A companion guide to Nick Strimple’s Choral Music in the Nineteenth Century: a research and repertoire guide for nineteenth century small form choral works for mixed voices

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Content A Companion Guide to Nick Strimple’s Choral Music in the Nineteenth Century:
A Research and Repertoire Guide for Nineteenth Century
Small Form Choral Works for Mixed Voices
by
Andrew Frederick Schultz
A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
December 2021
Copyright 2021 Andrew Frederick Schultz
ii

DEDICATION

With gratitude, I dedicate this document:

To my parents, for your love and support that made it possible.

To my wife, for your love and patience, enabling its completion.

iii

ACKNOWLEDGEMENTS

I offer deep gratitude:

To the USC faculty, Nick Strimple, Jo-Michael Scheibe, Cristian Grases, Tram Sparks,
and Mary Scheibe for your encouragement, continued guidance, and musical inspiration.

To Vladimir Morosan, Carmen-Helena Tellez, and Serge Liberovsky for the generosity
of your time spent locating music and resources for this document.

To Radek Smolik, Beverly & Martin Clajus, John Holbert, Serge Liberovsky, and
Michael Turnblom for your language expertise.

To Emily Ezust for your wonderful online resource and permission to use numerous
translations.

To Krysta Close and Marek Żebrowski for the incredible resource that is the USC Polish
Music Center and for your guidance and support.

To Richard An for your hours of detail and formatting work that went into this document.

and

To my dear friend and colleague Irene Apanovitch-Leites for your guidance and constant
encouragement.

iv

TABLE OF CONTENTS

Dedication ....................................................................................................................................... ii
Acknowledgements ........................................................................................................................ iii
List of Tables .................................................................................................................................. v
List of Figures ................................................................................................................................ vi
Abbreviations ................................................................................................................................ vii
Abstract .......................................................................................................................................... ix
Chapter 1 ......................................................................................................................................... 1
Rationale...................................................................................................................................... 1
Brief Overview of Choral Music in the Nineteenth Century ...................................................... 3
Programming Limitations of Choral Music in the Nineteenth Century ...................................... 4
Organizational Structure of This Dissertation ............................................................................. 8
How to Use this Dissertation ..................................................................................................... 18
Future Research ......................................................................................................................... 20

Chapter 2: Standardized Catalogue of Strimple’s Choral Music in the Nineteenth Century ....... 22
Table of Contents ...................................................................................................................... 22
Catalogue ................................................................................................................................... 34
Chapter 3: Select Small Forms, Repertoire and Research .......................................................... 119
Table of Contents .................................................................................................................... 119
Catalogue ................................................................................................................................. 125
Bibliography ............................................................................................................................... 443
Appendices .................................................................................................................................. 482
Appendix A: Select Groupings from Chapter 3 ...................................................................... 482
Appendix B: Missing Works ................................................................................................... 511

v

LIST OF TABLES

Table 1 Opening Key/Mode ............................................................................................. 482
Table 2 Closing Key/Mode .............................................................................................. 486
Table 3 Works with Solo Voice or Soli Voices ............................................................... 490
Table 4 Works for Double Choir & Other Settings with Divisi....................................... 491
Table 5 Works for SATB with no Divisi ......................................................................... 493
Table 6 Duration............................................................................................................... 496
Table 7 Opening Dynamic ............................................................................................... 500
Table 8 Closing Dynamic ................................................................................................. 504
Table 9 Biblical Text ........................................................................................................ 508
Table 10 Authors ................................................................................................................ 509
Table 11 Missing Works .................................................................................................... 511

vi

LIST OF FIGURES

Figure 1.1 Chapter 2 Composer Entry Format ........................................................................ 8
Figure 1.2 Chapter 2 Title Entry Format ................................................................................. 9
Figure 1.3 Chapter 2 Group of Compositions Example: Bortniansky ................................... 10
Figure 1.4 Chapter 3 Composer Entry Example: Beethoven ................................................. 12
Figure 1.5 Composition Entry Example: Beethoven, “Hallelujah” ....................................... 12
Figure 1.6 Robert Schumann’s “Gute Nacht”, Op. 59, No.4 ................................................. 14
Figure 1.7 Pyotr Il'yich Tchaikovsky’s Legenda ................................................................... 14
Figure 1.8 Anton Bruckner Pange lingua et Tantum ergo (WAB 33) .................................. 15
Figure 1.9 Composition Entry Example: Beethoven, “Hallelujah” ....................................... 15
Figure 1.10 Text Entry Example: Beethoven, “Hallelujah” .................................................... 15
Figure 1.11 Composition Entry Example: Beethoven, “Hallelujah” ....................................... 16
Figure 1.12 Insights & Performance Issues: Beethoven, “Hallelujah” .................................... 18

vii

ABBREVIATIONS

19c nineteenth century
A alto
arr arrangement
B bass
B trbn bass trombone
Bar baritone
bn bassoon
c. circa
cl clarinet
CLM Catholic Lectionary for Mass
CPDL Choral Public Domain Library
db double bass
fl flourished (when found in date range)
fl flute
hmn harmonium
hn horn
hp harp
IMSLP International Music Score Library Project
Instr. Instrument(s)
IPA International Phonetic Alphabet
Lam. Lamentations
m. measure
mm. measures
N/A not applicable
n.d. no date
no. number
nos. numbers
NRSV New Revised Standard Version
ob oboe
obbl obbligato
op. opus
ops. opuses
opt optional
orch orchestra
org organ
OSMRL Orthodox Sacred Music Reference Library
pf piano (piano forte)
Prov. Proverbs
viii

pub published
qt quartet
qnt quintet
RCL Revised Common Lectionary
S soprano
Sts. Saints
T tenor
timp timpani
tpt trumpet
trad traditional
trbn trombone
unpubd unpublished
va viola
vln violin
vc cello
vv voices

ix

ABSTRACT

Undergraduate courses in choral music education curriculums typically do not focus on
repertoire selection and concert programming. Upon graduation, a student’s primary source of
repertoire knowledge stems from music they have performed as a choral singer. Unfortunately,
the majority of collegiate-level repertoire will be inaccessible for the student’s first high school
or church choir. Thus, students need to find quality resources to bridge the gap in their
knowledge. Nick Strimple’s Choral Music in the Nineteenth Century is a repertoire resource for
choral conductors. Strimple's primary focus is to provide a narrative account of the historical
context in which choral compositions, organized by geographical region, were written. Although
Strimple’s text covers a wealth of choral repertoire, its formatting is limited in its use as a
programming tool.
This dissertation serves as a companion catalogue to Choral Music in the Nineteenth
Century, with the objective of providing a functional tool for students and professionals alike in
programming for concerts and worship services. The dissertation includes in two catalogues: 1)
the composers and compositions discussed in Strimple’s text formatted with basic compositional
details 2) 144 small-form compositions for mixed voices with each entry providing a structural
overview of the composition, thematic and programmatic information, rehearsal insights and
performance issues, and resources for further research. Additionally, the small forms catalogue is
organized into tables for searching by key, voicing, text and the other criteria provided in the
small forms catalogue. By creating companion catalogues to Nick Strimple’s Choral Music in
the Nineteenth Century, this dissertation aims to provide a detailed and practical resource for
students and conductors invested in quality programming for their choirs.

1

CHAPTER 1

Rationale
This dissertation is rooted in and is meant to function as a companion text to Nick
Strimple’s choral repertoire text, Choral Music in the Nineteenth Century. Originally published
in 2008, Strimple’s text is a standard resource for information and insight into composers and
choral repertoire from the nineteenth century. Strimple also published Choral Music in the
Twentieth Century in 2002, albeit this text is not the focus of this dissertation. His expertise and
experience certainly come from the research involved from writing his choral repertoire
textbooks, but also from the thirty years as a collegiate professor and conductor, thirty-five years
as a church choir director and over twenty years leading the Jewish community choir, Zimriyah
Chorale.
I had the opportunity to be part of several choral repertoire courses with Nick Strimple
while enrolled in the doctoral program in the Thornton School of Music at the University of
Southern California. In his courses Strimple shared his knowledge of choral repertoire across
genres, epochs, and regions, with a focus on Western and Eastern Europe and North America.
His lectures were not limited to the composers and titles, but also included the history
surrounding the people and countries associated with the time and place the music was
composed. This historical context provided a more interesting lecture and led to a greater
understanding of how performance practice evolved through each epoch. While learning about
choral repertoire researched by Strimple, I also considered how I would program the various
compositions we covered in class in a concert or worship service. Considering the historical
context behind choral repertoire altered the way in which I began to approach my own concert
programming and inspired me to dig deeper and write this dissertation.
2

As an example, I used this historical knowledge in a concert program entitled Crossing
the Pond. The repertoire included European composers with direct ties to the United States and
American composers whose works were influenced by these European composers. One example
is the choral setting “Goin’ Home” from the “Largo” of Antonin Dvořák’s (1841-1904) “New
World” Symphony, Op. 95. The text and adaptation are by William Arms Fisher (1861-1948),
one of Dvořák’s students during his time in the United States (1892-1895). In Strimple’s choral
literature course, we discussed Dvořák’s influence on music in the United States and the music
that influenced Dvořák, specifically the African American Spiritual. Understanding this
historical context allowed me to share this connection with the singers during the rehearsal
process – a melody that most people recognize now had a new meaning and depth. Adding this
type of nuance to each work took the concert from a simple group of songs to a collection of
works with a shared history, creating a storyline for the singers to engage in. This engagement
from the singers carried through to the performance and, in addition to the program notes,
allowed the audience to share in the understanding and musical connections we explored.
I feel fortunate to have spent three years learning from Strimple and wanted to share his
unique way of contextualizing repertoire into a larger historical picture with my colleagues that,
like me, have vastly less repertoire research experience. To accomplish this goal, I converted
Strimple's book into a catalogue. During this process I added to the existing wealth of contextual
information by providing missing details about the compositions. This created a standardized
format that would allow directors to more easily locate repertoire to fit their concert and
ensemble needs. Once the catalogue was complete, I identified compositions for mixed voices
that are less than ten minutes in length. For each composition matching this criterion I provided
additional compositional data and insight for which the rationale, process, and usage is discussed
3

in detail later in this chapter. The complete catalogue, in combination with comprehensive
information for each mixed octavo, creates a searchable catalogue companion to Choral Music in
the Nineteenth Century and a sortable programming guide for nineteenth-century choral music
based on the repertoire expertise of Nick Strimple.

Brief Overview of Choral Music in the Nineteenth Century
Strimple’s text includes a brief overview followed by seven chapters devoted to
composers and repertoire by region. Repertoire regions include:
1 A Brief Overview
2 Austria and Germany
3 France, Switzerland, and the Low Countries
4 The British Isles
5 The Czech Lands, Slovakia, Hungary, and Poland
6 Russia, Scandinavia, and the Baltics
7 The Iberian Peninsula and Italy
8 The Americas

Within each region, the composer sections are organized chronologically by dates of birth.
Entries include definitive compositions selected by Strimple, with background information about
each composer, their influential teachers, colleagues, and students. Details about these
compositions are delivered in narrative form and include information regarding general voicing,
accompaniment, librettist, and other details of historical and contextual importance. At the end of
each chapter, composers of lesser influence are listed with titles of their representative
compositions, but with less contextual information. The text ends with three sections: Index,
Bibliography, and Works Lists. The Index is organized by composer last name and the
Bibliography is full of additional resources for future study. The Works Lists chapter contains a
list of the composers and their compositions organized by choral ensemble types and within each
4

type, organized by accompaniment. As Strimple’s text was written in 2008, the ensembles are
labeled with gender as an identifier. To avoid confusion, ensemble labels remain as they appear
in the book and I have used footnotes to display today’s inclusive, gender-neutral language. The
types of ensembles included:
Mixed
Boys’
1
or Children’s Chorus
Female
2
or Treble Chorus
Male Chorus
3

The types of accompaniments include:
Unaccompanied
With Piano
With Organ
With Other Instruments
Wind Orchestra or Band
With Chamber Orchestra
With Full Orchestra

Within each ensemble and accompaniment type, the works are organized by composer last name
with each composition title that applies listed below alphabetically. Understanding how Strimple
organized his textbook allowed me to examine why a narrative text, even with some general
categorizations, is not an ideal format for locating concert program repertoire that meets specific
criteria.

Programming Limitations of Choral Music in the Nineteenth Century
The limitations of using Choral Music in the Nineteenth Century as a tool for finding
repertoire are twofold: the book's narrative form precludes choral directors from accessing

1
Children’s Choir.
2
Treble or Soprano/Alto Chorus.
3
Tenor/Bass Chorus.
5

information in the most direct way possible, and the book's Works Lists are not comprehensive
enough to be used as a resource for practical programming. The narrative format is meant to
serve what Strimple does on a day-to-day basis: teach choral repertoire in a lecture style class.
The geographic groupings combined with chronological order by composer birth date are perfect
for providing historical context of the music being studied. However, searching for composers by
nationality is not usually my first criteria when building a program.
Although there are many different approaches to programming, a common first step to
finding repertoire involves searching for essential information, such as voicing, accompaniment,
duration, tempo, and text. Strimple’s text includes a richness of historical information but does
not include these categories in a succinct list but rather, formats this information in long-form
paragraphs. Unfortunately, these distilled facts that are essential for concert programming do not
fit naturally in a textbook format. In addition to those mentioned previously, this includes
essential categories such as key, meter, structure, opening and closing textures, which includes
dynamics, voices, and accompaniment that would assist directors with programming.
Additionally, some of these titles can be difficult to locate and a list of available
publications including their availability on public domain databases such as International Music
Score Library Project (IMSLP) or Choral Public Domain Library (CPDL) would assist in this
process. All this information is valuable for programming but is not always relevant when
discussing the works in historical context. Unfortunately, this results in Choral Music in the
Nineteenth Century falling short as a practical programming resource for those who simply need
distilled facts when looking for repertoire. These types of distilled facts are better suited for
locating repertoire when presented in a standardized, searchable catalogue, like this dissertation.
6

This lack of standardized information continues to the second limitation that is the Works
Lists section of Choral Music in the Nineteenth Century. This section provides valuable voicing
and accompaniment information and is organized to help find works by choir type, and within
each voicing, accompaniment type. Unfortunately, the categories for ensemble type in the Works
Lists are general voicings that do not include vocal divisi or the solo voices required for each
work. This limitation results in directors needing to conduct additional research to locate titles
with the specific voicing criteria for which they are looking. For example, high school and
church choir directors are often limited to works for SATB mixed choruses and prefer works
with no divisi in the voice parts. To discern whether certain repertoire fits this criterion using
Strimple's text, a director would locate a title in the Works Lists section, then reference the
composer in the Index to find the page number in which it appears in the regional chapter. Even
once the director finds the title within the narrative composer entry, most entries only include the
general description “mixed voices”. This process would need to be repeated for each
composition and would not always result in the director being able to locate the needed voicing
details.
In addition, within the Works Lists section the repertoire is organized by the original
voicing and original accompaniment and the category is mutually exclusive, meaning each title
only appears in one voicing, and within that, only one accompaniment category. Many of the
titles listed in the “orchestra” or “chamber orchestra” sections have piano and organ
accompaniments or reductions that work quite effectively. But in Strimple's book, these
additional accompaniment options are not indicated. In addition, composers often revised
compositions changing the accompaniments resulting in multiple versions. Such is the case with
Franz Liszt’s Pater noster I, originally for unaccompanied TTBB and later revised for TTBB and
7

organ. It is only in the unaccompanied list of the Works Lists section. Therefore, a director who
is looking for works with piano or organ accompaniment is unaware of all the available editions.
The same limitation applies to titles that have been arranged for voices other than the
original. Several works discussed by Strimple were revised by the composer with the revision
including a change to the voicing. This occurs in Bedřich Smetana’s Czech Song, Antonin
Dvořák’s Psalm 149, and Franz Liszt’s Pater noster III. Each selection is located in the Works
Lists only in their original voicing category. Several works have also been arranged more
recently for alternate voicings by other composers. In both scenarios, the director is once again
unaware that these options are available.
Another limitation of the Works List is its reduced quantity of information regarding
contextual details of the composition. In the narrative composer entries, Strimple consistently
provides information for compositions such as the librettist and the date composed and divides
the major composers works into categories by form. For example, Schubert’s compositions are
grouped by part-songs, larger works, masses, and other works. Unfortunately, this valuable
programming information does not appear in the Works Lists. In addition, there are the instances
within the composer narrative entries in which Strimple names specific choruses from large
works that are commonly excerpted, but they do not receive a separate entry in the Works Lists.
For example, in Strimple’s composer entry on Franz Joseph Haydn, he discusses Die Schöpfung,
and identifies the chorus “The Heavens are Telling the Glory to God” as a commonly excerpted
selection. Die Schöpfung appears in the Works Lists section under Mixed Voices Orchestral
Accompaniment, but the chorus does not receive a separate entry, even given Strimple’s
acknowledgement as a suitable excerpt for a performance.
8

Organizational Structure of This Dissertation
The aforementioned sections addressed the limitations of Choral Music in the Nineteenth
Century as a programming guide. Now, I will discuss the organizational structure of this
dissertation, as well as its utility as a searchable catalogue companion to Strimple's Choral Music
in the Nineteenth Century. This catalogue, found in Chapter 2 of this dissertation, includes the
information provided by Strimple in a standardized format. In the compiling of this catalogue, I
researched and included composer and repertoire details that Strimple did not include in Choral
Music in the Nineteenth Century. In my catalogue, composer entries were condensed to the
format seen in figure 1.1. The formatting was influenced by several repertoire catalogues
including Suzanne Tiemstra’s text The Choral Music of Latin America: A Guide to Compositions
and Research.
4

FIGURE 1.1. Chapter 2 Composer Entry Format.
Family name, birth name, dates of life (or active or flourished “fl”), country of residence:
occupations: (i.e., pianist/composers/butcher); positions: title, institution, location,
year(s); other significant details; works/choral works: style; (CM19c PP).

Each composer entry is tagged with the page(s) it appears in Nick Strimple’s Choral
Music in the Nineteenth Century, referenced with the abbreviation: CM19c. Compositions under
each composer are also listed in the order in which they appear in the text, either chronologically
or by musical form. In the instances compositions are grouped by musical form, headers
matching those used by Strimple are included. With some composers, Strimple lists several

4
Tiemstra, The Choral Music of Latin America.
9

compositions and then later discusses each in detail. In these cases, the catalogue follows the
order in which each work is discussed in detail. Each title appears in the format seen in figure
1.2.

FIGURE 1.2. Chapter 2 Title Entry Format.
Title (Translated English Title), “Alternate Title/Common Name”: choral voicing; soli,
instrumentation; (librettist); work type; dedication/commission; additional details;
composition date; revisions, editions, or arrangements; publication dates marked
with abbreviation “pub”.

Following the style guide found in Strimple’s Choral Music in the Nineteenth Century
5

and Holoman’s Writing about Music
6
as recommended by the Chicago Manual of Style 17th
Edition, classical titles and generic titles, such as Symphony No. 3, Mass in D, and Requiem are
not italicized. Similarly, choruses from larger works, or songs published in sets, are in
quotations, i.e., “How Lovely are thy Dwellings” and “Abendlich Schon Rauscht Der Wald.” In
certain composer entries Strimple describes groups of works, “In addition to the sacred
concertos, and his seven settings of the Cherubic Hymn (all for mixed chorus), Bortniansky
composed ten settings of the Te Deum...” In these cases, the titles are listed with the number of
each in parenthesis (see fig. 1.3).

5
Strimple, Choral Music in the Nineteenth Century.
6
Holoman, Writing about Music, 5-7.
10

FIGURE 1.3. Chapter 2 Group of Compositions Example: Bortniansky.
Sacred concertos (10): 2 SATB.
Cherubic Hymn (7): SATB.
Te Deum (10).

In the narrative format found in Choral Music in the Nineteenth Century not every
composer and composition are described with the same level of detail. The catalogue format
provided an opportunity to standardize each entry, filling in missing details for those works not
described in as great of detail by Strimple. To maintain the integrity of Strimple’s text, brackets
and footnotes are used throughout Chapter 2 to mark any added information. There are four types
of reference entries.
(1) Additions: When pertinent information was absent. Most often this included alternate
spellings of composers’ name, missing dates of composers or compositions, incomplete
voicings or accompaniment and titles in original language. These additions to both
composer and repertoire entrees are in brackets “[ ]” and cited with a footnote.
(2) Errata: Remain in the entry with information found in Choral Music in the Nineteenth
Century and marked [sic] with a footnote citation. The accompanying footnote includes
two source citations followed by the alternate information.
(3) Discrepancies: Remain in the entry with information found in Choral Music in the
Nineteenth Century and marked with a footnote. The accompanying footnote includes a
source citation followed by the alternate information.
(4) Quotes: Quotes found in Choral Music in the Nineteenth Century that are used in the
catalogue list will include a footnote with the citation of the original source.
In entries in which additional compositional information was unable to be found the entry
remains as it appears in Strimple’s text.
11

As it is common for directors to look for compositions ten minutes in length or shorter, I
wanted to create an easy way for this designation to be searched in the catalogue. This was
accomplished by setting these certain titles in Chapter 2 of this document in bold. I felt it was
important to include this specific length criteria within the catalogue because it is arguably the
most sought-after duration in concert and worship programming. In addition to small form
compositions, excerpts from larger works that Strimple specifically references that meet this
criterion have been included.
Chapter 3 expands upon the categorization provided in Chapter 2 for compositions
meeting the parameters of mixed voices and less than ten minutes in duration. These additional
categories, and the data provided within them, are designed to offer directors an even greater
level of detail when searching for concert repertoire. To assist with this search process,
composers in Chapter 3 have been organized alphabetically by last name with each composition
listed alphabetically by title under each composer. Like with the composers in Chapter 2, each
composition in Chapter 3 includes a CM19c page number tag referencing its location within
Choral Music in the Nineteenth Century. This allows directors to quickly reference Strimple’s
historical context alongside the detailed compositional information provided in Chapter 3 of this
dissertation.
Each entry begins with the composer’s basic information including their specific birth
and death date, location of their birth and death, nationality/ethnicity, and a selected
bibliography. The selected bibliography includes well-known reference texts on the composer
and additional resources specifically regarding the composer’s choral works (see fig. 1.4). The
formatting of Chapter 3 was influenced by several catalogues including Cristian Grases’
12

dissertation Nine Venezuelan Composers and a Catalogue of their Choral Works,
7
Jonathan
Green’s text A Conductor’s Guide to Nineteenth-Century Choral-Orchestral Works,
8
and David
Daniels’ text Orchestral Music: A Handbook.
9

FIGURE 1.4. Chapter 3 Composer Entry Example: Beethoven.
Beethoven, Ludwig van (CM19c p20-31)
Birth/Death: December 17, 1770 – March 26, 1827
Place of Birth: Bonn, Germany
Place of Death: Vienna, Austria
Nationality/Ethnicity: German
Selected Bibliography: Forbes, Elliot. “Beethoven as a Choral Composer.” Proceedings of
the Royal Musical Association 97, no. 1 (January 1, 1970): 69–
82.

Each composition in Chapter 2 is catalogued with the work’s title, voicing,
accompaniment, text source, and year composed. Each composition listed in Chapter 3 includes
this basic information and additional compositional characteristics including alternate titles,
larger work/collection, original language, voice ranges, meter, opening tempo, beginning and
ending key/mode
10
, beginning and closing texture, approximate duration, and date of
composition. This data provides directors with a structural snapshot of each work (see fig. 1.5).

FIGURE 1.5. Composition Entry Example: Beethoven, “Hallelujah.”
“Hallelujah” (CM19c p24)
Alternate Title(s): Welten singen Dank und Here; Hallelujah Chorus; Chorus of
Angels
Larger Work/Collection: Christus am Ölberg (Christ on the Mount of Olives), Op. 85, final
chorus

7
Grases, “Nine Venezuelan Composers and a Catalogue of their Choral Works”.
8
Green, A Conductor’s Guide to Nineteenth-Century Choral-Orchestral Works.
9
Daniels, Orchestral Music: A Handbook.
10
Formatting consistent with Strimple’s text and follows Holoman’s Writing about Music as recommended by
Chicago Manual of Style.
13

Text Source: Franz Xaver Huber (1760-1809)
Original Language: German
Voicing and Range: SATB

Accompaniment: Piano or organ or orchestra
Meter: Common
Opening Tempo: Maestoso (Majestic)
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: ff, instr. (brief)
Closing Texture: f, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1802

The alternate title category is included as scores may be referenced in texts, databases,
and even published editions in a different language or with a nickname or common name. Figure
5 demonstrates this with Beethoven’s “Hallelujah” by listing the German title, the common name
and a nickname of the chorus. This chorus is part of a larger work, and this information is listed
along with the location of the chorus within the work. In this case, “Hallelujah” is the final
chorus in Christus am Ölberg (Christ on the Mount of Olives). Similarly to the entries in Chapter
2, directors will find the English translation of the full work in parenthesis following the original
title. In addition to choruses from large works, part-songs published as part of a collection are
also common in Chapter 3. The name of the collection will appear with the opus number and
song number appearing with the part-song title (see fig. 1.6).

14

FIGURE 1.6. Robert Schumann’s “Gute Nacht”, Op. 59, No. 4.
“Gute Nacht”, Op. 59, No. 4 (CM19c p35)
Alternate Title(s): Good Night
Larger Work/Collection: Vier Gesänge (Four Songs), Op. 59

The vocal range is displayed with a graphic to provide a quick visual reference for
directors to determine if it is suitable for their ensemble. There are instances when the low range
of the bass part is extended by the section splitting and doubling an octave lower. In these cases,
the extended range is marked in parenthesis (see fig. 1.7). Directors may view these notes as
optional and still consider these works if the primary lowest pitch is within their bass section’s
range.

FIGURE 1.7. Pyotr Il'yich Tchaikovsky’s Legenda.

The beginning and closing texture categories provide the director with the dynamic level and
musical forces at the beginning and ending of each composition. The opening and closing texture
categories include one of three designations: tutti, instrumental, or staggered. Tutti is used when
all voices and instruments, when applicable, are used. If the opening and/or closing is
accompaniment only it is designated with instrumental, abbreviated as instr. This designation is
followed by a duration marking of (brief) meaning eight measures or less, or (extended) when
the instrumental opening or closing is nine measures or more. The staggered designation is used
when voices begin a work as a solo section or in groups. The section entrances are separated by a
forward slash indicated the order and groupings (see fig. 1.8).
Voicing and Range: SATB

15

FIGURE 1.8. Anton Bruckner Pange lingua et Tantum ergo (WAB 33).
Opening Texture: p, staggered SA/T/B
Closing Texture: pp, tutti

In addition to assisting directors in locating music that is well-suited for their ensemble,
Chapter 3 is designed to assist directors in creating balanced programs with varied tempi
relatable keys, and smooth transitions. To help make these connections, the following categories
have been included: themes, sacred/secular, liturgical use, musical type, complete text, and
English translation. The formatting for each category can be viewed in figure 1.9. In most cases,
the translations are not singing translations, but rather focused on providing the director and their
choirs with a line by line understanding of the text (see fig. 1.10).

FIGURE 1.9. Composition Entry Example: Beethoven, “Hallelujah.”
Sacred/Secular: Sacred
Liturgical Use: Easter
Theme(s): Jesus, Joy, Praise, Redeemer, Resurrection
Musical Type: Oratorio Chorus (excerpt)

FIGURE 1.10. Text Entry Example: Beethoven, “Hallelujah.”

Complete Text:

English Translation:
Welten singen Dank und Ehre dem
erhab’nem, Gottes Sohn,
Preiset ihn, ihr Englechöre,
laut im heil’gen, Jubelton!
Glorious worlds above us spire,
Happy Seraphs sing your joys.
Man, join in the holy choir,
Hail the great Redeemer’s praise.
11

11
Anonymous translation.
16

Along with the compositional and thematic information, categories to help directors
locate the sheet music and additional research materials have been added. These categories
include editions, arrangements, and publications, alternate voicings/instrumental arrangements,
collections, selected discography, and selected bibliography. The first three categories, while not
exhaustive, include common publications, including those found in public domain libraries such
as, International Music Score Library Project (IMSLP) and Choral Public Domain Library
(CPDL) (see fig. 1.11). When available, the publication date, editors/arrangers, and languages are
included for the publication. The selected discography category includes representative
recordings of the work. Each entry lists the ensemble, album title, conductor, record label, and
year recorded. In works with common alternate accompaniments, efforts were made to locate
and list those recordings to provide a larger scope of performance examples. The selected
bibliography category contains reference materials that specifically speak to the composition,
and the chapters and page numbers in which they appear have been included. To this end, many
of the reference materials in this category are journal articles, master’s theses, and doctoral
dissertations. These entries also appear in the Bibliography of this dissertation. Only texts
available in English are included in the selected bibliographies.

FIGURE 1.11. Composition Entry Example: Beethoven, “Hallelujah.”
Editions, Arrangements,
and Publications:
Boosey & Hawkes, ed. Walter Ehret
Breitkopf & Härtel (complete work, IMSLP)
CPDL
E.C. Schirmer, 1938 (German and English)
G. Schirmer
Alternate Voicings/
Instr. Arrangements:
Concert Band, SATB: ed. McAlister & Graham, Masters Music Pub
Handbells, pf: Martha Lynn Thompson, Jubilate Music Group
Organ, arr. Best, Novello
SSAA, arr. E. Harold Geer, E.C. Schirmer
TTBB, arr. Archibald T. Davison, E.C. Schirmer
17

Collections: Schirmer Classic Choruses, arr. Stan Pethel: SATB, keyboard/instr
Carus Choral Collection Beethoven, ed. Jan Schumacher: SATB,
piano.
Selected Discography: Gächinger Kantorei Stuttgart and Bach Collegium Stuttgart,
Beethoven: Christus am Ölberge (Christ on the Mount of
Olives), Op. 85, conducted by Helmuth Rilling, Hänssler Classic,
2007.
Selected Bibliography: Albrecht, Theodore. “The fortnight fallacy: A Revised Chronology
for Beethoven's Christ on the Mount of Olives, op. 85, and
Wielhorsky Sketchbook.” Journal of Musicological Research 11,
no. 4 (1991): 263-284.
Bermingham, Gudrun A. “Teaching Choral Music by German-
Austrian 18
th
and 19
th
Century Composers Standard-Based
Lessons and Materials for Seven Pieces of the High School
Repertoire.” PhD diss., University of Florida, 2006.
Doering, Harold. “Beethoven’s Choral Fugal Technique.” master’s
thesis, North Texas State College, 1958.

Each composition entry in Chapter 3 ends with an insights and performance issues
category (see fig. 1.12). The information provided is generated from personal research, rehearsal
and performance experience and are meant to provide a general sense of the work, identify
potential rehearsal issues, and offer key components for a successful performance. Reference
materials containing full analysis of the work are cited in this section and excerpts from these
sources are included when the insight of the author is pertinent information for the specific work.
The formatting, like in Chapter 2 entries, follows the style guide found in Strimple’s Choral
Music in the Nineteenth Century and Holoman’s Writing about Music as recommended by the
Chicago Manual of Style 17th Edition. For composers and works that have been the focus of
numerous studies, such as Johannes Brahms, the insights and performance issues focus less on
analysis and more on rehearsal issues. Furthermore, research for this section included listening to
professional and amateur recordings to determine the most common trouble spots for ensembles.

18

FIGURE 1.12. Insights & Performance Issues: Beethoven, “Hallelujah.”

Insights & Performance Issues:
Christus am Ölberg (Christ on the Mount of Olives), Op. 85 is Beethoven’s only oratorio.

The word “Hallelujah” does not appear in the German text by Franz Xaver Huber (1760-1809).
The English text found in most published editions is by Reverend Doctor John Troutbeck (1832-
1899) and his inclusion of “Hallelujah” has shaped the movement’s common title and liturgical
use. Both a literal and the sung translations have been provided below.

Previous movement features male chorus and Jesus (tenor) and is attacca to the following
chorus, closing with a recitative style passage that concludes on the downbeat of the chorus.

Movement is organized into two sections: homophonic chorus and fugue. Melismatic passages
for chorus are doubled by accompaniment. Much of the work is sung at a forte dynamic, or
above, and in the upper register. Less experienced singers may get zealous and over sing.

Measures 42, 69, 87, and 105 contain exposed entrances for basses. Range and voice leading
allow each to be doubled by tenors as needed. Alto range is moderate (C4-C5) excluding one
unison E5 in the final phrase.

To further the practical use of this dissertation, tables are included in Appendix A
organizing the titles found in Chapter 3 by catalogue criteria including: opening and closing
key/mode, works with soloists, works for double choir and divisi, works with no divisi, duration,
opening and closing dynamic, biblical text, and authors. The compositional, thematic, and
performance information provided for each work in Chapter 2 and Chapter 3 and the additional
organization of these titles in Appendix A, provides directors with detailed information about
each work and its compatibility with their ensemble and concert program.

How to Use this Dissertation
Directors can use this dissertation in several manners to assist in concert programming.
First, directors looking to browse composers and repertoire by region can do so in Chapter 2,
reviewing the compositions selected by Strimple. Each entry includes a standardized entry of
19

exact voicing, accompaniment, librettist, and composition date. For additional information and
historical context, directors can use the CM19c tag to reference the location in Choral Music
Repertoire in the Nineteenth Century. Using this document in this way would assist directors in
general filtering of repertoire that matches the vocal and instrumental resources at their disposal.
Second, directors looking for works matching the parameters of the compositions
catalogued in Chapter 3, mixed voiced octavos less than ten minutes, can use one or a
combination of the categories provided to locate repertoire. This includes general searches in the
themes and full text categories to locate repertoire involving a specific topic or using the
liturgical use category to find an anthem for a specific service or day. The basic musical features
of meter, key, and opening tempo will assist directors looking for specific learning objectives,
especially for sight-reading criteria. The beginning and ending key/mode, opening and closing
texture, duration, all provide quick insight into how a composition will relate to the other titles
on the director’s program. The tables found in Appendix A may also be useful for directors
looking for a quick reference guide matching the categories selected.
Once a director has used one of the above methods to select a work to perform, there are
several categories provided to assist with locating sheet music and additional research materials.
These criteria include editions, arrangements, and publications, alternate voicings/instrumental
arrangements, collections, selected discography, and selected bibliography. While these lists are
not exhaustive, they will provide directors with the ability to locate the music and additional
resources for listening and research.

20

Future Research
One of the challenges building the catalogue found in Chapter 3 was obtaining access to
the sheet music for each title. There are sixty-one titles or collections that are referenced in
Strimple’s text that were not located and therefore, could not be verified whether they matched
the parameters for Chapter 3. The list of these titles can be found in Appendix B. The locating
and cataloging of these scores will be a priority for future research. Unfortunately, many of the
missing titles are from the Latin and South American composers. Obtaining these titles will not
only expand the collection, but also diversify the style of the music compiled.
A catalogue such as this remains relevant by updating the contents as research on
composers and their works expands, including new publications, recordings, and reference
materials. This will be an ongoing task that includes updates to the insights and performance
issues field as experiences and research on individual works deepens.
The useability of the catalogue will increase with the addition of more data fields. Two
categories that will be given priority in the future include a difficulty scale and additional
settings of the text for each title. The difficulty scale will provide another filter for directors to
better match music to their ensemble. The additional settings of the text category will provide
directors looking for specific texts with a list of all the composers with settings in one place.
Additional categories for each composer will also be beneficial. First and foremost, information
on each composers’ teachers and students would allow for a greater understanding of the
influences on their music.
To increase the overall functionality of the catalogue, it will need to be digitized. An
electronic database of the catalogue found in Chapter 3 will allow the data collected to be filtered
quickly by a combination of categories. Directors will have the ability to fine tune the searches
21

resulting in music that better matches their programs and choirs. This also allows for immediate
updates when further research is completed on existing entries and for new entries to be added.
Future entries will expand the catalogue to works for treble and tenor/bass ensembles and works
composed outside the nineteenth century, with a focus on compositions by female composers and
composers of color.

