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 11, 2017 https://goo.gl/PZr8Jh
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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J.B. Dykes: Holy! Holy! Holy!
Choir of King’s College, Cambridge, Stephen Cleobury
Richard Gowers, organ
Claudio Monteverdi: Cantate Domino
Choir of Westminster Cathedral, Stephen Cleobury
Giovanni Pierluigi da Palestrina: Jubilate Deo
The Studio of Ancient Music of Montreal, Christopher Jackson
John Bacchus Dykes wrote over fifty-seven hymn tunes, most of which are still in use today. His tune “Nicaea” for Reginald Heber’s text “Holy! Holy! Holy!” is published in approximately 1,400 hymnals. Monteverdi’s setting of texts from Psalms 95 and 97 dates from 1620. Canadian conductor Christopher Jackson (1948-2015) founded Studio de musique ancienne de Montréal in 1974.
Francis Jackson: O salutaris hostia
Choir of York Minster, Philip Moore
Benjamin Britten: Te Deum in C
Worcester Cathedral Choir, Donald Hunt
Adrian Partington, organ
Felix Mendelssohn: Veni Domine, Op. 39 No. 1
St. Albans Abbey Girls Choir, Tom Winpenny
Peter Holder, organ
Dr. Francis Jackson (1917-) was organist of York Minster from 1946 to 1982. English composer Benjamin Britten wrote his Te Deum in C in 1934 for Maurice Vinden and the choir of St Mark’s, North Audley Street, London. Here is yet another example of Mendelssohn’s fine writing for women’s
voices in this setting of the text “Veni Domine”.
Joseph Corfe: Psalm 8
Choir of St. Paul’s Cathedral, London, John Scott
Andrew Lucas, organ
Enrique Granados: Salve Regina
Coro Cervantes, Carlos Fernandes Aransay
Olivier Messiaen: O sacrum convivium
Choir of Trinity College, Cambridge, Richard Marlow
For centuries the psalter has been sung to plainchant tones. Anglican musicians in the English Reformation era developed a harmonized version of chanting the psalter. This is now known as Anglican Chant. A prolific composer of many genres, Spanish composer Enrique Granados wrote only three sacred choral works. French composer Olivier Messiaen (1908-1992) wrote his setting of the communion text “O Sacrum Convivium” in 1937.
Herbert Howells: Te Deum Laudamus (Washington National Cathedral)
Gloriae Dei Cantores, Elizabeth C. Patterson
James E. Jordan Jr., organ
Herbert Howells wrote his setting of the Te Deum for Dr Paul Callaway, Organist and Choirmaster of Washington National Cathedral, in 1977.
J.S. Bach: Cantata 129, “Gelobet sei der Herr, mein Gott”
Holland Boys’ Choir; Netherlands Bach Collegium, Pieter Jan Leusink
Marjon Strijk, soprano; Sytse Buwalde, alto;
Knut Schoch, tenor; Bas Ramselaar, bass
The German translates as “Praised be the Lord, my God”. This cantata was first performed on Trinity Sunday in either 1726 or 1727. The work has five movements, the first of which is a very grand choral fantasia. The text was adapted from Johannes Olearius 1665 hymn text.
Maurice Duruflé: Prelude, Adagio and Chorale Variations on “Veni Creator”, Op. 4
Janette Fishell, organ
C. B. Fisk organ, Opus 126, St. Paul’s Episcopal Church, Greenville, North Carolina
Dr. Janette Fishell is Professor of Music and Chair of the Organ Department at the Jacobs School of Music at Indiana University, Director of Music and Organist Emerita for Saint Paul’s Episcopal Church, Greenville, NC, and a recitalist and teacher of international standing.
Francois-Joseph Gossec: Requiem
Maastricht Conservatory Chamber Choir; Musica Polyphonica, Louis Devos
Bernadette Degelin, soprano I; Greta de Reyghere, soprano II
Howard Crook, tenor; Kurt Widmer, bass
French composer Francois-Joseph Gossec (1734-1829) wrote his “Requiem Mass” in 1760. Some scholars are of the opinion that this grand composition was the inspiration for Mozart’s Requiem. The work is scored for full classical orchestra with the brass used only in the “Tuba Mirum.”
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