{"id":6058,"date":"2017-09-29T05:03:39","date_gmt":"2017-09-29T11:03:39","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6058"},"modified":"2017-09-29T05:05:42","modified_gmt":"2017-09-29T11:05:42","slug":"mount-calvary-music-october-1-2017","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-october-1-2017-6058.htm","title":{"rendered":"Mount Calvary Music October 1, 2017"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Parable of the Two Sons<\/em>, by Jan Luyken (1649-1712)<\/p>\n

Mount Calvary Church<\/strong><\/span><\/p>\n

A Roman Catholic Congregation of<\/p>\n

The Personal Ordinariate\u00a0of the Chair of St. Peter<\/p>\n

Anglican Use<\/em><\/p>\n

Trinity XV<\/p>\n

Common<\/strong><\/p>\n

Missa de S. Maria Magdalena<\/em>, Willan<\/p>\n

Prelude<\/strong><\/p>\n

Excerpt from Chorale No. 3<\/em>, Cesar Franck (1822-1890)<\/p>\n

Hymns<\/strong><\/p>\n

At the name of Jesus every knee shall bow<\/em><\/p>\n

How sweet the name of Jesus sounds\u00a0<\/em><\/p>\n

Al hail the power of Jesus’ name<\/em><\/p>\n

Anthems<\/strong><\/p>\n

Christus factus est a 3<\/em>, Matteo Asola<\/p>\n

O sacrum convivium<\/em>,\u00a0Tom\u00e1s Luis de Victoria<\/p>\n

Postlude<\/strong><\/p>\n

Fugue in G minor<\/em> BWV 578, Johann Sebastian Bach<\/p>\n

________________________________________<\/p>\n

Prelude<\/strong><\/p>\n

\"\"<\/a>Excerpt from Chorale No. 3<\/em>, Cesar Franck (1822-1890).\u00a0In the summer of 1890, Cesar Franck was riding in a cab when it was struck by a horse-drawn trolley. He suffered a fainting spell and a slight head injury, but he thought it wasn’t serious enough to warrant treatment and went on his way. Soon it became difficult for him to walk and he had to give up his teaching at the Conservatoire and went on vacation to try and recuperate. \u00a0He went back to the Conservatoire in the fall of 1890 but contracted an upper respiratory ailment that soon changed to pneumonia. He died November 8, 1890.<\/p>\n

It was during this vacation that he completed the three\u00a0Chorales For Organ<\/i>.\u00a0The\u00a0Chorale No. 3 in A Minor\u00a0<\/i>begins as a toccata and has a contrasting second theme before it goes into a new theme played adagio. The finale of the piece hears the toccata return and the weaving in and out of the other themes heard in the piece.<\/p>\n

Here is the complete Chorale No. 3 in A minor<\/a>.<\/p>\n

___________________________<\/p>\n

At the name of Jesus every knee shall bow<\/strong><\/em>, with text by\u00a0Caroline Maria Noel (1817\u20141877), is\u00a0based on the early Christian hymn preserved in Philippians 2: \u201cHave this mind among yourselves, which is yours in Christ Jesus, 6 who, though he was in the form of God, did not count equality with God a thing to be grasped, 7 but emptied himself, taking the form of a servant, being born in the likeness of men. 8 And being found in human form he humbled himself and became obedient unto death, even death on a cross. 9 Therefore God has highly exalted him and bestowed on him the name which is above every name, 10 that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, 11 and every tongue confess that Jesus Christ is Lord, to the glory of God the Father.\u201d<\/p>\n

Caroline Maria Noel (1817\u20141877) surveys the history of redemption, from the kenosis, the self-emptying of God when the Son became man, to the Ascension, when He bore our humanity to the throne of God, from whence He shall come in His humanity to rule the cosmos forever.<\/p>\n

Here is the original version:<\/p>\n

1 At the name of Jesus
\nevery knee shall bow,
\nevery tongue confess him
\nKing of glory now:
\n\u2019tis the Father\u2019s pleasure
\nwe should call him Lord,
\nwho from the beginning
\nwas the mighty Word.<\/p>\n

