Wednesday, April 15, 2015

Musica Sacra Florida at Ave Maria University



If you're looking for a short but sweet little conference, this is the one for you!  May 15-16th this year on the lovely campus of Ave Maria University.  Chant for beginners/intermediates, advanced men and women, workshops, a special children's workshop, a keynote by Fr. James Bradley.  Extraordinary Form on Friday evening, Ordinary Form on Saturday afternoon.  On-campus housing available.  Learn all the details and register over at www.musicasacra.com (where else?).  Please join us!

Tuesday, April 14, 2015

Chant Workshop in Michigan - April 25

The announcement of this workshop from a reader is for an event which promises to be excellent.
Spring Chant Workshop
Saturday, April 25, 2015
9a.m. to 3:30p.m.

The Academy of the Sacred Heart
1250 Kensington Rd.
Bloomfield Hills, MI 48304

Sponsor: The Oakland County Latin Mass Association (www.OCLMA.org)

Presenter: Wassim Sarweh, Director of Choir for Oakland County Latin Mass Association. Mr. Sarweh is recognized for his expertise in chant and polyphony.

Tickets: $40 or $20 for full-time students with ID

Registration: http://www.eventbrite.com/e/oakland-county-spring-chant-workshop-tickets-16011545965?aff=eac2 (includes small fee; You may register by mail with a check without paying Eventbrite fees. Email us at info@OCLMA.org and we will send you a mailing address.)

Everyone is invited to join us for a day-long chant workshop.

Learn to sing or just enjoy this traditional and sacred treasury of music.
All ages and skill levels are welcome. No experience necessary.

Materials and lunch will be provided.

Check-in opens at 8:30 a.m.

The Workshop will begin at 9 a.m., includes lunch, and will conclude with an opportunity to sing Extraordinary Form Mass.

Email info@OCLMA.org for more information.

Limited walk-in registration may be available at the door; advance registration is recommended.

Orthodox Christian Easter Flash Mob

This video shows what can happen when a chanted refrain becomes familiar within an entire religious culture.

Imagine a shopping mall in Chicago erupting in the Alleluia from the Easter Vigil. That is something like what happened a few years ago in a shopping mall in Beirut.

Joyous!


Doctor of the Church St. Gregory Narek


On Sunday Pope Francis formally proclaimed the Armenian Saint Gregory Narek a Doctor of the Church. This exceedingly rare title is given to a saint whose writings are particularly useful for the building up of believers.

St. Gregory's Lamentations are honest and frank, reverent, sincere, and emotional. They can be read here.
12:2 Not only do I call, but I believe in the Lord’s greatness. I pray not only for his rewards but also for himself, the essence of life, guarantor of giving and taking of breath without whom there is no movement, no progress, to whom I am tied not so much by the knot of hope as by the bonds of love. I long not so much for the gifts as for the giver. I yearn not so much for the glory as the glorified. I burn not so much with the desire for life as in memory of the giver of life. I sigh not so much with the rapture of splendor as with the heartfelt fervor for its maker. I seek not so much for rest as for the face of our comforter. I pine not so much for the bridal feast as for the distress of the groom, through whose strength I wait with certain expectation believing with unwavering hope that in spite of the weight of my transgressions I shall be saved by the Lord’s mighty hand and that I will not only receive remission of sins but that I will see the Lord himself in his mercy and compassion and receive the legacy of heaven although I richly deserve to be disowned.

Monday, April 13, 2015

Semana Santa in Popayán: the Triduum

Priest and servers, in a Good Friday procession in Popayán
[J. Richard Haefer completes his guest columns about a Holy Week visit to Colombia and to the Festival of Religious Music at Popayán:]

As I was not writing during the Triduum and, after Easter, we took a trip into the heart of the Andes, to the Santuario de Nuestra Señora del Rosario de Las Lajas, by narrow roads with deep ravines on one or both sides, this last report will reach you in the Easter season.

The concerts of Holy Thursday and Friday noon were strictly secular: strange, since they are the most sacred days of the week. Thursday noon saw a presentation of music for flute and piano by the Barcelona flautist Patricia de No accompanied by Cristina Casale from England (the online information is incorrect), including works by C. P. E. Bach (1714-1788), François Poulenc (1899-1963), the Hungarian Franz Doppler (1821-1883) and twentieth-century composers Gary Shocker (U.S.A., b. 1959), Astor Piazolla (Argentina, 1821-1992) and Francois Borne (Spain, 1840-1920).

