The AucklandCatholic Music Schola

directed by Andrew Perkins

http://www.schola.org.nz

A concert of

Sacred Music throughthe Liturgical Year

The Church ofSt John the Baptist

Parnell

2.00pm Sunday28th October 2007

Gregorian chant – Palestrina –Victoria – Perkins – …

Welcome to the Auckland Catholic Music Schola's end-of-year concert for 2007. The works presented in this concert are a selection from those that the Schola has sung liturgically over the course of the past year.

Two texts from the Ordinary of the Mass that are used in the concert are given here for convenient reference:

Gloria in excelsis deo, et in terra pax hominibus bonae voluntatis.Glory to God in the highest, and peace on earth to men of good will.Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. We praise you. We bless you. We adore you. We glorify you. Gratias agimus tibi propter magnam gloriam tuam.We give you thanks for your great glory.Domine Deus, Rex caelestis, Deus Pater omnipotens.Lord God, Heavenly King, Almighty God and Father.Domine Fili unigenite, Jesu Christe.Lord Only-begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris.Lord God, Lamb of God, Son of the Father.Qui tollis peccata mundi, miserere nobis. You take away the sins of the world; have mercy on us.Qui tollis peccata mundi, suscipe deprecationem nostram. You take away the sins of the world; hear our prayer.Qui sedes ad dexteram patris, miserere nobis. You are seated at the right hand of the Father; have mercy on us.Quoniam tu solus sanctus. Tu solus Dominus.For you alone are the Holy One, you alone are the Lord.Tu solus Altissimus, Jesu Christe.You alone are the Most High, Jesus Christ.Cum Sancto Spiritu in gloria Dei Patris. Amen.With the Holy Spirit in the glory of God the Father. Amen.

Agnus Dei qui tollis peccata mundi: miserere nobis.Lamb of God, you take away the sins of the world, have mercy on us.Agnus Dei qui tollis peccata mundi: dona nobis pacem.Lamb of God, you take away the sins of the world, grant us peace.

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Programme notes © 2007 M.J.Collett and Auckland Catholic Music Schola

Advent and ChristmasJ.Redford (c.1486–1547) Rejoice in the Lord alwayGregorian chant Rorate caeliH.L.Hassler (1562–1612) Missa Dixit Maria: Gloria and Agnus DeiA.Perkins Ave Maria

The opening anthem is an extended version of the introit (entrance antiphon) that gives the Third Sunday of Advent its name of Gaudete Sunday. The attribution to Redford is traditional but not certain.

Rejoice in the Lord alway, and again I say, rejoice. Let your softness be known unto all men: the Lord is e'en at hand. Be careful for nothing: but in all prayer and supplication, let your petitions be manifest unto God with giving of thanks. And the peace of God, which passeth all understanding, shall keep your hearts and minds through Christ Jesu. (Philippians 4:4-8)

The antiphon Rorate caeli is the introit for the Fourth Sunday of Advent, and also used several times in the Divine Office during that season. The associated hymn verses are mainly derived from the prophet Isaiah.

Rorate caeli desuper, et nubes pluant iustum. Heavens, drop dew from above, and let the clouds rain the Just One.Ne irascaris Domine, ne ultra memineris iniquitatis: ecce civitas Sancti facta est deserta: Sion deserta facta est: Jerusalem desolata est: domus sanctificationis tuae et gloriae tuae, ubi laudaverunt te patres nostri. Rorate caeli desuper …Peccavimus, et facti sumus tamquam immundus nos, et cecidimus quasi folium universi: et iniquitates nostrae quasi ventus abstulerunt nos: abscondisti faciem tuam a nobis, et allisisti nos in manu iniquitatis nostrae. Rorate caeli desuper …Vide Domine afflictionem populi tui, et mitte quem missurus es: emitte Agnum dominatorem terrae, de Petra deserti ad montem filiae Sion: ut auferat ipse iugum captivitatis nostrae. Rorate caeli desuper …Consolamini, consolamini, popule meus: cito veniet salus tua: quare moerore consumeris, quia innovavit te dolor? Salvabo te, noli timere, ego enim sum Dominus Deus tuus, Sanctus Israel, Redemptor tuus. Rorate caeli desuper …

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Hassler is most familiar today as the original composer of the Passion chorale later used so effectively by J.S.Bach. This Mass setting is based on the composer's own motet Dixit Maria (“Mary said to the angel”).

The gospel for the Fourth Sunday of Advent recounts Mary's visit to her cousin Elizabeth, including Elizabeth's greeting that forms the first half of this familiar Marian prayer.

