De Rerum Natura
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Listen to the entire song cycle on YouTube (and other streaming services under De Rervm Natvra). Chloe Lankshear-soprano, Alicia Crossley-recorders, Heathcliffe Auchinachie-guitar and Brad Gill-percussion
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De Rerum Natura is a 6-part song cycle setting portions of Titus Lucretius Carus’ same-titled 6-volume ancient Latin literary work, completed in c. 55-50 BCE. De Rerum Natura can be translated as The Nature of Things, and is a sophisticated didactic text explaining the world around us, consisting of poetry, prose and scientific theory of the antiquity. Lucretius outlines the flaws as he sees them in ancient religion, that the souls of men are mortal and the world made up of infinite fine particles, using a similar text written 200 years previous by ancient Greek philosopher Epicurus (341-270 BCE) as a model. The text is pronounced according to the principles of classical pronunciation, which is how linguists believe that Latin was spoken in ancient Rome.
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De Rerum Natura Promo
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Liber Secundus Video Performance
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Liber Tertius Video Performance
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Analysis Zoom Video
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Programme Notes
The six movements of De Rerum Natura, are divided into two related groups of three movements (1, 2, 3 and 4, 5, 6). The first song has a very flowing character while the second is much more rhythmically driven and tense. The fourth song is related to the first harmonically, but with the tense and rhythmically driven character of the second. The fifth song meanwhile is related to the second harmonically, but with the flowing character of the first. The third and sixth songs are also closely related by way of their rhythmically free and semi-improvised character, creating two related yet contrasting overall divisions of the song cycle.
Liber Primus
Lines 62-101, 136-45
The six movements of De Rerum Natura, are divided into two related groups of three movements (1, 2, 3 and 4, 5, 6). The first song has a very flowing character while the second is much more rhythmically driven and tense. The fourth song is related to the first harmonically, but with the tense and rhythmically driven character of the second. The fifth song meanwhile is related to the second harmonically, but with the flowing character of the first. The third and sixth songs are also closely related by way of their rhythmically free and semi-improvised character, creating two related yet contrasting overall divisions of the song cycle.
Liber Primus
Lines 62-101, 136-45
The selected text in Liber Primus outlines the defiance of the ancient Greek philosopher Epicurus against the religion of ancient Greece, later adopted by the Romans. There is then a description of crimes committed in the name of religion, specifically the slaying of Agamemnon’s daughter to provide a favourable wind for the invasion of Troy. Deceptively, Liber Primus incorporates harmonic and melodic material based on the Mediaeval 'church' modes. An assumption may therefore be drawn upon hearing its Latin text and modal harmony that the movement’s subject matter is religious, which is correct, but in a manner contrary to what might be assumed. Chord progressions in each mode using non-traditional functional relationships are derived, with each phrase in the flowing first section only using one chord from each progression. The more uncomfortable middle section meanwhile, uses only the first 6 pitches of each mode, creating hexachordal harmony additionally placed in fixed-register positions. The final section, in a symmetrical order, outlines the original progression derived for each mode in a more jovial manner.
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Excerpt of Liber Primus. Chloe Lankshear-soprano, Heathcliffe Auchinachie-guitar. |
Liber Secundus
Lines 165-80, 294-307, 381-97.
The selected text in Liber Secundus describes the movement of matter and changes in nature such as the passing of the seasons, asserting that these are not put in motion by any divine power. Two systems of interlocking tetrachords are used to create fixed pitch schemas, incorporating both equally tempered and microtonal intervals influenced by the music theory of the ancient Greeks and subsequently inherited by musicians that performed for the Romans. The first schema is used in the first and third sections, and includes 4 interlocking tetrachords based on a system where all subsequent tetrachords are built upon the highest note of the one previous. The second variant of this system is used in the movement’s middle section, with each of the 4 tetrachords transposed a perfect 5th above the fundamental of the one previous.
Lines 165-80, 294-307, 381-97.
The selected text in Liber Secundus describes the movement of matter and changes in nature such as the passing of the seasons, asserting that these are not put in motion by any divine power. Two systems of interlocking tetrachords are used to create fixed pitch schemas, incorporating both equally tempered and microtonal intervals influenced by the music theory of the ancient Greeks and subsequently inherited by musicians that performed for the Romans. The first schema is used in the first and third sections, and includes 4 interlocking tetrachords based on a system where all subsequent tetrachords are built upon the highest note of the one previous. The second variant of this system is used in the movement’s middle section, with each of the 4 tetrachords transposed a perfect 5th above the fundamental of the one previous.
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Excerpt of Liber Secundus. Chloe Lankshear-soprano, Alicia Crossley-recorder, Brad Gill-percussion. |
Liber Tertius
Lines 417-44, 1076-94
The selected text in Liber Tertius outlines the mortality of the soul, its delicacy, and that when we die our soul dies with us, dissipating like fog or smoke. Influenced by ancient poetry reading forms, the work’s vocalist becomes a poetry reciter, accompanied by a recorder performer playing two alto recorders simultaneously to emulate the ancient double pipe, the aulos, often used to accompany a poetry reader during the antiquity. The movement begins with the recorders outlining the movement’s tetrachordal pitch material in unison, accompanied by a frame drum. The soprano then begins the poetry recitation, accompanied by the recorders at first using fixed, but later improvised material in harmony, with each separate recorder performing independent material. The movement then ends with a shortened and varied version of the introduction, acting as a bookend.