22

CHAPTER 2 – STANDARDIZED CATALOGUE OF STRIMPLE’S
CHORAL MUSIC IN THE NINETEENTH CENTURY

Table of Contents

AUSTRIA and GERMANY ......................................................................................................... 34
Haydn, Franz Joseph.............................................................................................................. 34
Beethoven, Ludwig van ......................................................................................................... 35
SCHUBERT, SCHUMANN, and MENDELSOHHN .............................................................. 36
Schubert, Franz Peter ............................................................................................................. 36
Schumann, Robert ................................................................................................................. 38
Mendelssohn, Felix ................................................................................................................ 40
OTHER COMPOSERS ACTIVE in the FIRST HALF of the CENTURY .............................. 41
Apell, David August von ....................................................................................................... 41
Zelter, Carl Friedrich ............................................................................................................. 42
Abeille, Ludwig ..................................................................................................................... 42
Amon, Johannes Andreas ...................................................................................................... 42
Eybler, Joseph ........................................................................................................................ 42
Andre, Johann Anton ............................................................................................................. 42
Aiblinger, Johann Kaspar ...................................................................................................... 43
Spohr, Louis........................................................................................................................... 43
Weber, Carl Maria von .......................................................................................................... 43
Anacker, August Ferdinand ................................................................................................... 43
Meyerbeer, Giacomo ............................................................................................................. 44
Sulzer, Salomon ..................................................................................................................... 44
Hensel, Fanny Mendelssohn .................................................................................................. 44
Mayr, Johann Simon .............................................................................................................. 45
Call, Leonhard von ................................................................................................................ 45
Bergt, August ......................................................................................................................... 45
Bierey, Gottlieb Benedikt ...................................................................................................... 45
Drechsler, Joseph ................................................................................................................... 45
Diabelli, Antonio ................................................................................................................... 45
Braun, Wilhelm Theodor Johannes ....................................................................................... 45
Führer, Robert ........................................................................................................................ 45
BRUCKNER, BRAHMS, and MAHLER ................................................................................ 46
Bruckner, Anton .................................................................................................................... 46
Brahms, Johannes .................................................................................................................. 47
Mahler, Gustav ...................................................................................................................... 51
23

The SINGAKADEMIE, “BERLIN ACADEMICS”, and the STERNSCHER
GESANGVEREIN .................................................................................................................... 51
Grell, Eduard ......................................................................................................................... 51
Blumner, Martin .................................................................................................................... 51
Bruch, Max ............................................................................................................................ 52
Herzogenberg, Heinrich von .................................................................................................. 52
Berger, Wilhelm .................................................................................................................... 53
OTHER COMPOSERS ACTIVE in the SECOND HALF of the CENTURY......................... 53
Ambros, August Wilhelm ...................................................................................................... 53
Abt, Franz Wilhelm ............................................................................................................... 53
Witt, Franz Xaver .................................................................................................................. 53
Rheinberger, Josef Gabriel .................................................................................................... 53
Wolf, Hugo ............................................................................................................................ 54
Hiller, Ferdinand .................................................................................................................... 55
Weiss, Johann Baptist ............................................................................................................ 55
Volkmann, Robert ................................................................................................................. 55
Andre, Jean Baptiste .............................................................................................................. 55
Cornelius, Peter ..................................................................................................................... 55
Grimm, Julius Otto, ............................................................................................................... 55
Bargiel, Woldemar ................................................................................................................. 55
Goldmark, Carl ...................................................................................................................... 55
Bellerman, Heinrich ............................................................................................................... 56
Zenger, Max ........................................................................................................................... 56
Nietzsche, Friedrich ............................................................................................................... 56
Berneker, Constanz ................................................................................................................ 56
Bungert, August, .................................................................................................................... 56
Brüll, Ignaz ............................................................................................................................ 56
Goldschmidt, Adalbert von.................................................................................................... 56
Beer-Walbrunn, Anton .......................................................................................................... 56
FRANCE, SWITZERLAND, and the LOW COUNTRIES ......................................................... 57
Gossec, François Joseph ........................................................................................................ 57
Lesueur, Jean François .......................................................................................................... 57
Méhul, Etienne Nicolas ......................................................................................................... 57
Gretry, André ......................................................................................................................... 57
Berton, Henri-Montan ........................................................................................................... 57
Beaulieu, Marie Désiré .......................................................................................................... 57
Halévy, Jacques-François-Fromental .................................................................................... 58
Adam, Adolphe ...................................................................................................................... 58
Berlioz, Hector ....................................................................................................................... 58
Thomas, Ambroise................................................................................................................. 59
24

Alkan, Charles-Valentin ........................................................................................................ 59
Naumbourg, Samuel .............................................................................................................. 60
Gounod, Charles .................................................................................................................... 60
Franck, César ......................................................................................................................... 60
Bizet, Georges ....................................................................................................................... 61
Castillon, Alexis .................................................................................................................... 61
Fauré, Gabriel ........................................................................................................................ 61
Saint-Saëns, Camille .............................................................................................................. 62
Charpentier, Gustave ............................................................................................................. 62
Bréville, Pierre de .................................................................................................................. 63
Bordes, Charles ...................................................................................................................... 63
Aimon, François .................................................................................................................... 63
Biangini, Felice ...................................................................................................................... 63
Blondeau, Pierre-Auguste-Louis ........................................................................................... 63
Benoit, François ..................................................................................................................... 63
Bottée de Toulmon, Auguste ................................................................................................. 63
David, Félicien....................................................................................................................... 63
Besozzi, Louis-Désiré ............................................................................................................ 64
Bazin, François ...................................................................................................................... 64
David, Samuel ....................................................................................................................... 64
Bourgault-Ducoudray, Louis ................................................................................................. 64
Massenet, Jules ...................................................................................................................... 64
Cahen, Albert ......................................................................................................................... 64
Benoit, Camille ...................................................................................................................... 64
Chausson, Ernest ................................................................................................................... 64
Bruneau, Alfred ..................................................................................................................... 64
SWITZERLAND ...................................................................................................................... 64
Baumgartner, Wilhelm .......................................................................................................... 64
Bovy-Lysberg, Charles Samuel ............................................................................................. 64
NETHERLANDS ...................................................................................................................... 65
Bree, Johannes Bernardus van ............................................................................................... 65
Bastiaans, Gijsbertus Johannes .............................................................................................. 65
André, Charles-Louis-Joseph ................................................................................................ 65
Berlijn, Anton ........................................................................................................................ 65
Brandts Buys Ludwig Felix ................................................................................................... 65
Diepenbrock, Alphons ........................................................................................................... 65
Lange, Samuel de .................................................................................................................. 66
Smulders, Charles .................................................................................................................. 66

25

BELGIUM ................................................................................................................................. 66
Benoit, Peter .......................................................................................................................... 66
Blockx, Jan ............................................................................................................................ 66
Boutmy, Laurent- François .................................................................................................... 67
Ancot, Jean ............................................................................................................................ 67
Campenhout, François van .................................................................................................... 67
Waelput, Hendrik ................................................................................................................... 67
Gevaert, François-Auguste .................................................................................................... 67
Tenel, Edgar ........................................................................................................................... 67
BRITISH ISLES ........................................................................................................................... 68
Barrett, William Alexander ................................................................................................... 68
Callcott, John Wall ................................................................................................................ 68
Wesley, Samuel ..................................................................................................................... 68
Bishop, Henry R .................................................................................................................... 68
Barnett, John .......................................................................................................................... 68
Balfe, Michael William ......................................................................................................... 69
Wesley, Samuel Sebastian ..................................................................................................... 69
Macfarren, George Alexander ............................................................................................... 69
Smart, Henry Thomas ............................................................................................................ 70
Bennett, William Sterndale .................................................................................................... 70
Leslie, Henry David ............................................................................................................... 70
Barnett, John Francis ............................................................................................................. 70
Barnby, Joseph....................................................................................................................... 70
MacKenzie, Alexander Campbell .......................................................................................... 71
Sullivan, Arthur Seymour ...................................................................................................... 71
Parry, Charles Hubert Hastings ............................................................................................. 71
Stanford, Charles Villiers ...................................................................................................... 72
Elgar, Edward William .......................................................................................................... 72
Camidge, Matthew................................................................................................................. 73
Attwood, Thomas .................................................................................................................. 73
Chard, George William .......................................................................................................... 73
Addison, John ........................................................................................................................ 73
Beale, William ....................................................................................................................... 73
Burghersh, John Fane ............................................................................................................ 74
Adams, Thomas ..................................................................................................................... 74
Buck, Zechariah ..................................................................................................................... 74
Goss, John .............................................................................................................................. 74
Wade, Joseph ......................................................................................................................... 74
Benedict, Julius ...................................................................................................................... 74
Hatton, John Liptrot ............................................................................................................... 74
26

Bexfield, William Richard ..................................................................................................... 74
Calkin, John Baptiste ............................................................................................................. 74
Butler, Samuel ....................................................................................................................... 74
Stainer, John .......................................................................................................................... 74
Bridge, Frederick ................................................................................................................... 75
Cellier, Alfred ........................................................................................................................ 75
Thomas, Arthur Goring ......................................................................................................... 75
Corder, Frederick ................................................................................................................... 75
Cowen, Frederic H. ................................................................................................................ 75
Smythe, Dame Ethyl .............................................................................................................. 75
MacCunn, Hamish ................................................................................................................. 75
McEwen, John ....................................................................................................................... 75
THE CZECH LANDS, SLOVAKIA, HUNGARY, and POLAND ............................................. 76
Rejcha, Antonín ..................................................................................................................... 76
Doubravsky, František ........................................................................................................... 76
Voříšek, Jan Hugo ................................................................................................................. 76
Škroup, František ................................................................................................................... 76
Křížkovský, Pavel .................................................................................................................. 77
Smetana, Bedřich ................................................................................................................... 77
Bendl, Karel ........................................................................................................................... 78
Fibich, Zdeněk ....................................................................................................................... 78
Foerster, Joseph ..................................................................................................................... 78
Dvořák, Antonín .................................................................................................................... 79
Janáček, Leoš ......................................................................................................................... 80
Vitásek, Jan August ............................................................................................................... 80
Tomášek, Václav Jan ............................................................................................................. 80
Měchura, Leopold Eugen ...................................................................................................... 80
Veit, Václav Jindřich ............................................................................................................. 80
Kittl, Jan Bedřich ................................................................................................................... 80
SLOVAKIA .............................................................................................................................. 81
Hummel, Johann Nepomuk ................................................................................................... 81
Bella, Ján Levoslav ................................................................................................................ 81
HUNGARY ............................................................................................................................... 81
Liszt, Ferenc (Franz) .............................................................................................................. 81
Bartay, András ....................................................................................................................... 82
Bartalus, István ...................................................................................................................... 82
Bräuer, Ferenc ....................................................................................................................... 82
Mosonyi, Mihály ................................................................................................................... 82
Ábrányi, Kornél ..................................................................................................................... 83
27

Adelburg, August................................................................................................................... 83
Erkel, Ferenc .......................................................................................................................... 83
Beliczay, Gyula ..................................................................................................................... 83
Aggházy, Károly .................................................................................................................... 83
POLAND ................................................................................................................................... 83
Chopin, Frédéric .................................................................................................................... 83
Elsner, Józef ........................................................................................................................... 83
Lewandowski, Lewis ............................................................................................................. 83
Baszny, Józef ......................................................................................................................... 84
Brzowski, Josef ...................................................................................................................... 84
Żeleński, Władysław ............................................................................................................. 84
Borkowski, Bohdan ............................................................................................................... 84
RUSSIA, SCANDINAVIA, and the BALTICS ........................................................................... 85
UKRAINE ................................................................................................................................. 85
Bortniansky, Dmitri Stepanovich .......................................................................................... 85
RUSSIA ..................................................................................................................................... 85
Lvov, Aleksei Fyodorovich ................................................................................................... 85
Glinka, Mikhail Ivanovich ..................................................................................................... 86
Lomakin, Gavriil Yakimovich ............................................................................................... 86
Rubinstein, Anton .................................................................................................................. 86
Albrecht, Karl Konstantin ...................................................................................................... 87
Tchaikovsky, Pyotr Il'yich ..................................................................................................... 87
Taneyev, Sergey Ivanovich ................................................................................................... 87
Arensky, Anton Stepanovich ................................................................................................. 88
THE FIVE ................................................................................................................................. 88
Balakirev, Mily Alekseyevich ............................................................................................... 88
Borodin, Alexander ............................................................................................................... 88
Cui, César Antonovich .......................................................................................................... 89
Mussorgsky, Modest .............................................................................................................. 89
Rimsky-Korsakov, Nikolai .................................................................................................... 89
OTHER RUSSIAN COMPOSERS ........................................................................................... 90
Feofan, Archimandrite ........................................................................................................... 90
Alyabyev, Alexander Alexandrovich .................................................................................... 90
Makarov, P.,........................................................................................................................... 90
Vinogradov, Mikhail Aleksandrovich ................................................................................... 90
Starorussky, Vasily ................................................................................................................ 90
Dvoretsky, I. S., ..................................................................................................................... 90
Bachmann, Jacob ................................................................................................................... 90
Afanas'yev, Nikolai Yakovlevich .......................................................................................... 90
28

Liadov, Anatol ....................................................................................................................... 91
Catoire, Georgy ..................................................................................................................... 91
Engel, Joel ............................................................................................................................. 91
DENMARK ............................................................................................................................... 91
Berggreen, Andreas Peter ...................................................................................................... 91
Hartmann, Johann Peter Emilius ........................................................................................... 91
Gade, Niels ............................................................................................................................ 91
Barnekow, Christian .............................................................................................................. 92
Bendix, Victor ....................................................................................................................... 92
FINLAND ................................................................................................................................. 92
Crusell, Bernhard Henrik ....................................................................................................... 92
Pacius, Fredrik ....................................................................................................................... 92
Sibelius, Jean ......................................................................................................................... 92
ICELAND ................................................................................................................................. 93
Sveinbjörnsson, Sveinbjörn ................................................................................................... 93
NORWAY ................................................................................................................................. 93
Kjerulf, Halfdan ..................................................................................................................... 93
Behrens, Johan Diderick ........................................................................................................ 93
Grieg, Edvard ......................................................................................................................... 93
Udbye, Martin Andreas ......................................................................................................... 94
Svendsen, Johan..................................................................................................................... 94
Nordraak, Rikard ................................................................................................................... 94
Sinding, Christian .................................................................................................................. 94
SWEDEN .................................................................................................................................. 94
Berwald, Franz....................................................................................................................... 94
Almqvist, Carl Jonas Love .................................................................................................... 94
Josephson, Jacob Axel ........................................................................................................... 95
Akerberg, Erick ..................................................................................................................... 95
Stenhammar, Wilhelm ........................................................................................................... 95
Ahlstroem, Olof ..................................................................................................................... 95
Geijer, Eric Gustav ................................................................................................................ 95
Brendler, Eduard .................................................................................................................... 96
Boman, Peter Conrad ............................................................................................................. 96
Lindblad, Otto ........................................................................................................................ 96
Wennerberg, Gunnar ............................................................................................................. 96
Hallström, Ivar ....................................................................................................................... 96
Hallen, Andreas ..................................................................................................................... 96
Söderman, Johan August ....................................................................................................... 96
Sjögren, Emil ......................................................................................................................... 96
29

THE BALTICS ......................................................................................................................... 96
Baumanis, Kārlis ................................................................................................................... 96
Ore, Ādams ............................................................................................................................ 96
Jurjāns, Andrejs ..................................................................................................................... 96
Straume, Jānis ........................................................................................................................ 97
Vītols, Jāzeps ......................................................................................................................... 97
Naujalis, Juozas ..................................................................................................................... 97
Čiurlionis, Mikolajus ............................................................................................................. 97
Tobias, Rudolf ....................................................................................................................... 97
IBERIAN PENINSULA and ITALY ........................................................................................... 98
PORTUGAL.............................................................................................................................. 98
Bomtempo, João Domingos .................................................................................................. 98
Almeida, Inácio António de ................................................................................................... 98
Baldi, João José ..................................................................................................................... 98
Casimiro Júnior, Joaquim ...................................................................................................... 98
Moreira, António Leal ........................................................................................................... 99
Portugal, Marcos António...................................................................................................... 99
SPAIN ....................................................................................................................................... 99
Baguer, Carlos ....................................................................................................................... 99
Balius y Vila, Jaime ............................................................................................................... 99
Andrevi y Castellar, Francisco .............................................................................................. 99
Carnicer, Ramón .................................................................................................................. 100
Albéniz, Mateo Pérez de ...................................................................................................... 100
Cassadó, Joaquin ................................................................................................................. 100
Bros y Bertomeu, Juan......................................................................................................... 100
Benito, Cosme Damián José de ........................................................................................... 100
Caballero, Manuel Fernández .............................................................................................. 100
Aceves y Lozano, Rafael ..................................................................................................... 100
Barrera Gómez, Enrique ...................................................................................................... 100
Bretón, Tomás ..................................................................................................................... 100
Nicolau, Antonio ................................................................................................................. 100
ITALY ..................................................................................................................................... 101
Zingarelli, Niccolò Antonio ................................................................................................. 101
Cherubini, Luigi................................................................................................................... 101
Baini, Giuseppe ................................................................................................................... 102
Raimondi, Pietro .................................................................................................................. 102
Carafa, Michele ................................................................................................................... 102
Rossini, Gioachino............................................................................................................... 102
Mercadante, Saverio ............................................................................................................ 102
Pacini, Giovani .................................................................................................................... 102
30

Donizetti, Gaetano ............................................................................................................... 103
Alfieri, Pietro ....................................................................................................................... 103
Antoni, Antonio d’ ............................................................................................................... 103
Costa, Michael ..................................................................................................................... 103
Capocci, Gaetano ................................................................................................................. 103
Verdi, Giuseppe ................................................................................................................... 104
Mabellini, Teodulo .............................................................................................................. 104
Busoni, Ferruccio................................................................................................................. 104
Perosi, Lorenzo .................................................................................................................... 104
Altieri, Paolo ........................................................................................................................ 104
Caruso, Luigi ....................................................................................................................... 105
Bittoni, Bernardo ................................................................................................................. 105
Calegari, Antonio................................................................................................................. 105
Bertini, Giuseppe ................................................................................................................. 105
Brunetti, Antonio ................................................................................................................. 105
Basili, Francesco .................................................................................................................. 105
Casella, Pietro ...................................................................................................................... 105
Benvenuti, Nicola ................................................................................................................ 105
Tadolini, Giovanni ............................................................................................................... 105
Boucheron, Raimondo ......................................................................................................... 105
Bellini, Vincenzo ................................................................................................................. 105
Buzzolla, Antonio ................................................................................................................ 105
Agnelli, Salvatore ................................................................................................................ 106
Bazzini, Antonio .................................................................................................................. 106
Biaggi, Girolamo Alessandro .............................................................................................. 106
Bottesini, Giovanni .............................................................................................................. 106
Braga, Gaetano .................................................................................................................... 106
Bolzoni, Giovanni ................................................................................................................ 106
Boito, Arrigo ........................................................................................................................ 106
Catalani, Alfredo ................................................................................................................. 106
Puccini, Giacomo................................................................................................................. 106
Wolf-Ferrari, Ermanno ........................................................................................................ 106
THE AMERICAS ....................................................................................................................... 107
THE UNITED STATES.......................................................................................................... 107
Wyeth, John ......................................................................................................................... 107
Davisson, Ananais ............................................................................................................... 107
Carrell, James P. .................................................................................................................. 107
Walker, William .................................................................................................................. 107
Caldwell, William ................................................................................................................ 107
White, Benjamin Franklin ................................................................................................... 107
31

Mason, Lowell ..................................................................................................................... 107
Aikin, Jesse B ...................................................................................................................... 108
Bradbury, William Batchelder ............................................................................................. 108
CHORAL MUSIC DURING the CIVIL WAR ...................................................................... 108
Turner, J.W. ......................................................................................................................... 108
Horner, Wilson G. ............................................................................................................... 108
Delaney, Alfred ................................................................................................................... 108
COMPOSERS ACTIVE AFTER the CIVIL WAR ................................................................ 108
Bristow, George Frederick .................................................................................................. 108
Balatka, Hans ....................................................................................................................... 109
Paine, John Knowles............................................................................................................ 109
Buck, Dudley ....................................................................................................................... 109
Foote, Arthur ....................................................................................................................... 110
MacDowell, Edward ............................................................................................................ 110
Parker, Horatio..................................................................................................................... 110
Brockway, Howard .............................................................................................................. 110
Chadwick, George Whitefield ............................................................................................. 111
Parker, James C. D. ............................................................................................................. 111
Whiting, George Elbridge .................................................................................................... 111
Gilchrist, William W. .......................................................................................................... 111
Gleason, Frederick ............................................................................................................... 111
Beach, Amy ......................................................................................................................... 111
AFRICAN AMERICAN CHORAL MUSIC and the SPIRITUAL ........................................ 112
Allen, Richard ...................................................................................................................... 112
White, George L. ................................................................................................................. 112
CANADA ................................................................................................................................ 112
Sabatier, Charles .................................................................................................................. 112
Lavallée, Calixa ................................................................................................................... 112
MEXICO ................................................................................................................................. 112
Ortega, Aniceto .................................................................................................................... 112
Morales, Melesio ................................................................................................................. 112
Villanueva, Felipe ................................................................................................................ 113
Velázquez, P. José Guadalupe ............................................................................................. 113
Elízaga, José Mariano .......................................................................................................... 113
De Arenzana, Manuel .......................................................................................................... 113
Beristáin, Joaquín ................................................................................................................ 113
Juanas, Antonio ................................................................................................................... 113
Paniagua y Vasques, Cenobio ............................................................................................. 113
Baca, Luis ............................................................................................................................ 113

32

Palacios, Rafael ................................................................................................................... 113
Villalpando, Fernando ......................................................................................................... 113
THE CARIBBEAN ................................................................................................................. 114
Tomás, Guillermo M. .......................................................................................................... 114
Raffelín, Antonio ................................................................................................................. 114
Fuentes Matons, Laureano ................................................................................................... 114
Anckermann, Carlos ............................................................................................................ 114
Guerra, Gratilio .................................................................................................................... 114
Costa Sureda, Oriol.............................................................................................................. 114
Arredondo, José María ........................................................................................................ 114
Morel Campos, Juan ............................................................................................................ 114
CENTRAL AMERICA ........................................................................................................... 114
Monestel Zamora, Alejandro ............................................................................................... 114
Sáenz, Vicente ..................................................................................................................... 114
Sáenz, Benedicto (Jr.) .......................................................................................................... 115
SOUTH AMERICA ................................................................................................................ 115
Alcorta, Amancio ................................................................................................................. 115
Esnaola, Juan Pedro ............................................................................................................. 115
Nunes Garcia, José Maurício ............................................................................................... 115
Da Silva, Francisco Manuel ................................................................................................. 115
Gomes, Antônio Carlos ....................................................................................................... 115
Nepomuceno, Alberto .......................................................................................................... 116
Coelho Netto, Marcos .......................................................................................................... 116
De Araújo, Damião Barbosa ................................................................................................ 116
Álvares Lobo, Elias ............................................................................................................. 116
Xavier, José Maria ............................................................................................................... 116
João, Gómes de Araújo ........................................................................................................ 116
Silva, Prescilliano ................................................................................................................ 116
Velásquez, Glauco ............................................................................................................... 117
Quevedo Arvelo, Julio ......................................................................................................... 117
Ponce de León, José María .................................................................................................. 117
Zapiola, José ........................................................................................................................ 117
Alcedo, José Bernardo ......................................................................................................... 117
Llaque, Bonifacio ................................................................................................................ 117
Valle Riestra, José María ..................................................................................................... 117
Úbeda, Fray Manuel ............................................................................................................ 117
Sáenz, Antonio..................................................................................................................... 117
Lamas, José Angel ............................................................................................................... 118
Velásquez, José Francisco ................................................................................................... 118
Bello Montero, Atanasio...................................................................................................... 118
33

Meserón, Juan Francisco ..................................................................................................... 118
Carreño, José Cayetano ....................................................................................................... 118
Caro de Boesi, José Antonio................................................................................................ 118
Páez, José Antonio ............................................................................................................... 118
Montero, José Angel ............................................................................................................ 118

34

CHAPTER 2 – CM19c Composer and Repertoire List

AUSTRIA and GERMANY

Haydn, Franz Joseph, 1732-1809, Austria: late masses have profound impact on virtually all
later music in duration, symphonic structure, tonality; transplanted Mass and other
liturgical forms to concert music; (CM19c p11-20)
Missa Sancti Bernardi von Offida (Mass in Honor of Saint Bernard of Offida),
“Heiligmesse”, in B-flat major: [SATB; soli SATB];
1
orch: 2 ob, 2 cl, 2 bn, 2 tpt,
timp, str, org; influenced most nineteenth-century Masses in duration (40 min),
reliance on sonata form in opening movement, abandonment of simultaneous
setting of different texts, modulations to keys a third apart, extensive use of flat
keys; 1796, revised later (expanded cl, added hn).
Missa in tempore belli (Mass in Time of War), “Paukenmesse” in C major: [SATB; soli
SATB; orch: fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, bc (org)];
2
composed for St.
Stephen’s Day Mass, Vienna; utilized telescoped text in Gloria and Credo, a
technique not found in his other late masses; 1796.
Missa in angustiis (Mass in Time of Danger) “Nelsonmesse” in D minor: SATB; soli
SSATB; orch: 3 tpt; timp, str, org obbl; additional solo S required for 4 measures
in opening movement; 3
rd
tpt only used with all tpt play in unison; 1798, revised
1800 (added wind parts).
Mass in B-flat, “Theresienmesse”: [SATB; soli SATB];
3
orch: 2 cl, 2 tpt, timp, str, org;
most introspective of late Masses; gives more prominence to solo voices; 1799.
Mass in B-flat, “Schöpfungsmesse”: [SATB; soli SATB]; orch: 2 ob, 2 cl, 2 bn, 2 hn, 2
tpt, timp, str, bc, org obbl; originally borrowed theme from Adam and Eve’s love
duet of Die Schöpfung for Mass’s “qui tollis peccata mundi”; 1801.
Mass in B-flat, “Harmoniemesse”: [SATB: soli SATB];
4
orch: fl, 2 ob, 2 cl, 2 bn, 2 hn, 2
tpt, timp, str, org; fullest orchestration of any Haydn Mass; nickname from the
German terminology for a kind of wind ensemble, Harmonie; 1802.
Die Schöpfung (The Creation): SATB; soli STB; orch; (librettist Thomas Lidley, revised
and translated by Gottfried van Swieten); oratorio; 1798.
“The Heavens are Telling”: SATB; soli STB.
Die Jahreszeiten (The Seasons): SATB; soli STB; orch; (librettist James Thomson,
adapted by van Swieten); oratorio; 1801.
5

1
Feder, “Haydn,” (Grove).
2
Ibid.
3
Ibid.
4
Ibid.
5
Ibid. 1799-1801.
35

Beethoven, Ludwig van, 1770-1827, Germany: composed choral music of high quality; student
of Haydn, Schenk, Albrechtsberger, Salieri, Förster; Haydn was uninterested
teacher, but influenced Beethoven none the less; Missa solemnis and the Ninth
Symphony represent paradigm shifts in musical composition; (CM19c p20-31).
EARLY CHORAL WORKS
Cantata on the Death of Emperor Joseph: SATB; soli SATB; orch; 1790.
Cantata on the Ascension of Emperor Leopold: SATB; soli SATB, orch; 1790.

LARGE WORKS
Mass in C Major, Op. 86: SATB; soli SATB, orch; commissioned by Prince Esterházy
for wife’s name day; 1807.
Three Hymns, Op. 86a: SATB; soli SATB, orch; cantrafactum of Mass in C.
Fantasia, Op. 80: SATB; [soli SSATTB];
6
solo pf, orch; miniature piano concerto with
chorus; 1808.
Christus am Ölberg (Christ on the Mount of Olives), Op. 85: SATB; soli STB, orch;
composers only oratorio; [1803].
7

“Beethoven’s Hallelujah”
Fidelio, Op. 72: opera; [1804-5].
8

Der glorreiche Augenblick (The Glorious Moment), Op. 136: SATB; [children’s choir];
9

soli [SSTB];
10
orch; (librettist Aloys Weissenbach); Commissioned for the
closing ceremonies of the Congress of Vienna which brought an end to the
Napoleonic Wars; also published as Preis der Tonkunst, (librettist Johann F.
Rochlitz); cantata; 1814.
“Dem die erste Zähre” (Pray to him above): SATB; solo S.
“Es treten vor die Scharen” (The crowds press forward): SATB; final chorus.

OTHER WORKS
Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Op. 112: SATB;
orch; (librettist Johann Wolfgang von Goethe); 1815.
Elegischer Gesang (Elegiac Song), Op. 118: soli SATB; str orch (no db); often
performed by mixed chorus with piano or string quartet; 1814.
Opferlied, Op. 121: soli SAT; 2 cl; hn; va; vc; 1823.
Opferlied, Op. 121[b]:
11
SATB; solo S; cl; bn; hn; str; 1824.
Bundeslied, Op. 122: SSA; soli SA; 2 cl; 2 hn; 2 bn; 1822-23
12
.

6
Beethoven, Fantasia in C Minor, (Breitkopf & Härtel).
7
Johnson, “Beethoven,” (Grove).
8
Ibid.
9
Rosewall, Directory of Choral-Orchestral Music, 65.
10
Ibid.
11
Johnson, “Beethoven,” (Grove).
12
Ibid. 1823-4.
36

INCIDENTAL MUSIC
Die Ruinen von Athen, Op. 113: SATB; soli [SB]
13
; orch; (librettist August von
Kotzebue); incidental music; 1811.
König Stephan (King Stephan), Op. 17[sic]:
14
SATB; soli[sic];
15
[speakers];
16
orch;
(librettist August von Kotzebue); incidental music.
Die Weihe des Hauses (The Consecration of the House), Op. 124: SATB; soli [S];
17
orch;
(librettist Carl Meisl); incidental music; [1822].
18

MISSA SOLEMNIS and the NINTH SYMPHONY
Missa solemnis, Op. 123: SATB; soli SATB; orch; [org];
19
watershed work in history of
music; represents paradigm shift in musical composition; expansive duration and
extended high choral tessitura; “O” before “miserere nobis” in Gloria renders
work officially unusable in Roman Catholic worship; extensive violin solo in
Benedictus; reverse text painting in Agnus Dei; refusal of text painting in “Et
resurrexit”; 1818-23.
20

Symphony No. 9, Op. 125: SATB: soli SATB; orch; (librettist Friedrich Schiller);
watershed work in history of music; 1825.
21

SCHUBERT, SCHUMANN, and MENDELSOHHN

Schubert, Franz Peter, 1797-1828, Austria: one of the most important German/Austrian
composers in the first half of the nineteenth century; particularly adept at small
forms; songs for men’s choir dominated repertoire in the middle of the twentieth
century, collegiate glee clubs called themselves Schubertians; (CM19c p32-34).
PART-SONGS
[Die Geselligkeit],
22
“Lebenslust”: SATB; pf; 1818.
Gott in [der]
23
Natur: SSAA; pf; (librettist Ewald von Kleist); 1822.
Trinklied [(Freunde, sammelt euch im Kreise)]:
24
TTB; [solo B];
25
pf; [(librettist
Friedrich Schäffer)];
26
1815.
27

13
Beethoven, Die Ruinen von Athen, (Breitkopf & Härtel).
14
Johnson, “Beethoven,” (Grove); Beethoven, König Stephan, (Breitkopf & Härtel). Op. 117.
15
Beethoven, König Stephan, (Breitkopf & Härtel); Green, A Conductor’s Guide, 21. No soli.
16
Beethoven, König Stephan, (Breitkopf & Härtel).
17
Beethoven, Die Weihe des Hauses: Wo sich die Pulse, (Breitkopf & Härtel).
18
Johnson, “Beethoven,” (Grove)
19
Ibid.
20
Ibid. 1819-23.
21
Ibid. 1822-24.
22
Brown, “Schubert,” (Grove).
23
Ibid.
24
Ibid.
25
Ibid.
26
Ibid.
27
Ibid. 1813.
37

Trinklied [(Brüder! unser Erdenwallen)]:
28
TTB; [solo T];
29
pf; [(librettist Ignaz F.
Castelli)];
30
1815.
Trinklied [im Winter]:
31
TTB; (librettist Ludwig H. C. Hölty); 1815.
Trinklied [(Auf! jeder sei nun froh)]:
32
TTBB; pf; 1815.
An die[sic]
33
Frühling: [TTBB];
34
(librettist Friedrich Schiller); c.1816.
Die Nacht: [TTBB];
35
(librettist Friedrich Krumacher[sic]);
36
c.1822.
Ewige Liebe: TTBB; (librettist Ernst Schulze); c.1825.
[Chor der Engel],
37
“Christ ist erstanden”: SATB; (librettist Goethe from Faust); 1816.

SLIGHTLY LARGER WORKS FOR PIANO
Ständchen, 2
nd
version: SSAA; solo A; pf; (librettist Franz Grillparzer); 1827.
Nachtelle[sic]:
38
TTBB; solo T; pf; (librettist Johann Gabriel Seidl); 1826.
Mirjams Siegesgesang (Miriam's Song of Triumph): SATB; solo S; pf; 1828, orchd later
by Ferdinand Schubert.

MASSES
Mass No. 2 in G Major: SATB; soli SATB[sic];
39
string orch; [org];
40
large section of
Credo text omitted; 1815, revised later by Ferdinand Schubert (added winds and
timp).
Mass No. 1 in F Major: SATB; soli SATB
41
; chamber orch; [org];
42
1814, revised 1815.
Mass No. 3 in B-flat Major: SATB; soli SATB; chamber orch; [org];
43
1815.
Mass No. 4 in C Major: SATB; soli SATB; chamber orch; [org];
44
1816.
Mass No. 5 in A-flat: SATB; soli SATB; orch; [org; 1819-22].
45

Mass No. 6 in E-flat: SATB; soli SATB
46
; orch; [begun 1828].
47

28
Ibid.
29
Ibid.
30
Ibid.
31
Ibid.
32
Ibid.
33
Brown, “Schubert, Franz,” (Grove); Schubert, An den Frühling, (Breitkopf & Härtel). den.
34
Brown, “Schubert, Franz,” (Grove).
35
Ibid.
36
Berger, “Krummacher, Friedhelm,” (Grove); Schubert, Night, Op. 17, No. 4, (J. Curwen & Sons). Krummacher.
37
Brown, “Schubert, Franz,” (Grove).
38
Brown, “Schubert, Franz,” (Grove); Schubert, Nachthelle, (Breitkopf & Hartel). Nachthelle.
39
Brown, “Schubert,” (Grove); Schubert, Mass in G, D 167, (Carus-Verlag). soli STB.
40
Brown, “Schubert, Franz,” (Grove).
41
Brown, “Schubert,” (Grove); Rosewall, Directory of Choral-Orchestral Music, 431. SSATTB.
42
Brown, “Schubert, Franz,” (Grove).
43
Ibid.
44
Ibid.
45
Ibid.
46
Schubert, Messe (in Es), (Breitkopf & Härtel). Soli SATTB.
47
Brown, “Schubert, Franz,” (Grove).
38

OTHER SACRED WORKS
Deutsche Messe: SATB; wind band;
48
(librettist Johann Philipp Neumann); instrumental
parts largely double the voices; 1826 or 1827.
49

“Heilig”: effectively performed without accompaniment.
Intende voci: SATB; solo T; chamber orch; motet; 1828.
Magnificat: SATB; soli SATB; chamber orch (2 ob, [2 bsn],
50
2 tpt, timp, str, [org]);
51

high tenor tessitura; 1816.
52

Deutsche Trauermesse (German Requiem): SATB;
53
long thought to be composed by
Ferdinand Schubert; 1818.

OTHER WORKS
Gesang der Geister über den Wassern (Song of the Spirits over the Water): TTBB; str, no
vln; (librettist Goethe); Latin motet; 1820, revised 1821.
Lazarus: SATB; soli [SSSTTTBar];
54
orch; (librettist August Niemeyer); cantata; 1820.
Psalm 92: SATB; solo Bar; soli SATB; Hebrew text; commissioned by Sulzer for
collection Shir Zion;
55
1838. (CM19c p46).

Schumann, Robert, 1810-56, Germany: one of the most important German composers in the
first half of the nineteenth century; like Schubert, master of the miniature; choral
works: large number of part-songs, mostly homophonic; (CM19c p34-36).
PART-SONGS
Romanzen, Volume I, Op. 69: SSAA; pf ad lib; 6 songs; 1849.
Romanzen, Volume II, Op. 91: SSAA; pf ad lib; 6 songs; 1849.
part-songs (6 sets, 21 songs): TTBB.
part-songs (7 sets, 33 songs): SATB.
Jagdlieder (Hunting Songs),
56
Op. 137: TTBB; 4 hn ad lib; 5 songs; 1849.
Die Lotusblume[sic],
57
Op. 33, No. 1[sic]:
58
TTBB; 1840.
Gute Nacht, Op. 59, No. 4: SATB; [solo S];
59
[(librettist Friedrich Rückert)];
60
1846.

48
Daverio, “Schumann,” (Grove). version a: SATB; org. version b: SATB; orch; org.
49
Ibid. Late summer 1827.
50
Rosewall, Directory of Choral-Orchestral Music, 430.
51
Ibid.
52
Daverio, “Schumann,” (Grove). 1815.
53
Ibid. SATB; soli SATB; org
54
Schubert, Lazarus, (Breitkopf & Härtel).
55
Sulzer, Schir Zion, (Engel & Sohn). Schir Zion.
56
Daverio, “Schumann,” (Grove). Fünf Gesänge (
57
Daverio, “Schumann, Robert,” (Grove); Schumann, Sechs Lieder, (Breitkopf & Hartel). Lotosblume.
58
Ibid. No. 3.
59
Schumann, Vier Gesänge, Op. 59, (Breitkopf & Hartel).
60
Ibid.
39

Das Schifflein, Op. 146, No. 5: SATB; [solo S];
61
fl; hn; [librettist Ludwig Uhland)];
62

1849.
Zigeunerleben, Op. 29, No. 3: soli SATB; pf; triangle, tambourine ad lib; often
performed by SATB chorus; 1840.
Das Paradis[sic]
63
und die Peri, Op. 50: SATB; soli SATB; orch; (librettist Thomas
Moore, translation Emil Flechsig with adaptations and additions by the
composer); one of Schumann’s largest works; 1841-43.
Szenen aus Goethe's “Faust” [(Scenes from Goethe’s “Faust”)]:
64
SATB; soli
[SSATTTBarBBBB];
65
orch; one of Schumann’s largest works; 1844-53.
Requiem für Mignon, Op. 98b: SATB; soli [SSAAB];
66
orch; (librettist Goethe, Wilhelm
Meister); one of Schumann’s best choral works; 1849.
Der Rose Pilgerfahrt (The Pilgrimage of the Rose), Op. 112: SATB; soli [SSAAATB];
67

pf; (librettist Moritz Horn); song cycle; one of Schumann’s best choral works;
composed for musicale in Schumann’s home for a few performers; through
composed; later orchestrated; 1851.
Missa Sacra, Op. 147: SATB; orch; not Schuman’s best writing
68
; 1852.
Requiem, Op. 148: SATB; orch; not Schuman’s best writing
69
; 1852.
Verzweifle nicht im Schmerzenstal, Op. 93: 2 TTBB; org ad lib; 1984[sic],
70
orchd 1852.
Adventlied, Op. 71: SATB; solo S; orch; 1848.
Der Königssohn, Op. 116: SATB; soli [ATBarB];
71
orch; choral ballade; 1851.
Des Sängers Fluch, Op. 139: SATB; soli [SSATBarBarB];
72
orch; choral ballade; 1852.
Vom Pagen und der Königstochter, Op. 140: SATB
73
; soli [SSATBarBarB];
74
orch;
choral ballade; 1852.
Das Glück van Edenhall, Op. 143: SATB[sic];
75
soli [TB];
76
orch; choral ballade; 1853.
Beim Abschied zu singen, Op. 84: SATB; wind instruments; 1848.
Festival Overture on the “Rheinweinlied”, Op. 123: SATB; [solo T];
77
orch; 1853.

61
Schumann, Romanzen Und Balladen, Op.146, (Breitkopf & Hartel).
62
Daverio, “Schumann,” (Grove).
63
Daverio, “Schumann,” (Grove); Rosewall, Directory of Choral-Orchestral Music, 436. Paradies.
64
Rosewall, Directory of Choral-Orchestral Music, 437.
65
Schumann, Szenen aus Goethe’s Faust, (Breitkopf & Härtel).
66
Rosewall, 436.
67
Ibid.
68
Strimple, Choral Music in the Nineteenth Century, 36.
69
Ibid.
70
Daverio, “Schumann,” (Grove). 1849.
71
Schumann, Der Königssohn, (Breitkopf & Härtel).
72
Schumann, Des Sängers Fluch, (Breitkopf & Härtel).
73
Schumann, Vom Pagen und der Königstochter, (Breitkopf & Härtel). SATTBB.
74
Ibid.
75
Rosewall, Directory, 435; Schumann, Das Glück van Edenhall, (Breitkopf & Hartel). TTBB.
76
Schumann, Das Glück van Edenhall, (Breitkopf & Hartel).
77
Ibid.
40

Mendelssohn, Felix, 1809-47, Germany: one of the most important German composers in the
first half of the nineteenth century; grandson of great Enlightenment philosopher
Moses Mendelssohn (1729-1786); instrumental in resurrection of Bach’s music;
(CM19c p36-40).
Elijah, Op. 70: SATB; soli [SSATTB, SSA trio, double quartet];
78
orch; premiered at
Birmingham Festival; oratorio; 1846.
Die erste Walpurgisnacht, Op. 60: SATB; soli [ATBarB]
79
; orch; (librettist Goethe); one
of Mendelssohn’s best choral works; 1832, revised 1843.
Christus, Op. 97: [SATB; soli STBB; orch; org];
80
oratorio; unfinished.
“Three Kings”: TBB; one of best representations of the Three Kings repertoire.
“There Shall a Star Come out of Jacob”: SATB.
St. Paul, “Paulus”, Op. 36: [SATBB; soli SATBB; orch; org];
81
oratorio; Part I revived
by Charles Hirt, published as The Conversion of St. Paul, 1970; 1836.
“How Lovely Are the Messengers”: SATB.
Symphony No. 2, “Lobgesang” (“Hymn of Praise”), Op. 52: [SATB; soli SST; orch;
org];
82
symphony-cantata; 1840.

WORKS for CHORUS and ORCHESTRA
Lauda Sion, Op. 73: SATB; [soli SATB];
83
orch; Latin cantata; 1846.
Psalm 42, Op. 42: SATB; [soli STTBB];
84
orch; [org];
85
1833.
86

Psalm 95, Op. 46: SATB; soli T;
87
orch; 1839.
88

Hör mein Bitten (Hear My Prayer): SATB; solo S; org; 1844, orchestrated 1847.

PART-SONGS
part-songs (5 sets, 28 songs): SATB.
part-songs (4 sets, 18 songs): TTBB.
[Sechs Lieder]
89
(Six Part-songs), Op. 41: SATB; Nos. 2-4, arrangements of German folk
tunes, (librettist Heinrich Heine); c.1834.
Die Nachtigall, Op. 59, No. 4: SATB; notable for canonic writing; part-song; [1843].
90

78
Mendelssohn, Elijah, (Breitkopf & Härtel).
79
Mendelssohn, Die erste Walpurgisnacht, (Breitkopf & Härtel).
80
Mendelssohn, Christus, (Breitkopf & Härtel).
81
Mendelssohn, St. Paul, (Breitkopf & Härtel).
82
Rosewall, Directory of Choral-Orchestral Music, 335.
83
Rosewall, 334.
84
Ibid.
85
Ibid.
86
Todd, “Mendelssohn,” (Grove). 1837.
87
Rosewall, 335. soli SST.
88
Todd, “Mendelssohn,” (Grove). 1838.
89
Ibid.
90
Ibid.
41

SACRED
[Sechs Sprüche]
91
(Six Anthems), Op. 79: SSAATTBB; one each for Christmas, New
Year's Day, Ascension Day, Passion Week, Advent, Good Friday; 1843.
Ehre sei Gott: 2 SATB; [soli SATB];
92
motet; [1846].
93

Heilig: 2 SATB; motet; [1846].
94

Psalm 100 [(Jauchzet den Herrn): SATB; soli SSAATTBB];
95
[1844].
96

CANTATA-LIKE WORKS FOR MALE CHORUS
Der Jäger Abschied, Op. 50, [No. 2]:
97
TTBB; 4 hn; b trbn; (librettist Josef Karl Benedikt
von Eichendorff); 1840.
An die Künstler: Festgesang, Op. 68: TTBB; [soli TTBB];
98
brass; (librettist Friedrich
Schiller); secular cantata; 1846.
Festgesang: TTBB; orch;
99
written for anniversary publication of the Gutenburg[sic]
100

Bible; 1840.

OTHER WORKS
Three Latin Motets, Op. 39: SSA; org; 1830.
Athalie, Op. 74: [2 SATB; soli SSAA; narrator];
101
orch; incidental music, J. Racine;
1843, overture completed 1845.

OTHER COMPOSERS ACTIVE in the FIRST HALF of the CENTURY

Apell, David August von, 1754-1832, Germany: (CM19c p40).
Missa pontificale: SATB; soli; org; str; for Pope Pius; movements include Kyrie,
Laudamus, Crucifixus, Benedictus; Crucifixus and Benedictus were published
separately; 1800.
Te Deum: SATB; orch; 1815.
Mass: SATB; orch; 1817.
Magnificat: SATB; orch; 1818.

91
Ibid.
92
Mendelssohn, Ehre sei Gott, (Breitkopf & Härtel).
93
Todd, “Mendelssohn,” (Grove).
94
Ibid.
95
Mendelssohn, Der 100th Psalm, (Breitkopf and Härtel).
96
Todd, “Mendelssohn” (Grove).
97
Ibid.
98
Rosewall, Directory of Choral-Orchestral Music, 333.
99
Todd, “Mendelssohn,” (Grove); Rosewell, Directory, 333. double brass; timp.
100
Todd, “Mendelssohn,” (Grove). Gutenberg.
101
Mendelssohn, Musik Zu Athalia von Racine, (C.F. Peters).
42

Zelter, Carl Friedrich, 1758-1832, Germany: important teacher/composer; affiliated with
Berlin Singakademie, accompanist, then director; friend of Goethe; teacher of
Mendelssohn; provided Bach’s St. Matthew Passion score to Mendelssohn; choral
works: several large works; (CM19c p40-41).
Requiem: [SATB; soli SATB; 1802 (lost).]
102

Te Deum: [2 SATB; soli; 1801 (lost).]
103

Abeille, Ludwig, 1761-1838, Germany: active musician in the court of Duke of Württemberg;
(CM19c p41).
Aschermittwoch Lied (Ash Wednesday Song), [Op. 11]:
104
soli SATB[sic];
105
pf;
(librettist Johann Georg Jacobi); may have influenced vocal quartets of Schubert
and Schumann; 1798.

