PROGRAM NOTES
Written by Bill Hemminger
Aaron Jay Kernis
Musica Celestis
The second movement of the 1990 string quartet by American composer Aaron Jay Kernis (b. 1960) is titled Musica Celestis, and in that work Kernis strove to evoke the medieval figure of angels singing praises to God without end. At the time, Kernis was turning to more traditional musical forms and sounds in his compositions, and he subsequently extracted that second, ethereal movement and expanded its musical palette to include an entire string orchestra. Musica Celestis now stands on its own in the contemporary orchestral repertoire.
In Kernis’ words his celestial composition “follows a simple, spacious melody and harmonic pattern. . .and is framed by an introduction and coda.” In the piece, the angels’ voices shimmer and glisten in their supernal song. The serene, almost immobile opening gives way to faster sections until the instruments appear to be chasing one another in scalar patterns that keep reaching outward and upward. Then there is a return to the quiet harmonies of the beginning. The angels have been singing for 11 minutes, their voices again become almost imperceptible. Is what remains after the final beat the music of the spheres?
It should come as no surprise that Kernis trained as a violinist, so sensitively does he write for strings. He studied composition at Yale School of Music, San Francisco Conservatory, and Manhattan School of Music. For many years Kernis worked with the St. Paul Chamber Orchestra and has won a Pulitzer Prize for his second string quartet.
Mozart/Süssmayr
Requiem, K.626
It is well known that Mozart’s requiem mass was left unfinished at the time of his death. In fact, much about Mozart and his Requiem is shrouded in mystery, some of which was spawned by the popular Hollywood film Amadeus. Legend has it that a mysterious visitor commissioned the work, though there exists a contract that was signed by Mozart and a very real Franz, Graf von Walsegg-Stuppach (itself a fairly show-stopping name). Then there is the tale that Mozart wrote the work as a sort of musical epitaph for himself. While it is true that Mozart was overworked and ill in those final few months of his life, he was at the height of his musical powers and productivity and, as mentioned above, about to become a father again. Nonetheless, that Mozart was not able to complete the work posed serious problems for his wife Constanze. She desperately needed the funds that the paying of the commission would provide, found a willing student to complete the work, but feared revealing the identity of the man who dared pass himself off as the inimitable Mozart to a knowledgeable musical audience.
Things worked out for Constanze. The Requiem was completed without incident and was first performed in 1792 at a benefit concert for Mozart’s dependents. The student-composer was Franz Xaver Süssmayr, whose life (1776-1803) was even more truncated than Mozart’s. Süssmayr, who had worked closely with Mozart for a few years, had a monumental task in front of him at the very start. At the time of his death, Mozart had completed only the “Introit.” He had made fairly complete sketches of “Kyrie,” “Sequence,” and “Offertorium.” The final three movements did not exist. There was much for the young dévoté to do.
Over the years Süssmayr has come under much criticism for his emendations, yet he had great familiarity with Mozart’s compositional techniques in general and with the “Requiem” in particular, having played through the sketches with the composer. To say the least, Süssmayr did the musical world a service by rendering Mozart’s work performable and whole. For Süssmayr’s detractors it must be noted that the final movement, the “Communion,” repeats Mozart’s settings for the “Introit” and the “Kyrie” with different text. Despite the interpolations, the final, unfinished movement is Mozart’s own music.
Mozart was a devoted Catholic though the writing of a requiem mass has scarcely been limited to Catholics. With its dependence upon contrapuntal techniques, Mozart’s “Requiem” is intentionally retrospective, especially in its frequent quoting of tunes from Handel—for example the theme of the “Kyrie” that recalls “and with His stripes” from Messiah.
I. INTROITUS: REQUIEM
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam ad te omnis care veniet. Requiem aeternam. . .
Give them eternal rest, Lord, and let perpetual light shine on them. You are praised, God, in Sion, and homage will be paid to you in Jerusalem. Hear my prayer: all flesh will come to you. Give them eternal rest, O Lord.
II. KYRIE
Kyrie, eleison; Christe, eleison; Kyrie, eleison.
Lord have mercy on us; Christ have mercy on us; Lord have mercy on us.
III. SEQUENTIA
a. Dies irae
Dies irae, dies illa solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus!
Day of wrath, day of anger—it will dissolve the world to ashes as foretold by David and the Sibyl. There will be great trembling when the judge descends from heaven to examine all things closely.
b. Tuba mirum
Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit. Quid sum miser tunc dicturus? Quem patronum rogaturus, cum vix justus sit securus?
