In Search of the Essence of Vocal Music Goa University

Western Music III

GOA UNIVERSITY

PROF. SANTIAGO LUSARDI GIRELLI ANTHONY GONZALVES CHAIR

In search of the essence of vocal music

History of the musical writing HISTORIA DE LA NOTACIN EN LA MSICA OCCIDENTAL

Western Music III

GOA UNIVERSITY



Unheightened cheironomic neumes.

NEUMATIC NOTATION

Neumas

NEUME IS THE BASIC ELEMENT OF WESTERN AND EASTERN SYSTEMS OF MUSICAL NOTATION PRIOR TO THE INVENTION OF FIVE-LINE STAFF NOTATION. THE EARLIEST NEUMES WERE INFLECTIVE MARKS WHICH INDICATED THE GENERAL SHAPE BUT NOT NECESSARILY THE EXACT NOTES OR RHYTHMS TO BE SUNG. LATER DEVELOPMENTS INCLUDED THE USE OF HEIGHTENED NEUMES WHICH SHOWED THE RELATIVE PITCHES BETWEEN NEUMES, AND THE CREATION OF A FOUR-LINE MUSICAL STAFF THAT IDENTIFIED PARTICULAR PITCHES

X CENTURY AD, PARIS.

GUIDO DAREZZO

Guido of Arezzo(992 - 1033) was a music theorist of the Medieval era. He is regarded as the inventor of modern musical notation, staff notation, that replaced neumatic notation.

The founder of what is now considered the standard music stave was Guido d'Arezzo,[9] an Italian

Benedictine monk who lived from about 991 until after 1033. He taught the use of solmization syllables based on a hymn to Saint John the Baptist, which begins Ut

Queant Laxis and was written by the Lombard historian Paul the Deacon. The first stanza is:

Ut queant laxis resonare fibris, Mira gestoru famuli tuorum, Solve polluti labii reatum, Sancte Iohannes.

TETRAGRAM - GREGORIAN CHANT

FRENCH SONG, 1570, PARIS (FRANCE)

Notation had developed far enough to notate melody,

but there was still no system for notating rhythm. A

mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that

were in use at the time,[8] although it is not clear how

they were formed. These rhythmic modes were all in

triple time and rather limited rhythm in chant to 6 different

repeating patterns.

MODERN STAFF

CONTEMPORARY MUSIC STAFF

Krzysztof Penderecki

Krzysztof Eugeniusz born in 1933) is a Polish composer and conductor. The Guardian

has called him Poland's greatest living composer.

Among his best known works are his Threnody for the vistims of Hiroshima, St

Luke Passion, Polish Requiem, Anaklasis, four operas, eight symphonies and other

orchestral pieces, a variety of instrumental concertos, choral settings of mainly

religious texts, as well as chamber and instrumental works.

XX CENTURY

At the beginning of the 20th century, composers of classical music were experimenting

with an increasingly dissonant pitch language, which sometimes yielded atonal pieces.

Following World War I, as a backlash against what they saw as the increasingly exaggerated gestures and formlessness of late Romanticism, certain composers adopted a neoclassic style, which sought to recapture the balanced forms and clearly perceptible thematic processes of

earlier styles; see also New Objectivity and Social Realism). After World War II, modernist composers sought to achieve greater levels of control in their composition process (e.g., through the use of the

twelve tone technique and later total serialism).

Karlheinz Stockhausen (1928 2007) was a German composer, widely acknowledged by critics as one of the

most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990,

30) composers of the 20th and early 21st centuries. Another critic calls him "one of

the great visionaries of 20th-century music" (Hewett 2007). He is known for his

ground-breaking work in electronic music, aleatory (controlled chance) in

serial composition and musical spatialization

CONTEMPORARY MUSICAL NOTATION HELIKOPTER-STREICHQUARTETT / STOCKHAUSEN

CONTEMPORARY MUSICAL NOTATION

HELIKOPTER-STREICHQUARTETT / STOCKHAUSEN

The Helikopter-Streichquartett (English: Helicopter String Quartet) is one of K.

Stockhausen's best-known pieces, and one of the most complex to perform. It involves

a string quartet, four helicopters with pilots, as well as audio and video

equipment and technicians. It was first performed and recorded in 1995. Although performable as a self-sucient piece, it also

forms the third scene of the opera Mitwoch aun Licht ("Wednesday from

Light").

Music, a universal language LINGUISTIC DEBATE.

Western Music III IN SEARCH OF THE ESSENCE OF VOCAL MUSIC INTRODUCTION.

A human system of communication that uses arbitrary

signals, such as voice sounds, gestures, or written symbols.

What is language?

IS MUSIC LANGUAGE? DEFINE LANGUAGE.

Defining - Art is a diverse range of human activities and the products of those activities looking for beauty. (truth & goodness)

Art

uthe expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

A human system of communication that uses arbitrary signals, such as voice sounds, gestures, or written

symbols.

What is language?

Language

1. a. Communication of thoughts and feelings through a system of arbitrary signals,

such as voice sounds, gestures, or written symbols. b. Such a system including its rules for combining its components, such as words. c. Such a system as used by a nation, people, or other distinct community; often contrasted with dialect. 2. a. A system of signs, symbols, gestures, or rules used in communicating: the language of algebra. b. Computer Science A system of symbols and rules used for communication with or between computers. 3. Body language; kinesics.

4. The special vocabulary and usages of a scientific, professional, or other group: "his total mastery of screen languagecamera placement, editingand his handling of actors" (Jack Kroll).

5. A characteristic style of speech or writing: Shakespearean language.

6. A particular manner of expression: profane language; persuasive language.

7. The manner or means of communication between living creatures other than humans: the language of dolphins.

8. Verbal communication as a subject of study.

9. The wording of a legal document or statute as distinct from the spirit.

WE USE LANGUAGE TO EXPRESS INNER THOUGHTS AND EMOTIONS, MAKE SENSE OF COMPLEX AND ABSTRACT THOUGHT, TO LEARN TO COMMUNICATE WITH OTHERS, TO FULFILL OUR WANTS AND NEEDS, AS WELL AS TO ESTABLISH RULES AND MAINTAIN OUR CULTURE.

IS MUSIC A UNIVERSAL LANGUAGE?

UNIVERSAL?

A cultural universal (also called an anthropological universal or human universal), is an element, pattern, trait, or institution

that is common to all human cultures worldwide. Taken together, the whole body of cultural universals is known as

the human conditinon. Evolutionary psychologists hold that behaviors or traits that occur universally in all cultures are

good candidates for evolutionary adaptations.

Some anthropological and sociological theorists that take a cultural relativist perspective may deny the existence of

cultural universals: the extent to which these universals are "cultural" in the narrow sense, or in fact biologically inherited

behavior is an issue of "nature versus nurture".

We could define human universals as comprising "those features of culture, society, language, behavior, and psyche for which there are no known exception.

It is often said that a picture is worth a thousand words but the same image can have different meanings across cultures.

What happened with the sounds?

Musicologist Jean-Jacques Nattiez summarizes the post-modern viewpoint:

"The border between music and noise is always

culturally definedwhich implies that, even within a single society, this border does not always pass

through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music

might be."

The music and the brain. Music is often called the universal

language but there is much disagreement and conjecture around

music, emotion and the brain. Some researchers assert that music takes

place in the limbic system, an ancient part of our brain, evolutionarily speaking, and one that we share with much of the

animal kingdom.

Western Music III

GOA UNIVERSITY


Review WMC II.

Monody Ancient music.

In music, monody has two meanings: 1) it is sometimes used as a synonym for monophony, a single

solo line, in opposition to homophony and polyphony; and

2) in music history, it is a solo vocal style distinguished by having a

single melodic line and instrumental accompaniment.

MELODY

Origins of polyphony

Perotin Protin (1200), also called Perotin the Great, was a European composer, believed to be French, who lived around the end of the 12th and beginning of the 13th century. He was the most famous member of the Notre Dame school of polyphony and the ars antiqua style. He was one of very few composers of his day whose name has been preserved, and can be reliably attached to individual compositions; this is due to the testimony of an anonymous English student at Notre Dame known as Anonymous IV, who wrote about him and his predecessor Lonin.

"Viderunt Omnes" is a traditional Gregorian Chant of the 11th century. The work is based on an ancient gradual of the same title, which was previously expanded upon by composers of the Notre Dame School. This organum, thought to be written for Christmas festivities, would have retained the same purpose as the original gradual-- the cantus firmus, or tenor, "holds" the original chant, while the other parts develop complex melismas on the vowels. Its musicological significance stems from its variations which provide context into specific musically historical trends.