Amon, Johannes Andreas, 1763-1825, Germany: conductor/horn player; choral works: several
cantatas, 2 masses, requiem; (CM19c p41).

Eybler, Joseph, 1765-1846, Austria: [or “Josef”];
106
student of Georg Albrechtsberger;
succeeded Antonio Salieri as imperial Kapellmeister, 1824; choral works: several
masses and significant number of smaller pieces; (CM19c p41).
Requiem in C Minor: SATB;
107
soli; orch; [1803].
108

Te Deum (couple).
109

Andre,
110
Johann Anton, 1775-1842, Germany: continued music publishing business founded
by father; primarily remembered for early, reliable editions of Mozart’s works;
helped establish authenticity of Mozart’s Requiem; (CM19c p41-42).
Missa solemnis, Op. 43: SATB; soli; orch; 1819.
Vater unser, Op. 50: 2 SATB; orch; 1827.
Te Deum, Op. 60: SATB; soli; orch; 1829.
part-songs (several): vv; pf.
vocal quartets (several): vv; pf.
Liederkranz, Op. 57: TTBB; c.1830.
Liederkranz, Op. 61: TTBB; c.1830.
24 Maurergesiinge: TTBB.

102
Ottenberg, “Zelter,” (Grove).
103
Ibid.
104
Abeille, Aschemittwoch Lied, (Gomart).
105
Ibid. soli SSATB.
106
Badura-Skoda, “Eybler, Joseph,” (Grove).
107
Rosewall, Directory of Choral-Orchestral Music, 180. 2 SATB.
108
Ibid.
109
Badura-Skoda, “Eybler, Joseph,” (Grove). 7 Te Deum.
110
Plath, “André family,” (Grove). André.
43

Aiblinger, Johann Kaspar, 1779-1867, Germany: studied in Munich and Italy; strived to enrich
church music; choral works: over thirty Masses, some unaccompanied, some with
orchestra, sacred choral works of all types common to the Roman Catholic
liturgy; style: balanced, classical approach leaning on Renaissance models;
(CM19c p42).

Spohr, Louis, 1784-1859, Germany: [or “Ludewig,” “Ludwig”];
111
composer/violinist;
acquaintance of Beethoven; early advocate of Richard Wagner; choral works:
part-songs, several oratorios commissioned English festivals, Mass; style:
conservative; (CM19c p42-43).
6 Gësange (6 Part-songs), Op. 44: TTBB; [1817].
112

6 Gësange (6 Part-songs), Op. 90: TTBB; [1833].
113

6 Lieder (6 Songs), Op. 151: SATB; [1855].
114

Psalm Eighty-four, Op. 134: SATB; soli SATB; orch; (librettist John Milton); [1846-
47].
115

Mass, Op. 54: 2 SATB; soli [SSATB];
116
[1821].
117

Weber, Carl Maria von, 1786-1826, Germany: founder, German romantic opera; (CM19c p43).
Der erste Ton, Op. 14: SATB; speaker; orch; cantata; unsuccessful precursor to the
melodrama form; 1818.
Jubal-Cantata, Op. 58: SATB; soli SATB; orch; (librettist Friedrich Kind); for the fiftieth
anniversary of the accession of Frederick Augustus as King of Saxony; 1818.
Mass in E-flat major, Op. 75a: SATB; soli SATB; orch; 1818.
Mass in G major, Op. 76: SATB; soli SATB; orch; 1818-19.
offertories: for each Mass.
part-songs (several sets): male vv.
Leyer und Schwert, Op. 42: TTBB; (librettist Theodor Körner); part-song; 1814.
canons (several): 3-4vv.

Anacker, August Ferdinand, 1790-1854, Germany: primarily concerned with music education;
founder, Freiburg Singakademie, 1823; works: mainly choral music, sacred and
secular; (CM19c p43-44).
Bergmannsgruss, [Op. 17]:
118
[SATB; soli SSAATTBB; orch];
119
oratorio; 1831-32.

111
Brown, “Spohr, Louis,” (Grove).
112
Ibid.
113
Ibid.
114
Ibid.
115
Ibid.
116
Spohr, Mass in C, (Novello, Ewer & Co.).
117
Ibid.
118
Anacker, Bergmannsgruss, (C.F. Peters).
119
Ibid.
44

Meyerbeer, Giacomo, 1791-1864, Germany: son of wealthy Jewish banker; prodigious pianist;
choral works: great choruses in his operas, several cantatas for Prussian Royal
family; style: Romantic French; (CM19c p44).
Geistliche Oden von Klopstock:
120
SATB; (librettist Friedrich Gottlieb Klopstock); first
publication; choral odes; 1812, [revised 1841 with French translation].
121

Gott und die Natur: SATB; soli SATB; orch; [(librettist Aloys Wilhelm Schrieber)];
122

oratorio; composition won him the position of court composer; 1811.
Psalm 51[sic]:
123
SSAATTBB; [soli SATB];
124
for the Berlin Cathedral Choir; [1853].
125

Pater Noster: SATB; org; written for Berlin Cathedral Choir; [1857].
126

Twelve Psalms: 2 SATB.
Stabat mater.
Te Deum.

Sulzer, Salomon, 1804-90, Austria: influential innovator in choral music for the synagogue;
advocated for organ in Jewish worship; first nineteenth century Jewish composer
to write four-part mixed choir liturgical music; (CM19c p44-46).
Shir Zion:
127
SATB; cantor; org; collection; 1838.
Shir Zion,
128
v. II: SATB; cantor; org; collection; 1865.
Duda'im: unison; org/pf; intended for training Jewish children; 1860.

Hensel, Fanny Mendelssohn, 1805-47, Germany: highly regarded pianist/composer; sister of
Felix Mendelssohn; some works published as her brothers; (CM19c p46).
Gartenlieder, Op. 3: SATB; part-song collection (6); 1846, reissued by Novello, 1878.
[“Abendlich Schon Rauscht Der Wald,” Op. 3, No. 5]
Hiob [(Job)]:
129
SATB; soli SATB, orch; (biblical text, Job); cantata; 1831, pub 1992.
Lobgesang [(Song of Praise)]:
130
SATB; soli SA; orch; cantata; 1831, pub 1992.
Oratorium nach den Bildern der Bibel [(Oratorio based on stories from the Bible)]:
131

SATB; soli SATB; orch; 1831.
Zum Fest der heiligen Cäcilia [(the Mass for St. Ceclia)]:
132
SATB; pf; 1833.
Einleitung zu lebenden Bilder: SATB; speaker; pf; 1841.

120
Letellier, Giacomo Meyerbeer: Sacred Works, xiv. Sieben Geistliche Gesänge (Seven Religious Songs).
121
Ibid., TOC.
122
Ibid., Intro.
123
Letellier, Giacomo Meyerbeer: Sacred Works, xi; Brzoska, “Meyerbeer,” (Grove). Psalm 91.
124
Letellier, Meyerbeer, xi.
125
Ibid.
126
Unger, Historical Dictionary of Choral Music, 300.
127
Sulzer, Schir Zion, 1. Schir Zion.
128
Sulzer, Schir Zion, 2. Schir Zion.
129
Christian, “Hensel, Fanny,” (Grove Music Online).
130
Ibid.
131
Ibid.
132
Ibid.
45

Mayr, Johann Simon, 1763-1845, Germany: [or “Mayer”]
133
lived in Italy; distinguished
pianist/opera composer; choral works: several Stabat mater settings and
impressive oratorios; (CM19c p46).
La Passione: SATB; soli; orch; oratorio; 1794.

Call, Leonhard von, 1767-1815, Austria: numerous three and four-part choruses established
popularity of genre throughout Europe; (CM19c p46).

Bergt, August, 1771-1837, Germany: admired by Weber and E.T.A Hoffman for oratorios and
cantatas; smaller sacred works popular during lifetime; (CM19c p46-47).

Bierey, Gottlieb Benedikt, 1772-1840, Germany: [or “Gottlob Benedict”];
134
popular composer
of singspiels; choral works: part-songs, small sacred pieces, and some cantatas;
(CM19c p47).
Wie an dem stiffen Abend: SATB; soli SATB; orch; Easter cantata, 1806.

Drechsler, Joseph, 178?
135
-1852, Austria: [b. Czech];
136
Kapellmeister, St. Stephen’s Cathedral,
1844; (CM19c p47).
[Haleluyaw Halelu Eyl]
137
(Psalm 150): SATB; part of Salomon Sulzer’s collection for
Jewish liturgy.

Diabelli, Antonio, 1797-1848[sic],
138
Austria: [or “Anton”];
139
several masses designed for
small rural churches; (CM19c p47).
Pastoralmesse in F major, Op. 147: SATB; orch.

Braun, Wilhelm Theodor Johannes, 1796-1867; Germany: oboist/composer; choral works:
Mass and a couple others; (CM19c p47).
Mass: SATB; orch; c.1830.

Führer, Robert, 1807-61, Germany: b. Prague; fine organist; dishonest person; choral works: 32
Masses, 14 Requiems, and other sacred music; (CM19c p47).

133
Balthazar, “Mayr, Simon," (Grove).
134
Härtwig, “Bierey, Gottlob Benedict,” (Grove).
135
Branscombe, “Drechsler, Joseph,” (Grove). 1782.
136
Ibid.
137
Drechsler, Haleluyaw Halelu Eyl, ed. Jacobson, (Broude Brothers).
138
Weinmann, “Diabelli, Anton.” (Grove); Rosewall, Directory, 158. 1781-1858.
139
Weinmann, “Diabelli, Anton,” (Grove).
46

BRUCKNER, BRAHMS, and MAHLER

Bruckner, Anton, 1824-96, Austria: influenced strongly by Richard Wagner; devoted life to
church; organist and music director at St. Florian; (CM19c p48-52).
Requiem in D Minor: SATB; soli SATB; org; hn; 3 trbn; str; 1848-49.
Mass No. 1 in D minor: SATB; soli SATB; orch; [org];
140
1864, revised 1876, 1881.
Mass No. 2 in E Minor: SSAATTBB; 15 wind instr; designed for concert hall and
worship service; “Et incarnatus est” receives special mention; 1866, revised 1869,
1876, 1882.
Mass No. 3 in F Minor: SATB; soli SATB; orch; org; “Et resurrexit” receives special
mention; 1867-68, revised 1872, 1876, 1877, 1881, 1883, 1890-93.
Te Deum: SATB; soli SATB; orch; [org];
141
set a small symphony with four sections;
conceived for professional chamber choir; 1881, final version 1883-84.
Ave Maria: SAATTBB; chromaticism homage to Wagner; 1861.
Os justi: SATB;
142
Lydian mode; dedicated to Ignaz Traumihler, music director at St.
Florian; 1879.
Pange lingua et Tantum ergo: SATB; Phrygian mode; 1868.
Locus iste: SATB; motet; 1869.
Virga Jesse floruit: SATB; motet; moves away from Caecilian style in favor of
Wagnerian harmonic complexities; 1885.
Psalm 150: SATB; solo S; orch; 1892.
Missa solemnis in B-flat minor: SATB: soli [SATB];
143
orch; [org];
144
1854.
Tantum ergo in B-flat major: SATB; 2 tpt; str;
145
org; 1854.
Ecce sacerdos magnus: SATB;
146
3 trbn; org; 1885.
Vergissmeinnicht: SATB;
147
soli SATB; pf; (librettist Ernst von Marinelli); secular
cantata, 1845.
Auf, Brüder! Auf zur frohen Feier: SATB; soli TTBB; brass; (librettist Marinelli);
cantata; 1852.
Auf Brüder, auf, und die Saiten zur Hand: SATB; TTBB; soli TTBB; woodwinds; brass;
(librettist Marinelli); secular cantata; [1855].
148

Abendzauber: TTBB; solo Bar; 3 yodelers; 4 hn; (librettist Mattig); secular cantata; 1878.
Träumen und Wachen: TTBB; solo T; (librettist Grillparzer); secular cantata; 1890.
Das deutsche Lied: TTBB; brass; (librettist E. Fels); secular cantata; 1892.

140
Hawkshaw, “Bruckner, Anton,” (Grove).
141
Ibid.
142
Ibid. SSAATTBB.
143
Ibid.
144
Ibid.
145
Ibid. 2 vn.
146
Ibid. SSAATTBB.
147
Ibid. SSAATTBB.
148
Ibid.
47

Brahms, Johannes, 1833-97, Germany: regarded today and during lifetime as consummate
master of antique musical forms; dubbed musical messiah by Robert Schumann;
bitter and ongoing dispute between Wagner’s friends and his, something Brahms
neither sought nor wanted; composed no choral music during earliest part of
career; relied heavily on examples of Bach’s chorale settings; collected folk
songs; (CM19c p52-67).
[Deutsche Volkslieder]
149
(German Folk Songs) (26): SATB; 1864; 1-14 pub 1864,
150
15-
26 pub posthumously.
151

“Vom heiligen Märtyrer Emmerano, Bischoffen zu Regensburg” (The Holy
Martyr Saint Emmeran, Bishop of Regensburg): example of reduced
counterpoint.
“Von edler Art” (The Ardent Suitor): inspired by Renaissance German
polyphonic lied; prominent contrapuntal writing.
“Täublein weiss” (The White Dove): inspired by Renaissance German
polyphonic lied; prominent contrapuntal writing.
“Morgengesang” (Morning Song): inspired by Renaissance German polyphonic
lied; prominent contrapuntal writing.
“Der englische Jäger” (The Heavenly Hunter): inspired by Renaissance German
polyphonic lied; prominent contrapuntal writing.
“Wach auf!” (Wake Up!): 2
nd
setting; inspired by Renaissance German
polyphonic lied; prominent contrapuntal writing.
Missa canonica: SATB; org; 1856-57; published 1984.
Es ist das Heil uns kommen her, Op. 29, no. 1: [SATBB];
152
(librettist Johann Jakob
Schütz[sic]);
153
prelude and fugue based on old German chorale tune; motet;
c.1860.
Schaffe in mir (Create in Me a Clean Heart), Op. 29, no. 2: [SATBB];
154
(biblical text,
Psalm 51); 3 movements: 1 canon in augmentation, 2 four-voice fugue, 3
harmonized canon at the seventh followed by fugue; 1857.
[Geistliches Lied],
155
“Lass dich nur nichts nicht dauren” (Let Nothing Ever Grieve
Thee), Op. 30: SATB; org[/pf];
156
(librettist Paul Flemming); double canon at the
ninth; 1856.

149
Bozarth, “Brahms, Johannes,” (Grove).
150
Ibid. WOO 34.
151
Ibid. WOO 35.
152
Ibid.
153
Bozarth, “Brahms,” (Grove); Brahms, Zwei Motetten, (Breitkopf & Härtel). Librettist Paul Spratus.
154
Bozarth, “Brahms,” (Grove).
155
Ibid.
156
Ibid.
48

[Fest-und Gedenksprüche]
157
, Op. 109: [2 SATB];
158
pays homage to Giovanni Gabrieli
and Heinrich Schütz; motet.
[Drei Motetten (Three Motets)],
159
Op. 110: [2 SATB (Nos. 1,3); SATB (No. 2)];
160
pays
homage to Giovanni Gabrieli and Heinrich Schutz; motet.
O Heiland reiss die Himmel auf (O Savior, Throw the Heavens Wide), Op. 74, No. 2:
SATB; (anonymous Lutheran chorale text, 1631); set of variations on an original
chorale tune; motet; c.1860-65.
161

Warum ist das Licht gegeben? (Wherefore Has the Light Been Granted?), Op. 74, No. 1:
SSATBB; (texts from Job, Lamentations of Jeremiah, St. James, Martin Luther);
multi movement structure similar in form to Bach's late Leipzig cantatas: 1. four-
voice fugal exposition in D minor, 2. canon at the fifth in F major with material
from Missa canonica, 3. Renaissance motet style with F major canon, 4. four-
voice chorale in style of Bach; motet; 1877.

SECULAR PART-SONGS
[Drei Gesänge]
162
(Three Songs), Op. 42: [SAATBB];
163
part-songs; 1859-61.
[Sieben Lieder]
164
(Seven Songs), Op. 62: [SATB (Nos. 1-5, 7); SAATBB (No. 6)];
165

1874.
Six Songs
166
Op. 93a: [SATB];
167
1883-84.
Fünf Gesänge (Five Songs), Op. 104: SAATBB (Nos. 1-3); SATBB (No. 4); SATB (No.
5); 1886?-88.
Beherzigung, Op. 93a, No. 6: [SATB];
168
[(librettist Goethe)];
169
canonic writing.
Verlorene Jugend, Op. 104, No. 4: [SATBB];
170
[(librettist Josef Wenzig)];
171
canonic
writing.
Rosemarin, Op. 62, No. 1: [SATB];
172
based on folk song tradition.
Vergangen ist mir Glück und Heil, Op. 62, No. 7: [SATB];
173
based on Lutheran
chorale.

157
Ibid.
158
Ibid.
159
Ibid.
160
Ibid.
161
Ibid. 1863-64.
162
Ibid.
163
Ibid.
164
Ibid.
165
Ibid.
166
Ibid. 6 Lieder und Romanzen (Songs and Romances).
167
Ibid.
168
Ibid.
169
Ibid.
170
Ibid.
171
Brahms, Fünf Gesänge, Op. 104, (N. Simrock).
172
Bozarth, “Brahms,” (Grove).
173
Ibid.
49

Vineta, Op. 42, No. 2: [SAATBB];
174
contains Mendelssohn influence; [1860].
175

Im Herbst, Op. 104, No. 5: [SATB];
176
dark and romantic.

WOMEN’S VOICES
Ave Maria, Op. 12: SSAA; orch/org; exploration of new and interesting tone colors;
1858.
[Gesänge für Frauenchor]
177
(Songs for Female Chorus), Op. 17: SSA; 2 hn; hp;
exploration of new and interesting tone colors; composed for Brahms’s women’s
chorus in Hamburg; 1860.
Psalm 13, Op. 27: SSA; org/pf; str ad lib; exploration of new and interesting tone colors;
composed for Brahms’s women’s chorus in Hamburg; 1859.
Geistliche Chöre [(Sacred Choruses)],
178
Op. 37: SSAA; prominent contrapuntal forms;
all three movements contain canons: Nos. 1 and 2 in contrary motion, No. 3 four-
voice canon at intervals of a fourth, a fifth, and octave below; composed for
Brahms’s women’s chorus in Hamburg; 1859-63.
[Zwölf Lieder und Romanzen]
179
(Twelve Songs and Romances), Op. 44: SSAA; folk
music influences; composed for Brahms’s women’s chorus in Hamburg; 1859-63.

Begräbnisgesang (Funeral Song), Op. 13: [SATBB];
180
wind instr (ob, cl, bn, hn, trbn,
tuba); timp; (librettist Michael Weisse); exploration of new and interesting tone
colors; 1858.
[Fünf Lieder]
181
(Five Songs), Op. 41: TTBB; medieval polyphony and folk song for
inspiration; c.1862.

VOCAL QUARTETS
[Drei Quartette]
182
(Three Quartets), Op. 64: soli SATB; pf; absorbed into choral
repertoire; 1862-74.
[Vier Quartette]
183
(Four Quartets), Op. 92: soli SATB; pf; absorbed into choral
repertoire; 1877-84.
[Sechs Quartette]
184
(Six Quartets), Op. 112: soli SATB; pf; absorbed into choral
repertoire; 1888.

174
Ibid.
175
Ibid.
176
Ibid.
177
Ibid.
178
Ibid.
179
Ibid.
180
Ibid.
181
Ibid.
182
Ibid.
183
Ibid.
184
Ibid.
50

Zigeunerlieder (Gypsy Songs) (11), Op. 103: soli SATB; pf; absorbed into choral
repertoire; settings of Hungarian folk song texts; 1887.
Liebeslieder Walzer (Lovesong Waltzes) (18), Op. 52: soli SATB; pf four-hands;
(librettist Daumer); absorbed into choral repertoire; 1868-69.
Neue Liebeslieder (New Lovesong Waltzes) (15), Op. 65: soli SATB; pf four-hands;
(librettist Daumer (Nos. 1-14), Goethe (No. 15)); absorbed into choral repertoire;
1874.
“Der Abend,” Op. 64, No. 2: three-against-two accompaniment figure.
“Nächtens,” Op. 112, No. 2: [librettist Franz Kugler];
185
unsettled feeling in 5/4 meter,
nervously busy piano part.
“Zum Schluss” (To Close), Op. 65, No. 15: [librettist Goethe];
186
chaconne with a
canon-like middle movement.

BRIEF WORKS for VOICE and ORCHESTRA
Liebeslieder Suite: SATB; orch; includes 8 waltzes from Op. 52 and 1 new waltz; 1870.
Rhapsody, “Alto Rhapsody,” Op. 53: TTBB; solo A; orch; (librettist Goethe, Harzreise in
Winter); structured as lengthy recitative, three-section aria, concluding aria with
chorus; 1869.
Schicksalslied (Song of Destiny), Op. 54: SATB; orch; (librettist Holderlin); premiered
with the composer conducting, programmed between overture and Garden Scene
of Schumann’s Faust; 1871.
Nänie, Op. 82: SATB; orch; (librettist Friedrich Schiller); composed after the death of
painter Anselm Reuerbach, a friend; dedicated to artist’s mother; omits last line of
poem, chooses to repeat penultimate line; 1880-81.
Gesang der Parzen (Song of the Fates), Op. 89: SATB; orch; (librettist Goethe); 1882.

LARGE WORKS for CHORUS and ORCHESTRA
Ein deutsches Reqieum, Op. 45: SATB; soli SBar; orch; org; or four-hand pf; Brahms’s
largest work; third and sixth movements end with fugues; contrapuntal writing in
movements 2, 3, 4; 1867, 1869.
“How Lovely Is Thy Dwelling Place”: 4
th
mvmt.
Rinaldo, Op. 50: TTBB; solo T; orch; (librettist Goethe); cantata; closet Brahms came to
an opera; 1863, final chorus completed 1868.
Triumphlied, Op. 55: SSAATTBB; solo Bar; orch; composed for the Prussian defeat of
the French, 1871; (biblical text, Revelation 19); 1870-71.

185
Ibid.
186
Ibid.
51

OTHER WORKS
Marienlieder, Op. 22: SATB; 1859.
13 Canons, [Op. 113: SSAA (Nos. 1,3,5,6,8-11); SSA (Nos. 2,4,7,12); SSSSAA (No.
13); composed at various times, published 1891].
187

Tafellied, Op. 93b: SAATBB;
188
pf; [(librettist Eichendorff)];
189
1884.
Kleine Hochzeitskantate: SATB; pf; (librettist Gottfried Keller); 1874.
Schubert song arrangements: unison; orch.

Mahler, Gustav, 1860-1911, Austria: b. Bohemia; studied at Vienna Conservatory, 1878; gifted
student; style: music extended Beethoven’s influence through the filter of
Wagner; (CM19c p67-73).
Das klagende Lied: SATB; soli SAT; orch; composer’s first major work; (text adapted by
the composer after the Brothers Grimm); 1880.
Symphony No. 2 in C Minor, “Resurrection”: SATB; soli SA; large orch; presented new
concept for the vocal symphony; (texts from Das Knaben Wunderhorn,
Klopstock, and the composer); 1894.
Symphony No. 3 in D Minor: soli SA[sic]
190
; boys’ choir; women’s choir; orch; 1898.

The SINGAKADEMIE, “BERLIN ACADEMICS,” and the STERNSCHER GESANGVEREIN

Grell, Eduard, 1800-86, Germany: prominent organist/composer; associated with Berlin
Singakademie as student, conductor, teacher, and director; choral works: several
highly complicated psalm settings, motets, cantatas, Te Deum, oratorios; (CM19c
p73-74).
Die Israeliten in der Wüste: SATB; soli; orch; oratorio; 1838.
Mass: 16vv; c.1861.
Te Deum.

Blumner, Martin, 1827-1901, Germany: composer/conductor; most significant contribution was
the book Geschichte der Singakademie Berlin, 1891; sang under Eduard Grell in
Berlin Singakademie, 1845, became assistant conductor, principal conductor,
1873; conductor, Berlin Men’s Chorus; works: exclusively for the voice, many
small unaccompanied choral works, both sacred and secular, 2 oratorios; style:
nineteenth-century neo-Romanticism in church music; (CM19c p74).
Abraham, Op. 8: SATB; soli; orch; oratorio; 1859.
Der Fall Jerusalems, Op. 30: SATB; soli; orch; oratorio; 1874.

187
Ibid.
188
Brahms, Tafellied, Op. 93b, (N. Simrock).
189
Bozarth, “Brahms,” (Grove).
190
Franklin, “Mahler, Gustav,” (Grove); Mahler, Symphony No. 3, (Josef Weinberger). Solo A.
52

Bruch, Max, 1838-1920, Germany: best-known during lifetime for chorus and orch works,
mostly remembered now for violin concertos and Kol nidrei for cello and orch;
choral works: orchestral works for SATB, three for SSAA, six for TTBB, 30 large
compositions, 7 smaller orch pieces, 8 sets of part-songs; (CM19c p74-75).
Frithjof: Szenen aus der Frithjof-Sage, Op. 23: TTBB; soli S, Bar; orch; (librettist Esaias
Tegnèr); first big success; cantata; 1864.
Das Feuerkreuz, Op. 52: SATB; soli [SBarB];
191
orch; (text adapted by H. Bulthaupt
from Sir Walter Scott's The Lady of the Lake); 1889.
Hebräische Gesänge: SATB; org; orch; (librettist George G. Byron “Lord Byron”); 1888.
Moses: ein biblisches Oratorium
192
, Op. 67: SATB; soli STB; orch; (librettist L. Spitta);
1895.
Das Lied von der Glocke, Op. 45: SATB; soli SATB; org; orch; (librettist Friedrich
Schiller); 1879.
Die Flucht nach Ägypten, Op. 31, No. 1: SSA; solo S; orch; (librettist R. Reinick); 1870.
Morgenstunde, Op. 31, No. 2: SSA; solo S; orch; (librettist H. Lingg); 1870.
Nine Lieder, Op. 60: SATB; (various texts); 1892.
[“Gebet,” Op. 60, No. 4: SATB; (librettist Eduard Mörike); 1892.]
193

In der Nacht, Op. 72: TTBB; (librettist G. Tersteegen), 1897.
Sechs Christkindlieder, Op. 92: SSAA; [soli];
194
pf; (librettist Margarethe Bruch).
Odysseus, Op. 41: SATB; soli [SSSAAATBarBBB];
195
orch; (librettist W. P. Graff);
secular oratorio; 1872.
Achilleus, Op. 50: SATB; soli [SSATBarBarBB];
196
orch; (librettist H. Bulthaupt);
secular oratorio; 1885.

Herzogenberg, Heinrich von, 1843-1900, Austria: close friends of Brahms’; Brahms never
considered him a good composer; cofounder (with Philipp Spitta), Leipzig Bach
Society, director, 1875-1885; professor of composition, Berlin Hochschule für
Musik; choral works: cantatas, oratorios, liturgical works, part-songs; (CM19c
p75-76).
Vier Notturnos, Op. 22: SATB; [pf];
197
(librettist Eichendorff); representative of
composer’s works; references to Brahms; 1876.
[Wär's dunkel, ich läg' im Walde, Op. 22, No. 1: SATB; pf.]

191
Bruch, Das Feuerkreuz, (N. Simrock).
192
Bruch, Ein biblisches Oratorium, (N. Simrock). Moses: Ein biblisches Oratorium.
193
Representative title added for catalogue.
194
Fifield, “Bruch, Max,” (Grove).
195
Green, A Conductor’s Guide, 109.
196
Bruch, Achilleus, (N. Simrock).
197
Wessely, “Herzogenberg,” (Grove); Herzogenberg, Vier Notturnos, Op. 22, ed. Klek, (Carus-Verlag).
53

Berger, Wilhelm, 1861-1911, Germany: [b. Boston];
198
excelled in composition of choral
music; (CM19c p76).
Meine Göttin, Op. 72: chorus
199
; orch; [(librettist Goethe)]
200
; 1898.
Part-songs (7 sets): SATB; pf.
Part-songs (8 sets): SATB.
Part-songs (8 sets): SSAA.
Part-songs (3 sets): TTBB.

OTHER COMPOSERS ACTIVE in the SECOND HALF of the CENTURY

Ambros, August Wilhelm, 1816-76, Austria: most important contributions to choral music,
four-volume Geschichte der Musik (1862, 1864, 1868, 1878), places music into
cultural context and gives attention to Ockeghem, Josquin, Palestrina, and
Monteverdi; (CM19c p76).
Missa solemnis: numerous performances, 1857-1889; unpubld [(lost)].
201

Abt, Franz Wilhelm, 1819-85, Germany: exceptionally distinguished choral director; fame
reached well beyond German-speaking areas of Europe; helped generate interest
in choral singing in America; choral works: many choral pieces, primarily for
male chorus; style: akin to folk music, straight forward and simple; (CM19c p76).

Witt, Franz Xaver, 1834-88, Germany: founder and most active composer, Caecilian Society;
mediocre talent, works an attempt to reflect liturgical views; (CM19c p77).
Te Deum: SATB; org/orch (fl, ob/cl, hn, tpt, trbn, str).

Rheinberger, Josef Gabriel, 1839-1901, Germany: [or “Joseph”];
202
music director, Munich
Oratorio Society; director of sacred music, court of Bavaria; professor of
composition, Munich; (CM19c p77-78).
Mass in Eb, Op. 109: 2 SATB; dedicated to Pope Leo VIII; style: repudiation of F.X.
Witt and Caecilian Society; 1878.
Drei geistliche Gesänge (Three Sacred Part-songs), Op. 69: SSATTB; pub.1873.
“Morgenlied”, Op. 69, No. 1: SSATTB; 1858.
[“Hymne”],
203
Dein sind die Himmel (Thine Are the Heavens), Op. 69, No. 2:
SSATTB contrafactum of Tui sunt coeli, Latin offertory, pub. 1864.
“Abendlied”, Op. 69, No. 3: SSATTB; 1855.

198
Pascall, “Berger, Wilhelm,” (Grove).
199
Rosewall, Directory, 68; Pascall, “Berger, Wilhelm,” (Grove). TTBB.
200
Pascall, “Berger,” (Grove).
201
Naegele, “Ambros, August Wilhelm,” (Grove).
202
Würz, “Rheinberger, Joseph,” (Grove).
203
Rheinberger, Morgenlied and Hymne, ed. Graulich, (Carus-Verlag).
54

Missa Sanctissimae Trinitatis, Op. 117, SATB.
Mass in A, Op. 126: SSA; [org].
204

Mass [in Eb],
205
Op. 155: SSA; org.
Mass in F Minor, Op. 159: SATB; org.
Mass [in C],
206
Op. 169: SATB; soli [SATB];
207
orch/str and org.
Mass [in Bb],
208
Op. 172: TTBB; org/wind instr.
Mass in F Major, Op. 190: TTBB; org.
Das Töchterlein des Jairus (Daughter of Jairus), Op. 32: children's chorus; cantata.
Der Stern von Bethlehem (Star of Bethlehem), Op. 164: SATB; soli [STBarB];
209
orch;
[org];
210
cantata.
Part-songs (13 sets): TTBB.
Part-songs (7 sets): SATB.
Part-songs (2 sets): SSA; pf.
May Day, Op. 64: SSA; pf; set of 7 songs.

Wolf, Hugo, 1860-1903, Austria: disciple of Richard Wagner, harsh critic of Brahms; choral
works: niche was vocal miniatures, wrote exquisite art songs, solo song
arrangements of his own works; (CM19c p78-79).
Elfenlied: SSAA; solo S; orch; (librettist Shakespeare); 1889-91.
Der Feuerreiter: SAATTBB; orch; (librettist Mörike); 1892.
Part-songs (7): TTBB; exhibit emotional sweep and confident craftsmanship; 1876.
“Die Stimme des Kindes”: TTBB; pf; (librettist Lenau); 1876.
“Mailied”: TTBB; (librettist Goethe); 1876.
Part-songs (9): SATB; 1876-81.
“Aufblick”: SATB; (librettist Eichendorff); [No. 1 from Sechs Geistliche
Lieder];
211
1881.
“Resignation”: SATB; (librettist Eichendorff); [No. 3 from Sechs Geistliche
Lieder];
212
1881.
“Im stillen Friedhof”: SATB; [soli SATB];
213
pf; (librettist Ludwig Pfau); 1876.

204
Würz, “Rheinberger,” (Grove).
205
Ibid.
206
Ibid.
207
Rheinberger, Mass in C, (C.G. Röder).
208
Würz, “Rheinberger,” (Grove).
209
Rheinberger, Der Stern von Bethlehem, (C.G. Röder).
210
Ibid.
211
Ibid.
212
Ibid.
213
Wolf, Im stillen Friedhoff, ed. Jancik, (Musikwissenschäftlicher Verlag).
55

Hiller, Ferdinand, 1818-85[sic],
214
Germany: distinguished conductor/writer; (CM19c p79).
Die Zerstörungs Jerusalems, [Op. 24]:
215
SATB; soli [SSATTTBarB];
216
orch; [(librettist
S. Steinheim)];
217
oratorio; 1840.
Saul, [Op. 80]:
218
SATB; soli; orch; [(librettist Hartmann)];
219
oratorio; premiered 1858.

Weiss, Johann Baptist, 1813-50, Germany: liturgical works provided models for Anton
Bruckner; (CM19c p79).

Volkmann, Robert, 1815-83, Germany: choral works: several sets of part-songs, couple Masses
for male voices, few pieces for mixed chorus; (CM19c p79).

Andre
220
, Jean Baptiste, 1823-82, Germany: son of Johann Anton Andre; composed numerous
choral works, some published under pseudonym “de St. Gilles”; (CM19c p79).

Cornelius, Peter, 1824-74, Germany; choral works: part-songs for mixed and male choirs;
(CM19c p79).

Grimm, Julius Otto, 1827-1903, Germany: [b. Pernau];
221
prominent choral conductor; friend
of Brahms; (CM19c p79).
An die Musik, [Op. 12]:
222
SATB; [soli];
223
orch; [(librettist L. Schücking)].
224

Bargiel, Woldemar, 1828-97, Germany: choral works: several psalm settings for mixed chorus
and orchestra; (CM19c p79).

Goldmark, Carl, 1830-1915, Austria: [or “Karl”];
225
choral works: several part-songs for mixed
chorus, couple pieces for chorus and orchestra, interesting works for men's
chorus; (CM19c p79).
Frühlingsnetz, Op. 15: TTBB; 4 hn; pf; (librettist Eichendorff).
Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Op. 16: TTBB;
hn;
226
(librettist Goethe).

214
Sietz, “Hiller, Ferdinand,” (Grove); Baker, Biographical Dictionary of Musicians, 322. 1811-85.
215
Sietz, “Hiller,” (Grove).
216
Hiller, Die Zerstörungs Jerusalems, (Fr. Kistner).
217
Sietz, “Hiller,” (Grove).
218
Ibid.
219
Ibid.
220
Plath, “André family,” (Grove). André.
221
Baker, Biographical Dictionary of Musicians, 290.
222
Ibid.
223
Ibid.
224
Ibid.
225
Pfannkuch, “Goldmark, Karl,” (Grove).
226
Ibid. 4 hn.
56

Bellerman, Heinrich, 1832-1903, Germany: student of A. E. Grell; unaccompanied choral
works reflect strict adherence to principles of teacher and Caecilian Society; style:
Palestrina-like; (CM19c p79).

Zenger, Max, 1837-1911, Germany: conducted several prominent choirs in Munich including
the Munich Oratorio Society, 1878-1885; (CM19c p79).
Zwei Konzertstücke: SATB; str.

Nietzsche, Friedrich, 1844-1900, Germany: philosopher; composed several anti-Wagner
monographs; (CM19c p79).
Hymne an die Freundschaft: SATB; pf; 1874.
Weihnachts Oratorium: SATB; pf.
Hymne an das Leben: SATB; orch; 1887.

Berneker, Constanz, 1844-1906, Germany: choral conductor/organist/composer; choral works:
part-songs, small sacred pieces, at least one cantata; (CM19c p79-80).
Judith: SATB; soli; orch; oratorio; 1877.

Bungert, August, c.1845-1915, Germany: choral works: part-songs for male chorus, large
cantata; (CM19c p80).
Warum? Woher? Wohin?, Op. 60: SATB; soli; orch; [org];
227
large cantata.

Brüll, Ignaz, 1846-1907, Austria: friend of Brahms'; choral works: numerous part-songs, with
and without piano accompaniment; (CM19c p80).

Goldschmidt, Adalbert von, 1848-1906, Austria: (CM19c p80).
Die sieben Todsünden: (librettist Robert Hamerling); secular oratorio; 1870.

Beer-Walbrunn, Anton, 1864-1929, Germany: choral works: part-songs and large cantata;
(CM19c p80).
Mahomets Gesang: SATB; soli; org; orch; (librettist Goethe); large cantata; c.1896.
228

227
Franklin, “Bungert, (Friedrich) August,” (Grove).
228
Jones, “Beer-Walbrunn,” Grove). 1895.
57

FRANCE, SWITZERLAND, and the LOW COUNTRIES

Gossec, François Joseph, 1734-1829, South Netherlands: active in France; set example of large
musical forces and duration in outdoor civic festival performances, carried
through early nineteenth-century French composers; set example for composers
for the new holiday created by Robespierre, celebration of the Supreme Being;
(CM19c p81-82).
Requiem:
229
2 orch; 1760.
Te Deum: [TTB];
230
band, 300 winds, 200 drums; 50 serpents; [1790].
231

[Hymne à l’Etre suprême]
232
(Hymn to the Supreme Being): [SATB; band; 1794].
233

Lesueur, Jean François, 1760-1837, France: [or “Le Sueur”];
234
contributed choral music in the
beginning of the nineteenth century, including music for the new holiday created
by Robespierre, celebration of the Supreme Being; (CM19c p82).

Méhul, Etienne Nicolas, 1763-1817, France: contributed choral music in the beginning of the
nineteenth century, including music for the new holiday created by Robespierre,
celebration of the Supreme Being; (CM19c p82).

Gretry, André, 1741-1813, France: b. Belgium; contributed choral music in the beginning of the
nineteenth century, including music for the new holiday created by Robespierre,
celebration of the Supreme Being; (CM19c p82).

Berton, Henri-Montan, 1767-1844, France: prominent composer/teacher; choral works: several
sacred cantatas for performance at concert spirituel and liturgical works; (CM19c
p82).
Cantata for the Marriage of Napoleon and Marie-Louise: SATB; solo TB; orch; 1810.

Beaulieu, Marie Désiré, 1791-1863, France: organized Association Musicale de l'Ouest,
[1835];
235
organized Société des Concert de Chant Classique, 1860; adept at
sacred choral music; (CM19c p82-83).
Requiem: SATB; soli SATB; orch; in memory of Méhul; c.1819.
236

229
Brook, “Gossec, François-Joseph.” (Grove). published as Messe des morts.
230
Ibid.
231
Ibid.
232
Ibid.
233
Ibid.
234
Mongrédien, “Le Sueur [Lesueur], Jean-François,” (Grove).
235
Bartlet, “Beaulieu, Désiré,” (Grove).
236
Ibid. 1818.
58

Halévy, Jacques-François-Fromental, 1799-1862, France: outstanding opera composer; fine
teacher, students included Gounod, Bizet, Saint-Saëns; (CM19c p83).
La juive: opera; a lasting hit; 1835.
Prométhée enchaȋné: SATB; soli [SSBar];
237
orch; 1849.
Ave verum: SATB; soli; orch; 1850.
Agnus Dei and Sanctus: TTBB; solo S; org; part of collaboration, Messe de l’Orphéon;
1851.

Adam, Adolphe, 1803-56, France: success composing ballets and operas; wrote considerable
amount of choral music; studied with Boieldieu and Rejcha; won Prix de Rome as
a student, 1825; (CM19c p83-84).
Ariane à Naxos: won Prix de Rome; music later incorporated into opera Le chalet;
cantata; 1825.
Agnes Sorel: secular cantata; 1824.
Les métiers: TTBB; 1848.
Les enfants de Paris: TTBB; 1848.
La garde mobile: TTBB; 1848.
La marche républicaine: TTBB; 1848.
La muette: TTBB.
Les nations: (librettist Banville); cantata; 1851.
La fête des arts: (librettist Méry); cantata; 1852.
Victoire: TTBB; soli TTBB; orch; (librettist Carré); cantata; 1855.
Cantata: (librettist Pacini); cantata; 1856.
Messe solennelle: SATB; soli SATB; 1837.
Messe de Ste. Cecile: SATB; soli SATB; orch; c.1850.
Domine salvum: three soloists, SATB; soli; org; motet; c. 1860.
O salutaris: SATB; org; orch; motet.
Cantique de Noel: solo; known in English as “O Holy Night”; carol; 1858[sic].
238

Berlioz, Hector, 1803-1869, France: student of Lesueur; composed several works for choir;
music influenced by Gossec’s orchestral extravaganzas; non-believer who found
the drama in sacred music; invented form, légende dramatique; (CM19c p84-88).
Messe solennelle: SATB; soli [STB];
239
orch; influenced by Lesueur, Méhul, Gossec;
Berlioz forbade its performance; 1824.
Grande messe des morts (Requiem): SATB; solo T; large orch; composer asks for chorus
of 80 women, 60 tenors, 70 basses; mostly STB writing, altos only called for in
“Quarens me,” Sanctus, Agnus Dei; 1837.

