Composer: Christopher J. HohDetailsFormat: Mixed Choir - 5 voices or moreVoicing: SSATBBAccompaniment: unaccompaniedNotation: standardPerformance Length: 8:15 Study Scores & Audio FilesStudy Score & Audio Order Printed ScoresPublisher: HohMade Music 23M6004 Order site / Alternate source of score: J.W. Pepper Texts & TranslationsLanguage(s): LatinText Source: Traditional textsText: Angele Dei Angele Dei, qui custos es mei, Me, tibi commissum pietate superna, Hodie, hac nocte, Illumina, custodi, Rege et guberna. Amen. (Traditional, attr. Reginald of Canterbury, 12th century) Agimus Tibi Gratias Agimus tibi gratias omnipotens Deus, pro universis beneficiis tuis, qui vivis et regnas in saecula saeculorum. Fidelium animae, per misericordiam Dei, requiescant in pace. Amen. Traditional prayer after luncheon, from "Benediciones Mensae" (table blessings) Dona Nobis Pacem Dona nobis pacem. Traditional, from the Latin massTranslation: Angele Dei Angel of God, my guardian, You commit your heavenly love to me, Today, this night, Illuminate, guard, Rule and direct me. Amen. Agimus Tibi Gratias We give you thanks, all powerful God, for all your benefits, who lives and reigns for ages of ages. May the souls of the faithful, through the mercy of God, rest in peace. Amen. Dona Nobis Pacem Grant us peace. Programming AidsPerformance Difficulty: difficultSeasonal Usage: ThanksgivingPrayersMemorial ServicesDismissalDescriptive Terms: protectionguidancethanksremembrancepeaceangelsAllow Excerpts: YesComposer’s Notes: Dona Nobis Pacem was written as a response to the outbreak of war in 2003. The others were written in 2009 and 2010 to make a set of three pieces that would coordinate in style, key, and text. They present old texts and draw on the traditions of Renaissance polyphony. As modern motets, however, they use an updated harmonic language and greater rhythmic freedom. When all three are performed together, the music progresses in complexity. The first piece, in A-flat, has more homophonic sections and four-part textures. The second, in F minor, makes frequent use of three pairs of voices entering in imitation. The third, again in A-flat, weaves together for the most part six individual lines. All three modulate and make use of modal harmony in their development, in an attempt to sound both old and new — that is timeless, like the words of these prayers. Additional InformationDate of Completion: October, 2010Date of First Performance: Friday, December 31, 2010Premier Performance Data: Musikanten (Kerry Krebill, cond), Washington Street U.M. Church, Alexandria, VAAdditional Performances: Performances in whole or in part: October 2011 at St. Monica & St. James Episcopal Church, Washington, D.C., Daniel Elmer, conductor. November 2011, by King's Chapel Boston choir, Heinrich Christensen, cond. Sarteano, Italy, Choral Workshop, David Carrington, cond., July 2013 Christopher Newport U. Chamber Choir, Lauren Fowler-Castillo, cond., Nov. 2013 William & Mary College Choir, Paul Heins/James Armstrong, cond., multiple concerts in 2014-15 Vancouver Cantata Singers, Paula Kremer, cond., October 2015 Salto Vocale, Johannes Wenk, cond., Perchtoldsdorf & Vienna, Austria.