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MSCR 571 Music of the Great Liturgies Syllabus 2016
Section Dr. Strimple (MUS 416)
Fridays, 12 noon – 1:50
Classroom: MUS 319 (310) 867-4707 (emergencies)
(213) 821-5756 (to make appointments) Office hours: Fridays, 10:00-11:30
Textbooks:
Liturgies of the Western Church by Bard Thompson
Translations and Annotations of Choral Repertoire, Vol. I: Latin
by Jeffers
Translations and Annotations of Choral Repertoire, Vol. IV: Hebrew
by Nash and Jacobson
Class Reader (one volume)
ACDA Shabbat Service (available from Dr. Strimple)
Pamphlet: A Timeline of Church History (from Dr. Strimple)
Pamphlet: Things I Wish I’d Known (from Dr. Strimple)
Other readings as assigned
(all books and Class Reader are available in USC Bookstore)
The purpose of this course is to trace the development of Jewish and Christian liturgies, and attendant music, from inception to the present.
The objectives are 1) to provide the student with a working knowledge of these liturgies and the standard body of music associated with them; 2) to acquaint the student with evolving performance practices within the liturgies; and 3) to introduce important, new and/or unfamiliar liturgical music that is, for whatever reason, not part of the standard repertoire.
Assignments
1) Class participation (10% of grade)
2) Listening: Required listening for the Midterm and Final Exams is listed below.
3) Midterm Exam.
Exam will consist of a variety of listening, matching, short answer, multiple-choice, score ID and/or essay questions. You will be responsible for all the readings, whether or not they’ve been discussed in class, as well as everything listed in the syllabus as “Know,” additional readings assigned in class and any other material provided as handouts or discussed in class.
4) Term project; either of these:
A.A paper discussing some aspect of music in one of the liturgies
studied in class. The paper should be as concise as possible, but long enough to cover the subject. See Dr. Strimple for topic approval. Use Chicago Manuel of Style (16th Edition). Please submit via email as a Word.doc by 12noon on 27 November.
B. Create an interfaith or ecumenical liturgy for a citywide memorial service.
Explain your choices.
Late papers will not be accepted.
5) Final Exam.
Exam will consist of a variety of listening, matching, short answer, multiple-choice, score ID and/or essay questions. You will be responsible for all the readings, whether or not they’ve been discussed in class, as well as everything listed in the syllabus as “Know,” additional readings assigned in class and any other material provided as handouts or discussed in class.
This is a cumulative exam for the entire semester.
Statement for Students with Disabilities
Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.-5:00p.m., Monday through Friday.
The phone number for DSP is (213) 740-0776.
Statement on Academic Integrity
USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: http://www.usc.edu/dept/publications/SCAMPUS/gov/. Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: http://www.usc.edu/student-affairs/SJACS/
Statement on Disruptive Behavior
Behavior that persistently or grossly interferes with classroom activities is considered disruptive behavior and may be subject to disciplinary action. Such behavior inhibits other students’ ability to learn and an instructor’s ability to teach. A student responsible for disruptive behavior may be required to leave class pending discussion and resolution of the problem and may be reported to the Office of Student Judicial Affairs for disciplinary action.
CLASS SCHEDULE
Jewish Liturgies
26 August
Early Development; Ezra, Nehemiah and rebuilding of the Temple;
worship in Synagogues before and during the Diaspora.
Read prior to class:
Class Reader, pages 1-56, 95-99
Know:
Use of instruments before/after destruction of Second Temple
Development and establishment of cantors and m’shorim
Development of piyutim and niggunim
Early Jewish polyphony
Salamone Rossi: Ha-Shirim asher li-Schlomo
Abraham Caceres: Hishki hizki
Ham-mesiah illemim
G. Lidarti:Nora Elohim
Kol ha-neshamiah
Benedetto Marcello: Estro poetico-armonico (1724-26)
(Translated into English, 1757)
Quasi-liturgical:
Hosha’na Rabba in Casale Monferrato, 1732
Louis Saladin: Cantata Hebraico (late 17th c.)
