File Name: nine lessons and carols order of service 2018.zip
Music at All Saints.
Follow along with the service below click the accordion tabs to reveal the content or download a PDF version of the bulletin. Download Bulletin, 2. We are very glad you are joining us for Lessons and Carols, which has been our tradition since We hope you find it an inspiring way to begin your Christmas celebration.
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 downloads in a number of formats.
The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. War had recently ended and people were still living with its consequences. There were not yet any war memorials around the country, nor was there a Cenotaph in Whitehall.
War was not being remembered so much as still experienced. He may also have been brooding on the two huge pastoral frustrations he suffered while offering Christian ministry to the troops. First, the prohibition on praying for the dead, and second, the assumption that the Book of Common Prayer provided an adequate liturgy for every conceivable occasion.
The format had been pioneered by the Bishop of Truro since and was exported from there to many other places. After all, a suitably festive Evensong had always been sung on Christmas Eve. Nevertheless, the Dean prevailed and also added a few words of his own—the Bidding Prayer—to set the scene for the reading of lessons and the singing of the carols that would come between them. The service was open to the public.
In eight carols were sung by the choir alone and there were six congregational hymns. The Magnificat, a nod in the direction of Evensong, was also sung, in a metrical form arranged by Charles Wood. It was never repeated at this service. In there were 15 carols, five congregational hymns and, of course, nine lessons.
Looking through the order of service for clarifies that the readings, often held to be sacrosanct and unchanging, have indeed changed over the years. That hymn was preceded by the sixteenth century carol Up! The service did, however, end with Hark! Participation was positively encouraged. If that was the form of the service, what was the atmosphere like?
The Dean would not have had a huge correspondence through the autumn from people saying how much they would like to come and could they please bring their ageing grandparent who has been a stalwart of their parish church choir for half a century; nor would there have been the sorts of concerns about security that have worried the College in recent years. At the very first service people would have gathered in reasonable time, but not exceptionally early, and settled down just before the afternoon light began to fade.
As well as members of College, dressed, like the Choir, in white surplices, I imagine many people in uniform, as well as those wearing bandages or on crutches, or perhaps having been wheeled across from the First Eastern General Hospital. But before gladness comes prayer: for the whole world, for peace, for love and unity in the Church, across the Empire, in the town and University and in this College and at Eton.
That Milner-White was primarily a man of sympathy, a pastor, is evident here. Finally, the prayer moves on to the departed; an audacious addition at the time.
The wording of the prayer is clever and capacious. But the allusions are more specific than that. The other shore is on the far side of the English Channel. Fitzgerald was a good friend of Milner-White. All that was a century ago. The world has changed much and the service has changed too, though rather less. The BBC has broadcast it every year with one exception since ; the windows were taken out of the Chapel for the war but the service and broadcasts kept going.
The pattern of readings settled down. A version of the service was recorded for television in and is now a regular feature of the December schedule. Queues, largely of the young people of Cambridge, began to form many hours before the service began and according to local mythology everyone enjoyed the fellowship of waiting in the wintry weather as much as the service itself.
David Willcocks came to direct the music, and then Philip Ledger. Both wrote new arrangements, made recordings of carols and adorned the great hymns with their own descants. Stephen Cleobury arrived in and introduced the regular practice of commissioning new carols, wrote many arrangements and added his own descants. Some people began queuing one, two or three days in advance; not to be sure of getting in so much as to add something to the experience of celebrating the birth of the Christ child in the depth of winter.
Every year more and more radio stations have taken the service and broadcast it to living rooms, kitchens, hospital wards, garden sheds and prison cells around the world.
The College has become used to receiving letters and now emails and social media messages of praise or criticism, delight or complaint, especially with regard to anything that might be perceived as a change or innovation. And of course, the service has been emulated, adapted, transplanted and generally used as a source of inspiration in cathedrals, churches and chapels of many denominations in almost every continent on the planet.
Those of us inside the Chapel for the service cannot help but be aware of the uncounted millions who are sharing it with us on many different shores. When I was Chaplain it was my duty to prepare the readers. Each of those service booklets, I suggested, represents Wembley Stadium filled to capacity. I said this to try to get their nerves out of their system. It certainly sparked a reaction, and the image has stayed in my mind.
