March 27, 2011

 Guercino, Samaritan woman at the well, Museo Thyssen-Bornemisza, Madrid, 1640-41
 
Jesus said to her, "Everyone who drinks of this water will be thirsty again,but those who drink of the water that I will give them will never be thirsty. The water that I will give will become in them a spring of water gushing up to eternal life [John 4:13-14]."

Christ Church Cathedral Choir Notes  
Third Sunday in Lent

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William Blake, By the Waters of Babylon
Fogg Art Museum, Harvard University, Cambridge, Massachusetts, 1806


Orlande de Lassus, Super flumina Babylonis, is the anthem for evensong this coming Sunday.

Performance by Mešoviti hor Gimnazije "Jovan Jovanović Zmaj," Jasmina Neskovic conducting.  [YouTube]

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Super flumina Babylonis are the opening words of psalm 136 (137) which speaks of the conditions of the Hebrews taken into captivity in Babylon (586 BCE) who, out of sadness, no longer want to sing of their homeland but are requested to do so by their captors.

1 Super flumina Babylonis illic sedimus et flevimus, dum recordaremur Sion.
By the waters of Babylon we sat down and wept when we remembered thee, O Sion. 
2 In salicibus in medio ejus suspendimus organa nostra:
As for our harps, we hanged them up upon the trees that are therein. 
3 quia illic interrogaverunt nos, qui captivos duxerunt nos,
verba cantionum; et qui abduxerunt nos: Hymnum cantate nobis de canticis Sion.
For they that led us away captive required of us then a song, and melody, in our heaviness: Sing us one of the songs of Sion. 
4 Quomodo cantabimus canticum Domini in terra aliena?
How shall we sing the Lord’s song in a strange land? 
5 Si oblitus fuero tui, Jerusalem, oblivioni detur dextera mea.
If I forget thee, O Jerusalem, let my right hand forget her cunning. 
6 Adhæreat lingua mea faucibus meis, si non meminero tui;
si non proposuero Jerusalem in principio lætitiæ meæ.
If I do not remember thee, let my tongue cleave to the roof of my mouth; yea if I prefer not Jerusalem in my mirth. 
7 Memor esto, Domine, filiorum Edom, in die Jerusalem: qui dicunt: Exinanite, exinanite usque ad fundamentum in ea. Remember the children of Edom, O Lord, in the day of Jerusalem how they said, Down with it, down with it, even to the ground. 
8 Filia Babylonis misera ! beatus qui retribuet tibi retributionem tuam quam retribuisti nobis.
O daughter of Babylon, wasted with misery yea, happy shall he be that rewardeth thee, as thou hast served us. 
9 Beatus qui tenebit, et allidet parvulos tuos ad petram.
Blessed shall he be that taketh thy children and throweth them against the stones.
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In the traditional Latin Mass of the Roman Catholic Church, Super flumina Babylonis (v. 1) is the offertory (preparation of the gifts) antiphon for the 20th Sunday after Pentecost.



Schola Hungarica [NML] (info)


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A number of Renaissance composers beside De Lassus created motets.

Giovanni Pierluigi da Palestrina, for 4 voices, verses 1 and 2, performed by the San Petronio Cappella Musicale Soloists [Grooveshark]

Giovanni Pierluigi da Palestrina, performed by the Voices of Ascension, Dennis Keene conducting. [NML] (info)

Giovanni Pierluigi da Palestrina, performed the Choir of Selwyn College, Cambridge, Sarah MacDonald conducting [we7] (info)

Giovanni Pierluigi da Palestrina, verses 1 and 2, performed by the Virtual Byrd Choir (One Japanese male voice singing all parts on a multi-track recording device. [listen]

Luca Marenzio, verse 1 to mid-7: In die Jerusalem, performed by the Studio de musique ancienne de Montréal, Christopher Jackson conducting.  [NML] (info)   [Poste d'écoute] 

Tomás Luis de Victoria
, performed by The Sixteen, Harry Christophers conducting. [CML] (info)
 

Salamone Rossi, Al naharot bavel (Super flumina Babylonis), performed by the Sydney University Madrigal society. [YouTube]

Henry Du MontSuper flumina Babylonisverse 1 to mid-7: In die Jerusalem; performed by the Ensemble Pierre RobertFrédéric Desenclos conducting. [NML (info)

 
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Philippe de Monte was born in Mechelen in Flanders in 1521.  His family name was most certainly a more Flemish version of the Italianate one he adopted during his several stays in Italy.  In his thirties, de Monte joined the chapel of Prince Philip of Spain and accompanied the royal retinue to England for the marriage of Philip to Mary Tudor.  There he met the Byrds, young William in the company of his father.  Although de Monte left England after only a year, he apparently kept in contact with William.

