Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
261 Cards in this Set
- Front
- Back
- 3rd side (hint)
Romanticism
|
-Tormented Mind
-Heroicism -Superstition and mythology -Nature -High adventure and devoted love -Left-winged; Anti-establishment |
|
|
Ein Deutches Requiem
|
Brahms; Affected by death of Schumann; 7 mvments; Non-liturgical text (from Luther's O.T.); Consoles living;
|
|
|
Mirror structure of Brahms' Requiem
|
1 & 7: Share musical material; Tripart mirror keys.
2 & 6: Begin in minor, end in fugue. 3 & 5 : Have solos 4: ABACA |
|
|
Alto Rhapsody
|
Brahms; Alto solo, TTBB; Dismay of one destined to live a solitary life.
|
|
|
Schicksalslied
|
Brahms; "Song of Destiny"; Describes struggle of ancient Greeks to liberate themselves from Turkish rule.
|
|
|
Nanie
|
Brahms; Written to his good friend. "Even beauty must die"
|
|
|
Triumphlied
|
Brahms; Baritone solo, double choir, orchestra; Celebrates the end of Franco-Prussian war
|
|
|
Gesang der Parzen
|
Brahms. 'Song of the Fates"; 6-part choir and orchestra
|
|
|
Rinaldo
|
Brahms; Cantata for tenor solo, TTTB choir and orchestra
|
|
|
Brahms' choral works with orchestra
|
1. Alto Rhapsody
2. Schicksalslied 3. Nanie 4. Triumphlied 5. Gesang der Parzen 6. Rinaldo |
|
|
Geistliches Lied, op. 30
|
Brahms' first choral composition. "Even though life is hard, and there are trials, it will be over when you die."
|
|
|
The four sets of Brahms motets
|
1. Op. 29
2. Op. 74 3. Op. 109 4. Op. 110 |
|
|
Two sets of Brahms motets based on chorals
|
29 and 74
|
|
|
Zwei Motetten, op. 29
|
Brahms; Two motets for five-part choir: 1. Es ist das Heil uns Kommen her and 2. Schaffe in mir, ein rein Herz (Create in me O god).
|
|
|
Zwei Motetten, Op. 74
|
Brahms; Two motets in 4-part choir: 1. Warum ist das light gegeben den muhseligen? and 2. O Heiland, reiss die himmer auf.
|
|
|
Fest und Gedenkspruche, op. 109
|
Brahms; 3 motest for eight-part choir; Written as a "thank you" to the city of Hamburg for giving him the keys to the city. Lively and cheerful.
|
|
|
Fest und Gedenkspruche, op. 109
|
Brahms; 3 motest for eight-part choir; Written as a "thank you" to the city of Hamburg for giving him the keys to the city. Lively and cheerful.
|
|
|
Drei Motetten, op. 110
|
Brahms; Three motets for four and eight-part choir. First two are four double chorus in Venitian style. The third is simple, homophonic, strophic. Express sorrow for sin and yearning for piece.
|
|
|
Venitian style
|
Polychoir, at least two choirs bouncing off each other.
|
|
|
Missa Canonica
|
Brahms; Elaborate study in canon writing. Kyrie, Sanctus, Benedictus, Agnus Dei
|
|
|
2 influences on Brahms' secular music.
|
1. Hungarian folk music
2. German folk music |
|
|
Brahms' "quartets"
|
Three quartets (op. 64), Four quartets (op. 92), and Six quartets (op 112). Great HS literature
|
|
|
Zigeunerlieder
|
Brahms; "Gypsie songs", SATB, soprano/tenor solos, piano.
