OREMUS 2008

This collection starts with the renaissance master G.P. da Palestrina’s ‘Exsultate Deo’, written for five voices originally for male singers, and his ‘Jesus Our King’ (Jesu Rex Admirabilis) for three equal voices.  ‘I Am The Good Shepherd’ talks about the everlasting and eternal love of Our Lord for us.  It is written by the baroque revolutionist C. Monteverdi using time changes and canons to add drama and dynamism to the piece.  ‘Tu Es Sacerdos’ by A. Desmet was written during the early 20^th century and adapted by N. Montani for three equal voices.  This motet, commonly sung at priestly ordination rites, displays the style of composers from the previous era.  ‘Ama Namin’ (The Lord’s Prayer), an award-winning piece by contemporary Filipino composer F. Calalang, Jr. but adapted for six to eight parts of male voices by N. Infante, was performed by the SDMC as a finalist in a choral competition in 2003.  The Gregorian plainchant ‘Nos Autem’ is the first prayer sung in Maundy Thursday services in the old Roman Catholic Liturgy.  ‘O Salutaris Hostia’ as arranged by D. Lorenzo Perosi, the former director of the Sistine Chapel Choir, is set on a four part traditional hymn of praise for the Blessed Sacrament.  Its lyrical sincerity, sense of luminosity and appealing freshness reflects the influence of pre-classical music.  Another hymn for the Blessed Sacrament from the renaissance music writer O. Lassus, ‘Now In Lowly Adoration’ (Tantum Ergo), is arranged in three equal voices.  It is set in a canon form to emphasize each text and musical runs to fully understand its message and show humility in veneration.  The most popular of C. Franck’s sacred melodies ‘Panis Angelicus’, is set for tenor solo with an echo-like chorus in three equal voices as arranged by J. Van de Steen, CICM.  ‘Ave Verum Corpus’ by W. Byrd represents the genre of choral madrigals of the 16^th century.  The most common antiphon for the Blessed Virgin during the 17^th century, T. L. de Victoria’s ‘Ave Maria’, reminds us of its gothic performance setting.  Another Marian antiphon, ‘Queen of Heaven, We Salute You’ (Ave Regina Caelorum) by G. Aichinger, is a milestone of change from the former period.  ‘Alleluia’ by R. Thompson is a product of the evolution of choral music from the renaissance.  Noted Ukrainian composer D.S. Bortnyansky’s ‘Cherubim Song (No.7)’ represents the peak of choral music in the Eastern Orthodox Church.  Dramatic in its intense simplicity and independent movement of voice parts especially at the end of sustained phrases are some of his noted devices.  The album concludes with a celebrated African-American spiritual ‘Kingdom Am A’Comin’ by E.J. Evans.  The last two are set to four equal male voices by B. Treharne.

OREMUS 2002

The serenity and simplicity of the solemn tone 'Te Deum' is reminiscent of the SDMC members’ chorister years.  'O Jesu Christe' by J. Van Berchem is a 16th century masterpiece which depicts the Passion of Christ and how He suffered for the salvation of men.  'Ave Maria' by J. Arcadelt, a noted master of the renaissance, has become a popular hymn during feasts of the Blessed Virgin.  A. Gabrielli reaches, in his musical description on the setting of 'Maria Magdalena et Altera Maria’, a successfully intertwined thread of melodies.  It concludes with a rather echo-like alleluia suited for the Easter celebrations.  L. Viadana's ever celebrated 'Exsultate Justi' maintains its color and festive character using male voices.  The depth and intensity of F. Rosselli’s 'Adoramus Te' (attributed to G.P. da Palestrina) would certainly uplift any human soul to prayer.  The 'Miserere Mei' by A. Lotti shows a quasi-Palestrina piece with more intricate inner voices.  The Lenten 'Motet' (Could Ye Not Watch One Hour With Me) by G. Ramsey, a later writer of polyphonic music, dramatically recreates the scene of Christ’s Agony in the Garden.  P. Raimondi’s 'O Sacrum Convivium' authored by St. Thomas of Aquinas is actually a prayer before the Blessed Sacrament.  Two anonymous spirituals, 'Deep River' and 'John Saw Duh Numbuh' with arrangements for equal male voices, are folk songs that may have originated from the 19th century American south and are associated with African-American church congregations.