Polychoral Concerts: Sound in the Round
Identifieur interne : 000267 ( Istex/Corpus ); précédent : 000266; suivant : 000268Polychoral Concerts: Sound in the Round
Auteurs : Stephan P. BarnicleSource :
- Music educators journal [ 0027-4321 ] ; 1979-11.
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DOI: 10.2307/3395740
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Barnicle</surname><given-names>Stephan P.</given-names></name><aff>Director of choral and orchestral music at Simsbury High School in Simsbury, Connecticut.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>11</month><year>1979</year></pub-date><volume>66</volume><issue>3</issue><fpage>45</fpage><lpage>87</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>search-text</meta-name><meta-value> Polychoral Concerts: Sound in the Round Stephan P. Barnicle The Cathedral of St. Mark in Venice is renowned for its many cultural treasures, not the least of these being its music. Of all the music forms and styles to be heard within this edifice, none is as synonymous with St. Mark's as that referred to as the “polychoral’ or “Venetian’ style. Developed during the early Baroque period by such composers as Andrea and Giovanni Gabrieli (who were influenced by such predecessors as Adrian Willaert), this style exploited the Byzantine architecture of the Basilica. With organs in both balconies of the transepts, choirs of voices and instruments of varying timbres and ranges were placed strategically throughout the church to surround the congregation in a sea of changing textures and harmonies. Similarly, the advent of stereophonic and quadraphonic sound has enabled today's music lovers to surround themselves with music when they listen at home. But music educators continue to present choral concerts from a planar standpoint, with all of the performers in front of the audience, giving the music a single dimension. Although many contemporary composers are experimenting with directional uses of music, especially with the use of quadraphonic tape in performance, The author is director of choral and orchestral music at Simsbury High School in Simsbury, Connecticut. Illustration by Joe Scopin we seem to ignore both these works and the multitude of compositions written as much as 350 years ago that call for multidirectional presentations. When introduced into a high school choral program, this music not only offers students and audiences new experiences with music, but it opens up avenues to fresh concepts in programming as well. A high school polychoral concert can take the form of an exchange concert, a choral festival, or merely an intraschool effort. While some directors may feel that their singers lack the depth and experience needed to perform music for more than one choral grouping, a brief look at much of this literature will invalidate most such concerns. Much polychoral music combines choirs of varied sizes and types, and most works can be performed several different ways. While a traditional performance of music with a simple double chorus might double each choir with an instrumental choir (brass, strings, and winds, for example), the possibilities include performance by equal a cappella choirs (for example SATB-SATB), unequal choirs (SATB-S and so on), choir and organ, or choir and instrumental choir (SATB-brass, SATB-strings, and so on). This type of optional scoring, which was the distinct intent of so many Renaissance and early Baroque composers, provides the flex- While combining four or more school choruses is an exciting event, it is often more aesthetically rewarding to bring together select choirs or madrigal groups from different schools. This arrangement Manfred F. Bukofzer, Music in the Baroque Era: From Monteverdi to Bach (New York: W. W. Norton & Co., 1947), p. 24. still involves enough students to ensure a sufficient audience. Layouts Of course, with any polychoral concert, finding an audience is the least of ones worries. The difficulty usually becomes finding a hall large enough to fit the audience yet small enough to allow for musical communication between choirs. To achieve the stereo effect of polychoral music the choirs must be strategically placed around the audience. One of the most satisfactory solutions is to place each of four choirs on opposite sides of the audience (see Figure 1). This layout offers a great deal of flexibility and sound contrasts. Choirs can be combined in any number of ways. In a double chorus, choirs A and B can be answered by C and D, or A and C can be answered by B and