DURUFLÉ & HOWELLS REQUIEMS - High Resolution
DURUFLÉ & HOWELLSREQUIEMSSAINT THOMAS CHOIR OF MEN & BOYS,FIFTH AVENUE, NEW YORKJOHN SCOTT conductor
Maurice Duruflé (1902-1986) & Herbert Howells (1892-1983)RequiemsKirsten Sollek mezzo-sopranoRichard Lippold baritoneMyron Lutzke celloFrederick Teardo organHerbert Howells (1892-1983)Requiem (1936)1. Salvator mundi2. Psalm 233. Requiem aeternam I4. Psalm 1215. Requiem aeternam II6. I heard a voice from heaven[2:19][2:32][3:06][2:46][3:32][4:14]Ralph Vaughan Williams (1872-1958)7. Valiant-for-truth[5:31]Saint Thomas Choir of Men & Boys,Fifth Avenue, New YorkJohn Scott conductorAbout Saint Thomas Choir of Men & Boys & John Scott:‘This is a fine choir, the treble tone appealingly bright,altos and tenors unearthly yet beautiful.’Gramophone‘[.] the New York boys and men sing eloquently and touchingly’Classical Music MagazineMaurice Duruflé (1902-1986)Requiem, Op. 98. Introit9. Kyrie eleison10. Domine Jesu Christe11. Sanctus12. Pie Jesu13. Agnus Dei14. Lux aeterna15. Libera me16. In paradisumTotal playing 8][2:58][63:14]
Howells, Vaughan Williams & DurufléThe mystery of Last Things has given rise tosome of the most searching and personalmusic in the Western canon. On this albumwe bring together two remarkably intimatefuneral works, the Requiems of HerbertHowells and Maurice Duruflé, both of whichexperienced a complex genesis. A bridgebetween them is provided by Ralph VaughanWilliams’s Valiant-for-truth; VaughanWilliams, though often seen as thequintessence of Englishness, studied inFrance and his musical language was deeplymarked by the experience. Valiant-for-Truthlies halfway between the two Requiems intime, and like these two works it addresseseschatological issues.Maurice DurufléRalph Vaughan WilliamsHerbert HowellsHerbert Howells: Requiem (1936)For many years it was thought that HerbertHowells’s Requiem was a tribute to his onlyson, Michael. Michael died of spinalmeningitis in 1935 at the age of nine, ablow from which Howells never recovered.Obsessed by his memory, the composerwrote several works that had Michael intheir title or were associated in some waywith St Michael. Indeed, Howells seems tohave encouraged the idea of a link betweenMichael and the Requiem: the first edition,produced we must assume with thecomposer’s approval, states bluntly that thework was ‘written in 1936’, i.e., after Michael’sdeath. However, it has become clear in recentyears that the Requiem was, in fact, startedsome time earlier, most likely in 1932. It waswritten for the Choir of King’s College,Cambridge, directed at that time by BorisOrd. For some reason, Howells never sentit off; instead, the score languished in hispossession for almost half a century.According to the first edition, Joan Littlejohnof the Royal College of Music in Londonidentified and re-assembled the manuscript,and the Requiem was released in 1980,shortly before the composer’s death in 1983.One important inspiration for Howells wasthe Short Requiem in D by Henry WalfordDavies (1869-1941). Dating from 1915, thiswas written ‘in sacred memory of all thosewho have fallen in the war’. The layout ofthe work is strikingly similar to that ofHowells’s Requiem:Walford Davies:I. Salvator mundiII. De profundis clamavi [i.e. Psalm 130]III. Requiem aeternam (1)IV. Levavi Oculos [i.e. Psalm 121]V. Requiem aeternam (2)VI. Audivi vocem [I heard a voice]VII. Hymn: Mors ultra non eritVIII. Gloria Patri
Howells:I. Salvator mundiII. Psalm 23III. Requiem aeternam IIV. Psalm 121V. Requiem aeternam IIVI. I heard a voice from heavenBoth composers reject the traditional Massliturgy, preferring instead unorthodoxcollections of texts. Two of Howells’smovements are psalm settings: Psalm 23(‘The Lord is my shepherd’) and Psalm 121(‘I will lift up mine eyes unto the hills’).Unusually, ‘Requiem aeternam dona eis’,from the traditional Latin Office of theDead, appears twice, in the third and fifthmovements. A text from Revelation, asfound in the Anglican Order for the Burialof the Dead, lies at the root of the finalmovement. The first has a more distantconnection with rituals of mourning: