As part of the research point into Boris Blacher, I found some interesting references to his works for flute, including the Divertimento op. 38; written for Flute, Oboe, Clarinet and Bassoon.
Listening to it at first, it seems dissonant and jerky; the constantly changing rhythmic patterns means it is difficult to keep a beat or predict what is going happen next; it's quite hard work to listen to from this respect and wouldn't by suitable as background music. Whilst it isn't what I would usually listen to, the unexpected changes and new ideas make it intriguing to listen to.
Blacher uses dissonant chords regularly, often with notes semitones apart. His melodies don't have the same elegance as something out of the classical/romantic era, but he is still able to create flowing lines. It is very reminiscent of works by Schoenberg.
At times it seems as though he has written a section as a series of random notes with nothing to connect them. If you consider that he put the same emphasis on rhythm as melody when he wrote the music you get an appreciation of why it sounds very different to music from earlier eras.
Each instrument seems to have a separate voice but they all seem to have a similar level of involvement, as though it were calculated. The middle passages seem to have a lead instrument with the rest accompanying, but the lead instrument changes with the start of a new section.
Ultimately this style of music is very difficult to listen, and therefore appreciate. Underneath the surface, however, there is a lot of detail and precision that goes into composing works like these, even if it does then end up sounding quite random (there's something ironic about that).
Wednesday 26 December 2012
Project 2: Duets
Snare and Tenor Drum Duet (2/2)
Triangle and Suspended Cymbal Duet
I wanted to do something different with this duet. The triangle part is constant all the way through; a sort of ostinato with the same rhythm and dynamic. The aim was to create a feeling of monotony; the music would keep ticking over regardless of what the other part does. The suspended cymbal then adds the character to the piece; large variations in dynamic with different rhythms. It sometimes mimics the triangle (there's diminution in bar 8) but eventually it ends with the triangle none the less.
Snare and Tenor Drum Duet (7/8)
The main basis for this duet was variations around the quaver, 2 semiquavers group (or the inverse 2 semiquavers, quaver). The first 3 bars act as an introduction; the grouping is first played with in bar 4 with the tenor drum interjecting at different points in the bar and accents being used to mark when a part starts to play. Bars 6 and 7 are a call and response with some establishment. Bars 9 and 12 are an echo of the previous bar's music, but with rests where the semiquavers were. Accents are used to draw out the quavers in the preceding bars.
.bmp)
Wood Block and Tambourine Duet (5/8)
I mixed the grouping a bit more in this duet; there's no really dominant grouping. It starts as 2+3, but then has more of a 3+2 feel for a couple of bars. In bars 6 and 7 I wanted to create a three the bar feel (2+2+1) which is brought out in the accented quavers. I used the dynamic marking to draw out the dominant lines; the continuous semiquavers are used to give a grounded accompaniment to the other more detached line.
I wrote this duet as a call and response between the two drums in the style of a march. The rhythmic idea presented by the snare drum is mimicked by the tenor drum, before switching roles in the next section. Accents are used to emphasise the beats, starting with 2 in a bar then 4 in a bar then ending with 8 in a bar.
Triangle and Suspended Cymbal Duet
I wanted to do something different with this duet. The triangle part is constant all the way through; a sort of ostinato with the same rhythm and dynamic. The aim was to create a feeling of monotony; the music would keep ticking over regardless of what the other part does. The suspended cymbal then adds the character to the piece; large variations in dynamic with different rhythms. It sometimes mimics the triangle (there's diminution in bar 8) but eventually it ends with the triangle none the less.
Snare and Tenor Drum Duet (7/8)
The main basis for this duet was variations around the quaver, 2 semiquavers group (or the inverse 2 semiquavers, quaver). The first 3 bars act as an introduction; the grouping is first played with in bar 4 with the tenor drum interjecting at different points in the bar and accents being used to mark when a part starts to play. Bars 6 and 7 are a call and response with some establishment. Bars 9 and 12 are an echo of the previous bar's music, but with rests where the semiquavers were. Accents are used to draw out the quavers in the preceding bars.
