Finale Concert - Choir & Organ
Rachel Laurin - organ
The Senior Choir of St. Michael's Choir School
Jerzy Cichocki - conductor
Friday, June 1, 7:30 p.m., Tickets $25
St. James' Cathedral
Corner of King & Church Streets (3 blocks east of Yonge St.)
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Rachel Laurin and the Senior Choir of St. Michael's Choir School present a blended program from two cultures: organ music by francophone composers and choral music by anglophone composers.
I - Allegro
Composed in 1902 and dedicated to his friend the organ builder Charles Mutin, this Symphony is one of the most important from Vierne. This work is constructed in a cyclic structure, such that the two principal themes of the first movement are explored each movement of the symphony. With this symphony, Vierne distinguished himself from Widor. In the Allegro, the two subjects, one rhythmical and the other melodic, are presented separately following the classical “forme-sonate”, and at the end of the piece, the two themes appear simultaneously in the pedal and the manuals in a powerful conclusion.
Ave verum
William Byrd (1543-1623) Ave verum corpus
Hail to the true body, born of the Virgin Mary, which truly suffered on the cross for mankind; and from whose side water flowed with the blood. Grant that we may taste you at the hour of our death. O sweet, loving son of Mary, have mercy on me.
William Byrd was undoubtedly the greatest English composer of his time, fully the equal of his Continental contemporaries Palestrina, Lassus and Victoria. Published in 1605, the incomparable Ave verum is a superb example of the English polyphonic school – it is one of the most sublime, deeply-felt compositions of the late Renaissance.
Colin Mawby (b. 1936) Ave verum corpus
Jesu, Word of God Incarnate, of the Virgin Mary born, on the cross Thy sacred body for us men with nails was torn. Cleanse us, by the blood and water streaming from Thy pierced side; feed us with Thy broken body, now, and in death’s agony. O clement, o sweet Jesu, Son of Mary.
Colin Mawby is a former Master of Music at Westminster Cathedral and now resident in the Republic of Ireland. He describes his own music as "…. approachable. I make great use of sonority and have been much influenced by plainchant. I value the spiritual element in music." Ave verum corpus, premiered in 1989, is an unusually dramatic setting.
(Trois Pièces, Op. 29)
Gabriel Pierné was the successor of César Franck, in 1890, as the organist of Sainte-Clotilde in Paris, where he played until 1898. He was later director of “Colonne concerts” and composed a very eclectic catalogue for piano, organ, chamber and symphonic music, melodies, lyric dramas and opéras-comiques. He died the same year (1937) as Louis Vierne, Charles-Marie Widor, Maurice Ravel, and Albert Roussel, among others. His compositions for organ are not numerous but are nevertheless of great quality. Composed in 1893, the Scherzando de Concert is the last of three pieces including Prélude (I) and Cantilène (II). Dedicated to Alexandre Guilmant, the Scherzando presents the principal subject in the form of a fugato, and in the caracter of a scherzo. The structure is free and explores the principal theme in two very contrasting styles, more rhythmic in the introduction and more melodic in the middle section. This work constitutes a wonderful concert piece where the virtuosity serves the music very beautifully.
Out of the depths
John Edward Ronan* (1894-1962) De profundis
Out of the depths have I cried to you, O Lord: Lord hear my prayer, out of the depths have I cried to you, O Lord. (Ps. 129: 1, 2)
Administrator, teacher, priest, choirmaster and composer, Monsignor John Edward Ronan is best remembered for establishing the first boys' choir at St. Michael's Cathedral in Toronto in 1926, and for founding St. Michael's Choir School in 1937. De profundis dates from 1953.
Tomáš Dušatko* (b. 1952) De profundis
A 1971 St. Michael's Choir School alumnus, Dušatko graduated from the University of Toronto (1976) with a master's degree in Composition. Since then his works which include solo, choral, chamber and orchestral music have been performed and broadcast across Canada, in the USA, Europe and Hong Kong, by major ensembles such as Vancouver New Music, the Calgary Philharmonic, the Victoria Scholars, the Elmer Iseler Singers and the National Arts Centre Orchestra. His works have received wide recognition through a number of awards, including The International New Music Composers Competition (New York) in 1987 for his orchestral work; Traces of Becoming, originally commissioned by Espirit Orchestra and recorded on their first CD release. More recently Dušatko's homage to Mozart, Eine kleine Traummusik, a CBC commission, won the Mozart Bicentennial Competition in Philadelphia in 1991.
De profundis was commissioned by St. Michael's Choir School in 2000 in memory of John Arab (1930-2000), opera singer, teacher and friend to many.
Mr. Dušatko is presently engaged in an opera commission in collaboration with OperaOntario and the Six Nations Writer's Guild tentatively scheduled for production in 2008. As a faculty member Tom is head of the piano, organ, strings and theory department, and teaches music theory and classical guitar.
The composer writes:
‘The great Western tradition of choral music is not one a composer can ignore. “De profundis” pays homage to and revisits that tradition. Embedded in my aural consciousness from my experiences as a choirboy, it has been further filtered through a number of years of compositional activity.
Stylistically, the work explores the irregular phrasing and melismata of chant: the open harmonies, cadences and polylingual treatments found in medieval motets and the textures and modalities of the Renaissance. My aesthetic aim was to achieve a sort of radical simplicity of concentrated expression.'
The text is a free adaptation of Psalm 129 (130). The recurring refrains "hear me/exaudi” and I cry out/clamavi” punctuate what is inherently a dramatic prayer. It is viewed as an intense plea for help that addresses the central issue of the human condition. This is balanced by the redemptive themes of forgiveness, trust and hope. The entire work evolves from the opening statements that continually return in various forms.