|
|
|
Liebeslieder Waltzes, op. 52; Neue Liebeslieder waltzes, op. 65
|
Brahms; Most popular quartets
|
|
|
Brahms' partsongs
|
Eg sehnsucht, Warum, Waldesnacht du wunderkuhle, O Schone Nacht
|
|
|
Ave Maria by Brahms
|
Written for women's chorus, organ and orchestra
|
|
|
Four songs for female chorus, two horns, and harp
|
Brahms; Op. 17 is most famous set
|
|
|
Geistliche Chore
|
Brahms; Unaccompanied
|
|
|
Twelve songs and romances
|
Brahms; Unaccompanied
|
|
|
Thirteen Canons
|
Brahms; Unaccompanied
|
|
|
Categories of Brahms choral music
|
1. Choral Works with Orchestra
2. Sacred Choral Works 3. Secular Choral Works |
|
|
Mendelssohn's oratorios
|
1. St. Paul
2. Elijah 3. Christus (incomplete) |
|
|
St. Paul
|
Mendelssohn; Solos, SATB choir, large orchestra and organ; 45 numbers and 1/3 for choir; Intended for concert hall; 4 Bach-type chorales; Mostly fugal writing
|
|
|
Elijah
|
Mendelssohn; Soloists, SATB choir, orchestra, organ; Unusual beginning; More mature work than St Paul; Variety of textures and forms; Interlocking tritone
|
|
|
Christus
|
Mendelssohn; Unfinished oratorio; "A Star Shall Rise Up Out of Jacob"
|
|
|
Mendelssohn's secular cantatas
|
1. Die erste Walpurgisnacht, op. 60
2. Ein Sommernachtstraum (Midsummer Night's Dream) |
|
|
Other large-scale sacred works by Mendelssohn
|
Psalm settings: 1. Non nobis domine (Not Unto Us O Lord) 2. Wie her hirsh shreit (As the Hart Pants).
|
|
|
Chorale cantata's by Mendelssohn
|
1. Jesu meine Freude
2. Christe du Lamm Gottes 3. Lauda Sion |
|
|
Mendelssohn's Oratorios
|
1. St Paul
2. Elijah 3. Christus |
|
|
Mendelssohn's secular cantatas
|
1. Die erste Walpurgisnacht
2. Ein Sommernachtstraum |
|
|
Two examples of Mendelssohn psalm settings for chorus and orchestra
|
1. Not Unto Us O Lord
2. As The Heart Pants |
|
|
Chorale Cantatas by Mendelssohn
|
1. Jesu Meine Freude
2. Christe du Lamm Gottes 3. Lauda Sion 4. Hear My Prayer |
|
|
Verleih uns Frieden
|
Mendelssohn; SATB and orchestra (or keyboard); Small-scale sacred work; Text by Luther; Immensely satisfying
|
|
|
Mendelssohn pieces for women
|
Three motets for women's choir:
1. Veni Domine 2. Laudate Pueri 3. Surrexti Pastor Bonus |
|
|
Mendelssohn pieces for men
|
op. 121: Adspice domine
Op. 115: 1) Beati mortui 2) Periti autem |
|
|
Characteristics of Mendelssohn part songs
|
-Written to brighten oratorio or Lower Rhine Music Festival
-Influenced by Lieder -Many for males voices -Mostly homophonic -Tuneful with rhythmic vitality |
|
|
Robert Schumann
|
-Lived sad life
-Battled depression, auditory problems, muscle problems -Large choral output -Never mastered large forms |
|
|
Das Peri die Paradis
|
Schumann; Secular oratorio; About trials of fairy
|
|
|
Requiem for Mignon
|
Schumann; Not really a requiem; Goethe text; Just a nice song
|
|
|
Scenen aus Goethes Fause
|
Schumann; Collection of scenes from Goethe's Faust
|
|
|
Der Rose Pilgerfahrt - The pilgrimage of the rose
|
Schumann; Another tale about a fairy
|
|
|
Schuman's large-scale sacred works
|
1. Mass
2. Requiem |
|
|
Characteristics of Schumann partsongs
|
-Most are a cappella, strophic, homophonic
-Enormous variety |
|
|
Examples of Schumann partsongs
|
-Zigeunerleben (Gypsy Life)
-Spanishes Liedersp -Minnespiel |
|
|
Verdi's choral output
|
1. Requiem
2. Messa di Gloria 3. Four Sacred Pieces 4. Pater Noster 5. Lots of opera choruses |
|
|
Verdi's Requiem
|
-Tribute to Rossini
-Eventually wrote whole thing himself -Very demanding -Mirror structure |
|
|
Verdi's Four Sacred Pieces
|
1. Ave Maria - unaccompanied, enigmatic scale
2. Laudi Alla Vergine Maria - SSAA unaccompanied 3. Stabat Mater - Chorus and orchestra 4. Te Deum - Chorus and orchestra; Gregorian chant |
|
|
Messe Solennelle
|
Berlioz; Discovered in 1992 in Antwerp; Used material for later works; Not very interesting
|
|
|
Grande Messe des Morts
|
Berlioz; Commissioned to honor Revolution veterans; Huge orchestra demands; STB voicing; Not received well
