Janet K. Page explores the interaction of music and piety, court and church, as seen through the relationship between the Habsburg court and Vienna's convents. For a period of some twenty-five years, encompassing the end of the reign of Emperor Leopold I and that of his elder son, Joseph I, the court's emphasis on piety and music meshed perfectly with the musical practices of Viennese convents. This mutually beneficial association disintegrated during the eighteenth century, and the changing relationship of court and convents reveals something of the complex connections among the Habsburg court, the Roman Catholic Church, and Viennese society. Identifying and discussing many musical works performed in convents, including oratorios, plays with music, feste teatrali, sepolcri, and other church music, Page reveals a golden age of convent music in Vienna and sheds light on the convents' surprising engagement with contemporary politics.

for SATB and piano, organ, or orchestra First published in a two-part version in The Oxford Book of Flexible Carols, Alan Smith's In the Beginning is presented separately here in a mixed-voice arrangement. Kevin Carey's text is set to gently lilting music, perfect for choirs and settings at Christmas. Orchestral material is available on hire/rental.

The world's most famous hymn book has undergone a complete revision and now offers the broadest ever range of traditional hymns and the best from today's composers and hymn/song writers. 150 years since its first publication and after sales of 170 million copies, this brand new edition contains over 840 items, ranging from the Psalms to John Bell, Bernadette Farrell and Stuart Townend. The guiding principles behind this collection are: * congregational singability * biblical and theological richness * musical excellence * liturgical versatility * relevance to today's worship styles and to today's concerns New features include added provision for all the seasons of the Church year, new items for carol services and other popular occasions where the repertoire is in need of refreshing, more choices for all-age worship, fresh translations of some ancient hymnody, beautiful new tunes, short songs and chants - alleluias, kyries, blessings etc. and music from the world church. A full range of indexes (including biblical and thematic) and a helpful guide to choosing hymns for every occasion will help to make Ancient & Modern the premier hymn collection of choice. This is the Full Music edition.

Johann Sebastian Bach is one of the most unfathomable composers in the history of music. How can such sublime work have been produced by a man who seems so ordinary, so opaque - and occasionally so intemperate? In this remarkable book, John Eliot Gardiner distils the fruits of a lifetime's immersion as one of Bach's greatest living interpreters. Explaining in wonderful detail how Bach worked and how his music achieves its effects, he also takes us as deeply into Bach's works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

Estos son los himnarios mas populares, utilizados por millones de creyentes, por sus himnos tradicionales de alabanza y adoracion. Los himnarios incluyen la musica."

Resounding Transcendence is a pathbreaking set of ethnographic and historical essays by leading scholars exploring the ways sacred music effects cultural, political, and religious transitions in the contemporary world. With chapters covering Christian, Muslim, Jewish, and Buddhist practices in East and Southeast Asia, the Indian subcontinent, North America, the Caribbean, North Africa, and Europe, the volume establishes the theoretical and methodological foundations for music scholarship to engage in current debates about modern religion and secular epistemologies. It also transforms those debates through sophisticated, nuanced treatments of sound and music - ubiquitous elements of ritual and religion often glossed over in other disciplines. Resounding Transcendence confronts the relationship of sound, divinity, and religious practice in diverse post-secular contexts. By examining the immanence of transcendence in specific social and historical contexts and rethinking the reified nature of "religion" and "world religions," these authors examine the dynamics of difference and transition within and between sacred musical practices. The work in this volume transitions between traditional spaces of sacred musical practice and emerging public spaces for popular religious performance; between the transformative experience of ritual and the sacred musical affordances of media technologies; between the charisma of individual performers and the power of the marketplace; and between the making of authenticity and hybridity in religious repertoires and practices. Broad in scope, rich in ethnographic and historical detail, and theoretically ambitious, Resounding Transcendence is an essential contribution to the study of music and religion.

This oratorio by a youthful Camille Saint-Saens was first performed by soloists, chorus and small string orchestra for the 1858 Christmas service at the glise de la Madeleine in Paris. The composer's colleague Eugene Gigout arranged the vocal score, which is presented here in a digitally-enhanced reprint of the one issued by G. Schirmer early in the 20th century. As with the other titles in this series, measure numbers have been added and rehearsal systems have been checked for compliance with the widely available orchestral parts sold by Kalmus. The large A4 size is quite convenient for soloists, choruses, and directors alike.

Since her death in 1179, Hildegard of Bingen has commanded attention in every century. In this book Jennifer Bain traces the historical reception of Hildegard, focusing particularly on the moment in the modern era when she began to be considered as a composer. Bain examines how the activities of clergy in nineteenth-century Eibingen resulted in increased veneration of Hildegard, an authentication of her relics, and a rediscovery of her music. The book goes on to situate the emergence of Hildegard's music both within the French chant restoration movement driven by Solesmes and the German chant revival supported by Cecilianism, the German movement to reform Church music more generally. Engaging with the complex political and religious environment in German speaking areas, Bain places the more recent Anglophone revival of Hildegard's music in a broader historical perspective and reveals the important intersections amongst local devotion, popular culture, and intellectual activities.

Presenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver Sussmayr's completion (1791-2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursive confines.

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1857. Excerpt: ... APPENDIX. A COLLECTION OF ODES ON ST. CECILIA'S DAY. r APPENDIX. ODE FOE ST. CECILIA'S DAY, 1683, BY CHRISTOPHEB FI8HBURN. Set to Music by Henry Purcell. ELCOME to all the pleasures that delight Of ev'ry sense the grateful appetite Hail, great assembly of Apollo's race Hail to this happy place, This Musical assembly, that seems to be The ark of universal harmony Here the deities approve (The God of Music and of Love, ) All the talents they have lent you, All the blessings they have sent you; Pleas'd to see what they bestow Live and thrive so well below; While joys celestial their bright souls invade, To find what great improvement you have made. Then lift up your voices, those organs of nature, Those charms to the troubled and amorous creature: The Power shall divert us a pleasanter way; For Sorrow and Grief Find from Music relief, And Love its soft charms must obey. Beauty, thou source of love, And Virtue, thou innocent fire, Made by the Powers above To temper the heat of desire; Music, that fancy employs In raptures of innocent flame, We offer with lute and with voice To Cecilia, Cecilia's bright name: In a concert of voices, while instruments play, With Music we'll celebrate this holiday; In a concert of voices we'll sing, 16 Cecilia ODE FOE ST. CECILIA'S DAY, 1683, Author unknown. Composed by Henry Purcell. RAISE, raise the voice, all instruments obey, Let the sweet lute its softest notes display, For this is sacred Music's holiday. The God himself says, he'll be present here, Dress'd in his brightest beams he will appear, Not to the eye, but to the ravish'd ear. Hark I hear Apollo cry, "Crown the day with harmony "And let ev'ry gen'rous heart "In the chorus bear a part." Mark, mark, how readily each pliant string Prepares itself, and as an offer...

for SATB and organ This setting of Psalm 139 by Chilcott is warm and mesmerizing. The chant-like texture and shifting tonalities impart the sensation of being entranced in prayer. The words offer respite, as one is safe in the omnipresence of God. Tranquil yet powerful, this work captures a sense of the total stillness after a storm. The sustained chords in the organ swell and fall, binding and supporting the choir's phrases while adding to the magical atmosphere of the anthem.

Die Festschrift wurdigt das 40-jahrige Priesterjubilaum und den 65. Geburtstag von P. Bernhard Vosicky OCist. Der international und oesterreichweit bekannte Seelsorger und Moench ist zugleich Professor fur Liturgiewissenschaft an der Philosophisch-Theologischen Hochschule Heiligenkreuz Benedikt XVI. Namhafte Grussadressen von Politikern verschiedener Ebenen und kirchlichen Wurdentragern des deutschen Sprachraumes sowie spezifische Artikel zu Heiligen und Moenchen stellen einen Bezug zu seinem priesterlichen Leben her.

How can a traditional music with little apparent historical connection to Berlin become a way of hearing and making sense of the bustling German capital in the twenty-first century? In Sounding Jewish in Berlin, author Phil Alexander explores the dialogue between the city's contemporary klezmer scene and the street-level creativity that has become a hallmark of Berlin's decidedly modern urbanity and cosmopolitanism. By tracing how klezmer music engages with the spaces and symbolic meanings of the city, Alexander sheds light on how this Eastern European Jewish folk music has become not just a product but also a producer of Berlin. This engaging study of Berlin's dynamic Yiddish music scene brings together ethnomusicology, cultural studies, and urban geography to evoke the sounds, atmospheres, and performance spaces through which klezmer musicians have built a lively set of musical networks in the city. Transcending a restrictive framework that considers this music solely in the context of troubled German-Jewish history and notions of guilt and absence, Alexander shows how Berlin's current klezmer community-a diverse group of Jewish and non-Jewish performers-imaginatively blend the genre's traditional musical language with characteristically local tones to forge an adaptable and distinctively twenty-first-century version of klezmer. Ultimately, the music's vital presence in Berlin is powerful evidence that if traditional music is to remain audible amid the noise of the urban, it must become a meaningful part of that noise.

Janet K. Page explores the interaction of music and piety, court and church, as seen through the relationship between the Habsburg court and Vienna's convents. For a period of some twenty-five years, encompassing the end of the reign of Emperor Leopold I and that of his elder son, Joseph I, the court's emphasis on piety and music meshed perfectly with the musical practices of Viennese convents. This mutually beneficial association disintegrated during the eighteenth century, and the changing relationship of court and convents reveals something of the complex connections among the Habsburg court, the Roman Catholic Church, and Viennese society. Identifying and discussing many musical works performed in convents, including oratorios, plays with music, feste teatrali, sepolcri, and other church music, Page reveals a golden age of convent music in Vienna and sheds light on the convents' surprising engagement with contemporary politics.

