Singing in Style. Baroque
Identifieur interne : 001671 ( Istex/Corpus ); précédent : 001670; suivant : 001672Singing in Style. Baroque
Auteurs : Edward F. MenerthSource :
- Music Educators Journal [ 0027-4321 ] ; 1966-06.
English descriptors
- Teeft :
- Aria, Baroque music, Baroque period, Basso continuo, Dramatic construction, Frank stachow, Holton valve, Instrumental music, Liturgical function, Music educators, Music educators journal, Musical symbolism, Opella nova, Performance style, Presentational style, Recitative, Recitativo accompagnato, Recitativo secco, Selective music lists, Vocal line, Vocal literature, Vocal music.
Url:
DOI: 10.2307/3390718
Links to Exploration step
ISTEX:92A5A68CB3680881B6B4F28A804C2032645CCCA3Le document en format XML
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<pub-date pub-type="ppub"><month>6</month><year>1966</year></pub-date><volume>52</volume><issue>6</issue><fpage>73</fpage><lpage>107</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>June/July 1966</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Singing i n Style BAROQUE by Edward F. Menerth, Jr. I As the essence of re-creating vocal literature of the Renaissance is in the subordination of performer to medium, in the Baroque period it will b e seen to b e in the exploitation by performer of medium. H o w ever, the steady progress of music resists specific boundary lines, and the later style is demonstrably a logical continuation of earlier trends. T o study and understand this evolutionary process is to lay the requisite foundation for a bona fide performance of Baroque music. The very nature of teaching practices w h e n music was an integral part of formal education, the proliferating appearances of manuscript “ how-to” treatises, these and other factors c o m b i n e d for the transmission and codification of Renaissance practices. A m o n g the results were international acceptance of a sophisticated harmonic language; wider dissemination, with a n e w emphasis, of polychoral techniques d e v e l o p e d b y the Venetians; and from Late Madrigal C o m e d y a practice of relentlessly expressive text-painting–plus the suggestion of a fundamental bass line w h i c h was to color musical composition for the next three hundred years. Each development was, of course, subject to provincial modifications as it crossed geographic borders JUNE-JULY, NINETEEN SIXTY-SIX and b e c a m e exposed to varying national atmospheres. In Italy, p a p a c y and Church continued to decline, gradually relaxing their authoritarian grip on men’ s lives and arts. France s u c c u m b e d to the strengthening of a “ divine right” monarchy whose insulating effect on creativity has not completely disappeared to this day. Tripartite Germany roiled under the disruptive Thirty Years’ War, while across the Channel Henry VIII’ s emotional break with an inflexible Church shaped itself into the delicate c o m p r o m i s e of Catholic Anglicanism. These and other parochial concerns all contributed to the incipient de-internationalization of music, a process destined to reach its peak only in the hyper-nationalism of the late nineteenth century, but w h i c h even as early as the Baroque has a measurable effect on performance. In that same transitional period another significant alteration in performance style is under weigh, pointing from the representation of inner ideals to a presentation of expressive emotion. Intensity of feeling, directly influenced b y the older chromaticists, is b e c o m i n g an end in itself. Pathos and passion, o n c e considered only proper in the service of the Church or else as very private domain, are n o w heightened b y dissonance and emphasized b y the punctuation of steadily repeated notes. There is a n e w freed o m of writing, signified b y less patterned rhythms and more c o m plex m e l o d i c lines, and, a b o v e all, an insistent pictorialism: the singer needs constantly to b e aware of a literary d e p e n d e n c y. W i t h the “ m o n o d i c revolution” and the gradual classification of tonal relationships, composers revel in a greater number of choices o p e n to their selection for setting w o r d s to music. This expanding language gives birth, diversely, to declamatory-type parlando lines and to recitatives dependent u p o n a nondeclamatory legato for their effect. Even the choral recitative in M o n t e verdi is specifically aimed at intelligibility of text, striking evidence of the slow decline of pure polyp h o n y and the transformation of the madrigal into the cantata. Since the function of the basso continuo is fundamental to these changes, it plays a fundamental role in performance. One can, from the a b o v e developments and innovations, d e d u c e four major hallmarks of Baroque vocal literature w h i c h affect its performance. T h e first is contrast; the second is the tension resulting from contrast; third is a forward-moving, 73 propulsive vigor; and fourth a predilection for large masses of sound. These characteristics can b e realized in performance only after an examination of the forces that shaped them. An analogy b e t w e e n this most carefully-constructed music and architecture itself provides the first of these: the m o d e r