Music for Holy Week

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/erikpetermortensen4

A spectacular and uplifting companion video is available at:
http://www.youtube.com/watch?v=uVDU5JoZ2ok

Description

Erik-Peter developed Journey of the Spirit as one of his assignments for Orchestration I, part of several courses needed to complete his Master Certificate in Orchestration for Film and TV offered by Berklee College of Music's online extension.  The 8 bar melody first heard in the oboe was given to the class by our instructor, Pinar Tobrak, and written by Berklee professor Ben Newhouse.  it was up to Mr. Mortensen to arrange it in some combination of woodwinds and strings. He took the melody and transformed it into a full adagio in the Baroque and Classical style, using similar motifs in the woodwinds to create transitions between subsequent statements of the theme by full strings and then solo flute.

Starting small with harp ostinato and pizzicato bass, the music itself journeys through many transitions, key centers, and harmonic tensions while at the same time following all the principal rules of tonality. The hoped for effect is to represent the journey we each must take in life, where we are rarely at rest and constantly evolving, yet generally retain the same sense of self that we were born with. By the end of the journey, both spiritual, and in this case musical, we have hopefully attained a state of resolution and hope as the journey on earth comes to a conclusion, and more likely, a new beginning in the realm of the divine.

Adagios

"Adagio" was a tempo indication from Italian literally meaning "at ease" and thus Adagios have come to be performed in a leisurely manner.  Many adagios range in expressivity from sorrowful to meditative to inspirational. Some famous adagio's that influenced Journey of the Spirit included Albinoni's Adagio, Bach's Air on a G String, and even Mozart's Laudate Dominum near the conclusion of the work.

Orchestration

1st and 2nd Flutes
Oboe
English Horn
Clarinet
Bassoon
Contrabassoon
Harp
Strings

Realized and produced by Mr. Mortensen with various Orchestral Sample Libraries and Digital Audio Workstations.

Links

https://www.facebook.com/NYTroubador
https://www.facebook.com/NYTroubador/app_155326481208883
http://www.airplaydirect.com/music/erik-peter
https://soundcloud.com/erik-peter
http://www.jango.com/profiles/51786665?l=0

Journey of the Spirit

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, 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 release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor, baritone)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)

This roster will now 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 track

Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI. During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament. The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers.

Text

The text is in Latin, and reads:
Ave verum corpus, natum
de Maria Virgine,
vere passum, immolatum
in cruce pro homine,
cuius latus perforatum
fluxit aqua et sanguine:
esto nobis praegustatum
in mortis examine.
O Iesu dulcis, O Iesu pie, O Iesu, fili Mariae.
Miserere mei. Amen.

A translation into English is:
Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
O sweet Jesus, O pious Jesus, O Jesus, son of Mary,
have mercy on me. Amen.

William Byrd's Setting (from Atrium Musicologicum)

Byrd was a student of Tallis, and they combine together various obligations through their lifetimes 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.

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 emphasise 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 comment once 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.

Mortensemble members recorded on this track

Erik-Peter Mortensen, all choral parts (soprano, alto, tenor, bass), doubled

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William Byrd - Ave Verum Corpus, by Mortensemble

This track or the entire album is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, ADORAMUS TE, CHRISTE: Q. Gasparini (1749-1770)

Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the "stile antico", the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century.

Text

Adoramus te Christe, et benedicimus tibi, quia per sanctam crucem tuam redemisti mundum.

We adore Thee O Christ, for by Thy holy cross you have redeemed the world.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Adoramus Te, Christe: Q. Gasparini (1749-1770)

This track is from the album A Gallery of Italian Madrigals & Motets and is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, SICUT CERVUS: G.P. da Palestrina (1525-1594)

Sicut Cervus is by many accounts the most outstanding example of religious choral art from the Renaissance. It was written by Giovanni Pierluigi da Palestrina, often called "The Savior of Church Music," for his role in purging secular influences which had pervaded liturgical music in his time.

The Latin text is taken from Psalm 42: "Like as the hart desireth the water brooks, so thirsteth my soul after Thee, O God.." The allusion to baptism makes this motet ideal for the Easter Vigil (Psalm 42 occurs as one of the Responsorial Psalms that night) and indeed for all of Eastertide. 

In a more general sense, the soul's longing for union with God can be fulfilled in the reception of the Eucharist, making Sicut Cervus additionally an excellent choice for any Communion-time meditation.

Text

Sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te Deus.

Like as the hart desireth the water brooks, so thirsteth my soul after Thee, O God.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Sicut Cervus: G.P. da Palestrina (1525-1594)

This track is from the album A Gallery of Italian Madrigals & Motets and is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, AVE VERUM CORPUS: Orlando di Lasso (1532-1594)

Lassus' Ave verum corpus is written in the style of the Venetian "cori spezzati". Striking word-painting is particularly evident in the setting of the text "unda fluxit". Imitative descending lines cascade in all the voices. The six parts split into two-, three- and four-voice ensembles to contrast the tutti, creating the effect of a double chorus.

Text

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

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.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Ave Verum Corpus: Orlando di Lasso (1532-1594)

This track is from the album A Gallery of Italian Madrigals & Motets and is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, CRUCIFIXUS: A. Lotti (1667?-1740)

Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the "stile antico", the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century.

Text

Crucifixus etiam pro nobis. Sub Pontio Pilato passus et sepultus est.

He was crucified also for us. Under Pontius Pilate he suffered and was buried.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Crucifixus: A. Lotti (1667?-1740)

This track is from the album A Gallery of Italian Madrigals & Motets and is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, EXULTATE JUSTI IN DOMINO: L. G. da Viadana (1564-1627)

Viadana's Exultate justi in Domino is a popular four-part choral works which employs dance rhythms within a homophonic texture. This style also resembles the popular villanelli and canzonetti of the period.