The evening concert featured one of five professional orchestras of Colombia: Orquesta Sinfónica de EAFIT (consisting of faculty and students from EAFIT university in Medellin and organized in 2000) and conducted by Cecilia Espinosa of Wednesday's Coro de Cámara “Arcadia”. The opening overture by Emil von Rezncek (1860-1945) was quite delightful and the highlight of the program. Astor Piazzolla’s “Estacione Porteñas” is certainly a candidate for a concert of “disaster pieces of music.” Several sections ended with quotes from Vivaldi’s Four Seasons and one section featured the cellos playing the ostinato from Pachelbel’s Canon in D. The violin soloist, Oksana Solovieva, born in Russia but raised in the West, did a splendid performance of the solo parts despite the mundane nature of the composition. With so many excellent contemporary Latin American composers it is too bad this trite piece was chosen. Sibelius’ Symphony number 2 (Op. 43) concluded the concert.

At noon on Holy Friday the ensemble Macondo Chamber Players (string quintet, piano and oboe) presented works by Mozart, Borodin, Rachmaninoff, and Brahms. While interesting, none would qualify for use in any religious situation.

On Friday evening the Orquesta Sinfónica de EAFIT, along with the Coros de Cámara de Popayán, Arcadia, and Los Gatos presented Brahms' German Requiem, Op. 45. A wonderful balance between choruses and the low strings opened the composition but soon the full orchestra overpowered the singers, as happens with many orchestra conductors. As with the previous evening and the concert by Arcadia, the overall sound was flat and unchanging throughout this wonderful composition. The highlight was the solo by baritone Valeriano Lanchas and the soprano solo by local singer Julie Fernández was also well done.

As for the festival as a whole, it was certainly successful. The audience for nearly every concert was full, with admission free except for the last two evenings. With the exception of the latter, the audience was a mix of townsfolk and tourists with many locals attending all the free programs. It was interesting to see the appreciation for music in general as nary a program was left behind, unlike at concerts in the U.S., where programs are scattered on the floor of the concert hall.  As the director of the festival (Dra. Stella Dupont) refused my request for an interview, I have no idea how the groups were chosen or any details of the arrangements. While the organizers tried to obtain advance information about the concerts and performers, it is likely that some were booked at the last minute, and the program booklet was filled with editorial errors. I assume that no restrictions were imposed as regards repertoire, though I would have preferred to have at least some religious music on every concert.

I will complete this report by mentioning a little about the state of church music in Colombia and about the second reason I chose to be in Popayán during Holy Week.

To date I have witnessed church music in Colombia only in Bogotá and Popayán, and I am sorry to report that it is as dismal as in most Spanish-speaking parishes in the United States: multiple guitar players and some percussion, with happy-clappy songs, clapping often encouraged by the priests (and, of course, altar girls). Brethren, we have a long way to come to return the dignity of the Mass to its proper state.

Our Lady of Sorrows, in the
Good Friday night procession
As to Holy Week in Popayán: as in many cities in Spain (especially in Castile, León, Murcia, and Andalusia), in Colombia in the cities of Pamplona, Monpox, and especially Popayán, nightly processions are held throughout Holy Week. Carried in the processions are life-size statues and groups of statues arranged in biblical Passion scenes, each paso carried by eight Cargueros, all men. The processions last up to four hours and demand much endurance, especially since some of the streets are hilly. In Popayán family groups support each paso, while in Spain the pasos are organized by brotherhoods, and one or two dozen men carry the larger Spanish pasos.

Each day is devoted to a particular topic: Friday of Passion Week, “Friday of Sorrows;” Palm Sunday, the Passion; Tuesday of Holy Week, Our Lady of Sorrows; Wednesday, the Love of Jesus; Thursday, “Our Lord of the True Cross”; Friday, the “Funeral of Christ”; and Saturday, “Jesus Christ Resurrected.” Appropriate statues and scenes illustrate each procession, numbering from seven to seventeen pasos.

Also included in each procession are bands and choruses, as well as the Archbishop of Popayán, priests from each of the churches from which the different processions start, and various dignitaries (including local members of the Equestrian Order of the Holy Sepulchre of Jerusalem). Dies Irae on Friday, and two choruses even sang traditional Latin hymns. The bands marched at a pace of about 30 beats per minute and the Cargueras stopped about every half-block to rest the pasos, weighing over 400 pounds each. In a future paper I will be discussing the religious-commercial-patrimonial “conflict” of the modern Popayán Holy Week processions, with input from interviews with various people involved with the events.
In the earlier processions, the bands played secular music -- the large drum sections could be heard five to ten blocks away -- while during the Triduum Spanish religious songs were played, as well as the

If you have enjoyed these reports or would like more information, please feel free to contact me.

