Livestreamed from the Church of the Transfiguration, Orleans, MA

Saturday, March 25th, 3:30 PM

Concert Program:

I. MARY

Ave, Regina Caelorum, Gregorian Chant

Ave Virgo Sanctissima, Francisco Guerrero

Ave Maria, Tomas Luis de Victoria

Dixit Maria, Hans Leo Hassler

Euge Caeli, Thomas Tallis

“Gloria” from Missa Aeterna Christi Munera, G. P. da Palestrina

II. JESUS

Summa Laus, Gregorian Chant

Surge Illuminare Jerusalem, Francesco Corteccia

Laetentur Caeli, William Byrd

INTERMISSION

In Nomine Jesu, Jacob Handl

Jubilate Deo, Orlando di Lasso

Scio Enim, Orlando di Lasso

III. LIGHT

O Nata Lux de Lumine (9th century), Gregorian Chant

Jesu Rex Admirabilis, G. P. da Palestrina

O Quam Gloriosum, Tomas Luis de Victoria

O Nata Lux, Thomas Tallis

Exsultate Justi, Ludovico da Viadana

Program Notes:

I. MARY
The Feast of the Annunciation on March 25th celebrates the angel Gabriel appearing to Mary, a young woman in the obscure village of Nazareth, to tell her the most amazing news: that God had heard the prayers of his people and that Mary would give birth to the Son of God. The angel’s “Hail” is answered by her words, “Here am I, let it be done as you have said.” Mary’s yes opened the way to eternal life for everyone through Jesus Christ and can be an example for us as we listen for God.

Ave Regina Caelorum, Gregorian Chant
This antiphon, dating back to the twelfth century, is traditionally sung at the end of Compline during Lent. It is one of the most beloved chants in the whole Gregorian repertory, with its simple, but beautiful, melody. The text highlights Mary’s role as the “door” through which Christ entered the world. An unusual aspect of the piece is that the Latin is written using rhyming couplets.

Ave Virgo Sanctissima, Francisco Guerrero
Francisco Guerrero’s five-voice Ave Virgo sanctissima, published in 1566, is one of the many motets he wrote on texts praising the Virgin. The Iberian fervor of Spanish Renaissance music is unmistakable, and the piece became so popular in Guerrero’s lifetime that it was regarded as the quintessentially Marian motet. Intense emotion is generated within the confines of a canonic structure: the two soprano lines echo each other yet move so smoothly and effortlessly that it is easy to miss. The phrase at margarita preciosa (as precious as a pearl) provides a sense of beauty of this pearl. Guerrero borrows the opening four notes from the solemn Salve Regina chant to use with the word Salve.

Ave Maria, Tomas Luis de Victoria
Another Spanish composer Tomas Luis de Victoria entered the cathedral in Avila as a choirboy at the age of ten and was later educated as a seminarian and singer at the Jesuit German College. His music is richly seeded with his spirituality and the Jesuit motto, Ad majorem Dei gloriam (For the greater glory of God). Ave Maria is one of Victoria’s most popular compositions. It begins with a simple plainsong chant, which is then loosely imitated in the other voices. Following a diverse imitative section, Victoria highlights the text Sancta Maria, mater Dei, ora pro nobis (Holy Mary, mother of God, pray for us) using a dance-like setting. Great joy is available when we ask Mary to pray to Jesus on our behalf.
Dixit Maria, Hans Leo Hassler
The text of Dixit Maria is Mary’s reply to the angel’s announcement. Hassler, a German composer, studied for a time in Venice, where he became friends with Gabrieli. Written in the secular style of a canzona or chanson rather than a motet, the structure of the piece follows an ABB form. The A section sets the scene, with the text “Mary said to the angel” set in imitative polyphony. The B section, which repeats, sets Mary’s words, beginning in homophony. Several words are highlighted using melismas, such as the word fiat (let it be done), which shows Mary’s consent to God’s call.