itstext is taken from the antiphon proper tothe Matins for the Exaltation of the Cross.Though Howells would probably haveknown these words from the famoussettings by Tallis, his decision to use thetext for the opening movement of theRequiem almost certainly derives fromexposure to the Short Requiem in D. Thishypothesis is strengthened when weconsider that Walford Davies taughtHowells choir-training techniques duringWorld War I, while the latter was a student atthe Royal College of Music.Simon Lindley has suggested that Howells’sreluctance to publish the work ‘arose fromthe terrible thought that in composing it atall, he had in some way tempted fate’. It maywell be that Howells was reminded ofMahler’s Kindertotenlieder. (In the first yearsof the last century Mahler set five poems byFriedrich Rückert inspired by the death ofhis daughter from scarlet fever. Moved bysuperstition, Mahler’s wife, Alma, beggedhim to desist. Two years after the premiere,in 1907, Mahler’s two daughters contractedthe same illness and one, Maria, died,leavingthe composer stricken by guilt.)The incorporation of some of the Requiem’smaterial into another work closely associatedwith Michael, the Hymnus Paradisi, mightprovide another explanation for Howells’sreluctance to publish. However, althoughthe latter also dates from the 1930s, it firstsaw the light in 1950; Herbert Sumsion (notVaughan Williams, as is often stated)persuaded Howells to allow its performancein the Three Choirs Festival of that year. Thetwo works use many of the same texts –here too Howells prefers to avoid wordsfrom the traditional Latin Requiem Mass –but their effect is quite different. Theluscious orchestral scoring of the HymnusParadisi betrays Howells’s affinities withFrench music; the Requiem, on the otherhand, is restrained and hints at thesonorities the composer had studied inRenaissance polyphony. Nevertheless,Howells finds remarkable colours in hissetting. In part, this can be ascribed to hisopulent harmonic language; in part, itresults from a flexible approach to texture.The choir divides at times into as many asten separate parts, and there are severalvignettes for solo voices. All this raisesHowells’s Requiem far beyond the modestWalford Davies setting that first inspired it.Ralph Vaughan Williams: Valiant-for-truthAlthough Ralph Vaughan Williams was adeclared agnostic, he was able, as hissecond wife Ursula put it, ‘to set to musicwords in the accepted terms of Christianrevelation, as if they meant to him whatthey must have meant to George Herbertor to Bunyan’. Indeed, the work of JohnBunyan accompanied Vaughan Williamsthroughout much of his long career,inspiring some of his most deeply feltmusic and, in addition, leading him to oneof the lowest points of his career – thepremiere of his opera, The Pilgrim’sProgress, in 1951. The text of the motet,Valiant-for-Truth, like that of the opera, istaken from Bunyan’s masterpiece. Its titlederives from one of the principal characters,Mr. VALIANT-FOR-TRUTH. Bloodied andscarred, with a sword in his hand, the pilgrimlooks expectantly to the life beyond.Valiant-for-truth was first performed on 29June 1942 by Harold Darke and the StMichael Singers – Howells would haveapproved! – and though it has beendescribed as a response to the death of thecomposer’s close friend, Dorothy Longman,it is hard not to see in the work’s trajectoryfrom darkness to light something of thehopes and fears of contemporary audiences.Beginning tentatively with recitative-likepassages, the piece moves through shorthomophonic sections and brief polyphonicexchanges, before culminating in triumphantfanfares similar to the off-stage alleluias inthe final scene of The Pilgrim’s Progress. Asone reviewer wrote when Valiant-for-truthwas first published, ‘all these effects, in thehands of a less skilled composer, might wellhave created a sense of confusion. Herethey are neatly contrasted to form amoving picture of Bunyan’s agonizedcharacter.’ In fact, one could arguethat Valiant-for-Truth was a study for theopera; it is nothing less than a miniaturescena, beautifully crafted and supremelymoving.
