Posts Tagged ‘ Compline ’

Gregor Aichinger (±1565 – 21 January 1628): Ave, Regina Caelorum

0
December 5, 2014

Ave Regina cælorum (Hail Queen of Heaven) is a Marian antiphon, which together with its following versicles and prayers, is traditionally appointed to be said or sung during the Liturgy of the Hours. It's particularly associated  with Compline, the final canonical hour of prayer before going to sleep. It dates from at least the twelfth century and may well be older, nobody really knows. It's probably of monastic origin and as with many such pieces the identity of the text's author is unknown, some people have suggested that Herman Contractus could be the author but I've never seen anyone adduce any evidence to that effect. The basis of the suggestion seems to be "well he wrote Marian antiphons didn't he?" to which I can only reply "ummmmm well yes he did but you need to produce some sort of evidence that he wrote this one". Irrespective of who wrote it it became particularly popular during the late Middle Ages and early Renaissance as a result of the widespread devotion to Our Lady of those times. The great Marian Antiphons and such beautiful folk Christmas Carols as "Maria Durch Ein Gingwald Ging" all spring from this period and its outpouring of love and veneration for Christ's mother.

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Thomas Tallis (±1505-1585): In manus tuas

2
March 28, 2014

Tallis' setting of the Compline respond is quite typical of his Elizabethan Latin Church music, it's beguiling in its simplicity and its beauty. Tallis' solution of what to do with this piece that could not be performed liturgically was elegant – he turned it into a motet.

markfromireland

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John Sheppard (c1515–December 1558): Media Vita

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March 25, 2014

Sheppard's music is not as popular as that of his contemporaries – I think this is a shame as he's right up there alongside his better-known contemporaries Taverner, Tye, White, and even Tallis. If you want to hear Tudor era music of breathtaking beauty and originality then Sheppard's compositions surely fit the bill. Media Vita is his undoubted masterpiece its sheer breadth of phrasing and expressiveness coupled with stunning sonorities and a remarkably deft hand with dissonance always stops me in my tracks. It's been recorded a few times – I think the most recent recording is by Stile Antico, but the recording below was the first and the one I find that I come back to time and time again.

markfromireland

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John Taverner: Gaude plurimum

0
March 1, 2012

To judge from the number of surviving copies of Taverner's Marian Antiphon "Gaude plurimum" – and their wide distribution, Taverner's contemporaries thought very highly of it. Marian antiphons such as this were devotional that is they were intended to be sung outside of (usually after) the Office (service) for which they were written. In this case the antiphon was intended to be sung after Compline, (Compline is the service of evening prayers said (or chanted) before retiring for the night). It's long – a bit under ¼ hour, which presented Taverner with the problem of how to provide both a structure and a sense of direction to the piece. He solved this problem by drawing upon a solution that had become almost traditional amongst Englsih composers, he created a structure by setting contrasting passages scored for scored for two or three voices and passages for five-part choir. This contrast provided the structure and sense of direction needed to keep the lenghty and somewhat unrestrained text under control. His scoring is  very concentrated reserving melismas for the section endings.

It's performed here by The Sixteen conducted by Harry Christophers. Lyrics and a translation to English are below the fold. Enjoy :-).

markfromireland

Source: John Taverner (c1490-1545) Gaude plurimum – YouTube Uploaded by markfromireland on Jan 29, 2012

Lyrics: Gaude plurimum

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Saturday Chorale: Nunc Dimittis (“Tinker, Tailor, Soldier, Spy”) | Burgon

2
May 7, 2011

The canticle "Nunc Dimittis"  is one I'll write about a few times in these postings. It's known variously as the Song of Simeon, the Canticle of Simeon), or most often by the first two words of its Latin translation. In the English speaking world it's sung every day as part of  Compline in the Catholic Church and Evensong in Anglican Churches. While Bach's free variation on the Nunc Dimittis "Ich Habe Genug" is well loved, so famous as to need no introduction, and often sung in the German Lutheran choral tradition following the reception of the Eucharist.

Geoffrey who? If you watched the 1981 British television serialisation of "Brideshead Revisited" then you probably remember Burgon's theme music.

Geoffrey Burgon: Richard Morrison's intoduction to Burgon can be found at this page of Burgon's site and is worth your while reading.

Burgon has also made available on his site a "sound gallery" of his compositions in MP3 format. After you've finished this posting go there as fast as your electronic legs can carry you and sample the musical goodies on offer.

Burgon died on died on September 21stst 2010 his obituary for The Guardian by Terry Jones can be found at this link.

mfi

I've picked two performances of a setting of Nunc Dimittis by the modern English composer Geoffrey Burgon for this posting.

His setting of Nunc Dimittis was commissioned in 1976 by the BBC for their serialisation of  John le Carré's novel "Tinker, Tailor, Soldier, Spy".

The series was very successful as was Burgon's music which made a great impact. As Morrison puts it: "Who would have thought that a boy treble singing a biblical song would make the pop charts? Yet such 'was the brilliance of Burgon's imagination that the 'Nunc Dimittis' that the 'Nunc Dimittis' which ended the show struck a chord in a million hearts." British Cathedrals (or to be more precise British Choirmasters and Choristers)  know good music when they hear it have been singing Burogon's Nunc Dimittis ever since.

The first performance that I've picked is the original. The soloist is the treble Paul Phoenix who at the time was one of the Choristers at Saint Paul's Cathedral, London (he's now the tenor with the King’s Singers). I've chosen Phoenix's perfomance not because it's the original but because Paul Phoenix was one of the best treble singers I've ever had the pleasure of hearing :

Wells: Wells is England's smallest city, and one of its oldest. If you're ever in either Bristol or Yeovil treat yourself to a day trip to Wells. If you arrive earlyish in the morning say before 10 in the morning, and take a nice relaxed pace you'll find plenty to fill the day. There's a lot of medieval architecture including the oldest (1348) continuously inhabited complete medieval street in Europe once you've explored the Cathedral and the City Centre, use one of the "self-guided walks" leaflets from the Tourist Information Centre on Cathedral Green to treat yourself to a pleasant stroll or two.

mfi

The second recording that I've chosen is by the Wells Cathedral Choir. They've been around a while, (the first choirboys sang there in  909) and it's a constant source of amazement to me that they're not far far better known. The thirty six chorister (eighteen boys and eighteen girls) together with the twelve Vicars Choral (adult male choristers) are a world class choir who sing beautifully in what is one of the most spectacularly beautiful Cathedrals in England.

Their performance of Burgon's piece is masterly, whenever I listen to it I enjoy listening to how they've taken Burgon's music and turned it into a tapestry of sound with the bright threads of Catherine Hart's and Frances Henderson's treble solos running through.

Lyrics are between the two videos. Enjoy :-)

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