Music from Heaven

ALLEGRI MISERERE BRITTEN ST CECILIA BACH POULENC BARBER BYRD

The Choir of Ormond College directed by Douglas Lawrence 1 Miserere Gregorio Allegri (1582-1652) 12'52" fter listening to the Choir of Ormond Three pieces by College, a German critic wrote that William Byrd (1543-1623) during the concert she had felt “at the 2 Sing Joyfully unto God 2'30" Acentre of the world”. The Berliner Morganpost 3 Beata viscera 2'22" said “Twenty four young singers from 4 Hæc dies 2'22" Melbourne showed the Germans how to sing Bach”. “One of the most virtuosic chamber Four motets for Christmas choirs in the world” wrote Denmark’s Berlingske Francis Poulenc (1899-1963) Tidende. 5 O magnum mysterium 2'51" 6 Quem vidistis pastores 2'16" Indeed since its inception in 1982 the Choir of 7 Videntes stellam 2'46" Ormond College, directed by Douglas Lawrence, 8 Hodie Christus natus est 2'10" has become the first Australian choir to receive ongoing international recognition. Most of the 9 Hymn to Saint Cecilia singers are, or have been resident in Ormond Benjamin Britten (1913-1976) 9'41" College and come from schools where music education has occupied an important part in the q0 Agnus Dei curriculum. The choir rehearses twice a week, (”Adagio for Strings“) sings each Sunday evening during the university Samuel Barber (1910-1981) 6'47" year in the college chapel and presents an annual concert series. Singet dem Herren ein neues Lied Johann Sebastian Bach (1685-1750) Apart from concert tours, which have taken qa Singet dem Herren ein place every two years, the choir undertakes neues Lied 4'48" an ever increasing number of engagments qs Chorale: Wie sich ein for festivals and concert organisations within Vater erbarmet 4'34" Australia. During 1995 the choir was featured on qd Lobet den Herrn in seinen national radio twice in hour-long broadcasts. Thaten 3'28" This is the choir’s fifth recording. P 1996 Move Records regorio Allegri was born in requiring a soprano with exceptional skill and at our feast day. For this was made a Rome in 1582. He sang as a boy and high notes. It is possible that this part statute for Israel, and a law of the God of at the church of San Luigi Dei was improvised and not actually part of Jacob. GFrancesi in Rome, later taking lessons in the original written score. It would not be composition and becoming a priest. At the first or last time that the most famous The first of the three pieces presented the age of 47 he was appointed as a tenor aspect of a piece was not a part of the here shows that while he was a Catholic, singer in the Chapel of Pope Urban VIII, composer’s original conception. Byrd could also write excellent music in and sang there for 23 years until his death The Miserere was closely guarded English. The text of Sing joyfully unto in 1652. 1 The Miserere is his best known by the Pontifical Chapel, and there God is from Psalm 81, which invokes work, and was traditionally sung in the are unsupported stories of such dire the Hebrews to praise God with a variety Pontifical Chapel as a part of Holy Week punishment as excommunication for of musical instruments. Byrd depicts the before Good Friday. copying it. Mozart is supposed to have instruments with great skill, using a quick The Miserere is really made up of two copied it from memory after hearing it rising phrase for the words ‘pleasant pieces, one in five parts which is normally once in 1771 at the age of 14. In 1790 harp’, a characteristic slower phrase for sung by the large choir, and one in four Charles Burney obtained a copy and the words ‘and the viol’ and an extended parts normally sung by soloists. As well, published it in his La musica della fanfare for the words ‘blow the trumpet every second verse is sung by the male Settimana Santa (The Music of the in the new moon’. This is all incorporated singers in plainsong. The nineteen verses Seventeenth Century). into an effortlessly manipulated six-part of Psalm 51 are thus sung in the following For the words of the Miserere, refer to contrapuntal texture. manner: Psalm 51. v1a Choirv1b Plainsongv2 Soloistsv3 3 Beata Viscera Plainsong illiam Byrd was born in the Blessed is the womb of the Virgin Mary, v4 Choirv5 Plainsongv6 Soloistsv7 English cathedral which bore the Son of the Eternal Father. Plainsong town of Lincoln about 1543, Alleluia. and so on. This happens almost five times. Wand studied under Thomas Tallis. In 1575 To