CONTENTS 1. Blair Magnificat in B minor 2 1a. Nunc dimittis in B minor 11 2. Byrd Magnificat (Second Service) 15 2a. Nunc dimittis (Second Service) 23 3. Dyson Magnificat in D minor 28 3a. Nunc dimittis in D 31 4. Gibbons Magnificat (Short Service) 33 4a. Nunc dimittis (Short Service) 40 5. Gibbons Magnificat (Second Service) 44 5a. Nunc dimittis (Second Service) 55 6. Hooper Magnificat (Short Service) 61 6a. Nunc dimittis (Short Service) 69 7. Howells Magnificat in B minor 73 7a. Nunc dimittis in B minor 84 8. Noble Magnificat in B minor 90 8a. Nunc dimittis in B minor 99 9. Purcell Magnificat in G minor 104 9a. Nunc dimittis in G minor 112 10. Stanford Magnificat in A 116 10a. Nunc dimittis in A 129 11. Stanford Magnificat in B flat 136 11a. Nunc dimittis in B flat 144 12. Stanford Magnificat in C 148 12a. Nunc dimittis in C 155 13. Stanford Magnificat in G 159 13a. Nunc dimittis in G 171 14. Tippett Magnificat (Collegium Sancti Johannis Cantabrigiense) 176 14a. Nunc dimittis (Collegium Sancti Johannis Cantabrigiense) 188 15. Walmisley Magnificat in D minor 192 15a. Nunc dimittis in D minor 202 16. Walton Magnificat (the Chichester Service) 206 16a. Nunc dimittis (the Chichester Service) 216 17. Wood Magnificat in E flat (Second setting) 220 17a. Nunc dimittis in E flat (Second setting) 228 for online perusal only 18. Stanford Te Deum in C 232 18a. Jubilate Deo in C 245 19. Vaughan Williams Te Deum in G 250 20. Walton Jubilate Deo 262 21. Ayleward Preces and Responses 271 22. Byrd Preces and Responses 276 23. Ebdon Preces and Responses 280 24. Jackson Preces and Responses 283 25. Radcliffe Preces and Responses 288 26. Smith Preces and Responses 293 27. Tomkins Preces and Responses 297 28. Farmer The Lord’s Prayer 302 29. Stone The Lord’s Prayer 304 30. Howells Three Psalm Chants (1972) 305 31. Howells Four Psalm Chants (1974) 306 32. Sanders The Reproaches 307 33. An Order for Compline 314 Commentary 320 Index of orchestrations 330
PREFACE The aim of the Oxford Choral Classics series is to offer choirs a practical and inexpensive working library of standard repertoire in new, reliable editions. The majority of works are classics of the repertoire, but also included are pieces of music that are less widely known but are of especial value. Inevitably, any such anthology reflects the personal perspective of its editor, and for this second volume of English church music, for which there is such a fine and varied range of repertoire from across more than five centuries, the available selection could once again easily have filled several volumes. Cornerstones of the repertoire, including the four principal evening services by Stanford and masterpieces by Byrd and Gibbons, are set alongside equally fine works from the Renaissance, Restoration, and early and later Romantic periods, as well as more recently composed settings. Among these come a handful of surprises. Many will be familiar with Hugh Blair’s famous setting in B minor of the evening canticles, but choirs may be unaware that the version they usually sing was substantially altered at a later date by Ivor Atkins; here Blair’s original is presented. No volume of English church music could be complete without the music of Herbert Howells; here we turn to his exquisite but less frequently heard B minor setting of 1955. In researching Howells’s works, seven previously unpublished psalm chants came to notice, and are here put into print for the first time. Another intention was to cater for a variety of choral abilities, with works ranging from George Dyson’s wonderfully melodic unison setting (transposed into a higher key) to Services by Tippett and Walton, with their greater, but by no means insuperable, challenges. A parallel aim was to provide, across the two volumes, a comprehensive choral collection for the growing number of guest choirs at cathedrals who may not have their own choral library, enabling them to perform music for a substantial number of services. Although the evening canticles occupy much of the collection, the volume also includes two settings each of the Jubilate and Te Deum, for use at Matins or as anthems at other services. At the other end of the day, the sung service of Compline is resurgent, so one possible order of service has been included, with the plainsong notated in a manner accessible to all choirs. For services in Holy Week, John Sanders’s fine Reproaches have also been included. The selection of Preces and Responses for Evensong not only covers five centuries but also includes settings in both sharp and flat keys to aid tonal transition within the musical flow of a service. For the pre-twentieth-century Responses, which do not include a harmonized Lord’s Prayer, Stone’s and Farmer’s settings are provided. These have been re-texted to make them suitable for today’s liturgy, but Farmer’s original wording of four hundred years ago is also indicated. The specific parameters followed have been these: 1. The period covered ranges from around 1550 to the present day, although copyright considerations have limited the scope of the later twentieth-century music included. A parallel intention has been to present a representative selection of music from each century. 2. Most canticle settings, when accompanied, were written with organ in mind. For reasons of space, and also for practicality within services, settings intended to be performed with orchestral accompaniment have been excluded—hence the omission, for instance, of fine works by Purcell, Handel, and their contemporaries. However, all four of Stanford’s fine evening settings were orchestrated by the composer (indeed, the setting in A was orchestrated before the more familiar organ version was prepared), and those orchestral versions are now available, newly edited from original sources, on hire/rental from the publisher or appropriate agent, as is Stanford’s Te Deum, in his version for brass and timpani. Editorial practice for online perusal only The policy of the Oxford Choral Classics series is to use primary sources, printed or in manuscript, wherever possible, and this has resulted in the elimination of some long-standing errors. In presenting the editions, the aim is first and foremost to serve the practical needs of non-specialist choirs, keeping the music pages as clean and uncluttered as possible, though not neglecting the needs of the scholar. Prefatory staves are given for pre-1700 sources, and references to clefs and pitch follow the standard conventions. Note values in early pieces have generally been reduced to give a q pulse; pitches have been transposed to suit standard voice ranges; editorial barring has been shown in a modern, standard way; and key signatures have been modernized. v
Gibbons: Magnificat (Second Service
S. 85 90 95 mp He He
Gibbons: Magnificat (Second Service
55 5a. Nunc dimittis from the Secon
Gibbons: Nunc dimittis (Second Serv
Gibbons: Nunc dimittis (Second Serv
61 6. Magnificat from the Short Ser
Hooper: Magnificat (Short Service)
Hooper: Magnificat (Short Service)
Hooper: Magnificat (Short Service)
mf dim.
Hooper: Nunc dimittis (Short Servic
73 7. Magnificat in B minor HERBERT
Howells: Magnificat in B minor 75 2
Howells: Magnificat in B minor 77 4
Howells: Magnificat in B minor 79 6
Howells: Magnificat in B minor 81 8
Howells: Magnificat in B minor 83 1
Howells: Nunc dimittis in B minor 8
Howells: Nunc dimittis in B minor 8
Howells: Nunc dimittis in B minor 8
Noble: Magnificat in B minor 91 14
Noble: Magnificat in B minor 93 41
Noble: Magnificat in B minor 95 66
Noble: Magnificat in B minor 97 93
99 SOPRANO ALTO [Andante] h = 72 p
Noble: Nunc dimittis in B minor 101
Noble: Nunc dimittis in B minor 103
Purcell: Magnificat in G minor 105
Purcell: Magnificat in G minor 107
Purcell: Magnificat in G minor 109
Purcell: Magnificat in G minor 111
Purcell: Nunc dimittis in G minor 1
Purcell: Nunc dimittis in G minor 1
Stanford: Magnificat in A 117 20
Stanford: Magnificat in A 119 S. A.
Stanford: Magnificat in A 121 96
Stanford: Magnificat in A 123 131
Stanford: Magnificat in A 125 S. A.
Stanford: Magnificat in A 127 208
129 10a. Nunc dimittis in A CHARLES
Stanford: Nunc dimittis in A 131 31
Stanford: Nunc dimittis in A 133 S.
