Program

Welcome

Dear friends:

We are delighted to welcome you to our second concert of the 2024-2025 Season, Byrd: Mass for Five Voices. Our performance tonight is somewhat atypical for Lux: most pieces are set for one soprano, one alto, two tenors, and one bass. This setup is designed to align with the vocal forces required for William Byrd’s Mass for Five Voices, the finale of our program.

Renaissance music places unusual demands on performers and performing arts organizations. On the one hand, we strive to meet and exceed the significant performance expectations set by our composers, whose works are shaped by cultures, places, and times vastly different from our own. On the other hand, we need to fulfill our contemporary commitments to broadening the artistic canon, a reality embraced by many ensembles in the world of early music.

How should this music be sung? Who should sing it? How do we recover artistic intent from those who lived so long ago? To what extent do we allow that intent to inform today’s performances? It is exactly this critical engagement between past and present that makes tonight's music come alive.

We want to briefly comment on the Mass for Five Voices. One would be hard pressed to name any single polyphonic setting of the Roman rite which is more beloved today than this composition by William Byrd. We invite you to read and hear the text of the mass not simply as a ritual, but as an intimate, masterful reflection on one man’s faith through music.

We want to thank St. Jerome’s parish and Fr. Scott Hahn for graciously hosting us this evening. We also want to thank our donors and volunteers for their unwavering support. Like most performing arts groups in America, we rely on our donors more than any other source of revenue (including ticket sales) to fund our programs. We have many exciting plans for the rest of our 2024-2025 tenth anniversary season, and we need your help to make them happen. If you enjoy tonight’s performance, please consider making a tax-deductible donation to Lux through our website or at the table in the back after the performance. We thank you for your support.

We hope you enjoy tonight’s program, and we look forward to seeing you in the new year for our upcoming performances.

—John Mullan
Program co-creator and member of the Lux Board of Directors

Timeline

Tap/click to jump to relevant notes

Aleotti

Ascendens Christus in altum
Lassus

Ave Maria
Lassus

Benedixisti Domine
Lassus

Deus tu conversus
Lassus

Ad te Domine levavi
Lusitano

Sum servus Domini
Intermission
15 minutes

Nunes Garcia

Introit: Requiem aeternam
Nunes Garcia

Communio: Lux aeterna
Byrd

Mass for Five Voices

Rafaella Aleotti (1570-1646)

Ascendens Christus in altum

About the work

Raffaella Aleotti (c. 1570 – c. 1646) was an Augustinian nun and musician who lived and worked at the San Vito convent in Ferrara, Italy. Ascendens Christus in altum, a motet written for the Feast of the Ascension, was first published in 1593 as part of Aleotti’s collection Sacrae cantiones. Our performance tonight for soprano, alto, two tenors, and bass reflects the flexible practice of Aleotti’s own time. Any of the five parts might have been performed higher or lower by the convent’s musicians to accommodate the performers’ natural ranges.

Text

Ascendens Christus in altum, captivam duxit captivitatem: dedit dona hominibus. Alleluia.

Ephesians 4:8

Translation

Christ, ascending on high, took captivity prisoner: He gave gifts to men. Alleluia.

Orlande de Lassus (1532-1594)

Ave Maria

About the work

Orlande de Lassus (c. 1532 – 1594) is regarded as one of the most significant composers of the late Renaissance. His remarkable career took him from his birthplace in modern-day Belgium to Sicily, Milan, Naples, Rome, Antwerp, and finally Munich. In the following four pieces, Lassus sets the offertory texts for each Sunday in Advent. This setting of the Ave Maria was published posthumously in 1604 by Lassus’s sons along with 515 other motets.

Text

Ave Maria, gratia plena, Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui.

Traditional

Translation

Hail Mary, full of grace, the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb.

Orlande de Lassus (1532-1594)

Benedixisti Domine

About the work

Benedixisti Domine excerpts two verses from Psalm 84. Lassus mastered the art of word painting at an early age, and his vocal compositions represent the epitome of his era’s rhetorical conventions. This motet balances acrobatic, running figures with smooth, sustained lines as called for by the text and by the composer.

Text

Benedixisti, Domine, terram tuam,
avertisti captivitatem Jacob.
Remisisti iniquitatem plebis tuae.

Psalm 84 (85)

Translation

Lord, thou art become gracious unto thy land,
thou hast turned away the captivity of Jacob.
Thou hast forgiven the offense of thy people.

Orlande de Lassus (1532-1594)

Deus tu conversus

About the work

As an innovator, Lassus is perhaps best known today for his harmonic experiments, which pose a challenge to performers and theorists alike. In particular, Lassus’s use of cross relations – the simultaneous or nearly simultaneous sounding of two chromatically altered notes – lends his music an unstable, dynamic quality. Deus tu conversus juxtaposes marcato and legato musical ideas against a rapidly shifting harmonic backdrop.

Text

Deus, tu conversus vivificabis nos, et plebs tua laetabitur in te?
Ostende nobis, Domine, misericordiam tuam, et salutare tuum da nobis.

