復活節經文曲場刊 Easter Motets Programme Note

Š copyright 2017 Zuni Icosahedron

Since the Book of Changes project in 2015, Zuni has been collaborating with local vocal artist Rosaline Pi and Soloists in Action for the Music Appreciation Series. In 2016, we produced the program “True Ensemble Singing”. In 2017, the Series will focus on songs for the different festive occasions. We will introduce the local vocal group New Chamber Choir (NCC). The first program in this year will be “Easter Motets”

‘New Chamber Choir (NCC)’s Easter Motets concert for Zuni on May 6th, 2017, presents vocal works that were written for interactive singing among the different voice parts of a small group of singers – the motets. By definition, motets are Latin sacred works written for the Church.

Polyphony began in the 9th century with organum (music with two voice parts). As the number of parts got bigger, the genre motet began to develop in the late medieval period. In a true motet, the different voice parts are of equal importance. There, how the different lines are written to move against each other showed how capable the composer was. This makes true motet singing very demanding on the singers: they have to sing against each other’s singing as well. Motets flourished in the Renaissance period (around 1400 to 1600). Over the Baroque period, the polyphonic writing of equal and independent voice parts was gradually replaced by contrapuntal writing among the parts. Although there have been motets composed to this present day, only some of the original essence of the genre are kept. True motets are preferably sung a cappella.

The motet selection for this performance is only a scanty one. We sing motets from the Renaissance masters such as Josquin des Prez and William Byrd. There is also Mozart’s “Ave Verum” and Brahm’s Geistliches Lied Op. 30. The concert ends with two popular Christian songs “God So Loved the World” by Stainer and “Amazing Grace”.

I am very happy to participate in Zuni’s Music Appreciation Series. I and my singers will be performing again for you in the upcoming mid-autumn festival, Christmas and Chinese New Year time frame. We shall be sharing with you Chinese and western songs, works from the old to modern period under the themes “The Moon”, “Christmas” and “Chinese Spring Festival”, respectively. Please watch out for our future announcements.’

─── Rosaline Pi

1. Ecce quomodo moritur Justus by Jacob Handl (1550-1591) 2. Tenebrae factae sunt by Marc Antonio Ingegneri (1535-1592) 3. Ave Maria by Jean Mouton (1475-1522) 4. Ave Maria‌virgo serena by Josquin des Prez (1450-1521) 5. Agnus Dei by Thomas Morley (1557-1602) 6. Ave Verum Corpus by William Byrd (1543-1623) 7. Ave Verum Corpus by Mozart (1756-1791) 8. When Jesus Wept by William Billings (1745-1800) 9. Stabat Mater D175 by Schubert (1797-1828) 10. Geistliches Lied Op.30 by Brahms (1833-1897) 11. God So Loved the World by John Stainer (1840-1901) 12. Amazing Grace arranged by Eric Wyse

The motet, as a form of vocal music composition, has existed since the late medieval era to this present day. The name “motet” has many possible etymologies.

Based on what we find in music compositions known as motets over the history of music, although the exact musical form changes over time, there is one element in the form of the motets that seems to be constant: it is a vocal composition in which the different voices move against each other. Hence, the name “motet” is most likely to have come from the Latin word movere (“to move”).

During the early development of polyphony in music composition, to hold the simultaneous independent voice parts together as those belonging to the same piece of music, it was a common practice to keep a cantus firmus (a well known melody taken from some older plainchant) in the music as the base line in the music. The writing of the descant part (the different voice parts above the cantus firmus) marked the beginning of counterpoint in western music: practices and rules were gradually developed in the polyphonic writing of the simultaneous multiple voice parts. With the multiple voice parts operating under some set of rules, the role of the cantus firmus as the basic line holding the music together decreased its importance. The cantus firmus was gradually phased out during the Baroque period.

In the absence of the cantus firmus, the different voice parts will need to move against each other under some set of rules for the parts to stay together as those belonging to one piece of music. Another way of saying this is that motets tend to be highly contrapuntal (the parts move against each other under some rules) in their compositional style. This makes the singing of motets very demanding on the singers: each voice part is singing against the other voice parts and none of them can sing independently without taking the other parts into consideration. This is because, for successful motet singing, the contrapuntal is not just in how the music is written, but also in how the parts are sung moving against each other. And since the movement of the voices against each other is the essence of a motet, the role of any accompaniment to the singing is superfluous. Hence motets (and later as we can see in madrigals) are sung mostly a cappella. Furthermore, it is more appropriate for motets or madrigals to be sung by a small ensemble of singers. It is even better if there is only one voice to each part. The role of the conductor during performance is also optional.

For motets, the different voice parts are all equal in importance. Musically speaking, the opposite of the motet style is the concertante style of composing in which one of the parts is the leading voice.

