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CMP TEACHING PLAN
Name: Mark Lehmann
Date: July 29, 2015
Title: O filii et filiae
Composer: Ivo Antognini (b. 1963)
Text: from canticle by Jean Tisserand (d. 1494)
Arranger: none
Voicing: SATB
Also available SA with piano & cello
Length: 2:40
Publisher: Alliance
Ensemble: Church (Easter), HS or above
Copyright: 2014
Octavo #: AMP 0967
ANALYSIS
Broad Description
Contemporary a cappella setting of medieval Latin Easter canticle
Background Information:
The text for this composition is taken from a French Easter canticle/hymn by Jean Tisserand (d. 1494). The
English hymn translation set in many hymnals is “O Sons and Daughters” and generally uses the original
tune with many verses telling the Easter story. It is sometimes referred to as “The Joyful Canticle” because
of the many “alleluias” in the text. Swiss composer Ivo Antognini uses a very accessible harmonic
language with moderate ranges to convey a calmness and serenity which finishes with a joyful alleluia
section. At the 2015 Iowa All-State Festival Dr. Eklund will pair this with the Volckmar Leisring setting
from 1608 of the first verse of the same text.
Elements of Music
Form
The form of this composition is 2 verses with alleluia refrains followed by a concluding
coda of alleluias.
Verse 1 (A)
1-18
Refrain (B)
18-27
Verse 2 (A)
27-44
Refrain (B 1)
44-51
Coda
51-58
The verses are nearly identical with small allowances made for the differences in text,
which also dictates some differences in phrasing. The second verse refrain begins the
same as the first verse refrain, but is altered and shortened beginning at m. 49 (compare
m. 22-23 to m. 48-49). The coda is a crescendo of six “alleluias” in two groups of three
reminiscent of the concluding alleluias in the original medieval canticle.
Rhythm
Antognini uses anacrusis to set the text in a way which effectively preserves the natural
accents of the Latin. Both the original hymn and the Leisring setting use 3/4 meter while
this setting is almost completely in 4/4 meter. The rhythmic language is quite simple
with nothing more than a few dotted quarter/eighth combinations.
Melody
This piece is dominated by a beautiful melody in the soprano accompanied by lovely
interweaving lines in the other three voices. All lines are melodic and all parts utilize
much stepwise motion. The bass does have some octave leaps and the soprano has only
one (m. 49). Antognini stated in an interview with Nathan Windt, choral conductor at St.
Ambrose University, Davenport, Iowa (April 2015 issue of the International Choral
Bulletin) that he sings all the parts in his compositions and strives to make each part
melodic. The ranges in this piece are very moderate, with the tenor (G-Eb) and alto (BbBb) especially confined.
Harmony
Antognini uses many extended chords with added 7ths, 9ths, added notes, etc. – a similar
harmonic language to Eric Whitacre. There are some close dissonant chords, but the
effect is tonal with the verses beginning in F minor and moving to Ab major in the
refrain/Alleluia section which ends with a wonderful C major chord (m. 27). The second
refrain introduces Gb in the bass at m. 50 and the coda then uses Ab maj – Gb maj – eb
minor progression to end in Ab major. Alleluia refrain is also reminiscent in effect to
sections of the “Alleluia” by Ralph Manuel.
Texture
The texture of this is melody in the soprano line accompanied by the other three voices. It
is SATB throughout with only two notes divisi. In the two-part edition of this piece the
bass line is played by a cello, and the bass line of this piece sings instrumentally to my
ears with longer notes and simpler rhythms than the inner parts which move more
contrapuntally against the soprano melody. All lines are melodic and logical with few
difficult leaps. The alto and tenor ranges are not extensive and the entire effect is more of
a “shimmer” in the verses with the Alleluia refrains and coda building to a joyful final
cadence.
Timbre
Due to the close harmonies and quiet nature of the verses, this piece requires more
control in the voices to tune the chords. The refrain and coda “Alleluias” will require
more volume and a fuller sound
Expression
The verses are quieter, more reflective, and the joyfulness of the Alleluia refrains and
coda are fuller, louder with the piece marked forte and molto ritardando at the final
cadence. Tempo remains steady and the use of natural text stress will guide much of the
dynamic shape of the phrases. Slight fermatas at the end of each verse are not marked
but are heard in most recordings and highlight the verse/refrain structure of the piece.
Text
The text is for the Easter season and attributed to Jean Tisserand (d. 1494), a French
preacher. The hymn originally had nine verses with Alleluia sections between every
verse, thus leading Gueranger to call it “The Joyful Canticle.” Antognini utilizes two of
the verses.
A word-by-word translation:
O filii et
filliae,
Rex coelestis, Rex gloriae,
morte
surrexit
O sons and daughters, King of heaven, King of glory, from death has risen
In hoc festo sanctissimo
In this feast most holy
hodie.
today.
sit laus et
jubilatio, benedicamus Domino. Alleluia.
be praise and jubilation, let us bless (the) Lord. Alleluia.
O ye sons and daughters, the King of heaven and glory has risen from death today, alleluia!
In this most holy feast, let there be praise and jubilation, let us bless the Lord, alleluia.