2 September
Reforms in 19th, 20th and 21st centuries
Read prior to class:
Class Reader, pages 57-109
Nash and Jacobson, pages ix-xiv, 1-47, 211-220
Know:
Rabbi Izaak Noah Mannheimer
Joseph Drechsler and F.P. Schubert
S. Sulzer:Shir Zion (1838, 1865)
Duda’im (1860) (children)
L. Lewandowski:Todah W’Simrah (1882)
Hallelujah
Avenu Malcheinu
L’Cha Dodi
Enosh
Zacharti Lach
Deutsche Kedushah
S. Naumbourg:Chants Liturgicals de Grand Fêtes (1847)
Zemriot Israel (1864; used trad. mel.)
Shir Qodesh (1864)
Aguddat Shirim (1874)
(non-liturgical and popular songs)
Shir ha-Shirim Asher li-Shelomo (1877)
(first modern edition of Rossi)
Julius Mombach:Ne’im Zimriyot Israel (1881)
[The Voice of Prayer and Praise (1899)]
Charles Alkan:Etz chajjim hi
Haleloujoh
A. Dunajewsky: W’schomru
D. Nowakowsky:Ne’ilah (1895) (used trad. Melodies)
Music for Sabbath Eve (1901) (trad. mel.)
Adonai Z’charanu
Hashkivenu No. 2
Mi Chamocha
W‘shomru
Ernest Bloch:Sacred Service (Avodath Hakodesh)
Arnold Schoenberg:Kol Nidre
Heinrich Shallit: 23rd Psalm
Leonard Bernstein:Hashkivenu (Sabbath)
S. Adler:Maoz Tzur
Hashkivenu
Mi Camocha
Adon Olam
A. Binder:Biblical Chant (book)
Isadore Freed:Harmonization of Biblical Chant (book)
Joshua Jacobson:The Cantilation of the Bible (book)
Z. Zilberts:The First S’lichot
Max Helfman:Sh’ma koleinu
Hashkivenu (Sabboth)
Kaddish
Max Janowsky:Sim Shalom
Avenu Malcheinu
A. Aloni:Torah Service
Hallelujah!
Hallel
Ahavat Olam (High Holidays)
Uv’chein Tein Kavod
S. Sargon:Psalm 23 (Adonai Roi)
Psalm 8
M. Isaacson: H’nini
Sim Shalom
L’Maaseih V’reisheet
Meir Finkelstein:L’Dor Vador
Gerald Cohen:Psalm 23 (Adonai Roi)
Coreen Duffy:Adon Olam
Oseh Shalom
Ben Steinberg:Yiskor Service
Srul Irving Glick: Chacham (Passover)
Chad Gadya (Passover)
Dayeinu (Passover)
C. Taubman:Mi Sheberach
D. Friedman:Nasim Shalom
Early Christian Developments;
Eastern Coptic and Orthodox Liturgies
9 September
Read prior to class:
Class Reader, pages 110-113, 195-198
Bard Thompson, pages 1-46, first paragraph of 47
Jeffers, pages 15, 19-24
Know:
Outline of Services to 4th century, C.E.
(Justin Martyr; Hippolytus)
Early musical developments
Development of the Church Year (2nd to 14th centuries, C.E.)
The Clementine Liturgy (c. 380 C.E.)
