CCM CHORAL SERIES PRESENTS

PATH OF MIRACLES

 

7:30 p.m., Saturday, April 22, 2023, Cathedral Basilica of the Assumption

CCM Chamber Choir

Joe Miller, music director and conductor 
Matthew Moquin-Lee, assistant conductor 
Matthew Swope, assistant conductor

Musical Selections

  • Path of Miracles (2005)
    Joby Talbot (b. 1971)
    • 1. Roncesvalles
    • 2. Burgos
    • 3. Leon
    • 4. Santiago

Texts and Translations

Herr Santiagu 
Grot Sanctiagu 
Eultreya esuseya 
Deius aia nos.

Eodem autore tempore misit Herodes rex manus ut adfligeret quosdam de ecclesia occidit autem Iacobum fratrem 
Iohannis gladio.

En aquel mismo tiempo el rey Herodes echó mano a algunos de la iglesia para maltratarles. Y mató a espada a 
Jacobo, hermano de Juan.

Aldi hartan, Herodes erregea eliz elkarteko batzuei gogor erasotzen hasi zen. Santiago, Joanen anaia, ezpataz 
hilarazi zuen.

Ver ce temps-là, le roi Hérode se mit à persécuter quelques-un de membres de l’Église. Il fit mourir par l’épée 
Jacques, frère de Jean.

Now about that time Herod the king stretched forth his hands to vex certain of the church. And he killed James, the 
brother of John with the sword.

Um dieselbige Zeit legte der König Herodes die Hände an, etliche von der Gemeinde, sie zu peinigen. Er tötete aber 
Jakobus, den Bruder des Johannes, mit dem Schwert.

Before this death the Apostle journeyed, 
preaching the word to unbelievers.

Returning, unheeded, 
to die in Jerusalem – 
a truth beyond Gospel.

Jacobus, filius Zebedaei, frate Johannis, 
Hic Spaniae et occidentalia loca praedicat, (1)

foy el o primeiro que preegou en Galizia (2)

Herod rots on a borrowed throne, 
while the saint is translated 
to Heaven and Spain, 
the body taken at night from the tomb,

the stone of the tomb becoming the boat 
that carries him back ad extremis terrarum, 
back to the land that denied him in life.

Huius beatissimi apostoli 
sacra ossa ad Hispanias translata; (3)

Et despois que o rrey Erodes mãdou matar en Iherusalem, 
trouxerõ o corpo del os diçipolos por mar a Galiza (4)

From Jerusalem to Finisterre, 
from the heart of the world 
to the end of the land in a boat made of stone, 
without rudder or sail. 
Guided by grace to the Galician shore. 
abandonnant à la Providence 
la soin de la sepulture, (5)

O ajutor omnium seculorum, 
O decus apostollorum,
 
O lus clara galicianorum, 
O avocate peregrinorum, 
Jacobe, suplantatur viciorum 
Solve nostrum 
Cathenes delitorum
 
E duc a salutum portum.

O judge of all the world, 
O glory of the apostles, 
O clear light of Galicia, 
O defender of pilgrims, 
James, destroyer of sins, 
deliver us from evil and lead us to safe harbour.

At night on Lebredon 
by Iria Flavia 
the hermit Pelayo 
at prayer and alone

saw in the heavens 
a ring of bright stars 
shining like beacons 
over the plain

and as in Bethlehem 
the Magi were guided 
the hermit was led 
by this holy sign

for this was the time 
given to Spain 
for St. James to be found 
after eight hundred years

in Compostella, by the field of stars.

Herr Santiagu 
Grot Sanctiagu 
Eultreya esuseya 
Deius aia nos.

Innkeepers cheat us, the English steal, 
The devil waits at the side of the road. 
We trust in words and remnants, prayers and bones.

We know that the world is a lesson 
As the carved apostles in the Puerta Alta 
Dividing the damned and the saved are a lesson. 
We beat our hands against the walls of heaven.

St. Julian of Cuenca, 
Santa Casilda, pray for us.

Remember the pilgrim robbed in Pamplona, 
Cheated of silver the night his wife died; 
Remember the son of the German pilgrim 
Hanged as a thief at the gates of the town, 
Hanged at the word of an innkeeper’s daughter.

Innkeepers cheat us, the English steal, 
The devil waits at the side of the road. 
We trust in words and remnants, prayers and bones.

