CHORAL JOURNAL

FEBRUARY 2003

MQften lLa.ucldsenif:s
Lux Atu>;r,na = A
Conduct(;jf"s O!>nsideratiQns

[ Author's note: This article was. written by Timothy W. Sharp

with the approval and commentary provided by the composer.
Statements by the composer appear in extended quotes. TWS]

Introduction
F the essence of water can be captured on canvas, surely
Claude Monet approached this conceptual impossibility
in his painting. Similarly, if illumination can be captured in words, .certainly the writer of the text "0 Magnum
Mysterium" comes a.'fdose as humanly possible to expressing
faith in those two simple lines of poetry. If light could be set to
music, Morten Lauridsen's choral monument Lux Aeterna has
given us this deeply felt impression and expression.
Lux Aeterna is a work of illumination in all its etymologies.
Not only does the composer's harmonic color shimmer and
glisten in this extended choral/orchestral work, but also the
depth of the composition provides a glimpse at a deeper inner
light. This is not merely a setting of light in the present tense,
but a composition that reaches back to the light of the ages,
----cw=nemer mat isth-eGreelcleukos, or the relatively more recent
Latin "lux." It is a work that begins in the past, but moves usliterally carries us-to lux aeterna. In the recent publication
Choral Music in the Twentieth Century, Nick Strimple states

Timothy W. Sharp is chair of the Department of Music and is

the Elizabeth G. Daughdrill Chair in the Fine Arts at Rhodes
College, Memphis, Tennessee, where he conducts the Rhodes
Singers, MasterSingers Chorale, and Rhodes Orchestra.

VOLUME FORTY-THREE

"Lauridsen's probing, serene work contains an elusive and indefinable ingredient which leaves the impression that all the questions have been answered."l This article offers commentary
from the composer and analysis from a conductor into a contemporary choral masterpiece, Lux Aeterna.
Lauridsen has received the respect and esteem of to day's
serious choral conductors and audiences. NPR's Weekend Edition with Scott Simon, Peter Rutenberg's The First Art, and
KCET's Life and Times have featured Lauridsen and his compositions. He has earned a permanent place in the standard choral
repertoire and is one of America's most performed and recorded
composers. Four, superb all-Lauridsen CDs are commercially
available at present, along with stellar recordings of his compositions by Robert Shaw and Dale Warland. In addition, his
works are heard on recordings by the Donald Brinegar Singers,
New York Concert Singers, Los Angeles and San Francisco
Chamber Singers, Canterbury Cathedral Choir, Seattle Pro
Musica, San Francisco, Cleveland and Dallas Symphony Choruses, Phoenix Chamber Choir, Harvard University Choir,
Princeton Singers, and Turtle Creek Chorale among many others. His composlriclIls-are-heard fromthe-Dc>r<:>thy-ehandler--Pavilion in LA to Carnegie Hall in NYC; from the Kennedy
Center to the Vatican; and his compositions Dirait-on and 0
Magnum Mysterium are the all-time best selling works distributed by the Theodore Presser Company, in business since 1783.
Strimple concludes, "By century's end he had eclipsed Randall
Thompson as the most frequently performed American choral
composer."2

17

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

Lux Aeterna
LuxAeterna is an extended choral work
for chorus and chamber orchestra. The
five-movement work, performed without
pause, is built upon texts drawn from
sacred Latin sources, each containing references to light. The work opens and
closes with words from the beginning and
ending of the missa pro de.fonctis, with the
three central movements drawn respectively from the Te Deum (including an
added line in the In te, Domine, Speravi
from Psalm 111 :4, the Beatus Vir), 0
Nata Lux, and Veni, Sancte Spiritus.
Lux Aeterna contains no solo vocal material, and alternates freely between homophonic choral passages and contrapuntal treatments of the text. The instruCelebrate, I:arth Dax(Aprii 1sf)
wit

"Singlng_to-tHEf"~_arth"

l5y Briarr H-cfdel ....:::.

_--"'lr~~ATB, piano, narrato'r)

-"_

,.'" YeJt(;m Rh'0des. M...usilt

. '. . ,
... .

,_~1~888-4YRMusic
, -

. .

jMy passion second to

,music is poetry. Lread
iandstudy.it
constantly..every day."
mentation of the work calls for seven wind
instruments, and strings. Winds include
single flute, oboe, clarinet in A, bassoon,
2 French horns in F, and bass trombone
(or trombone with F attachment). The
string complement at the premiere performance of the work for the 120-voice
Los Angeles Master Chorale was 12-108-6-4, but a reduced string section of 108-6-5-3 or 8-6-5-4-2 may be used with
smaller choruses. String divisi, especially
in the lower strings, requires careful attention to the string complement re-

The Boston Children's Chorus is a new arts institution with

a sizable mission ... and equally sizable backing. This new
ensemble will serve as an ambassador for the city of Boston, and its membership will represent the tremendous diversity of the greater Boston area. In addition to a top-level
performing choir, the Boston Children's Chorus is envisioned
as a center of expertise that will create and/or nurture choirs
throughout greater Boston, whether they are in schools, after-school programs,religiousinstitutions, or otherplaGes
where children gather. Our goal is for every child to have
the opportunity to sing in an excellent choir, and through
these communities of song, to have a lasting impact on our
city.

quired. An organ score realization with

. registrations for the performance of the
work with chorus and organ has been
prepared by the composer.

Lauridsen Speaks about Text

"My passion second to music is poetry. I read and study it constantly-every day. It is a fundamental part of my
life. I have profound admiration for poets
who seek deeper meanings and truths and
are able to express themselves elegantly
through the written word. Consequently,
it has been a natural development for me
as a composer to wed these two passions
and to set texts to music.
I have set poems from several historical eras in a variety oflanguages, and I am
especially attracted to the idea of the cycle,
which, in my usage, is a multi-movement
piece unified by both a central poetic
theme by one or more authors tied together by recurring musical elements. Historical precedents for this are found in
the music of Beethoven, Schubert,

ARE YOU AN EXCEPTIONALLY GIFTED MUSICIAN?

ARE YOU COMMITTED TO CONDUCTING CHILDREN?
DO YOU HAVE THE DRIVE TO BUILD A NEW ARTS INSTITUTION?
DO YOU WANT TO REACH HUNDREDS OF CHILDREN?
ARE YOU PASSIONATE ABOUT THE ABILITY OF MUSIC TO BRIDGE
DIVERSE RACIAL, ETHNIC AND ECONOMIC BACI<GROUNDS?
DO You WANT TO MAI<E A DIFFERENCE?

..

THEN THIS MAY BE THE JOB OF YOUR DREAMS ...

What are we looking for in an artistic director?

1. exceptional musical skills 2. ability to communicate with children

3. entrepreneurial drive

4:~:p~~~i~. aboLifcorn_mu~itY& aiversify.-5:cnarismatic-l~aaersn.ijJ

What will you get as artistic director?