Maurice Duruflé: Requiem, Op. 9Like the Howells Requiem, Duruflé’s Op. 9had a complicated history. Though completedin 1947 and dedicated to the memory of thecomposer’s father (who had died in 1945),this was not an act of simple filial piety. Forthe Requiem’s origins reach back into thewar years and, as recent research hasdemonstrated, it was written in responseto a commission issued by the Vichy regimein May 1941. Most sources claim that therenowned publisher, Auguste Durand, askedDuruflé to write the work; however, LeslieA. Sprout has demonstrated conclusivelythe Vichy connection which, perhapsunderstandably, both composer and familytried to suppress. In fact, Duruflé wasoriginally commissioned to write asymphonic poem. Whether he everintended to produce a purely orchestralwork is far from certain; what is clear,however, is that he claimed his fee for theRequiem, but not until 1948, when theFourth Republic had long since displacedthe tainted Vichy regime.At the time of the first performance manysaw the Requiem as not just a response tothe death of Duruflé’s father, but also as acoming-toterms with the aftermath ofWorld War II. As if to confirm this, the workwas programmed at the premiere alongsidetwo pieces, by Alexandre Tansman and LászlóLajtha, that bore the title ‘In Memoriam’.The story of the Requiem’s origin is furtherclouded by the fact that Duruflé was workingat the time on a suite for organ. This wasbased on Gregorian themes and, althoughDuruflé indicated at one point that theRequiem borrowed music from the ‘Sanctus’and ‘Communion’ movements, we do notknow exactly how much material was takenover. However, given the nature of the music,and given Duruflé’s notoriously limitedoeuvre, it is likely that more than two ofthe Requiem’s movements had their originin the organ suite.Duruflé’s Requiem exists in four differentforms. The first, the version used for thepremiere, was written for large orchestra.Here Duruflé makes generous use ofpercussion. As the notorious papal motoproprio of 1903 had forbidden the use of‘all noisy or irreverent instruments’ suchas drums in church, we can assume thatthe work was originally intended more forthe concert hall than for liturgical use. Theorchestral version was followed shortlyafterwards by a version with organaccompaniment. A further adaptation ofthe work, this time for chamber orchestra,was completed some years later, in 1961.The last version, with accompaniment forpiano, remains unpublished. On thisrecording we hear the version with organaccompaniment, though with the additionof a solo cello in the fifth movement,as suggested by the composer.IV. Pie JesuV. Agnus Dei & Lux aeternaVI. Libera meVII. In paradisumDuruflé:Just as Howells looked back to WalfordDavies for textual models, Duruflé seems tohave based his Requiem on Gabriel Fauré’scelebrated setting of the funeral mass.Duruflé denied being influenced by Fauré,but both composers strike a remarkablysimilar tone of contemplation in theirsettings, and it is telling that all of Duruflé’smovements, like Fauré’s, end quietly(perhaps most memorably the finalmovement with its rapt, Messiaen-likeF sharp major harmonies). Moreover, bothworks avoid the more dramatic textsassociated with the Latin funeral Mass.There is no last trump, for example, ineither setting. Rather, the keystone ofboth works is provided by an introspectivesetting of the Pie Jesu, cast in each casefor solo voice.The parallels can be seen in the following:Fauré:I. Introit & KyrieII. OffertoireIII. SanctusI. IntroitII. KyrieIII. Domine Jesu Christe [i.e. Offertoire]IV. Sanctus – BenedictusV. Pie JesuVI. Agnus DeiVII. Lux aeternaVIII. Libera meIX. In paradisumAlthough it is tempting to align Duruflé’sRequiem with Fauré’s, we should not overlookthe differences between them – mostsignificantly perhaps the two composers’approach to plainsong. Fauré, though veryinterested in plainsong – Reynaldo Hahnonce called him a ‘voluptuous Gregorianist’ –nowhere makes use of pre-existing material.Duruflé’s work, on the other hand, is infusedwith chant. The composer himself wrote thatOp. 9 ‘is based exclusively on themes fromthe Gregorian funeral mass. Sometimes Iadopted the music exactly, leaving theorchestra to support or comment, in otherpassages [the chant] served merely as astimulus [ ] In general, however, I was
