|
|
|
Ellen Oak's setting of the Te Deum was recorded for teaching purposes on September 11, 2004, at the Church of the Immaculate Conception (Jesuit Urban Center), Boston. 35 musicians from all over the Archdiocese of Boston gathered for the recording. MP3 files of that morning's experience are being generated for posting here. Four have been posted as of March 23, 2005.
You can scroll down, or click, to the items below:
- Introduction
- Reflections and commentary
- Te Deum texts and translations
- Assembly part
- Chant part
- Choral part
- For conductor and organist
As the "re-configuration" of the Roman Catholic archdiocese of Boston proceeded in the summer of 2004, I wanted to take all that I was feeling within and around me, and channel it into an act of Spirit, freedom and creativity. I decided to write a setting of the Te Deum, and to invite people to join their voices and spirits together to perform and record it. It is my intention to offer this art for free as a resource of sung prayer in these challenging times.
The Te Deum is one of the most ancient Christian songs of praise. It is traditionally sung at first light on Sunday mornings, and on special occasions, to give thanks for some particular blessing. I chose to work with it at this time as a kind of kaddish practice: that right in the midst of death and grief the faithful claim for themselves, and proclaim with all creation, the goodness and saving love of God in an act of outrageous praise. God sings us into being, works justice, and bears new life. And we with God.
My setting of the Te Deum layers five performing forces:
- Schola singing the ancient chant of the Te Deum in Latin, with reconstructed proportional rhythm
- Chorus singing a six-part round in English (I wrote the translation/paraphrase), with each line of the round sounding one section of the ancient Te Deum
- Assembly singing one line as a musical "ground." This line is built by taking one measure from each line of the round
- Organ providing harmonic support and improvisational flourish
- Djembe drums providing rhythmic depth and strength to support processional singing
The piece can be performed and used in a variety of ways, depending on the needs and abilities of the community.
The distilled kernel of the whole piece is the assembly's line, with this text: O, You holy, holy, holy Three-in-One! We, your body, risen Christ, we bless you, now and forever!
At its simplest, the piece can be performed using just this line, over and over, accompanied or not, as an ostinato prayer (the way many Taizé pieces are done). This line can also be used as a litany (spoken or chanted) response.
The choral canon (in unison, or in up to six parts), can be sung on its own, or layered on to the assembly's line.
The ancient chant can be sung on its own, or layered on to the assembly's line, with or without the choral canon.
Sections of different combinations and textures can be sequenced together.
Organ improvisation and djembe drumming are used to give depth and variety to the musical expression, and to create bridges from one section to another of any given performance.
Singing it in procession, with drummers and dancers and banners, and the whole body of believers on the move, brings the prayer to its fullest expression.
I invited participants in the 9/11/04 recording to post their reflections on the experience here. I have posted the comments I could recover from my email. If I didn't find yours, please feel free to jump in now.
If you weren't there for thr 9/11/04 event, but have thoughts based on what's here on the website, feel free to post them.
All are welcome to add their voices here. Click on the REFLECTIONS AND COMMENTARY link to see the postings and add your own.
Click on this link to view original Latin text, literal translation, and Oak's parapharse.
MUSICAL SCORE FOR THE ASSEMBLY
This appears and downloads as a PDF file.
FINALE MP3 AUDIO FILE OF MUSICAL SCORE FOR ASSEMBLY
This was made by Finale music notation software. It's not a live performance by humans!
9.11.04 DEMONSTRATION OF ASSEMBLY PART
This MP3 file is a live, unmixed, unedited recording of the nine measure long assembly part, sung by itself four times through.
MUSICAL SCORE FOR THE CHANT PART
This if a GIF image of a hand-written score. The notation used was developed by John Blackley of the Schola Antiqua. It is based on Solesmes Gregorian notation, but it reflects the rhythmic differentiation of the ancient, proportional style of singing chant. The black, or filled-in note, is a long; the white, or hollow note is a short. Two shorts fit into one long.
9.11.04 PERFORMANCE OF THE CHANT PART
This MP3 file is a live, unmixed, unedited recording. Singers are Laurie Burke, Lauren Sprague, Kasia Sokalla, and Elizabeth Swayze.
MUSICAL SCORE FOR THE CHORAL PART
This appears and downloads as a PDF file.
FINALE MP3 AUDIO FILE OF THE CHORAL PART
This was made by Finale music notation software. It's not a live performance by humans!
9.11.04 DEMONSTRATION OF THE CHORAL PART IN UNISON
This MP3 file (2.9MB) is a live, unmixed, unedited recording.
9.11.04 DEMONSTRATION OF THE CHORAL PART IN CANON
This MP3 file (5.3MB) is a live, unmixed, unedited recording of the choral part sung as a six-voice canon.
MUSICAL SCORE FOR ORGANIST AND CONDUCTOR
This appears and downloads as a PDF file. The score lines up all six parts of the round, so they can be easily played together. It also includes the assembly's line. It has a keyboard reduction, and an organ bass line. Ideally, the organist improvises, based on the score, shifting registrations and textures as the song rises and falls.
FINALE MP3 AUDIO FILE OF MUSICAL SCORE FOR CONDUCTOR AND ORGANIST
This was made by Finale music notation software. It's not a live performance by humans!