.bmp)
Wood Block and Tambourine Duet (5/8)
I mixed the grouping a bit more in this duet; there's no really dominant grouping. It starts as 2+3, but then has more of a 3+2 feel for a couple of bars. In bars 6 and 7 I wanted to create a three the bar feel (2+2+1) which is brought out in the accented quavers. I used the dynamic marking to draw out the dominant lines; the continuous semiquavers are used to give a grounded accompaniment to the other more detached line.
Research Point - Variable Metre
Boris Blacher
Boris Blacher was a German 20th Century composer, born in 1903. He was a renowned teacher; his first post came in 1938 when he was appointed director of a composition class at the Dresden Conservatory by Karl Böhm. He was forced to resign from this post in 1939 as his teaching didn't comply with National Socialist policy; he was accused of writing degenerate music. After the Second World War his teaching career continued when he was appointed Professor at the Musikhochschule in West Berlin in 1948, a post he held until 1970.
His experimentations with rhythm and development of the concept of variable metre were inspired by Schoenberg’s note-rows; a non-repetitive ordering of the twelve notes of the chromatic scale. He used variable metre to bring musical variety to his works by expanding and contracting measures. Blacher chose to displace the centre of attention from harmony to rhythm (Francis Burt, “The Teaching and Ideas of Boris Blacher,” The Score 9 (1954)).
In her 2009 PhD thesis "Elasticity in three compositions with flute by Boris Blacher" Cecilia Taher explores Blacher's use of variable metre, proposing that there is more to variable metre than providing logic to the apparently arbitrary rhythm of modern music. She proposes that the concept of expansion and contraction of measure is also applicable to pitches and textural development; the aural effect of "elastically developing music". She states that Blacher's compositional style evolved, such that in his later compositions the traditional concepts of form and texture are replaced by a new idea of constantly moving, elastic shape. Her thesis goes onto to look at durational and pitch organization, form, texture and their interactions in Blacher's works.
The above figure shows the distribution of time signatures through the 2nd and 4th movements of Blacher's Duet for Flute and Piano (1972). It shows how Blacher creates rhythmic variation through ever changing time signature.
Boris Blacher was a German 20th Century composer, born in 1903. He was a renowned teacher; his first post came in 1938 when he was appointed director of a composition class at the Dresden Conservatory by Karl Böhm. He was forced to resign from this post in 1939 as his teaching didn't comply with National Socialist policy; he was accused of writing degenerate music. After the Second World War his teaching career continued when he was appointed Professor at the Musikhochschule in West Berlin in 1948, a post he held until 1970.
His experimentations with rhythm and development of the concept of variable metre were inspired by Schoenberg’s note-rows; a non-repetitive ordering of the twelve notes of the chromatic scale. He used variable metre to bring musical variety to his works by expanding and contracting measures. Blacher chose to displace the centre of attention from harmony to rhythm (Francis Burt, “The Teaching and Ideas of Boris Blacher,” The Score 9 (1954)).
In her 2009 PhD thesis "Elasticity in three compositions with flute by Boris Blacher" Cecilia Taher explores Blacher's use of variable metre, proposing that there is more to variable metre than providing logic to the apparently arbitrary rhythm of modern music. She proposes that the concept of expansion and contraction of measure is also applicable to pitches and textural development; the aural effect of "elastically developing music". She states that Blacher's compositional style evolved, such that in his later compositions the traditional concepts of form and texture are replaced by a new idea of constantly moving, elastic shape. Her thesis goes onto to look at durational and pitch organization, form, texture and their interactions in Blacher's works.
 |
| (From Taher, 2009) |
The above figure shows the distribution of time signatures through the 2nd and 4th movements of Blacher's Duet for Flute and Piano (1972). It shows how Blacher creates rhythmic variation through ever changing time signature.
.bmp) |
| (From Taher, 2009) |
The figure above is an extract from Divertimento, op. 38 (1951); it shows there is an ever changing number of quavers in each bar, but Blacher (or the publisher) doesn't state the new time signature at the start of each bar. It's almost as though he is trying to demonstrate that the changing time signatures are a natural progression and do not need to be implicitly stated.
