Texts, Translations and Program Notes _____________________________________ A brief note about each work follows the texts and translations below. Jauchzet dem Herren (Psalm 100) Heinrich Schutz ________ ___ ______ (1585-1672) Jauchzet dem Herren, alle Welt! O be joyful in the Lord, all ye lands! Dienet dem Herren mit Freuden, Serve the Lord with gladness, kommt vor sein Angesicht mit Frolocken! and come before His presence with exaltation! Erkennet das der Herre Gott ist Be ye sure that the Lord is God Er hat uns gemacht, und nicht wir selbst, for He has made us, and not we ourselves, zu seinem Volk, und zu Schafen seiner Weide. to be his people, and the sheep of his pasture. Gehet zu seinem Toren ein mit Danken, Enter His gates with thanksgiving und zu seinen Vorhofen mit Loben. and His courts with praise. Danket him! Lobet seinen Namen! Thank him! Praise his name! Denn der Herr ist Freundlich, und seine Gnade wahret ewig. For the Lord is gracious, and his mercy is everlasting. Und seine Wahrheit fur und fur. And his truth endureth forever. Ehre sei dem Vater, und dem Sohn, und auch dem heiligen Geiste. Glory be to the Father, and to the Son, and to the Holy Ghost. Wie es war im Anfang, jetzt und immerdar, As it was in the beginning, is now, and ever shall be, Und von Ewigkeit zu Ewigkeit, Amen. World without end, Amen. Heinrich Schutz's 1619 publication of polychoral psalm settings, the Psalmen Davids, is the first great work of Baroque church music in Germany. Our selection exemplifies the composer's innovative fusion of the grand manner of composition for multiple choirs of his teacher, Giovanni Gabrieli in Venice, with the highly developed expressive language of the mature secular madrigal on one hand, and with the innate rhythms and cadences of the German language on the other. As such it becomes a new and persuasive musical resource for the spiritual edification of the Protestant faithful. In this piece the composer employs two equal and opposed SATB choirs in a straightforward statement-and-echo format. The answering choir repeats entire phrases at times, and at others only the ends of phrases in true echo fashion. Thus a dialogue arises between the two choirs in which various degrees of overlap and alternation give way to one another in a versatile and fluid exchange. This resourceful composer shows ease with a technique that in less skilled hands might have given way to monotonous repetetion. The overall effect is brilliant and triumphal, exemplifying a militant and unshakeable faith. Tu Es Petrus Cristobal de Morales __ __ ______ (c. 1500-1553) Tu es Petrus, et super hanc petram aedificabo Ecclesiam meam. Thou art Peter, and upon this rock I shall build my Church. Et portae inferi non praevalebunt adversus eam. And the gates of hell shall not prevail against it. Et tibi dabo claves regni caelorum. And to thee I give the keys to the kingdom of heaven. Quodcumque ligaveris super terram Whatsoever ye shall bind upon the earth erit ligatum et in caelis shall be bound in Heaven. Et quodcumque solveris super terram Whatsoever ye shall release upon the earth erit solutum et in caelis shall be released in Heaven. Et tibi dabo claves regni caelorum. And to thee I give the keys to the kingdom of heaven. Morales is generally acknowledged to have been the first Spanish composer to achieve true fame beyond the Pyrenees, and for ten years he was a singer and composer in the Papal choir in Rome. Tu es Petrus was written and published during that period. Morales was a composer of many personalities, and this work shows him at his most resplendent and gracious. A motet in two equal sections, employing the common AB CB formal schema, it contains one of the composer's favorite devices, a short phrase of plain- chant repeated many times at regular intervals throughout the piece. In this instance, the cantus firmus obstinatus is indeed short, consisting of only six notes, and is repeated twenty times at two pitch levels a fifth apart in regular alternation. All five voices begin with this tune, and then the four free parts sing the rest of the text in music expressive of the exalted joy the composer felt was appropriate to that signal moment when Jesus conferred upon Peter (= petrus, Greek for "rock") the task of continuing His Church