|
Magnificat And Nunc Dimittis (Gloucester)
The ''Magnificat and Nunc dimittis for Gloucester Cathedral'', also known as the ''Gloucester Service'', is a setting by the English composer Herbert Howells of the and for the Anglican service of Evensong. Scored for four-part choir and organ, it was written in 1946 for Gloucester Cathedral. It was published by Novello in 1947. Text The (Song of Mary) and the (Song of Simeon) are biblical canticles. Mary sings the Magnificat ("My soul doth magnify the Lord") on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). Simeon sings the Nunc dimittis ("Lord, now lettest thou thy servant depart in peace") when Jesus is presented in the temple (). The canticles are part of the daily service of Evening Prayer in the Anglican church and have been set to music frequently. Music Howells set the combination of Magnificat and Nunc dimittis 20 times, taking the words from the ''Book of Common Prayer''. The ''Gloucester Service'', his sixth setting, was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herbert Howells
Herbert Norman Howells (17 October 1892 – 23 February 1983) was an English composer, organist, and teacher, most famous for his large output of Anglican church music. Life Background and early education Howells was born in Lydney, Gloucestershire, the youngest of the six children of Oliver Howells, a plumber, painter, decorator and builder, and his wife Elizabeth. His father played the organ at the local Baptist church, and Herbert himself showed early musical promise, first deputising for his father, and then moving at the age of eleven to the local Church of England parish church as choirboy and unofficial deputy organist. The Howells family's risky financial situation came to a head when Oliver filed for bankruptcy in September 1904, when Herbert was nearly 12. This was a deep humiliation in a small community at the time and one from which Howells never fully recovered. Financially assisted by a member of the family of Charles Bathurst, 1st Viscount Bledisloe, who had ta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Book Of Common Prayer
The ''Book of Common Prayer'' (BCP) is the name given to a number of related prayer books used in the Anglican Communion and by other Christian churches historically related to Anglicanism. The original book, published in 1549 in the reign of King Edward VI of England, was a product of the English Reformation following the break with Rome. The work of 1549 was the first prayer book to include the complete forms of service for daily and Sunday worship in English. It contained Morning Prayer, Evening Prayer, the Litany, and Holy Communion and also the occasional services in full: the orders for Baptism, Confirmation, Marriage, " prayers to be said with the sick", and a funeral service. It also set out in full the "propers" (that is the parts of the service which varied week by week or, at times, daily throughout the Church's Year): the introits, collects, and epistle and gospel readings for the Sunday service of Holy Communion. Old Testament and New Testament readings ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Collegium Regale
is a collection of choral settings by the English composer Herbert Howells of the canticles for the Anglican services of Mattins, Holy Communion and Evening Prayer. Scored for four-part choir, solo tenor and organ, the pieces were written between 1944 and 1956 "for the King's College, Cambridge" ( in Latin). The first of the pieces were first published by Novello in 1947, and they have become a popular piece of music in the Anglican church music repertoire. Text The text of the first service setting for the daily service of Mattins in the Anglican church consists of two pieces: the , an ancient Latin Christian hymn; and the a setting of Psalm 100. The setting of the evening canticles, part of the Anglican daily service of Evening Prayer, consists of the (''Song of Mary'') and (''Song of Simeon''). Mary sings the Magnificat ("My soul doth magnify the Lord") on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). Simeon sings the Nunc dimittis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christopher Palmer
Christopher Francis Palmer (9 September 194622 January 1995) was an English composer, arranger and orchestrator; biographer of composers, champion of lesser-known composers and writer on film music and other musical subjects; record producer; and lecturer. He was involved in a very wide range of projects and his output was prodigious. He came to be regarded as one of the finest symphonic orchestrators of his generation. He was dedicated to the conservation, recording and promotion of classic film scores by composers such as Bernard Herrmann, Dimitri Tiomkin, Franz Waxman, Miklós Rózsa, Elmer Bernstein and others. He wrote full biographies as well as sleeve notes, radio scripts, reviews and articles, on composers such as Benjamin Britten, Frederick Delius, Karol Szymanowski, Arthur Bliss, George Dyson (composer), George Dyson, Herbert Howells, Maurice Ravel, Nikolai Tcherepnin and others. He arranged music from the film scores and other music of William Walton, Malcolm Arnol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eric Milner-White
