The choral parts are written in a standard English style, with some similarities to Walton. Piccolo composed the piece for the Royal School of Church Musicians Canterbury Festival in , while he was in- residence there. Palestrina brilliantly sets these three verses from the Book of Daniel in subtle but rich harmonic language, and with great appreciation to the meaning of the text. His phrases are typically built on simple melodic constructions and frequent use of alternation between solo and choral voices.
The work utilizes triplet figures throughout. In the first passages we hear the motives leaping through the parts in the same way that Praetorius and Buxtehude would later imitate. The five voices are often grouped two against three, in order to echo text and motives. The light, jubilant passages of the first two verses are contrasted with the third verse, which lengthens the rhythmic timing, creating sense of finality.
Poulenc was a turn of the last century French composer born of Parisian bourgeois parents. He composed over multiple genres including opera, orchestral, chamber, and choral. In these verses, Christ declares himself to be bread provided by God and, unlike the manna in the wilderness, which only provided sustenance in this life, the bread Christ gives brings eternal life. The piece is set in a major tonality, which gives a sense of quiet peace to the listener. Elgar was a English composer best known for his Enigma Variations.
His choral repertoire, while modest, contains two large scale oratorios of significant merit: The Dream of Gerontius, op. This work is framed in a Antiphon - Verses structure, with the text being taken from the sixth chapter of the Gospel of John - The Bread of Life Dialogue.
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The best element of the work is the text setting, which uses irregular meters throughout to facilitate a natural speech rhythm. Following the final antiphon is a homophonic setting of a passage from St. James Biery is an American composer, organist, and choral director, and was Director of Music for the Cathedral in St. Paul Minnesota for over a decade.
This motet uses a technique known a pedal point, in which the lowest voice sustains a single pitch for the duration of the work. The text is a traditional Catholic prayer of unknown origin, though when it was added as a Magnificat Antiphon for the Solemnity of Corpus Christi, it was attributed to St. The text of this motet is taken from the Book of Isaiah, and it is used as a Matins Response for the Feast of the Trinity.
This text is sung at every Mass as the first part of the Preface Acclamation as heaven and earth are united in sung praise of the divine. The composer, Handl, was born in Slovenia then the Austro-Hungarian empire. He traveled with the Viennese Court extensively through the empire as a Cistercian monk. He was choir master for several years to the bishop of Olomouc Czech Republic , and died in Prague.
His was greatly influenced by the Venetian style of Polyphonic writing, which utilized double choirs and echo effects.
Machaut: Messe de Nostre Dame
Chilcott is an English singer and composer of choral works. This motet sets the famous John text in a gentle and lush style. The text is taken from a Matins response for the Solemnity of Trinity, and may also have been used for the Solemnity of All Saints. The motet is typically of the Franco-Flemish style of polyphony, and contains frequent chant motives and quotations. He is most well known for his Magnificat and Nunc Dimittis settings, which are still sung to this day in many Episcopal and Anglican churches for evening prayer.
He set C. Patrick and Gartan. Due to the irregular stanzas present in the text, the hymn utilizes three separate metric schemes, making this hymn unique among the hymnic repertoire. Though we are not able to sing all the verses in its placement at this Mass, the thematic outline of the full hymn begins in the first verse by invoking the Trinity in a circular manner: we invoke the Trinity, through he power of the trinity - i.
The second verse details the acts of the mediator between us and the Trinity - i.
The third verse will recall the Te Deum prayer to many listeners, as the heavenly hosts, from Angels through Apostles, Patriarchs and Prophets, draw a picture of the hierarchies of heaven. The fourth verse, in brilliantly colored language, praises the natural as creation participates in the Trinitarian collective through its very being. The eighth and final verse is a culmination of the previous verses, beginning with a repetition of the first verse, a detour to mention creation, both natural and eternal , and finally a focusing in on the second person, by whom we participate in the Trinitarian Mystery, with a firm declaration: Salvation is of Christ the Lord.
Palestrina resists setting this motet in the strict imitative polyphony for which he is typically known, and instead uses homophonic phrases alternating between different groupings of the choir sections. This technique gives the piece a gentle undulating quality, calling to mind the wind blowing into the room at Pentecost. Opening with a single voice on the motive of the Veni Creator chant, the piece then gently adds voices, always continuing in the chant rhythm.
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Two texts are spliced together for this motet: The first being the Veni Creator, Spiritus, which we hear in the beginning often attributed to Rabanus Maurus 9th century , and Veni Sancte Spiritus not the sequence by the same name , a short prayer found in a Proper from the liturgy. The text sings of the works of the Holy Spirit, and implores for the Spirit to reside in the hearts of the faithful.