81 86
Stanford: Magnificat in B flat 137
Stanford: Magnificat in B flat 139
Stanford: Magnificat in B flat 141
Stanford: Magnificat in B flat 143
Stanford: Nunc dimittis in B flat 1
Stanford: Nunc dimittis in B flat 1
14 a tempo A f
Stanford: Magnificat in C 151 44
Stanford: Magnificat in C 153 77
155 SOPRANO ALTO TENOR BASS ORGAN P
Stanford: Nunc dimittis in C 157 34
159 13. Magnificat in G CHARLES VIL
Stanford: Magnificat in G 161 S. So
Stanford: Magnificat in G 163 42
Stanford: Magnificat in G 165 63
Stanford: Magnificat in G 167 83 F
Stanford: Magnificat in G 169 108
171 13a. Nunc dimittis in G CHARLES
Stanford: Nunc dimittis in G 173 31
Stanford: Nunc dimittis in G 175 60
Tippett: Magnificat 177 19 f
Tippett: Magnificat 179 52 f
Tippett: Magnificat 181 91 f
Tippett: Magnificat 183 128 p
Tippett: Magnificat 185 154
Tippett: Magnificat 187 170 - me
Tippett: Nunc dimittis 189 18
Tippett: Nunc dimittis 191 42
Walmisley: Magnificat in D minor 19
Walmisley: Magnificat in D minor 19
197 Walmisley: Magnificat in D
Walmisley: Magnificat in D minor 19
Walmisley: Magnificat in D minor 20
Walmisley: Nunc dimittis in D minor
Walmisley: Nunc dimittis in D minor
Walton: Magnificat 207 15 e
Walton: Magnificat 209 40 f marcato
Walton: Magnificat 211 67
101 1
Walton: Magnificat 215 131
Walton: Nunc dimittis 217 S. A. T.
Walton: Nunc dimittis 219 38 al
Wood: Magnificat in E flat 221 16
Wood: Magnificat in E flat 223 44
Wood: Magnificat in E flat 225 69
Wood: Magnificat in E flat 227 101
Wood: Nunc dimittis in E flat 229 1
Wood: Nunc dimittis in E flat 231 4
Stanford: Te Deum in C 233 14 f
Stanford: Te Deum in C 235 50 [ f
Stanford: Te Deum in C 237 91
Stanford: Te Deum in C 239 142 - er
Stanford: Te Deum in C 241 194 p
Stanford: Te Deum in C 243 231 p S
245 18a. Jubilate Deo in C f
Stanford: Jubilate Deo in C 247 58
Stanford: Jubilate Deo in C 249 106
Vaughan Williams: Te Deum in G 251
Vaughan Williams: Te Deum in G 253
Vaughan Williams: Te Deum in G 255
Vaughan Williams: Te Deum in G 257
Vaughan Williams: Te Deum in G 259
Vaughan Williams: Te Deum in G 261
Walton: Jubilate Deo 263 12
Walton: Jubilate Deo 265 38
Walton: Jubilate Deo 267 S. 83 S
Walton: Jubilate Deo 269 112
MINISTER Bassus BASS
Ayleward: Preces and Responses 273
Ayleward: Preces and Responses 275
Byrd: Preces and Responses 277 19
Byrd: Preces and Responses 279 54
Ebdon: Preces and Responses 281 15
283 MINISTER O Lord, open thou ou
Jackson: Preces and Responses 285 m
Jackson: Preces and Responses 287
Radcliffe: Preces and Responses 289
Radcliffe: Preces and Responses 291
MINISTER O Lord, open thou our lips
Smith: Preces and Responses 295 29
297 27. Preces and Responses The Pr
Tomkins: Preces and Responses 299 2
Tomkins: Preces and Responses 301 5
Farmer: The Lord’s Prayer 303 13
305 30. Three Psalm Chants (1972) H
307 Words from Holy Week Services b
Sanders: The Reproaches 309 S. 30 L
Sanders: The Reproaches 311 S. A. T
Sanders: The Reproaches 313 99 VERS
An Order for Compline 315 DECANI
An Order for Compline 317 CHOIR A
An Order for Compline 319 PRECENT
and with the doubled octaves that d
only 35. He pressed the college and
much to the past. He used minim not
327 Cantoris partbook (alto 2) is m
329 directorship of the Three Choir
2 CHORAL CLASSICS Under the general
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