Creation of the Divine Offices (canonical hours; 6th century)
16 September
Eastern Liturgies (Coptic and Orthodox), continued
Read prior to class:
Class Reader, pages 114-191
Pamphlet: A Timeline of Church History
Pamphlet: Things I Wish I’d Known
Know:
Liturgy of St. James
Liturgy of St. John Chrysostom
Antiochan Liturgy
Some types of Orthodox chant:
Byzantine, Greek, Russian (Znamenny, Kievan, Partesny)
Renaissance and Baroque developments in Russia
19th century developments (including Sacred Concerto)
St. Petersburg School or Common European Style
Contributions of Galuppi and Sarti
Dmitri Bortniansky:Cherubim Song, No. 7
Sacred Concerto, No. 32
Let My Prayer Arise, No. 2
Moscow School Style
Mily Balakirev
Tchaikovsky:Liturgy of St. John Chrysostom
The Angel Cried Out
Rimsky-Korsakov:We Praise Thee, O God
The Angel Cried Out
20th and 21st century developments
Sergei Rachmaninoff:All-Night Vigil
Liturgy of St. John Chrysotom
Alexander Levine: Liturgy of St. John Chrysostom
Pre-Tridentine Roman Liturgies
23 September
Read prior to class:
Class Reader, pages 192-194
Bard Thompson, pages
Jeffers, pages 14, 25-35
Know:
Justin Martyr
Early forms of western liturgy (Gallic, Roman) and chant
(Mozarabic, Gallican, Old Roman, etc)
Codification of Chant (Gregory the Great)
Creation of the Schola Cantorum
Chant types and terms (Jeffers, 25-35)
Unification of chant and liturgy
(and exceptions: Sarem, Ambrosian, Bohemian, Dalecarlian)
Development of organum and other medieval musical forms
Notre Dame School (Leonin and Perotin)
Musical and liturgical implications of split papacy
Bull of Pope John XXII
Affirmation of primacy of text (Gregorian chant)
Prohibition of secular tunes
The Propers and their polyphonic settings (motets)
The Ordinary and its settings (pre-Machaut, post-Machaut)
Polyphonic mass types: plainsong, cantus firmus (including head motive and paraphrase), parody, freely composed
Saints Cyril and Methodius: Glagolitic (Old Church Slavonic)
Janáček: Glagolitic Mass
Jan Hanuš: Mše Hlaholska
Jan Huss (Czech vernacular song and Bohemian chant)
Hussite Wars
Saint Wenceslas Chorale
Ye Warriors of God
Prone: vernacular homily and devotions
Other vernacular songs in worship
(France, Germany, Italy, England, Spain, the New World)
20 September
Review for Midterm Exam
7 October MIDTERM EXAM
Tridentine and Post-Tridentine Roman Liturgies
14 October
Read prior to class:
Class Reader, pages 195-236, 293-335
Bard Thompson, pages 47-91
Jeffers, pages 44-85
The “Vespero delli Cinque Laudate“ . . .
(JAMS, online access)
“Motu Proprio” of Pius X , 1903
(www.adoremus.org/Motupropria)
“Musicae Sacrae” of Pope Pius XII, 1955
(www.adoremus.org/MusicaeSacrae)
Vatican II documents on music, 1964 (online access)
Know:
Declarations and impact of the Council of Trent:
Streamlining of liturgy; reduction of sequences
Reaffirmation of primacy of text and Gregorian chant
Prohibition of secular tunes
Guidelines for polyphonic music
Polyphonic mass types: parody, freely composed
17th – 19th century Italian developments
Prima prattica and secunda prattica
Ludovico Grossi da Viadana
Exsultate Justi
Cento concerti con il bassi continuo (1602)
Artusi and Monteverdi
Madrigals, Book V (Introduction)
Vespers of 1610; Missa In illo tempore
Venetian and other local variations
Benedetto Marcelo
Estro poetico-armonico (1724-27;
English 1757)
Introduction of female voices (17th century)
Improvisation
Use of organ
Frescobaldi
Development of music in the Canonical Hours (Vespers)
Claudio Monteverdi
Alessandro Scarlatti
Pergolesi
G.F. Handel
Scholarly attention to Medieval and Renaissance music
Pietro Alfieri
18th and 19th century Austrian/German reforms
and counter-reforms:
Introduction of female voices
Vernacular masses
Michael Haydn
Franz P. Schubert
Society of Saint Cecilia (Franz Xaver Witt)
Ferenc Liszt (NOT German!)