n thesis that form follows function. M o r e than in the Renaissance, the use for w h i c h music is intended imposes form, and, therefore, performance style, on vocal literature during the g r o w t h of the Baroque. A permanent line is b e i n g drawn b e t w e e n strictly liturgical function and pure audience entertainment as cathedral, concert hall, salon, and reception c h a m b e r all b e c o m e m o r e specialized in their needs and demands. O n e of the earliest c o m posers o f the period, Monteverdi, wrote for the court or the theatre or h o m e; and Bach, its culmination, for church or o u t d o o r concert or coffee house or the Collegium Musicum or, also, the h o m e. W h i l e these c o m p o s e r s did not allow such distinctions to affect the qualitative values of their works, performers are o b l i g e d to discover that there are, indeed, distinctions in basic attitude. T h e aim–a secondary aspect of the presentational idiom i n d u l g e d in during this time–is to m o v e or entrance the audience in a c c o r d with the spirit of occasion and location. Despite the fact that from this milieu the greatest single b o d y of living music is for the Church, the performer’ s first allegiance, as was the composer’ s, must b e to the c o m m u n i c a t i o n of emotional truths. The Mass, with its prescribed text, continued h e w i n g to Palestrina’ s p o l y p h o n i c lines although monody-derived basso continuo, stile concertato, and tonal drift w e r e gradually creeping in. T h e n e w e r forms of opera and oratorio are more characteristic of the Baroque, and are also likely to b e those most generally encountered b y the performer. Opera, evolving from the Florentine Camarata attempts to emulate Greek drama, c a m e under the twin influences of the Neapolitan school and Italian m e l o d i c genius. B y the end of the B a r o q u e period, it had b e c o m e a virtuosic 74 singer’ s delight, to the point of u p to sixty arias per opera. As if to balance, the oratorio, although stylistically similar, granted dramatic, narrative, and meditative chores specifically to the ensemble. Cantatas, w h i c h w e r e truncated oratories in b o t h sacred and secular dress, w e r e m o r e equitable. This article is the second in a series on the subject of vocal in which stylistic interpretation of all features periods will be studied from the historical viewpoint w i t h careful consideration for the singer’ s problems. The first article in the series, “ Singing in Style: Renaissance,” a p p e a r e d April-May currently toral will University, October 966 associated in Athens, with arts Ohio. in the in the is doc Ohio series issue. The author the at The fine program be continued issue. September- reveal the composer’ s refined taste for word-painting. T h e synthesis and crystallization of the Neapolitan opera tradition is found in the fluent and graceful style of Alessandro Scarlatti. H e r e the vocal solo assumes utmost importance. Virtually all k n o w n ornaments and vocalises, for example, are concentrated in the famous aria “ Canto di Rossignuolo” from Le Nezze col Nemico (o n e chain of trills mounts, without a break, for a solid o c t a v e). E v e n Venetian opera, despite a tradition of great contrasted masses, fell victim to the bravura aria, liberally spiked with elaborate cadenzas. This is opera seria, w h e r e the aria is used for self-indulgent reflection on the feelings, leaving the recitatives to carry the drama itself forward. (B y contrast, in opera buffa a rapid parlando is carefully d e v e l o p e d for c o m i c effect.) T o perform this music, great em“ lasis must b e p l a c e d on the smooth flow of elegant tone w h i c h is -melody–cantare–a vocal line e m b o d y i n g b o t h the passion and clarity of expressive feeling. Judicious alteration of t e m p o to m e e t this n e e d is often justifiable, so long as rhythmic vitality is maintained. Supporting this kind of virtuosity calls for an extremely flexible vocal instrument, c o u p l e d with an instinctive flair for presentational techniques. Phrasing around basic emotional ideas will aid in p r o d u cing the necessary unlabored feeling for elegance and grace. M o r e r u g g e d and isolated geographically, the northern Teutons spoke an inflected language c o n genial to a m o r e vigorously angular m e l o d i c line. Early chorales w e r e built in simple, chordal, accented metrical rhythms with a gravely d e v o u t expressive quality. T h e y call for an enormous range of color on the part of the performer. T h e innate predisposition on the part of these p e o p l e s to introspection and d e e p thought exacts especial performance fervor, as even the oratorio retained a largely liturgical function. Sehutz, although certainly influenced b y Venetian magnificance, color, and an inclination toward strong text-painting, was infinitely m o r e intimate and inwardlooking than s o m e o n e like Gabrieli. He, therefore, d e v e l o p e d what might b e called a semi-dramatic MUSIC EDUCATORS JOURNAL T h e s e c o n d major force on the performance of B a r o q u e music is the geographic/nationalistic one, in w h i c h the Italian states are d o m i nant w h e n the p e r i o d