Orlando di Lasso: The Tears of Saint Peter

L A S SO : THE TE AR S OF SAINT PE TER Duke Vespers Ensemble & Consort of Renaissance Winds DUK E CHAPEL 路 M ARCH 30, 4PM B R I A N A . S C H M I D T, C O N D U C T O R

Orlando di Lasso’s monumental Lagrime di San Pietro is a work of great emotional and spiritual depth.

Based on a cycle of poetry of the same title by Luigi Tansillo, it explores the aftermath of Peter’s threefold denial of Christ. Tansillo’s poetry describes not the act of denial itself, but rather the searing glance given

by Christ to Peter directly after the third denial, recorded in the Gospel of Luke: “At that moment, while he was still speaking, the cock crowed. The Lord turned and looked at Peter. Then Peter remembered the word of the Lord, how he had said to him, “Before the cock crows today, you will deny me three times.” And he went out and wept bitterly.”

— Luke 22 : 60b-62 The entirety of the text that Lasso sets occurs in the space of this passage. The poetry dwells at length on the force of the divine glance and its effect on Peter, who bewails his own cowardice and longs for a death that he believes is well-deserved. Lasso selected twenty poems from Tansillo’s cycle, crafted them into madrigali spirituali (sacred madrigals), and added an unexpected concluding movement, the Latin motet “Vide homo, quae pro te patior” (“Behold, man, what I suffer for you”), in which the crucified Christ rebukes sinners directly for their wickedness and ingratitude.

Musically, all twenty-one movements are set for seven voices and organized in ascending modal sequence. This type of progression was also used by Lasso in his expansive Penitential Psalms — another deeply meditative work — and may point to Lasso’s

use of such a musical method as a deeply devotional symbol of reverence. The general upward journey through the modal system, combined with the progression of Peter’s torment when meeting Christ’s piercing eyes, to the collapse of the apostle’s psyche in the face of his grievous sin, points again to this being a work of meditative construction rather than one intended for formal performance.

There have been significant connections drawn to meditation practices that were influential during Lasso’s time of the Counter-Reformation in Bavaria.

Specifically, the Exercitia spiritualia (Spiritual Exercises) of Ignatius of Loyola (1491-1556) and Luis of Granada’s (1504-1588) Libro de la oración y meditación (Book of Prayer and Meditation). Both manuals describe the type of religious devotion at the court in Munich during Lasso’s final years, which likely shaped his understanding of Tansillo’s poetry. One further connection of significance is found in the sources of the final motet, “Vide homo,” which is of medieval origin. Of two other sources likely known to Lasso at the time, one is none other than Granada’s Book of Prayer and Meditation.

Lasso’s Lagrime is a rarely-performed masterpiece of the high Renaissance which identifies more closely with meditation than modern concert performance.

Conceptually, it stands on the similar ground to J.S. Bach’s The Art of the Fugue. Both composers chose to create a musical testament at the end of their lives, which served the dual role of summarizing their personal compositional skill in the context of a deeply worshipful creation.

T HE T E AR S OF S AIN T PE T ER Orlando di Lasso

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Il magnanimo Pietro Ma gli archi Tre volte haveva Qual a l’incontro Giovane donna Cosi talhor Ogni occhio del signor

8. Nessun fedel trovai 9. Chi ad una ad una 10. Come falda di neve 11. E non fu il pianto suo 12. Quel volto 13. Veduto il miser 14. E vago d’incontrar

15. Vattene vita va 16. O vita troppo rea 17. A quanti giá felici 18. Non trovava mia fé 19. Queste opre e più 20. Negando il mio signor 21. Vide homo

These performances are made possible through generous support from the Vereen Family Endowment for Choral Vespers and the Friends of Duke Chapel.

As a courtesy to the performers and other audience members, we ask that you please turn off all watches, cell phones, pagers, and other electronic devices, and remain seated for the duration of the performance.

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Il magnanimo Pietro, che giurato avea tra mille lance e mille spade al suo caro Signor morir a lato, quando s’accorse, vinto da viltade, nel gran bisogno aver di fé mancato, la vergogna e ’ l dolore e la pietade del proprio fallo e de l’altrui martiro di mille punte il petto li feriro.

When the generous Peter, who had sworn to die at the side of his dear Lord amidst a thousand spears and a thousand swords, realized that, overcome by cowardice, he had been found wanting at the time of trouble, the pain, shame and sorrow for his own failure and for the other’s pain wounded his chest with a thousand stabs.