237
Halévy, Prométhée enchaȋné, (Brandus et Cie).
238
Forbes, “Adam, Adolphe” (Grove); Crump, The Christmas Encyclopedia, 325-326. 1847.
239
Berlioz, Messe solennelle, (Breitkopf und Härtel).
59

La mort de Sardanapale: TTB (9 singers);
240
cantata; 1830.
L'enfance du Christ, Op. 25: SATB; soli [STTBarBBB];
241
orch; 1854.
“The Shepherd’s Farewell”
Te Deum, Op. 22: 2 SAB[sic];
242
solo T; children’s chorus; large orch; 1850.
243

Roméo et Juliette, Op. 17: 2 STB; soli ATB; orch; (librettist Emile Deschamps, after
Shakespeare); 1839.
La damnation de Faust, Op. 24: SSAATTBB; soli Mez, T, Bar, B; orch; (librettist
Goethe, adapted by Berlioz, others); contains revisions from his Huit scenes de
Faust, 1828-29, and arr. of trad. Rákóczy March; légende dramatique; 1845-46.
Lélio, ou Le retour à la vie (Lelio, or the Return to Life), Op. 14: SATB; orch; sequel to
Symphonie fantastique; 1831-32.
Le ballet des ombres, Op. 2: STTBB; pf; [(librettist A. Du Boys, after J.G. Herder)];
244

1828.
Chant guerrier: TBB; solo T; pf; 1829.
Chanson à boire: TTBB; solo T; pf; 1829.
Prière du matin, Op. 19, No. 4: 2-part children's choir; pf; c.1848.
Veni creator: SSA; soli SSA soloists, org ad lib; motet; 1861.
Tantum ergo: SSA; soli SSA; org; motet.

Thomas, Ambroise, 1811-96, France: gift for idiomatic vocal writing and felicitous text setting;
choral works: sacred and secular; (CM19c p88).
Messe des morts:
245
SATB; orch; c.1840.
246

Messe solennelle: SATB; [soli];
247
orch; 1857.
248

Alkan, Charles-Valentin, 1813-88, France: considered leading piano virtuoso; most
compositions for piano; close friend of Chopin; highly respected by Liszt, Busoni;
refused to admit use of rubato; musical notation difficult to read, i.e., invented
notation for a triple sharp; style: original, incorporated old and new, out of step
with his era; (CM19c p88).
[Hermann et Ketty: (librettist de Pastoret)];
249
cantata; written for the Prix de Rome
(unpubd); [1832].
250

240
Macdonald, “Berlioz,” (Grove). TTBB; solo S; orch.
241
Berlioz, L'enfance du Christ, (Breitkopf und Härtel).
242
Macdonald, “Berlioz,” (Grove); Berlioz, Te Deum, ed. Taubmann, (Bärenreiter). STB.
243
Macdonald, “Berlioz,” (Grove). 1849.
244
Ibid.
245
Smith, “Thomas, Ambroise,” (Grove). Messe de Requiem.
246
Ibid., 1833.
247
Ibid.
248
Ibid., 1852.
249
Macdonald, “Alkan, Valentin,” (Grove).
250
Ibid.
60

[L’entrée en loge: (librettist Gail)];
251
cantata; written for the Prix de Rome (unpubd);
[1834].
252

Etz chajjim hi: SSTB; Hebrew; 1847.
Halelouyoh: SATB; pf/org, Hebrew; 1857.
Marcia funebre sulfa morte d'un papagallo: soli SSTB
253
; 3 ob; bn; 1859.
Stances de Millevoye: SSA; pf; 1859.

Naumbourg, Samuel, 1815-80, reformed Jewish liturgical music in France; supported by
French government, sent music to French colonies introducing choral music to
Sephardic communities in North Africa, Near East; in conjunction with Vincent
d’Indy, created modern edition of works by Salomone Rossi; (CM19c p88-89).
Zemriot Israel: mixed chorus; cantor; collection of liturgical works; relied heavily on
traditional melodies; [1847-64].
254

Gounod, Charles, 1818-93, France: important to choral music for immense influence on English
music during the second half of the nineteenth century; man of the theatre and
man of faith, resulting in confused impulses; choral works: several masses, some
for Orpheon Men’s Choir; (CM19c p89-91).
La rédemption: SATB; soli; orch; (librettist Gounod); oratorio; renowned in England;
1881.
St. Caecilia Mass:
255
SATB; soli STB; orch; [org];
256
Sanctus used as independent
anthem; 1850.
“Sanctus”: SATB; solo T; orch; org (org).
Tobias:
257
SATB; soli [SATB];
258
orch; oratorio; c.1866.
Mors et vita: SATB; soli [SATBar];
259
orch; oratorio; 1884.

Franck, César, 1822-90, France: b. Belgium; little success as composer during lifetime; best
works marred by strange lapses of taste and forays into banality; (CM19c p92).
Les Béatitudes: SATB: soli [SSAATTBarBB];
260
orch; oratorio; 1872-79.
[Messe à 3 voix]
261
(Mass for Three Voices), [Op. 12: STB; orch; 1860, revised 1872
(org, hp, vc, db)].
262

251
Ibid.
252
Ibid.
253
Like Brahms’ quartets for soli SATB, this work is included in Chapter 3 for its accessibility to a larger chorus.
254
Seroussi, “Jewish music,” (Grove).
255
Huebner, “Gounod, Charles-François,” (Grove). Messe solennelle de Sainte Cécile.
256
Ibid.
257
Ibid. Tobie.
258
Gounod, Tobias, (Choudens).
259
Gounod, Mors et vita, (Novello, Ewer & Co.).
260
Franck, Les Béatitudes, (Chappell & Co., Inc.).
261
Trevitt, “Franck, César,” (Grove).
262
Ibid.
61

Panis angelicus: solo T; org; hp; vc; db; arrangements for choir not by the composer;
1872.
Psalm 150: SATB; orch; org; 1888.
Psyché: SATB; orch; 1886-88.
Trois offertoires: SATB; soli; org; db;
263
1871.
264

Bizet, Georges, 1838-75, France: man of the stage; remembered now for operas Carmen and Les
pêcheurs de perles (The Pearl Fishers); 5 unfinished cantatas; only a few
surviving choral pieces; (CM19c p92-93).
David: SATB; soli; orch; (librettist Gaston d’Albano); cantata; 1856.
Clovis et Clothilde: SATB; soli; orch; (librettist Amédée Burion); cantata; 1857.
Te Deum: SATB; soli; orch; uses music from “Pleni sunt coeli” in The Pearl Fishers “O
Brahma divin”; 1858.

Castillon, Alexis, 1838-73, France: controversial figure in French music during the nineteenth
century; believed in absolute music as defined by Beethoven, Schumann, other
German composers of symphonic and chamber music; not well liked by French
public; Duparc, Chausson, and d’Indy benefited from his influence; (CM19c p93).
Paraphrase du psaume 84, [Op. 17]:
265
SATB; soli; orch;
266
(librettist Louis Gallet);
1872.
[Missa nuptialis, Op. 14: SATB; soli; org];
267
incomplete; 1872.

Fauré, Gabriel, 1845-1924, France: “did not compose much choral music, but what he did was
excellent;”
268
best known choral work is Requiem, inspired later Requiems by
Maurice Duruflé and John Rutter, lack of fear in divine judgement, comforting in
the extreme; (CM19c p93-94).
Requiem, Op. 48: SATB; soli SBar; orch; 1886-88 (5 movements, chamber ensemble),
revised 1893 (7 movements, chamber ensemble, added Bar solos), revised 1900 (7
movements, full orch).
Messe basse: female vv; [soli SS];
269
org[/hmn];
270
1881.
Cantique de Jean Racine, Op. 11: SATB; hmn; string qt;
271
c.1873.
272

263
Ibid. 1. SATB; soli; org; hp; db; orch 2. STB; org; db 3. STB; soli; org; db; orch.
264
Ibid. 1861, pub c.1871.
265
Fauquet, “Castillon, Vicomte de,” (Grove).
266
Ibid. 2 SATB; soli 3S, T, B; orch.
267
Ibid.
268
Strimple, Choral Music in the Nineteenth Century, 93.
269
Fauré, Messe basse, (Heugel).
270
Nectoux, “Fauré, Gabriel,” (Grove).
271
Nectoux, “Fauré,” (Grove); Fauré, Cantique de Jean Racine, ed. Nectoux, (Carus-Verlag). string qnt.
272
Nectoux, “Fauré,” (Grove). SATB; org; 1865, SATB; hmn; str qnt; 1866, orchd; 1906.
62

Tantum Ergo, Op. 55: SATBB; solo [T; org; hp];
273
c.1890.
Tantum Ergo, Op. 65, No. 2: SSA; [org; c.1890].
274

Tantum Ergo: SATB; soli ST;
275
org; hp;
276
c.1905.
277

Saint-Saëns, Camille, 1835-1921, France: one of the more popular French composers of the
nineteenth century; noted for various orchestral works, piano, violin concerti;
choral works: liturgical pieces, part-songs, cantatas, and oratorios; style: French
classicism; (CM19c p94-95).
Samson et Dalila, Op. 47: opera; (librettist Ferdinand Lemaire); began as oratorio;
occasionally performed in concert version; contains attractive choral moments;
1877.
Mass, Op. 4: SATB; orch; [org];
278
one of composer’s earliest successes; 1856.
Oratorio de Noël, Op. 12: SATB; soli SATB; str orch; [hp];
279
org; notable for lovely
concluding chorale [“Tollite hostias”];
280
1863.
Les noces de Prométhée, Op. 45[sic]:
281
[soli; orch];
282
cantata; 1867.
Le déluge, Op. 46[sic]:
283
[SATB; soli SATB; orch];
284
oratorio; 1876.
285

Requiem, Op. 54: SATB; soli [SATB];
286
orch; 1878.

Charpentier, Gustave, 1860-1956, France: successful and promising composer; became
prisoner of Bohemian lifestyle, no completed compositions after 1913; man of the
stage; works: in addition to operas, wrote dramatic cantatas and choral and
orchestral arrangements of his songs for solo voice and piano; style: blend of
Berlioz, Wagner, and Gounod; (CM19c p95).
Louise: opera; composers most famous opera; 1896.
La vie du poète: SATB; soli; orch; (librettist Charpentier); symphony drama; 1888-89,
revised 1892.
Sérénade à Watteau: SATB; soli; orch; (librettist Paul Verlaine); 1896.
Le chant d’apothéose: SATB; soli S, T, Bar, orch; (librettist Charpentier and Saint-
Georges de Bouhelier); 1902.

273
Ibid.
274
Ibid.
275
Nectoux, “Fauré,” (Grove); Fauré, Tantum Ergo, (J. Hamelle). solo S or solo S/T, not soli ST.
276
Ibid. organ accompaniment, no harp.
277
Nectoux, “Fauré,” (Grove). 1904.
278
Fallon, “Saint-Saëns, Camille,” (Grove).
279
Ibid.
280
Saint-Saëns, Oratorio de Noël, (A. Durand & Fils).
281
Fallon, “Saint-Saëns,” (Grove); Saint-Saëns, Les noces de Prométhée, (Jacques Maho). Op. 19.
282
Fallon, “Saint-Saëns,” (Grove).
283
Fallon, “Saint-Saëns,” (Grove); Saint-Saëns, Le Déluge: Prélude, ed. Renaud. Op. 45.
284
Saint-Saëns, Le déluge, (Durand).
285
Fallon, “Saint-Saëns,” (Grove). 1875.
286
Saint-Saëns, Requiem, (Durand).
63

Bréville, Pierre de, 1861-1949, France: student of Franck and Théodore Dubois; deeply
influenced by Wagner, and later works by Fauré and Debussy; following Liszt’s
example, sacred music often calls for unusual instrumental forces; inclined toward
the female voice; (CM19c p95-96).
La tête de Kenwarc'h: SATB; solo Bar; orch; (librettist Leconte de l'Isle); cantata;
considered most important work by composer; unpubd; 1890.
Mass: SATB; soli STB; str qt; hp; org; 1883-86.
Laudate Dominum: SATB; solo Bar; hp; db; org; 1889.
Médeia: SSAA; solo S; orch; (librettist A.F. Herold); 1892.
Chant des divinités de la forêt: SSAA; soli ST; orch; adapted from his incidental music
for L'anneau de Çakuntala, a play by Kâlidâsa, in translation by Herold; 1896.
Hymne à Venus: 2 female vv (duo/chorus); va; fl; ob; cl; bn; hp; 1889.

Bordes, Charles, 1863-1909, France: established society for the study and performance of
sacred music, 1894, school became known as Schola Cantorum, focused study on
Gregorian chant and works by Renaissance masters; choral works: several motets
and part-songs; (CM19c p96).

Aimon, François, 1779-1866, France: contributed choruses to Egidio Duni’s opera La fée
Urgèle, 1821; (CM19c p96).

Biangini, Felice, 1781-1841, France: b. Italy; love affair with Napoleon’s sisters, Pauline
Borghese; choral works: four Masses, several motets, other church music;
(CM19c p96).

Blondeau, Pierre-Auguste-Louis, 1784-1865, France: choral works: couple Masses,
287

3 Te Deums, and at least thirty cantatas; (CM19c p96).

Benoit, François, 1794-1878, France: choral works: Mass, small liturgical works; (CM19c p96).
Mass: SATB; org; orch; 1861.

Bottée de Toulmon, Auguste, 1797-1850, France: student of Cherubini and Rejcha; choral
works: oratorio and some Masses; (CM19c p96).

David, Félicien, 1810-76, France: oratorios and cantatas now forgotten; (CM19c p96).
Moïse au Sinai: SATB; soli; orch; oratorio; 1846.
Le désert: TTBB; [solo T; female vv ad lib; speaker];
288
orch; symphonic ode; 1844.

287
Macdonald, “Blondeau, Hector” (Grove). 3 Masses.
288
Locke, “David, Félicien,” (Grove).
64

Besozzi, Louis-Désiré, 1814-79, France: rival of Gounod; choral works: sacred pieces for
women's chorus, La chapelle du convent, 1857; (CM19c p96-97).

Bazin, François, 1816-78, France: conservative composer; opponent of Franck; conductor, Les
Orphéons, male choir, Paris; choral works: several pieces for men's voices;
(CM19c p97).

David, Samuel, 1836-95, France: music director, Paris synagogue; (CM19c p97).
Le génie de la terre: TTBB; orch; performed in Paris, 6,000 voices; 1859.

Bourgault-Ducoudray, Louis, 1840-1910: France: modally harmonized collections of French,
Greek, and Celtic folk songs; choral works: several cantatas; (CM19c p97).
Stabat mater: SATB; soli; vc/db; hp; trbn; org; (librettist G. Benedetti); 1868.

Massenet, Jules, 1842-1912, France: celebrated opera composer who also wrote choral works;
(CM19c p97).
La terre promise (The Promised Land): SATB; soli; orch; oratorio; 1899.

Cahen, Albert, 1846-1903, France: (CM19c p97).
Jean le Precurseur: biblical drama; performed at Concerts Nationals; 1874.

Benoit, Camille,
289
1851-1923, France: arranged Berlioz's Romeo et Juliette for piano duet;
provided Latin translation of Beethoven's Elegischer Gesang; (CM19c p97).
Eleison: SATB; soli; orch; 1890.

Chausson, Ernest, 1855-1899, France: (CM19c p97).
Three Motets, Op. 12: SATB; vc; hp; org; 1886.
[Ave Maria, Op. 12, No. 1: SATB; solo child/S; vc; hp; org.]
290

Jeanne d'Arc: SSAA, soli; pf; c.1880.

Bruneau, Alfred, 1857-1934, France: choral works: large and small; (CM19c p97).
Requiem: SATB; soli; children’s choir; org; orch; c.1884-88, vocal score pub 1895.

SWITZERLAND

Baumgartner, Wilhelm, 1820-67, Switzerland: pianist/choral conductor; founder, Zurich Male
Chorus; (CM19c p97-98).
O mein Heimatland, Op. 11, No. 1: TTBB (librettist Gottfried Keller).

Bovy-Lysberg, Charles Samuel, 1821-73, Switzerland: concert pianist: composition mostly for
piano; (CM19c p98).
Le Alpes: TTBB; orch; (librettist A. Richard); cantata; 1860.

289
Ferrari, “Benoît, Camille,” (Grove). Benoȋt.
290
Representative title added for catalogue.
65

THE NETHERLANDS

Bree, Johannes Bernardus van, 1801-57, Netherlands: known primarily as a conductor;
instrumental in introducing German oratorios and Masses to Dutch audiences;
choral works: 3 Masses, other works for male chorus and orchestra; (CM19c p98).

Bastiaans, Gijsbertus Johannes, 1812-75, Netherlands: organist; instrumental in promoting
Bach’s music in Holland; works: organ music, cantatas, smaller works for mixed
choir; several chorale books for four-part mixed choir; (CM19c p98).

André, Charles-Louis-Joseph, 1765-1839, Netherlands: organist; priest, Cathedral of St.
Rombout, Mechelen; choral works: church music with various instrumental
accompaniments; (CM19c p98).

Berlijn, Anton, 1817-70, Netherlands: one of the most acclaimed Dutch composers of the
nineteenth century; received honors from Dutch King Wilhelm II, the Saint
Cecilia Society in Rome, among others; primarily known for operas and other
theatrical music; choral works: part-songs for male choir and a mass (most remain
in manuscript); (CM19c p98-99).
Die Matrosen am Ufer: SATB; soli; orch; cantata; 1848.
Moses auf Nebo: SATB; soli; orch; oratorio; 1843.

Brandts Buya[sic],
291
Ludwig Felix, 1847-1917, Netherlands: organist/ethnomusicologist;
(CM19c p99).
Avondrood: TTBB; part-song.
Zegepraal: TTBB; part-song.

Diepenbrock, Alphons, 1862-1921, Netherlands: impacted twentieth-century Dutch music with
a “striking individual style of composition, in which Wagnerian elements
curiously intertwine with impressionistic modalities”;
292
(CM19c p99).
Stabat mater: TTBB; [1888].
293

Missa in die festo: TTBB;
294
solo T; org; 1891,
295
[revised 1913 (Kyrie and Gloria
orchd)].
296

Les elfes: SSAA; solo S, Bar; orch; 1896.
297

291
Bokum, “Brandts Buys family,” (Grove). Buys.
292
Baker, Biographical Dictionary of Musicians, 432.
293
Braas, “Diepenbrock, Alphons,” (Grove).
294
Ibid. 2 TTBB.
295
Ibid.1890-94.
296
Ibid.
297
Ibid. 1887, revised 1896.
66

Lange, Samuel de, 1840-1911, Netherlands: organist/conductor; (CM19c p99).
Mozes,
298
[Op. 57]:
299
SATB; soli [SSTTTBar];
300
orch; oratorio.

Smulders, Charles, 1863-1934, Netherlands: choral works: many part-songs for male chorus
and mixed chorus; (CM19c p99).

BELGIUM

Benoit, Peter, 1834-1901, Belgium: most important Belgian composer of the nineteenth century;
rejuvenated Flemish music; adept in writing for large choral forces; pioneered
composition of cantatas for children; creates form called lyric drama; choral
works: Mass, several oratorios, cantatas, and numerous small choral works with
various vocal configurations; (CM19c p99-100).
Messe solennelle: SATB; orch; part of Quadrilogie religieuse, quartet of large works;
1860.
Cantate de Noel: SATB; orch; part of Quadrilogie religieuse, quartet of large works;
1862.
Te Deum: SATB; orch; part of Quadrilogie religieuse, quartet of large works; 1863.
Requiem: SATB; orch; part of Quadrilogie religieuse, quartet of large works; 1864.
Lucifer: SATB; soli; orch; oratorio; 1865.
Mass: TTBB; org; 1873.
Prometheus: SATB; soli; orch; oratorio; 1867.
De Rhijn: SATB; soli; orch; oratorio; 1889.
De Maaiers: TTBB; 1864.
Aan Antwerpen: TTBB; 1877.

Blockx, Jan, 1851-1912, Belgium: recognized for operas; studied with Peter Benoit at Flemish
Music School and Carl Reinecke in Leipzig; style: Belgian folk music enriched by
German romantic aesthetic; (CM19c p100-101).
Licht: TTBB; soli; 1895.
De Heide: TTBB; 1899.
Vredezang: SSAA; orch; 1877.
De kleine bronnen: SSAA/children’s choir; orch; 1878.
Klokke Roeland: SATB; orch; (librettist A. Rodenbach); cantata; 1888.
Antwerpen's schutsgeest: SATB; orch; (librettist A. Wouters); cantata; 1888.
Een droom van't paradijs: SATB; soli; orch; (librettist J. van Beers); oratorio; 1881-82.

298
Lange, Moses, Op. 57, (J. Rieter-Biedermann). Moses.
299
Ibid.
300
Ibid.
67

Boutmy, Laurent- François, 1756-1838, Belgium: organist/harpsichordist; (CM19c p101).
Le naufrage: SATB; orch; lyric scene; 1806.

Ancot, Jean, 1779-1848, Belgium: choral works: 2 Masses and other church music (lost);
(CM19c p101).

Campenhout, François van, 1779-1848, Belgium: choral works: Requiem, several Masses
(survive in manuscripts); (CM19c p101).
[La brabançonne]:
301
Belgian national anthem; [1830].
302

Waelput, Hendrik, 1845-85, Belgium: choral works: cantatas; (CM19c p101).

Gevaert, François-Joseph[sic],
303
1828-1908, Belgium: respected scholar/composer; produced
valuable research on early music; composed several interesting choral works;
(CM19c p101).
Requiem: TTBB; orch.

Tenel, Edgar, 1854-1912, Belgium: significantly impacted twentieth-century Roman Catholic
music; (CM19c p101).
Franciscus: SATB; soli; orch; oratorio; successful in Belgium during his lifetime; 1888.

301
Carr, “Campenhout, François van,” (Grove)
302
Ibid.
303
Riessauw, “Gevaert, François-Auguste” Grove). François-Auguste.
68

BRITISH ISLES

Barrett, William Alexander, 1834-91, England: helped further appreciation of English choral
music with studies; (CM19c p104).
English Glee and Madrigal Composers:
304
1877.
English Church Composers: 1877.

Callcott, John Wall, 1766-1821, England: studied with Haydn; one of the finest composers of
glee; helped compile collection of harmonized psalm tunes; choral works:
anthems, catches, glees (over 300, unpublished); (CM19c p104).

Wesley, Samuel, 1766-1837, England: son of Charles Wesley; forsook Methodist church
founded by father and uncle for Roman Catholic Church, 1784; one of England’s
finest organists; created appreciation for Bach; choral works: several anthems,
Masses, Latin motets, and other service music; (CM19c p104-105).
Morning and Evening Service in F major: SATB; org.
Missa solemnis: SATB.
In exitu Israel: 2 SATB; [org];
305
Latin motet; [1810].
306

Bishop, Henry R., 1786-1855, England: prolific and popular composer during lifetime; famous
for operas and songs; choral works: cantatas, odes, large funeral anthem, an
oratorio, over 300 glees; half of glees published in A Complete Collection of
Glees, 1839; (CM19c p105).
Home, Sweet Home: voice; pf; composer is only remembered for this song; choirs often
sing in unison or arrangements; [1829].
307

Barnett, John, 1802-90, England: Son of Hungarian and German Jewish immigrants; sang
professionally at age 11, one of the leading innovators in English opera;
successful voice teacher; choral works: sacred music, glees, madrigals, and part-
songs. (CM19c p105-106).
Grand Mass in C minor: SATB; soli; orch; designed for concert use; before 1827.
Grand Mass in G minor: SATB; soli; orch; designed for concert use; before 1827.
308

Abraham on the Altar of his Son: SATB; soli; orch; cantata; 1823.
The Omnipotence of the Deity: SATB; soli; orch; (librettist R. Montgomery); oratorio;
1829.
Daniel in the Den of Lions: SATB; soli; orch; oratorio; 1841.

304
Rainbow, “Barrett, William Alexander.” (Grove). English Glee and Madrigal Writers.
305
Temperley, “Wesley family,” (Grove).
306
Ibid.
307
Carr, “Bishop, Sir Henry,” (Grove).
308
Temperley, “Barnett, John.” (Grove). 1823.
69

Balfe, Michael William, 1808-70, Ireland: most famous composer of opera in the British Isles in
the nineteenth century; (CM19c p106).
Save Me, O God: SATB; org; motet; 1846.
Nelly Gray: SATB; soli; pf; (librettist J. Oxenford); cantata; 1859.
Mazeppa: SATB; soli; orch; (librettist Jessica Rankin, after Lord Byron); cantata; 1862.

Wesley, Samuel Sebastian, 1810-76, England: son of Samuel Wesley; works: exclusively for
the church; (CM19c p106).
The Wilderness:
309
SATB; soli; org; anthem; [1832, orchd 1852].
310

[“And the ransomed of the Lord,” No.4]
311

Let Us Lift Up Our Heart: SATB; soli; org; anthem; [c.1836].
312

[“Thou Judge of quick and dead,” No. 4 and “O may we thus insure,” No. 5]
313

Macfarren, George Alexander, 1813-87, England: prolific composer; edited Purcell’s Dido and
Aeneas for Musical Antiquarian Society, 1840; edited Handel’s Belshazzar, Judas
Maccabaeus, Jeptha for Handel Society, 1843; lost sight later in life; (CM19c
p106-107).
Leonora: SATB; soli; orch; cantata; 1851.
May Day: SATB; soli; orch; cantata; for Bradford Festival; 1856.
Christmas: SATB; soli; orch; cantata; 1859.
The Lady of the Lake: SATB; soli; orch; cantata; for Glasgow Festival; 1857.
St. John the Baptist: SATB; soli; orch; oratorio; for Bristol Festival; composed after
composer went blind; 1873.
The Resurrection: SATB; soli; orch; oratorio; for Birmingham Festival; 1876.
Joseph: SATB; soli; orch; oratorio; for Leeds Festival; 1877.
Introits for the Holy Days and Seasons of the English Church: set of small choral works;
1866.
Shakespeare Songs for Four Voices: SATB; 1860-64.
[“Orpheus, with his lute”]
314

309
Temperley, “Wesley family,” (Grove). The wilderness and the solitary place.
310
Ibid.
311
Representative title added for catalogue.
312
Ibid.
313
Representative title added for catalogue.
314
Representative title added for catalogue.
70

Smart, Henry Thomas, 1813-79; England: great organ builder; popular composer during life;
remembered today for hymn tunes, REGENT SQUARE (Angels from the Realms
of Glory) and LANCASHIRE (Lead On, O King Eternal); choral works: part-
songs, two large anthems, and several cantatas for English Festivals; lost sight
later in life; (CM19c p107-108).
The Bride of Dunkerron: SATB; soli; orch; cantata; for Birmingham Festival; 1864.
King Rene’s Daughter: SATB; soli; orch; cantata; 1871.
The Fishermaidens: SSAA; soli; orch; cantata; 1871.
Jacob: SATB; soli; orch; cantata; for Glasgow Festival; 1873.

Bennett, William Sterndale, 1816-75, England: “most distinguished English composer of
Romantic school” (Temperley, “William Sterndale Bennett,” in Sadie 1980,
2:499); choral works: very little, 1 oratorio, several cantatas; some anthems and
part-songs; founded Bach Society, 1849; arranged performances of Bach’s music;
(CM19c p108-109).
The May Queen: SATB; soli SATB; orch; (librettist Henry F. Chorley); cantata; 1858.

Leslie, Henry David, 1822-96, England: famous for organizing 100-voice Leslie Choir, 1855;
choral works: oratorios, cantatas, anthems, part-songs, madrigals, and other
works; (CM19c p109-110).
Te Deum: SATB; org; 1846.
Jubilate in D: SATB; org; 1846.
Immanuel: SATB; soli; orch; oratorio; 1853.
Judith: SATB; soli; orch; oratorio; for Birmingham Festival; 1858.
Holyrood: SATB; soli; orch; cantata; 1860.
The Daughter of the Isles: SATB; soli; orch; cantata; 1861.
Let God Arise: SATB; [soli];
315
org; anthem; 1849.

Barnett, John Francis, 1837-1916, England: pianist/composer; nephew of John Barnett;
(CM19c p110).
The Ancient Mariner: SATB; soli; orch; (librettist Samuel Taylor Coleridge); cantata;
composer’s first choral work; 1867.
The Raising of Lazarus: SATB; soli; orch; oratorio; 1873.

Barnby, Joseph, 1838-96, England: important choral musician in nineteenth-century England;
established own choir, 1864, inaugurated daily concerts at Albert Hall, 1874;
choral works: large amount of sacred music, anthems (forgotten), hymn tunes
LAUDES DOMINI (When Morning Gilds the Skies), MERIAL (Now the Day is
Over); (CM19c p110).

315
Colles, “Leslie, Henry,” (Grove).
71

MacKenzie, Alexander Campbell, 1847-1935, Scotland: important composer/conductor/
administrator; conductor, Scottish Vocal Music Association, 1873; conductor,
Novello’s oratorio concerts, 1885-86 season; guest conductor, Royal Choral
Society; principal, Royal Academy of Music, 1888-1924; gifted composer of part-
songs; (CM19c p110-111).
Rose of Sharon, Op. 30: SATB; soli; orch; oratorio; for Norwich Festival; 1884.
The Story of Sayid, Op. 34: SATB; [soli S, 2 T, 2 Bar]
316
; orch; (librettist Edwin Arnold);
cantata; for Leeds Festival; 1886.
A Jubilee Ode, Op. 36: SATB; [soli ST];
317
orch; (librettist Joseph Bennet); for Queen
Victoria’s jubilee; 1887.
Veni creator spiritus, Op. 46: SATB; soli SATB (opt); orch; (paraphrased by J. Dryden);
1891.
Seven Partsongs, Op. 8: SATB; 1879.
[“Autumn,” Op. 8, No. 3]
318

Two Toasts for Male Voices: (librettist S.S. Stratton); 1893.

Sullivan, Arthur Seymour, 1842-1900, England: Irish descent; fame secured with comedic
stage masterpieces written with William S. Gilbert; choruses and scenes from
operettas performed in choral concerts today; concert music was in demand at
English choral festivals; editor, Church Hymns with Tunes for Christian
Knowledge Society, 1872; choral works: part-songs, small works, anthems, service
music for Anglican church; (CM19c p112).
The Prodigal Son: SATB; soli; orch; oratorio; for Worcester; 1869.
The Light of the World: SATB; soli; orch; oratorio; for Birmingham; 1873.
The Martyr of Antioch: SATB; soli; orch; oratorio; for Leeds; 1880.
The Golden Legend: SATB; soli; orch; cantata; for Leeds; 1886.

Parry, Charles Hubert Hastings, 1848-1918, England: best work composed in the twentieth
century; choral works: large choral and orchestral works, part-songs, anthems,
hymns (JERUSALEM, originally for unison children’s choir, used in film
Chariots of Fire, 1981); style: warm and inviting; (CM19c p112-113).
I Was Glad: 2 SATB; org/orch; anthem; 1902.
Songs of Farewell: 4-8vv; (librettists Vaughan, Davies, Campion, Lockhart, and Donne);
6 motets; 1916-18.
[“At the round earth’s imagined corners,” No. 6]
319

An Ode to the Nativity: SATB; solo S; orch; published 1912.

316
Barker, “Mackenzie, Sir Alexander Campbell,” (Grove).
317
Ibid.
318
Representative title added for catalogue.
319
Representative title added for catalogue.
72

Ode at a Solemn Music: “Blest Pair of Sirens”: SATB; orch; (librettist Milton); ode;
1887.
Ode to Music: SATB; soli STB[sic];
320
orch; 1901.
Judith: SATB; soli; orch; (librettist Parry); oratorio; 1888.
Scenes from Shelley’s “Prometheus Unbound”: SATB; soli ATB[sic];
321
(librettist
Shelley); oratorio; 1880.

Stanford, Charles Villiers, 1852-1924, Ireland: sent to London at age 10; studied organ at
Queen’s College Cambridge; professor of composition, Royal College of Music,
1883; professor of music, Cambridge, 1887; coauthor, A History of Music with
Cecil Forsyth; choral works: 6 complete Anglican services, 3 masses, Stabat
mater, anthems, motets; (CM19c p114-115).
Stabat mater, Op. 96: SATB; soli; orch; 1907.
Three Motets, Op. 51[sic]:
322
4-8vv; 1905.
[“Beati quorum via, No. 3”]
323

Three Cavalier Songs, Op. 17: TTBB; solo Bar; (librettist Robert Browning); 1880.
Nine Songs for Children,
324
Op. 30: Unison/2-part treble; pf; (librettist Robert Louis
Stevenson); 1888.
Requiem, Op. 63: SATB; soli; org; orch; written for a friend; influenced by Wagner;
1896.

Elgar, Edward William, 1857-1934, England: early twentieth century, considered one of best
modern European composers in orchestra field and did for the oratorio what
Wagner did for opera;
325
(CM19c p115-116).
The Apostle[sic]
326
, [Op. 49: SATB; soli SATBBB; orch];
327
oratorio; 1903.
The Kingdom, [Op. 51: SATB; soli SATB; orch];
328
oratorio; 1906.
The Dream of Gerontius, Op. 38: SATB; soli ATB; orch; (librettist John Henry Cardinal
Newman); 1900.
The Black Knight: SATB; orch; cantata; 1893.
Lux Christi: SATB
329
; soli [SATB];
330
orch; oratorio; 1896.

320
Dibble, “Parry, Sir Hubert,” (Grove); Parry, Hubert, Ode to Music, (Novello). Soli SSATB.
321
Dibble, “Parry,” (Grove); Parry, Prometheus Unbound, (Novello). Soli SATB.
322
Dibble, “Stanford, Charles V.,” (Grove); Stanford, C.V., Three Motets, (Boosey & Co.). Op. 38.
323
Representative title added for catalogue.
324
Dibble, “Stanford,” (Grove). A Child’s Garland of Songs.
325
Thrall, Oratorios and Masses, 252-53.
326
McVeagh, “Elgar, Sir Edward,” (Grove); Elgar, The Apostles, (Novello). The Apostles.
327
Elgar, The Apostles, (Novello).
328
Elgar, The Kingdom, (Novello).
329
Green, A Conductor’s Guide, 167. SSAATTBBBB.
330
Ibid.
73

Caractacus: SATB
331
; soli [STBarBBB];
332
orch; oratorio; 1898.
Te Deum and Benedictus, Op. 34: SATB; org; [orch];
333
1897.
Five Partsongs, Op. 45: TTBB; (translations of Greek texts); 1903.
334

Four Partsongs, Op. 53: SSAATTBB; 1907.
[“Deep In My Soul,” No. 2]
335

Christmas Greeting, Op. 52: TTBB (opt); soli SS; 2 vln; pf; (librettist C. Alice Elgar);
1907.
Two Partsongs, Op. 26: SSA; 2 vn; pf; (librettist C. Alice Elgar); includes exquisite and
justly popular “The Snow”; c.1895.
The Music Makers, [Op. 69]:
336
SATB; solo A; orch; (librettist Arthur O'Shaughnessy);
ode; 1912.
Spirit of England, Op. 80: SATB; soli ST; orch; (librettist Laurence Binyon); 1916.

Camidge, Matthew, 1764-1844, England: famous organist/conductor, St. Michael-le-Belfrey
church, York; choral works: morning and evening service, other liturgical music;
(CM19c p116-118).

Attwood, Thomas, 1765-1838, England: important opera composer; choral works: English
liturgical music, including several services and anthems; (CM19c p118).
I Was Glad: [SATB];
337
orch; anthem; [for coronation of George IV; 1821].
338

O Lord, Grant the King a Long Life: [SATB];
339
orch; anthem; [for coronation of
William IV; 1831].
340

Chard, George William, 1765-1849, England: mayor, Winchester, 1833, after officially
reprimanded for neglecting his duties as organist at the cathedral and college;
choral works: 28 anthems and other service music; (CM19c p118).

Addison, John, c.1766-1844, England: adapted music of P. Winter, Elijah Raising the Widow's
Son, into sacred music drama, 1815 (lost); (CM19c p118).

Beale, William, 1784-1854, England: popular and prolific composer of glees and madrigals;
(CM19c p118).

331
Ibid., 169. SSAATTBB.
332
Ibid.
333
McVeagh, “Elgar, Sir Edward,” (Grove).
334
Ibid. 1902.
335
Representative title added for catalogue.
336
Ibid.
337
Temperley, “Attwood, Thomas,” (Grove).
338
Ibid.
339
Ibid.
340
Ibid.
74

Burghersh, John Fane, 1784-1859, England: founder, Royal Academy of Music; choral works:
service music and part-songs; (CM19c p118).
Grand Mass: SATB; orch; 1858.

Adams, Thomas, 1785-1858, England: choral works: a hymn, an anthem, and, “satirical
harmonization” of 'Old 100th' Psalm Tune;
341
(CM19c p118).

Buck, Zechariah, 1798-1879, England: organist/organ teacher; choral works: evening service
and anthems; (CM19c p118).

Goss, John, 1800-80, England: choral works: significant number of large and small works for
Anglican church (popular then, now forgotten); (CM19c p118).

Wade, Joseph, 1801-45, Ireland: settled in London; (CM19c p118).
The Prophecy: SATB; soli; orch; oratorio; for Drury Lane Theatre; 1824.

Benedict, Julius, 1804-85, England: b. Germany; great conductor/popular composer; author,
biography of Weber; choral works: cantatas for Birmingham and Norwich
Festivals; style: influenced by Rossini; (CM19c p118).

Hatton, John Liphot [sic],
342
1809-96 [sic],
343
England: (CM19c p118).
Robin Hood: SATB; soli; orch; cantata; 1856.

Bexfield, William Richard, 1824-53, England: student of Zechariah Buck; (CM19c p118-119).
Israel Restored: SATB; soli; orch; oratorio; 1851.

Calkin, John Baptiste, 1827-1905, England: respected composer; choral works: anthems, glees,
part-songs; (CM19c p119).

Butler, Samuel, 1835-1902, England: music critic/amateur composer; adored Handel; choral
works: dramatic cantatas; style: Handel; (CM19c p119).

Stainer, John, 1840-1901, England: choral works: many for Anglican church, cantatas,
oratorios; (CM19c p119).
The Crucifixion: SATB; soli; org; oratorio; 1887.
“God So Loved the World”: SATB.

341
Temperley, “Adams, Thomas,” (Grove).
342
Temperley, “Hatton, John Liptrot,” (Grove). Liptrot.
343
Ibid. 1809-86.
75

Bridge, Frederick, 1844-1924, England: choral works: numerous liturgical works and
occasional pieces for Birmingham and Three Choirs Festivals; (CM19c p119).

Cellier, Alfred, 1844-1891, England: occasional collaborator with Arthur Sullivan; (CM19c
p119).
Grey's Elegy: SATB; orch; for Leeds Festival; 1883.

Thomas, Arthur Goring, 1850-92, England: (CM19c p119).
The Swan and the Skylark: cantata; pf score found posthumously, orchestrated by
Stanford, performed at Birmingham Festival, 1894.

Corder, Frederick, 1852-1932, England: (CM19c p119).
The Cyclops: SATB; soli; orch; cantata; 1880.
The Bridal of Triermain: SATB; soli; orch; cantata; 1886.

Cowen, Frederic H., 1852-1935, England: [b. Jamaica];
344
(CM19c p119).
Ruth: SATB; soli; orch; oratorio; influenced by Jewish heritage; 1887.
The Sleeping Beauty: SATB; soli; orch; oratorio; influenced by English heritage; 1885.

Smythe, Dame Ethyl, 1858-1944, England: compositions praised by her peers; (CM19c p119).
Mass in D: SATB; soli; orch; 1893.

MacCunn, Hamish, 1868-1916, Scotland: choral works: cantatas, part-songs (still performed
occasionally); (CM19c p119).

McEwen, John, 1868-1948, Scotland: composer/music educator; choral works: couple cantatas
for mixed chorus and orchestra; (CM19c p119).
Scene from “Hellas”: SSAA; solo S; orch; (librettist Shelley); 1894.
345

344
Dibble, “Cowen, Sir Frederic Hymen,” (Grove).
345
Benoliel, “McEwen, John,” (Grove). 1898.
76

THE CZECH LANDS, SLOVAKIA, HUNGARY, and POLAND

Rejcha, Antonín, 1770-1836, Czechia: [or “Antoine Reicha”];
346
active in Paris and Austria;
known today primarily for woodwind quintets and other woodwind chamber
music; professor, Paris Conservatory, students included Berlioz, Adam, Liszt,
Gounod, Franck; (CM19c p121-123).
Requiem [“Missa pro defunctis”]
347
: SATB; soli [SATB];
348
org; orch; 1806.
Der neue Psalm: SATB; soli [SATB]
349
; org; orch; (librettist Siegfried Augustus
Mahlmann); artistic reaction to Napoleonic Wars; 1807.
Te Deum: SATB; soli SATB; orch; [org];
350
1825.