The figure above shows the geometric inversion of time signatures used by Blacher. This figure reminded me of the cycle of fifths diagram used to depict key signatures. I think this is what Taher (and Blacher) were trying to do; it draws a link between pitch and rhythm to create the idea of horizontal (rhythmic) and vertical (tonal) development.
 |
| (From Taher, 2009) |
The figure above shows the geometric inversion of time signatures used by Blacher. This figure reminded me of the cycle of fifths diagram used to depict key signatures. I think this is what Taher (and Blacher) were trying to do; it draws a link between pitch and rhythm to create the idea of horizontal (rhythmic) and vertical (tonal) development.
Monday 24 December 2012
The Snowman / The Snowman and the Snowdog
I watched "The Snowman" again this year; it's a Christmas tradition for me. I remember playing "Walking in the Air" on the flute; it was the first piece I ever performed in public and I was scared witless. It was only in the last few years that I realised that it must have been the music that draw me to it in the first place rather than the visual artistry. First realised in 1982, they marked its 30th anniversary this year by creating a sequel: "The Snowman and the Snowdog". That aired this evening, and they kept the music at the core of the experience just like the original (which was shown last night).
The film itself has no dialogue and is completely silent, so the music must portray precisely what the images are showing. I imagine for the composers, Howard Blake for the original and IIan Eshkeri and Andy Burrows for the sequel, the experience of doing this was very similar to the requirements of the silent films of the 1910s and 1920s. Different elements of orchestral writing are used to portray different feelings, emotions and actions on the screen. High string motifs, harp and glockenspiel are used to portray magic and mystery, quick scales, glissandi, trills and percussion interjections are used for sudden or surprise elements. Both films have a sombre moment at the end where the young boy realises the snowman has melted. This is reflected in the music with low woodwind motifs and 'melancholy' strings; long sustained notes and the use of octave unison in minor chords to paint a picture of hurt and sadness.
At the beginning of "The Snowman and the Snowdog" in particular, each character is portrayed by a different instrument; the young boy by a solo violin, the mother by a flute and the old dog by an oboe. The latter seems very appropriate, the oboe having an earthy, bitter tone compared to the lightness of the violin and flute. This reminded me of "Peter and the Wolf" by Prokofiev, where each character is portrayed by a different instrument or section of the orchestra. The difference is, whereas Prokofiev introduces each character separately, interjected by the narrator, in The Snowman films the effect is more subtle; the solo instruments are just prominent within the overall texture of the music.
Unlike Peter and the Wolf, where the narration clarifies the music, the music for The Snowman films is likely to have been written in the style of more traditional film music, where every effect and moment must be perfectly timed to occur simultaneously with the motion picture. The motion picture version of Peter and the Wolf has been created the opposite way; the visual images have been created to match in time with the music.
The film itself has no dialogue and is completely silent, so the music must portray precisely what the images are showing. I imagine for the composers, Howard Blake for the original and IIan Eshkeri and Andy Burrows for the sequel, the experience of doing this was very similar to the requirements of the silent films of the 1910s and 1920s. Different elements of orchestral writing are used to portray different feelings, emotions and actions on the screen. High string motifs, harp and glockenspiel are used to portray magic and mystery, quick scales, glissandi, trills and percussion interjections are used for sudden or surprise elements. Both films have a sombre moment at the end where the young boy realises the snowman has melted. This is reflected in the music with low woodwind motifs and 'melancholy' strings; long sustained notes and the use of octave unison in minor chords to paint a picture of hurt and sadness.
At the beginning of "The Snowman and the Snowdog" in particular, each character is portrayed by a different instrument; the young boy by a solo violin, the mother by a flute and the old dog by an oboe. The latter seems very appropriate, the oboe having an earthy, bitter tone compared to the lightness of the violin and flute. This reminded me of "Peter and the Wolf" by Prokofiev, where each character is portrayed by a different instrument or section of the orchestra. The difference is, whereas Prokofiev introduces each character separately, interjected by the narrator, in The Snowman films the effect is more subtle; the solo instruments are just prominent within the overall texture of the music.