|
|
|
Romeo and Juliet
|
Berlioz; Dramatic symphony with solos and choruses; Attempt to expand symphonic form further than Beethoven; Chorus explained the action
|
|
|
The Damnation of Faust
|
Berlioz; 4 voices, choir, and orchestra; Contains "Soldier's chorus"
|
|
|
L'Engance du Christ
|
Berlioz; Small scale, charming; Includes "Shepherd's Farewell"
|
|
|
Berlioz Te Deum
|
Huge in scope; 7 Movements; Last one is fugal and is particularly brilliant
|
|
|
Anton Bruckner's life
|
-Catholic Austrian
-Organist -Insecure about his music -Conservative (Influenced by St. Cecilia Society) |
|
|
St. Cecilia Society
|
-Est. Franz Witt
-Reject excess of Romanticism -Return to chant and liturgy -No accompaniment -Hymns sung in vernacular |
|
|
Bruckner's 3 famous masses
|
1. D minor (Romantic)
2. F minor (Romantic) 3. E minor (Neo-Romantic) |
|
|
Bruckner's D minor mass
|
SATB soloists (integrated into choral writing); Mostly in D major! Liturgical mass; Repeated motives that unify
|
|
|
Bruckner's E minor mass
|
Exemplifies Cecilia Society ideals; Gregorian chant; Wind band accompaniment; Florid counterpoint; No soloists
|
|
|
Bruckner F minor mass
|
SATB soloists, choir, orchestra; Thanksgiving for Bruckner's return to health; Cantata mass; Monumental mass; Fusion of Baroque and Romantic elements; Recurring themes; Composer's faith
|
|
|
Bruckner Te Deum
|
SATB solos, choir, orchestra, organ; Bruckner's favorite and most often performed;
|
|
|
Bruckner Psalms
|
5 Large-scale works; Two styles (neo-renaissance and romantic)
|
|
|
Psalm 150
|
Bruckner; In praise of instruments; Jubilant and sonorous
|
|
|
Bruckner's motets
|
-Mostly written for liturgical use in his own church
-All in Rennaisance style, but romantic in tonality -Mostly unaccompanied |
|
|
Bruckner's Pange Lingua
|
Written at the request of Franz Witt; Wanted to emulate palestrina
|
|
|
Bruckner Motets
|
-Pange Lingua
-Ave Maria -Locus Iste |
|
|
Dvorak's Stabat Mater
|
-Written after the loss of his three children
-SATB solos, choir and orchestra -Highly dramatic |
|
|
Dvorak's Te Deum
|
SB soloists; Choir and orchestra; Premiered at Carnegie Hall; Influenced by Bach; Considered by many to be his best choral work
|
|
|
Dvorak's Requiem
|
SATB soloists, choir, orchestra; Huge and long; Many texts appear our of order; varied textures, both homophonic and polyphonic.
|
|
|
Dvorak Mass in D Major
|
SATB soloists, semi-chorus, choir; Originally scored for choir and organ; Imitates Haydn masses
|
|
|
Dvorak's sacred choral works
|
1. Stabat Mater
2. Te Deum 3. Requiem 4. Mass in D Major |
|
|
Svatebni Kosile (Spectre's Bride)
|
Dvorak; Secular cantata
|
|
|
American Flag
|
Dvorak; Secular cantata
|
|
|
Dvorak's partsongs
|
Simple and colorful; Usually homophonic with repeated structure
|
|
|
Gabriel Faure's life
|
-Organist and teacher in Paris
-Church trained; Later incorporated modern elements -Not known outside France -Small but important choral output |
|
|
Faure Requiem
|
SB soloists; SATB choir and small orchestra and organ; Written over a long period; "Lullaby of death" (omitted Dies Irae)
|
|
|
Other choral works by Faure
|
1. Cantique de Jean Racine
2. Messe Basse 3. Pavane 4. Madrigal 5. Other works for women |
|
|
Define and describe the following:
Mass in D minor, E minor, F minor The motets of Bruckner Important choral works of Fauré 2 different Te Deums form last week’s composers |
**Possible test question**
|
|
|
Three early English Romantics
|
Stanford, Parry and Elgar
|
|
|
Late English Romantics
|
Vaughan Williams, Howells, Holst
|
|
|
Sir Charles Villiers Stanford life
|
-Irish Prostestant
-Hugely popular -Wrote 50+ choral opuses |
|
|
Stanford's Oratorios
|
Largely forgotten:
1. The Three Holy Children 2. Eden |
|
|
Stanford's Choral/Orchestral works
|
Largely forgotten; Unwieldy
|
|
|
Stanford's Anglican church works
|
Numerous services, magnificats, nuc dimittis, anthems, and hymns -- still performed regularly.