Doubravsky, František, 1790-1867, Czechia: music director/choir master, Church of St.
Nicholas, Lomnice and Popelkou, northern Bohemia; works: nearly 300 sacred
works; (CM19c p123-124).
Missa pastoralis: SATB; soli; chamber orch; for Christmas; 1822.
Te Deum in C Major: SATB; soli; chamber orch; 1836.
Missa solemnis in D Major: SATB; soli; chamber orch; 1840.
Requiem in E-flat Major: SATB; soli; chamber orch; 1830.

Voříšek, Jan Hugo, 1791-1825, Bohemia: [or “Johann Hugo Worzischek”];
351
pianist/choral
conductor/composer; moved to Vienna, appointed Gesellschaft der
Musickfreunde, 1818; highly regarded in Prague and Vienna during life; friends
with Franz Schubert; (CM19c p124).
Mass in B-flat Major: SATB; soli; [1824-25].
352

Škroup, František, 1801-62, Czechia: attorney/composer/opera singer; works: opera, sacred and
secular choral works; wrote first Czech opera, Dratenik, 1826; (CM19c p124-
125).
Kde domov můj? (Where Is My Home?): from later opera, became national anthem;
1833.

346
Stone, “Reicha, Antoine,” (Grove).
347
Rejcha, Missa pro defunctis, (A-R Editions).
348
Ibid.
349
Rejcha, Der neue Psalm, with Prague Philharmonic Choir, conducted by Lubomír Mátl, liner notes.
350
Stone, “Reicha, Antoine,” (Grove).
351
DeLong, “Voříšek, Jan Václav,” (Grove).
352
Ibid.
77

Křížkovský, Pavel, 1820-85, Czechia: studied Moravian folk music; creator of the Czech male
choir tradition; incorporating folk music into his works; teacher of Janáček; most
of music is lost; (CM19c p125-127).
Utonulá (The Drowned Maiden): TTBB; 1860.
Odvedeného prosba (The Recruit’s Prayer): TTBB; 1861; revised 1862.
Odpadlý od srdca (Fallen Away from the Heart, Lassie), “Divka”: TTBB; 1849.
Dar za lásku (The Love-gift): TTBB; 1849, revised 1861.
Zaloba (The Plaint): TTBB; c.1859.
Zatoč ze (Turn Round): TTBB; soli SATB; (folk text); 1851, revised 1860.
Modlitba Sv. Cyrilla na sotnach (Prayer of Saint Cyril on His Deathbed): TTBB; 3 trbn.
Hvězdy dvě se z východu (Two Stars from the East): TTBB; pf or org; sacred cantata; in
honor of Sts. Cyril and Methodius; 1850; revised for pf; brass; 1861.
Vyprask (Threshing): TTBB; solo T; pf; 1866.
Requiem: [3 male vv; org; 1878].
353

Te Deum: [SATB; 1875].
354

Smetana, Bedřich, 1824-84, Czechia: father of Czech opera; assisted in formation of Czech
Provisional Theatre, 1862; co-founder, Society of Artists in Prague; conductor,
Hlahol Choral Society; (CM19c p127-130).
Jesu, meine Freude: SATB; chorale; 1846.
lch hojfe auf den Herrn: SATB; fugue; 1846.
Lobet den Herrn: SATB; introduction and fugue; 1846.
Heilig, heilig, ist der Herr Zabaoth:
355
2 SATB; 1846.
Scapulis suis: SATB; org; chamber orch; 1846.
Meditabitu in mandatis tuis: SATB; org; chamber orch; 1846.
Tři jezdci (Three Horsemen): TTBB; (librettist Jilji Jahn); 1863.
Odrodilec (The Renegade): TTTTBBBB; (librettist Ambrož Medińský, translated from
Ukrainian by Čelakovský); 1863;
356
2
nd
version for SATB; soli; opt brass.
357

Rolnická (The Peasant): TTBB; (librettist Václav Trnobranský); 1868.
[Braniboři v Čechách]
358
(The Brandenburgers): stage; contains lyrical choruses.
[Prodaná nevěsta]
359
(The Bartered Bride): stage; contains lyrical choruses; [1863-6, 2
nd

version 1868-9, 3
rd
version 1869, 4
th
(definitive) version 1870].
360

[“Opening Chorus”]
361

353
Vysloužil, “Křížkovský, Pavel,” (Grove).
354
Ibid.
355
Ottlová, “Smetana, Bedřich,” (Grove). Heilig ist der Herr Zabaoth.
356
Ibid. 1864.
357
Ibid. TTBB.
358
Ibid.
359
Ibid.
360
Ibid.
361
Representative title added for catalogue.
78

Česká píseň (Czech Song): TTBB; orch; (librettist Jan Jindrich Marek); cantata; 1860,
revised 1868 (SATB; pf), revised 1870 (SATB; orch).
Slavnostní sbor (Festive Chorus): [TTBB];
362
1870.
Píseň na moři (Sea Song): [TTBB];
363
1877.
Věno (The Dower): [TTBB];
364
1880.
Modlitba (Prayer): [TTBB];
365
1880.
Naše píseň (Our Song): [TTBB];
366
1883
Sbory trojhlasné pro ženské hlasy (Three Choruses for Women’s Voices): SSA; (librettist
Sladek); 1878.

Bendl, Karel, 1838-97, Czechia: conductor/choirmaster; composed songs for opera and choral
works; graduated from Prague Organ School; conductor, Hlahol Choral Society,
1865-77; affinity for Mendelssohn led to nickname “Bendlssohn”; style: mix of
nationalism and lyric romanticism; (CM19c p130-131).
Švanda dudák (Švanda the Bagpiper): SATB; soli; orch; (librettist J. Vrchlický); cantata;
1881.
367

Umírající husita (The Dying Hussite): SATB; orch; 1869.
Smrt Prokopa Velikého (The Death of Prokop the Great): SATB; solo Bar; orch; 1871,
revised 1894.
Pochod Táborů (March of the Taborites): TTBB; 1880.
Štědrý den (Christmas Eve): SATB; soli; orch; (librettist K.J. Erben); cantata; 1885.
Four Songs: female vv.
Mass (2): choir.

Fibich, Zdeněk, 1850-1900, Czechia: [or “Zdenko”];
368
important composer of opera and
melodrama; not adept at writing choral music; (CM19c p131).
[Die Windsbraut]
369
(The Bride of the Wind) “Meluzina”: SATB; soli; orch; (librettist
Kinkel); cantata; 1872-74.

Foerster, Joseph, 1833-1907, Czechia: [or “Josef Förster”];
370
church musician/teacher; taught
Antonín Dvořák; father of choral composer Josef Bohuslav Foerster; works:
choral music, mostly sacred; (CM19c p131).
Missa Bohemica: 2-part; org; accommodates combination of high and low voices.

362
Ibid.
363
Ibid.
364
Ibid.
365
Ibid.
366
Ibid.
367
Bártová-Holá, “Bendl, Karel.” (Grove). 1880.
368
Tyrrell, “Fibich, Zdeněk,” (Grove).
369
Ibid.
370
Tyrrell, “Foerster, Josef,” (Grove).
79

Dvořák, Antonín, 1841-1904, Czechia: primarily known for symphonic and chamber music; he
believed his operas were his greatest achievement; composed several important
choral works; style: mixture of Slavic and German elements; (CM19c p131-138).
Hymnus: Dědicové Bílé Hory (The Heirs of the White Mountain), Op. 30: SATB; orch;
(librettist Vítězslav Hálek); cantata; commemoration of 1620 battle outside
Prague that started the Thirty Years’ War; 1872, revised 1880, 1884.
Stabat mater, Op. 58: SATB; soli SATB; org; orch; actually Op. 28, publisher assigned
higher number to appear more mature; 1876, orchestrated 1877.
Svatební košile (The Specter’s Bride), Op. 69: SATB; soli STB; orch; (librettist K.J.
Erben); cantata; literal translation “The Wedding Slip” deemed inappropriate by
Victorian translator; for Birmingham Festival; 1884-85.
Svatá Ludmila (St. Ludmilla), Op. 71: SATB; soli SATB; orch; (libretto Jaroslav
Vrchlický); oratorio; for Leeds Festival; 1886.
Requiem, Op. 89: SATB; soli SATB; orch; 1890.
Mass in D Major, Op. 86: SATB; soli [SATB];
371
org; dedication of a private chapel;
1887, orchestrated 1892.
Te Deum, Op. 103: SATB; soli SB; orch; 1892.
The American Flag, Op. 102: SATB; soli [ATB];
372
orch; (librettist Henry Rodman
Drake); 1893.
[Čtyři sbory]
373
(Four Part-songs), Op. 29: SATB; 1876.
[Ukolébavka (Cradle Song), No. 2].
V přirodě (Amid Nature), Op. 63: SATB; 5 songs; 1883.
[Napadly písně v duši mou (Music Descended to my Soul), No. 1]
Kytice národních písní slovanských (From a Bouquet of Slavonic Folks Songs), “Three
Slavic Folk Songs”; Op. 43: TTBB; pf; 1877-88.
(Four Part-songs): TTBB; 1877.
[Moravské dvojzpěvyh]
374
(Moravian Duets), Op. 32: soli SA; pf; often sung by choruses;
1876, arr. 1876 (SATB, Leoš Janáček), arr. 1880 (SSAA, Antonín Dvořák).
[“Slavíkovský Polečko Malý”, No. 2: SATB; arr. Leoš Janáček.]
[“Zelenaj se, Zelenaj”, No. 6: SATB; arr. Leoš Janáček.]
[Moravské dvojzpěvyh]
375
(Moravian Duets), Op. 38: soli SA; pf; often sung by choruses;
1877.
The Old Folks at Home: SATB; soli SB; orch; arr., composed by Stephen Foster; 1893-94.
Psalm 149, Op. 79: TTBB; orch; 1879, revised 1887 (SATB).

371
Daniels, Orchestral Music: A Handbook, 129.
372
Dvořák, The American Flag, (G. Schirmer). Atlo solo marked “or 4 voices”.
373
Döge, “Dvořák, Antonín,” (Grove).
374
Ibid.
375
Ibid.
80

Janáček, Leoš, 1854-1928, Czechia: most well-known music written in the twentieth century;
student of Pavel Křížkovský; composed motets for mixed and male chorus;
(CM19c p138-139).
[3 sbory mužské]
376
(3 Male-voice Choruses): TTBB; 1888.
[Zpěvná duma]
377
(Choral Elegy): TTBB; 1876.
Ave Maria: TTBB; 1883.
[Slavnostní sbor]
378
(Festival Chorus); TTBB; pf; 1878.
[Messe pour orgue: SSAATTBB];
379
org; arr, composed by Franz Liszt; 1900.
Hospodine pomiluj ny (Lord, Have Mercy): 2 SATB;
380
soli SATB; 3 tpt; 4 trbn;
[tuba];
381
hp; org; 1896.

Vitásek, Jan August, 1770-1839, Czechia: works: Masses, motets, liturgical works; style:
influenced by Mozart; (CM19c p139).

Tomášek, Václav Jan, 1774-1850, Czechia: primarily known compositions are for small piano
pieces and songs; choral works: several Masses, a couple of Requiems; (CM19c
p139).

Měchura, Leopold Eugen, 1804-70, Czechia: attorney by profession; (CM19c p139).
[Štědrý den]
382
(Christmas Eve): [SATB; soli SATB; orch];
383
(librettist Erben); cantata;
[1866].
384

Veit, Václav Jindřich, 1806-64, Czechia: judge by profession; works: numerous part-songs for
men's chorus, several large choral works; (CM19c p139).
Mass in D Major: SATB; soli; orch; 1858.
Te Deum: SATB; soli; orch; 1863.

Kittl, Jan Bedřich, 1809-68, Czechia: important symphonic precursor of Dvořák; choral works:
various; (CM19c p139).

376
Tyrrell, “Janáček, Leoš,” (Grove).
377
Ibid.
378
Ibid.
379
Ibid.
380
Ibid. 2 SSATB.
381
Ibid.
382
Stapleton, “Měchura, Leopold,” (Grove).
383
Ibid.
384
Ibid.
81

SLOVAKIA

Hummel, Johann Nepomuk, 1778-1837, Slovakia: b. Bratislava; pianist/composer/teacher;
Haydn’s assistant, Eisenstadt; authored Anweisung zum Pianofartespiel, treatise
on piano technique; choral works: Masses, smaller church works, cantatas, part-
songs; (CM19c p139-140).
Mass in E Major: SATB; soli; orch; for Princess Esterházy’s name day; 1804.
Te Deum: SATB; soli; orch; 1806.
Twelve Part-songs to Italian Texts: 3-6 vv; c.1790.
O ihr Geliebten: treble vv; solo S; c.1810
Herauf Gesang: SATB; soli; for Goethe's Weimar Jubilee; 1825.
Kehrt der frohe Tag: SATB; soli; for Goethe's birthday; 1827.
Wir steigen fröhlich: SATB; soli; for Goethe's birthday; 1829.
Have: TTBB; brass; (English); 1828.
Think On Your Friend: SATB; canon; (English); c.1831.

Bella, Ján Levoslav, 1778-1837, Slovakia: [or “Ján Ignác”; “Johann Leopold”; “János
Leopold”];
385
teacher/priest; friend of Richard Strauss; left priesthood, 1881;
organist, Protestant church, Transylvania, 1881; works: liturgical work,
unaccompanied male chorus, motets, secular cantatas, songs; style: influenced by
Caecilian Society; (CM19c 141).
Haec dies, [Op. 8]:
386
TTBB; motet; 1865.
387

Tu Petrus, [Op. 20]:
388
TTBB; motet; 1869.
Drei ernste Gesänge: TTBB; secular; c.1900.
Vier heitere Gesänge: TTBB; secular; c.1900.

HUNGARY

Liszt, Ferenc (Franz), 1811-86, Hungary: leading pianist of his day; one of the most influential
composers of nineteenth century; choral works: motets for male chorus and mixed
chorus, some accompanied by organ; (CM19c p140-142).
Missa choralis: SATB; org; 1865.
Requiem: TTBB; org; brass; 1867-68.
Pater noster (I): TTBB; [1846, revised 1852 (TTBB; org)].
389

Pater noster (II): SATB; org.

385
Godár, “Bella, Ján Levoslav,” (Grove).
386
Ibid.
387
Ibid. 1866.
388
Ibid.
389
Eckhardt, “Liszt, Franz,” (Grove).
82

Pater noster (III): SATB; org/[pf];
390
1869, [revised 1869 (TTBB; org/hmn/pf)].
391

Pater noster (IV): SATB; org.
Via crucis: SATB; soli; org; 1878-79.
Chor der Engel (Chorus of Angels): SATB; hp/pf; (librettist Goethe, Faust); 1849.
Ungarisches Königslied: “Magyar Kiraly-dal”: various vv: 1883.
Die Legende von der heiligen Elisabeth: SATB; soli [SSATBarBarBarB];
392
org; orch;
(librettist Otto Roquette); oratorio; 1857-62.
Christus: SATB; soli [SATBarB];
393
org; orch; oratorio; 1855-66.
394

Dante Symphony: includes final chorus; 1855-56.
Faust Symphony: 1854, revised 1857 (added final chorus).
Missa solemnis “Granerfestmesse” (Gran Festival Mass):
395
SATB; soli [SATB];
396
orch;
1855, revised 1858.
[Ungarische Krönungs Messe]
397
(Hungarian Coronation Mass): SATB; soli [SATB];
398

org; orch; 1867, revised 1869 (Graduale added).

Bartay, András, 1799-1854, Hungary: cofounder, Pest’s first singing school; director,
Hungarian National Theater; emigrated to Germany; folk song collection help
pave way for Béla Bartók and Zoltán Kodály; choral works: Masses, oratorios,
folk song collections; (CM19c p142).

Bartalus, István, 1821-99, Hungary: folk song collection help pave way for Béla Bartók and
Zoltán Kodály; (CM19c p142).

Bräuer, Ferenc, 1799-1871, Hungary: pianist/violinist/composer; studied with Czerny and
Hummel; choral works: all sacred; style: 1. gypsy influence (instrumental) 2.
classical (choral); (CM19c p142).

Mosonyi, Mihály, 1815-70, Hungary: co-founder, Hungarian national music; choral works: 5
Masses, church works, and pieces for men’s choir; style: Germanic harmonies
with Hungarian rhythms and scales; (CM19c p142).

390
Ibid.
391
Ibid.
392
Green, A Conductor’s Guide, 185.
393
Liszt, Christus, (F.W. Garbrecht).
394
Eckhardt, “Liszt, Franz,” (Grove). 1866-72.
395
Ibid. Missa solennis zur Erweihung der Basilika in Gran.
396
Liszt, Missa Solemnis, (Schuberth & Co.).
397
Liszt, Krönungs Messe, (Schuberth & Co.).
398
Ibid.
83

Ábrányi, Kornél, 1822-1903, Hungary: improved music education in Hungary; founder,
National Association of Choral Societies, 1867, director until 1888; helped
establish Budapest Academy of Music, 1875; editor, Zenészeti lapok, first
Hungarian music periodical; composed small choral works; (CM19c p142-143).

Adelburg, August, 1830-73, Hungary: b. Turkey; violinist/composer; disputed Liszt’s theories
of gypsy origin of Hungarian music; (CM19c p143).
Mass: 1858.
Te Deum: 1864.

Erkel, Ferenc, 1810-93, Hungary: created Hungarian national opera; choral works: many small
pieces; (CM19c p143).

Beliczay, Gyula, 1835-93, Hungary: choral works: number of sacred works, male choruses in
style of Schubert; (CM19c p143).

Aggházy, Károly, 1855-1918, Hungary: concert pianist/teacher/composer; style: nationalistic
with French elements; stylistic bridge between Lizst and twentieth-century
Hungarian composers, Bartók and Kodály; (CM19c p143).
Rakoczi: cantata; 1905.

POLAND

Chopin, Frédéric, 1810-49, Poland: one of history’s greatest composers for piano music; choral
works: none; (CM19c p143-144).

Elsner, Józef, 1769-1854, Poland: taught Chopin; works: 17 Masses, sacred and secular small
works, 2 treatises on Polish texts; (CM19c p144).

Lewandowski, Lewis, 1821-94, Poland: moved to Berlin at age 12; first Jewish student accepted
to Berlin Academy of Arts; choirmaster, Heidereutergasse Temple, Berlin;
choirmaster, Oranienburgerstrasse Temple, Berlin, 1864, equipped with organ;
established high standard of Jewish choral music; works: mostly sacred; (CM19c
p144-146).
Todah W'Simrah (Thanksgiving and Song): SATB; cantor; org; complete liturgical cycle;
1882.
“Psalm 150, Haleluyaw”: SATB; org ad lib; standard for High Holy Day
repertoire.
Deutsche Kedushah: SATB; cantor; org; German text with Hebrew responses.

84

Baszny, Józef, ?-c.1862, Poland: [or “Baschny”];
399
choirmaster, Lvov Cathedral; choral works:
liturgical; (CM19c p146).

Brzowski, Josef, 1803-88, Poland: choral works: sacred music and 2 secular cantatas; (CM19c
p146).
La Joi messe: TTBB; org; 1862.
Requiem: 1845.

Żeleński, Władysław, 1837-1921, Poland: choral works: sacred works for men's chorus;
(CM19c p146).

Borkowski, Bohdan, 1852-1901, Poland: choral works: Masses, liturgical works, and cycle of
folk song arrangements; (CM19c p146).
Natarcie jazdy (A Cavalry Charge): SATB; 1886.
Hymn ne dzień Zwiastowania Najświętszej Marii Panny (Hymn for the Feast of the
Annunciation of the Blessed Virgin Mary): SATB; solo T; orch; 1894.

399
Dziębowska, “Baszny, Józef,” (Grove).
85

RUSSIA, SCANDINAVIA, and the BALTICS

UKRAINE

Bortniansky, Dmitri Stepanovich, 1751-1825, Ukraine: [or “Dmitry Stepanovych
Bortnyansky”];
400
member of imperial court chapel at age 7; student of Galuppi;
director, Russian imperial court chapel, 1801; monopolized Russian choral
composition with decree, sung church music must be composed by himself or
someone he approved; created form: Cherubic Hymn; excelled at sacred concerto;
(CM19c p147-149).
Sacred concertos (35): SATB.
Lord, Make Me to Know My End, [No. 32]:
401
SATB; [soli SATB;]
402
sacred
concerto; 1881.
Glory to God in the Highest, [No. 6]:
403
SATB; Christmas concerto.
Let God Arise, [No. 34]:
404
SATB; Easter concerto.
Sacred concertos (10): 2 SATB.
Cherubic Hymn (7): SATB.
Te Deum (10).
[Obednya]
405
(Liturgy): 3 male vv.
406

Sacred trios (8): SSA or TTB.
Let My Prayer Arise, No. 2: SSA or TTB; sacred trio.

RUSSIA

Lvov, Aleksei Fyodorovich, 1798-1870, Russia: [or “Aleksey L’vov”];
407
composed Russian
national anthem, 1834; director, imperial court chapel, 1837-61; authored
theoretical work Concerning Free or Unsymmetrical Rhythm; style: influenced by
German romanticism; (CM19c p149).
Of the Mystical Supper: SATBB.
Standing Before the Cross: SATBB; miniature sacred concerto.
It Is Truly Fitting, No. 3: SATB; Greek chant arrangement.

400
Kuzma, “Bortnyans′ky, Dmytro Stepanovych,” (Grove).
401
Ibid.
402
Bortniansky, O Lord, make me to know mine end, ed. Marika Kuzma, (Carus-Verlag).
403
Kuzma, “Bortnyans′ky,” (Grove).
404
Ibid.
405
Ibid.
406
Ibid. SSA.
407
Norris, “L′vov family,” (Grove).
86

Glinka, Mikhail Ivanovich, 1804-57, Russia: founder of Russian national school of secular
composition; worked for imperial court chapel choir under Aleksei Lvov, 1837-39;
(CM19c p149-150).
[Heruvimskaya pesn’]
408
(Cherubic Hymn): SSAATTBB; 1837.
[Yekteniya pervaya]
409
(First Litany): TTBB[sic];
410
c.1856.
[Da ispravitsya molitva moya]
411
(Let My Prayer Arise): SATB[sic];
412
3 soli; c.1856.
Pleurons, pleurons sur la Russie (Prologue on the Death of Alexander I and the
Accession of Nicholas I): SATB; pf; db; 1826.
Come di gloria al nome: SATB; str; c.1828.
Molitva (Prayer): SATB; pf; 1828.
Velik nas Bog (Our God Is Great): SATB; orch; polonaise; 1837.

Lomakin, Gavriil Yakimovich, 1812-85, Russia: conductor/composer; singer, choir of Count
Sheremetev, later became conductor; voice teacher, imperial court chapel;
developed reputation as first and finest conductor of Western European
Renaissance and baroque repertoire; composed several secular choruses, folk song
arrangements, smaller works for liturgy; (CM19c p150-151).
All-night Vigil: based on Znamenny chant.

Rubinstein, Anton, 1830-94[sic],
413
Russia: [or “Rubinshteyn”];
414
piano virtuoso; composed in
all genres, choral works large and small; founder, St. Petersburg Conservatory;
style: German classical, not interested in nationalism; (CM19c p151).
[Der Thurm zu Babel]
415
(The Tower of Babel), Op. 80: SATB; soli; orch; 1870.
416

[Die Maccabäer]
417
The Maccabees: SATB; soli; orch; 1875.
418

[Das Verlorene Paradies]
419
(Paradise Lost), Op. 54: SATB; soli; orch; 1855.
420

Moses, Op. 112: SATB; soli; orch; 1887.
421

Christus, Op. 117: SATB; soli; orch; 1888.
422

Three Part-songs, Op. 61: TTBB; 1861.

408
Campbell, “Glinka, Mikhail,” (Grove).
409
Ibid.
410
Campbell, “Glinka”, (Grove); Glinka, Ектенія первая, (P. Jurgenson). ATTB.
411
Campbell, “Glinka”, (Grove).
412
Campbell, “Glinka”, (Grove); Glinka, Да Исправится Молитва Моя, (P. Jurgenson). TTB.
413
Garden, “Rubinstein, Anton,” (Grove); Taylor, Anton Rubinstein A Life in Music, xv. 1829-94.
414
Garden, “Rubinstein,” (Grove).
415
Taylor, Anton Rubinstein, 249.
416
Garden, “Rubinstein,” (Grove); Taylor, Anton Rubinstein, 249. 1868-9.
417
Taylor, Anton Rubinstein, 159.
418
Garden, “Rubinstein,” (Grove); Taylor, Anton Rubinstein, 255. 1874.
419
Taylor, Anton Rubinstein, 67.
420
Garden, “Rubinstein,” (Grove); Taylor, Anton Rubinstein, 247. 1856.
421
Garden, “Rubinstein,” (Grove); Taylor, Anton Rubinstein, 254. 1885-9.
422
Garden, “Rubinstein,” (Grove); Taylor, Anton Rubinstein, 230-5. 1887-1893.
87

[Sechs Gesänge]
423
(Six Part-songs), Op. 62: SATB; 1861.
[Rusalka]
424
(The Water-sprite), Op. 63: SSAA; solo A; orch[/pf]:
425
1861.
Songs and Requiem for Mignon, Op. 91: SATB; soli; pf; (librettist Goethe); 1872.

Albrecht, Karl Konstantin, 1836-93, Russia: cellist/conductor; eldest son of Karl Albrecht,
German conductor; founder, Moscow Choral Society, 1878; wrote text on choral
singing; (CM19c p151).

Tchaikovsky, Pyotr Il'yich, 1840-93, Russia: one of the most prominent symphonic composers
of the nineteenth century; composed sacred and secular choral music, large and
small forms; (CM19c p152-154).
[K radosti]
426
(To Joy): SATB; soli [SATB];
427
orch; (librettist Friedrich Schiller,
translation K.S. Aksakov); cantata; 1865.
[Legenda]
428
(A Legend): SATB; 1889.
[Otche nash]
429
(Our Father): SATB; from Nine Sacred Choruses; 1884-85.
Liturgy of St. John Chrysostom, Op. 41: SATB; 1878; [arr pf, 1879].
430

All-night Vigil, Op. 52: SATB; 1881-82.
Nine Sacred Choruses: SATB; 1884-85.
[Angel vopiyashe]
431
(The Angel Cried): SATB; Easter hymn; 1887.
The Cherubic Hymn, [Op. 41, No. 6]:
432
SATB; from Liturgy of St. John Chrysostom
1878; [arr pf, 1879].
433

Dostóyno yest (It Is Truly Fitting), [Op. 41, No. 11]:
434
SATB; from Liturgy of St. John
Chrysostom; “Marian hymn”; 1878; [arr pf, 1879].
435

Taneyev, Sergey Ivanovich, 1856-1915, Russia: pianist/teacher/composer; student/critic/friend
of Tchaikovsky; not interested in liturgical music; (CM19c p154-155).
John of Damascus, Op. 1: (librettist Aleksey K. Tolstoy); cantata; 1884.
At the Reading of a Psalm, Op. 36: (librettist Aleksey Khomiakov); cantata; 1914.
[Lebed (The Swan)],
436
Op. 35, No. 12: TTBB; vn; from Sixteen Choruses; 1914.

423
Rubinstein, Sechs Gesänge, (Wein: C.A. Spina).
424
Taylor, Anton Rubinstein, 247.
425
Garden, “Rubinstein,” (Grove).
426
Wiley, “Tchaikovsky, Pyotr Il′yich,” (Grove).
427
Green, A Conductor’s Guide, 312.
428
Wiley, “Tchaikovsky, Pyotr Il′yich,” (Grove).
429
Ibid.
430
Ibid.
431
Ibid.
432
Morosan, ed., Peter Tchaikovsky: The Complete Sacred Choral Works, (Musica Russica).
433
Wiley, “Tchaikovsky,” (Grove).
434
Ibid.
435
Ibid.
436
Brown, “Taneyev, Sergey Ivanovich,” (Grove).
88

Arensky, Anton Stepanovich, 1861-1906, Russia: [or “Antony”];
437
conductor; student of
Rimsky-Korsakov; director, Russian Choral Society, 1888-95; director, imperial
court chapel, St. Petersburg; (CM19c p155).
Anchar, Op. 14: SATB; (librettist Alexander Pushkin).
Two Choruses, Op. 31: TTBB; 1914.
Four Sacred Choruses from the Liturgy of St. John Chrysostom, Op. 40: SATB.
[Bakhchisarayskiy fontan]
438
(The Fountain of Bakhchisaray), Op. 46: SATB; soli; orch;
(librettist Alexander Pushkin); cantata; 1899.
Tsvetnick (The Bed of Flowers): Op. 69: SSAA; pn; 8 pieces.

THE FIVE

Balakirev, Mily Alekseyivich[sic],
439
1836-1910, Russia: opposed to foreign musical
influences; organized the Five to guide Russian national music; co-founder, Free
Music School, St. Petersburg, 1862; composed nine sacred choral works, several
part-songs, and arrangements of songs and instrumental works; (CM19c p155-
156).
[Da molchit vsyakaya plot′]
440
(Let All Mortal Flesh Keep Silence): SATB; Kievan
Chant; from Liturgy of Great and Holy Saturday;[c.1880-90].
441

Borodin, Alexander, 1833-87, Russia: [or “Aleksandr”];
442
chemist by trade; many large works
left incomplete; choral output limited to opera choruses; part of the Russian Five;
(CM19c p156).
[Knyaz′ Igor′]
443
(Prince Igor): opera; choruses left unfinished, completed by Rimsky-
Korsakov and Glazunov, 1889.
[Serenada chetïryokh kavalerov yednoy dame]
444
(Serenade of Four Cavaliers to One
Lady): TTBB; [pf];
445
(librettist Alexander Borodin); c.1870.
[Pesnya tyomnogo lesa]
446
(Song of the Dark Forest): solo voice; pf; 1868; TTBB; pf or
orch; arr Aleksandr Glazunov; [1893].
447

Requiem: TTBB; solo T; pf or orch; 1877.

437
Brown, “Arensky, Anton Stepanovich,” (Grove).
438
Ibid.
439
Campbell, “Balakirev, Mily Alekseyevich” (Grove). Alekseyevich.
440
Ibid.
441
Ibid.
442
Oldani, “Borodin, Aleksandr Porfir′yevich,” (Grove).
443
Ibid.
444
Ibid.
445
Ibid.
446
Ibid.
447
Ibid.
89

Cui, César Antonovich, 1835-1918, Russia: b. Vilnius; [or “Kyui, Tsezar”];
448
largely self-
taught; part of Russian Five; style: nationalistic, lyrical, (CM19c p156-157).
[Misticheskiy khor]
449
(Mystic Chorus), Op. 28[sic]:
450
SSA;
451
1871.
Five Choruses, Op. 46: SATB;
452
(librettist Nikolai Rimsky-Korsakov); [1893].
453

[“Barcarole,” Op. 46, No. 5: SATB].
Two Choruses, Op. 58: TTBB.
Les oiseaux d'Argenteau: children’s vv; [1887].
454

Mussorgsky, Modest, 1839-81, Russia: [or “Musorgsky”; “Moussorgsky”];
455
part of Russian
Five; many works left incomplete and finished by Rimsky-Korsakov; style:
visceral, harsh, unapologetic harmonies; (CM19c p157).
[Porazheniye Sennakheriba]
456
(The Destruction of Sennacherib): SSAATTBB; orch;
(librettist George G. Byron “Lord Byron”); 1867; revised 1874.
Boris Godunov: opera; choruses often performed in concert; 1872-74.
[Marsh Shamilya]
457
(Shamil's March): SATB; soli; orch; 1859.
Jesus Nevin
458
(Joshua): SATB; soli AB; pf; [recycled material from Salammbô];
459

1874-77; [edited by Rimsky-Korsakov 1883].
460

Three Vocalises: SSAA; 1880.
Five Russian Folk Songs: TTBB; fifth song incomplete; 1880.

Rimsky-Korsakov, Nikolai, 1844-1908, Russia: [or “Nikolay”];
461
part of Russian Five; leader
in new compositional techniques; professor at St. Petersburg Conservatory, 1883-
93; composer, imperial court chapel taught Taneyev and Igor Stravinsky; choral
works: operas, part-songs, folk song arrangements; cantatas, sacred works;
(CM19c p157-160).
Mlada: opera; 1889-90.
“Procession of the Nobles”: SSAATTBB; orch; 1889-90.

448
Norris, “Cui, César,” (Grove).
449
Ibid.
450
Ibid. Op. 6.
451
Ibid. pf or orch accompaniment.
452
Cui, César, 5 Choruses, Op. 46, (Muzyka). No. 1-4 treble vv; No. 5 SATB.
453
Norris, “Cui,” (Grove).
454
Ibid.
455
Oldani, “Musorgsky, Modest Petrovich,” (Grove).
456
Ibid.
457
Ibid.
458
Ibid. Iisus Navin.
459
Ibid.
460
Ibid.
461
Frolova-Walker, “Rimsky-Korsakov family,” (Grove).
90

[Teбe Бога хвалим]
462
(We Praise Thee, O God): 2 SATB; [soli SATB];
463
sacred
concerto; 1883.
[Otche nash (Our Father)]
464
“The Lord’s Prayer”: [SSATTBB];
465
freely composed;
1883.

OTHER RUSSIAN COMPOSERS

Feofan, Archimandrite, c.1785-1852, Russia: choral compositions standard in Russian
churches; 25 works survived; (CM19c p160).

Alyabyev,
466
Alexander Alexandrovich, 1787-1851, Russia: composed mostly operas and stage
music, small number of choral works; (CM19c p160).

Makarov, P., dates unknown, Russia: (CM19c p160).
Angel vopiyáshe (The Angel Cried Out): SATB; soli SSA.

Vinogradov, Mikhail Aleksandrovich, 1809-88, Russia: 37 known works; choral music is
standard in Russian churches; style: simple, straightforward; (CM19c p160).

Starorussky, Vasily, 1818-71, Russia: conductor, Novgorad Theological Seminary Choir;
(CM19c p160).
Ot yúnosti moyeyá (From My Youth): SATB.

Dvoretsy, I. S.,[sic]
467
dates unknown, Russia: active in the middle of the nineteenth century;
(CM19c p160).
Svéte tíhiy (Gladsome Light): standard repertoire in Russian churches.

Bachmann, Jacob, dates unknown,
468
Russia: active in the second half of the nineteenth
century; (CM19c p160).
Shirat Jacob: SATB and solo; collection of Jewish liturgical pieces; pub 1884.

Afanas'yev, Nikolai Yakovlevich, 1821-98, Russia: choral works: cantata, small choral pieces,
folk song anthology; (CM19c p160).
Pir Petra Velikova (The Feast of Peter the Great): SATB; soli; orch; cantata; 1860.

462
Rimsky-Korsakov, We Praise Thee, O God, ed. Vladimir Morosan, (Musica Russica).
463
Ibid.
464
Frolova-Walker, “Rimsky-Korsakov family,” (Grove).
465
Rimsky-Korsakov, Otche nash, ed. Vladimir Morosan, (Musica Russica).
466
Norris, “Alyab′yev, Aleksandr Aleksandrovich,” (Grove). Alyab’yev.
467
Dvoretsky, Svéte tíhiy (Gladsome Light), ed. Vladimir Morosan, (Musica Russica). Dvoretsky.
468
Avenary, “Bachmann, Jacob,” In Encyclopaedia Judaica, 38. 1846-1905.
91

[64 russkiye narodnïye pesni (64 Russian folk songs)]:
469
SATB; anthology of folk song
arrangements; 1866.

Liadov, Anatol, 1855-1914, Russia: [or “Lyadov Anatoly”];
470
brilliant composer of small piano
pieces; (CM19c p160).
Slava, Op. 47: SSAA; 2 hp; 2 pf (8 hands); [1899].
471

Songs, Op. 50:
472
SSAA; pf; 1900.

Catoire, Georgy, 1861-1926, Russia: [or “Katuar”];
473
composer of the Moscow School;
important teacher, taught Dimitri Kabelevsky; great contributions to study of
music theory in Russia; choral works: part-songs, cantatas; (CM19c p160-161).

Engel, Joel, 1868-1927, Russia: lead editor and arranger, The Society of Jewish Folk Music;
preserved, arranged, and edited Yiddish choral music from Baltic countries and
Russia; (CM19c p161).

DENMARK

Berggreen, Andreas Peter, 1801-80, Denmark: folklorist/organist/educator; self-taught
composer; works: several cantatas, part-songs, and hymn tunes; published large
collection of folk songs, had large impact on public awareness of Danish music
tradition; taught Niels Gade; (CM19c p161).

Hartmann, Johann Peter Emilius, 1805-1900, Denmark: son of the composer/choral
conductor/organist/violinist August Wilhelm Hartmann; identified as leader of
Danish romantic movement by Robert Schumann; co-founder, Copenhagen
Conservatory with son-in-law Niels Gade, 1866; work: all genres including
cantatas and part-songs; (CM19c p161).

Gade, Niels, 1817-90, Denmark: preeminent nineteenth-century Danish composer; assistant
conductor to Mendelssohn, Leipzig; director, Gewandhaus Orchestra, 1847;
director, Copenhagen Musical Society, 1850; conducted first Danish performance
of Bach’s St. Matthew’s Passion; works: primarily large forms; (CM19c p161-
162).

469
Spencer, “Afanas′yev, Nikolay Yakovlevich,” (Grove).
470
Spencer, “Lyadov, Anatoly Konstantinovich,” (Grove).
471
Ibid.
472
Ibid. Proshchal′naya pesn′ vospitannits Instituta imperatritsï Marii (Farewell Song of the Pupils of the Empress
Maria Institute), Op. 50.
473
Butir, “Catoire, Georgy,” (Grove).
92

Five Songs, Op. 33: TTBB; [1858].
474

Choruses, Op. 26: TTBB; orch; 1853.
Den Bjergtagne (The MountainThrall),[sic]
475
Op. 52: TTBB; soli; orch; cantata; 1873.
Elverskud (The Elf-King's Daughter), Op. 30: SATB; soli; orch; cantata; 1853.
Der Strom, Op. 64: SATB; soli; pf; orch; (librettist Goethe, "Mahomet"); cantata;
[1889].
476

Barnekow, Christian, 1837-1913, Denmark: authority on Danish church music; editor, Danish
hymnal, 1878; works: several cantatas, part-songs, and hymn tunes; (CM19c
p162).

Bendix, Victor, 1851-1921, Denmark: prominent conductor/composer; style: inconsistent,
influenced by Gade, Liszt, and Wagner; (CM19c p162).
Psalm 33, Op. 7: SATB; orch; 1874.

FINLAND

Crusell, Bernhard Henrik, 1775-1838, Finland: first composer to impact choral music; (CM19c
p162-163).
Den Zilla slavinnan (The Little Slave Girl): SATB; collection, 37 part-songs;
477
pub
1824.

Pacius, Fredrik, 1809-91, Finland: [or “Friedrich”];
478
b. Germany; Father of Finnish Music;
composed part-songs; style: early German romantic, influenced by Mendelssohn;
(CM19c p163).
Vårt land [(Our Country)]:
479
(librettist J. Runeberg); patriotic song; adopted as Finland’s
national anthem; 1843.
480

Sibelius, Jean, 1865-1957, Finland: most important Finnish composer; great impact in the
twentieth century; composed first choral works in the nineteenth century; (CM19c
p163).
Kullervo, Op. 7: TTBB; soli S, Bar; symphonic poem; 1892.
Rakastava (The Lover), Op. 14: TTBB; 1893.
Laulu Lemminkäiselle (A Song for Lemminkäinen), Op. 31, No. 1: TTBB; orch; 1900.

474
Marschner, “Gade, Niels W(ilhelm),” (Grove).
475
Ibid. The Mountain Thrall (space missing after Mountain).
476
Ibid.
477
Dahlström, “Crusell, Bernhard Henrik,” (Grove). Operetta titled Lilla slavinnan (The Little Slave Girl).
478
Oramo, “Pacius, Fredrik,” (Grove).
479
Ibid.
480
Oramo, “Pacius,” (Grove); Finland Promotion Board, “The Finnish National Anthem.” 1848.
93

ICELAND

Sveinbjörnsson, Sveinbjörn, 1847-1927, Iceland: primary exponent of choral music in Iceland;
settled in Scotland; works: many pieces for chorus; (CM19c p163).
[Ó, guð vors lands (Our country's God)]:
481
hymn; Icelandic national anthem, 1874.

NORWAY

Kjerulf, Halfdan, 1815-68, Norway: excelled at small forms; influenced Edvard Grieg; works:
over 40 TTBB part-songs and arrangements of solo and folk songs; style: inspired
by Norwegian folk music; (CM19c p163).

Behrens, Johan Diderick, 1820-90, Norway: seminal figure in Norwegian choral music;
important in development of male choirs; co-founder, choral society at Christiania
Latinskole, 1846; editions and arrangements created foundation of Norwegian
repertoire for male voices; (CM19c p164).
Samling af flerstennige mandssange: collection of 500 works for male voices; pub 1845-
85.

Grieg, Edvard, 1843-1907, Norway: most celebrated Norwegian composer of nineteenth
century; studied at Copenhagen and Leipzig; contemporary of Gade; co-founder,
Euterpe Society, promoted Scandinavian nationalism in music; (CM19c p164).
[Foran sydens kloster]
482
(At a Southern Convent's Gate), Op. 20: SSAA; solo SA; orch;
(librettist Bjørnson); 1871.
Two Songs from “Sigurd Jorsalfar,” Op. 22: TTBB; solo Bar; orch; (librettist Bjørnson);
1870.
Album, Op. 30: TTBB; [12 songs arranged from Norwegian Folk songs];
483
1877.
[Landkjending]
484
(Landsighting), Op. 31: TTBB; [solo Bar];
485
orch; [org ad lib];
486

1872.
Scenes from “Olav Trygvason” Op. 50: (librettist Bjørnson); 1873, revised 1889.
Ave maris stella: SATB; c.1899.
Four Psalms, Op. 74: SATB; 1906.
[“Hvad est du dog skjon (How Fair is Thy Face)”, Op. 74, No.1]
Incidental Music to “Peer Gynt”: SATB; (librettist Ibsen), 1876.

