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.

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.

Die Musik ist im Judentum unendlich wichtig. In diesem Zusammenhang steht uber den Satz der Tora "Hoere auf das Lied und das Gebet" (1. Buch der Koenige 8,28) im Talmud: "Nur dort, wo ein Lied ist, gibt es auch Gebet" (b.Berachot. 6a). Deshalb stellte das Lied auch im grossen Tempel von Jerusalem einen unverzichtbaren Teil der taglichen Opfer dar und kam von dort mit bestimmten Melodien fur das Gebet und die Toralesung in die Synagoge. Der Chassidismus bediente sich eines der wichtigsten Instrumente, der Musik fur den Gottesdienst, dessen Ziel es ist, den Menschen zu wecken und zu erfreuen, um die Traurigkeit, den "Ursprung des Boesen", zu verscheuchen. Denn durch Freude kann man die hoechsten Stufen erreichen und alle physischen Probleme vermeiden, genau so wie Rabbi Ezekil von Kuzmir sagt: "Denn mit Freude sollt ihr herausziehen" (Jesaja 55,12), was bedeutet, dass man sich durch Freude von allen Schwierigkeiten befreien kann. In diesem Buch fuhrt uns der Autor durch die Hoefe der Chassidim in die Welt der Melodie, uber die Musik ohne Worte (die vielleicht wichtiger ist, als jene mit Worten), die Bedeutung des Tanzes, die Schabbat-Tischgebete bis hin zur kabbalistischen Musik. Er schreibt uber die verschiedenen Rabbiner, die bei den verschiedensten Gelegenheiten sangen und komponierten, wie z.B. in der Synagoge oder beim "Tisch", wo sich alle Chassidim versammeln, um die Erklarungen und Deutungen der Tora zu vernehmen.

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.

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.

Diese Arbeit, die in aktualisierter Neuauflage vorgelegt wird, zeichnet zunachst den UEberlieferungsweg der freien Orgelwerke Buxtehudes nach, von den verschollenen Autographen bis zu den erhaltenen, vielfach mangelhaften Abschriften. Besonderes Interesse gilt der Frage, welchen Anteil die beruhmten Zeitgenossen Pachelbel und Bach an der Verbreitungsgeschichte dieser Werke hatten. Im zweiten Hauptteil werden Probleme von Stil und Form, Authentizitat und Chronologie behandelt; auch Aspekte der Spielpraxis werden berucksichtigt. Damit stellt die Arbeit eine Erganzung zur kritischen Edition der Orgelwerke Buxtehudes dar.

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.

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.

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...

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.

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.

Why was the partridge in the pear tree? Who was Good King Wenceslas? And what are the pagan origins behind 'The Holly and the Ivy'? Discover the hidden stories behind our best-loved Christmas carols, from their earliest incarnations in the Middle Ages and their banning under the Puritans to the wassailing traditions of the nineteenth century and the carols that united soldiers on the Western Front during the First World War. This fascinating book charts the history of one of Christmas' longest-running traditions and is sure to appeal to all those who love the festive season.

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.

Mevlana Jalaluddin Rumi, whose life and mystical poetry provided the inspiration for the Mevlevi Sufi order, is one of the world's best-known poets, yet the centuries-long musical tradition cultivated by the Mevleviye remains much less known. In this deeply researched book, renowned scholar Walter Feldman traces the historical development of Mevlevi music and brings to light the remarkable musical and mystical aesthetics of the Mevlevi ayin the instrumental and vocal accompaniment to the sublime ceremony of the 'Whirling' Dervishes.

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.

The Faber Music Christmas Piano Anthology is an essential collection of the greatest Christmas songs and carols, specially arranged for solo piano, for the intermediate pianist. The perfect gift for Christmas, this beautiful anthology includes favourites such as O Holy Night, Sleigh Ride and It's Beginning To Look A Lot Like Christmas alongside arrangements of Winter (from the Four Seasons), Troika (from Lieutenant Kije), and more.

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.

Providing a detailed analysis of Bach's Passions, this 2010 book represents an important contribution to the debate about the culture of 'classical music', its origins, priorities and survival. The angles from which each chapter proceeds differ from those of a traditional music guide, by examining the Passions in the light of the mindsets of modernity, and their interplay with earlier models of thought and belief. While the historical details of Bach's composition, performance and theological context remain crucial, the foremost concern of this study is to relate these works to a historical context that may, in some threads at least, still be relevant today. The central claim of the book is that the interplay of traditional imperatives and those of early modernity renders Bach's Passions particularly fascinating as artefacts that both reflect and constitute some of the priorities and conditions of the western world.