Notes
Sacred Music (Volume One) This first recording of the Church of the Ascension Choir under Choirmaster Thomas Wikman contains primarily joyous music on celebratory texts. Almost all are in major keys or modes. Most of these works are from the Renaissance. They are based on sacred Latin texts and are sung a cappella (without instrumental accompaniment). They are typical of what is heard during Sunday worship services at The Church of the Ascension in Chicago. Among the most exuberant are the Exultate Deo of Scarlatti and Jubilate Deo by di Lasso. Handl's Omnes de Saba is another very positive piece written for the Feast of the Epiphany, with many alleluias and prayers of thanksgiving as the Magi present the baby Jesus with their gifts of gold, frankincense and myrrh. Sicut Cervus by Palestrina is a parish favorite, performed by the Ascension choir every year during the Great Vigil of Easter. Among the few somber pieces is the Sepulto Domino of Victoria, which recalls the burial of Jesus. Gregorian chant is a key component of the music program at Ascension. At all Solemn High Masses throughout the year, the men (schola) of the choir chant the traditional Introit, Gradual, Alleluia, Offertory, and Communion from the Roman Gradual. These pieces are the "minor propers." (The "major propers" comprise the Collect and the Old Testament, Epistle and Gospel readings for the day.) Cibavit eos is the Introit for the Feast of Corpus Christi. The Alleluia Ascendit Deus is sung on the Feast of the Ascension (our patronal feast), and the Factus est is the Communion chant for Pentecost. These pieces of Gregorian chant have been sung in worship services for many hundreds of years. Complementing the three pieces of Gregorian chant, sung by men, are three pieces written for higher voices. The Pueri Hebraeorum was written by Palestrina for Palm Sunday, using soprano I, soprano II, alto and tenor. The piece mimics the voices of the Hebrew children as they welcome Jesus to Jerusalem with olive branches. O Magnum Mysterium by Morales is another piece for high voices, with soaring lines and shifting harmonies. Morales uses soprano and tenor voices, not grounded by a bass line, to represent the mystery of the virgin birth. Ave Verum Corpus by Josquin des Prez starts with just sopranos and altos; halfway through, the trebles are joined by tenors in beautiful three-part polyphony. A typical Solemn High Mass at Ascension contains many musical offerings. The parts of the Ordinary typically sung by the choir are the Kyrie, Sanctus, Benedictus and Agnus Dei. (On major feast days the choir may also sing the Gloria and Credo.) In addition, the men of the choir will chant the minor propers from the Graduale Romanum, which comprise five pieces of Gregorian chant. There will also be several motets, and usually four hymns. Each piece of music must fit into the liturgy, enhancing worship without impeding the flow of the Mass. The Ave Maria by Arcadelt is an example of the compact type of setting used at Ascension. It is used for Stations during processions. There are much longer settings of this common prayer; this one is both gorgeous and brief. The Adoramus Te by Handl is another very beautiful, short setting of a prayer that has been set to music by many composers. This rich double-choir motet is commonly sung at Ascension on Good Friday during Communion. Hassler's Verbum Caro, a communion motet for the Christmas season, uses six voices in the echo style of Gabrieli. The Ascension choir maintains a roster of some 30 singers. The singers stand in quartets (soprano, alto, tenor, bass) rather than in sections - an arrangement that enables each singer to hear his/her voice in clearer context, and which also places greater responsibility on each member. The choir's vocalism is pure and classical, similar to the vocalism soloists may employ in early Italian arias. Wikman emphasizes pure vowels, clean attacks, sostenuto and legato. These values, along with goo