481
Government of Iceland, “History,” National Anthem.
482
Horton, “Grieg, Edvard,” (Grove).
483
Ibid.
484
Ibid.
485
Ibid.
486
Ibid.
94

Udbye, Martin Andreas, 1820-89, Norway: works: number of part-songs; (CM19c p164).

Svendsen, Johan, 1840-1911, Norway: works: part-songs and cantatas; (CM19c p164).
Two Part-songs for Men’s Voices, Op. 2: TTBB; 1865.

Nordraak, Rikard, 1841-66, Norway: [or “Nordraach”];
487
composed numerous part-songs;
friends with Grieg; cousin, Bjørnstjerne Bjørnson; (CM19c p164-165).
Ja, vi elsker dette landet [(Yes, we Love this Land)]:
488
(librettist Bjørnson); TTBB;
Norwegian national anthem; 1864.

Sinding, Christian, 1856-1941, Norway: works: part-songs and cantatas; (CM19c p165).

SWEDEN

Berwald, Franz, 1796-1868, Sweden: violinist, teacher, businessman; most important Swedish
composer of the nineteenth century; helped edit Swedish hymnal; (CM19c p165).
Chorale: SATB; orch; 1867.
Apoteus[sic]:
489
TTBB; soli; [composed for celebration of Shakespeare’s 300
th

birthday];
490
1864.
[Gustaf Adolph den stores seger och död vid Lützen]
491
(Gustav Adolph the Great's
Victory and Death at Lützen): SATB; soli; org; wind orch; (librettist G.
Ingelman); 1845.
Larghetto, Allegro con Spirito: SATB.
Nordiska fantasibilder: TTBB; soli; org; wind orch; [librettist Herman Sätherberg];
492

1846.

Almqvist, Carl Jonas Love, 1793-1866, Sweden: self-taught composer; known for literary
achievements and scandals; (CM19c p165-166).
Songes: 1-4 vv; series of some 50 small pieces;
493
(librettist Almqvist); c.1830.
494

487
Michelsen, “Nordraak, Rikard,” (Grove).
488
Ibid.
489
Layton, “Berwald family,” (Grove); The Royal Swedish Academy of Music, “Franz Berwald,” (Swedish Musical
Heritage). Apoteos.
490
The Royal Swedish Academy of Music, “Franz Berwald,” (Swedish Musical Heritage).
491
Layton, “Berwald family,” (Grove).
492
“Franz Berwald: Nordiska fantasibilder.” Swedish Musical Heritage, The Royal Swedish Academy of Music.
493
Hedwall, “Almqvist, Carl Jonas Love” (Grove). 49.
494
Ibid. 1849.
95

Josephson, Jacob Axel, 1818-80, Sweden: adept in composition for male chorus; professor,
Uppsala University, which he made center of musical activity in Sweden; works:
part-songs and large forms; (CM19c p166).
Stjärnklart: TTBB; part-song[sic].
495

Sjung, sjung, du underbara sång: TTBB; part-song[sic];
496
[1857].
497

Islossningen: SATB;
498
orch; cantata; [1844-51].
499

Quando corpus: SATB; orch; [solo S];
500
cantata; [1851].
501

Akerberg, Erick,
502
1860-1938, Sweden: organist/choral conductor; composed significant
amount of choral music; organist at Stockholm synagogue, 1890-1928; founder,
Bellamnska Sallskapet choir, 1891; style: reminiscent of Swedish folk music;
(CM19c p166).
Prinsessan och Svennen: SATB; soli; orch; choral ballad; 1887.
Der barde: TTBB; soli; orch; choral ballad; 1895.

Stenhammar, Wilhelm, 1871-1927: Sweden: works: all genres, excelled at choral music; best
work appears in twentieth century; style: 1. influenced by Liszt and Wagner
(early), 2. learned classical form and incorporated folk melodies (later); (CM19c
p166).
I rosengård: SATB; soli; orch; 1888-89.
[Tre körvisor]
503
(Three Choral Ballads): SATB; (librettist J. P. Jacobson); c.1890.
[“September”, No. 1]

Ahlstroem, Olof, 1756-1835, Sweden: [or “Åhlström”];
504
composer/music publisher;
composed two cantatas and the Choralbok, 1832; (CM19c p166).

Geijer, Eric Gustav, 1783-1847, Sweden: works: various choral works; (CM19c p166).

495
Bohlin, “Josephson,” (Grove); The Royal Swedish Academy of Music, “Jacob Axel Josephson, Stjernklart
Stjärnklart,” (Swedish Musical Heritage). solo; pf.
496
Bohlin, “Josephson,” (Grove); The Royal Swedish Academy of Music, “Jacob Axel Josephson, Sjung, du
underbara sång!,” (Swedish Musical Heritage). solo; pf.
497
The Royal Swedish Academy of Music, “Jacob Axel Josephson, Sjung, du underbara sång!,” (Swedish Musical
Heritage).
498
The Royal Swedish Academy of Music, “Jacob Axel Josephson: Frühlings Nahen (Islossningen),” (Swedish
Musical Heritage). TTBB.
499
Ibid.
500
The Royal Swedish Academy of Music, “Jacob Axel Josephson: Quando Corpus,” (Swedish Musical Heritage).
501
Ibid.
502
Dale, “Åkerberg, Erik,” (Grove). Åkerberg.
503
Wallner, “Stenhammar, Wilhelm,” (Grove).
504
Boer, “Åhlström, Olof,” (Grove).
96

Brendler, Eduard, 1800-31, Sweden: (CM19c p166-167).
I de höjda toner skaller (In the Heights the Tone Resounds): 2 SATB; 1830.
Spastaras död: SATB; orch; melodrama; 1830.
Edmund och Clara: SATB; orch; melodrama; 1831.

Boman, Peter Conrad, 1804-61, Sweden: important historian/music critic; works: cantata and
several small choruses; (CM19c p167).

Lindblad, Otto, 1809-64, Sweden: esteemed choral conductor; works: part-songs for male choir;
(CM19c p167).

Wennerberg, Gunnar, 1817-1901, Sweden: works: small forms for men's chorus; left number
of larger choral works unfinished; (CM19c p167).

Hallström, Ivar, 1826-1901, Sweden: opera composer; also composed cantatas; (CM19c p167).

Hallen, Andreas, 1846-1925, Sweden: works: operas and cantatas; (CM19c p167).

Söderman, Johan August, 1832-76, Sweden: works: variety of choral works; (CM19c p167).

Sjögren, Emil, 1853-1918, Sweden: works: variety of choral works; (CM19c p167).

THE BALTICS

Baumanis, Kārlis, 1835-1905, Latvia: (CM19c p167-168).
Dievs, svētī Latviju (God Bless Latvia): for first national song festival; Latvian national
Anthem; 1873.
How the Daugava Moans: TTBB; (librettist Auseklis); celebrates Baltic mythology;
1874.

Ore, Ādams, 1855-1927, Latvia: brilliant organist; works: choral music arrangements, folk
music inspired; style: influenced by Mendelssohn and other Germans; (CM19c
p168).

Jurjāns, Andrejs, 1856-1922, Latvia: known as father of Latvian orchestral music; choral
works: 30 part-songs and arranged folk songs; Latvian Folk Music Material (six
volumes), first attempt at scholarly collection of Latvian folk song, 1894-1926;
(CM19c p168).

97

Straume, Jānis, 1861-1929, Latvia: first great Latvian choral conductor; composed a few
significant small choral works; (CM19c p168).
Pie Baltijas jūras (By the Baltic Sea): SATB;
505
(librettist Straume).

Vītols, Jāzeps, 1863-1948, Latvia: (CM19c p167).
506

Naujalis, Juozas, 1869-1934, Lithuania: interested in church music, unlike other Baltic
composers of his generation; works: part-songs, Masses, and other liturgical
works; (CM19c p168-169).

Čiurlionis, Mikolajus, 1875-1911, Lithuania: abstract painter/composer; works: part-songs, folk
song arrangements; (CM19c p169).
De profundis: SATB; orch; one of largest choral works in Baltics at the time; 1899-1900.

Tobias, Rudolf, 1873-1918, Estonia: important choral conductor in St. Petersbuth and Tartu;
student of Rimsky-Korsakov; (CM19c p169).
Johannes Damascenus: SATB; soli; orch; cantata; first Estonian cantata; 1897.

505
Jansone, Anthology of Latvian Choral Music, 43. TTBB.
506
Listed with Latvian composers, but no further information provided.
98

IBERIAN PENINSULA and ITALY

PORTUGAL

Bomtempo, João Domingos, 1755-1842, Portugal: [or “Buontempo”];
507
pianist/composer;
spent early years in London and Paris; founder, Philharmonic Society in Lisbon,
1822; principal, National Conservatory; primary role in reform of Portuguese
music; choral works mostly sacred; (CM19c p171-172).
Hymno lusitano, “La virtù trionfante”: SATB; soli; orch; inspired by Napoleonic Wars;
arranged for pf four-hands as March of Lord Wellington; 1811.
A paz da Europa, “O annuncio da paz”: SATB; soli; orch; cantata; inspired by
Napoleonic Wars; 1814.
Requiem: SATB; soli; orch; 1819.
Miserere: SATB; soli; str.
Libera me: SATB; orch; 1835.
Settings of Latin liturgical texts: choir.

Almeida, Inácio António de, 1760-1825, Portugal: choirmaster, collegiate church, Guimaraes;
works are examples of the low standard of Portuguese church music in early
nineteenth century; (CM19c p172).

Baldi, João José, 1770-1816, Portugal: one of the finest Portuguese composers at beginning of
the nineteenth century; works: mostly church music including responsories for
four matins services; style: Italian; (CM19c p172).
Mass: SATB; orch; written in honor of the Count de Borba; 1803.
Magnificats (2): SATB; orch
Te Deums (2): SATB; orch.
Vesper psalms [(8)]:
508
SATB; orch.

Casimiro Júnior, Joaquim, 1808-62, Portugal: [or “Casimiro da Silva”];
509
master of
contrapuntal technique; works: over 200 theatrical works, ninety-seven liturgical
works: (CM19c p172-173).
Sansão, ou A destrucião dos Philisteus (Samson, or the Destruction of the Philistines):
SATB: orch; incidental music; for biblical drama by José Romano; 1855.
Masses (8): SATB; orch.
Masses (2): SATB.

507
Sousa, “Bomtempo, João Domingos,” (Grove).
508
Stevenson, “Baldi, João José,” (Grove)
509
Stevenson, “Casimiro Júnior [Casimiro da Silva], Joaquim,” (Grove).
99

Moreira, António Leal, 1750-1819, Portugal: composed church music including Italian
oratorio; joined Brotherhood of Saint Caecilia, 1777; style: Italian sacred style;
(CM19c p173).

Portugal, Marcos António, 1762-1830, Portugal: [or “Portogallo, Marco”];
510
internationally
known opera composer; composed large number of liturgical works; (CM19c
p173).

SPAIN

Baguer, Carlos, 1768-1808, Spain: admired organist, Barcelona cathedral; choral works:
Masses, motets, liturgical works, oratorios (dramos sacros);[sic]
511
style:
influenced by Italian opera, homophonic, melodious and florid arias; (CM19c
p173).
La adoración del Niño Dios por los ángeles y pastores: SATB; soli; orch; oratorio; 1805.
La resurrección de Lázaro: SATB; soli; orch; oratorio; 1806.
El regreso a Barcelona su patria de Dr Josef Oriol: SATB; soli; orch; oratorio; 1807.
La partida del hijo pródigo: SATB; soli; orch; oratorio; 1807.
512

El regreso del hijo pródigo: SATB; soli; orch; oratorio; 1807.
Job: SATB; soli; orch; oratorio; 1808.
La muerte de Abel: SATB; soli; orch; oratorio.

Balius y Vila, Jaime, d. 1822, Spain: maestro di capilla,[sic]
513
Córdoba; one of the leading
Spanish composers of his era; choral works: Masses, motets, liturgical works;
style: homophonic dominated by melody; (CM19c p173).

Andrevi y Castellar, Francisco,
514
1786-1853, Spain: choirmaster, Valencia and Seville;
choirmaster, royal chapel in Madrid, 1831; choirmaster, Bordeaux cathedral,
1836-1845; several unpublished choral works, oratorios, Masses, Requiem, Te
Deum, psalm settings, motets, liturgical works; (CM19c p173-174).
Mass: published in Paris.
Stabat mater (3): published in Paris.
motets (several): published in Paris.

510
Marques, “Portugal, Marcos António,” (Grove).
511
Torrens, “Baguer, Carles,” (Grove). dramas sacros.
512
Torrens, “Baguer, Carles,” (Grove). 1806.
513
López-Calo, “Balius y Vila, Jaime,” (Grove). maestro de capilla
514
López-Calo, “Andreví y Castellar, Francisco,” (Grove). Andreví.
100

Carnicer, Ramón, 1789-1855, Spain: prominent composer, known for theatrical works; (CM19c
p174).
Requiem: SATB; orch; commissioned by Spanish King Ferdinand VII for third wife;
1829.
Requiem: SATB; orch; 1842.
Tantum ergo: SATB; orch.
Tota pulchra: SATB; orch; 1814.
Missa solemnis: SATB; orch; 1828.

Albéniz, Mateo Pérez de, 1755-1831, Spain: b. Basque region; choirmaster, St. María la
Redondo, San Sebastián; choral works: Masses, vespers, motets, other sacred
works; introduced works of Haydn and Mozart to Spanish music students;
(CM19c p174).

Cassadó, Joaquin, 1867-1926, Spain: maestro de capilla, Nuestra Señora de la Merced,
Barcelona; organist, San José, Barcelona; established Capilla Catalana, 1890, part
of revival of Catalan folk music, providing choral singing opportunity outside the
church; composed large amount of sacred choral music; (CM19c p174-175).

Bros y Bertomeu, Juan, 1776-1852, Spain: forgotten master of Spanish church music;
composed liturgical music for churches in León and Oviedo; (CM19c p175).

Benito, Cosme Damián José de, 1829-88, Spain: maestro de capilla, El Escorial; works: over
200 liturgical choral works; (CM19c p175).

Caballero, Manuel Fernández, 1835-1906, Spain: important composer of zarzuelas; composed
several Masses and other sacred choral music; (CM19c p175).

Aceves y Lozano, Rafael, 1837-76, Spain: composer of zarzuelas; composed choral repertoire
for Roman Catholic church, including a Stabat mater; (CM19c p175).

Barrera Gómez, Enrique, 1844-1922, Spain: one of the finest Spanish composers of the late
nineteenth century. composed liturgical works for Burgos Cathedral; (CM19c
p175).

Bretón, Tomás, 1850-1923, Spain: (CM19c p175).
El apocalipsis: SATB; soli; orch; oratorio; 1882.

Nicolau, Antonio, 1858-1933, Spain: Catalan composer/music educator; choral pieces exhibit
understanding of the voice; (CM19c p175).
101

ITALY

Zingarelli, Niccolò Antonio, 1752-1837, Italy: internationally famous as teacher/composer; held
important positions in Milan, Rome, Naples; works: 7 oratorios, 23 Masses; 2
Requiems; (CM19c p175).
Canticao d'Isaiah profeta: SATB; soli; orch; for Birmingham Festival; 1829.

Cherubini, Luigi, 1760-1842, Italy: spent most of career in Paris; professor, Paris
Conservatoire; important contemporary of Beethoven and Schubert; gifted opera
composer; conducted first French performance of Mozart’s Requiem, 1805; 3
distinct creative periods, 1. Devoted to sacred choral music and Italian opera, 2.
French opera, 3. Sacred music; (CM19c p175-179).
Les deux journées: opera; influenced Beethoven’s opera Fidelio; 1800.
Oratorio: in old church style, Italian in character; composed by age 16; [lost].
515

Masses (3) [D, C, C: 4vv; orch];
516
in old church style, Italian in character; composed by
age 16.
Magnificat: [4vv; orch];
517
in old church style, Italian in character; composed by age 16;
[lost].
518

Te Deum: [4vv; orch];
519
in old church style, Italian in character; composed by age 16;
[lost].
520

Petrus apostolus: SSATTB; only surviving cantus firmus motet in the style of Palestrina;
1778.
Mass in F major: STB; soli STB; orch; 3-part voicing symbol of the trinity; 1809.
Missa solemnis in D Minor: SATB; soli [SSATTB];
521
orch; 1811; premiered in Chapelle
Royale, c.1821; pub 1825.
Missa solemnis in C: SATB; orch; 1816.
Requiem in C Minor: SATB; orch; for anniversary of the death of Louis XVI; 1816.
Requiem No. 2 in D Minor: TTB; orch; composed for composer’s funeral; 1836.
Petite messe de la Sainte Trinité in D minor: 3 vv; c.1817; org added by L. Sejan, 1835.
Mass in A Major, “Coronation”: STB; soli ad lib.; orch; [for coronation of Charles X];
522

1825.
Credo: SSAATTBB; org; contrapuntal tour de force virtually unequalled in nineteenth
century; 1806.

515
Ibid.
516
Ibid.
517
Ibid.
518
Ibid.
519
Ibid.
520
Ibid.
521
Cherubini, Missa solemnis in D Minor, (C.F. Peters).
522
Fend, “Cherubini, Luigi,” (Grove).
102

Baini, Giuseppe, 1775-1844, Italy: general administrator of choirs, papal chapel; style: music
forgotten, but influenced Pietro Alfieri, and later Caecilian movement; 16c
polyphony; (CM19c p179).

Raimondi, Pietro, 1786-1853, Italy: prolific composer of opera; choral works: oratorios,
Masses, Requiems, Te Deums, Stabat maters, and book of Psalms; (CM19c p179-
180).
Book of Psalms: 4-8vv; [in the style of Palestrina].
523

Mass (4): SATB; orch.
Mass (2): 2 SATB.
Requiem (2): SATB; orch.

Carafa, Michele, 1787-1872, Italy: nobleman; professional composer after Napoleonic wars;
many works for stage, small amount of sacred works; contemporary of Rossini,
which may have lent to being largely forgotten today; (CM19c p180).
Ave verum: SATB; soli; orch.

Rossini, Gioachino, 1792-1868, Italy: one of history’s greatest composers of opera; composed
choral music including several cantatas; (CM19c p180-181).
Stabat mater: SATB; soli [SSTB];
524
orch; some movements from previous collaboration
with Giovanni Tadolini; 1842.
“Et inflammatus est”: SATB; solo S.
Petite messe sollennelle: SATB; soli [SATB]
525
; 2 pf; hmn; title is a joke, work is over 90
minutes in duration; intended for intimate performance; operatic concert work;
1863.
Trois choeurs religieux: 3-part treble; pf; 1844; Ricordi published separately with Italian
and French texts, “La fede,” “La speranza,” “La carita,” 1989.

Mercadente, Saverio,[sic]
526
1795-1870, Italy: composed operas and oratorios; student of
Zingarelli; (CM19c p181).
Le sette parole di nostre Signore: SATB; soli [SATB];
527
orch; oratorio; 1838.

Pacini, Giovani, 1796-1867, Italy: works: operas, cabalettas, Masses, cantatas, oratorios; style:
imitation of Rossini; (CM19c p181).

523
Grove, A Dictionary of Music and Musicians, 67.
524
Green, A Conductor’s Guide, 245.
525
Ibid., 243.
526
Wittmann, “Mercadante, Saverio,” (Grove); Mercadante, Le sette ultime parole di Nostro Signore, (Stabilimento
Musicale Partenopeo). Mercadante.
527
Mercadente, Le Sette Ultime Parole di Nostro Signore, (Stabilimento Musicale Partenopeo).
103

Donizetti, Gaetano, 1797-1848, Italy: student of Mayr; moved to Paris after death of wife and
failing to succeed Zingarelli as director of Naples Conservatory; mostly known
for operas; works: at least 100 small sacred works between 1818-1822, oratorios,
Masses, Requiems, cantatas; (CM19c p181-183).
Ave Maria: SATB; solo S, str; 1842.
Oratorio sacra: SATB; soli; orch; oratorio.
Le siete chiesa: SATB; soli; orch; oratorio.
Requiem: SATB; soli A, T, Bar, B; orch; in memory of Vincenzo Bellini; 1835.
Messa di Gloria e Credo: SATB; soli SATB; orch; commissioned for Feast of San
Gennaro, patron saint of Naples; 1837.

Alfieri, Pietro, 1801-63, Italy: devoted life to liturgical music; style: Palestrina; (CM19c p183-
184).
Raccolta di Musica sacra: 7 volumes; first modern edition of Palestrina’s music; 1841-
1846.

Antoni, Antonio d’, 1801-59, Italy: conductor/opera composer; (CM19c p184).
Mass for St. Cecilia’s Day: SATB; conducted by composer at age 12; 1813.
Il genio di Trieste: cantata; 1829.

Costa, Michael, 1810-84, Italy: student of Zingarelli; moved to England, 1829; director, Her
Majesty’s Theatre; music director, Covent Garden; music director, Sacred
Harmonic Society; (CM19c p184-185).
Mass: SATB.
528

Dixit Dominus: SATB; [c.1827].
529

La Passione: SATB; soli; orch; oratorio; [c.1827].
530

Eli: SATB; soli; orch; (librettist William Bartholomew, adapt Samuel I); oratorio; for
Birmingham Festival; 1855.
Naaman: SATB; soli; orch; oratorio; for Birmingham Festival; 1864.

Capocci, Gaetano, 1811-98, Italy: music director, St. John Lateran, Rome, 1855-1898;
composed many liturgical works; (CM19c p185).
Responses for Holy Week: SATB.
Battista: SATB; soli; orch; oratorio; 1833.
Assalone: SATB; soli; orch; oratorio; 1848.

528
Burton, “Costa, Sir Michael,” (Grove). 4 Masses.
529
Ibid.
530
Ibid.
104

Verdi, Giuseppe, 1813-1901, Italy: composer/farmer; greatest Italian composer of nineteenth
century; style: conservative, pragmatic, no thoughts of ancient national epics, no
mysticism; operas contain excellent choral music; composed music for Roman
Catholic Liturgy; (CM19c p185-189).
Nabucco: opera; concertized and choruses excerpted; 1842.
“Chorus of Hebrew Slaves”
Requiem: SATB; soli SATB; orch; premiered at church of San Marco, Milan; for
Alessandro Manzoni; 1874.
Padre nostro: SSATB; not designed for liturgical setting, performed at La Scale; 1880.
Ave Maria: solo S; string orch; (librettist Dante); 1880.
Quatro pezzi sacri: 1888-97.
Ave Maria: SATB; 1888, [revised 1898].
531

Stabat mater: SATB; orch; 1896-97.
Laudi alla Vergine Maria: SSAA; originally soli SSAA; (librettist Dante).
Te Deum: SATB-2; solo S; orch; 1895-96.
Inno delle nazioni: SATB; soli SATB; orch; (librettist Boito); 1862.

Mabellini, Teodulo, 1817-97, Italy: composed liturgical choral works; (CM19c p189).
Eudosia e Paolo: SATB; soli; orch; oratorio; extensive use of chorus; 1845.
Ultimo giorno di Gerusalemme: SATB; soli; orch; oratorio; extensive use of chorus;
1845.

Busoni, Ferruccio, 1866-1924, Italy: important pianist/composer/teacher; composed only two
choral works;
532
style: influenced by Franz Liszt; (CM19c p189).
Primavera, estate, autumno, inverno, Op. 40: TTBB; orch; (libretto Pietro Bini); cantata;
1882.
II sabato del villagio: SATB; soli; orch; cantata; 1882.

Perosi, Lorenzo, 1872-1956, Italy: maestro di cappella, St. Mark’s, Venice, 1894; ordained a
priest, 1895; maestro di cappella, Sistine Chapel, 1898; composed many liturgical
works; rejuvenated oratorio tradition in Italy; assisted in writing motu proprio of
Pope Pius X, ending operatic influences in Romana Catholic music and castrati in
church choirs; style: eclectic, naturally lyrical, combined elements of Wagner,
Brahms, and others with Palestrina; (CM19c p189-190).
La Passione di Cristo secondo San Marco: trilogia sacra: SATB; soli; orch; 1897.

Altieri, Paolo, 1745-1820, Italy: choirmaster, churches in Noto and Sicily; works: approximately
400 sacred vocal works; (CM19c p190).

531
Parker, “Verdi, Giuseppe,” (Grove).
532
Beaumont, “Busoni, Ferruccio,” (Grove). 10 choral works.
105

Caruso, Luigi, 1754-1822, Italy: opera composer; maestro di cappella, Perugio, 1798; works:
large number of Masses and other scared works; (CM19c p190, 192).
Mass in C: SATB; orch.
Requiem: SATB; orch.

Bittoni, Bernardo, 1756-1829, Italy: maestro di cappella, Fabriani cathedral, 1798; composed
oratorios and many liturgical works; (CM19c p192).

Calegari, Antonio, 1757-1828, Italy: known for liturgical music; authored Modi generali del
canto, treatise on vocal ornamentation, pub 1836; (CM19c p192).

Bertini, Giuseppe, 1759-1852, Italy: works: many liturgical pieces, none survived; (CM19c
p192).

Brunetti, Antonio, c.1767-c.1846, Italy: works: over 80 sacred choral works for cathedrals in
Macarata, Chieta, Bologna, Urbina; (CM19c p192).

Basili, Francesco, 1767-1850, Italy: maestro di cappella, St. Peter’s, Rome; works: large
number of sacred works for chorus and organ; refused Verdi entrance into Milan
Conservatory, 1832; (CM19c p192).

Casella, Pietro, 1769-1843, Italy: maestro di cappella, numerous churches; works: large amount
of church music; (CM19c p192).

Benvenuti, Nicola, 1810-67, Italy: composed large amount of liturgical music for Pisa cathedral;
composed cantatas and other choral works for Grand Duke of Tuscany;

Tadolini, Giovanni, 1785-1872, Italy: eminent choral conductor; collaborated with Rossini on
first version of Stabat mater; (CM19c p192).

Boucheron, Raimondo, 1800-76, Italy: maestro di cappella, Milan Cathedral; invited by Verdi
to contribute to proposed Requiem for Rossini; works: many liturgical choral
works; (CM19c p192).

Bellini, Vincenzo, 1801-35, Italy: known for operas Norma and I Puritani; works: several
Masses and other liturgical choral works; (CM19c p192).

Buzzolla, Antonio, 1815-71, Italy: opera conductor and composer; choral works: church music;
invited by Verdi to contribute to proposed Requiem for Rossini; (CM19c p192).

106

Agnelli, Salvatore, 1817-74, Italy: student of Zingarelli and Donizetti; works: liturgical works
including cantata honoring Napoleon I, requires 3 orchestras; (CM19c p192-193).

Bazzini, Antonio, 1818-97, Italy: teacher of Mascagni and Puccini; favored instrumental music
over opera; (CM19c p193).
Sennacheribbo: SATB; soli S, Bar; orch; (librettist V. Meini); c.1875.

Biaggi, Girolamo Alessandro, 1819-97, Italy: composer/prominent music critic; works: several
liturgical pieces; (CM19c p193).

Bottesini, Giovanni, 1821-89, Italy: double-bass virtuoso; (CM19c p193).
Requiem:
533
SATB; soli [SSATB];
534
orch; 1880.
The Garden of Olivet: SATB; soli [SATB];
535
orch; oratorio; commissioned by Norwich
Festival; 1887.

Braga, Gaetano, 1829-1907, Italy: cello virtuoso; works: several liturgical works for chorus and
orchestra; (CM19c p193).

Bolzoni, Giovanni, 1841-1919, Italy: teacher of Edgard Varèse; works: a cantata and numerous
small choruses; (CM19c p193).

Boito, Arrigo, 1842-1918, Italy: poet/composer; (CM19c p193).
Mefistofele: opera; final scene with chorus often excerpted; 1868.

Catalani, Alfredo, 1854-93, Italy: opera composer; friend of Toscanini; works: 1 choral
work,
536
Mass; (CM19c p193).
Mass: SATB; orch; 1872.

Puccini, Giacomo, 1858-1924, Italy: leader of verismo opera; (CM19c p193).
Messa di Gloria: SATB; soli T, Bar; orch; c.1880.

Wolf-Ferrari, Ermanno, 1876-1948, Italy: (CM19c p193).
Talitha Kumi (La figlia di Giaro) [Op. 3]:
537
SATB; soli [TBarBar];
538
orch; oratorio;
mixed style of Verdi and Bach; 1900.

533
Bottesini, Messa da Requiem, (Schott Music).
534
Ibid. Messa da Requiem.
535
Bottesini, The Garden of Olivet, (Hutchings & Co.).
536
Girardi, “Catalani, Alfredo,” (Grove). Mass and 2 choral works with 4vv, 1 with 2vv.
537
Wolf-Ferrari, Talitha Kumi: La figlia de Giaro, (N. Simrock).
538
Ibid.
107

THE AMERICAS

THE UNITED STATES

Wyeth, John, [1770-1858],
539
United States: (CM19c p196).
Repository of Sacred Music, Part Second: important shape-note hymnal; 1813.

Davisson, Ananais, [1780-1857,]
540
United States: (CM19c p196).
Kentucky Harmony: important shape-note hymnal; 1816.

Carrell, James P., [1787-1854],
541
and David L. Clayton, [1801-1854],
542
United States:
(CM19c p196).
The Virginia Harmony: important shape-note hymnal; contains the first appearance of
“Amazing Grace”; 1831.

Walker, William, [1809-75],
543
United States: (CM19c p196).
The Southern Harmony and Musical Companion: important shape-note hymnal; 1835.

Caldwell, William, [flourished 1834-7],
544
United States: (CM19c p196).
Union Harmony: important shape-note hymnal; 1837.

White, Benjamin Franklin, [1800-79],
545
and E. J. King, [c.1821-44],
546
United States:
(CM19c p196).
The Sacred Harp: important shape-note hymnal; still popular, especially in the southern
United States; 1844.

Mason, Lowell, 1792-1872, United States: considered the father of American music education;
founded the Boston Academy of Music, 1833; works: hundreds of hymn tunes
including BETHANY (Nearer, My God, to Thee), OLIVET (My Faith Looks Up
to Thee), MIGDOL (Jesus, Thou Joy of Loving Hearts); (CM19c p196-198).
Handel and Haydn Society's Collection of Church Music: editor; 1822.
Juvenile Lyre: editor, collection of choral music, including the composers; 1829.
Sabbath School Songs: editor, collection of choral music, including the composers; 1836.
The Psaltery: editor, collection of choral music, including the composers; 1845.

539
Eskew, “Wyeth, John,” (Grove).
540
Eskew, “Davisson, Ananias,” (Grove).
541
Eskew, “Carrel, James,” (Grove).
542
Ibid.
543
Eskew, “Walker, William,” (Grove).
544
Eskew, “Caldwell, William,” (Grove).
545
Cobb, “White, Benjamin Franklin.” (Grove).
546
Cobb, “King, E(lisha) J.,” (Grove).
108

Aikin, Jesse B., 1808-1900, United States: composer and compiler of hymnals; (CM19c p198).
Christian Minstrel: [tune book];
547
introduced a system of notes in seven shapes; 1846.
The Juvenile Minstrel: collection; 1847.
Harmonia ecclesiae: collection; 1853.
The True Principles of the Science of Music with a Rare Collection of a few of the Best
Tunes: collection; 1891.

Bradbury, William Batchelder, 1816-1868, United States: greatest contributions were in
children’s music education; compiled wrote over 800 hymn tunes;
548
works:
cantatas, patriotic choruses, anthems, and choral service music; (CM19c p198).
He Leadeth Me: hymn tune.
Jesus Loves Me: hymn tune.
Just as I Am: hymn tune.
Sweet Hour of Prayer: hymn tune.

CHORAL MUSIC DURING the CIVIL WAR

Turner, J.W., (CM19c p199-200).
President's Hymn, “Give Thanks All Ye People”: [SATB; pf/org];
549
(librettist William
A. Muhlenburg), 1863.

Horner, Wilson G., (CM19c p200).
National Consecration Chant: SATB; (librettist Major B. B. French); 1863.

Delaney, Alfred, (CM19c p200).
Dirge: SATB; 1863.

COMPOSERS ACTIVE AFTER the CIVIL WAR

Bristow, George Frederick, 1825-98, United States: choral conductor/public-school music
teacher, New York City; music director, New York Harmonic Society, 1851-63;
music director, Mendelssohn Society, 1867-71; works: large, choral orchestral;
(CM19c p200-201).
Niagara Symphony, Op. 63: SATB; soli, orch; 1893.
Daniel, Op. 42: SATB; soli; orchestra; (librettist W. A. Hardenbrook); oratorio; 1867.
Praise to God, Op. 33: SATB; soli, orch; cantata; 1860.
The Pioneer, Op. 49: SATB; soli, orch; cantata; 1872.

547
Hammond, “Aikin, Jesse B(owman),” (Grove).
548
Eskew, “Bradbury, William Batchelder,” Grove). 921 Hymn Tunes.
549
Turner, The President's Hymn, (Oliver Ditson & Co).
109

Balatka, Hans, 1826-99, United States: [b. Czechia];
550
Moravian composer and conductor;
music director, Milwaukee Musical Society; music director, Chicago
Philharmonic Society; (CM19c p201).
The Power of Song: 8-part male chorus; 1856.

Paine, John Knowles, 1839-1906, United States: studied in Berlin; professor of music, Harvard
(first professor of music at American university); important pedagogue; works: all
genres; style: 1. classical German 2. Incorporated chromatic elements (mid-
1870s); (CM19c p201-203).
St. Peter, Op. 20: SATB; soli SATTB; orch; 1872.
“How Brightly Shines the Morning Star”: SATB.
Mass in D, Op. 10: SATB; solo SATB; orch; 1864.
The Nativity, Op. 38: SATB; soli [SATB];
551
orch; (librettist Milton); Christmas cantata;
1882, revised 1883 as Op. 39.
The Realm of Fancy: SATB: solo S, Bar; orch; (librettist Keats), brief cantata; 1882.
Phoebus, Arise: TTBB; solo T; orch; (librettist William Drummond); brief cantata 1882.
male voice choruses (6): on texts related to soldiers and war; 1863-65.
Oedipus tyrannus, Op. 35: TTBB; solo T; orch; (librettist Sophocles), incidental music;
1881, revised 1895, reorchestrated for larger orchestra in 1908.

Buck, Dudley, 1839-1909, United States: organist, St. John’s Church, Hartford, Connecticut;
studied piano at Leipzig Conservatory, 1858; studied music of J.S. Bach with
Johann Schneider, Dresden, 1860; also studied in Paris; organist, St. James’s
Episcopal Church, Chicago; (CM19c p203-205).
Forty-sixth Psalm: SATB; orch; for the Haydn and Handel Society; 1872.
The Legend of Don Munio: SATB; orch; (librettist Washington Irving); cantata; 1874.
The Centennial Meditation of Columbia: SATB; soli; orch; cantata; 1876.
The Nun of Nidaros, [Op. 83]:
552
SATB[sic];
553
soli[sic];
554
orch; cantata; 1878.
The Golden Legend: SATB; soli [STBar];
555
orch; cantata; 1880.
Festival Te Deum No. 7, in E-flat, [Op. 63, No. 1]:
556
SATB; soli [SATB];
557
org; [pub
1873].
558

Voyage of Columbus: choir; cantata; 1885.
Light of Asia: choir; cantata 1886.

550
Schleis, “Balatka, Hans,” (Grove).
551
Green, A Conductor’s Guide, 229.
552
Gallo, “Buck, Dudley,” (Grove).
553
Gallo, “Buck, Dudley,” (Grove); Buck, The Nun of Nidaros, (G. Schirmer). TTBB.
554
Ibid. Solo T.
555
Buck, Scenes from Longfellow’s ‘Golden Legend’, (The John Church Co.).
556
Buck, Festival Te Deum No 7 in E Flat, (Ditson & Co.).
557
Ibid.
558
DeVenney, Nineteenth-Century, 17.
110

Foote, Arthur, 1853-1937, United States: studied with John Knowles Paine at Harvard; (CM19c
p205-206).
The Farewell of Hiawatha: TTBB; solo Bar; orch; brief cantata; written for the Apollo
Club of Boston; 1885.
The Wreck of the Hesperus: SATB: orch; 1887-88.
The Skeleton in Armor: SATB; orch; [1891].
559

Lygeia: SSAA; orch; 1906.
anthems (35): choir.

MacDowell, Edward, 1860-1908, United States: [or “McDowell”];
560
remembered for Second
Piano Concerto and small piano collection Woodland Sketches; (CM19c p206).
Drei Lieder für vierstimmen Männerchor, Op. 27: TTBB; part-song; 1887.
The Witch, Op. 5: TTBB; [written under pseudonym Edgar Thorn(e)];
561
part-song; 1898.
War Song, Op. 6: TTBB; part-song; 1898.
Two Songs, Op. 41: TTBB; 1890.
Three Choruses, Op. 52: TTBB; part-song; 1897.
Two Songs from the Thirteenth Century: TTBB; part-song; 1897.
Two Northern Songs, Op. 43: SATB; 1891.
[The Brook, Op. 43, No. 1]
[Slumber Song, Op. 43, No. 2]
Summer Wind: SSAA; [(librettist Richard Hovey)];
562
1902.

Parker, Horatio, 1863-1919, United States: teacher of Charles Ives, Quincy Porter, Roger
Sessions; style: 1. Eurocentric (early) 2. conservative diatonicism (late); wrote
anthems for Episcopal church; (CM19c p206-207).
Hora novissima, Op. 30: SATB; soli SATB; orch; (librettist Bernard de Morlaix); 1893.
Blow, Blow, Thou Winter Wind, Op. 14: TTBB; pf; (librettist William Shakespeare);
1888.
Two Part-songs, Op. 27: SSAA; pf; (librettist Goethe and Heine); 1892.

Brockway, Howard, 1870-1951, United States: educator at Peabody Institute, Mannes College
of Music, and Juilliard School; style: Romantic; (CM19c p207-208).
Cantate Domino, Op. 6: SATB; 1893.
Two Choruses, Op. 24: SATB; 1899.

559
Ibid., 39.
560
Pesce, “MacDowell, Edward,” (Grove).
561
Ibid.
562
DeVenney, Nineteenth-Century, 68.
111

Chadwick, George Whitefield, 1854-1931, United States: one of the first to attempt creation of
purely American style; works: 30 anthems, 20 part-songs for female, 19 part-
songs for male chorus; (CM19c p208).
Ecce iam noctis: TTBB; org; orch; cantata; 1897.
Dedication Ode, [Op. 15]:
563
SATB; [soli SATB];
564
orch; [(librettist Henry Bernard
Carpenter)];
565
cantata; 1886.
Lovely Rosabelle: SATB; [soli ST];
566
orch; [(librettist Sir Walter Scott)];
567
cantata;
1888
568
.
Phoenix expirans: SATB; [soli SATB];
569
orch; [(librettist John Lord Hayes)];
570
1892.
Noël: SATB; soli SATB; orch; pastoral; 1909.
571

Parker, James C. D., 1828-1916, United States: edited large anthology of sacred choruses by
European composers; (CM19c p208).
[St. John: SATB; soli SATB; orch];
572
cantata; [1890].
573

[The Life of Man: SATB; soli SATB; orch];
574
Easter oratorio; [1894].
575

Whiting, George Elbridge, 1842-1923, United States: composed a significant number of part-
songs and anthems; (CM19c p208).

Gilchrist, William W., 1846-1916, United States: edited hymnals for Presbyterian and
Congregational denominations; several large works for chorus and orchestra
(CM19c p208).

Gleason, Frederick, 1848-1903, United States: student of Dudley Buck; influenced by Wagner
(CM19c p208).

Beach, Amy, 1867-1944, United States: prominent early twentieth-century composer of choral
music; (CM19c p208).
Grand Mass in E-flat, Op. 5: SATB; soli SATB; orch; 1895[sic].
576

563
Ibid., 25.
564
Ibid.
565
Ibid.
566
Ibid., 27.
567
Ibid.
568
Ledbetter, “Chadwick, George Whitefield,” (Grove); DeVenney, Nineteenth-Century, 27. 1889.
569
DeVenney, 29.
570
Ibid.
571
Ledbetter, “Chadwick,” (Grove). 1907-8.
572
DeVenney, 86.
573
Ibid.
574
Ibid.
575
Ibid.
576
Block, “Beach, Amy,” (Grove); DeVenney, Nineteenth-Century, 6. 1890.
112

AFRICAN AMERICAN CHORAL MUSIC and the SPIRITUAL

Allen, Richard, 1760-1831, United States: founded first independent black denomination,
American Methodist Episcopal Church; (CM19c p211-213).
A Collection of Spiritual Songs and Hymns Selected from Various Authors by Richard
Allen, African Minister: first African American hymnal; 1801.
Slave Songs of the United States: attributed to Mr. Allen, possibly Richard Allen; 1867.

