CLASSICAL CHRISTMAS
Heinrich Schütz’ s exceptionally gorgeous Musikalische Exequien( February 28 at St. Mary’ s Seminary, Baltimore) and an electrifying combination of Bernstein’ s Chichester Psalms and Schnittke’ s Requiem( May 9 at St. Mark’ s Lutheran Church, Baltimore).
The choir began with great fanfare in May 1935, performing Handel’ s Messiah at the Lyric Theater. Founded by Katherine Lucke, the first female faculty member at Peabody, the choir has maintained its combination of professional and volunteer singers for nine decades, a mainstay of the Baltimore choral music scene. Under the direction of Maestro Brian Bartoldus since 2017, the choir is proud to perform annually with the Baltimore Symphony Orchestra, and also to offer Baltimore audiences its own season of choral music.
NOTES ON THE PROGRAM
By Jacob Jahiel
Marc-Antoine Charpentier
Born 1643, in or near Paris, France Died February 24, 1704, in Paris, France
PRELUDE FROM TE DEUM, H. 146 [ 1692 ]
Though largely neglected in today’ s concert settings, Marc-Antoine Charpentier was one of the most prolific composers of the French Baroque period, regarded particularly for his contributions to sacred music. Today, he is best known for his Prelude from Te Deum, H. 146,“ Marche en rondeau,” which has heralded the start of Eurovision since its inception in 1956. The tune is also used frequently in programs across the European Broadcasting Union, altogether making it one of the most-heard Baroque works of all time.
Born in Paris but trained in Rome, Charpentier occupied a peculiar place in the musical landscape of 17th-century France. For decades, French Baroque music— prized for its elegance, restraint, and ability to appeal to the intellect— had been positioned as the antithesis of Italian music, with its emphasis on exciting the passions. However, by the time Charpentier returned to France in 1669, musical relations were beginning to thaw between the two nations. He was, therefore, among the first in his generation to incorporate Italian idioms into the French national style.
Charpentier composed six settings of Te Deum, though only four survive.(“ Te Deum” is a Christian hymn dating back to at least 500 A. D., whose incipit,“ Te Deum laudamus,” translates to“ Thee, God, we praise.”) These settings were typically invoked in celebratory contexts, and Charpentier himself considered D major, the key of H. 146’ s“ Marche en rondeau,” to be“ bright and very warlike.” Bright indeed is this Prelude, whose happy fanfare encapsulates a dignified French style while also offering just a tinge of Italianate drama— quintessentially Charpentier, and certainly fit for celebration.
Instrumentation: Two flutes, two oboes, bassoon, three trumpets, timpani, harpsichord, and strings.
Wolfgang Amadeus Mozart
Born January 27, 1756, in Salzburg, Austria Died December 5, 1791, in Vienna, Austria
EXSULTATE, JUBILATE, K. 165( SECOND SALZBURG REVISION) [ 1773, REV. 1780 ]
Wolfgang Amadeus Mozart was just ten days shy of his 17th birthday when his motet, Exsultate, jubilate(“ Exult, rejoice”), first premiered in Milan on January 17, 1773. His opera, Lucio Silla, had enjoyed a reasonably successful month-long run in that city, owed in part to Vananzio Rauzzini, the star castrato singer for whom Mozart would compose his new motet. Unsurprisingly, operatic elements permeate this ostensibly sacred work, which nods also to elements of instrumental solo concerti— in short, a true virtuoso piece.
Two subsequent versions of Exsultate, jubilate were discovered in a parish church outside Salzburg in 1978. The First Salzburg Revision, ca. 1779, was performed in celebration of Trinity Sunday; this Second Revision, completed the following year, was evidently intended for Christmas. The alterations from the original version are primarily textual, though a few musical details also differ, mainly the substitution of flutes in place of oboes.
Exsultate, jubilate comprises four parts. The opening Allegro, in F major, unmistakably resembles an operatic aria, with the vocal soloist( in Mozart’ s time a castrato male, today typically a soprano) navigating dazzling leaps and runs. A short recitative— speech, heightened by music— follows. The slow, lilting Andante turns inward, embracing consolation and peace in sunny A major, until a harmonic sleight-of-hand re-introduces F major and plunges seamlessly into the concluding Allegro. Here, Mozart presents simple melodic statements upon which the vocalist elaborates in long, sumptuous melismas.
Instrumentation: Two flutes, bassoon, two horns, organ, and strings, in addition to solo soprano.
Johann Sebastian Bach
Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig, Germany
SUITE NO. 4 IN D MAJOR, BWV 1069 [ CA. 1724 – 1730 ]
Unquestionably France’ s most significant musical export during the Baroque period was its dance suite, traveling from the gold-adorned palace of Versailles to noble courts throughout Europe. Italy and England soon fashioned their own styles, but in Germany, the French influence reigned supreme.
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