Tag Archives: Renaissance Voices

Voices from the Renaissance

Renaissance Voices
Cathedral Church of St. Luke
Dec. 16, 17, 2017
by Christopher Hyde

The Sea of Faith
Was once, too, at the full, and round earth’s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.

The Christmas concert of the a cappella choir, Renaissance Voices, Saturday night and Sunday afternoon at the Cathedral Church of St. Luke, reminds me of Mathew Arnold’s image, in “Dover Beach,” of a faith that once held the Western World together. The music transports one to that era, when a still, small voice could yet be heard, and reindeer were merely the Lapp’s cattle.

Echoes resound in music director Harold Stover’s programming of modern music and that of the Victorian era, represented in this year’s concert by four motets by Josef Rheinberger (1839-1901). Rheinberger’s “Neun Advent-Motetten, Op. 176, are more difficult than his Renaissance models, especially in their demand for sustained tenuto of difficult intervals. They were worth the effort, however.

This year’s Renaissance-era offerings were relatively well-known, beginning with “Natus est Nobis,” by Tomas Luis de Victoria (1548-1611) and ending with “Canite tuba in Sion” (Blow the trumpets in Zion) by Hieronymus Praetorius (1560-1629).

The latter was something of a revelation, in that the listener knows the intent of the music (apart from the text) and can appreciate the composer’s success in rendering it. In this case,, the work consists entirely of combinations of trumpet calls, imitated by the choir, and is quite magnificent.

An effective juxtaposition was an anonymous “Laudemus Virginum“ (c. 1399), with a traditional English carol, “Blessed be that maid Marie,” similar in mood and perhaps as old.

Modern works included a deeply felt “O Magnum Mysterium,” by American composer Sally Hermon, and a setting of “A little child there is ybore”, by British composer David W. Jepson, sung by soprano Joanne deKay.

As customary at the Renaissance Voices Christmas program, the musical offerings were interspersed with appropriate readings of poetry, in this case two Christmas poems by Jane Kenyon, and “Department Store,” by Carl Dennis.

A work by Orlando de Lasso (1532-1594), seemed particularly appropriate to this season: “Veni Domine, et noli tardare…” (“Come, Lord, and do not delay. Pardon the misdeeds of your people, and bring the dispersed back to your land.”)

Today’s concert will be at 2:00 p.m.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@nstscape.net.

Renaissance Voices a Christmas Gift

Renaissance Voices
Cathedral Church of St. Luke
Dec. 17, 2016
by Christopher Hyde

The Renaissance Voices Christmas concerts, conducted by Harold Stover, have become so popular over the years that the large Cathedral Church of St. Luke was still about half full on Saturday night, in spite of snow and bitter cold that cancelled other events.

Those who braved the elements were treated to a warm, traditional selection of a cappella vocal music from around the world and across the centuries, interspersed with readings from poets as diverse as Carl Sandburg and Rainer Maria Rllke. Wintery works by Rilke and Heinrich Heine were read in German, followed by English translations.

The word traditional is appropriate because even the modern works on the program were modeled after Renaissance and Baroque music.  beginning with “Hail, Lady. sea-star bright,” (Ave, maris stella) by English composer Kathryn Rose (b. 1980), sung in Latin and built around a bass line that sounds like Gregorian chant, but more melodious. The higher voices weave a tapestry of sound around this solid foundation. It was compared to another Ave Maria by Jacobus Clemens non Papa (1510-1556), and held its own very well.

Two German composers who seemed almost mirror images of each other were Hugo Distler (1908-1942) and Johannes Eccard (1553-1611). The choir alternated between the two, and just when one thought a recognizable style had been established, another of the five motets would blur the line. Some were lively, some were like chants and some were almost fugal in their polyphony, but all were musical and deeply felt.

The first half of the program ended with a rapid, rhythmical “Facta est cum angelo,” by Italian composer Girolamo Baglioni (c, 1575-1608).

Opening the second half was “Come ye lofty, come ye lowly” by Gustave Holst (1874-1934), another imitation, this time of a medieval English Christmas carol, that couldn’t be told from he original.

An American work, “The angel’s carol,” by Crys Armbrust (b. 1957), sets a text by Nahum Tate (1625-1715) using the early shaped-note technique of choral singing,  in which the shape of the written notes dictates the harmonies to decorate a hymn tune,

The result is sometimes strange, like shifting northern-lights veils of sound, but always effective.

The program ended with a triumphant “Hodie Christus natus est” by Dutch composer Jan Pieterszoon Sweelinck (1562-1621). Following a standing ovation, the choir sang an encore of three verses of “Silent Night” in the original German,  wrapping up a fine and appropriate Christmas gift.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Renaissance Voices Lift Christmas Spirits

Renaissance Voices
The Cathedral Church of St. Luke
Dec. 20, 2015
by Christopher Hyde

Renaissance Voices’ Christmas concert, conducted by Harold Stover since 2001, just continues to get better. It covers centuries, from the 12th to the 21st, but each selection fits exactly into the whole, like a facet of a highly polished jewel.

The a cappella choir has always been noted for its part singing, marked by precise intervals unobtainable with keyboard accompaniments. The bonus this year was its sheer power. After a plainsong-like “Tota pulchra es Maria,” by Angelina Figus (b. 1957) the fortissimo stanza of “Alma redemptoris mater,” by Felice Anerio (1560-1614) came as a complete (and delightful) surprise.

Most of the first half of the concert was devoted to works praising the Virgin Mary, including an earthy reading from Hildegard of Bingen (1098-1179) and a lively and melodious “Laetatus sum” by Alessandro Scarlatti (1660-1725).

The final set before intermission illustrated the musical development of a different theme– the opening of the heavens to allow God to descend to earth– also spanning centuries, from early plainsong, through a hymn of 1666, to the great “O Heiland, reiß die Himmel auf “(Op. 74, No. 2) of Brahms. Renaissance Voices is as much at home in the high classical as in vocal works on a smaller scale.

Following intermission, the choir opened with a lively, joyful rendition of “Jubilate deo” by Cipriano de Rore (c.1515-1565), followed by a mystical poem: “The Beginning of Speech,” by Syrian poet Adunis (b. 1930). The translation, well read by Kirk Read, depicts the confrontation of the poet with his boyhood self, and his wondering what they should talk about.

A set of carols by British composers, “Now may we singen” by Cecilia McDowall (b. 1951), “The birth of the Saviour” by Ralph Vaughan Williams (1872-1958) and “There is no rose of such virtue,” by John Joubert (b. 1929), introduced a more “Christmasy” element. I particularly liked McDowall’s deceptively simple setting of Middle-English verses, with its effective use of melodic voices over a drone in either the soprano or the bass section. The basses also stood out in “The birth of the Savior.

In conclusion, the power of the choir filled the cathedral in the “Hodie Christus natus est” of Silvio Marazzi (fl. 1570). The encore, following a standing ovation from the large audience, was Robert Shaw’s arrangement of the British carol “The Angel Gabriel.”

In this last review before Christmas, may I wish everyone Peace on Earth, Good Will to Men.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.