I post these playlists weekly with the hope that you might find them useful
as you plan your music lists. All of my playlists are on Spotify for you to
enjoy at your convenience.
GSM – February 26, 2017 https://goo.gl/kgyzAE
Don’t forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
Rob Kennedy
WCPE The Classical Station
Web: TheClassicalStation.org
Facebook: www.facebook/theclassicalstation
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Johann Cruger: Now thank we all our God
Choir of King’s College, Cambridge, Stephen Cleobury
Richard Gowers, organ
Giovanni Pierluigi da Palestrina: Gaude gloriosa
Chanticleer, Joseph Jennings
Manuel Arenzana: Dixit Dominus
Mexico City Chorus and Chamber Orchestra, Benjamin Jaurez Echenique
Irasema Terrazas, soprano; Gabriela Thierry, mezzo-soprano;
Flavio Becerra, tenor; Jorge Cozatl, bass; Ivan Juarez, bass
Dr. Cleobury has been Director of Music at King’s College for over thirty years. This week we shall hear two settings of the Marian text “Gaude gloriosa”, one by Palestrina and one by Tallis. Palestrina’s version is number 17 of 21 motets in Book 5 of his Motets. Mexican composer Manuel Arenzana was Maestro de Capilla of Puebla Cathedral from 1792 to 1821
Franz Schubert: Salve Regina in B flat, D. 106
Bavarian Radio Symphony Orchestra, Wolfgang Sawallisch
Francisco Araiza, tenor; Elmar Schloter, organ
Frank Bridge: Adagio
David Briggs, organ
The Lewis Organ in the Church of St. John the Evangelist, Upper Norwood, London
Schubert’s “Salve Regina” is scored for tenor solo, SATB choir and orchestra. English composer Frank Bridge’s only student was Benjamin Britten.
Ola Gjeilo: Ubi caritas
Utah State University Chamber Singers, Cory Evans
Kevin Olson, piano
Ola Gjeilo is a Norwegian composer born in 1978.
César Franck: Psalm 150
Mormon Tabernacle Choir; Utah Symphony Orchestra, Julius Rudel
Kiri te Kanawa, soprano
Norwegian composer Ola Gjeilo (1978-) has written that his setting of “Ubi caritas” was inspired by Maurice Durufle’s setting of the same text. Belgian composer César Franck’s setting of Psalm 150 dates from 1883.
Sir Hubert Parry: I was glad when they said unto me
Choir of St. Paul’s Cathedral, London, John Scott
William Selby: Two Voluntaries
Barry Turley, organ
The Fisk organ of King’s Chapel, Boston
Sir Hubert Parry’s setting of Psalm 122 was first performed at the coronation of King Edward VII in 1902. English composer William Selby emigrated to America where he became organist at King’s Chapel in 1777.
J.S. Bach: Cantata 159, “Sehet, wir gehn hinauf gen Jerusalem”
Leonhardt Consort; Tolzer Knabenchor; Collegium Vocale Gent, Gustav Leonhardt
Paul Esswood, alto; Kurt Equiluz, tenor; Max van Egmond, bass
English title: “Behold, we go up to Jerusalem”
The German translates as “Come, let us go up to Jerusalem.” The cantata recounts briefly the way of the cross from the point of view of the soul, according to Simon Crouch. It was first performed on February 29, 1729.
John Rutter: Visions
The Temple Church Boys’ Choir; Aurora Orchestra
Choir directed by Roger Sayer; Orchestra by Zoe Beyers
Kerson Leong, violin
English composer John Rutter composed Visions for the solo violin of Kerson Leong, string ensemble and the choristers of the Temple Church choir.
Claudio Monteverdi: Magnificat ~ Vespers of the Blessed Virgin
Apollo’s Fire; with Apollo’s Singers, Jeannette Sorrell
Ian Honeyman, tenor; Gareth Morrell, tenor;
Sandra Simon, soprano; Jennifer Ellis Kampani, soprano;
Meg Bragle, mezzo-soprano; Jeffrey Strauss, baritone;
Michael McMurray, bass
This setting of the Magnificat comes from Monteverdi’s Vespro della Beata Virgine of 1610. The scale of the work makes it one of the grandest musical compositions of the pre-Bach era.
Josef Haydn: Creation Mass
Monteverdi Choir; English Baroque Soloists, Sir John Eliot Gardiner
Ruth Ziesak, soprano; Bernarda Fink, contralto;
Christoph Pregardien, tenor; Oliver Widmer, bass
Not to be confused with Haydn’s oratorio “The Creation”, this mass setting is a different composition which dates from 1801. It got its name because Haydn used the music from Adam and Eve’s final duet in The Creation for the “qui tollis” text of the Agnus Dei.
Thomas Tallis: Gaude gloriosa
Tallis Scholars, Peter Phillips
This grand Marian motet comprises some 461 bars and represents the epitome of the English composer’s craft.
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