Harmonia Stellarum Houston presents 'Fiori Musicali'

HOUSTON, TX -- When it comes to lovers of Classical or Romantic music, there are plenty of opportunities in the Houston Region to hear live music, but for the earlier common practice period, the Baroque, the chances of catching performances are rather limited. But wait, I found a group, ‘Harmonia Stellarum Houston,’ which runs out of the First Lutheran Church on Holman Street in Midtown; they have been putting on concert seasons for the last several years now. It’s an amazing experience to listen to music that was generally performed from 1600 to 1650, based on a proven period based organ that was restored by an Italian organ company, being able to recreate the masterpiece for those fortunate to purchase a modern model.

Harmonia Stellarum Houston’s Chairman and Artistic Director, Dr. Mario Aschauer, says, “It’s like taking a ride in a time machine,” and his organization cut no corners in bringing the organ's original soundscape to Texas. It’s truly an honor to hear the sound, even with the original character flaws of the machine from 400 years ago, and with the associated Gregorian Chants that populated the Church of that day, with the aid of modern day performers, it is quite a sight to hear, and see.

In the 16th Century, following the Council of Trent in 1563, the Church modernized so to speak, by allowing the use of the organ as an accompanying instrument for the various vocal ensembles during the mass. The organ was also used for instrumentation in the quieter parts of the mass, such as with the preparation of the Sacrament of The Eucharist, or Holy Communion, and interacted and responded to the Gregorian Chants placed throughout the service. The Church was in a period of reform following the Protestant Reformation, needing to curb clerical abuses, clarify the doctrine, and loosen some of the rigidity of the mass; and the organ played its part in making up for the reduced voices of the chants.

The Harmonia Stellarum’s organ by Organi Famiglia Pradella, is a 2024 edition slightly smaller copy of a 1608 model, with pipework attributed by Costanzo Antegnati (1549-1624) at the Chiesa dei Santi Eusebio e Vittore in Peglio, Italy. The facade is inspired by the 1565 organ by Graziado Antegnati (1524-1590) at the Basilica palatina de Santa Barbara in Mantua, Italy. And it’s the First Italian Renaissance Organ in Texas, and compared to modern organs, the keyboard is rather limited, but does sport 14 keys (a split key G sharp and A flat), over the standard 12.

The program started with Dr. Aschauer sitting at the organ. He began with ‘Canzona Franzesa Quarta, 1603’ from Giovanni Maria Trabaci (1575-1647). Frankenstein comes to mind when you hear the first blows from the pipes, but it’s all dedicated to more saintly pursuits. The organ came way before the piano, but some artists choose to use the harpsichord in the performance of this piece. Mario is such an expert on performance of the organ, having performed on much grander models and on different continents. The Costanzo Antengnati masterpiece took direction from Dr. Aschauer's precious play, which yielded for a livelier and more rhythmic body that was separated in several distinct sections. The organ’s ability to entertain was remarkable, and it was its own little orchestra all in one.

Then the ‘Vultum tuum,’ chanting began, reminding the listener, drawing them back from secular leanings of Trabaci. The monks had hundreds of years of practice in their craft, with each chant bringing them closer to God. With Latin almost a lost language, just listening to it opens a new world, a new perspective on life that hasn’t been experienced before. A time before many things, from the Industrial Revolution forward. The chanters, Nicholas Garza, Alto; Michael Martin, Alto; JP Williams, Bass, performed the Vultum tuum, with the equal intensity of chanters hundreds of years ago. Their booming voices filled the sanctuary.

Girolamo Frescobaldi (1583-1643) was next on the program, and the main reason for the concert. Generally known as the Pope’s organist, Frescobaldi wrote ‘Fiori musicali,’ or Musical Flowers in 1635; and when he was not playing for the Pontiff, he was teaching a number of students who followed him to Rome. Frescobaldi was active in publishing his music so that his Works were disseminated all across Europe, where even Johann Sebastian Bach, would eventually come to own a copy of his ‘Toccata avanti la Messa della Madonna.’ And following was the Kyrie, Canzona dopo l’epistola, all elements of the three masses: Missa della Domenica (Sunday Mass); Missa degli Apostoli (Mass of the Apostles); and Missa della Madonna (Mass of the Virgin).

The ‘Ipsi sum desponsata,’ meaning ‘I am betrothed to him,’ is a common Dominican based chant used in the Church at that time, during the offertory part of the mass, it's as if you are attending a Latin Mass without the priest’s back towards you, nor all the kneeling, standing or tithing. It’s a unique and incredible religious experience, even palatable to Believers not from the Mother Church. The Ipsi was used as an antiphon, and is still prominent in the Mass today, primarily in the Kyrie, Gloria, Creed, Sanctus (Holy Holy), Memorial Acclamation, and Agnus Dei (Lamb of God). It is associated with a short associated phrase or word before or after, and all are permanent parts of the Mass.

The ‘Recercar dopo il credo,’ and ‘Toccata avanti il Recercar,’ are reserved for the later portions and ending of the ceremony, with the latter resembling a near reprise of the intro to the ‘Toccata avanti la Messa della Madonna.’

Beautiful renditions of Giovanni Battista Riccio’s (1570-1630), ‘Ave Maria gratia plena,’ or ‘Hail Mary Full of Grace’; and Severo Bonini (1582-1663), ‘Dialogo della Madonna e del angelo,’ or ‘The Annunciation,’ touched many a heart.

Frescobaldi’s revelations invite the listener to reach for the sky, allowing themselves to become closer to God. Are you a good Christian? It was a rhetorical question. But the organ is able to set so many moods, from Frescobaldi to Bela Lugosi to Dr Aschauer.

The chanting by the performers, initially Garza, Martin, and Bass; when out of sight, really pulled the perception of monks in a monastery off. Chants offered to God, the Old World communication method, and rebirthed thanks to Dr. Aschauer and his efforts. The organ and chants offer a peace within our hearts that allows, if we take it, or chance for a better life, a more justified life. Late in the performance, Elizabeth Tait, soprano; and Michael Skarke, Alto, came in for a beautiful rendition of Frescobaldi’s ‘Bergamasca,’ further enhancing the mood set by the chanters.

Dr Mario is a dedicated artist, with a special aptitude to rebirth near dead music and chants from a different age, with original out of tune organ notes by design. What we hear is what was heard 400 years ago, which was mainstream at that time. It was in a church, where it was the only place to enjoy such a performance. Dr Aschauer’s ability to entertain with his vast knowledge and command of the keys, at times it appeared he was playing with the audience in how he tweaked the ivories thinking, “I got this.” I’m sure I saw a little smile.

Harmona Stellarum Houston’s next concert ‘Triumph, Triumph, Victory,’ is April 27th at The First Lutheran Church in Midtown, Houston. For tickets and donations: harmoniastellarum.com

Ruben can be reached at: ruben@montgomerycountynews.net