|
|
|
Stanford's most popular services
|
1. B flat major
2. G major |
|
|
Stanford's most famous "Magnuncs"
|
1. E flat major
2. F major |
|
|
Stanford's three most famous anthems
|
1. Op. 38 - 3 motets
-Justorum animae -Coelos ascendit hodie -Beati quorum via 2. The Lord is My Shepherd 3. And I Saw Another Angel |
|
|
Hymns by Stanford
|
1. When in Our Music God is Glorified
2. O For a Closer Walk with God 3. I Bind Unto Myself This Today |
|
|
Secular part songs by Stanford
|
-The Bluebird
-Quick, we Have But a Second -Heraclitus etc. |
|
|
3 Oratorios of Parry
|
1. Judith
2. Job 3. King Saul |
|
|
Blest Pair of Sirens
|
Best-known Hubert Parry work; Text by Milton; Performed at inaugural concert in Royal Albert Hall
|
|
|
I Was Glad When They Said Unto Me
|
Parry; Anthem written for Edward VII coronation
|
|
|
Hubert Parry's part songs
|
Four collections
|
|
|
Parry's hymns
|
-Jerusalem (Britain's 2nd national anthem)
-Dear Lord and Father of Mankind (from Judith) |
|
|
Edward Elgar's life
|
-Little formal education; Studied scores in father's shop
-Honorary doctorate, knighted, etc. |
|
|
Dream of Gerontius
|
Elgar; The greatest English oratorio of the Romantic period; Death of Gerontius and his dream of the afterlife; Influenced by Wagner; Massive, modern, forward-looking Romanticism
|
|
|
The Music Makers
|
Elgar; Choral Ode for contralto, choir, and orchestra; Setting of poem
|
|
|
Scenes from the Bavarian Highlands
|
Elgar; Text by his wife, Alice
|
|
|
Caractucus
|
Elgar; Story of British chieftain fighting Roman invaders
|
|
|
Other sacred settings by Elgar
|
-Te Deum
-Jesus Meek and Lowly -Ave maris stells -They are at Rest -Ave Verum -Lux Aeterna |
|
|
Elgars part songs
|
Called them "rot"; There is Sweet music; My Love Dwelt in the Northern Land; etc.
|
|
|
Other English Romantics
|
-Sir John Goss
-Robert Pearsall -Charles Wood -Samuel Wesley -John Stainer -Arthur Sullivan |
|
|
Russian Romanticism
|
Worked in Moscow or St. Petersburg; Mostly homophonic; Russian orthodox church; No instruments
|
|
|
Russian Romantic Composers
|
-Borodin
-Tchaikovsky -Rimsky-Korsakov -Arnesnky -Gretchaninov -Chesnokov -Rachmaninov |
|
|
Musica Russica
|
Great resource for Russian romantic composers
|
|
|
Choral music in the modern era (characteristics)
|
-Experimentation with tonality and form
-More complex -Diveristy -Enormous output -Awareness of composers around the world |
|
|
Vaughan Williams life
|
-Upper-class
-Taught by Parry, Stanford, and others -Interested in reviving folk music -Friends with Holst -Diversity of style |
|
|
Toward the Unknown Region
|
Vaughan Williams; Whitman text; established him as a composer; Competition with Holst
|
|
|
A Sea Symphony
|
Vaughan Williams; Wrote after studying with Ravel; SB soloists, choir, orchestra. Text by Whitman;
|
|
|
Five Mystical Songs
|
Vaughan Williams; Text by George Herbert; Fifth movement is famous: Antiphon
|
|
|
Fantasia on Christmas Carols
|
Vaughan Williams; Wrote with carols gathered in folk music studies.
