Program Notes About Musical Composers Music Essay

Program Notes About Musical Composers Music EssaySweelinck was the last and most important composer of the melodious era of the Netherlanders and genius of the most famous organists and teachers of his time. None of his vocal spiels were set in his ingrained language -they were mostly in French- and none of his sacred songs were written for public worship services entirely rather for private gatherings. Chantez Dieu is a circumstance of Psalm 96 as presented in the French measured Psalter of Clment Marot and Thodore de Bze, later to be kn avouch as the Genevan Psalter. In this Psalter the Psalms atomic number 18 versified and assigned to a melody built from the church modes Psalm 96 being assigned to a melody built in the Dorian mode. Sweelinck sets his polyphonic version in the style of the cantus firmus psalm, where the quoted melody is outspread among different voices and interrupted by interludes that reference the original melody in rhythmic and songlike derivations. Chantez Dieu was published in Sweelincks Livre quatriesme et conclusionnal des pseaumes de David in 1621, concluding olibanum his setting of all the Psalms shortly earlier his wipeout. Sweelincks polyphonic setting of the complete Psalter is considered a monument of Netherlandish music and unequalled in the sacred concerted music of its time.Palestrina stands in music history as one of the towering composers of the 16th one C and a genuinely prolific composer of church music. The mastery and balance of his polyphonic style helped reconcile the functional and aesthetic aims of Catholic church music of the post-Tridentine era (after the Council of Trent), earning him the mythical status of savior of church music. Sicut Cervus is found in Palestrinas second book of motets for four voices, Moctetorum liber secundus (1584). Both the first and second books of motets for four voices depict the equilibrium in composition that has been seen as the hallmark of Palestrinas polyphony su ccessive melodic segments carefully crafted to create a swell up-balanced melodic motion, even in inner voices, and a control of dissonance that creates a texture of prominent purity and consistency of sonority. Sicut Cervus is a good example of such polyphony. Palestrina crafts the motet in a elbow room in which the echoic soak ups are almost identical to each other and with melodic entrances on any the first or fifth scale degrees creating a very balanced and open sonority. Word moving-picture show is achieved with melismatic runs on the newsworthiness aquarum implying the movement of the water, syncopated movement and entrances at the fourth and sixth scale degrees at desiderat implying the dramatic desire, and syncopated melismas in the first and fifth scale degrees to emphasize the word God at Deus.The Silver Swan (1612)Orlando Gibbons (1583-1625)Gibbons was one of the leading English composers of the primordial 17th century and a tell keyboard virtuoso. His reputati on as a composer rests largely on his sacred works, which circulated widely and are still a part of the English sacred music repertory. The Silver Swan and almost all of his secular make are contained in his First Set of Madrigals and Motets (1612), work that demonstrates Gibbons affinity to the earlier tradition of the partsong and consort song. In The Silver Swan, Gibbons presents the ancient legend of the swan, who lives in silence all its life merely breaks into beautiful tattle moments before its death. Word painting is achieved by the use of polyphony, adding imitative lines to the initial homophonic structure and multiplying the recurrences of the lines as death approaches. The imitative lines disappear at the cadence of Leaning her breast against the reedy shore where a raised fourth and a lowered seventh create a poignant harmony resembling the death of the swan and leave a mostly homophonic structure with one distinctive line, reminiscent of the swan, weaken into the fi nal cadence.Il bianco e dolce cigno (1593)Jacques Arcadelt (1507-1568)The eroticism of the poem becomes evident as the lyricist contrasts his profess death to that of the mythical swan while the swan literally dies, the poet suffers a figuratively kind of death, one that fills him with desire and would very willingly endure thousandfold a day The piece is mostly homophonic and thus lends itself for text painting in various ways. A lowered seventh adds poignancy to the crying at ed io piangendo, a sudden short polyphonic section with a transient resolution to the shoddy paints the blissfulness at io moro beato and, after another homophonic session, a sudden outburst of close imitative polyphony that actively layers melodies on top of each other creates the anxious excitement and intimacy of the daily thousand deaths. Il bianco e dolce cigno was published in Arcadelts Il primo libro di madrigali (1539). Though he excelled in other genres and also published four more collections o f madrigals, Il primo libro di madrigali became his most well known work and was very widely disseminated. Paintings of the time depict musicians playing Arcadelts compositions, portraying thus the acquired fame of the composer.Cantique de blue jean Racine (1865)Gabriel Faur (1845-1924)Faurs Cantique is a paraphrase of the Tuesday matins hymn Consors paternis luminis, traditionally ascribed to St. Ambrose, written by the 17th century poet and dramatist Jean Racine. Published in Nicolas Letorneuxs Brviaire Romain en latin et franais (1688), the poem was soon condemned as heretic and banned from liturgical practice due to its Jancenistic tendencies (differing theological movement). The ban was subsequently removed but the poem was never included