Programme Notes
Magnificat – Vivaldi
What is now called ‘Baroque’ music emerged around 1580, but reached full flower over a century later: At least a dozen notable Baroque composers were born between 1671 and 1687, including, between 1678 and 1685, a great quartet— Antonio Vivaldi, Georg Philipp Telemann, Johann Sebastian Bach, and George Frideric Handel. Vivaldi, eldest of that foursome, was a sickly child, possibly asthmatic. While he was ordained to the priesthood, he was excused from celebrating mass. He was also an impressive violinist; he was taught by his father, a violinist working for St. Mark’s Cathedral, who toured with him around Venice while he was still a small child. The “Red Priest”— an appellation referring to his red hair— became violin master at a public orphanage, Ospedale della Pieta, in 1703; although he spent much of his time after 1718 traveling in Europe, he remained associated with the Pieta until 1738, and continued composing for them— 140 concerti composed between 1723 and 1733 alone. (His total output exceeds 500 concerti!) He also composed operas, of which at least 50 are known; these had, at best, modest success, but clearly supplied enough for him to live on. He moved to Vienna in 1740, apparently to work for Charles VI, whom he had previously met; however, Charles died shortly after Vivaldi’s arrival, and, with his compositions then falling out of favor, Vivaldi lapsed into poverty and died in July 1741. In its time, his music was known all over Europe. Although they never met, Bach, was an admirer, and transcribed at least three of Vivaldi’s works. Thereafter, Vivaldi’s works almost disappeared until the early 20th Century, when Danish scholar Peter Ryom published a new catalogue of them. The resurgence of interest in Vivaldi may have been stimulated by a 1927 concerto written in the style of Vivaldi by the violinist Fritz Kreisler, who performed it as a ‘Vivaldi original’. Hundreds of Vivaldi works were rediscovered after WWI, including the “Four Seasons” violin concerti, which are arguably Vivaldi’s best-known works today.
“Magnificats” are settings of the song of Mary, Luke 1:46-55, after her visitation by the angel Gabriel. Many are known; especially the settings by Bach, Schubert and Rutter. Two Vivaldi Magnificats are known. Vivaldi also constructed alternative parts for several movements of this version: These alternatives were written as vocal solos to be performed by specific graduates of the Pieta. Our presentation includes one of these, the second movement, Et Exultavit, which Vivaldi intended as a solo for a girl identified as “Apollonia”. Quoting Prof. Clayton Westerman of Hunter College, CUNY, “…Apollonia, mentioned as ’a strong singer’ by J. J. Quantz who heard her in 1726…”. The text is in Latin (except the first movement, Kyrie, in Greek), in accordance with Roman Catholic practice at that time. This Magnificat was written between 1720 and 1735, after Vivaldi left full-time duty at the Pieta; it is less elaborate than such Vivaldi works as his Gloria and has not been as frequently performed. While this text is often associated with Christmas, it belongs, liturgically, with the Feast (or Solemnity) of the Annunciation, which occurs on March 25.
What is now called ‘Baroque’ music emerged around 1580, but reached full flower over a century later: At least a dozen notable Baroque composers were born between 1671 and 1687, including, between 1678 and 1685, a great quartet— Antonio Vivaldi, Georg Philipp Telemann, Johann Sebastian Bach, and George Frideric Handel. Vivaldi, eldest of that foursome, was a sickly child, possibly asthmatic. While he was ordained to the priesthood, he was excused from celebrating mass. He was also an impressive violinist; he was taught by his father, a violinist working for St. Mark’s Cathedral, who toured with him around Venice while he was still a small child. The “Red Priest”— an appellation referring to his red hair— became violin master at a public orphanage, Ospedale della Pieta, in 1703; although he spent much of his time after 1718 traveling in Europe, he remained associated with the Pieta until 1738, and continued composing for them— 140 concerti composed between 1723 and 1733 alone. (His total output exceeds 500 concerti!) He also composed operas, of which at least 50 are known; these had, at best, modest success, but clearly supplied enough for him to live on. He moved to Vienna in 1740, apparently to work for Charles VI, whom he had previously met; however, Charles died shortly after Vivaldi’s arrival, and, with his compositions then falling out of favor, Vivaldi lapsed into poverty and died in July 1741. In its time, his music was known all over Europe. Although they never met, Bach, was an admirer, and transcribed at least three of Vivaldi’s works. Thereafter, Vivaldi’s works almost disappeared until the early 20th Century, when Danish scholar Peter Ryom published a new catalogue of them. The resurgence of interest in Vivaldi may have been stimulated by a 1927 concerto written in the style of Vivaldi by the violinist Fritz Kreisler, who performed it as a ‘Vivaldi original’. Hundreds of Vivaldi works were rediscovered after WWI, including the “Four Seasons” violin concerti, which are arguably Vivaldi’s best-known works today.