determined that my composition should betotally penetrated by the particular style ofthe Gregorian themes.’For all that, Duruflé never employs chantin its original form – that is to say,unaccompanied and in free metre. Rather,it always appears with some form ofdecoration. In the ‘Introit’, for example,Duruflé adds counter-melodies insemiquavers; here, he bars the chant inirregular combinations, creating a senseof crystallised fluidity. In the Kyrie, on theother hand, Duruflé reaches back totime-honoured cantus firmus techniques,setting the chant in long notes against acontrapuntal web based on the samemelodic material. The use of thisprocedure, often found in organ repertoire,suggests that the Kyrie may have been oneof those movements taken from theabandoned suite. While preparing theRequiem, Duruflé took advice on rhythmfrom an eminent expert on chant,Auguste Le Guennant. However, in histreatment of plainsong he will surely alsohave had in mind the example of his‘cherished Master’, Charles Tournemire.Tournemire’s L’Orgue Mystique, a cycleof 255 pieces based on fifty-one officesof the liturgical year, provided modelsthat are easily recognised in Duruflé’sscore.Duruflé, ever self-critical, described theRequiem to Nadia Boulanger as ‘verymodest music’, and Marie-Claire Alain recallshim saying that the decision to publish it was‘a disaster’. Curiously, had Duruflé givenfree rein to his insecurity, the work mighthave suffered a fate similar to that of theHowells Requiem. Yet, after a slow startDuruflé’s Requiem has become one of themost frequently performed and one of themost treasured of all twentieth-centurychoral works. 2011 Dr Martin EnnisTexts & TranslationsHerbert Howells (1892-1983)Requiem (1936)1. Salvator mundiO Saviour of the world,Who by thy Cross and thy preciousBlood hast redeemed us,Save us, and help us,we humbly beseech thee, O Lord.2. Psalm 23The Lord is my shepherd:therefore can I lack nothing.He shall feed me in the green pasture:and lead forth beside the waters of comfort.He shall convert my soul:and bring forth in the paths of righteousness,for his name’s sake.Yea, though I walk in the valley of the shadowof death, I will fear no evil:thy rod and thy staff comfort me.Thou shalt prepare a table before meagainst them that trouble me:thou hast anointed my head with oil,and my cup shall be full.But thy loving kindness and mercy shall follow meall the days of my life:and I will dwell in the house of the Lord forever.3. Requiem aeternam (1)Requiem aeternam dona eis.Et lux perpetua luceat eis.Requiem aeternam, dona eis Domine.Rest eternal grant unto them:and let light perpetual shine upon them.Rest eternal, grant unto them, O Lord.4. Psalm 121I will lift up mine eyes unto the hills:from whence cometh my help.My help cometh even from the Lord:who hath made heaven and earth.He will not suffer thy foot and be moved:and he that keepeth thee will notsleep.Behold, he that keepeth Israel:shall neither slumber nor sleep.The Lord himself is thy keeper:he is thy defence upon thy right hand;So that the sun shall not burn thee by day:neither the moon by night.The Lord shall preserve thee from all evil:yeah, it is even he that shall keep thy soul.The Lord shall preserve thy going out, and thy coming in:from this time forth and forever more.5. Requiem aeternam (2)Requiem aeternam, dona eis Domine.Et lux perpetua luceat eis.Requiem aeternam dona eis Domine.Rest eternal grant unto them, O Lord:and let light perpetual shine upon them.Rest eternal, grant unto them, O Lord.6. I heard a voice from heavenI heard a voice from heaven, saying unto me,Write, From henceforth blessed are the deadwhich die in the Lord.Even so saith the Spirit;From henceforth blessed are the deadwhich die in the Lord:For they rest from their labours.Revelations 14:13
