Polyhymnia – In My Element
After a full day of volunteering – handing out stickers and making arts and crafts – at the Museum of Natural History for WNET’s PBS show Sid the Science Kid, I went with my parents to a concert at The Church of St. Ignatius of Antioch in the Upper West Side. The concert was titled “La Flor de España,” featuring the choral group Polyhymnia, a group that sings early choral music. There was also an organist, Sarah Davies, who played several “interesting” pieces. Not only were the composers featured in this concert of Spanish origin – like me – but they were from one of my favorite musical time periods – 13th to 16th century!
Missa Surge propera a6: Sanctus … Guerrero
I’ve said it many times, but choral music is just so lovely to listen to! Churches are made for the sound of the human voice singing to the heavens. The pieces sung by Polyhymnia varied in style. The 13th century songs were all Gregorian Chants – men only, female only, and mixed. A Gregorian Chant is a style of choral music in which all singers are in unison and there is only one line of melody. Usually, if not always, the text that they chant is religious. The 16th century pieces were in the motet style. Motets are usually sung with multiple voices, multiple melody lines, and are often in counterpoint. This counterpoint later plays an important role in baroque music!
Medio Registro Alto del Primer Tono … Francisco de Peraza
I wasn’t as much of a fan of the organ playing as I was of the singing. My least favorite organ piece was written by Antonio de Cabezon (1510-1566). It seemed to have no fluidity and there was no melody that I could follow. Cabezon was blind, so perhaps he didn’t write his music down the way it was in his head! The last piece, though, by Francisco de Peraza (1564-98) was a lot more pleasing to the ear. I can’t imagine how hard it is to play an organ. Not only are there multiple keyboard levels for your hands, there are also buttons and levers to pull. In addition to multi-tasking on the upper level, the organist has to play with her feet as well. It is almost as if there is an oversized piano below the hand keyboards, as well as more buttons and a pedal! Whether the awkwardness of the music was intrinsic to the composition or at the fault of the performer, I must commend her on her ability to at least make sense of the instrument!
Yes, very often Gregorian Chants and motets all meld into one big early music soup and you can’t tell the difference from one piece to another. Even so, I love to surround myself with the sweet sound of times gone by. Whenever I get the chance to listen to early music, I will!
Alta: La Spagna … Francisco de la Torre
Spaniol … Hans Buchner
Ave Maria a8 … Francisco Guerrero
Tota pulchra es Maria a6 … Francisco Guerrero
Primera fantesia sesto tono … Luis de Narvaez
Libro de Cifra Nueva (1557) … Luis Venegas de Henestrosa
Introit – Rorate Caeli Tone I … Spain 13th Century
Missa Surge Propera a6 … Guerrero
Kyrie
Gloria
Credo
Sanctus & Benedictus
Agnus Dei
Offertorium – Ave Maria Tone VIII … Spain 13th Century
Sursum Corda & Prefacio … Missale Romanum
Pater noster … Missale Romanum
Communio – Ecce Virgo Tone I … Spain 13th Century
Medio Registro Alto del Primer Tono … Francisco de Peraza
Polyhymnia: La Flor de España
The Church of St. Ignatius of Antioch
March 9, 2013
Marina B. Nebro
