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Reviewer: Peter
Loewen This program, titled Sibylla takes as its subject the prophesies of the Sibyls—Greek and others. The most famous composition is Orlando de Lasso’s cycle of motets known as Prophetiae Sibyllarum. Its avant-garde use of harmony, especially exaggerated chromatic properties, have made it a favorite of academics and singers. Here, individual motets from that collection are juxtaposed with recent works by Dmitri Tymoczko (b. 1969) and Elliot Cole (b.1984). The project had its genesis in a graduate class at Princeton.
The motets in Tymoczko’s response cycle, on texts by Jeff Dolven, are named after US cities. Dolven reimagines the Sibyls as seers of American life in the post-industrial urban context. In ‘Sibylla Chicagonis’, for example, Dolven reflects on statistics about homelessness, which Tymoczko sets with exciting rhythms and dissonances. ‘Sibylla Camdenis’ seems to react more directly to Lasso’s use of unexpected harmonic juxtapositions. I didn’t understand at first why the program would include two chants by Hildegard of Bingen; Crouch’s notes remind us that Hildegard is often referred to as the “Sibyl of the Rhine”. Gallicantus sings her ‘O Pastor Animarum’ and ‘Laus Trinitati’, perhaps because their texts speak of primal voices and hidden things, as do the sibylline texts. The singing is absolutely gorgeous. Trying to follow the chromatic developments in Lassus’s music makes for a wild ride, and Gallicantus brings it off beautifully. Their expression is decisive and clear. Texts and note are in English.
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