Ralph Vaughan Williams (1872-1958)7. Valiant-for-truthAfter this it was noised abroad that MisterValiant-for-truth was taken with a summons;and had this for a token that the summons was true,‘That his pitcher was broken at the fountain.’When he understood it, he called for his friends,and told them of it.Then, said he, ‘I am going to my Father’s,and though with great difficulty I am got hither,yet now I do not repent me of all the trouble I havebeen at to arrive where I am.My sword, I give to him that shall succeed me inmy pilgrimage,and my courage and skill, to him that can get it.My marks and scars I carry with me,to be a witness for me, that I have fought his battles,who now will be my rewarder.’When the day that he must go hence, was come,many accompanied him to the riverside, into which,as he went, he said, ‘Death, where is thy sting?’And as he went down deeper, he said, ‘Grave,where is thy victory?’So he passed over, and all the trumpets sounded forhim on the other side.From Pilgrim’s Progress, John Bunyan (1628-1688)Maurice Duruflé (1902-1986)Requiem, Op. 98. IntroitRequiem aeternam dona eis,Domine:et lux perpetua luceat eis.Te decet hymnus Deus in Sion,et tibi redetur votum in Jerusalem.Exaudi orationem meam;ad te omnis caro veniet.Rest eternal grant unto them, O Lord:and let light perpetual shine upon them.Thou, O God, art praised in Sion,and unto thee shall the vow be performed in Jerusalem:Thou that hearest the prayer,unto thee shall all flesh come.9. KyrieKyrie eleison.Christe eleison.Kyrie eleison.Lord, have mercy upon us.Christ, have mercy upon us.Lord, have mercy upon us.10. Domine Jesu ChristeDomine Jesu Christe, Rex gloriae,libera animas omnium fideliumdefunctorum de poenis inferni, etde profundo lacu:Libera eas de ore leonis, ne absorbeateas tartarus: ne cadant inobscurum. Sed signifer sanctusMichael repraesentet eas inlucem sanctam, Quam olim Abrahaepromisisti, et semini ejus.Hostias et preces tibi, Domine,laudis offerimus: tu suscipe proanimabus illis quarum, hodiememoriam facimus.Fac eas, Domine, de morte transiread vitam. Quam olim Abrahaepromisisti, et semini ejus.O Lord Jesus Christ, King of glory, deliverthe souls of the departed from thepains of hell and the bottomless pit:13. Agnus DeiAgnus Dei, qui tollis peccata mundi,dona eis requiem.Agnus Dei, qui tollis peccata mundi,dona eis requiem sempiternam.Deliver them from the lion’s mouth, thathell devour them not: may they notfall into darkness, but let Saint Michael,the standard bearer, lead theminto the holy light, which thou oncepromised to Abraham and his seed.O Lamb of God, that takest away thesins of the world, grant them rest.O Lamb of God, that takest away thesins of the world, grant them rest eternal.Sacrifices and prayers do we offer tothee, O Lord: do thou accept themfor those souls in whose memory wemake this oblation.14. Lux aeternaLux aeterna luceat eis, Domine,cum sanctis tuis in aeternum:quia pius es.Make them, O Lord, to pass fromdeath to life,which thou once promisedto Abraham and his seed.Requiem aeternam dona eis,Domine:et lux perpetua luceat eis.Quia pius es.11. Sanctus & BenedictusSanctus, sanctus, sanctus, Dominus Deus Sabaoth.Pleni sunt coeli et terra gloria tua.Hosanna in excelsis.Benedictus qui venit in nomine Domini.Hosanna in excelsis.Let light eternal shine upon them, OLord: with thy saints for evermore:for thou art gracious.Holy, holy, holy, Lord God of Hosts.Heaven and earth are full of Thy glory.Glory be to Thee, O Lord Most High.Blessed is he who cometh in the name of the Lord.Hosanna in the highest.12. Pie JesuPie Jesu Domine, dona eis requiem.Dona eis sempiternam requiem.Kind Lord Jesus, grant them rest.Grant them eternal rest.Rest eternal grant unto them, O Lord:and let light perpetual shine upon them.For thou art gracious.15. Libera meLibera me, Domine, de morte aeterna,in die illa tremenda:Quando coeli movendi sunt et terra;Dum veneris judicare saeculum perignem.Tremens factus sum ego, et timeo,dum discussio venerit, atque ventura ira.Dies illa, dies irae, calamitatis et miseriae,dies magna et amara valde.
