This program, titled "Mass Appeal," features the Madison Symphony Chorus, organist Samuel Hutchison, and members of the Madison Symphony Orchestra in a series of three works titled Missa Brevis, settings of the Latin Mass. Masses titled Missa Solemnis ("solemn Mass") were intended for the important feasts of the year were often grandiloquent and lengthy, The Missa Brevis ("short Mass") is usually a more modest piece--the original meaning was specific to the Catholic liturgy, indicating Masses sung on routine Sundays in the year. Since Mozart's time, the term has come to mean a compact setting of the five "Ordinary" movements of the Mass: Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei. We will hear three fine examples of the form--by Kodály, Britten, and Mozart--all performed for the first time by the Madison Symphony Chorus. Our program begins, however, with a bravura showpiece for Mr. Hutchison and the Overture Concert Organ.  (Texts and translations appear at the end of this page.)
 

Jean Langlais (1907-1991)
Hymn of Thanksgiving (Te Deum)

Langlais was one of the great French organist/composers of the 20th century. He studied with Paul Dukas and organist Marcel Dupré at the Paris Conservatoire. Another organ teacher was the great French virtuoso Charles Tournemire--Tournemire was famed for his bold improvisations, and Langlais was himself later hailed in turn as a great improviser. In the 1930s, he began working as a organist at two Paris churches, and in1945, he succeeded Tournemire in one of the most prestigious organ positions in France, the basilica of Saint Clothilde (César Franck had held the same organ bench.) He would remain in this position until his retirement at age 80. Langlais was also known as a fine teacher. He taught music for many years to blind children--he himself was blind from the age of two--at the National Institute for the Young Blind. He was also renowned as a teacher of organ improvisation.

Langlais composed over 250 works, and the vast majority of these are sacred: choral masses and motets, and a huge number of works for organ. Many of his organ works draw on the rich melodic tradition of Gregorian chant, reflecting the composer's deeply-felt religious faith. The work heard this afternoon is a relatively early example, the final movement of his Trois paraphrases grégoriennes of 1933-34. Though it was undoubtedly composed with use in his church positions in mind, Langlais played the premiere of this set at the home of a Parisian music-lover, Madame Suzanne Flersheim. (Several of Paris's wealthiest amateurs had large concert organs in their homes, and Francis Poulenc wrote his organ concerto--heard here last last season--for the salon of another wealthy Parisian patron.) The chant Te Deum was traditionally sung as thanksgiving, and this setting by Langlais clearly maintains that spirit. The Hymne d'actions de graces (Hymn of Thanksgiving) begins in a declarative style, with the chant interwoven with ferocious, gnarly harmonies. A lengthy middle section is more contrapuntal, leading gradually to a forceful chordal conclusion the will use the full sonority of our Overture Concert Organ.
 

Zoltán Kodály (1882-1967)
Missa Brevis

Though Kodály is known today as a music educator and a composer of orchestral music (the Peacock Variations, "Háry János" Suite, and other works), he composed many more works for chorus. This may have reflected Kodály's philosophy of music education, which stressed singing and movement as keys to sparking early interest in music among children. He also saw choral music as a way of fostering music literacy among adults as well. Many of his works for chorus drawn on the tradition of Hungarian folk song--the fruit of his intensive song collecting expeditions with Bartók in the first few decades of the 20th century--but he also draws on influences as wide as Gregorian chant, 16th-century counterpoint, and Debussy. According to his leading biographer, Lazo Eosze, "The energy contained in his choral works is generated from the text, the folk idiom and the composer’s vivid melodic invention."

Kodály originally composed this work in 1942 or 1943 for solo organ, intending it as accompaniment for a "low" Mass, in which the texts are spoken above organ music. The organ accompaniment for such Masses was usually improvised, but in this case, Kodály composed movements that were tied to the structure and meaning of the Ordinary texts. In the winter of 1944-45, he and his wife had taken refuge in the basement of the Opera House in Budapest, as the Soviet army laid siege to the city. He transformed the original organ movements into a more traditional choral setting, giving it the subtitle in tempore belli or "in time of war"--a reference both to Haydn's great Mass of the same name, and to the sound of artillery and gunfire in the streets. The premiere took place in a cloakroom of the Opera House on February 11, 1945, with a small group of opera's soloists, who had also found shelter there, and a harmonium--a small reed-organ. Kodály orchestrated the work a few years later, but it is the 1945 version for organ and chorus that is heard at this program.

In addition to the usual Ordinary movements Kodály adds an Introitus, without text, and a closing Ite missa est. The Introitus, beginning with a dramatic chord, sets a tone that is alternately tragic and melancholy. The male voices at the opening of the Kyrie pick up the same dour melody. The texture lightens with the addition of women at Christe eleison, but the movement closes in same mood as the beginning. The Gloria's opening Et in terra pax is among the most joyous sections of the piece: given the circumstances in 1945, it is hardly surprising that he gave such weight to words promising "peace on earth." There is a brief central duet in a more supplicating mood, but the Gloria closes with a jubilant reprise. The complex and long Credo text allows for a whole series of characters. The opening is quiet and prayerful, but blazes into a sudden fanfare at Deum de Deo. The next panel, beginning at Et incarnatus, is hushed and mysterious, leading to a grand Et resurrexit. The movement ends in mood of exaltation. Sanctus begins with a series of calm, overlapping lines, leading to an understated Osanna in excelsis. Benedictus has a similar shape, beginning with music marked tranquillo, but here the Osanna is more ecstatic. The Agnus begins with a chant from the lowest men's voices that support a series of solos. At dona nobis pacem, Kodály reworks virtually all of the music of the Kyrie. While it is usually a brief chant of dismissal, Kodály's Ite missa est serves to sum up the entire Mass, bringing together melodic references from nearly all of the earlier movements.
 

