irregular metre of the first section. Arvo Pärt and Henryk Górecki represent the pragmatic element in modern Eastern European music; both have written scores of some complexity but, like our own Peter Maxwell Davies, are able to refine their idiom to a point at which it can embrace a pure diatonicism. Pärt’s Bogoróditse Dyévo, a setting of the Old Church Slavonic ‘Ave Maria’, was composed once more for King’s College, Cambridge. Górecki’s Totus tuus was written for John Paul II’s visit to Warsaw in 1987. Its text alludes to the Pope’s own episcopal coat of arms: a cross beside whose base stands an initial M, with the motto ‘Totus tuus.’ The long drawn out intensity of Górecki’s piece is a very modern expression of that deep personal devotion felt by many saints of every age to the Virgin Mother of God.
12.00 eur Temporarily out of stock

Christmas Music - The Chapter House Choir - in York Minster

Christmas Music - The Chapter House Choir  - in York Minster
ID: GMCD7166
CDs: 1
Type: CD
Collection: Choral Collection
Subcollection: Cathedral Choir

Herbert Howells; Siciliano for a High Ceremony 1953 Herbert Howells first came to prominence through his chamber and orchestral music and it was only later in his career, after the appearance of the famous Evening Canticles for King's College, Cambridge, that his organ and church music came to the fore. Much of Howells' organ music is built on thematic fragments which are woven together and developed in an impressionistic manner. The Siciliano is unusual in that the main theme has a more definite melodic character, which grows as the work progresses. There are still, however, many of the characteristics that one associates with the composer; the slow, inexorable build-ups; the use of rests; the variety of texture and the gradual sense of music that fades away beyond the reach of human existence. J S Bach: Nun komm der Heiden Heiland Bach wrote more for the organ than for any other instrument, and it is perhaps in his Chorale Preludes where, in raising the form to heights hitherto unattained, he was at his most deeply expressive. He wrote several preludes on the chorale Nun komm der Heiden Heiland. The example recorded has a feeling of timelessness, and with its highly decorated melody must rank as one of his most deeply felt organ works. It comes from a collection known as the Eighteen Chorale Preludes which were written in Leipzig, probably between 1747 and 1750.
12.00 eur Temporarily out of stock

Silent Night - Christmas Carols with The Choir of Christs Hospital

Silent Night - Christmas Carols with The Choir of Christs Hospital
ID: GMCD7170
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Cathedral Choir

