THE GUINNESS CHOIR and ORCHESTRA
Directed by DAVID MILNE
J.S.Bach - EASTER ORATORIO BWV 249
Igor Stravinsky - A SYMPHONY OF PSALMS
J.S.BACH - MAGNIFICAT in D BWV 243
with
CARYS LANE - Soprano
TANYA SEWELL - Alto
JOHN ELWES - Tenor
JOHN MILNE - Bass
and
The Kilkenny College Chamber Choir
National Concert Hall, Dublin
Sunday 25th April 2004, 8.00pm
PROGRAMME NOTE
J.S.Bach - Easter Oratorio BWV 249
Igor Stravinsky - Symphony of Psalms
J.S.Bach - Magnificat in D BWV 243
The juxtaposition of choral works by Bach and Stravinsky may seem, on the face of it, to be quirky programming. But when one considers that both composers wrote with absolute conviction - especially when setting text to music - and both ascribed their works "To the Glory of GOD", and both can trace their musical heritages forward from the Gregorian or Byzantine modal chants, through the Renaissance to the baroque or neo-baroque process - complete with their mastery of fugue - then the conjunction becomes very clear. In both cases, the expression of the words is paramount, while the inspirational styles are highly original and yet instantly recognisable.
Easter Oratorio - Kommt, eilet und laufet
The Easter Oratorio is a reworking of an earlier Cantata, originally composed for the birthday celebrations for Duke Christian at the Weissenfels Court in February 1725. The revised version was performed in Leipzig on Easter Sunday of the same year. Significantly, it marks the beginning of a long-standing collaboration of Bach with the librettist Picander.
We might expect the Oratorio to feature a sequence of Biblical verses, Recitative and Aria texts and Chorales, but here - more in common with the Italianate style - there are no Biblical texts, no narrator and no Chorales. The Easter story is told by Mary, the mother of James, Mary Magdalene, Peter and James in a sequence of recitatives and da capo arias, framed by an overture and choruses.
The work opens with a Sinfonia employing the full orchestral resources of trumpets and drums. Its middle movement is an adagio with a beautiful obligato for oboe over a dotted ostinato. The chorus joins the orchestra for the third movement, firmly establishing the joyful mood of this work. The outer sections frame a duet for the tenor and bass soloists with their extensive and virtuosic melisma portraying the jaughter and joy of the singers.
The sequence continues with a recitative for the solo quartet followed by an extended aria for soprano and flute, which contemplates how sorrow has been replaced by joy. The realisation at the sepulchre that the Lord is risen, is told in a short recitative by the tenor, bass and alto soloists. Next the tenor reflects on the calm of the soul waiting to be reunited with its Saviour, in an aria remarkable for the accompaniment of two flutes doubled an octave below by the violins: a hypnotic lullaby.
The soprano and alto follow this with a recitative and arioso with canonic counterpoint. Next, a confident aria for alto and oboe d'amore seeks the salvation gained by trust in His word. The bass, in a stirring recitative, calls us to rise with joyful song and the final chorus takes up this invitation, first in a sturdy 4/4 - with a marked triplet rhythm - which gives way to a short hymn of adoration in a lively 3/8.
1. Sinfonia
2. Adagio
3. Duet: TB & Chorus
Kommt, eilet und laufet, ihr flüchtigen Füße, erreichet die Höhle, die Jesum bedeckt.
Lachen und Scherzen begleitet die Herzen, denn unser Heil is auferweckt.
Come, let us hasten in glad expectation that soon we shall see where our Saviour was laid. Now laughter and gladness drive away sadness, for lo! our Lord has woken from sleep.
4. Recitative: Alto, Soprano,Tenor & Bass
O kalter Männer Sinn! Wo ist die Liebe hin, die ihr dem Heiland schuldig seid?
Ein schwaches Weib muß euch beschämen! Ach! ein betrübtes Grämmen und banges Herzeleid hat mit gesalz'nen Tränen, und wehmutsvollem Sehnen, ihn eine Salbung zugedacht, die ihr, wie wir, umsonst gemacht.
Oh unbelieving hearts! Where is the love and trust that should be given to the Saviour? His promise is my consolation! Ah! in our troubled hearts lie gloomy doubts and fears that have long darkened our lives and destroyed all our joy. Where shall we look for hope and comfort? To Him who died and rose again.
5. Aria: Soprano & flute
Seele, deine Specereinen sollen nicht mehr Myrrhen sein. Denn allein mit dem Lorbeerkranze prangen, stillt dein ängstliches Verlangen.
Sorrow shall no longer vex me, for my spirit hath found peace.
Now only joy hath dwelling in my bosom, sweet contentment beyond telling.
6. Recitative: Tenor, Bass & Alto
Hier ist die Gruft, und hier der Stein, der solche zugedeckt; wo aber wird mein Heiland sein? Er ist vom Tode auferweckt: wir trafen einen Engel an, der hat uns solches kund getan. Hier seh' ich mit Vergnügen das Schweißtuch abgewikkelt liegen.