Psalm 84 (85)

Translation

O God, wilt thou not turn again, and quicken us, that thy people may rejoice in thee?
Show us, O Lord, thy mercy, and grant us thy salvation.

Orlande de Lassus (1532-1594)

Ad te Domine levavi

About the work

Our last motet in this set was published when Lassus was only twenty four. By this time, he had accepted an appointment as Kapellmeister in the court of Albrecht V, Duke of Bavaria. Lassus was himself considered an excellent vocalist as a young man. The beautiful yet demanding passages of this motet certainly reflect his skill as a young composer and may also reflect his abilities as a performer.

Text

Ad te Domine levavi anima meam; Deus meus in te confido, non erubescam.
Delicta juventutis meae et ignorantias meas ne memineris.
Vias tuas Domine demonstra mihi, et semitas tuas edoce me.
Dirige me in veritate tua et doce me quia tu es salvator meus.

Translation

Unto thee, O Lord, will I lift up my soul; my God, I have put my trust in thee, O let me not be confounded.
O remember not the sins and offenses of my youth.
Show me thy ways, O Lord, and teach me thy paths.
Lead me forth in truth and teach me, for you are my salvation.

Vicente Lusitano (1520-1561)

Sum servus Domini

About the work

Vicente Lusitano (c. 1520 – c. 1561) was a Portuguese composer, music theorist, and priest – first Catholic, then Calvinist. Sum servus domini was published in 1551. At the time, Lusitano was employed as a music tutor by the Portuguese ambassador to the Holy See. This fascinating text uses imperial Roman imagery to describe the office of the papacy. Throughout the piece, listen for the refrain announcing the pope’s name, which was left unspecified in the original publication. In 1551, this would have been Julius III. Tonight, we will sing the name Franciscus.

Text

Refrain: Franciscus sacerdos magnus.

Sum servus domini et felix athleta potentis accedo;
et vates haec sacra verba cano.
Respice vaticinor dii sic statuere futurum,
Romani imperii et caput esse tui.
Ad te nam populi vertunt se animisque parati
Iam capiti imponunt iam tria serta tuo.
Pelle ergo ingentes prestantie pectore curas
atque voca hos suplex ad tua vota deos.
Pastor sic Christi nutu qui torquet Olimpum
ac gentes quarum est pectore lucis amor.

Translation

Refrain: Francis, the High Priest.

I am the servant of the Lord and a fortunate champion of the mighty one;
and I come as a seer, singing holy words.
Behold, I bring you tidings of how the gods have decided the future,
assigning you the supreme seat in the Roman Empire.
For the peoples turn to you and, with a ready spirit,
they place on your head a triple wreath.
Shake off from your admirable heart your heavy cares,
and seek the aid of the gods through your prayers.
Thus, you will be the shepherd of Christ, who, as he sees fit, rules both Olympus
and the peoples of the earth whose hearts are imbued with love of the light.

Intermission 15m

Ended

José Maurício Nunes Garcia (1767-1830)

1. Introit: Requiem aeternam

from Missa dos Defuntos

About the work

José Maurício Nunes Garcia (1767 – 1830) was a Brazilian priest and composer of the Classical period. Like many other musicians of his time, Nunes Garcia was raised under adverse circumstances as a poor, mixed-race orphan in eighteenth century Rio de Janeiro. He rose from his humble beginnings to become director of music at the Portuguese royal court. His 1809 Requiem is scored for choir and continuo accompaniment and demonstrates his close study of the music of Mozart and Haydn, among others.

Text

Requiem aeternam dona eis Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion;
et tibi reddetur votum in Jerusalem:
Exaudi orationem meam;
ad te omnis caro veniet.

Traditional

Translation

Eternal rest give unto them, O Lord,
and let perpetual light shine upon them.
A hymn, O God, becometh thee in Zion;
and a vow shall be paid to thee in Jerusalem:
hear my prayer;
all flesh shall come to thee.

José Maurício Nunes Garcia (1767-1830)

8. Communio: Lux aeterna

from Missa dos Defuntos

About the work

Among choral compositions based on the Catholic Requiem mass, the communion text Lux aeterna has often been set as a quiet, meditative reflection. Nunes Garcia’s work uses driving lines which plead for the promise of perpetual light. In between these energetic opening and closing sections, he writes a gentle, serene duet for soprano and alto.

Text

Lux aeterna luceat eis, Domine:
Cum sanctis tuis in aeternum:
quia pius es.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Cum Sanctis tuis in aeternum:
quia pius es.

Traditional

Translation

May eternal light shine upon them, O Lord,
with thy saints for evermore:
for thou art gracious.
Eternal rest give to them, O Lord,
and let perpetual light shine upon them.
With thy saints for evermore,
for thou art gracious.

William Byrd (1540-1623)

Mass for Five Voices

About the work

We close with William Byrd’s (c. 1540 – 1623) Mass for Five Voices. This piece was likely written around 1594 in the reign of Elizabeth I. Byrd privately wrote three settings of the mass in defiance of state suppression of Catholicism. Byrd’s work is written for simple, clandestine worship, with likely one singer to a part. The Mass’s often reserved counterpoint exemplifies this context of private contemplation. However, Byrd’s periodic displays of full, joyous homophony demonstrate his personal conviction in his faith and its survival in a time of persecution.

