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Herrick's Oratorio (2021) by David Del Tredici - Cantori New York commission

Performed on May 21, 2023, as part of Cantori New York's spring concert series at Church of St. Francis Xavier, 46 West 16th Street, NYC. This was its world premiere. ==== HERRICK'S ORATORIO by David Del Tredici (2021) text from poems by Robert Herrick (1591-1674) Commissioned for Cantori NY by the Roger Shapiro Fund for New Music 0:00 Mark's Intro 1:04 I. His Creed 17:33 II. To His Sweet Savior (Prelude) 22:33 III. In the Hour of My Distress (Grand Fugue) 33:58 IV. Divination by a Daffadill (Aria) 37:18 V. Two Graces for Children (Chorale — Prelude) 45:40 Applause Lyrics & translations at: https://cantorinewyork.com/s/Herricks... ==== David Del Tredici is one of the towering names in contemporary classical music. The recipient of the 1980 Pulitzer Prize in Music, Del Tredici is perhaps best known for his extensive engagement with Lewis Caroll’s Alice in Wonderland and Through the Looking Glass. Over the course of more than 25 years, from 1968-1996, Del Tredici inhabited what Frank J. Oteri calls an “inexhaustible musical universe” within Caroll’s texts, turning and returning to the wondrous, strange world of Alice. At heart a storyteller, Del Tredici has throughout his career drawn on literature as the grounds for musical discovery. In his earliest compositions, Del Tredici turned to the poetry of James Joyce, culminating in pieces like the haunting Syzygy (1966) for soprano, horn, and tubular bells. In the Joyce works — dissonant, intimate, and eerie — Del Tredici has his ear tuned to the modernist frequencies of both literature and music. With Alice, Del Tredici embarked on his lengthiest literary collaboration. Through this immense and stylistically omnivorous body of works — ranging in instrumentation from brass quintet to full orchestra — Del Tredici ushered in the Neo-Romantic movement in contemporary American composing: a reclamation of sonority, tonality, and lyrical expression. Del Tredici’s latest literary collaborator is the 17th-century English poet and clergyman Robert Herrick, who took holy orders in 1623 and remained a vicar from 1630 until his death in 1674. Long disparaged as a minor poet, Herrick is better understood as an epic miniaturist. His individual poems are often admittedly slight, sometimes as short as two lines: When a man's faith is frozen up, as dead; Then is the lamp and oil extinguishéd. Unlike his literary forefathers Jonson and Shakespeare, who wrote both sonnets and larger-scale dramatic works, Herrick always had his eye on small but sharp sensations: When a daffadill I see, Hanging down his head t'wards me, Guesse I may what I must be: First, I shall decline my head; Secondly, I shall be dead; Lastly, safely buryéd Herrick’s unique poetic achievement is to thread these small sensations into a magnificently grand tapestry. His only published book, Hesperides: Or, The Works Both Humane & Divine (1648), contains over one thousand poems arranged in a gradually unfurling argument about the certainty of death, the solaces of faith, and the imperative to live life well. With Herrick’s Oratorio, Del Tredici responds to Herrick’s miniaturism with exuberant maximalism. Monumental, sly, and elaborately contrapuntal, the oratorio is a gorgeous edifice, a musical love-child of Rossini and Bach. Del Tredici’s rollicking tragicomedy veers between barbershop harmonies and sublimely aching solemnity. The piece arcs, earnestly and beautifully, over the course of five movements, through the painful and profound uncertainties, fears, and hopes underlying the human contemplation of life and death. There is a particular sensation that grips us when we juxtapose the infinitesimally small and the unfathomably big: a drop of water against the ocean, the small textures of a human life against the tread of history and the indifference of the stars. For many, this sensation is one of horror or bafflement. But Del Tredici — by setting Herrick’s miniatures on mortality with such glee, audacity, and power — asks us to listen with equal parts whimsy and reverence to the hollow space between the very small and the impossibly big. The vertigo we feel when we do, he suggests, is the very seat of the sacred. —Notes by Nolan Gear and Chelsea Harvey ==== Organ: James Wetzel Soloists: Zoe Allen, Marie Marquis, Maggie Dobbins Audio: Swan Studios NYC / Andreas Meyer Video: Jacob McCoy / Richard Berg ==== Cantori New York is an acclaimed chamber chorus specializing in new & neglected music. https://cantorinewyork.com Mark Shapiro, Artistic Director This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council. This program is made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. This performance was sponsored by the Secret Music Foundation, and by the Roger Shapiro Fund.