A solis ortus cardine

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1 M-16 solis ortus ardine horal Works o ohn Muehleisen ariations on a 5 th -entury hristmas Hymn or hoir (divisi) Musi by ohn Muehleisen ext rom poem by edulius (d ira 450) ommissioned by the outh end hamber ingers Nany Menk, ondutor ohnmuehleisenom

3 Latin solis ortus ardine dusque terrae limitem hristum anamus rinipem, Natum Maria irgine eatus autor saeuli ervile orpus induit, t arne arnem liberans Ne perderet quos ondidit astae parentis visera aelestis intrat gratia; enter puellae baulat ereta, quae non noverat Domus pudii petoris emplum repente it Dei; Intata nesiens virum onepit alvo ilium Enititur puerpera Quem Gabriel praedixerat, Quem ventre matris gestiens aptista lausum senserat eno iaere pertulit, raesepe non abhorruit, Et late modio pastus est, er quem ne ales esurit Gaudet horus aelestium, Et ngeli anunt Deo, alamque it pastoribus astor, reator omnium - edulius (d ira 450) English ranslation rom the land here the sun rises to the ends o the earth let us sing o hrist the King born o the virgin Mary he blesséd reator o the orld put on a slave s body, so that, reeing lesh by lesh, he ould not lose all that He had reated Into the omb o the haste mother enters heavenly grae; the maiden s omb bears a seret she does not understand he house o a haste heart suddenly beomes the temple o God; she ho as untouhed, ithout knoing a man oneived in her omb a on he expetant oman has given birth to Him ho as predited by Gabriel, Who, in His mother s omb as reognized by the aptist, shut in [his on mother s omb] exulting He endured lying upon hay, did not abhor the manger, and as ed on a little milk, He through hom not even a bird goes hungry he heavenly horus reoies and the angels sing o God, there is revealed to shepherds the hepherd, the reator o all things - English ranslation by ohn Muehleisen

4 rogram Notes solis ortus ardine is a set o nine variations and a oda based on the Gregorian hant or the 5th-entury hristmas hymn " solis ortus ardine" by the early hristian poet edulius (d ira 450) he overall shape o the piee omprises a movement rom "darkness to light," playing on sriptural reerenes and images in the hymn itsel to the Inarnation piering the darkness and bringing light into the orld his is releted harmonially in the musi by a movement rom the single, unadorned hant melody to lush harmony and rom generally minor hords to maor ones Rhythmially, it is releted by a move rom the ree, irregular rhythms o the hant through more regular meters in the middle, ulminating in a dane-like inal set o variations and oda, ending triumphantly ith musial allusions to the brightness o the sunrise reerred to at the beginning o the hymn and to the heavenly and earthly singing reerred to several times in the hymn ter the theme is stated in the orm o the original Gregorian hant sung by omen only, the variations are grouped as ollos: ariations I III, ariation I, ariations I, ariations II IX, and oda ariations I II gradually move beyond the simple melody o the hant by piling up notes o the hant tune into inreasingly brighter hords that represent the groing light o the dan implied in the opening stanza o the hymn he hords reah the brightest sonority at the end o the 2 nd variation ariation III takes the orm a horale ith hant tune in the sopranos, and the hant itsel intereted by the altos and baritones at the end o eah phrase he use o a horale texture is in homage to ah's use o a version o the hant tune as the basis or his horales in the antata No 121, hristum ir sollen loben shon, hih is based textually on Luther's German paraphrase o edulius 5th-entury Latin hymn ariation I ulills a transitional role that intensiies the movement rom Dark to Light In it e inally hear the text o the 2nd stanza o the hymn in the omen's voies, hile the men ontinue using the text o the opening stanza he superimposition o these to verses represents to o the most basi aspets o the Inarnation, hrist's dual natures: ully God and ully human he 2nd hal o ariation I makes the transition rom darkness to light even more obvious his setion opens ith to textless passages representing the sunrise, eah passage starting ith minor hords that gro brighter as they asend rom basses to sopranos and add more olorul notes to the sonorities he variation ends ith brilliant hords to the text hrístum anámus rínipem, Nátum María írgine ( Let us sing o hrist the King, born o the irgin Mary ) In ariations I, as i in response to the last line o verse to, the subet o the text shits rom hrist to His mother Mary, ith the predominant image being that o the omb, as ell as other images o the interior lie o the heart ordingly, I reated a more tender musial expression meant to relet the intimay and armth o the images in stanzas 4 s the text antiipates the brightness o the Nativity and the Inarnation, the harmonies beome more lush and bright ariation presents the hant almost literally in the sopranos, hile in ariation I the soprano solo arries the melodi burden o the irst to lines o ariation I, developing the hant melody through otave displaement and urther hromati inletions that subtly vary the melodi line On the third line o the stanza, the hant melody shits to the men, a shit that is primarily based on the reerene in the text to Mary being "untouhed" and "not knoing a man" ariations II IX orm a elebratory, danelike "inale" to the overall ork as it announes the birth o hrist ariation II (verse ive) musially portrays the leaping o ohn the aptist in his mother's omb during Mary's meeting ith ohn's mother Elizabeth, represented by synopated ross-rhythms and upardly surging melodi lines (derived rom the opening line o the hant) he other phrases o the hant are present as ell, albeit transormed signiiantly by the danelike quality o the musi ariation III (verse six) returns to the more intimate lyrial mood o ariations I, portraying the sene in the manger ith hrist laying on the hay and His eeding at Mary's breast (note the amazing paradoxial image o hrist as both the one ho is ed and the one ho eeds all, even the birds) ariation IX (verse ) is perhaps the most overtly elebratory verse in the text partiularly ith the opening ord "Gáudet" ("reoie") his verse summarizes the grand Nativity sene o the singing o the Heavenly horus hile the shepherds ath the sene unold belo ordingly, the musi returns to the danelike quality o ariation II, and even quotes the amiliar and ot-set melody Gaudete hristus est natus ("Reoie! hrist is born!) ter the quotation, the musi urther develops the melodi, danelike material rom the opening o ar II, eventually building layer upon layer o texture and leading diretly into the oda, hih onsists o to setions, both o hih are restatements o musi rom earlier variations irst, a orte, Maestoso statement o the musi rom ariation III, olloed by a reprise o the Dan musi rom the 2nd hal o ariation I ogether, these setions reinore the movement rom darkness to light by reprising the brightest melodi and harmoni material rom earlier in the ork, bringing the piee to a triumphant lose ith bright sonorities that represent the triumph o Light over Darkness