Here is the place, and here the stone that lay upon the tomb; but where is our Redeemer? He is now risen from the dead! An angel has appeared to us with the truth. O blessed resurrection! Death can no longer appal me.
7. Aria: Tenor & flutes, strings
Sanfte soll mein Todeskummer nur ein Schlummer, Jesu, durch dein Schweißtuch sein. Ja, das wird mich dort erfrischen, und die Zähren meiner Pein von den Wangen tröstlich wischen.
Calmly I await my death when as if in sleep, Jesus, I shall come to Thee. Yea, I know Thou wilt receive me and wipe away all my tears of bitter sorrow from my cheeks.
8. Recitative/Arioso: Soprano & Alto
Indesßen seufzen wir mit brennender Begier; Ach! Könnt'es doch nur bald geschehen, den Heiland selbst zu sehen.
With patient hearts we await the appointed hour. Ah! May we soon behold in glory, the Saviour who has died for us.
9. Aria: Alto & oboe d'amore, strings
Saget mir geschwinde wo ich Jesum finde, welchen meine Seele liebt. Komm doch, umfaße mich, denn mein Herz ist ohne Dich ganz verwaiset und betrübt.
Tell me, if thou knowest, where I shall find Jesus, whom my soul would fain adore. Only by trusting in His word can the anxious heart find rest from all trouble and care.
10. Recitative: Bass
Wir sind erfreut, daß unser Jesu wieder lebt. Und unser Herz, so erts in Traurigkeit erfloßen und geschwebt, vergißt den Schmerz, und sinnt auf Freudenlieder; denn unser Heiland lebet wieder.
Rejoice, for now we know our Saviour liveth, and let our hearts, that have been so long overwhelmed by grief and sorrow, forget the pain and wake to joyful song in praise of Him who hath redeemed us.
11. Chorus
Preis und Dank bleibe, Herr, Dein Lobesang! Höll' und Teufel sind bezwungen, ihre Pforten sind zerstürt; jauchzet, ihr erlösten Zungen. daß man es im Himmel hört!
Eröffnet, ihr Himmel, die prächtigen Bogen, der Löwe von Juda kommt siegend gezogen.
Father, to you we raise our song of praise and thanks! Satan's bondage now has ended. Lo! the victory is won; Jesus hath ascended to heaven, all His work on earth is done. Lift up your heads O ye gates, ye everlasting doors. The Lord, strong and mighty returns victorious.
A Symphony of Psalms
Stravinsky had long had the idea to write a choral symphony. The Symphony of Psalms was composed in 1930 (and revised in 1948) to a commission from Serge Koussevitsky to celebrate the 50th anniversary of the Boston Symphony Orchestra. The text is made up of verses 13 & 14 from Psalm 38 (1st movement), verses 2, 3 & 4 from Psalm 39 (2nd movement) and the whole of Psalm 150 (3rd movement). Stravinsky noted "the Psalms are poems of exaltation, but also of anger and judgement, and even curses".
The 1st movement opens with a memorable chord of e minor, extended over three and a half octaves. The spacing of the notes forms a palindrome from top to bottom. This chord punctuates an accompaniment of rolling semi- quavers and staccato quavers. The chant-like melody introduced by the horns is taken up by the choir, whose quasi-medieval block chording builds to a dramatic climax. The energetic counterpoint of the orchestra in the first movement becomes a symbolic "pyramid of fugues" in the second over which the choir's slow fugue builds to an impressive climax at the words canticum novum which point to the Alleluias which frame the last movement. Here, the serene calm with its apparent suspension of time in static adoration and contemplation leaves us with one of the most hauntingly beautiful expressions in the choral repertoire of the 20th century.
1. Exaudi orationem meam, Domine, et deprecationem meam:
auribus percipe lacrymas meas. Ne sileas, quoniam advena
ego sum apud te, et peregrinus, sicut omnes patres mei.
Remitte mihi, ut refrigerer priusquam abeam, et amplius non ero.
Psalmus XXXVIII 13,14 (Vulgate)
Hear my prayer, O Lord, and give ear unto my cry; hold not
Thy peace at my tears: for I am a stranger with Thee, and sojourner,
as all my fathers were. O spare me, that I may recover strength:
before I go hence, and be no more.
Psalm XXXIX 12,13 (King James)
2. Expectans expectavi Dominum, et intendit mihi. Et exaudivit preces meas: et eduxit me de lacu miseriae, et de luto faecis. Et statuit super petram pedes meos; et direxit gressus meos. Et immisit in os meum canticum novum, carmen Deo nostro. Viedebunt multi et timebunt; et sperabunt in Domino.
Psalmus XXXIX 2 - 4 (Vulgate)
I waited patiently for the Lord: and He inclined to me, and heard my cry. He brought me up also out of a horrible pit, out of the miry clay, and set my feet upon a rock, and established my goings. And He hath put a new song in my mouth, even praise unto our God: and many shall see it, and fear, and shall trust in the Lord.