finish the piece, Allegri uses the choir Queen Elizabeth I gave Byrd and Tallis a Byrd’s Catholic heritage is more apparent music for the first part of verse 19, and 21 year monopoly on printing music and in the Latin motet Beata Viscera. It is a composes new music for the second part, music paper, one would hope because of simple adoration of the Virgin Mary in five where the pattern otherwise would have the two composers’ undeniable talent. parts, with a particularly beautiful Alleluia required plainsong. There are no specific at the end. references in the music to particular words 2 Sing Joyfully of the text, but the mood of the piece is Sing joyfully unto God our strength; sing 4 Hæc Dies slow and meditative. loud unto the God of Jacob. Take the song, This is the day which the Lord has made. The most famous aspect of the and bring forth the timbrel, the pleasant Let us rejoice and be glad in it. Alleluia. Miserere is the first soprano line in the harp and the viol. Blow the trumpet in the solo music that soars up to a high C, new moon, even in the time appointed, Hæc Dies is one of Byrd’s most famous The first motet is calledO Magnum 8 Hodie Christus natus est motets on the famous words from Psalm Mysterium and concerns the great mystery Today Christ is born: today the Saviour 118. It is in three contrasting sections. of God becoming human in the incarnation appears: today on earth angels are The first section, on the words “This is the of Christ. It begins with quiet, low chords singing, archangels are rejoicing: today day that the Lord has made” has all the that express the sense of awe that other the just people are crying out in exultation: parts entering in imitation. Throughout composers also have sought to express glory to God in the highest, alleluia. the section different voices may be when setting the same text. Poulenc’s heard singing the same melodies in close mysterious harmonies also help maintain The last of the motets uses the famous text succession. The next section on the words the mood. Hodie Christus natus est, which is a joyful “We will rejoice and be glad in it” is in a celebration of the arrival of Christmas different meter, and puts ideas in 6/8 time 6 Quem vidistis Day. The first text phrase is declaimed together with others in 3/4 time, creating What have you seen, shepherds, tell us the loudly and confidently, in this case by the a complex texture. The last section on news; who has just appeared on the earth? altos and later by the tenors. As each text “Alleluia” is slower again and all the We have seen a newborn child, phrase builds on the last, Poulenc repeats entries of the theme with its long note on and a chorus of angels phrases louder and louder, gradually the first syllable of ‘Alleluia’ can easily praising the Lord together. building up the excitement until the end. be heard, and the whole piece ends on a Tell what you have seen, beautifully resonant chord. and proclaim the birth of Christ. eing the patron saint of music, St. Cecilia could hardly escape the oulenc’s Four motets for Christmas The second, Quem vidistis, asks the attention of composers. It was are a complementary set to his Four shepherds what they have seen and they Ba British tradition to compose odes to motets for a time of penitence. He reply. Then all Christians are urged to St. Cecilia on poetry of the day, with Pwrote them between December 1951 proclaim the birth of Christ. examples by Blow, Handel and most and May 1952 in Paris, Marseille, Aix famously Purcell. Britten’s Hymn to St. en Provence and Noizay. The texts are 7 Videntes Stellam Cecilia is his most extensive piece for not from the Bible but from the Catholic Seeing the star, the wise men rejoiced unaccompanied choir, and was completed liturgy, and offer commentaries on various greatly, and entering the house gave the “At sea, M. S. Axel Johnson, April 2nd aspects of the incarnation and birth of Lord gifts of gold, frankinsense and myrrh. 