Rejoice in the Lamb, Op. 30: (1943)

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9781458424518: Rejoice in the Lamb, Op. 30: (1943)
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The words of the Cantata Rejoice in the Lamb are taken from a long poem of the same name. The writer was Christopher Smart, an eighteenth century poet, deeply religious, but of a strange and unbalanced mind.Rejoice in the Lamb was written while Smart was in an asylum, and is chaotic in form but contains many flashes of genius.It is a few of the finest passages that Benjamin Britten has chosen to set to music. The main theme of the poem, and that of the Cantata, is the worship of God, by all created beings and things, each in its own way.The Cantata is made up of ten short sections. The first sets the theme. The second gives a few examples of one person after another beingsummoned from the pages of the Old Testament to join with some creatures in praising and rejoicing in God. The third is a quiet and ecstatic Hallelujah. In the fourth section Smart takes his beloved cat as an example of nature praising God by being simply what the Creator intended it to be. The same thought is carried on in the fifth section with the illustration of the mouse. The sixth section speaks of the flowers - the poetry of Christ. In the seventh section Smart refers to his troubles and suffering, but even these are an occasion for praising God, for it is through Christ that he will find his deliverance. The eighth section gives four letters from an alphabet, leading to a full chorus in section nine which speaks of musical instruments and music's praise of God. The final section repeats of Hallelujah.

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Benjamin Britten
Published by BOOSEY HAWKES INC, United States (2004)
ISBN 10: 1458424510 ISBN 13: 9781458424518
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Book Description BOOSEY HAWKES INC, United States, 2004. Paperback. Condition: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. (BH Large Choral). for SATB with SATB solos and organ Imogen Holst orchestrated the work for wind quintet, percussion, organ (ad lib) and strings (1952), and there is also a version for SSAA and organ arranged by Edmund Walters (1966) Text: Christopher Smart Publisher: Boosey Hawkes Difficulty level: 3 One of Britten s most popular and performed works in this genre, Rejoice in the Lamb was written for the 50th anniversary of St. Matthew s church, Northampton in 1943. The remarkable vicar, Walter Hussey, was a great patron of the arts. His vision for St. Matthew s and later for Chichester Cathedral, where he moved to become Dean, is one of the most fascinating stories in the history of the Anglican Church in the last century.Britten called his work a Festival Cantata and it is structured with choral and solo movements. The text by the supposedly mad Christopher Smart (1722-1771) is part of a poem called Jubilate Agno which he composed in a mental asylum having been committed there by his father-in-law for apparent religious mania. He died in a debtors prison. It was W.H. Auden who brought the poem to Britten s attention. It is easy to see why Britten was so attracted to Smart s poem. It has great colour, drama, bizarre imagery, and the central issue of the individual against the crowd, or against authority, was one to which Britten was to return repeatedly in his works. Britten had developed a deep interest in Purcell s music at this time and had made keyboard realisations of accompaniments for a number of songs which he performed with Peter Pears. Purcell s influence can easily be heard in the Hallelujah sections. The challenges in this work are many and varied though the difficulty level is not great overall. It is an ideal concert work and is popular with performers and audiences alike. Practical issues include really quiet singing while projecting the voice at the start; dealing with the rhythmic complexities of the first quick section ( Let Nimrod the mighty hunter ) and getting the most out of the words and the dynamic contrasts here; the unanimity of the dotted rhythms in the Hallelujah sections; the fielding of four soloists who can put across the character of these zany movements (the cat, the mouse, flowers); the realisation of the depth of passion in the For I am under the same accusation as my Saviour section; the brilliance of the final quick section with all the bizarre musical instrument rhymes; and finally realising the stillness and serenity of the slow music before the final Hallelujah. There is much to consider and much devil in the detail. However, the work is emphatically worth any amount of effort to realise Britten s inspiration. Duration: 17 minutes Paul Spicer, Lichfield, 2011. Seller Inventory # BTE9781458424518