2 At his voice creation
\nsprang at once to sight,
\nall the angel faces,
\nall the hosts of light,
\nthrones and dominations,
\nstars upon their way,
\nall the heavenly orders,
\nin their great array.<\/p>\n

3 Humbled for a season,
\nto receive a name
\nfrom the lips of sinners
\nunto whom he came,
\nfaithfully he bore it
\nspotless to the last,
\nbrought it back victorious,
\nwhen from death he passed:<\/p>\n

4 Bore it up triumphant
\nwith its human light,
\nthrough all ranks of creatures,
\nto the central height,
\nto the throne of Godhead,
\nto the Father\u2019s breast;
\nfilled it with the glory,
\nof that perfect rest.<\/p>\n

5 Name him, Christians, name him,
\nwith love strong as death,
\nbut with awe and wonder
\nand with bated breath:
\nhe is God the Saviour,
\nhe is Christ the Lord,
\never to be worshipped,
\ntrusted, and adored.<\/p>\n

6 In your hearts enthrone him;
\nthere let him subdue
\nall that is not holy,
\nall that is not true:
\ncrown him as your Captain
\nin temptation\u2019s hour;
\nlet his will enfold you
\nin its light and power.<\/p>\n

7 Surely, this Lord Jesus
\nshall return again,
\nwith his Father\u2019s glory,
\nwith his angel train;
\nfor all wreaths of empire
\nmeet upon his brow,
\nand our hearts confess him
\nKing of glory now.<\/p><\/blockquote>\n

Here is the\u00a0First Congregational Church<\/a>\u00a0of Los Angeles.<\/p>\n

\"\"<\/a><\/p>\n

The words are by Caroline Maria Noel (1817-1877). She was born in London, April 10th. 1817 and died at 39 Cumberland Place, Hyde Park, Dec. 7th. 1877. Her first hymn \u201cDraw nigh unto my soul,\u201d was written when she was 17. During the next three years she wrote about a dozen pieces. From 20 years of age to 40 she wrote nothing; and during the next 20 years the rest of her pieces were written. The first edition of her composition was published as\u00a0The Name of Jesus and other Verses for the Sick and\u00a0<\/em>Lonely in 1861.<\/p>\n

The tune KING\u2019S WESTON is King\u2019s Weston by Ralph Vaughan Williams\u2019 melody, reverently in its somewhat somber manner. It has strong appeal, not least because it features a lovely, mournful folklike quality in the Dorian mode.\u00a0The short lines of each stanza end in a dotted whole note, emphasizing the rhyme and the meaning: bow<\/strong>, now<\/strong>, Lord<\/strong>, mighty Word<\/strong>. The hymn begins and ends with the phrase King of glory<\/strong>: The Word has gone forth from God and has returned to God, and will come again in His gloried humanity; but we even now<\/strong>, the last word of the hymn, acknowledge him as the King of glory, who comes to us in the Eucharist.<\/p>\n

Here is the Cardiff choru<\/a>s.<\/p>\n

___________________________<\/p>\n

How sweet the name of Jesus sounds<\/strong><\/em> is by John Newton. It\u00a0was inspired by the Song of Solomon 1.3: \u201cThy name is an ointment poured forth, therefore do the virgins love thee.\u201d An ointment is sweet and has healing properties: \u201cIt makes the wounded spirit whole.\u201d Our first hymn celebrates the cosmic power of Jesus; this hymn celebrates His intimate relationship with the believer, for He, the Word of God, is also our Shepherd, Brother and Friend.<\/p>\n

1 How sweet the name of Jesus sounds
\nin a believer’s ear!
\nIt soothes his sorrows, heals his wounds,
\nand drives away his fear.
\n2 It makes the wounded spirit whole,
\nand calms the troubled breast;
\n’tis manna to the hungry soul,
\nand to the weary rest.
\n3 Dear name! the rock on which I build,
\nmy shield and hiding-place,
\nmy never-failing treasury filled
\nwith boundless stores of grace.
\n4 Jesus! my Shepherd, Brother, Friend,
\nmy Prophet, Priest, and King,
\nmy Lord, my Life, my Way, my End,
\naccept the praise I bring.<\/p><\/blockquote>\n