begins. Possessed of a non-inflected language, the Italians i n d u l g e d in harmonic and chromatic subtleties of texture, laying the g r o u n d w o r k on w h i c h a technique c o m b i n i n g v o c a l virtuosity with great expressive p o w e r was built. It is instructive for the performer to examine, c h r o n o logically, h o w this c a m e about, b e ginning with Peri’ s Euridice (1 6 0 0), in w h i c h “ m e l o d y ” (a n d the singer) is enslaved to the natural inflections, rhythms, and accents of the p o e m. T h e challenge is verbal, not vocal. Monteverdi’ s Orfeo, although barely seven years later, represents a tremendous stride forward in liberating the solo v o i c e for freedom to express the dramatic p o w e r inherent in the libretto. Deepbreathed, s w e e p i n g phrases allow a rhythmic flexibility w h i c h d e m o n strates an urge toward heightened directness and naturalness culminating in nineteenth-century verismo. Dramatic Madrigal C o m e d y s c h o o l e d M o n t e v e r d i in the means for passionate expression o f a text’ s emotional meaning, and the performer of his works should seek the surprising modulations, striking discords, and sinuous thirds that style dependent for expressive effect on the interpretation of the essential text. The twin colossi of Handel and Bach are treated, individually, below. Proudly insular France rather consciously expressed itself with a “ reserved” style in direct contrast to the more violent Italian dramatic idiom. It is very apt to be in the pastoral vein, somewhat pompous, and even in the airs de cour the emphasis is more likely to be on the music than on specious dramatic content. The influence of sixteenth-century vers mesure is apparent in the contributions of Lully toward making the recitative more dramatic and flexible, but, as in other things French, proper diction and intonation take precedence over depth of emotional response. As a matter of fact, the courtly language of spoken French was well-launched on its diplomatic career as an international influence. (The style galant, with its elaborate ornaments, is more specifically preclassic and will be treated as introductory to the Classic period.) To speak of preoccupied England during the Baroque period is to speak almost exclusively of Purcell. Although much of the court music had no higher aim than to provide an auditory backdrop to the more immediate delights of scenic wonder and spoken word, Purcell’ s “ English declamation” reached a perfection of direct expression that no amount of up-dating can improve. Based on a combination of direct word-painting and indirect expressive treatment of affective words, it requires of the performer an extreme accuracy in dealing with the wide skips and a special precision with the dotted rhythms that are so cunningly used to underscore moments of joy and triumph. Notwithstanding a popular diversion during the early Baroque of extemporizing “ divisions on a ground,” the word is king. Only in the Anglican chant was there a concerted effort to force normal speech rhythm into metrical patterns. capo aria, typical of Baroque formalism, becomes the vehicle for lyric effects with beauty of vocal melody the chief aim. Supported by simple harmonies and most often in slow triple meter with a persistent single rhythmic motif, the emphasis is on graceful, smoothly flowing phrases. It is especially the aria that requires the stylistic technique known as bel canto–that most important performance development of the middle Baroque period. Lyric expressiveness by means of virtuosity in execution of a highly-ornamental line marks this studied technique. The tension results from coping with the contrast between alternating phrases of restrained, smooth melody, and bursts of florid ornamentation without sacrificing sheer beauty of sound. Many of these requirements also apply to the arioso, a form about mid-way between the aria and recitative, used primarily for dramatic effects. As an aside, there is no doubt that the “ instrumentalized” voice of the castrato singer, with its wide range, great power, and unique timbre, was peculiarly adapted to the bel canto style. Recitative was born of early Baroque attempts to find a way for declaiming text, melodically, with the inflections of spoken speech, and in conscious opposition to the excessive “ unintelligibility” of late Renaissance polyphony. From these attempts developed the recitativo secco, accompanied only by the harpsichord and perhaps a sustaining bass, and the recitativo accompagnato, involving the help of the entire orchestra. Performers should be aware that recitativo secco is generally used for narrative or dialogue, calling for a less emotional delivery, while the recitativo accompagnato is most often used in tense dramatic situations, demanding a more vigorous attack. The rapid parlando style of the buffa patter aria, as in Pergolesi’ s popular La Serva Padrona (1 7 3 3), is the ultimate development of recitativo secco, and its challenge is primarily one of virile articulation. There are two fundamental choral styles generally encountered in Baroque music, the imitative, either in motet or homophonicCONTINUED ON PAGE 101 MUSIC EDUCATORS JOURNAL You may not be able to keep