‘Music AQA A level Unit 4 ‘Area of Study: English Choral Music of the 20" Century Chosen works for study (chronological order of composition) Edward Elgar: The Dream af Gerontius (1900) Gustav Holst: The Fiymn of Jesus (1917) William Walton: Befshazzar’s Feast (3931) Michael Tippett: A Child of Our Time (1944) Benjamin Britten: War Requiem (1962) John Tavener: The Lamb (1982), The Tyger (2987) James MacMillan: Seven Last Words from the Cross (1994) Edward Elgar: The Dream of Gerontius (1900) Leaming objectives: To be able to describe Elgars contribution to English choral music throligh The Dream of Gerontius; especially his Romantic Wagnerian style, and the variety of ways he uses the chorus throughout the work. Resources: Vocal score and printouts of excerpts from vocal scare; full score for reference; recordings. Uterature: Michael Kennedy, Portrait of Elgar, Ch. 7 ‘Gerontius: Disaster and Triumph’ Context: If students have studied Baroque vocal music at AS Level, certain key generic terms, such as oratorio, opera, recitative, arla, and ways of eiscussing vocal music, Including reference to voice types, melismatic and sullabic word-setting, tessitura, wil already be familiar, but should be revised. The chronological gap between Baroque vocal music and English 20" century choral music may be bridged with a lesson introducing major ‘choral works of the Classical and Romantic periods: eg. Haydn's Creation, Beethoven’ Choral Symphony, ‘Mendelssohn's Elah, Brahms’ German Requiem and Verdi's Requiem. Discussion of the Wagnerian style in ‘another lesson will provide essential stylistic background to Elgar’s Gerontius before that work is introduced ‘mention should be made of Wagner's tendency towards continuous dramatic action rather than the eivsion in Joscenes.theuse.ofLetmotfs and extended chromatic harmony ~ perhaps bringing these two ideas ‘together in a treatment of the so-called "Tristan chore’ ‘The specific background to Gerentivs is found in the commission from the “Three Choirs Festival, and in Elgar’s Catholicism, and the text of John Henry Cardinal Newman. itis important that the students understand the ‘heotogical meanings ofthe text before studying Elgar's setting oft especially the Catholic doctrine of Purgatory, without which the work is incomprehensible. A libretto of the work should be provided by the teacher to each student who should annotate t while listening to the score. Students should be even the Michel Kennedy chapter to read for homework. 1. Fig, 29~Fig. 35 Learning objectives: To understand how Elgar evokes an earlier religious style to underscore the drama of the story; how this contrasts with his usual Romantic style. “Kyrie cleison’: sung by the semichorus, acapella in imitative polyphony, evocative of Renaissance polyphony ‘such as Palestrina; appropriate for the liturgical character of the text. Extreme dynamics (ppp], and diatonic ‘harmony also contribute to this effect. The entry of the main chorus, lightly accompanied by lower strings, continues with a litany invoking the saints also using imitation, but the melody lines are occasionally inflected ‘ith chramaticism and are more rhythmically elaborate, dynamically vatied with some use of expressive‘melisma. The return to the ‘Kyrie’ rounds off this first entry of the chorus. This chorus strongly contrasts with the solo recitative sung by Gerontius at fig, 33, which is much more chromatic and rhythmically varied. 2. Fig. 40 ~ Fig. 85 (‘Sanctus fortis) Learning objectives: To gain examples of Elgar's Romantic and operatic writing for solo voice; to understand, how even within a continuous ‘through-composed' structure, areas of repetition and stability can be found — and even ‘stanzaic! forms. ‘This functions as an ‘aria’ in the generally continuous flow of the piece. It is stanzaic, with the repeating refrain from the poem set to the same melody each time, although with contrast in dynamics, orchestration and ‘expressive markings. Melodic analysis of this refrain should emphasise the struggle Gerontius is undergoing, attempting to assert his faith through an assertive Bb major high in the tenor range, but struggling with 2 persistent chromaticism which undermines his attempts. Elgar’s Romanticism shown not only through the extensive chromaticism, but also the widely varied dynamics and tempo markings. 