Missa choralis
Requiem
Anton Bruckner
Mass in E-Flat
Requiem
Three BIG masses (d, e, f minor)
Ave Maria
Christus factus est
Os justi
Joseph Foerster (NOT German!)
Missa bohemica
Křiškowsky (NOT German!)
Leoš Janáček (NOT German!)
Zdravas Maria
Glagolitic Mass
18th - 20th century French developments:
Alternatum practice
Organ masses
Couperin
Solemnes monks (19th century)
Introduction of female voices (19th century)
Extensive use of 3-voice choir
Extensive use of organ
Extensive use of solo voice with organ
Extensive use of a few instruments with organ
Luigi Cherubini (NOT French!)
Adolph Adam: Cantique de Noël
Charles Gounod
Ceasar Franck: Panis Angelicus
Gabriel Fauré: Tantum ergo
Maurice Duruflé
Marcel Dupré
Olivier Messiaen: La Nativité du Seigneur
Messe de la Pentecôte
O sacrum convivium
Use of two organs (early 20th century)
Charles Marie Widor: Mass for Two Organs
Symphony No. 5
Louis Vierne: Mass for Two Organs
Other 19th – 20th century (pre-Vatican II) composers:
Edward Elgar:Ave verum corpus
Frank Martin: Mass
Poulenc: Mass in G Major
Rheinburger: Mass in E-Flat Major
Vaughan Williams: Mass in g minor
Samuel Wesley: In exitu Israel
Moto Proprio of Pius X (1903):
Reaffirmation of primacy of text and Gregorian chant
Abolishment of castrati
Musicae Sacrae of Pope Pius XII (1955)
Reafirmation of primacy of text and Gregorian chant
Dominico BartolucciJubilate Deo
Tota pulchra
Magnificat
Vatican II (1962-1964) and after:
Reaffirmation of primacy of text and Gregorian chant
Establishment of vernacular liturgies
Portions of ordinary recited by congregation
Feast Propers set as unified cycles (not often)
Vernacular translations of old motets
Introduction of folk and pop styles
Petr Eben and Jan Hanuš
Gregorian Institute of America (GIA)
Re-establishment of Latin masses (Pope Benedict)
20th century American developments
The St. Gregory Hymnal
Pietro A. Yon: Jesu Bambino
J. Fisher and Bro.
Vito Carnevali: Missa Rosa Mystica
Reform Liturgies
21 October
Lutheran
Read prior to class:
Class Reader, pages 237- 246
Bard Thompson, Chapter IV
Know:
Luther’s theology
OK if not specifically prohibited in Bible
“Why should the Devil have all the good tunes?”