Unlike Peter and the Wolf, where the narration clarifies the music, the music for The Snowman films is likely to have been written in the style of more traditional film music, where every effect and moment must be perfectly timed to occur simultaneously with the motion picture. The motion picture version of Peter and the Wolf has been created the opposite way; the visual images have been created to match in time with the music.
Project 1: Percussion Solos
Side Drum
I tried to use some of the pipe band drumming elements that I had read about such as the Scotch Snap rhythm and Flams.
Tambourine
This tambourine solo is built around some variations of the Habanera rhythm, adding elements such as trills and grace notes. It adds something a bit different, bars 5-6 are based around a rumba rhythm.
Wood Blocks
Again, I used the wood blocks example in the course notes as a starting point, but I wanted to do something slightly different. Having been learning a few songs out of West Side Story, I wanted to use the same time signature variation that Bernstein uses in 'America'; alternating 6/8 and 3/4 with strong emphasis on the 2 vs. 3 beats in a bar. I started with a basic 2 bar pattern then, using a rondo-esque structure I built on it each time it returns. It was only after writing this that I noticed that variable metre is introduced on the next page . . .
I tried to use some of the pipe band drumming elements that I had read about such as the Scotch Snap rhythm and Flams.
Suspended Cymbal
I used the suspended cymbal example in the course notes as a starting point for this. I tried to create a similarly mysterious, almost sinister piece.
Tambourine
This tambourine solo is built around some variations of the Habanera rhythm, adding elements such as trills and grace notes. It adds something a bit different, bars 5-6 are based around a rumba rhythm.
Wood Blocks
Again, I used the wood blocks example in the course notes as a starting point, but I wanted to do something slightly different. Having been learning a few songs out of West Side Story, I wanted to use the same time signature variation that Bernstein uses in 'America'; alternating 6/8 and 3/4 with strong emphasis on the 2 vs. 3 beats in a bar. I started with a basic 2 bar pattern then, using a rondo-esque structure I built on it each time it returns. It was only after writing this that I noticed that variable metre is introduced on the next page . . .
Wednesday 28 November 2012
Percussion Research
I'm not particularly familiar with percussion instruments. I know roughly what each one is and how they are played, but wouldn't know where to begin with writing for them. Reading the course notes, I thought it would be useful to do some research on a few of the instruments before trying to start the first projects. I found youtube really useful for this because of the visual element; by seeing how they are played you get an appreciation of how different sounds and tones can be generated.
For Project 1 I decided I would use the same instruments as in the notes; side drum, cymbal and wood block. I decided to do some research into these first, but also have a wider look into other percussion instrument. I found this Wikipedia article really useful (http://en.wikipedia.org/wiki/Orchestral_percussion), not so much for the content, but for the examples it gives against each instrument.
Woodblocks
Not knowing much about woodblocks I had a look around the internet. The first thing I came across was this youtube video (http://www.youtube.com/watch?v=Rgc839e_wVc). Whilst this may be perceived as a simply a video of someone playing woodblocks, I found it very useful for a few reasons:
What also comes to mind when I think of a snare drum are those used in the pipe-bands I grew up with at school. Doing some research into pipe-band drumming I found that the pipe section sets the style of a piece (tempo, time signature etc.) but it's up to the drumming section to write their parts; usual the drum major. At drumming competitions, part of the scoring criteria is the originality of the writing.
When I think of the tambourine, I think of Spanish/Latin music. In particular I think of Bizet's Carmen; the tambourine features heavily in the Aragonaise and the Danse Boheme. In the Danse Boheme the rhythms required are quite interesting; I found some videos of people playing it (http://youtu.be/acCvp478aws at 1:47) and most seem to run their fingers along the rim in order to create a trill effect.
For Project 1 I decided I would use the same instruments as in the notes; side drum, cymbal and wood block. I decided to do some research into these first, but also have a wider look into other percussion instrument. I found this Wikipedia article really useful (http://en.wikipedia.org/wiki/Orchestral_percussion), not so much for the content, but for the examples it gives against each instrument.