Here are two additional stanzas, which we will not use:<\/p>\n

5 Weak is the effort of my heart,
\nand cold my warmest thought;
\nbut when I see thee as thou art,
\nI’ll praise thee as I ought.
\n6 Till then I would thy love proclaim
\nwith every fleeting breath;
\nand may the music of thy name
\nrefresh my soul in death.<\/p><\/blockquote>\n

Here is the York Minster choir<\/a>.<\/p>\n

Like many hymns, it has undergone revision. Here is the original text:<\/p>\n

1 How sweet the name of Jesus sounds
\nIn a believer’s ear?
\nIt soothes his sorrows, heals his wounds,
\nAnd drives away his fear.<\/p>\n

2 It makes the wounded spirit whole,
\nAnd calms the troubled breast;
\n‘Tis manna to the hungry soul,
\nAnd to the weary, rest.<\/p>\n

3 Dear name! the rock on which I build,
\nMy shield and hiding place;
\nMy never failing treas’ry, fill’d
\nWith boundless stores of grace!<\/p>\n

4 By thee pray’rs acceptance gain,
\nAltho’ with sin defil’d;
\nSatan accuses me in vain,
\nAnd I am own’d a child.<\/p>\n

5 Jesus! my shepherd, husband, friend,
\nMy prophet, priest, and king:
\nMy Lord, my life, my way, my end,
\nAccept the praise I bring.<\/p>\n

6 Weak is the effort of my heart,
\nAnd cold my warmest thought;
\nBut when I see thee as thou art,
\nI’ll praise thee as I ought.<\/p>\n

7 ‘Till then, I would thy love proclaim
\nWith ev’ry fleeting breath;
\nAnd may the music of thy name
\nRefresh my soul in death.<\/p>\n

In the original edition, Olney Hymn<\/em>s, the scripture reference for this hymn is\u00a0the Song of Solomon 1.3: \u201cThy name is an ointment poured forth, therefore do the virgins love thee.\u201d The sweetness and gentleness of teh words and music bear the mark of bridal mysticism, which Protestants inherited form medial Catholicism. In stanza 5 the line “Shepherd, Husband<\/strong>, Friend” has been changed to “Shepherd, Brother<\/strong>, Friend.”<\/p>\n

Frank Coloquhoun in Hymns That Live<\/em> comments:<\/p>\n

“But what about the title “Husband”? Newton’s reason for using it is clear. He is interpreting his text from the Song of Solomon in allegorical fashion. The bridegroom in the ancient love-song is Christ, his bride is the Church. St, Paul uses the same metaphor in Ephesians 5,21ff.; so does the writer of teh Apocalypse (Rev 21.9). But Christ is not the “husband” of the individual soul and therefore cannot be addressed by the believer as “my husband.” The bride of Christ is the Church in its corporate and collective\u00a0 sense. Moreover…”the expression is unsuited to congregational use, as in no sense can it be said that Jesus is the Husband of men.”<\/p>\n

\"\"<\/a><\/p>\n

John Newton, Clerk,<\/em><\/p>\n

once an infidel and libertine, a servant of slaves in Africa,<\/em><\/p>\n

was, by the rich mercy of our Lord and Saviour Jesus Christ,<\/em><\/p>\n

preserved, restored, pardoned,<\/em><\/p>\n

and appointed to preach the Faith<\/em><\/p>\n

he had long labored to destroy.<\/em><\/p>\n

John Newton (1725-1807) wrote this hymn and Amazing Grace<\/em>.<\/p>\n

At sea by the age of eleven, he was forced to enlist on a British man-of-war seven years later. Recaptured after desertion, the disgraced sailor was exchanged to the crew of a slave ship bound for Africa.<\/p>\n