5 solis ortus ardine ariations on a 5th-entury hristmas Hymn edulius (d ira 450) oprano lto heme reely q» - - ommissioned by the outh end hamber ingers, Nany Menk, ondutor só-lis or - tus só-lis or - tus ár - di - ne ár - di - ne - d-us - que - d-us - que ohn Muehleisen hrís-tum a - - hrís-tum a - enor ass iano * reely q» * iano is or rehearsal only ná - mus rín-i - ná - mus rín-i - pem, pem, DO NO OY Ná-tum Ma-rí - a Ná-tum Ma-rí - a ír-gi-ne ír-gi-ne ERL ORE " " ar I Misterioso " q» reely π π π π " " q» reely π Misterioso opyright 2011 by ohn Muehleisen

6 2 16 π π π π 16 π ERL ORE DO NO OY ar II on Moto q» on Moto q» só-lis or - tus só-lis or - tus só-lis or - tus só-lis or - tus poo rall ár - di - ne ár - di - ne ár - di - ne ár - di - ne poo rall d - us - que d - us - que d - us - que d-us - que

7 2 poo rall hrís-tum a - hrís-tum a - hrís-tum a - ná - mus rín-i - ná - mus rín-i - ná - mus rín - poo rall pem, pem, pem, 2 2 lí - mi - tem, poo rall hrís-tum a - ná - mus rín-i - pem, poo rall Ná - tum Ma-rí - a Ná - tum Ma-rí - a Ná - tum Ma-rí - a Ná - tum Ma-rí - a DO NO OY poo rall ír-gi-ne Ma-rí - ír - gine ír-gi - ne ír-gi - ne poo rall a u u u u ERL ORE ar III (horale) Maestoso q» só-lis or-tus ár-di - ne lto 2 só-lis or-tus ár-di - ne só-lis or-tus ár-di - ne ar só-lis or - tus ár-di - ass só-lis or-tus ár-di - q» Maestoso lto 1 só-lis or - tus ár-di - ne

8 ne ne d-us-que d-us-que d-us-que d-us-que lí-mi-tem, lí-mi-tem, lí-mi-tem, lí-mi-tem, d-us-que d-us-que lí - mi - tem, hrís-tum a - N hrís - tum a - hrís-tum a - hrís-tum a - 45 ná - mus rín-i - pem, N ír-gi-ne N ná - mus rín-i - pem, DO NO OY N ERL ORE ír-gi-ne N N ná - mus rín-i - pem, ná - mus rín-i - pem, rín-i - pem, N N n N N N Ná-tum Ma-rí - ír-gi-ne a ír-gi-ne ír-gi-ne

