About Erik-Peter Mortensen Ever since he was a boy soprano at the Met Opera Children’s Chorus, Erik-Peter Mortensen, or “EP” as he is known in his inner social circles was fascinated by recording his voice on individual tracks using one of the original “Tascam” type of 4 track cassette recorders. Once he successfully recorded all trio ensembles of “The Three Spirits” from Mozart’s “Magic Flute”, performing and recording the parts of all 3 spirits individually, he became hooked with the possibilities of this technology. Nearly 3 decades later, from those primitive beginnings, EP has continued to perfect his craft both as a vocalist and an audio engineer with the help of music and compositional studies at Columbia University and engineering and technical studies at Berklee School of Music. His current studio, Papagena Productions, is currently well equipped with the latest suite of audio tools, and has enabled him to present this debut album of “Mortensemble”, a world class vocal recording ensemble of his friends and professional colleagues. About Mortensemble Strictly a recording ensemble for now, the concept of Mortensemble (a truncation of Mortensen’s Ensemble), under the direction of EP, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen. Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy. To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. In the case of the debut album, for example, EP sang all choral parts (SATB doubled) for William Byrd’s “Ave Verum Corpus”, producing a recorded ensemble of 8 singers! The advantage of presenting choral works with the vocalists individually recorded include all the benefits and control of a studio environment, including clarity of diction, low noise and intimacy, along with the benefits of a live acoustic recording as individual performers can be “placed” on a virtual stage in the sweet spot of actual physical locations (such as the stone church, Margereta Kyrkan, Oslo, Norway which was selected for this album) using a variety of the latest technical algorithms. The following is a roster of professional singers that Erik-Peter had available for this release, followed by a letter designation that is used to identify participation and vocal ranges in each track: Sopranos: Sarah Moulton Faux (a) Jeenie Yoon (b) Margaret Dudley (c) Emily Speer (d) Altos: Catherine Hedberg (e) Emily Speer (f) Countertenors: Aaron Lauber (g) Bill Heigen (h) Erik-Peter Mortensen (i) Tenors: Max Blum (j) James Kennerly (k) Bill Heigen (l) Erik-Peter Mortensen (m) Edwin Santayana (n) Baritone: Erik-Peter Mortensen (o) Basses: Jay Gould (p) Erik-Peter Mortensen (q) This roster will no doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future. About the album (sources: Erik-Peter Mortensen, Atrium Musicologicum & Wikipedia, the Free Encyclopedia) “Sacred Music in the English Style” features a variety of very interesting new and familiar works by Erik-Peter Mortensen, William Byrd and Thomas Tallis. Though born and musically educated centuries after the two Elizabethan masters, Mr. Mortensen has passionately studied High Renaissance Music, particularly in the English style, through emersion as a performer since the age of 9, as well as through formal, scholarly studies. Erik-Peter’s preferred technique in choral composition is mainly the “stile antico” (or ancient style) that harkens back to this era. What strikes him most profoundly about the English composers in particular includes their mastery of “word painting” and complex, often chromatic, even dissonant, harmonic colors which serve to enhance the meaning and mood of the text. In addition, texts are often reinforced through the use of imitative polyphony in an era where there were no recording devices, and the effect is to imprint the memory of these powerful words into the listener’s soul. This practically cinematic approach to support dramatic impact and stir deep emotions is quite sophisticated for any era, and also what attracts Erik-Peter to this style, and his sacred compositions do not fall short in reflecting that. You will find many of the aforementioned devices in all his works presented here, yet with an even more increased pallet of tonal and modal tools, plus over 4 centuries of music history, that distinguishes him from his predecessors. Erik-Peter composed “Missa Auld Lang Syne” in 2004 as a gift for a group of his musical friends known as "The Friday Night Singing Group" which has gathered for over 3 decades on the Upper West Side for the sole purpose of sight-reading Renaissance polyphony from the