1. Kyrie

Text

Kyrie eleison. Christe eleison. Kyrie eleison.

Translation

Lord, have mercy. Christ, have mercy. Lord, have mercy.

2. Gloria

Text

Gloria in excelsis Deo
et in terra pax hominibus bonae voluntatis.
Laudamus te,
benedicimus te,
adoramus te,
glorificamus te,
gratias agimus tibi propter magnam gloriam tuam,
Domine Deus, Rex caelestis,
Deus Pater omnipotens.

Domine Fili Unigenite, Iesu Christe,
Domine Deus, Agnus Dei, Filius Patris,
qui tollis peccata mundi,
miserere nobis;
qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.

Quoniam tu solus Sanctus,
tu solus Dominus,
tu solus Altissimus,
Iesu Christe,
cum Sancto Spiritu:
in gloria Dei Patris.
Amen.

Translation

Glory to God in the highest,
and on earth peace to people of good will.
We praise you,
we bless you,
we adore you,
we glorify you,
we give you thanks for your great glory,
Lord God, heavenly King,
O God, almighty Father.

Lord Jesus Christ, Only Begotten Son,
Lord God, Lamb of God, Son of the Father,
you take away the sins of the world,
have mercy on us;
you take away the sins of the world,
receive our prayer;
you are seated at the right hand of the Father,
have mercy on us.

For you alone are the Holy One,
you alone are the Lord,
you alone are the Most High,
Jesus Christ,
with the Holy Spirit,
in the glory of God the Father.
Amen.

3. Credo

Text

Credo in unum Deum,

Patrem omnipotentem,

factorem caeli et terrae,

visibilium omnium et invisibilium.

Et in unum Dominum, Iesum Christum,

Filium Dei unigenitum,

et ex Patre natum ante omnia saecula.

Deum de Deo, lumen de lumine, Deum verum de Deo vero,

genitum, non factum, consubstantialem Patri:

per quem omnia facta sunt.

Qui propter nos homines et propter nostram salutem

descendit de caelis.

Et incarnatus est de Spiritu Sancto ex Maria virgine,
et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato;

passus et sepultus est,

et resurrexit tertia die,
secundum Scripturas,

et ascendit in caelum,
sedet ad dexteram Patris.

Et iterum venturus est cum gloria,

iudicare vivos et mortuos,

cuius regni non erit finis.

Et in Spiritum Sanctum, Dominum et vivificantem:

qui ex Patre Filioque procedit.

Qui cum Patre et Filio simul adoratur et conglorificatur:

qui locutus est per prophetas.

Et unam, sanctam, catholicam et apostolicam Ecclesiam.

Confiteor unum baptisma in remissionem peccatorum.

Et exspecto resurrectionem mortuorum,

et vitam venturi saeculi.

Amen.

Translation

I believe in one God,
the Father almighty,
maker of heaven and earth,
of all things visible and invisible.

I believe in one Lord Jesus Christ,
the Only Begotten Son of God,
born of the Father before all ages.
God from God, Light from Light, true God from true God,
begotten, not made, consubstantial with the Father;
through him all things were made.
For us men and for our salvation
he came down from heaven,
and by the Holy Spirit was incarnate of the Virgin Mary,
and became man.
For our sake he was crucified under Pontius Pilate,
he suffered death and was buried,
and rose again on the third day
in accordance with the Scriptures.
He ascended into heaven
and is seated at the right hand of the Father.
He will come again in glory
to judge the living and the dead
and his kingdom will have no end.

I believe in the Holy Spirit, the Lord, the giver of life,
who proceeds from the Father and the Son,
who with the Father and the Son is adored and glorified,
who has spoken through the prophets.

I believe in one, holy, catholic and apostolic Church.
I confess one baptism for the forgiveness of sins
and I look forward to the resurrection of the dead
and the life of the world to come.

Amen.

4. Sanctus

Text

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.
Pleni sunt cæli et terra gloria tua.
Hosanna in excelsis.

Translation

Holy, Holy, Holy Lord God of Hosts.
Heaven and earth are full of your glory.
Hosanna in the highest.

5. Benedictus

Text

Benedictus qui venit in nomine Domini.
Hosanna in excelsis.

Translation

Blessed is he who comes in the name of the Lord.
Hosanna in the highest.

6. Agnus Dei

Text

Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Translation

Lamb of God, you take away the sins of the world, have mercy on us.
Lamb of God, you take away the sins of the world, grant us peace.

Byrd: Mass for Five Voices

Welcome

Timeline

Ascendens Christus in altum

Ave Maria

Benedixisti Domine

Deus tu conversus

Ad te Domine levavi

Sum servus Domini

Intermission 15m

1. Introit: Requiem aeternam

8. Communio: Lux aeterna

Mass for Five Voices

1. Kyrie

2. Gloria

3. Credo

4. Sanctus

5. Benedictus

6. Agnus Dei

Performers

Soprano

Alto

Tenor

Bass

Donors