1. conductorship of a top children's choir 2. complete artistic control 3. partnerships with key
4. opportunity to help shape a new arts institution
5. major artistic role in an
civic leaders
incredible artistic city
If you are interested in this position, or if you know someone who should be considered,
please email a resume or referral to Ellen Schreiber, Acting Executive Director,
Boston Children's Chorus, at [email protected], or call (617) 290-6216

VOLUME FORTY-THREE

18

NUMBERSEVEN

FEBRUARY 2003

Schumann and others, including a number of excellent examples in our century

by Rorem, Copland, and Barber, to name
a few. This cyclical idea, an overall organic architectural structure melded together by common poetic and musical
ideas, I find very appealing. In addition
to many single songs, instrumental pieces
and choral works I have composed, the
six vocal cycles form the core of my creative output.
The poetry I have chosen for these
cycles is by first-class poets-Graves,
Rilke, Moss, and Lorca-on themes that
are universal. The musical approach to
these settings complements the style of
the poetry and content. The Madrigali,
for example, are an homage to Monteverdi
and blend sixteenth-century madrigalisms with contemporary practices, underlaying the Italian texts concerning
unrequited love. These settings are passionate, earthy, dramatic-red wine music. The Graves's settings are cooler, crisper,
classic in design to complement Graves's
foundations of classical poetry and mythology. The Chansons are pastels, delicate and hopefully charming and elegant
settings, hinting at the broad repertoire
of French chansons and incorporating stylistic elements of that literature. My settings of the Lorca poems are abstract,
atonal, colorful, and dramatic.
Each of these cycles exhibits a fondness for lyricism, the long melodic line. I
admire those composers who have left us
unforgettable melodies-Schubert,
Brahms, Schumann, and others in the
classical world as well as those composers
of the great American standard song and
the Broadway stage-Kern, Gershwin,
Rodgers, and Porter, to name a few. This
is music I grew up with and have never
ceased loving. I constantly sing each line
as I am composing to mal{e sure each
vocal part is lyrical and gracious for the
singer. "3

CHORAL JOURNAL

I constantly sing each

line as I am composing
to make sure each vocal
part is lyrical and
gracious for the singer. 3
Whitman College and the University of
Southern California (B.M., 1966). He received his M.M. (1968) and D.M.A.
(1974) degrees in composition from Usc.
He chaired the Department of Composition of USC's Thornton School of Music
from 1990-2002 and was the founder of
the Scoring for Motion Pictures and TV
Advanced Studies Program at the school.
From 1994-2001, he was composer-inresidence with the Los Angeles Master
Chorale. He is a native of the Pacific
Northwest, where he retreats each summer to his waterfront cabin on a remote
island off the coast of Washington State.
LuxAeterna is preceded by three major
choral cycles, along with other choral
motets and two major vocal cycles. His
earlier choral cycles include Mid- Winter

Songs focusing on the theme of Winter

and set to the poems of Robert Graves
(1980, orchestrated 1990); Madrigali: Six
Firesongs on Italian Renaissance Poems
(1987) for unaccompanied choir; and Les
Chansons des Roses on French texts by
Rainer Maria Rilke (1993) with four
movements unaccompanied and including piano on the final Dirait-on, a work
inspired by the French "chanson
populaire." Choral works that have also
become standard repertoire include the
Latin motets 0 Magnum Mysterium
(1994), Ave Maria (1997), and Ubi
Caritas (1999), all three unaccompanied.
Published single movements from the
above cycles include the "Dirait-on" and
"0 Nata Lux" from Lux Aeterna.
Lauridsen's two additional vocal cycles include Cuatro Canciones, a vocal cycle of
four songs about time and night for high
voice, piano, clarinet, and cello on poetry
by Federico Garcia Lorca; and A Winter
Come (1967), a vocal cycle of six songs on
poetry by Howard Moss for high voice
and piano."

Lux Aeterna
"LuxAeterna [Eternal Light] is an intimate work of quiet serenity centered
around a universal symbol of hope, reassurance, goodness, and illumination at all
levels. This work formed in my mind

Historical Backgound
Morten Lauridsen (b. February 27,
1943) joined the faculty of the Thornton
School of Music at the University of
Southern California in 1967, following
his study of advanced composition with
IngolfDahl and Halsey Stevens. His compositional career spans thirty-five years.
His undergraduate study took place at
VOLUME FORTY-THREE

19

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

over several years, and I began serious

work on the piece shortly following the
completion of Les Chansons des Roses in
1993. I put aside the Lux in early 1994 to
compose the Chrisrmas canticle, 0 Magnum Mysterium. The serenity and the uncomplicated and lyric style of the 0
Magnum Mysterium are continued in Lux
Aeterna, which is fashioned on texts from
several different Latin sources, including
the Requiem mass, each containing a reference to light.
Paul Salamunovich, conductor of the
Los Angeles Master Chorale for whom I
composed this cycle, considers Lux
Aeterna to be one long chant. That did
not happen by accident-I was writing
for one of the world's foremost experts
not only on Gregorian chant but of Renaissance music in general-and while I
do not incorporate an overt reference to
the single line chant anywhere in the piece,
the conjunct and flowing melodic lines
contributing to the works' overall lyricism and the chant-like phrase structures
creating a searnlessness throughout certainly have their underpinnings in the
chant literature. Renaissance procedures
abound throughout Lux Aeterna."

35

I.
Introitus

et lux perpetua luceat eis.

and let perpetual light shine on
them.

Requiem aeternam dona eis,

Domine:
Rest eternal grant them, 0 Lord:

"The 'Introitus' introduces a complex

of themes that are used throughout the
cycle. Many of the themes in the Introitus are constructed on the ecclesiastical
modes found in Medieval and Renaissance music, especially the mixolydian and
dorian.
The chordal vocabulary is primarily
consonant, reflecting the purity and directness of Renaissance sacred music vocabulary as seen in the music of Palestrina
and Victoria. A subsidiary theme on 'Te
decet hymn us' is reformulated to become
the principal theme of the later Agnus
Dei.
My esteem for Renaissance contrapuntal procedures is manifested in a four-part
canon on 'et lux perpetua,' a method of
portraying musically; or painting, the textual meaning of perpetual light." (See Figure 1, four-part canon on "et lux
perpetua")

et lux perpetua luceat eis,

and let perpetual light shine on
them.
T e decet hymnus Deus in Zion,
To thee praise is due, 0 God, in
Zion,
et tibi redetur votum
and to thee vows are recited
in Jerusalem:
in Jerusalem:
exaudi orationem meam,
hear my prayer,
ad te omnis caro veniet.
unto thee shall all flesh come.

