The Recovering Choir Director

We’ve found ourselves continually fascinated by the mechanics and charm of this 3-part Ave Maria setting by Monteverdi, and just this past week, we enjoyed reading this sure-footed Regina Caeli by Lotti (might have to open that link in a new window). The Ave Maris chant is truly captivating but we also add this “modern” (19th century) 4-part setting by Mitterer for enrichment.

Ave Maria–Vittoria, Biebl (Angelus…) are two of my favorite settings.

Sing of Mary, Pure and Lowly [PLEADING SAVIOIR]

Marian Antiphons for High Voice and Organ by Daniel Pinkham–beautiful and not often sung.

From my Western viewpoint, I would consider the late Franz Biebl’s “Ave Maria” (or “Angelus”) to be one of the most beautiful Western settings of a Marian hymn of the 20th Century.

From my viewpoint in the East, may I recommend the Bogoroditze Dievo (”Rejoice, O Virgin”). While Sergei Rachmaninoff’s setting, taken from his “All-Night Vigil”, is perhaps the most well-known and famous, Arvo Part’s (originally written for the Choir of King’s College, Cambridge) is also beautiful, and works very well when sung in the all-night vigil twice, with the more traditional setting by Archangelsky sung for the third time.

For those who do not know it, it is the eastern version of the “Ave Maria”, and an English translation goes as follows:

“Rejoice, O Virgin Theotokos*, Mary, full of grace. Blessed are you among women, and blessed is the fruit of your womb: for you have borne the Savior of our souls.”

*Greek: “God-bearer”

Mr. Tucker:

The Lotti “Regina Caeli” is fine by me, but always reminds me of Francis Elborne, the wonderful musician who was at Our Lady of the Atonement in San Antonio after, inter alia, Our Lady of Walsingham in England. When we first rehearsed it, he wrinkled his nose and said, “Hmm. If you were to ask me whether I liked this, I would have to say, ‘Not A. Lotti.’”

Miss Geri:

St. James Cathedral in Seattle has made your recording: 1000 Years of Great Music for Great Cathedrals. Among other hot hits, such as Durufle’s “Ubi caritas” and Parry’s “I was glad,” are Biebl’s “Ave Maria (Angelus Domini)” and … Tavener’s “A Hymn to the Mother of God:”

In you, O Woman full of Grace, the angelic choirs, and the human race, all creation rejoices.
O sanctified Temple, mystical Paradise, and glory of Virgins.
In you, O Woman full of Grace, all creation rejoices.
All praise be to you.

Favorites:

Chant: Ave maris stella

Choral: Ave Maria (Angelus Domini), Biebl

Metricongregationalicious: Ye who claim the faith of Jesus (JULION, Hurd)

Devotional: Daily, daily sing to Mary / ¡Oh María, madre mía!

Since I’ll be leaving my Roman Church job for a Presbyterian Church, I can now freely admit I never got into the whole Catholic “Mariology” stuff. But I will admit my favorite Mary-based music is without question the great Bach setting of the Magnificat. Does that count? But I am also a great fan of the Arcadelt setting of Ave Maria. I have studied the Liszt organ arrangement and it’s extremely nice with a harp stop. So put me down for that. And just for the reccord, worst Marian music ever = “Gentle Woman Quiet Light”. Someone had to say it.

As I have never heard the Landry, I would not know whether it is good or bad. However, as regards the Biebl, I would agree that it has been performed by many choirs a tad too often, and by choirs which, alas, were not quite up to the task.

For me, the finest recording of the late Franz Biebl’s “Ave Maria” was by the more-or-less male choral group, “Chanticleer” in their Christmas album “Our Heart’s Joy”. Unfortunately, it is now out of print, but I believe that used copies can still be purchased on Amazon. It has a beautiful collection of Christmas music, including Britten’s “Hymn to the Virgin” (which I agree is a beautiful Marian hymn).

I have not yet heard Tavener’s Hymn to the Virgin, but having read the text (with thanks to Mr. Muller), it appears to be the same as the Hymn to the Theotokos which is found in the Liturgy of St. Basil (usually served during Great Lent). There are a number of good settings of this.

The Hymn to the Theotokos which is sung during the Liturgy of St. John Chrysostom is also beautiful. I found one version, for TTBB, written in Tzar Feodor Chant, and harmonized by Osorgin and Kedrov, to be so beautiful that I put it into English. If anyone is interested, I can e-mail a .pdf copy, or if AAE would like, I can give it to him for posting on his weblog.

By the bye, the text of that Hymn is as follows:

It is truly meet to bless you, O Theotokos: ever-blessed and most pure, and the mother of our God. More honorable than the Cherubim, and more glorious beyond compare than the Seraphim; without defilement you gave birth to God the Word. True Theotokos, we magnify you.

