Program Notes
As the Fort Worth Chorale concludes its 2024–25 season, Rhythms of Life, we invite you to an exhilarating final chapter: Tango! This program traces a vibrant journey through rhythm, ritual, and reinvention—from the ceremonial elegance of Britten’s Elizabethan court, to the driving pulse of Argentine dance, and finally to the sacred passion of Palmeri’s Misatango. At every turn, the music pulses with life—celebrating the many ways rhythm connects us to culture, memory, and meaning.
Benjamin Britten – Choral Dances from Gloriana, Op. 53a
Benjamin Britten composed Gloriana in 1953 to mark the coronation of Queen Elizabeth II. Though the opera—centered on the complex relationship between Elizabeth I and the Earl of Essex—was met with a mixed response at its premiere, one section stood out immediately for its musical brilliance: the Choral Dances. Extracted from a masque scene in Act II, these six brief movements form a vivid concert suite that blends Tudor ceremonial style with Britten’s modern choral language. Drawing on madrigal textures, folk rhythms, and courtly elegance, the Choral Dances celebrate Elizabethan culture while reflecting Britten’s deep engagement with the English musical past.
1. Time
Marked Quick and gay, the opening movement introduces the allegorical figure of Time not as a grim reaper, but as a youthful and vigorous presence. This surprising characterization is underscored by brisk rhythms and buoyant counterpoint, reflecting a lively dance rather than a solemn procession.
2. Concord
In stark contrast, Concord is a slow, contemplative meditation on harmony—both with nature and with human fate. The chorus sings in homophonic, chordal style with tender restraint, creating an atmosphere of reverence and stillness. This movement portrays Concord as a quiet, stabilizing force that works alongside Time to bring order and peace to the world.
3. Time and Concord
This dance blends the thematic material of the previous two, marked Gracefully swaying. Male and female voice parts engage in close canon, their gently syncopated lines creating a sense of elegant balance and mutual dependence. As the piece unfolds, the interwoven textures build to a celebratory climax, honoring “Gloriana”—a symbolic figure of Queen Elizabeth I.
4. Country Girls
This playful scherzo is sung exclusively by the women of the chorus, who portray country girls from the Norfolk region bringing garlands of native flowers for the Queen. The movement’s skipping rhythms and clear melodic lines evoke the freshness of rural life.
5. Rustics and Fishermen
Sung by the men of the chorus, this movement continues the motif of tribute, with laborers from field and sea offering the fruits of their work to the Queen. The music is earthy and rhythmic, grounded in sturdy vocal writing that conveys the earnestness of their homage.
6. Final Dance of Homage
The suite concludes with a noble and solemn farewell. As Queen Elizabeth I prepares to leave Norwich, the chorus sings with warmth and dignity, wishing her well and asking that she remember them fondly. The music is ceremonious yet tender, free of pomp, and rich in emotional resonance.
Alberto Ginastera: Two Argentine Dances
These two contrasting works—La danza de la moza donosa (1940) and Ruvido ed ostinato from the Piano Sonata No. 1, Op. 22 (1952)—are presented on this program as a pair titled Two Argentine Dances, highlighting Ginastera’s evolving treatment of Argentine folk material. Though not composed as a set, the pairing traces a striking arc between two iconic national dance forms: the zamba, with its gentle sway and introspective grace, and the malambo, a fierce gaucho dance driven by rhythmic intensity and competition.
La moza donosa captures the lyricism of the zamba through modal harmonies and a wistful, rocking melody. In contrast, Ruvido ed ostinato reimagines the malambo as pure rhythmic force—percussive, dissonant, and relentless. Together, they chart Ginastera’s transformation—from folk-inflected nationalism to a bold, modernist voice.
This evolution helped shape the direction of Argentine music in the 20th century. Ginastera’s rhythmic innovations directly influenced his student Astor Piazzolla, whose creation of tango nuevo redefined tango as a serious concert form. Piazzolla’s legacy, in turn, informs the language of Palmeri’s Misatango. Heard in this context, these two piano works do more than contrast—they open a musical journey that culminates in the sacred expressions of Misatango later in the program.
