A Brief History of Western Music
PATRICK DUPRE QUIGLEY, CONDUCTOR
October 10-13, 2024
Program Note
A (Very) Brief History of (Western) Music
By Honey Meconi
Choral singing has played the largest role of any kind of music-making across the entire history of Western art music, especially when it comes to sacred music. The human voice, after all, was the first musical instrument, and the practice of group singing can be traced back thousands of years.
During the Middle Ages, from the late fifth century up to the fifteenth century, almost all of the music performed in the Catholic Church was plainchant (sometimes called “Gregorian Chant”), a single melodic line sung by a choir in unison in free rhythm. Both the texts and melodies of plainchant have continued to inspire musicians up to the present day, as we can see with one of the most popular chants of the time, the anonymous Alma Redemptoris Mater in honor of the Virgin Mary.
Composers scarcely restricted themselves to a single melodic line. In a work such as the anonymous Stella splendens, a medieval pilgrimage song, the texture expands to two voice parts, each of which now has a distinct rhythm. And choral expansion is a hallmark of the Renaissance (the fifteenth and sixteenth centuries). Guillaume Du Fay’s motet for the consecration of the Florence Cathedral in 1436, Nuper rosarum flores, now has four parts, with the bottom two using a plainchant melody for the consecration of a church. Tomás Luis de Victoria’s setting of Alma Redemptoris Mater is even fuller, with eight voices divided into two choirs, a “polychoral” texture beloved of the high Renaissance and later years.
The succeeding Baroque period (from 1600 to the earlier eighteenth century) saw the invention of opera, whose dramatic tone soon influenced all other vocal music as well. Claudio Monteverdi’s Lauda Jerusalem, a setting of a psalm text from the Vespers service published in 1610, shows this through its use of seven voices that juxtaposes two three-voice choirs against tenors singing a plainchant melody. Another spectacular example of dramatic writing appears in the Miserere mei Deus, a psalm setting by early Baroque composer Gregorio Allegri. Here the choral singing is again split between two choirs; it alternates between written-out melodic lines and repeated-note chanting of the psalm text. A recurring refrain features an otherworldly soprano line that soars far above the supporting voices. The young Mozart heard this work in Rome during one of his childhood tours of Europe. However, as a composer of the Classical period (from the earlier eighteenth
century to its end), Mozart emphasized balance and symmetry in his choral music, in keeping with the eighteenth century’s veneration of the architectural proportions of classical antiquity. We see this in Mozart’s Ave verum corpus, written just six months before his death in 1791. This outwardly simple but deeply moving work for the feast of Corpus Christi was probably the test piece for his appointment as Kapellmeister Designate of St. Stephen’s Cathedral in Vienna.
Liturgical music continued to be important in the nineteenth century, often known as the Romantic period. Works by Felix Mendelssohn and Anton Bruckner represent two contrasting examples. Mendelssohn’s gentle psalm setting Laudate pueri is for three-part women’s voices and organ, composed for a community of Roman nuns in 1830. Completely different is Bruckner’s Os justi, written in 1879. This eight-voice motet reflects a compositional movement called Cecilianism (after the patron saint of music) whose goal was to restore the use of medieval and Renaissance sacred music, and to write new pieces in older styles. Consequently, Os justi is for eightpart unaccompanied chorus (since most sacred works before 1600 did not use instruments) and uses the Lydian mode for its harmonies; Lydian was one of the medieval modes used before major and minor keys developed during the Baroque. The early music influence is especially unmistakable in the final “Alleluia,” sung in plainchant rather than in parts.