up with your horn after you use it. Our famous Holton Valve Oil makes t h e a c t i o n t h a t fast. In f a c t, it makes it so fast, so smooth we say i t “ s i l k–o n izes” valves. The Holton S e c r e t: silicones a n d special Holton developed additives t h a t use moisture t o make t h e a c t i o n faster a n d smoother. Our Holton Valve Oil reduces wear, too. A n d i t stops valve leakage a n d valve clatter. So go t o where t h e action is. Get Holton Valve Oil in t h e handy new VA oz. squeeze b o t t l e at your music store. Le Wanc0 “ Quality Approved” Accessories, CHOIR C* OBES of o u t s t a n d i n g quality and wearing ease, styled with g r a c e and dignity from excellent fabrics and tailored with all yokes PELLON lined for remarkable shape retention… quality robes and pulpit gowns at surprisingly moderate prices. CONFIRMATION ROBE RENTALS We will be honored to send you our catalog and unique Fabric Pre-Viewer without obligation. T H O M A S A. PETERSON CO. Dept. M–6 501 East 33rd Street Kansas City, Missouri 64109 Phone 816 531-0268 PIANISTS Write for a Free collection of Robert Whitford Popular Piano Fill-ins. Jazz piano improvisations on Hit Tunes. We shall also include Mr. Whitford’ s celebrated essay, “ Piano Teaching Today,” and a Catalog of over 200 piano publications in popular, jazz, and classical. State if teacher. Robert W h i t f o r d Publications Dept. E, 3010 N. W. 2nd Ave. Miami, Fla. 33127 Robert Whitford Publications may be purchased wherever music is sold. 76 Some of the most formidable challenges in Baroque vocal music are the stylistic units within small frames of reference. The various elements that make up Baroque opera is a case in point, as the da Singing in Style B A R O Q U E by Edward F. Menerth, Jr. Continued from page 76 converse HURCOHYDE BAND PARKAS Specially Designed to Keep M u s i c i a n s Dry, W a r m a n d S m a r t in Any W e a t h e r chordal style, and the polychoral. T h e basic principle is that of concertato, considerably m o r e than a mere e c h o d e v i c e. T h e “ colossal Baroque,” usually cited in reference to Gabrieli, is a relative term: “ Colossal” is m u c h grander today than it was t w o hundred and fifty years a g o. W h e n t w o average-size choirs are singing antiphonally, their c o m b i n e d weight at a climax will p r o v e to b e amply “ colossal.” Ornamentation and improvisation mark the fourth element helping shape B a r o q u e vocal music. As early as 1602, Giulio Caccini, in his preface to Le Nuove Musiche, explains vocal embellishments (c a l l e d gorgia, from–significantly–“ throat”) as well as tempo rubato. His a d v i c e to singers on vocal style and technique is still astonishingly pertinent, and his severe admonitions against “ sliding to the pitch” are particularly relevant to anyone h o p i n g to p r o d u c e a clean B a r o q u e tone. A n y well-trained singer knows that musical figures are classified and e m p l o y a b l e to represent certain affections, but there seems to b e an area of uncertainty about w h e r e and w h e n an ornament or improvised embellishment is appropriate. T h e simplest resolution of this d o u b t is to stipulate that in an aria (o r arioso) the standard places are at cadences and semi-cadences, especially during repeats, w h e r e, traditionally, a creative singer was expected to introduce embellishments for the sake of variety. A careful examination of recitative sections for recurring patterns or clusters of notes and for rhythmic formulae will reveal opportunities, as will a study of the text for sigJUNE-JULY, NINETEEN SIXTY-SIX Exclusive H o r c o h y d e provides w a r m waterproof, windproof, protection without bulk. Parka has rustproof snap fastener closure and 2 large slash p o c k e t s. 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CONVERSE MALDEN, RUBBER COMPANY 02148 MASSACHUSETTS NM C Selective Music Lists… IA 1965 Selective M u s i c Lists for I n s t r u m e n t a l a n d Vocal Solos I n s t r u m e n t a l a n d Vocal Ensembles $ 2.00 184 pp. 1964 Selective Music Lists for Chorus–Orchestra–Band 96 pp. $ 2.00 MUSIC EDUCATORS NATIONAL CONFERENCE 1201 Sixteenth St. N.W., Washington D.C. 20036 Orders for $ 2.00 or less must be accompanied by check or money order. 101 nificant words emphasis. or ideas needing jfiemKindefiqe/iten h M P I N S T R U A L M L A (Jolleqe L Y E N E E T T D S added A n o r n a m e n t is e s s e n t i a l l y a n i m provised or pre-established embeland the than lishment on the written notes, ought always to remain within detail should never be more limits o f the style itself. D e c o r a t i v e just that, w h e t h e r turn, trill, o r m o r d e n t. A t t h e t i m e o f t h e B a r o q u e, it must vocal be art noted, was the technique that of of far beyond instruments, and singers (especially Bel! B l o c k s From $ 4-2, 00 MUSICAL BELLS TUNING FORKS BAND LYRAS t h e castrati), virtuosos mentation at as t h e only this time, authentic ornavirtulet used as p r o o f of their osity. T h e n e e d Write today for Free Cot or Brochure is l e s s c o m p e l l i n g final warning, today. B u t, as a the singer b e extremely careful of his b r e a t h support b e f o r e embarking upon an embellishment, preparing for it a t t h e v e r y b e g i n n i n g o f the p h r a s e so as to a v o i d an space.