Howard Skempton. He wishes for the Cloths of Heaven. Giovanni Perluigi da
Palestrina. Sanctus L'homme armé a5. Benjamin Britten. A Hymn to the Virgin.
director Keith Bennett
Devizes Festival
L’Homme armé
paragon singers
Movements from the Mass based on L’Homme armé by Dufay, Josquin des Prez & Palestrina Josquin des Prez Inviolata, integra et casta es Victoria Vidi speciosam J S Bach Singet dem Herrn Whitacre When David heard Motets by Skempton & Britten
Monday 17 June 8 pm
St John’s Church, Long Street, Devizes
www.paragonsingers.co.uk
L’Homme armé Anonymous L'homme armé Guillaume Du Fay Kyrie L'homme armé Howard Skempton He wishes for the Cloths of Heaven Giovanni Perluigi da Palestrina Sanctus L'homme armé a5 Benjamin Britten A Hymn to the Virgin Josquin Desprez Agnus Dei L'homme armé sexti toni
--Josquin Desprez Inviolata, casta et integra est Eric Whitacre When David heard --Tomàs Luis de Victoria Vidi speciosam Johann Sebastian Bach Singet den Herrn
Welcome to this evening’s concert. It will be sung without an interval, but with two brief pauses for the choir to sit down and you to stretch your legs if you wish. This evening’s programme illustrates the major areas of Paragon’s musicmaking. Excerpts from two recent programmes, L’homme armé and Song of Songs, give a flavour of our themed programming; Singet den Herrn represents our current project to sing all of Bach’s motets over the course of two or three seasons; and music from the sixteenth century and today reflects a constant commitment to these repertoires. From the middle of the 15th century, for a period of almost 200 years, composers from northern France to Italy and Spain were fascinated by the compositional possibilities inherent in a simple medieval song, L'homme armé, or The Armed Man. During this period over 40 L'homme armé masses were composed, as well as several polyphonic chansons. In recent times interest in the song has been revived by composers such as Peter Maxwell Davies (1968/1971) and Karl Jenkins (2000). The tune itself is a simple swinging 6/8 melody in ABA form. It exists in two versions in slightly different modes, effectively one in the minor and one in the major key, and the mass movements here use both versions. The song's origins are obscure, but it was probably associated with Charles the Bold, Duke of Burgundy 1467-1477, whose court was one of the richest and artistically most important in medieval Europe. It has also been suggested that the song may have been named after the Maison L'homme armé, a popular tavern in Cambrai! The programme includes movements from three of these masses, all them cantus firmus compositions – that is, works where the song, either straight or somewhat decorated, appears in the tenor voice, usually in longer note-values, while the other voices move more quickly around it, decorating the melody or deriving imitative figures from it. The Kyrie comes from a late mass by Guillaume Du Fay (?1397-1474), the most significant composer of his day, who over the course of a long career transformed not only his own musical style but the course of musical history; his integration of the lyrical style of late medieval Italy with the more intellectual, less free-flowing music of his northern roots moved music into the Renaissance in both style and form. We have frequently featured the music of Howard Skempton, whose music reflects a highly individual type of ‘minimalism’. He achieves beauty through the apparently simplest means, the music’s homophonic movement enlivened by fluid rhythm and an original melodic and harmonic twist. The haunting He wishes for the Cloths of Heaven sets a poem by W B Yeats (originally Aedh wishes...), published in 1899.
