Tallis Choir Programme – Glories of the German Romantic Era – May 4, 2024

The philosophical movement known as German Romanticism began in the late 18^th century, primarily a reaction against modernity and material prosperity. While its proponents were early admirers of the Enlightenment and the French Revolution with its values of reason, liberty and personal freedom, the German Romanticists soon became disenchanted with the revolution’s violent excesses. They saw it going hand in hand with industrialization, materialism and modernity. Consequently, German Romanticism looked to the past for its value system.

A stronger attachment with nature and an agrarian way of life was associated with a more peaceful time when humanity and the individual were properly valued. Only the past could show the way.

In the Catholic Church, Romanticism was embodied in the Caecilian Movement, which looked to the past in terms of the music of antiquity, particularly the Renaissance. The polyphony of Palestrina and Victoria, especially without instrumental accompaniment, was seen as superior to the more recent offerings of church music that was viewed as being more entertaining and operatic than being a sacred offering.

Pride of place was to be given to unaccompanied music that served the liturgical texts in an unambiguous manner and suppressed all forms of individual musicality. Not surprisingly, the results were less than hoped for, with far too much mediocre music being composed and published.

Tonight’s concert could have been called a celebration of Gabriel Joseph Rheinberger, given that his music constitutes the majority of the programme. Sadly, his music is much less known and performed than it should be. The most prominent work on the concert is his Mass in E flat Major, Cantus Missae, which he wrote in 1878 and dedicated to Pope Leo XIII. Oddly enough, it was written as a rejection of the aims and aspirations of the Caecilian Movement, which by this time had become rigid and stilted. Cantus Missae was so well received that Rheinberger was awarded the Order of St. Gregory, by the Pope, for meritorious service to the Church.

Rheinberger’s rejection of the Caecilians was not so much a rejection of their aims and aspirations as it was a rejection of the results. His mass and the three motets harken back to the work of the great Renaissance masters, as well as Bach, while employing such devices as “word painting”, which was clearly frowned upon by the Caecilians. He uses it to great effect in the Credo at the words, “descendit” and later at “ascendit”.

Johannes Brahms, whose motet Warum ist das licht opens the concert, worked during the middle period of the Romantic Era, spending much of his life in Vienna. Whereas Bruckner and Rheinberger were devout Catholics, Brahms, like Mendelssohn, was a Lutheran. Warum ist das licht uses Biblical texts from Job, the Lamentations of Jeremiah, the Letter of St. James from the New Testament and concludes with a chorale by Martin Luther.

While Brahms was comfortable with adopting contemporary compositional styles, he was still a classicist and as can be seen in this motet, with a structure that closely resembles the music of Bach right down to the use of the Lutheran chorale at the end.

Brahms described the motet as a discussion of the big “Why”, with a very dark opening and the suffering of Job. Moving through the four movements of the work, the mood changes from the desperation of the “big question” to a stoic acceptance and reliance on the God, to the final chorale which in which the fate of all, is in the hands of God, leading to the fulfillment of the promise of eternal life. It is interesting to note that while perhaps not intentional, the chorale concludes in the key of D major, a key used by many composers to express praise, joy and celebration.   Examples include Handel’s Messiah, particularly the Halleluia Chorus, or Beethoven’s Ode to Joy from the Ninth Symphony.

Born in 1809, Felix Mendelssohn was part of the early period of German Romanticism. He took his inspiration from nature and literature, composing in a combination of classical and romantic styles. He was a student of the music of Mozart and Bach. Not surprisingly, it had a pronounced affect on his compositional style. Perhaps more important, he chose to write music that was rewarding for both the performer and the listener. The two works of his heard tonight, Beati mortui, the words coming from the Book of Revelation and Heilig, a German translation of the text of the Sanctus in the Catholic Mass, are clear examples of that desire. Each captures the Heilig.

Although better known for his nine symphonies, Bruckner was throughout his life, a devout Catholic who wrote a significant amount of sacred music, including masses and motets. The three motets heard tonight can be considered masterpieces in their field and in keeping with the demands of the Caecilian Movement, draw their inspiration from composers such as Palestrina. In particular, Os Justi, was written in the Lydian mode (think of the key of F major, but without the B flat) and observed all of the compositional rules of Palestrina’s time.

 

                             Please hold your applause until the end of each half

 

 

************************

Warum ist Licht gegeben, op. 74, #1           Johannes Brahms (1833-1897)

Warum ist Licht gegeben dem Mühseligen, Und das Leben den betrübten Herzen? Warum?
Die des Todes warten und kommt nicht Und grüben ihn wohl aus dem verborgenen; Die sich fast freuen und sind fröhlich, daß sie das Grab bekommen. Warum? Und dem Manne des Weg verborgen ist,
Und Gott vor ihm denselben bedecket? Warum?
Lasset uns unser Herz samt den Händen aufheben zu Gott im Himmel.
Siehe, wir preisen selig, die erduldet haben. Die Geduld Hiob habt ihr gehöret, Und das Ende des Herrn habt ihr gesehen; Denn der Herr ist barmherzig und ein Erbarmer!
Mit Fried und Freud ich fahr dahin, in Gottes willen, getrost ist mir mein Herz und Sinn, sanft und stille. Wie Gott mir verheißen hat, der Tod ist mir Schlaf worden.

Why has light been given to the weary of soul, And life to the troubled hearts? Why?
They who wait for death, and it doesn’t come; They who dig for it even out of secret places; Those who almost rejoice and are happy That they achieve the grave. Why? And to the man whose way is hidden,
And from whom God himself has been concealed? Why?
Let us lift up our hearts, together with our hands, to God in heaven.
Behold, we value them as blessed who have endured. You have heard of the patience of Job, And the Lord’s conclusion you have seen: For the Lord is merciful and has compassion!
With peace and joy I depart in God’s will, My heart and mind are comforted, calm, and quiet. As God had promised me: death has become my sleep.

