Bar lfg group muzica cu bulici fuel pump mercury grand marquis 2001 gymnastiek utrecht psalter qurbanov ramin. Trailer ainsworth 1969 reference books. Describes resources concerning SacredHarp recordings by performing groups and other general information.

America’s first hymnal (known as a psalter), the “Whole Booke of Psalmes”, was taken to the North American continent with Protestant exiles, who sought their religious freedom in the New Land, during the reign of Mary Tudor who was infamously known as Bloody Mary. Click on this page sample to view a copy of this psalter:

Recently a subsequent edition of this book of psalms, the “Bay Psalm Book” –regarded as the oldest printed book in America, was auctioned off and sold to David Rubenstein, a businessman and philanthropist, for the sum of $14,165,000. He promised to loan it to libraries across the country. It was printed on “the Puritan minister Joseph Glover’s press, the first such device to make the journey across the Atlantic. Although Glover died during the 1638 crossing, his widow, Elizabeth, inherited the press and saw to its installation. She established America’s first print shop in a little house on what is now Holyoke Street in Cambridge.

While Stephen Day is generally credited with printing America’s first book, he was only the operator and overseer of Elizabeth Glover’s press. The press was nothing remarkable, and the crude materials and nascent talents of its operators are reflected in the blurred type and typographical inconsistencies in its surviving books, of which the Bay Psalm Book is no exception. Take, for instance, that most essential of words: ‘PSALM,’ which appears that way on the left-hand pages but is spelled ‘PSALME’ on the right-hand pages.

The colonists brought many Psalters with them to the New World, but they quickly found those printings lacking. The hundred and fifty Psalms were divided among ‘thirty pious and learned Ministers’ who labored to produce a verse translation that would be more faithful to the original Hebrew. Their efforts yielded the 1640 version that would become the Bay Psalm Book, which was then revised and reprinted nine times in the seventeenth century alone. The preface to the first edition, the one to be auctioned, states apologetically,

If therefore the verses are not alwayes so smooth and elegant as some may desire or expect; let them consider that Gods Altar needs not our pollishings: Ex. 20. for wee have respected rather a plaine translation, then to smooth our verses with the sweetnes of any paraphrase, and soe have attended Conscience rather then Elegance, fidelity rather then poetry in translating the hebrew words into english language, and Davids poetry into english meetre.

Ainsworth Psalter Vs Bay Psalm Book

There already one sees the peculiar poetry of erratic spellings and capitalizations that makes the Bay Psalm Book so charming, so authentically early Americana.

Not surprisingly, as it prepared for today’s auction, Sotheby’s has displayed the book with its pages opened to the Twenty-third Psalm. Look to those familiar verses and you can see just how strange the translation is, even relative to the King James Version, which had been completed just thirty years earlier, in 1611:

Ainsworth Psalter

The Lord to mee a shepheard is,
want therefore shall not I,
Hee in the folds of tender-grasse,
doth cause mee downe to lie:
To waters calme me gently leads

To my ear, the shepherd is still caring and careful, but those ‘folds of tender-grasse’? Just down the street from where the Bay Psalm Book was printed is Harvard Yard, itself once a pasture for sheep and cattle. ‘Green pastures’ might well have been most familiar, but the Bay Psalm Book translator’s desire for accuracy is confirmed by the contemporary translation by Robert Alter, himself fiercely dedicated to rescuing the original Hebrew: he chose ‘grass meadows.’

One can scrutinize every verse of the Bay Psalm Book online. The text rewards such study, but it does not explain why the first book printed in America was a Psalter. Psalters are an unfamiliar genre for many, even those who worship regularly. Psalm-singing had for centuries been the demesne of a hand-picked choir, but the English Reformation invited the voices of the entire congregation. This printing of the Psalms in verse, set to meter, allowed them to be sung by all. Thus the Bay Psalm Book is a kind of hymnal.

Denominations still print original hymnals today, and every new printing marks time and documents tastes. Earlier this year, I interviewed a church organist who was retiring after more than sixty years of service. She did not measure those years in calendrical or liturgical terms, in Christmases, Easters, or even pastors, but hymnals. ‘I’ve played five different hymnals,’ she told me. After she said it, I calculated that my entire life was only three hymnals.

America’s history spans just a few centuries, but hundreds of hymnals. Colonists came seeking religious freedom, so the first book they printed was not a political tract or even a Bible, but a hymnal: a book to be used regularly in communal and even private worship. The intended use of the Bay Psalm Book tells us why it was America’s first book.” (America’s First Book – The New Yorker, Nov. 26, 2013)

On July 26, 2014, the Washington Music Festival will host its first Hymn Sing with organ prodigy, Gert van Hoef, and the editor of Majesty Hymns, Dr. Frank Garlock, leading the singing. Perhaps philanthropist, David Rubenstein, would be willing to lend the Bay Psalm Book for display at the event as well!

