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 – June 2, 2019 https://spoti.fi/2JVZaUA
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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Tomas Luis de Victoria: Ascendens Christus in altum
Choir of King’s College, Cambridge, Stephen Cleobury
William Shrubsole, arr. Vaughan Williams: All Hail The Power
Choir of the First Congregational Church of Los Angeles, Thomas Somerville
Frederick Swann, organ
Robert Williams: Hail the day that sees him rise
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
Of “Ascendens Christus in altum” Bruno Turner writes: “The motet Ascendens Christus is specified by Victoria In Ascensione Domini and the text comes from the last Responsorium of the Second Nocturn of Matins for that Feast.”
WIlliam Shrubsole (1760-1806) wrote the tune “Miles Lane” which has been associated with the text by Edward Perronet. VAughan Williams thought highly of the tune. Charles Wesley wrote the text for “Hail the day that sees him rise” which is commonly sung to the tune Llanfair.
Jeremiah Clarke: The head that once was crowned with thorns
Choir of King’s College, Cambridge, Sir David Willcocks
Anonymous: Alleluya: Ave Maris Gratia Plena
Canty, Rebecca Tavener
Thomas Kelley wrote the text for “The head that once was crowned with thorns” which is commonly paired with the tune St. Magnus by Jeremiah Clarke. Canty is a Scottish early music ensemble founded by Rebecca Tavener.
Commentary: William Weisser
Henry Walford Davies: Solemn Melody
William J. Weisser, organ
1962 Aeolian-Skinner organ Opus 1399 in St. Phillip’s Cathedral, Atlanta, Georgia
John Tavener: Three Antiphons
Choir of St. Paul’s Cathedral, London, John Scott
Sir Henry Walford Davies was Master of the King’s Music from 1934-1941.
The composer wrote the following performance notes for his “Three Antiphones”:
“The texts of these Three Antiphons are taken from the Psalms and from Isaiah. The music should be performed soberly and with dignity, without any triumphalism. In the first, a small group of tenors and basses should be positioned at a distance from the main choir. In the last, which represents the Prophet’s vision of ‘the new Jerusalem’ (something beyond our comprehension), a small group of sopranos and altos singing Alleluia represents angels. If possible, these singers should be placed in a high gallery so that their sound seems to come from the heavens.”
Giovanni Gabrieli: Jubilate Deo a 10
Gregg Smith Singers; Texas Boys Choir; Edward Tarr Brass Ensemble
Gabrieli Consort “La Fenice”, Vittorio Negri
E. Power Biggs, organ
Arthur Henry Brown: Come, ye faithful, raise the strain
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
Simon Preston: Alleluyas
Stephen Cleobury, organ
Harrison and Harrison organ in King’s College Chapel
Giovanni Gabrieli (1557–1612) was appointed director of music at San Marco,
Venice in 1585. “Come, ye faithful, raise the strain” uses words by St. John of Damascas, translated by John Mason Neale, paired with a tune by Arthur Henry Brown. Sometime Organist of Westminster Abbey and Christ Church Cathedral, Oxford, Simon Preston (1938-) wrote his “Alleluyas” in the style of Messiaen.
J.S. Bach: Cantata 43, “Gott fahret auf mit Jauchzen”
Holland Boys’ Choir; Netherlands Bach Collegium, Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto
Nico van der Meel, tenor; Bas Ramselaar, bass
This cantata for the Feast of the Ascension was first performed on May 30, 1726 in Leipzig. The work has eleven movements and opens with a grand chorus.
Benjamin Britten: Rejoice in the Lamb, (Festival Cantata) Op. 30
Choir of King’s College, Cambridge, Sir Philip Ledger
Simon Channing, treble; James Bowman, countertenor
Richard Morton, tenor; Marcus Creed, bass
James Lancelot, organ; David Corkhill, percussion
The Reverend Canon Walter Hussey commissioned Benjamin Britten to write
Rejoice in the Lamb for the fiftieth anniversary celebrations of St. Matthew’s Parish, Northampton in 1943.
Johann Pachelbel: Prelude in D minor
Marilyn Mason, organ
Fisk Organ, Opus 87, “The Marilyn Mason Organ” at the University of Michigan, Ann Arbor, Michigan
American organist Dr. Marilyn Mason (1925-2019) was Professor of Organ Emerita at the University of Michigan where she was on staff from 1947. She retired from active duty at the university in 2014.
Johannes Brahms: A German Requiem, Op. 45
Berlin Radio Choir; Berlin Philharmonic, Sir Simon Rattle
Dorothea Roschmann, soprano; Thomas Quasthoff, baritone
Brahms wrote “A German Requiem” using a text which he himself assembled from the Lutheran Bible.
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