“ None of the above techniques intreat” open The Kitching tuned Bell Blocks have been teachers’ favorites in e l e m e n t a r y g r a d e s f o r m o r e t h a n f i f t e e n years. The a c c u r a t e l y tuned w i d e bars r a n g i n g f r o m C (t w o octaves a b o v e middle C) to G make the instrument ideal for rhythm a n d preb a n d t r a i n i n g i n t h e e l e m e n t a r y g r a d e s. A m a l l e t Is s u p p l i e d f o r e a c h b a r m a k i n g it p o s s i b l e f o r m a n y y o u n g s t e r s t o p a r t i c i p a t e i n c l a s s room games. Manufacturers of M a l l e t Played Instruments for School Use for Over 50 Years can b e separated from the two of textual o f this the and emotional terrelated matters ment The will the lion’ s share accentuate early B. F. KITCHING & COMPANY INC. MANUFACTURERS SINCE 1890 involvement. discussion inasthe Italian, reach to 505 S H A W M UTT STREET LA G R A N G E. ILLINOIS m u c h as t h e roots o f t h e p r o b l e m in Baroque G a b r i e l i tradition in w h i c h, t h r o u g h “ recitative,” the aim was to capture “ The most it important works!“ thing I can say about it real-life emotions b y expressing the meaning of the text through extremes o f intensified w o r d meaning. is t h a t “ The The approach the best on ” It is t h o r o u g h of the the market!“ be a and Group. With ever, losing Alessandro finds which importance breadth Scarlatti, howwords line lessa to of longer holds attention one individual attempt melodies great One that I boon to best teachers of music restricted tatas, received means of the programmed should in emotional is comrange fundamentals. texts music range. E s p e c i a l l y in Scarlatti’ s candramatic as a intensity municated by such purely greater tonal musical know!“ just a f e w o f t h e e x u b e r a n t c o m m e n t s w e h a v e from educators all over the country about w h i c h allows for w i d e r vocal leaps. By the height of the Baroque period the lengthening vocal line conforms less a n d text, In less to e a c h w o r d general for feeling the specific example, to of the and opera, takes aria by a every the Introduction to MUSIC F U N D A M E N State T A L S and b y J. A U S T I N A N D R E W S, Eastern Songboofc Supplement. Washington College $ 3.80. precedence over m e l o d y per compulsive single ment, meaning. J E A N N E FOSTER W A R D I A N, Whitworth EXAMINATION College Index for Review. 220 pages, 498 frames, COPIES ARE AVAILABLE FROM se is u n h a m p e r e d need follow Here nuance. with the A P P L E T O N–C E N T U R Y–C R O F T S 4 4 0 Park A v e n u e S o. N e w Y o r k 1 0 0 1 6 Division of Meredith Publishing Company textual instead, singer needs an emotional involvesensuous with both the the element of the general affection of b TstRS BOX 8156 PORTLAND 7, 102 the piece, not a preoccupation specific aid to literalizations. greater rising MUSIC A further expression, in i d i o m s, is falling of and Italian and simple German OREGON EDUCATORS JOURNAL voice, and from the underlying harmony. As is the case with so m u c h of the vocal music of this period, clear diction c o m b i n e d with proper “ focus” and breath support are necessary to help carry the v o i c e over the larger instrumental forces the Baroque c o m p o s e r is w o n t to employ. T h e vocal music of Handel is of sufficient b o d y and popularity as to merit, along with Bach, special examination. M o s t essential to the performance of this difficult literature is the p r o p e r establishment o f and rigid adherence to a t e m p o that is neither rushed nor dragged–the tempo giusto. B y the same token, rhythms should b e maintained as Gibraltar-firm as the d a n c e music from w h i c h so m u c h of their inspiration was taken. These precautions will aid in providing necessary vigor, especially in allegro sections, without loss of the equally necessary sparkle. The Handelian “ line” results from c o n sidering large sections as c o m p l e t e units e n d o w e d with a unifying lyric and dramatic p o w e r. It should b e m o u l d e d with the sensuous solidity of a Rubens nude, for in this idiomatic and direct music detail of execution is not so crucial as an allembracing affection. Handel’ s operas, not excluding his mastery o f Italian bel canto, are best considered as music dramas, and singers are well-advised to b e attuned to dramatic values implied in the libretto. Dramatic action is most usually found in the recitatives and large scenes, although o n e must b e alert to deal with tonepainting and musical symbolism in the many and frequent guises in w h i c h they o c c u r. Arias are m o r e often reflective, and in many instances singers must b e prepared to deal with the relatively extended line w h i c h H a n d e l often uses to avoid a c a d e n c e. But in the final analysis, it is necessary that all performers, even the subordinate tenors and baritones, instill in the production of Handelian opera the same lively sense o f drama they w o u l d a c c o r d Verdi. Oratorios w e r e entertainments meant to b e p e r f o r m e d in the theatre, revealing n o difference in basic style whether the subject matter is sacred or secular. Although, JUNE-JULY, NINETEEN SIXTY-SIX The look tha Vs sweeping the nation. Robert Rollins Blazer Uniforms! Complete coupon and mail today. Name Title School ROBERT ROLLINS School Address BLAZERS, INC. 242 PARK AVENUE SOUTH City NEW YORK,. Y. 10003 Phone Organization. State. No. of Uniforms Needed. F MEJ-4-66 JOHNSON VIOLIN METHOD b y G e o r g e A. Johnson VIOLIN CLASS TEACHING FOR PRE-SCHOOL A N D PRIMARY GRADES E a s y to play No Excerpt from “ Twinkle, Twink l e. ” Each n u m - by numbers notation 0 0 and to 1 1 letters learn 0 / 3 3 etc complicated Price: $ 1. 