Establishment of liturgies (Latin and German)
Kept: Matins, Vespers, Compline
Development of vernacular hymnody
Use of organ, including alternatum practice
Development of the Passion Oratorio
Johann Walther: responsorial Passions
(without Luther’s approval)
Heinrich Schuetz: “Madrigal” passions
Matthew, Luke, John
Thomas Strutz (1664), included arias for Jesus
Development of the “principal music”
(“Geistliche Konzerte” “Actus Tragicus”)
Johann Walther:
Hans Leo Hassler:
Heinrich Schuetz:Cantiones sacrae (1625)
Symphonia sacrae I (1629)
Kleine geistlich Konzerte (1636)
Musikalsche Exequien
Neue Kleine geistlich Konzerte
(1639)
Musicalia ad chorum sacrum
(1648)
Oratorios
(Xmas, 7 Last words, Easter)
Johann Schein:Opella Nova, I and II
Samuel Scheidt:Magnificat quinti toni
Andreas Hammerschmidt:
Friedrich Wilhelm Zachow
Dietrich Buxtehude: Abendmusik
Johann Pachelbel: Hexachordum Apollinis
Was Gott tut, das ist wohlgetan
Der Herr ist Koenig (Psalm 93)
Nun danket alle Gott
Johann Kuhnau:Wie Schön leuchtet
Georg Phillip Telemann: Laudate Dominum
J.S. Bach
Pietism and Orthodoxy
Later stylistic developments re: Pietists and Orthodox
Franck, Picander and Gerhardt
Pastor Neumeister and the “Madrigal Cantata”
Introduction of female voices (c. 1750)
28 October
Bach in Leipzig; 19th -20th century Germans; recent American developments
Read prior to class:
Class Reader, pages 247-252, 336 to end
Know:
Function of the “principal music”
a. cantatas
b. oratoria (including Passions)
Function of motets
Function of Latin
Function of the organ
Other music used by Bach
Bodenschatz Collection (Hassler)
Johann Ludwig Bach
Johann Kuhnau
Georg Melchior Hoffmann
Georg Phillip Telemann
Johann Kaspar Kerll
19th century German Lutherans
Felix Mendelssohn-Bartholdy
Albert Becker
20th century German Lutherans
Ernst Pepping
Hugo Distler
Siegfried Reda
Bornefeldt
Hermann Schroeder
American Lutheran developments
Publication of early Baroque music
Concordia Press (Missouri Synod)
Walter Buzin
Richard T. Gore
Encouragement of experimental ideas
Augsburg Press and Fortress Press
Ludwig Lenel: Christ ist Erstanden (motet)
Christ is Erstanden (organ)
Magnificat (alternatum)
Paul Fetler
Daniel Moe
Walter Pelz
Carl Schalk
Ronald A. Nelson
Recent development of “West Gallery” ideas
4 November
Calvinist (and visit Doheny Library Special Collections)
Read prior to class:
Class Reader, pages 253-258
Bard Thompson, Chapters V-VII
Know:
Calvin’s theology
Prohibited if not specifically OK in Bible
Exclusion of instruments and polyphony
Exclusion of secular texts and tunes
Development of Psalters
Clement Marot and Theodore de Beze
Claude Goudimel:Psalm 23, both settings
Restrictions on polyphony and instruments
Claude Le Jeune:Psalm 134
St. Bartholomew’s Day Massacre
Liturgical “breakouts” after Calvin’s death
Sweelinck:Psalm 96
Organ works (How and Why?)Scottish Psalter of 1635
Inclusion of organ
Inclusion of new texts
11 November
Anglican
Read prior to class:
Class Reader, pages 259-282
Bard Thompson, Chapter VIII
Know:
Henry VIII and Archbishop Cranmer
Edward VI and the Book of Common Prayer
Anglican Chant, Anthem, Canticles, Services (morning/evening)
Merbecke: The Booke of Common Praier Noted
Tallis:If Ye Love Me, Keep My Commandments
Tomkins:When David Heard
Weelkes:When David Heard
Byrd:Great Service
Gibbons:Almighty and Everlasting God
This Is the Record of John
The Commonwealth (Oliver Cromwell) and Restoration
Humphrey and Blow
Purcell:Rejoice in the Lord Always
Te Deum and Jubilate
O Sing Unto the Lord
Funeral Music for Queen Mary
Greene:Sing We Merrily
Handel:Chandos Anthems
Utrecht Te Deum and Jubilate
West Gallery Tradition
Inclusion of women in choirs
Charles Wesley and Isaac Watts
Some composers:
Uriah Davenport (c. 1660-1784)
James Ellor (1819-99)
Joseph Key (d. 1784)
William Knapp (c. 1698-1768)
James Leach (1762-98)
William Tucker (fl. 1663)
Victorian/Edwardian and 20th-21st centuries
Samuel Sebastian Wesley
C.H.H. Parry: I was Glad
Hear, O Ye Peoples
Vaughan Williams:O Clap Your Hands
Anthem on “Old Hundredth”
At the Name of Jesus
O, How Amiable
Te Deum in G
Herbert Howells:O Pray for the Peace of Jerusalem
Magnificat
My Eyes for Beauty Pine
Edward Bairstow:I Sat Down under His Shadow
Let All Mortal Flesh Keep Silence
Evening Service in g minor
Prelude, Elegy and Toccata (organ)
John Ireland:No Greater Love
Martin Shaw:With a Voice of Singing
John Joubert:O Lorde, the Maker of Al Thing
Benjamin Britten:Te Deum in C
Jubilate Deo
Malcolm Williamson
Herbert Chappell
Canadian developments
Healey Willan:Hymn-anthem on O quanta qualia
I Beheld Her, Beautiful as a Dove
Magnificat and Nunc dimittis in A
O Lord, Our Governor
O King, All Glorious
Graham George:Ride On! Ride On in Majesty!
