Fragments for the End of Time

Sunday, January 10, 2010 - 3:00 pm
St. Philip's In The Hills Episcopal Church
4440 N. Campbell Ave. (at River Road)


Fortis atque amara – Frankish sequence, 9th century
. . . sin tac piqueme, daz er touuan scal – probably Fulda, early 9th century
Unsar trohtin hat farsalt – Bavaria, late 9th century
Thes habet er ubar woroltring – Otfrid von Weissenburg, d. 875
Gaude coelestis sponsa – based on Frankish sequence melodies, 9th century
Thaer waes swylcra fela – from the Beowulf epic, Anglo-Saxon, ca. 8th century
Occidentana – based on a Frankish sequence melody, 9th century
Iudicii signum – Aquitaine, 11th century
Scalam ad caelos – based on a Frankish sequence melody, 9th century
Summi regis archangele Michahel – Einsiedeln, 10th century
A fellr austan um eitrdala – from the Edda, Iceland, 10th century

From the time of Christianity's introduction into Europe until the end of the first millennium, apocalyptic images of the End of Time and Last Judgment were prominent in both poetic texts and in the visual arts. These images, largely based on the Biblical Revelation of John, at times bear a remarkable similarity to the pagan-Germanic description of the world's destruction during the final battle between Odin, the gods and their mortal enemies, the giants. In Sequentia's new program Fragments for the End of Time, vocalist/harper Benjamin Bagby and flautist Norbert Rodenkirchen explore the musical world of these powerful texts, some of which survive only as fragments in the Old High German Muspilli.

“Sequentia speaks to the heart”
Boston Early Music Festival & Exhibition