1942”. The poem, written by Auden for Christ. Britten in 1940, is complex and could be Videntes Stellam deals with another interpreted in many different ways. 5 O magnum mysterium important aspect of Christmas, the story of How great a mystery and wonderful the wise men following a star and finding 9 Britten: Hymn to St. Cecilia sacrament that beasts should see a new- the infant Christ. Poulenc uses some (W.H. Auden) born Lord lying in a manger. particularly unusual chords at the words I – O Blessed Virgin, whose body was worthy “gold, frankincense and myrrh” (aurum, In a garden shady this holy lady to bear the Lord Jesus Christ. Alleluia. thus et myrrum). With reverent cadence and subtle psalm, Like a black swan as death came on descriptive, with the female voices singing that the second part is talking about the Poured forth her song in perfect calm: all the words together while the male poet himself, regretting the way he is, but And by ocean’s margin this innocent virgin voices weave a seamless line beneath in saying that this is ultimately connected Constructed an organ to enlarge her longer note values. The loud outburst to with his identity. He is asking to be loved prayer, the words “notes tremendous thundered despite his faults; he cannot change And notes tremendous from her great out” is notable, as is the delicate depiction his identity, but to suffer permanently engine of angels dancing about 20 seconds later. for it would be defeat. The music is in Thundered out on the Roman air. a skipping tempo that suits the playful II – nature of the first stanza. At the end, the Blonde Aphrodite rose up excited, I cannot grow; words “Love me” are sung by the first Moved to delight the melody, I have no shadow sopranos alone, which emphasises the White as an orchid she rode quite naked To run away from, poet’s loneliness. In an oyster shell on top of the sea; I only play. At sounds so entrancing the angels III – dancing I cannot err; O ear whose creatures cannot wish to fall, Came out of their trance into time again, There is no creature O calm of spaces unafraid of weight, And around the wicked in Hell’s abysses Whom I belong to, Where sorrow is herself, forgetting all The huge flame flickered and eased their Whom I could wrong. The gaucheness of her adolescent state, pain. Where Hope within the altogether strange I am defeat From every outworn image is released, Refrain: When it knows it And Dread born whole and normal like a Blessed Cecilia, appear in visions Can now do nothing beast To all musicians, appear and inspire: By suffering. Into a world of truths that never change: Translated Daughter, come down and Restore our fallen day; O re-arrange. startle All you lived through, Composing mortals with immortal fire. Dancing because you In the first stanza of the third part the No longer need it poet seems to be imagining a place or The first part is concerned with traditional For any deed. state where emotions are pure. Sorrow images of Saint Cecilia, and the healing is true to herself, Dread is normal and redemptive powers of music. The I shall never be and unchangeable, but there is Hope notes from her organ inspire Aphrodite to Different. Love me. everywhere. He looks for restoration rise from the water in a scene reminiscent through music via the ear mentioned in of Bottecelli’s Venus di Milo. The spiritual Refrain: Blessed Cecilia, etc. the first line. While the basses declaim the powers of music cause angels to dance, words, the higher voices create a slow- and relieve the pain of the wicked in The rest of the poem is more obscure and moving ethereal texture that complements Hell. Britten’s musical setting is mainly difficult to interpret. One interpretation is the mood of the words very appropriately. IV – Of convalescents on the shores of death. and to try to communicate a sense of the O dear white children casual as birds, O bless the freedom that you never chose. eternal and transcendental. As former Playing among the ruined languages, Australian Prime Minister Paul Keating So small beside their large confusing O trumpets that unguarded children blow said: “Compared with the great composers, words, About the fortress of their inner foe. most of us are wasting our time.” So gay against the greater silences O wear your tribulation like a rose. Of dreadful things you did: O hang the VI – Final refrain: Blessed Cecilia etc. head, In this section Britten picks up on Auden’s Impetuous child with the tremendous allusions to musical instruments, and has amuel Barber’s Agnus Dei began brain, soloists from the choir imitating them. The life as the slow movement of his O weep, child, weep, O weep away the violin reflects the pain of sin and suggests String Quartet (1936). The conductor stain, that weeping and tears can help remove SThomas Beecham was struck by the piece Lost innocence who wished your lover the stain of