And it is probably an underestimate of the people whom we think of as the unseen congregation, with whom we are one for those precious ninety minutes of A Festival of Nine Lessons and Carols. This, for me, would crown the years in which it has been my privilege to fulfil this role.
Much of my time in the late summer and early autumn of the last thirty-seven years has been spent in thinking about repertoire for the 24th of December.
Always this has involved trying to include music marking centenaries, significant birthdays, or, indeed, the deaths of composers. The choice was perhaps particularly challenging in my first year, , when I had only a term in post prior to the service, but no less so in , which required particularly careful thought. Eventually I decided that I would like to include a number of carols which had been chosen for the first service in , albeit some of them in different musical settings.
The next consideration was to represent all those who had directed the music across the years. Boris Ord was clearly to be represented by the ever-popular Adam lay ybounden. I also included some of my own arrangements. The final strand in my thinking centred on commissioned works commissioning a new carol each year having been my custom since For itself, I returned to Judith Weir, alumna and honorary fellow of the College, who earlier had written the hugely effective Illuminare, Jerusalem to commission.
As I have said, it has been an enormous privilege to be connected with this great tradition for so long; I want to pay a special tribute to my two immediate predecessors, David and Philip sadly I did not know the others , whose support and encouragement of my endeavours was greatly sustaining. Bob Chilcott 3pm Greenwich Mean Time, on Christmas Eve is quite a magical time of the year for so many people, from all walks of life and from a variety of different countries.
The solo voice is for many a marker, that for a moment unifies millions of people everywhere. I was lucky enough to sing in this service seven times, four times as a boy chorister and three times as a tenor Choral Scholar. There was not a lot of time to be nervous because there was a job to be done. With the first two verses unaccompanied by the organ, the critical point is always the beginning of the third verse, when the organ joins.
The hope was that the organ would come in at exactly the same pitch that the choir was singing. If it did, then it was job done, relief and smiles all round. I suspect David chose me because my pitch was quite reliable. And yet nowadays it amazes me to hear the boy soloists, year after year, singing this solo. They seem so calm, professional and secure.
They are consummate young professional musicians. Those of us who were choristers in the nineteen-sixties will remember singing this service before the Chapel was cleaned and restored inside.
Years of candle smoke had darkened the windows and the stone of the building so the only light inside was a subdued, warm, yellow candlelight. It was difficult, on a late December afternoon, to see any detail on the ceiling, the walls or the windows. However, the sound of the Chapel full of people, the choir in full song and the organ at full tilt released an energy and warmth that created an atmosphere that was filled with light. During the Willcocks years, I remember the repertoire being fairly consistent.
By then his second Carols for Choirs volume, co-edited with John Rutter, had taken a hold. So said a choral scholar, famously keen on calculation, just as I was about to ascend the organ loft stairs 45 minutes before I made the first of my two attempts at accompanying the Festival of Nine Lessons and Carols, on Christmas Eve Surviving those experiences when I had just turned twenty is something I will always cherish, even if they seemed almost unreal at the time they were actually happening.
My ingrained impression was of a solemn yet joyous ceremony, broadcast across the entire world and stretching back into the mists of time. This was the longest-lived and most intense ambition I have ever had—and one that fortunately proved to be fruitful. Learning from his experiences and advice gave me a sense of historical depth and a link to an era that seemed very far in the past.
Yet I am older now than he was in and indeed, much older than the then Director, Philip Ledger and, as only the sixteenth organ scholar to play for the carol services, I am astonished to realise that there have been more organ scholars after my time than before. Now I have the vertiginous experience of feeling that the first Festival of is much closer to our present day than it felt in ; what seemed to be a timeless tradition seems to shorten as I get older.
Another oddity about the Festival of Nine Lessons and Carols is the relatively unexplored belief that it has become universally part of Christmas around the world. But I certainly encountered many, even from Christian churches, who had absolutely no knowledge of the tradition. Now, living in Scotland, I find similar experiences just as striking: it is quite common to find ministers and members of the Church of Scotland who have virtually no knowledge of the Festival of Nine Lessons and Carols.
Where it has been introduced it is not unusual to encounter variations of the service wherein the readings are interspersed not with carols but with theologically congruent and often musically indifferent hymns and psalms.
