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Horatio W. Parker was born in Auburndale, Massachusetts, near Boston on 15 September 1863. Although today he is remembered primarily as the teacher of Charles Ives, his music was well-known nationwide and in England during his day. He also had an excellent reputation as an organist-choirmaster, conductor, and teacher-administrator. He began the study of music at the age of fourteen with piano and organ lessons from his mother, who was also librettist for some of his mature choral works. He studied composition with George Chadwick during the early eighties, and, from 1882 to 1885 he was at the Hochschule für Musik in Munich under the tutelage of Josef Rheinberger. On returning to America, Parker spent the years 1885-93 in New York, where he taught at the cathedral schools of St. Paul and St. Mary from 1886 to 1890, at the General Theological Seminary in 1892, and at the National Conservatory of Music from 1892 to 1893. During this time he was also organist and choirmaster, first at St. Luke's in Brooklyn, then at St. Andrew's in Harlem, and finally at the church of the Holy Trinity in Manhattan from 1888 to 1893. After a brief sojourn in Boston (1893-94), where he was organist-choirmaster at fashionable Trinity Church, he accepted the Battell Professorship of Music Theory at Yale University and moved to New Haven, Connecticut. He retained his position at Trinity Church, Boston, commuting there on weekends until 1902, after which time he became organist-choirmaster at St. Nicholas in New York until 1910. Shortly after arriving at Yale in 1894, Parker became Dean of the School of Music and conductor of the New Haven Symphony, positions he retained until his death in 1919.
The two major works on this recording are milestones in American cultivated music before World War I. Parker's reputation at that time was second only to MacDowell's. In addition to Hora Novissima (1893), Parker composed a dozen or so other major choral works, among them The Legend of Saint Christopher (1897) for the New York Oratorio Society conducted by Walter Damrosch, A Wanderer's Psalm for the 1900 Three Choirs Festival in Hereford, England, and Morven and the Grail (1915) for the centenary celebration of Boston's Handel and Haydn Society. He wrote two grand operas: Mona , the first full-length American opera to be produced at the Metropolitan (1912), and Fairyland , the centerpiece for a large civic celebration in Los Angeles (1915). The Organ Concerto (1902) is his most ambitious instrumental work, and his symphonic poem, Northern Ballad (1899), was frequently performed in its day. In addition, he wrote numerous songs, piano and organ pieces, smaller choral works including anthems, and some chamber music. His emphasis, however, was on music for the human voice, and, had the vortex of cultivated music in twentieth-century America remained with its church choirs and oratorio societies rather than shifting to its community and symphony orchestras, Parker might be better known today.
Following an invitation from Boston Symphony conductor Wilhelm Gericke that Parker write something he could also play with the orchestra, the composer produced the Organ Concerto , which he performed in Boston in December, 1902, and a short time later with Theodore Thomas and the Chicago Orchestra. Although he was an infrequent solo performer, most critics were quite complimentary about Parker's playing, one even calling him "a virtuoso of the first rank." Some critics were bewildered by the unusual combination of organ with orchestra, but one Boston critic rallied to call the piece "dignified and beautiful," and a Chicago writer noted that it is "an imposing and brilliant composition."
These impressions are quite accurate, for the piece is, at various times, all of these. Certainly the opening half of the first movement, the outside sections of the scherzo-like second movement, and the organ cadenza have a dazzling brilliance. The quiet last half of the first movement has a poignancy and beauty which are quite distinctive. And the finale contains a dignified and imposing fugue marking Parker as the best polyphonist of his time. Not only is the piece a musical landmark of the early twentieth century, but it also deserves a permanent place in the living repertory of American orchestral music.
Hora Novissima (1893) remains Parker's most inspired, popular, and best work. It was composed early in his career, while he was still a New York church musician the last year before he went to Yale. Some of its inspiration was admittedly derived from tragedy, the recent deaths of Parker's infant son and father. The New York musical community sensed that this young composer was on the verge of doing something important, when, on the eve of its premiere there, one critic remarked: "It was earnestly to be hoped that this one composition would establish his reputation as one of the most gifted of the rising American school." One year later, following Hora 's second performance, this time in Boston, the venerable critic Philip Hale summed up how Americans were to feel about their native oratorio for the next twenty-five years, as choral societies gave it performance after performance throughout the country. (It was also performed several times in England at the turn of the century). Hale's words can give us the ears to hear this oratorio as his contemporaries did: "A future historian will point back to a young man [who] appeared with a choral work of long breath that showed not only a mastery of the technique of composition, but spontaneous, flowing, and warmly colored melody, a keen sense of values in rhythm and in instrumentation, and the imagination of the born, inspired poet."
