SAVANNAH MUSIC FESTIVAL 30TH FESTIVAL SEASON MARCH 28–APRIL 13, 2019 PROGRAM NOTES BY JAMES M. POTTER, 2016 THE TALLIS SCHOLARS DIRECTOR PETER PHILLIPS Tuesday, April 9 at 6 pm Trinity United Methodist Church The Sistine Chapel, the heart of the Vatican in The patronage of the papacy was keenly sought Rome, is well-known for having bequeathed a by Renaissance musicians. For a time, Spanish treasure trove of visual art to posterity. With composers had an advantage due to a succession “INSPIRED BY one notable exception, it is rather less known of Spanish popes who held them in high esteem. THE SISTINE CHAPEL” for the musical treasures which it has nurtured Cristóbal de Morales was one such beneficiary, GIOVANI PIERLUIGI DA PALESTRINA for many centuries. In many cases this is due spending a considerable portion of his life in the (1525–1594) to the jealous guarding of the music by a series employ of the Capella Sistina. Regina caeli, a Missa Assumpta est Maria (Kyrie) of popes, who would not allow certain pieces to setting of the ancient hymn to Mary, could well CRISTÓBAL DE MORALES (1500–1553) pass beyond the walls of the chapel. Such is the have been first performed here. Regina caeli case, famously, of Gregorio Allegri’s Miserere, PALESTRINA which acquired such a mystique through the A contemporary of Morales, Costanzo Festa was Missa Ecce ego Johannes (Gloria) Sistine Chapel’s monopoly that tracing its journey one of the first Italian polyphonic composers to COSTANZO FESTA (1495–1545) has become one of the most intriguing musical achieve high renown. His sacred music would be Quam pulchra es problems of our time. a great influence on Palestrina, and his madrigals helped birth a new secular tradition. Quam ELZEA GENET CARPENTRAS (?–1548) Lamentations Tonight’s program allows us a privileged pulchra es, a passage from the Song of Songs glimpse into the heyday of the Vatican of the set for high voices, displays Festa’s gift for easy, PALESTRINA high Renaissance. The power and prestige of flowing polyphony. Missa Papae Marcelli (Credo) the papacy was at its apex, and before long the INTERMISSION Council of Trent would spur liturgists and artists Like many others at the time, the composer to the heights of the Counter-Reformation. In this Carpentras spent considerable energy securing GREGORIO ALLEGRI (C. 1582–1652) spirit, the continuity in this program is provided patronage for his artistic activity. Having been Miserere by that most prolific of polyphonists, Giovanni master of the papal chapel in 1514 for Pope Leo PALESTRINA Pierluigi da Palestrina. Rather than choose just X, he made a swift exit after Leo was replaced Missa Confitebor tibi domine one setting of the Ordinary of the Mass, Director by the rather less musical Adrian VI, only to (Sanctus & Benedictus) Peter Phillips has chosen individual movements return after a new pope was elected a year ALEXANDER CAMPKIN (B. 1984) from five different masses, forming a composite later. Intriguingly—and foreshadowing the later Miserere Mei which shows the remarkable breadth and corruption of Allegri’s music—he returned to JOSQUIN DES PREZ (C. 1450–1521) consistency of Palestrina’s style. the Sistine Chapel to find his music still being Inter natos mulierum performed, but in “bastardized versions,” “so Many of the masses are in the so-called missa corrupted…that I scarcely recognized them.” He PALESTRINA Missa brevis (Agnus Dei) parodia or “parody mass” form, meaning their resolved to republish the works—dedicating the music is based on a preexisting work, usually a collection to the new Pope, Clement VII—which motet. Hence Missa Assumpta est Maria, which include many settings of the Lamentations draws its material from a six-voice motet for of Jeremiah. It is no surprise that these were Peter Phillips, Director the Assumption of the Blessed Virgin Mary. The hugely popular at the time; passages of sonorous Charlotte Ashley, soprano Credo comes from the famous Missa Papae homophony vie in beauty with the austere Emily Atkinson, soprano Marcelli, supposedly written to prove that sacred Hebrew letters, which, following convention, are Amy Haworth, soprano music could be both beautiful and intelligible, set to long, flowing melisma: “ritualized weeping Emma Walshe, soprano after officials at the Council of Trent considered in music.” David Gould, alto banning complex polyphony. Certainly the Caroline Trevor, alto prevalence of syllabic declamation in this Of course, no piece of music in the history of Steven Harrold, tenor movement suggests a particular concern that the the Sistine Chapel is more famous than Allegri’s Simon Wall, tenor words be understood. The mighty Sanctus is from Miserere. The Papacy wanted it that way—a Simon Whiteley, bass a mass based on the double-choir Confitebor tibi, secret composition of such beauty that it could Rob