3. Fig. 63-66 Learning objectives: To understand how Elgar develops earlier material for contrast, and again uses an earlier Iiturgicat style to underscore the drama. JAS « Thischors bsin with a repiseof the fist Kyrie leis’ entry from ig 29, but now in the minor and more ost eefned, abet theca of the Fst Pertof the ortega he tempat ncrence, aed mare varied end the 1 Agar secompaniment mare pronounced. Atfig. 64 the choir begins another litany in Ab minor — the most distant Oye key from the tonic of the whole work (D major). The style of this is reminiscent of Gregorian chant (in the yew semi-chorus), but set homophonically with melismatic ‘Amen’s provided by the main Chorus. Finally, at fig. 65, ® Vv a second reprise ofthe orginal ‘Kyrie eleison” entry from fig, 29 returns, in € major, lightly accompanies and Meee _pp. This third statement of the ‘Kyrie’ music ends with an interrupted cadence just before Gerontius’ final statement before his death. Elgar uses this repeated excerpt to create an emotional arc from the liturgical prayer of fig. 29 to the agitation of fig. 63 and then the calm acceptance of fig. 65. — Essay:‘How does Elgar use the chorus in the first part of Gerontius to create contrasting moods and underline the changes in the drama’ Learning objectives: This analysis should focus on the contrasts between the Demons’ Chorus {figs. 32-55) and the Angels’ Chorus (igs. 60-101), with specific passages excerpted for use. Students should be able to discuss these difference with confidence. Use of voices: In the Demon's Chorus (DC), Elgar begins with the male voices, to emphasise the lowness of the Demons. The Angels’ Chorus (AC), on the other hand, begins with an extended passage for female semichorus, ‘emphasising the heavenly heights. The melody for ‘Praise to the holiest’ gradually descends through the choir until the homophonic statement at fig. 74. The DC involves lots of accents and sforzandi in the voice parts, difficult intervals, a complex fugal texture in places, and strong, even extremely loud dynamics, suggestive of ‘the chaos and violence of the Demons. There are also examples of forceful unison or homophony. The AC begins by contrast with light, staccato singing set against gentle melisma in other voices. The dynamic contrasts are more graded and less sudden, and the vocal parts less virtuosic and therefore easier. ‘Texture: DC uses a wide range of textures, from unison to fugue, with some forceful hamophony. AC is mainly homophonic, but has some moments of loose imitation between the two choirs and the initial contrast between the staccato syllabic singing in the altos and legato melisma in the:sopranos. Harmony: DC is predominantly minor; AC predominantly major, DC begins in D minor, AC in Ab major, emphasising the unbridgeable distance between the Demons and Angels. The AC climaxes with C major, as the‘purest’ key, the most heavenly, Much dissonance in DC, with plenty of chromaticism; some expressive chromaticism in AC, but mainly diatonic. Melody: Fragmentary and motivic in DC; connected and singable in AC Orchestration: DC virtuesie, with emphasis on low brass and percussion; much syncopation and accentuation, use of tremolo and tril, glissandi and chromatic scales: AC introduced with upper woodwind, harps, organ ‘and upper strings arpeggiating cross-rhythms (fig.60} to create ‘heavenly sound’. The instruments used ‘iconically because they are associated with the idea of heaven (harp, organ, flutes). String-dominated sonorities, mostly played ordinario rather than with special effects, and lots of harp throughout. Rhythm: DC uses much syncopation and cross-rhythm; AC less so, more stable rhythmically Essays: ‘Compare and contrast the use of voices and instruments in the Demons’ and Angels’ Chotuses from Gerontius! “Discuss how Flgar characterises different groups of characters In Gerontius, referring to music from both Parts.Gustay Holst, The Hymn of Jesus (1917 Prelude Note Holst’s pragmatic instructions with regard to orchestration ~ substitutions and doublings allowed when convenient. Note also the directions regarding choir placement: ‘The two choruses... should be well separated. The semi-chorus should be placed above them and well apart.” Significant features of the ‘Prelude’. Use of quotation —‘Pange lingua’ and ‘Vexilla regis’ chants. The effects ofthis are to create a sense of antiquity and distance; mysteriousness. = Opening monophonic and senza misura in the horns and trombones, who are i structed to imitate vocal chanting. = Harmony at fig. 1 triadic and non-functional; at fig. 2 pentatonic and