choral music
C 2392
c 2392
Music: John Høybye
Lyrics: Edward Broadbridge
Maria Conceived
Maria Conceived
for equal voices, electronics and synthesizer
score
CANTANDO MUSIKKFORLAG AS
Title: Maria Conceived
Subtitle: for equal voices, electronics and synthesizer
Lyrics: Edward Broadbridge
Music: John Høybye
Electronics: Mads Haaber
Copyright © 2009 Cantando Musikkforlag AS ISMN M-2612-2392-8
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Maria Conceived
Preface
Maria Conceived is a choral and drama work which integrates classical choral singing, rhythmic choral singing, rap, body-percussion, choreography, dance (hip-hop) and electronics. Other theatrical effects such as lighting, dry ice and costumes can be incorporated to heighten the musical and dramatic content.
Concept
In our conception ‘Maria’ is associated with both the virgin and the sinner, human perfection and imperfection. Throughout there is a link between faith (Maria believed) and conception (Maria conceived), as well as between active and passive modes. For Maria is also herself ‘conceived’ and ‘believed’. Simultaneously, though not on biblical evidence, the name is linked in medieval times to Maria of Magdala, the ‘Magdalene’, the woman taken in adultery in Matthew’s gospel. Forgiven by Jesus she becomes by tradition one of his most ardent disciples. In the Middle Ages she was revered as only second to the virgin in sainthood. Together the two Marias represent two extremes of female experience.
Electronics
These consist of pre-recorded sounds which, through a CD-player/computer amplified over a PA system, accompany the choir in selected passages. The sounds vary from the soft to the stark, and include hip-hop beats and samples. They are pre-recorded on 8 tracks on the CD accompanying the score, where their use is clearly indicated. It is therefore preferable to have a music-reader in charge of the electronics and to ensure that their volume is regulated (e.g. via a mixer) to suit the sound and volume of the choir.
Synthesizer
A good professional instrument is required to play the various sounds (programmes) which the work alternates between. There are four of these:
Programme no. 1: Smooth strings
Programme no. 2: El-piano
Programme no. 3: El-bass
Programme no. 4: A beautiful, rich sound a la Moog
The synthesizer player must know the instrument well and have complete control over the various sounds – as well as over their volume level in relation to other participants.
Microphones
Soloists will require microphones to amplify the rhythmic passages (e.g. no. 6 in full) and possibly the more classical passages.
Choreography
The positioning of the choir and soloists in relation to each other and the concert room is important for the dramatic action of the work, for instance, in no. 7 bar 9, where two differing narratives are being sung simultaneously. This passage will be enhanced by separating the two groups physically and acoustically, as indicated in the score here – and again elsewhere at the relevant points in the narrative.
Cantando Musikkforlag
Body-percussion, stomp and dance (hip-hop)
A visual, physical aspect is a significant part of the performance, and it is advisable to work together with experienced choreographers or dance instructors. There is inspiration and guidance to be found in the video-clips that Kirsten Juul Sørensen has provided, available for free download from www. musikkforlaget.dk. Kirsten is a musician, actor and expert in body-percussion and movement. She was responsible for the entire choreography and drama for the premiere of Maria Conceived.
Costume and masking
Normal choir dress is inappropriate for this work. Alternatives are advised which suit the content and action, including the transformation prior to no. 6. Maria’s personality transition from saint to sinner can also be underlined by appropriate costume.
The 9 dramatic scenes
1. Intro page 5
2. Santa Maria strela do dia page 10
3. Ave Maria . . . . . . . . page 15
4. Magnificat . . . . . . . . page 22
5. Stabat Mater speciosa . . page 29
6. Maria Magdalene . . . . . page 32
7. Stabat Mater dolorosa . . page 43
8. There is a grave . . . . . . page 50
9. Believed, conceived page 59
Maria the mother of Jesus first appears in a setting of one of the 420 Cantigas de Santa Maria, songs written in her praise in Castile in the 13th century (no. 2). She is then greeted by the angel Gabriel (from Luke’s gospel) with the familiar text of Ave Maria (no. 3), to which she responds with her Magnificat (no. 4). The Latin hymn, Stabat Mater speciosa, celebrating Maria by the crib, also dates from the 13th century. Maria, the virgin and intercessor, is presented as a unique woman in time and space (no. 5).
To introduce other associations to ‘Maria’ the work then takes an unexpected turn from harmonious choral singing to raucous hip-hop, in which the choir and soloist are accompanied by ‘electronics’, recorded on the enclosed CD, and ad lib by various stomp instruments.
First Maria is allowed a love life with a quotation from West Side Story, after which the outsider Maria Magdalene is both envied and reviled by her peers for her free-and-easy ways. This leads musically to quotations from Lady Madonna and I Don’t Know How to Love Him, and finally to a vain clamouring for her death (no. 6).
The two Marias meet at the foot of the cross to watch the dying son and saviour respectively. Mary the virgin sings Stabat Mater dolorosa and Mary the disciple Let It Be (no. 7). But it is to the Magdalene that Jesus makes his first resurrection appearance in John’s gospel (no. 8). The work ends with a reprise of the core concept of the work: Maria believed, Maria conceived (no. 9).
Premiere
Maria Conceived was commissioned by Copenhagen Girls Choir/Claus Vestergaard Jensen and received its premiere at the 8th World Symposium on Choral Music, Copenhagen 2008.
John Høybye & Edward Broadbridge March 2009