Euge Caeli, Thomas Tallis
Thomas Tallis is considered one of the preeminent composers of English sacred music. Throughout his long career, Tallis served under four monarchs in the Chapel Royal, and was one of the first composers to provide settings of the English liturgy. Euge caeli is a brief setting of the second verse of Ave praeclara, a sequence to the Virgin Mary. Set with great tenderness, the harmonies reflect the text, praising the Blessed Mother as the open gate of heaven. Tallis masterfully layers rhythmic interest in the upper two voices throughout the piece, adding texture that reflects the joy of the text in a style that anticipates the Baroque period. With such melding of lush harmonies and joyful rhythmic patterns, Tallis invites the listener to both honor the sweetness and humility of the Virgin Mary and to celebrate the bringing into the world of the Light of Truth, the Sun of Justice himself.

“Gloria” from Missa Aeterna Christi Munera, G.P. da Palestrina
Missa aeterna Christi munera is an example of Renaissance music at its finest. Palestrina, perhaps the best-known Italian Renaissance sacred composer, was instrumental in the reforms of the Council of Trent by masterfully exemplifying the mandate that the listener be able to understand the text. This mass’ well-crafted themes, seamless transitions, and transparent counterpoint has raised admiration from composers such as Bach and Debussy. Palestrina’s simple yet crystalline setting of the Gloria gives the listener a window into peace on earth and leads us through the joy of Christ’s omnipotence and salvation.

II. JESUS
Moving to a focus on Jesus in this second section flows easily since Mary always points us towards him. At Jesus’s first miracle, the wedding at Cana, she told the servants filling the water jars, “Do whatever he tells you.” Lent does not need to be a season of woe, as it is so often made out to be when we look at ourselves and our sin. It should be a time of hope and joy as we consider and embrace what God offers to us through his Son.

Summa Laus, Gregorian Chant
This antiphon is taken from the chants for the Feast of the Transfiguration. The Transfiguration commemorates the time when Jesus was seen in blinding light by three of his disciples, as he talked with Moses and Elijah about his upcoming death and resurrection. The text is unusual for Gregorian chant in that it uses prose rather than scripture. It highlights the mystery of this event: seen first by those present at it, then by the Church through its centuries of worship, and by us now as our hearts reach out in love to our King.

Surge, Illuminare Jerusalem, Francesco Corteccia
Francesco Corteccia was one of the prominent musicians in Florence, Italy, early in his career. Later, following changes in liturgy mandated by the Council of Trent, many of his sacred works fell out of use. This wonderful five-voice motet Surge, illuminare Jerusalem takes its text from the book of Isaiah. The opening interval of a rising fifth is imitated in every voice, which joyfully characterizes the command, “Arise, shine. . . .” In the closing section, a repeated overlapping theme tumbles over itself from voice to voice, giving the sense of good news being excitedly whispered and shared. This motet points us to the joy of the light of Christ and urges us to take that light to a needy world.

Laetentur Coeli, William Byrd
William Byrd, who along with Tallis is known as one of England’s greatest Renaissance composers, wrote both for the Anglican and Roman Catholic churches. His five-voice motet Laetentur coeli is a whole-hearted musical declaration of the fulfillment of the Lord’s vision for his kingdom on earth. The text for this motet comes from the ancient Sarum rite and combines the words of several Old Testament prophets and psalmists, with an injunction for heaven and earth to unify in praise and intention for the day of the Lord’s coming. Byrd’s florid counterpoint paints a rich aural picture: layered, step-wise melismatic entrances are contrasted with rhythmic dance figures as every character called upon takes up the song and bursts into praise. A gentle, hope-filled vision of peace and justice is woven into a trio in the upper voices, and the entire ensemble closes the piece by reclaiming the Lord’s loving promise of mercy on his little ones.