Hora Novissima is a contemplative rather than a dramatic oratorio. Its text does not relate some Old Testament saga as does Mendelssohn's Elijah . Rather it is a reflection
on the Christian heritage through the words of a medieval monk, Bernard of Cluny (12th c.), from whose monumental poem, De Contemptu Mundi (Scorn for the World), Hora is taken. The text deals to some extent with inadequacy of earthly life but mostly dwells ecstatically on heavenly existence. Parker follows each poetic nuance in the eleven movements of the work. He uses the full resources of the Romantic era oratoriosolos, quartet, large chorus, and full symphony orchestra. Large, fugal choruses alternate with exquisite, finely chiseled solos. Both heroic and lyrical themes appear and reappear throughout; nevertheless, the work has a wholeness suggested by the unified vision of the text.
Ten years after its composition, critic Frederick Burton called Hora Novissima "one of the few oratorios with which the musical world is familiar," but its popularity waned in the more ascetic atmosphere following World War I. It is now slightly over 100 years old. May its second century of existence result in a rediscovery of its tunefulness, inventiveness and majesty so that it can be re-established as a living monument, both in American music and in the history of the oratorio.
University of Colorado at Boulder
I. Introduction and Chorus
HORA NOVISSIMA, tempora pessima sunt vigilemus. Ecce minaciter imminet arbiter ille supremus. Imminet imminet ut mala terminet, aequa coronet. Recta remuneret, anxia liberet, aethera donet. Auferat aspera duraque pondera mentis onustae. Sobria muniat, improba puniat, utraque juste.
IT IS THE FINAL HOUR, the times are most wicked be watchful! See, the highest judge menacingly draws near. He draws near to end evils, draws near to crown justice, to reward virtue, to release from worries, to bestow heaven, to remove harsh and heavy burdens from the troubled mind, to fortify temperance, to punish wickedness, both justly.
Hic breve vivitur, hic breve plangitur, hic breve fletur. Non breve vivere, non breve plangere, retribuetur. O retributio, stat brevis actio, vita perennis; O retributio, coelica mansio stat lue plenis. Quid datur? Et quibus? Aether egentibus et cruce dignis, sidera vermibus, optima sontibus, astra malignis. Sunt modo proelia, postmodo praemia, qualia? plena, plena refectio nullaque passio, nullaque poena.
Here one lives a short time, laments a short time, weeps a short time. The recompense will be not
to live a short time, not to lament even a short time. O recompense, a brief action and then everlasting life remains; O recompense, a heavenly mansion remains for those now filled with decay. What is given, and to whom? Heaven to the poor and those worthy of torture, constellations to works, the best things to sinners, stars to the wicked. Now there are battles, but afterward rewards. What kind? Full ones, full refreshment; no suffering, no pain.
Spe modo vivitur, et Sion angitur a Babylone; Nunc tribulatio, tunc recreatio, sceptra, coronae. Tunc nova gloria pectora sobria clarificabit, solvet aenigmata veraque Sabbata continuabit. Patria splendida terraque florida, libera spinis, danda fidelibus est ibi civibus, hic peregrinis.
Now one lives in hope, and Zion is choked by Babylon; now there is distress, but then recovery, scepters, crowns. Then a new glory will illuminate temperate hearts, it will solve mysteries and continue true Sabbaths without interruption. The shining country and land of flowers, free of thorns, here given to strangers, must there be given to faithful citizens.
Pars mea, Rex meus, in proprio Deus ipse decore visus amabitur, atque videbitur auctor in ore. Tunc Jacob Israel, et Lea tunc Rachel efficietur. Tunc Sion atria pulchraque patria perficietur.
My portion, my King, God Himself seen in His own beauty will be loved, and the Creator will be seen face to face. Then Jacob will become Israel and Leah will become Rachel. Then the halls of Zion and the glorious homeland will be perfected.
O bona patria, lumina sobria te speculantur, ad tua nomina, sobria lumina collacrimantur; Est tua mentio pectoris unctio, cura doloris, concipientibus aethera mentibus ignis amoris. Tu locus unicus illeque coelicus es Paradisus. Non ibi lacrima, sed placidissima gaudia, risus.
