Exaudi Orationem Meam

Exaudi Orationem Meam Lyrics

Exaudi Orationem Meam (in progress, for 2027)

Dómine, exáudi oratiónem meam,  et clamor meus ad te véniat.
Ne avértas fáciem tuam a me: in quacúmque die tríbulor, inclína ad me aurem tuam;
in quacúmque die invocávero te, velóciter exáudi me.

Translation of Exaudi Orationem Meam

Hear my prayer, O Lord: and let my crying come unto thee.
Hide not thy face from me in the time of my trouble: incline thine ear unto me
On the day that I call on you; O hear me

IPA of Exaudi Orationem Meam

dómine, exáudi oratiónem meam,
dɔminɛ, ɛgzɑudi ɔɾɑtsiɔnɛm mɛɑm,

et clamor meus ad te véniat.
ɛt klɑmɔɾ mɛus ɑd tɛ vɛniɑt.

ne avértas fáciem tuam a me:
nɛ ɑvɛɾtɑs fɑtʃiɛm tuɑm ɑ mɛ:

in quacúmque die tríbulor,
in kwɑkumkwɛ diɛ tɾibulɔɾ,

inclína ad me aurem tuam;
inklinɑ ɑd mɛ ɑuɾɛm tuɑm;

in quacúmque die invocávero te,
in kwɑkumkwɛ diɛ invɔkɑvɛɾɔ tɛ,

velóciter exáudi me.
vɛlɔtʃitɛɾ ɛgzɑudi mɛ.

Program Notes for Exaudi Orationem Meam

Musical Overview

History

The phrase “Exaudi orationem meam”—translating from the Latin Vulgate as “Hear my prayer”—carries a rich legacy that bridges ancient biblical lament with striking modern musical innovations. Unlike phrases tied to a single psalm, this desperate plea serves as a recurring anchor across several Latin psalms of supplication, most famously driving the opening of Psalm 101 (“Domine, exaudi orationem meam, et clamor meus ad te veniat” / “O Lord, hear my prayer, and let my cry come unto thee”). Over the centuries, this text transcended the written scriptures to become a ubiquitous vocal cornerstone in traditional Catholic liturgy. It evolved into a universal versicle and response woven throughout the Latin Mass, the Divine Office, and solemn funeral rites, acting as the standard verbal gateway chanted by the priest and congregation right before the closing prayers. The phrase held such immense spiritual weight that medieval scribes illuminating Latin Psalters routinely marked its arrival with a massively stylized, highly decorated initial letter “D” for Domine.
Four centuries after the height of the Renaissance, Russian composer Igor Stravinsky completely revolutionized this historical text in the first movement of his monumental 1930 masterpiece, the Symphony of Psalms. Commissioned for the Boston Symphony Orchestra, Stravinsky bypassed traditional romantic sentimentality, choosing instead to capture the raw, trembling humility of the prayer through a stark and highly unorthodox orchestration. He completely eliminated violins, violas, and clarinets from the ensemble, opting for a percussive, chiseled soundscape dominated by heavy woodwinds, brass, two pianos, and a harp. The movement famously erupts with a sharply articulated, tightly spaced E-minor chord—widely known as the “Stravinsky chord”—before dropping into a narrow, ritualistic chanting melody as the alto voices enter with “Exaudi orationem meam.” Rather than offering musical comfort, Stravinsky’s interlocking vocal lines create an atmosphere of profound communal desperation, painting the portrait of a wandering stranger pleading for strength and setting the stage for the intricate fugues that follow.

Trotta’s Modern Setting

A modern a cappella setting by Michael John Trotta unfolds as a dynamic soundscape that seamlessly blends lush, contemporary warmth with a driving, internal vitality. Stripped of all instrumental accompaniment, Trotta transforms the unaccompanied choir into a complete symphonic vehicle, using the human voice to construct both the architectural framework and the percussive pulse of the piece. The sonic environment immediately bathes the listener in rich, extended harmonies, frequently utilizing shimmering "cluster chords" and added seconds or ninths that sound deeply modern yet remain accessible and resonant. He orchestrates the vocal parts with striking contrast, often letting a solo voice soar above a dense, multi-part vocal drone, or layering sections so that one group provides a rhythmic, repeating syllable while another carries a sweeping, lyrical melody. Every chord is spaced with a meticulous understanding of acoustics, designed to maximize the natural overtones of a concert hall or church and make a standard choir sound remarkably massive.

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