De Monte's concern over the persecution of his fellow Catholics in England under Elizabeth, who had succeeded Mary on the throne, caused him eventually to send to 
William Byrd a motet, Super flumina Babylonis, really an encrypted message, wondering how his Catholic friend could serve under such oppression. 

De Monte, in his motet for 8 voices, rearranged the order of the verses of psalm 136 (137), thus lamenting more sharply the fate of Catholics, including his friend, Byrd, and even challenging resistance.

1 Super flumina Babylonis illic sedimus et flevimus, dum recordaremur Sion.
By the waters of Babylon we sat down and wept when we remembered thee, O Sion. 
3 quia illic interrogaverunt nos, qui captivos duxerunt nos,
verba cantionum; et qui abduxerunt nos: Hymnum cantate nobis de canticis Sion.
For they that led us away captive required of us then a song, and melody, in our heaviness: Sing us one of the songs of Sion. 
4 Quomodo cantabimus canticum Domini in terra aliena?
How shall we sing the Lord’s song in a strange land? 
2 In salicibus in medio ejus suspendimus organa nostra:
As for our harps, we hanged them up upon the trees that are therein.  

William Byrd responded to De Monte, starting with Psalm 136 (137),
v. 4, and continuing to mid-v. 7, Quomodo cantabimus, affirming how it was possible for him to sing in an "alien" land and yet be true to his faith. 

4 Quomodo cantabimus canticum Domini in terra aliena?
How shall we sing the Lord’s song in a strange land? 
5 Si oblitus fuero tui, Jerusalem, oblivioni detur dextera mea.
If I forget thee, O Jerusalem, let my right hand forget her cunning. 
6 Adhæreat lingua mea faucibus meis, si non meminero tui;
si non proposuero Jerusalem in principio lætitiæ meæ.
If I do not remember thee, let my tongue cleave to the roof of my mouth; yea if I prefer not Jerusalem in my mirth. 
7 Memor esto, Domine, filiorum Edom, in die Jerusalem. Remember the children of Edom, O Lord, in the day of Jerusalem.  

Byrd, beginning with a three-part canon (one in inverse), in a polyphony, likewise for 8 voices, that is strong and dense, made it clear that his Catholic faith was indeed firm and unwavering. 


Philippe de Monte, Super flumina Babylonis, performed by The Sixteen, Harry Christophers conducting. [YouTube] [Grooveshark]

William Byrd , Quomodo cantabimus, performed by The Sixteen, Harry Christophers conducting. [YouTube] [Grooveshark]
  
Philippe de Monte, Super flumina Babylonis, performed by I Fagiolini, Robert Hollingworth conducting. [NML]  (info)

William Byrd, Quomodo cantabimus, performed by
I Fagiolini, Robert Hollingworth conducting. [NML]  (info)


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Charles-Valentin AlkanSuper flumina Babylonis, a paraphrase of Psalm 137 for piano, performed by the composer. [CML]  (info)

Charles-Valentin Alkan, Super flumina Babylonis, a paraphrase of Psalm 137 for piano, performed by Marc-André Hamelin. [YouTube]

le 24 mars 2011 / March 24, 2011


Taizé en/on YouTube.

Chantez avec la communauté de Taizé dans leur église romane / Sing with the Taizé community in their Romanesque church.

(Pour suivre le texte, ouvrez une nouvelle fenêtre / In order to follow the words, open a new window.)


Laudate omnes gentes, laudate Dominum.

Veni Sancte Spiritus, tui amoris ignem accende.Veni Sancte Spiritus, veni Sancte Spiritus.

L'ajuda em vindrà del Senyor, del Senyor el nostre Déu, que ha fet el cel i la terra, el cel i la terra.

Bless the Lord, my soul, and bless God's holy name. Bless the Lord, my soul, who leads me into life.

Magnificat, magnificat, magnificat anima mea Dominum.

Ubi caritas et amor, ubi caritas Deus ibi est.

Jésus le Christ, lumière intérieure, ne laisse pas mes ténèbres me parler. Jésus le Christ, lumière intérieure, donne-moi d'accueillir ton amour.

Surrexit Dominus vere. Alleluia, alleluia. Surrexit Christus hodie. Alleluia, alleluia.


Tu sei sorgente viva, tu sei fuoco, sei carità.
Vieni Spirito Santo, vieni Spirito Santo.

Misericordias Domini in aeternum cantabo.

The kingdom of God is justice and peace and joy in the Holy Spirit.
Come, Lord, and open in us the gates of your kingdom.

Nada te turbe, nada te espante;
quien a Dios tiene nada le falta.
Nada te turbe, nada te spante:
sólo Dios basta. 


(Teresa de Ávila)

Gloria, gloria in excelsis Deo. Gloria, gloria, alleluia! Et in terra pax hominibus bonæ voluntatis.