Eric Milner Milner-White, (23 April 1884 – 15 June 1963) was a British Anglican priest, academic, and decorated military chaplain. He was a founder of the Oratory of the Good Shepherd, an Anglican dispersed community, and served as its superior between 1923 and 1938. From 1941 to 1963, he was the Dean of York in the Church of England. Early life and education Milner-White was the son of Henry Milner-White (a barrister and company chairman) and his wife Kathleen Lucy (née Meeres), later Sir Henry and Lady Milner-White. He was educated at Harrow School before going to King's College, Cambridge in 1903. He won a scholarship to Cambridge to read history and graduated in 1906 with a double-first and as the recipient of the Lightfoot Scholarship. Dean of King's College, Cambridge After theological training at Cuddesdon College in 1907, Milner-White was ordained deacon in 1908 and priest in 1909 (at Southwark Cathedral). He served curacies at St Paul's Church, Newington (1908–09) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doxology
A doxology (Ancient Greek: ''doxologia'', from , ''doxa'' 'glory' and -, -''logia'' 'saying') is a short hymn of praises to God in various forms of Christian worship, often added to the end of canticles, psalms, and hymns. The tradition derives from a similar practice in the Jewish synagogue, where some version of the Kaddish serves to terminate each section of the service. Trinitarian doxology Among Christian traditions a doxology is typically an expression of praise sung to the Holy Trinity: the Father, the Son, and the Holy Spirit. It is common in high hymns for the final stanza to take the form of a doxology. Doxologies occur in the Eucharistic prayers, the Liturgy of the Hours, hymns, and various Catholic devotions such as novenas and the Rosary. ''Gloria in excelsis Deo'' The Gloria in excelsis Deo, also called the Greater Doxology, is a hymn beginning with the words that the angels sang when the birth of Christ was announced to shepherds in . Other verses were added v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herbert Brewer
Sir Alfred Herbert Brewer (21 June 18651 March 1928) was an English composer and organist. As organist of Gloucester Cathedral from 1896 until his death, he contributed a good deal to the Three Choirs Festival for 30 years.Edwards, F.G. 'Brewer, Sir (Alfred) Herbert', in ''Grove Music Online'' (2001) Life Brewer lived in Gloucester his whole life. He was the organist at two of its churches, and also founded the city's choral society in 1905. He had been a Gloucester Cathedral chorister in his boyhood, and began his organ studies there under C. H. Lloyd. He was educated at the Cathedral School, Oxford and was the first organ scholar at the Royal College of Music. He matriculated at Exeter College, Oxford in 1884. In December 1896 he succeeded C. Lee Williams (1852-1935) as organist and choirmaster of Gloucester Cathedral. His pupils there included Ivor Novello, Ivor Gurney and Herbert Howells. Although his professional career was spent in the provinces, his three decades o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pianissimo
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There are ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Homophony
In music, homophony (;, Greek: ὁμόφωνος, ''homóphōnos'', from ὁμός, ''homós'', "same" and φωνή, ''phōnē'', "sound, tone") is a texture in which a primary part is supported by one or more additional strands that flesh out the harmony. One melody predominates while the other parts play either single notes or an elaborate accompaniment. This differentiation of roles contrasts with equal-voice polyphony (in which similar lines move with rhythmic and melodic independence to form an even texture) and monophony (in which all parts move in unison or octaves). Historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony, in which one voice, often the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Crescendo
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There are m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitation (music), imitations of the melody played after a given duration (music), duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different part (music), voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and Interval (music), intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called round (music), rounds—"Row, Row, Row Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Medieval music, Middle Ages, Renaissance music, Renaissance, and Baroque music, Baroque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