Benjamin Britten (1913-1976)
Missa Brevis in D

Like Kodály, Britten was connected with choral music through much of career, but in his case, he saw himself as part of the rich British choral tradition. Though Britten was not a product of the British choir school system (and his spirituality was not conventionally Christian), he created a whole series of fine sacred works for English churches, including several pieces for boys' voices. While most British boy choirs had a smooth, angelic tone, the boys of Westminster Cathedral were notable for having a bright, almost harsh sound. Britten heard the choir in early 1959, and wrote to their director George Malcolm that they "...sang with a brilliance and authority that was staggering." Shortly afterwards, over the course of just a few weeks, he produced the Missa Brevis for the group. And Brevis is the operative word: Britten's setting is in five highly concentrated movements, leaving out the lengthy (and for Britten, spiritually troublesome?) Credo. The original setting is for organ and three-part boys' choir, but it is sung here by the women of the Madison Symphony Chorus.

Britten's Kyrie has a simple three-part form. After a sudden sweep from the organ, the choir intones Kyrie eleison, and the passage ends with a series of quiet chords. Britten repeats the same formula for the other two lines of text. The Gloria is the most rhythmically energetic of the movements, beginning with a dancelike idea in 7/8 from the organ. Though the character varies considerably, this ostinato intrudes almost playfully throughout, until the movement comes to surprisingly prayerful conclusion. The short Sanctus presents three concentrated musical ideas in quick succession, before leading directly to the Benedictus, a intertwining duet for two soloists, and a final Osanna. Agnus Dei has a plodding five-note ostinato that continues throughout as the voices sing the text, ending rather mysteriously on repetitions of dona nobis pacem.
 

Wolfgang Amadeus Mozart, (1756-1791)
Missa Brevis in F Major, K.192

Mozart spent most of his early life touring Europe as child prodigy with his father Leopold, looking for a prominent position for the phenomenally talented younger Mozart. By 1773, his years as a Wunderkind were over, however, and the young Mozart returned to Salzburg to serve his father's patron, Archbishop Colleredo. He would spend most of the next eight years in his home town. While this period, spent in provincial Salzburg is often painted as a frustrating time for young Mozart, he was surrounded by good friends, and--particularly in the early years--was astonishingly productive. He must also have enjoyed the role of very big fish in a very small pond! He composed symphonies, concertos, serenades, chamber works and even operas while in the Archbishop's employ, but his official position was that of a church musician. As such, he was expected to produce music for the lavish Catholic ritual of Salzburg Cathedral. The bulk of his surviving sacred music comes from his years in Salzburg: Masses, Litanies, Vespers, and motets. While the Archbishop's tastes were conservative and conventional, Mozart's sacred music--even in supposedly modest forms like the Missa Brevis--is always engaging and brilliant.

The Missa Brevis in F Major--one of seven Missae Breves he composed for Salzburg cathedral--was written in June1774. It is unpretentious in size and scoring, written for chorus, a small string orchestra, and organ continuo. As in many of his Salzburg sacred works, he uses vocal soloists in short solos that are blended seamlessly in the texture of the work. Mozart apparently liked this piece well enough to bring the score along in 1777 when he left on a job-hunting trip to Munich, Mannheim, and Paris. He also reused one of its musical themes--the main four-note idea of the Credo--in the finale of his last symphony, the great Symphony No.41 of 1788.

Mozart uses the outlines of sonata form in the Kyrie, with the orchestral introduction laying out a main theme, and the chorus introducing contrasting the material. The central Christe eleison is a kind of development of these ideas. The opening of the Gloria presents the text in chant-like lines above a restless string background. This texture reappears throughout, with frequent interpolations by the soloists, until a brief concluding fugue at Cum sancto spiritu. The lengthy Credo is intensely contrapuntal throughout. Mozart imposes a unity on this movement by repeating the word Credo ("I believe"), together with its distinctive motive, several times. At Et expecto resurrectionem mortuorum, there is a dramatic pause before a final fugal passage. The movement does not end as expected, with a grand Amen, but with a final hushed statement of Credo. Sanctus is sung in a rather stern manner, but closes with a tiny but exciting Osanna fugue. The Benedictus is carried by the soloists, until there is a reprise of the Osanna fugue. The Agnus begins in a solemn minor key, but this mood is finally broken at dona nobis pacem, a gently dancelike concluding phrase.
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program notes ©2007 by J. Michael Allsen
 

TEXTS and TRANSLATIONS

Kyrie

Kyrie eleison.                  Lord have mercy.
Christe eleison.                Christ have mercy.
Kyrie eleison.                  Lord have mercy.
 