9 ar I on Moto 5 q» º on Moto só- lis or-tus q» º 5 olo op ll others RH só - lis or - tus ár - di-ne ár - di-ne h er-ví-le ór - pus er-ví-le ór - pus e - á - tus áu-tor saé - u - ín - du-it e - á - tus ERL ORE DO NO OY áu - tor ake ith LH ín - du-it li saé - u - li hrís-tum n n hrís-tum N N a - ná - mus a - ná - mus d - us-que tér-rae d - us-que tér-rae ake upstem notes ith RH 5 t t rín - i-pem, rín - i-pem, utti op 1 op 2

10 ár - ne ár - nem ár - ne ár - nem h ael h lí-be - rans, lí-be - rans, (unrise: Light pieres the Darkness) ael (unrise: Light pieres the Darkness) h h Ná-tum Ná-tum Ne Ne ERL ORE DO NO OY a tempo h a tempo q» º pér-de - ret quos pér-de - ret quos Ma-rí - a h q» º Ma-rí - a ael ón-di-dit ón-di-dit h h ael ír-gi-ne ír-gi-ne

11 lightly aster 0 q» hrís-tum a - ná-mus rín-i-pem, Ná-tum Ma - rí - a ír - gi-ne 0 0 hrís-tum a - hrís-tum a - hrís-tum a - lightly aster q» ná-mus ná-mus ná-mus rín-i-pem, rín-i-pem, rín-i-pem, Ná-tum Ma - Ná-tum Ma - Ná-tum Ma - rí - a rí - a rí - a ír - gi-ne ír - gi-ne ír - gi-ne non rall p G ERL ORE DO NO OY ír ír gi - ne gi - ne p G ír gi - ne non dim G ír gi - ne Ma - rí - a Ma - rí - a Ma - rí - a p G ír gi - ne non rall p u G G

12 6 ar Warmly p q» º b b ás-tae ás-tae a - p ás-tae ás-tae a - p rén - tis vís - e - b rén - tis vís - e - ra ae - ra ae - lés - tis ín - trat lés - tis ín - trat grá - ti - a b grá - a b ás-tae ás-tae a - p b ás-tae ás-tae a - rén - tis vís - e - b rén - tis vís - e - ra ae - b b ra ae - lés - tis ín - trat b lés - tis ín - trat grá - ti - a b grá - ti - a 6 6 q» º p b Warmly b b b b b b b b b b 91 hrís-tum hrís-tum én-ter pu - N én-ter pu - ERL ORE DO NO OY N él - lae bá - u - lat él - lae bá - u - lat b hrís-tum b hrís-tum e-ré-ta, e-ré - Ná-tum b Ná-tum N N b b b

13 96 ar I enderly olo op q» b b b quae non nó-ve-rat b ta, b b Dó-mus Dó-mus b b Dó-mus enderly b bb Dó - mus q» b pu-dí-i Dó-mus b Dó-mus b Dó-mus b b pé - b tor - is b 102 N ém-plum ém-plum ém-plum ém - plum re - pén - te it it it it ERL ORE DO NO OY Dé-i In - Dé-i In - Dé-i Dé-i utti tá-ta tá-ta olo enor In - tá - ta nés-i

14 10 10 vír - um, vír - um, ens vír - um, on-é - pit ll others on-é-pit on-é-pit on-é - pit rall ál - vo í-li- um ál - vo í - li- um rall 112 ar II Gioioso q» º En - utti En - En - En - DO NO OY í - ti - tur pu - ér - pe - ra í - ti - tur pu - ér - pe - ra í - ti - tur pu - ér - pe - ra Quem Quem Quem ERL ORE Gá-bri- el prae - Gá-bri- el prae - díx-e - rat, Gá-bri- el prae - díx-e - rat, Quem Quem díx-e- - rat, Quem vén - tre má - tris vén - tre má - tris vén - tre má - tris Gioioso q» º í - ti - tur pu - ér - pe - ra Quem Gá-bri- el prae - díx-e - rat,

15 11 gés-ti - ens gés-ti - ens gés-ti - ens ap - tís - ta ap - tís - ta ^ ap-tís-ta ^ ap-tís-ta ^ láu - sum ap-tís-ta ^ láu - sum ap-tís-ta 11 h h ^ láu - sum sén-se-rat ^ láu - sum sén-se-rat ^ ^ ^ ^ ^ ^ 12 ^ ^ ^ ap-tís - ta ^ ap-tís - ta ^ ERL ORE DO NO OY ap-tís-ta láu - sum ^ ap-tís-ta láu - sum ^ ap-tís-ta láu - sum ap-tís-ta láu - sum ^ sén-se-rat sén-se-rat ^ ap - tís - ta ap-tís-ta ^ láu - sum ap-tís-ta ^ láu - sum sén-se-rat ^ ap tís - ta ^ ap-tís-ta ^ láu - sum ap-tís-ta ^ ^ láu - sum sén-se-rat ^ ^