White, George L., 1883-95; music teacher, Fisk University, Nashville, Tennessee; founder, Fisk
Jubilee Singers, group toured the country singing “Jubilee Songs”, known today
as spirituals; (CM19c p213-216).
The Story of the Fisk Jubilee Singers; and Their Songs: 1877.
“Swing Low, Sweet Chariot”: SATB.
"Nobody Knows the Trouble I See, Lord!": unison chorus.

CANADA

Sabatier, Charles, 1802-62,[sic]
577
Canada: b. Germany[sic];
578
composed patriotic songs, no
choral music[sic];
579
(CM19c p216-217).

Lavallée, Calixa, 1842-91, Canada: composed piano pieces, no choral music; composed “O
Canada,” Canadian national anthem; (CM19c p217).

MEXICO

Ortega, Aniceto, 1823-75, Mexico: ignored indigenous material in Italianate operas; (CM19c
p217).

Morales, Melesio, 1838-1909, Mexico: one of the most prominent Mexican composers; spoke
about importance of folk music but composed mostly in Eurocentric romantic
style; (CM19c p217).
Misa de gloria: SATB.
Cantatas (several): SATB.

577
Kallmann, “Charles Wugk Sabatier”, (The Canadian Encyclopedia). 1819-62.
578
Ibid. b. France.
579
Ibid. Cantata in Honour of the Prince of Wales.
113

Villanueva, Felipe, 1862-93, Mexico: native Indian; pianist/composer; one of first to use folk
elements; helped establish Instituto Musical, 1887; style: nationalistic with
Eurocentric Romantic; (CM19c p217).
Cantata patriótica (El retrato de benemérito cura Hidalgo): SATB; orch.
motets (several): choir; org or pf.

Velázquez, P. José Guadalupe, 19
th
century, Mexico: director, Querétaro School of Sacred
Music; (CM19c p217-218).
Ave maris stella: SATB.

Elízaga, José Mariano, 1786-1842, Mexico: style: Viennese classical; (CM19c p218).
Mass (2): [SATB; orch].
580

liturgical works (several).

De Arenzana, Manuel, fl. 1791-1821, Mexico: works: sacred choral/instrumental, opera and
zarzuela; style: forward-looking Eurocentric; (CM19c p218).

Beristáin, Joaquín, 1817-39, Mexico: (CM19c p218).
Mass: choir.

Juanas, Antonio, d.1819, Mexico: works: 200 sacred works in Latin; style: Viennese classical;
(CM19c p218).

Paniagua y Vásques,[sic]
581
Cenobio, 1821-82, Mexico: (CM19c p218).
sacred works (numerous): 3-part choir.

Baca, Luis, 1826-55, Mexico: (CM19c p218).
Ave María: SATB, org.

Palacios, Rafael, fl.ca.1842, Mexico: (CM19c p218).
Mass: SATB.
Stabat mater: SATB.

Villalpando, Fernando, b.1844, Mexico: (CM19c p218).
Mass: SATB.

580
Tiemstra, The Choral Music of Latin America, 71.
581
Orrego-Salas, “Paniagua y Vasques, Cenobio,” (Grove). Vasques.
114

THE CARIBBEAN

Tomás, Guillermo M., 1868-1933, Cuba: founded the Havana Symphony Orchestra; style:
nationalistic/Romantic (influenced by Wagner); (CM19c p219).
La oración del creyente: SATB; solo T; winds; cantata.

Raffelín, Antonio, 1796-1882, Cuba: style: classical European style; (CM19c p219).
Mass: SATB.

Fuentes Matons, Laureano, 1825-98, Cuba: music director, Havana Cathedral; style:
Eurocentric romantic style; (CM19c p219).
various sacred works: choir.

Anckermann, Carlos, 1829-1909, Cuba: b. Spain; (CM19c p219).
Gran Misa (“Misa de los Asturianos”): SATB.

Guerra, Gratilio, 1834-96, Cuba: (CM19c p219).
Mass in C: SAB; chamber orch (fl, cl, str (no va)).
Mass in D: SAB; chamber orch (fl, cl, str (no va)).

Costa Sureda, Oriol, 1836-92, Cuba: b. Spain; (CM19c p219).
various sacred works: choir.

Arredondo, José María, 1840-1924, Dominican Republic: works: over 100 Masses,
582
58
litanies, additional liturgical pieces; style: Romantic; (CM19c p219).

Morel Campos, Juan, 1857-96, Puerto Rico: contributed sacred choral works; (CM19c p219).

CENTRAL AMERICA

Monestel Zamora, Alejandro, b.1865, Costa Rica: founder, Excuela Música de Santa Cecilia,
1894; chapel master, San José Cathedral, 1884-1902; first composer to
incorporate folk elements in Costa Rica; (CM19c p219).
Mass: SATB; orch.
Requiem: SATB; orch.
cantatas on Jesus’ life (5): SATB; orch.

Sáenz, Vicente, 1756-1841, Guatemala: works: liturgical music; style: Eurocentric classical;
(CM19c p220).

582
Tiemstra, The Choral Music of Latin America, 48. 135 Masses.
115

Sáenz, Benedicto (Jr.), 1815-57, Guatemala: works: liturgical music; style: Eurocentric
classical; (CM19c p220).

SOUTH AMERICA

Alcorta, Amancio, 1805-62, Argentina: one of the founders of Argentine music; style:
Romantic, salon; (CM19c p220).
La Agonía (Canto de Viernes Santo): TB; org.
Lamentaciones: ATB; keyboard.

Esnaola, Juan Pedro, 1808-78, Argentina: enriched the Argentine repertoire with various choral
works in the Eurocentric romantic style; style: Romantic; (CM19c p220).

Nunes Garcia, José Maurício, 1767-1830, Brazil: most important Brazilian composer in the
nineteenth century; chapel master, Rio de Janeiro Cathedral, 1808-1811; style:
European (CM19c p220-221).
Requiem Mass: SATB; soli ATB; winds (fl, 2 cl, 2 bsn, 2 tpt, timp); 1816; [composed for
the Queen (& his own mother)].
583

Missa de Santa Cecilia: SATB; soli SATB; orch.
Laudate Dominum omnes gentes: SATB; soli SATB; chamber orch. (2ob,
584
2hn, str (no
va)); Psalm 117; [1813].
585

Laudate pueri Dominum: SATB; soli SATB; mixed chorus, chamber orch. (2fl, 2hn, str
(no va)); Psalm 113; [1813].
586

concerted motets (significant number): Christmas season.

Da Silva, Francisco Manuel, 1795-1865, Brazil: student of Nunes Garcia; served at the imperial
court and royal chapel; founder/director, National Conservatory, Rio de Janeiro,
1841; works: significant sacred music, at least four Masses, two litanies,
Requiem, motets; style: Romantic; (CM19c p221).

Gomes, Antônio Carlos, 1836-96, Brazil: [or “Gómez”];
587
first South American composer to
win fame abroad; style: influenced by Verdi (CM19c p221).
Mass: SATB; [1854].
588

Colombo: SATB; orch.

583
Tiemstra, 116.
584
Garcia, Laudate Dominum, ed. Antonio Campos, (Musica Brasilis). 2 fl.
585
Béhague, “Garcia, José Maurício Nunes,” (Grove).
586
Ibid.
587
Tiemstra, 79.
588
Béhague, “Gomes, Carlos,” (Grove).
116

Nepomuceno, Alberto, 1864-1920, Brazil: father of Brazilian musical nationalism; studied in
Berlin, Paris, Rome; style: European/nationalistic “first composer to introduce
Afro/Brazilian elements to orchestral music”;
589
(CM19c p221).
As Uyaras: women vv; solo S; orch; Amazon Legend (librettist Mello Morais Filho).
As Uyaras: SATB; colla parte instruments; Amazon Legend (librettist Mello Morais
Filho).
O salutaris hostia: SATB;
590
org.
Maria mater gratiae: SATB; 2 hn, str.
Mass [(3)]:
591
SATB; orch.

Coelho Netto, Marcos, 1745-1823,[sic]
592
Brazil: [or “Neto”];
593
style: Viennese classical style;
(CM19c p222).

De Araújo, Damião Barbosa, 1778-1856, Brazil: works: mostly sacred; style:
Classical/Romantic; (CM19c p222).
Memento baiano para coro e urquestra: SATB: chamber orch (fl, ob, bsn, str); cantata.

Álvares Lobo, Elias, 1834-1901, Brazil: composer of first Brazilian opera in Portuguese; style:
Romantic/nationalistic; (CM19c p222).
Missa de São Paulo de Alcántara: SATB.

Xavier, José Maria, 1819-87, Brazil: Catholic priest; (CM19c p222).
Matinas de Natal:
594
SATB; orch.
music for Holy Week.

João, Gomez[sic]
595
de Araújo, 1849-1942[sic]
596
, Brazil: (CM19c p222).
Masses (6): SATB.
cantatas (2): SATB.

Silva, Prescilliano, 1854-1910, Brazil: [or “Priscilliano;”];
597
(CM19c p222).
Crux fedeles:
598
2 SATB.
music for Holy Week: choir; orch.

589
Tiemstra, 116.
590
Nepomuceno, O’Salutaris hostia, (Edição da Sampaio Araújo & Cia). SSAA.
591
Tiemstra, 113.
592
Béhague, “Coelho Neto, Marcos,” (Grove); Bohlman, The Cambridge History of World Music, 240. 1763-1823.
593
Tiemstra, 66.
594
Ibid., 164. Matinas do Natal.
595
Budasz, “Araújo, João Gomes de,” (Grove); Ficher, ed., Latin American, 45. Gomes.
596
Ibid. 1846-1943.
597
Tiemstra, 146.
598
Ibid., 146. Crux fideles.
117

Velásquez, Glauco, 1884-1912, Brazil: b. Italy; (CM19c p222).
Pater noster: SATB.

Quevedo Arvelo, Julio, 1829-96, Colombia: “the American Berlioz”;
599
works: all genres,
including secular and sacred choral music, several masses; style: freely mixed
eighteenth-century English oratorio and nineteenth-century Italian opera with
more nationalistic elements; (CM19c p222).
Salve pastoral: SATB; orch.

Ponce de León, José María, 1846-82, Colombia: student of Gounod; (CM19c p222).
Requiem Mass: SATB.

Zapiola, José, 1802-85, Chile: founder, Chilean music journal; professor and director, National
Conservatory; works: sacred and patriotic works; (CM19c p222).
Mass: SATB.
[Christus: choir];
600
oratorio.

Alcedo, José Bernardo, 1798-1878, Peru/Chile: or “Alzedo;” b. Peru; taught in Chile; chapel
master, Santiago Cathedral, Chile; composed Peruvian nation anthem; works:
large number of sacred works; (CM19c p223).
Hymno Ave maris stella:
601
SATB.
Tantum ergo: SATB.
Missa solemnes (3: in D, Eb minor, F): SATB.

Llaque, Bonifacio, 1799-1845, Peru: (CM19c p223).
Cantada a la Virgen (Pastorela): SSAB; solo S; chamber orch (2 ob, 2 hn, str (no va)).

Valle Riestra, José María, 1859-1925, Peru: first Peruvian to compose opera; (CM19c p223).
Ave Maria: SSAA.
O salutaris: SSAA.

Úbeda, Fray Manuel, 1760-1823, Uruguay: b. Spain; (CM19c p223).
Misa para Día de difuntos: SATB; 1802.

Sáenz, Antonio, b.1829, Brazil/Uruguay: b. Spain; (CM19c p223).
Misa solemne: SATB; orch.
Te Deum: SATB; orch.

599
Ibid., 131.
600
Ibid., 166.
601
Ibid., 43. Himno Ave Maris Stella.

118

Lamas, José Angel, 1775-1814, Venezuela: (CM19c p223-224).
Populus meus[sic]:
602
SATB; [solo ST];
603
orch; became unofficial national anthem after
performance on the eve of the war of independence (Tiemstra 1992, 11); 1811.

Velásquez, José Francisco, nineteenth century, Venezuela: (CM19c p224).
Misa en mi bemol: SATB.
Es María norte y guía: SATB; chamber orch (fl, ob, hn, str).

Bello Montera, Atanasio,[sic]
604
d.1847, Venezuela: (CM19c p224).
[Vigilia y misa para los muertos]
605
(Vigil and Mass for the Dead): choir; performed at
Simón Bolívar’s funeral; 1842.
Pange lingua: choir; 1825.
patriotic songs (several): choir.
liturgical works: choir.

Meserón, Juan Francisco, fl. early nineteenth century, Venezuela: style: classical European;
(CM19c p224).
Miserere: choir.
Masses (several): SATB.

Carreño, José Cayetano, 1744-1836, Venezuela: chapel master, Caracas Cathedral; (CM19c p224).
liturgical works: choir.

Caro de Boesi, José Antonio, 1750-1814, Venezuela: promulgated the Viennese Style; (CM19c
p224).
Masses (several): choir.
motets (several): choir.
liturgical works: choir.

Páez, José Antonio, 1790-1873, Venezuela: a President of Venezuela; (CM19c p224).
part-songs: choir.

Montero, José Angel, 1839-81, Venezuela: chapel master, Caracas Cathedral; composed first
Venezuelan opera; (CM19c p224).
Oficios de difuntos: SATB.

602
Planchart, “Lamas, José Angel,” (Grove); Béhague, Music in Latin America, an Introduction, 28. Popule meus.
603
Tiemstra, 94.
604
Girard, “Bello Montero, Atanasio,” (Grove); Ficher, ed., Latin American, 63. Montero.
605
Ficher, ed., Latin American, 63.
119

CHAPTER 3: SELECT SMALL FORMS, REPERTOIRE and
RESEARCH GUIDE

Table of Contents

Alkan, Charles-Valentin ............................................................................................................. 125
Etz chajjim hi .......................................................................................................................... 125
Halelouyoh .............................................................................................................................. 126
Marcia funebre sulfa morte d'un papagallo ............................................................................. 128
Arensky, Anton Stepanovich ...................................................................................................... 130
Anchar ..................................................................................................................................... 130
Attwood, Thomas ........................................................................................................................ 133
I Was Glad ............................................................................................................................... 133
O Lord, Grant the King a Long Life ....................................................................................... 135
Balakirev, Mily Alekseyivich ..................................................................................................... 137
Let All Mortal Flesh Keep Silence .......................................................................................... 137
Beethoven, Ludwig van .............................................................................................................. 140
Elegischer Gesang (Elegiac Song), Op. 118 ........................................................................... 140
“Hallelujah” ............................................................................................................................. 142
Bendix, Victor ............................................................................................................................. 144
Psalm 33 .................................................................................................................................. 144
Berlioz, Hector ............................................................................................................................ 147
Le ballet des ombres, Op. 2 ..................................................................................................... 147
“The Shepherd’s Farewell” ..................................................................................................... 149
Bishop, Henry R. ........................................................................................................................ 152
Home, Sweet Home................................................................................................................. 152
Bortniansky, Dmitri Stepanovich ............................................................................................... 154
Glory to God in the Highest .................................................................................................... 154
Let God Arise .......................................................................................................................... 156
Lord, Make Me to Know My End ........................................................................................... 158
Brahms, Johannes ....................................................................................................................... 162
“Beherzigung” ......................................................................................................................... 162
“Der Abend” ............................................................................................................................ 164
“Der englische Jäger” .............................................................................................................. 166
“Es ist das Heil uns kommen her” ........................................................................................... 168
Geistliches Lied, Op. 30 .......................................................................................................... 170
120

“How Lovely Is Thy Dwelling Place” .................................................................................... 172
“Im Herbst” ............................................................................................................................. 175
Kleine Hochzeitskantate .......................................................................................................... 177
“Morgengesang”...................................................................................................................... 179
“Nächtens” .............................................................................................................................. 181
“O Heiland reiss die Himmel auf” .......................................................................................... 183
“Rosmarin” .............................................................................................................................. 186
“Schaffe in mir” ...................................................................................................................... 188
Tafellied, Op. 93b.................................................................................................................... 190
“Täublein Weiss” .................................................................................................................... 193
“Vergangen ist mir Glück und Heil” ....................................................................................... 195
“Verlorene Jugend” ................................................................................................................. 197
“Vineta” ................................................................................................................................... 199
“Vom heiligen Märtyrer Emmerano, Bischoffen zu Regensburg” ......................................... 202
“Von edler Art” ....................................................................................................................... 204
“Wach auf!”............................................................................................................................. 206
“Zum Schluss”......................................................................................................................... 208
Bruch, Max ................................................................................................................................. 211
“Gebet” .................................................................................................................................... 211
Bruckner, Anton .......................................................................................................................... 213
Ave Maria (WAB 6) ................................................................................................................ 213
Ecce sacerdos magnus ............................................................................................................. 215
Locus iste................................................................................................................................. 217
Os Justi (WAB 30) .................................................................................................................. 218
Pange lingua et Tantum ergo (WAB 33) ................................................................................. 220
Tantum ergo (WAB 44) .......................................................................................................... 222
Virga Jesse floruit.................................................................................................................... 224
Buck, Dudley .............................................................................................................................. 226
“Festival Te Deum No. 7” ....................................................................................................... 226
Chausson, Ernest ......................................................................................................................... 229
“Ave Maria” ............................................................................................................................ 229
Cherubini, Luigi .......................................................................................................................... 231
“Petrus apostolus” ................................................................................................................... 231
Cui, César Antonovich ................................................................................................................ 233
“Barcarole” .............................................................................................................................. 233
Delaney, Alfred ........................................................................................................................... 236
Dirge ........................................................................................................................................ 236
Donizetti, Gaetano ...................................................................................................................... 238
Ave Maria ................................................................................................................................ 238
121

Drechsler, Joseph ........................................................................................................................ 240
Haleluyaw Halelu Eyl ............................................................................................................. 240
Dvořák, Antonín ......................................................................................................................... 242
“Cradle Song” ......................................................................................................................... 242
“Napadly písně v duši mou”.................................................................................................... 244
The Old Folks at Home ........................................................................................................... 246
“Slavíkovský Polečko Malý” .................................................................................................. 248
“Zelenaj se, Zelenaj” ............................................................................................................... 250
Dvoretsky, Ivan ........................................................................................................................... 253
Svéte tíhiy ................................................................................................................................ 253
Elgar, Edward William ............................................................................................................... 255
“Deep In My Soul” .................................................................................................................. 255
Fauré, Gabriel ............................................................................................................................. 257
Cantique de Jean Racine ......................................................................................................... 257
Tantum Ergo, Op. 55 ............................................................................................................... 259
Tantum Ergo ............................................................................................................................ 261
Franck, César .............................................................................................................................. 263
Psalm 150 ................................................................................................................................ 263
Glinka, Mikhail Ivanovich .......................................................................................................... 265
Come di gloria al nome ........................................................................................................... 265
Great Litany............................................................................................................................. 267
Heruvimskaya pesn’ ................................................................................................................ 268
Gounod, Charles-François .......................................................................................................... 271
“Sanctus” ................................................................................................................................. 271
Grieg, Edvard .............................................................................................................................. 273
Ave maris stella ....................................................................................................................... 273
“Hvad est du dog skjon”.......................................................................................................... 275
Halévy, Jacques-François-Fromental .......................................................................................... 278
Ave verum corpus ................................................................................................................... 278
Haydn, Franz Joseph ................................................................................................................... 280
“The Heavens are Telling the Glory of God” ......................................................................... 280
Hensel, Fanny Mendelssohn ....................................................................................................... 283
“Abendlich Schon Rauscht Der Wald” ................................................................................... 283
Herzogenberg, Heinrich von ....................................................................................................... 286
“Wär's dunkel, ich läg' im Walde” .......................................................................................... 286
122

Horner, Wilson G. ....................................................................................................................... 288
National Consecration Chant .................................................................................................. 288
Janáček, Leoš .............................................................................................................................. 290
Hospodine pomiluj ny ............................................................................................................. 290
Lewandowski, Lewis .................................................................................................................. 293
Psalm 150 ................................................................................................................................ 293
Liszt, Ferenc (Franz) ................................................................................................................... 296
Pater noster III, S41 ................................................................................................................. 296
Pater noster IV, S22, RV 520 .................................................................................................. 298
Lvov, Aleksei Fyodorovich ........................................................................................................ 300
It Is Truly Fitting, No. 3 .......................................................................................................... 300
Of the Mystical Supper ........................................................................................................... 302
Standing Before the Cross ....................................................................................................... 303
MacDowell, Edward ................................................................................................................... 306
“The Brook” ............................................................................................................................ 306
“Slumber Song”....................................................................................................................... 308
Macfarren, George Alexander .................................................................................................... 310
“Orpheus, with his lute” .......................................................................................................... 310
MacKenzie, Alexander Campbell ............................................................................................... 312
“Autumn” ................................................................................................................................ 312
Makarov, Pavel ........................................................................................................................... 314
Angel vopiyáshe ...................................................................................................................... 314
Mendelssohn-Bartholdy, Felix.................................................................................................... 316
“Die Nachtigall”, Op. 59, No. 4 .............................................................................................. 316
“Ehre sei Gott” ........................................................................................................................ 318
“Heilig” ................................................................................................................................... 320
“How Lovely Are the Messengers” ........................................................................................ 322
Psalm 100 ................................................................................................................................ 324
“There Shall a Star Come out of Jacob” ................................................................................. 326
Meyerbeer, Giacomo .................................................................................................................. 329
Pater Noster ............................................................................................................................. 329
Mussorgsky, Modest ................................................................................................................... 331
The Destruction of Sennacherib .............................................................................................. 331
Jesus Nevin .............................................................................................................................. 334
Nietzsche, Friedrich .................................................................................................................... 338
Hymne an das Leben ............................................................................................................... 338
123

Nunes Garcia, José Maurício ...................................................................................................... 341
Laudate Dominum omnes gentes, 76 ...................................................................................... 341
Laudate pueri Dominum, 77.................................................................................................... 343
Paine, John Knowles ................................................................................................................... 346
“How Brightly Shines the Morning Star” ............................................................................... 346
Parry, Charles Hubert Hastings .................................................................................................. 348
“At the round earth’s imagined corners”................................................................................. 348
I Was Glad ............................................................................................................................... 350
Rheinberger, Josef Gabriel ......................................................................................................... 352
“Abendlied” ............................................................................................................................. 352
“Hymne”.................................................................................................................................. 354
“Morgenlied” ........................................................................................................................... 355
Rimsky-Korsakov, Nikolai ......................................................................................................... 358
Otche nash ............................................................................................................................... 358
“Procession of the Nobles” ..................................................................................................... 360
We Praise Thee, O God ........................................................................................................... 361
Rossini, Gioachino ...................................................................................................................... 365
“Et inflammatus est” ............................................................................................................... 365
Saint-Saëns, Camille ................................................................................................................... 368
“Tollite hostias”....................................................................................................................... 368
Schubert, Franz Joseph ............................................................................................................... 370
Chor der Engel, D. 440............................................................................................................ 370
Die Geselligkeit, D. 609 .......................................................................................................... 372
Psalm 92 .................................................................................................................................. 374
“Zum Sanctus” ........................................................................................................................ 376
Schumann, Robert ....................................................................................................................... 378
Beim Abschied zu singen, Op. 84 ........................................................................................... 378
“Das Schifflein” ...................................................................................................................... 380
“Gute Nacht” ........................................................................................................................... 382
“Zigeunerleben” ...................................................................................................................... 384
Silva, Prescilliano ....................................................................................................................... 387
Crux fideles ............................................................................................................................. 387
Smetana, Bedřich ........................................................................................................................ 389
Heilig ist der Herr Zabaoth...................................................................................................... 389
lch hoffe auf den Herrn ........................................................................................................... 390
Jesu, meine Freude .................................................................................................................. 392
Lobet den Herrn ...................................................................................................................... 393
“Opening Chorus” The Bartered Bride ................................................................................... 395
124

Stainer, John ................................................................................................................................ 397
“God So Loved the World” ..................................................................................................... 397
Stanford, Charles Villiers ........................................................................................................... 399
“Beati quorum via”.................................................................................................................. 399
Starorussky, Vasily ..................................................................................................................... 402
Ot yúnosti moyeyá .................................................................................................................. 402
Stenhammar, Wilhelm ................................................................................................................ 404
“September” ............................................................................................................................ 404
Tchaikovsky, Pyotr Il'yich .......................................................................................................... 406
“Angel vopiyashe” .................................................................................................................. 406
“The Cherubic Hymn” ............................................................................................................ 408
Dostóyno yest .......................................................................................................................... 410
Legenda ................................................................................................................................... 412
“Otche nash” ........................................................................................................................... 415
Turner, Joseph W. ....................................................................................................................... 417
President’s Hymn .................................................................................................................... 417
Verdi, Giuseppe .......................................................................................................................... 419
“Ave Maria” ............................................................................................................................ 419
“Chorus of the Hebrew Slaves” .............................................................................................. 421
Wesley, Samuel .......................................................................................................................... 424
In exitu Israel ........................................................................................................................... 424
Wesley, Samuel Sebastian .......................................................................................................... 426
“And the ransomed of the Lord” and “And sorrow and sighing” ........................................... 426
“Thou Judge of quick and dead” and “O may we thus insure” ............................................... 429
White, George L. (Fisk Jubilee Singers) ..................................................................................... 431
Swing Low, Sweet Chariot ..................................................................................................... 431
Wolf, Hugo ................................................................................................................................. 434
“Aufblick” ............................................................................................................................... 434
Der Feuerreiter ........................................................................................................................ 436
“Im stillen Friedhof” ............................................................................................................... 439
“Resignation” .......................................................................................................................... 441

125

CHAPTER 3 – Small Forms Repertoire and Research Catalogue

Alkan, Charles-Valentin (CM19c p88)
Birth/Death: November 30, 1813 – March 29, 1888
Place of Birth: Paris, France
Place of Death: Paris, France
Nationality/Ethnicity: French
Selected Bibliography: Eddie, William Alexander. Charles Valentin Alkan: His Life and
His Music. Abingdon: Taylor & Francis Group, 2007.
The Alkan Society. “The Alkan Society.” Last modified October
2019. http://www.alkansociety.org/index.html.

Etz chajjim hi (CM19c p88)
Alternate Title(s): The Tree of Life; Der Baum des Lebens
Larger Work/Collection: Zemirot Yisrael, Volume 1, Samuel Naumbourg
Text Source: Proverbs 3:18, 3:17, Lamentations 5:21
Original Language: Hebrew
Voicing and Range: SSTB (SATB)

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Largamente (broadly)
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: f, tutti
Closing Texture: p, tutti
Approximate Duration: 2:00
Date of Composition: 1847
Sacred/Secular: Sacred
Liturgical Use: Torah Service (as Torah is returned to Ark)
Theme(s): Prayer, Tree of Life, Happiness, Peace, Sanctity of Life
Musical Type: Liturgical Song
Editions, Arrangements,
and Publications:
Helbling (Hebrew & English, piano reduction)
Samuel Naumbourg (IMSLP)
Transcontinental Music, ed. Adler, 1996
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: University of Louisville University Chorus, conducted by Ethan
James McCollum, YouTube, 2018.
126

Selected Bibliography: Eddie, William Alexander. Charles Valentin Alkan: His Life and
His Music. Abingdon: Taylor & Francis Group, 2007.

Complete Text:

English Translation:
Etz chajjim hi lamachazi kim boh,
vesom’cheho meoschor
derocheho dareche noam vechol nesivoseho
sholom.
hashivenu adonoi elecho venoshuvoh,
chadesch jomenu kekedem, amen.peří
It is a tree of life for those who hold fast to it,
and all its supporters are happy.
Its ways are ways of pleasantness and all its
paths are peace.
Return us to you, Lord, and we will return;
renew our days as of old, amen.

Insights & Performance Issues:
Scored for SSTB. Second soprano part is in normal alto range.

The harmonic shift in m. 8 may catch the choir unprepared during the first read through.

The sixteenth note pick-ups will require rehearsal attention to align the consonants and
intonation accurately.

Overall, a beautiful, short, chorale that contains harmonically and rhythmically interesting
themes and is accessible for most high school and community choirs.

Halelouyoh (CM19c p88)
Alternate Title(s): Psalm 150; Halleluja
Larger Work/Collection: Zemirot Yisrael, Volume 3, Samuel Naumbourg
Text Source: Psalm 150
Original Language: Hebrew
Voicing and Range: SATB

Accompaniment: Optional Piano or Organ
Meter: 4/4
Opening Tempo: Vehement (forceful energy)
Beginning Key/Mode: G minor
Ending Key/Mode: G major
Opening Texture: f, staggered (B/T/A/S)
Closing Texture: f, tutti
Approximate Duration: 1:45
Date of Composition: 1857
Sacred/Secular: Sacred
Liturgical Use: Judaism: Morning Service for Daily Synagogue Service; Rosh
Hashanah, “Musaf” liturgy
RCL: General; Year C Second Sunday of Easter
127

Theme(s): Praise, Song, Dance, Joy
Musical Type: Liturgical Song
Editions, Arrangements,
and Publications:
Helbling
Paris: S. Naumbourg (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Vienna Chamber Choir, O Crux: Five centuries of choral music for
Holy Week and Eastertide, conducted by Michael Grohotolsky,
Helbling Verlag, 2014.
Selected Bibliography: Beauvois, Michael. “Alkan’s Petits Préludes: A Musical Time-
Machine.” Alkan Society Bulletin, no. 96 (April 2018): 3-8.
Eddie, William Alexander. Charles Valentin Alkan: His Life and
His Music. Abingdon: Taylor & Francis Group, 2007.

Complete Text

English Translation:
Halelouyoh
halelou el bekodscho
halelouhou birkia ousso
halelouhou bikvourosov
halelouhou kerov goudlo
halelouhou beseka schofor
halelouhou benevel vechinor
halelouhou besof oumochol
halelouhou beminim veougov
halelouhou betzilzele schoma
halelouhou betzilzele serouoh

kol hanneschomoh tehallel yoh
halelouyoh
Praise YAH!
Praise God (‘el in Hebrew) in ‘his’ holiness
Praise ‘him’ in ‘his’ powerful vault!
Praise ‘him’ for ‘his’ heroic actions
praise ‘him’ in light of ‘his’ glorious greatness!
Praise ‘him’ with shofar sound
praise ‘him’ with stringed harp!
Praise ‘him’ with tambourine and with dance;
praise ‘him’ with strings and pipe!
Praise ‘him’ with cymbal sound
praise ‘him’ with crashing cymbals!

Let all that breathes praise YHWH!
Praise YAH!
1

Insights & Performance Issues:
The Hebrew text is accessible. Good entry work to the language.

In m. 8 tonality shifts from G minor to Eb major as the choir sings the ascending scale in unison.
Finding the unison octave As in m. 12 may require additional rehearsal attention.

Measure 20 begins nine bars of repeated D5/D4 in soprano/tenor. Plan the staggered breathing
carefully to help maintain proper intonation and have the support to ascend to the G5/G4 through
the key change to G major.

1
Translation by John Holbert ©2021, used with permission.
128

Marcia funebre sulfa morte d'un papagallo (CM19c p88)
Alternate Title(s): Funeral March on the Death of a Parrot; Funeral March for a Dead
Parrot
Larger Work/Collection: N/A
Text Source: Unknown (Alkan?)
Original Language: French (title in Italian)
Voicing and Range: SS(A)TB

Accompaniment: 3 ob; bn
Meter: Common Time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: C minor
Ending Key/Mode: C minor
Opening Texture: p, instr. (extended)
Closing Texture: p, tutti
Approximate Duration: 9:00
Date of Composition: 1859
Sacred/Secular: Secular
Theme(s): Funeral March, Death, Parrot, Lunch
Musical Type: Part-song
Editions, Arrangements,
and Publications:
G. Schirmer, ed. Raymond Lewenthal, 1972
Phylloscopus Publications
Paris: Richault (IMSLP)
Theodore Presser
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Metropolitan Opera Chorus, Funeral March for a Papagallo and
Other Grotesqueries of Alkan, conducted by Raymond
Lewenthal, Sony Classical, 2019.
Selected Bibliography: Beauvois, Michael. “Alkan’s Petits Préludes: A Musical Time-
Machine.” Alkan Society Bulletin, no. 96 (April 2018): 3-8.
Lewenthal, Raymond. Preface to Funeral March on the Death of a
Parrot, by Charles-Valentin Alkan, II-2. New York: G Schirmer,
1972.

Complete Text:

English Translation:
Aslu déjeuné, Jaco?
Et de quoi?
Ah!
Have you eaten well, Jaco?
And what?
Ah!

129

Insights & Performance Issues:
Small amount of text (six words and “Ah!”).

SSTB voicing is written, but second soprano well within alto range. The abnormal,
accompaniment (3 oboes, 1 bassoon), may be difficult to arrange. Skilled and precise players
required.

As Strimple discusses in his text, the work may be performed by soloists or chorus. The piece
also lends itself well to a mix of the two.

The work is highly chromatic and full of leaps, both a challenge for less experienced singers.
The accompaniment does not support the singers.

In m. 42, the entrance of the upper three voices is exposed and the pitches may be difficult to
find following the a cappella recitative that proceeds it.

A “conversation” in written in m. 86 between the tenor/bass and Soprano I/Soprano II that
contains challenging intervals that may require additional rehearsal attention.

An extended imitative, melismatic section begins in m. 118 on “Ah!” that is full of chromaticism
that will take time to perfect.

130

Arensky, Anton Stepanovich (CM19c p155)
Birth/Death: June 30, 1861 – February 25, 1906
Place of Birth: Novgorod, Russia
Place of Death: near Terioki, Finland (now Russia)
Nationality/Ethnicity: Russian
Selected Bibliography: Brown, David. “Arensky, Anton [Antony] Stepanovich.” Grove
Music Online. 2001.
Latham, Alison, ed. “Arensky, Anton Stepanovich (30 June).” The
Oxford Companion to Music. Oxford University Press, 2011.
Russian Choral Heritage Foundation. “Arensky, Anton.” Orthodox
Sacred Music Reference Library.
https://www.orthodoxchoral.org/composers/anton-
arensky?locale=en

Anchar (CM19c p155)
Alternate Title(s): The Tree of Poison; The Upas Tree; Ančar; Antchar
Larger Work/Collection: N/A
Text Source: Alexander Pushkin (1799-1837)
Original Language: Russian
Voicing and Range: SATB

Accompaniment: A cappella
Meter: 4/4
Opening Tempo: Andante con moto (moderately slow with motion)
Beginning Key/Mode: G minor
Ending Key/Mode: G minor
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 5:30
Date of Composition: n.d.
Sacred/Secular: Secular
Theme(s): Trees, Poison, Nature, Desert, Day of Wrath, Evil
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Muzsektor Gosizdata, 1929 (Cyrillic; IMSLP)
Musica Russica, 2011
G. Schirmer, 1908 (English; Hathi Trust Digital Library)
Alternate Voicings/
Instr. Arrangements:
None found
Collections/Anthologies: Anthology. The Russian Secular Choir Music a Cappella. XIX —
early XX, Volume 8 Arensky. Compozitor Publishing House
(SPb.), 2015.
131

Selected Discography: Houston Chamber Choir, Ravishingly Russian: Secular Choral
Music 1874-1994, conducted by Robert Simpson, MSR Classics,
2009.
Selected Bibliography: Gustafson, Richard F. "The Upas Tree: Pushkin and Erasmus
Darwin." PMLA 75, no. 1 (1960): 101-09.
Morosan, Vladimir. Editor’s Note to The Tree of Poison, by Antony
Stepanovich Arensky, 14. Edited by Vladimir Morosan.
Encinitas, CA: Musica Russica, 2011.

Complete Text:

English Translation:
В пустыне чахлой и скупой,
На почве, зноем раскаленной,
Анчар, как грозный часовой,
Стоит - один во всей вселенной.

Природа жаждущих степей
Его в день гнева породила,
И зелень мертвую ветвей
И корни ядом напоила.

К нему и птица не летит,
И тигр нейдет: лишь вихорь черный
На древо смерти набежит -
И мчится прочь, уже тлетворный.

Но человека человек
Послал к анчару властным взглядом,
И тот послушно в путь потек
И к утру возвратился с ядом.

Принес он смертную смолу
Да ветвь с увядшими листами,
И пот по бледному челу
Струился хладными ручьями;

Принес - и ослабел и лег
Под сводом шалаша па лыки,
И умер бедный раб у ног
Непобедимого владыки.

А князь тем ядом напитал
Свои послушливые стрелы
И с ними гибель разослал
К соседям в чуждые пределы.
In fearsome desert, barren, dead,
On sands that from the heat are blazing,
The poison tree, like sentry dread,
Stands, lone in all the world remaining.

For Nature of these thirsting steppes
One day of wrath caused its conception,
And made its greening leaves all dead,
And filled its roots with purest poison.

And to this tree the bird flies not;
The tiger flees it. Just a whirlwind
That's black to this death-tree runs up-
And races past, but now accursed.

But once, one man sent out a man,
Off to the death tree with glance awesome,
Who trudged, obedient, through the sand,
And next morning brought back the poison.

He had brought back the tar of death,
The branches with their leaves all withered,
And on his forehead pale the sweat
Dripped down in rivulets, but chilly.

Brought them - and then lay down, grown weak,
On rough rush mats 'neath those vaults tented.
The poor slave died then at the feet
Of his invincible potentate.

The prince then with that poison fed
His arrows sharp and to him slavish,
And then with them sent doom and death
In distant lands to all his neighbors.
2

2
Translation by Julian Henry Lowenfeld.
132

Insights & Performance Issues:
The Russian language will take time to master. Musica Russica edition has a transliteration text
in the music. G. Schirmer edition is an English version by Nathan Haskell Dole.

The bass line is featured throughout with several independent entrances, chromatic phrases,
extended range, and difficult leaps.

In m. 6, the bottom three voices have an appoggiatura which is separated by a rest and followed
by chromaticism. The pitch accuracy, rhythmic timing, and word stress will require attention to
perfect.

Several challenging intervals are written, m. 24, bass ascending minor 6th to E4, m. 25, soprano
octave leap (G4-G5) followed by chromatic descending line, and m. 63 tenor descending major
6th and bass descending octave. Each should be navigated carefully.

An additional challenging interval is found in m. 57. The phrase ends with a fermata with the
sopranos on a F#5 and the tenors on D4 and F#4. Both parts descend to unison octaves (D3/D4)
with a dynamic shift to piano.

Measure 61, beat four contains eighth notes in the bottom three voices while the sopranos sing a
dotted rhythm. The conductor should be attentive to keep the rhythms distinct and separate. The
following measure swaps the dotted rhythm to the bottom three parts with the sopranos singing
the eighth note pattern.

Beginning on beat four of m. 68 the upper three voices sing Gs in unison octaves. The bass
section leaps a minor 7th to F3, clashing with the other voices, a musical moment that will
require additional rehearsal attention.

A note discrepancy exists between the Musica Russica edition, m. 22, beat 3 with a C4 in the
soprano and the G. Schirmer and Muzsektor Gosizdata editions which write a B4.

133

Attwood, Thomas (CM19c p118)
Birth/Death: November 23, 1765 – March 24, 1838
Place of Birth: London, England
Place of Death: London, England
Nationality/Ethnicity: English
Selected Bibliography: Bumpus, John S. A History of English Cathedral Music, 1549-
1889. New York: James Pott & Company, 1908.
F. G. E. "Thomas Attwood. (1765-1838)." The Musical Times and
Singing Class Circular 41, no. 694 (1900): 788-94. Accessed
June 4, 2021. doi:10.2307/3368298.
Gatens, William J. “Thomas Attwood (1765–1838), forefather of
Victorian Cathedral Music.” In Victorian Cathedral Music in
Theory and Practice, 84-102. Cambridge; Cambridge University
Press, 1986.

I Was Glad (CM19c p118).
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Psalm 122:1, 5-7; Gloria Patri
Original Language: English
Voicing and Range: SATB

Accompaniment: Orch (organ)
Meter: 3/4
Opening Tempo: Larghetto
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: f, instr. (extended)
Closing Texture: f, instr. (brief)
Approximate Duration: 7:30
Date of Composition: 1821
Sacred/Secular: Sacred
Liturgical Use: Year A, First Sunday of Advent (RCL)
Year B, Fourth Sunday of Lent (BCP)
Theme(s): Heaven, Judgement, Jerusalem, Peace, Gloria Patri
Musical Type: Anthem
Editions, Arrangements,
and Publications:
Novello (2012)
The Royal Harmonic Institution (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
134

Selected Discography: None Found
Selected Bibliography: Bumpus, John S. A History of English Cathedral Music, 1549-
1889. New York: James Pott & Company, 1908.
Range, Matthias. “The ‘concert coronations’ II: 1761 & 1821.”
In Music and Ceremonial at British Coronations: From James I
to Elizabeth II, 184-187. Cambridge: Cambridge University
Press, 2012.

Complete Text:

I was glad when they said unto me
we will go into the house of the Lord.

For there is the seat of Judgement
ev’n the seat of the house of David

O pray for the peace of Jerusalem:
They shall prosper that love thee.

Peace be within thy walls:
And plenteousness within thy palaces.

Glory be to the Father and to the Son
and to the holy Ghost
as it was in the beginning
is now and ever shall be
world without end
Amen

Insights & Performance Issues:
The work was composed for the coronation of George IV, King of England. Oxford records
show four editions after the first 1821 publication. 1822, c.1840, 1865, and c.1875.

In lieu of the orchestral accompaniment, the organ reduction published in the Novello edition
makes the work accessible to the average church choir.