Gloria

Gloria in excelsis Deo          Glory to God in the highest,
et in terra pax hominibus       and on earth, peace towards
bonae voluntatis.               men of good will.
Laudamus te, benedicimus te,    We praise You, we bless You,
adoramus te, glorificamus te.   we adore You, we glorify You.
Gratias agimus tibi propter     We give thanks to You for Your
gloriam  tuam.                  great glory.
Domine Deus, rex coelestis,     Lord God, heavenly king,
Pater omnipotens,               Father almighty,
Domini Fili unigenite,          Lord, the only-begotten Son,
Jesu Christe altissime,         Jesus Christ, the most high,
Domine Deus, Agnus Dei,         Lord God, Lamb of God,
Filius patris.                  Son of the Father.
Qui tollis peccata mundi,       You, who takes away the sins of the
miserere nobis, suscipe         world, have mercy upon us, receive
deprecationem  nostram.         our prayers.
Qui sedes ad dexteram patris,   You, who sits at the right hand of the
miserere nobis.                 Father, have mercy upon us.
Quoniam tu solus sanctus,       For you alone are holy,
tu solus Dominus,               you alone are the Lord,
tu solus altissimus,            you alone are the most high,
Jesu Christe.                   O Jesus Christ.
Cum sancto spiritu in gloria    With the Holy Spirit, in the glory of
Dei  Patris.  Amen.             God the Father.  Amen.
 

Credo (not used by Britten)

Credo in unum Deum,             I believe in one God,
Patrem omnipotem, factorem      Father almighty, maker of
coeli et terrae, visibilium     heaven and earth, and of all things
omnium et invisibilium.         visible and invisible.
Et in unum Dominum              And in one Lord
Jesu Chrisum,                   Jesus Christ,
Filium Dei unigenitum,          the only begotten
et ex Patre                     Son of God, who was
natum ante omnia secula .       begotten by his Father before all worlds.
Deum de Deo, lumen de lumine,   God of God, light of light,
Deum verum de Deo vero,         very God of very God,
genitum, non factum,            begotten, not made,
consubstantialem Patri,         being of one substance with the Father,
per quem omnia facta sunt.      by whom all things were made.
Qui propter nos homines et      Who, for us, and
propter nostram salutem for     our salvation
descendit de coelis.            descended from heaven.
Et incarnatus est de Spiritu    And was incarnate by the Holy
Sancto ex Maria virgine, et     Spirit of the Virgin Mary, and
homo factus est.                was made man.
Crucifixus etiam pro nobis sub  And was also crucified for us under
Pontio Pilato, passus et        Pontius Pilate, suffered,
sepultus est.                   and was buried.
Et resurrexit tertia die        And on the third day, He rose again
secundum scripturas,            according to the Scriptures,
et ascendit in coelum,          and ascended into heaven,
sedet ad dexteram Patris.       and sits on the right hand of the Father.
Et iterum venturus est          And He shall come again,
cum gloria, judicare vivos      with glory, to judge both the living
et mortuos, cujus regni         and the dead, whose kingdom
non eruit finis.                shall have no end.
Et in Spiritum sanctum,         And in the Holy Spirit,
Dominum et vivificantem,        the Lord and giver of life,
qui ex Patre et Filio precedit. Who proceeds from the Father and Son.
Qui cum Patre et Filio simul    Who, with the Father and Son together,
adoratur et  conglorificatur.   is worshipped and glorified,
qui locutus est per Prophetas.  Who spoke by the Prophets.
Et unam sanctam catholicam      And in one holy, catholic,
et  apolstolicam  ecclesiam.    and apostolic Church.
Confiteor unum baptisma         I acknowledge one baptism
in remissionem peccatorum,      for the remission of sins,
Et expecto resurrectionem       And I expect the resurrection
mortuorum, et vitam             of the dead, and the life of
venturi saeculi.  Amen.         the world to come.  Amen.
 

Sanctus and Benedictus

Sanctus, sanctus, sanctus,      Holy, holy, holy,
Dominus Deus Sabaoth,           Lord God of Sabaoth,
pleni sunt coeli et terra       heaven and earth are
gloria ejus.                    filled with His glory.
Osanna in excelsis.             Hosanna in the highest.

Benedictus qui venit            Blessed is he who comes
in nomine Domine.               in the name of the Lord.
Osanna in excelsis.             Hosanna in the highest.
 

Agnus Dei

Agnus Dei, qui tollis           Lamb of God, who takes away the
peccata mundi,                  sins of the world,
miserere nobis.                 have mercy on us.
Agnus Dei, qui tollis           Lamb of God, who takes away the
peccata mundi,                  sins of the world,
miserere nobis.                 have mercy on us.
Agnus Dei, qui tollis           Lamb of God, who takes away the
peccata mundi,                  sins of the world,
Dona nobis pacem.               Grant us peace.
 

Ite missa est (in Kodály only)

Ite, missa est.                 Go, Mass is finished.
Deo gratias.  Amen.             Thanks be to God.  Amen.