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Ma gli archi che nel petto gli aventaro le saette più acute e più mortali fur gli occhi del Signor, quando il miraro: gli occhi fur gli archi e i guardi fur gli strali, che, del cor non contenti, se ’n passaro fin dentro a l’alma; e vi fer piaghe tali che bisognò, mentre ch’ei visse poi, ungerle col liquor de gli occhi suoi.

The bows, however, that hurled towards his chest the fiercest and most deadly arrows were the eyes of the Lord, when they saw him: the eyes were the bows and arrows were the eyes, which, not content with the heart, burrowed into the soul; and caused wounds so deep that he had, for the rest of his life, anoint them with the tears of his eyes.

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Tre volte haveva a l’ importuna, audace ancella, al servo ed a la turba rea detto e giurato che già mai seguace non fu del suo Signor, né ’ l conoscea.

E ’ l gallo publicatol contumace il dì chiamato in testimon v’avea, quando, del suo gran fallo a pena avvisto, s’ incontrar gli occhi suoi con quei di Cristo.

Three times already he had declared and sworn to the insolent and brazen handmaid, the servant, and the whole nefarious lot that he had never been in the retinue of his Lord, nor did he know him.

And after the rooster, announcing his guilt, had called in the new day as witness, and as he became suddenly aware of his shortcoming, his eyes met those of Christ.

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Quale a l’ incontro di quei occhi santi il già caduto Pietro rimanesse non sia chi narrarlo oggi si vanti, ché lingua non saria ch’al ver giungesse; parea che ’ l suo Signor, cinto di tanti nemici e de’ suoi privo, dir volesse: “Ecco che quel ch’ io dissi egli é pur vero, amico disleal, discepol fiero.”

No one should boast being able to tell how the already stricken Peter felt as he met the gaze of those holy eyes, for no tongue could even approximate the truth; it looked as if his Lord, surrounded by many enemies and abandoned by his peers, wanted to say: “What I foretold him has now come to pass, disloyal friend, proud disciple.”

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Giovane donna il suo bel volto in specchio non vide mai di lucido cristallo, come in quel punto il miserabil vecchio ne gli occhi del Signor vide il suo fallo; né tante cose udir cupido orecchio potria già mai, se ben senza intervallo si stesse a l’altrui dir mille anni intento, quant’ei n’udì col guardo in quel momento.

Never did a young lady see her pretty face in a mirror of polished crystal as clearly as the wretched old man saw his error in the eyes of the Lord; nor could an avid ear, even if it listened ceaselessly for thousands of years for someone’s words, as he did hear, just by that gaze, in that moment.

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Cosi talhor (benché profane cose sieno a le sacre d’agguagliarsi indegne) scoprir mirando altrui le voglie ascose suole amator, senza ch’a dir le vegne, chi dunque esperto sia ne l’ ingegnose scuole d’amor, a chi no ’ l prova, insegne come senza aprir bocca o scriver note con gli occhi ancora favellar si puote.

As it happens sometimes that a lover discovers by mere gazing the desires hidden in the other’s eyes, without being told, (although such comparison of sacred and profane is undignified), he also, who is experienced in the art of love, can teach the inexperienced how to speak with one’s eyes without saying a word, or writing notes.

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Ogni occhio del signor, lingua veloce parea che fosse; ed ogni occhio de’ suoi orecchia intenta ad ascoltar sua voce.

“Più fieri,” parea dir, “son gli occhi tuoi de l’empie man che mi porranno in croce; né sento colpo alcun che sì m’annoi, di tanti ch’altrui forza in me ne scocca, quanto il colpo ch’uscì de la tua bocca.”

The eyes of the Lord were like a quick tongue, and Peter’s eyes like ears yearning to hear his voice.

“Prouder,” he seemed to say, “are your eyes than the godless hands that will crucify me; nor have I felt a blow that struck me as hard, among the many that did strike me, as the one that came out of your mouth.”

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“Nessun fedel trovai, nessun cortese di tanti c’ ho degnati d’esser miei: ma tu, dove ’ l mio amor via più s’accese, perfido e ’ngrato sovra ogni altro sei.

Ciascun di quei sol col fuggir m’offese: tu mi negasti, ed or con gli altri rei ti stai a pascer del mio danno gli occhi, perché la parte del piacer ti tocchi.”

“I found no faithful, no friend among the many that I chose to be called mine: but you, for whom my love was so intense, are more deceitful and ungrateful than any.

Each of them hurt me by leaving me: but you denied me, and now you stand there with that godless bunch enjoying my pain, and seem to share in their delight.”

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Chi ad una ad una raccontar potesse le parole di sdegno e d’amor piene che parve a Pietro di veder impresse ne le sacrate due luci serene, scoppiar faria ciascun che l’ intendesse; ma se d’occhio mortal sovente viene virtù che tanto può, chi ’ l prova pensi che pote occhio divin ne gli uman sensi.

