Choir Concert Part 1 St Mary's Ewell Church Choir 'Royal Connections' 22/4/23
🎞️ · 23.04.2023 · 15:30:37 ··· Sonntag ⭐ 0 🎬 0
📺 Jonathan Holmes
🎬 · 23.04.2023 · 15:30:37 ··· Sonntag
😎 · 03.07.2024 · 15:40:29 ··· MiTTwoch
Royal Connections Concert St Mary’s Ewell Saturday 22 April 7.30pm
Sung by the Parish Choir with Simon Gregory (Organ) and Jonathan Holmes (Conductor)
Hubert Hastings Parry
I was glad (from Psalm 122), arguably the greatest ceremonial anthem ever written, was commissioned for the Coronation of Edward VII in 1902. Very much with the choreography and pageantry of the monarch’s arrival at Westminster Abbey in mind, it was experimentally conceived to incorporate the opening processional march of the king and queen and their substantial entourages up the nave, the vivats (shouted traditionally by the scholars of Westminster School) at their appearance beyond the screen into the ‘theatre’, an interlude of prayer (‘O pray for the peace of Jerusalem’) and a final, dramatic climax in which the march is restored with even greater grandeur. Dissatisfied with the opening, Parry revised the introductory bars radically for the Coronation of George V in June 1911 so that it was much more arresting in its effect. Since then the anthem has been used in all subsequent coronations and for many royal weddings and state occasions. At the first performance of Parry's arrangement at the 1902 coronation, the director of music, Sir Frederick Bridge, misjudged the timing and had finished the anthem before the King had arrived, having to repeat it when the right moment came. Bridge was saved by the organist, Walter Alcock, who improvised in the interim.
Imperial March Elgar
Charles Villiers Stanford
Three Latin Motets, Op. 38, is a collection of three sacred motets based on Latin texts for mixed unaccompanied choir. The works, some of Stanford's few settings of church music in Latin, have remained in the choral repertoire internationally and are performed in liturgies and concert.
Stanford may have composed the three motets when he was a teacher at the Royal College of Music in London, or earlier in 1892, when he left his position as the organist of Trinity College, Cambridge, dedicating them to Alan Gray, his successor, and the college choir.
Justorum animae
In Justorum animae, Stanford set verses from the beginning of chapter 3 of the Book of Wisdom, "Justorum animae in manu Dei sunt, et non tanget eos tormentum malitiae. Visi sunt oculis insipientium, illi autem sunt in pace" (But the souls of the righteous are in the hand of God, and there shall no torment touch them. In the sight of the unwise they seemed to die, but they are at peace). In the Catholic missal, it is an offertory hymn on All Souls' Day. Brahms, whom Stanford admired, used the same passage for the fugue ending the third movement of Ein deutsches Requiem. Stanford composed the text for a mixed unaccompanied four-part choir, SATB. The piece is in G major and common time, marked Andante moderato. Its outer sections consider the souls, in peace in God's hand, while a contrasting middle section reflects the torment mentioned. The reprise adds sustained notes to the first theme
Coelos ascendit hodie
In Coelos ascendit hodie, (Today, Jesus Christ has ascended into the heavens) Stanford set an Ascension hymn which is well known in German as "Gen Himmel aufgefahren ist" from the 14th century. Stanford composed the text for two mixed unaccompanied four-part choirs, both SATB. The piece is in A major and common time, marked Allegro. Stanford wrote an antiphonal setting, with choir II interrupting choir I by inserted Alleluia calls to the first line, with switched positions for the second line. The piece has a strong rhythmic element and closes with both choirs united on "Amen".
Beati quorum via
Stanford set a paraphrase of the first verse of Psalm 119 in Latin, "Beati quorum via integra est, qui ambulant in lege Domini" (Happy are they that are upright in the way, who walk in the law of the Lord). He composed the text for a mixed unaccompanied six-part choir, SSATBB. The piece is in A-flat major and 3/4 time, marked Con moto tranquillo ma no troppo lento (with calm movement but not too slow). The three upper voices begin, imitated by the three lower voices. For the second part of the text, the lower voices begin with different material. These sublime motets have been compared to those of Hubert Parry and Anton Bruckner.
Crown Imperial Walton
· 23.04.2023 · 15:30:37 ··· Sonntag
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