Viderunt Omnes - Perotin Perotin's compositions built upon the discant

nature and utilized alternative passages in renditions of the liturgical chants. This

variation came to exemplify four-voice polyphony (one of the few existing examples

of Organun Cuadruplum). The melismas in particular are especially diminuted rendering the text virtually incomprehensible. While only

solo sections are polyphonic, the organum remains clear when juxtaposed with the

traditional, monophonic choir chant.

Medieval Music MEDIEVAL MUSIC WAS BOTH SACRED AND SECULAR. DURING THE EARLIER MEDIEVAL PERIOD THE LITURGICAL GENRE, PREDOMINANTLY GREGORIAN CHANT, WAS MONOPHONIC. POLYPHONIC GENRES BEGAN TO DEVELOP DURING THE HIGH MEDIEVAL ERA, BECOMING PREVALENT BY THE LATER 13TH AND EARLY 14TH CENTURY.

Gregorian Chant

GREGORIAN CHANT,MONOPHONIC, OR UNISON, LITURGICAL MUSICOF THE ROMAN CATHOLIC CHURCH, USED TO ACCOMPANY THE TEXT OF THE MASS AND THE CANONICAL HOURS, OR DIVINE OFFICE. GREGORIAN CHANT IS NAMED AFTER ST. GREGORY I, DURING WHOSE PAPACY (590604) IT WAS COLLECTED AND CODIFIED.

Perspective and Poliphony

THE PERSPECTIVE IN THE YEAR 1000 AN EXCENTRIC MATHEMATICIAN, ALHAZN, WAS THE FIRST TO RECOGNIZE

THAT WE SEE AN OBJECT BECAUSE EACH POINT OF IT DIRECTS AND REFLECTS A RAY INTO THE EYE, SO THAT THE

CONE OF RAYS THAT COME FROM THE OUTLINE AND SHAPE OF MY HAND GROWS SMALLER AS I MOVE MY HAND AWAY. AND IF I MOVE MY HAND TOWARDS YOU THE CONE OF RAYS

THAT ENTER YOUR EYE BECOMES LARGER AND SUBTENDS A LARGER ANGLE AND THAT AND ONLY THAT ACOUNTS FOR

THE DIFFERENCE IN SIZE. ITS A SIMPLE NOTION THAT IT IS ASTOSHING THAT THE SCIENTISTS DIDNT NOTICE IT FOR 600 YEARS, BUT ARTISTS DID IT ALMOST AT ONCE: THE CONCEPT

OF THE CONE OF RAYS OF THE OBJECT TO THE EYE BECOMES THE FOUNDATION OF PERSPECTIVE. AND PERSPECTIVE IS THE

NEW IDEA WHICH NOW VIVIFIES MATHEMATICS. THE PERSPECTIVE PASSED INTO ARTS IN NORTH ITALY, IN

FLORENCE AND VENICE IN THE XV CENTURY.

is a style of Western art music composed

from approximately 1600 to 1750. This era follows the Renaissance, and was

followed in turn by the Classical era. The word "baroque" comes from the

Portuguese word barroco, meaning misshapen pearl, a negative description

of the ornate and heavily ornamented music of this period. Later, the name

came to apply also to the architecture of the same period.

Baroque Music

(1685 - 1750) was a German Baroque composer. He was one of the greatest composers of all

time, but during his lifetime, he was little-known and was mostly recognized for performing on the organ. He composed in many established

musical forms, including, for example, the cantata and fugue, and developed them into

complex and sublime pieces. He composed over 1,100 works in almost every musical genre.

Bach spent his entire life there, working as an organist, teacher, and composer.

Johann Sebastian Bach

Passions Bach's large choral-orchestral works include the grand scale St Matthew

Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in

alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas). The

two versions of the Magnificat(one in E-flat major.

The Enlightenment: liberal ideology, the bourgeoisie in power after overcoming the economic crisis the Baroque will face the Old Regime. Critics argue that Reason (Kant) and the progress of science will lead men to his natural happiness in a equalitarian, secular and educated society. The French Revolution. Musically, Vienna became the cultural center, synthesizing the European styles Italian , French and German), separated during the Baroque.

Classical Music

(1756 - 1791) Austrian composer, is one of the most significant and influential of all

composers of Western classical music. His works are loved by many and are frequently

performed. A child prodigy,He wrote his first symphony when he was eight years old and his

first opera at 12. He went on to write some of the most important masterpieces of the

Classical era, including symphonies, operas, string quartets and piano music.

Wolfgang Amadeus Mozart

Mozart learned voraciously from others, and developed a brilliance

and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many

acknowledged as pinnacles of symphonic, concertante, chamber,

operatic, and choral music.

The Requiem Mass in D minor (KV. 626) by Wolfgang Amadeus Mozart was composed in

Vienna in 1791 and left unfinished at the composer's death on December 5. A completion dated 1792 by

Franz Xaver Sssmayr was delivered to Count Franz von Walsegg who had anonymously commissioned the piece for a requiem mass to commemorate the

February 14 anniversary of his wife's death. The autograph manuscript shows the finished and

orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies

Irae as far as the first nine bars of "Lacrimosa", and the offertory..

Romantic music is a term denoting an era of Western classical music

that began in the late 18th or early 19th century. It was related to

Romanticism, the European artistic and literary movement that arose

in the second half of the 18th century, and Romantic music in

particular dominated the Romantic movement in Germany.

Romantic Music

(1770-1827) bridged the Classical and Romantic periods in both his life and works reflecting the Classical influence in his early work and the Romantic in his later years. He was born in Bon but lived in Vienna where he was to write his most remembered, and popular pieces, including Symphonies 4, 5 and 9. He became well known at first, for his piano playing, having attained the level of virtuoso, and became well known for his ability to improvise. By 1802, he was to have written 32 of his piano sonatas, and his first 2 symphonies, 18 string quartets, and his first 3 piano concertos. Sadly though, it was around this time, that the deafness began to hit him even harder.

Ludwing von Beethoven

AESTHETICS

The "romantic" man is not so optimistic, rational and balanced as the illustrated, but rather pessimistic, intuitive and passionate.

The abstract nature of the music reveals it as the ideal vehicle for the expression of the inner world and feelings, thus freeing

man from the contradictions of materialism.

So music, located at the head of the arts, is considered the only means of salvation of man. Furthermore, now it matters

more the content than the form, in contrast to the classical era.

As the nineteenth century drew to a close, the fine arts entered a new

era called "Impressionism", it lasted only a few decades into the

twentieth century. French artists such as Monet, Manet, Renoir and Degas

first applied the term, "Impressionism", to paintings. Their

chief aim was to reproduce the general "impression" of the moment

made by the subject on the artist. They tended to look at nature with

an "innocent eye", seeing the world in a continual state of change with

its outlines melting into haze.

Impressionism

In literature (especially poetry), Impressionism was translated

into a movement called "Symbolism". The Symbolists

wished to free-verse techniques to achieve fluidity. Poetry's new

function was to suggest or evoke, but not to describe.

Rejecting realism, these poets chose to express their immediate

reactions to a subject by means of symbolic words, which were

arranged for their emotional values.

Since music is essentially an abstract art, it was ideal in projecting Impressionism's vague images... The Impressionist composers had two favorite mediums: the orchestra (because of its variety of color) and the piano (because its damper pedal permitted vibrating harmonies to "suspend in mid-air"). The Impressionist painters, as we have seen, tried to capture the movement of color and light. Music is predominantly the art of abstract movement. For this reason, the favorite images of the Impressionist painting -- the play of light on water, clouds, gardens in he rain, sunlight through the leaves -- lent themselves readily to musical expression.

(1862-1918), French composer is one of the most leading figures associated with the domain of impressionist music along with Maurice Ravel. He dramatically disregarded the traditional chord structures and tonality and pioneered in penetrating into the modern era in Western music. He was triggered by the prevailing musical movement of 'symbolism' and his compositions fit into the impressionist genre of classical music akin to those of the visual art movements. His greatest works such as the revolutionary 'Prelude l'aprs-midi d'un faune' and 'Pelleas et Melisande' and many others had an enduring influence on almost every major composer of the 20th century.

Claude Debussy

(1882 6 April 1971) was a Russian, and later French and American composer,

pianist and conductor. He is widely considered to be one of the most

important and influential composers of the 20th century.

Igor Fyodorovich Stravinsky

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved

international fame with three ballets commissioned by the impresario Sergei

Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910),

Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which

subsequent composers thought about rhythmic structure and was largely responsible for

Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of

musical design.

At the beginning of the 20th century, composers of classical music were experimenting with an increasingly dissonant pitch language, which sometimes

yielded atonal pieces. Following World War I, as a backlash against what they saw as the increasingly

exaggerated gestures and formlessness of late Romanticism, certain composers adopted a neoclassic

style, which sought to recapture the balanced forms and clearly perceptible thematic processes of earlier styles;

see also New Objectivity and Social Realism). After World War II, modernist composers sought to achieve greater

levels of control in their composition process (e.g., through the use of the twelve tone technique and later

total serialism).