Resources:

Check out the Amherst Early Music Festival ONLINE!
Including seven Concerts with Conversation, and the AEM Auction. Free for everyone.

All concerts at 7:30 in Evans Hall, located in the Cummings Arts Center, unless noted. Join us for pre-concert madrigals in the courtyard and post-concert receptions. All concerts are free for Festival participants. Order your tickets online here!

The Festival Concert Series is sponsored in part by a generous grant from the Frank Loomis Palmer Fund, Bank of America, N.A., Trustee.

Venus' Garland: Music of Schuetz and Gabrieli
New World Recorders and Parthenia Viol Consort

Amherst Baroque Soloists
Virtuostic 17th and 18th c. music with Baroque Academy Faculty: Drew Minter and Nico van der Meel voice, Julie Andrijeskie violin, Saskia Coolen recorder, Gwyn Roberts flute, Meg Owens oboe, Wouter Verschuren bassoon, Phoebe Carrai cello, Paolo Pandolfo and Sarah Cunningham viol, Heather Miller Lardin violone, Xavier Diaz-Latorre lute, Arthur Haas and Peter Sykes harpsichord

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Baroque Opera US Premiere: Dafne (1734) by Giorgio Reutter. Inspired by Ovid's literary classic, The Metamorphoses, the opera recounts the myth of the nymph Daphne, her desperate flight from a lust-maddened Apollo, and her magical transformation. Fully staged and costumed with Baroque orchestra and historical dance. Julianne Baird and Richard Stone directors Oliver Camacho staging, Dorothy Olsson and Kaspar Mainz historical dance, Ronnie Snader costumes, Paul Guttry props.

Friday, Saturday, and Sunday, dates tba
Music & Instrument Exhibition(in Crozier-Williams Student Center, free)
Instrument makers and dealers, music publishers, and organizations. Try out instruments, meet instrument makers, browse through music. Free and open to the public. Friday, July 10, from 5:30 to 6:30, Saturday, July 11, and Sunday, July 12, 10:00 a.m. to 6:00 p.m.

The Ainsworth Psalter

Dates tba in Harkness Chapel
Twin sons of Different Mothers: Music of Bach and Telemann for Chorus, Vocal Soloists, and Orchestra. The Festival Choral Workshop, directed by Kent Tritle, performs Bach's well known Cantata 4, Christ lag in Todesbanden, and Telemann's rarely heard Deus, judicium tuum, with Baroque woodwinds and strings.

Ainsworth Psalter Pdf

Student Concerts in Crozier. Free and open to the public.
10:00 a.m. Large group concert; 1:00 p.m. Baroque Academy; 2:30 p.m. Central Program; 4:30 p.m. Baroque Academy Vocal Soloists.

A Tapestry of Early Music
A festive evening with many top international musicians. Virtuostic Baroque solos, gorgeous Renaissance consorts of viols, recorders, and loud instruments, Medieval polyphony.

Free and open to the public
Stolen Roses, music of Bach, Biber, Weiss, Telemann
Xavier Diaz Latorre lute, theorbo, Baroque guitar
Lush and passionate Baroque music, played by world-renowned virtuoso Diaz-Latorre, including arrangements of the Ciaccona from Bach's Violin Partita No. 2 and the Passacaglia from Biber's Rosary Sonatas for violin.

Thursday, dates tba
Pilgrim's Progress
Seven Times Salt with Michael Barrett
Mark the 400th anniversary of the Mayflower landing with music of the Elizabethan tavern and theater, spirited catches by Thomas Ravenscroft, selections from the Dutch collection ‘t Uitnement Kabinet, stirring psalms from the Ainsworth Psalter, and vigorous tunes from Playford’s English Dancing Master, all interspersed with fictitious 'diary entries' read aloud in Original Pronunciation.

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The World of Ludwig Senfl
Faculty recorder, viol, vocal, and loud ensembles perform works by Ludwig Senfl (1486-1543), court composer for the Emperor Maximilian, and student of Heinrich Isaac. From elaborate canons and quodlibets to motets and liturgical music, we'll explore secular and sacred music by this eclectic composer, and his contemporaries. Directed by Douglas Kirk.

Saturday, dates tba
Student Concerts in Crozier. Free and open to the public.
10:00 a.m. Large group concert; 11:15 a.m. New London Assembly Musicians; 1:00 Medieval Project with Benjamin Bagby Project Oswald von Wolkenstein; 2:30 p.m. Central Program; 4:30 p.m. Ensemble Singing Intensive.

Saturday, dates tba
A Second Tapestry of Early Music
A festive evening with many top international musicians. Virtuosic Baroque solos, gorgeous Renaissance consorts of viols, recorders, and loud instruments, Medieval polyphony.