The twentieth and twenty-first centuries, the modern/contemporary period, adopts an almost “anything goes” philosophy when it comes to choral music. Samuel Coleridge-Taylor’s “choral rhapsody” Sea Drift (1908) for eight voices, narrates an evocative poem of a young woman on a storm-drenched shore, while Igor Stravinsky’s Ave Maria (1934), for four voices, sets the famous Marian prayer in shifting meter, a hallmark of modernism. And Cecilia McDowall’s six-voice Alma Redemptoris Mater (2010) is both of its time (in its use of dissonance and sustained sonorities) and of the past, as it sets the age-old text with reference both to the original plainchant melody and the varied textures of the Renaissance. •
Honey Meconi is the inaugural Arthur Satz Professor at the University of Rochester, where she is also Professor of Musicology at the Eastman School of Music. She is the founding editor of the monograph series “Oxford Studies in Early Music” for Oxford University Press.
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Classical: Martines, Mozart & Haydn
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Naples | Coral Gables | Ft. Lauderdale | Miami Beach
Baroque: Angels Behind the Walls
Journey back to 18th-century Italy, where captivating music blossomed in convents.
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A Brief History of Western Music
Thu, Oct 10, 2024 | 7:30 pm | St. Sophia Greek Orthodox, Miami
Fri, Oct 11, 2024 | 8:00 pm | Church of the Little Flower, Coral Gables
Sat, Oct 12, 2024 | 7:30 pm | All Saints Episcopal, Ft. Lauderdale
Sun, Oct 13, 2024 | 4:00 pm | Kravis Center, West Palm Beach
Patrick Dupre Quigley, conductor
Alma Redemptoris Mater Chant, Anonymous, 11th Century
“Prologue” from Ordo Virtutum Hildegard von Bingen (1098-1179)
Stella splendens Anonymous, Late 14th Century
Nuper rosarum flores Guillaume DuFay (1397-1474)
Alma Redemptoris Mater Tomás Luis de Victoria (1548-1611)
“Lauda Jerusalem” from Vespers of 1610 Claudio Monteverdi (1567-1643)
Lobet den Herrn Johann Sebastian Bach (1685-1750)
Ave verum corpus Wolfgang Amadeus Mozart (1756-1791)
Miserere mei, Deus Gregorio Allegri (1582-1652)
Laudate pueri Felix Mendelssohn (1809-1847)
Sea Drift Samuel Coleridge-Taylor (1875-1912)
Ave Maria Igor Stravinsky (1882-1971)
Alma Redemptoris Mater Cecilia McDowall (b. 1951)
Soprano
Elisse Albian
Emma Beers*
Julia Izquierdo*
Michele Kennedy
Rebecca Myers
Molly Quinn
Kyra Stahr*
Alto
Victor Bento*
Amanda Crider
William Duffy
Emily Marvosh
Lauren Richards*
Tenor
Brad Diamond
Sebastian Fernandez*
Brandon Flores*
Nickolas Karageorgiou
David Pelino
Kevon Thompson*
Bass
Eric Alatorre
John Buffett
Gabriel Harley*
Edmund Milly
Gonzalo Schaps*
August Vesilind*
Organ
Leon Schelhase
Cello
Sarah Stone
Patrick Dupre Quigley, conductor
*University of Miami’s Frost School of Music Ensemble Artist Program student
To read full artist bios, scan the QR code below or visit SeraphicFire.org/Artists
To learn more about our Ensemble Artist Program visit SeraphicFire.org/Education
Alma Redemptoris Mater
Chant, Anonymous, 11th century
Tomás Luis de Victoria (1548-1611)
Cecilia McDowall (b. 1951)
Alma Redemptoris Mater, quae pervia caeli porta manes, et stella maris, succurre cadenti surgere qui curat populo: Tu quae genuisti, natura mirante, tuum sanctum Genitorem: Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum miserere.
Loving Mother of the Redeemer, who remains the gate by which we mortals enter heaven, and star of the sea, help your fallen people who strive to rise: You who gave birth, amazing nature, to your sacred Creator: Virgin prior and following, taking from the mouth of Gabriel that Hail! have mercy on our sins.
“Prologue” from Ordo Virtutum
Hildegard von Bingen (1098-1179)
1. Patriarche et Prophete:
Qui sunt hi, qui ut nubes?