Santiago Peregrino:

His arm is in England, his jaw in Italy 
And yet he works wonders. 
The widower, the boy on the gallows – 
He did not fail them. 
One given a horse on the road by a stranger, 
One kept alive for twenty-six days, 
Unhurt on a gallows for twenty-six days. 

His jaw is in Italy, yet he speaks. 
The widower robbed in Pamplona: 
Told by the Saint how the thief 
Fell from the roof of a house to his death.

His arm is in England, yet the boy, 
The pilgrim’s son they hanged in Toulouse 
Was borne on the gallows for twenty-six days 
And called to his father: Do not mourn, 
For all this time the Saint has been with me. 
O beate Jacobe.

Innkeepers cheat us, the English steal. 
We are sick of body, worthy of hell.

The apostles in the Puerta Alta 
Have seen a thousand wonders; 
The stone floor is worn with tears, 
With ecstasies and lamentations. 
We beat our hands against the walls of heaven.

Santiago Peregrino:

The devil waits in a turn in the wind 
In a closing door in an empty room. 
A voice at night, a waking dream.

Traveller, be wary of strangers, 
Sometimes the Saint takes the form of a pilgrim, 
Sometimes the devil the form of a saint.

Pray to the Saints and the Virgen del Camino, 
To save you as she saved the man from Lyon 
Who was tricked on the road by the deceiver, 
Tricked by the devil in the form of St. James 
And who killed himself from fear of hell;

The devil cried out and claimed his soul. 
Weeping, his companions prayed. 
Saint and Virgin heard the prayer 
And turned his wound into a scar, 
From mercy they gave the dead man life.

Innkeepers cheat us, the English steal, 
We are sick of body, worthy of hell. 
We beat our hands against the walls of heaven 
And are not heard. 
We pray for miracles and are given stories; 
Bread, and are given stones. 
We write our sins on parchment 
To cast upon his shrine 
In hope they will burn.

We pray to St. Julian of Cuenca, 
To St. Amaro the Pilgrim, 
To Santa Casilda, 
To San Millan and the Virgin of the Road. 
We pray to Santiago.

We know that the world is a lesson 
As the carved apostles in the Puerta Alta 
Dividing the damned and the saved are a lesson. 
We pray the watching saints will help us learn.

Ora pro nobis, Jacobe,
 
A finibus terrae ad te clamavi. (6)

Li soleus qui en moi luist est mes deduis, 
Et Dieus est mon conduis.(7)

We have walked 
In Jakobsland:

Over river and sheep track, 
By hospice and hermit’s cave.

We sleep on the earth and dream of the road, 
We wake to the road and we walk.

Wind from the hills 
Dry as the road,

Sun overhead, 
Too bright for the eye.

Li soleus qui en moi luist est mes deduis, 
Et Dieus est mon conduis. (8)

Rumours of grace on the road, 
Of wonders:

The miracles of Villasirga, 
The Virgin in the apple tree.

The Apostle on horseback – 
A journey of days in one night.

God knows we have walked 
In Jakobsland:

Through the Gothic Fields, 
From Castrogeriz to Calzadilla,

Calzadilla to Sahagun, 
Each day the same road, the same sun.

Quam dilecta tabernacula tua, Dominum virtutem.(9) 

Here is a miracle. 
That we are here is a miracle.

Here daylight gives an image of 
The heaven promised by His love.

Beate, qui habitant in domo tua, Domine; 
In saecula saeculorum laudabant te. (10)

We pause, as at the heart of a sun 
That dazzles and does not burn.

The road climbs through changing land. 
Northern rains fall 
On the deepening green of the slopes of the valley, 
Storms break the summer’s heat; 
At Foncebadon a pass can be lost, 
In one night, to the snow.

The road climbs for days through the highlands of Bierzo, 
to the grassland and rocks 
of the Valcarce valley. 
White broom and scrub-oak, 
Laburnum and gorse 
Mark the bare hills 
Beside the road.

At O Cebreiro, mountains. 
The road follows the ridgetop 
By meadows of fern, by fields of rye.

By Fonfria del Camino, by Triacastela. 
Towns are shadows 
The road leaves behind. 
It moves over the slate hills 
Palas do Rei. Potomarin. 
The names are shadows.

Then, from the stream at Lavacolla 
To the foot of Monte de Gozo, 
A morning; 
From the foot of Monte de Gozo 
To the summit of Monte de Gozo 
The road climbs, 
Before the longed-for final descent 
To Santiago.

Herr Santiagu 
Grot Sanctiagu 
Eultreya esuseya 
Deius aia nos.