2 5 See this N E W M E T H O D N o w ! ber indicates the finger d o w n f o r a q u a r t e r note b e a t o n the string a t i n e left. Piano A c c o m p a n i m e n t s included f o r t h e teacher o r p a r e n t. Complimentary–Johnson Violin Method To:. Position: _ Address:. City:. State:. Zip:. School: NEIL A. KJOS MUSIC C O M P A N Y 525 MENC Publishers Busse, P a r k R i d g e, Illinois 60068 103 FRANK STACHOW JOINS VIBRATOR CONSULTING STAFF VIBRATOR is honored to number among its reed consultants Mr. Frank E. 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Teachers everywhere are using… RECORDERS EASY T O PLAY 2 OCTAVES, FULLY C H R O M A T I C EXCELLENT TEACHING AIDS LOW COST Wood $ 3.95* Plastic $ 2.00* * Big school quantity discounts available German pearwood recorders Japanese plastic recorders Swiss Kueng fine hand-crafted recorders Complete collection of recorder music & methods Buralcoff, The Beginners Method for Soprano & Alto Recorder Book I, $ 1.50* Book 2, $ 1.75* Burakoff “ The Recorder in our Schools” $.95 Free c o p y to Supervisors and Music Ed. Instructors H. Newman, Hargail Melody Method for Soprano or Tenor. Covers the full tonal range $ 1.25* FREE teacher material on request HARGAIL MUSIC, INC. 1 5 7 W. 5 7 t h Street, N e w York 1 9,. Y. “ Imaginative instant-learning” * as o p p o s e d to the operas, the chorus is given the responsibility o f carrying out m u c h o f the actual drama, individual characters are delineated with extreme care. In the Messiah, thorough understanding o f the instrumental i d i o m from w h i c h the “ Baroque allegro” w a s derived c a n aid inestimably in solving the p r o b lems o f t e m p o w h i c h arise so frequently. Agile articulation will help assure intelligibility o f text without sacrificing t e m p o. Special care is required in fugal passages, w h e r e the duration o f each note is o f prime importance in its relationship to the w h o l e. T h e accenting o f a quarter note, for example, is d e p e n d e n t u p o n its succ e e d i n g note; i. e., if there is a c h a n g e in pitch o r not. O n e must also b e sensible to the d o u b l e function o f m a n y eighth notes as d e fining a basic line as well as providing ornamentation. H e r e a unity of style b e t w e e n the vocal and instrumental idioms c a n b e o f great assistance, for it will b e d i s c o v e r e d that the instrumental element is far m o r e than simple a c c o m p a n i m e n t and often relieves the singer o f the necessity o f p r o v i d i n g rhythmic accents. A considered appreciation of the essential function o f descriptive passages–to describe–will brighten many measures. T h e oratorio aria is m o r e often in long-line than in da capo form, revealing the important function of its textual derivation in the c o n struction o f Biblical verse. C o h esion across such long v o c a l lines is sustained if the singer will remember to k e e p the unifying thought alive, even during pauses for breath. Obviously, the truth of the text, b o t h as sign a n d symbol, plays a determining role, b u t must always b e handled with tasteful restraint d e spite the bel canto techniques that are sometimes dictated b y the style of the music. J. S. Bach must b e a p p r o a c h e d with a natural, w a r m–b o d i e d spirit, alive t o the joyous optimism integral t o so m u c h of his music. Nothing is m o r e detrimental t o a performance o f Bach’ s music than to allow it t o collapse under an overawed straining after grandiose effects. T h e great c o m p o s e r w r o t e with infinite attention to detail, s o singers must carefully observe these details w h i l e emphasizing MUSIC EDUCATORS JOURNAL WE MAKE T E MOST H beautiful C or G w s hi on IN AMERICA. Give us a chance to prove it The CARAB0-C0NE METHOD “ Everyone who knows child–4 or older–should have this booklet”… Music J o u r n a l * A a e i C uc & c d mc h r h Choir Gowns Mfg. Co. 1125 N. Highland Ave. Hollywood 38, Calif. 104 THE CARABO-CONE METHOD Carnegie H a l l. Suite 862, New York 10019 (Teachers Workshops July 6-15) A revolutionary w y a to teach m sc readuiing and rhythmic coordination as s o n hw i N.Y. Tm s fean ieture story a d E. n d TV. Booklet explores s se y t m through i n numerable photographs a d text, comn plete with keyboard Guide. S n $. 