Conducting Considerations

Requiem aeternam dona eis,

Domine:
Rest eternal grant them, 0 Lord:

Critical to the rehearsal and performance of Lux Aeterna are the various and
recurring tempo modulations throughout

[ID Poco phI mosso J = ca. 72

et lux per

pe-tIl-a

is,

lu - ce - at

lux per-

--~-

et lux per

pc - tu - a

lu - ce - at

is,

tIl-a. _ __

lux per - pe

lu-ce-at

e-

42

s
is,

lu - ce - at

til-a,

Do-mi

ne,

"'P
et

lux per

T
ne, _ _ _ _ _ _ _ _ _ _ _ _ __

et

lux per

pe - tu - a

lu - ce - at

lu-cc-at

is,

is,

lux - per - pe

Do-mi

til -

a, _ _

Figure 1. Introitus, mm. 35-47, Four-part canon on "et lux perpetua."

VOLUME FORTY-THREE

20

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

the work. Conductors and performers

must strictly adhere to the large variety of
"rit." (most of which are "holdbacks" as
one would conduct in chant) and immediate "a tempo" markings throughout the
score. Highlight each tempo change and
carefully approach and execute each transition. Lauridsen's music must ebb and
flow with the arch of each phrase-tempi
that are too slow or drag will ruin the
overall melodic line.
Lauridsen creates a harmonic vocabulary built on first and second inversions
of pure harmonic triads, another Renaissance technique recalling the fauxbourdon
of Renaissance madrigals. LuxAeterna has
a harmonic home in D major, with the
only extended contrast to this harmonic

center occurring in the second movement.

The second movement centers on G minor, but is purposefully ambiguous related
to tonal center.
The pure triads will often be accompanied by the addition of a second or fourth
scale degree in any given chord (e.g., the
addition of an "e" in a D-major chord, or
the addition of a "c" in an G-major chord),
creating an ongoing harmonic energy.
Chordal balance in the building of
Lauridsen's harmonic vocabulary is critical, requiring specific attention to balancing notes within a chord. Attention to the
harmonic overtone series will come to the
conductor's aid as chordal balance is considered. Tune cadences to the overtone series with more weight to notes forming the

root of the chord, followed by unisons or

octaves of the root, then followed by the
fifth of the chord, followed by the second
of the chord, and then the third of the
chord. Be aware of this level of chordal
balance in the harmony in addition to the
requirement of careful sectional balance.
Lauridsen has carefully edited the score
in terms of rests, spacing, and marks where
breal<s or breaths occur. If there is no
marking or rest indicated, there is no brealc
in the phrase. The following analysis may
be helpful reminders and interpretive suggestions as smaller dimension analysis is
considered. (See Table 1)

Table!
Introitus
Measure(s)

17
17
17
17, 18
17
19
21
23
26
27
31
34
35
52
53
55
57
59
60
63
65

(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB).
(SATB):
(A).
(AS).
(TB).
(SATB).
(TB).
(TB).
(TB).
(SATB).
(SATB).

Carefully note the initial pp choral entrance.

Consider a glottal articulation on "aeternarn".
Consider a slight accent on "ter" of "aeternarn".
Notethe first of the many phrase markings noting a phras~ break.
Consider a slight accent on the "Do" of "Domine"
There should be no feel or accent ofsyncopation in this rhythm, remain legato.,
Note there is a brealcin the S phrase, but not inATB.
Note there is a break in the ATB phrase, but not in S.
Latin "ce" in "luceat" is the "ch" as in "church."
Note the cresco on beat 4 of this measure that continues through m. 30.
Reminder, no brealc in this 'measure.
Continue the decresc. through beat :3.
Suggestion: select altos to join tenors through beat 2 of m. 46.
Suggestion: select second sopranos to join altos. Enterand cresco to mf-f
Enter and cresco to mf-f '
.
Maintainforte throughout the measure/no diphthong on "ne" of"Domine.,i
Dynamic level returns to mf.
Latin "Z" of "Zion" is the"ts" sound.
Reminder, no brealc in this measllfe.
Latin "z" of "Zion" is the "ts" sound.
' ' ' 'ao
' f ' 'exaud;"
3 andcl""
Suggc!sti,on: pronounce
Ion beat,
le u on th e secondhalf
,

69

(SATB).

75
76
78,80
82
90-106
106-Mvt. II

(SATB).
(A).
(SATB).
(SATB).
(SATB).
(SATB).

Suggestion: pronounce "a' of "exaudi" on beat 2; and the "u"

second half
of2.
Place "t" of "et" on the second half of beat 4.
Suggestion: select altos join tenors inmm. 76-77.
Place "t" of "et" on final eightll note of the phrase; do not link.
Place "t" of "et" on final eighth of the measure,
Same markings as the beginning of nlOvement. ,
Hold and decresc. the "ne" syllable of "Domine" eight beats as segue occurs.

VOLUME FORTY-THREE

21

NUMBER SEVEN

FEBRUARY 2003

CHORAL JOURNAL

II.
In te, Domine Speravi

Miserere nostri, Domine,

Have mercy on us, 0 Lord,

Tu ad liberandum suscepturas hommem

Thou, having delivered mankind,

Fiat misericordia tua, Domine, super nos,

Let thy mercy be upon us, 0 Lord,

non horruisti Virginis uterum.

did not disdain the Virgin's womb.

quemadmodum speravimus in teo

for we have hoped in thee.

Tu devicto mortis aculeo,

Thou overcame the sting of death,

In te Domine, speravi:

aperuisti credentibus regna

coelorum.
and opened to believers the kingdom of heaven.

o Lord, in Thee have I hoped:

"The second movement most clearly

exemplifies my use of Renaissance formal
procedures and textures. The masses of
Josquin, for example, often contain sections of paired voices. That particular de-

Poco pili mosso J = ca. 76

35

'"
s
oJ

fI

;:

- at

'--"
-

"--'

- cor-di-a_

mi - se - ri

- .

a,

tu

Do

;;

OJ

- at

- cor-di -

mi-se-ri

..-

"

Fi

'--"
-

a,

tu

Do

at

...

..-

mi-se-ri

'--"

cor- di - a _

'---"
-

tu

a,

su -

vu

Do

mi - ne,

su -

.~

Do

mi - ne,

,..-,-..

---------

mi - nc,

----"

vu

Do

~:jJ.

mi - ne. _ _ _

----..

Do

mi-

~
-----~-

'"'

Fi

at

mi - se - ri

43
-"fI

._---

"--'

a_

,..-,-..

---------

mi - net

fI

OJ

-,:)-

vice is used in 'In Te, Domine Speravi'sopranos paired with altos, tenors paired
with basses on the lengthy two-part mirror canon 'fiat misericordia' at the center
of the movement, incorporating the idea
of self-reflection as well as a dialogue between Man and Creator. (see Figure 2
Two-part mirror canon on "fiat misericordia")
I also employ the idea of cantus firmus

non confundar in aeternum.

let me never be confounded.

Exortum est in tenebris lumen

rectis.
To the righteous a light is risen up
in darkness.

lID

The second movement

most clearly exemplifies
my use ofRenaissance
formal procedures and
textures.

miser ere nostri.

have mercy on us.

per

nos,

cor-di - a _

tu

"ff_

........

que - mad - rno - dum spe -

fa -

a,

Do

mi - ne, _ _ _

"'.P

ra -

vi - mus _ _'_

nrp

---

In

..

