Views from the Choir Loft

A Chinese “Ave Maria”

Andrew Leung · August 14, 2018

THINK MANY OF OUR READERS would enjoy listening to this Chinese setting of Ave Maria by Mons. Anthony Chi-Ming Lau. Mons. Lau was born in Guangzhou, China, in 1938. He received his musical training in Macau and Rome (Pontifical Institute of Sacred Music), and he now lived in Taiwan. Mons. Lau composed a large body of hymns and sacred pieces in Chinese.

In the video, you will hear this piece sung in Cantonese, which is the mother tongue of Mons. Lau. Both Eastern and Western musical elements can be found in this piece. The first half of the “Hail Mary” is written based on the Chinese modality and the second half of the prayer is set to a fugue in the Western style. I was quite amazed by this work when I first heard it two years ago.

This video was recorded live at a special Choral Evensong service held at the Cathedral of the Nativity of Our Lady, Macau. At the invitation of the cathedral parish, my choir sang this piece as a choral prelude with the Cathedral Schola of Macau. The Evensong was then sung by the Choir of Christ Church Cathedral, Oxford. Another video recorded from a few more different angles can be found on Vox Antiqua’s Facebook page.

A PDF of this piece (in Latin) can be downloaded on the website of the Sacred Music Commission of the Diocese of Hong Kong.

About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers and music director at Our Lady of China Church. He is also an artist and vocal coach at the Paul Phoenix Academy.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski