Most recently she has been invited to sing with Det Norske Solistkor including performances in Oslo and Trondheim of works by Berio, Tavener and Kleiberg. Harriet also enjoys working with young voices and is the vocal coach of the choristers of St Mary Merton and is on the committee for the Voices of London Festival. She now trains with acclaimed soprano Gail Pearson. Robert was Tenor Lay Clark at Birmingham Cathedral for 5 years, having previously sung there as a treble. Robert is in demand as a soloist and has also enjoyed numerous opera roles on stage. Sebastian Charlesworth A graduate of the Guildhall School of Music and Drama, where he formally trained as a bassoonist, Seb sings as a soloist and chorally in the UK and abroad whilst continuing his studies privately with Linda Hutchison.
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Qui tollis peccata mundi X. Qui sedes ad dexteram Patris XI. Quoniam tu solus sanctus XII. Cum Sancto Spiritu Among all the areas of human experience and endeavor, religion has perhaps inspired the greatest works of art.
Whether it takes shape in the arabesques and mosaics of the Great Mosque of Damascus or the intricate calligraphy and illuminated details in sacred books, spirituality has motivated countless artists. In composing music for two of the oldest Christian liturgical texts—the Gloria and the Magnificat—Antonio Vivaldi and Johann Sebastian Bach stepped onto a well-worn path. While each work bears the unique imprint of its creator, they also share many elements of style and are connected, in their inspiration, to the whole world of sacred art.
Vivaldi was not the first Italian composer to bring operatic recitatives and arias into the music of the Catholic Church, but his Gloria is proof of the expressive powers that opera could lend to religious experience.
We suddenly understand why the shepherds were compelled. The second half of the phrase, however, provides an oddly somber contrast to the jubilant opening. The oboe solo that wends its way alongside the soprano helps convey the pastoral character of this slow jig. The musical vision has shifted from Christ as shepherd, to Christ as Lord, to Christ as sacrifice, and so the chorus interjects in this third aria with pleas for forgiveness. Vivaldi reserves the most intense counterpoint for this final section, with the voices twining around one another, reaching higher and higher.
Interludes for oboe and trumpet shine through like rays of light, illuminating the path toward salvation.
The Greater Doxology is always sung, whereas the Lesser Doxology is read. There are certain textual differences between the two, and the order is somewhat altered in the two forms. It is thus used not only on I and II-class feasts corresponding to solemnities and feasts in the post-Vatican II Mass but also on III-class feasts corresponding to memorials in the later form. In the form it is also said on ferias of Christmastide and Paschaltide even outside the octaves, but is omitted during the Septuagesima season, which does not exist in the post-Vatican II liturgy. The recently published Common Worship provides two Orders, one of which places the hymn in the earlier position. This edition, still the standard in the breakaway Continuing Anglican churches, allows the hymn to be used in place of the Gloria Patri after the psalms and canticles at Evening Prayer.
Harriet also enjoys working with young voices and is the vocal coach of the choristers of St Mary Merton and is on the committee for the Voices of London Festival. Most recently she has been invited to sing with Det Norske Solistkor including performances in Oslo and Trondheim of works by Berio, Tavener and Kleiberg. She now trains with acclaimed soprano Gail Pearson. Robert was Tenor Lay Clark at Birmingham Cathedral for 5 years, having previously sung there as a treble.