Requiem aeternam dona eis Domine,et lux perpetua luceat eis.Deliver me, O Lord, from everlastingdeath in that fearful day:When the heavens and earth shall be shaken;When thou shalt come to judge the world by fire.I am in fear and trembling, until thesifting be upon us and the wrath to come.That day, the day of wrath, calamityand misery, the great day of exceeding bitterness.Rest eternal grant unto them, O Lord:and let light perpetual shine upon them.16. In paradisumIn paradisum deducant te Angeli,in tuo adventu suscipiant te martyres,et perducant te in civitatemsanctam Jerusalem.Chorus Angelorum te suscipiat,et cum Lazaro quondam paupereaeternam habeas requiem.May the Angels lead thee into Paradise;and the Martyrs receive thee at thycoming and bring thee into theholy city Jerusalem.May the choir of Angels receive thee,and mayest thou,with Lazarus once poor, have everlasting rest.Kirsten Sollek (mezzo-soprano)Based in New York City, Kirsten Sollek hasbeen a soloist with Tafelmusik, Bach CollegiumJapan, New York Collegium, Concert Royal,Concerto Palatino, Trinity Consort, MinnesotaOrchestra, and the Boston Early Music andCarmel Bach Festivals. New York Timesreviewers have described her voice as ‘anappealingly rich alto’, and The PhiladelphiaInquirer has called her ‘an ideal Bach alto’.Also active in the genre of new music, Ms.Sollek has worked with Alarm Will Sound,Steve Reich, John Zorn and Bang on a Can.Richard Lippold (baritone)Richard Lippold’s solo career has encompassedmost genres and periods of music. Highlightsinclude Dead Man Walking (scenes with thecomposer, Frederica von Stade and JoyceDiDonato), Arvo Pärt’s Passio for the TribecaFilm Festival, Stephen Paulus’ Summer;leading opera roles in Chattanooga, Portland,Utah, Idaho, and St. Louis; Poppea (with NY’sOpera Omnia at Le Poisson Rouge), andconcert repertoire from Carmina Burana,Fauré, Duruflé, Haydn’s Masses (released onNaxos), to Bach, Telemann, Brahms, Handel’sMessiah, Rameau, Purcell, and Monteverdi.Mr. Lippold was a member of the Saint ThomasChoir of Men and Boys.Myron Lutzke (cello)Myron Lutzke is well known to audiencesas a cellist on both modern and periodinstruments. He attended Brandeis Universityand is a graduate of the Juilliard School. He iscurrently a member of the St. Luke’s ChamberEnsemble, Aulos Ensemble, MozarteanPlayers, Bach Ensemble, the Loma MarQuartet, The Theater of Early Music and theEsterhazy Machine and serves as principalcellist for the Orchestra of St. Luke’s,American Classical Orchestra and, forfourteen years, Handel and Haydn Societywith Christopher Hogwood in Boston. He ison the faculty of Indiana University EarlyMusic Institute and Mannes School ofMusic where he teaches period cello andBaroque performance practice.Frederick Teardo (organ)Frederick Teardo is Director of Music andOrganist at the Cathedral Church of theAdvent in Birmingham, Alabama. Prior tohis appointment in 2012, he held a six-yeartenure at Saint Thomas Church, Fifth Avenue,in New York City, where he served for mostof that time as Associate Organist, precededby his initial post as Assistant Organist. Heis also Adjunct Instructor of Organ at theUniversity of Montevallo.Dr. Teardo received the Doctor of MusicalArts degree from the Yale School of Musicand Institute of Sacred Music, as well as theMaster of Musical Arts and Master of Musicdegrees. At Yale, he studied organ withThomas Murray and harpsichord withRichard Rephann. During his time at Yale, heheld the post of Yale University ChapelOrganist, and later served as Assistant Organistat Trinity Episcopal Church on the Green inNew Haven, CT. Dr. Teardo received hisBachelor of Music degree with HighestHonors from the Eastman School of Music inRochester, NY, where he studied organ withDavid Higgs. His other teachers haveincluded Stephen Roberts and HaskellThomson. He has also studied improvisationwith William Porter and Jeffrey Brillhart.An avid performer, Dr. Teardo has won firstprize in numerous competitions and hasperformed across North America, includingsuch venues as the Cathedral of St. John theDivine, Saint Bartholomew’s Church, SaintPatrick’s Cathedral and the MetropolitanMuseum of Art in New York City, WashingtonNational Cathedral, Grace Cathedral in SanFrancisco, Methuen Memorial Music Hall,Trinity Church Copley Square in Boston,Princeton University Chapel, and theCathedral Church of the Redeemer inCalgary, Alberta. he has also been a featuredperformer at Regional and NationalConventions of the American Guild of Organistsand Organ Historical Society.