If one could retell one by one the words of scorn, yet filled with love, that Peter seemed to see written in the calm sacred eyes of the Lord, would blow the mind of anyone who’d listen; anyone who knows how powerful the gaze of a mortal can often be on mortal senses, can also imagine how strong the divine gaze was.

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Come falda di neve, ch’agghiacciata il verno in chiusa valle ascosa giacque, a primavera poi, dal sol scaldata, tutta si sface e si discioglie in acque, così la tema, ch’entro al cor gelata stette di Pietro allor che ’ l vero tacque, quando Cristo ver’ lui gli occhi rivolse tutta si sfece, e ’n pianto si disciolse.

Like a snowbank which, having lain frozen and hidden in the depth of the valley all winter, and then in springtime, warmed by the sun, falls apart and melts into streams, such was the fear which had lain like ice in Peter’s heart and made him repress the truth; when Christ turned His eyes on him, it melted and was changed into tears.

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E non fu il pianto suo rivo o torrente che per calda stagion già mai seccasse; ché, benché il Re del Cielo immantinente a la perduta grazia il rivocasse, de la sua vita tutto il rimanente non fu mai notte ch’ei non si destasse udendo il gallo a dir quanto fu iniquo, dando lagrime nove al fallo antiquo.

And his crying was not a small spring or mountain stream, which dries in the warm seasons; for although the king of Heaven forgave him immediately for his disgraceful deception, not a single night in his remaining life passed without the cock’s crow waking him up and reminding him how shamefully he behaved, and inciting new tears for the ancient betrayal.

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Quel volto, ch’era poco inanzi stato asperso tutto di color di morte per lo sangue ch’al cor se n’era andato, lasciando fredde l’altre parti e smorte, dal raggio de’ santi occhi riscaldato divenne fiamma, e per le stesse porte ch’era entrato ’ l timor, fuggendo sparve: e nel suo loco la vergogna apparve.

That face, that moments earlier had donned the colour of death, as all blood rushed to the heart, leaving all other parts cold and pale, warmed by the rays emanating from the sacred eyes became aflame, and whence fear had entered, it fled: in its place shame appeared.

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Veduto il miser quanto differente dal primo stato suo si ritrovava, non bastandogli il cor di star presente a l’offeso Signor, che sì l’amava, senz’aspettar se fiera o se clemente sentenzia il duro tribunal gli dava, de l’odïato albergo ov’era allora piangendo amaramente uscì di fuora.

Realizing that he felt much different than before, and unable to bear to remain in the presence of the scorned Lord, who loved him so, he didn’t wait to see if the harsh tribunal would hand down a severe or clement sentence, but, leaving the despicable place where he was, bitterly crying, he returned outside.

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E vago d’ incontar chi giusta pena desse al suo grave error, poiché paura di maggior mal l’ardita man raffrena, per le folte ombre de la notte oscura sen va gridando, ove ’ l dolor lo mena; e la vita, che dianzi ebbe sì a cura, or più ch’altro odia, e sol di lei si dole; e, perché ’ l fece errar, più non la vole.

Wishing to find someone who’d punish him for his grave error, because the fear of greater evil curbs the daring had, [Peter] went through the many shadows of the dark night, shouting, where pain led him; and life, which he cared so much about a little earlier, now he hates more than anything else, for it hurts him; because it caused him to err, he wants it no more.

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“Vattene vita, va,” dicea piangendo, “ dove non sia chi t’odi e chi ti sdegni.

Lasciami sol, ché non é ben ch’essendo compagnia così rea meco ne vegni.

Vattene vita, va, ch’ io non intendo ch’un’altra volta ad esser vil m’ insegni!

Non vo’, per allungar tue frali tempre, uccider l’alma nata a viver sempre.”

“Go, life, go away,” he said crying, “where you’re not hated nor despised.

Leave me alone, for you should not travel with such guilty company as myself.

Go, life, go, for I don’t want you to teach me to be a coward ever more!

To preserve your fragile nature, I do not wish to kill the soul, which is destined to everlasting life.”

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“O vita troppo rea, troppo fallace, che per fuggir qua giù sì breve guerra perder m’ hai fatto in cielo eterna pace: chi più desia vederti su la terra, più tosto senza te schernito giace; e chi vorria lasciarti e gir sotterra, non vuoi mal grado suo già mai lasciarlo, vaga di sempre a nuovo duol serbarlo.”

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A quanti giá felici in giovinezza, recò l’ indugio tuo lunghi tormenti?