[Thanks to Dr. Haefer (rhaefer at asu.edu) for the guest contributions. -- Ed.]

Saturday, April 11, 2015

Semana Santa in Popayán: Wednesday of Holy Week

[We continue J. Richard Haefer's account of this year's Festival de Música Religiosa de Popayán.]

The Coro de Cámera ‘Arcadia’, a semi-professional chorus from Medellín, presented a concert of predominantly 20th-century religious music. Due to the variety of contemporary vocal expressions and harmonies the works are best suited for concert performance and not for church usage. The opening Kyrie by the Argentinean composer Alberto Balzanelli (b. 1941) utilized Sprechstimme, whispers, shouts, and dissonant harmonies in seconds and constant interaction of all of these elements. A hugh dynamic climax ended the Christe section. The word Kyrie was probably repeated more than a hundred times. Though not suitable for Mass it was a very interesting piece and very well presented. Some of his many contemporary religious compositions can be heard on YouTube.

The exact identity of the composer of the Salve Regina was unclear from the program but I believe it to be the Venezuelan César Alejandro Carrillo and not the Puerto Rican Carlos Carillo. Both have written contemporary religious music as did the Mexican Julio Carrillo who composed for more than 32 divisions of the octave. The Salve Regina provided a more pleasant melody than that of Balzanelli, however, alternating modal and tonal harmonies with sections of much dissonance. Czech Composer L. Zedneck’s [Zdněk?] Parabolas Salomonis (text based on Venerable Bede’s writings) may be characterized as very dissonant with much “shouting” of the text. Similar to the previous was Javier Busto Sagrado’s O Magnum Mysterium with male Sprechstimme over dissonant oohs and hums of the ladies ending with extremely loud dynamics. Busto is a prolific composer of religious music for various voicings. Arcadia Director Cecilia Espinosa’s forte is the presentation of contemporary music but unfortunately the overall sound seemed the same with predominant blend problems in the soprano section.

The latter half of the concert provided a nice change of harmonies beginning with Bruckner’s motet Os justi (1879) based on the Gradual of the Commune Doctorum. (Vulgate, Ps. 36). The choir struggled with the Lydian mode but was able to recover. The motet ends with a short Alleluia sung in unison and repeated. Tallis’ Lamentations of Jeremiah (a text for Holy Thursday) was written as two motets. The choir performed both the Aleph and Beth sections, the latter a nice predominantly homorhythmic section, composed in five voice parts performed as SATTB though they lacked any subtlety and again the sopranos dominated the sound. Victoria’s Sancta Maria sucurre miseria was a much better presentation, though there were intonation problems in many of the melismas. The choir appeared tired throughout the second half of the program. O vos omnes by the Catalan Pau Casals (1876-1973) began with two-voice male imitative lines, gradually adding the alto and soprano lines to moderately modern harmonies, thus ending the religious works.

Secular compositions by F. Ochoa ("Rising Sun"), V. Agudelo (Ensalada de verdugas, a silly song sung in chef hats and aprons with spoons and bowls for rhythm instruments), and A. Gallo (Invierno) concluded the program. Interspersed was a nice villancico by J. de Aroujo, Los Coflades de la Estleya.
Written for two soloists and chorus, the Coro performed it with baroque guitar accompaniment and drum and hand clapping. The performance was the highlight of the program for me. While contemporary music appears to be the emphasis of the conductor and chorus, their overall sound was monotonous despite the variety of vocal techniques in the music.

One of the best performances of the Festival de Música Religiosa de Popayán occurred at 5PM in the theatre. The brilliant Colombian baritone Valeriano Lanchas performed the complete Schubert’s Der Winterreise. Not religious, but spectacular! [Here he performs Verdi's Confutatis.]

No religious music for Holy Thursday’s concerts, but perhaps I will write more about the Processions and the music accompanying them.

Friday, April 10, 2015

Mark Shea thinks too much!

Mssr. Shea decided to expound upon the numerical significance of the number of fish caught gospel reading today, in which the number of fish is clearly identified as 153. If'n you wanna wade through his exegesis feel free to type in "patheos" in your search window.
I did share in common with him a moment of fascination about 153. However, as a lifelong musician and not too shabby theorist, what do you think was my Rorschach response?
Of course, scale degrees 1 (Tonic)- 5 (Dominant)- 3 (Mediant, whether major or minor.)
If that ain't Trinitarian, I dunno what is. You can do the existential math with either Greek or Baroque emotional associations.
One way or another, a tuned 1-5-3 is a totally beautiful thing, even if it stands alone.