vast personal collection of Sigmund Rosen. A “parody” mass, much like Tomas Luis de Victoria's “Missa Pro Victoria”, Missa Auld Lang Syne is based on the globally famous old secular Scottish folk tune often sung to celebrate endings and new beginnings, particularly on New Year’s Eve. As such, Missa Auld Lang Syne is appropriate for the first or last Sunday of a year or for any sacred event representing a beginning or ending, such as a wedding or a funeral. The tune is quoted quite often throughout each mass movement in every voice part, sometimes in part and sometimes in its entirety or with slight alterations, and freely switching between major and minor modes across various key centers. In sections of the Agnus Dei, the “cantus firmus” (or tune) of Auld Lang Syne is elongated and quite prominently heard in the tenor and two soprano parts. The writing is very imitatively polyphonic as suggested by the English approach. The mass is generally set for two sopranos, alto tenor, and bass (SSATB) However, Agnus I starts with SAT and then adds a soprano on the first setting of "miserere". Agnus II adds a bass part and then another tenor on the second "miserere". Agnus III adds another alto and finally another bass at "dona nobis pacem" to conclude with a luxurious 8 polyphonic parts (SSAATTBB). Although Missa Auld Lang Syne was performed once in concert in 2004, it was performed for the first time in a liturgical setting on 1/5/2014 at St. Ignatius of Antioch Episcopal Church, NY, where Erik-Peter works as a pro baritone member of the choir. Several members of the St. Ignatius Choir family contributed to this album, including James Kennerly (also a world class organist and current choirmaster at St. Ignatius), Aaron Lauber, Catherine Hedberg, Max Blum, and, of course, EP himself. William Byrd was a student of Thomas Tallis, and they were both gentlemen of the Chapel’s Royal Mix lead group of singers that followed the monarch around from venue to venue and provided the music for worship services. Byrd was a devoted catholic and was prosecuted for this during his lifetime. The two tracks representing William Byrd are taken from the second stage in Byrd's program of liturgical polyphony formed by the Gradualia, two cycles of motets containing 109 items and published in 1605 and 1607. The Marian hymns from the 1605 Gradualia (of which “Quem Terra Pontus” is one) are set in a light line-by-line imitative counterpoint with crotchet pulse which recalls the three-part English songs from Songs of sundrie natures (1589). In order to understand how Byrd sets the text of the motet “Ave Verum Corpus” it is necessary to understand what it meant to him: for Byrd, the Blessed Sacrament which is the consecrated bread at the Mass contains the real presence of Christ. The first phrase of this Ave Verum Corpus means Hail true body and for Byrd the most important word wasn’t Ave or Corpus, but Verum because word true meant that He was the true presence of Christ in this bread. This was one of the main differences between the Anglican Church and the Roman Catholic Church, and he wanted to emphasize this word Verum in the first phrase. And he did it by using a very particularly expressive device. The device is called false-relation. A false-relation is when a note and it’s chromatically altered note appear very close to one another, in this case F# and F natural. The "false-relation" of F#-F, between the Superius and Bassus, emphasises the Verum, in a sort of demosntrating of the true corpus. This "expression" was very common in English music of this period. Byrd's master Thomas Tallis often used it on some of his works. A great English scholar commented once on the “vicious” English taste for false-relations, where they put it on many contexts that the continentals wouldn’t. This marked English music out as particularly expressive. Thomas Tallis made two famous sets of the Lamentations. Scored for five voices (either one on a part or in a choral context), they show a sophisticated use of imitation, and are noted for their expressiveness. The settings are of the first two lessons for Maundy Thursday. As many other composers do, Tallis also sets the following: The announcements: Incipit Lamentatio Ieremiae Prophetae ("The Lamentation of Jeremiah the Prophet begins") and De Lamentatione Ieremiae Prophetae ("From the Lamentation of Jeremiah the Prophet") The Hebrew letters that headed each verse: Aleph, Beth for the first set; Gimel, Daleth, Heth for the second. These letters were considered part of the text in the Latin Vulgate