Gloria: In the Canterbury Tales, Geoffrey Chaucer dubs a rooster "Chanticleer" for his clear and beautiful singing:
"There was not his equal in all the land. His voice was merrier than the merry organ that plays in church, and his crowing from his resting place was more trustworthy than a clock."
Some six centuries later, twelve singers from San Francisco aspired to the name themselves and soon set a gold standard for transporting vocal music. This week Chanticleer brings us music from Chaucer's time up to our own—from early sacred works of Dufay and Purcell to Australian composer Sarah Hopkins's hypnotic Past Life Melodies. The hour comes to a rousing close with the African-American gospel song "My Soul is a Witness" as arranged by music director Joseph Jennings, who joins in the fun.
MUSIC PLAYED IN THE PROGRAM
- Guillaume Dufay: "Gloria ad modum tubae" (Trumpet Gloria)
- Henry Purcell: "Remember not, Lord our offences"
- Thomas Weelkes: "Gloria in excelsis Deo"
- Attr. Franco Alonzo: "La Tricotea"
- William Hawley: from "Tre Rime di Tasso" (2000)
—"Fuggi, fuggi, dolor"
—"Labbra vermiglie e belle"
- Sarah Hopkins: "Past Life Melodies"
- Traditional: "Danny Boy"
- Stephen Foster, arr. Jack Halloran: "Camptown Races"
- Duke Ellington, arr. Harry Frommermann: "Creole Love Song"
- Traditional, arr. Joseph Jennings: "My Soul is Witness"
For web listening only: Manuel Sánchez Acosta, arr.: Juan-Tony Guzmán: "Paraíso Soñado" (Canción Domincana)
POSTED BY MARY LEE ON JULY 27, 2006
I'm just reading Suzanne's post from this week about the Endellion Quartet's ways to play together as musicians and still remain good colleagues. Now multiply the four musicians from the quartet by 3 to get the 12 musicians traveling as Chanticleer! Basically, anytime Chanticleer arrives in the studio, it’s as good as a party…only with really excellent singing. (more)