Wednesday, April 8, 2015

Viva la Revolucion! Sts. Simon and Jude represent!

http://www.ship-of-fools.com/mystery/2015/2837.html


Congratulations to fearless leader, Matthew J. Meloche, and his wonderful choir and assistants down in Phoenix.

An Odd Synchronicity

I have to admit a propensity to read and consider the thoughts of that particularly difficult (Catholic) historian, Garry Wills. Oddity of oddities, sometimes I'll read a chapter or two of his while listening to Immaculate Heart Radio. Anyway, the near simultaneous release of Will's latest book and the surely magnificent tome of Fr. Samuel Weber's English Propers presents an interesting notion as well as coincidence: is Anglophone Catholicism conceding the "universality of Latin" argument by attrition? Will's first premise in his "Future..." centers around contentions about the conditions (well documented) by which Latin was promulgated as the sacral language initially and its evolution as a binding agent well into the 21st century. Of course, his position isn't in concert with the magisterial dialectic through the course of centuries of official consideration and examination. But one has to ask if many of our most ardent proponents of the reinvigoration of the use of Latin chant and the restoration of the Propers are essentially conceding the argument (echoed by Wills' characterization) of the principal place provided Latin Chant ratified via Vatican II and resuscitated by Summorum Pontificum?
To be fair, I think one ought to at least read the Will's book, or at least reviews of the portion deliberating Latin as both catholic and Catholic, in light of the ever-growing cottage industry of English chant resources such as Frs. Kelly and Weber et al have afforded us

Monday, April 6, 2015

Liturgy and Sacred Music: Metanoia and Christian Viability

This is not likely the optimal time to review the effect of all our efforts to navigate, invigorate and evaluate the evangelical validity and success of our Paschal Time efforts as regards liturgy and its servant, sacred music. Having felt, heard and cogitated over four decades of Palm to Easter Sunday celebrations, it's obvious that this effect manifests itself on at least three levels: the obligatory, perfunctorial level (not unlike attending someone's birthday or anniversary to whom your affection is rarely demonstrated); the emotional, temporarily enthusiastic reaction to the ritual and artistic performance; and (perhaps less likely) transcendent, life altering metanoia-realization that will forever define and shape one's remaining existence in this life.
 
In the clever colloquialism of the great band, REM, I've not lost my religion as regards CMAA, the RotR, Summorum Pontificum, or the simple recovery of a sensibility of both reverence and solemnity that the Roman Catholic Church traditions have cultivated over millenia. However, in what twilight years await many of us and myself, I am compelled to call the question (invented by my sister G), picked up by Fr. Z and associated with Pope B, 16: can "Save the Liturgy, Save the World" actually have any meaning, much less effectiveness among a disparate sect of believers in Christ Jesus, Son of God and Savior of all worlds, in an era when the obvious and ultimate salvivic power of the His redemptive sacrifice and resurrection is mitigated by factionalism, fundamentalism, strictural rigorism and internecine intolerance? The Gospel clarion to mercy, reconciliation, unity, personal salvation and the establishment of the Kingdom here waxes and wanes under the distractions of relenting tolerance, unrelenting intolerance, doctrinal uncertainty, indecision and ambiguity and other modern maladies. 
 
A few years ago I caused a volatile imbroglio with my friend Jeffrey Tucker's Café article extoling of the apparently seductive chants of the muezzins from minarets while on a conference in Turkey. I rather unflinchingly could not divorce my sentiments regarding the tenets of Q'uranic Islam from the exotic beauty that Jeffrey was describing and emulating were we Roman Catholics enabled to have our call to worship in such a coherent and unified manner as practiced by Muslims.
But hence have come the scimitars and scythes, crucifixions and immolations that,  though medieval throwbacks,  still nonetheless lead to genocide and likely a shoah for all humanity in addition to Middle Eastern and  Indo/Asian Christianity should nuclear options become prevalent in the region.
 