Do

mi -

spe -

vi - mus,

mi'.,......

-fl-

it-

te,

F
:.,.

k
~

OJ

-6-'

per

que - mad - rna

nos,

fI

"
B

ne
h

ne

su - per_

nos,

nos,

spe

mf

"'.P

spe - ra - vi - mus _ _

mf

"'.P

ra - vi - mus,

spe

-.

que - mad - rno - dum spe - ra -

que - mad - rna

mus _ _

dum spe - ra - vi - mus,

su - per_

dum spe -

VI -

mus,

ra

ra -

vi

vi - mus _ _

In

In

in

teo

teo
.0.----,<11-

teo

Figure 2. In Te, Domine, Speravi, mm. 35-48. Two-part mirror canon on "fiat misericordia."

VOLUME FORTY-THREE

22

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

mf

mp

Figure 3. In Te, Domine, Speravi, Cantus Firmus hymn tune Herzliebster Jesu. *
* Cantus Finnus, "Herzliebster Jesu," Nuremberg Songbook, 1677

in the hymn tune "Herzliebster Jesu" from

the Nuremberg Songbook of1677, stated
in full in solo brass instruments, as an
underpinning to the paired voice treatment. The second movement is particularly introspective, personal, complex,
reflective, and thoughtful." (see Figure 3,
Cantus firmus hymn tune "Herzliebster
Jesu")

Conducting Considerations
"In te, domine, speravi" is tal{en from
the historical Te Deum text, with one line

added from Psalm 111:4, "To the righteous.a light is risen up in darkness."
With this one additional line, Lauridsen
introduces the contrasting drama of "darkness" into the composition.
Where the first movement used the
interval of the second to create harmonic
tension and movement, the second movement incorporates the inversion of the
second, the seventh. The introduction of
the new interval creates a chasm in the
established harmonic and melodic comfort of the first movement as an intro-

spective text is conveyed. Ambiguity is

introduced through fluctuating B~ and Bq
passing tones.
This movement is challenging
intervallically and harmonically. It requires
continuous attention, and must be rehearsed carefully and attentively for correct pitches and careful tuning. The
following markings may be helpful as
smaller dimension analysis is considered.
(See Table 2)

'Table 2

. Inte, DomineSperavi

Measrire(s)
4

(SATB).

This movement evokes early plainsong and early Renaissance polyphony;

rehearse the. duets carefully, and highlight the useof "Herzliebster J esu" as
cantus firm us.
. .. '.
(SATB)
..
Note the inverted use of the second, now using the interval of the seventh (and
4
ninth) to create distance, austerity, introspection, and "darkness."
.
Offer a courtesy "B~" on beat 4.
(A).
6
Note the bn on beat 2;
(A).
8
. (SA).
Link th~ "s" to m. 12 "u:"
11
(TB) ..
20
Note the C1"~se. froITlbeginning of the mea~ure.
Suggestion-select altos join~enors on thesecondhalfofbeat 1through beat 2 of
22
(1\).
m.23..
.
.
---I--~23:-------T-(S*)-.-.- .... --_---tati:rr:"gfi"of"regna'ls me"fiy"souna:-----,---:----.
28
(SATB).
Latin se" 6f"miserere" is the "s" sound, NOT Z/ mark all of these as "s."
48
(SATB).
Begencle on the interval leading to "te"/the dynamic isp.
.
48-49
(SATB).
Hold "te" 4beats~
....
51-end
(SATB).
Be gentle vyith the unisonslthe dynamic level is mp and p.
60
(SATB).
Deerese. across the measure.
'..
..
.'
60
(SATB).
Place the "m" of' "num" on the second half of beat 4 clear beforedown beat of D.
69
(SATB).
Listen carefully for the "d" to get pitch for the next movement;
note the "attaea" into the next movement, "ONata Lux." Have first
pitch of"O Nata Lux" firmly in mind throughout m. 69.
VOLUME FORTY-THREE

23

NUMBER SEVEN

FEBRUARY 2003

CHORAL JOURNAL

III.

a Nata Lux
o nata lux de lumine,
o born light of light,

tui beari corporis.

your holy body.

"The central movement of the work,

"0 Nata Lux," is an unaccompanied
motet. The motet form can be traced
back for centuries. Here is an opportunity in the middle of a choral/orchestral
composition for the chorus to sing without any orchestral accompaniment-a
pure vocal sound." (see Figure 4, "0 Nata

Jesu redemptor saeculi

J esu redeemer of the world,
dignare clemens supplicum
mercifully deem worthy and accept
laudes preces que sumere.
praises and prayers from your supplicants.

Lux")

Conducting Considerations

Qui carne quondam contegi

"0 Nata Lux" and the following "Veni,

Sancte Spiritus" are paired songs, the
former a central unaccompanied motet
and the latter a spirited, jubilant accompanied canticle. Thinking in terms of pairs

Who once was clothed in the flesh

dignatus es pro perditis.
for those who are lost.

Molto espressivo J = ca. 40

""""

lux

de

lu - mi

ne,

"II

.. -

0
pp

.,
lux

""
"II

.,

na - la

na

.,

ta

lux

mi

ne,

Je

su

re - demp - lor

sae - cu -

de

lu - mi

ne,

Je - su

re - demp - tor

sae - cu -

pp

.....!na - la

---'~-ae-----Hl:-mi

ri!.

Ii,

dig - na - re

cle - mens sup - pIi - cum, dig - na - re

.-

"

"'--I

---

Ii,-

dig - oa - --te

fill

T
Ii,

,UP

"II

J"--::--s~e---dellfp--:-tor--sae---cu----------------

ne,

"'-fill

1-------

a tempo

- - - - - - - - --A

. . - .. . . . .. ..
-, -

lu

"'

cle~mens

sup

Ii,

-......

mf

-;;;;;;;;::

,
------

.-~-

- Pre -

,up

cle - mens sip - pIi - cum

mf

..-

dig-na- re

cle - mens sup - pIi - cum, dig - oa - re

,up

"'

mf

--~

cle - mens sip - pIi - cum

...:.:!

~pIi - cum;- dig

p
B

sae - cu -

re - demp - lor

de

Je - su

pp

-"
na - la

ri!.

pp

of movements within the overall composition, the first two movements form a
contrasting pair, as do these two middle
movements, with the final movement created by an internal pairing of two texts
forming the conclusion.
The metronome marking of the quarter note is 40. Paired with the number of
internal tempo modulations, this tempo
suggests that the movement be conducted
in a subdivided four pattern (or eight
pulses per measure). The need for subdivision is not a concern in the first movement due to the faster tempo.
An additional interpretive concern in
"0 Nata Lux" is the movement of the
melodic material from section to section
throughout. The ongoing homophonic
texture tends to disguise the constant
emergence of melodic material. Sections
should be encouraged not only to be aware
of their contribution to harmonic struc-

Nos membra confer effici,

Allow us to become members of

dig - oa - re

de - mens sup - pIi - cum, dig - na - re

cle - mens sip - pIi - cum

mf

---

cle - mens sip - pli - cum

Figure 4. 0 Nata lux, tntn. 1-5.

