CONCERT NOTES
Throughout the ages, men have communicated their hopes, beliefs and devotion to God through music. Tonight, we explore these expressions of faith, yearning, grace, and dedication with choral works from around the world and close to home.
SPIRITUAL FROM THE CLASSICAL TRADITION
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Alessandro Scarlatti's (1660-1725) motet Exultate Deo was written in 1707 for the Feast Day at the Basilica Santa Maria Maggiore in Rome. It is a jubilant Baroque choral work based on the text of Psalm 84:1-4:
โRejoice greatly to God our helper, shout for joy to the God of Jacob, Alleluia.โ
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Blazhen muzh (ะะปะฐะถะตะฝ ะผัะถ), or "Blessed is the Man," is the third movement of Sergei Rachmaninoff's (1873-1943) Russian Orthodox choral masterpiece, the All-Night Vigil ("Vespers" or evening prayers), composed in Tzarist Russia in 1915. The music is deeply reverential and prayerful, with a sense of awe and mystery conveyed through the hushed dynamics and the shape of the musical phrases. Following the Bolshevik Revolution of 1917, Rachmaninoff became a refugee and eventually settled in New York City. His All-Night Vigil lay in obscurity for more than fifty years, until it was rescued by a Soviet choir under the auspices of scholarly study. Always close to the composerโs heart, it has remained a staple of the choral repertoire in the West ever since โ and a testament to the power of light in darkness.
Blessed is the man, who walks not in the counsel of the wicked. Alleluiaโฆ
For the Lord knows the way of the righteous,
but the way of the wicked will perish. Alleluiaโฆ
Serve the Lord with fear and rejoice in Him with trembling. Alleluiaโฆ
Blessed are all who take refuge in Him. Alleluiaโฆ
Arise, O Lord! Save me, O my God! Alleluiaโฆ
Salvation belongs to the Lord, and Thy blessing be upon Thy people. Alleluiaโฆ
Glory to Father, Son, & Holy Spirit, both now & ever, & unto ages of ages. Amen.
Alleluia, alleluia, alleluia. Glory to Thee, O God!โPsalm 1:1, 6; 2:11, 12; 3:8, 9
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Antonio Vivaldi (1678-1741) composed his Gloria in D for a girlsโ orphanage choir in Venice. The third movement, Laudamus te (1715), is a joyful duet with chains of deliciously spicy suspensions in the florid intertwining vocal lines of the two soprano soloists. For two centuries after his death this composition lay undiscovered, until in the late 1920s it was found buried among a pile of forgotten Vivaldi manuscripts. Finally, in 1957, the original version was published and performed at Brooklyn College in New York.
"We praise You, we bless You, we adore You, we glorify You.โ
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Anton Bruckner (1824-1896) was born in Ansfelden, Austria and became organist of the Linz cathedral and eventually of the Emperorโs court in Vienna. He subscribed to the Cecilian Movement in choral music, which attempted to restore Gregorian chant and Renaissance polyphony to Austrian sacred music. The sacred motet Os justi (1879) is remarkable in that it achieves its harmonic power and lushness without ever using a single sharp, flat, seventh chord, 6-4 chord or chordal combinations of more than five simultaneous notes. The text comes from Psalm 37:30-31.
The mouth of the righteous utters wisdom, and his tongue speaks what is just.
The law of his God is in his heart; and his steps will not be impeded. Alleluia. -
Ola Gjeilo (b. 1978) is originally from Norway, where he studied at the Norwegian Academy of Music. He later studied at The Royal College of Music in London and then emigrated to America in 2001 to pursue his masterโs degree in composition at The Julliard School. Ubi Caritas (2001) has become one of Gjeiloโs most popular pieces. Although the work is reminiscent of Gregorian chant, it is in fact an original melody and is a simple, meditative four-part setting of the text.
Where charity and love are, God is there.
The love of Christ has gathered us together.
Let us rejoice and be glad in it. Let us revere and love the living God.
And from a sincere heart, let us love one another. Amen. -
In 1965, Leonard Bernstein (1918-1990) was commissioned to create a choral work for the Chichester Cathedral in England. Though Bernstein was world-renowned for works like West Side Story, he considered the resulting piece, Chichester Psalms (1965), one of his most heartfelt compositions, weaving together his Jewish heritage and American idioms โ jazz, Broadway, and theatrical flair.
The second movement, Adonai Roi, juxtaposes two contrasting psalms: the serene and confident text of Psalm 23 (โThe Lord is my Shepherd, I shall not wantโฆโ), initially sung by a solo boy with a gentle harp accompaniment, is violently interrupted by the tenors and basses singing the angry, dissonant opening verses of Psalm 2 ("Why do the nations rage, and the people imagine a vain thing..."). This dramatic contrast reflects the conflict between faith and turmoil, peace and violence. The peaceful mood of Psalm 23 eventually returns, overriding the male voices, but the movement ends on a jarring, unresolved, and sustained dissonant chord, highlighting that the tension between faith and fear remains. The Hebrew language, though unfamiliar to many audiences, adds a musical richness and authenticity to the Psalmsโ ancient poetry. In Bernsteinโs own words:
โThese Psalms are a cry for peace โ in our society, in ourselves, in the world.โ
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Max Janowskiโs Avinu Malkeinu(1991) is a deeply emotional and widely cherished setting of a central Jewish prayer traditionally sung during the High Holy Days of Rosh Hashanah and Yom Kippur. The text is a heartfelt plea for mercy, forgiveness, and blessings.