So, how much do our ordos of ritual music actually affect and transform Holy Mother Church into a veritable, vital and truly valued force for all the nominally Christian/Catholic souls to behave and actualize the Church Militant? A recent news segment had a respected hymnologist declaring what most of us would call a Praise and Worship song, "In Christ Alone," as the most important and potentially long-lived Christian hymn composed thus far in the 21st century. But often I am compelled to wonder to what end does our incessant arguing over the merits and cultural beauty and credence of our sacred treasury and our identified congenital musical forms actually have towards any Christian's soul's, be s/he a daily communicant or a C&E congregant, change in metanoia and missio to discipleship, commission and agape-based love so that each believer's baptismal promises have substance as well as meaning?
 
In looking over all of the Paschal-tide Ordos posted at MSF and elsewhere, one has to consider whether Solomon's resignation about vanity holds some sway over our deliberations. And I am looking in the mirror figuratively while asking about that. "Sometimes it causes me to tremble..." Yes, we are all in need of the existential purity of praying/chanting the "Dies irae" for all souls, particularly those of not only martyred, but each and every Christian of this and all ages. But if we are more concerned about the propriety and insistence upon that over someone exercising a fourth option like OEW or somesuch, we may be guilty of a myopia and judgmental posture that puts our own souls at peril. I am well aware that is a harsh position to defend. However, we cannot afford to miss the forest for the trees.

Friday, April 3, 2015

Semana Santa in Popayán: 4. Tuesday of Holy Week

[Professor emeritus J. Richard Haefer continues his letters from the Festival of Religious Music in Popayán, Colombia.]

What a marvelous day for traditional Catholic music and Baroque music in general. Syntagma Musicum, a professional ensemble from Costa Rica, presented the noontime concert. All of the members except two are faculty at the University of Costa Rica and the flautist and oboist perform in the San José symphony. Baroque flute and oboe and a natural 4’ trumpet were used though the other instruments were modern. The concert consisted of several trio sonatas by Purcell, Loeillet, de la Guerre, and Mancini any of which would be suitable as special music before or after Mass. Of vocal interest were the several villancicos.

Ausente del alma mía by the New Spain Antiguan (today Guatemala) Rafael Antonio Castellanos (1727-1791) is a villancico for the Ascension for two violins, voice and continuo. Doctor María Clara Vargas Cullell, the director of the ensemble, performed on the harpsichord and a bassoon added the bass to the continuo. They chose to add castanets and tambourine as percussion, acceptable for the style of the times but for paraliturgical use (I would not add the percussion in church). The text is predominantly Spanish but with several africanisms. The syncopated style of the villancicos was well done. Castellanos was a prolific composer of villancicos and sacred compositions in Latin text and many are available in recordings today.

Three additional villancicos were performed in the same style: Alto mis gitanas (anonymous from the Cathedral Archive in Bogotá), Niño mio by José Francisco Velázquez (active in Caracas 1755-1805), and Atención a la fragua amorosa (anonymous, Ecuador, New Granada, 17th century). The first two are religious in nature, both for the birth of Our Lord while the latter is secular. The gitanas refers to the “Guitana” of the 16th chronicle of Juan de Castellanos, a character who is cruelly evil against all things or people who are good. The villancico text asks for Our Savior to free the people from the “Evil One,” and from the evil caciques in New Spain. The piece was found in the Archivo Musical de Chiquitos in Bolivia (Nueva Granada). Atención, also called a tonadilla, speaks of the meeting of lovers.

The motet Deus Meus by Francisco Antonio Godoy (late 18th century) was arranged for the entire ensemble including a small marimba (instead of the natural trumpet). The original was found in he archive in Antigua. Ignacio [de] Jerusalem (1710-1769)  was one of the most important composers in 18th century Mexico City. Although recruited to lead the music at the Coliseo de México he was soon recruited to provide compositions for the Cathedral but many of the priests resisted the modernity of his music. Finally in 1750 he was appointed Maestro de Capilla. Cherubes y pastores is an aria for the nativity season. Among the secular music performed was a Costa Rican Indian dance tune promising service to the Santo Cristo de Esquipulas, the crucified Christ depicted in a renowned image in Guatemala.   (Videos of the ensemble from a festival of early music are here.)

The five p.m. concert by the German ensemble Calmus (four men and one woman) provided an excellent presentation of Baroque music by German composers. All with German text (unsuitable for the Latin mass), the theme of the program was centered on Vulgate Psalm 116.The concert per se was by far the best of the series with the expected Germanic precision and control of all elements of the music. The texts were clearly understood and the intonation impeccable. The blend between soprano, countertenor, two tenors and bass provided a soothing sound. The only disappointment was the opening Canto Gregoriano, Dilexi quoniam audies Domine (Ps 116) that was sung on a psalm tone as an entrance procession. The mixture of male and female voices was most disturbing to a traditionalist.