Emmanuel Trifilio: Octubre (from Estaciones)
Octubre is part of Estaciones, a suite of original tangos composed by Argentine bandoneonist Emmanuel Trifilio. This series, which translates to Seasons, reflects Trifilio’s personal and artistic impressions of life in Washington, D.C., where he settled after arriving in the United States. Originally scored for guitar, cello, and bandoneon, Octubre has been arranged for various ensembles, including the trio of bandoneon, piano, and bass featured in this performance.
A deeply introspective work, Octubre marks the season of autumn and the month of Trifilio’s arrival in the U.S. It serves as a musical meditation on migration, memory, and the quiet revelations found in a new place. As Trifilio describes it: “Arriving in a new city and regaining the capacity for wonder. Recognizing unexpected colors and flavors and trying to grasp them in time, in the material from which music is made.”
Set against the backdrop of Washington—a city he describes as “marked by power and surrounded by beauty”—Octubre captures a moment of transition and contradiction. Its lyrical bandoneon melodies intertwine with rich piano harmonies and the grounded voice of the bass, creating a soundscape that is both nostalgic and forward-looking. The piece fuses the spirit of traditional tango with a sophisticated, contemporary language that is characteristic of Trifilio’s compositional voice.
Trifilio is widely recognized in the international tango community as both a performer and composer. As the founder of Trifilio Tango Trio and a composer with Quintango, he has played a central role in reimagining tango for new audiences. His work has been heard in venues such as Carnegie Hall, Lincoln Center, and the Kennedy Center, and at festivals across Europe, Latin America, and the United States. With Estaciones, he continues to expand the expressive possibilities of the bandoneon and the tango tradition itself.
Martín Palmeri: Misa a Buenos Aires (“Misatango”)
Martín Palmeri (b. 1965) is an Argentine composer, pianist, and conductor whose work blends classical tradition with the rhythmic and emotional language of tango. His Misa a Buenos Aires—widely known as Misatango—was composed in 1996 for the Festival San Ignacio in Buenos Aires and premiered in the city’s historic Jesuit church. Setting the complete Latin Ordinary of the Mass, Palmeri fuses sacred form with the textures and energy of tango, drawing on his roots as both a choral conductor and tango performer. Influenced by the innovations of Astor Piazzolla, Misatango combines declamatory choral writing, lyrical solos, and traditional forms such as fugue and ostinato reimagined through a tango lens. The bandoneón, iconic in Argentine music, serves not only as a cultural touchstone but also as a liturgical voice, weaving together the emotional and structural threads of the work. Since its debut, Misatango has been celebrated internationally for its bold synthesis of spiritual depth and national identity.
1. Kyrie
The Kyrie opens not with gentle supplication but with a dramatic, declamatory outburst, immediately asserting the expressive intensity that will characterize the entire work. This bold gesture gives way to an extended fugue, constructed over a steady rhythmic pulse that evokes the driving foundation of tango. The contrapuntal writing is vigorous and complex, a reflection of Palmeri’s command of classical technique even within a vernacular idiom. The Christe eleison section contrasts this energy with flowing, lyrical choral lines that express the plea for mercy with melodic grace. A new thematic idea emerges in a bridge section following the Christe, offering a moment of introspective development. The movement concludes with a return to the powerful opening material, leading directly into the exuberant Gloria without pause.
2. Gloria
The Gloria bursts forth with rhythmic brilliance and high energy, immediately propelling the movement forward in a spirit of jubilant praise. The choir’s setting of “Gloria in excelsis Deo” is marked by driving syncopations and crisp articulations in the strings and piano, evoking the propulsive feel of tango without resorting to cliché.
A striking shift occurs at the “Qui tollis peccata mundi,” where the mezzo-soprano makes her first appearance. In this contrasting section, the texture thins and the tempo relaxes, allowing for expressive solos from the mezzo, bandoneón, piano, and violin. The vocal line is lyrical and pleading, matched by the instruments in a chamber-like interplay that adds intimacy and emotional depth. The choir responds with a harmonized echo of the mezzo’s theme, reinforcing the text’s call for mercy.
Following this moment of reflection, the full ensemble rejoins the rhythmic energy of the opening “Gloria” theme. The movement closes with a triumphant and rhythmically charged “Amen,” rounding off the movement with exuberance and structural symmetry.