The Saint Thomas Choir & Choir SchoolConvention in Houston, Texas.The Saint Thomas Choir of Men and Boys isconsidered by many to be the leadingensemble of its kind in the Anglican choraltradition in the United States. The Choirperforms regularly with Orchestra of St. Luke’s,or with the period instrument ensemble,Concert Royal, as part of its own concertseries. Its primary raison d’être, however, isto provide music for five choral serviceseach week. Live webcasts of all choralservices and further information includingrecordings of the choir may be found atwww.SaintThomasChurch.org.In addition to the annual performances ofHandel’s Messiah, concerts at Saint ThomasChurch have included Requiems by Fauré,Brahms, Mozart, Duruflé, Victoria and Howells;Bach’s Passions, Mass in B Minor and Motets;the U.S. premiere of John Tavener’s Mass; theU.S. premiere of Nico Muhly’s work My Dayswith viol consort Fretwork; Handel’s Israel inEgypt; a program of Handel and Purcell’sBaroque masters conducted by John Scottand Richard Egarr along with Juilliard 415 andMacMillan’s Seven Last Words from the Cross,conducted by David Hill. In 2014, the BoyChoristers performed in Bach’s St MatthewPassion at the Park Avenue Armory as partof Lincoln Center’s White Light Festival withthe Berliner Philharmoniker under the directionof Peter Sellars and conductor Sir Simon Rattle.Supplementing its choral services and concertseries over the past four decades, the Choirhas toured throughout the U.S. and Europewith performances at Westminster Abbeyand St Paul’s Cathedral in London; King’sCollege, Cambridge; Windsor; Edinburgh;St Albans; the Aldeburgh Festival; and theVatican. In February 2012, the Boys of theChoir traveled to Dresden to give the premiereof Lera Auerbach’s Dresden Requiem withthe Dresden Staatskapelle in the Frauenkircheand Semper Oper. Later in 2012, the Choirwas invited to perform in the Thomaskircheat the Leipzig BachFest, a highlight of theirJune 2012 tour to Germany and Copenhagen.Domestically, the Choir most recently touredthe Southeastern United States and was afeatured performer at the National AGOThe Gentlemen of the Saint Thomas Choir areprofessional singers; the Boy Choristers attendthe Saint Thomas Choir School. The SaintThomas Choir of Men and Boys is representedby Karen McFarlane Artists, Inc.(www.concertorganists.com) and recordsexclusively for Resonus Classics.Founded in 1919, the Saint Thomas Choir Schoolis the only boarding school solely for choristersin the United States, and one of only threeschools of its type remaining in the world today.Saint Thomas Choir of Men and Boys,Fifth Avenue, New YorkTrebleJohn William Rodland CarsonWilliam Christopher ClarkMatthäus Christian DaviesMarcus Eugenio Axel d’AquinoDaniel Abraham DeVeau*Benjamin Bae Stackhouse FerribyMatthew Garnet Higgins IatiGrant Andrew KlingerRyan Christopher NewsomeOlajuwon Isaiah OsinaikeWilliam James ParisNoel Arnold Patterson Jr.Daniel Antonio PepeRichard Mayne PittsingerJan-Carlos RamirezJoshua RossSamuel Edward SargunamSimon Minor Scott-HamblenAlexander David SeeleyAlexander David SimcoxJulian Philip Wesley TurnerSidney Alan WrightRyoan YamamotoJustin Y. Yoo**AltoEric BrennerMatthew BrownCorey-James CrawfordDaniel ScarozzaGeoffrey D. WilliamsWilliam ZukofTenorMark BleekeGregg M. CarderOliver MercerDavid VanderwalSteven Caldicott WilsonBassScott DispensaRichard LippoldCraig PhillipsMark SullivanChristopher Trueblood*Recipient of the Frances S. Falconer Choristership**Recipient of the Ogden Northrop Lewis, Jr. Choristership