In Nomine Jesu, Jacob Handl
German-Austrian composer, Jacob Handl, was also a Cistercian monk. He was part of the Viennese court chapel, became the choirmaster to the bishop in the Czech Republic, and finished out his life as an organist in Prague. His compositions blended conservative polyphony with innovative harmonic progressions. The fivevoice setting of Handl’s In Nomine Jesu employs a less florid, but no less exultant style, using text from the letter to the Philippians to declare Christ’s dominion over heaven and earth. Gracious descending lines illustrate Christ’s reign from heaven all the way down to the places beneath the earth, while flowing eighth notes and octave leaps show the tongue’s eager proclamation of praise. Handl varies the use of the five voices, highlighting the repeated phrases with subtle but exciting rhythmic motives in a jubilant expression of God’s glory.
Jubilate Deo, Orlando di Lasso
One of the most prolific composers of the Renaissance period, Franco-Flemish composer Orlando di Lasso was born in Belgium, grew up in Italy, moved to Antwerp, and finally lived in Munich for most of his adult life. He became one of the most published composers of the sixteenth century, with over 2,000 compositions, and his religious works have a particular emotional intensity. He took great care to convey the meaning of his texts in his music, a trait that looked forward to the early Baroque style of the seventeenth century. Di Lasso was particularly known for his setting of the psalms, and Jubilate Deo (from Psalm 100) is a lovely example with its sense of rejoicing.

Scio Enim, Orlando di Lasso
The words of this motet are taken from the book of Job. In the middle of Job’s lament, he writes this text from deep within his soul. He knows his redeemer can rescue him from every despair, crisis, and accusation set against him. Job’s inspiring pursuit of his Lord and Savior can bring us tremendous hope, that whatever darkness we face, God will bring us through. Di Lasso sets this piece in a major mode. His word painting is underscored, not only by rapid major and minor chord changes, but also with octave leaps, antiphonal imitation, and homophony. He sets the final hopeful cadence down softly with the words “this is the hope in my breast.”

III. LIGHT
In this modern age of confusion and discord, we need to focus on the light that Jesus offers us. What seems complicated can be made simple. What seems obscure is lifted up in clarity. May each of us move forward towards his light during this season of joy.

O Nata Lux, Gregorian Chant
This tenth-century hymn is from the Lauds service of the Feast of the Transfiguration. Unusual for Mode 4, it uses a wide, sweeping melody, giving a sense of the grandeur of the light of Christ. We use the verses of the hymn that Thomas Tallis used in his masterful setting of this text, which comes later in the program. The light that the disciples saw in Jesus on that day, is still available to those with eyes to see.

Jesu Rex Admirabilis, G. P. da Palestrina
Palestrina brings to a simple piece an air of pomp while simultaneously infusing it with a hint of haunting sweetness. What unexplainable beauty is expressed of our need for light in this straightforward setting!

O Quam Gloriosum, Tomas Luis de Victoria
O quam gloriosum was one of Victoria’s most popular pieces during his lifetime. Originally written for an All Saints’ Day celebration, it is quite lively in nature, contrasting to some of Victoria’s more “serious” works. The opening entrances on “O” catch the ear as an act of praise. The middle of the piece is marked with syncopations and suspensions, which ultimately lead to a final, jubilant Alleluia.

O Nata Lux, Thomas Tallis
Tallis’ setting of O nata lux is one of his best loved compositions. The simplicity of the rhythm belies the complex harmonies which perhaps are meant to create the color and motion of the light of the Transfiguration. The setting is entirely homophonic, lending an indefatigable sense to the prayer that we become members of Christ’s mystical body.

Exsultate Justi, Ludovico da Viadana
Ludovico da Viadana was a pupil of Costanzo Porta of the Renaissance “Venetian School.” He became a Franciscan and retired to the monastery of Gualtieri for about the last twenty-five years of his life. His compositions include masses and psalms, but he is best remembered for his Cento concerti ecclesiastici, one hundred motets and psalm settings. Exsultate justi, which comes from this work, is a remarkably lively piece, alternating between triple and duple times. A notable feature of the motet is its onomatopoeic representation of musical instruments and sounds, with the arpeggio-like passages for cithara (harp), the long quasi-solo run for novum (new), and the percussive vociferatione (strong voice).

Thank you for joining us!

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