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 – May 7, 2017 https://goo.gl/FHksU9
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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Charles Hylton Stewart: Psalm 23
Choir of St. Paul’s Cathedral, London, John Scott
Giovanni Pierluigi da Palestrina: Tu es pastor ovium
Sistine Chapel Choir, Massimo Palombella
Samuel Scheidt: Surrexit Pastor bonus
The Cambridge Singers, John Rutter
The theme of this week’s readings many churches comes from John 10 in which Jesus is described as the Good Shepherd. C.H. Stewart’s chant is commonly paired with Psalm 23 which itself expresses the quiet confidence brought about by trust in God. Much of Palestrina’s liturgical music was composed for his papal patrons which included Marcellus II and Paul IV. Samuel Scheidt’s anthem “Surrexit Pastor Bonus” dates from 1620 and is one of thirty-eight pieces included in Cantiones Sacrae.
Martin Kalmanoff: Psalm 23, “The Lord is my Shepherd”
Barcelona Symphony and Catalonia National Orchestra, Elli Jaffe
Alberto Mizrahi, tenor
John Rutter: The Lord is my Shepherd ~ Requiem
Cambridge Singers; City of London Sinfonia, John Rutter
A native of Woodmere, New York, Martin Kalmanoff studied with Walter Piston at Harvard. His setting of Psalm 23 dates from 1951. John Rutter’s setting of Psalm 23 was written in 1978 for Mel Olson and the Chancel Choir of First United Methodist Church in Omaha, Nebraska. The composer later included it in his Requiem (1985).
Maurice Greene: Lord, let me know mine end
Choir of Liverpool Cathedral, David Poulter
Lennox Berkeley: The Lord is my Shepherd
Choir of St. John’s, Elora, Noel Edison
Michael Bloss, organ
Sir Lennox Berkeley composed his setting of Psalm 23 for Chichester Cathedral on the occasion of its 900th anniversary. English composer Maurice Greene (1696-1755) served as Organist of St. Paul’s Cathedral and the Chapel Royal during the course of his career.
George Frideric Handel: All we like sheep have gone astray ~ Messiah
Choir of King’s College, Cambridge; Brandenburg Consort, Stephen Cleobury
Thomas Arne: Organ Concerto No. 2 in G
Cantilena, Adrian Shepherd
Roger Bevan Williams, organ
We continue our survey of choruses from Handel’s oratorios with the much-loved “All we like sheep have gone astray.” English composer Thomas Arne (1710-1778) wrote the tunes for Rule Britannia and an early version of God Save The King; however, he wrote no music for the Anglican church.
J.S. Bach: Cantata 12, “Weinen, Klagen, Sorgen, Zagen”
Bach Collegium Japan, Masaaki Suzuki
Yumiko Kurisu, soprano; Yoshikazu Mera, countertenor;
Makoto Sakurada, tenor; Peter Kooy, bass-baritone
The German title translates as “Weeping, lamenting, worrying, fearing”. The theme of this cantata which dates from 1714 is Jesus’ leaving this world after reassuring his disciples that he would return. You will recognize the opening chorus which Bach recycled thirty years later as the “Crucifixus” in the B minor Mass. Listen for the chorale tune “Jesu, meine Freude” intoned by the oboe in the tenor aria.
Jules Massenet: La Vierge
Bach Choir of Milan; Orchestra of Symphony and Harmony, Daniele Agiman
Denia Gavazzeni, soprano
From the pen of Jules Massenet, a French composer known for his operas, came two sacred operas or oratorios: La Vierge and Marie-Magdeleine. La Vierge takes us through the life of Mary Mother of The Christ from the Annunciation through her Dormition. First performed at the Paris Opera in 1880, La Vierge was not well-received and is rarely performed or recorded nowadays.
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