MAURICE DURUFLÉ: “Ubi Caritas” (1960)
Duruflé’s setting of the “Ubi Caritas” is a framework for how francophone composers should be interpreting Latin chant. A perfectionist through and through, the music reflects his constantly self-criticizing nature through tension and perfect resolution. There is never a time where he writes an idea and does not finish it to near perfection.
Ubi caritas et amor,
Where charity and love are,
Deus ibi est.
God is there.
Congregavit nos in unum
Christ's love has gathered
Christi amor.
us into one.
Exultemus,
Let us rejoice and be
et in ipso iucundemur.
pleased in Him.
Timeamus, et amemus
Let us fear, and let us love
Deum vivum.
the living God.
Et ex corde diligamus
And may we love each
nos sincero.
other with a sincere heart.
THOMAS WEELKES: “As Vesta Was” from Latmos Hill Descending
Thomas Weelkes’ (1576–1623) setting of As Vesta Was is a staple of Renaissance madrigals featuring some of the hardest entrances written in this time period. Weelkes was regarded by most as the preeminent composer of madrigals in this style which use text painting elements to highlight the lines and text of the music. This piece forms part of an anthology of madrigals composed in honor of Queen Elizabeth I. Written shortly before her death, this piece became an iconic anthem used to celebrate her life and the prosperity she brought to the country.
HANS LEO HASSLER: “Tanzen Und Springen”
Hans Leo Hassler’s (1564–1612) text “Tanzen Und Springen” reminds us to appreciate the musical joys and beauties in life. He also reminds us to enjoy the time that we spend with our loved ones.
Tanzen und springen,
Singing and dancing,
Singen und klingen,
Leaping and prancing
Lauten und Geigen
Flutes raise their voices
Soll’n auch nicht schweigen,
Cello rejoices.
Zu musizieren
Music delights us
Und jubilieren steht mir all mein Sinn.
Music invites us to join in the dance.
Schöne Jungfrauen
Maidens so charming,
In grüner Auen,
Sweet and disarming
Mit ihn’n spazieren
Just to be near them
Und converzieren,
See them and hear them
Freundlich zu scherzen
Chattering sweetly,
Freut mich im Herzen für Silber und Gold.
Thrills me completely wherever I go.
ANTON BRUCKNER: “Christus Factus Est”
Anton Bruckner was an Austrian composer best known for his symphonies, masses, and motets. His symphonies are considered emblematic of the final stage of Austro-Germanic Romanticism because of their rich harmonies, polyphony, and considerable length. His compositions helped to define contemporary musical radicalism and style due to their dissonances, unprepared modulations, and wandering harmonies. He was also very critical of his own work, even writing three versions of this piece and seven versions of another of his masses.
Christus factus est pro
Christ became obedient for
nobis obediens
us unto death,
usque ad mortem, mortem
even to the death, death
autem crucis.
on the cross.
Propter quod et Deus
Therefore God
exaltavit illum et dedit illi
exalted Him and gave Him
nomen,
a name
quod est super omne
which is above all names.
THOMAS MORLEY: “Now Is the Month of Maying”
Thomas Morley’s (1557–1602) 1595 piece “Now Is The Month Of Maying” is one of the most famous English balletts (a light dancelike song similar to a madrigal) of the period. The song delights in bawdy double-entendre. It is seemingly about spring dancing, but this is a metaphor for making love. For example, a "barley-break" would have suggested outdoor sexual activity. The use of puns and imagery was an essential part of the Renaissance.
JOSEF RHEINBERGER: “Abendlied,” Op. 69, no. 3
Josef Rheinberger was a prolific organist and composer at the age of seven. At the age of 15, he wrote this incredible piece of music and revised it twice after.
Bleib bei uns, denn es will
Bide with us, for evening
Abend werden, und der
shadows darken, and the
Tag hat sich geneiget.
day will soon be over.
THOMAS TALLIS: “If Ye Love Me”
Prior to the English Reformation, English church music consisted mainly of settings of texts in Latin. As the Church of England broke away from the Roman Catholic Church, its Latin liturgy was replaced with scripture and prayers in English. First published in 1565 during the reign of Elizabeth I, it is an example of Tudor music and is part of the repertoire of Anglican church music.
MORTEN LAURIDSEN: “O Nata Lux” (1997)
O nata lux de lumine,
O Light born of Light,
Jesu redemptor saeculi,
Jesus, redeemer of the world,
Dignare clemens
with loving-kindness deign
supplicum
to receive
Laudes precesque sumere.
suppliant praise and prayer.
Qui carne quondam
Thou who once deigned to
contegi
be clothed in flesh
Dignatus es pro perditis,
for the sake of the lost,
Nos membra confer effici
grant us to be members
Tui beati corporis.
of your blessed body.
