Pax in Terra; Mixed Choir a cappella with Soprano and Tenor Solos

Notes ◽  
1987 ◽  
Vol 43 (4) ◽  
pp. 933
Author(s):  
Robert Gronquist ◽  
William Albright ◽  
Bo Holten ◽  
Leo Smit ◽  
Fred Hoyle
Keyword(s):  
A Cappella ◽  
Mixed Choir

"EPIGRAPH BY COUNT TOLSTOY TO HIS NOVEL "ANNA KARENINA" BY R. SHCHEDRIN: PARADIGM OF POLYPHONIC THINKING

2021 ◽  
Vol 1 (2) ◽  
pp. 61-67
Author(s):  
N. V. Koshkareva ◽  
Keyword(s):  
Main Idea ◽  
Compositional Style ◽  
Musical Composition ◽  
A Cappella ◽  
Musical Form ◽  
Musical Language ◽  
Musical Culture ◽  
Anna Karenina ◽  
Literary Source ◽  
Mixed Choir

Rodion Shchedrin's choral work represents the most interesting area of modern musical culture. The object of the analysis is the composition "Epigraph by Count Tolstoy to His Novel "Anna Karenina" for mixed choir a cappella as a demonstration of the key feature of Rodion Shchedrin's compositional style — polyphonic thinking. This aspect becomes an argument for the relevance of the topic. Through the synthesis of research methods, the parameters of musical composition are studied: literary source, musical form, texture, and melody. In addition, the author reveals the "Russian theme" in the choral work of R. Shchedrin, identifies the specifics of the composer's individual choral style, and defines the aspects of polyphonization of the means of musical language. The "Epigraph" explains the main idea of L. Tolstoy's novel and concentrates on the most important contextual continuum development of all the events that take place. A wide semantic field of textual basis becomes an impulse for polyphonization of all musical expressive means. Polyphony as an idiom of R. Shchedrin's composer's handwriting is born, among other things, in the fusion of artistic trends and styles. In conclusion, it is emphasized that the literary basis of the "Epigraph", woven from historical, theological, philosophical, artistic and poetic layers, required a synthesis of traditional and innovative musical expressive means — "a new polyphonic word" in the author's expression of the main paradigms of the Russian theme by R. Shchedrin.

Anton Webern: The Man and his Music

Tempo ◽  
1946 ◽  
pp. 258-260
Author(s):  
Willi Reich
Keyword(s):  
String Quartet ◽  
Anton Webern ◽  
A Cappella ◽  
Musical Form ◽  
Musical Expression ◽  
Alban Berg ◽  
Stefan George ◽  
Late Style ◽  
Mixed Choir

Non multa, sed multum. How happy I would be, could this saying be applied here!” With these words, Anton Webern dedicated the score of his Op. 9, the six Bagatelles for string quartet, to his friend Alban Berg. Each of these pieces, though lasting only a few seconds, contains a truly remarkable wealth of musical expression. But this old Latin adage may also very suitably be applied to the whole of Webern's work. The published list commences with a large composition for orchestra, the Passacaglia Op. 1 (1908), written after a long and strict study with Arnold Schönberg. It shows the twenty-five-year-old composer in complete command of all the traditional means of his art. Even this work, clearly influenced by Brahms's late style, betrays a peculiar originality, wrestling for its own means of expression in its melodic invention and its endeavour to expand tonality to the uttermost. Also the next work, a double Canon for mixed choir a cappella to words by Stefan George, strives for a certain conciliation between conventional ways of writing and the new presentation of a clearly conceived tone-world. The early tendency to marshal and arrange even the boldest and freest musical thoughts by orthodox musical form-laws (passacaglia, canon), remains characteristic also of Webern's latest compositions.

scholarly journals The “Theotokos Chants” Spiritual Concert by Andrei Mikita, Its Genre and Composition

2014 ◽  
pp. 42-47
Author(s):  
Andrey B. Kovalev
Keyword(s):  
The Other ◽  
A Cappella ◽  
Religious Texts ◽  
Liturgical Texts ◽  
Mixed Choir ◽  
Liturgical Singing ◽  
The One

