The Choir of Kingâe(tm)s College, Cambridge, is world-famous. Through radio, television and recordings its unique sound has been heard in countless homes on every continent. When King Henry VI founded the College Chapel in 1446, the statutes provided for six clerks (singing men) and 16 choristers. Who could have foreseen that the Chapel would become one of the architectural glories; or that its Choir would be singing to many thousands of visitors each year? The text follows the activities of the Choir through a typical year, featuring the preparations for events.
The sound of the choir of King's College, Cambridge - its voices perfectly blended, its emotions restrained, its impact sublime - has become famous all over the world, and for many, the distillation of a particular kind of Englishness. This is especially so at Christmas time, with the broadcast of the Festival of Nine Lessons and Carols, whose centenary is celebrated this year. How did this small band of men and boys in a famous fenland town in England come to sing in the extraordinary way they did in the twentieth and early twenty-first centuries? It has been widely assumed that the King's style essentially continues an English choral tradition inherited directly from the Middle Ages. In this original and illuminating book, Timothy Day shows that this could hardly be further from the truth. Until the 1930s, the singing at King's was full of high Victorian emotionalism, like that at many other English choral foundations well into the twentieth century. The choir's modern sound was brought about by two intertwined revolutions, one social and one musical. From 1928, singing with the trebles in place of the old lay clerks, the choir was fully made up of choral scholars - college men, reading for a degree. Under two exceptional directors of music - Boris Ord from 1929 and David Willcocks from 1958 - the style was transformed and the choir broadcast and recorded until it became the epitome of English choral singing, setting the benchmark for all other choral foundations either to imitate or to react against. Its style has now been taken over and adapted by classical performers who sing both sacred and secular music in secular settings all over the world with a precision inspired by the King's tradition. I Saw Eternity the Other Night investigates the timbres of voices, the enunciation of words, the use of vibrato. But the singing of all human beings, in whatever style, always reflects in profound and subtle ways their preoccupations and attitudes to life. These are the underlying themes explored by this book.
A comprehensive annually-updated guide to higher education offering practical advice on courses and places to study. The book deals with the mechanics of applying to college, and also information on matters from finance and accommodation to a glossary of unfamiliar terms.
John Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of Taverner?s complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of Taverner?s place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of Taverner?s predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listener?s point of view, initially through close analytical inspection of the celebrated votive antiphon Gaude plurimum.
First published in 1997, this book asks how an ecclesiastical climate was created in which Anglican choral worship could flourish in the mid-nineteenth century. Dale Adelmann draws on a wide range of sources, including diaries, correspondence, pamphlets, newspapers and critical writings, to answer this question. His research reveals the hitherto unrecognized extent of the influence of the Cambridge Camden Society (1839-62) in the revival of Anglican choral worship, in particular through the auspices of its periodical The Ecclesiologist, but also through the dedicated efforts of the remarkable individuals who promoted the Society’s aims in their writings, lectures, and in their own parish churches. The study examines the arguments that were framed in defence of choral worship and the often heated debates they initiated between both individuals and institutions. In so doing, it provides a re-evaluation of the place of Anglican choral worship in mid-nineteenth-century musicological and ecclesiastical history, and demonstrates the role of Cambridge ecclesiologists as primary force behind its rival.
Murder in a British village. Unsolved mysteries. An empty-nester in a pickle. What more could possibly go wrong? BODIES, BADDIES, AND A CRABBY TABBY - 1 Megan Fallon is in a pickle. As if empty-nest syndrome wasn't bad enough, she's joined the ranks of the unemployed, and her fiancé’s run off with her hairdresser. In desperate need of a change of scene, she heads back to her childhood village home for some long-overdue friends and family time. Things are looking up until members of the community start getting bumped off at an alarming rate, and Megan finds herself at the heart of an investigation that has her suspecting everyone. As she becomes involved in the hunt for a murderer, it’s not long before she finds out that some of the villagers are harbouring shocking secrets... Will you guess whodunnit? SECRETS, LIES, AND PUPPY DOG EYES - 2 Megan's putting the fiancé who left her well and truly out of her mind, and focusing on settling back into village life, and her new job. Meanwhile, her childhood friend, American, Jack Windsor, is renovating the old village school, and is looking for a four-legged friend to share his new home with. All is well in Bliss Bay until obituaries start appearing on the church noticeboard for villagers who are still very much alive, and the village is thrown into turmoil. Is the well-respected family who is being targeted the subject of a very bad joke, or are the obituaries a sign of something far more sinister? And who is responsible when an unassuming member of the village is murdered? Could a 40 year-old suspicious death hold the key to solving the murder, or is that simply a red herring to put detectives off the scent of the real killer? Is the murderer a retired bank manager? Or could it be his wife, who was the subject of controversial gossip years before? Is the village busybody responsible? Her hatred for two high-profile suspects is well-known among the villagers, and her motives are personal. Or is the killer someone else entirely? As a reluctant Megan is drawn into the mystery by her TV detective show-loving, Uncle Des, secrets and lies come to light, but will they help to find the murderer? MALICE, REMORSE, AND A ROCKING HORSE - 3 Megan needs to find a killer before the biggest night of the year in Bliss Bay village; a charity dinner and auction to raise funds for local children's charities. After all, there's nothing like a murderer on the loose to put a dampener on the party spirit. With her Uncle Des in tow, the two intrepid amateur sleuths set out to identify the perpetrator. They could be onto something after a mysterious rocking horse offers up a clue to the identity of the murderer but, with so many suspects and the body count rising, how will they solve the mystery before another innocent person is targeted? As the hunt for the killer intensifies, it soon becomes clear that no one is safe... Fans of Agatha Frost and HY Hanna may like these cozy mysteries, written by mystery author Sherri Bryan using British English spelling and terminology.