Born in 1890, the year of the death of César Franck, Jacques Ibert was part of the circle of the "Groupe des Six", particularly of Arthur Honegger whom he befriended. He was, among other important duties, director of the Opéra de Paris and the Opéra Comique (1955-1957). His organ works include only two titles: Justorum animae in manu Dei sunt (1921) and Trois Pièces (1920). The Musette is the second of this group, and is dedicated to Marcel Dupré. This little piece, in a pastoral atmosphere is reminiscent of the personal style of his orchestral and chamber music, but is surprisingly well adapted to the colours and the idioms of the organ, considering this composer did not play this instrument.
Marcel Dupré (1886-1971 Prelude and Fuguein A Flat Major, Op. 36
Intermission
27 years after the composition of the Three Preludes and Fugues, Op.7, the Three Preludes and Fugues, Op.36 (1938) show the evolution of the harmonic and contrapunctal langage of the composer. The A Flat Major is the second of this opus and presents a very interesting treatment of the two main themes, from the start of the prelude to the end of the fugue. These two contrasting subjects bring the composer to the challenge of a double fugue, worthy of comparison to the great fugues of J.S. Bach.
Two Canadian Choral Classics
Barrie Cabena* (b. 1933) Prayer of St. Francis
Barrie Cabena was born in Melbourne, Australia, where he studied music privately before going to England and the Royal College of Music. His studies there were with Dr. Herbert Howells (composition), Sir John Dykes Bower (organ), Dr. W. S. Lloyd Webber (theory), and Eric Harrison (piano). The recipient of several awards, distinctions and commissions, Professor Cabena recently retired from Wilfred Laurier University, Waterloo, Ontario. His Prayer of St. Francis (Op. 47) was composed in 1970 and is dedicated to the memory of Nona Caldwell.
Mark Sirett* (b. 1952) Thou shalt know him
Mark Sirett is a native of Kingston, Ontario and Artistic Director of the Cantabile Choirs of Kingston, an award-winning multi-choir community organization. He holds both master's and doctoral degrees in choral conducting and pedagogy from the University of Iowa and has taught at the University of Western Ontario and Queen's University. Dr. Sirett is an award-winning composer and arranger and frequently serves as an adjudicator, clinician and guest conductor. Thou shalt know him was written for the Cathedral Church of St. George, Kingston, Ontario.
on a Theme by
Raymond Daveluy, Op. 44
Composed in the fall of 2006, this work was commissioned by organ-builder David Storey of Baltimore (MD). He is responsible for the reinstallation, at St. Bartholomew's Episcopal Church in Baltimore, of the Casavant organ from the Église des Saints-Martyrs-Canadiens in Victoriaville (Qc). This organ was designed by Raymond Daveluy and his teacher Conrad Letendre in the 1950's. With this commission, Storey wished to pay tribute to the original designers of the instrument.
Powerful chords and two large pedal solos give a dramatic tone to the introduction, gradually calming as they lead to the passacaglia theme. In it is heard the main theme of Raymond Daveluy's Fourth Sonata for organ. Composed with the purpose of demonstrating the different sonorities, solo stops and contrasting colours of an instrument, the 21 variations that follow exploit all the riches of the theme. To conclude, the powerful chords of the opening bring back the drama and lead to a triumphant apotheosis.
Through this musical homage, one can see an evocative portrait of the rich personality of Monsieur Daveluy, as well as the reflection of a full artistic life. The somewhat austere pedal solo may be seen to evoke the disciplined and strict pedagogue; the passacaglia and its variations the multiple facets of his brilliant career, and the conclusion the internal strength that has allowed him to overcome great challenges. The official premiere of this piece will take place in Baltimore in the fall of 2007. Tonight's performance is thus a preview!
Lost in wonder, love and praise
Howard Goodall (b. 1958) Love Divine
Almost everyone knows at least one of Howard Goodall's popular TV themes for Blackadder, Mr Bean, Red Dwarf, The Catherine Tate Show, Q.I. or The Vicar of Dibley. This very popular and widely honoured British composer was commissioned by the Choir Schools' Association to write Love Divine to celebrate the new millennium – the year 2000. It was first performed on February 26, 2000 in Oxford by the choir of Christ Church Cathedral and is among the most performed of all contemporary choral works. The composer has set Charles Wesley's text (originally published in 1747) in a contemporary manner
II - Scherzo
IV - Toccata
Of all Raymond Daveluy's organ sonatas, the sixth has the most complex history. The first movement was composed in 1996 and premiered by the composer at St. Joseph's Oratory. In 1998, this movement was revised, and the three other completed. The composer then premiered this complete sonata at the Oratory in the summer of 1998, in the context of the Concerts Spirituels series. This performance was recorded and broadcast by Radio-Canada. Dissatisfied with the two middle movements, Mr. Daveluy undertook a complete revision in 2006, with minor changes to the first movement as well. One could say, therefore, that the evolution of this work straddles the twentieth and twenty-first centuries, and indeed, two millenia! The "new premiere" of the Sixth Sonata was presented last May 4th by Rachel Laurin, at Notre-Dame Cathedral, Ottawa, in the Pro Organo series (RCCO).
One of the particularly interesting characteristics of this piece lies in the fact that the two principle themes set out in the first movement, return in varying forms and rhythms in the three other movements, thus becoming the main themes of the whole work. One could therefore call the piece cyclical, like the composer's Fourth Sonata. Only the fourth movement – the Toccata- has new material for its main theme. The light Scherzo in contrast with the large and massive Toccata played tonight, give a real notion of this monumental organ work.
* Canadian composer