CHRISTMAS CLASSICS
A Millenium of Song
Join Ragazzi December 3, 4, 11
See ragazzi.org for concert details
Program Notes Sarah Wannamaker
Biebl's (1906-2001) Ave Maria combines the traditional text with excerpts from the Angelus, a devotional book focusing on the Incarnation. Although the texts are ancient, the musical language is modern: full, lush, modern chords enriched by the presentation of multi-voiced harmonies. Biebl particularly exploits the texture of the piece by writing for different combinations of voices, presenting a single line of chant, a 4-part chorus, and a dual-choir conversation.
The chant, Of the Father's Love Begotten is a combination of medieval text and music – it is one of the oldest hymns still in use. The fourth century text presents a tale of redemption for humankind, using the ethereal music of chant to link ancient prophecies with the Christmas story.
Like the Biebl, O Beata Trinitas, by Jacob Handl (1550-1591) presents a common liturgical text, this time written for double choir. This is not an
overt Christmas carol, but a glorification of the Trinity. This piece was written in the late Renaissance, when composers of choral music were just starting to use chords, as opposed to layered chant lines. It's an example of the Renaissance penchant of writing for double choir. "Cori spezzati" was popularized in Venice, where the cathedral choirs sang in alternation from opposing balconies in St. Mark's cathedral.
Peter Warlock (1894-1930) was an English musician and critic who reflected a full twentieth-century palette of influence: counterpoint, salon style (and saloon style), poetry, historical genres, and dance. His music reveals his own personality of bohemian unrest, eccentricity, and sly humor (even his chosen pseudonym, "Warlock," has wry connotations). Full harmonic color and lively syncopation characterize the Three Carols, which present three views of Christmas: a jaunty shepherd's tune, a lullaby, and a folk song.
Laudamus Te is an excerpt from Vivaldi's (1678-1741) setting of the Gloria - composed for the choir at a girl's orphanage in Venice. The imitative passages, nimble scales, and intertwining melodic lines require a great deal of vocal agility to convey a light-hearted, dancing song of praise. This Baroque piece stands in contrast with Mozart's (1756-1791) setting of the same text, also for two treble parts. Mozart's interpretation reflects the Classical aesthetic of genteel gracefulness and courtly refinement.
César Franck (1822-1890) was a French organist credited with reviving a formal musical tradition in response to frivolous post-Revolution trends. Franck's setting is for tenor, harp, cello, and organ; today's version is one of many variations on Franck's original. The text for Panis Angelicus, penned by St. Thomas Aquinas for the Feast of Corpus Christi, conveys the mystical relationship between humanity and heaven, and is musically embodied in the sustained melodic lines and gentle accompaniment.
Little is known about Vierdanck (c. 1605-1646), a composer of the Dresden court, but his music demonstrates the gracefulness and flexibility of Baroque music. Most of all, Lo, I Bring Tidings (Christmas Concerto) exemplifies the conversational style of the Baroque. Instead of a long melodic line, small melodic gestures bounce between the two voice parts and violins. This piece also plays with rhythm, alternating duple and triple meters. The text is primarily sung by the Concert Group, with the Apprentices joining in to emphasize the exclamations, "Glory to God" and "Alleluia".
Zoltán Kodály (1882-1967) was a Hungarian musician who strove to change the way music fit into society; in 1966, he wrote "mankind will live happier when it has learned to live with music more worthily. Whoever works to promote this end, in one way or another, has not lived in vain." The Dance of the Shepherds reflects Kodaly's two musical crusades – first to preserve the folk music tradition and second to write truly engaging music for children. The carol captures the unfolding of the Christmas story from the viewpoint of slightly confused shepherds who quickly join in the excitement of a journey to see the baby Jesus.
Pueri concinite by Johann Herbeck (1831-1877) was premiered in the Imperial Chapel in Venice on Christmas Day in 1868. This song of praise features a tenor soloist supported by a full choir, singing a stanza from the 14th-century hymn, Resonet in laudibus.
The setting of O Come, All Ye Faithful, by David Willcocks (b. 1919) is a popular choral interpretation of the hymn. This setting is now part of the core repertoire for the King's College Festival of Lessons and Carols in Cambridge, featuring both an added descant and a new harmonization.
Both Ave Maria and O Little Town of Bethlehem present a melody superimposed over Bach's Prelude 1 from the Well-Tempered Clavier (1722) – demonstrating the flexibility and potential of Bach's original work. Both present a surprisingly romantic interpretation of this iconic Baroque work.
The carol, We Three Kings, focuses on the magi. There is one verse reserved for each king's gift, which is a symbolic reference to larger themes of Christianity: gold symbolizes royalty, frankincense refers to worship, and myrrh foreshadows the death of Christ. The expressive and reflective solo verses juxtaposed with the more playful and upbeat refrain reflect the duality of excitement and somberness associated with the full Christ-story.
Venite Adoramus is another traditional carol, mixing English text with a Latin refrain. The lilting melody dances through another retelling of the Christmas story - celebrating the joys of Christmas - reveling in the story, family, angels, snow, and a renewed chance to bring the peace of heaven to humanity on earth.
Joyce Keil
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