Bible of Tallis's day, although most English translations omit them. Tallis's use of 'Heth' rather than the correct 'He' appears to have been an error. The concluding refrain: Ierusalem, Ierusalem, convertere ad Dominum Deum tuum ("Jerusalem, Jerusalem, return unto the Lord thy God") – thus emphasizing the somber and melancholy effect of the pieces Tallis's two settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the liturgical role of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces. According to Jewish and Christian traditions, authorship is assigned to the Prophet Jeremiah, who was ministering the Word of God during the conquest of Jerusalem by Nebuchadnezzar, during which the First Temple was destroyed and King Zedekiah was taken prisoner (cf. 2 Kings 24-25, Jer. 39:1-10 and Jer. 52). In the Septuagint and the Vulgate the Lamentations are placed directly after the Prophet. It is said that Jeremiah retired to a cavern outside the Damascus gate, where he wrote this book. That cavern is still pointed out by tour guides. "In the face of a rocky hill, on the western side of the city, the local belief has placed 'the grotto of Jeremiah.' There, in that fixed attitude of grief which Michelangelo has immortalized, the prophet may well be supposed to have mourned the fall of his country" (Arthur Penrhyn Stanley, History of the Jewish Church). However, the strict acrostic style of four of the five poems is not found at all in the Book of Jeremiah itself and Jeremiah's name is not found anywhere in the book itself (nor any other name, for that matter), so authorship of Lamentations is disputed. The Book of Chronicles says that Jeremiah did write a lament on the death of King Josiah. The work is probably based on the older Mesopotamian genre of the "city lament", of which the Lament for Ur is among the oldest and best-known. According to F. W. Dobbs-Allsopp, "the widely observed unity of form and point of view... and general resemblance in linguistic detail throughout the sequence are broadly suggestive of the work of a single author," though other scholars see Lamentations as the work of multiple authors. Lamentations was probably composed soon after 586 BC. Kraus argues that "the whole song stands so near the events that one feels everywhere as if the terrible pictures of the destruction stand still immediately before the eyes of the one lamenting." The book consists of five separate poems. In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely. In chapter 2 these miseries are described in connection with national sins and acts of God. Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them. Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins. Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people. Readings, chantings, and choral settings, of the book of Lamentations, are used in the Christian religious service known as the Tenebrae (Latin for darkness). In the Church of England, readings from Lamentations are used at Morning and Evening Prayer on the Monday and Tuesday of Holy Week, and at Evening Prayer on Good Friday. The Book of Lamentations is recited annually on the Tisha b'Av, the anniversary of the destruction of both of the Jewish Temples as well as numerous other unfavorable days in Jewish history. As quoted by Scottish Presbyterian preacher, Matthew George Easton (1823-1894), at the "Wailing Wall" in the Old City of Jerusalem, "the Jews assemble every Friday afternoon to bewail the downfall of the holy city, kissing the stone wall and watering it with their tears. They repeat from their well-worn Hebrew Bibles and prayer-books the Lamentations of Jeremiah and suitable Psalms." In the Coptic Orthodox Church chapter three is chanted on the twelfth hour of the Good Friday service, that commemorates the burial of Jesus. Composed in 2013, the two part anthem by Erik-Peter, “I have made Thee, O Lord” and “In My Heart’s Inmost Shrine”, though written for four voices (SATB) in the Elizabethan style are not based on Christian, but rather English translations of Hindu texts. Edwin Santayana (also a member of Mortensemble) approached EP with a number of translated Hindu texts and suggested that he set some of them musically. The two verses of text selected here (forming parts 1 & 2 of the anthem) immediately stood out to Erik-Peter as universally appealing to spiritual people of all faiths that wish to repent of sin, and establish the creator God as the guide to illuminate their lives. These verses were also rich with imagery, and as such, extremely suitable to be set in the