Boulder Renaissance Project performs "Glorious Motets III" Sunday, January 10, 2010

In addition to our usual performance of motets by our favorite Renaissance composers (Palestrina, de Lassus, Byrd, Banchieri, Victoria, Tallis etc.), and two modern motets by Duruflé, our upcomming concert features some very interesting and different pieces.

We will be singing three lamentations, each about a famous Renaissance composer. Interestingly enough the second and third lamentations are on the death of the composer of the previous lamentation. Here are our three lamented composers, may they rest in peace:

The first piece of the set is a lamentation by Ockeghem on the death of Binchois ("Mort tu as navré de ton dart"). Binchois was one of the three most famous composers of the early 15th century, along with Dufay and Dunstable. In this lamentation Ockghem has created a three-part motet on a Latin text from the requiem mass and added to it a very passionate and personal French poem. The three Latin parts alone sound a great deal like Binchois – perhaps Ockeghem did that on purpose. Together the four parts sound like Ockeghem.

The second lamentation is the famous lamentation on the death of Ockeghem by Josquin - "Nymphes des bois." This sophisticated work also combines secular French text with text from the requiem mass – this time four parts sing the French while one cantus firmus part sings words from the requiem mass. This is a surprisingly complex work with challenging counterpoint and wide vocal ranges.

The third lamentation “O mors inevitabilis” on the death of Josquin was composed by the early 16th century composer Heironymous Vinders. Not much is known about Vinders, but on hearing this piece you will probably agree that he was an early master of the polychoral style. I don’t know if he learned it from the Venetians or if he invented it himself. I find this seven-part piece in a major key to be a joyous outpouring of grief, if that doesn’t seem too contradictory. As far as I know there is no lamentation on the death of Vinders.

What I find particularly fascinating is that before the widespread use of music printing these composers were heard, revered, and so loved all across Europe and that their deaths were significant events. If you’re nervous about too much lamenting, be assured that these pieces are short and really quite interesting!

Without doubt, Monteverdi was the greatest of the Italian Renaissance composers. He revolutionized the music of the theatre and the church with his dramatic and imaginative use of instruments and voices, and with his daring harmonies. In 1613 Monteverdi was appointed Master of the Music at St. Mark’s, Venice. He remained there until his death in 1643, devoting his time to directing the choir and composing a series of wonderful sacred pieces which spread his fame throughout Europe.

Monteverdi’s madrigals are just as ground-breaking as his sacred music. They were published in eight volumes, composed over a period of some 40 years, and in them he introduced adventurous, chromatic harmony and instrumental accompaniments. Their highly dramatic character anticipates on a small scale many of the stylistic devices he later employed to such powerful effect in his operas. Though Monteverdi was not the first to compose operas, his Orfeo (1607) is recognized as the first truly dramatic example. "Beatus vir", which was probably composed in 1630, was published in the composer’s 1641 collection Selva Morale e Spirituali. The motet, a setting of Psalm 112, is a superb example of Monteverdi’s dramatic style. It contrasts pairs or small groups of voices with the weight of the full chorus, a technique known as stile concertato - one of the most characteristic features of baroque music. The piece is scored for six-part chorus and soloists, with basso continuo and two obbligato violin parts.