“Magnificats” are settings of the song of Mary, Luke 1:46-55, after her visitation by the angel Gabriel. Many are known; especially the settings by Bach, Schubert and Rutter. Two Vivaldi Magnificats are known. Vivaldi also constructed alternative parts for several movements of this version: These alternatives were written as vocal solos to be performed by specific graduates of the Pieta. Our presentation includes one of these, the second movement, Et Exultavit, which Vivaldi intended as a solo for a girl identified as “Apollonia”. Quoting Prof. Clayton Westerman of Hunter College, CUNY, “…Apollonia, mentioned as ’a strong singer’ by J. J. Quantz who heard her in 1726…”. The text is in Latin (except the first movement, Kyrie, in Greek), in accordance with Roman Catholic practice at that time. This Magnificat was written between 1720 and 1735, after Vivaldi left full-time duty at the Pieta; it is less elaborate than such Vivaldi works as his Gloria and has not been as frequently performed. While this text is often associated with Christmas, it belongs, liturgically, with the Feast (or Solemnity) of the Annunciation, which occurs on March 25.
Hear My Prayer - Mendelssohn
"Hear my Prayer" – "a trifle", as he modestly calls it – is one of Mendelssohn's most popular and widely-known choral works. It was written at the request of Mr. William Bartholomew for a series of Concerts given at Crosby Hall, Bishopsgate Street, in the "forties", by Miss Mounsey, who afterwards became Mrs. Bartholomew. The work was first performed at Crosby Hall on January 8, 1845, with Miss Mounsey at the organ, and was published in the same year by Messrs. Ewer and Co…
The title-page of the autograph score, which is in Mendelssohn’s usual neat handwriting, states: "A sacred Solo, for a Soprano and Chorus, with Organ accompaniment, composed for W. Bartholomew, Esq., by Felix Mendelssohn Bartholdy." In the letter to Mr. Bartholomew which accompanied the MS. (also at Kensington), dated "Berlin, 31 Jan., 1844," and written in English, Mendelssohn says: "I have only to observe that the bass of the organ accompaniment is always meant to be play'd either with the pedals, or with the lower octave in the left hand which I never wrote in it." Thus the work was originally written with organ accompaniment only; but Mendelssohn subsequently scored it at the request of Mr. Joseph Robinson, of Dublin.
Timeline
10 Nov 1843Bartholomew writes to the composer requesting "one or two sacred solos with an organ accompaniment for some concerts we are to give at Crosby Hall, a renovated Gothic Structure which was once the palace of Richard the Third". The texts submitted were Judges 16: 23–31 (the ‘Death Prayer of Samson’) and a version of the opening of Psalm 55. The latter text was accepted by Mendelssohn, and this became Hear my prayer.
13 Dec 1843Mendelssohn asks his english editor Buxton to thank Bartholomew and announces completion for beginning of 1844.
Jan 1844Work completed. Original score of 25 Jan 1844 seems to be entitled "Hör mein Rufen" instead of "Hör mein Bitten". It is assumed that the German translation was made by Mendelssohn himself (see Foreword of CARUS edition by R. Larry Todd).
Jan 1845At the first performance of ‘Hear my prayer’, Ann Mounsey played the organ accompaniment on the new organ by Henry Cephas Lincoln, and the soprano solo was sung by Elizabeth Rainforth, a well-known stage singer; according to a review of the performance published in Musical World, neither the soloist nor the chorus were ‘thoroughly at home’ and the new organ also met with little enthusiasm. (The modern-day popularity of the work stems from the recording made in 1927 by boy soprano Ernest Lough which became EMI’s first million-selling classical recording.)
1845English version publised in London by Ewer; German version published in Berlin by Bote & Bock.
1847Early in 1847, ‘Hear my prayer’ was rescored by Mendelssohn with orchestral accompaniment. Mendelssohn did not live to see in print the latter version.
"Hear my Prayer" – "a trifle", as he modestly calls it – is one of Mendelssohn's most popular and widely-known choral works. It was written at the request of Mr. William Bartholomew for a series of Concerts given at Crosby Hall, Bishopsgate Street, in the "forties", by Miss Mounsey, who afterwards became Mrs. Bartholomew. The work was first performed at Crosby Hall on January 8, 1845, with Miss Mounsey at the organ, and was published in the same year by Messrs. Ewer and Co…
The title-page of the autograph score, which is in Mendelssohn’s usual neat handwriting, states: "A sacred Solo, for a Soprano and Chorus, with Organ accompaniment, composed for W. Bartholomew, Esq., by Felix Mendelssohn Bartholdy." In the letter to Mr. Bartholomew which accompanied the MS. (also at Kensington), dated "Berlin, 31 Jan., 1844," and written in English, Mendelssohn says: "I have only to observe that the bass of the organ accompaniment is always meant to be play'd either with the pedals, or with the lower octave in the left hand which I never wrote in it." Thus the work was originally written with organ accompaniment only; but Mendelssohn subsequently scored it at the request of Mr. Joseph Robinson, of Dublin.
