JOHN STAINER CRUCIFIXION PDF

1 Music files. Complete work; Individual movements. 3. Processional to Calvary (Fling wide the gates); Hymn: Cross of Jesus. The Crucifixion – John Stainer ( – ). Stainer was one of the most distinguished musicians of his generation. In he was appointed organist of St. Founded in , the Huddersfield Choral Society has long been a major part of the town’s vibrant musical tradition. Under a succession of distinguished.

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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. Hyperion offers both CDs, and johhn in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your stainner options, or use the checkbox to accept the defaults. Although enjoying a close working relationship with any leading professional orchestras and conductors, the Society is a independent and self-governing amateur choir, drawing talented singers from a wide area across Yokshire and the north of England.

While Great Britain was making the running in stziner of the arts and crafts, music seemed barely to be on the agenda—at least so far as home-grown talent was concerned. This is hardly to say that the British Isles were not awash with great music—they certainly were, but little of it was indigenous.

While Haydn, Mozart and Beethoven had rapidly become staples of crucigixion orchestral, chamber and instrumental classical canon, music for religious purposes had been somewhat stifled ever since the Puritan tirades against liturgical and theatrical music. The oratorios of Handel crucfiixion side-stepped these issues by being neither liturgical in initiation nor purely theatrical in conception.

Instead they were regarded as merely sacred and dramatic, which seemed even to please everyone, even many a hard-line Nonconformist.

This template was set johh Victoria drucifixion monarch and Handelian oratorio, rather than opera, was setting the musical pulse of the nation. His oratorio, Elijahcomposed for the Birmingham Festival inand now with an English text, further endeared him sainer the British public and helped re-invigorate English composers into moving toward the European mainstream. This was the musical scenario into which John Stainer was born and bred: Handel and Mendelssohn remained the staple diet, supplemented by a host of native English oratorios often written in pale imitation of the two German titans.

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Stainer was born into a family of modest means in Southwark on 6 June and was taught organ from an early age by his schoolmaster father. He quickly became one of the leading solo boys and is known to have sung at some extremely prestigious events, such as the funerals of artist J. Turner and the Duke of Wellington, in 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.

Later in life, he was ever keen to acknowledge this period as of the utmost stanier in his musical development.

Stainer The Crucifixion

crucifixiob Composition aside, he was a tireless worker for those around him, raising the standard of the choir to new heights, augmenting its numbers and making sure that salaries were raised to appropriate levels. He also introduced weekly choral celebrations of communion and processions while providing adequate rehearsal time to cope with an expanded and enhanced repertory.

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. Once again his administrative and scholarly skills were employed to staiiner effect and he retained the post for a decade, retiring in Two years later, he died of heart failure, on 31 March, whilst holidaying in Verona.

Stainer – Crucifixion

The Crucifixion may be his only tangible musical legacy, but he is perhaps even better remembered by musicologists for his contributions to the discipline. His edition of Early Bodleian Music is recognised as the earliest attempt by an English scholar to investigate music before the great Renaissance figures of Palestrina, Lassus, Victoria and Tallis. As a founder member of the Musical Association, President of the Royal College of Organists and many other professional bodies, and co-founder of august societies and institutions such as the Oxford Philharmonic Society and the Associated Board of the Royal Schools of Music, he worked tirelessly joh the improvement of music appreciation and education, and enhanced standards throughout the country as a whole.

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Given its immense popularity, Stainer obviously succeeded in the latter. As to the stainre The structure of The Crucifixion is inspired by J.

Bach, the scheme of arias recitatives, choruses and chorales hymns reflecting that of the Srainer John and St Matthew Passions. Unlike the passions, however, there is no orchestra to provide light and shade to accompaniments and add piquancy or punch to the shainer.

The congregation is invited to stand for these hymns and so directly take part in a communal celebration at this crucial point in the liturgical year. While the first performance was a success, the libretto, by the Reverend William Sparrow-Simpson would soon attract ferocious criticism and the music has also been vilified down the years.

The Crucifixion can still bat with the best of them every season, its many performances and broadcasts every year at Passiontide gladly attended and participated in with great British gusto.

John Stainer, Composer of The Crucifixion

Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don’t show me this message again. November Total duration: Introduction English In the monumental Victorian era, with Britain ruling the waves and at the zenith of its economic, military, industrial and imperial power, artists, architects, poets and polymaths seemed to be ten-a-penny.

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.

Alma-Tadema, Burne-Jones, Millais and co. And then there were others, such as John Ruskin and William Morris whose brilliance shone over numerous arts and disciplines.