D. In a triple chorus, the choirs could provide echoes by combining two medium-sized choirs in positions A and B to be answered first by a large choir in position C and then by a small choir in position D. This arrangement also provides for effective use of an uneven balance between schools. Whereas differing sizes of school choirs are usually a hindrance to combined program efforts, in a polychoral performance this unevenness often becomes an asset. Other layouts may be equally effective, and the possibilities are limited only by the imaginations of the directors who plan the concert. One of the principal difficulties in organizing a polychoral program (besides finding times that several schools can rehearse and perform a concert) is finding a hall that meets the demands of such a program. A common solution is a church with live acoustics and balconies in effective locations. This choice usually offers the option of using organ accompaniments. Since balconies often overlap some of the main church seating, the distance between the choirs is minimized, and unless the overhangs are of extreme proportions, the total seating area can be used by the audience. The director can conduct from the center aisle of the church. Two choruses and an orchestra from two high schools in Connecticut recently scheduled polychoral exchange concerts with two choruses from schools in Maryland. In Connecticut, the program took place in a uniquely shaped church having a curved balcony surrounding half the church, a raised choir stall on one side of the pulpit, and a removable wall on the other that opened to expose additional space. This space was ideal for an orchestra with a chorus behind it. With one choir in the choir stall and one on each end of the balcony, there were choirs on all four sides of the audience. The program thus could include an orchestral overture; double choir combinations; a triple chorus (SSAA-SATB-TBBB) with wind, string, and brass doublings; selections by the individual choirs; an SSA-TBB work by the select choirs of the Connecticut schools; a festival chorus by the combined Maryland choirs with organ and trumpets; a work for chorus with electronic tape; an opera excerpt for chorus and orchestra; a swing choir presentation; and a work for double chorus and full orchestra as a finale. The following weekend the same program was presented in Baltimore's Basilica of the Assumption, and the two Connecticut choruses performed the double choruses across the huge sanctuary of the National Shrine of the Immaculate Conception in Washington, D.C. Finding literature While there is a great volume of polychoral literature currently available, finding good performance editions is a challenge well worth facing. It is sometimes more rewarding to make your own performance edition of works in the o O Figure 1. A polychoral layout 46 mej/nov ‘79 Choir A Audience O O —t” CO Choir C public domain, choosing the instrumentation, voicing, and even the keys you prefer. Many works, especially those on secular texts, may be more palatable to young students if an English text is used, and so translations are often successful. A thorough repertory search should begin with the Venetian masters. In the early works of Giovanni Gabrieli we witness a mastery of the cori spezzati style that flowered in his later works into a true concertato with more specific indications of the use of voices and instruments. An example of this style is his chorus “In Ecclesiis,’ in which he combined a six-part ensemble (three cornets, a viola, and two trombones), two choirs (one of high voices with soloists and one of low voices doubled by strings), two soloists, and organs. In his earlier works, such as the nine-teen-part motet “Buccinate in Neo-menia,’ in which he set the parts into four choirs (three of five parts and one of four parts), no definite instrumentation is prescribed. Instead, the performer decides which instruments to use. In this case, the text “Blow the trumpet’ suggests strongly that brass should play a large part in the realization of the work, and it is known that Gabrieli had a fine wind band available to Selected polychoral works Bach, J. S. “Komm, Jesu, Komm’ (“Come, Jesu, Come”). Available from Breitkopf & Hartel, C. F. Peters, Belwin-Mills, Kalmus, Novello. . St. Matthew Passion (sections). Available from Belwin-Mills, Ricordi (Belwin-Mills). Biechteler, Sigismund. “Victimae Paschali Laudes’ (“Christians Come with Praises”). Available from Concordia. Biggs, John. “Epitaph’ (“Weep No More”). Available from M. Foster. Britten, Benjamin. “Hymn to the Virgin,’ Available from Boosey & Hawkes. Frey, Richard. “Hosanna in the Highest.’ Available from Gray (Belwin-Mills). him at St. Mark's Cathedral.2 Heinrich Schiitz, on the other hand, was quite comfortable in the concertato style and fell naturally into this Baroque genre. His brief setting of the conversion of Paul, “Saul, Saul, Was Verfolgst Du Mich?,’ is scored for an ensemble of six soloists, two four-part choirs, two violins, and organ continuo. Beginning with the soloists from lowest to highest calling repeatedly “Saul, Saul,’ it builds to a stirring cry back and forth between the choirs, with one tenor voice persisting at last to ask “Saul, why do you persecute me?” The search for literature must not stop here, however, for outstanding works show up in all periods and styles. Most noted choral composers have written at least movements of a work in the polychoral medium, including Thomas Tallis's forty-voice motet “Spem in Alium Nun-quam Habui,’ J. S. Bach's mighty St. Matthew Passion; and settings of Magnificats by Palestrina, Carl The-odorus Pachelbel, and Vivaldi. J. S. Bach's motet “Komm, Jesu, Komm’ is one of the most fascinating works in the style, although it is admittedly out of reach of all but the most proficient choruses. Britten's 2Time-Life Records, “A Listener's Guide to the Recordings,’ in The Story of Great Music: The Renaissance (New York: Time, Inc., 1974), p. G3- Gabrieli, Giovanni. “Benedictus’ (SSAA-SATB-TBBB). Available from M. Foster, G. Schirmer. “Buccinate.’ Available from C. F. Peters. . “Hodie Christus Natus Est.’ Available from G. Schirmer. . “In Ecclesiis.’ Available from Broude Brothers, Kalmus, Novello (Belwin-Mills), C. F. Peters, G. Schirmer, Schott. . “Jubilate Deo.’ Available from Bourne, G. Schirmer. . “Lieto Godea.’ Available from A. Broude. Gallus, Jacobus. “Repleti Sunt Om-nes.’ Available from Presser. . “This Is the Day’ (“Haec Dies Est”). Available from C. F. Pe- brief “Hymn to the Virgin,’ on the other hand, is an easily mastered gem, as is Mendelssohn's well-known “Heilig,’ and both are available in fine performance editions. Many works that originally were written for solo quartet with chorus will reveal a definite polychoral conception to the style. Schubert's hymn “Komm Heil'ge Geist’ was first written for male chorus and male quartet and then rescored for the addition of a wind band with the text “Herr, Unser Gott.’ A superior result can be realized by performing this work with two equal choirs. A simple transposition from C major to E-flat major makes it quite accessible to a double SATB chorus with standard orchestral instrumentation. Much of the standard choral repertoire can be enhanced by performances in polychoral arrangements, as can many individual movements from major works. Orff's Carmina Burana, Vaughan Williams's “Hodie,’ and Bernstein's Mass all contain music using the cori spezzati principle. Composers in your area might be commissioned to write something for a particular combination of choirs. The possibilities are endless, and the sources and rewards for directors and students are abundant. ters, Pro-Art. G. Schirmer, Summy-Birchard. Gregor, Christian. “Hosanna, Blessed Is He That Comes.’ Available from C. Fischer. Hammerschmidt, Andreas. “Alleluia! Freuet Euch, Ihr Christen’ (SSATB-TBB). Available from Hanssler (C. F. Peters). . “Alleluia! Oh, Rejoice Ye Christians Loudly’ (SSATB-TBB). Available from Concordia. . “Glory to God in the Highest’ (SSATB-TBB). Available from Concordia. Hassler, Hans Leo. “Verbum Caro Factum Est’ (SSA-TBB). Available from Broude Brothers, Muller (C. F. Peters), Novello (Belwin-Mills). Continued on page 86 mej/nov 79 47 POLYCHORAL/rom page 48 Ives, Charles. “Psalm 150’ (SSAA-SATB). Available from Presser. Lassus, Orlandus. “Echo Song.’ Available from E. C. Schirmer. . “Gloria in Excelsis Deo.” Available from Shawnee (Flammer). McKelvy, J. “Blessed Is He’ (Acclamation [Psalm 95]). Available from M. Foster. Mendelssohn, Felix. “Heilig’ (“Holy”). Available from Southern (Texas). Orff, Carl. “Tempus Est Iocundum’ (from Carmina Burana). Available from Schott (Belwin-Mills). “Veni, Vemias’ (from Carmina Burana). Available from Schott (Belwin-Mills). Pachelbel, Carl Theodorus. Magnificat. Available from C. F. Peters. Pachelbel, Johann. “Exsurgat Deus.’ Available from Hanssler (C. F. Peters). “God Is Our Refuge and (“Gott 1st Unser Zu- Strength versicht”). Available from Concordia, Barenreiter (Magnamusic-Baton), Hanssler (C. F. Peters). “The Lord God Reigneth” (“Der Herr 1st Konig”). Available from Barenreiter (Magnamusic-Baton), Concordia, Hanssler Children's Songs from France including “An introduction to The Opera” HH008 • s2.50 This book is a many-faceted jewel! it is gifted with 23 traditional children's favorites from France, and also enriched by beautifully illustrated themes from four of the worlds best-loved operas; ‘Aida/ ‘Madame Butterfly/ “The Magic Flute’ and “Tales of Hoffman/ with entertaining stories explaining the music. The music, simple and easy to read, has accompaniment chords for piano, organ, guitar, etc. Basic instructions for recorder are included to further enhance the interpretations of these timeless melodies. Please send check or money order to: IW1NQ Broadway New York, N.Y. 10023 Yes, pleaseend me my “Children's Songs from France’ HH008. I enclose $2.50 plus S1.00 for postage and handling. Name. Address City State ZIP— 8610 8.14.79 WHATS YOUR GAME PLAN? Add excitement to your music classes! 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A-101 RHYTHM REVIEW-note values-$11.95 A-102 STU STEGOSAURUS-note values and other musical signs-$11.95 A-103 BLAST OFF—five concepts: treble clef; bass clef; note and rest values; I, IV, and V chords; and, notes of major triads—$12.95 A-104 “BASS’ BALL—lines and spaces of the bass clef in baseball language—$11.95 A-201 TREBLE TREK—treble clef, dynamic markings and note values— $16.50 A-202 SOCCER SAGA-note values and I, IV, and V chords in keys of C, F, andG-$16.50 B-101 MIXED-UP METRONOME-tempo relationships-$ 11.95 B-102 SATELLITE SENTINEL (pictured)—key signatures, major and/or minor—$15.95 B-103 BLAST OFF—Advanced Series—major and /or minor key signatures, musical terms, alto, bass, and treble clefs, including ledger lines— $12.95 B-104 MUSIC MATCH—a strategy game recognizing combinations of notes which make measures of music—$16.50 B-201 RHYTHM RUMMY—advanced strategy game employing a special 54-card deck of plastic coated playing cards. Gives experience in forming complete measures of music from chance assortments of note values—$16.95 B-202 METER MAZE-develops understanding of rhythms-$ 16.50 Make note reading fun and faster with a set of 12 ditto masters. D-112 NONSENSE LIMERICKS AND STORIES ($11.95) are popular with 4th and 5th graders. P.O. Box 1802 Columbia, Missouri 65205 314/474-4019 God’ (“Nun Danket Alle Gott”). Available from Barenreiter (Magnamusic-Baton), Concordia, Fox, Hanssler (C. F. Peters), Lawson (G. Schirmer). . “Shout to the Lord” (“Jauchet Dem Herrn”). Available from Barenreiter (Magnamusic-Ba-ton), Concordia, Hanssler (C. F. Peters). “Singet Dem Herrn Ein Neues Lied.’ Available from Hanssler (C. F. Peters), Muller (C. F. Peters). from Oxford. Thompson, Randall. “Have Ye Not Known’ (“Ye Shall Have a Song”) (from The Peaceable Kingdom). Available from E. C. Schirmer. Vaughan Williams, Ralph. “Lord, Thou Hast Been Our Refuge.’ Available from Curwen (G. Schirmer). Verdi, Giuseppe. “Te Deum.’ Available from Belwin-Mills, C. F. Peters, Ricordi (Belwin-Mills). Vivaldi, Antonio. “Beatus Vir.’ Available from Lawson (G. Schirmer), Ricordi (Belwin-Mills), Belwin-Mills. ‘Kyrie.’ Available from C. F. Peters, Ricordi (Belwin-Mills). . Magnificat. Available from Ricordi (Belwin-Mills), C. F. Peters, Kalmus. Vulpius, Melchior. “Today Is Risen Christ the Lord.’ Available from Concordia. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Polychoral Concerts: Sound in the Round</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Polychoral Concerts: Sound in the Round</title></titleInfo><name type="personal"><namePart type="given">Stephan P.</namePart><namePart type="family">Barnicle</namePart><affiliation>Director of choral and orchestral music at Simsbury High School in Simsbury, Connecticut.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1979-11</dateIssued><copyrightDate encoding="w3cdtf">1979</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1979</date><detail type="volume"><caption>vol.</caption><number>66</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>45</start><end>87</end></extent></part></relatedItem><identifier type="istex">F8BFCFA968C3301FE136005A90782D5D89B5D897</identifier><identifier type="ark">ark:/67375/M70-JP7Q1KFJ-Q</identifier><identifier type="DOI">10.2307/3395740</identifier><identifier type="ArticleID">10.2307_3395740</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/F8BFCFA968C3301FE136005A90782D5D89B5D897/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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