Da Pacem Domine by Gregor Meyer
The Appalling Internet sometimes comes through with a gem. I got onto the women's sextet Sjaella somehow, so I did a search on YouTube to see and hear the kinds of things to which they are up. (This is grammatically correct but somehow doesn't seem quite idiomatic. Let it pass.) I immediately discovered this powerful video of the group performing Gregor Meyer's setting of 'Da pacem Domine'.
I was electrified, and simply had to find the score. I found it in none of the usual places. But I did find reference to its inclusion in a German choral music anthology entitled 'Mitteldeutsches Chorbuch'. A quick trip to abebooks.com (still seated in my armchair) and I located a copy at Blackwell's Books, an iconic store in Oxford. With the magic of rush shipping, the volume (which turns out to contain plenty of cool and compelling music) was in my mailbox within a week. Thus I can now present the piece to you as part of our Friday Motets series.
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It's based upon both the text and the melody of the ancient prayer for peace, 'Da pacem Domine'; upon its adaptation as a German chorale by Martin Luther, 'Verleih uns Frieden gnädiglich'; and upon the beautiful 'Coventry Litany of Reconcilation', which is said at noon each weekday at Coventry Cathedral and in the ruins of its predecessor, bombed during the Second World War.
As you'll see from the attached score, upon which I have inserted a translation of the texts, Meyer's setting is unusual. The first of its three constituent sections features the Latin 'Da pacem' chant, which moves phrase-by-phrase through the voices. (I've underlined these appearances.) The other voices weave a bare harmonic texture around the chant, entering with fragments of the chant text and melody above and below the tune.
The second section is the litany. Its mesmerizing refrain 'Father forgive' alternates with the verses, to be sung by two sopranos, one leading and the other trailing at an unspecified distance. The composer inserts a notice that, at the discretion of the performers, the second of these sopranos turn upstage, thus intensifying the echo effect.
The third section is a 5-part chorale setting of 'Verleih uns Frieden', with the melody in the second soprano. The harmonic language is largely traditional, but with certain added tones and passing tones here and there which diversify and enrich the texture. Over this foundation, the first soprano section--indicated as 'a few singers'--sings the 'Da pacem' chant, providing a sort of second bookend to balance the opening section.
It's all rather easy to explain and (I guess I'd say) transparent. But, as usual, the proof is in the pudding. And in this case the pudding is absolutely magical. Listen to and watch this video of the women's sextet Sjaella performing the piece in the astounding space of the Nikolaikirche in Leipzig. Meanwhile I'll walk down to the Boulangerie on Pine Street and get some things for breakfast.
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OK, I'm back! The pastries are warming in the oven. What did you think? Isn't it amazing? It's not just the piece, which certainly is stunning in its own right. It's the space, it's the acoustics, it's the peerless singing, it's the utter involvement of the singers, who don and embody the music and make it their own--and our own--in an unforgettable way.
This is how music enters into our hearts--through the ministrations of the composer, of course, but equally through the efforts and talents and the utter involvement of the performers. They are our spirit guides through the wonders and powers of the music and its message.
-----
Enjoy your weekend--we're attending a wildlife conservation event all day today--it's truly inspiring to see and hear and meet people from all over the world who are striving to save endangered creatures--gives us hope, something we all need in these our times--
The Appalling Internet sometimes comes through with a gem. I got onto the women's sextet Sjaella somehow, so I did a search on YouTube to see and hear the kinds of things to which they are up. (This is grammatically correct but somehow doesn't seem quite idiomatic. Let it pass.) I immediately discovered this powerful video of the group performing Gregor Meyer's setting of 'Da pacem Domine'.
I was electrified, and simply had to find the score. I found it in none of the usual places. But I did find reference to its inclusion in a German choral music anthology entitled 'Mitteldeutsches Chorbuch'. A quick trip to abebooks.com (still seated in my armchair) and I located a copy at Blackwell's Books, an iconic store in Oxford. With the magic of rush shipping, the volume (which turns out to contain plenty of cool and compelling music) was in my mailbox within a week. Thus I can now present the piece to you as part of our Friday Motets series.
-----
It's based upon both the text and the melody of the ancient prayer for peace, 'Da pacem Domine'; upon its adaptation as a German chorale by Martin Luther, 'Verleih uns Frieden gnädiglich'; and upon the beautiful 'Coventry Litany of Reconcilation', which is said at noon each weekday at Coventry Cathedral and in the ruins of its predecessor, bombed during the Second World War.
As you'll see from the attached score, upon which I have inserted a translation of the texts, Meyer's setting is unusual. The first of its three constituent sections features the Latin 'Da pacem' chant, which moves phrase-by-phrase through the voices. (I've underlined these appearances.) The other voices weave a bare harmonic texture around the chant, entering with fragments of the chant text and melody above and below the tune.
The second section is the litany. Its mesmerizing refrain 'Father forgive' alternates with the verses, to be sung by two sopranos, one leading and the other trailing at an unspecified distance. The composer inserts a notice that, at the discretion of the performers, the second of these sopranos turn upstage, thus intensifying the echo effect.
The third section is a 5-part chorale setting of 'Verleih uns Frieden', with the melody in the second soprano. The harmonic language is largely traditional, but with certain added tones and passing tones here and there which diversify and enrich the texture. Over this foundation, the first soprano section--indicated as 'a few singers'--sings the 'Da pacem' chant, providing a sort of second bookend to balance the opening section.
It's all rather easy to explain and (I guess I'd say) transparent. But, as usual, the proof is in the pudding. And in this case the pudding is absolutely magical. Listen to and watch this video of the women's sextet Sjaella performing the piece in the astounding space of the Nikolaikirche in Leipzig. Meanwhile I'll walk down to the Boulangerie on Pine Street and get some things for breakfast.
-----
OK, I'm back! The pastries are warming in the oven. What did you think? Isn't it amazing? It's not just the piece, which certainly is stunning in its own right. It's the space, it's the acoustics, it's the peerless singing, it's the utter involvement of the singers, who don and embody the music and make it their own--and our own--in an unforgettable way.
This is how music enters into our hearts--through the ministrations of the composer, of course, but equally through the efforts and talents and the utter involvement of the performers. They are our spirit guides through the wonders and powers of the music and its message.
-----
Enjoy your weekend--we're attending a wildlife conservation event all day today--it's truly inspiring to see and hear and meet people from all over the world who are striving to save endangered creatures--gives us hope, something we all need in these our times--