Choral monuments : studies of eleven choral masterworks PDF
Preview Choral monuments : studies of eleven choral masterworks
Choral Monuments Choral Monuments Studies of Eleven Choral Masterworks DENNIS SHROCK 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2017 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging- in- Publication Data Names: Shrock, Dennis. Title: Choral monuments : studies of eleven choral masterworks / Dennis Shrock. Description: New York, NY : Oxford University Press, [2017] | Includes bibliographical references and index. Identifiers: LCCN 2016052392| ISBN 9780190469023 (hardcover) | ISBN 9780190469030 (pbk.) | ISBN 9780190469061 (oxford scholarly online) Subjects: LCSH: Choruses—Analysis, appreciation. | Choral music. Classification: LCC MT110 .S57 2017 | DDC 782.509—dc23 LC record available at https://lccn.loc.gov/2016052392 1 3 5 7 9 8 6 4 2 Paperback printed by WebCom, Inc., Canada Hardback printed by Bridgeport National Bindery, Inc., United States of America CONTENTS Acknowledgments xi Introduction xiii 1. Josquin Desprez – Missa Pange Lingua 1 BIOGRAPHICAL AND COMPOSITIONAL OVERVIEW 1 SALIENT COMPOSITIONAL CHARACTERISTICS 7 Imitation 7 Ostinatos 11 THE MISSA PANGE LINGUA 17 Structure and Parody Technique 17 PERFORMANCE PRACTICE CONSIDERATIONS 21 Performing Forces 21 Meter, Tactus, and Tempo 23 Text Underlay 26 Musica Ficta and Musica Recta 30 Summary 33 SELECTED BIBLIOGRAPHY 34 2. Giovanni Pierluigi da Palestrina – Missa Papae Marcelli 36 BIOGRAPHICAL AND COMPOSITIONAL OVERVIEW 36 THE PAPACY AND THE COUNTER- REFORMATION 41 THE MISSA PAPAE MARCELLI 49 Musical Characteristics 49 Legacy 54 PERFORMANCE PRACTICE CONSIDERATIONS 57 Pitch and Performing Forces 57 Meter and Tactus 59 Oratorical Phrasing 63 Tempo 65 v vi Contents Musica Ficta 68 Summary 70 SELECTED BIBLIOGRAPHY 70 3. Johann Sebastian Bach – B Minor Mass 72 BIOGRAPHICAL AND COMPOSITIONAL OVERVIEW 72 BACH’S LUTHERAN MASSES 76 Parody Technique 77 THE B MINOR MASS 80 Parodies 83 Compositional Rationale 87 MANUSCRIPTS, EDITIONS, AND PERFORMANCES 88 FORMAL AND MUSICAL STRUCTURES 91 Kyrie 92 Gloria 94 Credo 98 Sanctus 102 Agnus Dei 104 Summary 105 PERFORMANCE PRACTICE CONSIDERATIONS 105 Performing Forces 105 Meter and Tempo 111 Rhythmic Alteration 113 Ornamentation 114 Summary 117 SELECTED BIBLIOGRAPHY 118 4. George Frideric Handel – Messiah 120 GENESIS AND HISTORICAL PERSPECTIVE 120 HANDEL’S COMPOSITIONAL PROCESS 129 Speed of Writing, Parody Technique, and Revision of Works 129 THE LIBRETTO OF MESSIAH 134 FORMAL AND MUSICAL STRUCTURES 138 Instrumental Movements 138 Recitatives 138 Solo Vocal Movements 139 Choruses 140 PERFORMANCE PRACTICE CONSIDERATIONS 143 Performing Forces and Stage Set- up 143 Volume, Timbre, Pitch, and Vibrato 147 Contents vii Metric Accentuation 149 Rhythmic Alteration 151 Recitative 153 Ornamentation 155 Summary 162 SELECTED BIBLIOGRAPHY 163 5. Joseph Haydn – The Creation 165 INTRODUCTION 165 GENESIS AND HISTORICAL PERSPECTIVE 168 THE TEXT