Woodblocks
Not knowing much about woodblocks I had a look around the internet. The first thing I came across was this youtube video (http://www.youtube.com/watch?v=Rgc839e_wVc). Whilst this may be perceived as a simply a video of someone playing woodblocks, I found it very useful for a few reasons:
- It shows the different tone colour you can get depending where you hit the block and which type of beater you use.
- It shows how nimble players are between different blocks.
Snare Drum
Unlike woodblocks, I find it very easy to think of examples of writing for snare drum. When used in orchestras, the pieces that spring to mind immediately are where the snare drum part is an ostinato over which the rest of the piece is built - Ravel's Bolero, Shostakovich's Symphony 7 (1st Movement).
I found this video (http://www.youtube.com/watch?v=UpJTEQawE_E) which shows a study written for snare drum and used as an audition piece. Again, I found it useful to understand how the drum is struck and the complicated rhythms that can be achieved.
Unlike woodblocks, I find it very easy to think of examples of writing for snare drum. When used in orchestras, the pieces that spring to mind immediately are where the snare drum part is an ostinato over which the rest of the piece is built - Ravel's Bolero, Shostakovich's Symphony 7 (1st Movement).
I found this video (http://www.youtube.com/watch?v=UpJTEQawE_E) which shows a study written for snare drum and used as an audition piece. Again, I found it useful to understand how the drum is struck and the complicated rhythms that can be achieved.
What also comes to mind when I think of a snare drum are those used in the pipe-bands I grew up with at school. Doing some research into pipe-band drumming I found that the pipe section sets the style of a piece (tempo, time signature etc.) but it's up to the drumming section to write their parts; usual the drum major. At drumming competitions, part of the scoring criteria is the originality of the writing.
Cymbals
I found in general that cymbals are used to accentuate a musical line. Unlike the suspended cymbal, clash cymbals can only play individual notes and are rhythmically limited as time must be allowed to sound each note.
When I was searching around I found this excerpt from a documentary about Tchaikovsky's 4th Symphony (http://www.youtube.com/watch?v=PqFh43iCUJs). What I found most interesting about this is how the percussionists focused on the appropriate tone that instrument should produce. I was impressed that they tried an array of cymbals before decided which they preferred. The excerpt of the Finale at the end of the video is very impressive.
I found in general that cymbals are used to accentuate a musical line. Unlike the suspended cymbal, clash cymbals can only play individual notes and are rhythmically limited as time must be allowed to sound each note.
When I was searching around I found this excerpt from a documentary about Tchaikovsky's 4th Symphony (http://www.youtube.com/watch?v=PqFh43iCUJs). What I found most interesting about this is how the percussionists focused on the appropriate tone that instrument should produce. I was impressed that they tried an array of cymbals before decided which they preferred. The excerpt of the Finale at the end of the video is very impressive.
Tambourine
When I think of the tambourine, I think of Spanish/Latin music. In particular I think of Bizet's Carmen; the tambourine features heavily in the Aragonaise and the Danse Boheme. In the Danse Boheme the rhythms required are quite interesting; I found some videos of people playing it (http://youtu.be/acCvp478aws at 1:47) and most seem to run their fingers along the rim in order to create a trill effect.
Triangle
As the triangle adds a very delicate, subtle tone, it must be used appropriately. Shostakovich uses it effectively in his 9th Symphony (1st Movement) in sections written for solo piccolo; the tone of the triangle blending well with the high thin piccolo melody. Also, looking through the scores I had available, I found many composers write relatively long note values for the triangle compared to other parts. I assume this is to allow the instrument to resonant, thus allowing the sound to penetrate into the overall texture.
Tuesday 13 November 2012
Poulenc - Gloria (1959)
In the same concert as the Puccini we also sang the Poulenc Gloria. I've done this numerous times before, but it is one of my favourite choral works. I think it's unique and has all of Poulenc's character in it. I first came across Poulenc when I played his flute and oboe sonatas. Whilst his music has an edge to it and uses a lot of dissonance, he also writes remarkably beautiful melodies, which are almost haunted by the underlying texture. I used to think you could write either beautiful music or dissonant music, but this piece in particular showed me you could have both. Again we performed this with piano duet which takes a lot of the character out of the piece; I feel Poulenc plays with the orchestral colours more than Puccini; there's certainly a lot more contrast, which is lost with the pianos.
Gloria
The piece opens with an orchestral fanfare, dominated by the brass, completely homophonic. A short, 2 bar bridge passage by the woodwind disconnects us completely from the opening music before the chorus begins with a new motif. Poulenc generally writes in short 2-4 bar phrases with big contrasts in dynamics from ff to pp, giving a neo-classical feel. The movement gradually builds to a climax with short, raucous brass chords.
Laudamus Te
This movement is a more light-hearted, witty affair. Poulenc again uses short phrases with call and responses moving around the choir parts under a detached, polka style accompaniment. The same themes are used repeatedly, but gradually descended down a semi-tone at a time with varying orchestration. This builds to a climax before the solemn Gratias Agimus Tibi section sung by unaccompanied Mezzo-Sopranos (interesting that Poulenc specifies Mezzo rather than Altos). The Propter Magnam Gloriam section continues in a similar vain to the opening of the music, before it returns to end to movement.
Domine Deus
The movement opens with a delicate woodwind melody introducing the Soprano soloist. All the sections for Soprano solo are very restrained and light, calling for a very pure Soprano tone; a stark contrast to the Tenor and Bass/Baritone soloists in the Puccini. The Soprano lines are backed and interjected by the chorus parts. To give more dynamic contrast, Poulenc calls for semi-choruses of each part in the pp passages.
Domine Fili Unigenite
Apparently one of Poulenc's inspirations for this piece was seeing a group of monks playing football. You get that sense of character with this movement and the Laudamus Te; there's a playful jollity to it. Poulenc intertwines the orchestral melodies and harmonic lines to give a continuous sense of movement as wells as being light and detached. Again, as with other movements, he uses short phrases emphasised with rests at the ends of each bar to create some separation.
Dominus Deus, Agnus Dei
This is my favourite movement, particularly the opening orchestra passage. There's something spine jinglingly beautiful about the woodwind writing; piccolo and flute in fifths under dissonant chords. This theme returns later with full strings under horn and woodwind chords to give real bite and power. The soprano Qui tollis peccata mundi lines provide angelic interjections around the choral dissonance.
Qui Sedes Ad Dexteram Patris
The opening of the final movement sees unaccompanied choral lines with interjections of fanfare from the orchestra reminiscent of the first movement. The choir then sing a reprise of the Propter Magnam Gloriam theme from the 2nd movement, interjected with bursts of the opening fanfare. The climax of the section is met with a soprano solo Amen, returning us to the dark, more reflective mood of the previous movement. Again, Poulenc uses the orchestra (harp in particular) to create a sense of movement underneath the long sustained choral lines. A long quiet passage is finally met with 2 ff Amens on top of the opening fanfare theme. This is echoed in the chorus, followed by soprano solo to end the piece.
Gloria
The piece opens with an orchestral fanfare, dominated by the brass, completely homophonic. A short, 2 bar bridge passage by the woodwind disconnects us completely from the opening music before the chorus begins with a new motif. Poulenc generally writes in short 2-4 bar phrases with big contrasts in dynamics from ff to pp, giving a neo-classical feel. The movement gradually builds to a climax with short, raucous brass chords.
Laudamus Te
This movement is a more light-hearted, witty affair. Poulenc again uses short phrases with call and responses moving around the choir parts under a detached, polka style accompaniment. The same themes are used repeatedly, but gradually descended down a semi-tone at a time with varying orchestration. This builds to a climax before the solemn Gratias Agimus Tibi section sung by unaccompanied Mezzo-Sopranos (interesting that Poulenc specifies Mezzo rather than Altos). The Propter Magnam Gloriam section continues in a similar vain to the opening of the music, before it returns to end to movement.
