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 – January 21, 2018 http://spoti.fi/2F2ukmE
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
—————————–
Lili Boulanger: Pie Jesu
Christine Brewer, soprano; Paul Jacobs, organ
Hildegard von Bingen: Veni spiritus eternorum
Anonymous 4
Gerre Hancock: Prelude on Slane
Todd Wilson, organ
Arents Memorial Organ in St. Thomas’ Church, New York
French composer Lili Boulanger (1893-1918) was a child prodigy and
sister of Nadia Boulanger. Abbess Hildegard von Bingen was born 48 years after the death of Guido d’Arezzo. She was one of the first composers to take advantage of his newly created musical staff. Dr. Gerre Hancock (1934-2012) was Organist and Director of Music at St. Thomas Church, New York from 1971-2004. He studied with Nadia Boulanger, Jean Langlais and Marie-Claire Alain. This composition was dedicated to Gerre’s teacher, Dr. Robert Baker.
Martin Luther (arr. Froschauer): A Mighty Fortress Is Our God
Vienna Symphony Orchestra; Vienna Boys’ Choir, Helmuth Froschauer
Placido Domingo, tenor
Thomas Morley: Nolo mortem peccatoris
Cambridge Singers, John Rutter
Plainsong: Christus factus est (III)
Choir of Westminster Abbey, Martin Neary
Spanish baritone José Plácido Domingo Embil, KBE was born on January 21, 1941. Of course, we remember him as a very fine tenor in his younger years as you will hear in this recording of Martin Luther’s noble hymn. English Tudor composer Thomas Morley set the refrain of a longer poem attributed to 15th-century author James Ryman. The full text as found in the Cambridge University Library is:
Have mind for thee how I was born,
How with scourges my flesh was torn,
And how I was crownèd with thorn;
Nolo mortem peccatoris.
Have mind also how low I light
Into a maid so pure and bright,
Taking mercy, leaving my might;
Nolo mortem peccatoris.
Think how meekly I took the field,
Upon my back bearing my shield;
For pain ne death I would not yield:
Nolo mortem peccatoris.
Lift up thy heart now, man, and see
What I have done and do for thee;
If thou be lost, blame thou not me:
Nolo mortem peccatoris.
The Latin text Christus Factus Est is based on Philippians 2:8–9
John Ireland: Greater love hath no man
Guildford Cathedral Choir, Andrew Millington
Peter Wright, organ; Thomas Stockwell, treble
Nigel Edwards, baritone
Benjamin Britten: A New Year Carol
Chor Leoni, Diane Loomer
Josef Haydn: Te Deum for the Empress Marie Therese
Tafelmusik; Tolzer Knabenchor, Bruno Weil
English composer John Ireland (1879-1962) used texts from the Song of Solomon, the Gospel of John and various letters of Peter and Paul for his anthem ‘Greater love hath no man” written in 1912. English composer Benjamin Britten composed his setting of Walter de la Mare’s poem, A New Year Carol in 1936. Haydn wrote his Te Deum in 1800 on a commission from Empress Marie Therese.
J.S. Bach: Selections ~ The Little Organ Book, BWV 614-616
Choral Ensemble of the Church of the Madeleine, Salt Lake City
Douglas Bush
Douglas Bush, organ
Organ by Kenneth Jones of Bray, Ireland
Three chorales for the new year, followed by the organ preludes based upon them. Bach’s preface to The Little Organ Book is translated as follows:
“In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal, since in the chorales contained herein the pedal is treated entirely obbligato.
In honour of our Lord alone
That my fellow man his skill may hone.
Composed by Johann Sebastian Bach, Capellmeister to his Serene Highness the Prince of Anhalt-Cöthen” Source: Wikipedia
J.S. Bach: Cantata 72, “Alles nur nach Gottes willen”
Holland Boys’ Choir; Netherlands Bach Collegium
Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto
Knut Schoch, tenor; Bas Ramselaar, bass
Cantata 72 was written for the Third Sunday after the Epiphany and first performed on January 27, 1726. The German translates as “All things according to God’s will.” Salomo Franck who was head of the Mint at Weimar wrote the libretto for this cantata.
W.A. Mozart: Missa brevis in F, K 192
Leipzig Radio Chorus and Symphony Orchestra, Herbert Kegel
Celestina Casapietra, soprano; Annelies Burmeister, alto
Peter Schreier, tenor; Hermann Christian Polster, bass
Austrian composer Wolfgang Amadeus Mozart composed this mass setting in Salzburg, on 24 June 1774.
Antonio Soler: Versos para “Te Deum”
Nicholas Jackson, organ
Spanish composer Antonio Francisco Javier José Soler Ramos (1729-1783) was a musician who straddled the late Baroque and early Classical periods of music. He is best known for his keyboard works.
Daniel Gawthrop: The Promises of Isaiah the Prophet
Renaissance Men
We are grateful to Renaissance Men for sharing their recording of Daniel Gawthrop’s masterwork for men’s voices, The Promises of Isaiah the Prophet. Renaissance Men is a men’s vocal ensemble based in the Boston area.
Henry Purcell: Ode for Queen Mary’s Birthday
Choir of Westminster Abbey; New London Consort, Martin Neary
Emma Kirkby and Evelyn Tubb, soprano;
Michael Chance, countertenor; Ian Bostridge, tenor
Stephen Richardson and Simon Birchall, bass
Queen Mary’s birthday was celebrated on April 30. “Come Ye Sons of Art” is
about as fine a piece of writing as you will find in the period.
Leave a Reply
You must be logged in to post a comment.