Program Notes by Derek Morphy

2019 – December 8, Concert II: Christmas with Brass

One of the most effective and uplifting accompanying forces for Christmas choral music is a brass ensemble, and The Winnipeg Singers have yet again elected to offer their seasonal concert with the Winnipeg Brass Quintet.

It is perhaps ironic that one of the most renowned cathedrals in the world, the magnificent Venetian basilica, St Mark’s, dating back to the 11th century, is currently suffering only the fifth serious flooding in its history. The most notable feature of this famous Byzantine basilica, especially for musicians, is its remarkable acoustic, whereby small vocal and instrumental ensembles can be placed, either in one of the galleries, or in various other locations in the building, and yet can be heard with great balance and clarity.

Perhaps its most prominent maestro di capella was Giovanni Gabrieli, who, together with his uncle Andrea, and later Claudio Monteverdi, developed the distinctive polychoral style that the basilica afforded. Thus, it is there that the bridge between the Italian Renaissance and Baroque composition styles was developed.

The concert opens with Gabrieli’s twelve part Gloria from his Sacrae Symphoniae of 1597, in which music materials are not simply echoed, but developed by successive choral entries. As well, instruments are also an integral part of the performance, and at least one instrument will play with each of the three choirs that will be spatially separated across the sanctuary.

We then hear the first of several compositions by Canadian composers. Eleanor Daley (born 1955) is a prolific composer of choral works, and currently serves as conductor of the choir of Fairlawn United Church in Toronto. Gabriel’s Message, in which the angel tells Mary that “all generations will laud and honour thee”, chugs along gracefully, frequently changing metre, a favorite compositional device of the composer.

In Canada, we claim Healey Willan as one of our own, although he didn’t move to Toronto until he was well into his thirties! His Hodie Christus Natus Est, (Christ is born today) is perhaps one of his best known compositions, and as the text demands, is as joyful as the Gabrieli version which we will hear later. He plays with the metre to match the text, and builds to a thrilling final “Gloria in excelsis Deo. Alleluia.”

After a group of seasonal selections by the Winnipeg Brass Quintet, there follows Gabrieli’s O magnum mysterium, composed a couple of years earlier than the Gloria which opened the concert. It is written for two choirs, the upper SSAB, and the lower ATTB. Sometimes the lower choir is performed by an alto soloist + three brass instruments, but today the piece will be sung a capella in eight parts. As the text suggests, the initial mood is more serene, depicting the fantasy of the animals in the stable marvelling at the miraculous birth of the Christ Child. The mood changes with the celebratory series of Alleluias which conclude the motet.

The text of Lux Aurumque (Light and Gold) depicts angels singing to the infant child in the stable. The brief poem, originally written in English, is by an Edward Esch, whose identity appears to be a deep mystery! American composer Eric Whitacre asked his friend, poet Charles Anthony Silvestri to translate it into Latin. (Perhaps the baby Jesus would understand it better?!) It moves unhurried through the short text. In eight parts with soprano soloist, there is a soaring ethereal serenity to the entire piece.

Another dramatic change to conclude the first half of the concert. In Christmas Joy, Vancouver composer Stephen Chatman (although he was born in Minnesota!) has thrown together an entertaining smorgasbord of familiar Christmas tunes, some secular and playful, some solemn and sacred, interspersed with bright “Noels”. Accompanied by brass and organ, the brilliant complex texture of the writing sometimes obscures the melody; in other instances it is simple and uncomplicated. The work ends with a full-throated fortissimo “Hark the herald angels sing”.

Following the Intermission, we return to Gabrieli, with a completely different version of Hodie Christus Natus Est. Scored for double choir and organ, the piece is brilliant, declamatory and complex in texture. In turn homophonic and polyphonic, Gabrieli plays with metrical stress, so that the music dances along joyfully until the final glorious rallentando.

The audience is then invited to join in the traditional carol O come all ye faithful arranged by the former conductor of the choir of King’s College, Cambridge, Sir David Willcocks.

We will hear three Ave Maria compositions celebrating the Virgin Mary. The women of the choir will sing the intriguing setting by Regina, Saskatchewan composer David MacIntyre. The piece can be mostly brilliant and urgent, or somewhat leisurely and restrained, both approaches completely legitimate. It will be interesting to see the approach taken by the Singers this afternoon.

The Marian hymn Ave Maris Stella can be traced back to at least the ninth century, and its 1976 musical setting by Norwegian composer, Trond Kverno, is a choral gem. Set for double choir, it begins quietly and gradually increases in volume and tempo through two opening sections. The work continues to feature dramatic changes with each verse of the hymn. In later sections, Kverno returns to earlier passages, but alters the voice distribution, before ending with a chanted “Versiculus”, a greeting to the blessed Mary, “full of grace”.

Quebec composer Denis Bédard offers a distinct contrast to the treatment of the Ave Maria text, this time sung by the tenors and basses. Perhaps better known for his organ compositions, and a favorite of organist, Wes Elias, much of Bédard’s work has a distinctive French element. His Ave Maria, composed in 1994, flows gently, although he insists it should be sung “sans lenteur”, without being slow!

Following another group of Brass selections, a further opportunity is given for the audience to exercise their lungs together with the choir, brass and organ in Willcocks’ Joy to the World.

Finally, a somewhat zany version of the “Twelve Days of Christmas” by Toronto born Howard Cable who died in 2016 at the age of 96. It’s a smorgasbord of familiar classical (well, mostly classical!) tunes on a DVD that a Christmas present to a brass player might contain. Cable had a strong connection with Canadian Brass, and this composition was originally dedicated to them. Today, The Winnipeg Brass will joyfully tackle the stylistic contrasts and technical challenges the piece demands. Cable is actually the composer of the final “gift” to the brass players on the twelfth day, the theme of “Hockey Night in Canada”, first heard in 1952.