VOLUME FORTY-THREE

24

NUMBER SEVEN

..

CHORAL JOURNAL

FEBRUARY 2003

ture, but should also carefully mark moments of melodic gravity within sectional
phrases. The following markings will highlight melodic material, interpretive reminders, and smaller dimension analysis
considerations. (See Table 3)

N.
Veni, Sancte Spiritus
Veni, Sancte Spiritus
Come, Holy Spirit,

Table 3

o Nata Lux

Measure(s)
1
1

(SATB).
(Al, SII).

(SATB).

(SATB).

(SATB).

7
7

(SATB).
(SII).
(SATB).
(SATB).
, (SATB).
(SATB) ..
(SATB).

Prepare the breath with the "0" vowel formed in the mouth.
Suggestion: S II may also sing with Al; the ell is a key note throughout this piece,
but must be balanced within the chord structure. SII return to soprano
line in m. 2 on "Jesu".
Notice the ' marking throughout. This means brealc and breathe. It occurs in
mm.5-6, 7,9,10,11-12,13,14,15,16, 17, 19,20,22,23,25,26,27,28,29,
30, 35, 36. If there is no '. (apostrophe), do not breathe or brealc.
Notice the recurring"rit." and "a tempo"; This is critical throughout.
Note occurrence inmm. 2':'3, 5-6, 6-7,11-12,13-14, 16-17,18-19,25-26,3031,31-33,33-35,36-37. Once again note the "rit." language: "ri{' to "a
tempo" in mm. 2-3, 5-6, 6-7,11-12,12-13,16-17,30-31,31-33; "Molto rit!'
to "tl tempo" in mm., 18-19,25-26; "Molto tit!' to "meno mosso".in mm. 3435; "Meno mosso" to "Molto rit!' in mm. 35-36; "lunga" in m. 39
Note the dynamic marking ofpp wlcrescendo in m.. 4 from mp to mf and back

topmm.6

13
14-16
16-:18
19
22-23
25
26'
29

31
34
35
37

VOLUME FORTY-THREE

(S).
(SIl).

STB hold, while A cuts off and continues rnelodic motif

Suggestion-select SII join altos through beat 1 of m. 8, then return to S.
ATBhold, while S cuts off and continues melodic motif
Latin "contegi."--' "cone-teh-gee"
Latin "dignatus."- "dee-nyah-toos"
This is the dynamic climax of the work on j
Latin "effici." "ehf-fee-chee"
Suggestion: dictate these rhythms over this"molto rit."
SII have the critical "e" pitch.

Latin "preces"- "preh-chehs."

Suggestion: dictate each eighth note.
,
ATB hold, while S cuts off and continues the melodic motif
SII have the critical "e" SATB-Each section should mark ownership of the
melodic material in the following passages: mm. 1-7 S; mm. 7-8 A; m. 9 S; m. 10
TS;m.12S;m.14TB; mm. 15-16A;m. 17B;m. 18S;m. 19A;m.20S;m.21
TA; m.22 S; m.23 S; m. 24 A; m.25 S; m. 26-27A; m. 28 TA; mm. 29:-30 S; m.
31 S; m. 33 S; m. 34 T; m. 35 S; mm. 36-37 T; mm. 38.:.39 A.

2S

NUMBER SEVEN

FEBRUARY 2003

CHORAL JOURNAL

Et emitte coelitus
And send from heaven

In labore requies,
In labor, thou art rest,

Nihil est innoxium.

Nothing that is not harmful.

Lucis tuae radium.

Your ray of light.

In aestu temperies,
In heat, thou art the tempering,

Lava quod est sordidum,

Cleanse what is dirty,

Veni, pater pauperum,

Come, Father of the poor,

In fletu solatium
In grief, thou art the consolation.

Riga quod est aridum,

Moisten what is dry,

Veni, dator munerum,

Come, giver of gifts,

o lux beatissima,
o light most blessed,

Sana quod est saucium.

Heal what is hurt.

Veni, lumen cordium

Come, light of hearts.

Reple cordis intima

Fill the inmost heart

Flecte quod est rigidum,

Flex what is rigid,

Consolator optime,
The best of Consolers,

Tuorum fidelium.
Of all thy faithful.

Fove quod est frigidum,

Heat what is frigid,

Dulcis hospes animae,

Sweet guest of the soul,

Sine tuo nomine,

Without your grace,

Rege quod est devium

Correct what goes astray.

Dulce refrigerium.
Sweet refreshment.

Nihil est in homine,

There is nothing in us,

Da tuis fidelibus,
Grant to thy faithful,
In te confidentibus,
Those that trust in thee,

cY~a.c?a& NEW PUBLICATIONS

Silent Tents

Crux fidelis

Crucifixus

Treble Chorus w/piano & percussion

SOG 02-30S

Treble Chorus w/handbells

Treble Chorus
SDGM01-304

SOGOB04

Sacrum septenarium.
Thy sacred seven-fold gifts.
Da virtutis meritum,
Grant the reward of virtue,
Da salutis exitum,
Grant the deliverance of salvation,
Da perenne gaudium.
Grant joy everlasting.
.lUJLlU,.Ui,d.L\olY following
conclusion
of '0 Nata Lux' is the exuberant song,
'Veni, Sancte Spiritus.' This movement is
as outgoing and joyous as '0 Nata Lux' is

Nunc dimittis
Male Chorus a cappella
SOG 02-401

Cross-platform ... Mac or Windows

Quoniam
Mixed Chorus a cappella
SDG 02-101

Get information and demos at

www.musicmanager.com
Toll Free (800) 282-9220

Free CD/Music offers at www.berkey.com

Distributed exclusively by Masters Music a division of Edwin F. Kalmus Box 81 0157 Boca Raton, FL 33481
(561) 241-6169 [email protected]

VOLUME FORTY-THREE

26

also availablefor church musicians...

WorshipManager'"
NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

Exuberantly J. = ca. 56

a tempo

rit.

- -

ny,

Sane

te

ny,

Sane

te

ni,

Sane

te

ni,

Sane

- -

te

Ve

IIJI

v
Ve

IIJI

"t

Ve

f,___..
:

Ve

IIJI

Organ

1,

.J

rr-----r~--

mf

~---1

'-

GR

-~

..J

SW+CH

ff

T
:
_

_ 17'_

_?7'_

17'_

17' _

..
Spr

""
III

IIJI

"t
:

7
,.tIlJl

ri

tus,

Spr

ri

tus,

Spr

ri

tus,

...---:.
Spr

ri

tus,

,
,
,

Et

mit

te

cae

Et

mit

te

cae

Et

mit

te

cae

~.