modal. Some elements of ‘Modernity intrude with chromatic accented notes during the Lento passage. - Unusual orchestration with celeste and piano added to the orchestra at fig. 2. ‘Analysis should focus on these features, contrasting them with the style of Gerontius whenever possible. ‘The Hymn Significant features of ‘The Hymn’ “Moderato maestoso = Mainly homophonic texture, with some passages of unison or imitation; antiphony between the two choirs heavily featured. Bass ostinato an unusual feature. = Harmony is often non-functional and involves sudden unprepared shifts between triads rather than ‘normal modulation } ~ Spoken passage before fig. 6 unusual: whgethipAT i be-aBout? ‘andante’ = Modal harmony with abrupt shifts between unrelated chords and some strong dissonance (eg. Fi = Syncopation continued in the 5/4 Allegro. 8) “allegro’ = Very unusval 5/4 time signature with syncopation. = Use of tambourine to emphasise dancing character of music. + Entirely homophonic. Fig. 15 sees a return to the chant from the ‘Prelude’ with English words, now measured. Fig. 26 solo trumpet represents a battle - the central theme of the whole piece being the victory of the Cross — as described in the chants this is an important passage at the centre of the work. It leads toa final reprise of the ‘Moderato maestoso’ material described above. Essays: ‘Compare the musical style of Elgar in The Dream of Gerontius and Holst in The Hymn of Jesus. Make reference to harmony, rhythm and instrumentation in your answer.’RM William Walton, Belshazzor‘s Feost (1 Literature: Elissa Hope Keck, ‘William Walton’s Belshazzar's Feast: 8 English Oratorio’, Ch. IV (htto://trace.tennessee. Context: Introdu commission from the 8BC and its expansion into this larger work. Popularity ant ‘work be banned from Cathedrals for several years? Listen to the work and discuss fea A general feature of the work is its influence from Jazz — particular in the use of saxop rhythms (especially in the Babylonian music) and extended harmony. 1. Opening ~ fig. 1 Emphasis In the opening passage {to fig. 1) will be on Walton's dissonant harmony during the ‘prophecy’, as ‘well as the complex vocal rhythms. Use of extended chords such as sevenths and ninths which are left unresolved at the end of phrases. After this dissonant homophony, the passage bb. 11-14 is a spooky unison, ‘which leads to the bass lamenting motif at b.16. 2. Fig. 1-Fig. 10 From fig. 3 to fig. 10 the motif from b. 16-18 (introduced in the orchestral bass) should be traced through its developments: ~ Initially extended in soprano 1 with the addition of passing notes {bb.24-26) ~ Further developed in the orchestra at figure 3, with chromaticism and the central leap expanded from a fifth to an octave. - More orchestral developments (rhythmic diminution and melodic extension} between fig. 4 and fig. 5, = Shortened and used in both accompaniment (viola and violin) and bass solo from bar 99. Walton uses this motif as a unifying device to create a consistency through all the changing moods of this passage as the Israelites lament thelr loss and also threaten Babylon with Divine vengeance. Walton rounds. the section off by repeating the initial statement in the orchestral bass at fig. 14. 1. Bass solos: b. 217 and figs. 52-54 ‘The narrator at b.217 sings a senza misura passage ‘Quast rect., ad lib.’ This places great technical demands cn the singer difficult to pitch with no accompaniment, unusual intervals in an atonal context. Use of ‘melisma on important words such as ‘great’ and ‘souls’. During this ‘shoppingtist’ (as Walton called it), what Impression does the listener gain about Babylon's riches? A fig. 52 — the moment of the ‘writing on the wall’ — Walton uses very unusual orchestration, with emphasis, on strange percussion instruments, as wel as piano and two harps in order to highlight the weird, supérnatural nature of whet Is happening. A choral interjection after fig. 53 recalls the prophecy of the ‘opening of the work, and the unusual shouted ‘Slain!’ from the choir highlights the violence of the occurrence. The long, impressive melisma on ‘Belshazzar’ recalls those from the ‘shopping list’ earlier 2. Chorus ‘Praise ye..’ (Figs. 26 —41) Important features here are: = Virtuosie orchestral and vocal writing, with syncopation, double choir writing, use of unusual ‘orchestral Instruments (percussion, saxophones, twa brass bands).