Macdonald, bass whilst the Agnus Dei is from the Missa brevis, not be allowed beyond the walls of the Vatican, a mass which, despite its name, is not a great it magnified their power and status. However, deal shorter than any of the others! Instead, in just as Carpentras’ music had been tweaked the second statement of this freely-composed beyond his recognition, Allegri’s was to suffer the movement, Palestrina adds a further voice to manipulations of every age which followed, enrich the polyphony. SAVANNAHMUSICFESTIVAL.ORG | BOX OFFICE 912.525.5050 1 SAVANNAH MUSIC FESTIVAL 30TH FESTIVAL SEASON MARCH 28–APRIL 13, 2019 leaving the version we have today, which would TEXTS & TRANSLATIONS the right hand of God the Father, have mercy be all but unrecognizable to the composer. upon us. A large part of this is due to the process of ornamentation with which the highly trained Missa Assumpta est Maria (Kyrie) For thou only art Holy; thou only art the Lord; papal singers would embellish their parts, leading by Giovani Pierluigi da Palestrina thou only, O Christ, with the Holy Ghost, art Most to the now-obligatory high C. Regardless of its Kyrie eleison. Christe eleison. Kyrie eleison. High in the glory of God the Father. Amen. authenticity, this tortuous musical journey has left us with one of the most beautiful choral Lord, have mercy. Christ, have mercy. Lord, have Quam pulchra es pieces of all time. mercy. by Costanzo Festa About his composition of Miserere Mei, Quam pulchra es et quam decora Regina caeli Alexander Campkin writes: Quam pulchra es, amica mea, columba mea by Cristóbal de Morales Formosa mea, Veni dilecta mea I will always remember hearing Allegri’s Regina caeli laetare, alleluia, Vox enim tua dulcis, et facies decora nimis Miserere for the first time. I was struck by Quia quem meruisti portare, alleluia, the beauty of the music and the emotions Resurrexit sicut dixit, alleluia. How beautiful and fair you are that it conveyed. This was a recording of the Ora pro nobis Deum, alleluia. How beautiful, my soul, my dove Allegri by the Tallis Scholars, a recording My beauty, come my joy which has remained close to my heart Queen of heaven, rejoice, alleluia, Your truly sweet voice, and exceeding fair visage ever since. I was therefore thrilled to be For he whom thou wast worthy to bear, alleluia, commissioned by this choir to write a new Hath risen as he said, alleluia. Lamentations setting of the same text. Pray for us to God, alleluia. by Elzea Genet Carpentras The new piece reflects my emotional (bars 1 to 240 and 320 to the end) Missa Ecce ego Johannes (Gloria) response to Allegri’s strikingly moving by Giovani Pierluigi da Palestrina Miserere. Like the Allegri, it is scored for Incipit lamentatio Ieremiae prophetae. double choir. Two musical elements are Gloria in excelsis Deo, et in terra pax hominibus Aleph. Quomodo sedet sola civitas plena contrasted: that of the main choir and a bonae voluntatis. Laudamus te; benedicimus te; populo: facta est quasi vidua domina gentium: more lyrical section sung by the off-stage adoramus te; glorificamus te. Gratias agimus tibi princeps provinciarum facta est sub tributo. solo group. As these sections alternate, propter magnam gloriam tuam, Domine Deus, Rex Beth. Plorans ploravit in nocte, et lacrimae the piece gradually builds in intensity with caelestis, Deus Pater omnipotens. eius in maxillis eius: non est qui consoletur suspension after suspension. The harmony eam ex omnibus caris eius: omnes amici eius is intensified as the first soprano soars to Domine Fili unigenite, Jesu Christe; Domine Deus, spreverunt eam, et facti sunt inimici. a high C, hitting the climax on the words Agnus Dei, Filius Patris, qui tollis peccata mundi, “Libera me de sanguinibus” (“Deliver me miserere nobis; qui tollis peccata mundi, suscipe Ierusalem, Ierusalem, convertere ad Dominum from blood guiltless”). deprecationem nostram; qui sedes ad dexteram Deum tuum. Patris, miserere nobis. Many a famous composer would leave their Here begins the Lamentation of the prophet mark—quite literally in this case—in the Sistine Quoniam tu solus Sanctus; tu solus Dominus; Jeremiah. Chapel. The scrawl “JOSQUINJ” on the wall tu solus altissimus, Jesu Christe, cum Sancto Aleph. How desolate the city lies that was testifies to the composer Josquin’s membership Spiritu, in gloria Dei Patris. Amen. once thronged with people. The one-time queen of the papal chapel, where he likely composed of nations has become as a widow. Once a ruler many works. Josquin’s considerable fame during Glory be to God on high, and in earth peace, of provinces, she is now subject to others. and after his lifetime has led to the misattribution goodwill towards men. We praise thee; we bless Beth. By night she weeps in sorrow and tears of many of his compositions. The authorship of thee; we worship thee; we glorify thee.