Chamber Singers just got done with our concert - Light in Darkness: A Good Friday Meditation. Props to Peter Crane for the wonderful poster; mad props to all my friends for their excellent singing and glorifying of God through song. We started off with O Nata Lux by Thomas Tallis (PDFs and a MIDI file of the piece can be found here at the Choral Public Domain Library). It’s a wonderful piece with some biting dissonance.
(Music buffs - you’ll notice two sections like that. The first is in measure 12 - a soprano C# against a Tenor II C natural. It happens again in measure 22 - this time it’s a soprano F# briefly against a T2 F natural. Taken in isolation, you wonder what’s going on, but only if you look at it vertically. Read the lines for each by themselves and you’ll hear that they are perfectly acceptable melodic lines. Remember there was no such thing as a chord in the Renaissance era - their music was all horizontal, and any “chords” that you see were secondary - byproducts of counterpoint, if you will. Nowadays we read our music vertically - these four voices sounding at this time make this chord. Back then, things were completely different.)
After that, we performed Morten Lauridsen’s Lux Aeterna (Eternal Light), a Requiem setting that is absolutely gorgeous. I’ve written about that piece before, but let me say again it’s a wonderful work. Very exhausting, but still refreshing to hear and perform. I want to post down some of the words, because behind the Latin (which some may find a little too snooty for their tastes) is a very engaging and personal text. The third movement, O Nata Lux (same text as the Tallis) is beautiful:
O nata lux de lumine, Jesu redemptor saeculi, dignare clemens supplicum laudes preces que sumere. Qui carne quondam contegi dignatus es pro perditis. Nos membra confer effici, tui beati corporis. (O born light of light, Jesus, redeemer of the world, mercifully deem worthy and accept the praises and prayers of your supplicants. Thou who once deigned to be clothed in flesh for the sake of the lost ones, grant us to be made members of your holy body.)
Again, the Veni, Sancte Spiritus is very encouraging. It’s also long, so I won’t post all of the Latin and English. It employs repetition to drive home it’s points:
Veni, pater pauperum;
veni, dator munerum;
veni, lumen cordium.
Come, Father of the poor;
come, giver of gifts;
come, light of hearts.
In labore requies;
in aestu temperies;
in fletu solatium.
In labor, thou art rest;
in heat, the tempering;
in grief, the consolation.
Lava quod est sordidum,
riga quod est aridum,
sana quod est saucium,
flecte quod est rigidum,
fove quod est frigidum,
rege quod est devium.
Cleanse what is sordid,
moisten what is arid,
heal what is hurt,
flex what is rigid,
fire what is frigid,
correct what goes astray.
Absolutely stunning. And despite the inward-looking nature of the text, the music is not particularly contemplative. Rather, it is joyful and almost waltzing (yes, it’s in triple meter). Why? Because we know that God wants all these things for us, and we eagerly await His help, both now in our frail human form, and again in our final glorified form. Hallelujah!
I’m travelling to Florida Saturday, so I need rest. I’d love to launch into a speech about how modern Christians are doing themselves a disservice by turning their backs on “Catholic” texts and forms, simply because at one point (several centuries ago), they only appeared in Catholic settings. Texts like these are Catholic in the truest sense of the word, the sense used in the Apostle’s Creed: “I believe in the Holy Spirit, the holy catholic [ie. universal] church, the communion of saints, the forgiveness of sins, the resurrection of the body, and life everlasting.” They are universal - if you’re a believer, then it means something to you, whether Rome happened to claim it for their own purposes or not. But enough of that.
My title (”This time last year”) reflects something JAnton mentioned to me this evening after the concert. He reminded me that, after Concert Choir’s concert this time last year, I wrote that I was hoping to “sabotage” my audition so I could stay in Concert Choir (read it all here). That, of course, didn’t happen, and I’ve been greatly blessed and grown by being in Chorale and Chamber Singers. I’ve also been duly reminded about the fact that my thoughts are on public record, and however much I meant them at the time, it’s entirely possible I don’t mean them now. But I won’t edit history to sanitize the future. Think of it this way - you can trace my thoughts and how they change through the years.
To all, a good night. I’ll say “hi” to Tampa Bay when I get there tomorrow, if any of you happen to be from around there.