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 9, 2019 https://spoti.fi/2wPzD6Q
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
Ralph Vaughan Williams: Come down, O Love Divine
Worcester Cathedral Choir, Christopher Robinson
Thomas Attwood: Come Holy Ghost
Clare College Chapel Choir, Timothy Brown
Dominic Wheeler, organ
John Rutter: Veni Sancte Spiritus
Choir of King’s College, Cambridge, Stephen Cleobury
This Sunday in the church year is Pentecost. English composer Vaughan Williams named his hymn tune Down Ampney after the village in which he was born. The text is a translation of the 14th century Italian poet Bianco da Siena. Thomas Attwood (1765-1838) became organist of St. Paul’s Cathedral, London, in 1796. Rutter’s setting of the Whitsuntide hymn “Come, Holy Ghost” shows another side to this gifted composer’s writing style.
Gregorian chant: Veni creator spiritus
Choir of the Benedictine Monks of Santo Domingo De Silos
Ismael Fernandez de la Cuesta
Jane Marshall: Psalm 85, A Psalm of Peace
Turtle Creek Chorale, Timothy Seelig
Libby Larsen: Veni, Creator Spiritus
Douglas Cleveland, organ
Goulding & Wood organ, Saint Meinrad (Indiana) Archabbey
Benedictine Monks of Santo Domingo De Silos in Spain gained great fame back in the 90s when this CD went triple platinum in CD sales. No mean
achievement for an obscure genre of church music. Jane Marshall (1924-2019) was for many years a member of the Sacred Music graduate faculty at Perkins School of Theology, Southern Methodist University, Dallas, Texas. Dr. Libby Larsen (1950-) studied with Dominick Argento.
Commentary: Dr. Susan Treacy
Andrea Gabrieli: Gloria a 16
The King’s Consort and Choir, Robert King
Henry Purcell: Te Deum
Taverner Consort, Choir & Players, Andrew Parrott
The uncle of Giovanni Gabrieli, Andrea Gabrieli (1532/1533–1585) flourished at St. Mark’s Basilica in Venice. Dating from 1694, Henry Purcell’s setting of the Te Deum Laudamus was the first English setting of that ancient hymn with orchestral accompaniment.
Max Reger: Toccata and Fugue in D minor, Op. 59 Nos. 5-6
Paul Jacobs, organ
2010 Schantz organ, Church of the Gesu, Milwaukee, Wisconsin
German composer Max Reger wrote a prodigious amount of music for a composer who died at the young age of 43.
J.S. Bach: Cantata 34, “O ewiges Feuer, o Ursprung der Liebe”
Bach Choir of Bethlehem; Bach Festival Orchestra, Greg Funfgeld
Daniel Taylor, countertenor; Frederick Urrey, tenor
Christopheren Nomura, baritone
The German title translates as “O fire everlasting, o fountain of love”.
This cantata was written for the First Day of Pentecost and contains material which Bach first wrote in 1726, even though scholars typically date the cantata from 1746, making it one of the last cantatas which Bach wrote.
Sir Arthur Sullivan: Te Deum
BBC Concert Orchestra; London Choral Society, Ronald Corp
Teresa Cahill, soprano; Margaret Phillips, organ
From the pen of the composer of those popular Gilbert and Sullivan operettas comes a serious large-scale choral work. This Te Deum was comissioned to commeorate the end of the Boer War.
Christopher Gibbons: Voluntary in A minor
Joseph Payne, organ
1987 Jeremy Adams organ in Annisquam Village Church, Annisquam, Massachusetts
Annisquam is located on Cape Anne in the city of Gloucester. The village was settled in 1631.
Franz Schubert: Mass No. 6 in E flat, D. 950
Bavarian Radio Choir and Symphony Orchestra, Wolfgang Sawallisch
Helen Donath, soprano; Brigitte Fassbaender, mezzo-soprano
Francisco Araiza, tenor; Dietrich Fischer-Dieskau, baritone
The Mass in E flat was Schubert’s last mass setting. It dates from the summer of 1828. This mass and the one in A flat are considered to be the acme of Schubert’s religious compositions.