Che, s’ inanzi al venir de la vecchiezza sciolti fosser del mondo, assai contenti morti sarian, poiché non ha fermezza stato alcun che diletti o che tormenti.

Ond’ io, vita, a ragion di te mi doglio, che stesti meco e stai più ch’ io non voglio!”

“To how many, happy in their youth, did waiting for you bring terrible torments?

If they had been allowed to die once old age caught up with them, they’d have been happy, because there is no mortal state that brings perennial happiness, nor endless torment.

Thence, life, I am right to be pained by you, for you stay with me when I no longer want you!”

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“Non trovava mia fé sì duro intoppo se tu non stavi insin’ad oggi meco!

Se non m’avesse il desiarti troppo il sen tolto e la memoria seco, pensar dovea ch’ io vidi dar al zoppo il pié, la lingua al muto e gli occhi al cieco; e, quel che giù meravigliar fe’ l’ombre, render l’anime a i corpi, ond’eran sgombre.”

“My faith would have not failed as it did, had you no longer been with me!

And if my desire for you hadn’t taken reason and memories away from me, I would have remembered that I saw the lame walk, the dumb speak, the blind see and, most astonishing for the shadows below, souls returned to the bodies whence they came.”

“O life, too guilty and deceiving, that made me lose the eternal peace of heaven to avoid such an insignificant hardship here on earth: he who desires you the most, fastest lies without you, derided; and him who’d readily depart from you and be buried, you never wish to leave, despite his wishes, always wishing to offer him new suffering.”

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Queste opre e più che ’ l mondo ed io sapea, ramentar mi dovean che ’ l lor Fattore fontana di salute esser dovea, e sgombrar del mio petto ogni timore.

Di qua si può veder, mentr’ io temea, s’era di senno e di me stesso fuore, ch’al gran periglio ricercando aita per tema di morir negai la vita.

“Negando il mio signor, negai quel ch’era la vita ond’ogni vita si deriva: vita tranquilla, che non teme o spera, né può ’ l suo corso mai giunger a riva.

Poiché dunque negai la vita vera, non é ragion che questa falsa io viva.

Vatten, vita fallace, e tosto sgombra: se la vera negai, non chieggio l’ombra!”

Vide homo quae pro te patior, Ad te clamo, qui pro te morior, Vide poenas quibus afficior; Vide clavos quibus confodior; Non est dolor sicut quo crucior; Et cum sit tantus dolor exterior, Ingratus tamen dolor est gravior, Tam ingratum cum te experior!

These events, that the world and I knew of, should have reminded me that their maker must be the source of salvation, and remove any fear from my heart.

Now it’s easy to see that, when afraid, I was beyond myself and had lost my mind, for I denied the very life for fear of death, when I looked for a way out of peril.

“By denying my Love, I denied the very life whence all life is derived: a calm life, that is not afraid nor knows hope, and which knows no end. And because I denied true life, there is no reason for me to live this one, which is false.

Go away, deceitful life, out of my sight: as I rejected true life, I no longer want its mere shadow!”

See, O man, what things I endure for you; To you I cry, I who am dying for you; See the pains with which I am afflicted; See the nails with which I am pierced.

There is no suffering like unto that with which I am tormented.

And though the outward suffering be so great, Yet is the inward suffering heavier still, When I find you to be so ungrateful!

T HE DUK E VE SPER S ENSEMBLE The Duke Vespers Ensemble is an active chamber choir based at Duke University Chapel in Durham, NC. Consisting of approximately twenty members from the Duke and Triangle communities, the choir is directed by Dr. Brian A. Schmidt, Assistant Conductor and Administrative Coordinator for Chapel Music.

The Vespers Ensemble specializes in Renaissance and early Baroque choral works, including pieces

by Tomás Luis de Victoria, Dietrich Buxtehude, and William Byrd. This early music repertoire is complemented by 19th century and modern works in a similar style by composers such as Herbert Howells, Knut Nystedt, and Arvo Pärt.

The group leads worship services every Thursday of the academic year at 5:15 pm. This 45-minute candlelight service consists of scripture readings,

prayers, and sacred music, and is held in the intimate setting of the chancel. The Vespers Ensemble also participates in special services throughout the year, including a popular All-Hallows Eve Service, which is held in almost total darkness. All services are available online for live streaming and archived viewing at youtube.com/dukechapel.

The Vespers Ensemble also performs several concerts during the academic year, on Duke’s campus and in the community. Recent concerts include a collaborative presentation with the department of Art, Art History, and Visual Studies, featuring the music and art of the Sistine Chapel and an appearance at Boston Early Music Festival in June of 2013. The choir also sings abroad, most recently on a tour to Eastern Europe.