0 to: e d 20 line supported b y b u o y a n t tempi. Historical b a c k g r o u n d can b e of great help to the interpreter. It is useful to k n o w, for example, that in the early cantatas Bach was “ governed strictly b y the content of the w o r d s ” and d e d i c a t e d his genius to the m o o d and meaning of the text, while those o f his later L e i p z i g period are m o r e apt to b e mines of vivid pictorial passages and musical symbolism. In all of these cantatas one must c o m p r e h e n d the Baroque significance of sudden changes in t e m p o and dynamics and strong contrasts b e t w e e n solo and tutti sections. The use of d a n c e rhythms, often indicated in groups of dotted eighths and sixteenths, must b e noted, as well as the presence of exultant melismas. S o m e long melismas are used ornamentally to bridge a large skip in the line, and, despite the influence of instrumental techniques, must b e treated b y the singer as the vocal displays they are meant to b e. Finally, it might also b e helpful to note that Bach’ s normal choir was c o m p o s e d of fifteen to twenty m e n and b o y s, and that his o w n preference was for four voices to a part. The Minor Mass, as is true of all the larger works, requires a deliberate auditory balancing of instruments and voices to realize the basically intimate texture required. This w o r k reveals a subtly dramatic construction, so in performance it is necessary to build in careful anticipation of its triumphant climax. Attention to details such as the use of a “ modern” presentational style found mostly in arias and duets, and the s y m b o l i c use of canonic imitation, will help p r o v i d e the incisive, clean-cut line this music demands. The c o m p o s e r himself has prov i d e d m a n y clues, other than those implicitly musical ones in the score, to the performance of the St. Matthew Passion. H e has given clear instructions for the placement of the t w o choirs, the soloists, and the orchestra, and has also indicated w h e n each choir is to sing. In this work, too, it is vital to consider the dramatic construction, quite similar to that of a piece-bien-faite, with an unfolding, particularly in Part II, of increasing intensity with well-spotted theatrical outbursts. This precise balancing of emotion JUNE-JULY, NINETEEN SIXTY-SIX LIGHTER STRONGER QUIETER CHORAL RISERS COMPARE BEFORE YOU BUY I COfOI! IJ 3 WENGER BUILDING OWATON A, M I N N. 5 5 0 6 0 507-451-3010 re& Ser. . Two Outstanding Works for Concert Band SUMMER, 1 9 6 6 APOCALYPTICA TRIBAL DRUMS @ by G e o r g e Rochberg by Bernard Rogers (Transcription by t h e composer of t h e second movement of h i s symphony “ A f r i c a ”) Again available in t h e Mercury Music Catalog SHOONTHREE by Henry Cowe// it! Send f o r o u r c o m p l e t e catalog of Band M u s i c Theodore Presser Company BRYN MAWR, PENNSYLVANIA 19010 The C l a r k–B r e w e r T e a c h e r s A g e n c y–M u s i c D e p a r t m e n t IF YOU ARE AVAILABLE for a teaching position in the field of Music, let us be of service to you. We have calls for Music Teachers with degrees in all phases of Applied Music and Music Education in the Public Schools, Colleges, Universities and Conservatories. C. A. Lutton, Manager HArrison 7-1279 64 E. Jackson Boulevard B. Lutton, Asst. Mgr. Chicago, Illinois 60604 LUTTON MUSIC PERSONNEL SERVICE 105 Books on desks, no music racks needed, and alert diserect youngsters cover the thrill of playing music. Stimulating Creativity with Innovative Motivations . ADVENTURES I N INSTRUMENTAL MUSIC by W. Owen Beckley Supervisor of Instrumental Music Indianapolis Public Schools The SOMETHING NEW which alert teachers are seeking, providing new challenges to student interest in creating music. Aids in DISCOVERING and RECRUITING students for instrumental music. Provides FULL YEAR of pre-instrumental instruction and Exploratory Experiences with Band and Orchestra instruments. A FREE COPY will be mailed f o r your own evaluation. WRITE T O– W. OWEN BECKLEY. Pub. 4546 Allisonville Road Indianapolis, Indiana and dramatically p o w e r f u l building of tension can b e destroyed b y any omission or alteration in the ordering o f numbers. Soloists should examine the texts of their numbers to discover w h e r e a lyric quality is required, w h e r e a realistic presentation o f specific verbal or emotional content, and w h e r e it is the passionate description of an elevated state of feeling. In many instances they will disc o v e r an incredible merging o f pictorial musical figures with expressive effects, and this ought to b e their aim in performance. But the role-playing function of the c h o ruses is o f at least equal importance, as it ranges from w i l d turbalike shoutings to gentle ariosos. It is often helpful to bear in m i n d that m a n y forms o f expression in choral passages are b o r r o w e d from organ style. By w a y of peroration, let it b e r e m e m b e r e d that B a c h is still very m u c h alive. Scholarly research c o n tinues to reveal n e w and pertinent data about this b o d y o f music, keeping it alive. So, t o o, must the performance o f this v o c a l literature live. In conclusion, the question as to whether there is a specifically B a r o q u e “ sound” can b e answered in terms of its constituents. First of these, a m o n g several o f equal importance, is the force and v i g o r w h i c h propels the music urgently forward. It is revealed through the quick repetition o f rhythmic figures contrasted with a restless rhythmic