It was a book he found on board–Thomas \u00e0 Kempis’\u00a0Imitation of Christ<\/em>–which sowed the seeds of his conversion. When a ship nearly foundered in a storm, he gave his life to Christ. Later he was promoted to captain of a slave ship. Commanding a slave vessel seems like a strange place to find a new Christian. But at last the inhuman aspects of the business began to pall on him, and he left the sea for good.<\/p>\n

While working as a tide surveyor he studied for the ministry, and for the last 43 years of his life preached the gospel in Olney and London. At 82, Newton said, “My memory is nearly gone, but I remember two things, that I am a great sinner, and that Christ is a great Saviour.” No wonder he understood so well grace–the completely undeserved mercy and favor of God.<\/p>\n

ST PETER features descending motion after an initial rise. Composed by Alexander R. Reinagle (b. Brighton, Sussex, England, 1799; d. Kidlington, Oxfordshire, England, 1877), ST. PETER was published as a setting for Psalm 118 in Reinagle’s Psalm Tunes for the Voice and Pianoforte<\/em> (c. 1836). The tune first appeared with Newton’s text in Hymns Ancient and Modern<\/em> (1861); it is now usually associated with this text, for which it is a better match than for Psalm 118. The tune was named after St. Peter-in-the-East, the church in Oxford, England, where Reinagle was organist from 1822-1853.<\/p>\n

\"\"<\/a><\/p>\n

Alexander R. Reinagle (1756-1809) was born in Portsmouth, England. His father was a Hungarian professional musician and his mother was Scots. He studied music with his father, then with Raynor Taylor in Edinburgh.<\/p>\n

In 1786, Reinagle decided to try his fortune as a professional musician in the newly independent United States of America. He moved to New York City, and, later moved again to Philadelphia, which was the national capital at the time. He helped revitalize the musical life of Philadelphia in the 1790s, introducing that city to the music of Haydn and Mozart, as well as his own original compositions.<\/p>\n

One of Reinagle’s admirers was American President George Washington. In 1789, Reinagle composed a \u201cChorus\u201d, which was performed for Washington at Trenton, New Jersey, during Washington’s journey to his inauguration. Later, in Philadelphia, Nellie Custis, Washington\u2019s step-granddaughter, was one of Reinagle\u2019s music students. Washington was a frequent concertgoer, and could often be seen in the audience at Reinagle\u2019s concerts. On Washington\u2019s death in 1799, Reinagle composed a Monody on the Death of George Washington.<\/p>\n

Beginning in 1791 Reinagle was associated with Thomas Wignell, the British actor, in the operation of a theatrical company that presented programs in Philadelphia and Baltimore. Their company, the New Company, was responsible for the building of both the New Theatre (or Chestnut Street Theatre) in Philadelphia, which opened in February 1793, and the Baltimore Theatre on Holliday Street, which opened in September 1794. The company presented both spoken and musical works. Reinagle was the musical director of the operation until his death in 1809. He hired George Gillingham, an English violinist, as conductor of the Chestnut Street Theatre. In the first six seasons of operation the company produced more than seventy-five musical works. Reinagle composed, arranged, or orchestrated music for all of the productions, and composed two ballad operas himself in 1795,\u00a0The Volunteers<\/cite>\u00a0and\u00a0Sicilian Romance<\/cite>. Unfortunately, all but a few of the musical scores prepared by Reinagle for the Chestnut Street Theatre’s productions were lost in the fire that destroyed the theater on April 2, 1820.<\/p>\n

Reinagle moved to Baltimore in 1803, the same year that Thomas Wignell died. He continued to be the musical director of the New Company’s productions at the Baltimore Theatre. Reinagle died on September 21, 1809 and is buried in St. Paul’s Burying Ground in Baltimore.<\/p>\n