|
|
|
Sancta Civitas (The Holy City)
|
Vaughan Williams; Oratorio; From Revelations; NOT ACCESSIBLE
|
|
|
Flos Campi (Flower of the Field)
|
Vaughan Williams; Mix between concerto and choral work. Chorus functions as added timbre to orchestra; NOT ACCESSIBLE
|
|
|
Five Tudor Portraits
|
Vaughan Williams; Modern sounding; Virtuoso choir needed
|
|
|
In Windsor Forest
|
Vaughan Williams; Secular cantata; Drinking song, sigh no more ladies, and wedding chorus are useful
|
|
|
Dona Nobis Pacem (Vaughan Williams)
|
Composed during WWII; Text from Whitman and scriptures
|
|
|
Serenade to Music
|
Vaughan Williams; 16 parts with specific singers in mind! From Merchant of Venice;
|
|
|
Hodie
|
Vaughan Williams; Christmas cantata; 16 Movements
|
|
|
Mass in G minor (VW)
|
Vaughan Williams; 20th Century Unaccompanied mass!!!
|
|
|
Anthems by Vaughan Williams
|
O Clap Your Hands
O Taste and See O vos omnes All Hail the Power The Old Hundredth Psalm Tune (for Coronation of Elizabeth II) Lord, Thou Hast Been Our Refuge A Choral Flourish |
|
|
Secular collections by Vaughan Williams
|
1. Three Shakespeare Songs
2. Five English Folk Songs 3. Three Elizabethan Part Songs 4. Folk Songs of the Four Seasons |
|
|
Single secular settings by Vaughan Williams
|
Rest
Bushes and Briars Down Among the Dead Men The Turtle Dove Greensleeves Silence and Music |
|
|
The Cloud Messenger
|
Holst; First major work; Not well received
|
|
|
Hymn of Jesus
|
Holst; Based on plainsong; Exotic vocal colors
|
|
|
Choral Fantasia
|
Holst; Critics didn't get it, but other composers did
|
|
|
Choral Hymns from the Rig Veda
|
Holst; Eastern influence
|
|
|
Seven Festival Choruses
|
Holst;
1. Turn back o man 2. Psalm 148 3. Let all mortal flesh keep silence 4. A festival chime 5. Short festival te deum 6. Psalm 86 7. All people that on earth do dwell |
|
|
Ode to Death
|
Holst
|
|
|
A Dirge for Two Veterans
|
Holst
|
|
|
Two Eastern Pictures
|
Holst
|
|
|
Christmas Day
|
Holst
|
|
|
Herbert Howells life
|
Taught at RCM. Fascinated with Gregorian Chant and Pentatonic scale; Music has a sound of its own
|
|
|
Howells' Requiem
|
Written after loss of his son; Fantastic piece! Combines latin and English
|
|
|
Hynmus Paradisi
|
Howells; Dedicated to his son. ST solo, SATB choir, orchestra,
|
|
|
Other short pieces by Howells
|
I Love All Beauteous Things
I Would Be True Hymn for St Cecilia O Pray for the Peace of Jerusalem Like as the Hart (Psalm 150) Take Him Earth for Cherishing A Spotless Rose Sing Lullaby Here Is the Little Door |
|
|
Peter Warlock
|
Unhappy life, ended in suicide; Many wonderful short pieces:
Benedicamus Domino Bethlehem Down What Cheer Tyrley, Tyrlow The Sycamore Tree |
|
|
Life of Delius
|
Very agnostic if not atheistic - had no interest in writing sacred sacred music.
Has his own voice among English composers – The English Impressionist Shot during a concert – left him blind and paralyzed. English hated him. |
|
|
Mass of Life
|
Delius; Non-liturgical in German
|
|
|
Sea Drift
|
Delius; Whitman text
|
|
|
Delius part songs
|
To Be Sung of a Summer’s Night on the Water (no words)
On Craig Ddu The Splendour Falls on Castle Walls The Midsummer Song |
|
|
To Be Sung of a Summer's Night on the Water
|
Delius
|
|
|
Gerld Finzi life
|
Half Jew, half Italian, born in England
Agnostic but wrote some wonderful sacred music Never studied music at an institution Taught at Royal Academy of Music Grew out of VW, Holst and Parry school but has his own voice Feet more firmly planted in the 20th Century Paid great attention to expressing the text – Owned largest personal library of poetry and literature in England |
|
|
In Terra Pax - Christmas Scene
|
Finzi; SB solo, choir, and orchestra; Chorus plays minor role; Framed by poems
|
|
|
Lo the Full Final Sacrifice
|
Finzi;
|
|
|
Magnificat (Finzi)
|
S solo, choir, organ;
|
|
|
Three anthems by Finzi
|
1. My Lovely One
2. God is Gone Up 3. Welcome Sweet and Sacred Feast |
|
|
Seven Unaccompanied Partsongs by Finzi
|
My Spirit Sang All Day
I Have Loved Flowers That Fade Nightingales Wherefore Tonight So Full of Care Clear and Gentle Stream I Praise the Tender Flower Haste On, My Joys |
|
|
Sir William Walton Life
|
Started out as advocate for avant garde style in England (Façade). Later, reverted to slightly more traditional style
Failed his BA 3 times at Oxford - later received 7 honorary doctorates and knighted! Known mostly for instrumental works but also wrote a few great choral pieces |
|
|
Belshazzar's Feast
|
Walton
|
|
|
Coronation Te Deum
|
Walton
|
|
|
The Twelve
|
Walton; Mini cantata
|
|
|
Christmas carols by Walton
|
What Cheer?
