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Cathedral of the Good Shepherd

04.08.2024 · 09:56:54 ···
01.01.1970 · 01:00:00 ···
28.07.2023 · 08:08:53 ··· 5 ··· ··· 27 ···
04.08.2024 · 09:56:54 ···
01.01.1970 · 01:00:00 ···
28.07.2023 · 08:08:53 ··· 5 ··· ··· 27 ···

1:: Tenebrae Prayer Service - "Hold My Son"

01.01.1970 · 01:00:00 ··· 28.03.2024 · 12:01:01 ··· ···
··· ··· ··· ··· Tenebrae is a traditional prayer service celebrated during Holy Week, particularly on the evening of Maundy Thursday. The word "Tenebrae" is Latin for "darkness" or "shadows," and the service is named as such because it involves the gradual extinguishing of candles, symbolising the growing darkness associated with Jesus' betrayal, arrest, crucifixion, and death. Let us accompany the Lord in this night leading to His Passion. May this prayer service be a resource that you can use to help in your contemplation this sacred few days.

2:: Perpetual (24/7) Eucharistic Adoration Prayer Mission

01.01.1970 · 01:00:00 ··· 10.03.2024 · 05:14:04 ··· ···
··· ··· ··· ··· Welcome! If you would like to donate to the mission of the Cathedral, do contact us, or go to our website for details: https://cathedral.catholic.sg/mass-times/. You may also donate via PayNow (UEN: T08CC4024L). Thank you for supporting the mission of the Cathedral. Singapore's Catholic Cathedral of the Good Shepherd was built in 1847 and restored in 2016. Visit our website for more details on Mass times, getting involved or supporting the Cathedral https://cathedral.catholic.sg/

3:: Perpetual (24/7) Eucharistic Adoration Prayer Mission

01.01.1970 · 01:00:00 ··· 10.03.2024 · 05:13:52 ··· ···
··· ··· ··· ··· Welcome! If you would like to donate to the mission of the Cathedral, do contact us, or go to our website for details: https://cathedral.catholic.sg/mass-ti.... You may also donate via PayNow (UEN: T08CC4024L). Thank you for supporting the mission of the Cathedral. Singapore's Catholic Cathedral of the Good Shepherd was built in 1847 and restored in 2016. Visit our website for more details on Mass times, getting involved or supporting the Cathedral https://cathedral.catholic.sg/

4:: "Joy to the World" - CGS Advent Message 2023

01.01.1970 · 01:00:00 ··· 24.11.2023 · 16:00:02 ··· ···
··· ··· ··· ··· As we follow in the footsteps of Our Good Shepherd, we too are called to be like the shepherds who first received the good news of the child Jesus in a manger, and respond with zeal to seek Him, know Him, and serve Him.

5:: Perpetual (24/7) Eucharistic Adoration Prayer Mission

01.01.1970 · 01:00:00 ··· 15.10.2023 · 03:36:52 ··· ···
··· ··· ··· ··· Welcome! If you would like to donate to the mission of the Cathedral, do contact us, or go to our website for details: https://cathedral.catholic.sg/mass-times/. You may also donate via PayNow (UEN: T08CC4024L). Thank you for supporting the mission of the Cathedral. Singapore's Catholic Cathedral of the Good Shepherd was built in 1847 and restored in 2016. Visit our website for more details on Mass times, getting involved or supporting the Cathedral https://cathedral.catholic.sg/

6:: Adam lay ybounden

01.01.1970 · 01:00:00 ··· 29.12.2022 · 05:01:15 ··· ···
··· ··· ··· ··· The text of "Adam lay ybounden" comes from early 15th century England and celebrates God bringing forth good from the evil of Adam's sin. As the text describes, Adam was held in bonds ("ybounden") till Jesus' redemption was completed (the "four thousand winter" traditionally said to be the length of time between Genesis and Jesus' birth). Adam’s punishment--and that of all men descended from him--was "all for an apple that he took", as written in Scripture. And yet, had he not sinned, we would not have seen the goods we now recognise to have come out of the salvific plan that God enacted to save us--that Jesus took flesh to live among us, that he chose his Blessed Mother from among men and made her fit to be his mother, and that he made her a "heavené queen". In that last verse, the unison choir sings a swirling, jubilant chorus: "Blessed be the time the apple taken was, Deo gracias (thanks be to God)!" In so doing, they are not praising the fact that Adam fell (bringing ruin to the human race) but rather the infinite mercy of God that brought such good from such evil, out of his immense love. Perhaps its popularity can be attributed to the simplicity of its message, for this text has been set to music numerous times by contemporary composers such as Peter Warlock (1894-1930), Boris Ord (1897-1961), and Benjamin Britten (1913-1976). Text: Adam lay ybounden, Bounden in a bond; Four thousand winter, Thought he not too long. And all was for an apple, An apple that he took. As clerkes finden, Written in their book. Ne had the apple taken been, The apple taken been, Ne had never our ladie, Abeen heav'ne queen. Blessed be the time That apple taken was, Therefore we moun singen. Deo gratias! Conducted by Angela Lim Organist: Alphonsus Chern Programme notes: Matilda Chia The Cathedral Children's Choir and the Cathedral Choir of Saint Gregory the Great Venue: The Cathedral of the Good Shepherd, Singapore