Ver redit optatum 
Cum gaudio, 
Flore decoratum 
Purpureo; 
Aves edunt cantus 
Quam dulciter, 
Cantus est amoenus 
Totaliter. (11)

Jacobo dat parium 
Omnis mundus gratis 
Ob cuius remedium 
Miles pietatis 
Cunctorum presidium 
Est ad vota satis. (12)

O beate Jacobe 
Virtus nostra vere 
Nobis hostes remove 
Tuos ac tuere 
Ac devotos adibe 
Nos tibi placere. (13)

Jacobo propicio 
Veniam speramus 
Et quas ex obsequio 
Merito debemus 
Patri tam eximio 
Dignes laudes demus (14)

At the Western edge of the world 
We pray for our sins to fall from us 
As chains from the limbs of penitents.

We have walked out of the lives we had 
And will return to nothing, if we live, 
Changed by the journey, face and soul alike.

We have walked out of our lives 
To come to where the walls of heaven 
Are thin as a curtain, transparent as glass,

Where the Apostle spoke the holy words, 
Where in death he returned, where God is close, 
Where saints and martyrs mark the road.

Santiago, primus ex apostolis, 
Defender of pilgrims, warrior for truth, 
Take from our backs the burdens of this life,

What we have done, who we have been; 
Take them as fire takes the cloth 
They cast into the sea at Finisterre. 
Holy St James, great St. James, 
God help us now and evermore

- Robert Dickinson

Program Note

Long before the discovery of the grave of St. James in the 9th century, the road through northern Spain between Roncesvalles and Santiago de Compostela (the trail known as the ‘Camino Frances’) had an ancient past. White it is significant today as a route of Catholic pilgrimage, the generations of travelers who have walked along it have always belonged to a fellowship much broader than the Church. For the pre-Christians, the road followed the path of the Milky Way and led to the ‘end of the earth’ at Cape Finisterre, for many centuries believed to be the most western point in Europe. Part of the route still follows the sturdy Roman roads used to colonise the lberian Peninsula. These same roads were used by the Moors in the early 8th century as they moved north from Africa to reach the Bay of Biscay, and again later in the same century as Charlemagne led the push back into Muslim Spain. Today they are visited annually by tens of thousands of tourists, hikers, and seekers from all faiths, or none.

Joby Talbot’s stunning Path of Miracles traces the pilgrimage history of the road through four movements, each named for one of the staging posts along the Camino trail. Roncesvalles begins in the first century when the apostle James, son of Zebedee and brother of John the Apostle, was known to be preaching in Galicia in Spain’s northwest. Upon returning to Jerusalem he became the first Christian martyr when his death was ordered by King Herod in the year 44; his remains were secretly returned to Spain and buried by some of the other apostles. Here his hones would lie for eight hundred years until their discovery at Iria Flavia, near Santiago de Compostela, by a shepherd following a star. ‘Compostela’ is thought to be derived from the Latin campus stellae, ‘field of stars’.

As well as narrating the beginnings of a traditions, Roncesvalles is also the starting point for our pilgrimage, just as it is the starting point for many of the pilgrims who walk the Camino today. People from all walks of life and language groups gather in the spring each year to begin their journey. The opening chant section of the first movement uses a vocal effect based on the Bunun aboriginal ‘Pasiputput’ from Taiwan, in which low voices rise in pitch and volume over a long period. The dramatic entry of the higher voices represents the beheading of Sr. James by sword, and here Talbot uses the Dum Pater Familias, a 12th century pilgrim’s hymn and the most famous of Jacobean chants. This hymn established the universality of the cult of St. James, interspersing Latin text with a multilingual refrain, and represents the many languages prilgrims will hear on the road as they journey towards the saint’s final resting place. A solo alto singing in Greek leads the procession along the trail, followed by other voices singing verses from Acts 12:1-2 in six different languages: Latin, Spanish, Basque, French, English, and German.

In Burgos, we become familiar with the hardships of the pilgrim’s journey, particularly the grueling physical trails of the long walk. While today walkers only need to complete 100km or more to receive an official certificate of pilgrimage, the distance from Roncesvalles to Santiago is approximately 780km, much of it across difficult terrain and under punishingly hot sun. Talbot uses a trudging motif throughout this movement, interspersed with long pauses as walkers rest their weary feet and bodies. We are also warned – not just of practical dangers such as theft, lynching, or illness – but of spiritual dangers as well: ‘Sometimes the Saint takes the form of a pilgrim, sometimes the devil the form of a saint’. The final chords sung by the basses, motionless and desolate, are taken from Psalm 61: ‘From the end of the earth I cry to you’.