Composer
Ivo Antognini (b. 1963) is a Swiss pianist, composer and professor since 1987 at the
Conservatorio della Svizzera Italiana in Lugano. He earned his diploma in piano performance in 1985 at
Lucerne, and followed with studies in jazz piano in Bern. Most of his early compositions were for jazz
piano, and he wrote for television and film. He began to compose choral works after attending a concert of
a children’s choir, Coro Calicantus, from northern Italy conducted by one of his former piano students,
Mario Fontana. He was so inspired that he began to write for choirs and continues to do so with great
success.
He presented several of his compositions with the Coro Calicantus at the World Choral Symposium in
Copenhagen (2008), and was an adjudicator and presenter at the World Choral Games in Cincinnati in
2012. DCINY will present a concert of his music at Lincoln Center, New York City, in March 2016. His
works are performed regularly by many professional and university choirs throughout the world.
Recordings can be found on Youtube as well as his website, www.ivoantognini.com.
A link to the interview with Antognini by Nathan Windt, Director of Choral Activities at St. Ambrose
University, Davenport: http://www.ivoantognini.com/MUSIC_COMPOSER/home_files/eICB_20152%20-%20interview%20-%20short.pdf
The companion setting for All-State is by Volckmar Leisring (b. 1588, d. 1637), a singer, composer and
pastor in the Lutheran church in Thuringia. He studied theology in Jena starting in 1606. During that time
he authored two books and published a collection of 5-8 part choruses titled Cymbalum Davidicum. After
studying theology he served three congregations. Encumbered by his duties and the worries of the Thirty
Years War (1618-1648), he apparently ceased composing during his remaining days as pastor.
What is the “Heart” of this piece?
The serene, beautiful melodic lines of the verses which lead into the joyful alleluia refrains reflect the joy
of the Easter text in a contemporary harmonic language that contrasts with the original medieval melody as
well as other settings of the hymn, such as the familiar double choir setting by Leisring.
Introducing the Piece
Since this is to be paired with the Leisring setting of the same text at All-State, I would introduce the two
together. First play the Youtube video of Pete Eklund’s University Singers performing the Antognini
setting ( https://www.youtube.com/watch?v=n-04z3MImd8 ) looking at structure of the piece, noting in
their music where they heard repetition of music and/or text. After looking at what they noticed (hopefully
verse-refrain), I would introduce the translation of the text with a short discussion of their ideas on the
mood conveyed in the composer’s interpretation of this text. Then we would continue the video with the
short Leisring setting. With their folder partner they would have a three minutes to write on 3 x 5 cards
what differences they heard between the two settings and how their responses differed to the two settings of
the same (almost) text.
SKILL OUTCOME
Students will perform verse 1 and first refrain (mm. 1-27) on solfege syllables thereby exploring the
relationship between F minor and its relative major, Ab.
SKILL STRATEGIES:
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Establish the key signature by singing scales in Ab major, then extending to the relative minor – F.
Following a chromatic scale chart, sing chromatic scales, beginning on Ab as DO and on F as LA.
Find deviations from the diatonic scale. (m. 19 – A natural, m. 20 – E natural, m. 26 – D natural)
and mark in their scores what the proper syllable would be for those accidentals.
Voice sections rehearse separately to solfege their parts for measures 1-8, then put together. Next
session is m. 9-18, then the refrain, 18-27.
Find other examples of a minor song moving to relative major.
Compose short melodies moving from f minor to Ab major.
KNOWLEDGE OUTCOME
Students will identify verse-refrain form in other hymn tunes and folk songs and recognize how the
Antognini setting moves beyond the ordinary with the second verse changes in text resulting in changes of
phrasing and the addition of the coda.
KNOWLEDGE STRATEGIES:
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The introduction of the song will help students establish the verse-refrain form.
Students mark their scores with the verse and refrain.
After marking in Dr. Eklund’s breath marks, students will discuss with their folder partner the
differences between the two verses and the two refrains. (text, phrasing, m. 48)
Sing the verses of some familiar songs of different genres and have the students join in on the
choruses. (Examples: Blowin’ in the Wind, Angels We Have Heard on High, Battle Hymn of the
Republic)
Have each student submit one verse-refrain song of any genre. (email mp3 clips or youtube links).
Choose several for the ensemble to sing as part of the class warmups.
AFFECTIVE OUTCOME
Students will reflect on three different settings of the same text (medieval, Leisring and Antognini) and
compare and contrast the emotional response they have from each.
AFFECTIVE STRATEGIES:
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Learn/sing verse 1 of the original hymn melody with Latin text.
http://www.mipucpr.org/cantoral/wp-content/uploads/OfiliiGR.pdf
Learn/sing verse 1 of the setting in English, “O Sons and Daughters, Let Us Sing”
http://www3.cpdl.org/wiki/images/8/89/O_sons_and_daughters_%28cpdl%29.pdf
Also found on p. 386 of Evangelical Lutheran Worship (hymnal)
Sing verse 1 from the Gregorian chant notation (Translations and Annotations of Choral
Repertoire, Volume I: Sacred Latin Texts, compiled by Ron Jeffers, c. 1988 earthsongs; p. 173)
Also in Chants of the Church, p. 118.
Learn, sing, or listen to (depending on the stage of your choir) the Volckmar Leisring setting.
Using a 3x5 card the students will reflect on the following questions:
1. What differences do you see in meter and rhythm?
2. What differences do you notice in melody?
3. Which setting (Leisring or Antognini) is most like the original? Why?
4. What mood or emotional response do YOU get from the three settings?