Arnold Schoenberg

(18741951) was an Austrian composer and painter, associated with the

expressionis movement in German poetry and art, and leader of the Second

Viennese School. He used the standard German spelling Schnberg until after his

move to the United States in 1934 (Steinberg 1995, 463), whereupon he

altered it to Schoenberg "in deference to American practice" (Foss 1951, 401),

though one writer claims he made the change a year earlier.

u Schoenberg's approach, both in terms of harmony and

development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and

American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi

Party in Austria, his music was labeled as degenerate art.

Musique concrte IS A FORM OF ELECTROACOUSTIC MUSIC THAT IS MADE IN PART FROM

ACOUSMATIC SOUND. IN ADDITION TO SOUNDS DERIVED FROM MUSICAL INSTRUMENTS OR VOICES, IT MAY USE OTHER SOURCES OF SOUND SUCH

AS ELECTRONIC SYNTHESIZERS OR SOUNDS RECORDED FROM NATURE. ALSO, COMPOSITIONS IN THIS IDIOM ARE NOT RESTRICTED TO THE

NORMAL MUSICAL RULES OF MELODY, HARMONY, RHYTHM, METRE AND SO ON. ORIGINALLY CONTRASTED WITH "PURE" ELEKTRONISCHE MUSIK

(BASED SOLELY ON THE PRODUCTION AND MANIPULATION OF ELECTRONICALLY PRODUCED SOUNDS RATHER THAN RECORDED SOUNDS), THE THEORETICAL BASIS OF MUSIQUE CONCRTE AS A

COMPOSITIONAL PRACTICE WAS DEVELOPED BY PIERRE SCHAEFFER, BEGINNING IN THE EARLY 1940S.

Pierre Henri Marie Schaeffer (1910 1995) was a French composer writer, broadcaster, engineer,

musicologist and acoustician . His innovative work in both the sciencesparticularly

communications and acousticsand the various arts of music, literature and radio

presentation after the end of World War II, as well as his anti-nuclear activism and cultural

criticism garnered him widespread recognition in his lifetime.

Amongst the vast range of works and projects he

undertook, Schaeffer is most widely and currently

recognized for his accomplishments in

electronic and experimental music, at the core of which

stands his role as the chief developer of a unique and early form of avant-garde

music known as musique concrte.

Karlheinz Stockhausen (1928 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45;

Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial

(Power 1990, 30) composers of the 20th and early 21st centuries. Another critic

calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is

known for his ground-breaking work in electronic music, aleatory (controlled

chance) in serial composition and musical spatialization

u Technological advances led to the birth of electronic music. Experimentation with tape loops and repetitive textures contributed to the advent

of minimalism. Still other composers started exploring the theatrical potential of the musical performance (performance art, mixed media,

fluxus).

John Milton Cage Jr.

(1912 1992) was an American composer, music theorist, writer, and artist.

A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one

of the leading figures of the post-war avant-garde. Critics have lauded him as

one of the most influential American composers of the 20th century. He was also instrumental in the

development of modern dance.

Between 1975 and 1990, a shift in the paradigm of computer technology had

taken place, making electronic music systems affordable and widely accessible.

The personal computer had become an essential component of the electronic

musicians equipment, entirely superseding analog synthesizers and fulfilling the

traditional functions of the computer in music for composition and scoring, synthesis and sound processing, control over external

synthesizers and other performance equipment, and the sampling of audio input

Eric Withacre

u Is an American Grammy Award-winning composer and conductor. In 2008, the all-

Whitacre choral CD Cloudburst (released by the British ensemble Polyphony on Hyperion Records) became an international best-seller, topping the

classical charts and earning a Grammy nomination. In addition to Whitacre's litany of

choral and wind ensemble compositions, he is also known for his "Virtual Choir" projects,

bringing individual voices from around the globe together into an online choir.

Western Music III

Goa University Prof. Santiago Lusardi Girelli

Anthony Gonzalves Chair

In the search of the essence of vocal music.

MATHAUS PASSION BWV 244 - J.S.BACH

(1685 - 1750) German Baroque composer, one of the greatest composers of all time, but during his lifetime,

he was little-known and was mostly recognized for performing on the organ.

He composed in many established musical forms,

including, for example, the cantata and fugue, and developed them into complex and sublime pieces.

He composed over 1,100 works in almost every musical

genre. Bach spent his entire life there, working as an organist, teacher, and composer.

Johann Sebastian Bach

St Matthew's Passion

The St Matthew Passion (also frequently St Matthew's Passion; German: Matthus-Passion), BWV 244 is a sacred oratorio from the Passions written

by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici).

It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and

arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum

Evangelistam Matthaeum translates to "The Passion of our Lord Jesus Christ according to the Evangelist Matthew."

.

Passions Bach's large choral-orchestral works include

the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers

services at the Thomaskirche and the Nikolaikirche in alternate years, and the

Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas). The two versions of the Magnificat(one in E-flat

major.

The Bach-Werke-Verzeichnis (Bach Works Catalogue) is the numbering system identifying compositions by

Johann Sebastian Bach. The prefix BWV, followed by the work's number, is the shorthand identification for

Bach's compositions. The works are grouped thematically, not chronologically.

BWV 244

Bach works catalogue v1-200: Sacred Cantatas v201-215: secular Cantatas v216-224: Other cantatas v225-231: Motets v232-242: Masses v243: The Magnificat v244-247: Passions v248-249: Oratorios v250-438: Choral Compositions v439-524: Lieder and arias v525-771: Works for Organ v772-994: Works for Harpsichord v995-1000: Works for lute v1001-1013: Works for instrumental soloists v1014-1040: Chamber Music v1041-1071: Concerts v1072-1080: Works of counterpoint (ie, royalties and other) v1081-1128: Works found after 1950.

Reckoning Bachs legacy.

Unlike chronologically arranged catalogues for other classical composers, Schmieder's Bach catalogue is arranged by genre. It is a thematical catalogue: choral works first, then organ works, then other keyboard works, and so on; hence, a low BWV number does not necessarily indicate an early work.Schmieder chose thematical arrangement instead of chronological for several reasons, most important probably being:

Many of Bach's works have uncertain composition dates. Even if the score is dated, it could mean nothing more than the date it was copied, or re-arranged, et cetera. Nonetheless, since Schmieder's original publication of the BWV catalogue, music scholars have established many more probable and certain composition dates than were imaginable in the 1950s.

In 1829 Felix Mendelssohn began the Bach revival that never ended. Its hard to believe now, but Johann

Sebastian Bachs music was not well known to the general public for nearly 70 years after his death.

Toward the end of his life, Mozart had a profound admiration for his Bachs work, and Beethoven studied

the 48 preludes and fugues of the Well-Tempered Klavier in manuscript as a young student. Bachs sons Carl Philipp Emanuel and Johann Christian were more famous during the lifetimes of Mozart and Beethoven.

On March11, 1829, Mendelssohn, who was only twenty at the time, directed the first performance of the St.

Matthew Passion since Bach himself directed it at the Thomaskirche in Leipzig where he was the

Kapellmeister.

Mendelsshon and Bach

The first performance directed by Bach is believed to have taken place on Good Friday, April 11 in 1727. The revival, brought about through Mendelssohns efforts, took place in Berlin and began the renewed appreciation of and interest in Johann Sebastians works, especially the large-scale choral compositions.

Two distinctive aspects of Bach's setting spring from his other church endeavors. One is the double-choir format, which stems from his own double-choir motets and those of many other composers with which he routinely started Sunday services. The other is the extensive use of chorales, which appear in standard four-part settings, as interpolations in arias, and as a cantus firmus in large polyphonic movements.

Instrumentation

The St Matthew Passion is set for two choirs and two orchestras. Both include two recorders, two transverse flutes, two oboes, in certain movements instead oboe d'amore or oboe da caccia, two violins, viola, viola da gamba, and basso continuo. For practical reasons the continuo organ is often shared and played with both orchestras.

In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. 49, "Aus Liebe will mein Heiland sterben",

where the absence of strings and basso continuo mark a desperate loss of security.

Compositional style Bach's recitatives often set the mood for the particular passages by highlighting emotionally charged words such as "crucify", "kill", or "mourn" with chromatic melodies. Diminished seventh chords and sudden modulations accompany Jesus's apocalyptic prophecies. In the turba parts, the two choruses sometimes alternate in cori spezzati style (e.g. "Weissage uns, Christe") and sometimes sing together ("Herr, wir haben gedacht").

