{"id":43612,"date":"2010-01-01T20:57:32","date_gmt":"2024-11-04T14:43:35","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=43612"},"modified":"2024-11-04T15:43:36","modified_gmt":"2024-11-04T14:43:36","slug":"sacred-choral-songs-the-choir-of-holy-trinity-church-of-geneva-robin-buffle","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/sacred-choral-songs-the-choir-of-holy-trinity-church-of-geneva-robin-buffle\/","title":{"rendered":"Sacred Choral Songs – The Choir of Holy Trinity Church of Geneva, Robin Buffle"},"content":{"rendered":"

Sacred Choral Songs – The Choir of Holy Trinity Church of Geneva, Robin Buffle<\/strong><\/p>\n

Francis ROUS \/ James Leith Macbeth BAIN<\/strong>: Brother James’s Air (Arr. By. Gordon Jacob) – William BYRD<\/strong>: Ave Verum Corpus – Guiseppe Ottavio PITONI<\/strong>: Cantate Domino – Henry PURCELL<\/strong>: Remember not, Lord, our Offences, Z. 50 – Thomas ATTWOOD<\/strong>: Teach me, O Lord – Peter WARLOCK<\/strong>: Bethlehem Down – Edward BAIRSTOW<\/strong>: Let all mortal Flech keep Silence – William WALTON<\/strong>: See me as Seal upon thine Heart – Thomas Attwood WALMISLEY<\/strong>: Magnificat in D Minor – Edward BAIRSTOW<\/strong>: Holy, Holy, Holy (After Handel) – Felix MENDELSSOHN<\/strong>: Hear my Prayer, WoO 15, MWV B49 – Samuel WESLEY<\/strong>: Thou wilt keep him in perfect Peace – Patrick HADLEY<\/strong>: My beloved Spake.<\/p>\n

The Choir of Holy Trinity Church of Geneva, Robin Buffle<\/strong>, direction. https:\/\/www.holytrinitygeneva.org\/<\/a>
\nRhiannon Boissier<\/strong>, mezzo-soprano.
\nDella Jones<\/strong>, mezzo-soprano.
\nPeter Duplock<\/strong>, basse.
\nPeter Innis<\/strong>, orgue.<\/p>\n

\n

SIDE I<\/strong><\/p>\n

Band 1<\/strong>
\nBrother James\u2019s Air<\/em> (Marosa)
\nArr. Gordon Jacob (b. 1895)<\/p>\n

This setting of the 23rd Psalm has gained significant popularity. Gordon Jacob, a pupil of Stanford and Charles Wood, arranged it based on a melody by \u201cBrother James\u201d\u2014the familiar name of James Leith Macbeth Bain.<\/p>\n

Band 2<\/strong>
\nAve Verum Corpus<\/em>
\nWilliam Byrd (1543(?)\u20131623)<\/p>\n

At age 20, Byrd became the organist of Lincoln Cathedral; twelve years later, in 1575, he joined Thomas Tallis as an organist of the Chapel Royal. Byrd is celebrated as one of the greatest English composers of the 16th century, known for both instrumental and church music. Ave Verum<\/em> is one of the best-known of the 63 motets in Gradualia<\/em> (1605?). This four-part motet is acclaimed for its \u201cconsummate artistry.\u201d<\/p>\n

Band 3<\/strong>
\nCantate Domino<\/em>
\nGiuseppe Ottavio Pitoni (1657\u20131743)<\/p>\n

Pitoni, a prolific composer of church music, served as choir master at Monte Rotondo, Assisi Cathedral, and St. Peter\u2019s in Rome from 1719 until his death. His works range from four-part motets like Cantate Domino<\/em> to large-scale compositions for multiple choirs.<\/p>\n

Band 4<\/strong>
\nRemember not, Lord, our offences<\/em>
\nHenry Purcell (1658\u20131695)<\/p>\n

The brilliance of Purcell\u2019s music, marked by Italian and French influences, amazes. A child of the Restoration, he held roles such as Gentleman of the Chapel Royal and organist at Westminster Abbey. This five-part anthem, with words from the Litany<\/em>, uses chromatic and discordant entries to heighten the drama of \u201cspare us, Good Lord.\u201d<\/p>\n

