Product Description
DIVINUM
MYSTERIUM is a chant tune dating to the 12th century which is associated with the
hymn, "Of the Father's Love Begotten," based on the Latin hymn,
"Corde natus ex parentis," written by Prudentius in the late 4th /
early 5th century. This is thus one of the very oldest texts and tunes still
sung in our churches today.
The
shape and flow of this arrangement, which includes quotations from CANTIQUE de
NOEL ("O Holy Night") Adolphe Adam (1844), was strongly influenced by what
one writer described as the "strong wave shapes" of the tune. Ive attempted to
make these waves a significant feature of the piece, featured in both the
constant crescendo/decrescendos and the interweaving of the two tunes. And,
just as ocean waves dont arrive in steady rhythms, these musical waves are
variable sometimes closely spaced, sometimes not, and sometimes overlapping.
The
unique character of each of the three major sections is implied in their
headings: (1) with mystery and wonder,
(2) Joyfully a child is born, and
(3) contemplative God is with us.
The
opening section portrays the mystery of the trinity (the hymn text was written
as an apology for the Nicene Creed) mixed with the wonder of the Creator God
lying in a manger. Since the tune is derived from medieval chant, I wanted this
section to reflect the loose metrical nature of that genre, so the melodic
phrasing should predominate over any sense of meter up to letter C. The initial
tonal and metrical ambiguity and the fractured melodic lines gradually meld
into conventional tonality and clear statements of the two main themes. Dont
let the poco rit. just before C be too poco. Build a definite sense of
tension in anticipation of the Presto section.
The
Presto section presents the first complete statement of the main theme. I felt
a strong, rhythmic treatment should follow the ambiguity of the opening to
reflect the joy of the Messiahs incarnation realized. However, the gravity of
the text demands avoidance of frivolity and banality. Thus, I used a
combination of the long, flowing lines with a syncopated pulse and echoing
rhythms to produce what I hope is a fresh but still reverent treatment of this
ancient hymn one that produces a kaleidoscope of tonal color.
Arriving
at the third section at letter F, the asymmetrical pulse gradually shifts into
a straight 3 pattern. The slower tempo and return of the secondary theme call
us to reflect on the import of God now with us. The marking of "Let off the gas
and coast to the end" is a word picture of how the tempo should draw to a close,
as would an expert helmsman allow the ships momentum to stop just as it taps
the dock. One parting moment is provided to savor the woodwinds closing phrase from
CANTIQUE de NOEL.
Robert Myers
S.D.G.
INSTRUMENTATION
Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2
Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt
1,2); Tbn 1, 2; Tuba
Timpani
Perc. 1 (cymbals, tam-tam, vibraphone)
Perc. 2 (chimes, snare)
Perc. 3 (concert toms (4), bass drum)
Vln 1,2; Vla 1,2; VC; DB
Find
more music, news, and commentary at https://wheatmyermusic.com
and https://facebook.com/wheatmyermusic.
This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.