{- Representation ofthe aitferent ‘Sods’ through appropriate orchestral instruments, especially in the percussion (introduce Table of instruments here fram Keck chapter above. = The vocat writing is often rhythmically complex, melismatic and polyphonic. Essays: ‘Discuss Walton’s use of melody in Belshazzar's Feast. Make reference to both solo and choral passages in your answer! ‘Compare Walton's use of voices and instruments with another composer you have studiedites aoutctncme [4u!) Content sus the pital acaround oA Chit of Our Time: Tints pacsm: he ssassiation of Ent vom ath by Hecht Grmepan and isan. How does this bacgreuné dit way tothe oats? | Read trough the rete noing te allegn, but ab the uiverased archetypes (boy, Mother, fs and | ov: these make the stonmare daly ppb 2s does the ue of the Hero Situs | / ‘structure ofthe oratorio: relate the structure of the oratorio to Handel's Messiah and the Bach Passions. Child ‘of our Time shares with the former its tripartite structure, with the central part taken up with narrative and the ‘outer parts more generally prophetic; it shares with the latter its use of the Negro Spirituals as chorales | summarising sections of the work and acting as cathartic outlets for audience emotion, | of) yfustento Part 1 and discuss te styl: use of dance rhythms and counterpoint, with generally ransporent tomtures, suggestive ofthe Baroque style rather than the Romantic or Modern. How does Tippett update the A Baroque style? Analyse the opening page of the score — beginning and ending with consonances (usually A triads), Tippett creates a contrapuntal style which makes use of Baroque gestures (suspensions, } appoggiaturas, sequence) but which overlay these or don’t prepare them, creating areas of extreme | |. cissonance but which make sense horizontally and eventualy resolve. The fist orchestral phrase ofthe L ‘opening chorus moves conventionally from the tonic to the dominant, but the counterpoint between these chords is very dissonant Another neo-Baroque feature is the use of spread chords in the strings at the beginning of each recitative as an evocation of harpsichord continuo playing. 1 “interludium—No. 3 Scena’ . g Me This number tom he st par demensvatess reat umber ct fetures ot Tpet'sneo Baroque sve, Xena net | "T]he TrToaTuny consists ota Mute duet over @ Bb bass pedal, with an obligato solo viola. The two\, Age L flutes imitate roughly t-te third with dpleate descending stepwise melodies) rhythmically offset so Dees ce ‘He metre displaced tothe upbeat) The harmony is modal, avoiding the sharpened leeding : note, afi Teraig @ stati character to the passage, and there are suspensions throughout. atfig. 19 | SY | | _ the music accelerates and increases in texture towards a resolution of the Bb pedal, but this |S | | thvoned by aninterupted EGER OATS e cvraon ofthe metre at he bognnnger te | na \ eat \ ‘Scena’, eater I The shock of this interruption launches the vocal entry. A elear contrapuntal texture is created with 4 hy strings doubling the voices: $ & Tare imitated atthe tritone by A & B, andthe chromatic moti 18 on chord of B minor. ‘The following alto solo is an excellent example of melodic writing: ‘Reason is true to itself’ is \ | resolves to a series of triads with suspensions ené contained within a perfect 5” compass, which begins and ends on D (suggesting the circularity and self-sufficiency of ‘Reason’); ‘But pity breaks open the heart’ is set to a melody which ‘breaks’ beyond this interval, introducing an expressive minor 7” and then descending a full compound diminished 4" bby way of a cadenza-like vocal melisma on the word ‘opens’. The melisma not only ‘opens up’ the range of the melody, but breaks free from the persistent dotted rhythm present in every previous bar of the solo. +The ateriudium’ returns like a ritornello in a Baroque oratorio — but now a semitone lower.‘ve are lot’ again interrupts the “nterludium, but with a semitone shift down from the pedal ne \ | | through the eyele of fifths. Two bars before fig. 25 Tippett writes dotted crotchets a5 & cross-rhythm ee | the idea of being out of control or ‘ost’ which is being sung. Ls “The following unison string passage contains more eross-rhythms and syncopations, introducing the { | aye subject ofa shor fuga passage) Weare as'seed netore the wind! he fugal subject descends fhraugh sennor ninth, rhythmically accelerating towards the end as seed before the wind / involves anvexterled vocal technique aspirated quavers to suugest the waindf Once ail four voices have exposed the subject, the final text is sung, ‘We are carried to a great slaughter’, emphasis being . 