2. Virtutes:
O antiqui sancti, quid admiramini in nobis?
Verbum Dei clarescit in forma hominis, et ideo fulgemus cum illo, edificantes membra sui pulcri corporis.
3. Patriarche et Prophete:
Nos sumus radices et vos rami, fructus viventis oculi, et nos umbra in illo fuimus.
1. Patriarchs and Prophets:
Who are these, who come like clouds?
2. Virtues:
O ancient holy ones, what makes you wonder at us?
The word of God becomes clear in the form of a man, And therefore we shine with him, Edifying the members of his glorious body.
3. Patriarchs and Prophets:
We are the roots and you the branches, fruits of the living bud [eye], and we were the shadow in him.
Stella splendens
Anonymous, Late 14th Century
Stella splendens in monte ut solis radium
miraculis serrato exaudi populum.
Concurrunt universi gaudentes populi divites et egeni grandes et parvuli
ipsum ingrediuntur ut cernunt oculi
et inde revertuntur gracijis repleti.
Stella splendens...
Principes et magnates extirpe regia saeculi potestates obtenta venia
peccaminum proclamant tundentes
pectora
poplite flexo clamant hic: Ave Maria.
Stella splendens...
Coetus hic aggregantur hic ut exhibeant
vota regratiantur ut ipsa et reddant
aulam istam ditantes hoc cuncti videant
jocalibus ornantes soluti redeant.
Stella splendens...
Radiant star on the mountain, like a miraculous sunbeam, hear the divided people.
All joyous people come together: rich and poor, young and old, climb the mountain to see with their own eyes, and return from it filled with grace.
Radiant star…
Rulers and magnates of royal stripes, the mighty of the world, possessing grace, proclaim their sins, beating their breast, and call on bended knee: Ave Maria.
Radiant star…
All these groups assemble here to present themselves,
To remember their vows and keep them as well.
By enriching this temple, adorning it with jewels
So that all may see and return in joy, partaking of salvation.
Radiant star…
Nuper rosarum flores
Guillaume DuFay (1397-1474)
1. Nuper rosarum flores
Ex dono pontificis
Hieme licet horrida
Tibi, virgo cœlica,
Pie et sancte deditum
Grandis templum machinæ
Condecorarunt perpetim.
2. Hodie vicarius
Jesu Christi et Petri
Successor Eugenius
Hoc idem amplissimum
Sacris templum manibus
Sanctisque liquoribus
Consecrare dignatus est.
3. Igitur, alma parens
Nati tui et filia,
Virgo decus virginum
Tuus te, Florentiæ
Devotus orat populus,
Ut qui mente et corpore
Mundo quicquam exorarit,
4. Oratione tua,
Cruciatus et meritis
Tui secundum carnem
Nati Domini sui
Grata beneficia
Veniamque reatum
Accipere mereatur.
Amen.
Cantus firmus: Terribilis est locus iste.
Recently roses came as a gift from the Pope, despite the cruel winter, to you, heavenly Virgin, To decorate this temple of magnificent design
Forever dedicated in pious and holy fashion.
Today the Vicar of Jesus Christ and Peter’s successor, Eugenius, has the honor to consecrate this same most spacious sacred temple with his hands and with holy water.
Therefore, gracious mother and daughter of your own Son, virgin, ornament of virgins, the people of your city of Florence devoutly pray that whoever entreats you with a pure mind and body may,
through your prayer, your anguish and merits, be found worthy to receive of the Lord, born of you as all flesh is, the benefits of grace and the remission of sins. Amen.
Cantus firmus: Awe-inspiring is this place.
“Lauda Jerusalem” from Vespers of 1610
Claudio Monteverdi (1567-1643)
Lauda, Jerusalem, Dominum:
lauda Deum tuum, Sion.
Quoniam confortavit seras portarum tuarum:
benedixit filiis tuis in te.