The trumpet will send its wondrous sound throughout earth’s sepulchers and gather all before the throne. Death and nature will be astounded when all creation rises again. A book will be brought forth in which all will be written by which the world will be judged. When the judge takes his place, what is hidden will be revealed, and nothing will remain unavenged. What can a wretch like me say? Who will intercede for me when the just ones need mercy?
c. Rex tremendae
Rex tremendae majestatis, qui salvandos savas gratis, salve me, fons pietatis.
King of tremendous majesty, who freely spares those who are worthy, save me, merciful one.
d. Recordare
Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die. Quaerens me, sedisti lassus, redemisti crucem passus, tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis ante diem rationis. Ingemisco, tamquam reus: culpa rubet vultus meus; supplicanti parce, Deus. Qui Mariam absolvisti et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt dignae sed tu, bonus, fac benigne ne perenni cremer igne. Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra.
Remember, kind Jesus, my salvation caused you suffering: do not forsake me on that day. Faint and weary, you have sought me, redeemed me, even suffered on the cross: may such great effort not be in vain. Righteous judge of vengeance, grant me the gift of absolution before the day of retribution. I cry out as one who is guilty, showing my shame with my reddened face. Suppliant before you, Lord, who absolved Mary and listened to the thief, give me hope as well. My prayers are unworthy, but have mercy, Lord, and rescue me from eternal fire. Provide me a place among the sheep and separate me from the goats, guiding me to your right hand.
e. Confutatis
Confutatis maledictis, flammis acribus addictis, voca me cum benedictus. Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
When the accused are confounded and doomed to flames of woe, call me among the blessed. I kneel with submissive heart. My contrition is like ash, please help me in my final moments.
f. Lacrimosa
Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu Domine, dona eis requiem. Amern.
On that day of tears and mourning when all humanity will arise from the ashes and all people shall be judged, spare us by your mercy, Lord, gentle Lord Jesus. Grant them eternal rest. Amen.
IV. OFFERTORIUM
a. Domine Jesu
Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini ejus.
Lord Jesus Christ, king of glory, liberate the souls of the faithful, departed from the pains of hell and from the bottomless pit. Deliver them from the lion’s mouth lest hell swallow them up, lest they fall into darkness. Let the standard-bearer, holy Michael, bring them into holy light, which was promised to Abraham and to his descendants.
b. Hostias
Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quaram hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.
Lord, we offer you sacrifices and prayers of praise. Receive them on behalf of those souls we commemorate today. And let them, Lord, pass from death to life, which was promised Abraham and his descendants.
V. SANCTUS
Sanctus. Sanctus, Sanctus, Dominus Deus Sabaoth!
Pleni suni coeli et terra gloria tua. Osanna in excelsis.
Holy, holy, holy, Lord God of Sabaoth!
Heaven and earth are full of Thy glory. Hosanna in the highest.
VI. BENEDICTUS
Benedictus qui venit in nomine Domini. Osanna in excelsis.
Blessed is He who cometh in the name of the Lord. Hosanna in the highest.
VII. AGNUS DEI
Agnus dei, qui tollis peccata mundi, dona eis requiem. Agnus dei, qui tollis peccata mundi, dona eis requiem. Agnus dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of god, who takes away the sins of the world, grant them eternal rest.
Lamb of god, who takes away the sins of the world, grant them eternal rest.
Lamb of god, who takes away the sins of the world, grant them rest forever.
VIII. COMMUNIO
a. Lux aerterna
Lux aeterna, lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternum dona eis, Domine, et lux perpetua luceat eis cum sanctus tuis in aeternum, quia pius es.
Let eternal light shine on them, Lord, as with your saints in eternity. Because you are merciful, Lord, grant them eternal rest and let perpetual light shine on them as with your saints in eternity because you are merciful.
Wolfgang Amadeus Mozart
Ave verum corpus, K. 618
Wolfgang Amadeus Mozart (1756-91) wrote Ave verum corpus, one of his most well-known sacred choral works, in the last months of his short life. It was a busy time for even this prolific genius: at the same time he was in the midst of writing his bewitching opera The Magic Flute and his Requiem (and he and Constanze were expecting their sixth child!).
The motet was written for a friend, Anton Stoll, music director of a small local church. And despite the size of the contemporaneous opera and the dramatic seriousness of the mass, Ave verum corpus was short—only 46 measures—and suitable for the small resources at Stoll’s disposal, namely an SATB choir, string instruments, and an organ. At the beginning of the composition performers are given a single musical instruction— “sotto voce” (in a quiet voice)—befitting the work’s modest but manageable scope.