F9'

Ii - tus

Ii - tus

Ii - tus

~.
Et

""
v

---

!T

mit

te

--r

_?7' _
f

ff

mf

17' _

cae

!'-

,
,
,

Ii - tus

lu

cis

tu

- ae

ra

di

- urn.

lu

cis

tu

- ae

rn

di

lu

di

- urn.

!'-

lu

cis

tu

- ae

rn

.,..

cis

tu

- ae

rn

urn.

:f!:
-

di

- urn.

I~

'-........1

~.

,-/17'_

_?:f.

Figure 5. Veni, Sancte Spiritus, mm. 1-12.

introspective. It is cast in a five-part, rondo

form, another form traced back to the
Medieval and Renaissance periods." (See
Figure 5, "Veni, Sancte Spiritus")

Conducting Considerations
The tempo and interpretive marking

VOLUME FORTY-THREE

for the fourth movement is "Exuberantly;"

with the dotted-half note marked at 56.
The lilt of this combination of meter and
tempo suggests that the movement should
be conducted in a one pattern with primary accents occurring only on downbeats.

27

The immediate challenge presented by

this movement is neither melodic nor harmonic, but rather textual. There are simply a great number of words in this
movement, and for many, these will be
new Latin words. The challenge is to keep
a lilting accent on the initial sound of

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

Table 4
Veni, Sancte Spiritus
Measure(s)
4
4

5
54-56
70-71
73

88
92-93
94
97, 101

(SATB).
(SATB).
(SATB).
(SATB).
(TB).
(S).
(SATB).
(SATB).
(SATB).
(SATB).

Words fly by. Practice "chanting" this movement on words and rhythm only.
Accent "ve" of "veni," etc.
Accent "Sa' of"Sancte," etc.
Latin "h" in "nihil" is "nikil" [nee-keel].
Place the "u" of "sau" immediately before the "ci" syllable.
Place the "u" of "sau" immediately before the "ci" syllable.
Latin "ti" as "t" (not "ts").
Do not break between"tum" and "Da."
Latin "xi"-"ksi."
Place the "u" of "gau" immediately before the "di" syllable.

each measure, with a pulling off on the

second and third sub-pulse of each measure. This lyrical, waltzing approach to
the phrasing will add to the joyful nature
of this movement. (See Table 4)

V.
Agnus Dei-Lux Aeterna
Agnus Dei,
Lamb of God,

qui tollis peccata mundi

who takes away the sins of the
world,

dona eis requiem.

grant them rest.
Agnus Dei,
Lamb of God,

dona eis requiem.

grant them rest.

qui tollis peccata mundi,

who takes away the sins of the
world,

Agnus Dei,
Lamb of God,
qui tollis peccata mundi,
who takes away the sins of the
world,

dona eis requiem sempiternam.

grant them rest everlasting.
Lux aeterna luceat eis, Domine:
May eternal light shine on them,
o Lord:

The Tempowatch

CHORAL CONDUCTORS
With Henry Leek and the
W0 RKSH 0 P Indianapolis Children's Choir

June 16-21, 2003

Butler UniversitJj

VOLUME FORTY-THREE

Indianapolis, Indiana

you are
conducting,
-teaching;--I------~

listening or
composing.

Established in a nurturing environment, Creating

Arristry offers an opportunity for conductors to
further develop conducting skills. Through
individual and Masterdass reaching, conductors
study Conducting Gesture, Vocal Techniques,
Laban Movement, Rehearsal Efficiency, Pacing,
Score Analysis, Repertoire, Choral Administration
and Multi-cultural Interpretation. Laboratory
choruses provide the opportunity for students to
explore actively the conducting process.

~ind ~t ~ast! with

www.allthingsmusical.com

For jiIrtha illfomllttioll colltlle!: Gil1gtr kIlirkham

Indjanapolis ehildrm's Choi,. 4600 Slimet t!tJI!IIUC -ll1dianapolis. IN 46208
(317) 940-9640' nL< (317) 94()'6129
[email protected]

The Complete Music

Education Resource Web Site
All Music Products, Services, Events,
Classifieds - on Searchable Databases!

28

Toll Free 1~8888036287

[email protected]

Toll Free 1-888-803-6287

NUMBERSEVEN

CHORAL JOURNAL

FEBRUARY 2003

cum sanctis tuis in aeternum:

with the company of thy saints for
ever and ever:

Agnus Dei and the Lux Aeterna, which

reprises the opening section of the Introitus, creating a musical arch, a form that is
found in a number of my cycles." (See
Figure 6, Reprise of opening Requiem
aeternam on Lux Aeterna).
"The idea of the retrograde in music,
again common in the masses ofJosquin is
also found here-the wind progression at
the opening of the Agnus Dei is answered
by the strings in an exact retrograde several measures later. (See Figure 7, Wind
progression answered by strings in retrograde) Agnus Dei is reformulated for a
third time to become the basis of a short
joyful Alleluia which also combines
motivic fragments from other preceding
movements. The piece closes softly, as it
began, with a concluding amen."

quia pius es.

for thou art merciful.
Requiem aeternam dona eis,
Rest eternal grant them,
Domine,
o Lord,
et lux perpetua luceat eis.
And let perpetual light shine on
them.
Alleluia. Amen.
Alleluia. Amen.

Conducting Considerations
The seamlessness of this music comes
into play again as light leads to new light,
as harmony merges into harmony, and as
tempo modulates into new tempo. The
new harmonic variation that comes into
playas the final movement emerges is the

MJCHORALWEB
.PUBLISHING INC.

http://www.ChoraIWeb.com
Toll Free: 877WEBMUSIC or 4808363431

Your supplier of the Black Folder!

Choral, Handbell, Keyboard, Solo Vocal Music

Music for "Elementary Students:

22 Dinosaurs Under My Bed
and 21 Other Songs for Children
by Peggy Sl<effinglon

"The closing movement combines the

Introitus

17

pp

- -

,-I" ..

poco ri!.

- - -

~I""'-I

......,

Re-qui-em ae - ter - nam

" ..

do - na

e - is, 00- mi- ne:

Re

do - na

e - is, 00- mi- ne:

~
Re

Re - qui - em ae - ter - nam

"
'!I

pp

Re- qui - em ae - ter - nam

do - na

e - is, 00- mi - ne:

do - na

Agnus Dei
p

61
S

-'''''

" ..

Lux ae - ter - na

" ..
'!I

lu - ce - at

e -

is,

lu - ce - at

.
lu

ce - at

e -

. .

qui - em.

qui - em.

lu - ce - at

.
lu - ce - at

:--..

e -

is,

/"""'-0,

........
lu - ce - at

qui - em.

a tempo

.........

IS

Oo-mi ne:

is,

l'

Lux ae - ter - na

is

-----........

Do - mi - ne:

is

00- ini - ne:

is

Oo-mi-ne:

"

----

Lux ae - ter - na

qui - em.

poco ri!.