I would expect any member of Chanticleer to snore more musically than I can sing, but having pursued “Our Hearts’ Joy” across two or three record shops before finally bringing it home used a couple of years ago, I do believe that the Biebl was better in Seattle. The Chanticleer recording is superb but s l o w .

Alas, I do not have a copy of the Biebl on pdf. I thought my message made clear that the pdf offer was for the Osorguine and Kedrov Hymn to the Theotokos.

Daniel,
I can’t believe you put my corny joke on the internet!! Please make contact.
FrancisElborne at optonline dot net

I was traveling when this thread originally arose.

I should note that, well before Chanticleer, the Biebl was popularized by the Harvard Glee Club (there is a fine LP recording from a while back) and the University of Virginia Glee Club (which was, at least in the ’70s and early ’80s, the only university glee club with a countertenor section, which serves the Biebl well and which serves as the approach for Chanticleer). The slower approach is what I grew up on in the glee club tradition, and it can only be pulled off by skilled folks (much like Palestrina’s Sicut Cervus, sung as recorded by the amazing Westminster Cathedral choir). At UVa, the Biebl was always the closing number of the Christmas concert and the Finals concert on the night before Final Exercises (aka commencement), and there were many damp eyes in the house (and this in Catholic mission territory, no less).

Since this thread has been reopened –

Mea culpa, mea culpa, mea maxima culpa.

I have programmed Hail Mary, Gentle Woman, for Assumption.

It is loved, and it is missed (it hasn’t been sung in our church, except for funerals on request, since I became music director.)

Is it all right to use “Immaculate Mary” as entrance hymn for the Assumption? I heard it somewhere that opening hymns should always be about God. In which case we might just go for Alstott’s “My Soul Rejoices,” which, unfortunately, is not as familiar to our congregation as Immaculate Mary.

Here’s our line-up for Sunday, Aug. 15 in my parish, St. Anthony, SF. 5pm Sat vigil, 12:30, and 8pm Sunday, all English Masses:

Opening: “Immaculate Mary” (Lourdes Hymn) or “My Soul Rejoices” (Alstott)

Kyrie: Olawski

Gloria: Heritage (Alstott)

Responsorial Ps: “The Queen stands at Your Right Hand,” (R&A)

Gospel Acclm: “Mary is taken up to heaven; a chorus of angels exults.” (R&A)

Offertory: “Sing of Mary” (Pleading Savior)

Sanctus: Heritage

Memorial Acclm, Great Amen: Heritage

Agnus Dei: Heritage

Communion: “Let All Mortal Flesh Keep Silence” (Picardy)

Closing: “Hail Holy Queen Enthroned Above” (Salve Regina Coelitum)

Is it all right to use “Immaculate Mary” as entrance hymn for the Assumption? I heard it somewhere that opening hymns should always be about God.

Miss Marie:

Hymns about the Mother of God are about God; no one hymn comprehends all facets of divinity! So yes, I do agree with Geri (and not just because she pointed me to a great deal on a copy of HP&SC).

However, I think we should respect the distinction between a song that has devotional connections — a pilgrimage processional — and a Gospel canticle. The Magnificat is the proper communion of the solemnity of the Assumption of the Blessed Virgin Mary, both vigil and day masses. And I think it will be great if your congregation grows to know and love this scripture — and be ready to sing it for Evening Prayer any and every day of the week.

Besides the propers, I do program “Immaculate Mary” at English Masses for the Annunciation and the Immaculate Conception, as would I for Our Lady of Lourdes. Although I realize that the Immaculate Conception has quite a lot to do with the Assumption, I would prefer to save it for these other occasions, especially if the alternative is a Gospel canticle: Mary’s own words!

Thanks, Geri and Daniel. I feel relieved.

I personally prefer “My Soul Rejoices,” but I’m not sure if all three congregations are familiar with it.

My organist and I have been playing it at the Saturday vigil Mass from the time we started four years ago, so there’s no problem there.

We took over the Sunday noon Mass only since last year, and only on every other Sunday. At the noon Mass we’ve played “My Soul Rejoices” mostly around Advent, so I hope it rings a bell with the people.

Three weeks ago, the 8 pm Sunday choir resigned when the Franciscans turned over our church to the Archdiocese. The new pastor pleaded with us to “temporarily” take over the music. Again, I’m not quite sure if this third congregation is at all familiar with the Alstott.

I am not quite inclined to change the program, especially since the vigil Responsorial is different from the Sunday’s.

I mean - it’s hard work for my organist to change music from one Mass to the other. But maybe we’ll use the Alstott at least for the vigil.

On the other hand, it’s safe to think that all three assemblies will join me in singing “Immaculate Mary.”

Also, I’m just crossing my fingers on “Let All Mortal Flesh…” It may be the Sunday noon congregation’s favorite, but I don’t know if it will fly with the other congregations. However, I like it very much that I am quite prepared to go for it solo on the first verse and hope people will join in on the second verse. I just feel the “King of kings and yet born of Mary…” part to be so right for communion on that feast.