Ave Maria, gratia plena. Benedicta tu in mulieribus,et benedictus fructus ventris tui, Jesus.Hail Mary, full of grace, the Lord is with thee; blessed art thou among women,and blessed is the fruit of thy womb, JesusSancta Maria, mater Dei, ora pro nobis peccatoribus,nunc et in hora mortis nostrae. Amen.Holy Mary, Mother of God, pray for us sinners,now and at the hour of our death. Amen.

LentG.P.da Palestrina (c.1528–1594) Miserere nostri DominePerkins Psalm 90: Be with me, Lord, …Anon., possibly W.Typp (fl.1408–1438) Agnus Dei de cantu feriali

The opening verses of Psalm 122 (not to be confused with the more famous Miserere, Psalm 50) are the introit for the Second Sunday of Lent.

Miserere nostri Domine, quia multum repleti sumus despectione,Quia multum repleta est anima nostra, opprobrium abundantibus et despectio superbis.Pity us, Lord, we have had more than our share of scorn,of jeers from the complacent and of scorn from the proud. (Psalm 122:3–4)

Psalm 90 was this year's psalm for the First Sunday of Lent. The setting is responsorial, and the audience are invited to join in the unison responses, just as the congregation would liturgically.

The Agnus Dei de cantu feriali is based on the plainchant for the weekdays of Lent, which provides the alto line throughout. It is the earliest polyphonic work in the Schola's current repertoire, from the so-called “Old Hall manuscript”, compiled before or around 1420. The attribution of this particular piece is lost, but the corresponding Sanctus is by William Typp.

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Holy WeekL.Viadana (1560–1627) Adoramus teGregorian chant Crux fidelis–Pange linguaPalestrina Vere languores

The antiphon Adoramus te is particularly associated with the Stations of the Cross, but is appropriate thoughout Holy Week.

Adoramus te Christe, et benedicimus tibi: quia per sanctam crucem tuam et passionem tuam, redemisti mundum. Domine, miserere nobis. We adore you, Christ, and bless you, since though your holy cross and your passion you have redeemed the world. Lord, have mercy on us.

The hymn Pange lingua … proelium with its antiphon Crux fidelis is for the Adoration of the Cross on Good Friday, following on from the Reproaches. The full text has ten verses, of which these are the first three and the last.

Crux fidelis, inter omnes arbor una nobilis:nulla silva talem profert, fronde, flore, germine.Dulce lignum, Dulces clavos, dulce pondus sustinet.Faithful cross, the one noble tree among all;No forest offers such foliage, blossom or fruit.Sweet wood, sweet nails, you bear a sweet weight.Pange lingua, gloriosi proelium certaminis,et super Crucis trophaeo dic triumphum nobilem,qualiter Redemptor orbis immolatus vicerit. Crux fidelis…De parentis protoplasti fraude Factor condolens,quando pomi noxialis morte morsu corruit,ipse lignum tunc notavit, damna ligni ut solveret. Dulce lignum…Hoc opus nostrae salutis ordo depoposcerat,multiformis proditoris ars ut artem falleret,et medelam ferret inde, hostis unde laeserat. Crux fidelis…Sempiterna sit beatae Trinitati gloria, aequa Patri, Filioque; par decus Paraclito: unius Trinique nomen laudet universitas. Venantius Fortunatus (530–609)

Vere languores is originally from the Divine Office for Good Friday, but is also often associated with the Adoration of the Cross.

Vere languores nostros ipse tulit, et dolores nostros ipse portavit:Truly, our failings he has taken upon himself, and our sorrows he has borne;cuius livore sanati sumus. By his wounds we have been saved. Dulce lignum, dulce clavos, dulcia ferens pondera,O sweet wood, O sweet nails that bore this sweet burdenquae sola fuistis digna sustinere Regem coelorum et Dominum. which alone were worthy to support the King of heaven and Lord.

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EastertidePalestrina Haec diesA.Lotti (c.1667–1740) Missa II: Agnus DeiGregorian chant Veni Sancti Spiritus

Haec dies is the gradual (in modern terms, the psalm antiphon) for Easter Sunday itself.

Haec dies quam fecit Dominus: exultemus et laetemur in ea. This is the day the Lord has made, let us rejoice and be glad in it (Psalm 117:24)

The Venetian Antonio Lotti (a contemporary of Vivaldi) was an 18th century master of traditional polyphonic choral composition. The form may be old-fashioned, but the harmonic language is that of his own time.