Michael John Trotta is a New York based choral conductor and composer. The opening line of the motet is written to give the effect of wind entering the room. This motet was written during the reign of Elizabeth I, and is one of the later and most expressive motets from Tallis oeuvre. It is set in a homophonic style with slightly delayed entrances and rhythmic deviation. The prayer beseeches the Holy Spirit to send forth two of its seven gifts: understanding and fear of the Lord. Gillispie is a singer, composer, and lutenist based in the Chicago area, where she has conducted numerous choral groups specializing in music from the Renaissance.
Her music is stylistically aligned with Palestrina and other Catholic polyphonic motet composers, with lines of text oscillating between homophonic and polyphonic textures, all framed within 16th contrapuntal theory. The text of this motet is from Psalm , which is the Psalm for Easter Sunday, and alludes to today's second reading from 1 Peter. The text is from Psalm 65, and speaks of both discipleship and praise for the goodness of God.
Daniel Nelson not to be confused with the Swedish composer of the same name was born in Colorado, and studied music at Bethany College and Indiana University. The motet sets text from the first three verses of Psalm 81, which is an exuberant acclamation of praise to God.
Ecce Virgo Concipiet; Lo, a Virgin Shall Be with Child
The harmonic writing remains diatonically E minor in the first section, while in the second second section shifts into G sharp minor, a tertiary relationship that comes on rather abruptly before the third verse begins. The final portion of the piece resets material from the first section, but alters the tonality to provide for a more joyful ending in E major. The text of this motet comes from the Metaphysical poet George Herbert , who, in addition to writing, also served as a member of parliament and as rector for a small country parish near Salisbury.
The early 20th century American composer, Friedell, sets the text in a lush slowly harmonic language, which evokes both pleading and contemplation. It wasn't until the midth century that the tunes found their way to John Mason Neale, and subsequently the English Hymnals.
This arrangement was chorally set by the English composer, Andrew Carter, with text by the Anglican priest, poet, and pedagogue, Percy Dearmer. The text depicts God as the Good Shepherd whose evident grace and care for us is a model of the way we should treat one another. It is striking as being one of the few motets from this collection to begin the motive in the Bass, which creates a much more subdued and somber affect, giving the impression of night just before the dawn.
All phrases in this motet have the lower two voices drop out at points, removing the momentum of the line and creating a tranquility to reflect on the text. The text is set simply with little use of melisma and mostly homophonic writing. The Franco-Flemish composer Lassus was one of the most famous composers of the Polyphonic era. The mode becomes brighter on mentioning the sheep of the flock; a nod to the simpler character of the redeemed sheep versus the more theologically dense lines of the motet.
The Alleluia retains some of the pastoral style found earlier in the motet, and is densely imitated through the various voices before joyfully cadensing. This motet takes an Easter themed text by J. Michael Thompson and sets it as a gentle lullaby.
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The poem alludes to Christ as the Shepherd and guardian of the sheep in the first verse, and then pleads for his grace and guidance in the second verse. The hymn-like structure of the motet is interrupted at the end with a repletion of the final few words in a growing and ascending choral cadence. John Hirten is a San Francisco based organist and composer of both sacred and secular music. The pairing of John M. The text creates an analogy between the buried and risen Christ, and the dead wheat from which green blades grow. The setting is rather subdued for such a joyful text, with frequent employment of Hypo-Aeolian mode, giving a slight minor and unresolved quality to the motet, though the middle section is in a very striking major tonality.
The text continues the Eastertide themes of rejoicing which characterize the season. This poem was written by Percy Dearmer , an Anglican priest and publisher of the English Hymnal in collaboration with Ralph Vaughan Williams. The text petitions the Holy Spirit to be present when two or more are gathered — today, a reference to the two disciples on the road to Emmaus. He wrote in a dense contrapuntal style that utilized modern yet frequently diatonic harmonies.
Communion am - Alleluia! Cognoverunt Discipuli, William Byrd c. Bryd frequently employs text painting in his works and this motet is no exception. In addition to choral music, he was a reputable violinist and one of the early members of the Hungarian Quartet. This motet, which sets three verses from Psalm 65, is composed in a ternary form, frequently alternating between women and men in a canon, giving the piece a buoyant and joyful effect.
Pawel Lukaszewski is a well-known Polish composer. The jubilant nature of the text reminds us of that we remain with this Sunday within the octave of Easter.