sin. The next part suggests and suggested to Barber that he arrange dead, that one should not use one’s intellect for it for string orchestra. Beecham took the Weep for the lives your wishes never led. moral guidance, as the mind is inclined to Adagio for Strings on his world orchestral rationalise evil and selfish desires. Auden tours and made it Barber’s most famous The second stanza grieves for innocent may be suggesting that the heart is more piece. Despite the simple melody and people the poet may have harmed. A aware of moral truths and drums them out harmony, Barber achieves an intensity and beautiful soprano solo is heard above the like timpani. Its message is a strong wish beauty rarely found before or afterwards in rest of the choir, and the musical motif of that past errors should not be repeated. The music. He was moved to arrange the music quicker notes grouped into twos gives the flute is powered by the breath of people for choir on the death of a dear friend, and impression of weeping. who have nearly died but recovered. It in the original string version there seem to tells these people to be thankful for their be human longings for mercy and peace V – life and freedom, especially as they did not that make its transcription to the words of O cry created as the bow of sin have the choice to live or to die. Perhaps the Agnus Dei particularly appropriate. Is drawn across our trembling violin. Auden considered that he had nearly died O weep, child, weep, O weep away the spiritually and was rejoicing in his newly q0 Barber: Agnus Dei stain. found freedom. People guard their inner Lamb of God who takes away the sin of the pain zealously as if with a fortress and world, have mercy on us. O law drummed out by hearts against the trumpets. The trumpet’s message is that Lamb of God who takes away the sin of the still one’s tribulations should not be hidden, world, have mercy on us. Long winter of our intellectual will. but worn like a rose, displaying the thorns Lamb of God who takes away the sin of the That what has been may never be again. as well as the petals. world, grant us your peace. Each part concludes with a refrain O flute that throbs with the thanksgiving invoking the spirit of Cecilia to inspire breath musicians to look beyond temporal things ach’s motet Singet den Herrn ein words ‘singet’ (sing), and the first singing Er kennt das arm Gemächte, neues Lied is the second piece on different, much more florid material. Gott weiß, wir sind nur Staub, this disc that Mozart is known to The emphatic repetitions of ‘singet’ can gleichwie das Gras vom Rechen, Bhave heard. When he heard it performed in be heard throughout the movement. The ein’ Blum’ und fallend Laub. Leipzig, it so struck him that he asked to choirs then swap and the second choir Der Wind nur drüber wehet, be shown the music, and sat for a while in sings the more florid material. After some so ist es nicht mehr da, the back room putting the music together rapid interchange between the choirs, a also der Mensch vergehet; in his head from the choir’s individual section begins where the choirs exchange sein End, das ist ihm nah. parts. Though Bach was not as famous and long phrases to the words ‘Die Gemeine as well known as he now is, Mozart was der Heiligen sollen ihn loben’ . Both Like as a Father taketh pity on his young able to glimpse the incredible beauty and choirs then join together in a rich eight- children so doth the Lord take pity on us joy that Bach was expressing in his finest part texture for the words “Israel freuet all, and thus like children stand we in awe motet. The motet is written for two four- sich, des der ihn gemacht hat”. The rest of of Him. He knows how weak is all our part choirs, and Bach uses them both in a the words of the first verse are introduced strength; God knows we are but dust, like number of different ways. gradually into a long fugal section that grass gathered up by the rake, a flower finishes the movement. While the second or falling leaves; the wind hath only to qa Bach: Singet dem Herrn choir continues to repeat the words ‘Singet blow over it, and it is gone: thus doth man Singet dem Herrn ein neues Lied: den Herrn’, the first choir sings a fugue perish; his end is ever near. die Gemeine der Heiligen sollen ihn loben. on the words ‘Die Kinder Zion...’