What’s on Great Sacred Music, Sunday, March 11, 2018
Wake Forest, North Carolina
I post these playlists weekly with the hope that you might find them useful as you plan your programs. All of my playlists are on Spotify for you to enjoy at your convenience.
GSM – March 11, 2018 http://spoti.fi/2FuvoEE
Don’t forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
WCPE The Classical Station
J.S. Bach: Erbarme dich ~ St. Matthew Passion, BWV 244
Collegium Vocale Gent, Philippe Herreweghe
Andreas Scholl, countertenor
Jean Lheritier: Nigra sum
German countertenor Andreas Scholl (1967-) is one of the greatest countertenors of his generation. He appeared at the last night of the BBC Proms in 2005 and has sung in many of the world’s grea opera houses. Flemish composer Jean L’Héritier (c.1480–c.1551) set the text of the Song of Solomon 1:5 “I am blackly but comely” for 3,4 & 5 voices. We shall hear the 5 voice version.
Felix Mendelssohn: Hear my prayer
Choir of Trinity College, Cambridge, Richard Marlow
Andrea Cockerton, soprano
Dan Locklair: Ave Verum Corpus
Sospiri, Christopher Watson
Dan Locklair’s comments on his composition, Ave verum corpus: “My motet for a cappella SATB chorus, Ave Verum Corpus (Hail, True Body), was composed in the autumn of 2010. It is warmly dedicated to my former Wake Forest University student – now colleague and friend – Andrew Clark, in celebration of his first academic year (2010-2011) as Director of Choral Activities at Harvard University.” English treble Ernest Lough’s recording of Mendelssohn’s “Hear my prayer” in 1927 went on to sell over six million copies.
John Rutter: I Will Lift Up Mine Eyes
Cambridge Singers; City of London Sinfonia, John Rutter
Diogo Dias Melgás: Lamentacao de Quinta Feira Santa
The Sixteen, Harry Christophers
John Rutter’s “I Will Lift Up Mine Eyes” dates from 1974 and is scored for SATB chorus and organ or orchestra. Portuguese composer Diogo Dias Melgás (1638-1700) was one of the last Portuguese composers of the Renaissance period.
Henry Purcell: O Lord, rebuke me not
Chanticleer; Capriccio Stravagante, Joseph Jennings
Henry Purcell’s anthem “O Lord, rebuke me not” takes its text from Psalm 6: 1-7. Scholars seem to think it was written in the 1860s.
J.S. Bach: Motet No. 2: “Der Geist hilft unser Schwachheit auf”, BWV 226
Vancouver Chamber Choir, Jon Washburn
The English translation is “The Spirit gives aid to our weakness”. Musicologists seem to think that several of Bach’s six motets including this one were written for funerals.
Samuel Barber: Agnus Dei
The Sixteen, Harry Christophers
A choral setting of Barber’s Adagio for Strings
American composer Samuel Barber arranged the Adagio movement of his 1936 string quartet for SATB chorus in 1967. Barber used the text to the “Agnus Dei” portion of the Mass and scored the music in the visually terrifying key of B flat minor.
J.S. Bach: Partita on “Sei gegrusset, Jesu gutig”, BWV 768
Kevin Bowyer, organ
1962 Marcussen organ Sct. Hans Kirke, Odense, Denmark
In his Partita on “Sei gegrüsset, Jesu gutig” Johann Sebastian Bach explores the chorale “I Greet Thee, Merciful Jesus” with some eleven variations. The composition takes about twenty minutes to perform.
Giacomo Perti: Oratorio Della Passione
Cappella Musicale di S. Petronio, Sergio Vartolo
Monique Zanetti, soprano; Lina Akerlund, soprano
Claudio Cavina, counter-tenor; Andrew Schultz, tenor; Mario Cechetti, bass
In addition to teaching Giuseppe Torelli and Giovanni Battista Martini, Italian composer Giacomo Antonio Perti (1661–1756) found time to composer 26 operas, 142 solo cantatas, 120 psalm settings and a slew of other works, including this remakable oratorio which recounts Christ’s passion on the Cross.