In the arias, obbligato instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses

madrigalisms, as in "Bu und Reu", where the flutes start playing a raindrop-like staccato as the alto sings of drops of his tears falling.

In "Blute nur", the line about the serpent is set with a twisting melody.

.

1. Chorus I & II & Chorale: Kommt, ihr Tchter, helft mir klagen O Lamm Gottes unschuldig

2. Evangelist, Jesus: Da Jesus diese Rede vollendet hatte 3. Chorale: Herzliebster Jesu, was hast du verbrochen

9e. Chorus I: Herr, bin ich's? 10. Chorale: Ich bin's, ich sollte ben 27a. Aria (soprano, alto) and Chorus II: So ist mein Jesus nun

gefangen Lat ihn, haltet, bindet nicht! 27b. Chorus I & II: Sind Blitze, sind Donner in Wolken verschwunden?

2. Evangelist, Jesus: Da Jesus diese Rede vollendet hatte 3. Chorale: Herzliebster Jesu, was hast du verbrochen

In the previous chapters of the Bible, Matthew the evangelist had just narrate a speech with some parables of Jesus. So when the Passion begins in chapter 26, it's actually not a beginning but a continuation of the story: Recitatives often see each one sort of "hierarchy": the names of important

people will be above (in acute) than the others. Here, for example, the Evangelist sings the word Jesus with higher notes than Jngern showing

melodically who is the master and who the followers are. Jesus sings to the accompaniment of three sets of strings: the first violins, the second violins and violas. This monitoring creates a sort of "halo" halo that we see often in paintings of saints. Important to note that the number 3 (three string groups) has a special meaning in the Christian religion: the Holy Trinity (Father, Son and the Holy Spirit).

...some details deserve special attention because they are vital for all of this analysis of

the St. Matthew Passion importance. First, between the voice (C #) and low (Sun) there is a very dissonant interval known as

"tritone". It was called diabolus in music by medieval composers, and their use was prohibited for many

decades; here the passion he appears in several special moments, and almost always to score bad, painful or sad

things. Now what will be wrong on this feast of the Passover? It's there in his voice: the pound symbol (#) in German has the same name

as the cross, the instrument of crucifixion that took Jesus to death.

Then a question arises: why Bach would mark a sign (#) that can not "hear" the

music? (If he had written D flat, the sound would be nearly the same without using the pound symbol). Simple and obvious: who will read the # sign is the musician.

For a German singer, to see the "cross" side of the word Easter, the association will

be immediate. .

Today when we talk about remember the chocolate bunnies, but for the Jews of Jesus' time the feast of

the Passover was the most important annual celebration of their religion. She remembered the

night that his people out of Egypt and made a slave. Were seven days of celebration, a holiday weekend

when it was forbidden to work.

3 Choral: Jesu Herzliebster

To review the previous section of the Gospel, Bach chose the first stanza of coral Herzliebster Jesu, verses by Johann Heermann (1630) and Johann Crger melody. Interestingly this same melody will return there in numbers 19 and 46 More curious still, the St. John Passion of Bach here this is also the first choral work sung in (# 3, The Grosse Lieb, the Lieb ohn alle Masse), but there Bach chose the seventh stanza rather than the first.

Beloved Jesus, What made you

for you to receive so severe sentence? What is to blame what misdeeds

you made?

Both choruses 1 and 2 assume the voice of the faithful, to ask for Jesus' prophecy about his death said the previous recitative. As for music, notice the strange harmonies by Bach placed beneath

the word Missetaten (bad deeds): need to explain? :-)

9e. Chorus I: Herr, bin ich's? / 10. Chorale: Ich bin's, ich sollte ben

The adjective 'sad' is very subjective and depends on the interpretation singer ". So I reveal the secrets that are hidden in the score: the previous section was finished in C minor, and the first chord of this stretch here is a B flat minor, it sounds too dark to be far from the C Major (5 flats away !). Not only that: in betrbt word (sad) there is a diminished 7th chord that makes everything much more painful.

Remember how beautiful was the last mob, with the disciples asking "wherever prepare the Passover"? Now compare with this one, the

disciples all lost and with disparate voices asking "Lord, am I?". The bottom line is replete with unresolved seventh chords, just as unanswered

questions, but the most interesting thing here is to count how many questions Herr bin ich's? there in the text: exactly Eleven. If there are

twelve disciples, not one of them asked if he would be a traitor ...

While the disciples ask, "will I be the traitor?" Bach makes the audience say "I am", using the fifth stanza of the coral The Welt, hier dein Leben sieh Paul Gerhardt (poetry, 1647) and Heinrich Isaac (melody , 1490).

27. Arie (Duett: Sopran und Alt) mit Chor: So ist mein Jesus nun gefangen

As comment on the newly narrated events? What to say after all? Bach then makes a great folly: it removes the basso continuo music. In Baroque music, tune every need, always, be accompanied by a harmony to sustain it. The responsible for this is the basso continuo, a group formed by one or several instruments forming a discreet but essential work for music. When Bach removes the basso continuo this duet, it is removing the floor of the Baroque world and turning everything upside down. It is as if we were seeing a car without wheels, a building without a foundation or a table without legs; miraculously, the music floats in the air:

soloists So my Jesus is captured. The moon and the stars

hid so much pain, because my Jesus was captured.

They take him, he'll bound.

Chor 2 Lasst ihn, haltet, bindet nicht! chorus 2

Let him, wait, no tie!

It is a duet for soprano and contralto with accompaniment of two flutes, two oboes and strings, cut off from time to time by appeals of release from all the orchestra and chorus 2 2.

Chorus II: So ist mein Jesus nun gefangen Lat ihn, haltet, bindet nicht!

So my Jesus is now imprisoned - Let him think, does not bind!

When the soprano sings the word gefangen (captured), it oscillates initially trapped in the region of the notes there and si #; but when the chorus shouts 2 lasst ihn! (let him), the melody flies free of the serious f # f # sharp. The same happens later when the contralto sings the same word and the chorus intervenes a second time, lasst ihn! (let him).

Licht und Mond ist vor Schmerzen untergangen Light and moon has gone before pain

Licht und Mond (moon and stars) in acute upstairs ... who hid (untergangen) in the severe pain. And in the last verse, gebunden (tied) is sung several times in a very long note, tying the melody in a single note up to five times.

Chorus 1 + 2 The thunders are the rays are missing in the clouds?

Open your abyss of fire, oh hell, destroy, crush, devour, annihilate with sudden fury vile traitor,

the killer blood!

Jesus always taught to forgive those who hurt you and love even our enemy, but this time the faithful chorus, angry for not seeing the heavens come bail them out, forget Christian

teachings and ask hell and punishment for the traitor. Do not worry about this sin, this will not go unanswered!

27b. Chorus I & II: Sind Blitze, sind Donner in Wolken verschwunden

Are lightning, thunder disappeared in clouds

Second Part 30. Aria and Chorus II: Ach, nun ist mein Jesus hin! Wo ist denn dein Freund hingegangen 38c. Evangelist, Peter: Da hub er an sich zu verfluchen und zu schwren 39. Aria (alto):

Erbarme dich, mein Gott, um meiner Zhren Willen! 61a. Evangelist, Jesus: Und von der sechsten Stunde an war eine Finsternis ber das ganze Land 61b. Chorus I: Der rufet dem Elias! 61c. Evangelist: Und bald lief einer unter ihnen, nahm einen Schwamm 61d. Chorus II: Halt! La sehen, ob Elias komme und ihm helfe. 61e. Evangelist: Aber Jesus schriee abermal laut und verschied. 62. Chorale: Wenn ich einmal soll scheiden 67. Recitative and Chorus II: Nun ist der Herr zur Ruh gebracht. Mein Jesu, gute Nacht! 68. Chorus I & II: Wir setzen uns mit Trnen nieder

To show the feeling of absence of Jesus, Bach "kidnaps" the main tonality and makes everyone keep looking for her. Of course, Bach is not Schoenberg, the piece is not quite atonal, it is only by walking several shades around B minor without settling on any permanently.

30. Aria and Chorus II: Ach, nun ist mein Jesus hin! Wo ist denn dein Freund hingegangen

Before the voice enters, the orchestra begins 1 in B minor, E minor flirts with and seems to conclude in F # Major. When the soloist sings ach (ah), the basso continuo disappears: the floor was gone, vanished the song reference. So the low returns and heard the same progression with the solo voice going from B minor to F # Major.

The first part of the Passion opened with a dialogue between the two choirs. Here the initial number of the second part is also based dialogue, only between the alto

soloist and the choir 2, which provides aid to seek Jesus soloist. So they start asking in D major but soon modulates to A major: in which tone is the Master?

Solo Is it possible, can I see it?

chorus 2

For where your friend went?