Because of it's exultant praise of the Lord, both musically and textually, this setting can be thought of as especially appropriate for Eastertide or for any joyous spiritual festival.

Text (Psalm 32: v1-3)

1. Exultate justi in Domino; rectos decet collaudatio. 
2. Confitemini Domino in cithara; in psalterio decem chordarum psallite illi. 
3. Cantate ei canticum novum;  bene psallite illi in vociferatione.
(verse 1 repeats)

1. Exult in the Lord, O ye just; for He deserves high laud. 
2. Rejoice in the Lord upon the harp; upon the ten-stringed psaltery, praise Him. 
3. Sing unto Him a new song; praise him well with jubilant voice.
(verse 1 repeats)

About Lodovico Grossi da Viadana

Viadana is important in the development of the early Baroque technique of basso continuo, and its notational method, known as figured bass. While he did not invent the method—figured basses occur in published sources from at least as early as 1597 (Williams and Ledbetter 2001)—he was the first to use it in a widely-distributed collection of sacred music (Cento concerti con il basso continuo), which he published in Venice in 1602. Agostino Agazzari in 1607 published a treatise describing how to interpret the new figured bass, though it is clear that many performers had by this time already learned the new method, at least in the most progressive musical centers in Italy.

Viadana composed mostly sacred music: masses, Psalms, magnificats, motets, and lamentations, though there are two books of secular canzonette and a book of eight-voice Sinfonia musicali. His earlier music is clearly in a Renaissance style, strictly a cappella with balanced polyphony between the voices, but after 1602 he wrote increasingly in an early Baroque style, with frequent concertato passages, and always with a basso continuo. He also used the monodic style, especially in his later works, and some of his Psalm settings (for example the Salmi op. 27, for four spatially separated choruses) are progressive works in the Venetian polychoral style. In addition, some of his later works anticipate the later instrumental concerto: they indicate specific instrumentation—still not a widely used practice—and they involve back-and-forth dialog between groups of voices and instruments
.
He also wrote some secular music, but the quantity is limited as may be expected from a member of a strict religious order. These include two volumes of canzonettas (one for three, and one for four voices) and a volume of instrumental sinfonias, which are actually more like typical canzonas (terminology was loose in the decades right around 1600: what one composer called a sinfonia, another might call a fantasia, canzona, or a ricercar). In the sinfonias each individual composition bears the name of a different town in Italy: they can almost be conceived as an early kind of program music.

Viadana's music was influential not only in Italy, but also in Germany, on composers such as Michael Praetorius, Johann Hermann Schein and Heinrich Schütz. It was largely through Viadana that the concertato style arrived in Germany, the country that was to develop it most eagerly in the early 17th century.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Exultate Justi in Domino: L. G. da Viadana (1564-1627)

This track is currently available on iTunes at: https://itunes.apple.com/us/album/lamentations-jeremiah-i-single/id626743855

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, 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 release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

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 Track

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 emphasising the sombre 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.

Text for Tallis' setting of Lamentations I:

(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}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

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.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

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."

Contents

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.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

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.

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Lamentations of Jeremiah I

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble4

or on iTunes here: https://itunes.apple.com/us/album/lamentations-jeremiah-ii-ep/id667916751

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, 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 release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

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 Track

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 emphasising the sombre 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.

Text for Tallis' setting of Lamentations II:

(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}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

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.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

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."

Contents

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.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

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.




Lamentations of Jeremiah II

This track is available for purchase on itunes at:

https://itunes.apple.com/us/album/ave-verum-corpus/id669021539?i=669021569&ign-mpt=uo%3D4

About the artist

BILL HEIGEN is an accomplished composer, arranger, musical director, singer, vocal coach and pianist. He is a recipient of numerous national awards in Brazil for his vocal arrangements and choral directing. He has composed many theatre shows, and has performed in several renowned professional vocal ensembles such as Polyhymnia, Sing We Enchanted, Underworld Productions Opera, Chameleonic and Schola Cantorum of St. Agnes Church in New York City - singing many musical styles from bossa nova and Brazilian popular music, to Renaissance repertoire. Bill has been active as a musical director for various vocal groups in the U.S. and Brazil. As an experienced voice teacher and vocal coach, he has taught music theory courses at various conservatories and universities in Brazil. Bill Heigen holds degrees in Vocal Performance from University of Rio de Janeiro,  and is currently in the process of completing his Master's degree in Composition at Hunter College in New York City.

About the track

Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI. During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament. The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers.

Text

The text is in Latin, and reads:
Ave verum corpus, natum
de Maria Virgine,
vere passum, immolatum
in cruce pro homine,
cuius latus perforatum
fluxit aqua et sanguine:
esto nobis praegustatum
in mortis examine.
O Iesu dulcis, O Iesu pie, O Iesu, fili Mariae.
Miserere mei. Amen.

A translation into English is:
Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
O sweet Jesus, O pious Jesus, O Jesus, son of Mary,
have mercy on me. Amen.

Recorded, Mixed, and Produced by 
Erik-Peter Mortensen, Owner
Papagena Productions, Cathedral Records, New York City
Released and Copyrighted June 30, 2013

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Bill Heigen: Ave Verum Corpus

Hi, My name is Erik-Peter Mortensen (aka Erik or EP).  I've been singing professionally at the Met & City Opera's since 9, as well as in many professional choirs through the present.  I have a serious love for Early and Classical music and wish to make its appeal reach out to a much vaster audience, either through fusing it with existing styles, creating new styles, or promulgating it through films & games.

I'm currently studying for my Master Certificate in Orchestration for Film and TV, and I'll be posting more of my work right here as my studies continue and I go back to remaster previous work.

If anyone has cool collaboration ideas, please feel free to reach out to me! :-)