Brahms’ Two Motets, Op. 74: Sacred Music for A Cappella Choir

In the Old Testament Book of Job, God allows Satan to strip the righteous Job of his family and wealth as a test of his faith. Job cries out in anguish (“Why has light been given to the weary of soul?”), and reflects on existential questions of worldly evil and divine grace. This is the subject of the first of Johannes Brahms’ Two Motets, Op. 74, Warum ist das Licht gegeben den …

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Rachmaninov’s “Rejoice, O Virgin”: Robert Shaw Festival Singers, Tenebrae

Rejoice, O Virgin (Ave Maria) forms the sixth movement of Sergei Rachmaninov’s All-Night Vigil, Op. 37 (also known as the “Vespers”). Scored for a cappella chorus, the All-Night Vigil was composed over the course of two weeks in January and February of 1915. It has been called “the greatest musical achievement of the Russian Orthodox Church.” The monumental liturgical work, completed during the First World War, represents the culmination of a sacred musical tradition …

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Britten’s “Hymn to Saint Cecilia”: VOCES8

Today is Saint Cecilia’s Feast Day on the Roman Catholic calendar. The third century martyr is venerated as the patron of music and musicians. According to legend, despite taking a vow of celibacy, she was forced by her parents to marry a pagan nobleman. She “sang in her heart to the Lord” on her wedding day, illustrating the divine, meditative, and transcendent power of music. Fortuitously, the English composer, Benjamin Britten, was …

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Roxanna Panufnik’s “Celestial Bird”: Ex Cathedra

Roxanna Panufnik (b. 1968) is one of Britain’s most prominent composers. The daughter of the Polish composer and conductor, Andrzej Panufnik, she has written numerous choral works, including Westminster Mass, premiered by London’s Westminster Cathedral Choir; the oratorio, Faithful Journey – a Mass for Poland; and Across the Line of Dreams, a work for two conductors, two choirs, and orchestra, which was premiered by Marin Alsop, Valentina Peleggi, and the Baltimore Symphony Orchestra. …

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Anna Thorvaldsdottir’s “Heyr þú oss himnum á”: An Icelandic Hymn

The music of the Icelandic composer, Anna Thorvaldsdottir (b. 1977), seems to rise out of remote, rugged landscapes bathed in pale Nordic sunlight. Thorvaldsdottir’s Heyr þú oss himnum á (“Hear us in heaven”), written in 2005 for the Skálholt Summer Concert Series, is a setting of four verses from an ancient Icelandic psalm by Olafur á Söndum (1560–1627). Scored for mixed choir, it is a meditative prayer filled with primal open intervals and …

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Henry Cowell’s Hymn and Fuguing Tune No. 10: Early American Strains

Among the twentieth century’s boldest and most innovate musical mavericks was the American composer, Henry Cowell (1897-1965). Cowell’s occasionally riot-inducing experiments included tone clusters (approaching the piano keyboard with arms and fists), graphic notation, polytonality, non-Western modes, and “a complex pitch-rhythm system that correlated the mathematical ratios of the pitches of the overtone series with rhythmic proportions.” (Richard Teitelbaum) Cowell treated the piano as a percussion instrument. Through “prepared piano” techniques, and …

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James MacMillan’s Larghetto for Orchestra: Chorale and Plainchant

In his “constant, restless search for new avenues of expression,” the eminent Scottish composer, Sir James MacMillan (b. 1959), embraces tradition. MacMillan, whose catalogue includes five symphonies, six operas, a handful of concerti, and numerous sacred choral works, cites Scottish folk music and “the timeless truths of Roman Catholicism” among his influences. His Larghetto for Orchestra transforms the orchestra into a series of choirs, with echoes of ancient plainchant and contemplative liturgical …

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