What’s On Great Sacred Music, Sunday, April 7, 2019
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 – April 7, 2019 https://spoti.fi/2UEJ72b
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
William Harris: Lead, kindly light
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
Hernando don Franco: Sancta Maria
I Cantori, Edward Cansino
This composer was a member of the Aztec royal family, hence the “”Don”” in the name given him by the Spanish conquerors. His gift for composition was recognized, and he was trained in the European style.
Sir William Harris: King of Glory
Choir of St. George’s Chapel, Windsor Castle, Timothy Byram-Wigfield
Roger Judd, organ
John Henry Newman wrote the text for “Lead, kindly light” in 1833. It is published in 1,052 hymnals. Hernando don Franco was a member of the Aztec royal family, hence the “”Don”” in the name given him by the Spanish conquerors. His gift for composition was recognized, and he was trained in the European style. Sir William Harris was Organist of St. George’s Chapel, Windsor, from 1933-1973.
from the Codex Las Huelgas, c. 1300: Conductus – motet: O Maria virgo; O Maria maris stella: Anonymous 4
Healey Willan: How they so softly rest
Elora Festival Singers, Noel Edison
Charles Wood: Expectans expectavi
Choir of St. Paul’s Cathedral, John Scott
Andrew Lucas, organ
The Codex Las Huelgas dates from the 13th century. Canadian composer Healey Willan (1880-1968) composed “How they so softly rest” for the choir of St Paul’s, Bloor Street, Toronto in 1917. Charles Wood studied at the Royal College of Music with Sir Hubert Parry and C.V. Stanford.
Commentary – David Crabtree
George Frederic Handel: Worthy Is The Lamb~Messiah
Duke University Chapel Choir; Orchestra Pro Cantores, Rodney Wynkoop
Cristóbal de Morales: Andreas Christi famulus
The Studio of Ancient Music of Montreal, Christopher Jackson
Sir Charles Villiers Stanford: For lo, I raise up
Choir of Trinity College, Cambridge, Stephen Layton
Owain Park, organ
Pablo Bruna: Tiento de los tiples (sexto tono)
Jose Suarez, organ
1739 organ in the Convent of San Jerónimo in Tlacochahuaya, Mexico
Spanish composer Cristóbal de Morales (1500-1553) composed mainly sacred choral music, including over 100 motets and 22 masses. Sir Charles Villiers Stanford was one of the original founding professors of the Royal College of Music which was established in 1882. After the Spanish conquered the Aztecs in the 16th century, they imposed the Roman Catholic religion on the natives. This process included the building of churches replete with pipe organs. At first, some instruments were brought over from Spain. Eventually local craftsman learned how to build instruments, of which this early 18th-century organ is an example.
J.S. Bach: Motet No. 3: “Jesu, meine Freude”, BWV 227
Vancouver Chamber Choir, Jon Washburn
The eleven movement motet “Jesu, meine freude” is the most complex of the six motets which Bach wrote.
Tomás Luis de Victoria: Missa “Laetatus Sum”
St. Clement’s Choir, Philadelphia, Peter Richard Conte
16th century Spanish composer Tomás Luis de Victoria wore several hats: composer, organist and priest. This mass setting is scored for 12 voices.
Cesar Franck: Chorale No. 3 in A minor
Andrew Lucas, organ
Mander organ in St. Paul’s Cathedral, London
Belgian composer Cesar Franck wrote 3 extended works which he styled chorales. They have become the foundation of any serious organists’s repertoire.
Gioachino Rossini: Stabat Mater
Netherlands Radio Chorus; Royal Concertgebouw Orchestra, Riccardo Chailly
Barbara Frittoli, soprano; Sonia Ganassi, mezzo-soprano
Giuseppe Sabbatini, tenor; Michel Pertusi, bass
This quote from The Ultimate Stabat Mater site aptly sums up this 1837 work by the Italian composer Gioachino Rossini: “The poet Heine wrote after hearing the Stabat Mater that the theater seemed “a vestibule of heaven”. The audiences were deeply moved by the somber beauty of the long opening and taken by the beautiful melodies of the following movements. As evidence of Rossini’s serious purpose the work ends with a great double fugue.”
Antonio de Cabezon: Diferencias on the Milanese Galliard
Robert Parkins, organ
1976 Flentrop Organ in Duke University Chapel
Dr. Robert Parkins has been the University Organist of Duke University since 1985.