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What's on Great Sacred Music, Sunday, February 14, 2016

Location: North Carolina, USA
 
My playlists are on Spotify for you to enjoy: GSM - February 14, 2016
Don't forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
 
Rob
Rob Kennedy
Great Sacred Music
The Classical Station
http://theclassicalstation.org
To subscribe to my weekly playlist emailing:  send
your email address to sacred@theclassicalstation.org
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08:02:00
John Ireland: Greater love hath no man
London Symphony Orchestra and Chorus, Richard Hickox
Paula Bott, soprano; Bryn Terfel, baritone
 
Giovanni Pierluigi da Palestrina: Ecce tu pulcher es
Cambridge Singers, John Rutter
 
Joseph Parry: Jesu, Lover of my soul
Choir of Trinity College, Cambridge, Richard Marlow
 
Choirs worldwide sing John Ireland's 1912 anthem in the version with
organ accompaniment. But the composer did orchestrate the accompaniment
in the 1920's. This is the version we shall hear this morning. A translation of
Palestrina's setting of these verses from Chapter 1 of the Song of Songs is as follows:
 
Behold thou art fair, my beloved, and comely.
Our bed is flourishing.
The beams of our houses are of cedar,
our rafters of cypress trees.
I am the flower of the field,
and the lily of the valleys.
 
"Jesu, Lover of my soul" was written by Charles Wesley (1707-1788) Joseph Parry wrote
the tune "Aberystwyth" in 1876. It was published in Edward Stephen`s Ail Lyfr To­nau ac
Emy­nau in 1879. 
 
08:16:31
John Ireland: My song is love unknown
Choir of King's College, Cambridge; The Wallace Collection, Stephen Cleobury
 
Philip Stopford: If Ye Love Me
Utah State University Chamber Singers, Cory Evans
 
Martin Herbst: Forty days and forty nights
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
 
The hymn tune Love Unknown by John Ireland is a setting of a text by Samuel
Crossman. Philip Stopford (1977-) is a composer and direct of the professional
choral ensemble Ecclesium. The hymn text "Forty days and forty nights" is commonly
sung to the tune "Heinlein" which is derived from the 17th century German chorale Aus der Tiefe.
 
08:28:02
Sir William Harris: King of Glory
Choir of St. George's Chapel, Windsor Castle, Timothy Byram-Wigfield
Roger Judd, organ
 
John Rutter: Come Down, O Love Divine
Cambridge Singers, John Rutter
Elin Manahan Thomas, soprano
 
Johann Ludwig Krebs: Kommt her zu mir
Edwin Swanborn, organ; Timothy Valentine, obbligato oboe
Noack organ of Trinity Lutheran Church, Worcester, Massachusetts
 
Sir William Harris (1883-1973) was organist of St. George's Chapel, Windsor from
1933-1961. English composer John Rutter wrote Come down, O Love Divine for the
annual St. Cecilia's Day benefit service which was to be held at Westminster Abbey
shortly after Martin Neary had been sacked. Rutter was well aware of the need for healing
and reconciliation as evidenced in this work written for SSAATTBB choir. "Kommt her zu mir"
translates as "Come unto me" and is found in John 16:16.
 
08:43:41
Luigi Cherubini: Veni, Jesu, amor mi
The Cathedral Singers, Richard Proulx
 
Morten Lauridsen: Ubi caritas et amor
Polyphony, Stephen Layton
 
Leo Sowerby: Fantasy for Flute Stops
Catharine Crozier, organ
The Aeolian-skinner Organ in Saint John's Chapel of the Groton School,
 Groton, Massachusetts
 
American musician Richard Proulx (1937-2010) was Director of Music at Chicago's
Holy Name Cathedral from 1980-1994. Choral conductor, organist, editor and composer
of over 300 works including music for films and operas, Richard was a giant in his field.
Morten Laurdisen (1943-) has been professor of composition at the University of Southern
California Thornton School of Music since 1967. American organist Catherine Crozier (1914-2003) was
Professor of Music at Rollins College from 1955-1969.
 
09:01:46
J.S. Bach: Cantata 22, Jesus nahm zu sich die Zwolfe
Bach Collegium Japan, Masaaki Suzuki
Yoshikazu Mera, counter-tenor; Gerd Turk, tenor; Peter Kooy, bass-baritone
 
Bach wrote cantatas 22 & 23 for his audition for the job of Cantor at St. Thomas Church, Leipzig. The
final movement of BWV 22 is written in a similar style to the beloved  Jesu, Joy of Man's Desiring in BWV 147.
 
09:19:54
Henry Purcell: My beloved spake
Taverner Consort, Choir & Players, Andrew Parrott
Simon Berridge, tenor; Paul Agnew, tenor; 
Ben Parry, baritone; Simon Grant, bass
 
Scholars seem to think that English composer Henry Purcell (1659-1695) set the text from
Song of Solomon 2: 10-13, 16 while still a teenager, in any event prior to 1678.
 
09:31:43
George Frideric Handel: Anthem for the Foundling Hospital
Choir of Christ Church Cathedral, Oxford; Academy of Ancient Music, Simon Preston
Judith Nelson, soprano; Emma Kirkby, soprano; Shirley Minty, contralto;
James Bowman, alto; Martyn Hill, tenor; David Thomas, bass
 
German-born English composer Handel wrote his grand anthem in 1749 to raise money
for the Foundling Hospital, a home for orphans. The final Hallelujah Chorus will be familiar
as Handel recycled it from Messiah.
 
10:02:16
Tomas Luis de Victoria: Mass, O quam gloriosum
Cappella Caeciliana, Donal McCrisken
Spanish composer Tomas Luis da Victoria and Italian composer Giovanni Luigi da Palestrina
were the Bach and Handel of their era. da Victoria and Palestrina wrote polyphony which scaled
new musical heights as you will hear in this splendid mass. The title translates as "O how glorious".
 
10:24:59
Ralph Vaughan Williams: Dona nobis pacem
Utah Symphony Orchestra; University of Utah Civic Chorale, Maurice Abravanel
Blanche Christensen, soprano; William Metcalf, baritone
 
The Huddersfield Choral Society commissioned English composer Ralph Vaughan Williams to write
his cantata Dona Nobis Pacem. It dates from 1936 and looks back with sadness at the horrors of World
War I and ahead to the gathering clouds of another war in the offing.