The second L’homme armé movement is by Giovanni Perluigi da Palestrina (1525/6-1594). One of the giants of late Renaissance music, Palestrina is famed for a conservative but smoothly fluent and widely influential technique. He wrote two L'homme armé mass settings, one a4 and one a5. This five-voiced Sanctus is from the earlier of the two, published in 1570. It uses the tune in a variety of ways: as a straightforward cantus firmus in the tenor or soprano, in canon between tenor and bass in the 'Hosanna', and to generate the imitative material. Most will be aware that this year is the centenary of the birth of Benjamin Britten (1913-1976). His brief but beautiful Hymn to the Virgin uses an old English carol text, which is typically macaronic, part English and part Latin. It is for two four-part choirs, the second of which is sung by solo voices. Written when he was only sixteen, it was sung at his funeral. Josquin Desprez (c.1450-1521) was, like Du Fay, the towering figure of his generation, a fact universally recognised even in his own day. This Agnus Dei comes from the second of his two L’homme armé masses. It is in three sections, for four, three and six voices respectively. The third is a technical tour-de-force: the slow-moving tenor and bass lines sing the first three phrases of the tune twice, using both minor and major versions, simultaneously stating the tune direct and in retrograde; the upper voices are grouped in two pairs, each pair in canon, the canons so closely linked that the effect is sometimes of a canon in four parts. It is also ravishingly beautiful. Josquin’s motet Inviolata, integra et casta es is a setting of a sequence in honour of the Virgin Mary; it was incorporated into the Litany of Loreto, a Marian litany added to the liturgy in the 16th-century, and could also be used at Candlemas. Josquin’s mellifluous setting is a late work, again in three sections. It is structured round the plainchant, which can be heard in canon in the alto and second tenor. Eric Whitacre was born in 1970, and studied composition at the Juilliard School of Music. He is now one of the most well known of contemporary choral composers. He is also an accomplished conductor, and has formed his own professional choir, the Eric Whitacre Singers, with whom he has recorded two highly successful CDs of his own music and appeared at the 2012 Proms. He has also created several ‘virtual choirs’ for performances over the internet; these have become widely popular, involving several thousand people. He currently lives in London. His music has a ‘signature’ style, in which quite conventional harmonic movement is disguised by the addition of extra notes foreign to the harmony. These ‘chord-clusters’ often grow in complexity as more voice parts are added before subsiding through a reverse process, the tonal movement being further complicated by changes of metre and mixed rhythmic patterns. This creates an
original and highly evocative soundscape, as can be heard in When David heard, composed in 1999. This extended motet sets the text of just one verse from Samuel II, describing King David’s reaction to the death of his rebellious son Absalom. Here Whitacre uses repeated weeping phrases, evocative pauses and large chord-clusters to create a work of passionate intensity. Tomàs Luis de Victoria (1548-1611) was the greatest composer of the Spanish 16th century 'golden age', and one of the greatest composers of a century rich in talent. For many lovers of 16th-century music, and singers in particular, his music represents the apogee of late Renaissance style. His output was relatively small, and consisted entirely of sacred music. It is nevertheless wonderfully rich and beautifully expressive, imbued with an emotional intensity for which it is justly renowned. The text of Vidi speciosam was inspired by, rather than wholly from, the Song of Songs. A setting of a responsory for the Feast of the Assumption, this motet typifies the Marian fervour of the later 16th century. It is in two sections, the second of which freely adapts a verse from the biblical text. The latter part of each section is identical, save that the two tenor parts swap. Our final work is one of the best known of Bach’s motets. It is a gloriously joyful piece, described by the same biographer as ‘one of the sunniest pieces of counterpoint ever written, even by him’, though for what occasion it was written is unknown. It was probably this motet that so impressed Mozart when he heard it in Leipzig in 1789. Singet has been described as being in concerto form, with fast-slow-fast movements, though this reflects only the perception of slower movement and change of mood in the second section, for the pulse must surely remain constant throughout. The first movement, a setting of the first three verses of Psalm 149, is a glorious exhibition of dancing counterpoint for double choir, making great use of echo effects, which culminates in a fugue in which the opposing voices gradually coalesce and then split again. The second movement, which follows without a break, is a setting of a chorale verse by Johann Gramann, dating from 1548. Here the two choirs have different functions, being described in the score as aria and chorale. The second choir sing the chorale, to each phrase of which the first responds with florid phrases of increasing length: romanesque as against gothic, maybe, or solid Lutheran versus frilly Catholic. The third movement, which sets two verses from Psalm 150, falls into two sections. The first returns to the spirit and style of the first movement, though in common rather than triple time. It leads into a fast, dancing fugue for four voices, which drives the work joyfully towards its concluding Hallelujah.
