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John Rutter: Requiem

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Access: The main West Front Entrance is accessed by twenty-four steps (with a handrail available both sides). The South Churchyard Entrance is step-free, and is the recommended access for entry for wheelchair users and people who cannot negotiate the steps.

Mass | Grove Music". doi: 10.1093/gmo/9781561592630.article.45872. ISBN 978-1-56159-263-0 . Retrieved 2018-09-13. Grace Davidson sop* William Gaunt bar Gordan Nikolitch vn Tenebrae; London Symphony Orchestra Chamber Ensemble / Nigel Short It is outstandingly played in this premiere recording by the young Canadian violinist Kerson Leong.” Roman Grygoriv and Illia Razumeiko: " IYOV", opera-requiem for prepared piano, cello, drums and voices (2015) Come down, O Love Divine (1998), for double choir, has a curious history. It was commissioned by the Musicians Benevolent Fund for their annual St. Cecilia’s Day service, a splendid event held (in rotation) in Westminster Abbey, St. Paul’s Cathedral, or Westminster Cathedral, with their three choirs joining forces and musicians past and present gathered in a spirit of thanksgiving and celebration. As it turned out, the 1998 service was to be held in Westminster Abbey, which was then in the midst of some rather public unhappiness, the details of which were widely reported at the time. The choice of texts was probably influenced by this turmoil, in particular the invocation ‘Veni, Sancte Spiritus’. This piece speaks with a different voice from any of John Rutter’s other works. Es ist ein’ Ros’

6. Eclectic compositions

Fresh, vivid and relatively small-scale, the Choir of St John’s College, Cambridge, as taped in 1975, shines in a twofer of French choral classics. He conducted the first performance on 13 October 1985 at Lovers' Lane United Methodist Church, Dallas, Texas, where the director of Music Allen Pote prepared the Sanctuary Choir and orchestra. The soprano soloist was Karen Shafer. Movements 1, 2, 4, and 7 had been performed on 14 March 1985 at Fremont Presbyterian Church, Sacramento, California, by the Sanctuary Choir and ensemble, prepared by Mel Olson and also conducted by the composer. [3] The division of the work into three movements – respectively proclamatory, prayerful, and joyfully affirmative – corresponds to the divisions in the text. Most of the melodic material derives from a Gregorian chant associated with this text. The music is simple and direct in style, with the instrumentalists playing an important role as equal partners with the voices. Magnificat

John Rutter’s Gloria was written in 1974 in response to a commission from The Voices of Mel Olson, a choir based in the USA. Suite Antique w as written in 1979 specifically for a concert featuring the flautist Duke Dobing and the London Baroque Soloists, as part of the Cookham Festival. Bach’s Brandenburg Concerto No. 5 was also on the programme, so Rutter scored Suite Antique for the same combination of instruments – paying homage to the forms and styles of Bach’s day. SkylarkJohn Rutter’s widely-acclaimed Requiem draws from the traditional Latin text as well as English Psalm settings, and mediates between their themes of death, faith and spiritual ascension with a rich and tender lyricism. Look at the World, composed in 1996, is a simple anthem with a text on the theme of the environment. It was written to mark the 70 th anniversary of the Council for the Protection of Rural England. Lord of the Dance This piece was arranged by John Rutter for Melanie Marshall, her pianist brother Wayne, flautist Daniel Pailthorpe, Malcolm Creese on bass, and the Cambridge Singers. A soaring bird is an age-old symbol, sacred and secular, of the spirit. Of all the great American songwriters, Hoagy Carmichael was perhaps the most strongly influenced by the music of the southern states, including the spiritual. Te Deum A much-loved LP version, documenting the excellence of the King’s College Choir at its mid-1960s peak, and still sounding well. Robert Chilcott and John Carol Case are the excellent soloists.

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