3. Credo
The Credo is the longest and most structurally intricate movement of the Misatango, unfolding in a series of dramatic episodes that mirror the unfolding theological affirmations of the Nicene Creed. It opens with a rhythmic ostinato that lends urgency to the initial declarations of belief, while the choir delivers the text with declamatory clarity and propulsion.
A major turning point arrives at the Et incarnatus est, where the mezzo-soprano returns with a soulful, improvisatory-sounding solo. This moment introduces a striking change in mood and texture, underlining the mystery and tenderness of the Incarnation. Palmeri uses sparing orchestration here—often just a veil of piano and strings—to allow the vocal line’s expressive phrasing to take center stage.
Later in the movement, the Credo in Spiritum Sanctum signals the start of an extended dramatic crescendo. This section opens in stark contrast to the preceding intensity: the mezzo intones a slow, meditative solo accompanied only by simple piano figures and pizzicato bass, creating a sense of introspective anticipation. Gradually, the choir and orchestra enter, building momentum in a long, slow burn that gathers rhythmic and harmonic energy. This cumulative drive reaches a climactic acceleration in the final “Et vitam venturi saeculi,” where the affirmation of eternal life is delivered with fervent, almost ecstatic propulsion.
4. Sanctus
The Sanctus opens with a striking piano solo, firmly rooted in tango idiom. This extended introduction establishes both the harmonic language and rhythmic character of the movement—syncopated, expressive, and unmistakably Argentine. The mezzo-soprano soon enters, weaving into the established texture with a lyrical solo that builds upon the piano’s thematic material.
As the movement progresses, the tempo increases and the orchestration becomes more rhythmically charged. The choir enters with a vibrant, layered statement of “Sanctus, Sanctus, Sanctus,” lifting the mezzo’s theme into a broader choral texture. This section pulses with energy and forward momentum, underscoring the exaltation of the heavenly host.
The subsequent Pleni sunt caeli and Hosanna in excelsis are relatively brief but impactful. Palmeri compresses these traditional outbursts of praise into concise, rhythmic settings that bring the movement to a vibrant, celebratory close without overstating the material.
5. Benedictus
The Benedictus begins with a simple, chordal statement from the choir, evoking the character of a benediction in both its harmonic restraint and calm dignity. This brief opening sets a tone of gentle reverence, distinct from the rhythmic vitality of the preceding movements.
The mezzo-soprano then introduces a cheerful, lyrical setting of the Qui venit in nomine Domini. Melodically graceful and lightly ornamented, this solo has the character of a French mélodie—reminiscent of Fauré in its ease and elegance. The orchestra and choir soon join in, expanding the texture while maintaining the movement’s tone of radiant simplicity.
The music from the opening of the Sanctus returns, now repurposed for a final setting of “Hosanna in excelsis.” This reprise is gentle rather than grand, and the movement concludes with quiet joy, rather than overt triumph—a fitting moment of warmth and serenity in the larger arc of the Mass.
6. Agnus Dei
In keeping with the structure of the Latin Mass, the Agnus Dei text is heard three times, each iteration intensifying in emotional and musical character. Palmeri begins with a plaintive solo for the bandoneón, whose expressive voice sets a tone of introspective sorrow. The mezzo-soprano follows with a more impassioned rendering of the second invocation, expanding the emotional range while maintaining the sense of supplication. The third statement is given to the full chorus, now with resolute power, summoning a collective plea for mercy.
What follows is one of the most striking passages in the entire work: the Dona nobis pacem is transformed into an extended fugue, beginning in the low voices with support from the bandoneón. Palmeri alternates between a minor and C major, using this harmonic oscillation to convey both yearning and hope. The texture evolves gradually—sometimes hushed and searching, at other times forceful and declarative—as the fugal voices accumulate and intensify.
A short, intoned solo by the mezzo-soprano marks a moment of calm and transition before the final fugue iteration, in which the full choir reenters. The mezzo floats above the choral texture, offering a lyrical counterpoint that evokes transcendence. In the closing measures, Palmeri brings the work full circle by recalling the opening gesture of the Kyrie—now transformed into a major key. The final benedictory pacem is tender and luminous, with solo cello and bandoneón restating the fugue theme one last time, leaving the listener with a sense of quiet resolution and peace.