About this work:
A setting of one of the O Antiphons. Commissioned by the Choral Arts Society of Philadelphia, conductor Matthew Glandorf.
From the composer: "When I was asked to set one of the O Antiphons, I knew the one I wanted to choose was "O Oriens" because of its universality. While my setting uses the traditional plainsong setting as its backbone, I hear the text as relevant far beyond its liturgical purpose; it becomes a plaintive call for light in the form of love, knowledge, and peace both in the world and within each of us personally, particularly for those of us who have suffered from depression or grief."
Melissa Dunphy's O Oriens (O Morning) offered no gimmicks - just a model of sincerity, beautiful harmonic changes, and a great sensitivity to pitches and phrases that fall naturally on the human voice. [Philadelphia Inquirer]
Dunphy’s motet unfolds with a chant-like opening, creating an organic link between the modern and ancient, and expanding into lush diatonic clusters and triads. Shimmering seconds in the upper register frequently give way to strong harmonic pillars and a few change-of-mode surprises. [Douglas Buchanan]
O Oriens,
splendor lucis aeternae, et sol justitiae:
veni, et illumina sedentes in tenebris, et umbra mortis.
O Morning Star,
splendour of light eternal and sun of righteousness:
Come and enlighten those who dwell in darkness and the shadow of death.