Here, the word “voice� refers to both the human voice for vocal works and an instrument for orchestral works. The development of western music began with vocal music and this development had two parallel roots: although the Church was the cradle of western music development, almost all forms of early vocal music composed for the Church had their equivalent secular genres. Sometimes, it was the latter that had led the form’s development because the composers had freer hands composing music that was secular. In general, secular vocal works composed in the style of motet (as mentioned above) are called madrigals. But, then, we can have madrigals with religious themes that are called madrigali spirituali. Then, what is the difference between madrigali spirituali and motets? Here, there is a more precise definition in that motets are Latin and madrigals are vernacular. And, in particular, vernacular religious madrigals are called madrigali spirituali. But in what situation is the lyric of a composition Latin? The lyric must have been taken from the Scriptures, prayers or rituals of the Catholic Church. Hence there is the Chinese translation of for motet.

The genre motet, as a vocal composition in which the voices move against each other, flourished in the Renaissance period. During this period, how the voices were written to move against each other measured how competent and brilliant the composer was. But as counterpoint itself became the focused technique in composing in the Baroque period, highly contrapuntal vocal works began to disassociate themselves from the name motet even if the work was sacred. It is simply called a choral work especially when the work is written with orchestral accompaniment. Examples of these are the choruses from, say, Bach’s cantatas or Handel’s anthems.

Composers from subsequent eras have composed vocal works by the name motet.

In these works, besides all being stand-alone sacred vocal compositions, at least some of essence of the original genre are kept such as the lyric is Latin even though the work is for solo voice with orchestral accompaniment or the work is written in German text for multiple equal voice parts moving against each other and, hence, it is preferably sung a cappella.

The lyric is taken from Isaiah 57:1-2 & Psalm 76:2

Ecce quomodo moritur justus

Behold how the just man dies,

et nemo percipit corde:

and nobody takes it to heart;

et viri justi tolluntur

and just men are taken away,

et nemo considerat.

and nobody considers it.

A facie iniquitatis sublatus

The just man is taken away

est justus

from the face of iniquity,

et erit in pace memoria eius.

and his memory shall be in peace.

In pace factus est locus ejus

His place is made in peace,

et in Sion habitatio ejus.

he resides in Sion.

This is a responsory to a Scripture reading in a Morning Prayer on Good Friday. The biblical sources are Matthews 27:45-46, John 19:30 & Luke 23:46.

Tenebrae factae sunt, dum crucifixissent Jesum Judaei: et circa horam nonam exclamavit Jesus voce magna: Deus meus, ut quid me dereliquisti?

Et inclinato capite, emisit spiritum.

Exclamans Jesus voce magna ait: Pater, in manus tuas commendo spiritum meum.

Et inclinato capite, emisit spiritum.

Darkness fell when the Jews crucified Jesus: And about the ninth hour Jesus cried with a loud voice: My God, my God, why has thou Forsaken me?

And he bowed his head and gave up the ghost.

Jesus cried with a loud voice and said, Father, into thy hands I Commend my spirit.

And he bowed his head and gave up the ghost.

“Ave Maria” is a Prayer in the Catholic tradition asking for the intercession of Blessed Virgin Mary, the mother of Jesus. The role of Mother Mary in the Christian faith has always been a controversy in the early Church. It was not until the time of the Council of Trent (1566) that Mother Mary was officially acknowledged the status of holiness and man can implore her for her help in prayers. As a prayer, “Ave Maria” has existed since the 7th century in different versions. Mouton’s setting of Ave Maria here sung is the simplest version of the prayer.

Ave Maria, gratia plena

Hail Mary, full of grace,

Dominus tecum:

the Lord is with you:

Benedicta tu in mulieribus

blessed are you among women,

O Maria, genetrix Dei,

O Mary, mother of God,

Ora pro nobis.

pray for us

This “Ave Maria” motet composed by Josquin des Prez in 1485 is regarded as his most famous motet. It was also one of the most well known motets of the 15th century. This is a setting of a longer version of “Ave Maria”. In this, des Prez demonstrated revolutionarily the compositional technique of imitative counterpoint among the four equal voice parts and the two parts imitation with each of the two parts itself made up of two parts: the TB parts together as one musical line imitates the other musical line that is made up of the SA parts.

Ave Maria, Gratia plena,

Hail Mary, full of grace,

Dominus tecum, Virgo serena.

The Lord is with thee, serene Virgin.

Ave, cuius Conceptio,

Hail, thou whose Conception,

Solemni plena gaudio,

Full of great joy,

Caelestia, Terrestria,

Fills heaven and earth

Nova replet laetitia.

Ave, cuius Nativitas Nostra fuit solemnitas, Ut lucifer lux oriens Verum solem praeveniens.

Ave pia humilitas, Sine viro fecunditas, Cuius Annuntiatio Nostra fuit salvatio.