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Book Description BOOSEY HAWKES INC, United States, 2004. Paperback. Condition: New. Language: English . Brand New Book. (BH Large Choral). for SATB with SATB solos and organ Imogen Holst orchestrated the work for wind quintet, percussion, organ (ad lib) and strings (1952), and there is also a version for SSAA and organ arranged by Edmund Walters (1966) Text: Christopher Smart Publisher: Boosey Hawkes Difficulty level: 3 One of Britten s most popular and performed works in this genre, Rejoice in the Lamb was written for the 50th anniversary of St. Matthew s church, Northampton in 1943. The remarkable vicar, Walter Hussey, was a great patron of the arts. His vision for St. Matthew s and later for Chichester Cathedral, where he moved to become Dean, is one of the most fascinating stories in the history of the Anglican Church in the last century.Britten called his work a Festival Cantata and it is structured with choral and solo movements. The text by the supposedly mad Christopher Smart (1722-1771) is part of a poem called Jubilate Agno which he composed in a mental asylum having been committed there by his father-in-law for apparent religious mania. He died in a debtors prison. It was W.H. Auden who brought the poem to Britten s attention. It is easy to see why Britten was so attracted to Smart s poem. It has great colour, drama, bizarre imagery, and the central issue of the individual against the crowd, or against authority, was one to which Britten was to return repeatedly in his works. Britten had developed a deep interest in Purcell s music at this time and had made keyboard realisations of accompaniments for a number of songs which he performed with Peter Pears. Purcell s influence can easily be heard in the Hallelujah sections. The challenges in this work are many and varied though the difficulty level is not great overall. It is an ideal concert work and is popular with performers and audiences alike. Practical issues include really quiet singing while projecting the voice at the start; dealing with the rhythmic complexities of the first quick section ( Let Nimrod the mighty hunter ) and getting the most out of the words and the dynamic contrasts here; the unanimity of the dotted rhythms in the Hallelujah sections; the fielding of four soloists who can put across the character of these zany movements (the cat, the mouse, flowers); the realisation of the depth of passion in the For I am under the same accusation as my Saviour section; the brilliance of the final quick section with all the bizarre musical instrument rhymes; and finally realising the stillness and serenity of the slow music before the final Hallelujah. There is much to consider and much devil in the detail. However, the work is emphatically worth any amount of effort to realise Britten s inspiration. Duration: 17 minutes Paul Spicer, Lichfield, 2011. Seller Inventory # AAC9781458424518

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Book Description BOOSEY HAWKES INC, United States, 2004. Paperback. Condition: New. Language: English . Brand New Book. (BH Large Choral). for SATB with SATB solos and organ Imogen Holst orchestrated the work for wind quintet, percussion, organ (ad lib) and strings (1952), and there is also a version for SSAA and organ arranged by Edmund Walters (1966) Text: Christopher Smart Publisher: Boosey Hawkes Difficulty level: 3 One of Britten s most popular and performed works in this genre, Rejoice in the Lamb was written for the 50th anniversary of St. Matthew s church, Northampton in 1943. The remarkable vicar, Walter Hussey, was a great patron of the arts. His vision for St. Matthew s and later for Chichester Cathedral, where he moved to become Dean, is one of the most fascinating stories in the history of the Anglican Church in the last century.Britten called his work a Festival Cantata and it is structured with choral and solo movements. The text by the supposedly mad Christopher Smart (1722-1771) is part of a poem called Jubilate Agno which he composed in a mental asylum having been committed there by his father-in-law for apparent religious mania. He died in a debtors prison. It was W.H. Auden who brought the poem to Britten s attention. It is easy to see why Britten was so attracted to Smart s poem. It has great colour, drama, bizarre imagery, and the central issue of the individual against the crowd, or against authority, was one to which Britten was to return repeatedly in his works. Britten had developed a deep interest in Purcell s music at this time and had made keyboard realisations of accompaniments for a number of songs which he performed with Peter Pears. Purcell s influence can easily be heard in the Hallelujah sections. The challenges in this work are many and varied though the difficulty level is not great overall. It is an ideal concert work and is popular with performers and audiences alike. Practical issues include really quiet singing while projecting the voice at the start; dealing with the rhythmic complexities of the first quick section ( Let Nimrod the mighty hunter ) and getting the most out of the words and the dynamic contrasts here; the unanimity of the dotted rhythms in the Hallelujah sections; the fielding of four soloists who can put across the character of these zany movements (the cat, the mouse, flowers); the realisation of the depth of passion in the For I am under the same accusation as my Saviour section; the brilliance of the final quick section with all the bizarre musical instrument rhymes; and finally realising the stillness and serenity of the slow music before the final Hallelujah. There is much to consider and much devil in the detail. However, the work is emphatically worth any amount of effort to realise Britten s inspiration. Duration: 17 minutes Paul Spicer, Lichfield, 2011. Seller Inventory # AAC9781458424518

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