Domine Deus
The movement opens with a delicate woodwind melody introducing the Soprano soloist. All the sections for Soprano solo are very restrained and light, calling for a very pure Soprano tone; a stark contrast to the Tenor and Bass/Baritone soloists in the Puccini. The Soprano lines are backed and interjected by the chorus parts. To give more dynamic contrast, Poulenc calls for semi-choruses of each part in the pp passages.
Domine Fili Unigenite
Apparently one of Poulenc's inspirations for this piece was seeing a group of monks playing football. You get that sense of character with this movement and the Laudamus Te; there's a playful jollity to it. Poulenc intertwines the orchestral melodies and harmonic lines to give a continuous sense of movement as wells as being light and detached. Again, as with other movements, he uses short phrases emphasised with rests at the ends of each bar to create some separation.
Dominus Deus, Agnus Dei
This is my favourite movement, particularly the opening orchestra passage. There's something spine jinglingly beautiful about the woodwind writing; piccolo and flute in fifths under dissonant chords. This theme returns later with full strings under horn and woodwind chords to give real bite and power. The soprano Qui tollis peccata mundi lines provide angelic interjections around the choral dissonance.
Qui Sedes Ad Dexteram Patris
The opening of the final movement sees unaccompanied choral lines with interjections of fanfare from the orchestra reminiscent of the first movement. The choir then sing a reprise of the Propter Magnam Gloriam theme from the 2nd movement, interjected with bursts of the opening fanfare. The climax of the section is met with a soprano solo Amen, returning us to the dark, more reflective mood of the previous movement. Again, Poulenc uses the orchestra (harp in particular) to create a sense of movement underneath the long sustained choral lines. A long quiet passage is finally met with 2 ff Amens on top of the opening fanfare theme. This is echoed in the chorus, followed by soprano solo to end the piece.
Monday 12 November 2012
Puccini - Messa di Gloria (1880)
I performed this piece with a local choir for the 1st time this weekend. I'm not overly familiar with Puccini's work, this mass being completely new to me. It reminds me of some his operas; expressive and dramatic vocal lines and a full, rich orchestral part. He uses large dynamic ranges and localised tempo changes to really emphasise the text and music. Unlike a lot of choral works, I get the impression Puccini wrote this with the idea that the orchestra should play as important a part in the performance as the choir. In the concert at the weekend we performed with piano duet instead of orchestra which I think spoils the work slightly; you lose the orchestral colouring and miss the impact of Puccini's brass and percussion writing.
Kyrie
Puccini begins with piano strings setting out some of the thematic material for the opening Kyrie. The voices enter with a smooth, flowing melody accompanied by minimal orchestral forces (strings and woodwind). The brass and percussion enter with the second thematic subject; a more emphatic and punchy theme hinted at by the strings in the opening.
Gloria
The opening Gloria chorus is a triumphant march which could be lifted straight out of one of his operas. It's interesting how easily Puccini moves from the Soprano and Alto theme in C major straight to Ab for the Tenors and Basses through 1 trumpet fanfare then back to C major again for the tutti section. The et in terra pax section is more reflective with homophonc writing for the chorus and orchestra; the opening trumpet fanfare being echoed in the horns.
The gratias agimus tibi, written for Tenor soloist, is my personal highlight of the piece. The opening Tenor phrases have all the character of an operatic aria, but Puccini shows just how much you can do with 1 motif. The music of the opening bar is shared all around the orchestra in different keys whilst interjected with short Tenor phases. A return of the Gloria chorus then leads into the domine deus. Here, the pianissimo homophonic chorus sits upon a return of the gratias agimus tibi theme in the orchestra which sets up the qui tollis peccata section. The opening bass melody, doubled by the bass parts in the orchestra is accompanied by pizz strings. When it returns with the sopranos, the orchestral accompaniment is more elaborate, with a counter melody in the woodwind before Puccini develops the melody line. The entire chorus then sings the original melody as a 2 part round which leads into a bridge passage before the cum sancto spiritu fugue which returns later in the movement.