The soloist is still looking for Jesus in other shades: F # minor, B minor, then E minor; the chorus starts in A minor, G major

passes, returns to E minor and G major.

Solo Oh, my lamb in the clutches of the Tiger! Oh, where has my Jesus? chorus 2 - We want you to look it up.

And the soloist continues with your search: D minor, A minor, Si ... Biggest Lamm (Lamb) is a reference to Jesus, the Lamb of God. Claws of the tiger (Tigerklauen) are well drawn in quick little notes in the alto at the time that the daily low disappears again

Solo

Oh, what should I say to my soul, excited when she asked me:

Oh, where has my Jesus?

The soloist returns with the first verse in A Major and Minor in the second, and then the music starts again with the same question and harmonies from the beginning. Finally everything ends in the air, unanswered, leaving analysts to wonder: the music modulates to F # Major and is the dominant of B minor? And, after all, where they took my Jesus?

38c. Evangelist, Peter: Da hub er an sich zu verfluchen und zu schwren

Then began he to curse and to swear,

39. Aria (alto): Erbarme dich, mein Gott, um meiner Zhren Willen!

Have mercy, my God, my tears will!

Have mercy on me, my God, see my tears! Look here, heart and eyes cry for you bitterly.

The comment to the denial of Peter is a very, very sad aria and not infrequently makes the whole audience cry.

Perhaps that same intent as Bach, repair, Pedro is sung by a bass, and the aria is for another type of voice, an alto. Ie, is

not "Peter" who regrets, but all Christians represented by the solo voice. Peter, with his simple and rude way, is one of

the disciples more people identify themselves, and their failure is a common fault to many Christians who hide their

faith out of shame, with no need for such.

The aria is a solo, violin strings and continuous monitoring, and the melody of the violin is all

intricate and full of detail. The contralto will sing it, we hear only a fragmented whole simplification of

the melody. The melody of the violin is the ultimate perfection of Jesus, and the contralto is about all

imperfect of the humans trying to imitate him. Could be also that the soloist sings fragments of

melody for crying, perhaps sobbing.

Fact is, there are numerous descendants of second intervals in the aria and, as we have seen there in the aria # 8 (Blute nur), seconds

descendants represent weeping and wailing. Completing the picture, the accompanying pizzicato bass could both represent the drops of

tears falling as the footsteps of Peter walking dazed after understanding what he had done.

61. Rezitativ: Und von der Stunden an sechsten

Shades predominate, with dark colors depicting the suffering of Jesus on the cross. The next numbers will be different; here for example, the first chord is j um E flat major.

Evangelista And from the sixth hour houve

Treves over all the earth, until the ninth hour.

At that time, how to count the hours were different from atual. Contava up Twelve hours from sunrise to sunset, regardless if the Fosse day longer, as in

the summer, or shorter, as in the winter. Assim, the sixth hour consultation should be around half the day, and the ninth hour, 3 PM.

61A. Finsternis ber eine ganz of LandFinsternis (Treves) is sung in Fa bemol.

F bemol!

There is note darker than that? And the highest notes of trecho to assim

descrever the darkness that engulfed sky Nessa time. The cadence is for

Wool flat Major, the same tint as when Jesus came in Gethsemane to

pray in recitative No. 18.

Defying the gloom of the grave, acute note laut ([shouted] high) makes a tritone with Jesus: he

had to do a lot of strength to voice out. Jesus actually was praying Psalm 22, which begins with these words exactly. They should express what he

was feeling at the time.

To characterize the abandonment, Bach removes the string accompaniment, the "halo" that marked all the other words of Jesus: Here is the man who is dying. Furthermore, Jesus sings in a slow tempo, Adagio marked in the score, and in the key of B flat minor, 5 flats of darkness. Want more suffering this? Then follow the Aramaic translation of the Evangelist: E flat minor, 6 flats! Enhancing the impact of the moment, Bach adds even two pauses at the end of the translated sentence, holding a stony silence.

67 Rezitativ (Soli) mit Chor 2: Nun ist der Herr zur Ruh gebracht Ending this long journey, the four soloists say goodbye to Jesus with a good exciting evening.

Now the Lord was resting. My Jesus, good night! Solo (Tenor) The fatigue is over, one made for our sins. Chorus 2 My Jesus, good night!

In parting bass, he sings Herr (Mr.) on the highest note directing you stretch then to the

rest of the bass. The choir then gives her good night doing a cadence to A flat major: it is

good to rest after so much suffering. We can also relate this major key to the character of the four arias low, paragraphs 23, 42, 57 and

65, whose texts seem like a disciple following the teachings of Christ.

In farewell tenor, die Mh 'ist aus (fatigue over) is well described with a diminished chord, and after another "good night" chorus is a cadence to E flat major. Recalling that the two tenor arias, paragraphs 20:35, has a more didactic and moralizing content, which marries perfectly with a major tonality.

Here at St. Matthew Passion precisely the opposite happens: the last aria (No.

65 Mache dich) is a cheerful aria, recitative then this (# 67) which

reproduces the atmosphere of tragedy and passion will finish with an intense

regret (# 68 ).

The reason for this difference may be the last words of Jesus in the Passion according to St. John, he accepts the sacrifice saying "It is finished", but in Matthew it suffers praying "My God, my God, why have you forsaken me?" .

68. Chor 1+2: Wir setzen uns mit Trnen nieder The duality between happiness and sadness of salvation through Jesus' death appears with all the force at the end of the chorus, the last number of the Passion.

We sat on the floor with tears and call for you on his tomb: rest in peace, rest in peace!

The initial verse is repeated twice. The first time, we whine in C minor for the resurrection hope in E flat major, and the second time the E-flat Major returned to the initial sadness of C minor. The basso continuo has a melodic bass line reminiscent of the original choir, No. 1, but with the direction of the scales to the contrary, the scale went up there, which could be a hint of rising ordeal, but here the scale descends to us remember burial. Rufen (call) comes a high note, calling from afar, and Sanfte ruh '(rest in peace) points down, signaling rest.

Rest, members exhausted! Rest in peace, rest well!

His grave and his headstone should be for the restless consciences

a comfortable pillow to rest and souls to a place of rest.

In sublime contentment eyes fall asleep there.

We sat on the floor with tears and call for you on his tomb:

rest in peace, rest in peace!

In the central part of the choir, schlummern (fall asleep) descends slowly to the grave with eyes heavy with sleep, and then repeats the chorus start going back to C minor to E flat

major, and E flat major to C minor.

In the final chord, there is an appoggiatura flutes that causes a dissonance consuming to solve.

This is the symbol and the summary of all the coral: while the poem asks

with sadness for Jesus to rest, dissonance asks that the rest is not so complete and so it does not take Jesus to resurrect.

The fact of the choir finished with a minor chord, considered dissonant in the baroque period, only confirms this: different initial chorus No. 1, here we have not yet arrived at the true

conclusion of the story.

Musical writing

Western Music III

GOA UNIVERSITY



Activity - Musical writting.

Music III

Goa University Prof. Santiago LuWestern sardi Girelli

Anthony Gonzalves Chair

In the search of the essence of vocal music.

9th. SymphonyLudwing Von Beethoven

Romantic music is a term denoting an era of Western classical music that began in the late 18th or early 19th

century. It was related to Romanticism, the European artistic and literary

movement that arose in the second half of the 18th century, and Romantic music in particular dominated the Romantic movement in Germany.

Romantic Music

The Symphony No. 9 in D minor Op. 125

sometimes known simply as "the Choral

Symphony is the final complete symphony of Ludwig van

Beethoven (17701827). Completed in 1824, the symphony is one of the best-known works of the

repertoire of classical music.

Among critics, it is almost universally considered to be among Beethoven's greatest works, and is considered by

some to be the greatest piece of music ever written

(1770-1827) bridged the Classical and Romantic periods in both his life and works reflecting the Classical

influence in his early work and the Romantic in his later years. He was born in Bon but lived in Vienna where he was to write his most remembered, and popular pieces,

including Symphonies 4, 5 and 9. He became well known at first, for his piano playing, having attained the level of

virtuoso, and became well known for his ability to improvise. By 1802, he was to have written 32 of his

piano sonatas, and his first 2 symphonies, 18 string quartets, and his first 3 piano concertos. Sadly though, it was around this time, that the deafness began to hit him

even harder.

Ludwing von Beethoven

The symphony was the first example of a major composer using voices in a

symphony (thus making it a choral symphony).

The words are sung during the final movement by four vocal soloists and a chorus. They were taken

from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803,

with additions made by the composer.

In 2001, Beethoven's autograph score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations World Heritage List, becoming the first musical score to be so honoured.