Brian A. Schmidt, Conductor

Sarah Bereza, Accompanist

Cantus i Ali Carnes † Laura Dawalt † Lydia Greene † Cantus ii Samantha Arten † Imogen Rhodenhiser Stephanie Westen

Altus i Sarah Bereza Emily Drake Erica Dunkle † Anna Showalter Altus ii Ruthan Freese Meredith Hawley † Cyril Murphy †

Tenore i Isaac Collins † Andrew Klumpp † Tenore ii David Bottjen Jonathan David Michael Lyle †

Bassus David Durkop Joseph Hubbard † Seth Garrepy Mark Kagika Stephen Pysnik †

† Soloists for Lasso: The Tears of Saint Peter

CONS ORT OF R ENAIS S ANCE WINDS Continuo Organ Robert Horton, Interim Chapel Organist

Recorders Valerie Austin William Thauer Patricia Petersen

Sackbutts Barry Bocaner Aaron Moats David Searle

Sackbutt players from the Washington Cornett and Sackbutt Ensemble of Washington D.C. For more information, please visit washingtoncornettsackbutt.org.

Supertitles by Kirsten Rutschman

DUK E CHAPEL MUSIC Director of Chapel Music.....................................................................................................Rodney A. Wynkoop University Organist........................................................................................................................Robert Parkins Interim Chapel Organist................................................................................................................Robert Horton Assistant Conductor & Administrative Coordinator of Chapel Music......................................Brian A. Schmidt Staff Assistant to Chapel Music.........................................................................................................Michael Lyle Curator of Organs and Harpsichords...........................................................................................John Santoianni University Carillonneur.......................................................................................................J. Samuel Hammond

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BR IAN A . S CHMIDT Conductor, Duke Vespers Ensemble Brian A. Schmidt is Assistant Conductor and Administrative Coordinator of Chapel Music at Duke University in Durham, NC, where he serves as conductor of the Duke Vespers Ensemble and Duke Divinity School Choir. He is also the Artistic Director of the South Dakota Chorale, a professional chorus organization in Sioux Falls, SD. With the Duke Vespers Ensemble, Schmidt leads a weekly Choral Vespers service amidst the marvelous acoustics of Duke University Chapel.

The Duke Vespers Ensemble is an auditioned choir consisting of 20 volunteer singers that strive to work on a level comparable with many of the professional church ensembles in America. Outside of their service work, this ensemble presents primarily early music concerts ranging from Baroque masterworks with period instruments to various Renaissance Mass and Requiem settings.

As founder and Artistic Director of the South Dakota Chorale, he manages a roster of professional singers from around the United States that gather and perform in Sioux Falls, SD. Since its founding in 2009, his leadership has guided the South Dakota Chorale to rapid growth, including the production Contact Brian A. Schmidt brianschmidtmusic.com

of their first commercial album, In Paradisum: The Healing Power of Heaven. Released in May of 2012

by Gothic Records and distributed internationally

by Naxos Records, the album was cited in the body of work that aided producer Blanton Alspaugh in winning the 2013 GRAMMY award for “Best Classical Producer.”

Schmidt graduated from the University of North Texas, where he completed the DMA and MM degrees under the direction of Jerry McCoy and Richard Sparks, along with early music studies with Lyle Nordstrom and Lenora McCroskey. Prior to that, he completed a B.M.E. in Choral Conducting from South Dakota State University.

He was previously the Director of Music for Gloria Dei Lutheran Church, a 2,500 member Lutheran congregation in Sioux Falls, SD, as well as the founder and Artistic Director of the Dakota Men’s Ensemble, which appeared on National, Regional, and State ACDA Conventions. He maintains an active career as conductor and composer, where his works are published with Colla Voce, Inc., Walton Music, and GIA Music, Inc.

Brian A. Schmidt is Assistant Conductor and Administrative Coordinator of Chapel Music at Duke University. To discuss musical opportunities and events, call 919.684.3855.

JA ME S M ACMILL AN

S AINT LUK E PAS SION U. S . PR EMIER E · DUK E CHAPEL · APR IL 13 , 2014 4PM

DUKE CHAPEL CHOIR AND ORCHE S TR A PRO C ANTOR E S

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R O D N E Y W Y N K O O P, C O N D U C T O R

WITH THE DUR HAM CHILDR EN’ S CHOIR & R IVER SIDE HIGH SCHOOL SIR ENS C H A PEL . D UK E . ED U/PA S SI O N

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Presented by the Duke Chapel Choir in collaboration with Duke Divinity School & Duke Initiatives in Theology and the Arts