Credo
The opening Credo passage shows the power of unison writing. Puccini achieves suspense and drama through sudden dynamic changes and changing orchestration; in particular the timpani rolls through cresendoing phrases. The Et incarnatus begins with unaccompanied Tenor and chorus to create a solemn feel, almost as though you've just been placed into the middle of a church service. Throughout the Credo, Puccini writes dramatic music that reflects the true meaning of the words. It's also interesting to see the power that comes across when the bass line doubles the vocal line. The movement ends with the et vitam section, a joyful, dance like section in 6/8, again reflecting the meaning of the words. The underlying viola and cello lines give a feeling of movement.
Sanctus
Unlike a lot of other choral works, the Sanctus is fairly restrained except the hosanna sections which sandwich the Baritone Benedictus. The vocal line is very simple, written on top of a restrained orchestra part. It's almost as though this movement is to provide a rest bite from the preceding movements.
Agnus Dei
The Agnus Dei features both soloists and chorus; the latter providing interjections between the solo lines. The orchestral accompaniment is simple, almost Polka like, with alternating bass and string chords. Again, Puccini is able to slip seamlessly between C and Ab major through the solo lines. The music dies away towards the end in a very similar way to the opening Kyrie movement.
Kyrie
Puccini begins with piano strings setting out some of the thematic material for the opening Kyrie. The voices enter with a smooth, flowing melody accompanied by minimal orchestral forces (strings and woodwind). The brass and percussion enter with the second thematic subject; a more emphatic and punchy theme hinted at by the strings in the opening.
Gloria
The opening Gloria chorus is a triumphant march which could be lifted straight out of one of his operas. It's interesting how easily Puccini moves from the Soprano and Alto theme in C major straight to Ab for the Tenors and Basses through 1 trumpet fanfare then back to C major again for the tutti section. The et in terra pax section is more reflective with homophonc writing for the chorus and orchestra; the opening trumpet fanfare being echoed in the horns.
The gratias agimus tibi, written for Tenor soloist, is my personal highlight of the piece. The opening Tenor phrases have all the character of an operatic aria, but Puccini shows just how much you can do with 1 motif. The music of the opening bar is shared all around the orchestra in different keys whilst interjected with short Tenor phases. A return of the Gloria chorus then leads into the domine deus. Here, the pianissimo homophonic chorus sits upon a return of the gratias agimus tibi theme in the orchestra which sets up the qui tollis peccata section. The opening bass melody, doubled by the bass parts in the orchestra is accompanied by pizz strings. When it returns with the sopranos, the orchestral accompaniment is more elaborate, with a counter melody in the woodwind before Puccini develops the melody line. The entire chorus then sings the original melody as a 2 part round which leads into a bridge passage before the cum sancto spiritu fugue which returns later in the movement.
Credo
The opening Credo passage shows the power of unison writing. Puccini achieves suspense and drama through sudden dynamic changes and changing orchestration; in particular the timpani rolls through cresendoing phrases. The Et incarnatus begins with unaccompanied Tenor and chorus to create a solemn feel, almost as though you've just been placed into the middle of a church service. Throughout the Credo, Puccini writes dramatic music that reflects the true meaning of the words. It's also interesting to see the power that comes across when the bass line doubles the vocal line. The movement ends with the et vitam section, a joyful, dance like section in 6/8, again reflecting the meaning of the words. The underlying viola and cello lines give a feeling of movement.
Sanctus
Unlike a lot of other choral works, the Sanctus is fairly restrained except the hosanna sections which sandwich the Baritone Benedictus. The vocal line is very simple, written on top of a restrained orchestra part. It's almost as though this movement is to provide a rest bite from the preceding movements.
Agnus Dei
The Agnus Dei features both soloists and chorus; the latter providing interjections between the solo lines. The orchestral accompaniment is simple, almost Polka like, with alternating bass and string chords. Again, Puccini is able to slip seamlessly between C and Ab major through the solo lines. The music dies away towards the end in a very similar way to the opening Kyrie movement.
Friday 9 November 2012
Welcome
This is the blog I've set-up which will act as my learning log for the OCA Music 1: Composing Music course I recently enrolled on.
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