Psalm Songs for Ordinary Time (v. 3) by David Ogden, Allan Lloyd-Smith

By David Ogden, Allan Lloyd-Smith

Quantity three of a three half sequence. those modern track settings can be freely utilized in worship by way of Christians of all denominations, yet those that use the three-year lectionaries will welcome the liturgical indexes that relate them to those lectionaries. Ogden is the Director of song at Clifton Cathedral and neighborhood Director for the South West and Midlands of the Royal tuition of Church song. Alan Smith is Secretary to the Composers' workforce of the Society of St. Gregory.

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This new favour will greatly increase my Obligations ... (9 June 1744)76 At my arrival in London, which was Yesterday, I immediately perused the Act of the Oratorio with which you favour'd me, and, the little time only I had it, gives me great Pleasure. Your reasons for the Length of the first act are intirely Satisfactory to me, and it is likewise my Opinion to have the following Acts short. I shall be very glad and much obliged to you, if you 26 Introduction will soon favour me with the remaining Acts.

59 In 1732 Handel's theatre company, assembled to perform Italian opera, starred Italian singers (for musical and box-office reasons),60 and for some of his audience at least, this reduced the viability of works in English; the pamphleteer already quoted was quick to complain of Handel's first performances of Esther that 'Senesino and Bertolli made rare work with the English Tongue you would have sworn it had been Welch; I would have wish'd it Italian, that they might have sung with more ease to themselves, since, but for the Name of English, it might as well have been Hebrew''.

Nor, apparently, did a lack of named characters (which distinguishes Israel in Egypt, Messiah and the Occasional Oratorio from the other oratorios for some modern listeners): the appreciative critic of Israel in Egypt writing in the London Daily Post of 18 April 1739, who has read the libretto and urges patrons to read it in advance of a performance and take it with them, calls the work a drama (see below, p. 169). The sacred/secular distinction, which was clear enough to contemporaries, has been blurred in modern times by the delighted recognition of Handel's ability to portray human character and emotion.

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