divendres, 31 d’agost de 2018

GREENE, Maurice (1696-1755) - Anthems

Francis Hayman - Maurice Greene & John Hoadly
Obra de Francis Hayman (1708-1776), pintor anglès (1)




Parlem de Pintura...

Francis Hayman (Exeter, 1708 - London, 2 de febrer de 1776) va ser un pintor i il·lustrador anglès. Es desconeix la seva formació inicial sent la primera referència dels seus inicis com a pintor escenògraf dels teatres de Drury Lane. Poc després, va instal·lar el seu taller a St Martin 's Lane on va iniciar la seva carrera com a pintor principalment de retrats. Va ser a l'entorn del 1740 que el seu nom va començar a rebre un cert reconeixement gràcies a una sèrie d'obres decoratives pels Jardins Vauxhall de Londres. Més tard, va realitzar nombrosos retrats de molts actors teatrals caracteritzats pels papers que interpretaven. Com a il·lustrador, va col·laborar en diverses obres entre elles les novel·les de Samuel Richardson i una edició de El Quijote. Com a professor, van destacar els seus alumnes Mason Chamberlin, Nathaniel Dance-Holland, Thomas Seton i Lemuel Francis Abbott. Juntament amb Joshua Reynolds, va participar en la creació de la Society of Artists, predecessora de la Royal Academy of Arts. Francis Hayman va morir a Londres el febrer de 1776.



Parlem de Música...

Maurice Greene (London, 12 d'agost de 1696 - London, 1 de desembre de 1755) va ser un organista, professor i compositor anglès. Es va formar com a cantant del cor de la Catedral de Sant Pau de Londres sota la direcció de Jeremiah Clarke i Charles King. A partir del 1710 va rebre formació de l'organista Richard Brind, en aquell temps titular a Sant Pau. El 1714 va ser nomenat organista de l'església de St. Dunstan-in-the-West i el 1718 va assumir el mateix càrrec a St. Andrew's Holborn. A finals del mateix 1718 va ser nomenat organista de la Catedral de Sant Pau en un càrrec que va preservar fins el 1727. Aquell any va ser nomenat organista i compositor de la Capella Reial sent guardonat, el 1730, amb el Doctorate in Music de la Universitat de Cambridge la qual també el va nomenar professor honorari de música. El 1735 va assolir el lloc de Master of the King's Musick, el càrrec més important al que podia accedir un músic a Anglaterra. També en aquells anys va treballar com a professor amb alumnes com William Boyce i John Stanley, entre altres. El 1738 va fundar, en col·laboració amb Michael Festing, la Fund for the Support of Decayed Musicians and their Families coneguda ben aviat amb el nom de Royal Society of Musicians. Com a compositor, va ser notablement prolífic en música religiosa de la qual en va destacar els seus nombrosos himnes. Maurice Greene va morir a Londres el desembre de 1755.

Tobia Majero - Regnorum Magnae Britanniae et Hiberniae (1749)
Johann Baptist Homann (1664-1724) - Regnorum Magnae Britanniae et Hiberniae (1749) (2)

OBRA:

Vocal secular:

Cant. (A. Pope), 2 movts, for Durastanti's London farewell perf., 1724, GB-Er
Descend ye nine, descend and sing (Pope), Ode for St Cecilia's Day, 1730, Lcm, Ob; ed. in MB, lviii (1991)
The Song of Deborah and Barak, orat, 1732, Cfm, Ckc, Lbl, Lcm, Ob; ed. F. Dawes (London, 1956), H. Burnett (New York, 1978)
Florimel, or Love's Revenge (dramatic pastoral, 2, J. Hoadly), Farnham Castle, 1734, Lam, Lbl (with autograph addns; facs. in MLE, C6, 1995), Lcm
Jephtha (orat, Hoadly) 1737, Ob (with autograph addns)
The Chaplet … a Collection of 12 English Songs (London, 1738) [anon]
Spenser's Amoretti, 1v, bc (London, 1739)
The Judgment of Hercules (masque, Hoadly), ?1739, music lost
The spacious firmament on high (sacred ode, J. Addison) c1740, Lbl, Lcm
The Force of Truth (orat, Hoadly) 1744, music lost
A Cantata and 4 English Songs, i, ii (London, 1745, 1746)
Catches and Canons, 3, 4vv, with 5 songs, 2, 3vv, bc (London, 1747)
Phoebe (pastoral op, 3, Hoadly), 1747, first known perf., London, Mr Ogle's Great Room, Dean Street, 16 Jan 1755, Lbl, Ob (autograph except ov.)
38 It. cants., duets, other pieces, 1 in Er, rest in Ob (some autograph)
35 court odes for New Year and king's birthday, all first perf. in London, 13 extant: 1 in ALb, 1 in Lam, 1 in Lcm, 9 in Ob, 1 in J-Tn
19 strophic ballads, a third Eng. cant., texts only of 7 other cants, pubd in half-sheets, in contemporary songbooks and poetic miscellanies, mostly before 1738