Timeline
10 Nov 1843Bartholomew writes to the composer requesting "one or two sacred solos with an organ accompaniment for some concerts we are to give at Crosby Hall, a renovated Gothic Structure which was once the palace of Richard the Third". The texts submitted were Judges 16: 23–31 (the ‘Death Prayer of Samson’) and a version of the opening of Psalm 55. The latter text was accepted by Mendelssohn, and this became Hear my prayer.
13 Dec 1843Mendelssohn asks his english editor Buxton to thank Bartholomew and announces completion for beginning of 1844.
Jan 1844Work completed. Original score of 25 Jan 1844 seems to be entitled "Hör mein Rufen" instead of "Hör mein Bitten". It is assumed that the German translation was made by Mendelssohn himself (see Foreword of CARUS edition by R. Larry Todd).
Jan 1845At the first performance of ‘Hear my prayer’, Ann Mounsey played the organ accompaniment on the new organ by Henry Cephas Lincoln, and the soprano solo was sung by Elizabeth Rainforth, a well-known stage singer; according to a review of the performance published in Musical World, neither the soloist nor the chorus were ‘thoroughly at home’ and the new organ also met with little enthusiasm. (The modern-day popularity of the work stems from the recording made in 1927 by boy soprano Ernest Lough which became EMI’s first million-selling classical recording.)
1845English version publised in London by Ewer; German version published in Berlin by Bote & Bock.
1847Early in 1847, ‘Hear my prayer’ was rescored by Mendelssohn with orchestral accompaniment. Mendelssohn did not live to see in print the latter version.
Vesperae Solennes de Confessore K.339 - Mozart
Vesperae solennes de Confessore (K.339), or “Solemn Vespers”, was Mozart’s final composition for
the Salzburg Cathedral in 1780, before departing his hometown in search of greater artistic opportunities in Vienna. One of two settings Mozart made of the Vesper service, K.339 was probably intended for the celebration of St. Rupert, (the "confessor" of the title and a patron saint of Salzburg).
The text consists of five Psalms and the Magnificat canticle. Mozart's conservative employer, Archbishop Colloredo, liked his services short, and demanded that musical settings be straightforward with no repetition of the text. Despite these restrictions, Mozart's music abounds in exuberant imagination. Each movement seems an attempt by the composer to overcome Colloredo’s restrictions in a different way. Dixit Dominus is high–energy exposition of the text by the chorus, with limited involvement by the solo quartet. As the opening part of the Vespers, it resembles an operatic overture in atmosphere; The Confitebor increases the involvement of the soloists, with brief opportunities for vocal display. The Laudate Dominum is one of Mozart’s masterpieces––his love of the soprano voice is amply displayed in long, luxurious lines over a simple, guitar–like accompaniment. In the Laudate Pueri, Mozart demonstrates his developing mastery of the counterpoint, writing an antique–style movement that presages his later fugal masterpieces in the Requiem.
Vesperae solennes de Confessore (K.339), or “Solemn Vespers”, was Mozart’s final composition for
the Salzburg Cathedral in 1780, before departing his hometown in search of greater artistic opportunities in Vienna. One of two settings Mozart made of the Vesper service, K.339 was probably intended for the celebration of St. Rupert, (the "confessor" of the title and a patron saint of Salzburg).
The text consists of five Psalms and the Magnificat canticle. Mozart's conservative employer, Archbishop Colloredo, liked his services short, and demanded that musical settings be straightforward with no repetition of the text. Despite these restrictions, Mozart's music abounds in exuberant imagination. Each movement seems an attempt by the composer to overcome Colloredo’s restrictions in a different way. Dixit Dominus is high–energy exposition of the text by the chorus, with limited involvement by the solo quartet. As the opening part of the Vespers, it resembles an operatic overture in atmosphere; The Confitebor increases the involvement of the soloists, with brief opportunities for vocal display. The Laudate Dominum is one of Mozart’s masterpieces––his love of the soprano voice is amply displayed in long, luxurious lines over a simple, guitar–like accompaniment. In the Laudate Pueri, Mozart demonstrates his developing mastery of the counterpoint, writing an antique–style movement that presages his later fugal masterpieces in the Requiem.