Composition The Philharmonic Society of London originally commissioned the symphony in 1817. The main composition work was done between autumn 1822 and the completion of the autograph in February 1824. The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense sketches for the future symphony. The Choral Fantasy Opus. 80 (1808), basically a piano concerto movement, brings in a chorus and vocal soloists near the end to form the climax. As in the Ninth Symphony, the vocal forces sing a theme first played instrumentally, and this theme is highly reminiscent of the corresponding theme in the Ninth Symphony.

ROMANTIC AESTHETICS

The "romantic" man is not so optimistic, rational and balanced as the illustrated, but rather pessimistic, intuitive and passionate.

The abstract nature of the music reveals it as the ideal vehicle for the expression of the inner world and feelings, thus freeing man

from the contradictions of materialism.

So music, located at the head of the arts, is considered the only means of salvation of man. Furthermore, now it matters more the

content than the form, in contrast to the classical era.

The symphony is in four movements 1. Allegro ma non troppo, un poco maestoso 2. Scherzo: Molto vivace Presto 3. Adagio molto e cantabile Andante moderato

Tempo primo Andante moderato Adagio Lo stesso tempo

4. Recitative: (Presto Allegro ma non troppo Vivace Adagio cantabile Allegro assai Presto: O Freunde)

Beethoven changes the usual pattern of the Classical symphony placing the scherzo movement before the slow movement (in symphonies, slow movements are usually placed before the scherzo). This was the first time that this change was made in a symphony, although he had done the same in some previous works (including the quartets Op. 18 no. 5, the "Archduke" piano trio Op. 97, the "Hammerklavier" piano sonata Op. 106).

The movement has a thematic unity, in which every part is shown to be based on either the main theme, the "Seid umschlungen" theme, or some combination of the two. The first "movement within a movement" itself is organized into sections. The main theme forms the basis of a series of variations for orchestra.

Fourth movement The theme of the Joy

9th. SYMPHONY 4thMovement structure. - Coral Symphony.


The famous final choral is Beethoven's musical representation of the Universal Brotherhood. The American pianist and music author Charles Rosen has characterized it as a symphony within a symphony, played without interruption. This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole. The scheme is as follows:


Ist. Part Opening section - Recitatives in Cellos and DB. Passages that remind mov. 1- 3. Joy theme (Cellos and DoubleBasses + counterpointin Bassons) + Violas and Violins. Full Orchestra in Joy theme. Variotions on theme. Coda.

2nd. Part - Bass and orchestra (same theme of Cellos recitative) Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones! Joy! Joy theme in Choir. Deine Zauber binden wieder Soloist variation on Joy theme (Soprano Alto Tenor Bass) + Choir. Repetition with coda; vor Gott!!

3rd. Part. - Alla Marcia 6/8 Measure. Tenor solist and tenores and basses from the choir in turquish style. Orchestral variations (fugato) Full Choir and Orchestra: Joy theme

4th Part. - Andante maestoso: Be embraced, you millions! The Creator - theme 2. Theme 3 Ihr strzt nieder, Millionen? / Do you bow down before Him, you millions? Double fuga on Joy theme and Creator themes. Section on themes 2 and 3. Final Codas. Section with codas on diferent themes (Joy - Alla Marcia Themes 2 and 3) Presto Creators theme. Adagio: soloist in variations. Final coda on Joy and Creators themes. Scherzando. Cadenza final.

Ode to Joy ("An die Freude) It is an ode written in the summer of 1785 by the German poet, playwright and historian Friedrich Schiller. It was published the following year in Thalia.

It is best known for its use by Ludwig van Beethoven in the final movement of his Ninth Symphony, which does not set the entire poem and reorders some sections. Beethoven's tune was adopted as the Anthem of Europe by the Council of Europe in 1972, and subsequently the European Union.

One of the most surprising facts about Beethoven is that he was deaf. How can a musician, a composer, lack what we would imagine to be his most important sense? The first people he confided in were those who were geographically far from him, but in whom he had absolute confidence: those who lived at Bonn. When he could no longer hide his handicap, Beethoven used notebooks in which visitors could write what they wanted him to know, or equally ask what they wanted to know. Because of this, we lack, of course, the most important part to understand better his personality: what he replied... Here are some extracts from two letters to his friends, dated in 1801, in which we get an idea about the deaf of the composer talking about his increasing deafness.

"... My hearing has grown steadily worse over the last three years, which was said to be caused by the condition of my belly..." "... For two years I have avoided almost all social gatherings because it is impossible for me to say to people "I am deaf". If I belonged to any other profession it would be easier, but in my profession it is a frightful state..." "... It is curious that in conversation there are people who do not notice my condition at all; since I have generally been absent-minded, they account for it in that way. Often I can scarcely hear someone speaking softly, the tones yes, but not the words. However, as soon as anyone shouts it becomes intolerable..."

A symphony within a symphony, played without interruption. This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole.


Ist. Part Opening section - Recitatives in Cellos and DB. Passages that remind mov. 1- 3. Joy theme (Cellos and DoubleBasses + counterpointin Bassons) + Violas and Violins. Full Orchestra in Joy theme. Variotions on theme. Coda.

2nd. Part - Bass and orchestra (same theme of Cellos recitative) Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones! Joy! Joy theme in Choir. Deine Zauber binden wieder Soloist variation on Joy theme (Soprano Alto Tenor Bass) + Choir. Repetition with coda; vor Gott!!

3rd. Part. - Alla Marcia 6/8 Measure. Tenor solist and tenores and basses from the choir in turquish style. Orchestral variations (fugato) Full Choir and Orchestra: Joy theme

4th Part. - Andante maestoso: Be embraced, you millions! The Creator theme 2. Theme 3 Ihr strzt nieder, Millionen? / Do you bow down before Him, you millions? Double fuga on Joy theme and Creator themes. Section on themes 2 and 3. Final Codas. Section with codas on diferent themes (Joy - Alla Marcia Themes 2 and 3) Presto Creators theme. Adagio: soloist in variations. Final coda on Joy and Creators themes. Scherzando. Cadenza final.

9th. SYMPHONY 4thMovement structure. - Choral Symphony.

1st. Part.

The path from doubt to truth

First part Opening section

Recitatives in Cellos and DB. Passages that remind mov. 1- 3. Joy theme (Cellos and Double Basses + counterpointing Bassoons) + Violas

and Violins. Full Orchestra in Joy theme. Variations on theme.

Coda.

The fourth movement opens with a dissonance.

It is a description of the apocalypse.

This dissonance must have scared the very first auditions because this kind of dissonance was

not very common. People expected light rondos which were always situated in the first

movement.

And after the initial dissonance there is an unexpected recitative.

Joy theme (Cellos and Double Basses + counterpointing Bassoons) + Violas.

Activity - Musical Writing.

Write down the rhythm of Cellos and Bassons.

First part Opening section

Recitatives in Cellos and DB. Passages that remind mov. 1- 3. Joy theme (Cellos and Double Basses + counterpointing Bassoons) + Violas and Violins. Full Orchestra in Joy theme. Variations on theme.

Coda. VARITIONS In music, variation is a formal technique in which the material is repeated in an altered form. The changes may involve harmony, melody, counterpoint, rhythm, timbre, orchestration or any combination of these.


2nd Part.

The expression of Joy.


2nd part

Bass and orchestra. Recitative. (same theme of Cellos recitative) Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones! Joy!

The theme of the Joy in the Choir. Deine Zauber binden wieder Soloist variation on Joy theme (Soprano Alto Tenor Bass) + Choir. Repetition with coda; vor Gott!


3th Part. The human spirit entusiasm. The will to love, create and fight


3rd Part. - Alla Marcia 6/8 Measure.

First section Orchestral variations. Tenor solist, tenors and basses from the choir in Turquish style. Orchestral variations (fugato) Full Choir and Orchestra: the Joy theme.

ALLA MARCIA - "Turkish music",

Not exactly Turkish music but rather a musical style called Alla turca, it was

occasionally used by European composers of the 17th and 18th centuries. The Alla

Marcia was a European convention meant to satisfy the Turquish style of the 17th

and 18th centuries, using stereotyped conventions which were not consistent

with the music of Turkish military bands, except in instrumentation.

The theme of the Joy in the turquish style in 6/8 measure.

When Alla turca music was scored for orchestra, it normally used extra percussion instruments not found in orchestras of the time: typically, the bass drum, the triangle, and cymbals. These instruments were used by Ottoman Turks in their military music, so at least the instrumentation of "Turkish" music was authentic except for the triangle. Often there is also a piccolo, whose piercing tone recalls the shrill sound of the zurna (shawm) of Ottoman Janissary music.