Psalm XL 1 - 3 (King James)
3. (Alleluia) Laudate Dominum in sanctis eius: laudate eum in firmamento
virtutis eius. Laudate eum in virtutibus eius: laudate eum secundum
multitudinem magnitudinis eius. Laudate eum in sono tubae: laudate eum
in psalterio et cithara. Laudate eum in timpano et choro: laudate eum in
cordis et organo. Laudate eum in cymbalis bene sonantibus: laudate eum in cymbalis iubilationibus: omnis spiritus laudet Dominum.
Psalmus CL
(Alleluia) Praise ye the Lord. Praise God in His Sanctuary: praise Him in
the firmament of His power. Praise Him for His mighty acts: praise Him
for His excellent greatness. Praise Him with the sound of the trumpet:
praise Him with the psaltery and harp. Praise Him with the timbrel and dance: praise Him with stringed instruments and organs. Praise Him upon the loud cymbals: praise Him upon the high sounding cymbals. Let everything that hath breath praise the Lord. Praise ye the Lord.
Psalm CL
I N T E R V A L 20 minutes
MAGNIFICAT in D major
The Magnificat, one of the three New Testament (St. Luke I 46-55) Canticles, was an integral part of Vespers in the Lutheran liturgy of Bach's time (as it still is, today). In Leipzig, it was sung during the evening service on Saturdays and Sundays to German words in the 9th psalm tone. On the three major festival days it was sung in Latin in the 'polyphonic' style with instrumental accompaniment. Bach's setting, composed for Christmas 1723 - his first year as Kantor at St. Thomas's, was originally in the key of E flat and included four additional motets which were interspersed between the Latin verses. The revised version in the more apt key of D major was made some six years later, and allowed for the inclusion of flutes, was more suitable for trumpets and gave a brighter sound to the strings, in keeping with the celebratory mood of the words. The given, biblical text and the strong forward progression of its setting (there are no da capo arias) gives this work a concisely focussed inspiration.
The opening chorus for 5 part choir and full orchestra of flutes, oboes, trumpets, drums, strings and continuo is followed by a duet for mezzo-soprano and strings. A humble, reflective aria for soprano and oboe d'amore is interrupted by the chorus representing the clamour of every generation. A magisterial verse for bass and continuo is followed by a reflective duet for tenor and alto accompanied by flute and strings. A flexing of the Almighty's muscles is portrayed in the dynamic chorus, which breaks up at the word dispersit as the proud hearts are scattered. Next, the tenor 'fires and hires' with appropriate musical architecture, and in a delightful aria the alto, accompanied by two flutes, delivers a tasty treat. The ensuing trio, with its beautiful rising and falling counterpoint, is sung against the plainchant cantus firmus on the oboe, and reflects on God's mercy to Israel. The everlasting covenant to Abraham as affirmed in a choral fugue. The traditional Doxology brings the work to a close with huge columns of praise and Bach neatly ties the musical package with a return to the opening music at the words sicut erat in principio.
1. Chorus
Magnificat anima mea Dominum
My soul doth magnify the Lord
2. Aria: Mezzo-soprano & strings
Et exaltavit spiritus meus in Deo salutari meo
And my spirit hath rejoiced in God my saviour
3. Aria: Soprano & oboe d'amore
Quia respexit humilitatem ancillae suea. Ecce enim ex hoc beatam me dicent
For he hath regarded the lowliness of his handmaiden. For behold, from henceforth
4. Chorus
Omnes generations
All generations shall call me blessed
5. Aria: Bass & continuo
Quia fecit mihi magna, qui potens est, et sanctum nomen eius
For he that is mighty has magnified me: and holy is his name
6. Duet: Alto, Tenor, flutes & strings
Et misericordia a progenie in progenies timentibus eum
And his mercy is on them that fear him: throughout all generations
7. Chorus
Fecit potentiam in bracchio suo dispersit superbos mente cordis sui
He hath showed strength with his arm: he hath scattered the proud in the imagination of their hearts
8. Aria: Tenor & strings
Deposuit potentes de sede et exaltavit humiles
He hath put down the mighty from their seat: and hath exalted the humble and meek
9. Aria: Alto & flutes
Esurientes implevit bonis et divites dimisit inanes
He hath filled the hungry with good things: and the rich he hath sent empty away
10. Trio
Suscepit Israel puerum suum recordatus misericordiae suae
He remembering his mercy hath holpen his servant Israel
11. Chorus
Sicut locutus est ad Patres nostros, Abraham et semini eius in saecula
As he promised to our forefathers, Abraham and his seed, for ever.
12. Chorus
Gloria Patri, et Filio et Spiritui sancto. Sicut erat in principio et nunc et semper et in saecula saeculorum. Amen
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: world without end. Amen.
THE KILKENNY COLLEGE CHAMBER CHOIR
The 12 singers of the Kilkenny College Chamber Choir are all 5th and 6th year pupils of the school who are receiving voice training. They have all had experience as solo singers and are members of this ensemble by invitation. They meet on a regular basis to rehearse and perform a wide variety of pieces from the extensive choral repertoire spanning five centuries in up to seven vocal parts.