Polish-born composer Janowskiโs expressive setting stands out for its lyrical, almost operatic quality, blending traditional Jewish cantorial style with Western classical harmony.
Our Father, our King, hear our prayer.
Our Father, our King, we have sinned before Thee.
Our Father, our King, have mercy upon us and upon our children.
Our Father, our King, keep pestilence, war and famine far from our country.
Our Father, our King, cause all hate and oppression to vanish from the earth.
Our Father, our King, inscribe us for blessing in the book of life.
Our Father, our King, grant unto us a year of happiness.
SPIRITUAL FROM THE AMERICAN FOLK AND GOSPEL TRADITION
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Hark! I Hear the Harps Eternal is a traditional 19th-century Appalachian hymn, famously arranged by Alice Parker from the Southern Harmony shape-note collection. Shape note singing was popular in the early 1800s and especially took hold in rural areas of the South where music education was rare, but church-related singings were important social events. They sang from music books with note-heads of different shapes (squares, triangle, diamonds, for example) corresponding to specific tones of the scale.
The text of this hymn focuses on the hopeful journey of the soul from sorrow towards eternal rest and glory in the afterlife, featuring vivid imagery of crossing a river of โswollen watersโ to the "city far away." The arrangement is known for its rich harmony, rhythmic syncopation, and interplay between vocal parts.
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Mack Wilbergโs arrangement of My Shepherd Will Supply My Need is a serene and deeply moving setting of the beloved paraphrase of Psalm 23 by Isaac Watts. Set to the gentle strains of the American folk hymn tune Resignation, the piece evokes a sense of peace, trust, and divine comfort. Wilbergโs arrangement preserves the simplicity of the original tune while enhancing it with warm, flowing accompaniment and subtle dynamic shifts.
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How Firm a Foundation is a beloved American hymn that has endured for over two centuries as a pillar of faith and encouragement. First published in 1787, the hymn is cherished for its unwavering message of divine support and strength in the face of hardship. Drawing heavily from biblical passages such as Isaiah 41:10 and Hebrews 13:5, the lyrics emphasize Godโs promises to be a steadfast presence through every trial and tribulation. Each stanza builds on this reassurance. This expressive arrangement by Wayland Rogers evokes the hymnโs roots in Appalachia, where the sound is a diverse blend of folk music from British, Irish, and African-American traditions.
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Shawn Kirchnerโs vibrant arrangement of Unclouded Day brings new life to one of the most enduring gospel songs of the American tradition. Originally written in 1885 by the Methodist minister Rev. J.K. Alwood, it expresses a deep longing for a heavenly home free from sorrow, pain, and earthly troublesโa place of eternal peace and radiant joy. Kirchner, a versatile composer, singer, and pianist, infuses this traditional tune with a driving rhythmic energy and rich harmonic texture. His arrangement transforms the humble gospel song into a jubilant, foot-stomping celebration.
SPIRITUALS FROM THE AFRICAN AMERICAN TRADITION
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Stacey V. Gibbsโ arrangement of Wade in the Water is a powerful and dynamic reimagining of one of the most iconic African American spirituals. This spiritual dates back to the 19th century and is widely believed to have been used as a coded song along the Underground Railroad, offering both spiritual encouragement and practical instructionโurging escaping slaves to โwade in the waterโ to avoid leaving tracks for slave catchers.
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Down to the River to Pray is another American spiritual with roots in Appalachian folk music, gospel, and African American spiritual traditions. Its origins are somewhat mysterious, but its message is unmistakable: a call to spiritual renewal, community, and inner reflection. The song gained widespread popularity after its use in the 2000 film O Brother, Where Art Thou? In this arrangement, Philip Lawsonโa former baritone and principal arranger for The Kingโs Singersโcrafts a setting that is both reverent and richly textured. His choral writing emphasizes warm, close harmonies and gentle rhythmic motion, inviting listeners to journey inward and โpray by the river.โ
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Jester Hairstonโs arrangement of Hold On! is a spirited and rhythmically engaging setting of a traditional African American spiritual. Known for his extensive work in preserving and popularizing spirituals, Hairston was a pioneering composer, actor, and conductor whose legacy helped shape American choral music in the 20th century. Hold On! draws on the imagery of perseverance and faith in the face of hardship, using the metaphor of โkeeping your hand on the plowโ to encourage endurance through lifeโs trials. Hairstonโs arrangement captures this determination with driving rhythms and syncopated vocal lines.
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Larry L. Flemingโs arrangement of Give Me Jesus is a deeply expressive and contemplative setting of this well-known spiritual. It expresses a longing for comfort and hope in its simple, yet powerful, refrain: โYou may have all this world, give me Jesus.โ
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The Battle of Jericho recounts the biblical story from the Book of Joshua in which the walls of Jericho fall after the Israelites march around the city and blow their trumpets in obedience to God's command. Beyond its biblical narrative, the song historically served as a symbol of resistance, hope, and liberation for enslaved African Americans. Arranger Moses Hogan (1957-2003) was instrumental in bringing spirituals into the concert hall with new vitality and artistic sophistication. His arrangements of traditional spirituals have become a bedrock of choral literature.