With the journey more than half completed, we reach Léon, where the interior of the majestic cathedral is bathed in light. A soring soprano ostinato introduces the third movement of Path of Miracles, a repeated affirmation that ‘the sun that shines within me is my joy, and God is my guide’. Like the previous movement, there is a steady walking pulse throughout, but the steps have lost their heaviness. They are replaced with an almost hypnotic and mystical quality, as the pilgrim reflects on the distance that has been traversed, the hardships overcome: ‘That we are here is a miracle’.

Towns who ‘names are shadows’ pass by as we approach our destination. The road winds and climbs but we keep walking through rain, storms, and snow. This has become the pilgrim’s life, yet there is peace and acceptance as one foot is placed in front of the other. The end will come. Santiago, first glimpsed from the summit of Monte de Gozo, awaits as promised reward as we begin our ‘longed-for final descent’. Here the music draws us inward, and we reflect on our journey of hundreds of kilometers with serenity and quiet majesty. We consider how such a pilgrimage changes us – the person we were before, the person we are now. It is with a final burst of joy that Talbot propels us towards Santiago, setting a mediaeval text on spring from the Carmina Burana to a pulsing, rhythmic melody. Yet our journey is not quite over: it is to Finisterre, on the Galician coastline that we continue. ‘We pray for our sings to fall from us as chains from the limbs of penitents’, and we cast them into the sea to return to our lives without the things that have been weighing us down. The pilgrim’s hymn returns for a final time, endlessly repeating the disappearing over the horizon.

- Bronwyn Mitchell (Sources: Program notes by Gabriel Crouch for Tenebrae, and Eric Leibrock for Conspirare)

About Joby Talbot

Joby Talbot was born in London in 1971 and studied composition at the Guildhall School of Music and Drama.  He has written extensively for sting orchestra and chamber ensemble, as wll as music for television, film, and theatre. Most recently he composed the score for the film Sing (2016). Path of Miracles was written for the professional London-based choir Tenebrae, conducted by Nigel Short, and premiered in 2005. Its original premiere date was 7 July, but due to the London terrorist attacks that day, the performance was postponed by several weeks. The work is dedicated to the memory of the composer’s father, Vincent Talbot, who died the same year.

About CCM Choral

CCM's Choral Studies Program is internationally recognized for more than 50 years of excellence in training conductors for successful, lifelong careers in the choral arts. Our choral ensembles are proud to offer transformative musical experiences for singers and audiences. CCM has delighted multiple generations of music lovers with the concerts presented by its five choral ensembles: the 32-voice Chamber Choir, 45-voice Chorale, 30-voice Chamber Singers, Vox Antiqua — a select vocal/instrumental ensemble dedicated to Medieval, Renaissance and early Baroque music — and 100-voice UC Men's and UC Women's Choruses. Performances range from acclaimed staged productions presented in collaboration with CCM’s Opera Department to presentations of contemporary works like David Lang’s Little Match Girl Passion and Tan Dun’s Water Passion after St. Matthew.

Roster

CCM Chamber Choir Roster

Joe Miller, music director and conductor 
Matthew Moquin-Lee, assistant conductor
Matthew Swope, assistant conductor

Sopranos

  • Audrey Baek
  • Elise Byard
  • Lauryn Davis
  • Maren Hrivnak
  • Olivia Knutsen
  • Holly Thiemann
  • Gabrielle Turgeon
  • Audrey Weber

Altos

  • Rachael Bell
  • Caitlin Chisham
  • Reina Dickey
  • Salleigh Harvey
  • Maya McGuire
  • Sam Pape
  • Elizabeth Reyna
  • Liyao Yu

Tenors

  • Carlos Ahrens
  • Desmond Bunting
  • Zach Burnham
  • Alberto De La Paz Canel
  • Alex Gushrowski
  • Matthew Swope
  • Tristan Tournaud

Basses

  • Harry Cecil
  • Ryan Henry
  • Trevor Kroeger
  • Matthew Moquin-Lee
  • Isiah Maxey
  • Andrew Nash
  • Will Ryan
  • Nathan Smith
  • Emilio Vasquez
the flair and technique of a professional ensemble

Rafael's Music Notes

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US Coast Guard Band's 'Heartland Harmonies' tour presents...

