RUSSIAN THREADS: THE PRESENCE OF RUSSIAN INFLUENCES IN TWENTIETH­ CENTURY ENGLISH CELLO MUSIC

A cursory glance at cello works by English composers during the twentieth- century yields an unexpected relationship to Russian musicians, history, culture, and religion. One must wonder how this connection or "Russian thread" came to be. When considering the working relationship of Benjamin Britten and Mstislav Rostropovich, the likelihood of such a connection is tangible, since their deeply personal friendship influenced Britten's music for cello. However, what is perhaps more interesting is the emergence of connections to Russia in the works of other English composers of the twentieth-century, featuring works from 1913-1996. This project was conceived after close study and analysis of Benjamin Britten's Third Suite for Solo Cello, Op. 87 (1971). Britten's inclusion of Russian folk tunes and an Orthodox Church hymn signaled the penetrating presence of Russian elements in his works. Britten's First Suite for Solo Cello, Op. 72, Third Suite for Cello, Op. 87, and Sonata for Piano and Cello in C, Op. 65 are presented in this project. Further exploration of works for cello by English composers unveiled similar connections to Russia. The Sonata for Cello and Piano of Frank Bridge is likened to Russian romanticism and the Cello Sonata of Sergei Rachmaninoff. William Walton's Cello Concerto was written for the Russian-American cellist Gregor Piatigorsky. Wake Up ...and die is John Tavener's deeply spiritual work, which is rooted in his Russian Orthodoxy. John Ireland, influenced by models of French and Russian Impressionism, contributed works colored with Russian folk influences, of which his Piano Trio No. 2 is an example. Finally, Arnold Bax traveled to Russia as a young man and his Folk Tale and Legend Sonata are imbued with the spirit of Russian folk music and architecture. This dissertation project is comprised of three recitals featuring English works for cello connected by a "Russian Thread." All events took place on the campus of University of Maryland, College Park: Recital #1 on December 4, 2011 in the Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center, Recital #2 on February 11,2012, and Recital #3 on April 15, 2012, both in the Ulrich Recital Hall.

Struell Wells: pagan past and Christian present

The complex of buildings at Struell Wells, near Downpatrick, Co. Down, is the most extensive at a holy well in Ireland. It comprises two wells, two bath-houses and the ruins of a church. Nearby is a natural rock feature known as St Patrick’s Chair. The earliest reference to the wells is likely to be in the 8th century Fíacc’s Hymn which records the site being visited by St Patrick. The earliest reference to their healing powers can be dated to the 11th/12th century and the site continued to be a focus of pilgrimage at midsummer until its suppression in the nineteenth century. The site seems to be unique in that bathing in the wells constituted an integral part of the rituals performed by pilgrims. A recent study of the holy well phenomenon in Ireland has suggested that the rituals associated with them have their origins in the Counter-Reformation (Carroll 1999). The evidence from Struell, however, strongly suggests that it was an important sacred site in pre-Christian times.

Agency and Appetite for religious Song: Vexilla regis prodeunt and its first thousand years

When James Joyce made two of his characters in ‘‘Portrait of an Artist as a Young Man’’ refer approvingly to ‘‘Vexilla regis prodeunt’’ he was following in the footsteps of a long line of the Latin text’s admirers. Since Anglo-Saxon times English audiences had clearly appreciated the sonorous majesty of this processional hymn, largely because of the solemnity and craft with which it celebrated the nature of Christ’s martial triumph and sacrifice. This article offers a snapshot of different kinds of English appetite for Venantius Fortunatus’ famous religious song for the first thousand years of its existence, from the Anglo-Saxon period through to the mid sixteenth century.

Hino homérico a Afrodite: estudo introdutório, tradução do grego e notas

O presente trabalho propõe-se apresentar uma versão portuguesa do Hino Homérico a Afrodite V, acompanhada das respectivas notas e de um estudo introdutório. Numa primeira parte, começa por se fazer um breve estudo sobre o género hínico, centrado sobretudo nos Hinos Homéricos. Segue-se uma apresentação sucinta da deusa Afrodite e dos Hinos Homéricos que lhe são dedicados, sendo dada uma especial relevância às principais características do Hino Homérico a Afrodite V e à sua análise. Numa segunda parte do trabalho, é apresentada uma versão portuguesa do Hino Homérico a Afrodite V e as respectivas notas, bem como a tradução dos Hinos VI e X, igualmente dedicados à deusa.