7:: O Little Town of Bethlehem From Six Carol Settings by Wilbur Held (1914-2015)

01.01.1970 · 01:00:00 ··· 20.12.2022 · 00:30:02 ··· ···
··· ··· ··· ··· In this setting of O Little Town of Bethlehem, the melody of the FOREST GREEN tune by Ralph Vaughan Williams (1872-1958) is set against a simple accompaniment. An unremarkable piece of music? But in its simplicity, Held’s setting reflects in a special way the wonder that the hymn speaks of—that in a humble little town called Bethlehem, on a wintry night so many years ago, an infant was born. His birth was so humble, so human, so unremarkable, and yet as Christians we know that by his birth God himself entered fully into our humanity to redeem it. It is with this hope that we look forward to celebrating anew the birth of Our Lord Jesus, the holy infant in the manger and the King of Kings. Organ scholar Matilda Chia The 1912 Bevington and Sons organ Cathedral of the Good Shepherd, Singapore Video: Alphonsus Chern Editor: Mark Ng

8:: Singapore Night Festival 2022: COME ALIVE! Faith Hope Love

01.01.1970 · 01:00:00 ··· 25.08.2022 · 08:53:44 ··· ···
··· ··· ··· ··· A little sneak peak of the festivities on Fri/Sat night. What a time these 2 years have been – constant changes, trying to adapt well and the rollercoaster of experiences! This period has taught us so much about ourselves and the world around us. What worries you? what excites you? What has led you to feel… alive? Wander amongst the lighted angels and wonder in our intimate, immersive installation about life in the midst of the pandemic titled 'At Home: Meditations on Love'. Connect with us and journey along our Cathedral tour and organ demonstration on Friday and Saturday evening. There are balloons, food and freebies as well so come by and join us if you're in the area. Reexperience faith, hope, and love – rediscover what it means to live fully alive. Come Alive! Singapore Night Festival 2022: 19-27 Aug (7-12pm Fri/Sat, 7-10pm Sun-Thu) https://cathedral.catholic.sg/snf2022/

9:: Paraphrase sur un chœur de Judas Macchabée de Händel (Op.90, No.16)

01.01.1970 · 01:00:00 ··· 04.06.2022 · 09:27:02 ··· ···
··· ··· ··· ··· Félix-Alexandre Guilmant (1837-1911) was a French composer who was organist at Sainte-Trinité in Paris from 1871 to 1901. Many of his compositions are linked to parts of the Mass as well as to Catholic hymns. Published in 1904, Paraphrase on a chorus of Handel’s Judas Maccabeus is set to the hymn, Thine be the glory, which is itself based on the chorus "See, the Conqu'ring hero comes!" from Handel's oratorio, Judas Maccabaeus, which is commonly sung on Easter. In the Prelude, Guilmant introduces the hymn tune in a stately dialogue between the organ’s reeds and flutes. This is followed by a Fugue based on the established theme, resulting in flourishes of counterpoint embellishing the piece. The organ registration gradually builds up into a brilliant conclusion with an exciting reprise of the tune, aptly ending on full organ to announce Christ’s resurrection. Hymn text: 1. Thine be the glory, risen, conquering Son, Endless is the victory thou o’er death hast won; Angels in bright raiment rolled the stone away, Kept the folded grave-clothes where thy body lay. Refrain: Thine be the glory, risen, conquering Son, Endless is the vict'ry thou o’er death hast won. 2. Lo, Jesus meets us, risen from the tomb; Lovingly he greets us, scatters fear and gloom; Let the Church with gladness hymns of triumph sing, For her Lord now liveth, death hath lost its sting: 3. No more we doubt thee, glorious Prince of Life; Life is nought without thee: aid us in our strife, Make us more than conquerors through thy deathless love; Bring us safe through Jordan to thy home above: Composer: Félix-Alexandre Guilmant Organist: Rushil Thomas The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore

10:: Canterbury Improvisations – Impromptu

01.01.1970 · 01:00:00 ··· 29.05.2022 · 13:25:40 ··· ···
··· ··· ··· ··· Composer Sidney Schofield Campbell, MVO, FRCO, was born 1909 in London and studied organ under Ernest Bullock and Harold Darke. He wrote this piece based on a French church melody, of which the earliest extant publication of the tune was published in Chants ordinaires de l'office divin (1881) and acquired its current name GRAFTON in Songs of Praise (1925, ed. Sydney Hugo Nicholson). The ancient text, Pange lingua gloriosi proelium certaminis (Sing, my tongue, the glorious battle), was written in the sixth century by poet and bishop Venantius Honorious Clementianus Fortunatus. It's triumphant nature seemingly wrecks a solemn Good Friday liturgy, but is intended, for we are drawn out of the darkness and hopelessness by the proclamation that, in the cross of Christ, we are redeemed from all that ails us. The crucifix is now seen as the new tree of life that gives us reason to rejoice while we await the promise of Easter. The lyrics below are based on the translation by John Mason Neale in the 19th century. 1 Sing, my tongue, the glorious battle; sing the ending of the fray. Now above the cross, the trophy, sound the loud triumphant lay: tell how Christ, the world's Redeemer, as a victim won the day. 2 Tell how, when at length the fullness of th'appointed time was come, He, the Word, was born of woman, left for us His Father's home, blazed the path of true obedience, shone as light amidst the gloom. 3 Thus, with thirty years accomplished, He went forth from Nazareth, destined, dedicated, willing, did His work, and met His death; like a lamb He humbly yielded on the cross His dying breath. 4 Faithful cross, true sign of triumph, be for all the noblest tree; none in foliage, none in blossom, none in fruit your equal be; symbol of the world's redemption, for the weight that hung on thee! 5 Unto God be praise and glory: to the Father and the Son, to th'eternal Spirit honour now and evermore be done; praise and glory in the highest, while the timeless ages run. Composer: Sidney Schofield Campbell Organist: Christian Low The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore

11:: O filii et filiae (Variations) (Op.8, No.7)

01.01.1970 · 01:00:00 ··· 29.04.2022 · 12:00:00 ··· ···
··· ··· ··· ··· Organist: Rita Padawangi Composer: Jeanne Demessieux The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore Composed in 1947, Jeanne Demessieux’s organ piece O Filii is based on a Gregorian chant O Filii et Filiae (O sons and daughters) that tells the story of Easter through its twelve-stanza chant which is attributed to a fifteenth-century Fransiscan friar, Jean Tisserand. Demessieux’s post-romantic style composition starts with the chant as a theme, followed by six variations and a closing coda. She applies triple time, similar to what today’s hymnals typically use, bringing out the folk-style texture for this Easter piece. The opening theme establishes the familiar O Filii et Filiae chant melody in monophonic tenor pitch, calling the “sons and daughters of God” to believe in Jesus’ resurrection. The first variation is in danse macabre style that is recognised in nineteenth-century composers’ works to symbolise medieval-era myth of death as a dancing fiddler (Cavanagh, 2002), referring to the second and third stanzas of the original chant which tells the story of the disciples encountering an empty tomb and that of Mary Magdalene and Mary of James and Salome at the tomb. The second variation features rapidly played three-octave descending scales as the traditional representation of angels descending from heaven, in a clear reference to the fourth stanza of the original chant. The third variation is quiet, with an abrupt change to a slower pace with triplets on the emphasized beats and placing the pedal on the non-emphasised third beat. With its mysterious sound, this variation likely represents the sixth stanza that tells of Christ’s appearance to the disciples in a locked room. The fourth variation immediately returns to the original allegretto pace. Both hands are in dialogue with each other, but with some tension in-between. Being the most “harmonically unstable” variation in the piece (Johnson, 1994: 73), the fourth variation represents Thomas’s doubt as told in the seventh stanza of the chant. The fifth variation (m. 83-91), without a clear break from the previous variation, becomes more intense with a change of tonality and key that symbolises Jesus’ appearance to Thomas in the eighth stanza of the chant. This variation increases pedal leaps that represent the essential leap of faith required of Christians to believe in Christ’s resurrection. The sixth variation (m. 91-107) continues the dotted rhythm pattern with louder registrations and a reconciliation of the dialogue between both the organist's hands that symbolises Thomas’ acceptance and declaration of his faith: “You are my God”.