Make We Merry All This Time |
|
|
Benjamin Britten life
|
Greatest British composer since Purcell
Mother was a singer and pianist – declared when he was a child that he would become the 4th great B! Attended RCM Especially important for his vocal works - very talented at setting texts Pacifist - came to America 1939 and returned in 1942 when he registered as a conscientious objector Music greatly affected by his friendship with W. H. Auden and Peter Pears |
|
|
War Requiem
|
Britten; Written for newly-built Coventry Cathedral
|
|
|
Cantata Misericordium
|
Britten; Red cross
|
|
|
Hymn to St. Cecilia
|
Britten
|
|
|
Ceremony of Carols
|
Britten
|
|
|
Rejoice in the Lamb
|
Britten; Cantata
|
|
|
St. Nicholas
|
Britten; Cantata
|
|
|
Spring Symphony
|
Britten; Setting of 14 poems
|
|
|
Glorianna
|
Britten
|
|
|
Sacred and Profane
|
Britten
|
|
|
Sacred and Profane
|
Britten
|
|
|
Five flower songs
|
Britten
1. To Daffodils 2. The Succession of the Four Sweet Months 3. March Flowers 4. The Evening Primrose 5. The Ballad of Green Broom |
|
|
I Loved a Lass
|
Britten; Secular song
|
|
|
Lift boy
|
Britten; Secular song
|
|
|
Britten songs for children
|
The Little Sweep - operetta
Noye’s Fludde- short opera Fancie The Ride-by Nights Friday Afternoons Oliver Cromwell (canon for children) Old Abram Brown (canon for children) |
|
|
Debussy's Three Chansons
|
1. Dieu! Qu'il la fait bon regarder (parisian)
2. Quant j'ai ouy le tambourin (accompanied song style) 3. Yver, cous n'estes qu'un villain (parisian) |
|
|
Ravel's Three Chansons
|
1. Nicolette (humorous - Janequin style)
2. Trois oiseaux du Paradis (Accompanied song) 3. Ronde (parisian) |
|
|
Poulenc musical characterisitcs
|
-Clear-cut tonalities
-Clipped phrases -Strange word accents -Gorgeous melodies |
|
|
Motets of Poulenc
|
Quatre motets pour un temps de pénitence (Four motets for Lent)
Quatre motets pour temps de Noël (Four motets for Christmas) O Magnuum mysterium – Gorgeous! Exultate Deo – Renaissance-like Salve Regina – Very beautiful |
|
|
Poulenc's Gloria
|
Happy music; His favorite work
|
|
|
Figure Humaine
|
Poulenc; 12 voices
|
|
|
Sept chansons
|
Poulenc
|
|
|
Huit chansons
|
Poulenc
|
|
|
Un soir de neige
|
Poulenc
|
|
|
Durufle Requiem
|
SB solos, choir, organ, orchestra; Based on Gregorian chant; Almost same structure of Faure's requiem
|
|
|
Messe cum jubilo
|
Durufle; B solo and unison men's chorus
|
|
|
4 motets based on Gregorian chants
|
Durufle;
1. Ubi Caritas 2. Tota Pulchra Est 3. Tu es Petra 4. Tantum ergo |
|
|
Notre Pere
|
Durufle; Pianisimo throughout
|
|
|
o sacrum convivium
|
Messien; Impressionistic
|
|
|
Cinq Rechants
|
Messien; Virtuosic, erotic love story
|
|
|
King David
|
Honegger; Oratorio
|
|
|
Joan of Arc
|
Honegger
|
|
|
Une Cantate de Noel
|
Honegger; Christmas cantata
|
|
|
Avodath Hakodesh (Sacred Service)
|
Bloch; Text from reform Jewish prayer book;
|
|
|
Laud to the Nativity
|
Respighi
|
|
|
Messa di Requiem
|
Pizzetti
|
|
|
Gurre-lieder
|
Schoenberg;
|
|
|
Friede auf Erden
|
Schoenberg
|
|
|
Other tonal works by Schoenberg
|
Three folksongs for mixed chorus (1929)
Es gingen zwei gespielen gut Der Mai tritt ein mit Freuden Mein Herz in stetenn Treuen(CB) Three German Folksongs (1948) Es gingen zwei gespielen gut (CB) Herzlieblich Lieb, durch Scheiden Schein uns, du liebe Sonne (Third verse! 2:16) |