American developments
Dudley Buck:Festival Te Deum in E-Flat
Amy Beach:Service in A Major
Mark Andrews: Lauda Anima
Mck. Williams:In the Year That King Uzziah Died
Leo Sowerby:I was Glad When They Said
Love Came Down at Christmas
Elevation, for violin and organ
Prelude on “The King’s Majesty”
Carl F. Mueller:Create in Me a Clean Heart
Everett Titcomb:O Love, How Deep
Jane Marshall:My Eternal King
18 November
British non-conformists, Methodists and American innovations
Read prior to class:
Class Reader, pages 283-292
Bard Thompson, Chapters IX-XIII
Know:
Free Will Churches in England and America
Colonial Worship
Ainsworth Psalter
The Bay Psalm Book
Lining Out
Singing Masters and Shape Notes
James Lyon: Urania
Wm Billings: Continental Harmony
The Singing Master’s Assistant
Wm. Walker:Southern Harmony
B.F. White and E.J. King:
The Sacred Harp
Impact of church music on music education
Lowell Mason
William B. Bradbury
Quartet choirs and their repertoire
E.O. Excell: Consider the Lilies
Dudley Buck
Horatio Parker
Impact of Lorenz, Excell, Rodeheaver, Gabriel, Billy Sunday
Revivalist and Gospel Songs
E.O. Excell: In Heavenly Love Abiding
B.B. McKinney
Phillip P. Bliss
Van Denman Thomas
Impact of West Gallery Tradition (without knowing it!)
Development of Pentecostal churches
African American liturgies
Inclusion of “Jubilee Songs”
Re-invention of the gospel song
The “Praise Music” phenomenon and “contemporary” worship
Bill and Gloria Gaither
Charismatic Movement
Metropolitan Community Church
25 November
CLASS DOES NOT MEET (Happy Thanksgiving!)
2 December
Review
9 December FINAL EXAM 11:00am-1:00pm
(Location TBA; check posted exam schedules for location)
(continued)
Listening for Midterm Exam
Jewish and Orthodox Christian
Salamone RossiKaddish (both settings)
Barechu
Psalm 146 (Hallelujah! Halleli nafshi)
Abraham CaceresHishki Hizki
Solomon SulzerMi Adir al Hakol
Louis LewandowskiHallelujah!