Bleibet hier und wachet mit mir. Wachet und betet.

Jesus remember me, when you come into your kingdom

In resurrectione tua, Christe, coeli et terra laetentur.


Christe Salvator, Filius Patris, dona nobis pacem.

Benedictus qui venit, benedictus qui venit in nomine, in nomine, in nomine Domini.


Nunc dimittis servum tuum Domine, secundum verbum tuum in pace

March 20, 2011


Lodovico Carracci, Christ and Nicodemus, Musée du Louvre, Paris, 1800-19

Nicodemus said to him, "How can anyone be born after having grown old? Can one enter a second time into the mother's womb and be born [Matthew 4:8]?"

Christ Church Cathedral Choir Notes  
Second Sunday in Lent

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John Dowland

The Communion motet for Choral Eucharist this coming Sunday is John Dowland, They that are down. Scroll down for access to a wide selection of his vocal and lute pieces.

Clear or cloudy sweet as April showering (Second Book of Songs), for 4 voices; lute 

My Lord Willoughby's Welcome Home (2 versions, 1 for 2 lutes (second part doubtful authenticity)), for lute, P 66

Come again, sweet love doth now invite (First Book of Songs), for 4 voices; lute

Flow, my tears, fall from your springs (Second Book of Songs), for 2 voices; lute

Pavana Lachrimae (A Pilgrimes Solace), for lute or keyboard

Tell me, true Love (A Pilgrimes Solace) for voice, bass viol, 4 part chorus; lute

A Fancy, for lute
If my complaints could passions move (First Book of Songs), for 4 voices; lute

Time stands still (Third Book of Songs), for voice, lute; bass viol

Fantasia (possibly spurious), for lute in G minor, P 71

Sorrow, stay, lend true repentant tears (Second Book of Songs), for 2 voices; lute

The lowest trees have tops (Third Book of Songs), for 4 voices; lute

In darkness let me dwell (A Pilgrim's Solace), for voice, lute; bass viol 

My thoughts are winged with hopes (First Book of Songs), for 4 voices; lute

Now, O now I needs must part (First Book of Songs), for 4 voices; lute

Stabat Mater


Click here to go to a performance of the Stabat Mater in Gregorian chant by the monks of the Abbey of St. Maurice and St. Maur, Clervaux.

Workshop of Bonaventure Berlinghieri, The Crucifixion, Galleria degli Uffizi, Florence, 1260-70






Miserere mei, Deus (Ps 51)


Click here to go to a performance Orlande de Lassus, Miserere mei Deus (Ps. 51) by the Pro Cantione Antiqua, Bruno Turner conducting.

Georges Rouault, Miserere: There are tears in things

March 13, 2011

Duccio di Buoninsegna, Temptation on the Mountian, Frick Collection, New York 1308-11

Again, the devil took him to a very high mountain and showed him all the kingdoms of the world and their splendor [Matthew 4:8].

Christ Church Cathedral Choir Notes  
First Sunday in Lent

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Johann Sebastian Bach

Organ voluntaries in Lent at both Choral Eucharist and evensong will comprise a complete presentation of Bach’s Clavier-Übung III which includes preludes based on chorales corresponding to the Lutheran catechism.  There are 21 of these chorale-preludes followed by 4 duets, all of which are enclosed in opening and closing movements from the great "St Anne" prelude and triple fugue in e, BWV 552. The Clavier-Übung III is sometimes referred to as the German Organ Mass.

Click to read about Johann Sebastian Bach in Wikipedia.

Click to read about the Clavier-Übung III, also in Wikipedia.

Click to read brief essay by James Kibbie.

Click
 to read programme notes by Marc-André Doran.

Marie-Claire Alain performs the complete Clavier-Übung III at the Schnitger organ in Martinikerk (Groningen) [YouTube Playlist]

Bernard Lagacé on the 1961 Beckerath organ of l’Église de l’Immaculée-Conception, Montreal, performs the complete Clavier-Übung III (plus The Six 'Schübler' Chorales) [listen] [Attn: There are 2 CDs]

James Kibbie performs the complete Clavier-Übung III at the 1724-30 Trost organ, Stadtkirche, Waltershausen, Germany and the 1722 Gottfried Silbermann organ, Marienkirche, Rötha, Germany [listen]

James Pressler gives a virtual performance of the Clavier-Übung III (minus the 4 duets): Click here, then click on individual pieces to give the origin of the samples (on the left) and the German text and English translation of the particular chorale (on the right).  Click on the musical notes for a performance.

James Breemer performs the complete Clavier-Übung III: click here, then click on the the particular piece.

Nancy Lancaster performs 12 chorale-preludes and the opening and closing movements from the Clavier-Übung III at the 1979 C.B. Fisk organ of the House of Hope Presbyterian Church, Saint Paul, MN [listen]