Surge Illuminare - Michael John Trotta

Tenebrae, conducted by Nigel Short
Official Release date: Friday February 2, 2024
@thetenebraechoir
Composer - Michael John Trotta @mjtrottacomposer
PDF Sheet music: hamptonroadsmu...
Sopranos
Grace Davidson
Rachel Haworth
Emma Walshe
Rosanna Wicks
Altos
Martha McLorinan
Anna Semple
Sophie Overin
Tenors
Jeremy Budd
Nicholas Madden
Tom Robson
Basses
Tom Herring
Joseph Edwards
Simon Whiteley
Florian Störtz
Film & audio by Martin Kendrick at Knight Classical
knightclassica...
Surge Illuminare - This luminous a cappella work has soaring melodic lines, rich harmonies, and beautiful text painting. The text (Arise shine . . . And the Glory of the Lord is risen upon you) best known its setting in Handel’s Messiah.. With a stunning recording by Tenebrae Choir, conducted by Nigel Short, this work is a favorite with singers and listeners alike.
Surge, illuminare, Jerusalem,
quia venit lumen tuum,
et gloria Domini super te orta est.
Quia ecce tenebrae operient terram
et caligo populos.
Super te autem orietur Dominus
et gloria eius in te videbitur.
Arise, shine O Jerusalem;
for thy light is come,
and the glory of the Lord is risen upon thee.
For, behold, the darkness shall cover the earth,
and gross darkness the people:
but the Lord shall arise upon thee,
and his glory shall be seen upon thee.
Palestrina also set a version for choir:
Palestrina’s impressive double-choir antiphonal motet, Surge, illuminareJerusalem, was composed in 1575 for the Feast of the Epiph- any. Unlike the opening upward interval in Corteccia’s setting of the same text, Palestrina embodies “Surge” (“Arise!”) with ascending scales, instantly creating a mood of excited anticipation. Differentiating double-choir music from eight-voice polyphony, Palestrina uses blocks of sound to seamlessly blend strict polyphony (as at the onset of the piece) with homophony (at the words “et gloria Domini”).
Palestrina’s skill with which he uses this seamless flow is perfectly exemplified at the text “et gloria eius,” which he first sets in alternating choirs, then all eight voices melding into a final contrapuntal flourish. This technique, as with so much of Palestrina’s music, came to define the double-choir style in the late 16th century.
www.mjtrotta.c...

[@mjtrottacomposer]

Many thanks @thetenebraechoir for your wonderful singing!

[@nadinemueller78]

Fantastic, such a deep and moving piece from MJ Trotta and so well sung from Tenebrae ❤🎉

[@mjtrottacomposer]

Thank you!

[@teresacorcoran6554]

Tenebrae are amazing

[@gp3276]

Grazie di cuore per queste bellissime composizioni al Maestro Trotta e per la magistrale esecuzione del coro Tenebrae.

[@mjtrottacomposer]

grazie, mille!

[@teresacorcoran6554]

Cant wait to sing this on Sunday 5th January @St Aloyisus Glasgow

[@mjtrottacomposer]

🙂

[@vladimirkumov7103]

Thanks to tenebrae end Nigel beautiful piece of music 🎵 большое спасибо за ваши прекрасные песни всего вам самого хорошего thanks very much

[@mjtrottacomposer]

Thank you!!!

[@TheSpotlightSoprano]

Your harmonies are always just sheer perfection. This is stunning.

[@brianj959]

Yes, the interesting thing about this piece is that much of it is fully diatonic, which I should feel like I’ve heard all before; but the light touches of chromatic harmony, coupled with near perfect voice-leading (and near perfect singing from Tenebrae!), make this a winner. Simple, and beautifully executed. Just a pleasure to listen to.

[@mjtrottacomposer]

Thank you!

[@raffaelevolpe1981]

Lacrime..........
Vedo la luce...

[@mjtrottacomposer]

Thank you!

[@wolframhuttermann7519]

It is just lovely.

[@mjtrottacomposer]

🙏🏻🙏🏻🙏🏻