4 tes a ee opel) wt aecents on beth lables of louie on bets 3 and 2 eae the emox ofthe movements prepared wit astrett ofthistec= a S-beatphasein "” / | A ned gach thr and tetr ine creatng coon nein )) sae teat untagn melisma and unison orchestral cadence both of which obscurethe metre, The | yey tatmetisma eats the motif from "Wear ios wy, some other passages of A Child of Our Time should be studied. The following are possible examples 1. 'No. 6 Tenor Solo! 4 ic | is movement isan example of pet's ue of other musa nfuence:inthiscase Latin ythms | Thabanera How does ths late to the genealideas ofthe erator (ppresorandoppreseds | * ‘marginalisation; poverty)? ‘ippett’s neo-Baroque influence is evident in the use ofan opening and closing tornello and use of dance rhythm (even if a modern rhythm) 2, "No.7 Soprano Solo’ This movement forms @ pendant to the previous tenor sole, witha repeating rhythmic ostinato and repeating melodic structure. _photable feature ofthe movement is the use of simultaneous false relations at cadence points, reminiscent ofthe style of Henry Purcell. This can be seen at Bb.13-24, bb.27-8, bb 36-7 and bb.43°% ‘This dlesonance creates a bitter-sweet and painful characterisation appropriate tothe despair ofthe soprano text. = This movement shares with the alto solo in ‘No. 3 Scena’ both its datted rhythm and the senza nigura cadenza towards the end. This melisma forms part of the coda which leads to the first ofthe Negro Spirituals in the oratorio. 23.'No, 19 The Terror’ another fugue, representing violent retribution from the Oppressors. The subject i disjunct nd rose, Involving leap of 2 diminished octave and an embedded titan, as well as chromaticism ‘Te violins play 2 syncopated countersubject; the vocal countersubject involves violent interjecions ‘at unpredictable places in the bar. The movement climaxes ina similar manner to ‘No. 3 Scena’ studied in the previous week, with 2 stretto and a unison melisma4,'No. 26 Chorus’ cratorio, The mest significant passage is at four bas after ig. 105, Where les the jowel of great price’ Here we see more stit counterpoint combined with unusual rhythms and dificult meloce writing. There is use of melodic inversion and imitation to create the effect of mirroring, acapella +} suggesting th lminous jewel of great price or the ey waters’ ofthe previous text, = The subsequent instrumental torneo repeats ths counterpoint but with an augmentation of the point Inthe horns atthe same tine. = At the beginning of Part Il, this chorus picks up on the theme of the seasons from the first part of the 7 Essays: ‘Compare and contrast Tippett’s writing for choir and text setting with at least one other composer's work’ “Discuss Tippett’ use of texture in A Child of our Time and compare it with at least one other ‘composer's use of the same element’ ‘How did English composers of the 20" Century use historical styles in their compositions? Refer to at leas two Zonesersin your answerBenjamin Britten, War Requiem (1962) Listen to and discuss the first movement. The following elements are important: 11 Requiem aeternamn’ Ritualist style~ monotonous antishonal chanting in the chor limping orchestral quintuplets, with WE YeY stars and aiinuendos to deemphasis the strong bets ofthe bar; tubular blls reinforcing the choral chant. ~ Tone the so-alledDevi'sntera is ofeeat importance throughout the Wer Requiem andi VAR angen thera harmon str nhis opeingmovemert. The es cul the choral cant and move between Fit and C with the entry of the vaices. across the movement, with decreasing time Ay Rtinateerton an ra tent QW between vocal entries, which begin to overlap until the homophonic statement five bars after fg 2. eset Rapid diminuend follows, leading to the Te decet’ 2. "Te decet hymnus! TT This passage is sung by a choir of boy trebles situated at a distance {reminiscent of the Holst Hymn of WAU, © seuss yeonras wth he elo ofthe eauiem acta ths mod formed of many leaps rand very active. Athough formed of perfect and major intervals, the melody conséts ofa complete chromatic collection; although It isnot quite atone row, it nevertheless closely related to 1. {- setiatism, The melody begins on Cand descends to Fe, thereby outlining the tritone from the previous passage. adie ~The second coir boy trebles responds ith an eat inverion of he preceding melody Ths antiphony continues throughout the rest ofthe ‘Te dece’, each phrase beginning either on Cor Ft and ending onthe other ofthese notes As each phrase shortens, the rtone becomes more and Radoner E more auslible until itis the only interval heard. ‘eoaaa -L Cand Fae sustained alternately throughout each passin the vila sections ofthe orchestra. A chamber organ or harmonium supports the twelve-fone melody of te trebles with iad SSS harmony, disguising the chromaticism with apparent diatonidism. Agen ‘There follows a shorter reprise of the ‘Requiem aeternam’. 