Officium parvum beatae Mariae virginis.

Petit office de la Vierge noté. Le texte des hymnes est antérieur à la réforme d'Urbain VIII. F. 1 Titre. «Officia beatae Mariae virginis. Marevillae. Anno Domini MDCCLXXXII». F. 2-46 «Officium [parvum] b. Mariae virginis. Ad matutinum» (2-16v); par suite de lacune matérielle entre les ff. 10 et 11 il manque la première antienne et le Ps 95 du 3e nocturne. — Ad laudes (17-22v). Par suite d'une lacune matérielle entre les ff. 16 et 17, il manque les deux premières antiennes, le Ps 92 et le premier verset du Ps 99. — «Ad primam» (23-25). — «Ad tertiam» (25-27). — «Ad sextam» (27-29). — «Ad nonam» (29-31). — Ad vesperas (32-36v). Par suite d'une lacune matérielle entre les ff. 31 et 32, il manque la première antienne et le Ps 109. — «Tempore adventus antiphonae» (37-38v); «A nativitate ad purificationem» [antiphonae] (38v-40v). — «Ad completorium» (41-46) avec les antiennes finales. Hymnes signalées dans la table des incipit.

Breviarium Strigoniense.

Cf. notice du ms. par Leroquais, Bréviaires, III, 182-185 n° 591 et pl. XCIX; P. Radó, Libri liturgici manuscripti bibliothecarum Hungariae et limitropharum regionum, Budapest, 1973. Un bréviaire d'Esztergom a été imprimé en 1524 à Venise. F. 2-8v Calendrier à l'usage d'Esztergom, avec un grand nombre de saints d'origines diverses (2-7v); cf. Leroquais, op. cit., 182. À noter les saints non mentionnés dans les Acta sanctorum, ou du moins pas pour la date correspondante; ne sont pas relevés les saints hongrois considérés comme classiques par Radó, op. cit., passim : 4 févr., «Victoris m.»; 8 févr., «Juliani m.»; 13 févr., «Adalberti m.», signalé une fois dans Radó, op. cit., 96 d'après ms. Budapest, B. N. Hung., c. l. m. ae. 395; 15févr., «Faustiani m.»; 21 févr., «Septuaginta mm.», non signalé sous cette forme pour cette date dans Radó, op. cit.; 15 mars, «Hilarii conf. et pont.», non signalé sous cette forme pour cette date dans Radó, op. cit.; 17 mars, «Bernardi conf.»; 26mars, «Eustachii abb.», signalé une fois dans Radó, op. cit., 96 d'après ms. Budapest, B.N. Hung., c. l. m. ae. 395; 28 mars, «Gastuli m.», non signalé dans Radó, op. cit.; 3 juill., «Bonifacii ep.», non signalé dans Radó, op. cit.; 5 juill., «Dominici m.»; 4 août, «Gaudentii ep. et conf.», signalé une fois dans Radó, op. cit., 329 d'après ms. Budapest, B. N. Hung., c. l. m. ae. 408; 8 août, «Adventus sanguinis D. N. J. C.»; 31 août, «Pauli ep. et m.», non signalé dans Radó, op. cit.; 12 oct., «Quatuor milium mm.», non signalé dans Radó, op. cit., à rapprocher de quatuor mille octingenti septuaginta mm., cf. Radó, op. cit., 167 d'après ms. Esztergom, B. metropolitana Strigoniensis I. 20; 14 oct., «Cerbonii conf.»; 27 oct., «Vedasti m.»; 15 nov., «Martini conf.», non signalé pour cette date dans Radó, op. cit; 20 nov., «Aniani ep. [Aurelianensis] et conf.». Pour plusieurs saints du calendrier on ne trouve pas d'office dans le sanctoral, et vice versa. — «Sequitur tabula impositionis historiarum...» (8-8v). F. 11-76 Psautier férial (11-72). — Office des défunts à l'usage d'Esztergom (72v-76); cf. K. Ottosen, The responsories and versicles of the latin office of the dead, Aarhus 1993, 127 (description des ff.74v-75v = «BN8879B») et 180 (description des ff.72v-74v = «BN8879A»). F. 77-528v Temporal : «Incipit breviarium secundum chorum alme ecclesie Strigoniensis. Dominica prima in adventu Domini...» (77-282v). Sanctoral : «Incipit secunda pars breviarii scilicet de festivitatibus. De s. Silvestro...» (286-486). À noter : office de l'Immaculée Conception composé par Léonard Nogarolo (480v). Commun des saints : «Incipit commune de sanctis et primo in vigilia unius apostoli...» (486v-513v). — «Sequitur de b. Virgine sabbatis diebus per estatem. Ad vesperas...» (513v-516v). «In quotidianis horis b. Virginis...» (516v-525). — «Sequuntur preces in quadragesima...» (525-526v). — «Sequuntur suffragia sabbatis diebus per estatem...» (526v-528), dont suffrages des ss. [Stephani regis Hungariae; Emerici ducis] (527), [Ladislai regis Hungariae; Adalberti ep. Pragensis et m.] (527v). — «Absolutio excommunicati...» (528-528v). 106 hymnes mentionnées dans la table des incipit, dont une non répertoriée dans Chevalier, Repert. hymn. ni dans les A. H., pour les confesseurs : «Christe lucis splendor vere fabrice mundi semper nobis parcens miserere confessorum precibus//...» (506v); cf. P. Radó, Répertoire hymnologique des mss. liturgiques dans les bibliothèques publiques de Hongrie, Budapest 1945, n° 111, relevée une fois dans le ms. Budapest, Bibl. nat. Hung. c. l. m. ae. 132, ms. décrit par Radó, Libri liturgici..., op. cit., 395-400.

