Jan Ryant Drizal: The Tree of Life; Jan Fila: Improperia
for organ, bass, strings and percussion; Daniel Chudovsky: Mohenjo-daro and Harappa; Sona Vetcha: A Dream (world premieres).
The author finds a similar connection between musical style and purported anti-Semitic content embedded in Palestrina's musical setting of another highly charged text: Jesus's reproaches to the Jews in the Improperia sung as part of the Good Friday liturgy (1560).
Nor does she suggest that the music (as distinct from the words) of the Palestrina's Improperia was perceived by participants in the Good Friday service in the Sistine Chapel as conveying, through its chordal simplicity, any idea of Christian exclusion of Jewish noise.
21) derived from a stanza in "Flete, fideles anime" (18) and of a piece with the Improperia
, only recently banned from the Good Friday service.
2) They are compositions connected with the so-called Improperia tradition.
Scholars have pointed out the extraordinary diffusion of the Improperia compositions in Syriac, Greek, and Latin liturgical usage; in patristic writers such as Aphrahat, Ephrem of Nineveh, Jacob of Serugh, Melito of Sardis, Cyril of Jerusalem, Asterius Sophistes, Romanos the Melodist, Pseudo-Cyprian (the author of Adversus Iudaeos); in the sermon "On the Soul and the Body" ascribed to Alexander of Alexandria and preserved only in Coptic; in New Testament Apocrypha such as the Acts of Pilate, the Acts of Thomas, and the Gospel of Bartholomew.
Also called the Improperia
, the reproaches are part of the rite for the veneration of the cross.
24) When the bier carrying the Host reached the door of the sacristy one choir sang the invitatory |Venite et ploremus' as the congregation knelt, answered by the second choir with the opening verse of the Improperia |Popule meus' as the congregation rose to continue the procession.
Sections of the Improperia which were specified in the St Mark's use to be sung during the procession to the Sepulchre on the afternoon of Good Friday were performed by Venetian churches and monasteries in their rituals.
Instead the book contains a setting of the hymn Ave maris stella--unusually, of all seven verses--and a multipartite Improperia
, as well as the sequence-motet Inviolata, Integra et casta es, Maria, in which Werrecore, like most sixteenth-century imitators, follows Josquin Desprez in dividing the text into three sections.
The Stabat mater and the Improperia
both make extensive use of slow, consonant block chords in root position, and while the Missa Papae Marcelli has its share of imitative counterpoint, it is famously more homophonic than most previous Masses; its clarity and intelligibility were reputed to have saved church music from being banned during the Council of Trent.
In the final chapter, Mellers turns to Mompou's choral music for the Catholic Church, notably the Cantar del alma (1961), Improperia
(1964), and Vida interior (1966), and concludes with a discussion of the composer's collection of piano pieces called Musica Callada (1959--67).