__________________________<\/p>\n

All hail the power of Jesus\u2019 name! <\/em><\/strong>was written by Edward Perronet (1726\u20141792), an associate of John Wesley, and was rewritten by several hands. Like out first hymn, it celebrates the power of the name of Jesus. It alludes to the Apocalypse. In Rev 19.16 Jesus is \u201cKing of Kings and Lord of Lords\u201d on whose head \u201care many diadems,\u201d Rev 19.12. The martyrs call from the altar, \u201cI saw under the altar the souls of those who had been slain for the word of God and for the witness (martus<\/em>) they had borne; they cried out with a loud voice\u201d (Rev 6.9). We sinners, who have tasted the \u201cwormwood and the gall\u201d (Lam 3.19) of our evil deeds, offer our repentance as a trophy to the Lord of all. John sees every kindred, every tribe, \u201ca great multitude\u2026from every nation (Rev 7.9) who cry out \u201cSalvation belongs to our God who sits upon the throne, and to the Lamb.\u201d As we sing we join them in this confession.<\/p>\n

Here is the 1940 Hymnal<\/em> version:<\/p>\n

1 All hail the pow’r of Jesus’ name!
\nLet angels prostrate fall;
\nBring forth the royal diadem
\nAnd crown Him Lord of all.
\nBring forth the royal diadem
\nAnd crown Him Lord of all.<\/p>\n

Crown Him, ye martyrs of our God
\nWho from His altar call;
\nExtol the Stem of Jesse’s rod
\nAnd crown Him Lord of all.
\nExtol the Stem of Jesse’s rod
\nAnd crown Him Lord of all.<\/p>\n

Hail Him, the Heir of David’s line,
\nWhom David Lord did call,
\nThe God incarnate, Man divine,
\nAnd crown Him Lord of all.
\nThe God incarnate, Man divine,
\nAnd crown Him Lord of all.<\/p>\n

Ye seed of Israel’s chosen race,
\nYe ransomed from the Fall,
\nHail Him who saves you by His grace
\nAnd crown Him Lord of all.
\nHail Him who saves you by His grace
\nAnd crown Him Lord of all.<\/p>\n

Sinners, whose love can ne’er forget
\nThe wormwood and the gall,
\nGo, spread your trophies at His feet
\nAnd crown Him Lord of all.
\nGo, spread your trophies at His feet
\nAnd crown Him Lord of all.<\/p>\n

Let every kindred, every tribe,
\nOn this terrestrial ball
\nTo Him all majesty ascribe
\nAnd crown Him Lord of all.
\nTo Him all majesty ascribe
\nAnd crown Him Lord of all.<\/p>\n

Here is Samuel Metzger’s arrangement<\/a>.<\/p>\n

Here is the 1799 version:<\/p>\n

1 All hail the pow’r of Jesus’ name!
\nLet Angels prostrate fall:
\nBring forth the royal diadem,
\nTo crown Him Lord of All.<\/p>\n

2 Let high-born Seraphs tune the lyre,
\nAnd, as they tune it, fall
\nBefore his face who tunes their choir,
\nAnd crown Him Lord of All.<\/p>\n

3 Crown Him, ye morning stars of light,
\nHe fix’d this floating ball;
\nNow hail the strength of Israel’s might,
\nAnd crown Him Lord of All<\/p>\n

4 Crown Him, ye martyrs of your God,
\nWho from His altar call,
\nExtol the stem of Jesse’s rod,
\nAnd crown Him Lord of All.<\/p>\n

5 Ye seed of Israel’s chosen race,
\nYe ransom’d of the fall,
\nHail Him who saves you by his grace,
\nAnd crown Him Lord of All.<\/p>\n

6 Hail Him, ye heirs of David’s line,
\nWhom David Lord did call;
\nThe God incarnate, Man divine,
\nAnd crown Him Lord of All.<\/p>\n

7 Sinners! whose love can ne’er forget,
\nThe wormwood and the gall,
\nGo–spread your trophies at his feet,
\nAnd crown Him Lord of All.<\/p>\n

8 Let every tribe, and every tongue,
\nThat hear the Saviour’s call
\nNow shout in universal song,
\nAnd crown Him Lord of All.<\/p>\n

There is an alternative final stanza, found in many hymnals:<\/p>\n

O that with yonder sacred throng
\nWe at his feet may fall!
\nWe’ll join the everlasting song,
\nAnd crown him Lord of all.<\/p>\n

