Program Notes
In early 2005, long-time Opus 7 singers Dan and Joann Wilson commissioned me to compose a work for Opus 7 Vocal Ensemble in honor of the centennial of St. James Cathedral in Seattle, WA. Opus 7 premiered the work in May 2005 with guest conductor Dale Warland at St. James Cathedral. During the previous concert season (2003—2004) I had served as the final composer-in-residence for the Dale Warland singers, so Ascendit provided the opportunity for a reunion of sorts with Dale.
Ascendit weaves together several major scriptural and liturgical texts referring to the Ascension into a single work. Starting with a musical prelude featuring the men singing a chant-like recitative based on a description of the Ascension from the book of Acts, the prelude culminates in a dramatic musical representation of Christ ascending into the clouds, out of the sight of the apostles. Immediately following, the work launches into a series of liturgical texts for the Feast of Ascension, alternating between dance-like and lyrical passages, all punctuated by celebratory cries of “Alleluia!” Upon reaching the well-known text “All people clap your hands,” the music gathers more and more musical energy until the final cries of “Ascendit Deus!”
(NOTE: I have revised Ascendit several times, first in 2008, then again in 2011, primarily to tighten up and to clarify the rhythmic structure, to re-voice several chords, and to adjust some less-than-gracious voice-leading. I further revised the work in 2014, primarily to improve the metrical stress in the setting of the Latin text. I consider this 2014 revision to be the definitive version of the work, and it is this version that Opus 7 has recorded for their upcoming CD of my choral works.)
Performance Notes
SSA, SAA, TTB, and TBB divisi: Unless otherwise indicated, when divisi parts appear in either the soprano or alto voices such that the women’s voices divide into a total of three parts (SSA or SAA), do not observe the divisi “literally”; rather, distribute the three parts evenly amongst all of the women’s voices. The same principle applies to similar divisi in the men’s voices. When the voices divide evenly, observe the divisi as notated (SSAA, TTBB).
John Muehleisen
Lynnwood, WA
March 2005
February 2011
January 2014
