St. Vincent's Words (19995), a cantata for
mixed chorus, soloists, brass octet and string basses, was written for Fr. John
Richardson, President of DePaul University at the time, to acknowledge his
human values, his great love for music, and his support of the School of
Music. I devised a general "shape" to
the work, and perused St. Vincent's letters and other literature for a test to
fit the shape. The final test is my
arrangement, but all the lines are St. Vincent's. This test, in turn,influenced musical details within the broad
shape.
The work opens in a celebratory manner, but eventually gives
way to a quiet, meditative mood that features soprano and tenor solos. The mood evolves into a series of "lessons"
for the chorus, for alto and bass solos, and, again, for the chorus, the latter
transforming into a celebratory mood that recalls the beginning. The work ends quietly with St. Vincent's
please for love and peace. The instruments
serve not only to support the voices but also to provide interludes that
connect the sections.
Thought music clearly of our time, St. Vincent's Words
includes many features of older music, including Renaissance polyphony,
chant-like intonating and a modal center most obviously present in the quieter
sections.
Classical Music | Ensemble Music
George Flynn
St. Vincent's Words
PlayRecorded on 07/03/2009, uploaded on 07/03/2009
Musician's or Publisher's Notes
Complete list of performers:
DePaul University Singers
Clayton Parr, Conductor
Amanda DeBoer, Soprano
Natalie Colas, Alto
John Cottrell, Tenor
Chris Filipowicz, Bass
From George Flynn's notes:
St. Vincent's Words (19995), a cantata for mixed chorus, soloists, brass octet and string basses, was written for Fr. John Richardson, President of DePaul University at the time, to acknowledge his human values, his great love for music, and his support of the School of Music. I devised a general "shape" to the work, and perused St. Vincent's letters and other literature for a test to fit the shape. The final test is my arrangement, but all the lines are St. Vincent's. This test, in turn,influenced musical details within the broad shape.
The work opens in a celebratory manner, but eventually gives way to a quiet, meditative mood that features soprano and tenor solos. The mood evolves into a series of "lessons" for the chorus, for alto and bass solos, and, again, for the chorus, the latter transforming into a celebratory mood that recalls the beginning. The work ends quietly with St. Vincent's please for love and peace. The instruments serve not only to support the voices but also to provide interludes that connect the sections.
Thought music clearly of our time, St. Vincent's Words includes many features of older music, including Renaissance polyphony, chant-like intonating and a modal center most obviously present in the quieter sections.
George Flynn
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