Qui posuit fines tuos pacem: et adipe frumenti satiat te.
Qui emittet eloquium suum terrae: velociter currit sermo ejus.
Qui dat nivem sicut lanam: nebulam sicut cinerem spargit.
Mittit crystallum suam sicut buccellas: ante faciem frigoris ejus quis sustinebit?
Emittet verbum suum, et liquefaciet ea: flabit spiritus ejus, et fluent aquae.
Qui annunciat verbum suum Jacob: justitias et judicia sua Israel.
Non fecit taliter omni nationi: et judicia sua non manifestavit eis.
Gloria Patri et Filio et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.
Amen.
Lobet den Herrn
Johann Sebastian Bach (1685-1750)
Lobet den Herrn, alle Heiden, und preiset ihn, alle Völker!
Denn seine Gnade und Wahrheit waltet über uns in Ewigkeit. Alleluja.
Praise the Lord, O Jerusalem; praise your God, O Zion. He has strengthened the bars of your gates;
He has blessed your children within you. He makes peace in your borders, and fills you with the finest wheat. He sends His commandment to the earth; His word travels swiftly.
He gives snow like wool; He scatters mist like ashes.
He casts forth his ice like morsels; before His cold who can stand?
He sends out his word, and melts them; His spirit blows, and the waters flow.
He showed His word unto Jacob, His statutes and judgments to Israel. He has not dealt so with any nation; and His judgments He has not made known. Glory be to the Father and to the Son and to the Holy Spirit.
As it was in the beginning, is now, and ever shall be, without end.
Amen
Praise the Lord, all the nations, and praise Him, all the peoples! For his grace and truth prevail over us for eternity. Alleluia.
Ave verum corpus
Wolfgang Amadeus Mozart (1756-1791)
Ave verum corpus,
Natum de Maria virgine;
Vere passum immolatum
In crucis pro homine.
Cuius latus perforatum
Unda fluxit et sanguine.
Esto nobis praegustatum
In mortis examine.
Miserere mei, Deus
Gregorio Allegri (1582-1652)
Miserere mei, Deus: secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper.
Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris.
Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.
Asperges me hyssopo, et mundabor: lavabis me, et super nivem dealbabor.
Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata.
Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele.
Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis.
Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.
Hail, true body, Born of the virgin Mary; Who has truly suffered, slaughtered On the Cross for humanity. Whose side was pierced, Pouring out water and blood. Be a foretaste for us
During our ordeal of death.
Have mercy upon me, O God: after Thy great goodness.
According to the multitude of Thy mercies, do away mine offenses.
Wash me thoroughly from my wickedness: and cleanse me from my sin.
For I acknowledge my faults: and my sin is ever before me.
Against Thee only have I sinned, and done this evil in Thy sight: that Thou mightest be justified in Thy saying, and clear when Thou art judged.
Behold, I was shapen in wickedness: and in sin hath my mother conceived me.
But lo, Thou hath loved the truth: and shalt make me to understand thy secret wisdom.
Thou shalt purge me with hyssop, and I shall be clean: Thou shalt wash me, and I shall be whiter than snow.
Thou shalt make me hear of joy and gladness: that the bones which Thou hast broken may rejoice.
Turn Thy face from my sins: and put out all my misdeeds.
Make me a clean heart, O God: and renew a right spirit within me.
Then shalt Thou be pleased with the sacrifice of righteousness, with the burnt offerings and oblations: then shall they offer young bullocks upon Thine altar.
Laudate pueri
Felix Mendelssohn (1809-1847)
Laudate pueri Dominum
Laudate nomen Domini.
Sit nomen Domini benedictum ex hoc Nunc et usque in saecula.
Beati omnes qui timent Dominum, Qui ambulant in viis ejus.
Sea Drift
Samuel Coleridge-Taylor (1875-1912)
See where she stands, on the wet seasands,
Looking across the water:
Wild is the night, but wilder still
The face of the fisher’s daughter.
