Mother and Child
by Gary Wood, Music Director

“Silent night! Holy night! All is calm, all is bright ’round yon virgin mother and child.”

The opening line of this beloved carol provides the inspiration for our December concerts, “Mother and Child,” linking to Marian and Infant themes. Our diverse program begins with Gregorian chant and moves on to music from the Renaissance, Romantic, and contemporary style periods. It is a seasonal choral program that will expand your artistic horizons and delight you with entertaining music.

The concert begins with the very early plainchant “Ave Maria” (Hail, Mary, full of grace), followed by the motet “Dixit Maria ad angelum” (And Mary said to the angel…) composed by Hans Leo Hassler, a 16th-century German composer. A contemporary setting of “Silent Night” then follows, one of three settings of this beloved carol included in this concert, providing a framework for our program. Each of them retains the familiar melody, while expanding the harmonies and, at times, reworking the text.

Selected movements of Hassler’s “Missa super Dixit Maria” will then follow. This is a parody Mass setting based on the Hassler motet previously sung. According to the Harvard Dictionary of Music, parody Mass composition was an important part of the 15th and 16th centuries. This technique involves setting Mass texts with music “borrowed” from vocal parts or musical sections from another work, creating an aural reference to the original. In this case, Hassler has borrowed from himself, composing a shimmering, pleasing, and accessible Mass for the listener (and subtle challenges for the singers).

The choral cantata “Gaudete” (for chorus, two flutes, and bassoon) by Anders Öhrwall will also be performed. Öhrwall is a contemporary Swedish composer who wrote this work in 1962 to make Swedish Christmas music available for chorus and instruments. Öhrwall found inspiration in the Piae Cantiones, or “holy songs,” the oldest Swedish song book for schools. This collection was first published in 1582 with sacred and secular Latin songs; many of them were ubiquitous tunes found in various countries at that time.

There is much great choral music that celebrates Hanukkah, and we will sing two contemporary works in varied styles. “Hanukkah Blessings” by Ron Jeffers includes texts which bless the Hanukkah candles, express thanks for the miracle of deliverance, and the Sheheheyanu prayer, recited on all happy occasions. “Haneirot halalu” is a traditional Hebrew prayer, and composer Stanley M. Hoffman sets it for chorus with polyrhythmic motives and alternating fast/slow tempi.

The Romantic Era is represented by Johannes Brahms with his setting of “Ave Maria,” the text heard in the opening plainchant. This is an early work by Brahms (Opus 12) that foreshadows his emphasis on extended melody, key relationships, and harmonic rhythm.

The very beautiful and challenging THREE MYSTICAL CAROLS by Conrad Susa offer aesthetic inspiration through vibrant rhythms, lush harmonies, and texts that include 14th- and 15th-century writings along with a text by George Herbert, an important literary figure of the early 17th century. Susa has composed a great deal of excellent choral music, and these carols (two for organ and chorus, one unaccompanied) will not disappoint.

Add to this a Spanish carol, a classic seasonal spiritual, carols for mens’ voices, and a reprise of last year’s “What Child is This?” by Dale Warland, producing an exciting and meaningful contribution to choral and musical artistry and excellence.