flourish: reckless hope rises

flourish: reckless hope rises

May 15, 2016
Sonja Bontrager, Josh Dearing, Nathan P. Gibney, Amy Hochstetler, Michael Johnson, Elissa Kranzler, Kurt Marsden, Brian Middleton, Bryan Park, John Piccolini, Rebekah Reddi, Jordan Rock, Lizzy Schwartz, Paul Spanagel, Emily Sung, Caroline Winschel, Michele Zuckman

Gabriel Jackson, To Morning
Healey Willan, Rise Up, My Love, My Fair One
James MacMillan, The Gallant Weaver
John Tavener, Village Wedding
Samuel Barber, Easter Chorale
Johann Sebastian Bach, Jesu, meine Freude
Orlando di Lasso, Justorum animae
Charles Villiers Stanford, Beati Quorum Via
Knut Nystedt, Lobet den Herrn
Stephen Paulus, Hymn to the Eternal Flame

Notes on the Program
When we were choosing repertoire for this year, we imagined the three concerts fitting together as a grand cycle. Our fall concert, fray, looked at endings in many forms, from the death of love to the apocalypse. In the darkest time of winter, we saw a glimmer of hope as we sang gather, our first-ever Christmas concert. With the arrival of spring, we sing of rebirth, new beginnings, and the promise that salvation grows from the good we sow in the darkest of times.

This is the central message of J.S. Bach’s Jesu, meine Freude, a true showpiece for the composer’s many-layered brilliance. It was intimidating to consider the question of whether we were up to the task of bringing that genius to life, and although we are not trailblazers in performing this music, the brilliance of Jesu, meine Freude will always surpass its ubiquity. It is a triumphant affirmation of life and of victory over our innermost demons. It is necessary music.

Gabriel Jackson’s shimmering invocation “To Morning” opens our concert, calling on the virgin huntress Diana of Greek mythology to bring forth a new day. Diana was also the goddess of childbirth, so William Blake’s poem acts as a supplication for rebirth. Broad, sweeping crescendos create a sort of musical sunrise. As we are awakened, we sing “Rise Up, My Love, My Fair One,” rousing our lover to come and witness the rebirth of the world after winter’s end. But frolicking with our lover in springtime is not always the way the world would have it, especially with the patriarchy standing in the way. The narrator of Robert Burns’ “The Gallant Weaver” vows to keep her true love in her heart, even as her father promises her to a wealthier suitor. MacMillan’s setting of this poem cleverly mimics the pulsing ebb and flow of a loom, weaving together strands of melody into a lush fabric of sound.

In his “Village Wedding,” John Tavener chose scattered lines from Angelos Sikelianos’ early 20th-century poem, offering starkly contrasting glimpses into a traditional Greek wedding ceremony and the culture’s devotion to both its mythical past and its Christian present. The refrain of “Oh Isaiah dance for joy, for the virgin is with child” most obviously refers to the virgin Mary, but a duality emerges with clear references—as in our opening piece—to the mythical virgin Diana, born with her twin brother Apollo on the island of Delos. Furthermore, when taken purely at face value (and with the title in mind), the poem could simply portray a shotgun wedding in a Greek village. The bride is forced to wed her unborn child’s father, but in doing so is poetically interwoven with goddesses. She is deified through her most personal struggle.

With Barber’s “Easter Chorale,” we are back to our exuberance at the arrival of spring, this time more clearly representing the rebirth and awakening found through the ascension of Jesus Christ. We take a bit of liberty in singing this with continuo organ today, as it was originally scored for brass, timpani, and full cathedral organ, but with the message in its text and Barber’s clear imitation of a baroque chorale, we couldn’t pass up the chance to end the first half with a little taste of the Bach to come.

The text of Jesu, meine Freude alternates between a 17th-century hymn by Johann Franck and St. Paul’s biblical letter to the Romans. The hymn depicts an all-out (but very private) brawl—let’s reimagine it as Rocky, with the titular underdog representing Faith and his impossibly accomplished opponent representing Satan, temptation, and death. As we watch the climactic bout on screen, St. Paul, sitting next to us, innocently interjects and gives away the ending (spoiler alert: if you live in the way of Christ, Rocky wins in the end).

Franck’s hymn makes up the odd movements, which grow in polyphonic complexity as the motet progresses, sometimes completely obscuring the chorale melody, as in movement five, “Trotz dem alten Drachen.” This progression culminates in the ninth movement, “Gute Nacht, o Wesen”—listen for the altos’ occasional interjections of the chorale melody, punctuating the endlessly wandering tenor line—before triumphantly returning to its original homophonic setting in the final chorale.

The even movements are freely composed, and without the restraint of the chorale melody, Bach was able to show off his genius for counterpoint. We get our first taste for fugal writing in the second movement, but Bach really takes off in movement six, “Ihr aber seid nicht fleischlich,” where we have not one but two fugue subjects and a grand adagio coda to bring it all back to earth. The penultimate movement echoes the roiling energy from the second, signaling the soul’s inevitable victory over death.

Both Di Lasso’s “Justorum animae” and Stanford’s “Beati quorum via” distill the same message as the Bach: follow in the way of Jesus and receive the blessing of eternal life. Neither piece depicts the conflict or turmoil of the Bach, so the composers basked in the optimism of their respective texts to create lush polyphony, albeit from very different eras.

Like our opening piece, the last two works we sing today are invocations. Nystedt’s “Lobet den Herrn” is a playful and extroverted call to praise God, simply because he is worthy of being praised. We end, more simply, with a call to praise humanity. “Hymn to the Eternal Flame,” from Stephen Paulus’ Holocaust oratorio To Be Certain of the Dawn, is a reminder that, no matter your individual faith, no matter what darkness we face, the fire of rebirth lies within us all.