THE CHOIR

OF THE PIUS X SCHOOL OF LITURGICAL MUSIC

MANHATTANVILLE COLLEGE OF THE SACRED HEART

Concert under the Auspices of the BROOKLYN INSTITUTE OF ARTS AND SCIENCES

MONDAY EVENING, JANUARY 29, 1940 THE BROOKLYN ACADEMY OF MUSIC

Tlze audience is requested to defer applausr until the end of each group.

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PAX IX TERRIS (From a ~ativity Play of the 13th Century) Crcgoria11 Clzallt

The Officium Pastorum was a dramatic development within the Liturgy of Christmas. It was attached to the end of the office of , linking that Office to the of the Midnight Mass. In response to the celestial message of the angels, the Pax in Terris was sung by the shepherds as they advanced to the choir. The full text, verbal and musical, has been chosen from a of Rouen.

Pax in terris nuntiatur Peace on earth is announced; In excelsis gloria In the highest, glory. Caelo terra faederatur Heaven and earth are united ~1ediante gratia. l3y mediating grace.

1fediator, homo, Deus The ~fediator, man-God, Descendit in propria, Has descended to His own, Ut ascendat homo reus That man may ascend and be admitted Ad admissa gaudia, Eya! Eya! To his promised joy. Behold! Behold!

Transeamus, videamus Let us go over, let us see Verbum hoc quod factum est, That \\'ord which has been made (flesh) Transeamus ut sciamus Let us go over, let us know Quod nuntiatum est. That which has been announced.

In J udaea Puer vagit, In Judea the Child is weeping Puer salus populi, The Child, Salvation of the people, Quo bellandum se praesagit \Vho has taken on Himself to wage war Versus hostes saeculi. Against the ancient enemy.

Accedamus, accedamus Let us approach, let us approach Ad praesepe Domini, The crib of the Lord, Et dicamus: And let us express our Laus fecundae Virgini. Praise to the Virgin-mother.

ALLELUIA-PSALLAT (3 Voices-Sung by Small Group) Late 13th Century (Fro·m the Worcester ;.l[ediaeval Harmony) Dom Anselm Hughes calls attention to the resemblance between this charming example of 13th Century English canon and the well-known "Sumer is icumen in." psallat haec familia Alleluia timpanis et alleluia psallat laetus coetu~ cum harmonia Alleluia psallat Deo laudum et praeconia. Alleluia. SALVE VIRGO (A Sung ·during the Kativtty Play) Gregoria11 C fum I As the Shepherds approached the Blessed Mother and Child, the:y graciously saluted them with this charming composition in the sixth mode.

Salve, Virgo singularis, Hail Virgin most marvelous, Virgo man ens Deum paris \Vho, remaining Virgin, bearest God Ante saecla generatum Begotten before the ages Corde Patris; In the heart of the Father. Adoremus nunc creatum Let us adore Him who took flesh Carne matris. From the Mother.

Nos, :Maria, tua prece 0 Mary, by your prayers A peccati purga foecc; Set us free from our sins. Nostri cursum incolatus; And so dispose the course of our life Sic dispone That we may be made worthy Ut det sua frui natus To enjoy of His birth The Vision. Visione. ·

0 MIRANDA DEI CARITAS 13th Century The rhythmic modes in all their iron rigidity. The is a stiff Cantus Firmus, one phrase alone being used and repeated; the consonances are still Greek. But we already have real 3-part thinking, and diversity of simultaneous rhythms. The phrase used is from the Kyric of Mass XVII. This singing of other words simultaneously with the was an abuse which was afterwards abolished. It is thought that at first it was done partly to enable illiterate singers to memorize the music more quickly.

FIRST VorcE 0 miranda Dei caritas. Per pec­ 0 'vVonderful love of God. Man made by catum cecidit, Homo quem condidit, Him fell by sin, Sed ejus bonitas. Relaxavit penas but His goodness forgave the debt. debitus. Adam mundum perdidit, sed vitam Adam lost the world but the birth of reddidit Christi nativitas. Christ gives back life.