John Scott was born in 1956 in Wakefield,Yorkshire, where he became a Cathedralchorister. While still at school he gainedthe diplomas of the Royal College ofOrganists and won the major prizes. In1974 he became Organ Scholar of St John’sCollege, Cambridge, where he acted asassistant to Dr George Guest. His organstudies were with Jonathan Bielby, RalphDownes, and Dame Gillian Weir. He madehis debut in the 1977 Promenade Concertsin the Royal Albert Hall; he was the youngestorganist to appear in the Proms.At St Paul’s he played a complete cycle ofthe organ works of J.S. Bach in 2000 andfollowed this in subsequent years with theorgan symphonies of Vierne and Widor, aswell as the complete organ works of Franckand Buxtehude. At Saint Thomas Church,Fifth Avenue, New York, he performedcomplete cycles of the organ works ofBuxtehude in 2007, Messiaen in 2008 andthe six organ symphonies of LouisVierne in 2009. In 2014, he was one of thefeatured organists in the re-opening Galaand subsequently gave the first solo recitalon the restored organ in London’s RoyalFestival Hall and gave the opening recitalof the organ in the new Musikkens Husin Aalborg, Denmark. In June, he gave thepremiere of Nico Muhly’s Patterns for theAmerican Guild of Organists NationalConvention in Boston.On leaving Cambridge, he was appointedAssistant Organist at London’s two AnglicanCathedrals:
Classical Music Magazine Herbert Howells (1892-1983) Requiem (1936) 1. Salvator mundi 2. Psalm 23 3. Requiem aeternam I 4. Psalm 121 5. Requiem aeternam II 6. I heard a voice from heaven Ralph Vaughan Williams (1872-1958) 7. Valiant-for-truth Maurice Duruflé (1902-1986) Requiem, Op. 9 8
16m, and subsurface vertical resolution is as high as 1.6m. Seafloor resolution is consistent with the natural bin size of 3.125 6.25m. Keywords: UHR3D, high-resolution seismic, three-dimensional seismic, Gulf of Mexico, P-Cable, geohazard 1. Introduction 1.1. General significance of ultra-high-resolution, three-dimensional seismic methods
Positron Emission Tomography - PET Spatial Resolution The measured resolution (intrinsic resolution) of the system is a convolution of the various resolution components. If the different resolution components are assumed to be Gaussian in shape and are described by a FWHM then the combined resolution is the squared sum of the individual
SPECIMEN BOARD RESOLUTION TEMPLATES. There are 2 types of Specimen Board Resolution, Extract of Directors' Resolution. Directors' Resolution. Please select either of this Specimen Board Resolution, complete and sign. accordingly as stated in M&A. Note: This is applicable to new customers for any including.
High resolution, moderate accuracy soil moisture Freeze/thaw state detection SAR mode: 3 km resolution Real-aperture mode: 30 x 6 km resolution - Radiometer: L-band (1.4 GHz) Moderate resolution, high accuracy soil moisture 40 km resolution - Shared Antenna 6-m diameter deployable mesh antenna Conical scan at 13 rpm
The development of high-resolution NMR 1 1.2. Modern high-resolution NMR and this book 4 1 .2.1. What this book contains 5 1 .2.2. Pulse sequence nomenclature 7 1.3. Applying modern NMR techniques 8 References 12 Chapter 2. Introducing high-resolution NMR 2.1. Nuclear spin and resonance 13 2.2. The vector
HIGH RESOLUTION CT CHEST VARIOUS PATTERNS. CT Chest: Usual Interstitial Pneumonia Pattern. . HIGH RESOLUTION CT CHEST INTERSTITIAL LUNG DISEASE PROTOCOL. Conventional vs High Resolution CT CONVENTIONAL HIGH RESOLUTION CT
2.4 Dispute Resolution Board (DRB) 3 4 The Dispute Resolution Board (DRB) process provides an independent non-binding recommended resolution of a disagreement from skilled construction savvy individuals in "real time." Those individuals are preselected by the parties to the contract and are available to advise the resolution of a dispute at the .
2 AUDITING ARTIFICIAL INTELLIGENCE CONTENTS 4 Potential Impact of Artificial Intelligence on Organizations 4 Why Should Auditors Care About AI? 4 / Challenges for the Auditor 6 / Mapping COBIT to Strategy: A Visual Representation of How to Apply COBIT 2019 in the Auditing of AI 8 / Challenges and Solutions for the AI Auditor 9 Conclusion 10 Resources and References for Auditing AI 12 .