expressive English style. When his Aunt Nita died in the Philippines in May 2012, Erik-Peter looked for some prayers that were appropriate and found a passage from an Anglican Book of Common Prayer (It's from the Gospel of St. John). The resulting anthem for three men’s voices, “I Am the Resurrection” was dedicated to her for the honor of her spirit, as well as to bring comfort to those closest to her. It is written in a very similar style to Byrd’s “Quem Terra Pontus”. Around 1999, while a choir member of the United Broadway Church of Christ on Manhattan's Upper West Side, EP was inspired to write an anthem based on a Gospel reading of Luke 10:25-28 that was printed on one particular Sunday's leaflet. Little did he realize that this particular translation is so unusual that he has not been able to find it ever since! However, the flow of the passage evoked a dramatic film dialog in his mind, in this case between a Pharisee (or expert in the law) and Jesus. It closely reminded him of a verse anthem set by Orlando Gibbons, "This is the Record of John" which described another dramatic dialog between ancient priests and Levites and John the Baptist, according to another gospel account. He immediately made up his mind to write a consort song similar to Gibbon's style using a four-part accompaniment and solo baritone voice (which EP performs on this track). Although it was eventually performed with his organ master accompanying him, the accompaniment proved rather difficult for a single organist, as most of the parts are continuously contrapuntal. Upon re-examining this work recently, EP decided to re-orchestrate it for guitar (or lute ensemble) with a minimum of two to four guitarists (dependent upon skill level). Although this accompaniment is virtually realized by him for this release, he foresees future performances of this anthem using various combinations of instruments for the accompaniment as a tantalizing possibility. A consort song was a characteristic English song form of the late 16th and early 17th centuries, for solo voice or voices accompanied by a group of instruments, most commonly viols. Although usually in five parts, some early examples of four-part songs exist. It is considered to be the chief representative of a native musical tradition which resisted the onslaught of the Italianate madrigal and the English lute ayre, and survived those forms' brilliant but short-lived ascendancy (Brett 2001). In contemporary usage, the term was confined to a number of songs for four voices accompanied by the standard mixed consort of six instruments, found in Teares or Lamentacions of a sorrowfull Soule by William Leighton, published in 1614, but was first used in the modern sense by Thurston Dart (Brett 2001). William Byrd is recognized as the composer whose adoption and development of the consort song established its musical importance. He regarded it as a standard means to set vernacular poetry (Brett 2001). Heavily influenced by William Byrd's composition of the same name, EP’s “Teach Me, O Lord” is written in the style of an English Jacobean verse anthem, for soloist, full choir, and accompaniment of varying disposition - in this case, an organ realization. Accompaniment could also suitably be provided by a capella voices singing “loo” or a chamber consort of viols or mixed instruments. In religious music, the verse anthem is a species of choral music, or song, distinct from the motet or 'full' anthem (i.e. for full choir). In the 'verse' anthem the music alternates between sections for a solo voice or voices (called the 'verse') and the full choir. The organ provided accompaniment in liturgical settings, but viols took the accompaniment outside of the church. In the 'verses', solo voices were expected to ornament their parts for expressive effect with the 'full choir' sections providing contrast in volume and texture. The verse anthems were a major part of the English Reformation due to the use of the vernacular. In addition to this, the use of soloists allowed the text to be expressed more clearly. For the choirmaster they were useful too: the choir only had to learn a small part of the anthem, leaving the hardest passages to a soloist to learn on their own, reducing rehearsal time. Verse anthems developed and were very popular during the early 17th to the middle of the 18th centuries. At the Restoration of Charles II, enthusiasm for the older 'motet' style of anthem returned, but composers continued to write verse anthems, sometimes on a grand scale, particularly for the Chapel