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Sorry, you will be sick of hearing me say that by the end of this interview, but once the text is decided upon, the first thing would be a structural plan and hopefully, the germ of a melody, by which the rest of the work will evolve. Because she is a text-driven composer who carefully crafted her own libretto, the following exploration of the work will examine these decisions in depth. [...]the use of the \"requiem aeternam\" in two movements connects Daley's Requiem to the Anglican tradition in A Short Requiem by Walter Davies and the Requiem of Herbert Howells. May the choir of angels receive Thee and with Lazarus, once a beggar, may Thou have eternal rest.12 Daley's compilation of the Latin portions of the libretto shows great care and attention to detail. [...]a portion of the third movement's text is also from that Burial Service, and Psalm 130, used for the second movement, is a suggested scripture in the modern edition of the service.

Don't try to be clever and to prove it by saying something negative.1 -Imogen Hoist On March 14, 1984, at seventy-seven years of age, Imogen Hoist died of a heart attack. While her funeral contained the words and music of J. S. Bach and her father, British composer Gustav Hoist, the most poignant moment occurred when her mourners spontaneously sang Sanctus, the five-voice round she adapted from the music of the Franco-Flemish composer Clemens non Papa.2 She taught this particular round to many amateur singers throughout her life and published it as part of Singing for Pleasure, the collection she composed in 1957 for the National Federation of Women's Institutes, the largest women's organization in England. Imogen attended St. Paul's Girls' School from 1921 to 1924, where she took composition lessons with Herbert Howells.5 She attended the Royal College of Music from 1926 to 1930, where she studied composition with George Dyson, Gordon Jacob, and Ralph Vaughan Williams; took piano lessons with Kathleen Long; and balanced a busy schedule of additional coursework that included score reading, aural training, paperwork, choral class, ballet class, and folk dancing class.6 In 1926 as part of her paperwork course assignment for Dyson, she composed her Mass in A Minor, one of her longest compositions and in the style of a Renaissance mass, similar to Vaughan Williams's Mass in G Minor (1921). Come Follow, Summer is a coming in, Boyce's three part Alleluya, Tallis's canon in eight parts, Purcell's If Music be the Food of Love sung by women's voices, two choral settings of Somerset folk songs, one for SATB and the other SSA, the madrigal Sing We and Chant It, two interludes of instrumental music played by the local professionals (for loved) or by really reliable local amateurs, and finally two hymns, Ye Watchers and Ye Only Ones and Turn Back 0 Man sung in harmony with orchestral accompaniment.

Three performances of choral music by Herbert Howells occurred in New York in a span of two weeks, one each by the Trinity Choir, the choir and orchestra of St. Ignatius Loyola, and the St. Thomas Choir of Men and Boys. These commissions present a working outline of how Americans - or at least Episcopalians - came to be familiar with Howells' music. From the 1940s to the 1960s, a gradual awareness of Howells' church music took place, first for organ and then for chorus and organ, through performances in concerts and increasingly in liturgies. American commissions from the 1960s and 1970s demonstrate, both directly and indirectly, a deeper engagement with Howells' music in frequency of performance, diversity of repertory, and familiarity with his compositional style. Central to all the commissions is the importance of individual advocates raising awareness of Howells' music. However, interest in Howells has yet to penetrate many corners of American musical life. Howells essentially remains a niche composer, whose work continues to deserve more widespread attention in America.

Dr. Carol Kimball, author of the incomparable Song: A Guide to Art Song Style and Literature, and Art Song: Linking Poetry and Music, and editor of a number of outstanding anthologies for publisher Hal Leonard, is another such contributor to art song research. Dr. Brister has presented at a number of conferences on the topic of Dring's songs, most recently at the 2018 National Association of Teachers of Singing National Conference in Las Vegas, and in 2013 at the International Congress ofVoice Teachers in Brisbane, Australia. In the aforementioned Journal of Singing article, she describes the composer's compositional skill as \"fast harmonic rhythm, clear text setting, uneven or mixed meters, complex accompaniments that demand quick chromatic reading skills ...

In 2017, the year of composer John Gardner's centenary, and in the years to follow, it is hoped that everyone will remember Gardner's special gifts to choral music and keep his spirit alive. He had an innate sense of what works for the voice and, though he did not always make it easy, Gardner knew what he wanted to say - he was direct, never meandering, always giving singers something they could dig their teeth into. Sometimes the music is whimsical, sometimes very deep, but always worth the time spent rehearsing and performing it. Some of Gardner's larger works, such as \"A Song for St. Cecilia Day,\" are difficult, but they are rewarding for the challenge. His hymn settings may not sit well with everyone, but Gardner was trying to give these old words a new lease on life, removing them from their Victorian melodies. A list of his choral works is provided.

This is on Tim's Daytimer: Dec 2-3 \"Home for the Holidays\" Tulsa, OK Dec 14 Executive Committee Meeting Oklahoma City, OK Dec 15 Epworth Villa Seasonal Program Edmond, OK Dec 19 Staff Holiday Dinner Oklahoma City, OK Dec 26-31 Messiah in Dublin Dublin, Ireland. This is on Tim's Ipad: \"Five Minds for the Future\" by Howard Gardner and \"Immunity to Change\" by Kagen and Lahey. This is Tim's latest app: \"Dancing Line.\" This is the music Tim is listening to: Sing Lullaby by Herbert Howells performed by the King's Singers and Sweeter Still: A Holiday Carol by Eric William Barnum performed by Singknaben of the Cathedral of St. Ursus Andreas Reize.

This article honors many known and unknown bards, numbers of hymns still sung, and some long forgotten, and celebrates the texts, tunes, writers, composers, and hymnals that have contributed to the rich and multi-faceted song of 21st-century congregations.

Daw constructed a fine scholarly study of Bridges and The Tattendon hymnal and, based on his research, gave an oral presentation at a regional convention of the American Choral Directors Association. The occasion was the celebration of the ninetieth birthday of Hustad, who was honored at the convention for his significant contributions to church music and music education. In consultation with Virginia Theological Seminary (Episcopal) head librarian Mitzi Budde, I first suggested seeking a grant to produce copies of The Tattendon hymnal in an elegant facsimile edition.