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BEGIN:VEVENT
UID:event_321624@oldhamchoralsociety.org.uk
DTSTART;TZID=Europe/London:20270313T093000
DTEND;TZID=Europe/London:20270313T163000
SUMMARY:Workshop: Philip Stopford's MISSA DEUS NOBISCUM
DESCRIPTION:The music of Philip Stopford is a product of the English choral
  tradition\, yet much of it is also aimed at the American market\, not lea
 st because Stopford has an American publisher and worked for over five yea
 rs as a conductor in the state of New York. Stopford’s Missa Deus nobis
 cum (Mass of ‘God with us’) was written in 2018 and is a fount of mem
 orable tunes and colourful orchestration. Crucially\, all of Stopford’s 
 music is dynamically amenable – it sounds familiar even on first listeni
 ng. Most of Stopford’s orchestrations are made after the event as a text
 ural expansion of a pre-existing organ or piano part\, but the Missa Deus
  nobiscum was conceived from the outset as a piece for choir and orchestr
 a. While some sections have been performed as part of the liturgy\, the fo
 ur-movement Gloria in excelsis is too expansive for inclusion in most ce
 lebrations of the Roman Mass or Anglican Eucharist: Missa Deus nobiscum 
 is at root a sacred concert work. Written for the 150th anniversary of the
  Methodist College in Belfast\, the vocal parts are approachable\, the orc
 hestral parts integral and colourful\, and the soprano soloist adds scinti
 llating glamour to the whole. The recurring melody of the Kyrie is inclu
 sive and stirring\, while the central ‘Christe’ section allows the cho
 ir to sensitise the movement with vibrant a cappella singing. The additive
  rhythms of the outer movements of the Gloria are energetic and ebullien
 t\, in contrast to the monolithic Domine Fili movement\, which acts as t
 he fulcrum for the whole Mass. In both the Sanctus and the upper-voice 
 Benedictus\, the Osanna text is woven into the effect of the preceding m
 usic rather than standing alone as an isolated shout of jubilation. The A
 gnus Dei which follows makes measured and inexorable progress towards its
  visceral cry for peace at the end of the work. In Stopford’s hands\, th
 e setting of the Mass is a journey rather than a sequence of set pieces\, 
 although the work’s architecture does not rely on charting its progress 
 with selfreferential motifs (except within the opening movement\, where th
 e tripartite text is clearly delineated). \nDescription from the Naxos re
 cording.\n\n\n \n\nFor full event details\, visit: https://www.oldhamchor
 alsociety.org.uk/dbpage.php?pg=view&dbase=events&id=321624
LOCATION:Sr Herbert's Parish Centre\, 148 Broadway\, Chadderton\, Oldham\, 
 OL9 0JY
URL:https://www.oldhamchoralsociety.org.uk/dbpage.php?pg=view&dbase=events&
 id=321624
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