The final piece in this part of the concert moves forward to the end of the Easter season, with the coming of the Holy Spirit at Pentecost (Whit Sunday). Veni, Sancte Spiritus is one of the few sequences to survive the Tridentine reforms of the mediæval liturgy.

Veni, Sancte Spiritus, et emitte caelitus lucis tuae radium.Come, Holy Spirit, send forth the heavenly radiance of your light.Veni, pater pauperum; veni, dator munerum; veni, lumen cordium.Come, father of the poor, come giver of gifts, come, light of the heart.Consolator optime, dulcis hospes animae, dulce refrigerium. Best comforter, sweet guest of the soul, sweet consolation.In labore requies, in aestu temperies, in fletu solatium.In labour, rest, in heat, temperateness, in tears, solace.O lux beatissima, reple cordis intima tuorum fidelium. O most blessed light, fill the inmost heart of your faithful.Sine tuo numine, nihil est in homine, nihil est innoxium.Without your divine will, there is nothing in man, nothing is harmless.Lava quod est sordidum, riga quod est aridum, sana quod est saucium.Wash what is unclean, water what is dry, heal what is wounded.Flecte quod est rigidum, fove quod est frigidum, rege quod est devium.Bend what is inflexible, warm what is chilled, make right what is wrong.Da tuis fidelibus, in te confidentibus, sacrum septenarium.Give to your faithful, trusting in you, the sevenfold gifts.Da virtutis meritum, da salutis exitum, da perenne gaudium.Give reward to virtue, give salvation at passing, give eternal joy.Amen. Alleluia. Stephen Langton (d.1228)

Interval (approx. 15 minutes)

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A priestly peopleT.L.de Victoria (1548–1611) Ecce sacerdosPerkins Psalm 109: You are a priest for ever …Palestrina Missa Quam pulchra es: Agnus DeiP.Philips (1561–1628) Ave verum

Ecce sacerdos is in origin an antiphon from the Common of Confessors, but is also traditionally sung at the ceremonial entrance of a bishop.

Ecce sacerdos magnus, qui in diebus suis, placuit Deo, et inventus est justus.Behold a great priest, who in his days has pleased God, and has been found righteous. (Ecclesiasticus 44:16)

The setting of Psalm 109 is for the feast of Corpus Christi. The audience is again invited to join in the responses.

Palestrina wrote over a hundred settings of the ordinary of the Mass. This one is based on a motet with a text from the Song of Songs.

The Ave verum by Peter Philips is the only five-part work in this concert, divided sopranos giving a richer musical texture than four parts.

Ave verum corpus, natum de Maria Virgine,vere passum, immolatum in cruce pro homine.Cuius latus perforatum unda fluxit sanguine;esto nobis praegustatum, in mortis examine. O dulcis, O pie, O Jesu fili Mariae, miserere mei.Hail true body, born of the Virgin Mary,truly suffering, offered on the cross for man,from whose pierced side flowed blood and water:be for us a foretaste [of heaven] in the trial of death.O gentle, O holy Jesus, son of Mary, have mercy on me.

The EucharistM.Haydn (1737–1806) O esca viatorumVictoria Pange linguaC.Saint-Saens (1835–1921) Ave verum

Michael Haydn (the younger brother of Joseph Haydn) was perhaps the most important composer of a cappella church music in the late 18th century. This

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charming hymn became so widely popular that some 19th-century hymnbooks ascribe it to 'Trad.' instead of crediting the composer.

O esca viatorum, O panis angelorum, O manna coelitum,Esurientes ciba, dulcedine non priva corda quaerentium.O food of travellers, O bread of angels, O heavenly manna, Feed the hungry, do not deprive seeking hearts of sweetness. O lympha, fons amoris, qui puro Salvatoris e corde profluisTe sitientes pota, haec sola nostra vota, his una sufficis. O springwater, fountain of love, that pours out from the pure heart of Christ, Drink of the thirsty that satisfies all, this alone is our prayer.O Jesu, tuum vultum, quem colimus occultum sub panis specie:Fac, ut remoto velo post libera in caelo cernamus facie.O Jesu, your face that we now reverence hidden in the form of breadLet us see revealed, the veil removed, in the freedom of heaven.

Maintzisch Gesangbuch (1661)

Pange lingua … corporis is today probably the most widely known plainchant hymn. This setting by Victoria makes use of the familiar melody.