Breviarium Strigoniense.

Cf. notice du ms. par Leroquais, Bréviaires, III, 182-185 n° 591 et pl. XCIX; P. Radó, Libri liturgici manuscripti bibliothecarum Hungariae et limitropharum regionum, Budapest, 1973. Un bréviaire d'Esztergom a été imprimé en 1524 à Venise. F. 2-8v Calendrier à l'usage d'Esztergom, avec un grand nombre de saints d'origines diverses (2-7v); cf. Leroquais, op. cit., 182. À noter les saints non mentionnés dans les Acta sanctorum, ou du moins pas pour la date correspondante; ne sont pas relevés les saints hongrois considérés comme classiques par Radó, op. cit., passim : 4 févr., «Victoris m.»; 8 févr., «Juliani m.»; 13 févr., «Adalberti m.», signalé une fois dans Radó, op. cit., 96 d'après ms. Budapest, B. N. Hung., c. l. m. ae. 395; 15févr., «Faustiani m.»; 21 févr., «Septuaginta mm.», non signalé sous cette forme pour cette date dans Radó, op. cit.; 15 mars, «Hilarii conf. et pont.», non signalé sous cette forme pour cette date dans Radó, op. cit.; 17 mars, «Bernardi conf.»; 26mars, «Eustachii abb.», signalé une fois dans Radó, op. cit., 96 d'après ms. Budapest, B.N. Hung., c. l. m. ae. 395; 28 mars, «Gastuli m.», non signalé dans Radó, op. cit.; 3 juill., «Bonifacii ep.», non signalé dans Radó, op. cit.; 5 juill., «Dominici m.»; 4 août, «Gaudentii ep. et conf.», signalé une fois dans Radó, op. cit., 329 d'après ms. Budapest, B. N. Hung., c. l. m. ae. 408; 8 août, «Adventus sanguinis D. N. J. C.»; 31 août, «Pauli ep. et m.», non signalé dans Radó, op. cit.; 12 oct., «Quatuor milium mm.», non signalé dans Radó, op. cit., à rapprocher de quatuor mille octingenti septuaginta mm., cf. Radó, op. cit., 167 d'après ms. Esztergom, B. metropolitana Strigoniensis I. 20; 14 oct., «Cerbonii conf.»; 27 oct., «Vedasti m.»; 15 nov., «Martini conf.», non signalé pour cette date dans Radó, op. cit; 20 nov., «Aniani ep. [Aurelianensis] et conf.». Pour plusieurs saints du calendrier on ne trouve pas d'office dans le sanctoral, et vice versa. — «Sequitur tabula impositionis historiarum...» (8-8v). F. 11-76 Psautier férial (11-72). — Office des défunts à l'usage d'Esztergom (72v-76); cf. K. Ottosen, The responsories and versicles of the latin office of the dead, Aarhus 1993, 127 (description des ff.74v-75v = «BN8879B») et 180 (description des ff.72v-74v = «BN8879A»). F. 77-528v Temporal : «Incipit breviarium secundum chorum alme ecclesie Strigoniensis. Dominica prima in adventu Domini...» (77-282v). Sanctoral : «Incipit secunda pars breviarii scilicet de festivitatibus. De s. Silvestro...» (286-486). À noter : office de l'Immaculée Conception composé par Léonard Nogarolo (480v). Commun des saints : «Incipit commune de sanctis et primo in vigilia unius apostoli...» (486v-513v). — «Sequitur de b. Virgine sabbatis diebus per estatem. Ad vesperas...» (513v-516v). «In quotidianis horis b. Virginis...» (516v-525). — «Sequuntur preces in quadragesima...» (525-526v). — «Sequuntur suffragia sabbatis diebus per estatem...» (526v-528), dont suffrages des ss. [Stephani regis Hungariae; Emerici ducis] (527), [Ladislai regis Hungariae; Adalberti ep. Pragensis et m.] (527v). — «Absolutio excommunicati...» (528-528v). 