L'homme armé L'homme armé doibt on doubter, doibt on doubter. On a fait partout crier, Que chascun se viengne armer D'un haubregon de fer. Kyrie Kyrie eleison Christe eleison Kyrie eleison He wishes for the Cloths of Heaven (W B Yeats)
Sanctus Sanctus, sanctus, sanctus, Dominus Deus Saboath. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domine. Hosanna in excelsis.
Anon The armed man must be feared. Everywhere it has been decreed That every man should arm himself With an iron coat of mail Lord have mercy upon us Christ have mercy upon us Lord have mercy upon us Had I the Heavens’ embroidered cloths, Enwrought with gold and silver light, The blue and the dim and the dark Cloths Of night and light and the half-light, I would spread the cloths under your feet: But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams. Holy, holy, holy, Lord God of Hosts Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he that comes in the name of the Lord. Hosanna in the highest.
Hymn to the Virgin Of one that is so fair and bright Like the star of the sea, Brighter than the day is light, Mother and maiden: I cry to thee, thou see to me, Lady, pray thy Son for me So devoted, That I may come to thee. Maria!
(Anon 13th cent) Of one that is so fair and bright Velut maris stella, Brighter than the day is light, Parens et puella: I cry to thee, thou see to me, Lady, pray thy Son for me Tam pia, That I may come to thee. Maria!
All this world was forlorn Through Eve, the sinner, Till our Lord was y-born Of you, the mother. With ave it went away Darkest night, and comes the day
All this world was forlorn Eva peccatrice, Till our Lord was y-born De te genetrice. With ave it went away Darkest night, and comes the day
Of salvation The well springeth out of thee. Of virtue.
Salutis The well springeth out of thee. Virtutis.
Lady, flow'r of ev'rything, Rose without thorns, Thou bare Jesu, Heaven's King, By divine grace: Of all thou bear'st the prize, Lady, queen of paradise Chosen: Maid mild, mother is proven. Proven.
Lady, flow'r of ev'rything, Rosa sine spina, Thou bare Jesu, Heaven's King, Gratia divina: Of all thou bear'st the prize, Lady, queen of paradise Electa: Maid mild, mother es Effecta. Effecta.
Agnus Dei Agnus dei, qui tollis peccata mundi, miserere nobis. Agnus dei, qui tollis peccata mundi, miserere nobis. Agnus dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sins of the world: have mercy on us Lamb of God, who takes away the sins of the world: have mercy on us Lamb of God, who takes away the sins of the world: grant us peace.
Inviolata Inviolata, integra et casta es Maria: Quae es effecta fulgida coeli porta. O Mater alma Christi carisima: Suscipe pia laudum praeconia. Te nunc flagitant devota corda et ora: Nostra ut pura pectora sint et corpora. Tua per precata dulcisona: Nobis conceda veniam per saecula. O benigna! O Regina! O Maria! Quae sola inviolata permansisti
Inviolate, intact and pure art thou, Mary, who art made the shining gate of heaven. O, kind mother, dearest to Christ, receive, 0 gracious one, a celebration of praise Let our souls and bodies be pure, this now our hearts and prayers earnestly request Through thy sweet-sounding entreaties vouchsafe us forgiveness for ever. O kindly one, O Queen, O Mary, who alone remained inviolate
When David heard (2 Samuel 3:28)
Vidi speciosam Vidi speciosam sicut columbam ascendentem de super rivos aquarum, cujus in aestimabilis odor erat nimis in vestimentis ejus. Et sicut dies verni circumdabant eam flores rosarum et lilia convalium. Quae est ista quae ascendit per desertum
When David heard that Absalom was slain, he went up into his chamber over the gate and wept, and thus he said: My son, my son, O Absalom my son, would God I had died for thee! I saw her, beautiful as a dove, ascending from above streams of water, she whose sweet fragrance rose above price in garments deliciously perfumed. And like a spring day, she was surrounded by roses and lilies of the valley. Who is she, that has gone up through the
sicut virgula fumi ex aromatibus myrrhae et thuris? Et sicut dies verni circumdabant eam flores rosarum et lilia convalium.
empty air like a wraith of smoke from sweet smelling incense? And like a spring day, she was surrounded by roses and lilies of the valley.