Royal. Notable composers of verse anthems include William Byrd, Orlando Gibbons, Thomas Weelkes, Thomas Tomkins, John Bull and Pelham Humfrey. The "Star Anthem" by John Bull was the most popular Jacobean verse anthem occurring in more contemporary sources than any other. Of the Jacobean anthems the most well known in the 21st century is "This is the Record of John" written by Orlando Gibbons for a visit of Archbishop Laud to his alma mater St. John's College Oxford. Erik-Peter’s “Supplication for the Holocaust” prayer was adapted from and inspired by “Prayer for the Six Million:” – last in a series of prayers from “Z’CHOR – REMEMBER – A Holocaust Prayer – In Memory – Written by a Holocaust Survivor” Prayer for the Six Million text: Almighty God, remember the six million people that were gassed, killed, drowned, burned alive, tortured, beaten or frozen to death. In our hearts, their sacred memory will last forever and ever. Amen. God of our Fathers, let the ashes of the children incinerated in Auschwitz, the rivers of blood spilled at Babbi Yar or Majdanek, be a warning to mankind that hatred is destructive, violence is contagious, while man has an unlimited capacity for cruelty. For our own sake and for the sake of our children, we have to be our brother's keeper. Almighty God, fulfill the prophecy of Isaiah: "They shall beat their swords into ploughshares . . . nation shall not lift up a sword against nation, neither shall they learn war any more." Man shall not lift weapon against man, and shall kill no more. Amen. Erik-Peter’s “Supplication for the Holocaust” text: Almighty God, Call to remembrance the number twenty-six million, The number of them that died in the Great Holocaust. For their sake, and ours, “fulfill the prophecy of Isaiah: They shall beat their swords into ploughshares… Nation shall not lift up sword against nation, Neither shall they learn war anymore. Man shall not lift weapon against man, And shall kill no more!” Amen. Research: Informational excerpts below are from the www.u-s-history web page as published on 4/30/2012. The Holocaust is generally regarded as the systematic, state-sponsored persecution and slaughter of approximately 6 million Jews — two thirds of the total European Jewish population, and two-fifths of the Jews in the entire world — but also millions of other victims, by the Nazi regime and its collaborators under Adolf Hitler. While the Jews were the primary target, there were many other ethnic, secular, religious, and national groups that suffered during the Holocaust, including Poles, Czechs, Greeks, Gypsies, Serbs, Ukranians, and Russians, as well as homosexuals, mentally and physically handicapped persons, trade unionists, prisoners of war, Jehovah's Witnesses, and uncounted others. All were targeted because of their perceived "racial inferiority." Current estimates, based on Nazi war records and official government documents from various countries, place the death toll of the Holocaust at anywhere from 10 million (a conservative figure) to 26 million people. Erik-Peter chose to musically set the figure “26 million” not because it is necessarily precisely accurate, but because it represents an unfathomably large number of exterminated victims, linked together as a chain of humanity, brothers and sisters in death, across nations, religions, and ideologies. When one group of our human brothers is afflicted, we are all afflicted as we are all connected to each other! The Tracks 1. MISSA AULD LANG SYNE-KYRIE: E.P. Mortensen (b. 1969) ab, ab, gh, jm, pq Kyrie eleison, Christe eleison, Kyrie eleison. English translation: Lord have mercy, Christ have mercy, Lord have mercy. 2. MISSA AULD LANG SYNE-GLORIA: E.P. Mortensen (b. 1969) ab, ab, gh, jm, pq Glória in excélsis Deo et in terra pax homínibus bonae voluntátis. Laudámus te, benedícimus te, adorámus te, glorificámus te, grátias ágimus tibi propter magnam glóriam tuam, Dómine Deus, Rex cæléstis, Deus Pater omnípotens. Dómine Fili Unigénite, Iesu Christe, Dómine Deus, Agnus Dei, Fílius Patris, qui tollis peccáta mundi, miserére nobis; qui tollis peccáta mundi, súscipe deprecatiónem nostram. Qui sedes ad déxteram Patris, miserére nobis. Quóniam tu solus Sanctus, tu solus Dóminus, tu solus Altíssimus, Iesu Christe, cum Sancto Spíritu: in glória Dei Patris. Amen English translation: Glory to God in the highest, and on earth peace to people of good will. We praise you, we bless you, we adore you, we glorify you, we give you thanks for your great glory, Lord God, heavenly King, O God, almighty Father. Lord Jesus Christ, Only Begotten Son, Lord God, Lamb of God, Son of the Father, you take away the sins of the world, have mercy on us; you take away the sins of the world, receive our prayer. you are seated at the right hand of the Father, have mercy on us. For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen 3. QUEM TERRA PONTUS: W. Byrd (c.1540-1623) g, k, q 1. Quem terra, pontus, aethera colunt, adorant, praedicant, trinam regentem machinam, claustrum Mariae baiulat. 