Re

e - is, 00- mi - ne:

:::-

Re - qui - em ae - ter - nam

[]

L"....I

- -

Re

"'

---

pp
B

pp

eJ

a tempo

Lux ae - ter - na

lu - ce - at

e -

is,

lu - ce - at

Figure 6. "Requiem aetemum" from Introitus, mm. 17-20,

and reprise with "Lux autema" in Agnu Dei, mm. 61 - 64.

VOLUME FORTY-THREE

29

NUMBERSEVEN

FEBRUARY 2003

CHORAL JOURNAL

Andante J = ca. 76

rit.
IIl/ga

Fl.

"""jI
fV

----=====

fV

np

AjJ,

Cl.

.T

19-

Ob.

np

"

np

'A jJ,

fV

--

np

Tbn.

'"

---

"

t:I

"

P.~
):

---

t:I

..--..

-&

Hn.

t:I

np

AjJ,

Bsn.

---:--..

t:I

r.,:::::::: -;::'
___t:I

'f9>

'"

np

a tempo
n

""'"jI
tJ

V ___

P
div.

AjJ,

tJ

J------...I

v
J~

r;....--......

p
n

V.......----::.

n____..

vo
div. I

np

P
n

np

p
n

VIa.

np

p
div.

n
VIc .

.....

J
np

p
n

.J.

Figure 7. Agnus Dei, Wind progression answered by strings in retrograde.

addition of not only the interval of the conductor's preparation is the length of five. The following rehearsal considersecond to harmonic triads, but now, the the fifth movement. Depending on how ations may prove helpful as the score is
addition of the fourth to the triad. Tenors one determines length, the final move- prepared (See Table 5.)
confront this challenge on the attack of ment is at least one third longer than the
the words "Agnus Dei" and special atten- longest of an~y-.:o::.::f-.:th==e-.:o:.;th=e~r~m~o~v-.em,_en_t_s_._----:c-::-_----:~C:::_o=n~c~l'-"u?s""i'-"o::_n:;::
il(jniriust be, giveri-ro-carefiirt'uningof- 'In tac;t, the movemJ:;nt ib!!ilLwitl-u:yv'Q __ Morten Johannes Lauridsen's middle '
the opening choral chord.
sections: the first determined by the name is not the only commonality he
The conductor must prepare for the 'l\gnus Dei" text, and the second by the holds with one of his important influcomplete change of character that occurs ~xtended return of the opening material ences. The relationships between Brahms's
in this moment at letter "I," measure 113. found on the words "Lux aeterna." Pre- Bin deutches Requiem and Lauridsen's Lux
The "Joyfully" indication marked "Piu paring this movement, it is critical to al- Aeterna is cause for reflection.
mosso" calls for an immediate energetic lot ample rehearsal time for the two
There is a universal appeal and warm
beginning to this "Alleluia" section which sections that comprise the single move- humanity that beg comparisons between
the conductor must impart to the instru- ment.
Brahms's and Lauridsen's choral embrace
mentalists who begin the section.
The challenges presented in move- of light, life, and finitude. Plumbing
An additional challenge to the ments one and three return in movement deeper into the motivation for both works
VOLUME FORTY-THREE

30

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

Table 5
Agnus Dei-Lux Aeterna
Measure(s)

3
21
22
31
62

(SATB),
(A).
(T).
(S).
(SATB).

79
90

(A).
(T).
(STB).
(SATB).
(A).
(SATB).

94

98
100
112
113.
119
116-139
137
149
151

(SAT).
(SATB).
(T) ..
(SATB):
(SATB).

Locate pitch carriers to find entering pitch in m. 4.

Cresco on moving notes.
Cresco on moving notes.
C1"esc. on moving notes
Suggestion: mark the "ce" on beat 2. The temptation is to sing the same rhythm
in m. 61.
Suggestion: select altos to sing with tenors through beat 1 of m. 91.
Elide the "s" of "tis" on to "Do."
Elide the "s" of "tis" on to "Do."
Elide the "s" of "tis" on to "Do."
Suggestion: select altos to sing with tenors through beat 4 of m. 101
Place the "s" of "eis" on the second half of beat 2.
Prepare the instrumentalists for the immediate change of character.
Suggestion: place an agogic accent before the final sixteenth note repeat of the "ooh."
Suggestion: place a glottal "ah" before "alleluia" and "amen."
Suggestion: dictate beat 3.
Suggestion: add a slight cresco so that the choir balances the entering accompaniment.
Note decresc.

The relationships
between Brtthms'sEin
deutches Requiem and
~Lauridsen's Lux Aeterna .
is cause for reflection.
reveals something of the personal expression by both composers. In both instances
this leads to the personal relationship between the works and the death of each of
the composer's mothers. Brahms's mother
had died years before; Lauridsen's mother
---,died-while-he-was-writirrg-[;ux-Aeterna:
This spiritual reality was a compelling
factor and a driving symbol for both composers. To perform and to hear both works
is to walk through some of their emotional journey.
Stylistically, both works emerge from
the depths of the string section to introduce the reverent opening choral statement. Both works express the extremes
VOLUME FORTY-THREE

from the most reverent of statements to

the most exuberant of lucious choral climaxes. Peter Rutenberg states ''Among
several features in common, the text 'Selig
sind die Toten' ["Blessed are the dead"]
and a rather insistent use of modal harmonies (such as heard at the opening of
Brahms's sixth movement) play crucial
roles in both works."4
In addition to modal harmonies,

canon, and counterpoint, the use of historic texts and tunes, and the overall
"geist" of the two choral monuments (not
so much the memory of the dead as the
comfort of the living), both composers
unify their works through melody, which
must account partially for their unusual
immediacy of appeal. Rutenberg points
out that in both works, the central, pivotal section of each are movements that

The Kodaly Institute at

Capital University
Developing excellent teacher
musicians for the classroom
Master of Music in Music Education with Kodaly Emphasis
Summer Kodaly Course
Come join us at either location
Columbus, Ohio July 14 -Aug. 1,2003
Kecskemet, Hungary July 21 -Aug. 8, 2003
Teacher resource materials alld all KCA materials available. COli tact Salldra Mathias,
Capital Ulliversity COllservatory of Music (614) 236-6267 [email protected]