flexibility, and through a straightforward continuous sound that climaxes inevitably in the masculine structure of a no-nonsense Bar o q u e c a d e n c e. T o deal authoritatively with the considerable challenges in the score with ease and grace and g o o d tone requires great reserves of intestinal fortitude, c o m b i n e d with v o c a l agility and suppleness. Next is the element o f tension resulting from the factor o f contrasts vs. balance. T h e contrasts m a y be simply b e t w e e n high and l o w voices, solo and tutti, v o c a l and instrumental; or they m a y b e found dynamically, in the alternation, perhaps, o f d u p l e and triple meter, or in the m o r e general area of passion and control. T h e sense of intrinsic symmetry, h o w e v e r, is omnipresent. MUSIC EDUCATORS JOURNAL EIGHT CHORALE Settings from OPELLA NOVA I [1618] by J O H A N N No. 97-4713 1. 2. 3. 4. 5. 6. 7. 8. HERMANN SCHEIN $ 2.25 Edited by L U D W I G LENEL A Mighty Fortress Lord, Look down from Heaven Salvation Now to Us Has Come Our Father, Thou in Heaven Dear Christians, One and All, Rejoice Lamb of God Most Holy My Soul Now Bless Thy Maker From Depths of Woe I Cry to Thee “ Schein’ s Opella nova must be considered a milestone in the development of the chorale concertato… ”–Manfred Bukofzer * The compositions a r e f o r t w o v o i c e s, SS o r S A, a n d c o n tinuo * A I I o f t h e settings a r e a v a i l a b l e singly (oncordia Concordia Publishing House St. Louis, Mo. 63118 V_>/ MUSIC FOR SCHOOL AND CHURCH CHORAL GROUPS Catalog on request PA O T NN M D E S I N U I G A E AY No tedious theory. Amazing new pictorial method shows you step-by-step exactly which keys to strike. Kit with down-to-earth instructions and all necessary tools, only $ 14.95. Free 7-day money-back trial period. The C. E. Ward Co. New London, Ohio 106 VAN BROOK PUBLISHING C O. Box 324-E, Oregon, I I I. 61061 As c o m p a r e d with the Renaissance, a n e w texture results from the c o n c e p t o f m o n o d y and use o f the basso continuo, with the special interest that thus accrues to the t w o outer voices, especially the bass. Carried further, this requires careful selection of specific voices for specific parts. T h e concurrent dev e l o p m e n t of tonality, so firmly enunciated b y Rameau in the 1720’ s, helps contribute to a dec i d e d l y w a r m e r tone than that of the earlier period. Technically, performance calls for strict rhythmic practices. Fastidious B a r o q u e c o m p o s e r s n e e d n o latter-day assistance, for example, in such matters as ritards, as they have already written them in b y lengthening note values. Performers, h o w e v e r, should never lose sight o f the fact that m u c h B a r o q u e vocal music was written to enable the singer to demonstrate his skill, that it is a presentational style requiring b o t h v o c a l agility and dramatic ability. All of these a d d u p to a sense of predictability and inevitability that each performance must retain. Fortunately, w e today n o longer expect our singers, as did Monteverdi, to d o u b l e in the b e hind-scenes orchestra. Art in the Baroque b e c o m e s the conscious application of means to pre-established ends. T h e performer of this vocal music must b o t h master those means and understand the aims. D u r i n g this p e riod, the result is an unmistakable stylization of reality, earnest and sincere, yet always spontaneously so. U Y u favorite reeds or last longer with R E G R ED A D Reedgard prolongs t h e p l a y i n g life of y o u r reeds. It t r a i n s new reeds, r e t r a i n s pet stage ones a n d holds f o u r of t h e m f i r m l y u n t i l y o u ‘ r e ready t o use t h e m. You m i g h t w o n d e r w h y a c o m p a n y w h i c h m a k e s reeds w o u l d c o m e u p w i t h s o m e t h i n g t o p r o l o n g t h e i r play- f i n g life. We m a k e t h e f i n e s t reeds in t h e w o r l d. want y o u t o g e t t h e m o s t le ones y o u b u y. T h e n–u do need r e e d s–y o u ‘ l l > a g a i n. Reedgards are on sale at your music dealers. Price: $ 2.50 $ 2.75 (tenor sax). 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V a n Doren Price $ 3.25 BRODT MUSIC Box 1207 COMPANY Charlotte, N. C 28201 “ Let’ s Read Music” Series Prepared by Rufus A. Wheeler, Supervisor of Music, Schenectady, N. Y. 1940-65. Aimed directly at the reading aspects of your vocal program. 5 books now available–.50 or.60 each. Free Descriptive Brochure DICKSON-WHEELER. I N C. 208 First St. Scotia, N.Y. 12302 THE BERCLAU For brocnure please write 0 M SC T P W I E C. U I Y E RT R O 87-A Carmel St., San Francisco, Cal. 94117 JUNE-JULY, NINETEEN SIXTY-SIX transposes immediately, any melody chord and symbol, gives 120 chords and over 300 inversions. Price 4 dollars post free 50, St. Andrewgate, York, England Harmony Indicator & Chord Rule The World’ s Best! America’ s Foremost Importer. Lowest prices. Free brochure I A I N VO I S T LA I LN MARLIN BRINSER 643 Stuyvesant Avenue Irving ton, New Jersey 07111 THE DORIC M U S I C C O. 107 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Singing in Style. Baroque</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Singing in Style. 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