and mission. O Sacrum Convivium Thomas Tallis _ ______ _________ (c. 1505-1585) O sacrum convivium, in quo Christus sumitur. O sacred feast, in which Christ is taken! Recolitur memoria Passionis eius Recalling the memory of his Passion Mens impletur gratia, the soul is filled with thanks, et futurae gloriae nobis pignus datur. and the promise of future glory is given to us. Tallis' motet, by contrast, employs five voices singing in the lower part of their ranges. It is a mystical and deeply reverent celebration of the central sacrament of both the Roman and Anglican rites. Despite the repeat of the last section and the anthem-like conciseness of the phrases, this is a true polyphonic motet in which all the voices share equally in musical importance. The listener may notice the occasional "cross" or "false" relations in the harmony, a fleeting dissonance created usually at cadences by the juxtaposition or coincidence of a note in one part with its chromatically altered version in another, an effect that is particularly characteristic of English music at this period. O Magnum Mysterium Giovanni Pierluigi da Palestrina _ ______ _________ (c. 1525-1594) O magnum mysterium, et admirabile sacramentum O great mystery and wondrous sacrament ut animalia viderent Dominum natum jacentem in praesepio. that the animals should see the newborn Lord lying in the manger. Natum vidimus, et choros angelorum collaudantes Dominum. We have seen the birth, and choirs of angels praising the Lord. Quem vidistis, pastores? Dicite, annuntiate nobis, quis apparuit? Whom have you seen, shepherds? Speak, proclaim to us, who has appeared? Natum vidimus, et choros angelorum collaudantes Dominum. We have seen the birth, and choirs of angels praising the Lord. Palestrina's motet for Christmas, like Morales' motet, is in two sections with the AB CB format, but is for six voices, SSAATB. In its mood of wonder and rapt devotion, it exemplifies Palestrina's suave and "classic" style at its best. All of its hallmarks are here: the symmetrical rise and descent of notes in the opening phrases, the easy fluidity, grace and "singability" of the melodies, the balance of polyphony and homophony, the appropriateness and simplicity of each musical phrase, the smooth flow of harmony and the careful handling of dissonance. Particularly fine are the successive, then superimposed, duets beginning the second section, "Quem vidistis...". Magnificat Octavi Toni Sebastian de Vivanco __________ ______ ___ (1551-1622) V. 1 Magnificat anima mea Dominum My soul doth magnify the Lord V. 2 Et exsultavit spiritus meus in Deo salutari meo. And my spirit rejoiceth in God my saviour. V. 3 Quia respexit humilitatem ancillae suae For He hath regarded the low estate of his handmaiden. Ecce enim ex hoc beatam me dicent omnes generationes. For behold, from henceforth all generations shall call me blessed. V. 4 Quia fecit mihi magna qui potens est, et sanctum nomen eius. For He that is mighty hath magnified me, and holy is His name. V. 5 Et misericordia eius a progenie in progenies timentibus eum. And his mercy is from generation unto generations, unto them that fear him. V. 6 Fecit potentiam in brachio suo: He hath showed strength with his arm: Dispersit superbos mente cordis sui. He hath scattered the proud in the imagination of their hearts. V. 7 Deposuit potentes de sede, et exaltavit humiles. He hath put down the mighty from their seats, and exalted them of low degree. V. 8 Esurientes implevit bonis, et divites dimissit inanes. He hath filled the hungry with good things, and the rich he hath sent empty away. V. 9 Suscepit Israel puerum suum, recordatus misericordiae suae. He hath holpen his servant Israel in remembrance of his mercy. V. 10 Sicut locutus est ad patres nostros, Abraham et semini eius in saecula. As he promised our forefathers, to Abraham and to his seed forever. V. 11 Gloria Patri et Filio et Spiritui Sancto Glory be to the Father, and to the Son, and to the Holy Ghost V. 12 Sicut erat in principio et nunc et semper As it was in the beginning, is now, and ever shall be, Et in saecula saeculorum. Amen. World without end. Amen. The text of the Magnificat is the "Canticle of the Virgin Mary", her song of reverence and praise in response to the Annunciation of the Archangel Gabriel. This