Waiting now (11:00 PM) for the Procession to reach our hotel. It left the church of San Augustin some three hours ago.

Thursday, April 2, 2015

Semana Santa in Popayán: 3. Monday of Holy Week

[J. Richard Haefer reports on the Festival de Música Religiosa in Popayán, Colombia:]

Popayán is one of Colombia’s oldest Colonial cities founded in 1537 by Sebastián Belalcazár and is located on the way between Bogotá (a one hour flight to the East) and Quito (about 20 hours by road to the Southwest). An important religious and cultural city (the university was founded in 1827) Popayán is today a curious mixture of Indito, Mestizo, and Hispanic culture and lifeways.

Monday of Holy Week featured the Misa del Cargueros. The cargueros are the men who carry the large palios or platforms with the life size statues and scenarios during the nighttime processions. It takes eight strong men to carry each platform that is about six feet by eight feet in size, many with three or four life-size statues. The Mass was prayed in honor for those who had died since last year and to honor those with up to fifty years of service.

At noon in the rebuilt 18th-century style church of San José with an audience of more than 150 the choir with the funny name “Las Gatos — Coro” (“Cats Choir“) presented a stunning concert of sacred motets from the 16th and early 17th centuries. Director Félix Córdoba Galvis showed a clear understanding of Renaissance motet style conducting the mixed choir of thirteen singers in an aesthetically pleasing presentation. Professor Córdoba from Cali, has a very relaxed conducting style but with an obvious control over the choir exhibiting carefully measured dynamics and tempi.

Of the fourteen motets (complete list follows at end) all would be suitable for use at a Mass. Most were “old war-horses” such as Lasso’s Super flumina Babylonis and Palestrina’s O bone Jesu and Sicut cervus, and most were for four part voices, though two were @5 with an SSATB chorus. Others such as Victoria’s Vere languores and O lux et decus Hispanie are less well known. Purists (or priests) might object to the Palestrina Haec Dies at the Gradual of the Mass for Easter but it is a wonderful composition.

The blend of the group was excellent for the most part, though frequently one soprano voice “stuck out” due to her vocal quality. Contrasts between homorhythmic sections and the contrapuntal points of imitation represented the style nicely and the choir managed the modal harmonies with little trouble.

Presented chronologically, the motets well represented the sacred music of the Renaissance from Lasso to Victoria. With the exception of the Franco-Flemish Rolando de Lassus (as Orlando di Lasso he wrote in the Italian style) and Francisco Guerrero and Tomas Luis de Victoria, the composers were all Italian though the latter represent the best of Spanish Renaissance music.

The program concluded with two secular villancicos by Manuel Machado and two madrigals by Claudio Monteverdi. One must carefully check the texts of villancicos to determine if they are secular or religious in nature. Some villancico texts may seem on the surface to be secular but they may well have been used for para-liturgical celebrations. More about that tomorrow, as we will hear more villancicos then. Some villancicos were also used in Colonial times to replace Responses at Matins for particular feasts. These two, however, are definitely secular compositions.

Machado was born and trained in Lisbon but moved to Madrid where his father was harpist at the Royal Chapel. In 1639 he became a musician at the palace of Felipe IV for the rest of his life. Although he wrote several sacred compositions, he is best known for his secular cantigas (@3 or 4) and villancicos.

Monteverdi’s two madrigals appeared to come as a shock to the audience with his harsh dissonances contrasting with the smooth, readily resolved dissonances of the rest of the program. However, to a musician who loves Monteverdi they were a pleasant ending to an excellent concert.

The evening concert was strictly secular music for a group of ten violas and an actress (with a pedagogical aspect suitable better for elementary school children). However, tomorrow promises to be another day of excellent religious, if not sacred, music.

List of compositions performed:
Orlando di Lasso: Super flumina Babylonis
Giovanni Pierluigi de Palestrina: O bone Iesu, Sicut cervus, Haec Dies, Adoramus te
Felice Anerio: Ave Maris Stella
Francisco Guerrero: Ave Virgo Sanctissima
Tomas Luis de Victoria: Vere languores, O lux et decus Hispanie
(Intermission)
Tomas Luis de Victoria: O quam gloriosum, Popule meus, Estate forte in velo, Iesu dulcis memoria, Gaude Maria Virgo
Manuel Machado: Bien podeis corazón, [O]Escurece las montañas
Claudio Monteverdi: Lasciate mi moriré, Ecce mormorar fonde