Vocal religiosa:

Anthems:
14 full, 44 verse, 21 solo, 24 orch anthems, all with bc; except for orch anthems, MS sources given only for autograph scores and pupils' copies where possible; those with 2 ob probably perf. with 2 bn as well
Acquaint thyself with God, A/4vv, org obbl, F, S; ed. H. Diack Johnstone (London, 1971)
All thy works praise thee, O Lord, 3/4vv, 2 ob, 2 tpt, str, GB-Lbl*,Ob (with autograph addns)
Arise, shine, O Zion, 4/4vv, F
Behold, I bring you glad tidings, 2/4vv, Christmas, 1728, F
Blessed are all they that fear the Lord, 2/4vv, fl, 2 ob, str, for the wedding of Princess Anne and the Prince of Orange, 1733, unperf., Ob*,Lbl; 1 movt in common with Te Deum, Lbl (see ‘Services and Canticles’)
Blessed are they that dwell in thy house, 2/4vv, F
Blessed are those that are undefiled, 2/4vv; F; ed. R. Marlow, Three Anthems by Maurice Greene (Croydon, 1982)
Blessed is the man that hath not walked in the counsel of the ungodly, 2/4vv, Ob
Blessed is the man whose strength is in the Lord, 3/5vv, fl, 2 ob, str, for the king's return, 1735, Ob (with autograph addns)
Bow down thine ear, O Lord, 6vv, 1719, Cu, CH, DRc, Lbl, Ob,Y; H iii, 17, ed. H. Burnett (New York, 1976)
God is our hope and strength, 4/4vv, F
Have mercy upon me, O God, A/5vv, F
Have mercy upon me, O God, 3/4vv, 1720, Lbl
Hearken unto me, ye holy children, 3/4vv, 2 fl, 2 ob, str, 1728, Ckc (incl. orig. pts), Cu, Lbl, Ob; final Hallelujah in common with last 30 bars of O praise the Lord, ye angels of his; ed. in MB, lviii (1991)
Hear my crying, O God, 2/4vv, Lbl, Ob; H ii, 42
Hear my prayer, O God, and let my supplication come before thee, 4/4vv, F; ed. P.M. Young (New York, 1974)
Hear my prayer, O Lord, and consider my desire, 2/4vv, in Cathedral Music, ed. S. Arnold (London, 1790), iii, 169–76
Hear my prayer, O Lord, and hide not thyself, 3/4vv, Lbl
Hear, O Lord, and consider my complaint, B/4vv, F
Hear, O Lord, and have mercy, 2/4vv, Lbl (with autograph addns)
How long wilt thou forget me, O Lord, for ever? 8vv (with section for 2S), F
I call with my whole heart (Dorian mode), 5vv, Ob; W
I cried unto the Lord, B/4vv, LEc, Ob
I cried unto the Lord (Phrygian mode), 5vv, Ob; W
I have longed for thy saving health, O Lord (Mixolydian mode), 5vv, Ob; W
I will alway give thanks, 3/4vv, Lbl*; H iii, 82
I will be glad, and rejoice, 3/4vv, Ob (with autograph addns)
I will give thanks, 3/4vv, F
I will give thanks, 5/5vv, 2 ob, 2 bn, 2 tpt, str, for the king's return, 1740, Ob*; final movt in common with I will sing a new song, music of 1 other used in Rejoice in the Lord, O ye righteous (2nd setting)
I will love thee, O Lord, 4/4vv, Ob*; 3 movts in common with I will sing a new song
I will love thee, O Lord, my strength, orch anthem, perf. Cambridge, 5 July 1730, lost
I will magnify thee, O God, my king, 2/4vv, Lcm*
I will magnify thee, O God, my king, 3/4vv, 2 ob, 2 tpt, str, for the Sons of the Clergy, 1719, Ob*; ed. H. Burnett (New York, 1977)
I will seek unto God, 2/5vv, 1721, F
I will sing a new song, 5/5vv, 2 ob, 2 tpt, str, Ob (mostly autograph); 3 movts in common with I will love thee, O Lord, 1 with I will give thanks (2nd setting)
I will sing of thy pow'r, O God, 5vv (with section for 5 solo vv), F; 1 movt in common with O Lord, our Governor
Let God arise, 3/5vv, 1721, F
Let my complaint come before thee, 5vv, F; ed. R. Marlow, Three Anthems by Maurice Greene (Croydon, 1982)
Let my complaint come before thee, A/4vv, F, S
Like as the hart, 2/4vv, Lbl (with autograph addns)
Lord, how are they increased that trouble me, A/4vv, org obbl, F, S
Lord, how long wilt thou be angry, 5vv, F
Lord, let me know mine end, 4vv (with section for 2S), F; ed. R. Lyne (Croydon, 1991)
Lord, teach us to number our days (Aeolian mode), 5vv, Ob; W
My God, my God, look upon me, T/5vv, org obbl, F, S; ed. P.M. Young (New York, 1978)
My heart is fixed, O God, 2/4vv, ?vc obbl, Ob (partly autograph)
My soul truly waiteth still upon God, B/4vv, org obbl, 1720, F
O be joyful in God all ye lands, 5/4vv, 1 fl, 2 ob, 2 tpt, timp, str, Ob*
O be joyful in the Lord, verse, lost
O clap your hands together, 5vv, F; ed. C.F. Simkins (St Louis, 1974)
O give thanks unto the Lord and call upon his name, 2/4vv, org obbl, Lcm (with autograph addns)
O give thanks unto the Lord, let them give thanks, for Easter, 1728, 2/4vv, F
O God of my righteousness, 2/4vv, F; ed. R. Marlow, Three Anthems by Maurice Greene (Croydon, 1982)
O God, thou art my God, 3/4vv, org obbl, F