Pange lingua gloriosi corporis mysterium, Sanguinisque pretiosi, quem in mundi pretium Fructus ventris generosi, Rex effudit gentium. Sing, my tongue, the Saviour's glory, of his flesh the mystery sing;of the blood, all price exceeding, shed by our immortal King,destined, for the world's redemption, from a noble womb to spring.Tantum ergo Sacramentum veneremur cernui: Et antiquum documentum novo cedat ritui: Praestet fides supplementum sensuum defectui. Down in adoration falling, Lo! the sacred host we hail;Lo! o'er ancient forms departing, newer rites of grace prevail;faith for all defects supplying, where the feeble senses fail.Genitori, Genitoque laus et iubilatio, Salus, honor, virtus quoque sit et benedictio: Procedenti ab utroque compar sit laudatio. To the everlasting Father, and the Son who reigns on high,with the Holy Ghost proceeding forth from each eternally,be salvation, honor, blessing, might and endless majesty.Amen. St Thomas Aquinas (1225-1274), trans. E.Caswell

The text used by Saint-Saens for his setting of the Ave verum differs from that used by Philips only by one minor change of word order, but it occupies a very different harmonic world.

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Creator and protectorC.Monteverdi (1567–1643) Missa a 4: Agnus DeiPerkins Psalm 89: In every age, O Lord, …Trad. arr. Perkins Truly our Father loves us all

Although Monteverdi was a leading figure in the creation of the new homo-phonic style of composition in the early 17th century, his two published Mass settings are both in the older polyphonic style.

The antiphon and verse selection for Psalm 89 are those of the 23rd Sunday in Ordinary Time. An older translation of the same Psalm yielded the well-known hymn O God our help in ages past.

The last piece in this group is a hymn to the Father set to a Bohemian folk melody.

Truly our Father loves us all; surely forgives us, hears our call.Mighty in splendour, loving and tender, truly our Father loves us all.We thank and praise thee for thy love. Hark to thy children, Lord above.Maker of mountains, rivers and fountains, we thank and praise thee for thy love.

The Kingdom of HeavenVictoria O quam gloriosumPerkins Psalm 137: Lord, on the day I called for help …F. Schaller Ascendit Deus

The Magnificat antiphon for the Feast of All Saints provides the text for Victoria's famous motet.

O quam gloriosum est regnum in quo cum Christo gaudent omnes Sancti!Amicti stolis albis sequuntur Agnum, quocumque ierit.O how glorious is the kingdom in which all the saints rejoice with Christ! Clad in robes of white‚ they follow the Lamb wherever he goes.

Psalm 137 is for the 17th Sunday in Ordinary Time.

The concluding work is a German Romantic setting of the offertory for the feast of the Ascension. Note the word painting at “in voce tubae”.

Ascendit Deus in jubilatione, et Dominus in voce tubae. Alleluia. (Ps 46:6)God goes up with shouts of joy, and the Lord with the sound of trumpets.

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About the Schola

The Auckland Catholic Music Schola specialises in the liturgical performance of the traditional music of the church, especially Gregorian chant and Renaissance polyphony. It was founded in late 1995 by former members of St Patrick’s Cathedral Choir, and since Christmas of that year has been based at the Church of St John the Baptist in Parnell. More information about the Schola, including sample recordings and an up-to-date schedule, can be found online at

http://www.schola.org.nz

Schola director Andrew Perkins studied composition with John Rimmer and Douglas Mews Sr at the University of Auckland, completing an MMus(Hons) in 1985. During 1992 he was the Auckland Philharmonia’s Composer In Residence. Several of his major works have been broadcast. He is currently head of the Music Department at Baradene College, and also gives regular guest lectures at the University of Auckland.

Schola Members

Director Andrew Perkins

Guest conductor Masakaza Senda

Soprano (Mary Binney), Bernadette Collins, Wilhelmina Cooper, Agnes Kurniawan, Gloria McGuire

Alto Taniya Erceg, Judy Keestra, Giedre Kligyte, Heather McQueen, Angela Tutu

Tenor Liam Fennell, Keith Giblin, Arie Hoeflak, Masakaza Senda

Bass Warwick Broadhead, Matthew Collett, (Harvey Rush)

Support Gerard Kilpatrick, Peggy Nola

For this performance the Schola has been joined by some recent past members (names in italics); names of current members not present for the concert are parenthesised.

We would like to acknowledge the hospitality and support of St. John’s Parish, and especially to thank its Parish Priest, Monsignor Hackett, for giving us a home and putting up with our foibles over the years, and also for allowing us to use the church for this concert.

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Tomas Luis de Victoria

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Giovanni Pierluigi da Palestrina