Dvořák Mass in D. William Matthias choral works. Saturday 24th March, 7.30 pm St Peter Mancroft Church, Norwich

Transcription

1 Directed by Jody Butler Organ Ian Tindale Dvořák Mass in D William Matthias choral works Saturday 24th March, 7.30 pm St Peter Mancroft Church, Norwich

2 The music of Czech composer Antonin Dvořák ( ) has an enduring appeal which owes much to its abundance of memorable and heart-warming tunes. Dvořák s love of his native countryside, and of its folk music, was a major inspiration to him, and seems to have fuelled his gift for melodic invention. The Mass in D major, the only of Dvořák s three mass settings to survive, does not disappoint when it comes to the spontaneity and tunefulness for which he is known and loved. The work was commissioned in 1887 by the founder of the Czech Academy of Sciences and Arts, Josef Hlávka. Hlávka wanted a mass for the consecration of a new chapel on his estate at Lužany, and Dvořák responded with his Mass in D major, scored for voices and organ. Some years later, at the request of his London publisher Novello, Dvořák made another version for orchestra, but it is the original work for organ that we are excited to present tonight. Dvořák opens his Kyrie in tranquil mood, with a simple, carefree melody. However, he soon establishes a more solemn feel, appropriate to the text s supplicatory nature. The tension builds and recedes as the music seems to switch between these two states. The melodic material introduced at the Christe eleison has a beseeching quality, and builds towards a fervent a cappella plea, before the return to the Kyrie. Here Dvořák adds a variant to the traditional liturgical text: he concludes with a coda which reintroduces the Christe. The Gloria bursts in with great energy, and an almost militaristic feel. Dvořák s sensitivity to the text is evident at Et in terra pax (and on earth peace), which is given gentle unaccompanied treatment, and again in the beautiful writing of the movement s slower central section. The energy of the opening returns at Quoniam to solus sanctus (for you alone are holy), before the second of the movement s two fugal passages leads to the dramatic Amens. Unlike many settings of the mass, Dvořák does not give the opening line of the Credo to a soloist priest to announce, but rather to the altos, who have a starring role throughout the movement, being for much of it in dialogue with the rest of the choir. Dvořák s treatment of the significant moment in the text Et incarnatus est (and was incarnate), is particularly magical, and there is real drama and pathos in the violence of the Crucifixus section. The Sanctus opens in majestic fashion, but soon becomes unexpectedly hushed. The majesty returns before the excitable setting of heaven and earth are full of your glory leads straight into a very energetic Hosanna. The Benedictus begins with an extended organ solo which Dvořák retained when he rescored the work for orchestra. The voices finally enter softly and simply, the vocal lines evolving to create music of exquisite beauty. This gives way to another rather riotous Hosanna, this time introduced by the tenors. The tenors also sing the touching melody which opens the Agnus Dei. The texture builds as subsequent renderings by the other voices are woven with counter-melodies. The music becomes suddenly more urgent when the altos make an impassioned plea for mercy, miserere nobis (have mercy), followed by the sopranos and then the basses. The tension gives way as the tenors lead into the final prayer for peace, dona nobis pacem (grant us peace). Dvořák uses three-part upper voices to magical affect, before the full choir leads the work to its tranquil conclusion. Mass in D major Op. 86 Antonín Dvořák Kyrie Gloria

3 Credo Sanctus Benedictus Agnus Dei Interval 20 minutes The Welsh composer William Mathias ( ) died twenty years ago, at the early age of fifty- seven. His oeuvre includes chamber music, three symphonies, an opera, a wealth of church music, and a significant contribution to the twentieth century organ repertory. But his significance to musical life in Wales went beyond his work as a composer. Alongside an academic career which led to his appointment as Professor of Music in Bangor, in 1970, Mathias was Founder and Artistic Director of the North Wales Music Festival. His imaginative festival programmes reflected his wide- ranging musical interests and enthusiasms, and the festival continues today, at St Asaph Cathedral, in the grounds of which Mathias is buried. Mathias choral voice is distinctively his own, and yet we hear in it a great number of assimilated influences: the rhythmic freshness of Benjamin Britten s choral writing, the sumptuousness of twentieth- century French sacred music, cluster chords which hint at his interest in jazz, a use of sparse textures which call to mind the vast landscapes of America, and its music (both of which he knew and loved) and the medieval organum (where a melody is paralleled at the fourth or the fifth), of which his music is often strikingly reminiscent, due to his frequent use of fourths. But perhaps the biggest influence on Mathias as a composer of choral music was his Welsh heritage: a world of male- voice choirs and singing competitions, of which he remained proud. Let the people praise thee, O God is a setting of Psalm 67, written for the wedding of Prince Charles to Lady Diana Spencer at St Paul s Cathedral in Its rhythmic energy and fluency are reminiscent of Britten, and the brilliant, independent organ part is no mere accompaniment, but a vital (not to mention technically challenging) feature which adds colour and brightness. In his treatment of God be merciful unto us we hear Mathias masterful ability to change mood: with the simplest of melodic lines and a rocking accompaniment he creates a passage of great tenderness, before the organ mischievously leads us back to a grand treatment of the opening material. The Magnificat and Nunc Dimittis Op. 53 is commonly known as the Jesus College Service as it was commissioned by Jesus College, Cambridge, and was first performed at the service of dedication for a new organ there in It is one of two settings of the evening canticles Mathias made, the other being his St David s Service, written in Mathias rhythmic gift and his skill at writing for the organ are again evident in the Magnificat (Mary s response to the news that she is to bear the Son of God), but are here employed to more urgent effect. From the opening statement (sung by slightly staggered sopranos and altos), Mathias setting has a tension which seems appropriate to Mary s situation. He is also sensitive to the boldness of her utterance, with many lines declaimed by voices in unison at the octave. A frenzied repetition of forever leads to a magical moment in the work: Mathias totally unexpected, simple and yet very rousing treatment of the Gloria. The opening of the Nunc Dimittis is hushed and spare. Reminiscent of organum it has a medieval, and yet at the same time through its clever harmonic shifts, a thoroughly twentieth- century feel. Mathias restates his Gloria, but this time, rather than a striking unison, it is lushly harmonised. As truly as God is our Father, is a setting of words from Revelations of Divine Love, the visionary work of the fourteenth- century mystic, Julian of Norwich. Mathias wrote the anthem for the Festival of the Friends of St Paul s Cathedral, in The irregular time signatures and shifting harmony of the organ introduction immediately evoke a sense of mystery befitting the text and its author. The sustained, often medieval- sounding choral parts build to a climax, before the return of the introductory organ material leads us to a sensitive rendering of Julian s famous words of comfort, All shall be well.

