The books and movies that are set in the medieval era usually portray a positive and a negative side to life in olden times. On one hand, famine, hunger, disease, plague, superstition, wars, cruelty – a harsh life. On the other hand, romance, heroics, bravery, passion, beauty – an over-romanticized vision of a charmingly simple life, without the madness of the modern age.

I am no historical scholar, so I won’t go into how things “really were” because I don’t know. What I do know is that the music of the high gothic era is as beautiful and complex as its architecture and art. If you compare the thick, heavy romanesque buildings of the earlier age to the light, ornate buildings of the gothic era, you can understand the profound difference between the monophonic (one note at a time) plainsong of the early medieval period and polyphonic (many independent notes simultaneously) gothic music.

Pérotin le Grand was one of the few named medieval composers from whom we have music. He is the most famous composer of the Notre Dame School of polyphony, and of the Ars Antiqua (“Old Art”) style. This piece, “Sederunt Principes” sounds a bit strange to our modern ears (each word takes about a minute to sing), but you can’t deny that it’s pretty cool.

I especially like some of the comments on this video: “eeeee e ee ee eee  e ee  ee  ee e e e e  eeee  e e e   ee” Yeah that just about sums it up.

It’s always a struggle to draw clear lines around what is and isn’t Art Music. One good descriptor is a piece’s ability to remain popular long after it was new. Simply put, trends come and go, but the stuff that’s really good lives on for decades or even centuries.

Kile Smith is a living American composer who wrote a large work “Vespers” for two professional ensembles, The Crossing choir and Piffaro renaissance wind band. The movements are in Latin and German; it was premiered in Philadelphia. It uses modern compositional idioms and ancient German hymn tunes. It sounds new and ancient at the same time. It breaks new ground while reminding us of something we feel like we already know.

If you like what you hear, I highly recommend listening to the rest of the work. You can find it on youtube, or (the better option) you can purchase the album from iTunes or Amazon.

… and then I’ll stop and move on. I promise.

Welsh composer Ralph Vaughan Williams composed two major works for Christmas. Neither is neglected, though they haven’t achieved the same level of popularity as the A-list of holiday Art Music. The first is the Fantasia on Christmas Carols, which is on the B-list because the carols selected are not top-40 (perhaps 41-80?)

The second is the oratorio Hodie, which includes biblical texts along with poetry and hymns – not unlike Bach’s own Christmas Oratorio and the cantatas of Protestant Germany. Today I’ve selected the first movement of the oratorio – the movement after which the complete work gets its name. This piece absolutely tickles me, because it is the closest to Leonard Bernstein that Vaughan-Williams’ music ever gets (though it doesn’t get very close …). Vaughan-Williams composed in a very conservative style, so a movement like this with changing dance rhythms and meters is about as wild as he can get. How wild? Like wearing a tuxedo and … unbuttoning your jacket! Or maybe wearing an country suit to a city supper.

So, not very wild. But give the guy some credit.