Recorded in the Parish Church of All Saints, Hove
It’s history……. The young King Edward VI founded three Royal "Hospitals" towards the end of his reign. Christ’s Hospital, in the old buildings vacated by the Grey Friars, was to educate and care for fatherless children and other poor men’s children, St Thomas’ Hospital was to attend to the sick, and Bridewell Hospital was to give shelter and sustenance to beggars. Barely a century later the Great Fire of London claimed a large number of the Christ’s Hospital buildings, but it was almost entirely rebuilt within 30 years, thanks to the generosity of a number of city merchants. In 1673 Charles II founded the Royal Mathematical School within Christ’s Hospital, largely from the inspiration of Samuel Pepys, the famous diarist. He was the Secretary to the Admiralty and so was interested in ensuring that high quality mathematicians and navigators were educated for future sea-service. Much later Samuel Taylor Coleridge, Charles Lamb and James Leigh Hunt were boys at Christ’s Hospital, and the School has boarding houses named after them. The school was originally co-educational; however, from quite early in its history, the girls of the Foundation were educated separately at Hertford. In 1985, however, they rejoined the boys at Horsham, where the School had relocated in May 1902 in search of fresh air and space for proper relaxation and games. Today, Christ’s Hospital is the largest educational charity in the country, enabling this education to be offered to the most deserving children, irrespective of the ability to pay. All fees are means tested and on average parents meet less than 15% of the School’s costs. The Foundation therefore looks for children who will contribute most to, and benefit most from, a place at the School. …it’s music……. Historians have quite correctly emphasised that Christ’s Hospital was never merely an orphanage as such, for amongst the earliest academic appointments was "a schoole-maister for Musicke". So our musical tradition stretches back nearly 450 years: - longer, if one were to count the semi-monastic tradition that had been nurtured for centuries before by the Greyfriars by the Newgate of the City of London, for Christ’s Hospital took over their premises in November of 1552. It is far from fanciful to imagine the youthful voices of the children singing in the massive three hundred foot long church of Christ Church, Greyfriars, not far from Old St Paul’s, and we know for certain from Robert Dow’s Will for setting up a Song School in 1609 that boys were "to sing in the Quier of Christ Church", and that from 1613 a boy should "serve and be employed in playing of the organs of the said church". Alas in September 1666 the Great Fire destroyed that wonderful building, but the tradition itself continued in the rebuilt, though rather smaller church, designed by Sir Christopher Wren, which became known as Christ Church, Newgate Street. Today, the School has six full-time and thirty visiting music staff teaching some 500 individual lessons each week, as well as providing a full programme of rehearsals and concerts for ensembles of all sizes. Much emphasis is given to the development of musical ability through chamber music and the finest pupils give an annual concert at the Purcell Room on London’s South Bank. However, the School is also proud of its larger ensembles, the Choirs, the Orchestras, and the Marching Band, famous for its appearances each year at the front of the Lord Mayor’s Show, at Twickenham and at Lords. Music is an integral part of the School’s life, and continues to play an important role in the continuing strong links with the City of London. …and it’s choirs Standing on one side of the great central quadrangle of Christ’s Hospital is the Chapel. It is a collegiate-style building, spacious enough to seat the whole school of 830 pupils and 90 staff. Services are accompanied by the School Organist on the massive five-manual Rushworth and Dreaper organ, which was designed in 1931 by the Director of Music at that time, C. S. Lang. The 112 members of the Chapel Choir are seated centrally and antiphonally, ideally placed to lead the congregational singing. As well as singing hymns, anthems, canticles, psalms and responses for the regular weekly services, the choir also sings for a full programme of special occasions throughout the year including a service for St. Matthew’s Day in the City of London, attended by the Lord Mayor, re-emphasising the school’s strong links with its past. The choir performs in the famous "Bluecoat" Tudor uniform worn by all pupils of the school throughout the normal school week. The choir gives an annual performance of a major choral work - in recent years, Brahms’ German Requiem, J. S. Bach’s St Matthew Passion and Mozart’s Requiem. In addition the choir sings Choral Evensong at such venues as St Paul’s Cathedral, Chichester Cathedral, Guildford Cathedral, St George’s Chapel, Windsor, broadcasts for television and BBC Radio (Remembrance Sunday, Highway, Radio 3 Advent Carol Series, Sunday Half Hour) and the smaller chamber choir, Schola Cantorum, sing for many other special events. This is the Choir’s fourth CD recording. Details of earlier recordings are available from Christ’s Hospital Enterprises, Christ’s Hospital, Horsham, West Sussex, RH13 7LS.
12.00 eur Buy

IN PRAISE OF THE NATIVITY OF OUR LORD

IN PRAISE OF THE NATIVITY OF OUR LORD
ID: GD108
CDs: 1
Type: CD
Subcollection: Cathedral Choir

14.00 eur Buy

Peter Dinev - Liturgy of St. John Chrysostom

Peter Dinev - Liturgy of St. John Chrysostom
ID: GD120
CDs: 1
Type: CD
Subcollection: Liturgy

The release contains one of the most significant compositions of Peter Dinev - a person with great services to the preservation and research of medieval Bulgarian music. As a musicologist and pedagogue, he dedicated himself to Orthodox music. For many years Dinev worked on the "translation" of the ecclesiastic characters into modern linear notation, which created opportunities for a number of liturgical works from the first centuries of Christianity in Bulgaria to be included in the repertoire. The recorded tracks are the composer's elaboration of old Orthodox chants done with mastership and inspiration. By interweaving of voices and timbres, the conductor, Stoyan Kralev has outlined the beauty of the choral songs laying the stress on the contrast between the sonority and elevation of the solo participation in prayers, rich in tenderness, humbleness and faith. With their emotionality and abundance of vocal skills and musical nuances the performances of Madrigal Chamber Choir draw the listener's attention, filling his heart with good will, kindness and love for people and God.

