Music of Lent
Personnel
THE UNIVERSITY OF HOUSTON CONCERT CHORALE
Betsy Cook Weber, director
Andreea Muţ, pianist
Kaitlin DeSpain, doctoral teaching fellow
Travis Falknor, student director
Julia Rose Arduino
Franco Basili
Zachary Brabston
Jason Burgon
Gage Campos
Jadon Campos
Zaccai Campos
Jake Carr
Sara Dacon
Tiffany Dawkins
Kaitlin DeSpain
Aidan Drury
Ethan Duong
Deborah Edquist
Travis Falknor
Madeline Flake
Alana Glover
Johanna Gonzalez
Shelby Griffin
Sean Holshouser
Tasneem Islam
Noelia Jimenez
Karen Lo *
Ariadne Lopez
Kennan Lukacs
Ethan Marfil
Jorge Martinez
Gavin Mathew
Maddie May *
Anthony Nevitt
David Oluwo
Chloe Owens
Raymond Pappas
Quinton Parmenter
Citlalli Reynosa
Sarah Roberts
Kiana Samiei
Olivia Sanchez
Rohin Scaria *
Daniel Schwindack
Aubrey Seulean
Keora Stevens
Stephen Seward *
Lauren Suchy
Angie Tovar
Maxwell White
* section leader
Doctoral Recital Program Notes
Lent, one of the five seasons of the Christian liturgical calendar, is a period of spiritual reflection that emphasizes the practices of prayer, fasting, and almsgiving. Choral music has played a significant role in the observance of Lent, with composers from all periods of Western Classical music writing works specifically for the season. Today, Lenten choral music remains an important part of religious worship as well as a significant historical and educational component of the choral repertoire. Today’s program explores the Lenten theme of redemption, tracing the journey from sin to forgiveness and gratitude.
“Daemon Irrepit Callidus” by György Orbán (b. 1947)
Romanian-Hungarian composer György Orbán is primarily known for his vocal compositions, which include songs, oratorios, masses, motets, and one opera. Born in Romania, Orbán studied composition at the Kolozsvár Academy of Music and later taught music theory there until 1979 when he moved to Hungary. He has since worked as a music editor with Editio Musica Budapest and taught composition at the Ferenc Liszt Academy of Music.
Orbán’s music is said to contain “grotesque, humorous, and at times satirical elements,” and “Daemon Irrepit Callidus” is an example of such characteristics. The text, taken from a 17th-century Goliardic poem, tells of the devil’s trickery as he aims to lure humankind to sin. According to the poet, despite how friendly the devil seems and how tempting the wicked heart’s desires are, it is “still worth less than the heart of Jesus.” Orbán creates a convincing soundtrack to the story, frequently employing chromatic scales, diminished chords, syncopation, and drastic contrasts in dynamics and articulations to represent the trickery, song, and dance used by the devil for seduction.
“Warum toben die Heiden” from Drei Psalmen, op. 78 by Felix Mendelssohn (1809-1847)
Felix Mendelssohn was a celebrated musician in Europe during his lifetime, known for his exceptional abilities as a soloist, conductor, and composer. He received a comprehensive education that exposed him to the music of the Renaissance, Baroque, and Classical periods, which greatly influenced his own compositions. His music often references and incorporates the styles and techniques of earlier periods.
Mendelssohn composed the Drei Psalmen, Op. 78 for the Berlin cathedral choir after being hired by King Friedrich Wilhelm IV of Prussia to help develop the arts in Berlin. “Warum toben die Heiden,” a setting of Psalm 2 for double chorus and soloists, was completed in December 1843 and first performed on Christmas Eve at the Berlin Cathedral. The text warns against sin and urges humankind to serve the Lord lest they incur his vengeful wrath. Mendelssohn masterfully depicts the drama of the text through a varied combination of textures, including the alternation of antiphonal, solo, and tutti passages, before finishing with a Gloria canon.
“The 23rd Psalm” by Bobby McFerrin (b. 1950)
Multiple factors influenced American composer and singer Bobby McFerrin to compose his setting of Psalm 23. During a rehearsal with his ensemble in a church, they had a conversation about the patriarchal aspect of organized religion. This led McFerrin to have the idea of composing something religious that represented the feminine aspect of God. He says, “when we think about God’s love it should encompass the mother and father…the feelings of a man, the feelings of a woman. They are different, you know.”
The chant-like quality of the song was inspired by the Episcopal chants he experienced growing up in the church. McFerrin also dedicated the song to his mother, who played a significant role in his religious education.
Movement I from De Profundis, Op. 56 by Leevi Madetoja (1887-1947)
Leevi Madetoja was a Finnish composer, conductor, teacher, and music critic who was a leading member of the Finnish national Romantic school. He drew inspiration from folk tunes, like the modal melodies from Ostrobothnia, while also being influenced by contemporary French music. He is known for his skillful orchestration and ability to achieve clarity and balance in his music.
Madetoja composed De Profundis–arguably his most famous composition–in the spring of 1925 and dedicated it to the Laulu-Miehet male choir, a community choir in Helsinki. The text, which comes from Psalm 130, is a plea for forgiveness, in which the speaker implores the Lord to hear their cries. The way in which Madetoja blends Gregorian melodies and counterpoint techniques results in a piece that exhibits both modern and traditional religious styles.
