Academic literature on the topic 'Chichester Psalms'

"hichester Psalms by Leonard Bernstein can be interpreted by formations with different levels of musical accomplishment and express the idea of harmonious communion. By analysing the parts of the score - an extended choral composition in three movements for boy treble or countertenor, choir and orchestra, we present semantic aspects of it. Aided by his componistic thechniques, Bernstein is successful in acquiring a strong dramatism in his Chicester Psalms, that is effective in communicating a strong urge of the present but also of transcendence. The use of intervals, chords, tonal functions are very expressive, when overlaid with the Psalms of David. "

Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

Leonard Bernstein (August 25, 1918-October 14, 1990) had a fascination with language that was clear to his family from his childhood. He was raised in a Jewish home with parents who fostered an understanding of the Hebrew language as well as musical artistry. By the time he was commissioned to compose Chichester Psalms for the Chichester Cathedral in 1965, his understanding of Hebrew poetry was considerable. Bernstein’s compositional approach in this work was influenced not only by his musical training but also by his heritage and culture, including his literary knowledge. Scholars have explored the diversity of styles and text-painting in the Chichester Psalms. This author’s intent is to provide analysis of Bernstein’s use of Hebrew poetic forms to organize his composition. His understanding of Hebrew syntax is apparent in his sequencing and arrangement of the texts. In his careful and creative approach to setting these texts, Bernstein is able to highlight the themes of peace and unity that are the focus of the chosen verses in their original form.

碩士
國立臺灣師範大學
音樂學系
105
Leonard Bernstein (1918 - 1990) was a giant among 20th-musicians. He was a well-known conductor, composer, and music educator. He wrote music of various genres, such as instrumental music, vocal music, symphonies, musicals, and scared music. His famous work, Chichester Psalms, was composed in 1964 and premiered in1965. It was written for the choirs of Winchester, Salisbury, and Chichester cathedrals to perform in Summer Choral Festival, and was commissioned by the dean, Walter Hussey, who served in the Cathedral of Chichester in Sussex, England. Chichester Psalms are divided into three movements which respectively use a complete psalm and another psalm with several verses as lyrics sung in Hebrew. The first movement has strong dynamics and lively compound meters. The intervals among motives are also applied to the keys’ relationship of various transitions. The mode with crescendo creates tension in transitions between paraphrases. Bright brass sound and homophonic texture of chorus, and three repetitive yet cheerful rhythmic patterns praise Jesus. The second movement uses soft dynamics, tender and long melodic lines, and the unique voice of boy soprano or countertenor accompanied by two harps to picture David’s religion image and applies intervals of blues to create sense of pop music. Female and male voices respectively represent lyrics and music personalities of different psalm chapters, presenting great contrast in major and minor keys, rhythm, and dynamics. The third movement uses ninth chords, augmented and diminished intervals, vague and unclear keys, and frequent and subtle change in dynamics. Voices together sing “ah” to express the deepest inner call and wholeheartedly invocation in lyrics of prayers. In a cappella at the coda, music echoes with motive of the beginning of the movement as a tranquil conclusion. The conductor should know the diction, accent, stress words of Hebrew when performing Chichester Psalms. Moreover, he or she also needs to know the translation word by word to help singers associate music and lyrics. Then, the conductor should know the motives, melodic styles, change of rhythms well, and use meter patterns to suggest the pulses, and indicate the change of tempi by clear hand gestures. In order to perform dramatic dynamics, the scope or frame of the conducting should be defined in advance. Finally, the positions of choirs and instruments are properly arranged in accordance with sound effect of the venue and balance and harmony between volume and music. This research consists of five chapters. The first chapter is “Introduction,” focusing on author’s research motivation, study area and content, methodology, and literature review. The second chapter is “Background Study,” which includes three sections: Bernstein’s biography, Bernstein’s view of religion and its impact, compositional background of Chichester Psalms and origin of its lyrics. The third chapter, “Analysis of the Composition” analyzes Bernstein’s compositional technique from all three movements. The fourth chapter is “Musical Interpretation and Suggestions on Conducting Techniques,” providing interpretation suggestions for each movement. At last, the fifth chapter is “Conclusion”.