Zum 350-jahrigen Geburtsjubilaum von F. W. Zachow erscheint erstmals in Buchform diese innovative, provokative und auch uberraschende Forschungsarbeit. Zachow war Handels Lehrmeister. Die Arbeit erschliesst die Handschriften der Vokalwerke Zachows mit historisch-quellenkundlicher Methodik und stellt erstmals ein Quellenverzeichnis zusammen. Sie untersucht die gattungs- und stilbildenden Aspekte seiner Kompositionen und seine musik-historische Sonderbedeutung. Ausserdem eroertert sie die Bewerbung von J. S. Bach 1713 in Halle und seine Teilnahme am Orgelneubau, Bachs ideale, recht schoene und recht grosse Orgel. Diese Arbeit wendet sich an Kirchenmusiker, Chorleiter, Organisten und Sanger und alle, die die musica sacra des Halleschen Spatbarockkomponisten F. W. Zachow wiederentdecken moechten.

Zeitgemasse Vermittlung und Qualitatssteigerung des Orgelspiels ist seit Jahrhunderten ein zentrales Anliegen von Organisten. Dies spiegelt sich auch in den Orgelschulen wider. Diese Untersuchung betrachtet schwerpunktmassig reprasentative Lehrwerke des 18. bis 20. Jahrhunderts aus dem deutschen, belgischen, franzoesischen und italienischen Raum, erganzend angloamerikanische sowie zeitgenoessische Schulen. Was aus diesen lehr- und lernbar ist, warum und wie gerade altere Schulen den Orgelunterricht bereichern koennen, wird aufgezeigt.

Gregory of Nazianzus (329-390 CE), "the Theologian," is the premier teacher on the Holy Trinity in Eastern Christian tradition, yet for over a century historians and theologians have largely neglected his work. Christopher Beeley's groundbreaking study - the first comprehensive treatment in modern scholarship - examines Gregory's doctrine of the Trinity within the full range of his theological and practical vision. Following an overview of Gregory's life and major works, Beeley traces the central soteriological meaning of Gregory's doctrine in the spiritual dialectic of purification and illumination; the dynamic process of divinization (theosis); the singular identity of Jesus Christ as the eternal Son of God; the divinity and essential presence of the Holy Spirit; and the interpretation of Scripture "according to the Spirit." The book culminates in Gregory's understanding of the Trinity as a whole - which is "theology" in the fullest sense - rooted in the monarchy of God the Father and uniquely known in the divine economy of salvation. Finally, Beeley identifies the Trinitarian shape of pastoral ministry, on which Gregory is also the foundational teacher for later Christian tradition. Beeley offers new insights in several key areas, reinterpreting the famous Theological Orations and Christological epistles within the full corpus of Gregory's orations, poems, and letters. Gregory stands out as the leading ecclesiastical figure in the Eastern Roman Empire and the most powerful theologian of his age, who produced the definitive expression of Trinitarian orthodoxy from a characteristically Eastern tradition of Origenist theology, independent of the work of Athanasius and in several respects more insightful than his Cappadocian contemporaries. Long eclipsed in modern scholarship, Gregory Nazianzen is now brought into full view as the major witness to the Trinity among the Greek fathers of the Church.

Sourindro Mohan Tagore (1840-1914), musicologist, educationist and patron of Indian music, was a member of a highly influential family in nineteenth-century Calcutta that was renowned for its support of the arts. His work to generate understanding in the West of music's role in Indian culture and heritage was recognised worldwide and he is remembered today through his extensive writings, donations of musical instruments to leading institutions, and the Royal College of Music's prestigious Tagore gold medal. His valuable compilation of eighteenth- and nineteenth-century English writings on Indian music by learned Europeans was first printed for private circulation in 1875. It includes a catalogue of Indian musical instruments, illustrated notes by the orientalist William Ouseley (1767-1842), and a pioneering essay by Sir William Jones (1746-94), the Enlightenment polymath whose collected works are also reissued in this series.

The traditional edition of the English Hymnal, this volume includes the very best hymnody from medieval plain chant to the early twentieth-century classics. The hymns are grouped according to theme and contain material suitable for any festival or occasion in the life of a church.

Presenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver Sussmayr's completion (1791-2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursive confines.

Coronations are the grandest of all state occasions. This is the first comprehensive in-depth study of the music that was performed at British coronations from 1603 to the present, encompassing the sixteen coronations that have taken place in Westminster Abbey and the last two Scottish coronations. Range describes how music played a crucial role at the coronations and how the practical requirements of the ceremonial proceedings affected its structure and performance. The programme of music at each coronation is reconstructed, accompanied by a wealth of transcriptions of newly discovered primary source material, revealing findings that lead to fresh conclusions about performance practices. The coronation ceremonies are placed in their historical context, including the political background and the concept of invented traditions. The study is an invaluable resource not only for musicologists and historians, but also for performers, providing a fascinating insight into the greatest of all Royal events.

First published in 1914, this book provides information on the Canticles of the Eastern and Western Church in early and medieval times. The text is divided into two broad sections: the first covers Greek and Eastern Canticles; the second covers Latin and Western Canticles. Additional material includes illustrative plates and an index of manuscripts. This is a highly informative book that will be of value to anyone with an interest in religious music and the history of Christianity.