. The Israel freue sich des, der ihn gemacht hat: number of parts in the texture is constantly Aria (Soloists) die Kinder Zion sei’n frölich changing, subtly undulating between three Gott, nimm dich ferner unser an, über ihren Könige. parts and eight parts. Another section denn ohne Dich ist nichts gethan Sie sollen loben seinen Namen in Reihen: begins with the male voices answering mit allen unsern Sachen. mit Pauken und Harfen sollen sie ihm each other with the word ‘Singet’, but Drum sei du unser Schirm und Licht, spielen. now at a distance of one note, which gives und trügt uns unsre Hoffnung nicht, the impression of a close echo. While so wirst du’s ferner machen. Sing unto the Lord a new song: let the this movement is one of Bach’s greatest Wohl dem, der sich nur steif und fest congregation of the saints praise him. Let technical achievements, the best way to auf Dich und Deine Huld verläßt. Israel rejoice in him that made him: and appreciate the music is to listen and to feel let the children of Sion be joyful in their the joy that he was trying to convey. God have mercy on us in time to come, for King. Let them praise his name in the without Thee is nothing done with all our dance: let them sing praises unto him with qs Chorale (Choir) worldly cares. Be thou therefore our shield tabret and harp. (Psalm 149, 1-3) Wie sich ein Vater erbarmet and light, and if our hope disappoint us über seine junge Kinderlein, not, wilt Thou also keep Thy word. Blessed The first movement begins with the second so thut der Herr uns allen is the man who casts himself utterly on choir (heard on the left) repeating the so wir in kindlich fürchten rein. Thee and Thy grace. The second movement is in a simpler alternating style, where one choir sings a chorale on the weakness and mortality of humans compared to the strength and power of God, and the other sings an ‘aria’ Recorded at the Basilica of Valère in Sion, Switzerland asking God for mercy and help through (Tracks 1-4), and in Melbourne, Australia life. Bach carefully chose both texts to complement each other, and the messages of both are interweaved into his own Digital recording: Martin Wright, Vaughan McAlley personal statement. Digital editing and mastering: Vaughan McAlley Program notes: Vaughan McAlley with help from Douglas qd Lobet den Herrn in seinen Thaten, Lawrence, Lucy Monie and Grantley MacDonald lobet ihn in seiner großen Herrlichkeit. Alles, was Odem hat, lobe dem Herrn, Poulenc translation: Vaughan McAlley Hallelujah! Bach translation: Grantley MacDonald

Praise him in his noble acts: praise him Cover illustration: Choir members near the Basilica at according to his excellent greatness. (Psalm 150, 2) Let everything that hath Sion, from the camera of David Iser breath praise the Lord, Hallelujah! Sky background: Howard Birnstihl Image manipulation: Simon Wright The third movement returns to the joyful mood of the first movement. The first phrase is sung by the first choir and copied Photograph of full choir (next page): David Iser directly by the second choir. After this (Dornburg, Germany) there is no more direct imitation, with the ‘following’ choir singing variations on Special thanks: M. Maurice Wenger at Valère and to the what the ‘leading’ choir has sung. Then both choirs briefly sing in 8-part harmony people of Lauingen, Germany before joining as a unified group to sing the words ‘Alles, was Odem hat, lobe P 1996 MOVE RECORDS den Herrn, alleluja’ (Let everything that has breath praise the Lord. Alleluia). In move.com.au the third last bar the sopranos jump to a high B flat, their highest note in the whole piece, and the piece finishes. Decani (Choir 1) Soloists: Soprano: Katherine Abrat, Tessa Brown, Alison Dunn, Bronwyn Henderson, Allegri Miserere, small group: Bass: Jonathan Wallis Nina Wellington Soprano 1: Nina Wellington Bach Singet dem Herrn, small group: Alto: Kate Brian, Helena Simpson Soprano 2: Alison Dunn Soprano: Katherine Abrat, Tenor: Joel Gladman, Grantley MacDonald Alto: Helena Simpson Raechel Schlaghecke Bass: David Iser, Jonathan Wallis, Jamie Wallis Baritone: Grantley MacDonald, Alto: Helena Simpson Cantoris (Choir 2) Jonathan Wallis Tenor: Joel Gladman Soprano: Rosie Iser, Lucy Monie, Katrina Renard, Raechel Schlaghecke, Britten Hymn to Saint Cecilia Bass: Samuel Furphy, David Iser Sophie Weddell Soprano: Alison Dunn Alto: Amée Baird, Alice Jamison. Alto: Amée Baird Tenor: Matthew Flood, Vaughan McAlley Tenor: Matthew Flood Bass: Samuel Furphy, Christopher Johnston, Edward Morgan