What’s On Great Sacred Music, Sunday, November 25, 2018
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 – November 25, 2018 https://spoti.fi/2PWC7w4
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 Billings: As the Hart panteth
His Majestie’s Clerkes, Paul Hillier
William Billings (1746 – 1800) is regarded as America’s first choral composer
Amy Beach: Te Deum ~ Service in A, Op. 63
Harvard University Choir, Murray Forbes Somerville
Erica Johnson, organ
William Billings (1746-1800) is considered by most scholars to be the first American choral composer. Among her many accomplishments Amy Beach (1867-1944) was composer in residence at St. Bartholomew’s Episcopal Church, New York.
Harold Friedell: Draw Us in the Spirit’s Tether
Choir of St. John’s Episcopal Church, Washington, D.C., Samuel Carabetta
J. Dan Kiser, organ
Daniel E. Gawthrop: For He is Salvation
Utah State University Chamber Singers, Cory Evans
Eleanor Epstein: Mizmor L’David
Women’s Voices Chorus, Allan Friedman
Harold Friedell (1905-1958) was a native of Jamaica, New York. He was organist of Calvary Episcopal Church and then at St. Bartholomew’s Episcopal Church in New York City. Daniel Gawthrop (1949-) is an American composer of choral and organ music. Over the years he has been commissioned to write more than one hundred original works. Eleanor Epstein’s composition “Mizmor L’David” was commissioned by Women’s Voices Chorus and premiered in January 2007.
GSM Commentary: Dr. John Ferguson
J.C. Lowry arr. John Ferguson: The Lord’s My Shepherd
St. Olaf Choirs, Anton Armstrong
Leo Sowerby: Tu es vas electionis
Woodley Ensemble, Robert Lehman
Dr. John Ferguson of St. Olaf College has set James C. Lowry’s tune Pisgah to the text of Psalm 23. The tune was first published in Ananias Davisson’s The Kentucky Harmony, 1817. American composer Leo Sowerby lived from May 1, 1895 – July 7, 1968.
Dan Locklair: Pater Noster
Sospiri, Christopher Watson
Franz Liszt: Consolation No. 4 (Quasi adagio)
Robert Parkins, organ
1932 Aeolian organ in Duke University Chapel
Dan Locklair is Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina. Dr. Robert Parkins has been the University Organist of Duke University since 1985.
J.S. Bach: cbetet! wachet!”
Holland Boys’ Choir; Netherlands Bach Collegium, Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto
Knut Schoch, tenor; Bas Ramselaar, bass
The German translates as “Watch, pray, be prepared!” and was first performed on November 21, 1723 in Leipzig. The theme is Christ’s second coming and the day of judgement.
Howard Hanson: Lumen In Christo
Seattle Symphony Orchestra and Chorale, Gerard Schwarz
Lumen in Christo dates from 1974. In it the composer explores light in all its manifestations.
Johann Pachelbel: Chorale Partita: “Christus, der ist mein Leben”
Marilyn Mason, organ
Fisk Organ, Opus 87, “The Marilyn Mason Organ” at the University of Michigan, Ann Arbor, Michigan, designed in honor of the performer.
Dr. Mason (1925-) is Professor of Organist Emerita at the University of Michigan where she has been on staff since 1947. She retired from active duty at the university in 2014.
Marc-Antoine Charpentier: Te Deum, H.147
Le Concert Spirituel, Herve Niquet
Marc-Antoine Charpentier’s Te Deum for Four Voices, H. 147 was written in 1693.
Charles Ives: The Celestial Country
John Oliver Chorale and Orchestra, John Oliver
Inspired by his teacher Horatio Parker, Charles Ives wrote The Celestial Country around 1900. The first performance took place in Central Presbyterian Church, New York, in 1902.
Amy Beach: Prelude on an Old Folk Tune
Christa Rakich, organ
1932 Kilgen organ in St. Justin’s Church, Hartford, Connecticut
According to Adrienne Fried Block, “the Prelude on an Old Folk Tune (The Fair Hills of Eire, 0p. 91) (1942), is a setting of the Irish melody she had used for the piano piece The Fair Hills of Eire, Op. 91. She recomposed it, giving it a second distinctly un-folklike—often highly chromatic—harmonization.” This was Mrs. Beach’s last published work and only piece written for solo organ.