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43 Videos  
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  westminster cathedral choir - a ceremony...
after three very successful years in america, benjamin britten and peter pears boarded a swedish cargo vessel, the axel johnson, on the 16th march 1942 for their return to britain. it was a long and boring journey that took nearly a month. u-boat activity was at its height so it was probably rather frightening too. at this time britten had started 'hymn to st. cecilia' and a piece for benny goodman. he intended to finish these on board but customs officials confiscated the manuscripts on the doubtful proposition that they could be a secret code. (britten managed to restart and finish 'hymn' but as far as i know the goodman piece was lost forever). during the voyage they berthed at halifax, nova scotia, where britten came across a book of medieval poems and some of these he set during the voyage as the 'ceremony of carols'. it is an unusual setting for boys choir and harp. britten had intended to write a harp concerto and so had been studying the instrument. humphrey carpenter * regards the work's title as rather odd as it is neither a ceremony nor is it a narration of the christmas story. i find this view unsubstantiated. the work opens and ends with the choir processing to plainsong. britten may have got this idea from holst's 'hymn to jesus', written about 20 years earlier, where, after a short orchesral opening, alternating boys and adult choirs enter to 'vexilla regis prodeunt' (the banners of the king advance on their way) and 'pange lingua gloriosi' (tell, my tongue, the glorious battle of the struggle). britten was to use the processional idea again in 'saint nicholas', 'noyes fludde' and 'curlew river' . the ceremony then, has an opening procession and a closing recession to 'hodie christus natus est'. my copy of the score offers no translation but i presume that it translates to 'halleluja, christ is born, halleluja the savior appears' this seems to me to be a carol. the procession is unaccompanied although britten has indicated an accompaniment should an actual procession prove impossible. the first song is 'wokum yole' (welcome be thou, heavenly king born in one morning - for whom we sing). the choir sings a strident welcome accompanied by plucked chords on the harp. this is followed by 'there is no rose of such virtu as is the rose that bare jesu' and later 'there be one god in persons three' and 'angels sungen to shepherds to'. this then leaves me in no doubt that these really are carols telling the christmas story. after the cool beauty of 'there is no rose' we hear a boy soprano soloist in 'that yonge child when it gan weep - with song she lulled him asleep'. this is a gentle lullaby with the soloist then leading us into 'balulalow'; mary's love song to the infant jesus - 'i shall rock thee to my hert, and never mair from there thee depart.' the tempo increases; allegro for 'as dew in aprille' and presto for 'this little babe', both for full boys choir. 'as dew in aprille' likens christ at mary's breast to the dew in april falling on the flowers. 'this little babe' celebrates christs coming 'to rifle satans fold - all hell doth at his presence quake'. this song develops more and more vigorously ending the first section of the work on 'if thou wilt foil thy foes with joy, then flit not from this heavenly boy'. there follows an interlude for solo harp leading into a second half which has undergone a distinct change of mood - concern rather than celebration :'behold a silly tender babe, in freezing winter night, in homely manger trembling lies, alas a piteous sight'. the boys sing plaintively and i am sure that michael kennedy+ is correct when he writes after three very successful years in america, benjamin britten and peter pears boarded a swedish cargo vessel, the axel johnson, on the 16th march 1942 for their return to britain. it was a long and boring journey that took nearly a month. u-boat activity was at its height so it was probably rather frightening too. at this time britten had started 'hymn to st. cecilia' and a piece for benny goodman. he intended to finish these on board but customs officials confiscated the manuscripts on the doubtful proposition that they could be a secret code. (britten managed to restart and finish 'hymn' but as far as i know the goodman piece was lost forever). during the voyage they berthed at halifax, nova scotia, where britten came across a book of medieval poems and some of these he set during the voyage as the 'ceremony of carols'. it is an unusual setting for boys choir and harp. britten had intended to write a harp concerto and so had been studying the instrument. humphrey carpenter * regards the work's title as rather odd as it is neither a ceremony nor is it a narration of the christmas story. i find this view unsubstantiated. the work opens and ends with the choir processing to plainsong. britten may have got this idea from holst's 'hymn to jesus', written about 20 years earlier, where, after a short orchesral opening, alternating boys and adult choirs enter to 'vexilla regis prodeunt' (the banners of the king advance on their way) and 'pange lingua gloriosi' (tell, my tongue, the glorious battle of the struggle). britten was to use the processional idea again in 'saint nicholas', 'noyes fludde' and 'curlew river' . the ceremony then, has an opening procession and a closing recession to 'hodie christus natus est'. my copy of the score offers no translation but i presume that it translates to 'halleluja, christ is born, halleluja the savior appears' this seems to me to be a carol. the procession is unaccompanied although britten has indicated an accompaniment should an actual procession prove impossible. the first song is 'wokum yole' (welcome be thou, heavenly king born in one morning - for whom we sing). the choir sings a strident welcome accompanied by plucked chords on the harp. this is followed by 'there is no rose of such virtu as is the rose that bare jesu' and later 'there be one god in persons three' and 'angels sungen to shepherds to'. this then leaves me in no doubt that these really are carols telling the christmas story. after the cool beauty of 'there is no rose' we hear a boy soprano soloist in 'that yonge child when it gan weep - with song she lulled him asleep'. this is a gentle lullaby with the soloist then leading us into 'balulalow'; mary's love song to the infant jesus - 'i shall rock thee to my hert, and never mair from there thee depart.' the tempo increases; allegro for 'as dew in aprille' and presto for 'this little babe', both for full boys choir. 'as dew in aprille' likens christ at mary's breast to the dew in april falling on the flowers. 'this little babe' celebrates christs coming 'to rifle satans fold - all hell doth at his presence quake'. this song develops more and more vigorously ending the first section of the work on 'if thou wilt foil thy foes with joy, then flit not from this heavenly boy'. there follows an interlude for solo harp leading into a second half which has undergone a distinct change of mood - concern rather than celebration :'behold a silly tender babe, in freezing winter night, in homely manger trembling lies, alas a piteous sight'. the boys sing plaintively and i am sure that michael kennedy+ is correct when he writes after three very successful years in america, benjamin britten and peter pears boarded a swedish cargo vessel, the axel johnson, on the 16th march 1942 for their return to britain. it was a long and boring journey that took nearly a month. u-boat activity was at its height so it was probably rather frightening too. at this time britten had started 'hymn to st. cecilia' and a piece for benny goodman. he intended to finish these on board but customs officials confiscated the manuscripts on the doubtful proposition that they could be a secret code. (britten managed to restart and finish 'hymn' but as far as i know the goodman piece was lost forever). during the voyage they berthed at halifax, nova scotia, where britten came across a book of medieval poems and some of these he set during the voyage as the 'ceremony of carols'. it is an unusual setting for boys choir and harp. britten had intended to write a harp concerto and so had been studying the instrument. humphrey carpenter * regards the work's title as rather odd as it is neither a ceremony nor is it a narration of the christmas story. i find this view unsubstantiated. the work opens and ends with the choir processing to plainsong. britten may have got this idea from holst's 'hymn to jesus', written about 20 years earlier, where, after a short orchesral opening, alternating boys and adult choirs enter to 'vexilla regis prodeunt' (the banners of the king advance on their way) and 'pange lingua gloriosi' (tell, my tongue, the glorious battle of the struggle). britten was to use the processional idea again in 'saint nicholas', 'noyes fludde' and 'curlew river' . the ceremony then, has an opening procession and a closing recession to 'hodie christus natus est'. my copy of the score offers no translation but i presume that it translates to 'halleluja, christ is born, halleluja the savior appears' this seems to me to be a carol. the procession is unaccompanied although britten has indicated an accompaniment should an actual procession prove impossible. the first song is 'wokum yole' (welcome be thou, heavenly king born in one morning - for whom we sing). the choir sings a strident welcome accompanied by plucked chords on the harp. this is followed by 'there is no rose of such virtu as is the rose that bare jesu' and later 'there be one god in persons three' and 'angels sungen to shepherds to'. this then leaves me in no doubt that these really are carols telling the christmas story. after the cool beauty of 'there is no rose' we hear a boy soprano soloist in 'that yonge child when it gan weep - with song she lulled him asleep'. this is a gentle lullaby with the soloist then leading us into 'balulalow'; mary's love song to the infant jesus - 'i shall rock thee to my hert, and never mair from there thee depart.' the tempo increases; allegro for 'as dew in aprille' and presto for 'this little babe', both for full boys choir. 'as dew in aprille' likens christ at mary's breast to the dew in april falling on the flowers. 'this little babe' celebrates christs coming 'to rifle satans fold - all hell doth at his presence quake'. this song develops more and more vigorously ending the first section of the work on 'if thou wilt foil thy foes with joy, then flit not from this heavenly boy'. there follows an interlude for solo harp leading into a second half which has undergone a distinct change of mood - concern rather than celebration :'behold a silly tender babe, in freezing winter night, in homely manger trembling lies, alas a piteous sight'. the boys sing plaintively and i am sure that michael kennedy+ is correct when he writes
  westminster cathedral choir - psalms
some stunning psalm singing from westminster cathedral. some stunning psalm singing from westminster cathedral. some stunning psalm singing from westminster cathedral.
  westminster cathedral choir concert
minnesota public radio and vocalessence presented the westminster cathedral choir of london, under the direction of martin baker, at the cathedral of saint paul on thursday, october 19th, 2006. this slideshow contains selections from the opening and closing of the radio program, as well as two musical selections: minnesota public radio and vocalessence presented the westminster cathedral choir of london, under the direction of martin baker, at the cathedral of saint paul on thursday, october 19th, 2006. this slideshow contains selections from the opening and closing of the radio program, as well as two musical selections: minnesota public radio and vocalessence presented the westminster cathedral choir of london, under the direction of martin baker, at the cathedral of saint paul on thursday, october 19th, 2006. this slideshow contains selections from the opening and closing of the radio program, as well as two musical selections:
  westminster cathedral choir school
this is the preview for what was supposed to be a six part documentary on the westminster cathedral choir. this is the preview for what was supposed to be a six part documentary on the westminster cathedral choir. this is the preview for what was supposed to be a six part documentary on the westminster cathedral choir.
  palestrina - sicut cervus
just an idea of what they are singing. sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te, deus. (as the deer longs for running water, so longs my soul for you, o lord.) asi como el ciervo ansia fuentes de agua, así ansia mi alma por ti, señor. just an idea of what they are singing. sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te, deus. (as the deer longs for running water, so longs my soul for you, o lord.) asi como el ciervo ansia fuentes de agua, así ansia mi alma por ti, señor. just an idea of what they are singing. sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te, deus. (as the deer longs for running water, so longs my soul for you, o lord.) asi como el ciervo ansia fuentes de agua, así ansia mi alma por ti, señor.
  westminster cathedral choir - missa aete...
1- 'kyrie' 2- 'gloria' from 'missa aeterna christi munera, giovanni pierluigi da palestrina. dir.: james o'donnell 1- 'kyrie' 2- 'gloria' from 'missa aeterna christi munera, giovanni pierluigi da palestrina. dir.: james o'donnell 1- 'kyrie' 2- 'gloria' from 'missa aeterna christi munera, giovanni pierluigi da palestrina. dir.: james o'donnell
  westminster cathedral choir - ave maria(...
the ave maria is the second of three sacred pieces, op23, for tenor voice, chorus and organ, written in 1830. with its alternations of soloist and choir and its interplay of block harmony and lively counterpoint, it makes a profound impact. soloist: andrew carwood, tenor organ: iain simcock conductor: james o'donnell the ave maria is the second of three sacred pieces, op23, for tenor voice, chorus and organ, written in 1830. with its alternations of soloist and choir and its interplay of block harmony and lively counterpoint, it makes a profound impact. soloist: andrew carwood, tenor organ: iain simcock conductor: james o'donnell the ave maria is the second of three sacred pieces, op23, for tenor voice, chorus and organ, written in 1830. with its alternations of soloist and choir and its interplay of block harmony and lively counterpoint, it makes a profound impact. soloist: andrew carwood, tenor organ: iain simcock conductor: james o'donnell
  westminster cathedral choir - music for ...
1- 'hodie christus natus est' 2- 'gloria' come from 'missa hodie christus natus est' dir.: martin baker 1- 'hodie christus natus est' 2- 'gloria' come from 'missa hodie christus natus est' dir.: martin baker 1- 'hodie christus natus est' 2- 'gloria' come from 'missa hodie christus natus est' dir.: martin baker
  westminster abbey choir - lord bless you...
this is the westminster abbey choir performing john rutter's the lord bless you and keep you. it was performed as part of the 60th wedding anniversary service for the queen and prince philip and broadcast on bbc one on the 19th november 2007. this is the westminster abbey choir performing john rutter's the lord bless you and keep you. it was performed as part of the 60th wedding anniversary service for the queen and prince philip and broadcast on bbc one on the 19th november 2007. this is the westminster abbey choir performing john rutter's the lord bless you and keep you. it was performed as part of the 60th wedding anniversary service for the queen and prince philip and broadcast on bbc one on the 19th november 2007.
  westminster cathedral choir - kyrie
funeral of cardinal basil hume in bbc - 1999 funeral of cardinal basil hume in bbc - 1999 funeral of cardinal basil hume in bbc - 1999
  the king of love westminster abbey choir
from princess diana's funeral, the king of love my shepherd is to the tune dominus regit me. descant on the last verse. from princess diana's funeral, the king of love my shepherd is to the tune dominus regit me. descant on the last verse. from princess diana's funeral, the king of love my shepherd is to the tune dominus regit me. descant on the last verse.
  how lovely are thy dwellings - westminst...