O good homeland, sober eyes watch for you, at your name sober eyes are filled with tears. To say your name is an anointing for the heart, a cure for sorrow, the fire of love for souls desiring Heaven. You are the place unparalleled, You are the heavenly Paradise. There are no tears, but joys most peaceful, and laughter.
Tu sine littore, tu sine tempore, fons modo rivus, dulce bonis sapis, estque tibi lapis undique vivus. Est tibi laurea, dos datur aurea, sponsa decora, primaque principis oscula suscipis; inspicis ora, candida lilia viva monilia sunt tibi sponsa; agnus adest tibi sponsus, ades sibi tu speciosa: Tota negocia cantica dulcia, dulce sonare, tam mala debita, quam bona praebita conjubilare.
Now you are a never-ending stream, a timeless fountain. You savor sweetness and have a living stone everywhere. You are given a dowry of laurel, a golden dowry, O lovely bride, and you receive the first kisses of the Prince; You look upon His face, and bright lilies, O bride, form your living necklace. Your bridegroom, the Lamb, is there and you stand in beauty before Him. Your whole occupation will be sweet songs, to sing sweetly, to rejoice over the punishments you deserve and the blessing you have been granted.
Urbs Sion aurea, patria lactea, cive decora, omne cor obruis, omnibus obstruis et cor et ora. Nescio, nescio quae jubilatio, lux tibi qualis, quam socialia gaudia, gloria quam specialis. Laude studens ea tollere mens mea, victa fatiscit. O bona gloria, vincot in omnia laus tua vicit.
Golden city of Zion, homeland flowing with milk and adorned with citizens, you overwhelm every heart, you silence the hearts and mouths of all. I know not, I know not what rejoicing, what light you have, how many the joys of companionship, how special the glory. My mind is overcome, it grows weak striving to exalt these with praise. O noble glory, I am overcome! Your praise is victorious over all things!
Sunt Sion atria conjubilantia, martyre plena, cive micantia, principe stantia, luce serena. Sunt ibi pascua mitibus afflua praestita sanctis. Regis ibi thronus agminis et sonus est epulantis.
The halls of Zion are full of rejoicing, full of martyrs, bustling with citizens, abiding with the Prince, bright with light. There abundant pastures are given to the gentle saints. There is the King's throne and the sound of the feasting multitude.
Gens duce splendida, concio candida vestibus albis; Sunt sine fletibus in Sion aedibus, aedibus almis. Sunt sine crimine, sunt sine turbine, sunt sine lite, in Sion arcibus editioribus Israhelitae.
The illustrious race with its Lord, the assembly shining in white garments. They are without weeping in Zion's dwellings, those bountiful dwellings. The Israelites on Zion's lofty heights are without crime, without tumult, without strife.
Urbs Sion unica, mansio mystica condita caelo, Nunc tibi gaudeo, nunc mihi lugeo, tristor, anhelo. Te, quia corpore non queo, pectore saepe penetro; Sed caro terrea terraque carnea, mox cado retro.
Unparalleled city of Zion, mystical mansion established in Heaven, now for you I rejoice, for myself I mourn, I am sad, I pant. Since I cannot enter you with my body, I often enter with my heart, but being made of earthly flesh, I soon fall backward.
Urbs Sion inclyta, patria condita littore tuto, te peto, te colo, te flagro, te volo, canto, saluto. Nec meritis peto, nam meritis meto morte perire, nec reticens tego, quod meritis ego filius irae; Vita quidem mea, vita nimis rea, mortua vita, quippe reatibus exitialibus, obruta, trita. Spe tamen ambulo, praemia postulo, speque fideque, illa perennia postulo praemia nocte dieque. Me Pater optimus atque piissimus ille creavit, In lue pertulit, ex lue sustulit, a lue lavit. O bona patria, num tua gaudia teque videbo? O bona patria, num tua praemia plena tenebo? O sacer, O pius, O ter et amplius ille beatus cui sua pars Deus; O miser, O reus hac viduatus.
