Herbert Howells – Missa Sabinesis As the Hart Hyperion
Herbert Howells has a venerable reputation for setting Psalm 42 in music that is both eloquent and beautiful, and this is especially true of his Missa Sabrinesis. The choir is known for its outstanding ensemble and impeccable intonation, which are especially important when chanting psalms. Reviewers also praise the choir’s performance.
Iain Farrington’s unaccompanied motet Take Him, Earth, for Cherishing
Iain Farrington’s unaccompanied choral motet “Take Him, Earth, For Cherishing” is one his most well-known works and a classic in British Choral Music. He studied at the Royal Academy of Music in London and at Cambridge University, and is now a respected composer and conductor. Farrington has performed in many venues around the UK, including the opening ceremony of the London 2012 Olympics. His concerts have also taken him abroad, to the United States, South Africa, and Hong Kong. He has also been a regular contributor to BBC Radio 3’s “Living in the Moment”, and his works have been recorded by a variety of ensembles.
This choral work also includes a traditional 16th-century Christmas carol, “Sweet Was the Song”, which is included in the choral work. It shows the Virgin Mary singing the lullaby of Jesus. This piece is a beautiful anthem for the Christmas season. It is a fitting choice for a Christmas Eve concert because of its powerful harmonies.
Herbert Howells’s setting of Psalm 42
“Like the hart” is an anthem which combines beautiful harmonies and a psalm. The song is suitable for organ and SATB choir. It also sets the first three verses from Psalm 42. Howells wrote his anthem in a single day. The men sing the first two verses, while the chorus sings the third.
Herbert Howells, an English church composer, wrote the hymn “Like the hart wishes the waterbrooks”. It is performed often at Evensong, an English cathedral service every day. Herbert Howells’ music for Evensong captures the beauty of the cathedral’s soaring acoustics. Howells wrote hymn tunes and special chants to sing psalms in Anglican style.
Herbert Howells’ solo organ piece “Saraband” was published in 1949 with “Paean”, a John Rutter composition. This organ piece takes the traditional three-beat dance form and turns it into a musical essay on the triumph of resurrection. Herbert Howells also sets Psalm 42 for the organ. The performance of the piece will be a moving experience for everyone who hears it.
Herbert Howells’s Missa Sabrinesis
The CD of Herbert Howells’s Missa Sabinesis as the hart hyperion is one of the finest recordings of this opera. The recording is uneven and too long, but there are some glorious moments. Whether you prefer the original, a remaster, or a new recording, the CDA68294 offers excellent sound and the same quality.
This Mass is dedicated the River Severn, also known as Sabrina in Latin, which is an important river in British musical history. It premiered in 1954, accompanied by Vaughan Williams’ Hodie. The composer’s work evokes the landscape of Gloucestershire, where he and Ivor Gurney spent many days strolling in the countryside.
This piece begins with a full cry, and then uses this theme at every cardinal moment. Despite the piece’s difficult nature, it is a remarkably sensitive performance, defying its reputation. The chorus is beautifully rehearsed by Benjamin Hulett and Helena Dix, who act as the chorus extension. The piece concludes with the familiar hymn “O Magnificat.”
The symphonic nature of the piece is heightened by the final movement, which is characterized by its nostalgic overtones. The death of Michael Howells, his son, was also a part of Howells’ childhood near the River Severn. The funeral took place at Twigworth outside Gloucester. Herbert Howells’s Missa Sabrinesis, the hart hyperion, is a wonderful example of the lasting value of a monumental, resounding work.
Herbert Howells’s Requiem
The sombre gravity of Herbert Howells’s Requiemm makes it a fitting work for the celebration of death. Charles Stanford and Sir Herbert Brewer taught the composer piano, organ and composition. In his lifetime, he wrote many anthems. His Requiem, perhaps his most famous work, was performed in London’s Royal Albert Hall on February 17, 1939.
The Requiem was written for an unaccompanied chorus. In some places, it is divided into two choirs. The piece consists of six short movements in a carefully structured structure. It combines two Latin settings of the Requiem aeternam with a set of psalms. The work is poly-tonality. This refers to the simultaneous usage of major and minor keys. The psalm-settings are straightforward and direct, using speech-rhythms from plain chordal writing.
Howells was inspired by Renaissance polyphony and made it more accessible to a modern audience. The resulting piece is elegant and restrained, but features opulent harmonic language and flexible texture. There are also vignettes that can be used by solo voices. This performance was dedicated to the composer’s father, which makes it a particularly touching work of art. It is not without faults.
The composition’s last two movements are not to be sung together. The first verse is sung with a long, eloquent aplomb. The last part is sung with the great hymn All my hope in God. Its tune is called Michael. It was not written in response to Michael’s death, but Howells published it in his son’s memory.