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9/11 Memorial Concert Concert Notes

For centuries, composers have set to music the texts from the various
sections of the Requiem Mass, but they have not always observed the liturgical
order, omitting and adding sections according to their creative inspirations. With
this foundational insight, Dr. Forrest has brought new “life” to this genre, using
the five traditional movements of the funeral rite with some variations.

Introit/Kyrie establishes the sonority of the work through a lush
consonant texture with a moving melodic line. Replacing the traditional Dies Irae
with Vanitas, Vanitatum, Dr. Forrest puts to music the text of a biting essay on
the vanity and pain of existence from Ecclesiastes 12:7–8 and Job 3:2–3 and
brings it to emotional fullness with percussive vocals and a fierce, driving
intensity. This is followed by two movements reversed from their usual order,
with Agnus Dei offered as a prayer to the Lamb of God and Sanctus responding
in awe. Forrest has inserted extra-liturgical text, such as the tenor solo of
Matthew 11:28, in the final movement, Lux Aeterna, bringing the work to a
serene and ethereal conclusion in a celebration of eternal light: “Rest eternal
grant to them, O Lord, and let perpetual light shine upon them. Grant us peace.”

Our memorial concert culminates in the world premiere performance of
Illuminare by celebrated composer Elaine Hagenberg. The Arlington Master
Chorale is proud to have joined a consortium of eight choral organizations to
commission this extended work for choir and orchestra. Intended for release in
the Spring of 2020, the inaugural performance was delayed many months due to
the pandemic. Upon sending her work to AMC this summer, the composer
reflected, “The past year has certainly been a mix of emotions for all of us, and I
think you’ll discover similar themes as you journey through each of the five
movements.”

Illuminare is Elaine’s first extended work, consisting of five movements
for SATB chorus and chamber orchestra. Using lesser-known sacred Latin texts,
the five sections create a narrative arc with common thematic material woven
throughout.

With a majestic and bright opening in D major, Illuminare begins with a
radiant flurry of 16th notes representing the entrance of Light. Then the voices
enter in powerful unison and the Ambrosian hymn text bursts into a punctuated
and joyful “Gloriae” section.

As the music turns to a softer legato passage, a portion of the peace theme is
revealed in the cello—a theme that will emerge several times throughout the
work. The music then returns to the joyful rhythmic momentum of the
beginning.

The second movement features the women’s voices and portrays a
tender season of beauty. The elegant words of Hildegard von Bingen hearken
back to an image of Eden—a time of goodness and purity.