May 20, 2024

The United States Coast Guard Band brings its "Heartland Harmonies" concert tour to UC's College-Conservatory of Music on Tuesday, June 25, 2024. The free concert is presented in Corbett Auditorium as part of the band's tour through the American South and Midwest regions for public performances and educational outreach.

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May 6, 2024

Through the Lonely Instruments for Needy Kids (LINKS) program, you can donate your used band or orchestra instrument to a young musician who cannot afford to rent or purchase their own. The LINKS instrument donation drive is at 10 a.m.-4 p.m. this Friday, May 10, and Saturday, May 11 2024, at any Willis Music or Buddy Rogers Music location. A project of CCMpower in partnership with Willis Music and Buddy Roger’s Music, LINKS began in 1994 as the brainchild of CCM alumnus Bill Harvey (BM Music Education, 1971). The owner of Buddy Roger’s Music, Harvey wanted to fill the need for students whose parents were unable to buy, rent or borrow an instrument. The solution was to create a “recycling program” for musical instruments.

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CCM shares 2024 alumni and distinguished service awards

April 26, 2024

UC's College-Conservatory of Music is proud to present alumni and distinguished service awards to outstanding members of our community at the end of each academic year. The 2024 awards are presented to four accomplished alumni and one dedicated patron in a private virtual event on April 23.

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Sponsors

Louise Dieterle Nippert Trust
Scholarship and Resident Artist Sponsor
The Andrew W. Mellon Foundation
CSO/CCM Diversity Fellowship Sponsor
The Corbett Endowment at CCM
Dance Department Sponsor
All-Steinway School Sponsor
Louise H. & David S. Ingalls Foundation, Inc.
Community Partners
The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel
Visiting Artists & Thinking About Music Sponsor
Dr. & Mrs. Carl G. Fischer 
Greg Mathein 
Gary & Barb Cummins 
Jim & Linda Miller 
George & Carroll Roden
Musical Theatre Department Sponsors
Genevieve Smith
Opera Production Sponsor
Rafael and Kimberly de Acha
Opera D’Arte Sponsor
An Anonymous Donor
Estate of Mr. William A. Friedlander
Mrs. William A. Friedlander
Dr. Randolph L. Wadsworth
Judith Schonbach Landgren and Peter Landgren
Mr. & Mrs. Harry H. Santen
Elizabeth C.B. Sittenfeld
Mr. & Mrs. Thomas E. Stegman
Mrs. Theodore W. Striker
Mrs. Harry M. Hoffheimer
Ariel Quartet Sponsors
Jan Rogers
Willard and Jean Mulford Charitable Fund of the Cambridge Charitable Foundation
Choral Studies Sponsors
Anonymous
  Classical Guitar Sponsor

Mr. & Mrs. Joseph W. Hirschhorn
Orchestral Sponsor
Dorothy Richard Starling Foundation
Starling Pre-Collegiate Sponsor
Starling Strings Sponsor
Dr. Timothy E. and Janet L. Johnson
Thom Miles and Roberta Gary
Organ Department Sponsors
Keyboard Club of Cincinnati
Louis and Susan Meisel
Piano Department Sponsors
Kevin and Nancy Rhein
   Wind Studies Sponsor
Buddy Rogers Music
LINKS Sponsor
Sponsors listed as of Sept. 7, 2023

General Information


Land Acknowledgment

The Cincinnati area and the land that the University of Cincinnati has been built on is the native homeland of the Indigenous Algonquian speaking tribes, including the Delaware, Miami, and Shawnee tribes.


Box Office

Located in the CCM Atrium, the Box Office is open Monday through Friday, 1-5 p.m.; and one hour prior to curtain for all ticketed performances. MasterCard, Visa and Discover cards are accepted.

  • Location: CCM Atrium Lobby next to Corbett Auditorium
  • Telephone: 513-556-4183
  • Email: boxoff@uc.edu
  • Mail: CCM Box Office, P.O. Box 210003, Cincinnati, OH 45221-0003

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Convenient parking is available in the CCM Garage at the base of Corry Boulevard off of Jefferson Avenue. Additional parking is available in garages throughout the UC campus. Any questions concerning on-campus parking should be directed to UC Parking Services at 513-556-2283.


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The House Manager has been instructed to minimize the disturbance to patrons already seated when accommodating latecomers. The director and producer of each production select times that are least likely to interrupt the performance, and latecomers will be seated only during these times. Latecomers who miss these opportunities will not be admitted until intermission. Children under the age of 6 will not be admitted.


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