the choirs of westminster (and the chapel royal) sing brahms's the choirs of westminster (and the chapel royal) sing brahms's the choirs of westminster (and the chapel royal) sing brahms's
  westminster abbey choir - old 100th
this was a special live service hastily arranged, i think, at the start of the first gulf war. here are the wonderful words of psalm 100 set to the tune old 100th. the choir sing verse 3 alone, and there's a good descant on the last verse and thunderous organ. lots more of this to come. it was presented by the rev dr colin morris, who actually managed to sound like a reverend in the c of e with a faith in god. this was a special live service hastily arranged, i think, at the start of the first gulf war. here are the wonderful words of psalm 100 set to the tune old 100th. the choir sing verse 3 alone, and there's a good descant on the last verse and thunderous organ. lots more of this to come. it was presented by the rev dr colin morris, who actually managed to sound like a reverend in the c of e with a faith in god. this was a special live service hastily arranged, i think, at the start of the first gulf war. here are the wonderful words of psalm 100 set to the tune old 100th. the choir sing verse 3 alone, and there's a good descant on the last verse and thunderous organ. lots more of this to come. it was presented by the rev dr colin morris, who actually managed to sound like a reverend in the c of e with a faith in god.
  make me a channel westminster abbey choir
from princess diana's funeral in 1997. what makes this special is the unexpected descant on the last verse. earl spencer had just finished his amazing eulogy and i wasn't watching when make me a channel came on, but had it on in the background.... then that descant broke into the last verse and i had to rush back to the tv! from princess diana's funeral in 1997. what makes this special is the unexpected descant on the last verse. earl spencer had just finished his amazing eulogy and i wasn't watching when make me a channel came on, but had it on in the background.... then that descant broke into the last verse and i had to rush back to the tv! from princess diana's funeral in 1997. what makes this special is the unexpected descant on the last verse. earl spencer had just finished his amazing eulogy and i wasn't watching when make me a channel came on, but had it on in the background.... then that descant broke into the last verse and i had to rush back to the tv!
  westminster abbey i vow to thee my country
from princess diana's funeral, the choir and congregation of westminster abbey singing from princess diana's funeral, the choir and congregation of westminster abbey singing from princess diana's funeral, the choir and congregation of westminster abbey singing
  ampleforth college boys choir - o lovely...
from handel's 'judas maccabaeus' the schola cantorum of ampleforth abbey was established by cardinal basil hume (formerly the abbot of ampleforth) and by david bowman (the choir's first conductor) to help preserve in england the singing of music written for the roman catholic church, along with the best examples from other traditions, in the context for which it was written, namely the celebration of mass. with voices drawn from its partner prep school, st martin's ampleforth, and the monastery, as well as the college itself, the schola supports the liturgy of the abbey on sundays. it also sings one of the great settings of the ordinary of the mass at choral mass every friday night in term time, along with some motets and plainchant. the choir has an extensive repertoire of motets and other sacred works. it gives concerts locally, has toured widely in europe and the united states, and the far east. trebles: william and benedict dollard. benedict and his brother william were choristers in the choir of westminster cathedral in 1997 and 1999. they apparently changed choirs and were singing with the choir of ampleforth college in 2001. organ: tristan russcher from handel's 'judas maccabaeus' the schola cantorum of ampleforth abbey was established by cardinal basil hume (formerly the abbot of ampleforth) and by david bowman (the choir's first conductor) to help preserve in england the singing of music written for the roman catholic church, along with the best examples from other traditions, in the context for which it was written, namely the celebration of mass. with voices drawn from its partner prep school, st martin's ampleforth, and the monastery, as well as the college itself, the schola supports the liturgy of the abbey on sundays. it also sings one of the great settings of the ordinary of the mass at choral mass every friday night in term time, along with some motets and plainchant. the choir has an extensive repertoire of motets and other sacred works. it gives concerts locally, has toured widely in europe and the united states, and the far east. trebles: william and benedict dollard. benedict and his brother william were choristers in the choir of westminster cathedral in 1997 and 1999. they apparently changed choirs and were singing with the choir of ampleforth college in 2001. organ: tristan russcher from handel's 'judas maccabaeus' the schola cantorum of ampleforth abbey was established by cardinal basil hume (formerly the abbot of ampleforth) and by david bowman (the choir's first conductor) to help preserve in england the singing of music written for the roman catholic church, along with the best examples from other traditions, in the context for which it was written, namely the celebration of mass. with voices drawn from its partner prep school, st martin's ampleforth, and the monastery, as well as the college itself, the schola supports the liturgy of the abbey on sundays. it also sings one of the great settings of the ordinary of the mass at choral mass every friday night in term time, along with some motets and plainchant. the choir has an extensive repertoire of motets and other sacred works. it gives concerts locally, has toured widely in europe and the united states, and the far east. trebles: william and benedict dollard. benedict and his brother william were choristers in the choir of westminster cathedral in 1997 and 1999. they apparently changed choirs and were singing with the choir of ampleforth college in 2001. organ: tristan russcher
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