Herbert Howells’ Magnificat and Nunc Dimittis (Collegium Regale), for SATB and Organ accompaniment, is a vibrant sacred work with beautiful voicings and a. Magnificat and Nunc dimittis for St Paul’s Cathedral, also known as the St Paul’s Service, is a setting by the English composer Herbert Howells of the Magnificat and Nunc dimittis for others being his settings for King’s College Cambridge ( Collegium Regale) and for Gloucester Cathedral – where the music “burns through. Herbert Howells () .. The Collegium Regale Magnificat and Nunc dimittis have rightly become the most celebrated settings of the twentieth century.
|Published (Last):||22 December 2016|
|PDF File Size:||4.2 Mb|
|ePub File Size:||10.13 Mb|
|Price:||Free* [*Free Regsitration Required]|
Having contributed little of any significance to Anglican liturgical music for two decades, Howells found the renewed experience of choral services one he had formerly known at the cathedrals of Gloucester and Salisbury highly amenable and invigorating.
He was still reeling from the tragic death from polio of his son, Michael, in and, though highly regarded, he was now thought of mainly as an eminent teacher of composition at the Royal College of Music. The given promise dictated style and scope. The darker, modal hues of the Te Deum and Jubilate benefit from the lavish role of the Coventry Cathedral organ, especially at points of climax with which both movements aboundwhile moments of more characteristic Collefium prayerfulness are shaped by Layton and the Trinity choir with true, intimate poetry.
The university conferred an honorary doctorate on him in This page was last edited on 17 Octoberat Gramophone’s expert reviews easier than ever before. Sacred choral music by Herbert Howells. Only the Gloria should raise its voice. The composer’s biographer, Christopher Palmerdescribed the St Paul’s Service as being one of the three Howells canticle settings that “tower above the rest” — the others being his settings for King’s College Cambridge Nagnificat Regale and for Gloucester Cathedral — where the music “burns through the words’ patina of familiarity into a dramatic and purposeful entity”, while reflecting their “constantly varying nuances and inflections”.
A stalwart howlels the church liturgy first conceived as far back as ADthese settings span over years of English The Rodolfus ChoirRalph Allwood conductor. Skip to main content. June Total duration: The Kyrie reprises the opening chords of the Magnificat, and the Gloria sung as regae closing hymn of praise in the Book of Common Prayer rite makes extensive use of music from the Te Deum.
His setting has poise and structure, and builds convincingly to magnifcat final peroration. This was the tradition in which he had served his apprenticeship as an articled pupil of Herbert Brewer at Gloucester Cathedral in his teens, the tradition in which he began his working life in as sub-organist of Salisbury Cathedral ill health obliged him to relinquish this post after only a few months.
A true master and exponent of the British choral music tradition, Herbert Howells’ compositions and settings are brought to life in this collection of his secular and sacred works. Retrieved from ” https: Don’t show me this message again.
Stephen Layton and his award-winning choir took the trip to Coventry Cathedral for this very special recording. For the Coronation itself the combined choirs were large and Howells provided a fully orchestrated score, but this sensitive anthem is more usually gegale, as here, with smaller forces and organ accompaniment. The site is also available in several languages. Behold, O God Our Defender.
Mary sings the Magnificat “My soul doth magnify magnuficat Lord” on the occasion of her visit to Elizabethas narrated in the Gospel of Luke Luke 1: April Total duration: Attention to dynamic detail, especially the hushed quality of the Magnificatbrings out the ethereal, not to say numinous character of this highly original miniature, imbued as it is with a whiff of French Impressionism.
Mabnificat played these works, as he always did, on the piano. Long before Cambridge, long before it was even suspected that Howells would become the composer of the church music with which he is now pre-eminently associated, even before the Piano Quartet and Rhapsodic Quintet for clarinet and strings, prize-winning works that marked him out as a force to be reckoned with in modern British music, Howells had begun to contribute with distinction to the repertoire of the cathedral organist.
When the war ended Howells was made a fellow commoner, and in the college granted him an honorary fellowship.
Magnificat and Nunc dimittis for St Paul’s Cathedral – Wikipedia
The Te Deum is the longest of all the canticles and Howells is alive to the need to create contrasts of mood and colour and to craft a convincing musical shape out of a disparate text. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
This magnificient programme sung by The Temple Church Choir explores three fascinating and contrasting settings of the Te Deum: Howells set the combination of Magnificat and Nunc dimittis 20 times,  taking the words from the Book of Common Prayer. And for all those devoted to art of Howells, the early psalm chants and the slightly more mature Rhapsody in D flat of a little redolent of Parry perhaps?
Simeon sings the Nunc dimittis “Lord, now lettest thou thy servant depart in peace” when Jesus is presented in the temple Luke 2: The piece has been recorded several times,  including a collection The Music of St. I love all beauteous things. Howells had had no previous association with Cambridge before being invited to deputize for Orr.
Don’t show me this message again. Other recordings available for download. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. This laid down a template in sound which was to see cathedral organists queuing up to secure their own piece of Howells.
But Howells is not raiding earlier scores because of a shortage of inspiration: Performances come from the youthful talents of The Rodlofus Choir,