31

NUMBER SEVEN

FEBRUARY 2003

CHORAL JOURNAL

stand apart from the rest: "With Brahms,

it is the lightest mood of the entire work,
with its happy text 'How lovely is thy
dwelling place.'" He continues,
"Lauridsen, on the other hand, takes this
opportunity to bathe the listener in full,
rich, and delicately piercing harmonies,
sung by voices alone, in a languorous
tempo, the effect of which fairly explodes
with a building tension that is not released until the choral entrance in the
following movement."5 That movement
is the centerpiece "0 Nata Lux" which
leads to the "Veni, Sancte Spiritus."
Lauridsen's preparation of a chorus and
organ edition of Lux Aeterna (with assistance credited to organist James's Paul
Buonemani of St. James' Episcopal
Church, Los Angeles) in addition to the
chorus and chamber orchestra setting will
permit Lux Aeterna to be programmed in
a variety of settings. Interestingly, Brahms
prepared a two-piano edition of his Bin

deutches Requiem.
In terms of concert programming, Lux

Aeterna is twenty-seven minutes in length,

so it programs nicely with works of similar subject matter and instrumentation
including Brahms's Bin deutches Requiem,
Faure's Requiem, Durufle's Requiem, or
any number of other requiem mass settings or single-movement works. The

work also finds a welcome home in a

variety of liturgical settings. Since its premiere in 1997 at the Dorothy Chandler
Pavilion in Los Angeles, Lauridsen's Lux
Aeterna has had two hundred performances throughout the world.
In terms of historic analogies, there are
global issues that link the two works such
as both composer's source of inspiration
rooted in the classical musical pastLauridsen in terms of chant and Renaissance polyphony, and Brahms in terms of
German musical patriarchs and their craft
as found in the music of Bach and Schiltz
(for example, the title of Schiltz's 1636 A
German Requiem). Rutenberg offers the
following insight:
It is possible to hear in Lux Aeterna
the echoes of a direct line back thirteen centuries to the codification of
plainchant by Pope Gregory; to the
first and second Notre Dame
schools under Leonin and Perotin
respectively; to the paired dialogues
that distinguish Josquin's high Renaissance sryle; to the playfulness of
early Baroque counterpoint; to
cantus firmus as a Palestrina or Bach
might have used them; to the big,
juicy sonorities heard in Brahms's
own Requiem, and beyond to the

twenty-first century. Indeed,

Lauridsen's choice of ancient texts
and the associations that come with
them add an important component
to this two-way bridge to the past
and future. It is the coup of his genius that not only doesn't the music sound academic or labored, but
fresh and new, as in a modern distillation of essential flavors. 6

He concludes, "Thus with our full attention and assent do they transport us over
gossamer paths to a state of enlightenment and grace."?
NOTES
Strimple, Nick. Choral Music in the Twentieth Century. (Portland, OR: Amadeus
Press, 2002), pp. 247-248.
2 Ibid.
3 From Morten Lauridsen's pre-concert lecture at the premiere performance of Lux
Aeterna, April 13, 1997, Dorothy Chandler Pavilion, Los Angeles, CA.
4
Rutenberg, Peter. Program Notes 10/24/
99 Los Angeles Master Chorale. Used by
permission.
S Ibid.
6 Ibid
7I bid.
I

-C]-

List of Publications by Morten Lauridsen

Peermusic (New yorklHa.mburg); Faber Music (London):

--,--1---

Lux Aeterna, for chorus and orchestra or organ

Les Chansons des Roses (Rilke), for chorus, unaccompanied
Mid-WiriterSongs(Graves), for chorus and orchestra
..
.
o Magnum Mysterium, for SATB or TTBB chorus, unaccompanied, solo voice.and keyboard, and brass ensembl(,! (in
..
preparation)
. . .
~~___ HCllfltrQC(i~fjQ!'lt'r~()t:<:~},I().d!}gfi_y()!c(!~ClJ>:~'!:11:C:>~ ()r_~i~_Y<:>ice, cello, clarinet;ana-piano .. -.-.
. .... . .'-- . . . --._.. A Winter Come (Moss);for high voice andpiano---- 7 - . : - - - - - - - . - . - - . - - . - ...- - - - - - - . - . - - - . - - . - - - .- - - - - -

Madrigali: Six. "FireSongs" on Italian Renaissance Poems, for chorus, unaccompanied

...
..
Dirait-on (Rilke) for SATB, TTBB or SA Chorus, solo voice and piano, mixed duet and piano, and high voice and guitar
o Nata Lux, for chorus, unaccompanied
Be Still My Soul Be Still (Housman), for high voice, cello, clarinet, and piano
Ave Maria, .for chorus, unaccompanied
Fanfare for Brass Sextet
.
Where Have the Actors Gone, for voice and piano
(Continued on next page)
VOLUME FORTY-THREE

32

NUMBER SEVEN

CHORAL JOURNAL

FEBRUARY 2003

List of Publications by Morten Lauridsen continued

Canticle:ln Memorium, Halsey Stevens, for clarinet or vibraphone solo (in preparation)
Variations for Piano Solo .
.
When.Frost l'(Iovf!sFast andAs Birds Come Nearer, for voice and piano, in the Peer-Southern Anthology of Twentieth-Century
ArtSong
.Ubi Caritas Et Amor, JorSATB Chorus, unaccompanied

OpusMusic Publishers, Inc. (Northbrook, Ill.):

Four Madrigals on Renaissance Texts Oonson and Carew), for chorus, flute, bassoon, violin, celio, tambourine
o Love, Be Fed With Apples While You May (Graves), for chorus and piano
Psalm 29, for chorus and piano or organ
Mid-Winter Songs (Graves), for chorus and piano

Alphonse Le Due (Paris):

Sonata for Trumpet and Piano

Neil A Kjos, Co. (San Diego):

o Come, Let Us Sing Unto The Lord, for chorus and piano or organ
I Will Lift up Mine Eyes, for chorus, unaccompanied

Selected Discography
Lauridsen: Lux Aeterna
This CD by the Los Angeles Master Chorale, conducted by Maestro Paul Salamunivich, received a 1998 Grammy
nomination for Best Choral CD. Contents: LuxAeterna (Orchestral Version), Les Chansons des Roses, Ave Maria, Mid- Winter
Songs (Orchestral Version), 0 Magnum Mysterium. RCM.

Lauridsen: The Complete Choral Cycles

This CD by the Portland, Oregon Chamber Chorus, Choral Cross-Ties, conducted by Bruce Browne, made several best-ofthe year lists. Contents: Mid-Winter Songs (Chamber Version), Madrigali, Les Chansons des Roses. Freshwater Classical.

Lauridsen: Northwest Journey

This CD of chamber works performed by artists Ralph Grierson, Jane Thorngren, Vildarbo Ensemble, Donald Brinegar
Singers, Shelly Berg, Sunny Wilkinson, James. Drollinger, and Morten Lauridsen includes Where Have the Actors Gone,
Dirait- on (Duet Version) , UbiCaritas etAmor, A Winter Come, Variations, Cuatro Canciones, Madrigali, and 0 Magnum
Mysterium (Piano/Vocal Version). This CD received nine first ballot Grammy nominations in 2002. RCM.

o Magnum Mysterium
This EurdpeanCD by the Nordic Chamber Choir conducted by Nicol Matt includes the Madrigali, Lux Aeterna (choral/
organ version), 0 Magnum Mjstenum; -Ies Chansons aes Roses. Bayer Records~

. ,"-, -,.-.,------,-.-,-----,,-

0 Magnum Mysterium, Angels on High, and The First Art

These CDs by the Robert Shaw Chamber Singers conducted by Robert Shaw each include 0 Magnum Mysterium. Telarc.

VOLUME FORTY-THREE

33

NUMBER SEVEN