Program - Going for Baroque - May 3rd

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The program traces a compelling evolution from the Renaissance polyphony of Palestrina and Victoria, with their unaccompanied, sacred focus, to the Baroque splendor of Vivaldi and Handel, where orchestras and dynamic contrasts amplify devotional texts. Palestrina’s and Victoria’s motets represent the vocal purity of the Counter-Reformation, influencing the sacred music traditions that Vivaldi and Handel adapted in their more theatrical, instrumentally rich settings. Vivaldi’s Credo and Gloria share a Venetian vibrancy, both leveraging the Baroque concerto style, while Handel’s anthem reflects a distinctly English adaptation of Baroque grandeur. Haydn’s Symphony No. 1 serves as a bridge to the Classical era, its clarity and optimism contrasting with the dense textures of the Baroque while maintaining the program’s energetic spirit. The sacred works are unified by their focus on divine praise and awe, creating a cohesive narrative of spiritual expression across centuries.

Sicut Cervus is a four-voice motet by Palestrina, the quintessential Renaissance composer, setting Psalm 42’s text, “As the deer longs for springs of water, so my soul longs for you, O God.” Its seamless polyphony and tranquil, flowing lines create a meditative and spiritually uplifting effect, embodying the clarity and balance of the late Renaissance sacred style. As the earliest work in your program, it sets a foundation of pure vocal texture, contrasting with the later Baroque works’ orchestral drama by Vivaldi and Handel, yet its sacred focus resonates with their devotional themes. Palestrina’s influence on sacred music persisted, subtly shaping the choral writing of Victoria and the Baroque composers.

Victoria’s O Magnum Mysterium, a motet for four voices, is a radiant setting of a Christmas text celebrating the mystery of Christ’s birth: “O great mystery, that animals should witness the birth of Christ.” Composed in the late Renaissance, it blends Palestrina’s smooth polyphony with Victoria’s distinctive emotional intensity, using rich harmonies and subtle textural shifts to evoke awe and reverence. Like Sicut Cervus, it showcases unaccompanied choral purity, but its warmer, more expressive style bridges the Renaissance and early Baroque. Its sacred theme of divine wonder aligns with the program’s later works, particularly Vivaldi’s Gloria, while its Spanish-inflected fervor contrasts with Palestrina’s restraint.

Vivaldi’s Credo, likely from one of his sacred choral works such as the Missa in G minor, is a vibrant Baroque setting of the Nicene Creed, blending choral forces with orchestral accompaniment. Its dynamic rhythms, bold harmonic shifts, and contrasting sections reflect Vivaldi’s theatrical flair, seen also in his concertos like The Four Seasons. As a Baroque work, it marks a shift from the Renaissance polyphony of Palestrina and Victoria, embracing instrumental color and dramatic expression suited to the Venetian church context. Its liturgical focus connects to the sacred thread of Sicut Cervus and O Magnum Mysterium, while its energetic style foreshadows the exuberance of Vivaldi’s Gloria later in the program.

Handel’s O Praise the Lord with One Consent, part of his Chandos Anthems composed for the Duke of Chandos, is a jubilant Baroque anthem for choir, soloists, and orchestra, setting Psalm 135 with English text. Its grand choruses, intricate counterpoint, and vibrant orchestral textures showcase Handel’s mastery of blending English choral traditions with Italianate drama, akin to his oratorios like Messiah. Compared to Vivaldi’s Credo, it shares the Baroque emphasis on contrast and splendor but leans toward a more monumental, Anglican style. Its theme of communal praise echoes the devotional spirit of the earlier motets and anticipates the celebratory tone of Vivaldi’s Gloria.

Haydn’s Symphony No. 1, composed in the early Classical period, is a compact yet lively orchestral work in three movements, marking the emergence of the modern symphony. Its bright, D-major tonality, clear structure, and playful themes reflect the transition from Baroque complexity to Classical elegance, with influences from Mannheim composers evident in its dynamic contrasts. Unlike the sacred choral works in the program, it offers a secular, instrumental interlude, showcasing the orchestra’s versatility. Historically, it postdates Handel and Vivaldi, illustrating the shift toward the galant style, yet its energetic spirit complements the exuberance of the Baroque works, particularly Handel’s anthem.

Vivaldi’s Gloria (RV 589) is a radiant and widely beloved Baroque choral masterpiece, setting the Latin text of the Gloria from the Mass Ordinary for choir, soloists, and orchestra. Its twelve movements range from jubilant, rhythmically vital choruses like “Gloria in excelsis Deo” to lyrical solos like “Domine Deus,” showcasing Vivaldi’s gift for vivid text-painting and orchestral color. Composed in Venice, likely for the Ospedale della Pietà, it shares the dramatic flair of Vivaldi’s Credo but on a grander scale, making it a fitting program closer. Its sacred exuberance ties back to the devotional themes of Palestrina, Victoria, and Handel, while its Baroque virtuosity contrasts with Haydn’s Classical restraint, unifying the program’s spiritual arc.