The eliminated stanza with “high-born Seraphs” is charming but odd. “Hail Him, ye<\/strong> heirs of David’s line,” a vocative, addressed presumably to the Jews, was changed to “Hail Him, the Heir of David’s line,” changing heirs<\/strong> to Heir<\/strong>, and putting it in apposition to Him<\/strong>, that is, Christ.<\/p>\n

\"\"<\/a><\/p>\n

Edward Perronet <\/strong>(1726-1792). The Perronets of England, grandfather, father, and son, were French Huguenot emigres. David Perronet came to England about 1680. He was son of the refugee Pasteur Perronet, who had chosen Switzerland as his adopted country, where he ministered to a Protestant congregation at Chateau D’Oex. His son, Vincent Perronet, M.A., was a graduate of Queen’s College, Oxford. He became, in 1728, Vicar of Shoreham, Kent. He was close to with the Evangelical Revival under the Wesleys and Whitefield.<\/p>\n

His son Edward <\/strong>was born in 1726. Born, baptized, and brought up in the Church of England, he had originally no other thought than to be one of her clergy. But, though strongly evangelical, he had a keen and searching eye for defects. A characteristic note to\u00a0The Mitre<\/em>, in referring to a book called\u00a0The Dissenting Gentleman’s answer to the Rev. Mr. White<\/em>, thus runs:\u2014”I was born, and am like to die, in the tottering communion of the Church of England; but I despise her nonsense; and thank God that I have once read a book that no fool can answer, and that no honest man will.\u201d This strangely overlooked satire is priceless as a reflection of contemporary ecclesiastical opinion and sentiment. It is pungent, salted with wit, gleams with humor, hits off vividly the well-known celebrities in Church and State, and is well wrought in picked and packed words. But it is a curious production to have come from a “true son” of the Church of England. It roused John Wesley’s hottest anger. He demanded its instant suppression; and it was suppressed; and yet it was at this period the author threw himself into the Wesleys’ great work. But evidences abound in the letters and journals of John Wesley that he was intermittently rebellious and vehement to even his revered leader’s authority. Earlier, Edward Perronet dared all obloquy as a Methodist. In 1749 Wesley enters in his diary:<\/p>\n

“From Rochdale went to Bolton, and soon found that the Rochdale lions were lambs in comparison with those of Bolton. Edward Perronet was thrown down and rolled in mud and mire. Stones were hurled and windows broken.\u201d<\/p>\n

In 1755 arrangements to meet the emergency created by its own success had to be made for Methodism. As one result, both Edward and Charles Perronet broke loose from John Wesley’s law that none of his preachers or “helpers” were to dispense the Sacraments, but were still with their flocks to attend the parish churches. Edward Perronet asserted his right to administer the Sacraments as a divinely-called preacher. At that time he was resident at Canterbury, “in a part of the archbishop’s old palace.” He became one of the Countess of Huntingdon’s “ministers” in a chapel in Watling Street, Canterbury. Throughout he was passionate, impulsive, strong-willed; but always lived near his divine Master. In the close of his life he was an Independent or Congregational pastor of a small church in Canterbury. He died Jan. 2, 1792, and was buried in the cloisters of the great cathedral.<\/p>\n

 <\/p>\n

________________________<\/p>\n

Anthems<\/strong><\/p>\n

Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen.<\/em><\/p>\n

Christ became obedient for us unto death, even death on the cross. Therefore God exalted Him and gave Him a name which is above all names.<\/em><\/p>\n

Here is a Slavic group’s\u00a0rendition.<\/a><\/p>\n

Giovanni Matteo Asola<\/strong> (c. 1532-1609) was born in Verona, and began studying at Alga in 1546 in the congregation of secular canons. While in Verona he most likely studied with Vincenzo Ruffo. In 1569 he became a secular parish priest, and in 1577 became maestro di cappella at Treviso Cathedral; however, in 1578 he went to Vicenza Cathedral to take the equivalent job there, where the pay and musical opportunities were greater. He only stayed there four years, going to Venice in 1582,where he lived Venice until his death.<\/p>\n