16 ar III 12 Lirio q» º oé-no a - é - re oé-no a - é - re oé - no a - é - re oé - no a - é - re Lirio q» º dole, tenero dole, tenero dole, tenero dole, tenero dole, tenero pér-tu-lit, pér-tu-lit, pér-tu-lit, pér-tu-lit, rae - sé - pe non rae - rae - sé - pe non rae - sé - pe non sé - pe non ab - ab - ab - ab - hór - ru - it hór - ru - it hór - ru - it hór - ru - it Et Et 16 lá - te DO NO OY mó - di - o ERL ORE pás - tus est, lá - te mó-di - o pás-tus est, er quem ne á - les é - su - rit er quem ne á - les é - su - rit 16 16

17 145 * see note * see note Gáu - det Gáu-det * see note Gáu - det Gáu-det * see note 145 ar IX Energio (alla danza) Gáu - det Gáu - det Gáu-det Gáu-det Energio (alla danza) * see note 145 q» º hó - rus ae-lés - hó - rus ae-lés - hó - rus ae-lés - hó - rus ae-lés - q» º ti-um, Et ti-um, Et ti-um, Et ti-um, Et n - ge-li n - ge-li n - ge-li n - ge-li á - nunt á - nunt á - nunt á - nunt Dé - o Dé - o Dé - o Dé - o 1 Gáu - det Gáu-det Gáu - det Gáu-det Gáu - det Gáu - det Gáu-det Gáu-det * Note: ll X-shaped noteheads in this setion represent some ombination o lapping, tambourine, hand drum, and/or bass drum eel ree to hoose hatever orks best or your ensemble and in the perormane spae Optionally you ould also substite a simple rest 152 hó - rus ae-lés - ti-um, Et n - ge-li á - nunt Dé - o DO NO OY hó - rus ae-lés - ti-um, Et n - ge-li ERL ORE á - nunt Dé - o hó - rus ae-lés - ti-um, Et n - ge-li á - nunt Dé - o hó - rus ae-lés - ti-um, Et n - ge-li á - nunt Dé - o a - lám - que it pas

18 14 15 a - lám - que it pas - a - a - tó-ri- bus a - lám - que it pas - lám - que it pas - lám - que it pas - tó- ri-bus tó- ri-bus tó- ri-bus q»q tó-ri- bus a - lám - que it pas - tó-ri- bus a - lám - que it pas - tó- ri-bus oda Maestoso h» º ERL ORE DO NO OY ás-tor, re - á - tor óm-ni-um ás-tor, re - á - tor óm-ni-um d-us-que d-us-que ás-tor, re - á - tor óm-ni-um só - lis or - tus ár - di - ne d-us-que ás-tor, re - á - tor óm-ni-um só - lis or - tus ár - di - ne d-us-que d-us- que ás-tor, re - á - tor óm-ni-um ás-tor, re - á - tor óm-ni-um d-us-que tér - rae 16 16

19 d-us-que hrís-tum a - N hrís - tum a - ná - mus N ná - mus 2 d-us-que N N hrís-tum a - hrís - tum hrís - tum a - a - ná - mus ná - mus N ná - mus N N N N N 15 rín-i - pem, N ír-gi- ne h»q rín-i - pem, N ERL ORE DO NO OY ír-gi- ne rín-i - pem, rín-i - pem, rín-i - pem, N N rín-i - N N N pem, Nẇ Ná-tum Ma-rí - Ná-tum Ma - rí - a ír-gi- ne a ír-gi - ne ír-gi- ne h»q

20 lightly aster h lightly aster q» h q» h ael ael h a tempo h h a tempo q» q» ael h h ael 1 a tempo q» hrís-tum a - ná-mus rín-i-pem, ERL ORE DO NO OY ír - gi - ne hrís-tum a - ná-mus rín-i-pem, ír - gi - ne 1 1 hrís-tum a - hrís-tum a - a tempo q» ná-mus ná-mus rín-i-pem, rín-i-pem, ír - gi - ír - gi - ne ne

The Fort and the Flag

The Fort and the Flag The ort and lag Baritone Solo and SATB Choir ith Optional Aompaniment Quoting rom Oiial Report regarding The Attak on ort MHenry by Maor George Armistead, abr; September, 1814 The Text o Anm is by ranis