Ave vera virginitas, Immaculata castitas, Cuius Purificatio Nostra fuit purgatio.

Ave, praeclara omnibus Angelicis virtutibus, Cuius Assumptio Nostra fuit glorificatio.

O Mater Dei, Memento mei. Amen.

With new gladness.

Hail, those whose Nativity Became our great celebration, As the light-bearing Morning Star Anticipates the true Sun. Hail, faithful humility, Fruitful without man, Whose Annunciation Was our salvation.

Hail, true virginity, Immaculate chastity, Whose Purification Was our cleansing.

Hail, glorious one In all angelic virtues, Whose Assumption Was our glorification.

O Mother of God, Remember me. Amen

The idea of the “Lamb of God” is based on John the Baptist’s reference to Jesus in John 1:29.

“Agnus Dei” is also made into a section of the liturgical text in the Catholic’s Latin Mass.

Agnus Dei,

Lamb of God,

qui tollis peccata mundi,

who takes away the sins of the world,

miserere nostri.

have mercy on us.

“Ave Verum Corpus� was a hymn sung in the Middle Ages during Eucharist in which the participants believed that there was real presence of Jesus in the sacrament. The text was dated from the 14th century and has been attributed to Pope Innocent VI. Many composers such as Byrd and Mozart have written music to this text.

Ave verum Corpus natum de Maria Virgine Vere passum, immolatum in cruce pro homine: Cujus latus perforatum, Unde fluxit sanguine.

Estao nobis praegustatum In mortis examine: O Dulcis, O pie, O Jesu fili Mariae, Miserere mei. Amen.

Hail true body, Born of Virgin Mary, True suffering, was sacrificed on the cross for all, From those pierced side Flowed blood.

Be for us a foretaste in the final judgment.

O sweet, O merciful, O Jesus, Son of Mary, Have mercy on us. Amen.

Mozart setting of “Ave Verum Corpus” is a shorter version of the text. It ends with “In mortis examine”.

William Billings was one for first major American composers. This hymn of his contains simple and direct text of the dying Jesus who died for men’s sins. The hymn is sung in rounds among four equal voices on a simple but effective tune on the theme “when Jesus wept”. The singers are expected to do staggered breathing throughout the piece so that the total singing comes out as non-stopped. The different voice parts also take turn to bring out the theme tune “when Jesus wept” so that this tune is heard to be coming out continuously from various parts of the singing group, thus creating a surround-sound effect.

When Jesus wept, the falling tear, in mercy flowed beyond all bound; When Jesus groaned, a trembling fear, seized all the guilty world around.

“The Stabat Mater is a 13th century Catholic hymn to Mary, which portrays her suffering as

Jesus Christ’s mother during his crucifixion.” (Wikipedia) The title “Stabat Mater” comes from the first line in the hymn: “Stabat Mater dolorosa” which translates into “the sorrowful mother was standing”. Many composers have set music to the text. Schubert wrote two versions of Stabat Mater, of which D175 in g minor is the one sung here. Strictly speaking, D175 is not a motet: it is written with orchestral accompaniment, there is leading voice in the

soprano part and the music is heterophony, not polyphony.

Stabat mater dolorosa

At the Cross her station keeping,

juxta Crucem lacrimósa,

stood the mournful Mother weeping,

dum pendébat Fílius.

close to her son to the last.

Cuius ánimam geméntem,

Through her heart, His sorrow sharing,

contristátam et doléntem

all His bitter anguish bearing,

pertransívit gládius.

now at length the sword has passed.

O quam tristis et afflícta

O how sad and sore distressed

fuit illa benedícta,

was that Mother, highly blest,

mater Unigéniti!

of the sole-begotten One.

Quae mœrébat et dolébat,

Christ above in torment hangs,

pia Mater, dum vidébat

she beneath beholds the pangs

nati pœnas ínclyti.

of her dying glorious Son.

Brahms wrote this song in the spring of 1856 when he was studying counterpoint. The song was written in strict canon form using a poem by Paul Fleming about how man can look up to

God for His consolation during times of difficulties. It was also the time when Schumann, Brahm’s senior and friend, was in his final years with sickness. For Brahms, the song was not just a counterpoint exercise. With the interplay between the voices, the organ accompaniment and Fleming’s text, the song gives out such transcendence and sublimity in sound that it was difficult not to think that he wrote the song with Schumann in mind.

Laß dich nur nichts nicht dauren

Let trouble never move you

mit Trauren, sei stille, wie Gott es fügt,

or grief you, but bear it;

so sei vergnügt mein Wille!

What God has sent be your delight, my spirit!

Was willst du heute sorgen auf morgen?

Why contemplate with sorrow tomorrow?

Der Eine steht allem für,

His action makes all things new

der gibt auch dir das Deine.

And gives to you your portion.