in the Roman Breviary. Faur set the poem to music in 1865 and it acquire him the first prize in composition during his last year as student at the lolly Niedermeyer. Though a very childly work, Faures Cantique de Jean Racine does reflect t he style tendencies that the composer would later adopt, paying very special attention to harmony and sonority for expressive purposes. From the initial key of Db major Faure travels to the mediant paint of f minor when depicting the supplication of the penitent, highlighting the phrase divine saviour in its momentary parallel major tonality of Ab, returning immediately to f minor to finish the anguished petition. rearwards in the original key Faur places the request of Gods grace in the tonality of Ab, now serving as dominant, and moves to the parallel minor key of b-flat minor when depicting hell and a languishing soul. At the end of the work Faur returns to the original Db that modulates to its dominant Ab when referencing God, achieving thus the following likable associations throughout the work Db for the supplicant people, f and b-flat minor for anguish and hell, and the dominant Ab as divine references.O sacrum convivium (1937)Olivier MessiaenMessiaens integrative style r eflects the modernism of his time and its quest to depart from traditional Western harmony looking choke into the Greek modes, devising his own modes of limited transposition, and eventually incorporating his ornithology research into his works using his transcriptions of bird songs into his own compositions. Attributed to St. Thomas Aquinas, the Latin text of O sacrum convivium was included in the ancient liturgy of the Liber Usualis as a Second Vespers antiphon for the Feast of Corpus Christi depicting the wonder of the sacrament of the Eucharist (Holy Communion). agree to the doctrine of transubstantiation, the given wine and bread are transformed into the literal blood and body of Christ. In his setting of O sacrum convivium, Messiaen constructs the haunting, mysterious atmosphere of this transubstantiation devising a very open organum-like harmonisation for the lower three voices in the key of F and traveling very chromatically through the tonalities of the dominant, the supe rtonic, the sub-dominant and the tonic, creating thus an eerie, solemn effect for the peculiar event. Messiaen adds poignancy and mystery by creating a melody reminiscent of early chant and borrowed from from foreign keys, primarily the parallel minor, and placing it in the top voice juxtaposing it thus against the organum-like structure and impinge on against its harmonies.Spaseniye sodelal (1912)Pavel Chesnokov (1877-1944)Composed in 1912, Chesnokovs Spaseniye is one of the last sacred works of the composer. After the Russian Revolution of 1917 Chesnokov was constrained to turn to the composition of secular music under the new Communist rule artists were prohibited to do any kind of sacred art. In 1933 the Cathedral of Christ the Saviour in Moscow, whose last precentor had been Chesnokov, was demolished to construct a government building for the Soviet regime after this action Chesnokov halt composing music altogether. Spaseniye is a setting of Psalm 7412 based on a Kievan cha nt and composed as a Friday communion hymn of the Russian Orthodox Church liturgy. Chesnokovs setting of the Kievan chant is harmonized in the tonalities of D major and the parallel key of b minor. The openness of the harmonic structure derives from the heavy usage of fifths and octaves, spanning a range from the low B in the deep line to the high A in the soprano line, constructed in a very homophonic texture that highlights the melodic content and the harmonic effect of the open chords.O schne Nacht (1877)Johannes Brahms (1833-1897)One of the most prominent composers of the romanticist era, Johannes Brahms excelled in several of the traditional genres. In addition to his great contributions in the instrumental forms, Brahms also produced a rich repertory of choral music and is best known in this genre for his Ein deutsches Requiem and his motets. O schne Nacht (1877) is found in a compilation of quartets for singers and piano, Brahmss Vier Quartette fr vier Singstimmen und Klavie r, Opus 62 (1884). In O schne Nacht, the poet Georg Friederich Daumer draws upon elements from nature to depict a amiable night, full of the urgency of young romance, and perfectly suited for a passionate fulfillment. Brahms music reflects this atmosphere creating a syncopated rhythm that arpeggiates harmonies in the offbeats, creating thus the effect of urgency and anxiety, ironically contrasting the serene description of the lovely night. Brahms affinity for word painting is reflected in his masterful musical depiction of the eroticism of the text. When the nightingale is referenced the rhythmic travel rapidly increases and the melody takes more excited jumps resembling the mighty singing of the bird, the excitement finds rhythmic and harmonic release at the end of the phrase through sextuplet driven harmonies. The very next reference is that of the youth drawing off close to his beloved, Brahms sets the imagery by having the male voices sing their line and adding the female vo ices imitatively, layering the female sound on top of the male and thus creating a twirling effect for the two sounds that is released at the word gently, word that is decidedly repeated in duple meter pulses and is harmonically fulfilled at the final exclamation of the lovely night. The final lovely night is now fulfilled as the offbeat pulse has been decreased by sustaining the same notes, as opposed to the former arpeggiated form, and as a melodic accompaniment in the bass line soothes and alleviates this final release into calmness.