3. "What passing bells.” = Thisis the first setting of a Wilfred Owen poem in the Requiem; in fact, a sonnet (the form is followed by Britten, who loosely ‘thymes’ the phrases of the frst and second quatrain metodically and harmonically). Its performed by the chamber orchestra, conducted by a different conductor, and set aside from the main orchestra Wri The harp plays rapid quintuplet figuration which sustains the pitches Gb and C (re-spelled Fi and C from the Introit). A string quartet plays 2 parodic march figure beneath the tenor’s opening phrase which begins on Cand rises and falls to Gb and Gb — at the end falling 2 dissonant and disjunct major seventh. Ins drum is played using snare drum sticks, creating an unusual sound, reminiscent of both military and thunder, while the flute and clarinet play an ascending diminished seventh followed by a tritone ‘motif, which n turmis echoed by the singer. Snare drum then reinforces the military sound, ANMDVY The vocal melody before fig. 11s fragmented to imitate the ‘pattering’ of the guns "fig. 21 —fig. 12s an altered repetition of fig 9-11 (melisma replaces the fragmented melody for ‘walling shells).John Tavener, The Lomb; The Tyger Context and Analysis of The Lamb Introduction to Tavener as so-called ‘holy minimalist’, as a later twentieth-century reaction both to the difficulty and inaccessibility of high modernist writing and to the secularism and perceived spiritual aridity of ‘modern life. Tavener’sintérest in Eastern Orthodox musical techniques and spirituality in rejection of Western styles, 7 Analysis of The Lamb: ~ Simplicity and innocence of the medal melody in the sopranos, monophonic and piano. The senza ‘misura writing reflecting the timeless and relaxed quality of Tavener’s idiom. > Use of inversion and retrograde to create alto countermelady and following soprano melody; these are drawn from Tavener’s experience as a serialist composer before turning to minimalism. Here the ‘techniques intensify the opening melody, creating slight dissonances and making the familiar strange, as ifn response to the question being asked: ‘Little lamb, who made thee?’ ~The full choir enters in chordal homophony, diatonic (E modal minor) with expressive appoggiaturas. Stil very simple. Augmentation brings the first half of the piece to a close. ~ The second half of the piece repeats the techniques and textures of the first half, in response to the question, but with the full choir throughout rather than the sopranos and altos only in the first bars. Context of The Tyger: Written by Tavener as a companion piece to The Lamb by Philip Brunelle in 1987. Similarities with The Lamb: + Acapelta forces. > Strophic form. Using the form of the poem, with the same melody each verse, differently elaborated with texture and harmony, as in The Lamb, ‘ct quotation from The Lomb at the line ‘Did he who made the Lamb make thee?” + Mainly syllabic word-setting, ~ Use of inversion, but only in the fist verse (responding to the words ‘Tearful symmetry in the poem?). Differences from The Lamb: ~The &-part choir splits eventually into 14 parts at the climactic verse. + Nouse of retrograde. Greater dynamic variety. + Greater vocal range. ~ Use of drone/pedalias.a basis for the harmony. Parallel triadic harmony rather than functional harmony = Use of canon. The analysis should describe the gradual intensification and increase in dynamics, texture, harmonic richness and tessitura, as the depiction of the Tyger and the repetitive questioning become more elaborate, This is cut ‘back with the quotation from The Lamb, putting the two pieces of music and their character —as well as the ‘two animals into direct contrast, ‘Atelling mefodic detail is found in the final verse, where Tavener introduces the chromatic pitch Bb to the melody at the word ‘dare’, emphasising both the meaning of the word and the fact that itis the only departure from the wording of the first verse.