setting for eight voices (two each of SATB) combines the resources of both our choirs, but is not a "bichoral" piece, although we stand in two juxtaposed SATB groups to perform it. Vivanco was one of the three most prominent masters of sacred polyphony in Spain during the last great period of the Renaissance style-- which lasted well into the seventeenth century in that bastion of conservative Catholic orthodoxy. The composer sets the odd-numbered verses polyphonically, leaving the even-numbered verses to be sung in plainchant (which was still the prevailing form of liturgical music in the Catholic church at this time as well as later). This is a full and richly textured piece in which all eight parts are kept singing for a remarkably large proportion of the time. Missa Lauda Sion Giovanni Pierluigi da Palestrina _____ _____ ____ (c. 1525-1594) I. Kyrie eleison. Christe eleison. Kyrie eleison. Lord have mercy. Christ have mercy. Lord have mercy. II. Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Glory to God in the highest, and on earth peace to all of good will. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. We praise You. We bless You. We adore You. We glorify You. Gratias agimus tibi propter magnam gloriam tuam We give thanks to you for your great glory. Domine Deus, Rex coelestis, Deus Pater omnipotens, Lord God, heavenly King, almighty God the Father, Domine Fili unigenite, Jesu Christe Jesus Christ, only begotten Son of the Lord, Domine Deus, Agnus Dei, Filius Patris Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, miserere nobis, suscipe deprecationem nostram. Who take away the sins of the world, receive our prayer. Qui sedes ad dexteram Patris, miserere nobis. Who sit at the right hand of the Father, have mercy on us. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, For you alone are Holy, you only are the Lord, the Most High, Jesus Christ, Cum Sancto Spiritu in gloria Dei Patris. Amen. With the Holy Spirit in the glory of God the Father. Amen. III. Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, I believe in one God, the Father almighty, maker of heaven and earth visibilium omnium, et invisibilium. and of all things visible and invisible. Et in unum Dominum Jesum Christum, Filium Dei unigenitum and in one Lord Jesus Christ, the only Son of God, Et ex Patre natum ante omnia saecula. eternally begotten of the Father. Deum de Deo, lumen de lumine, de Deo vero. God from God, Light from Light, true God from true God, Genitum, non factum, consubstantialem Patri per quem omnia facta sunt. Begotten, not made; of one being with the Father through Whom all things are made. Qui propter nos homines et propter nostram salutem descendit de coelis. For us and for our salvation He came down from Heaven. Et incarnatus est de Spiritu Sancto ex Maria virgine: et homo factus est. He was born of the Holy Spirit and the Virgin Mary, and was made man. Crucificus etiam pro nobis, sub Pontio Pilato, passus et sepultus est. He was crucified for our sake under Pontius Pilate, died, and was buried. Et resurrexit tertia die, secundum Scripturas. On the third day he rose again, in accordance with the Scriptures. Et ascendit in coelum, sedet ad dexteram Patris. He ascended into heaven and is seated at the right hand of the Father. Et iterum venturus est cum gloria judicare vivos et mortuos. He will come again to judge both the living and the dead, Cujus regni non erit finis. And His kingdom shall have no end. Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. I believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son; Qui cum Patre et Filio simul adoratur et conglorificatur: Who is worshipped and glorified with the Father and the Son; Qui locutus est per prophetas. Who has spoken through the prophets. Et in unam sanctam catholicam et apostolicam ecclesiam. I believe in one holy, catholic, and apostolic Church. Confiteor unum baptisma in remissionem peccatorum. I acknowledge one baptism for the remission of sins. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen. I look for the resurrection of the dead, and the life of the world to come. Amen. IV. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Holy, Holy, Holy, Lord God of hosts. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Heaven and earth are full of thy glory. Hosanna in the highest. Benedictus qui venit in nomine Domini. Hosanna in excelsis. Blessed is he who comes in the name of the Lord. Hosanna in the highest. V. Agnus Dei, qui tollis peccata mundi, miserere nobis. Lamb of God, You who take away the sins of the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, You who take away the sins of the world, grant us peace. Although Palestrina was an excellent composer of motets, he towers above all his contemporaries in his Masses, with respect to both quality and quantity. Of some 105 compositions in the genre that survive, nearly half are so-called "parody" Masses, that are modelled on some pre-existing composition such as a chanson, madrigal or motet. The music of the four-voice "Missa Lauda Sion" of 1582 is derived from his motet "Lauda Sion Salvatorem", first published in 1563, that is itself based phrase by phrase on a plainchant sequence for the same text. A hymn of quiet thanksgiving, it celebrates the miraculous nature of the central sacrament of the Roman Catholic faith, the feast of Holy Communion. Although the Mass is vastly more elaborate and musically developed than the motet, nearly every musical idea and gesture in it is derived, with one degree or another of fidelity, from the latter. A comparison of the two compositions reveals, on one hand, the degree to which the composer imbued the outwardly simple motet with musical substance, and on the other, the richness of his imagination in recasting and exploiting the material in it. For example, the opening "Kyrie eleison" of the Mass begins in literal imitation of the first phrase of the motet, but when the words are repeated, beginning in the seventh measure, the melodic material (in all but the alto part) is derived from just the alto part in that first phrase. The music for "Christe eleison" is, in turn, rather freely based on the second phrase of the motet, and the second "Kyrie eleison", in like fashion, from the third phrase of the model, supplemented however with some motives derived from the alto part in the second phrase. Such complex patterns of derivation and juxtaposition abound in the succeeding movements, with everything from literal borrowing to quite obscure relationships to the model material. Thus the entire composition is treated in a manner reminiscent at times of the "development" of the Classical sonata, with, however, many themes and a freer scheme of their employment and exploitation than in the sonata form. Noteworthy departures from the prevailing four-part texture occur in the "Benedictus" section of the "Sanctus", which is set for two soprano parts with alto alone, and in the broadened scale of the "Agnus Dei" at the end, in which the second section expands, by means of an added tenor part, to five voices. Regina Coeli Laetare Francisco Guerrero ______ _____ _______ (1528-1599) Regina coeli laetare, alleluia: Queen of heaven, rejoice, alleluia! quia quem meruisti portare, alleluia: for He whom thou wert were worthy to bear, alleluia! Resurrexit sicut dixit, alleluia: (He) is risen, as He prophesied, alleluia! Ora pro nobis Deum, alleluia: Pray thou to God for us, alleluia! We return to the bichoral arrangement of forces for the final work on our program. Like Morales, who was briefly his teacher, Guerrero was born in Seville, and inherited and continued its long and illustrious tradition of sacred and secular music. Guerrero was the most important and reknowned composer of his generation and was said to have written a page of music for every day of his long life. This eight-part motet for two SATB choirs stands in its technique midway between Schutz's strikingly antiphonal confronted choirs and Vivanco's fully integrated eight-part texture. Guerrero has one choir begin alone, with tenor-bass and alto-soprano duets in near superimposition, and the second choir soon joins in in a similar fashion. Duets and dialogues abound both within and between choirs. Especially noteworthy and pleasing are the exchanges of musical ideas between corresponding voices in each of the choirs: bass 2 echoes bass 1, soprano 1 answers soprano 2, etc. All the lines radiate vigor and shining triumph, and the alleluias that close each section are particularly splendid and ringing. -- Joel van Lennep