SCUNA history » Concerts » 1977 - October
The A.N.U. Choral Society
presents
mozart
Vesperae Solennes de Confessore
palestrina
Missa Brevis
in the Dining Hall, University House
Friday October 7
Conductor: Brian Hingerty
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Abels Record Centre Manuka
Bougainville St
95 9285
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Now in stock:-
MOZART
Vesperae solennes de Confessore
- Te Kanawa, Bainbridge, Davies, Howell
- London Symphony Orch & Chorus/Davis (Philips 650027)
PALESTRINA
Missa Brevis
- St Johns College Choir (Argo ZRG 690)
- Kings College Choir (HMV SLS 5047)
Abels Record Centre
Bougainville St Manuka 95 9285
programme
1. Missa Brevis | Palestrina |
The Missa Brevis first appeared in Palestrina's Third Book of Masses (1570) and in all probability was written about the year 1558. The thematic origin of this mass is not entirely understood. There are indications that it could be based on a theme from Audi Filia, a mass by Claude Joudimal (1510-1572). There are other indications that it could come from the first notes of the Plainsong Credo I, while many parts of the mass are reminiscent of the plainsong mass Cum Jubilo, especially the Sanctus. Whatever the origin the construction of this mass is masterly from start to finish. It is written for four voices, soprano, alto, tenor, and bass. The Benedictus, however, is for three voices, while the second Angus Dei is for five. Particularly characteristic of Palestrina is the purity of the harmonic style, consisting entirely and without exception of the plain triadal progression. The tonality in modern terms is built around F, its dominant, subdominant and their relative minor keys. The melodic range within individual sections is restricted to a few notes, showing the direct influence of the Gregorian Chant. An important characteristic of Palestrina expressed clearly in this work is the use of frequent tempo changes, which are governed entirely by the changing meaning and significance of the text. Hence there is a far greater feeling of phrase than of beat and rhythm. The striking unity of form which overwhelms the listener reflects very clearly the peace and serenity that Palestrina himself possessed in his faith. It is not known why the mass came to be called Brevis, for it is not any shorter than the usual four part Palestrina mass.
(Laurel Burns)
2. String Quartet in B flat, K 458 | Mozart |
Allegro vivace assai
Menuetto moderato
Adagio
Allegro assai
Mozart's six quartets dedicated to Haydn, of which K458 is the fourth, were written in 1784-5. Mozart had not touched the string quartet since 1773, but inspired by the Op. 33 quartets of his friend and mentor Haydn, he now took up the form with renewed vigour. Despite the fact that he completed four more quartets after the Haydn set, the latter remain perhaps his most polished and complete essay in this purest and most demanding form of chamber music.
The Hunt quartet takes its name from the rousing horn-like theme which begins the first movement. Mozart varies the usual form of the quartet by placing the minuet and its graceful trio second, with the slow movement following. The latter blends calmness and serenity with touches of the sombre. The finale is forthright and vigorous, ending the work on a note of extrovert cheerfulness.
(Mark Hyman)
interval
3. Vesperae Solennes de Confessore | Mozart |
Though not so well known as the Requiem or the Great Mass, the Vesperae Solennes de Confessore is one of Mozart's most important compositions for the church. Composed in 1780, it was to be one of the last works produced by Mozart while still in the service of the Archbishop of Salzburg. Although the identity of the particular saint commemorated is not known, the five psalms presented here are those appointed for Vespers on the Feast of a Confessor. Invariably, the evening service consisted of a number of psalms, a magnificat, a lesson from scripture (a chapter) and a prayer (a collect). The psalms, chapter and collect, with versicles and responses vary according to the day and season and embody a theme appropriate to the saint or occasion being observed. On the other hand the magnificat remains unchanged declaring that the birth of Christ is at the source of every Christian observance.
This work, then, is a setting of the Latin texts of five psalms (110, 1ll, 112, 113, 117) and of the hymn of the Virgin Mary from the Gospel according to St. Luke. Psalms 110 and 111 (Dixit Dominus and Confitebor Tibi) are here given a ceremonial treatment while psalm 112 (Beatus Vir) is much lighter in character. Following these are psalm 113 (Laudate Pueri) which is here given fugal treatment and psalm 117 (Laudate Dominum) expressed in such matchless eloquence that it is often performed separately from the rest of the work. A joyful and grandiose magnificat closes the work.
(Laurel Burns)
the salzburg quartet | ||
Janet Gilby Ben Newsome |
Pauline Griffith Marcus Hartstein |
|
the orchestra | ||
First Violins Janet Gilby Richard Wright |
Second Violins Ben Newsome Pauline Griffith |
|
Harpsichord John Collis |
Cello Nicholas Short |
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the choir | ||
Sopranos Robin Bennet Trudy Rennet Neidra Jennaway* Ruth Leiserson Fiona Smith Janet Spry Val Thomson* Elaine Ramsey Margot Haenke Rosemary Mattingley |
Altos Sue Baldwin John Collis Jane Foster Camilla Webster Annabel Wheeler* Helene Phillips Liz Dartnell |
|
Tenors Richard Dixon* Chris McDermott Philip Thomas* Peter Morris Chris Stevenson Bill Fraser |
Basses Richard Barret Philip Bloomfield David Gibson Gary Hovey Mark Hyman Colin Loughhead Michael Ryan Philip Linford Richard Selth David Olsson |
*Soloists in the Vespers.
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