Avinu Malcheinu
L’cha Dodi
Enosh
Ernest BlochSacred Service (Avodath Hakodesh)
Leonard BernsteinHashkivenu
Dmitri BortnianskyCherubim Song, No. 7
Let My Prayer Arise, No. 2
Piotr Tchaikovsky:The Angel Cried
Sergei RachmaninoffAll-Night Vigil (commonly called “Vespers”)
Pre-Tridentine (Western)
Gregorian chants:Hodie Christus natus est
Divinum Mysterium
Dies Irae
Pange lingua
Veni Creator Spiritus
Victimae paschali laudes
G. Machaut:Kyrie from Messe de Nostre Dame
Ockegham:Kyrie from Missa prolationem
Nicholas Gombert:In illo tempore
Obrecht:Kyrie from Missa Caput
Josquin:Kyrie from Missa Pange lingua
Ave Maria
Leonin:Sederunt principes (St. Stephen’s Day)
Viderunt Omnes (Christmas)
T.L. da Victoria:Motet: O quam gloriosum
Kyrie from Missa O quam gloriosum (parody)
G.P. da Palestrina: Kyrie from Missa brevis (freely composed)
Credo from Missa Papae Marcelli (freely composed)
Wm. Byrd:Sancti from Masses in 3, 4, 5 Parts (freely composed)
C. Monteverdi: Kyrie from Missa In illo tempore (parody)
Pulchra es, from Vespers of 1610
Listening for Final exam
All of the above, and:
M-A. CharpentierGloria from Midnight Mass for Christmas Eve
F. CouperinGloria (complete) from Mass for the Parishes
A. ScarlattiGloria (complete) from St. Cecilia Mass (cantata mass)
G.F. Handel:Seviat Tellus, from Roman Vespers
F.J. HaydnKyrie and Credo from Missa brevis de Johannes de Deo
Kyrie and Credo from Heiligmesse
W.A. MozartAlma Dei Creatoris, K. 277
Ave verum corpus
Kyrie and Credo from Mass in C (Organ Solo), K. 259
CherubiniIntroit and Kyrie from Requiem in d minor
(listening continued on next page)
C. FranckPanis angelicus
DvořákAgnus Dei from Mass in D Major (organ version)
ElgarAve verum corpus
VierneGloria from Mass for chorus and two organs
DurufléVariations on Veni Creator Spiritus
MessiaenDieu parmi nous (from La Nativité du Seigneur)
O sacrum convivium!
JanáčekCredo from Glagolitic Mass
Varhanny (organ) Solo from Glagolitic Mass
Zdravas Maria
Stravinsky:Ave Maria
Agnus Dei from Mass
Pater Nostre
Eben:Kyrie from Missa in Adventus
Kyrie from Trouvere Mass
Schein: Maria, gegrüsset seystu Holdselige (Opella Nova II)
Kom heiliger Geist, Herre Gott (Opella Nova II)
Pachelbel:Was Gott tut das ist Wohlgetan
Schuetz:Kleine Geistliche Konzerte
one of the passions
J.S. BachCantata 4, Christ lag in Todesbanden (Mauthausen)
J.S. BachCantata 172, Erschallet, ihr Lieder(Weimar)
J.S. BachCantata 161, (Weimar)
J.S. BachCantata 194, (Leipzig, contrafactum from Köthen)
J.S. BachCantata 156, Ich steh mit einem Fuss in Grab (Leipzig)
J.S. BachFugue in E-flat Major, “St. Anne”
J.S. BachToccata and Fugue in d minor
J.S. BachFugue in g minor (“little”)
J.S. BachMissa brevis in F
J.S. BachPassion According to St. John
J.S. BachPassion According to St. Matthew
Le JeunePsalm 134
SermisyPsalm settings
SweelinckPsalm 96
GibbonsAlmighty and Everlasting God (full)
This is the Record of John (verse)
ByrdMagnificat and Nunc dimittis from Great Service
PurcellSing unto the Lord (cantata anthem)
West Gallery songsAll Hail the Pow’r of Jesus’ Name
And Can It Be?
Who Would True Valour See
ParryHear, O Ye Peoples
Vaughan WilliamsKyrie, from Mass in g minor
O, Clap Your Hands
Anthem on “Old Hundredth”
IrelandNo Greater Love
BrittenTe Deum in C
Jubilate Deo
BeachTe Deum, from Service in A Major
BillingsEaster Anthem
American fuging tune
Sacred HarpWondrous Love
Albert Hay MalotteThe Lord’s Prayer (many versions)