SECOND VorCE Salve mater Salutifera claritatis Hail Mother, salvation-bearer, mirror speculum, Tu cordis oculum, Nostri of light, Look on the desire of our considera. Peccatorum sana vulnera heart. Heal the wounds of sinners, 0 Virgo salva saeculum, A morte Virgin, Save the world; free thy populum Eterna Iibera. people from everlasting death.

THIRD VorcE Kyric Eleison. Lord have mercy on us.

FLOS FLORUM (3 Voices-Sung by Small Group) Guillaume Dufa:r• ( -1474) A charming 3-part composition. The upper voice shows a beginning of coloratura, very delicate and restrained, above the sensitively balanced rhythms of the lower ones, till all join in the slow, grave, final chords. Flos ftorum, Fans hortorum, Regina Flower of flowers, Fountain, Queen of polorum, heaven Spes veniae, Lux laetitiae, medicina Hope of forgiveness, light of joy, solace dolo rum of grief; Virga recens Et Virgo decens Forma .Maiden, model of the good, bonorum, Parcereis Et opem fereis In pace piorum Spare the sinners and bring them help. Pasce tuos, Succurre tuis miserere In peace cherish your own, help them, tuorum. have mercy on them.

CAKITE IN INITIO (Responsory) A111brosian Cha11t This Ambrosian chant is an early development of the Responsorial form, whose beginnings we will hear in the chant "In Manus Tuas." Canite in initio mensis tuba, Blow the trumpet on the new moun, In die insignis solemnitatis vestra. On the noted day of your Solemnity. V. Exultate Deo adjutori nostro: Rejoice to God our helper: Jacob. Sing joyfully to the God of Jacob. In die insignis solemnitatis vestra. On the noted day of your Solemnity. V. Sumite psalmum et date tympanum: Take a psalm and bring hither the psalterium cum cithara. timbrel : the pleasant psaltery with the harp. In die insignis solemnitatis vestra. On the noted day of your Solemnity. V. Gloria Patri et Filio : Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Ghost. In die imignis solemnitatis vestra. On the noted day of your Solemnity.

II

The Obrecht "11issa Sine Nomine" (Kyrie, . .r\gnus Dei-3 Voices) is Sung for the First Time in _\.merica.

The very remarkable and little known :Niass from which the three following numbers are taken is one of the extremely rare examples of major choral work of the 15th Century written exclusively for high voices. It is known that Obrecht, in his later years, was maitre de chapclle at Antwerp Cathedral, where his choir consisted only of boys. Apart from its elaborate and masterly counterpoint, the emotional quality of this music is extraordinary; especially, perhaps, in the Agnus Dei. The pathetic second melody given out at the beginning of the Kyrie against the great Cantus Firmus recurs again and again, while the Cantus Firmus, continuous but shifting from voice to voice and sometimes in canon, marches majestically through the score.

EXSURGE-MODE I (Introit for Sexagcsima Sunday) G rc gol"ian Chall f The Introit of the Mass, originally a processional hymn, is intended to strike the key note of the religious mood of the feast. This of Sexagesima Sunday gives the undertones of approaching Lent. A simple melody, almost a recitation, is used to give full force to the words. It is a prayer replete with confidence in God's help when called upon in trouble and anguish of spirit. KYRIE (3 Voices) Jacob Obrecht (1430-1505) (Missa Sine Nomi11e)

Here the broad and grave Cantus Firmus JS given out by the third voice, shifts to the second for the Christe Eleison and back to the third for the final Kyrie, while the first, with increasing insistence, repeats again and again the wailing phrases of its contrasting melody .

•\LLELUL\-).(ULTIF.\.RIE-).fODE VII (Feast of the Circumcision) Gregorian Clla1'lt The Alleluia melodies are amongst the oldest in use. They are joyous and animated, very elaborate in construction and generally in the form of a J ubilus; for, as St ..\ugustine says, "He who exults needs no words." The Jubi! us shows how plain chant excells in the art of combining the most simple motifs and the most diverse. This one seems to rise even to the ecstasy of divine contemplation.

