The Crucifixion – John Stainer ( – ). Stainer was one of the most distinguished musicians of his generation. In he was appointed organist of St. Modelled on the great passion settings of J.S. Bach, Stainer’s Crucifixion is amongst the most popular of all English choral works and vividly portrays the events. 1 Music files. Complete work; Individual movements. 3. Processional to Calvary (Fling wide the gates); Hymn: Cross of Jesus.
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Later in life, he was ever keen to acknowledge this period as of the utmost significance in his musical development.
When Jesus therefore saw his mother Recitative: Jesus said, “Father, forgive them” Tenor Duet: The likes of Paxton, Alfred Waterhouse and George Gilbert Scott were erecting the grandest or most innovative structures, from sophisticated private residences and places of worship to the grandiose schemes of Whitehall and the Crystal Palace.
Is it nothing to you Bass The appeal of the crucified Recit. A s organist, conductor, composer, teacher and author, the immense contribution that Stainer made to the music of his time can scarcely be over-estimated.
Adept at choral singing, he has appeared frequently in concert, on television, and on recordings. Now you can rehearse anywhere! Creative Commons Attribution 4.
The Crucifixion (Stainer, John) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music
He learns singing with Alex Ashworth. The Musical TimesNo.
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Retrieved from ” http: Instead they were regarded as merely sacred and dramatic, which seemed even to please everyone, even many a crufifixion Nonconformist. John Stainer Part 2 – The Agony.
The Crucifixion – John Stainer – Unlike the passions, however, there is no orchestra to provide light and shade to accompaniments and add piquancy or punch to the drama. While Haydn, Mozart and Beethoven had rapidly become staples of the orchestral, chamber and instrumental classical canon, music for religious purposes had been somewhat stifled ever since the Puritan tirades against liturgical and cruifixion music. Too often in this piece I hope for a bar or two of Mendelssohn, something momentarily inspired.
Skip to main content. And sgainer there were others, such as John Ruskin and William Morris whose brilliance shone over numerous arts and disciplines.
stainr Bach, the scheme of arias recitatives, choruses and chorales hymns reflecting that of the St John and St Matthew Passions. She studied music at the University of York, winning the York University Concerto Prize and, following her MA, she continued her vocal training at Birmingham Conservatoire where she was a finalist in various competitions and winner of the Birmingham Conservatoire Singing Prize.
His good works must have been well noted in high places as in he was made principal of the National Training School for Music and his generous offices were rewarded by Queen Victoria in with a Knighthood. How should we view The Crucifixion today? In its favour, it unfolds with a seamless ease, never jolting the listener with gratuitous theatricality or the type of rhetorical intensity which the English find mildly embarrassing.
The Crucifixion (John Stainer) – ChoralWiki
This is hardly to say that the British Isles were not awash with great music—they certainly were, but little of it was indigenous. 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.
Particularly significant in the overall scheme of The Crucifixion are the five hymns, which are designed for congregational participation. If you do, please would you be kind enough to advise me by e-mail – bawden37 sky. She is a founder member of the Voices of London Festival, and is also a published and prize-winning composer. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.
As to the forces: Robert was Tenor Lay Clark at Birmingham Cathedral for 5 years, having previously sung there as a treble. Two years later he met Sir Frederick Ouseley, then Professor of Music at Oxford who, as a prodigious youth, had impressed no less a figure than Mendelssohn.
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