NOTES ON THE PROGRAM

SCHUBERT Mass No. 4 in C Major, D.452, Op. 48

Schubert’s Mass in C, D452, was written in 1816. It has a very light orchestration with no violas and optional clarinets and trumpets, giving the whole a light and airy texture. Unusually, the Kyrie belongs primarily to the four soloists, with chorus merely providing punctuation and emphasis. The light classical style is even more pronounced in the Gloria. The homophonic choral writing is underscored by a ‘Mannheim skyrocket’, the rapidly rising scale passage found so commonly in the early symphonic works of the Mannheim school. This musical style possessed an overwhelming energy, exuberance and almost uncontainable excitement. This is Schubert’s style here too some fifty years later.

The Credo, often the most solemn section of the Mass, is almost a dance. The triple time measure at first seems at odds with the metre of the words but what joy it brings to the words ‘creator of heaven and earth, of all things visible and invisible’. Contrast this with the next section, which speaks of the spirit made carnate, and crucifixion, where the harmonic language moves forward in time to wring full sentiment before returning to the joyful, chordal C major declaration that ‘on the third day he was resurrected and ascended into heaven.’

A rather thoughtful start to the Sanctus is another surprise but the solo soprano quickly dispels any doubt with her jubilant ‘Osanna in excelsis’. Schubert is best known for his tunes and so allows the soloist full measure in the Benedictus, which commonly in masses is in a slow duple time as here. This melody is perhaps unusual in its athleticism however. The solo voice has to navigate tricky rising and falling jumps without the least sign of strain or risk spoiling the calm for ‘blessed are they that go in the way of the Lord’. This is followed by a sinuous setting of the Agnus Dei and a final dance-like and precise ‘Dona nobis pacem’ as if to say that eternal bliss is a foregone conclusion. - Program Notes by The Cantate Choir

VIVALDI Magnificat, RV 610

Arguably best known for his cycle of violin concerti Le quattro stagioni (The Four Seasons), Antonio Vivaldi is regarded as one of the finest composers of the Baroque period, and enjoyed widespread fame across Europe in his lifetime. As well as his prolific career as a musician, he was ordained at the age of 25 and gained the nickname Il Prete Rosso (‘the Red Priest’), on account of his red hair. He became master of violin at the Pio Ospedale della Pietà orphanage for girls in 1703; he wrote most of his compositions during the 30 years he was in post, including 140 concerti for the orphanage between 1723 and 1733 alone. Vivaldi’s setting of the Magnificat (a canticle with text taken from Mary’s visitation to Elizabeth) was first written in around 1715 for the Ospedale della Pietà, and revised it again in 1720, making it more suitable for male voices and adding two oboes to the instrumentation. Noted for its conciseness, Vivaldi recognised that it was a work that would be sung regularly, at each Vesper service, which may be a reason for such restrained writing. 

-Program notes by St. Martin in the Fields

FAURÉ Requiem in D minor, Op. 48

Gabriel Fauré, a musical prodigy, displayed exceptional talent from an early age. Recognizing his potential, renowned composer and teacher Louis Niedermeyer accepted him as a pupil. Fauré further honed his skills under the tutelage of Camille Saint-Saëns, who introduced him to the music of Franz Liszt and Richard Wagner. Even as a student, Fauré showcased his talents, publishing his first composition, the piano work titled “Trois romances sans paroles” in 1863.

Throughout his career, Fauré excelled not only as a songwriter but also as a composer in various chamber music forms. His repertoire included over 100 songs, such as “Après un rêve” (c. 1865) and “Les Roses d’Ispahan” (1884), as well as song cycles like “La Bonne Chanson” (1891-92) and “L’Horizon chimérique” (1922). He enriched piano literature with original works, including the renowned 13 nocturnes, 13 barcaroles, and 5 impromptus. Other notable compositions include the “Ballade” for piano and orchestra (1881), two sonatas for violin and piano, the “Berceuse” for violin and piano (1880), and the “Élégie” for cello and piano (1880; arranged for orches- tra, 1896).

