Laudato Si – the Original

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This year marks the 800th anniversary of the definitive composition of the Canticle of Brother Sun, also known as the Canticle of the Creatures or Laudes Creaturarum, by St. Francis of Assisi († 1226). This remarkable work, one of the first texts found in the anthologies when one studies Italian literature, is distinguished by its poetic beauty and its profound spiritual message, rooted in the Holy Scripture, particularly Psalm 148. The structure of the canticle unfolds in two sections: the first part is an Alleluia, a hymn celebrating nature as a manifestation of divine glory; the second part, reminiscent of a Dies irae, offers a solemn meditation on human suffering and mortality.

According to Franciscan sources, St. Francis was moved to write the canticle by a deep sense of gratitude and devotion. He is recorded as saying:

Therefore, for His praise, for our consolation, and for edification of our neighbor, I want to write a new Praise of the Lord for his creatures, which we use every day, and without which we cannot live. Through them the human race greatly offends the Creator, and every day we are ungrateful for such great graces, because we do not praise, as we, should, our Creator and the Giver of all good.

Sitting down, he began to meditate and then said: “Most High, all-powerful, good Lord…” He composed a melody for these words and taught it to his companions so they could repeat it.”[1] It is believed that, already suffering from illness and nearly blind, St. Francis dictated the canticle at the convent of San Damiano in Assisi to Brother Leo († 1271), who transcribed the text. Unfortunately, the original melody has been lost, as it was never notated.

Several composers have set the Canticle to music, each infusing it with their own artistic interpretation. Notable among them are Gian Francesco Malipiero, whose San Francesco d’Assisi (1920–1921), is a mystery for soloists, choir, and orchestra, and Carl Orff, who composed Laudes Creaturarum quas fecit Beatus Franciscus ad Laudem et Honorem Dei (1957) for choir. Joaquín Rodrigo contributed with his Cántico de San Francisco de Asís (1982) for mixed choir and orchestra, commemorating the eighth centenary of St. Francis’s birth. Another significant contribution came from Sofia Gubaidulina, who composed The Canticle of the Sun of St. Francis of Assisi (1997) for cello, chamber choir, and orchestra, dedicating it to the renowned cellist Mstislav Rostropovich († 2007) on his seventieth birthday.

One of the most distinguished interpretations of the Canticle is by Swiss composer Hermann Suter († 1926), a pivotal figure in Basel’s musical landscape and the director of the local conservatory. In the summer of 1923, he composed Le Laudi di San Francesco d’Assisi, for soloists, mixed choir, children’s choir, organ and orchestra. This remarkable work was premiered in Basel on June 13, 1924, during the centenary celebration of the Basler Gesangverein (Basel Choral Society), which Suter had led since 1902.

The work is divided into nine movements, each inspired by a verse of St. Francis’ Canticle:

1. Altissimu, onnipotente, bon Signore: This opening movement, featuring tenor, choir, and children’s choir, evokes the brightness and warmth of the sun.
2. Laudato si’, mi’ Signore, per sora luna e le stelle: Set in the Dorian mode, this movement depicts the twinkling stars, expressed through both solo and choral voices.
3. Laudato si’, mi’ Signore, per frate vento: The power of the wind is conveyed through a dynamic fugue performed by soloists and choir.
4. Laudato si’, mi’ Signore, per sor’acqua: A gentle quartet captures the soothing murmur of flowing water.
5. Laudato si’, mi’ Signore, per frate focu: This lively passacaglia, performed by the choir, represents the sparkling nature of fire.
6. Laudato si’, mi’ Signore, per sora nostra matre terra: An alto solo celebrates the sweetness and fertility of the earth.
7. Laudato si’, mi’ Signore, per quelli ke perdonano: Following the praise of natural elements, the tenor and female choir honor the human capacity for forgiveness and endurance.
8. Laudato si’, mi’ Signore, per sora nostra morte corporale: The theme of death is presented as a passage into a broader sense of brotherhood, featuring bass, choir, and children’s choir.
9. Laudate et benedicete mi’ Signore: The final movement brings together the children’s choir, the main choir, and soloists in a hymn of thanksgiving and meditation.

Suter’s Le Laudi embodies the late-Romantic tradition, deliberately distancing itself from the avant-garde 12-tone serialism that was emerging at the time. Instead, it draws inspiration from the Neue Deutsche Schule (New German School), characterized by a blend of innovation and traditionalism. Much like Arthur Honegger († 1955), Suter expertly integrates elements from various musical traditions, including the solemnity of Gregorian chant, the atmospheric textures of Impressionism, and the structural complexity of polyphony and counterpoint. His compositional prowess shines through particularly in the intricate quadruple fugue of the third movement, which showcases his mastery of thematic development, and in the dynamic passacaglia of the fifth movement, where variations unfold with both precision and expressiveness.

The use of archaic elements, such as the a cappella tenor line that echoes Gregorian chant in the opening movement, and the contrasting textures between the mixed and children’s choirs, imbue the piece with a sense of solemnity and introspection. The emotional and sonic intensity builds to the dramatic climax of the final movement, which then concludes with a serene and contemplative resolution. Le Laudi has often been compared to major works like Liszt’s oratorio Christus (1866), Brahms’ A German Requiem (1868), Franck’s Les Béatitudes (1869-1879), and Verdi’s Requiem (1874) for its scope and depth.

This 800th anniversary of the Canticle and its musical interpretations, including that of Suter, remind us of the enduring relevance and spiritual power of St. Francis’s work. As Pope Benedict XVI († 2022) once noted, “the Canticle of Brother Sun, before being a great work of poetry and an implicit invitation to respect creation, is a prayer, praise addressed to the Lord, Creator of all” (Speech, June 17, 2007). The canticle’s timeless message of gratitude, reverence, and wonder continues to resonate across the centuries, inspiring both artistic and spiritual reflection.

Photo by Simon Wilkes on Unsplash

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[1] Leggenda Perugina, 43: 1592; in Francis of Assisi: early documents, New York 1999, p. 186.