Renowned city of Zion, homeland established on a safe shore, I seek you, I revere you, I burn for you, I desire you, I praise you, I hail you. Not for my merits do I seek you, for I reap death for my merits, nor do I conceal in silence that for my merits I am a child of wrath. Indeed my life, my too-guilty life, in fact my life of death has been overcome and worn away by deadly guilt. Yet I walk in hope, in hope and faith I ask rewards; night and day I ask those perpetual rewards. The Father, that best, most pious Father created me, in mud He finished me, from mud raised me up, from mud cleansed me. O good homeland, shall I not see you and your joys? O good homeland shall I not have your full rewards? O holy, O pious, O triple-blessed and more is the man who possesses God; O wretched, O guilty the man bereft of this part!
Translation by Ronald E. Pepin, De contemptu mundi (East Lansing, MI: Colleagues Press, 1991)
Anna Soranno , soprano, one of New England's premier young artists, has received critical praise for her appearances with many notable chamber ensembles, choruses, orchestras, and opera companies. She is currently a featured artist with the Scarborough Chamber Players. Ms. Soranno is a graduate of the New England Conservatory and has participated in the prestigious Phyllis Curtin Vocal Seminar at Tanglewood.
Julie Simson , mezzo-soprano, is an assistant professor of voice at the University of Colorado in Boulder. A winner of the NATS Artist Award National Second Place and the Bel Canto Chorus Competition for a Solo Award and Performance, Ms. Simson attended Western Michigan University and the University of Illinois.
Kent Hall , tenor, has performed a wide variety of operatic roles with the Lake George Opera Company, the Opera Theatre of Connecticut, the Boston Lyric Opera, Chicago Opera Theater, San Antonio Opera Theatre, Wolf Trap Opera, and Opera Roanoke. Mr. Hall received his undergraduate degree from the University of Nebraska-Lincoln and his masters from Hartt College in Hartford, Connecticut.
Duane Andersen , bass-baritone, has appeared as soloist with the Nebraska Choral Arts Society, the Voices of Omaha and numerous Abendmusik: Lincoln presentations. Mr. Andersen has been a member of the Abendmusik Chorus for five years and studies voice with Lynn Wickham of San Francisco. He is a 1996 graduate of Union College in Lincoln.
Stephen Krahn , organ, is the assistant organist for the First-Plymouth Congregational Church in Lincoln, Nebraska. He is a graduate of the Eastman School of Music and Southern Methodist University. Mr. Krahn is the winner of the 1989 American Guild of Organists' Regional Organ Playing Competition.
John Levick has been Minister of Music and Fine Arts at First-Plymouth Congregational Church since 1972. In that same year he founded the Abendmusik: Lincoln, a concert series in Lincoln, Nebraska, which has won the Governor's Arts Award. Mr. Levick received the Lincoln Mayor's Arts Award in 1988.
One of Nebraska's finest choral ensembles, The Abendmusik Chorus performs weekly as part of the First-Plymouth Congreational Church worship services as well as two to three concerts annually with orchestra or brass ensemble on the Abendmusik: Lincoln Series. The Chorus has been conducted by Aaron Copland, Randall Thompson, Daniel Pinkham, John Rutter and Sir David Willcocks. Along with the Nebraska Chamber Orchestra, the Chorus gave the world premiere of Dan Locklair's opera Good Tidings from the Holy Beast . In June of 1994, the choir received special recognition by being chosen as the featured choir for the 11th annual International Choral Music Festival in Coventry, England.
The Nebraska Wesleyan Choir
The Nebraska Wesleyan Choir, conducted by William A. Wyman, is a select 52-voice ensemble which has a long history of excellence, presenting the finest examples of choral literature from the Renaissance to the present. The Choir frequently performs with the Omaha Symphony Orchestra and the Lincoln Orchestra Association and has made concert tours to Europe, Russia, and the Far East. In 1988 the Choir performed at the 250th Anniversary Celebration of the Wesley Enlightenment, held in London.
Nebraska Chamber Orchestra
Founded in 1976, the Nebraska Chamber Orchestra, led by concertmaster Arnold Schatz with Maestro Gerhardt Zimmermann serving as artistic advisor, combines players from the Omaha and Lincoln, Nebraska metropolitan area. The orchestra presents a six concert series annually in Lincoln and tours throughout the state of Nebraska. The Nebraska Chamber Orchestra has been recognized on numerous occasions by the American Society of Composers, Authors & Publishers for its programming of contemporary repertoire.
Executive Producer: John H. Casey
Cover Design: Chris Tompkins
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