4 Lift up your heads, O ye gates is another psalm setting, this time of verses from Psalm 24. It was commissioned by Oxford University Press in 1973, for their still much- used anthology, Anthems for Choirs, and is Mathias through and through; full of rhythmic verve, sprightly and uplifting! Let the people praise thee, O God Let the people praise thee, O God: yea, let all the people praise thee O let the nations rejoice and be glad,: for thou shalt judge the folk righteously, and govern the nations upon earth. Then shall the earth bring forth her increase: and God, even our own God, shall give us his blessing. God shall bless us: and all the ends of the world shall fear him, God be merciful unto us, and bless us: and shew us the light of his countenance, and be merciful unto us. That thy way may be known earth: thy saving health among all nations. Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen. Magnificat and Nunc Dimittis My soul doth magnify the Lord, and my spirit hath rejoiced in God my Saviour. For he hath regarded the lowliness of his handmaiden. For behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me, and holy is his name. And his mercy is on them that fear him, throughout all generations. He hath showed strength with his arm; he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things, and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel, As he promised to our forefathers, Abraham and his seed, for ever. Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen. Lord, now lettest thou thy servant depart in peace, according to thy word. For mine eyes have seen thy salvation, which thou hast prepared before the face of all people. Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen. As truly as God is our Father As truly as God is our Father, so just as truly is he our Mother. In our Father, God Almighty, we have our being; In our merciful Mother we are remade and restored. Our fragmented lives are knit together. And by giving and yielding ourselves, through grace, to the Holy Spirit we are made whole. It is I, the strength and the goodness Fatherhood. It is I, the wisdom of Motherhood. It is I, the light and grace of holy love. It is I the Trinity, it is I, the unity. I am the sovereign goodness in all things. It is I who teach you to love. It is I who teach you to desire. It is I who am the reward of all true desiring. All shall be well, and all shall be well, and all manner of thing shall be well. Amen.

5 Lift up your heads, O ye gates Lift up your heads, O ye gates, and be ye lift up ye everlasting doors, And the King of glory shall come in. Who is the King of glory? The Lord strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates, and be ye lift up ye everlasting doors, And the King of glory shall come in. Who is the King of glory? The Lord of hosts, he is the King of glory. Viva Voce Singers is a small and friendly Norwich- based chamber choir of around 20 singers and winner of the BBC Radio Norfolk Choir of the Year 2011 competition. The choir has a reputation for high quality performances around Norfolk. The choir's repertoire is varied and extensive, but specialises in Renaissance and contemporary music. The choir gives around five concerts a year and helps to raise money for local charities. It has, to date, raised over In November 2010 the choir raised over 450 for Save the Children to celebrate the 50th anniversary of the Norwich branch. In December 2009 the choir's Christmas concert raised over 700 for Nelson s Journey, and in 2008, 2010 and 2011 similar amounts were raised for the Mancroft Advice Project. In 2006 and 2007 the choir gave two hugely popular Christmas concerts in aid of the Norfolk and Norwich University Hospital s neonatal unit. Sopranos Altos Tenors Basses Val Gourlay Vera Cooke Tony Burton Nick Jackson Antje Hauschild Jocelyn Cooper Peter Furnivall Matthew Jones Victoria Hook Ursula Parry Ed Jarvis Tom Roques Kate Macmillan Gita Prasad Stephen Johnson David Ward Louisa McCarthy Pat Stephenson Libby Morgan Joanna Voelker Ellen Parkinson Claire Virden Clare Walker Emma Woolfenden We are always keen to hear from good singers of all parts. If you are a confident sight- reader, able to commit to Thursday evening rehearsals during term time (in the Golden Triangle area of Norwich), please contact Emma Woolfenden, secretary, emma.woolfenden@gmail.com

6 Saturday 23 June 7.30pm St Peter Mancroft Church, Norwich Come and Sing - A Diamond Jubilee Celebration Programme to include Handel Hallelujah Chorus (Messiah) Handel Zadok the Priest, Parry I was glad Tickets to sing 6 inc scores Audience tickets 6 Singers must book in advance To register interest please emma.woolfenden@googl .com Saturday 7 July 7.30pm All Saints Church, Gresham, Holt Music for a summer evening Tickets available in advance from s.p.furnivall@googl .com or on the door Saturday 24 November 7.30pm St Peter Mancroft Church, Norwich Britten AMDG and other choral works with the Girls Choir and Choral Scholars of St Peter Mancroft Tickets 8 ( 5 concessions) in advance 10 ( 6 concessions) on the door Saturday 22 December 6pm St Peter Mancroft Church, Norwich Family Christmas Concert in aid of MAP Tickets 6 ( 4 concessions) in advance or on the door Saturday 23 March pm St Peter Mancroft Church, Norwich Spring Concert Tickets 8 ( 5 concessions) in advance 10 ( 6 concessions) on the door