What’s On Great Sacred Music, Sunday, November 18, 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 – November 18, 2018 https://spoti.fi/2DB0uYM
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
Sir Edward Elgar: Ave verum
Choir of St. Paul’s Cathedral, London, John Scott
Franz Liszt: The Beatitudes
Swiss Radio Chorus of Lugano, Diego Fasolis
Furio Zanasi, baritone; Paolo Crivellaro, organ
Elgar’s setting of the communion hymn “Hail, True Body” is infused with warmth and tenderness. The name Liszt always conjures up an image of a vrtuoso pianist for me. But Franz Liszt was also an intensely spiritual man who had become a member of the Third Order of St. Francis in 1857.
Josef Haydn: Benedictus ~ Lord Nelson Mass
London Symphony Chorus; City of London Sinfonia, Richard Hickox
Barbara Bonney, soprano; Anne Howells, mezzo-soprano
Anthony Rolfe Johnson, tenor; Stephen Roberts, baritone
Gregorian chant: Mass IX: Cum Jubilo
Benedictine Monks of Santo Domingo De Silos
The original title of Haydn’s Lord Nelson Mass was Missa in Angustiis or Mass for troubled times. The first CD entitled Chant by the Benedictine Monks of Santo Domingo De Silos sold 6 million copies back in the 90s.
GSM Commentary: Al Sturgis
Johann Kuhnau: Der Gerechte kommt um
Pygmalion, Raphael Pichon
Paul Mealor: Locus iste
Wartburg College Choir, Lee Nelson
Tristis est anima mea was a motet whose music was attributed to Johann Kuhnau. His successor at the Thomaskirche in Leipzig, J.S. Bach adapted it to the German text “Der gerechte kommt um”. Welsh composer Paul Mealor (1975-) was catapulted to fame when his motet “Ubi Caritas” was sung at the wedding of Prince William and Katherine Middleton.
Henry Purcell: Jehova, quam multi sunt hostes mei
Taverner Consort, Choir & Players, Andrew Parrott
Pablo Casals: Recordare Virgo Mater
Escolania de Montserrat, Ireneu Segarra
“Jehova, quam multi sunt hostes mei” is one of two Latin motets composed by Henry Purcell. It dates from 1680. The great Catalan cellist Pablo Casals was also a composer who wrote in a variety of genre.
J.S. Bach: Cantata 90, “Es reisset euch ein schrecklich ende”
Holland Boys’ Choir; Netherlands Bach Collegium, Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto
Knut Schoch, tenor; Bas Ramselaar, bass
The third movement of this cantata is a tour de force for the bass soloist and the trumpet. In my opinion it ranks right up there with Handel’s “Why do the nations so furiously rage together”.
George Frideric Handel: Chandos Anthem No. 08
The Sixteen Choir and Orchestra, Harry Christophers
Patrizia Kwella, soprano; James Bowman, alto; Ian Partridge, tenor
Cannons was the country estate of the Duke of Chandos who employed Handel
when his opera productions were running into financial distress. Handel wrote eleven instrumentally accompanied anthems for the Duke between 1717-1718. These were performed in the chapel at Cannons.
J.P. Sweelinck: Echo Fantasia in C
Jacques van Oortmerssen, organ
Dutch organist and composer Jan Pieterszoon Sweelinck (1562-1621) laid the foundations for keyboard playing which culminated in the North German school of Bach and his contemporaries.
Baldassare Galuppi: Confitebor tibi, Domine
Il Seminario Musicale, Gerrard Lesne
French countertenor Gerard Lesne (1956-) is director of Il Seminario Musicale.
Thomas Tallis: Mass for Four Voices
New York Polyphony
English composer Thomas Tallis (c1505-1585) wrote this Mass for 4 Voices in a ‘new’ style which used more syllabic text settings as opposed to the older melismatic style. The music is found in the Gyffard Partbooks.