2. Cui luna, sol et omnia deserviunt per tempora, perfusa caeli gratia gestant puellae viscera. 3. Beata Mater, munera cuius supernus Artifex, mundum pugillo continens, ventris sub arca clausus est. 4. Beata caeli nuntio, fecunda Sancto Spiritu, desiderata gentibus cuius per alvum fusus est. 5. Gloria tibi Domine, qui natus es de Virgine, cum Patre, et Sancto Spiritu in sempiterna saecula. Amen. English translation: 1. Him whom earth, sea, and sky Honour, adore and proclaim, Ruling the three-part machine, Mary’s womb carries. 2. He whom sun, moon and all things Serve in due time Is nurtured in a maiden’s womb Transfused with heaven’s grace. 3. Mother, blessed in these gifts, Whose heavenly artificer, Whose hand contains the earth and sky, Is enclosed in the ark of your womb. 4. Blessed by the heavenly messenger, Made fertile of the Holy Spirit, The one desired by all nations Is revealed to all through your womb. 5. Glory be to Thee, O Lord, Born of a Virgin, With the Father and the Holy Spirit, World without end. Amen. 4. THE LAMENTATIONS OF JEREMIAH, PART I: T. Tallis (c. 1505-1585) hi, lm, lm, oo, qq (Opening announcement) Incipit lamentatio Ieremiae prophetae. (from Lamentations, Chapter 1) 1:1 ALEPH. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium; princeps provinciarum facta est sub tributo. 1:2 BETH. Plorans ploravit in nocte, et lacrimæ ejus in maxillis ejus: non est qui consoletur eam, ex omnibus caris ejus; omnes amici ejus spreverunt eam, et facti sunt ei inimici. (Concluding refrain) Ierusalem, Ierusalem, convertere ad Dominum Deum tuum. English translation: (Opening announcement) Here begins the Lamentation of Jeremiah the Prophet. (from Lamentations, Chapter 1) 1:1 ALEPH. How lonely sits the city that was full of people! How like a widow has she become, she that was great among the nations! She that was a princess among the cities has become a vassal. 1:2 BETH. She weeps bitterly in the night, tears on her cheeks; among all her lovers she has none to comfort her; all her friends have dealt treacherously with her, and they have become her enemies. (Concluding refrain) Jerusalem, Jerusalem, return unto the Lord thy God. Original Hebrew text (without introductions or conclusions) (from Lamentations, Chapter 1) א אֵיכָה יָשְׁבָה בָדָד, הָעִיר רַבָּתִי עָם--הָיְתָה, כְּאַלְמָנָה; רַבָּתִי בַגּוֹיִם, שָׂרָתִי בַּמְּדִינוֹת--הָיְתָה, לָמַס. {ס} ב בָּכוֹ תִבְכֶּה בַּלַּיְלָה, וְדִמְעָתָהּ עַל לֶחֱיָהּ--אֵין-לָהּ מְנַחֵם, מִכָּל-אֹהֲבֶיהָ: כָּל-רֵעֶיהָ בָּגְדוּ בָהּ, הָיוּ לָהּ לְאֹיְבִים. {ס} 5. I HAVE MADE THEE, O LORD (PART 1): E.P. Mortensen (b. 1969) d, e, k, q I have made Thee, O Lord, the Polestar of my life. No more shall I lose my way on the world’s trackless sea. Wherever I wander here Thy brilliance shines undimmed. With Thy serene and gracious light Thou drivest all the tears out of my troubled soul. 6. IN MY HEART’S INMOST SHRINE (PART 2): E.P. Mortensen (b. 1969) d, e, k, q In my heart’s inmost shrine Thy face forever beams. If for a moment even I cannot find it there, My soul is overwhelmed with woe. And if my witless mind strays from the thought of Thee, The vision of Thy face strikes me with deepest shame. 7. I AM THE RESURRECTION: E.P. Mortensen (b. 1969) i, m, q I am the Resurrection and the Life, saith the Lord; he that believeth in me, though he were dead, yet shall he live; and whosoever liveth and believeth in me shall never die. Amen. 8. A PHARISEE WENT UP: E.P. Mortensen (b. 1969) o (The source of this particular translation of Luke 10:25-28 is unknown to Erik-Peter) 25 A Pharisee went up to question Jesus. "Master", he said, "what shall I do to gain eternal life?" 26 Jesus answered him, "What do the scriptures say? What is read there?" 27 And he said, "Love the Lord, thy God, with all thy heart, with all thy soul, with all thy strength, with all thy mind, and love thy neighbor as thyself." 