Influence

Many later composers of the Romantic period and beyond were influenced by Beethoven's Ninth Symphony. An important theme of Johannes Brahms' Symphony No. 1 in C minor is related to the "Ode to Joy of Beethoven's Ninth symphony. When this was pointed out to Brahms, he answered: "Any fool can see that!" Brahms's first symphony was praised as "Beethoven's Tenth symphony. The Ninth Symphony also influenced the forms that Bruckner used for the movements of his symphonies. Bruckner's Symphony No. 3 is in the same D minor key as Beethoven's 9th and makes substantial use of thematic ideas from it.


4th Part.

The Creator and the devotional spirit.


4th Part. Andante maestoso: Be embraced, you millions! The Creator theme - Theme 2.

The Devotional Theme - Theme 3 - Ihr strzt nieder, Millionen? Do you bow down before Him, you millions?

Double fuga on Joy theme and Creator themes. Section on themes 2 and 3. Final Codas. Section with codas on diferent themes

(Joy - Alla Marcia Themes 2 and 3) Presto Creators theme.

Adagio: soloist in variations. Final coda on Joy and Creators themes. Scherzando. Cadenza final.

The Creator theme 2.

THEME 3 - DEVOTIONAL THEME.

CD LEGEND One legend is that the compact disc was deliberately

designed to have a 74-minute playing time in order to accomplish the length of Beethoven's Ninth

Symphony. Kees Immink, Philips' chief engineer, who developed the CD, recalls that a commercial tug-of-war between Sony and Philips, led to the stablishment of a

neutral 12-cm diameter format. In the celebration of the 25th anniversary of the Compact Disc, A. Philips

mentioned that the partiesPhilips and Sonyextended the Compact Disc capacity to 74 minutes to

accomplish a complete performance of Beethoven's 9th Symphony.

Fuga and the Fugato style Missa a la fuga of San Joseph G. B. Bassani

Vocal Music in the Amazonas of Brasil & Bolivia

Western Music III

GOA UNIVERSITY



The English term fugue was originated in the 16th century and is derived from

the French word fugue or the Italian fuga. These come from the Latin word

fuga which is itself related to both fugere ("to flee") and fugare ("to chase").

Variants include fughetta (literally, "a

small fugue") and fugato (a passage in fugal style within another work that is

not a fugue)

FUGUE Fugato

A Fugue is a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition.

EXPOSITION Subject & Answer

A fugue begins with the exposition of its

subject in one of the voices in the tonic key. After the statement of the subject, a second voice enters and states the subject with the

subject transposed to another (often closely related) key, which is known as the answer.

To make the music run smoothly, it may also have

to be altered slightly. When the answer is an exact copy

of the subject of the dominant, it is classified as

a real answer; if it is altered in any other way it

is a tonal answer.

The episode Further information: Section (music) Further entries of the subject follow this initial exposition, either immediately (as for example in Fugue No. 1 in C major, BWV 846 of the Well-Tempered Clavier), or separated by episodes. Episodic material is always modulatory and is usually based upon some elements heard in the exposition.

Melismatic and Silabic chant Melisma (Greek: , melisma,

song, air, melody; from , melos, song, melody). In music, is the singing of a single syllable of a text while the melody is moving between several different notes in succession. Music sung in this style is known as melismatic, opposed to syllabic, in which each syllable of the text is matched to a single note.

Syllabic & melismatic Chant

Missa a la Fuga fugato style.

G. B Bassani

Kyrie from the "Mass at St. Joseph the Fugue." The author of this work is unknown but could be attributed to Giovanni Battista Bassani (1650-1716). Surely it is an arrangement or reduction of the original, made by the choirmaster, who was always an Indigeous person. The elaborated counterpoint of the Mass of the Fugue, its magnitude, its formal organization and the almost perfect agreement between the meaning of the text and the music composition, show that this composer created a masterpiece. It was copied possibly between 1740 and 1750, the time of the greatest splendor of Chiquitos reductions music.

G. B Bassani

The "Mass at St. Joseph's Fugue" is part of a miscellany of musical works found in two ancient Jesuit reductions of Chiquintana: San Rafael and Santa Ana de Chiquitos, in Velasco Province (Bolivia). The manuscripts, preserved by the Indigenous Councils and gathered by the architect Hans Roth, are now in the Episcopal Archives Conception Cathedral to preserve and prevent them from progressive deterioration.

This collection provides an invaluable help to understand and appreciate what was

musically accomplished in the Jesuit missions.

Giovanni B. Bassani

Giovanni Battista Bassani (1650 1716) was an Italian composer, violinist, and organist.

Battista was born in Padua. It is thought that he

studied in Venice under Daniele Castrovillari and in Ferrara under Giovanni Legrenzi.

Charles Burney and John Hawkins claimed he taught Arcangelo Corelli, but there is no solid

evidence for this assertion. He was an organist at the Accademia della Morte in Ferrara from

1667, but had probably left by 1675.

Famous for their music, Jesuit missionaries from Spain and Italy

arrived in South America almost 400 years ago. Versed in the fine arts of

Europe, they brought with them the classical baroque music and

established missions across central South America, in areas that are part of modern-day Paraguay, Argentina,

Bolivia and Brazil. These missions, known as reducciones, became home

and refuge to thousands of Paraguay's Guarani Indians. The missionaries not

only provided shelter but also taught the Guarani people to play European

music and make their own instruments, including the cello, harp

and violin. Each mission had a church, an orchestra, several artisans' shops, and schools of music and painting.

After the Spanish expelled the Jesuits in 1767, the baroque-style compositions all but

disappeared. But in the 1970s, while restoring an old mission church in Bolivia,

Hans Roth, a Jesuit architect from Switzerland, found 5,000 pages of original

sheet music buried in the ruins. The find included music written by 17th- and 18th-

century indigenous and European composers, including Zipoli. Roth dedicated

his life to the renovation of mission churches in Bolivia's Chiquitos Province,

better known as the Chiquitania, and in 1990, UNESCO designated six of them as

World Heritage Sites.

Syllabic & melismatic Chant

THE BAROQUE COLONIAL MUSIC ESSENCE

The essential character of the missional baroque music is its orientation toward the sacred. The reductions music was always, and only, liturgically relevant.

This art displays an open and candid language, simple melodic lines, clear formal structure, a candid harmony and counterpoint, which evoques mystique and the evocation of childhood.

The music cultivated in the villages had a clear functional sense. It was performed in the daily religious services, from the morning until the end of the day.

Music, an universal language

Interpretative debate.

Western Music III IN SEARCH OF THE ESSENCE OF VOCAL MUSIC

INTRODUCTION.

Lines of music interpretation Which is the correct way to read a music staff ? Is Music technique enough? Which are the limits of the interpreter? Interpreter or co-creator? Does the music score says all we need to know to offer a proper interpretation of the piece? Which other elements about the work should we know in order to play it? Is the score enough?


Lines of interpretation 1. LITERAL INTERPRETATION I. - The proper sense of the musical signs. 2. SUBJECTIVE INTERPRETATION - Seeking the will of the composer. 3. HISTORICIST INTERPRETATION - The reconstruction of the way music was played at that time. 4. STRICT INTERPRETATION - Seeking the will of the work itself. 5. FREE INTERPRETATION Free interpretation: the will of the interpreter. 6. INTERPRETATION BASED ON THE AUDIENCES LIKES: POPULAR INTERPRETATION - Interpretation of the work adapted to the preferences of the audience.


Western Music III

Goa University Prof. Santiago Lusardi girelli

Anthony Gonzalves cHAIR

In the search of essence of vocal music.

Searching for the perfect Requiem

Founding the perfect Requiem

Requiem or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin:

Missa defunctorum), is a Mass celebrated for the repose of the soul or souls of one or more deceased persons, using a

particular form of the Roman Missal. It is frequently, but not necessarily, celebrated in the context of a funeral.

Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been

applied to other musical compositions associated with death and mourning, even when they lack religious or liturgical

relevance.

Requiem in other rites and churches The Mass and its settings draw their name from the introit of the liturgy, which begins with the words "Requiem aeternam dona eis, Domine" "Grant them eternal rest, O Lord". ("Requiem" is the accusative singular form of the Latin noun requies, "rest, repose".)

THE REQUIEM in MUSIC

The Requiem Mass is notable for the large number of musical compositions that it has inspired, including settings by Mozart, Verdi, Dvok, Faur, Durufl, and others. Originally, such

compositions were meant to be performed in liturgical service, with monophonic chant.

Eventually the dramatic character of the text began to appeal to composers to an extent that

they made the requiem a genre of its own, and the compositions of composers such as Verdi are

essentially concert pieces rather than liturgical works.

