Format : Vocal Score
Each of the five connected movements in this choral cycle contains references to 'Light ' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personalcomfort and solace in setting to music these timeless and wondrous words about Light a universal symbol of illumination at all levels - spiritual artistic and intellectual.The work opens and closes with the beginning andending of the Requiem Mass with the central three movements drawn respectively from the Te Deum O Nata Lux and Veni Sancte Spiritus. The opening Introitus introduces several themes that recur later in thework and includes an extended canon on “et lux perpetua.” In Te Domine Speravi contains among other musical elements the cantus firmus “Herzliebster Jesu” (from the Nuremburg Songbook 1677) and a lengthy inverted canon on “fiat misericordia.” O Nata Lux and Veni Sancte Spiritus are paired songs the former an a cappella motet at the center of the work and the latter a spirited jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia.--MortenLauridsen
SKU: BT.PMC3367
Each of the five connected movements in this choral cycle contains references to 'Light,' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personal comfortand solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels - spiritual, artistic and intellectual. The work opens and closes with the beginning and ending of theRequiem Mass, with the central three movements drawn respectively from the Te Deum, O Nata Lux and Veni, Sancte Spiritus. The opening Introitus introduces several themes that recur later in the work and includes an extended canonon et lux perpetua. In Te, Domine, Speravi contains, among other musical elements, the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook, 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni,Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the openingsection of the Introitus and concludes with a joyful celebratory Alleluia. --Morten Lauridsen.
SKU: BT.PMC3374
This, the central movement from Lux Aeterna, is a serene a cappella motet celebrating the Redeemer. --Morten Lauridsen.
SKU: BT.PMC3797
From Lux Aeterna.
SKU: BT.PMC3865
The Two Songs on American Poems were composed in late May and early June of 2011 by candlelight at my rustic waterfront cabin on a remote island off the northwest coast of Washington State. It was in this locale that I havecompleted a number of works over the years, including the Lux Aeterna, O Magnum Mysterium, Nocturnes, Canticle/O Vos Omnes and others. Prayer was written in memory of Michael Jasper Gioia, Dana and Mary Gioia's infant son, whosebrief life was tragically ended by SIDS.Mr. Gioia served as Chair of the National Endowment for the Arts from 2003-2010 and has authored several books of poems, numerous anthologies, articles, essays and two opera libretti. Amonghis many awards are the American Book Award and Presidential Citizens Medal. He currently holds the Judge Widney Chair of Poetry and Public Policy at the University of Southern California. Sure on this Shining Night was originallycomposed as a choral piece, the third movement of my Nocturnes on poems by Rilke, Neruda and Agee. Rod Gilfry, an international star of opera, recital and musical theater, premiered the mixed duet version with his daughter, Carin,in 2009. He is Professor of Vocal Studies at the USC Thornton School of Music. Both he and Mr. Gioia are national treasures. The Two Songs are designed as a pair but may be sung independently - when paired, Sure On This ShiningNight should begin immediatelyfollowing the final, sustained chord of Prayer with no break in between the songs. Both of these songs, premiered by Mr. Gilfry accompanied by the composer at a USC Visions & Voices tribute to DanaGioia on September 27, 2011, have their roots in the American musical theater and should be sung as such.
