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 4, 2018 https://spoti.fi/2Onlzry
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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Thomas Tomkins: When David heard
Stile Antico
Rihards Dubra: Miserere Mei
Cambridge Chorale, Michael Kibblewhite
Charles Wood: Expectans expectavi
Choir of St. Paul’s Cathedral, John Scott
Andrew Lucas, organ
“The repertoire performed by Stile Antico focuses on the rich legacy of sixteenth and seventeenth-century polyphonic composition.” This British group records on Harmonia Mundi, always a good sign in my opinion. Rihards Dubra (1964-) is a Latvian composer whose sacred music is rooted in the great music of the past. His setting of the Miserere Mei dates from 1993. Charles Wood studied at the Royal College of Music with Sir Hubert Parry and C.V. Stanford.
Ralph Vaughan Williams: For All the Saints
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
Sir Charles Villiers Stanford: Beati quorum via ~ Three Unaccompanied
Motets, Op. 38
Worcester Cathedral Choir, Donald Hunt
Healey Willan: In the heavenly kingdom
Elora Festival Singers, with Matthew Larkin, organ
Noel Edison
Vaughan Williams’ grand hymn tune Sine Nomine is sung regularly on the Feast of All Saints. Sir Charles Villiers Stanford composed Beati quorum via at the end of the 19th-century. The text is the first verse of Psalm 119. English-born composer and organist Healey Willan (1880-1968)
emigrated to Canada in 1913 and was well-known for his work with the
choir of St. Mary Magdalene Church in Toronto. Dr. Willan wrote over 800
compositions most of which were sacred choral and organ music.
GSM Commentary- The Rev. Robin Arcus
Herbert Howells: Te Deum
2013 RSCM Carolina Course for Girls, David Hill
David Arcus, organ
English composer Herbert Howells wrote his Collegium Regale setting of the Morning canticles for King’s College, Cambridge in 1941. The Dean of York, Eric Milner-White, had been Dean of King’s from 1919-1941 and had challenged Howells with the suggestion “that he might be the man to revitalize English church music composition.” Howell’s grand setting of the Te Deum was the composer’s response to that challenge.
Felix Mendelssohn: Te Deum a 4
Chamber Choir of Europe, Nicol Matt
Marcel Dupre: Placare Christe servulis
John Scott, organ
Mendelssohn was 17 years old when he wrote this Te Deum for the Berliner Singakademie in 1826. French composer Marcel Dupre’s short Toccata comes from his Tombeau de Titleouze.
J.S. Bach: Cantata 163, “Nur jedem das Seine”
Bach Collegium Japan, Masaaki Suzuki
Aki Yanagisawa, soprano; Akira Tachikawa, alto
Makoto Sakurada, tenor; Stephan Schreckenberger, bass
Cantata 163 “To each only his due!” was first performed on
November 24, 1715. It is scored for strings and continuo.
Franz Schubert: Mass No. 2 in G, D. 167
Vienna Boys’ Choir; Chorus Viennensis; Orchestra of the Age of Enlightenment, Bruno Weil
Arno Hartmann, organ
Austrian composer Franz Schubert wrote his popular Mass No. 2 in G major in 1815 for the parish church at Lichtental.
Giuseppe Verdi: Te Deum ~ Four Sacred Pieces
Ernst Senff Choir/Berlin Philharmonic, Carlo Maria Giulini
Sharon Sweet, soprano
Italian opera composer Giuseppe Verdi wrote four sacred motets in the last decades of his life. “Te Deum” dates from 1886-1889.
Herbert Howells: Requiem
Vasari, Jeremy Backhouse
In BBC Review Charlotte Gardner writes: “Herbert Howells’ Requiem must be one of the most beautiful and searingly moving works in the entire English sacred musical canon. Written in the early 30s but not released until 1980, it is inextricably linked to untimely youthful death; Howells modelled it on Walford Davies’ A Short Requiem of 1915, written in memory of those killed in the war. Later, he drew heavily from it for Hymnus Paradisi, his memorial to the nine-year-old son he lost to polio in 1935.
However, despite all this, the Requiem manages to express not just deep grief but also eternal hope, largely thanks to its unusual structure. It juxtaposes traditional “Salvator mundi” and “Requiem aeternam” movements with settings of three of the Bible’s most encouraging passages: Psalms 23 and 121, and John’s vision in the book of Revelation of the new heavens and the new earth.”
Ralph Vaughan Williams: Sancta Civitas
London Symphony Chorus and Orchestra; Choristers of St. Paul’s Cathedral
Richard Hickox
Philip Langridge, tenor; Bryn Terfel, bass-baritone
The Latin title translates as “The Holy City”; however, the libretto is in English. Written in 1923, this short oratorio uses texts from the Book of Revelation.
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