What does she there, in the lightning’s glare, What does she there, I wonder?
What dread demon drags her forth
In the night and wind and thunder?
Is it the ghost that haunts this coast? --
The cruel waves mount higher,
And the beacon pierces the stormy dark
With its javelin of fire.
Beyond the light of the beacon bright
A merchantman is tacking;
The hoarse wind whistling through the shrouds,
And the brittle topmasts cracking.
The sea it moans over dead men’s bones, The sea it foams in anger;
The curlews swoop thro’ the resonant air
With a warning cry of danger.
Praise, o ye servants of the Lord, Praise the name of the Lord, Blessed be the name of the Lord From this time forth and forevermore.
Blessed are all they that fear the Lord, And walk in his ways.
The starfish clings to the sea-weed’s rings In a vague, dumb sense of peril; And the spray, with its phantom-fingers, grasps
At the mullein dry and sterile.
O, who is she that stands by the sea, In the lightning’s glare, undaunted? -Seems this now like the coast of hell By one white spirit haunted!
The night draws by; and the breakers die Along the ragged ledges; The robin stirs in his drenched nest, The hawthorn blooms on the hedges.
In shimmering lines, through the dripping pines,
The stealthy morn advances; And the heavy sea-fog straggles back Before those bristling lances.
Still she stands on the wet sea-sands; The morning breaks above her, And the corpse of a sailor gleams on the rocks — What if it were her lover?
Ave Maria Igor Stravinsky (1882-1971)
Ave Maria, gratia plena, Dominus tecum; benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.
Learn Something New from Music Scholars
For Season 22, we’ve gathered a host of the nation’s top musicologists to present on the major eras of music in online Scholar Lectures. Hosted on Zoom by the program’s consulting musicologist, Scholar Lectures will take place approximately 2 weeks before each program.
Register for FREE at SeraphicFire.org/Education.
Mark Kligman on Jewish Voices Tue, Oct 22 at 7:00 pm
Honey Meconi on The Capilla Flamenca Mon, Jan 6 at 7:00 pm
Andrew H. Weaver on Schumann & Mendelssohn Thu, Feb 13 at 7:00 pm
Rebecca Cypess on Martines, Mozart & Haydn Tue, Feb 18 at 7:00 pm
Craig A. Monson on Angels Behind the Walls Tue, Mar 18 at 7:00 pm
Can’t make the lecture? We’ll have it available for you to listen to as a podcast before the concert.
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Mel VanderBrug
Gregg Zavodny
Edmundo Pérez-de Cobos, Director Emeritus
Patrick Dupre Quigley, Artistic Director, ex-officio
Lauren Schiffer Leger, Interim Managing Director, ex-officio
Nola Richardson, Artist Representative, ex-officio
John Buffett, Artist Representative, ex-officio
Seraphic Fire recognizes its season sponsors, national sponsors, and institutional partners.
FOUNDER’S CIRCLE SPONSORS
Anonymous
The Sayre Family Charitable Fund
Barbara & Mel VanderBrug
NATIONAL SPONSORS
Robert R. Brinker & Nancy S. Fleischman
Nirupa Chaudhari & Steve Roper
Meredyth Anne Dasburg Foundation
Martha R. Davis & Alix Ritchie
Jane Hurt
Leonard Smith
INSTITUTIONAL PARTNERS
Seraphic Fire is sponsored by the Miami-Dade County Tourist Development Council, Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council; the City of Coral Gables; Coral Gables Community Foundation; The Dunspaugh-Dalton Foundation; Funding Arts Network; Funding Arts Broward; The Kirk Foundation, Peacock Foundation, Inc; Quest Foundation; and Citizens Interested in Arts; the State of Florida, Department of State, Division of Arts and Culture, and the Florida Council on Arts and Culture, and the National Endowment for the Arts.
Seraphic Fire is funded by The Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County. Programs in Broward County are made possible with the support of the Broward County Cultural Division.