|
|
Gebraughsmusik
|
Pioneered by Hindemith; "Music for the people"
|
|
|
Apperebit repentina dies
|
Hindemith
|
|
|
When Lilacs Last in the Dooryard Bloom'd
|
Hindemith; Text by Whitman about Abe Lincoln's death; Requires study to appreciate
|
|
|
Carmina Burana
|
Orff
|
|
|
Choral-passion op. 7
|
Distler; Small-scale a cappella passion
|
|
|
Die Weinachtsgeschichte
|
Hindemith; Variation of Lo How A Rose
|
|
|
Geistliche Chormusik
|
Distler; Planned set of 52 motets (only wrote 9); Based on Schutz's collection:
Singet dem Herrn ein neues Lied Totentanz – a church drama in which a character playing death confronts mortals such as a bishop, a physician, a sailor, a child etc. Gott in deiner Majestat Singet frisch und wohlgemut - Christmas motet based on Joseph lieber, Joseph mein - pastoral, brilliant counterpoint, beautiful masterpiece Ich wollt, dass ich daheime war Wachet auf, ruft uns die Stimme) In der Welt habt ihr Angst Das ist je gewisslich wahr Fuhrwahr, er trug unsre Krankheit. |
|
|
Der Jahrkreis
|
Distler; Small motets; sung by children
|
|
|
Kleine Choralmottetten
|
Distler; 3 small SATB motets
|
|
|
Neues Chorliederbuch
|
Distler; Secular song collection
|
|
|
Morike-Chorliederbuch
|
Distler; Secular song collection
|
|
|
Hans Zimmerman
|
Jazzy psalm settings
|
|
|
Alexander Nevsky
|
Prokofiev; Based on previously written material for film
|
|
|
The Wedding (Les Noces)
|
Stravisky; 4-part choral work describing the day of a wedding
|
|
|
Four Russian Peasant Songs
|
Stravinsky; Fortune telling songs
|
|
|
Three Motets (Stravinsky)
|
1. Pater noster
2. Credo 3. Ave Maria |
|
|
Stravinsky Mass
|
Choir of men and boys and double quintet; Neo-classical style; Formal structure
|
|
|
Symphony of Psalms
|
Stravinsky; No violins or violas; Based on two minor thirds joined by a major third
|
|
|
Psalmus Hungaricus
|
Kodaly; David's plea with the Lord to deliver from enemies
|
|
|
Missa Brevis
|
Kodaly; Composed in monastery;
|
|
|
Jesus and the Traders
|
Kodaly; A cappella
|
|
|
Choral works of Bela Bartok
|
Four Hungarian Folksongs – Mixed chorus
Two Romanian Folksongs - women’s chorus Four Slovak Folksongs - mixed chorus and piano Five Slovak Folksongs - men’s chorus Three Village Scenes -women’s chorus and chamber orchestra Six Székely Folksongs -men’s chorus Twenty-seven Choruses - 2 or 3 equal voices All set in simple homophonic style with careful attention paid to metric shifts of the original folk material |
|
|
Cantata Profana (The Nine Enchanted Songs)
|
Bartok; based on Romanian folk tune
|
|
|
Ejzaka and Reggel
|
Ligeti; Morning and night
|
|
|
Ligeti's Requiem
|
Almost entirely polyphonic; Harsh harmonies; "Deeply disturbing music"
|
|
|
Lux Aeterna
|
Ligeti; 16-part unaccompanied chorus; In A Space Odessey
|
|
|
Passion According to St. Luke
|
Penderecki; Homage to Bach; describes suffering of Christ as well as victims of Auschwitz
|
|
|
Dies Irae by Penderecki
|
Written for unveiling of Auschwitz monument; Brutal descriptions of holocaust events
|
|
|
Arvo Part
|
Estonian composer; Tonal, serial, and tintinnabulation
|
|
|
Tintinnabulation
|
Using just a few elements (notes in the major triad) and repeating them to sound like bells