“Cantate Domino” by Rupert Lang (b. 1948)
Canadian composer and organist Rupert Lang is well-suited to set liturgical texts, having grown up in the Anglican Church (with a priest as his father) and studied at the Royal School of Church Music and Cambridge University. “Cantate Domino” sets Psalm 149, a song of gratitude and praise for the Redeemer. This is an important distinction because while God is referred to in many capacities in The Book of Psalms (e.g., savior, shepherd, rock), redemption is a key theme of the Lenten season. Lang reflects different forms of gratitude through contrasting musical elements: the psalm’s public praise is marked by loud dynamics, portamentos, and rhythmically active sections, while introspective, private praise is conveyed through soft, aleatoric text delivery and the use of solo voices.
“Vere languores nostros” by Antonio Lotti (1667-1740)
As a child, Italian Baroque composer Antonio Lotti studied and performed music at St. Mark’s Cathedral in Venice where he later held several organ positions and was eventually appointed maestro di Cappella. Lotti is known for his extensive compositional output, including masses, oratorios, cantatas, and madrigals, and his work is considered a blend of the Baroque and emerging Classical styles.
“Vere languores nostros” is one of Lotti’s most widely reproduced works, and has been adapted in over 40 manuscript sources. The text, an antiphon for Maundy Thursday, comes from Isaiah 53 and reflects on the sacrifice made by Jesus to bear the sins of the world. As the final piece of our program, the text serves as a reminder of the central theme of the Lenten season.
Music of Lent
Texts and translations
Daemon irrepit callidus
Daemon irrepit calidus, The Demon sneaks expertly, allicit cor honoribus. tempting the honorable heart.
Daemon point frauds inter cantus, saltus. He sets for trickery amidst praise, song, and dance. Quid amabile Daemon dat However amiably the Demon acts, Cor jesu minus aestimat. It is still worth less than the heart of Jesus
Caro venaratur sensibus,
The flesh is tempted by sensuality, sensus adhaeret dapibus; gluttony clings to our senses; in aescatur, impinguatur dilatatur. it overgrows, it encroaches, it stretches. Quid amabile caro dat However appealing the flesh is, Cor jesu minus aestimat. it is still worth less than the heart of Jesus.
Adde mundorum milia
Though the universe may confer mille millena gaudia, thousands upon thousands of praises, cordis aestum non explebunt, non arcebunt. The heart’s desires they neither fulfill nor put out. Quid amabile totum dat However appealing the whole universe is, Cor Jesu minus aestimat. it is still worth less than the heart of Jesus.
Der 2. Psalm: Warum toben die Heiden
Warum toben die Heiden, Why do the heathen rage and the people und die Leute reden so vergeblich? and the people talk so vainly?
Die Könige im Lande lehnen sich auf, The kings of the earth rise up, und die Herren ratschlagen miteinander and the rulers take counsel together wider den Herrn und seinen Gesalbten: against the LORD and his anointed:
“Lasset uns zerreißen ihre Bande Let us break their bonds und von uns werfen ihre Seile!” and throw their ropes from us!
Aber der im Himmel wohnet, lachet ihrer, But he who dwells in heaven laughs at them und der Herr spottet ihrer. and the Lord mocks them. Er wird einst mit ihnen reden in seinem Zorn, One day he will speak to them in his anger und mit seinem Grimm wird er sie schrecken. and he will frighten them with his wrath.
“Aber ich habe meinen König eingesetzt But I installed my king auf meinem heiligen Berg Zion.” on my holy mountain Zion. Ich will von einer solchen Weise predigen, I want to preach in such a way daß der Herr zu mir gesagt hat: as the Lord said to me:
“Du bist mein Sohn, heute hab ich dich gezeuget. You are my son, today I have begotten you. Heische von mir, Ask of me, so will ich dir die Heiden zum Erbe geben and I will give you the heathens as an inheritance und der Welt Ende zum Eigentum. and the end of the world as your property. Du sollst sie mit einem eisernen Zepter zerschlagen; Thou shalt smite them with an iron scepter; wie Töpfe sollst du sie zerschmeißen.” you shall smash them like pots.
So laßt euch nun weisen, ihr Könige, So let yourselves be instructed, you kings, und laßt euch züchtigen, ihr Richter auf Erden! and be disciplined, you judges on earth! Dienet dem Herrn mit Furcht Serve the Lord with fear und freuet euch mit Zittern! and rejoice with trembling.
Küsset den Sohn, daß er nicht zürne Kiss the son so that he is not angry und ihr umkommet auf dem Wege; and you perish from the path; denn sein Zorn wird bald anbrennen. for his anger will soon burn. Aber wohl allen, die auf ihn trauen! But good for all who put their trust in him!
Ehre sei dem Vater, und dem Sohne, Glory be to the Father, and to the Son, Und dem heiligen Geist. and to the Holy Spirit. Wie es war von Anfang, jetzt und immerdar As it was from the beginning, now and ever, und von Ewigkeit zu Ewigkeit. Amen. and from eternity to eternity. Amen.
The 23rd Psalm
The Lord is my Shepherd, I have all I need, She makes me lie down in green meadows, beside the still waters, She will lead.
She restores my soul, She rights my wrongs, She leads me in a path of good things and fills my heart with songs
Even though I walk through a dark and dreary land, there is nothing that can shake me, She has said She won’t forsake me, I’m in her hand.
She sets a table before me, in the presence of my foes, She anoints my head with oil and my cup overflows.
Surely, surely goodness and kindness will follow me all the days of my life, and I will live in her house forever, forever and ever
Music of Lent