OF THE CREATION 174 MUSICAL EXPRESSION 182 FORMAL AND MUSICAL STRUCTURES 184 PERFORMANCE PRACTICE CONSIDERATIONS 188 Editions 188 Performing Forces and Stage Set- up 191 Meter and Tempo 194 Metric Accentuation 195 Recitative 197 Ornamentation 202 Summary 205 SELECTED BIBLIOGRAPHY 206 6. Ludwig van Beethoven – Symphony no. 9 207 INTRODUCTION 207 GENESIS AND HISTORICAL PERSPECTIVE 210 SCHILLER’S “AN DIE FREUDE” 217 FORMAL AND MUSICAL STRUCTURES 220 EXPRESSION 225 PERFORMANCE PRACTICE CONSIDERATIONS 231 Tempo 231 Metric Accentuation 236 Orchestration 240 Stage Set- up 243 SELECTED BIBLIOGRAPHY 245 7. Felix Mendelssohn – St. Paul 247 GENESIS AND HISTORICAL PERSPECTIVE 247 RECEPTION OF ST. PAUL 254 COMPOSITIONAL HISTORICISM 256 THE TEXT OF ST. PAUL 258 viii Contents FORMAL AND MUSICAL STRUCTURES 262 Recitatives 263 Turba Choruses 264 Arias 264 Chorales 265 Choruses 266 PERFORMANCE PRACTICE CONSIDERATIONS 269 Introduction 269 Performance in German or English 272 Performing Forces and Stage Set- up 272 Fermatas 275 Recitatives 277 Recommendations 279 SELECTED BIBLIOGRAPHY 281 8. Johannes Brahms – Ein deutsches Requiem 282 GENESIS AND HISTORICAL PERSPECTIVE 282 RECEPTION OF THE REQUIEM 287 TEXTS SET BY BRAHMS RELATED TO THOSE OF THE REQUIEM 289 THE TEXTS BRAHMS CHOSE FOR THE REQUIEM 294 MUSICAL AND FORMAL STRUCTURES 300 Motifs 300 Mirror Construction 305 PERFORMANCE PRACTICE CONSIDERATIONS 308 Instrumentation, Timbre, and Vibrato 308 Metric Accentuation 310 Stage Set- up 312 Tempo Fluctuation 313 Summary 320 SELECTED BIBLIOGRAPHY 320 9. Giuseppe Verdi – Messa da Requiem 322 INTRODUCTION 322 GENESIS AND HISTORICAL PERSPECTIVE 323 THE TEXT OF THE REQUIEM 328 FORMAL AND MUSICAL STRUCTURES 334 Structures Exhibited in Scoring 335 Structures of Individual Movements 337 Structures Related to Melodic Design 340 PERFORMANCE PRACTICE CONSIDERATIONS 342 Contents ix Rhythm and Expressive Markings 342 Tempo 346 Performing Forces and Stage Set- up 348 Summary 352 SELECTED BIBLIOGRAPHY 353 10. Igor Stravinsky – Mass 354 GENESIS AND HISTORICAL PERSPECTIVE 354 MASSES BASED ON HISTORIC MODELS 359 The Nineteenth Century 359 The Twentieth Century 361 STRAVINSKY AND MUSICAL STYLES OF THE PAST 365 Oedipus rex and Babel 368 Symphony of Psalms and Canticum sacrum 368 Mass and Cantata 370 FORMAL AND MUSICAL STRUCTURES OF THE MASS 372 Kyrie and Agnus Dei 373 Gloria and Sanctus 374 Credo 377 Summary 379 PERFORMANCE PRACTICE CONSIDERATIONS 379 Text Setting 379 Performing Forces and Stage Set- up 382 Summary 386 SELECTED BIBLIOGRAPHY 386 11. Benjamin Britten – War Requiem 387 INTRODUCTION 387 GENESIS AND HISTORICAL PERSPECTIVE 389 WILFRED OWEN AND HIS POETRY IN THE WAR REQUIEM 394 MUSICAL SYMBOLISM 401 STRUCTURAL SYMBOLISM 409 Movement 1 – Requiem Aeternam 410 Movement 2 – Dies Irae 412 Movement 3 – Offertorium 414 Movement 6 – Libera Me 415 Supplementary Structures 416 PERFORMANCE PRACTICE CONSIDERATIONS 417 Performing Forces 417
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