28 Jesus answered him, "Thou hast spoken rightly. Do this and you shall live." 9. THE LAMENTATIONS OF JEREMIAH, PART II: T. Tallis (c. 1505-1585) hi, lm, lm, oo, qq (Opening announcement) De lamentatione Ieremiae prophetae. (from Lamentations, Chapter 1) 1:3 GHIMEL. Migravit Judas propter afflictionem, et multitudinem servitutis; habitavit inter gentes, nec invenit requiem: 1:4 DALETH. Omnes persecutores ejus apprehenderunt eam inter angustias. (Viæ Sion) lugent, eo quod non sint qui veniant ad solemnitatem: omnes portæ ejus destructæ, sacerdotes ejus gementes; virgines ejus squalidæ, et ipsa oppressa amaritudine. 1:5 HE(TH). Facti sunt hostes ejus in capite; inimici ejus locupletati sunt: quia Dominus locutus est super eam propter multitudinem iniquitatum ejus. Parvuli ejus ducti sunt in captivitatem ante faciem tribulantis. (Concluding refrain) Ierusalem, Ierusalem, convertere ad Dominum Deum tuum English translation: (Opening announcement) From the Lamentation of Jeremiah the Prophet. (from Lamentations, Chapter 1) 1:3 GHIMEL. Judah has gone into exile because of affliction and hard servitude; she dwells now among the nations, but finds no resting place; 1:4 DALETH. All her pursuers have overtaken her in the midst of her distress. (The ways of Zion) do mourn, because none come to the solemn assembly; all her gates are desolate, her priests groan; her virgins have been dragged away, and she herself is oppressed in bitterness. 1:5 HE(TH): Her foes have become the head, her enemies prosper; for the LORD hath afflicted her for the multitude of her transgressions; her young children are led into captivity before face of the adversary. (Concluding refrain) Jerusalem, Jerusalem, return unto the Lord thy God Original Hebrew text (without introductions or conclusions) (from Lamentations, Chapter 1) ג גָּלְתָה יְהוּדָה מֵעֹנִי, וּמֵרֹב עֲבֹדָה--הִיא יָשְׁבָה בַגּוֹיִם, לֹא מָצְאָה מָנוֹחַ; כָּל-רֹדְפֶיהָ הִשִּׂיגוּהָ, בֵּין הַמְּצָרִים. {ס} ד דַּרְכֵי צִיּוֹן אֲבֵלוֹת, מִבְּלִי בָּאֵי מוֹעֵד--כָּל-שְׁעָרֶיהָ שׁוֹמֵמִין, כֹּהֲנֶיהָ נֶאֱנָחִים; בְּתוּלֹתֶיהָ נּוּגוֹת, וְהִיא מַר-לָהּ. {ס} ה הָיוּ צָרֶיהָ לְרֹאשׁ אֹיְבֶיהָ שָׁלוּ, כִּי-יְהוָה הוֹגָהּ עַל רֹב- פְּשָׁעֶיהָ; עוֹלָלֶיהָ הָלְכוּ שְׁבִי, לִפְנֵי-צָר. {ס} 10. TEACH ME, O LORD: E.P. Mortensen (b. 1969) d, i, n, q Psalm 119 vv.33-38 (BCP), with the minor doxology from the Book of Common Prayer (1662) 33 Teach me, O Lord, the way of thy statutes : and I shall keep it unto the end. 34 Give me understanding, and I shall keep thy law : yea, I shall keep it with my whole heart. 35 Make me to go in the path of thy commandements : for therein is my desire. 36 Incline my heart unto thy testimonies : and not to covetousness. 37 O turn away mine eyes, lest they behold vanity : and quicken thou me in thy way. 38 O ‘stablish thy word in thy servant : that I may fear thee. (minor doxology) Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen. 11. SUPPLICATION FOR THE HOLOCAUST: E.P. Mortensen (b. 1969) d, f, n, q Almighty God, Call to remembrance the number twenty-six million, The number of them that died in the Great Holocaust. For their sake, and ours, “fulfill the prophecy of Isaiah: They shall beat their swords into ploughshares… Nation shall not lift up sword against nation, Neither shall they learn war anymore. Man shall not lift weapon against man, And shall kill no more!” Amen. 12. MISSA AULD LANG SYNE-SANCTUS: E.P. Mortensen (b. 1969) ab, ab, gh, jl, pq Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis. English translation: Holy, Holy, Holy Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. 13. AVE VERUM CORPUS: Orlando di Lasso (1532-1594) ii, mm, oo, qq Ave verum corpus, natum de maria virgine; vere passum immolatum in cruce pro homine; cujus latus perforatum unda fluxit sanguine; Esto nobis praegustatum in mortis examine. O dulcis, O pie, O Jesu fili Mariae; miserere mei. Amen English translation: Hail, true Body, born of Mary the Virgin; truly suffering and immolated on the cross for humankind; Thou whose side was pierced whence flowed a wave of blood; Be for us our food as we enter upon death at the last hour. O sweet, O clement, O Jesus son of Mary; have mercy upon me. Amen. 14. MISSA AULD LANG SYNE-SANCTUS: E.P. Mortensen (b. 1969) (ab, gh, jl) Agnus Dei, qui tollis peccata mundi, (ab, ab, gh, jl) Miserere nobis. (ab, ab, gh, jl, pq) Agnus Dei, qui tollis peccata mundi, (ab, ab, gh, jl, jl, pq) Miserere nobis. (ab, ab, gh, gh, jl, jl, pq) Agnus Dei, qui tollis peccata mundi, (ab, ab, gh, gh, jl, jl, pq, pq) Dona nobis pacem. Production Credits Musical Director, Executive Producer, Virtual Instrument Realization, Recording and Mastering Engineer: Erik-Peter Mortensen, Owner of Papagena Productions and Cathedral Records Associate Producer: Wavell Bailey