REQUIEM ESTRUCTURE 1. INTROIT 2. KYRIE ELEISON 3. GRADUAL 4. TRACT 5. SEQUENCE 6. OFFERTORY 7. SANCTUS 8. AGNUS DEI 9. COMMUNION 10.PIE JESU 11.LIBERA ME 12.IN PARADISUM

Requiem - John Rutter

John Milford Rutter (born 24 September 1945) is a British composer, conductor, mainly of choral music.

Rutter's compositions are chiefly choral, and include Christmas carols,

anthems and extended works such as a Gloria, a Magnificat, and a Requiem.

The world premiere of Rutter's Requiem (1985), and of his authoritative edition of Faur's Requiem, took place with the Fox

Valley Festival Chorus, in Illinois. In 2002, his setting of Psalm 150, commissioned for the Queen's Golden Jubilee, was performed at the

Jubilee thanksgiving service in St Paul's Cathedral, London. Similarly, he was commissioned to write a new anthem, "This is the day which

the Lord hath made", for the Wedding of Prince William and Catherine Middleton in 2011, performed at Westminster Abbey during

the service

INTROIT - REQUIEM

History of musical compositions

For many centuries the texts of the requiem were sung to Gregorian melodies. The Requiem by Johannes Ockeghem, written sometime in the later half of the 15th century, is the earliest surviving polyphonic setting. There was a setting by the elder composer Dufay, possibly earlier, which

is now lost: Ockeghem's may have been modelled on it.

Many early compositions employ different texts that were in use in different liturgies around Europe before the Council of Trent set down the texts given above. The requiem of Brumel, circa 1500, is the first to

include the Dies Ir.

In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or

fauxbourdon like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's

Requiem

THE REQUIEM IN HISTORY

In the 16th century, more and more composers set the Requiem mass. In contrast to practice in setting the Mass Ordinary, many of these

settings used a cantus-firmus technique, something which had become quite archaic by mid-century. In addition, these settings used less

textural contrast than the earlier settings, although the vocal scoring was often richer, for example in the six-voice Requiem by Jean

Richafort which he wrote for the death of Josquin des Prez.

Over 2,000 Requiem compositions have been composed to the present day. Typically the Renaissance settings, especially those not written on the Iberian Peninsula, may be performed a cappella, whereas beginning

around 1600 composers more often preferred to use instruments to accompany a choir, and also include vocal soloists. There is great

variation between compositions in how much of liturgical text is set to music.

W.A. Mozart Gabriel Faure

Benjamin Britten Gyrgy Ligeti

Requiem

Wolfgang Amadeus Mozart (1756 - 1791) Austrian composer, is one of the

most significant and influential of all composers of Western classical music. His

works are loved by many and are frequently performed. A child prodigy, Mozart wrote his

first symphony when he was eight years old and his first opera at 12. He went on to write

some of the most important masterpieces of the Classical era, including symphonies, operas,

string quartets and piano music.

The Requiem Mass in D minor (KV. 626)

by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion dated

1792 by Franz Xaver Sssmayr was delivered to Count Franz von Walsegg who had anonymously commissioned the piece for a requiem mass to commemorate the February 14 anniversary of his wife's death.

The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Sssmayr may have depended on now

lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the

Requiem off as his own composition, as he is known to have done with other works.

Composition At the time of Mozart's death on 5 December 1791, only the opening movement (Requiem aeternam) was completed in all of the orchestral and vocal parts. The following Kyrie and most of the sequence (from Dies Irae to Confutatis) were complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts were briefly indicated, such as the violin part of the Confutatis and the musical bridges in the Recordare. The last movement of the sequence, the Lacrimosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done; the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only.

In 1798, Constanze (mozarts wife) is noted to have given another interview to Franz Xaver Niemetschek, another biographer looking to publish a compendium of Mozart's life. He published his biography in 1808, containing a number of claims about Mozarts receipt of the Requiem commission.

Mozart received the commission very shortly before the Coronation of Emperor Leopold II, and before he received the commission to go to Prague.

He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee, but urging that he could not predict the time required to complete the work.

The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion.

He started composing the work upon his return from Prague and He fell ill while writing the work

He told Constanze "I am only too conscious...my end will not be long in coming: for sure, someone has poisoned me! I cannot rid my mind of this thought."

Constanze thought that the Requiem was overstraining him; she called the doctor and took away the score.

On the day of his death he had the score brought to his bed. The messenger took the unfinished Requiem soon after Mozart's death and

Constanze never learned the commissioner's name.

MOZARTS DEAD.

On the very eve of his death, [Mozart] had the score of the Requiem brought to his bed, and himself (it was two o'clock in the afternoon) sang the alto part; Schack, the family friend, sang the soprano line, as he had always previously done, Hofer, Mozart's brother-in-law, took the tenor, Gerl, later a bass singer at the Mannheim Theater, the bass. They were at the first bars of the Lacrimosa when Mozart began to weep bitterly, laid the score on one side, and eleven hours later, at one o'clock in the morning (of 5 December 1791, as is well known), departed this life. On the day of his death he asked for the score to be brought to his bedside. 'Did I not say before, that I was writing this Requiem for myself ?' After saying this, he looked yet again with tears in his eyes through the whole work

Gabriel Faur Faur composed his Requiem in D minor, Op. 48, between 1887 and 1890. The choral-orchestral setting of the Roman Catholic Mass for the Dead is the best known of his large works. Faur's reasons for composing the work are unclear, but do not appear to have had anything to do with the death of his parents in the mid-1880s. He composed the work in the late 1880s and revised it in the 1890s, finishing it in 1900. A short requiem lasting 35 minutes, it is written for orchestra, organ, mixed chorus and two soloists, soprano and baritone, and performed in Latin. It consists of seven movements; most famous is the central soprano aria Pie Jesu. The piece premiered in its first version in 1888 in La Madeleine, Paris.

REQUIEM - History Faur's reasons for composing his Requiem are uncertain. One

possible impetus may have been the death of his father in 1885, and his mother's death two years later on New Year's Eve 1887. However,

by the time of his mother's death he had already begun the work, about which he later declared, "My Requiem wasn't written for

anything for pleasure, if I may call it that!

The earliest composed music included in the Requiem is the "Libera Me", which Faur wrote in 1877 as an independent work.

Faurs Requiem was first performed on 16 January 1888, under the composers direction in La Madeleine, Paris.

VII. In Paradisum The last movement, "In paradisum deducant angeli" (May angels lead you to paradise), rests on a continuous shimmering movement in fast broken triads in the orchestra. The soprano sings a rising expressive melody, enriched by chords of the other voices, divided in six parts, on the final "Jerusalem". A second thought is again sung by the soprano, filled on the last words by the others: Requiem aeternam.

Modern REQUIEMS In the 20th century the requiem evolved in several new directions. The genre of War Requiem is perhaps the most notable; it consists of compositions dedicated to the memory of people killed in wartime. These often include extra-liturgical poems of a pacifist or non-liturgical nature; for example, the War Requiem of Benjamin Britten juxtaposes the Latin text with the poetry of Wilfred Owen, Krzysztof Penderecki's Polish Requiem includes a traditional Polish hymn within the sequence, and Robert Steadman's Mass in Black intersperses environmental poetry and prophecies of Nostradamus.

Modern REQUIEMS XX Century The 20th century saw the development of the secular Requiem, written for public performance without specific religious observance, such as Frederick Delius's Requiem, completed in 1916 and dedicated to "the memory of all young Artists fallen in the war, Some composers have written purely instrumental works bearing the title of requiem, as famously exemplified by Britten's Sinfonia da Requiem. Hans Werner Henze's Das Flo der Medusa, written in 1968 as a requiem for Che Guevara, is properly speaking an oratorio; Henze's Requiem is instrumental but retains the traditional Latin titles for the movements. Igor Stravinsky's Requiem canticles mixes instrumental movements with segments of the "Introit," "Dies irae," "Pie Jesu," and "Libera me."

Benjamin Britten (1913-1976) was an English composer,

conductor and pianist. He was a central figure of 20th-century British classical music, with a range of works including opera, other vocal music, orchestral and chamber pieces.

His best-known works include the opera Peter Grimes (1945), the War Requiem (1962) and the orchestral showpiece The Young Person's

Guide to the Orchestra (1945).

The War Requiem, Op. 66, is a large-scale, non-liturgical setting of the Requiem Mass composed by Benjamin Britten mostly in

1961 and completed in January 1962.

The War Requiem was performed for the consecration of the new Coventry Cathedral, which was built after the original

fourteenth-century structure was destroyed in a World War II bombing raid.

The traditional Latin texts are interspersed, in telling

juxtaposition, with settings of poems by Wilfred Owen, written in World War I. The work is scored for soprano, tenor and

baritone soloists, chorus, boys' choir, organ, and two orchestras (a full orchestra and a chamber orchestra).

The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for

th

In Search of the Essence of Vocal Music Goa University

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