Alleluia .\lleluia Multifarie olim Deus loquens God, \Vho in divers manners spoke in Patribus in prophetis, times past to the fathers by the prophets, novissime diebus istis locutus last of all in these days hath spoken est nobis in Filio suo. Alleluia. to us by His Son. Alleluia.

CREDO (3 Voices) I acob Obrecht (Jfissa Sine Nomi11e) The Credo, though formed to a great e.'

JUBILATE DEO-~fODE I (: Second Sunday after Epiphany) Gregoria11 Chant The Jubilate is a great rejoicing in true Gregorian manner, i.e., consummate skill in developing a musical idea of big extent from a small motif.

Jubilate Deo universa terra: Shout with joy to God, all the earth: psalmum dicite nomini ejus: sing ye a psalm to His N arne : venite, et audite, et narrabo vobis, come and hear, all ye that fear God, omnes qui timetis Deum, and I will tell you what great things quanta fecit Dominus anim~ mere. the Lord hath done for my soul, alleluia. alleluia.

AG rus DEI (3 Voices) Jacob Obrecht (Jlissa Si11e Nomine) Here the Cantus Firmus is given out by the second voice, the contrasting theme in the first being developed this time into a sequential melodic structme which seems to anticipate Taverner. The poignant false relations between the first and third voices and the insistent piling up of cumulative figures are also cmiously suggestive of Taverner's style. PUERI HEBR.lE'ORUM (4 Voices) Palcstri11a From the simple~t form of a descending minor third which is introduced constantly with ever-increasing vigor, this composition grows and grows until the end comes in a blaze of triumph.

Pueri Hebrreorum The Hebrew children portantes ramos olivarum, bearing branches of olives, obviaverunt Domino, went forth to meet the Lord, clamantes et dicentes : crying out, and saying : Hosanna in excelsis. Hosanna in the highest !

INTERMISSION

III

VIRGO MARIA (3 Voices) GasPm' va11 Werbcckc (1440- ) A delicate little piece of 3-part writing, predominantly harmonic, with an occasional short jubilus in one or another of the voices. Only at fiorens 1lf rosa is there any fugal suggestion. The vertical chords at lllfcrccdc are a happy touch.

CHRISTUS FACTUS EST-MODE V G1'cgoria11 Clta11f (Gradual: Mass for Holy Thursda3-•) The Fifth Mode, in which this chant is written, is pre-eminently the mode of the . This is one of the most sublime of the chants, and seems to have caught up the whole spirit of the Passion in a way that is impossible to describe. It is called the Classic Gradual, as it is one of the most glorious.

Christus factus est pro nobis Christ became obeclient for us obecliens usque ad mortem, unto death, even to the death of mortem autem crucis. the cross. V. Propter quod et Deus exaltavit V. For which cause, God also hath ilium: et dedit illi nomen, exalted Him and hath given Him a quod est super omne nomen. name which is abm·e all names.

IN MANUS TUAS DOMINE-MODE VI Grcgoria11 C!ra~rt (Short Responsor·y sung during Compline) In this simple melodic setting we can see the beginning of the Responsorial form that later developed into the most beautiful chants of the Mass Liturgy.

In manus tuas Domine Commendo Into Thy hands, 0 Lord, I commend spiritum meum. Redemisti nos Domine, my spirit. Thou hast redeemed us, Deus veritatis. Gloria Patri, 0 Lord, the God of Truth. Glory be to the Father, et Filio, et Spiritui Sancto. and to the Son, and to the Holy Ghost. Custodi nos Domine ut pupillam oculi. Guard us, 0 Lord, as the pupil of Thine eye. Sub umbra alarum tuarum protege nos. Under the shadow of Thy wings pro­ tect us. JUDAS MERCATOR (4 Voices) Vittoria (1540-1611) The terrific character of the words calls for just Vittoria's special gift of tragic simplicity: a simplicity possible only to consummate craftsmanship. The isolation of the name, Judas, the shuddering repercussion at OsCHlo, the cumulative wail at non fuisset, and the final tradidit, are Vlttoria at his greatest.