Singet dem Herrn ein neus Lied Singet dem Herrn ein neues Lied, die Gemeine der Heiligen sollen ihn loben. Israel freue sich des, der ihn gemacht hat. Die Kinder Zion sei’n fröhlich über ihrem Könige, sie sollen loben seinen Namen im Reichen; mit Pauken und Harfen sollen sie ihm spielen.
Sing to the Lord a new song, let the congregation of believers praise Him. Israel rejoices in Him that made him. The children of Zion are joyful under their King, let them praise his name in the dance; let them play to Him on the timbrel and harp. (Psalm 149:1–3)
Wie sich ein Vater erbarmet über seine junge Kinderlein, so tut der Herr uns Armen, so wir ihn kindlich fürchten rein. Er kennt das arm Gemächte, Gott weiß, wir sind nur Staub, gleichwie das Gras vom Rechen, ein Blum und fallend Laub! Der Wind nur drüber wehet, so ist es nicht mehr da, also der Mensch vergehet, sein End das ist ihm nah.
As a father is merciful to his dear little children, so is the Lord to us all, as long as we fear him purely like a child. He knows our frailty, God knows, we are but dust, like raked grass, a flower and falling leaves! Once the wind blows over it, it is gone, thus we pass away, our end is near.
Lobet den Herrn in seinen Taten, lobet ihn in seiner großen Herrlichkeit! Alles, was Odem hat, lobe den Herrn, hallelujah! Aria Gott, nimm dich ferner unser an, denn ohne dich ist nichts getan mit allen unsern Sachen. Drum sei du unser Schirm und Licht, und trügt uns unsre Hoffnung nicht, so wirst du’s ferner machen. Wohl dem, der sich nur steif und fest auf dich und deine Huld verläßt.
Praise the Lord for his acts, praise Him for his excellent greatness. Let everything that hath breath praise the Lord, hallelujah! (Psalm 150:2, 6) God, continue to look after us, for without you all our affairs come to nothing. Therefore be our shield and light, and if our hope does not deceive us, you shall continue to do so. Happy are those who firmly insist on putting their trust in you and your favour.
paragon singers Paragon Singers was formed in 1976. In recent years the choir has come increasingly to specialise in Renaissance, Baroque and 20th-century music and is now considered a leading chamber choir in these fields in the area. Paragon Singers performs several times a year in Bath and its environs as well as making frequent appearances elsewhere. The choir has made concert tours to Kenya, Ireland, France and Holland and, earlier this year, combined forces with a choir from Berlin in performances of Striggio’s 40-part mass in Bath and Berlin. Keith Bennett (conductor) Keith studied music at Oxford, where he was organ scholar at Brasenose College, and at Trinity College of Music. He was awarded a doctorate from Oxford in 1978 for his study of the Italian madrigalist Luca Marenzio. From 1979-2004 he was a principal lecturer at Bath Spa University, including 18 years as Course Director of the BA Music degree. As well as conducting Paragon Singers, he has performed widely as an accompanist, continuo player and singer. Paragon Singers sopranos Hazel Baker, Charlotte de Grey, Julia Draper, Mary Henderson, Josephine Herrlinger, Jane Hunt, Stephanie Lockhart, Abi Reynolds altos tenors basses
Louise Best, Gill Clarke, Lavinia Ferguson, Margaret Graham, Catherine Richards Rupert Bevan, Mike Gumbley, James Henderson, Neil Moore, Gareth Somerset Phil Brotheridge, Jonathan Dawes, Tony Shield, Nicholas Stuart
You can find details of forthcoming paragon singers events at www.paragonsingers.co.uk
paragon singers dates for your diary Saturday 19 October, St Alphege Taverner (Missa Mater Christi), Dove, Mealor, Hawes Saturday 14 December, Wiltshire Music Centre Britten (A Boy was Born), Purcell, Bach
