Timeless Text in a Contemporary Voice
Program Notes on
Three Pieces by Darren S. Herring, ASCAP
O Sacrum Convivium
O sacrum convivium,
in quo Christus sumitur:
recolitur memoria passionis eius;
mens impletur gratia
et futurae gloriae nobis pignus datur.
Alleluia!
O sacred feast,
in which Christ is received;
the memory of His Passion is renewed;
the soul is filled with grace;
and a pledge of future glory is given to us.
Alleluia!
—Attributed to St. Thomas Aquinas
This setting of “O sacrum convivium” draws inspiration from the harmonic language and coloristic sensibilities of early twentieth-century French Impressionist composers. Conceived as a tone poem for choir, the work incorporates the original Latin chant from the Liber Usualis, weaving it into a contemporary harmonic framework.
While much of the musical material is original, the ancient chant emerges at pivotal moments as a principal melodic thread, moving fluidly through textures of both consonance and dissonance. This interplay between old and new reflects a compositional approach embraced by numerous composers of the past century, including Maurice Duruflé and Gabriel Fauré, and echoed in the works of Arvo Pärt and Olivier Messiaen, as well as in earlier orchestral traditions represented by Hector Berlioz and Gustav Mahler.
In this setting, the chant melody is first introduced in the tenor line, then passed to the altos and sopranos, unfolding above a sustained bass foundation that evokes the sonority of parallel organum. Later, the tenors reintroduce the chant on the word “Alleluia,” weaving through the choral texture as the full ensemble recalls the opening text, “O sacred feast,” bringing the work to a contemplative and unified close.
How Lovely is Thy Dwelling Place
This text, a paraphrase from the Scottish Psalter of 1650, is drawn from Psalm 84 and expresses a profound longing to dwell in the presence of God—where true home and lasting fulfillment are found.
This setting was commissioned by The Right Reverend Dan Edwards, tenth Bishop of the Episcopal Diocese of Nevada, for the consecration of Trinity Episcopal Cathedral, which was established as the permanent cathedral of the diocese on October 15, 2020.
Musically, the work is inspired by the Anglican composers of the Victorian period and pays homage to their distinctive style. It draws upon characteristic harmonic language, melodic contour, and metrical sensitivity typical of late nineteenth- and early twentieth-century English church music. A recurring structural element is the opening organ motif, which returns throughout the piece in varied forms, appearing in both the organ and choral textures.
Scored for choir and organ, the composition unfolds as a musical pilgrimage: from an initial yearning for the presence of God to an arrival at the altar of the Lord of Hosts. A striking tonal shift from G major to B-flat major marks this movement from the ordinary toward the transcendent.
In the final section, the lower voices unite in unison to proclaim the blessedness of those who seek God, while the soprano line rises above in a soaring descant reminiscent of the English hymn tradition. The work concludes with a contemporary reimagining of the “Sevenfold Amen,” gently reiterating the text, “How lovely is Thy dwelling place, O Lord of hosts,” and bringing the piece to a serene and reverent close.
May the Lord Bless You and Keep You
This work is a simple and lyrical setting of Numbers 6:24–26, a text often associated with the traditional “Irish Blessing.” While rooted in Scripture, the musical language evokes a distinctly Celtic character, blending simplicity with warmth and a sense of timelessness.
The gently lilting melody is complemented by a flute descant, lending a pastoral quality that suggests both memory and continuity—echoing sounds that feel equally at home in the present day or centuries past. The result is a musical idiom that resonates with familiarity while remaining fresh and expressive.
The piece opens with all voices in unison, establishing a sense of unity and clarity before unfolding into traditional four-part harmony. As it progresses, the harmonic movement follows a descending chordal pattern, creating a natural, flowing contour that is both accessible and satisfying for singers and listeners alike.
The work concludes with a traditional “Sevenfold Amen,” offering a serene and reflective ending that reinforces the benediction’s enduring message of peace and blessing.