|
|
|
206. Why does a Catholic sin against faith by identifying himself with other religions?
|
A Catholic sins against faith by identifying himself with other religions because the One True religion is the Catholic Faith, and to knowingly embrace practices or beliefs contrary to the Faith is to abandon the Truth.
|
|
|
Healey Willan characteristics
|
Harmonically conservative, father of Canadian music. Examples:
An Apostrophe to the Heavenly Hosts (double choir) The Three Kings Gloria Deo, per immensa saecula Hodie Christu natus est I Beheld Her, Beautiful as a Dove Rise Up, My Love A Fond Kiss |
|
|
R. Murray Schafer
|
Avant-garde educational pieces
|
|
|
Imant Raminsh
|
Tonal, romantic, accessible to singers and audiences.
|
|
|
Imant Raminsh music
|
Ubi caritas (CD7788)
Psalm 23 (treble) Bless the Lord O My Soul Songs of the Lights Ave verum corpus |
|
|
Charles Ives
|
Wrote modern choral music; INsurance salesman
|
|
|
Psalm 67
|
Ives
|
|
|
Psalm 90
|
Ives
|
|
|
Three Harvest Home Chorales
|
Ives' most famous choral work
|
|
|
Circus Band
|
Funny choral piece
|
|
|
Samuel Barber
|
Child prodigy; Neo-Romantic; Fastidious craftsman
|
|
|
212. When does a person sin by superstition?
|
A person sins by superstition when he attributes to a creature a power that belongs to God alone, as when he makes use of charms or spells, believes in dreams or fortune-telling, or goes to spiritists.
|
power, charms, spells, dreams, fortune-telling, spiritists.
|
|
More Barber works
|
A Stopwatch and an Ordnance Map –TTBB and Timpani
The Monk and His Cat - SATB and piano Under the Willow Tree – Solo, SATB, piano Heaven-Haven (A Nun Takes the Veil) - SATB |
|
|
Brazilian Psalm
|
Berger
|
|
|
Chichester psalms
|
Bernstein;
|
|
|
Choruses from The Lark
|
Bernstein; French Choruses and Latin Choruses
|
|
|
Bernstein Mass
|
Very controversial work
|
|
|
Choruses from Candide
|
Bernstein
|
|
|
Missa Brevis
|
Adapted from "The Lark"
|
|
|
Irving Fine
|
The Hour Glass
Choruses from Alice and Wonderland |
|
|
Vincent Persichetti
|
20th Century sounding.
Mass (a cappella) Te Deum Stabat Mater Song of Peace (TTBB) |
|
|
Ned Rorem
|
Huge vocal output; All tonal and very accessible. Examples:
Four madrigals (20th C/Renaissance style) Love Divine All Loves Excelling What Is Pink? (treble) Seven Motets for the Church Year Many church anthems |
|
|
Dominick Argento
|
Prolific opera composer.Tonal but 20th century; Examples:
-Gloria -A Nation of Cowslips -The Revelation of Saint John the Divine -Jonah and the Whale |
|
|
Randal Thompson
|
-Alleluia
-Frostiana -The Last Words of David -The Peaceable Kingdom |
|
|
Aaron Copland
|
Small choral output;
-4 Motets -Old American Songs -In the Beginning |
|
|
Norman Dello Joio
|
-A Jubilant Song
-Come to me, My Love |
|
|
How Excellent is Thy Name
|
Howard Hansen
|
|
|
Make a Joyful Noise unto the Lord
|
Kirke Mechem
|
|
|
Christmas Cantata
|
Pinkham
|
|
|
Halsey Stevens
|
Dr. Staheli's favorite
|
|
|
Unaccompanied 20th century masses
|
1. Vaughan Williams - G Minor
2. Poulenc - G Major 3. Martin - Double choir 4. Hindemith - Plainsong w/ 20th c. harmonies |
|