O God, thou art my God, A/4vv, org obbl, Lcm (with autograph addns); last 2 movts are an earlier version of those in setting above, antepenultimate movts also similar
O God, thou hast cast us out, 5/4vv, 2 ob, str, for the Fast Day, 18 Dec 1745, Ob (mostly autograph), Lbl* (with figured b acc. only), latter version in Cathedral Music, ed. S. Arnold (London, 1790), iii, 244–55
O how amiable are thy dwellings, 3/4vv, F
O Lord, give ear unto my prayer, 2/4vv, org obbl, 1720, F
O Lord God of hosts, S/4vv, Cfm, in Cathedral Music, ed. S. Arnold (London, 1790), iii, 292–4
O Lord God of hosts, orch, lost
O Lord, grant the king a long life, T/4vv, org obbl, F
O Lord, I will praise thee, 3/4vv, in Cathedral Music, ed. S. Arnold (London, 1790), ii, 128–43
O Lord, look down from heaven, 3/4vv, Lbl*, Ob; H iii, 65
O Lord, our Governor, 3/5vv, 1726, Lbl, Ob; final movt in common with I will sing of thy pow'r
O Lord, who shall dwell, 3/5vv, str, DRc, Ob
Open the gates of righteousness, 4/4vv, 2 ob, 2 tpt, str, for the Sons of the Clergy, 1723, CH, Lbl, Ob (partly autograph)
O praise our God, ye people, 2/4vv, F
O praise the Lord of heaven, 5/4vv, Lbl*
O praise the Lord, ye angels of his, orch; ed. F. Chrysander, G.F. Händels Werke, xxxvi (Leipzig, 1872), as Chandos Anthem no.12
O praise the Lord, ye that fear him, 3/4vv, 2 ob, 2 tpt, str, perf. Cambridge, 5 July 1730, Ob*
O sing unto God, sing praises to his name, 2/4vv, F
O sing unto the Lord a new song, 5vv (with section for 5 solo vv), 1719, F
O sing unto the Lord a new song, 3/4vv, Lbl*
O sing unto the Lord with thanksgiving, T/4vv, F, S
Ponder my words, O Lord, 2/4vv, Lbl; H i, 231
Praise the Lord, O my soul, S/4vv, F, S
Praise the Lord, O my soul, B/4vv, Lbl*
Praise the Lord, ye house of Aaron, orch, for the Sons of the Clergy, 1736, lost
Praise the Lord, ye servants, 2/4vv, F
Praise the Lord, ye servants (Ionian mode), 5vv, Ob; W
Put me not to rebuke, O Lord, 3/4vv, F
Rejoice in the Lord, and have mercy, orch, lost
Rejoice in the Lord, O ye righteous, B/4vv, CH, Lbl, Ob
Rejoice in the Lord, O ye righteous, 3/4vv, fl, 2 ob, 2 tpt, str, for the king's return, 1741, Ob*
Rejoice in the Lord, O ye righteous, 4/5vv, 2 ob, 2 tpt, str, Ob (mostly autograph); 2 movts in common with 1741 setting, 1 adapted from I will give thanks (2nd setting)
Save me, O God, A/4vv, Ob*; H ii, 150
Sing praises unto the Lord, 3/4vv, 2 ob, 2 tpt, str, Lbl (with autograph addns)
Sing unto the Lord and praise his name, A/4vv, Ob*
Sing unto the Lord a new song, 3/6vv, F
Sing unto the Lord a new song, A/4vv, Ob*
Sing we merrily unto God our strength, 2/5vv, 2 ob, 2 bn, 2 tpt, str, Lbl*
Sing we merrily unto God our strength, 3/5vv, 2 fl, 2 ob, 2 bn, 2 tpt, timp, str, 1740, IRL-Dtc (pts only), GB-Lbl, Ob*; ed. M. Martens (New York, 1972)
The king shall rejoice, 3/4vv, F
The king shall rejoice, 5/5vv, 2 ob, 2 tpt, str, Lam (partly autograph), Ob*
The Lord, ev'n the most mighty God hath spoken, B/4vv, F
The Lord is gracious and merciful, 2/4vv, Ob (mostly autograph)
The Lord is king, B/5vv, Ob (with autograph addns)
The Lord is my shepherd, 2/4vv, F
The Lord is my strength, 3/4vv, Lbl; H ii, 122, ed. in The Cathedral Magazine (London, c1775–8), ii, 22 [anon]
The Lord is our light and our salvation, 4/4vv, 2 ob, bn, 2 tpt, str, for the Sons of the Clergy, 1720 and 1722, Ob (partly autograph)
Thou, O God, art praised in Zion, 2/4vv, F
Try me, O God (Lydian mode), 5vv, Ob; W
Turn thy face from my sin, A/4vv, vc obbl, Ob*
services and canticles
Service in C (TeD, Jub, Mag, Nunc), 8vv (with verses), 1737, GB-Lcm*, Ob (with addl San and Gl and autograph addns); Mag and Nunc, ed. H. Diack Johnstone (London, 1966/R)
Te Deum, D, 6/6vv, fl, 2 ob, bn, 2 tpt, str, ?1721, US-Wc*
Te Deum and Jubilate, A, 4/8vv, 2 fl, 2 ob, 2 bn, 2 tpt, str, ?for the Sons of the Clergy, 1723/4, GB-Lbl
Te Deum and Jubilate, D, 5/5vv, 2 fl, 2 ob, 2 bn, 2 tpt, str, ?for the Sons of the Clergy, 1723/4, Lbl (partly autograph), Ob
Te Deum, D, 5/5vv, 2 fl, 2 ob, 2 tpt, str, for the king's return, 1729, Ob (with autograph addns)
Te Deum, D, 4/4vv, 2 fl, 2 ob, 2 tpt, str, ?for the king's return, 1735, Lbl (with autograph addns), formerly attrib. Boyce; 1 movt from Blessed are all they
Te Deum, D, 7/4vv, fl, 2 ob, bn, 2 tpt, str, ?for the king's return, 1745, Lcm* (incl. orig. pts)
Te Deum, D, 5/5vv, 2 fl, 2 ob, bn, 2 tpt, timp, str, 1750, Ob*, incl. 2-stave sketch of a Jub: possibly intended for the king's return in Oct, but unperf.