Soloist:
Bovarian, Alis - 1, 3, 4-7, 12, 14
Pankova, Nikolina - 1, 4-7, 10
Kostov, Sasho - 1, 2, 4-10
Alexander Darliev - 14
Karoleeva, Snezhana 14
Tsaneva, Iolanta 14
Gambourtsev, Dimitry 14

Digitally recorded in St. Alexander Cathedral in March 1998
Balance G. Nedyalkov, editing V. Ivanov
14.00 eur Buy

Armenian Liturgy - Papazian, Bedros - conductor

Armenian Liturgy - Papazian, Bedros - conductor
ID: GD137
CDs: 1
Type: CD
Subcollection: Liturgy

Various: Glory o You, Lord (Gloire à Toi, Seigneur); (Amen for Your Soul/Amen pour l`âme)

An original CD presenting the rare opportunity to possess a recording of Armenian Liturgy. The Holy Apostolic Church of Armenia is one of the oldest churches in the Orient. The chants of three composers mainly are included in the service. Most frequently the liturgy of Ekmalian created in the last decade of the 19th century is used. The chants are beautifully harmonized for mixed choir performance, some of them with a soloist. The release includes twelve church chants, where the widely sung-out jubilation parts in expression of man's homage to God and Jesus Christ alternate with melodic-and-recitative episodes which have originated from the psalmodic singing. The programme strikes with the virtuosity of the hymns, the variety of the richly ornamented melodies, the interesting harmonic devices and the organ accompaniment. The music brings the atmosphere of peace and concentration, of contemplation and deep thought of God the Creator and the sacrifice of His Son.


Soloists:
Kikorian, Marie
Benlian, Karapet (the priest)
Basmadjian, Marie
Bovarian, Alice
Jelev, Ivo
14.00 eur Buy

St. JOHN KOUKOUZELES - ORTHODOX CHANTS

St. JOHN KOUKOUZELES - ORTHODOX CHANTS
ID: GD101
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Cathedral Choir

The release presents both traditions. The chants have been recorded by church choirs, as well as choirs whose repertoire includes a lot of East Orthodox music.
14.00 eur Buy

APOSTOL NIKOLAEV-STROUMSKY - Liturgy

APOSTOL NIKOLAEV-STROUMSKY - Liturgy
ID: GD178
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Cathedral Choir

Prof. Stoyan Kralev is the founder of the Madrigal Choir, whose main objective is to popularise Renaissance and Baroque vocal art, as well as to present the most valuable pieces of Bulgarian and Slavic church singing. The Liturgy in this CD includes basic and traditional chants, arranged according to the canons of East-Orthodox Christianity. The fourteen parts are brilliant choral arrangements by Apostol Nikolaev-Stroumsky based on ages-old melodies and liturgical texts from the respective moments of the religious service. A long-standing chorus-master of the St. Alexander Nevsky Cathedral, Nikolaev-Stroumsky harmonized the old tunes with much taste and creative attitude. The Liturgy breathes spiritual elevation and purity, and devotion to God. The choir and the soloists interpret the style of the work with mastery and inspiration.
14.00 eur Temporarily out of stock

Favourite Hymns From Wells Cathedral - Malcolm Archer

Favourite Hymns From Wells Cathedral - Malcolm Archer
ID: GCCD4010
CDs: 1
Type: CD
Collection: Choral Collection
Subcollection: Cathedral Choir

20 hymns from another key English Cathedral
15.00 eur Buy

 
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