] udas mercator pessimus Judas, evil bargainer Osculo petiit Dominum Sought the Lord with a kiss Ille ut Agnus innocens, non negavit He as an innocent lamb did not refuse ]udae osculum: the kiss of Judas, Denariorum mimevo Who had sold Him for money. Chris tum J udae!_s Tradidit He betrayed Christ to the Jews Melius illi erat si natus non fuisset. It were better if he had never been born.

SANCTUS-MASS V-MODE IV Grcgoria1t Chant BENEDICTUS (3 Voices) Orla11do de Lassus (1520-1594)

Sanctus This Chant in the Eighth Mode gives an elaboration on the three Sanctus', using the purely syllabic chant on the Domine De11s and the Pleni stmt Coeli which with the exuberant Hosanna il~ Excelsis prepare the way for the Benedictus.

Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Pleni sunt Lord God of hosts. Heaven and earth coeli et terra gloria tua. are full of Thy glory. Hosanna in excelsis. Hosanna in the highest.

Benedicllts A beautiful little bit of pure expression, showing us that lovable and simple aspect of his mind which Lassus so often kept hidden.

REJOICE, REJOICE (4 Voices) William Byrd (1543-1623) This splendid carol opens with a homophonic melody of chorale type, sung in intermittent phrases against a continuous fugal organ accompaniment, broad and majestic. Then, with a sudden change of rhythm, the choir, unaccompanied, breaks into a swift and ecstatic four-part song of joy, in running fugal counterpoint with brilliant interlacing scales, piling up to a final j1tbilus on the word re;01ce.

From Virgin pure this day did spring The precious Seed that only saved man : This day let man rejoice and sweetly sing, Since on this day salvation first began: This day did Christ man's soul from death remove \Vith glorious saints to dwell in Heav'n above. Rejoice, rejoice with heart and voice, In Christes birth this day rejoice. IV OUR LADY SINGS (8 Yoices-2 Choirs) E. L. Voy11 iclr (From the Mss. of a11 1,npublishcd cantata by an English composer rcsidiag in N cw York) This is a manuscript motet from an unpublished cantata on the English Elizabethan hymn : "Jerusalem, my happy home." The motet, in a different medium from the rest of the cantata, is an attempt to suggest the bodiless music of dreams, coming as from endless distance and nnishing with the return of waking consciousness.

Our Lady sings 1fagnificat In tones surpassing sweet And all the virgins bear their part, Sitting about her feet Our Lady sings Magnificat Magnificat.

MY HEART EVER FAITHFUL (Unison) I. S. Bach ( 1685-1750) This universal fayorite cam10t be heard too often. It has the spontaneity of bird song; even if we have known it by heart our whole life long, the enchanting final cadence, with its feather-light drop of a major seventh, never fails to strike the ear as new.

LOVELY DAY IS DA\\ NIKG (2 Voices) Thomas M01·ley ( 1557-1603) Morley's lovely little madrigal is too well known to need description. Surely no more perfect picture of an English spring morning was ever put into note~.

MY MOTHER BIDS i\IE (Unic;on) Josef Ha,yd11 ( 1732-1809) A familiar and most charming example of how a great master can use the simple idiom of pastoral folk-song: that deceptively easy thing which so few composers can touch without cheapening it.

THE SPRING Gret c lza11i1107. Gretchaninov's spring song forms a gorgeous contrast to the limpid innocence of Morley's darling madrigal. The coruscating brilliance of the shifting tonality, the high shouts of the voices and the headlong rush of the accompaniment suggest the delirious ecstasy of reawakening life after the iron-bound Russian winter.