Band 5<\/strong>
\nTeach me, O Lord<\/em>
\nThomas Attwood (1765\u20131838)<\/p>\n

Attwood, a pupil of Mozart in his youth and host to Mendelssohn in his old age, served as the organist at St. Paul\u2019s Cathedral. This simple anthem from Psalm 119 bridges the Handelian period with early Victorian church music, demonstrating Attwood\u2019s lasting influence.<\/p>\n

Band 6<\/strong>
\nBethlehem Down<\/em>
\nPeter Warlock (1894\u20131930)<\/p>\n

Peter Warlock, born Philip Heseltine, infused his music with contrasting moods: extrovert, melancholy, and gentle. Known for his scholarship in Elizabethan music, his primary influences stemmed from the 16th and 17th centuries and the work of his friend, Frederick Delius. Bethlehem Down<\/em>, a setting of a poem by Bruce Blunt, captures Warlock\u2019s poignant style.<\/p>\n

Band 7<\/strong>
\nLet all mortal flesh keep silence<\/em>
\nEdward C. Bairstow (1874\u20131946)
\nRhiannon Boissier, mezzo-soprano; Peter Duplock, bass<\/p>\n

Bairstow\u2019s anthem, with text from the Liturgy of St. James<\/em>, stands out for its expressive depth. As an organist at Leeds Parish Church and York Minster, Bairstow influenced Anglican church music profoundly through his chants, organ works, anthems, and motets.<\/p>\n

Band 8<\/strong>
\nSet me as a seal upon thine heart<\/em>
\nWilliam T. Walton (b. 1902)
\nRhiannon Boissier, mezzo-soprano<\/p>\n

Though known for orchestral music, Walton\u2019s background as a boy chorister at Christ Church, Oxford, ensured a lasting contribution to church music. This motet, with words from Song of Solomon<\/em>, has an \u201cimmediate impact\u201d often associated with genius.<\/p>\n

\n

SIDE II<\/strong><\/p>\n

Band 1<\/strong>
\nMagnificat in D minor<\/em>
\nThomas Attwood Walmisley (1814\u20131856)<\/p>\n

Walmisley\u2019s Magnificat<\/em>, noted for its unison passages and choral contrasts, is a staple of 19th-century church music. A Cambridge professor at age 22, Walmisley was instrumental in reviving Bach\u2019s works in England alongside his friend Mendelssohn.<\/p>\n

Band 2<\/strong>
\nHoly, Holy, Holy<\/em>
\nAfter Georg F. Handel (1685\u20131759)
\nArr. Edward C. Bairstow (1874\u20131946)
\nDella Jones, mezzo-soprano<\/p>\n

Bairstow transformed Handel\u2019s Dove Sei<\/em> into an anthem with English \u201cSanctus\u201d text, which Samuel Arnold originally adapted. Bairstow defends this choice, noting that \u201cthe end seems to justify the means\u201d as the lyrics align with Handel\u2019s melody.<\/p>\n

Band 3<\/strong>
\nHear my prayer<\/em>
\nFelix Mendelssohn (1809\u20131847)
\nDella Jones, mezzo-soprano<\/p>\n

Famous for its closing line, \u201cO for the Wings of a Dove,\u201d Mendelssohn\u2019s Hear my prayer<\/em> is a four-part anthem that alternates between the plea for God\u2019s aid, expressions of fear, and the calming imagery of the dove\u2019s rest.<\/p>\n

Band 4<\/strong>
\nThou wilt keep him in perfect peace<\/em>
\nSamuel S. Wesley (1810\u20131876)<\/p>\n

Wesley, an organist at several major cathedrals, advanced English church music with a romantic, refined style. This anthem exemplifies his dramatic abilities and complex harmonies, praised by contemporaries for their noble quality and rich modulation.<\/p>\n

Band 5<\/strong>
\nMy beloved spake<\/em>
\nPatrick Hadley (b. 1899)<\/p>\n

Hadley\u2019s setting of Song of Solomon<\/em>, composed in 1938, is marked by high vocal pitches, a two-part fugue, and a challenging organ accompaniment. As a Professor of Music at Cambridge, Hadley was known for his innovative compositions.<\/p>\n","protected":false},"excerpt":{"rendered":"

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