So much for two nations divided by a common island! In all then, I have come to view Nine Lessons and Carols with a degree of proportion and cultural distance that I could not possibly have even conceived of when I was playing for the broadcasts. Yet, rather than belittling the thrills of my youth, and indeed those of millions of listeners across the world, this experience has taught me a great lesson about the human condition. We all seek historical and cultural grounding, often coupled with some sort of inherited belief system.
The events and traditions that achieve the greatest resonance with the sensibilities that many of us share are often those that are the most valuable—the most authentic—in any particular era, however short or narrow the traditions concerned.
It provided me with many of the necessary skills for a productive musical life, and I am still able to be enchanted by the sorts of experience that the Festival has so often set in motion. I know of no other religious event involving words and music—and a great and ancient building—that can compare with it. It was on the radio in my teenage years that I first experienced the Festival of Nine Lessons and Carols, around , just as the first exciting new carol arrangements by the recently appointed Director, David Willcocks, were transforming the whole event, together with his radiant hymn descants which seemed to light up the sky as the choirs of angels sang in exultation.
Over the years, I have been able to experience the ways in which the Festival has evolved, best described as an inspired blend of tradition retained and refreshing change introduced.
Longe will now light the Christmas Tree. This year they had asked us SHCJ sisters, who are the parish sisters for the church, to join some fathers to make our own little choir and sing some carols. We had an interesting practice in the church choir loft with 5 of us from Keffi Street and two fathers, the assistant parish priest, Fr. Victor Okhiria, who organized the evening, and Fr. The Lessons were shortened and read by children and adults; Sr.
Music before the service is performed by members of Elland Silver Band. Before the service begins the collection will be taken in aid of the maintenance of Halifax Minster. Mary was that Mother mild Jesus Christ her little Child. With the poor, and mean, and lowly, lived on earth our Saviour Holy. And through all His wondrous childhood He would honour and obey, love and watch the lowly Maiden in whose gentle arms He lay.
The popular Christmas Nine Lessons and Carols in Perth has not been cancelled — we are going virtual! The service has been held at St. James the Apostle Anglican Church for 37 years with the joint choirs of St. Choir directors Peter Woodwark and Brad Mills are working very hard to make it happen and have some great music planned. The recording will show St.
It was planned by EricMilner-White, who at the age of thirty-four had just. He devised ourAdvent Carol Service in , and was a liturgical pioneerand authority during his twenty two years as Dean of York. The music was then directed by Arthur Henry Mann,Organist. The choir included sixteen trebles aslaid down in King Henry VIs statutes, but until themens voices were provided partly by Choral Scholars andpartly by older Lay Clerks, and not, as now, by fourteenundergraduates.
It was constructed out of the grief and horror of the First World War, which had ended only 6 weeks before Christmas Eve in When the war broke out in , he volunteered as a military chaplain, and witnessed the horrors of trench warfare on the Western front. Battle is indescribable, unimaginable.
Каждый бит информации АНБ станет общественным достоянием. Фонтейн внимательно изучал ВР, глаза его горели. Бринкерхофф слабо вскрикнул: - Этот червь откроет наш банк данных всему миру. - Для Танкадо это детская забава, - бросил Джабба. - Нашим главным стражем была система Сквозь строй, а Стратмор вышвырнул ее в мусорную корзину. - Это объявление войны, - прошептал Фонтейн срывающимся голосом. Джабба покачал головой: - Лично я сомневаюсь, что Танкадо собирался зайти так .
Прикрыв глаза, давая им долгожданный отдых, он вдруг почувствовал, что кто-то тянет его за ногу. - Джабба. Вылезай скорее! - послышался женский голос. Мидж все же его разыскала. Он застонал. - Джабба.
Вы меня не знаете, молодой человек. Я рисковал всю свою жизнь.
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.Maria S. 21.03.2021 at 09:54
NINE LESSONS AND CAROLS ORDER OF SERVICE. ORGAN MUSIC: Pietro Yon, Christmas in Sicily. Olivier Messiaen, Les Bergers (La Nativité).Aaron R. 21.03.2021 at 17:58
Christmas Eve at 3 pm you will find in this order of service, and add it, duly little service for Christmas Eve – nine carols and nine tiny lessons.Rachel H. 22.03.2021 at 13:53
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