Fauré’s Requiem holds a distinct place among compositions of its kind. While works like Verdi’s and Berlioz’s Requiems address death, resurrection, and final judgment in grandiose and theatrical tones, Fauré’s composition offers solace and supplication, provid- ing comfort to mourners rather than emphasizing the magnitude of death. It can even be seen as an invitation to embrace death as the culmination of life’s journey. Fauré deliberately omits the terrifying “Dies irae” and the mighty antiphonal trumpeting of the “Tuba mirum” to focus on pas- sages that serve as prayer and consolation. This approach reflects Fauré’s refined aesthetic sensibilities and agnos- tic beliefs, guiding him towards the more spiritually universal aspects of the Mass.

Fauré began working earnestly on his Requiem in 1886, shortly after his father’s death, and completed it by the end of the following year. 

JOHN RUTTER Gloria

John Rutter’s Gloria was written in 1974 in response to a commission from The Voices of Mel Olson, a concert choir based in the Midwest. It was Mr. Rutter’s first work that was written especially for performance in the United States and he directed the premiere. The division of the work into three movements — respectively proclamatory, prayerful, and joyfully affirmative — corresponds to the divisions in the text. Most of the melodic material derives from a Gregorian chant associated with this text. The music is simple and direct in style, with the instrumentalists playing an important role as equal partners with the voices.

—Louise Luegner Translation of the Latin text:

1. Glory be to God on high, and on earth peace, good will towards men. We praise thee, we bless thee, we wor- ship thee, we glorify thee, we give thanks to thee for thy great glory.

2. O Lord God, heavenly King, God the Father Almighty. O Lord, the only-begotten Son Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, have mercy upon us. Thou that tak- est away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us.

3. For thou only art holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art most high in the glory of God the Father. Amen. (From SF)

JOHN RUTTER Te Deum

John Rutter’s Te Deum was written in 1988 for a service of thanksgiving in Canterbury Cathedral. Liturgical considerations and the spacious acoustics of the great building dictated a brief, straightforward setting of the ancient and inspiring text – not in Latin but, according to Anglican custom, in the lofty, noble translation of the 1662 Book of Common Prayer.

Translation of the Latin “Te Deum” text:

We praise thee, O God: we acknowledge thee to be the Lord. 
All the earth doth worship thee, the Father everlasting. 
To thee all angels cry aloud: the heavens, and all the powers therein. 
To thee Cherubin and Seraphin continually do cry: 
Holy, Holy, Holy, Lord God of Sabaoth; 
heaven and earth are full of the majesty of thy glory. 
The glorious company of the apostles praise thee. 
The goodly fellowship of the prophets praise thee. 
The noble army of martyrs praise thee. 
The holy Church throughout all the world doth acknowledge thee, 
the Father of an infinite majesty. 
Thine honourable, true, and only Son; 
also the Holy Ghost, the Comforter. 
Thou are the King of glory, O Christ. 
Thou art the everlasting Son of the Father. 
When thou tookest upon thee to deliver man, 
thou didst not abhor the Virgin’s womb. 
When thou hadst overcome the sharpness of death, 
thou didst open the kingdom of heaven to all believers. 
Thou sittest at the right hand of God, 
in the glory of the Father. 
We believe that thou shalt come to be our Judge. 
We therefore pray thee, help thy servants, 
whom thou hast redeemed with thy precious blood. 
Make them to be numbered with thy saints, 
in glory everlasting. 
O Lord, save thy people, and bless thine heritage. 
Govern them, and lift them up for ever. 
Day by day we magnify thee; 
and we worship thy Name, 
ever world without end. Vouchsafe, 
O Lord, to keep us this day without sin. 
O Lord, have mercy upon us, 
have mercy upon us. 
O Lord, let thy mercy lighten upon us, 
as our trust is in thee. 
O Lord, in thee have I trusted: 
let me never be confounded.