12:: Tenebrae 2022 @ Cathedral of the Good Shepherd

01.01.1970 · 01:00:00 ··· 13.04.2022 · 12:00:13 ··· ···
··· ··· ··· ··· Dating back to the 9th century, Tenebrae (Latin for ‘shadows’) is one of the oldest Christian traditions for commemorating the crucifixion of Christ. The Cathedral Choir of the Risen Christ’s presentation for 2022 focuses on the 7 last words of Jesus whilst on the cross. The ‘Strepitus’ or noise symbolizing the closing of the tomb is sounded when the last flame is extinguished.

13:: Eleven Chorale Preludes, Op. 122, No. 10: Herzlich tut mich Verlangen (I do desire dearly)

01.01.1970 · 01:00:00 ··· 13.04.2022 · 10:00:20 ··· ···
··· ··· ··· ··· This text to this hymn "Herzlich tut mich verlangen nach einem sel'gen End", translated as “I do desire dearly a blessed end”, was written by German theologian and hymn writer, Christoph Knoll, during the plague of 1599 as a prayer for a blessed death. In this setting by Brahms, the melody - more familiarly sung to the text "O Sacred Head, Sore Wounded" - is played on the pedals under a flowing accompaniment in the manuals. He wrote this set of chorale preludes in the wake of the passing of his close friend Clara Schumann, and at the end of his own life. Organist: Calista Gabriel Lee Composer: Johannes Brahms (1833-97) The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore

14:: Prelude on “Aberystwyth” (10 Hymn Preludes Set 1, No.10)

01.01.1970 · 01:00:00 ··· 06.04.2022 · 10:00:12 ··· ···
··· ··· ··· ··· Joseph Parry’s (1841-1903) ABERYSTWYTH hymn tune (1876) is perhaps most familiarly used with Charles Wesley’s (1707-1788) moving text, ‘Jesu, Lover of my soul’, first published in 1740. The hymn, addressed as a plea to Jesus himself—the “Lover of my soul”—beseeches the Lord to give refuge “while the nearer waters roll, while the tempest still is high”, and to pour out grace and aid in the “storm of life”. A fitting reflection for the season of Lent, when we come to a greater awareness of our sinfulness, discipline our bodies and minds, and look forward more than before to the promise of the resurrection. Organist: Matilda Chia Composer: Healey Willan (1880-1968) The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore

15:: Introduction et variations sur un ancien noël polonais (Infant Holy, Infant Lowly)

01.01.1970 · 01:00:00 ··· 06.01.2022 · 09:30:06 ··· ···
··· ··· ··· ··· Introduction et variations sur un ancien noël polonais was the first piece in Guilmant’s second volume of his Opus 60 and based on the hymn “Infant Holy, Infant Lowly”. The three variations in this piece are distinctive - a stately introduction leads us to the hymn tune and then the first variation where the melody is played on the left hand in a lower octave. The second variation takes a melancholic turn, as though reminiscing the tumultuous time of uncertainty and fear, waiting in hope for the Messiah. The final variation is exuberant, the running notes in the left hand mimicking the excitement among the shepherds, as the brilliant final refrain announces the birth of the Christ child, Lord of all, the salvation of Mankind. Félix-Alexandre Guilmant (1837-1911) was a French composer who was organist at Sainte-Trinité in Paris from 1871 to 1901. Many of his compositions are linked to parts of the Mass as well as to Catholic hymns. Hymn text: Infant holy, infant lowly, for his bed a cattle stall; oxen lowing, little knowing, Christ the babe is Lord of all. Swiftly winging angels singing, bells are ringing, tidings bringing: Christ the babe is Lord of all! Christ the babe is Lord of all! Flocks were sleeping; shepherds keeping, vigil till the morning new saw the glory, heard the story, tidings of a gospel true. Thus rejoicing, free from sorrow, praises voicing, greet the morrow: Christ the babe was born for you! Christ the babe was born for you! Title: Introduction et variations sur un ancien noël polonais (Infant Holy, Infant Lowly) (Op.60, Livraison 2, No.1) Composer: Félix-Alexandre Guilmant Organist: Rushil Thomas The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore

16:: Bring a Torch, Jeanette, Isabella

01.01.1970 · 01:00:00 ··· 30.12.2021 · 11:27:05 ··· ···
··· ··· ··· ··· This lively 17th-century tune came from the Provence region of France and tells the story of two shepherdesses who found the baby Jesus and his mother, Mary, in a stable, and run to tell the villagers of their discovery. The character of the piece is exuberant, reflecting the joy and excitement of the girls as they hurry to meet baby Jesus. Bring a torch, Jeanette, Isabella, by Keith Chapman, is an organ arrangement on the traditional French Carol, Un flambeau, Jeanette, Isabella. Chapman, who was organist at the Wanamaker Organ - the world's largest Symphonic Organ which resides in a departmental store in Philadelphia, USA - wrote this arrangement for this enormous instrument. This particular recording was made on the 1995 James A. Konzelman Opus 15 organ in St Anne's Church, Rochester, New York, where Anne Maria currently serves as organist. Organ scholar: Anne Maria Lim Recorded on the 1995 James A. Konzelman Opus 15 organ, St Anne's Church, Rochester, New York, USA https://youtu.be/l5kckVUPf3s

17:: Offertoire sur Deux Noëls, Op.19, No. 2 (Offertory on Two Christmas Hymns)

01.01.1970 · 01:00:00 ··· 23.12.2021 · 12:00:02 ··· ···
··· ··· ··· ··· Félix-Alexandre Guilmant (1837-1911), a French composer, was organist at Sainte-Trinité in Paris from 1871 to 1901. Many of his compositions are linked to parts of the Mass as well as to hymns in Catholic Masses. Offertory on Two Christmas Hymns is based on two different Christmas hymns: “Noël” and “Adeste Fideles”, also known in English as “O Come, All Ye Faithful”. Following a grand opening segment, the “Noël” starts off with a clear melody on the reeds, accompanied by flowing flutes, which then transition to “Adeste Fideles”, using sounds that resemble a choir that sweetly invites the faithful to come and adore the newborn Christ. Composer: Félix-Alexandre Guilmant Organist: Rita Padawangi The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore

18:: Ave Maria

01.01.1970 · 01:00:00 ··· 19.12.2021 · 12:00:29 ··· ···
··· ··· ··· ··· Ave Maria (Angelus) - F. Biebl Sung by: The Cathedral Choir of the Risen Christ, Cathedral of the Good Shepherd Singapore

19:: BEHOLD, BEHELD by the Cathedral Choir of the Risen Christ

01.01.1970 · 01:00:00 ··· 18.12.2021 · 11:58:42 ··· ···
··· ··· ··· ··· A 40-minute Christmas Presentation celebrating the peace, hope, and joy that Christmas brings. The Cathedral Choir of the Risen Christ brings you around the globe with Christmas carols in an array of different languages of the world as well as some distinctly ethnic carols sung in their native style and tongue. Especially in this season where we aren't able to travel so freely and embrace our 'usual' Christmas traditions, let us remember that Jesus is unchanging, He is always here with us, inviting us to come and behold the splendor of our God, and allow ourselves to be held by the infant king. Wishing you a Blessed Christmas and a Happy 2022!

20:: Toccata on Veni Emmanuel

01.01.1970 · 01:00:00 ··· 16.12.2021 · 12:00:13 ··· ···
··· ··· ··· ··· Andrew Carter (b. 1939) is a prolific English composer of contemporary choral and organ music. Set to the tune of ‘O come, O come, Emmanuel’, this fiery toccata is one of his most well-known compositions. The classic Advent hymn, ‘O come, O come, Emmanuel’, is based upon the ancient seven Great "O" Antiphons which are sung before and after the Magnificat at Vespers during the octave before Christmas. The haunting and evocative melody came from a 15th century processional of the French Franciscan nuns. Latin text: Veni, veni Emmanuel! Captivum solve Israel! Qui gemit in exilio, Privatus Dei Filio, Gaude, gaude, Emmanuel nascetur pro te, Israel English translation: O come, O come, Emmanuel, And ransom captive Israel, That mourns in lonely exile here, Until the Son of God appear. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. Composer: Andrew Carter Organist: Christian Low The 1912 Bevington & Sons organ at the Cathedral of the Good Shepherd, Singapore