Lines 417-44, 1076-94
The selected text in Liber Tertius outlines the mortality of the soul, its delicacy, and that when we die our soul dies with us, dissipating like fog or smoke. Influenced by ancient poetry reading forms, the work’s vocalist becomes a poetry reciter, accompanied by a recorder performer playing two alto recorders simultaneously to emulate the ancient double pipe, the aulos, often used to accompany a poetry reader during the antiquity. The movement begins with the recorders outlining the movement’s tetrachordal pitch material in unison, accompanied by a frame drum. The soprano then begins the poetry recitation, accompanied by the recorders at first using fixed, but later improvised material in harmony, with each separate recorder performing independent material. The movement then ends with a shortened and varied version of the introduction, acting as a bookend.
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Excerpt of Liber Tertius. Chloe Lankshear-soprano, Alicia Crossley-recorders, Brad Gill-percussion. |
Liber Quartus
Lines 230-68
The text chosen for Liber Quartus describes the senses of the body, particularly of sight and touch, and how we perceive these. The hexachordal harmony first explored in Liber Primus is developed further in the very jagged first and last sections, with an emphasis initially on unisons between guitar and voice that are rhythmically out of synchronisation, and are placed in fixed-register positions. During the middle section, the ‘church’ modes of Liber Primus re-appear using the pitches F#, B and E as fundamentals (the only pitches absent from Liber Primus). Sections of spoken text meanwhile by the vocalist provide a link between the third and fourth movements.
Lines 230-68
The text chosen for Liber Quartus describes the senses of the body, particularly of sight and touch, and how we perceive these. The hexachordal harmony first explored in Liber Primus is developed further in the very jagged first and last sections, with an emphasis initially on unisons between guitar and voice that are rhythmically out of synchronisation, and are placed in fixed-register positions. During the middle section, the ‘church’ modes of Liber Primus re-appear using the pitches F#, B and E as fundamentals (the only pitches absent from Liber Primus). Sections of spoken text meanwhile by the vocalist provide a link between the third and fourth movements.
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Excerpt of Liber Quartus. Chloe Lankshear-soprano, Heathcliffe Auchinachie-guitar, Brad Gill-percussion.
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Liber Quintus
Lines 416-60
The text chosen for Liber Quintus outlines the formation of the universe, sun, earth and moon; described as being born out of the primordial matter of a ‘strange storm’ and a ‘surging’ or ‘rotating mass’. A theory remarkably close to current scientific understanding. The tetrachordal harmony of Liber Secundus is further developed during the very flowing character of sections one and three, progressing in a very fluid manner from one to the next. The middle section re-applies these tetrachords in fixed-register positions, and in a more rhythmically unsettled manner.
Lines 416-60
The text chosen for Liber Quintus outlines the formation of the universe, sun, earth and moon; described as being born out of the primordial matter of a ‘strange storm’ and a ‘surging’ or ‘rotating mass’. A theory remarkably close to current scientific understanding. The tetrachordal harmony of Liber Secundus is further developed during the very flowing character of sections one and three, progressing in a very fluid manner from one to the next. The middle section re-applies these tetrachords in fixed-register positions, and in a more rhythmically unsettled manner.
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Excerpt of Liber Quintus. Chloe Lankshear-soprano, Alicia Crossley-recorder, Heathcliffe Auchinachie-guitar.
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Liber Sextus
Lines 1247-End
The final movement of De Rerum Natura, Liber Sextus, uses Lucretius’ apocalyptic description of the Athens plague epidemic of 430-27 BCE, outlining graphic physical descriptions of disease, death and devastation. The first section incorporates very mournful material where the vocalist is required to tune to the pitches emanating from a cymbal played with a string instrumental bow for the first of each six lines of text, alternated with very rhythmically agitated material using approximate pitch. Notated pitch material returns for the concluding lines of De Rerum Natura however, re-working and building tetrachordal material used previously to a climax, then ending suddenly to complement the somewhat abrupt and bewildering ending of Lucretius’ literary work.
Lines 1247-End
The final movement of De Rerum Natura, Liber Sextus, uses Lucretius’ apocalyptic description of the Athens plague epidemic of 430-27 BCE, outlining graphic physical descriptions of disease, death and devastation. The first section incorporates very mournful material where the vocalist is required to tune to the pitches emanating from a cymbal played with a string instrumental bow for the first of each six lines of text, alternated with very rhythmically agitated material using approximate pitch. Notated pitch material returns for the concluding lines of De Rerum Natura however, re-working and building tetrachordal material used previously to a climax, then ending suddenly to complement the somewhat abrupt and bewildering ending of Lucretius’ literary work.
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Excerpt of Liber Sextus. Chloe Lankshear-soprano, Alicia Crossley-recorder, Heathcliffe Auchinachie-guitar, Brad Gill-percussion.
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De Rerum Natura was developed with financial support from the Classical Association of NSW, The Myer Foundation, APRA AMCOS and Mr Charles Davidson.
The full text of De Rerum Natura can be viewed in the Perseus Online Digital Library. The first section of book 1 can be viewed by clicking here, you can then use the navigation bar at the top of the page to progress through each section and subsequent volumes. An English translation can also be loaded on the right of the page.
Instrumentation: voice (sop or mezzo sop), recorder or flute, acoustic guitar or harp, percussion
Performances of this work:
17 Sep 2019: Movement II only (Liber Secundus). Sideband: Renaissance Concert. Featuring Chloe Lankshear, Alicia Crossley and Brad Gill.
The full text of De Rerum Natura can be viewed in the Perseus Online Digital Library. The first section of book 1 can be viewed by clicking here, you can then use the navigation bar at the top of the page to progress through each section and subsequent volumes. An English translation can also be loaded on the right of the page.
Instrumentation: voice (sop or mezzo sop), recorder or flute, acoustic guitar or harp, percussion
Performances of this work:
17 Sep 2019: Movement II only (Liber Secundus). Sideband: Renaissance Concert. Featuring Chloe Lankshear, Alicia Crossley and Brad Gill.