Sei nur in allem Handel ohn Wandel,

Be strong in all temptation and passion,

steh feste, was Gott beschleußt,

not ceasing; what God ordains,

das ist und heißt das Beste.

That still remains your blessing.

Amen.

Amen.

This is a choral piece taken from Stainer’s oratorio The Crucifixion that was written in 1887.

The lyric is taken from John 3:16-17. By its musical form, this is not a motet by any sense.

The music is homophony.

God so loved the world that He gave His only begotten Son, That whosoever believeth in Him should not perish, But have everlasting life.

For God sent not His Son into the world to condemn the world,

But that the world through Him might be saved.

“Amazing Grace” was a Christian hymn published in 1779 with words written by John Newton (1725-1807). The text has been set to music at least twenty times within decades until

William Walker assigned the text to a traditional song named “New Britain” which was included in the Columbian Harmony, a tune-book ccompiled by Spilman and Shaw published in 1829 for use in worships. The song “Amazing Grace” with Newton’s words in the “New Britain” tune appeared for the first time in Walker’s own tune-book Southern Harmony published in 1847. This is the version of “Amazing Grace” that most of us know today.

Amazing grace how sweet the sound, that saved a wretch like me.

I once was lost but now I'm found. Was blind but now I see.

The Lord has promised good to me, His word my hope secures; He will my shield and portion be as long as life endures.

Through many dangers, toils and snares, I have already come; ‘tis grace hath brought me safe this far, and grace will lead me home.

When we've been there ten thousand years, bright shining as the sun We've no less days to sing God's praise then when we first begun.

Presented by Project Coordinator Vocal Performance Producer Performer Senior Programme Manager Stage Manager Assistant Programme Manager

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Zuni Icosahedron Yu Yat Yiu, Cedric Chan Rosaline Pi Hong Kong New Chamber Choir Bowie Chow Gavin Chow Ho Yin Hei

Soprano Rosaline Pi Gloria Chan Phyllis Mak

Alto Enico Luk Florence Ng Elsie Ho

Tenor Shun Ping Wu William Tang Samson Chow

Bass Ricky Tsang Joseph Go Lincoln Yiu

Piano accompaniment Li Yi Wan

Counter-tenor

Rosaline Pi received her Bachelor of Music (Voice) from McGill University. She also studied Physics at the same time and was awarded a Bachelor’s and Master’s degree.

She is currently one of the most active sopranos on local scene. She performs extensively in the Baroque repertoire, Lieder and art songs. She regularly performs Baroque vocal masterpieces such as Bach’s Cantatas, St. John Passion, St. Matthew Passion, B Minor Mass, Christmas Oratorio, Easter Oratorio, many of Handel’s full length operas such as Alexander’s Feast, Semele, Samson, Judas Maccabaeus, and motets of Baroque composers such as Alessandro Scarlatti and Boccherini.

Apart from performances, Pi gives vocal lectures regularly on thought history in music and vocal techniques.

She is the originator and promoter of her “Simple Physics for Singing” vocal technique. Her vocal technique lectures are sold-out events. Since 2001, Pi has been a regular vocal music critic with the classical music radio. Pi taught voice at the Hong Kong Academy for Performing Arts, Baptist University and the Chinese University of Hong Kong (CUHK). She wrote for the Hong Kong Economic Journal Monthly on vocal music in her personal column “A Journey for the Voice”. She now has her personal column on the MasterInsight online cultural platform. In recent years, Pi started to write to comment on Hong Kong’s political issues. Her political commentaries are often published in the Hong Kong Economic Journal. In 2014, Pi published her book in Chinese on the Romanticism in Schubert’s Lieder and her CD “An die Musik – Schubert Lieder by Rosaline Pi”. In the CD, “singing and recording the original classical songs using the way popular songs are sung and recorded” is something that has never been done in the history of singing and recording. Pi received her MA degree in Philosophy from CUHK in 2007. She is currently a Ph. D. candidate in their Philosophy Department. Her research focus is on the late Heidegger and, in particular, using phenomenology to explain the phenomenon of “empathy”.

Zuni Icosahedron, founded in 1982, is a Hong Kong based international experimental theatre company. Zuni has produced over 200 original productions of alternative theatre and multimedia performances, and has been active in video, sound experimentation and installation arts, as well as in the areas of arts education, arts criticism, cultural policy research and international cultural exchange. In the past decade, Zuni has been undertaking the mission of preserving and developing Intangible Cultural Heritage (Performing Arts). Over the years, Zuni has been invited to over 60 cities in Europe, Asia, and America for cultural exchange and performances. Zuni is one of the nine major professional performing arts companies in Hong Kong, and has established itself as a premier experimental theatre locally, regionally and internationally. Since 2009, Zuni has become a Venue Partner of the Hong Kong Cultural Centre in where a series of theatre works and outreach education programmes were produced.

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