CHRISTMAS TO CANDLEMAS: AROUND 1600
Xavier College Chapel
Saturday December 9
For the last Xavier Chapel program – well, it looks that way, and the Ensemble’s three eastern suburb appearances are moving to Our Lady of Victories Basilica in Camberwell next year – director John O’Donnell brought in the services of Danny Lucin’s early music musicians, La Compania to flesh out a final night for 2017 of lush, almost corpulent Renaissance Christmas music: both Gabrielis, of course, along with Praetorius, de Lassus, and a single Epiphany motet by Victoria.
The program was rich in choral works for multiple vocal lines, interspersed with three Andrea Gabrieli intonationes and a relatively more substantial ricercar from O’Donnell on chamber organ. Other instrumental pieces included two canzone by Giovanni Gabrieli for eight voices. Lucin’s cornetto led the quartet from La Compania – sackbuts Julian Bain, Trea Hindley, Glen Bardwell – and the second instrumental choir was represented by O’Donnell; a mixture that worked well enough, even better after ears had adjusted to the organ’s tuning in mean-tone temperament.
The Gombert numbers had expanded slightly with an additional soprano and tenor in the force and the body’s reliability had also been resumed with the return of some absentees from the previous recital. In all, the ensemble sang eight works, most of them in company with the four wind and organ. But in the night’s latter stages, we heard two plain works for the standard four lines: the afore-mentioned Victoria piece, Senex puerum portabat, and the less ornate of the two Lassus representatives, Adorna thalamum: both making for a moment of meditative ease as they celebrated the Presentation in the Temple – the Candlemas of this concert’s title. Like most of the works performed here, these motets moved swiftly through their texts, over too soon for some of us but handled with confidence and dedication.
But the body of the program comprised music of extraordinary stateliness, polished grandeur which summoned up the spirit of what Renaissance church rituals might have been like – mobile and inspirational but completely controlled in movement and expression. The combined forces opened with two settings of Resonet in laudibus: the first by Praetorius in seven parts, loaded with full-bodied common chords processing past with solid majesty, then the Lassus version for five voices with more polyphonic interest but just as buoyant in its realization of the Christmas Day-celebrating words.
Andrea Gabrieli’s lavishly coloured Hodie Christus natus est, also instrumentally reinforced/doubled, summoned up the phantom of Venice in 1600 through the organized glory of sound blocks combining, alternating and eventually reaching blazing swathes of rich sonic fabric, particularly the focused relish on the word laetantur and the piling on of concords for the final Alleluia exclamations. This piece enjoyed an exhilarating performance by both Gomberts and Compania musicians, proposing a form of that controlled ecstasy you hear in the B minor Mass’s Sanctus opening, the emotion kept in harness as the composer looks for intimations of the divine in a music of aspiring solidity.
Nephew Giovanni’s O magnum mysterium for double choir of disparate personnel – the first with two sopranos, alto and tenor, while the second holds an alto, tenor and two bass lines – countering each other and combining for stately interweaving strophes, the whole again typified by dramatic restraint without any vocal adventures and reaching its high point not in the final Alleluia but placing a moving focus on the iacentem in praesepio phrase: the core of the text, picturing the Child lying in a manger. The first statement is chordal, the second more irregular, yet the effect was intensely moving due to the singers’ incisive delivery.
On either side of the smaller-framed four-voice Victoria and Lassus motets came two powerful works. The first celebrated the Epiphany, that moment in Matthew’s gospel where the Magi enter the Bethlehem stable, even if Lassus constructs a more expansive picture with not just royalty but Omnes de Saba bringing gifts, the nominated kings coming from Saba (Sheba) with the rest of the population, but from Arabia and Tharsis (Spain or Sardinia? ) as well. This motet, for double choir, has been sung by the ensemble in previous years, although I can’t remember it coming across with such lustrous majesty; the cornetto and sackbuts might have made a difference in this regard. But the score’s fabric in this performance gleamed with high polish, the smooth and opulent movement underlining the significance of those remarkably outlandish offerings – gold and frankincense.
Another Venetian blockbuster made for a memorable farewell to the Xavier Chapel, a building which has been fortunate to witness and host the Ensemble Gombert’s performances for many years. Giovanni Gabriel’s Nunc dimittis is Simeon’s prayer of gratitude for being allowed to live long enough to see Christ, but it also served as a mutual thank-you between these singers and their loyal audience. For 14 voices divided into three choirs, this construct proved intensely satisfying for its fusion of massively resonant and fluid motion with a non-indulgent handling of the text. Mind you, the concluding doxology is just as lengthy as the words of the righteous and devout man from Luke’s gospel that were set by the composer. But O’Donnell and his forces gave us a most satisfying, driving reading of this High Renaissance gem, a potent reminder of the choir’s outright distinction in this country’s choral ranks.