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Sacred Music, page 2

   Found CDs: 801
 

H. Purcell - Sacred Music - Te Deum - Jubilate - Anthems - Funeral Music for Queen Mary

H. Purcell - Sacred Music - Te Deum - Jubilate - Anthems - Funeral Music for Queen Mary
ID: BRIL99782
CDs: 1
Type: DVD5
Collection: Sacred Music
Subcollection: Choir

1 DVD 16:9
Region: (All) PAL, 2.35:1 ALL FORMATS
Total time: 00:58:30
Sound Tracks: Dolby Digital 5.1, Dolby Digital Stereo 5.1
12.00 eur Buy

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

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

Wondrous Machine! - Organ Works by Arthur Wills

Wondrous Machine! -  Organ Works by Arthur Wills
ID: GMCD7225
CDs: 1
Type: CD
Collection: Organ Collection

The Organ of Tonbridge School Chapel

Dr. Arthur Wills was Director of Music at Ely Cathedral from 1958 to 1990, and also held a Professorship at the Royal Academy of Music in London from 1964 until 1992. He has toured extensively as a recitalist in Europe, North America, Australia, New Zealand and Hong Kong, and has broadcast, appeared on TV and made many recordings, both as a soloist and with the Ely Choir. His secular music includes seven song cycles, and an opera "Winston and Julia", based on the Orwell novel "1984". He has composed prolifically for the organ, and his ensemble works include a Concerto with Strings and Timpani, a Concerto for Guitar and Organ, and a Symphonic Suite:- "The Fenlands" for Brass Band and Organ. His book "ORGAN" appeared in the Menuhin Music Guide Series in 1984, with a second edition in 1993 and a third reprint in 1997. The Ely Choir has recently recorded a CD of his choral and organ music from 1955 to 1990 on Herald HAVPCD 1997. In May 1999 Hyperion Records re-issued two recordings from the early 80's on one CD - his Symphonic Suite: "The Fenlands" for Organ and Brass Band, including also music by Elgar and Walton, together with Dr. Wills' transcription of Mussorgsky's "Pictures at an Exhibition" for solo Organ (CDH55003). His recording entitled "Full Stops" first issued in 1978, which includes his Variations on "Amzing Grace" was re-issued on CD 84305 in 1995 by Meridian. Novello have recently published his transcription for organ of three movements from Holst's PLANETS Suite - Mars, Venus and Jupiter.
12.00 eur Buy

CHRISTMAS - Highlights of the Christmas service

CHRISTMAS - Highlights of the Christmas service
ID: MKM209
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

12.00 eur Buy

Chor des Bayerischen Rundfunks - P. Dijkstra: Sacred Choral Music: F. Poulenc , M. Duruflé, T. de Leeuw. O. Messiæn

Chor des Bayerischen Rundfunks - P. Dijkstra: Sacred Choral Music: F. Poulenc , M. Duruflé, T. de Leeuw. O. Messiæn
ID: OC540
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

12.00 eur Buy

A Time of Peace • A Sequence of Music: from Advent to Candlemas

A Time of Peace • A Sequence of Music: from Advent to Candlemas
ID: GMCD7111
CDs: 1
Type: CD
Collection: Choral Collection

Recorded in: St Anne's Cathedral, Belfast
12.00 eur Buy

O Magnum Mysterium • Christmas Music and Carols

O Magnum Mysterium • Christmas Music and Carols
ID: GMCD7226
CDs: 1
Type: CD
Subcollection: Choral and Organ

Christopher Eastwood plays the organ for In The Bleak Midwinter, and conducts The Three Kings.
Mark Williams (A Spotless Rose)
Rebecca Willcox (In The Bleak Midwinter)
William Tallon (In The Bleak Midwinter)
Sylvia Garnsey (Coventry Carol, Once In Royal)
Thomas Lydon (Three Kings)
Poulenc: Quatre Motets Pour Le Temps De Noel
Poulenc’s religious music, while expressing perfectly his profound Catholic faith, was always closely bound up with his relationships with friends and lovers. He had been catapulted back to the church in 1936 by the death in appalling circumstances of the composer Pierre-Octave Ferroud. His great opera Dialogues des Carmelites was deeply affected by the illness and death of his lover Lucien Roubert. These four exquisite miniatures seem to have been written, between November 1951 and May 1952, at least in part as gifts for their dedicatees: indeed they are such private pieces that no proper record exists of their first performance. What may have been their premiere was given, rather incongruously, in Madrid by the Netherlands Chamber Choir. Poulenc dedicated the first of them, a dark, tender setting of "O Magnum Mysterium", to the conductor of that performance, Felix de Nobel. The gentle second motet "Quem Vidistis Pastores" was a tribute to one of Poulenc’s closest woman friends, Simone Girard. She was the secretary of the Avignon Concerts Society and by all accounts an indefatigable organiser and fine amateur pianist. To Poulenc she was indispensable. In a letter of 1951, in which he offers her the "Quem Vidistis", he tells her "You have the ultimate intelligence - quite simply that of the heart, a sentiment surely appropriate to this evocation of the simple shepherds seeing the star over Bethlehem. The set is completed by a setting, marked "Calme et doux", of "Videntes Stellam", and an exultant "Hodie Christus Natus Est" which seems to be made up entirely of fanfares.
12.00 eur Buy

A. Archangelskij - Vsenoshnoe Bdenie

A. Archangelskij  - Vsenoshnoe  Bdenie
ID: MKM252
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

12.00 eur Buy
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