Instrumental:

Editions:Voluntaries and Suites for Organ and Harpsichord, ed. G. Beechey, RRMBE, xix (1975) [B]Maurice Greene: Complete Organ Works, ed. H. Diack Johnstone (Oxford, 1997)
Choice Lessons, hpd/spinet (London, 1733); also pubd anon. as first pt of The Lady's Banquet, ii (London, 1733), which was repr. in A Collection of Lessons, hpd, ii (London, 1758)
6 Overtures … in Seven Parts (London, 1745); arr. hpd/spinet (London, 1745)
A Collection of Lessons, hpd (London, 1750/R)
12 Voluntarys, org/hpd (London, 1779); ed. P. Williams (New York, 1969), 8 in B
Hpd works in AB, BENcoke, Cfm, Lbl, Lcm, Ob, US-NYp; 7 suites in B
Org works, H. McLean's private collection, Winter Park, FL, USA, GB-H, Lam, Lcm, Lco, Ldc, Lgc, Mp, some published in late 18th-century anthologies; 9 in B



Informació addicional... 

INTERPRETS: The Choir of New College Oxford; Edward Higginbottom (conductor)
AMAZON: Greene - Select Anthems
SPOTIFY: Greene - Select Anthems



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

4 comentaris:

  1. Un administrador del blog ha eliminat aquest comentari.

    ResponElimina
  2. Una joya musical !!! Lástima que el Londres del siglo XVIII desaparece día a día en una modernidad líquida. Feliz finde estimado amigo.

    Abrazo fraterno !!!
    Yehu

    ResponElimina
    Respostes
    1. La modernidad en si misma no es mala, más bien nos ha permitido conocer y compartir tantisima música. Ya quisieran en el siglo XVIII poder disponer de tanta música como nosotros ahora! No obstante, la modernidad también trae consigo la perdida de la esencia y singularidad de los espacios. Londres es un buen ejemplo! Esperemos que aún tarde en desaparecer porqué personalmente es una ciudad que todavía no conozco!
      Abrazo fuerte!!
      Pau

      Elimina