Asola was a rare case of a composer working in Venice who showed almost no stylistic influence from the Venetian school; indeed most of his works are in the Palestrina style, the idiom of the Roman School of composers. In his later works he began using a basso continuo, and he may have been one of the first composers to do so. The only musical feature he borrowed from the Venetian composers elsewhere in his adopted city was the idea of cori spezzati, spatially separated groups of singers; however, this musical style was widespread in northern Italy by the time he was writing, and by no means unique to Venice.<\/p>\n

__________________________<\/p>\n

O sacrum convivium, in quo Christus sumitur; recolitur memoria passionis ejus; mens impletur gratia; et futurae gloriae nobis pignus datur. Alleluia.<\/em><\/p>\n

O sacred banquet, wherein Christ is received; the memorial of his passion is renewed; the soul is filled with grace; and a pledge of future glory is given to us. Alleluia.<\/em><\/p>\n

Here is a Chinese group<\/a>.<\/p>\n

 <\/p>\n

\"Tomas<\/a><\/p>\n

Tom\u00e1s Luis de Victoria<\/b>\u00a0(sometimes Italianised as\u00a0da Vittoria<\/i>)\u00a0(c. 1548 \u2013 27 August 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Catholic Reformation, along with Palestrina\u00a0and \u00a0Orlando di Lasso.Victoria was not only a composer, but also an accomplished organist and singer as well as a priest. However, he preferred the life of a composer to that of a performer.<\/p>\n

Postlude<\/strong><\/p>\n

Fugue in G minor<\/em> BWV 578, Johann Sebastian Bach.<\/p>\n

The Fugue in G minor, BWV 578, (popularly known as the Little Fugue), is a piece of organ music written by Johann Sebastian Bach during his years at Arnstadt (1703\u20131707). It is one of Bach’s best known fugues and has been arranged for other voices, including an orchestral version by Leopold Stokowski.<\/p>\n

Early editors of Bach’s work attached this title to distinguish it from the later Great Fantasia and Fugue in G minor, BWV 542, which is longer in duration.<\/p>\n

The fugue’s four-and-a-half measure subject is one of Bach’s most recognizable tunes. The fugue is in four voices. During the episodes, Bach uses one of Arcangelo Corelli’s most famous techniques: imitation between two voices on an eighth note upbeat figure that first leaps up a fourth and then falls back down one step at a time.<\/p>\n

Here is the G minor fugue for organ<\/a>.<\/p>\n

Here is Stokowski’s version<\/a>.<\/p>\n

Here are the Swingle Singer<\/a>s.<\/p>\n

And for saxophones<\/a>.<\/p>\n

And the Canadian Brass<\/a>.<\/p>\n

And for classical guitar<\/a>.<\/p>\n

For solo harp<\/a>.<\/p>\n

For harpsichord<\/a>. (rather nice)<\/p>\n

For clarinet quartet<\/a>.<\/p>\n

For trumpets<\/a>.<\/p>\n

For recorders<\/a>.<\/p>\n

 <\/p>\n

While we’re at it, here is the D Minor fugue from Fantasia<\/a>.<\/p>\n

\r\n\t<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Parable of the Two Sons, by Jan Luyken (1649-1712) Mount Calvary Church A Roman Catholic Congregation of The Personal Ordinariate\u00a0of the Chair of St. Peter Anglican Use Trinity XV Common Missa de S. Maria Magdalena, Willan Prelude Excerpt from Chorale No. 3, Cesar Franck (1822-1890) Hymns At the name of Jesus every knee shall bow […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"footnotes":""},"categories":[1229,1318],"tags":[1503,1416],"class_list":["post-6058","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","tag-anglican-ordinariate","tag-mount-calvary-baltimore","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6058","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/comments?post=6058"}],"version-history":[{"count":22,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6058\/revisions"}],"predecessor-version":[{"id":6100,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6058\/revisions\/6100"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6058"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6058"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}