Many thanks to the fine photographers whose work appears on this site...
- Ray Colletti
- Rebecca Levings
- Claire Timm
- Cynthia Valencic
...and many more!
Our Spring Concert...
Peace & Light
Friday, April 27 at 8pm
Faith Presbyterian Church
(corner of John Knox and Meridian roads)
Agnus Dei – from the opera Hegemony by Roger Zahab (b. 1957)
Roger Zahab instigates complex relations through his activities as composer, violinist, conductor, teacher and writer. As a violinist, Zahab has premiered more than a hundred works by such composers as John Cage, Daron Hagen, Gilda Lyons, Steven Mackey, Ursula Mamlok, Eric Moe, J.N. Kwabena Nketia, Dennis Riley, Tison Street, Orianna Webb and Christian Wolff. His version of John Cage's Thirteen Harmonies for violin and keyboard instrument is published by C.F.Peters Corporation.
His conducting repertoire encompasses the history of ensemble music from Guillaume de Machaut up to the present. As conductor of both the Music on the Edge Chamber Orchestra and the Symphony Orchestra at the University of Pittsburgh he explores the increasingly porous boundaries of ensemble music through performances of work by John Cage, Elliott Carter, David Del Tredici, Oliver Knussen, György Ligeti, Gustav Mahler, Carl Nielsen, Mathew Rosenblum, Tison Street, Claude Vivier and Judith Weir.
Zahab was awarded the first Louis Lane Scholarship (given by the Akron Symphony Orchestra) in 1978 and received an Ohio Arts Council Individual Artist Grant in 1995 and an Individual Artist Fellowship in 2005. Zahab has been Director of the Orchestra and instructor at the University of Pittsburgh since 1993 and became a full-time Lecturer in 1999. At home in Akron he helps foster the ideal of communal music-making with the Highland Square Philharmonic, and can be found anywhere in the Entelechron.
Lux Aeterna by Morten Lauridsen (b. 1943)
Morten Lauridsen composed the requiem Lux Aeterna, in 1997, for the Los Angeles Master Chorale. The five movements of Lux Aeterna are based on various references to light from sacred Latin texts: perpetual light, light risen in the darkness, Redeemer-born light from light, light of the Holy Spirit, light of hearts, most blessed light, eternal light — all supporting an earthbound spirit seeking not only mercy, understanding, and consolation but also renewal. Lauridsen writes, “I composed Lux Aeterna in response to my Mother’s final illness and found great personal comfort and solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels—spiritual, artistic, and intellectual.” The consolation for grief offered by Lauridsen's Lux Aeterna has often been compared to Fauré's Requiem and Brahms's Ein Deutsches Requiem, both works inspired by the deaths of the composers' mothers. These works also have in common a deceptive simplicity, yet their capacity to touch the listener reveals mastery at expressing through music the depth of human emotion.
In expressing a human journey to reclaim intimacy with the inner life, Lauridsen integrates echoes from the past, a direct line back thirteen centuries to the codification of plainchant by Pope Gregory; to the first and second Notre Dame schools under Leonin and Perotin; to the paired dialogues that distinguish Josquin's high Renaissance style; to the playfulness of early Baroque counterpoint; to cantus firmus (chant or hymn melodies in long notes) as a Palestrina or Bach might have used them; to the sonorities heard in Brahms' Requiem, and beyond to the 21st century. Lauridsen's choice of ancient texts and the associations that come with them add an important component to this two-way bridge to the past and future.
Lauridsen uses the beginning and ending of the traditional Requiem Mass to open and close Lux Aeterna. The second movement, In Te, Domine, Speravi (Lord, I have hoped in you), opens with a chant from the hymn Herliebster Jesu (Dearest Jesus) published in a 1677 songbook, addressed to the trusted Lord, to whom is directed the gentle plea for mercy. The third movement, O Nata Lux (Oh light born [from light]) is the centerpiece from which all of the other references to light seem to originate. In Veni, Sancte Spiritus (Come, Holy Spirit), voices soar to high notes on both the words lucis (light) and fletu (grief). This pairing creates a connection for all who share the experience of grief. Unison singing at the phrase O lux beatissima (O most blessed light) encourages our hearts with the humble insight necessary to petition on behalf of those we have lost. The final movement, Agnus Dei – Lux Aeterna (Lamb of God, Eternal Light), begins with a long, whispered prayer on behalf of the dead, then swells into full voice on the phrase lux aeterna, and ends with a glorious Alleluia—the angels joyfully summoning the soul to heaven.Lux Aeterna
I. Introitus Réquiem aetérnam dóna éis, Dómine:Rest eternal grant to them, O Lord, et lux perpétua lúceat éis.and let perpetual light shine upon them. Te décet hýmnus Déus in Zíon,A hymn befits thee, O God in Zion, et tíbi redétur vótumand to thee a vow shall be fulfilled in Jerúsalem:in Jerusalem. exáudi oratiónem méam,Hear my prayer, ad te ómnis cáro véniet.for unto thee all flesh shall come. Réquiem aetérnam dóna éis, Dómine:Rest eternal grant to them, O Lord, et lux perpétua lúceat éis.and let perpetual light shine upon them. II. In Te, dómine, Speravi Tu ad liberandum suscepturus hominemTo deliver us, you became human, non horruisti Virginis uterum.and did not disdain the Virgin's womb. Tu devicto mortis aculeo,Having blunted the sting of death, You aperuisti credentibus regna coelorum.opened the Kingdom of heaven to all believers. Exortum est in tenebris lumen rectis.A light has risen in the darkness for the upright. Miserére nostri, DómineHave mercy upon us, O Lord, miserére nostri.have mercy upon us. Fiat misericórdia tua, dómine, super nosLet thy mercy be upon us, O Lord, quemadmodum speravimus in te.as we have trusted in thee. In te dómine, speravi:In thee, O Lord, I have trusted: non confundar in aetérnum.let me never be confounded. III. O Nata Lux O náta lux de lúmine,O born light of light, Jésu redémptor saéculi,Jesus, redeemer of the world, dignáre clémens súpplicummercifully deem worthy and accept láudes préces que súmere.the praises and prayers of your supplicants. Qui cárne quondam cóntegithou who once deigned to be clothed in flesh dignátus es pro pérditis.for the sake of the lost ones. Nos mémbra confér éffici,grant us to be made members túi beáti córporis.of your holy body. IV. Veni, Sancte Spiritus Véni, Sáncte Spíritus,Come, Holy spirit, Et emítte coélitussend forth from heaven Lúcis túae rádium.the ray of thy light Véni, páter páuperum,come, Father of the poor Véni, dátor múnerum,Come, giver of gifts Véni, lúmen córdium.come, light of hearts. Consolátur optime, Dúlcis hóspes ánimae,Thou best of consolers, sweet guest of the soul, Dúlce refrigérium.Sweet refreshment. In lábore réquies,In labor, thou art rest, In áestu tempéries,In heat, the tempering, In flétu solátium.In grief, the consolation. O lux beatíssima,O light most blessed, Réple córdis íntimafill the inmost heart Tuórum fidélium.of all thy faithful Sine túo núminewithout your grace, Nihil est in hómine,there is nothing in us, Nihil est innóxium.Nothing that is not harmful. Láva quod est sórdidum,Cleanse what is sordid, Ríga quod est áridum.moisten what is arid. Sána quod est sáucium.Heal what is hurt. Flécta quod est rígidum,Flex what is rigid, Fóve quod est frígidumfire what is frigid Rége quod est dévium.correct what goes astray. Da úuis fidélibus,Grant to thy faithful, In te confidéntibus,those trusting in thee, Sácrum septenárium.thy sacred seven-fold gifts. Da virtútis méritum,Grant the reward of virtue, Da salútis éxitum,grant the deliverance of salvation, Da perénne gáudium.grant everlasting joy. V. Agnus Dei - Lux Aeterna Agnus Déi,Lamb of God, qui tóllis peccáta múndi,who takest away the sins of the world, dóna éis réquiem.grant them rest. Agnus Déi,Lamb of God, qui tóllis peccáta múndi,who takest away the sins of the world, dóna éis réquiem.grant them rest. Agnus Déi,Lamb of God, qui tóllis peccáta múndi,who takest away the sins of the world, dóna éis réquiem sempitérnam.grant them rest everlasting. Lux aetérna lúceat éis, Dómine:Light eternal shine upon them, O Lord: cum sánctis túis in aetérnum:in the company of thy Saints forever: quia píus es.for thou art merciful. Réquiem aetérnam dóna éis, Dómine,Rest eternal grant to them, O Lord, et lux perpétua lúceat éis.and let perpetual light shine upon them. Alleluia. Amen.
Thou Gracious God, Whose Mercy Lends by Mack Wilberg (b. 1955)
Mack Wilberg is active as a pianist, chamber musician, clinician, composer, arranger, and guest conductor throughout the USA and abroad. He was Professor of Music at BYU, director of the BYU Men's Chorus and the BYU Concert Choir. He was also a member of the American Piano Quartet, for which he has arranged many works. In May 1999 he was appointed Associate Music Director of the Mormon Tabernacle Choir and Music Director of the Temple Square Chorale for The Church of Jesus Christ of Latter-day Saints.
Mack Wilberg's compositions and arrangements are performed and recorded by choral organizations throughout the world. His arrangements and compositions, with their grandeur, energy, and charm, inspire performers and audiences everywhere. In addition to the many compositions he has written for the Mormon Tabernacle Choir, his works have most recently been performed by such artists as Renée Fleming, Frederica von Stade, Bryn Terfel, the King's Singers, Audra McDonald, and narrators Walter Cronkite and Claire Bloom.
or by calling (850) 942-1893.
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