               Job 3:20-23, Lamentations 3:41, James 5:11, Martin Luther

 

Kyrie – Mass in E flat, Op. 109 ‘Cantus Missae’  Joseph Gabriel Rheinberger (1839-1901)

Kyrie eleison (x3), Christe eleison (x3), Kyrie eleison (x3)

Lord have mercy (x3), Christ have mercy (x3), Lord have mercy (x3)

               Liturgical text

 

Gloria – Mass in E flat, Op. 109 ‘Cantus Missae’       J. G. Rheinberger

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.

Glory be to God on high,and on earth peace, good will towards men. We praise thee, we bless thee,
we worship thee, we glorify thee, we give thanks to thee for thy great glory, 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, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us. 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.

               Liturgical text

 

Three Motets by Anton Bruckner (1824-1896)

Locus Iste (WAB 23)

Locus iste a Deo factus est, inaestimabile sacramentum, irreprehensibilis est.

This place was made by God, a priceless mystery; it is without reproof.

               Gradual – Feast of the Dedication of a Church

Os Justi   (WAB 30)

Os justi meditabitur sapientiam: et lingua ejus loquetur judicium. Lex Dei ejus in corde ipsius: :et non supplantabuntur gressus ejus. Alleluia.

The mouth of the righteous utters wisdom, and his tongue speaks what is just. The law of his God is in his heart: and his feet do not falter. Alleluia

               Gradual for the Feast of a Doctor of the Church, Psalm 36 : 30-31 (Vulgate)

Christus Factus Est   (WAB 11)

Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen.

Christ became obedient for us unto death, even to the death, death on the cross. Therefore God exalted Him and gave Him a name which is above all names.

               Gradual for Palm Sunday, Philipians 2 : 8,9

 

Credo – Mass in E flat, Op. 109 ‘Cantus Missae’                                         J.G. Rheinberger

Credo in unum Deum. Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum 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 judicare vivos et mortuos: Cujus 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 expecto resurrectionem mortuorum Et vitam venturi saeculi. Amen.

I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, Only begotten Son of God, Begotten of his Father before all worlds. God of God, light of light, Very God of very God. Begotten, not made, being of one substance with the Father: by whom all things were made. Who for us men and for our salvation came down from heaven. And was incarnate by the Holy Ghost of the Virgin Mary: And was made man. And was crucified also for us under Pontius Pilate: suffered, and was buried. And the third day He rose again according to the scriptures. And ascended into heaven, and sitteth at the right hand of the Father And He shall come again with glory to judge the living and the dead: His kingdom shall have no end. And (I believe in) the Holy Ghost, Lord and giver of life:
Who proceedeth from the Father and Son. Who with the Father and Son together is worshipped and glorified: Who spake by the Prophets. And in one holy catholic and apostolic church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead And the life of the world to come. Amen.

               Liturgical text

 

                                                                   INTERMISSION

 

Meditabor from Vier Motetten (Opus 133)                                                     J.G. Rheinberger

Meditabor in mandatis tuis, quae dilexi valde: et levabo manus meas ad mandata tua, quae dilexi.

I will meditate on thy commandments, which I have loved exceedingly: and I will lift up my hands to thy commandments, which I have loved.

               Psalm 118 : 47,48a (Vulgate)

 

Heilig Heilig (MWV B47)                                             Felix Mendelssohn (1809-1847)

Heilig, heilig, heilig, ist Gott, der Herr Zebaoth! Alle Lande sind seiner Ehre voll. Hosianna in der Höh’!
Gelobt sei, der da kommt im Namen des Herrn! Hosianna in der Höh’!

Holy, holy, holy is God, the Lord Sabaoth! Ev’ry nation proclaims his glorious praise. Sing Hosanna in the heights.
O blest is he that comes in God’s holy name. Sing Hosanna in the heights.

               Lutheran liturgical text

 

Sanctus, Benedictus, Agnus Dei, Mass in E flat, Op. 109 ‘Cantus Missae’   J.G. Rheinberger

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Hosanna in excelsis.
Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Holy, Holy, Holy Lord God of Sabaoth. Heaven and earth are full of thy glory. Hosanna in the highest.
Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

Agnus Dei qui tollis peccata mundi, miserere nobis. (x2)
Agnus Dei qui tollis peccata mundi, dona nobis pacem.

O Lamb of God that takest away the sins of the world, have mercy upon us. (x2)
O Lamb of God that takest away the sins of the world, grant us Thy Peace.

 

Beati mortui, from Zwei Geistliche Choere (Op.115)Felix Mendelssohn Bartholdy (1809-1847)

Beati mortui in Domino morientes de inceps. Dicit enim spiritus, ut requiescant a laboribus suis et opera illorum sequentuur ipsos.

Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.

               Revelation 14 : 13.

 

Abendlied, Nr. 3 aus Drei geistliche Gesange (op 69)                       J.G. Rheinberger

Bleib bei uns, denn es will Abend werden, und der Tag hat sich geneiget.

Bide with us, for evening shadows darken, and the day will soon be over.

               Luke 24, 29.

 

Laudate Dominum from Vier Motetten, (Op. 133)                           J.G. Rheinberger

Laudate Dominum, quia benignus est: psallite nomini ejus, quoniam suavis est: omnia quaecumque voluit, fecit in coelo et in terra.

Praise ye the Lord, for He is good: sing ye to His Name, for He is sweet: whatsoever He pleased,
He hath done in heaven and in earth.

               Psalm 134 : 3.6