106 hymnes mentionnées dans la table des incipit, dont une non répertoriée dans Chevalier, Repert. hymn. ni dans les A. H., pour les confesseurs : «Christe lucis splendor vere fabrice mundi semper nobis parcens miserere confessorum precibus//...» (506v); cf. P. Radó, Répertoire hymnologique des mss. liturgiques dans les bibliothèques publiques de Hongrie, Budapest 1945, n° 111, relevée une fois dans le ms. Budapest, Bibl. nat. Hung. c. l. m. ae. 132, ms. décrit par Radó, Libri liturgici..., op. cit., 395-400.

Order of Service for the Honour Roll Unveiling - 10 June, 1945

A dedication service program for those who gave their lives during World War II from the city of St. Catharines. The list of over 150 names was to be read aloud and an address made by the Mayor (W.J. Macdonald) with prayers and hymn to follow.

Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.

The body of Christ : blasphemy as a necessary transgression

This chapter was originally prefaced with an audio-visual presentation showing key scenes from Martin Scorsese’s film, The Last Temptation of Christ, cut to the folk hymn, ‘Go Tell Everyone’, which is reproduced below. The video segued into a short duologue, which dramatised the ambiguity inherent in God’s call. The presentation concluded with the same hymn accompanied by images of the poor, the marginalised and the powerful.

'The suffering members sympathise' : constructing the sympathetic self in the hymns of Charles Wesley

For the first time in history, this timely landmark volume brings together contributions from the leading scholars working on the life and work of Charles Wesley.

Pain, passion and faith : revisiting the place of Charles Wesley in early Methodism

Pain, Passion and Faith: Revisiting the Place of Charles Wesley in Early Methodism is a significant study of the 18th-century poet and preacher Charles Wesley. Wesley was an influential figure in 18th-century English culture and society; he was co-founder of the Methodist revival movement and one of the most prolific hymn-writers in the English language. His hymns depict the Christian life as characterized by a range of intense emotions, from ecstatic joy to profound suffering.

All things bright and beautiful

The famous hymn played on a piano.

Amazing grace

Amazing Grace the famous hymn featuring a sampled bagpipes, piano, acoustic drums, synth pads and strings.

Ave Maria

Ave Maria is the famous hymn and it features piano and 5 synths. I decided to use synth pads to create the evolving strings part and sounds of synth bells to add tone. The piano part makes this hymn distinctive.