Analyses multipartite spiritual (religious) concert by Andrey Mikita, one of the prominent Moscow composers. The “Theotokos Chants” concert was written for mixed choir a cappella on liturgical texts of the Theotokos feasts: Nativity of the Theotokos, Annunciation, Assumption, Protection of the Theotokos. The genre and composition particularities of this concerto are related to the elements of liturgical singing tradition on the one hand and composer’s personal musical representation of religious texts on the other. All this determined the non­liturgical genre of this choral.

scholarly journals Te Deum for mixed choir a cappella by Dmytro Stetsiuk in the context of Ukrainian religious music

2021 ◽  
Author(s):  
Mykhailo Tyshchenko
Keyword(s):  
Scientific Research ◽  
Main Idea ◽  
Complete Analysis ◽  
A Cappella ◽  
Modern Music ◽  
Religious Music ◽  
Te Deum ◽  
Individual Traits ◽  
Mixed Choir ◽  
General Scientific

The purpose of the article is the insert to the scientific research the complete analysis of masterpiece by known Ukrainian composer Dmytro Stetsiuk Te Deum for mixed choir a capella and draw the attention of the choir conductors, who would like to insert to their music collectives a masterpiece, written in the tendencies of modern music and that can be performed either in the liturgy or in concerts. The methodology of the exploration is based on the combination of the general scientific (historical and comparative) and special musicological( of the genre, general and the dramaturgical-intonational analysis), that gives the opportunity to regard the historical basics of the Catholic liturgic tradition, and from another side-see the ways of its development and renovation. Scientific Novelty. The research is the first analysis of Te Deum for the mixed choir in the context of the modern tendencies of Ukrainian composers. Conclusions. The analysis of Te Deum for the mixed choir a capeella by Dmytro Stetsiuk in the context of religious music and in the sphere of the creative search of the modern Ukrainian composers proves the fact, that this masterpiece is written in the liturgic tradition and develops it in the intonational side. Componist completely uses the canonic text, but gives his own regard for it, also understanding of the main idea. The traditional melody of Te Deum from one side gives the unity of the composition, from another gives the basics for the modern stylization, because of intonation, voice tembre (the unity of the different groups of the choir), harmonical, factual (harmony and polyphony). This way are revealed individual traits of the composer and also the modern regard on the medieval liturgic text. The exploration of the masterpiece`s score gives the reason to be sure, that it is not only in the liturgical tradition, but also can be performed in the concert hall.

Sight-reading: notes on a cappella performace practice

Early Music ◽  
1995 ◽  
Vol XXIII (1) ◽  
pp. 124-150
Author(s):  
Donald Greig
Keyword(s):  
A Cappella ◽  
Sight Reading

Pax Musica. SSAATTBB a cappella

Notes ◽  
1954 ◽  
Vol 11 (4) ◽  
pp. 600
Author(s):  
David S. Cooper ◽  
Thomas B. Pitfield
Keyword(s):  
A Cappella

Fantasy on Children's Games. SSATB a cappella

Notes ◽  
1953 ◽  
Vol 11 (1) ◽  
pp. 146
Author(s):  
Sam Morgenstern ◽  
Elie Siegmeister
Keyword(s):  
A Cappella

THE INFLUENCE OF TANEYEV’S STYLISTIC PRINCIPLES ON RUSSIAN CHORAL MUSIC OF THE XXTH CENTURY

2020 ◽  
Vol 1 (2) ◽  
pp. 75-80
Author(s):  
V. P. Tereshchenko ◽  
Keyword(s):  
Choral Music ◽  
Compositional Style ◽  
Rational Approach ◽  
A Cappella ◽  
Unique Combination ◽  
Xxth Century ◽  
Leading Role ◽  
Baroque Music ◽  
Special Area

The article touches upon the unique combination of Taneyev’s stylistic principles, which consists in an organic synthesis of protective and innovative features. Taneyev consciously turns to the polyphony of strictly writing, Baroque music and Viennese classicism in forming his own individual compositional style. The paradox is that Taneyev acted as an innovator who foresaw a vision for the future of music through the prism of the distant past. Stylistic principles such as historicism of thinking, rational approach to creativity and leading role of counterpoint forms became the basis of new trends in music art of the XXth century. A special area of the composer's innovative achievements is choral music. Taneyev founded of a number of genre trends that developed in the XXth century, among them a lyrical-philosophical cantata, "spiritual concert" vocal-instrumental and symphonic music, a choral a cappella cycle to secular text.

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