G-8 9 55 | LaVoy | Salvato r m un d i
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Thoma s
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James Jordan Executive Editor
GIA Publications, Inc., 74o4 S. Mason Ave., Chicago, IL 60638 1.800.gia.1358 [ www.giamusic.com
Notes My setting of this well-known prayer is largely based on a piece of 16th-century visual art of the same name, Salvator mundi, attributed to Leonardo da Vinci. Though many artists have created similar paintings depicting Christ in this fashion, Leonardo’s is of the small minority in which the orb that Christ holds in his left hand lacks any sort of ornamentation or indeed any kind of religious symbol at all. The orb, as it appears in other depictions, is referred to as a globus cruciger (cross-bearing orb). This term does not apply in this instance, as the orb lacks a cross, existing purely as an unblemished globe, calm and serene, mirroring the expression that is present on Christ’s face. This piece should be sung in largely the same way that the painting appears on the canvas: subdued and reverent. The dynamic contrasts in measures 22–28 represent a very human supplication to Christ, but they should not be overstated or dramatic in any way. Such is the case with the entire work; it is a very introspective take on the prayer’s text, and as such it should feel quietly restrained and reflective throughout. The piece ends with four double-barred repetitions of the word “Deus,” representing the four points of the cross. “Salvator mundi” was premiered by the Pennsbury High School Touring Choir and Amici Musicae in the Thomaskirche of Leipzig, Germany on February 21, 2015, with James D. Moyer conducting. —Thomas LaVoy
Translation Savior of the world, save us, who by your cross and blood has redeemed us: help us, we implore you, our God.
3 Commissioned by the Pennsbury High School Touring Choir, Fairless Hills, Pennsylvania, James D. Moyer, conductor, for their 2015 tour of Germany and Austria.
SALVATOR MUNDI From the Liturgy of the Hours for Exaltation of the Holy Cross
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Thomas LaVoy
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