Homophonic, hymn-like writing with a moving line that alternates between the soprano and
tenor for the first 60 mm. Within this, a march-like feel is created by a dotted eighth note
rhythm. The accompaniment supports the chorus with the same rhythm and harmonic
progressions.

Alto part sits low in the register throughout, but especially in mm. 57-59.

Beginning with the tenor in m. 81, each section has a soli on the main melodic material.

The soprano part splits for one phrase in mm. 85-92. There is dissonance and voice crossing in
the phrase that will take rehearsal time.

In m.143, the work returns to opening material with the accompaniment becoming more
embellished towards the end of the work.

A celebratory work, suitable for a setting with a large choir and a skilled orchestra or organist.

135

O Lord, Grant the King a Long Life (CM19c p118)
Alternate Title(s): Coronation Anthem in D
Larger Work/Collection: N/A
Text Source: The Book of Common Prayer 1662
Original Language: English
Voicing and Range: SATB

Accompaniment: Orch
Meter: Common Time
Opening Tempo: Largo Maestoso
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: f, instr. (extended)
Closing Texture: f, instr. (brief)
Approximate Duration: 9:00
Date of Composition: 1831 (Coronation of King William IV)
Sacred/Secular: Sacred
Liturgical Use:
Theme(s): Coronation; Life; Love; Mercy
Musical Type: Anthem
Editions, Arrangements,
and Publications:
Joseph Alfred Novello (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
Selected Bibliography: “Anthem, ‘O Lord! Grant the King a Long Life.’ Composed for the
Coronation of King William the Fourth, at Westminster Abbey,
September 8
th
, 1831. By Thomas Attwood (Review).” The
Spectator. London: The Spectator Ltd, 1832.
Bumpus, John S. A History of English Cathedral Music, 1549-
1889. New York: James Pott & Company, 1908.
Range, Matthias. “The ‘reformed model’: 1831 & 1838.” In Music
and Ceremonial at British Coronations: From James I to
Elizabeth II, 199-224. Cambridge: Cambridge University Press,
2012.

136

Complete Text:

O Lord, grant the King a long life
that his years may endure throughout all
generations.

He shall dwell before God forever
O prepare thy loving mercy and faithfulness,
that they may preserve him.
As for his enemies
Cloath them with shame
But upon himself let his Crown flourish.
Amen.

(Psalm 6, vv. 6-7; these verses with Psalm)

Insights & Performance Issues:
For an in-depth analysis of influences, structure and performance practice, see Matthias Range’s
writings in his text on English coronations.

Range begins the section on this anthem by discussing the musical themes, “In his anthem
Attwood again makes use of the tune of a popular patriotic song. ‘O Lord, grant the King a long
life’ begins with an instrumental ‘prelude’, allegro maestoso, which is ‘to be repeated Piano,
except the last Eight Bars which are to be Forte, with the annexed Air for the Horn & Trumpet’.
This ‘air’ is taken from the patriotic song ‘Rule Britannia’, originally the final
chorus to Thomas Arne’s masque Alfred: one verse and the beginning of the refrain of Arne’s
song are quoted.”
3

The review of the performance written in The Spectator in 1832 provides an overview of the
anthem, “The voices begin, in simple counterpoint, with one of those graceful and melodious
combination which at once seize the hearer’s attention, accompanied only by the stringed
instruments; on the ninth bar, the lighter wind instruments are added; and the band is gradually
strengthened, until, on the repetition of the motive, its full strength is poured in: the time Is
gradually increased throughout the movement; and while the voice parts preserve their due
superiority, and are distinguished by their happy adaptation of sound to sense, the
accompaniments are rich, full, and masterly.”
4

While mostly homophonic and supported harmonically by the accompaniment, there are some
polyphonic sections that will take extra rehearsal time to perfect. The length of the work may
also challenge the vocal and mental endurance of the less experienced singers.

Overall, a celebratory work that may be a nice concert work, especially in orchestral
accompaniment is available.

3
Range, Music and Ceremonial at British Coronations, 204.
4
“Anthem, ‘O Lord! Grant the King a Long Life,’ (Review), The Spectator, 297-8.
137

Balakirev, Mily Alekseyivich (CM19c p155-156)
Birth/Death: December 21, 1836/January 2, 1837 – May 29, 1910
Place of Birth: Nizhniy Novgorod, Russia
Place of Death: St. Petersburg, Russia
Nationality/Ethnicity: Russian
Selected Bibliography: Dunlop, Carolyn C. The Russian Court Chapel Choir, 1796-
1917. Amsterdam: Harwood Academic Publishers, 2000.
Garden, Edward. “Mily Alexeyevich Balakirev: A Critical Study of
His Life and Music.” PhD diss., The University of Edinburgh,
1969.
Morosan, Vladimir. Choral Performance in Pre-Revolutionary
Russia. Ann Arbor, Mich: UMI Research Press, 1986.
Russian Choral Heritage Foundation. “Balakirev, Miliy.” Orthodox
Sacred Music Reference Library.
https://www.orthodoxchoral.org/composers/miliy-
balakirev?locale=en

Let All Mortal Flesh Keep Silence (CM19c p156)
Alternate
Title(s)/Translations:
Da molchit vsyakaya plot′; Da molc
Larger Work/Collection: Published as No. 2 in Dukhovno-muzïkal′nïye perelozheniya i
sochineniya M. Balakireva (Sacred Music Arrangements and
Compositions by M. Balakirev), Moscow, 1900
Text Source: From the Liturgy of Great and Holy Saturday
Original Language: Church Slavonic
Voicing and Range: SATB; soli SATB

Accompaniment: Unaccompanied
Meter: Common
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: F# minor
Ending Key/Mode: F# minor
Opening Texture: p, staggered (SA/T/B)
Closing Texture: p, tutti
Approximate Duration: 5:15
Date of Composition: c.1880-90
Sacred/Secular: Sacred
Liturgical Use: General, Communion, Holy Saturday
Theme(s): Eucharist, Sacrament, Communion
138

Musical Type: Liturgical Song
Editions, Arrangements,
and Publications:
Musica Russica
Moscow: A. Gutkheil (1900)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Bakhmetev to Lyapunov: Music of the Russian Court Chapel Choir,
Volume 2, edited by Carolyn C. Dunlop, Harwood Academic
Publishers, 2000.
Mily Balakirev. Complete Collection of Spiritual Works, Muzyka,
2015.
One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series; Musica Russica,
1991.
Selected Discography: Holst Singers, Ikon, Vol. 2: Sacred Choral Music from Eastern
Europe, conducted by Stephen Layton, Hyperion, 2010.
Selected Bibliography: Morosan, Vladimir. Notes to Da molchit vsyakaya plot (Let All
Mortal Flesh Keep Silence, by Miliy Balakirev, 2. Edited by
Vladimir Morosan. Encinitas, CA: Musica Russica, 1991.

Complete Text:

English Translation:
Да молчитъ всякая плотъ человѣча,
и да стоитъ со страхомъ и трепетомъ,
и ничтоже земное въ себѣ да помышляетъ.

Царь бо царствующихъ
и Господь господствуюшихъ
приходитъ заклатися и датися въ снѣдь
вѢрныъ (Аминь)

Предходятъ жз Сему лицы ангельстіи
со всякимъ началомъ и властію,
многоочитіи херувимы и шестокрылатіи
серафимы,
лица закрываюше и вопіюше снѣдь:
Аллилуія, аллилуія, аллилуія.
Let all mortal flesh keep silence,
and in fear and trembling stand,
pondering nothing earthly-minded.

For the Kings of kings
and the Lord of lords comes to be slain
and to give Himself as food to the faithful.
(Amen.)
5

Before Him go to the ranks of angels:
All the Principalities and Powers,
the many-eyed Cherubim, and the six-winged
Seraphim,
covering their faces, and singing the hymn:
“Alleluia, alleluia, alleluia!”
6

Insights & Performance Issues:
Built on Kievan Chant, heard in the soprano voice.

The opening Tenor entrance may be the most difficult phrase in the entire work beginning with a
whole tone ascending scale through the passaggio followed by descending leaps and an arpeggio
in the next two measures.

5
Amen omitted in concert setting.
6
English translation by Vladimir Morosan © 1991, reprinted with permission.
139

Measures 49-50. Amen omitted in concert settings.

The conductor will need to navigate the work and phrase structures and determine rubato used
throughout to help bring the music to life.

Duration at five minutes of a cappella singing may make some conductors with inexperienced
singers nervous. However, the general stepwise motion of the lines and use of a solo quartet may
help with this issue.

Low range for Soprano and Alto, while the Tenor sits in a predominantly high tessitura. Bass
part is more accessible on the low range than most Russian church anthems.

Musica Russica has an audio diction guide for the Russian text.

140

Beethoven, Ludwig van (CM19c p20-31)
Birth/Death: December 17, 1770 – March 26, 1827
Place of Birth: Bonn, Germany
Place of Death: Vienna, Austria
Nationality/Ethnicity: German
Selected Bibliography: Forbes, Elliot. “Beethoven as a Choral Composer.” Proceedings of
the Royal Musical Association 97, no. 1 (January 1, 1970): 69–
82.
Scherman, Thomas, and Louis Leopold Biancolli. The Beethoven
Companion. Garden City, N.Y: Doubleday, 1972.
Thayer, Alexander Wheelock. The Life of Ludwig van
Beethoven. Carbondale: Southern Illinois University Press, 1960.

Elegischer Gesang (Elegiac Song), Op. 118 (CM19c p25)
Alternate Title(s): Sanft wie du lebtest (Gently, as you lived)
Larger Work/Collection: N/A
Text Source: Friedrich Haug (1761-1829)
Original Language: German
Voicing and Range: SATB

Accompaniment: String orch, no db (str qt/piano/organ)
Meter: 3/4
Opening Tempo: Langsam und sanft (slowly and gentle)
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: mp, instr. (extended)
Closing Texture: pp, instr. (brief)
Approximate Duration: 6:00
Date of Composition: 1814
Sacred/Secular: Secular
Liturgical Use: Memorial, All Saints
Theme(s): Life, Death, Sorrow, Tears, Heaven, Gentle, Spirit
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf und Härtel (IMSLP)
Carus-Verlag, ed. Uwe Wolf
CPDL
E.C. Schirmer, arr. Clough-Leighter
Luck’s Music (full score and set of parts)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Beethoven Complete Works, G. Henle Verlag, ed. Armin Raab, (full
scores and critical report)
141

Selected Discography: German Youth Chamber Choir, Beethoven for choir, conducted by
Florian Belfer, Carus, 2019.
Ambrosian Singers and London Symphony, Beethoven Late Choral
Music, conducted by Michael Tilson Thomas, Sony Classical,
1988.
Selected Bibliography: Forbes, Elliot. “Beethoven as a Choral Composer.” Proceedings of
the Royal Musical Association 97, no. 1 (January 1, 1970): 70.
Wolf, Uwe. Foreword to Elegischer Gesang by Ludwig van
Beethoven, 3. Edited by Uwe Wolf. Wolfschlugen: Carus-
Verlag, 2018.

Complete Text:

English Translation:
Sanft, wie du lebtest, hast du vollendet,
zu heilig für den Schmerz!
Kein Auge wein' ob des himmlischen Geistes
Heimkehr.
Gently, as you lived, have you died,
too holy for sorrow!
Let no eye shed tears for the spirit's heavenly
homecoming.
7

Insights & Performance Issues:
Composed for Baron Johann von Pasqualati, in memory of his deceased wife. The text is lines 2-
1, 3-4, and 3-5 from the poem "Bey der Kunde von Jacobi's Tod" by Friedrich Haug referring to
the death of poet Johann Georg Jacobi.
8

Modified ternary form with stark dynamic contrast in opening and closing sections. While not as
effective as the German text, the English translation in most editions will work. Originally
scored for strings but works nicely with piano or organ. A few publications offer piano
reductions.

The middle section is a slow fugue that may seem easy at first glance, but the exposure of each
line, extended phrases, leaps, and chromaticism are more challenging than they seem. In
addition, the fugue begins in a new key and finding the new tonal center may be difficult for the
Bass section, which sings the first subject of the fugue.

Bass range includes a low pitch of E2. However, this only occurs on the final chord. Prior to this
A2 is the lowest pitch for the Bass.

Overall, a well-crafted and accessible work certainly achievable by an experienced community
choir or church choir.

7
Translation copyright © 2005 by Ahmed E. Ismail reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
8
Lieder.net
142

“Hallelujah” (CM19c p24)
Alternate Title(s): Welten singen Dank und Ehre; Hallelujah Chorus; Chorus of
Angels; Hallelujah Unto God’s Almighty Song!
Larger Work/Collection: Christus am Ölberg (Christ on the Mount of Olives), Op. 85, final
chorus
Text Source: Franz Xaver Huber (1760-1809)
Original Language: German
Voicing and Range: SATB

Accompaniment: Piano or organ or orchestra
Meter: Common
Opening Tempo: Maestoso (majestic)
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: ff, instr. (brief)
Closing Texture: f, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1802
Sacred/Secular: Sacred
Liturgical Use: Easter
Theme(s): Joy, Praise, Jesus, Redeemer, Resurrection
Musical Type: Oratorio Chorus (excerpt)
Editions, Arrangements,
and Publications:
Boosey & Hawkes, ed. Walter Ehret
Breitkopf & Härtel (complete work, IMSLP)
CPDL
E.C. Schirmer, ed. Henry Clough-Leighter, 1938 (German/English)
G. Schirmer, (orchestration and band arr. available)
National Music Publishers, ed. Jerome Knight
Alternate Voicings/
Instr. Arrangements:
Concert Band, SATB: ed. McAlister & Graham, Masters Music Pub
Handbells, pf: Martha Lynn Thompson, Jubilate Music Group
Organ, arr. Best, Novello
SAB, arr. Russel Robinson, Alfred Music
SSAA, arr. E. Harold Geer, E.C. Schirmer
TTBB, arr. Archibald T. Davison, E.C. Schirmer
TTBB, arr. Fenno Heath, G. Schirmer
Collections/Anthologies: Schirmer Classic Choruses, arr. Stan Pethel: SATB, keyboard/instr
Carus Choral Collection Beethoven, ed. Jan Schumacher: SATB,
piano
Selected Discography: Gächinger Kantorei Stuttgart and Bach Collegium Stuttgart,
Beethoven: Christus am Ölberge (Christ on the Mount of
Olives), Op. 85, conducted by Helmuth Rilling, Hänssler Classic,
2007.
143

Selected Bibliography: Albrecht, Theodore. “The fortnight fallacy: A Revised Chronology
for Beethoven's Christ on the Mount of Olives, op. 85, and
Wielhorsky Sketchbook.” Journal of Musicological Research 11,
no. 4 (1991): 263-284.
Bermingham, Gudrun A. “Teaching Choral Music by German-
Austrian 18
th
and 19
th
Century Composers Standard-Based
Lessons and Materials for Seven Pieces of the High School
Repertoire.” PhD diss., University of Florida, 2006.
Doering, Harold. “Beethoven’s Choral Fugal Technique.” master’s
thesis, North Texas State College, 1958.
Tyson, Alan. “Beethoven’s Oratorio.” Musical Times, 111 (April
1970): 373-375.

Complete Text:

English Translation:
Welten singen Dank und Ehre dem
erhab’nem, Gottes Sohn,
Preiset ihn, ihr Engelchöre,
laut im heil’gen, Jubelton!
Glorious worlds above us spire,
Happy Seraphs sing your joys.
Man, join in the holy choir,
Hail the great Redeemer’s praise.
9

Sung English Translation:
Hallelujah unto God’s Almighty Son.
Praise the Lord, ye bright angelic choirs in
holy songs of joy.
Man, proclaim his grace and glory.
Praise the Lord in holy songs of joy.
10

Insights & Performance Issues:
Christus am Ölberg (Christ on the Mount of Olives), Op. 85 is Beethoven’s only oratorio.

The word “Hallelujah” does not appear in the German text by Franz Xaver Huber (1760-1809).
The English text found in most published editions is by Reverend Doctor John Troutbeck (1832-
1899) and his inclusion of “Hallelujah” has shaped the movement’s common title and liturgical
use. Both a literal and the sung translations have been provided below.

Previous movement features male chorus and Jesus (tenor) and is attacca to the following
chorus, closing with a recitative style passage that concludes on the downbeat of the chorus.

Movement is organized into two sections: homophonic chorus and fugue. Melismatic passages
for chorus are doubled by accompaniment. Much of the work is sung at a forte dynamic, or
above, and in the upper register. Less experienced singers may get zealous and over sing.

Measures 42, 69, 87, and 105 contain exposed entrances for basses. Range and voice leading
allow each to be doubled by tenors as needed. Alto range is moderate (C4-C5) excluding one
unison E5 in the final phrase.

9
Anonymous translation.
10
Translation by Reverend Doctor John Troutbeck (public domain).
144

Bendix, Victor (CM19c p162)
Birth/Death: May 17, 1851 – January 5, 1926
Place of Birth: Copenhagen, Denmark
Place of Death: Copenhagen, Denmark
Nationality/Ethnicity: Danish
Selected Bibliography: Marschner, Bo. “Bendix, Victor.” Grove Music Online. 2001.

Psalm 33 (CM19c p162)
Alternate Title(s): 33ster Psalm; David’s 33 Psalme
Larger Work/Collection: N/A
Text Source: Bible, Psalm 33:1-12
Original Language: Danish and German
Voicing and Range: SAATTBB

Accompaniment: Orch (piano)
Meter: Common time
Opening Tempo: Allegro moderato
Beginning Key/Mode: F major
Ending Key/Mode: Bb major
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 8:00
Date of Composition: 1874
Sacred/Secular: Sacred
Liturgical Use: Year A, Proper 5 (RCL)
Theme(s): Rejoice, Praise, Music, Harp, Strings, Joyful Noise, Lord, Fear,
Respect
Musical Type: Liturgical Song
Editions, Arrangements,
and Publications:
C.C. Lose, Copenhagen (1874, Danish/German, IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
Selected Bibliography: Marschner, Bo. “Bendix, Victor.” Grove Music Online. 2001.

145

Complete Text:

English Translation:
Jubler, I Retfærdige i Herren!
Lovpriisning anstaaer de Retfærdige!
Lover Herren paa Cither,
paa tistrenget Lyra lovsynger ham,
en ny Sang og leger lifligt
paa Strengeleg med Fryde klang.

Thi Ret er Herrens Ord,
og al hans Gjerning er i Trofashed.
Han elsker Retfærd,
af hans Miskundlied er Jorden fuld.

Ved Herrens Ord er Himlen skabt,
og ved hans Aande aldens Hær.
Han samler som en Dynge Havets Vande,
ned lægger Belgerne i Forraadskamre.

For Herren frygter al Jorden,
for Herren bæve hver, som boer i Jorderige.
Thi han talede, saa skete det,
han bød, saa stod det der.

Herren sønderbryder Hedningers Raad,
Gjør Folkenes Tanker til Intet:
Herrens Raad be staaer evindelig,
Hans Hjertes Tanker til evig Tid.

Salig det Folk, hvis Gud er Herren,
Salig det Folk, han valgte til sin Eiendom.
Sing joyfully to the Lord, you righteous;
it is fitting for the upright to praise him.
Praise the Lord with the harp;
make music to him on the ten-stringed lyre.
Sing to him a new song;
play skillfully, and shout for joy.

For the word of the Lord is right and true;
he is faithful in all he does.
The Lord loves righteousness and justice;
the earth is full of his unfailing love.

By the word of the Lord the heavens were
made,
their starry host by the breath of his mouth.
He gathers the waters of the sea into jars[a];
he puts the deep into storehouses.

Let all the earth fear the Lord;
let all the people of the world revere him.
For he spoke, and it came to be;
he commanded, and it stood firm.

The Lord foils the plans of the nations;
he thwarts the purposes of the peoples.
But the plans of the Lord stand firm forever,
the purposes of his heart through all
generations.
Blessed is the nation whose God is the Lord,
the people he chose for his inheritance.

Insights & Performance Issues:
The extended, dramatic work is comparable in structure to the multi section structure of the
Russian sacred concertos of the period.

A skilled and musical orchestra or pianist, if using the reduction, is required. If one has access to
a substantial organ, the variety of voices and organ registrations available would work well for
the dramatic expression of the work including consistent tremolo and low bass figures.

The work opens with a four-part tenor/bass introduction in F major. The opening theme begins
in m. 11, modulates to Bb major and contains melodic material that is found throughout the
work. The syncopation in the vocal line against the 16
th
notes in accompaniment will require
rehearsal to precisely align.

146

The opening section transitions at m. 44 with a poco a poco accelerando, ma non troppo, (little
by little gradually increase speed, not too quickly) to the next section in cut time and marked
Moderato. Set in Bb minor, the second section begins with a bass section feature with an
extended upper range that may benefit from adding a few tenors.

The music becomes more angular with large, disjunct leaps in all the voice parts that will require
extra rehearsal. The tremolo and minor key result in a dramatic setting, perhaps text painting the
Lord creating the earth, the rolling seas, and the earth fearing the Lord.

An instrumental interlude follows beginning in m. 87 and takes the choir to new material that
Bendix uses to set the text portraying the Lord speaking. The chorus sings homophonically in
two-part unison octaves in the upper register for all voices at a fortissimo dynamic. The accents
and dynamic level will require balancing with the accompaniment.

The tempo marking sempre un poco accelerando (always gradually getting a little faster) is
written in m. 114, a marking that is book ended in m. 142 with poco a poco pui lento, ma sempre
(little by little more slowly, but always). Both gradual tempo shifts will require discipline by the
conductor, chorus, and accompaniment.

A beautiful chorale, supported by the accompaniment begins in m. 150 with an a tempo marking
and sempre p (always quiet).

Beginning material returns in m. 170 leading to the short coda that closes the work.

Overall, a dramatic work that as Strimple describes it, “…an inconsistent style influenced by
Gade, Liszt, and Wagner.”
11
One might consider excerpting the segmented work and sing the
chorale (mm. 150-171) as a sighting reading exercise or a liturgical response.

11
Strimple, Choral Repertoire in the Nineteenth Century, 162.
147

Berlioz, Hector (CM19c p84-88)
Birth/Death: December 11, 1803 – March 8, 1869
Place of Birth: La Côte-Saint-André, Isère, France
Place of Death: Paris, France
Nationality/Ethnicity: French
Selected Bibliography: Friddle, David. “Franz Liszt and Hector Berlioz: Conducting,
Interpretation and Two Underappreciated Legacies.” American
Choral Review 58, no. 1 (Fall 2019):1-18.
Hopkinson, Cecil. A Bibliography of the Musical and Literary
Works of Hector Berlioz. Edinburgh: R. Macnutt, 1951.
Tayeb, Monir and Michel Austin. “The Hector Berlioz Website.”
Last modified February 1, 2021. http://www.hberlioz.com.

Le ballet des ombres, Op. 2 (CM19c p87)
Alternate Title(s): A Dance of Ghosts; Ronde Nocturne (A Midnight Revel)
Larger Work/Collection: N/A
Text Source: Albert Du Boys (1804-1889)
Original Language: French
Voicing and Range: STTBB

Accompaniment: Piano
Meter: 3/4
Opening Tempo: Allegro Scherzando, half note = 120
Beginning Key/Mode: C minor
Ending Key/Mode: C minor
Opening Texture: p, instr. (brief)
Closing Texture: ppp, instr. (extended)
Approximate Duration: 3:00
Date of Composition: 1828
Sacred/Secular: Secular
Theme(s): Ghosts, Dance, Night, Grave, Elysium, Death
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Barenreiter-Verlag
Breitkopf & Härtel (IMSLP), (French/German/English)
G. Schirmer (OOP)
Novello
Alternate Voicings/
Instr. Arrangements:
None Found
148

Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
French Songs and Choruses, Novello
Hector Berlioz: New Edition of Complete Works (Choral Works
with Keyboard, ed. Ian Rumbold, Bärenreiter-Verlag
Selected Discography: Heinrich Schütz Choir and Chorale, Berlioz: Songs for Chorus,
conducted by Sir Roger Norrington, Decca, 2007.
South West German Radio Vocal Ensemble, Hector Berlioz: Vocal
Works with Orchestra, conducted by Sylvain Cambreling, SWR
Classic, 2018.
Selected Bibliography: Nauman, Philip Daniel. “Sirènes, Spectres, Ombres: Dramatic
Vocalization in the Nineteenth and Twentieth Centuries”. PhD
diss., Boston University, 2009.
Martin, James Morris. “The Minor Works of Hector Berlioz.”
master’s thesis, North Texas State University, 1974.
Teie, Ernest W. “A Study of Non-Liturgical Choral Music from the
Romantic Period for Mixed Chorus.” master’s thesis, The
University of Montana, 1961.

Complete Text:

English Translation:
Formez vos rangs, entrez en danse
L'ombre descend, le jour s'enfuit.
Ombres, votre règne commence
Dans la sombre horreur de la nuit.

Lorsque le souffle des orages
Agite les vertes forêts,
Il vient aussi dans nos bocages
Faire frémir les noirs cyprès.

Formez vos rangs, entrez en danse,
Ombres, prenez-vous par la main,
Troublez cet auguste silence
Qui règne sur le genre humain!

Pour les rangs point de jalousie,
Ombres de bergers et de rois!
Oubliez que l'orgueil, l'envie
Vous divisèrent autrefois!

L'un n'éprouva que des traverses;
Dans le bonheur l'autre vécut.
Tous ont pris des routes diverses
Pour venir tous au même but.

Begin the dance, for day is dying,
And slowly wanes the sunset light.
Begin the dance, ye phantoms flying,
Beneath the mantle of the night.

When loud the stormy wind is roaring
Amid the gloomy forest trees,
Around the grave, our home, ‘tis moaning
Where bends the cypress in the breeze.

Begin the dance, ye phantoms, slowly,
Each take the other by the hand
And break the silence of the midnight
That covers all the dreaming land!

Let none dispute for rank or honour,
For clown is equal now with king!
The pride of place, that once we sought for,
Is now for us a futile thing!

While one on earth knows nought but sorrow,
Another’s life in joy is passed.
And yet, by various paths conducted,
They reach the selfsame goal at last.

149

Ombres, oubliez de la terre
Et les plaisirs et les travaux!
Formez une danse légère
Qui courbe à peine les pavots!

Formez vos rang, entrez en danse!
Mais la lune se lève et luit.
Gagnons l'Élysée en silence,
Et rendons le calme à la nuit!

Mortels, lorsque dans les nuits sombres
Notre voix vous réveillera,
Songez bien qu'à la voix des ombres,
Un jour, la vôtre s'unira!

Pourquoi nous craindre, enfants des hommes?
Ce que vous êtes nous l'étions,
Et vous serez ce que nous sommes.
Au revoir! nous nous reverrons!
Ye ghosts, forget the grief of gladness
Ye knew when in this earthly vale;
No dance a dance so light, so airy,
It hardly stirs the poppies pale!

Begin the dance, ye phantoms flying,
While not the moon is shining bright.
Then back to vast Elysium hasten
And calm restore unto the night.

Perchance our voices may arouse ye,
Oh! Mortals, in the midnight drear!
Remember that one day your voices
Shall blend with these that now you hear!

Why fear ye us, benighted mortals?
What ye are, that we, too, have been;
And ye shall be, as we are, phantoms,
And join us in the world unseen!
12

Insights & Performance Issues:
Berlioz withdrew the work shortly after publication.

Divisi is present in all the parts. While scored for STTB, alto could sing alternate between
soprano and tenor as the first tenor and soprano sing octave unison the entire work.

English text is not as effective.

Large amount of French text and it moves quickly. Allow extra rehearsal time to learn the text
and prepare learning tools in advance.

Berlioz depicts the ghosts and ghouls with dissonant glissandos. The timing and tuning of the
slides will need attention.

Outside the glissandos, the work is highly angular and dramatic, creating an exercise in interval
accuracy, precise articulation, and dynamic control. Skilled and musical pianist is required.

“The Shepherd’s Farewell” (CM19c p86-87)
Alternate Title(s): The Shepherd’s Farewell to the Holy Family; Thou Must Leave
Thy Lowly Dwelling; L’Adieu des Bergers à la Sainte Famille
Larger Work/Collection: Part 2, No. 2 from L’enfance du Christ (Childhood of Christ), Op.
25
Text Source: Hector Berlioz, based on Matthew 2:13-14

12
English translation by Percy Pinkerton, public domain.
150

Original Language: French
Voicing and Range: SATB

Accompaniment: Orchestra
Meter: 3/8
Opening Tempo: Allegretto
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: f, instr. (brief)
Closing Texture: pp, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1854
Sacred/Secular: Sacred
Liturgical Use: Christmastide, Epiphany
Theme(s): Jesus, Bethlehem, Shepherds, Flight to Egypt, Slaughter of the
Innocents
Musical Type: Oratorio Chorus
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag BA 5451-01
Breitkopf & Härtel (Vocal Score, IMSLP)
CPDL
E.C, Schirmer, ed. Victor Mattfeld (English, piano/orch)
Edition Eulenburg (Full Score)
G. Schirmer (French/English, piano/orch)
H.W. Gray C.M.R. (English)
Novello
Richault (French/German, Full Score, IMSLP)
Alternate Voicings/
Instr. Arrangements:
Woodwind Quintet, arr. Graham Bastable; International Music Co.
Collections/Anthologies: 100 Carols for Choirs, ed. David Willcocks & John Rutter, Oxford
University Press
Carols for Choirs Volume 1, ed. Reginald Jacques, David Willcocks
& John Rutter, Oxford University Press
Five Centuries of Choral Music for Mixed Voices, Volume 2,
compiled by Margaret Hawkins, G. Schirmer
Scenes from the Childhood of Christ Abridged, HW Gray (English,
IMSLP)
Selected Discography: Monteverdi Choir and Lyon National Opera Orchestra, Berlioz:
L’Enfance du Christ, conducted by John Elliot Gardiner, Erato
Disques, 2007.
Tenebrae and London Symphony Orchestra, Berlioz: L’Enfance du
Christ, conducted by Colin Davis, LSO Live, 2007.
151

Selected Bibliography: O’Neal, Melinda Pauly. Berlioz’s ““L’Enfance du Christ; trilogie
sacrée,” Op. 25: A conductor's analysis for performance.” DMA
diss., Indiana University, 1988, p112-16.

Complete Text:

English Translation:
Il s’en va loin de la terre
Où dans l’étable il vit le jour.
De son père et de sa mère
Qu’il reste le constant amour,
Qu’il grandisse, qu’il prospère
Et qu’il soit bon père à son tour.

Oncques si, chez l’idolâtre,
Il vient à sentir le malheur,
Fuyant la terre marâtre,
Chez nous qu’il revienne au bonheur.
Que la pauvreté du pâtre
Reste toujours chère à son cœur.

Cher enfant, Dieu te bénisse!
Dieu vous bénisse, heureux époux!
Que jamais de l’injustice
Vous ne puissiez sentir les coups.
Qu’un bon ange vous avertisse
Des dangers planant sur vous.
Thou must leave thy lowly dwelling,
The humble crib, the stable bare.
Babe, all mortal babes excelling,
Content our earthly lot to share.
Loving father, Loving mother,
Shelter thee with tender care!

Blessed Jesus, we implore thee
With humble love and holy fear.
In the land that lies before thee,
Forget not us who linger here!
May the shepherd's lowly calling,
Ever to thy heart be dear!

Blest are ye beyond all measure,
Thou happy father, mother mild!
Guard ye well your heav'nly treasure,
The Prince of Peace, The Holy Child!
God go with you, God protect you,
Guide you safely through the wild!
13

Insights & Performance Issues:
Originally in French, the English text is also effective. Originally set for orchestra, piano is
acceptable, but the organ is more effective with the ability to add the reed stops.

Range for all voices is manageable. The E2 found in the bass is nice to have, but easily sung up
the octave as it is doubled by the accompaniment. The work is mostly stepwise motion for all the
parts. While chromatic, Berlioz’s voice leading skill makes it intuitive.

In context of the oratorio, the chorus takes the role of the shepherds singing to Mary, Joseph, and
the Christ Child.

Form consists of three verses, 40 mm. each, with a strict 4+8+8+8+12 phrase structure.

The final phrase of each verse contains an arpeggio passage that will take practice to sing with
accuracy and a legato line.

Measure 84 contains the marking pppp which the manuscript dictates is to be sung off stage
creating a sense of distance. This does not appear in modern publications.

13
Translation by Paul England (public domain).
152

Bishop, Henry R. (CM19c p105)
Birth/Death: November 18, 1786 – April 30, 1855
Place of Birth: London, England
Place of Death: London, England
Nationality/Ethnicity: English
Selected Bibliography: Royle, Ann L. “Sir Henry Rowley Bishop as Musician and
Educator: A Reassessment of His Career and Achievements
outside the Theatre.” PhD diss., University of Leeds, 2005.
Temperley, Nicholas. “Ballroom and Drawing-Room Music.” In
Music in Britain: The Romantic Age 1800-1914, edited by
Nicholas Temperley, 109-134. London: The Athlone Press,
1981.

Home, Sweet Home (CM19c p105), arr. Bob Chilcott
Alternate Title(s): N/A
Larger Work/Collection: Original solo, Aria from Opera Clari
Text Source: John Howard Payne (1791-1852)
Original Language: English
Voicing and Range: SAATBB

Accompaniment: Unaccompanied (original solo includes pf)
Meter: 2/4
Opening Tempo: Very expressive
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: p, staggered (SAT/B)
Closing Texture: p, tutti
Approximate Duration: 3:00
Date of Composition: 1829 (arr. 1998)
Sacred/Secular: Secular
Theme(s): Home, Peace, Birds, Moon, Cottage, Pleasure, Palace, Humble
Musical Type: Ballad
Editions, Arrangements,
and Publications:
Oxford, arr. Bob Chilcott
Alternate Voicings/
Instr. Arrangements:
Brass Quartet, arr. Stephen DeCesare; Exsultet Music
CPDL
String Quartet & Piano, arr. Stephen DeCesare; Exsultet Music
TTBB, Carl Fischer
Woodwind Ensemble, arr. John Phillip Sousa, adapt. Judith Katz
Collections/Anthologies: Encores for Choirs: 24 Show-Stopping Concert Pieces, ed. Peter
Gritton
153

Selected Discography: Gloucester Choral Society, Make a Joyful Noise, conducted by
Adrian Partington, YouTube, 2009.
Selected Bibliography: Corder, F. and Henry Rowley Bishop. “The Works of Sir Henry
Bishop.” The Musical Quarterly 4, no.1 (Jan 1918): 78-97.
Royle, Ann L. “Sir Henry Rowley Bishop as Musician and
Educator: A Reassessment of His Career and Achievements
outside the Theatre.” PhD diss., University of Leeds, 2005.
Temperley, Nicholas. “Ballroom and Drawing-Room Music.” In
Music in Britain: The Romantic Age 1800-1914, edited by
Nicholas Temperley, 109-134. London: The Athlone Press,
1981.

Complete Text:

'Mid pleasures and palaces though we may
roam,
Be it ever so humble there's no place like
home.
A charm from the skies seems to hallow us
there,
Which, seek thro' the world is ne'er met with
elsewhere.

Home, Home, Home sweet home.
There's no place like home,
Oh, there's no place like home.

I gaze on the moon as I tread the drear wild,
And feel that my mother now thinks of her
child.
As she looks on that moon from our own
cottage door,
Thro' the woodbine whose fragrance shall
cheer me no more.
Home, Home…

An exile from home, splendor dazzles in vain,
Oh give me my lowly thatch'd cottage again.
The birds singing gaily that came at my call,
Give me them and that peace of mind dearer
than all.

Insights & Performance Issues:
Bishop’s original composition is for solo voice and piano.

A brief, yet beautiful arrangement by Bob Chilcott consists of two verses and two choruses. The
bass section is featured on the first verse and the alto section is featured on the second verse. A
nice change of pace from the typical melody in the soprano part.

Starting on the offbeat, even on a hum, will take some practice to line up. A similar entrance
occurs at m. 20 and m. 43 with the bass section singing on beat one.

The dotted eighth, sixteenth rhythm found throughout should not create too many issues at the
slow tempo. If one hears the parts not lining up, some singers may be elongating the dotted
rhythm into a triplet feel.

The end of the first verse (m. 26) transition into the second verse may cause problems if you
decide to slow down. Reestablishing the a tempo with an upbeat entrance for the alto section
will take awareness and rehearsal.

154

Bortniansky, Dmitri Stepanovich (CM19c p147-149)
Birth/Death: 1751 – 28 Sept/Oct 10, 1825
Place of Birth: Hlukhiv, Ukraine
Place of Death: St Petersburg, Russia
Nationality/Ethnicity: Ukrainian (active in Russia)
Selected Bibliography: Kuzma, Marika. “Bortniansky à La Bortniansky: An Examination
of the Sources of Dmitry Bortniansky’s Choral Concertos.” The
Journal of Musicology 14, no. 2 (April 1996): 183-212.
Kuzma, Marika. “Dmitry Bortniansky at 250: His Legacy as a
Choral Symphonist.” Choral Journal 42, no. 1 (August 2001): 9-
16.
Russian Choral Heritage Foundation. “Bortniansky, Dmitry.”
Orthodox Sacred Music Reference Library.
https://www.orthodoxchoral.org/composers/dmitry-
bortniansky?locale=en
Morosan, Vladimir. Choral Performance in Pre-Revolutionary
Russia. Ann Arbor, Mich: UMI Research Press, 1986.
Wilcox, Keith Dwayne. “Russian Sacred Choral and Folk Music: A
Multicultural Text for High Schools and Colleges”. DMA diss.,
University of Missouri-Kansas City, 1998.

Glory to God in the Highest (CM19c p147)
Alternate Title(s): Slava vo vyshnikh Bohu
Larger Work/Collection: Sacred concertos, No. 6
Text Source: Sticheron after Psalm 51
Original Language: Church Slavonic
Voicing and Range: SSAATTB, soli SAATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Allegro
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: f, tutti
Closing Texture: p, tutti
Approximate Duration: 5:30
Date of Composition: c.1780-90
14

14
Kuzma, foreword to 35 Sacred Choral Concertos, by Dmitri Stepanovich Bortniansky, ix.
155

Sacred/Secular: Sacred
Liturgical Use: Christmas Day
Theme(s): Peace, Bethlehem, Christ Child, Glory to God
Musical Type: Sacred Choral Concerto
Editions, Arrangements,
and Publications:
Jurgenson, 1881
Musica Russica, 2017
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: 35 Concertos for Mixed Chorus Unaccompanied, ed. Pyotr
Tchaikovsky, Moscow: Muzyka, 1882 (Cyrillic, IMSLP)
Bortniansky: 35 Sacred Choral Concertos, ed. Marika C. Kuzma,
Carus-Verlag, 2008 (Cyrillic/Transliteration)
Galuppi to Vorotnikov: Music of the Russian Court Chapel Choir I,
ed. Carolyn C. Dunlop. Routledge, 2000
Selected Discography: Russian State Symphonic Cappella, Bortnyansky: Sacred
Concertos, Volume 1, conducted by Valeri Polyansky, Chandos,
1999.
Ensemble Cherubim, Dmitry Bortniansky: I cried out to the Lord,
Hymns and Choral Concertos, conducted by Marika Kuzma,
Naxos, 2013.
Selected Bibliography: Kuzma, Marika. “Bortniansky à La Bortniansky: An Examination
of the Sources of Dmitry Bortniansky’s Choral Concertos.” The
Journal of Musicology 14, no. 2 (April 1996): 183-212.
Kuzma, Marika. “Dmitry Bortniansky at 250: His Legacy as a
Choral Symphonist.” Choral Journal 42, no. 1 (August 2001): 9-
16.

Complete Text:

English Translation:
Слава во вышнихъ Богу, i на земли миръ.

Днесь воспріемлетъ Вифлеемъ
Сѣдяшаго выну со Отцемъ,
днесь ангели Младенца рожденнаго
боголѣно славословятъ:

Слава во вышнихъ Богу, i на земли миръ,
въ благоволеніе человѣцѣхъ.
Glory to God in the highest, and on earth
peace.

Today Bethlehem receives
the One seated forever with the Father,
today the angels praise the newborn child
with hymns worthy of God:

Glory to God in the highest, and on earth peace,
good will toward men.

Insights & Performance Issues:
Organized in four distinct sections:
Allegro (~1:15)
Adagio (~2:15)
Moderato (~:45)
Allegro (~1:15)

156

Vocal divisi is minimal, especially in the tenor and alto sections. Solid G2 and F2 for the bass
will be needed throughout, but E2 and D2 occur minimally.

Section one offers some arpeggio practice for the choir, especially the bass and tenor sections in
mm. 21-26. These measures will take rehearsal to achieve pitch and rhythm accuracy as the parts
duet with the added difficulty of the phrases beginning on the offbeat.

Section two begins with the first appearance of the soli group, well-served with five to eight
voices, in a hymn-like texture. The entire chorus could also sing this section at a hushed
dynamic.

Section three begins with a short fugue beginning with the alto section. Each section follows,
with the tenor and soprano sections peak of the subject arriving on a G.

The fourth section is a repeat of the opening “Glory to God” material. The consistent A5 in the
soprano may be a stretch for some church choirs, but the soprano divisi offers an alternate line
down a third.

Shorter in duration, repeated material, and minimal divisions make Scared Concerto No. 6 a
good option for high school and church choirs to offer a different choral texture to a concert or
worship service.

The Carus-Verlag and Musica Russica editions include transliteration and Musica Russica has
an audio diction guide available.

Let God Arise (CM19c p147)
Alternate Title(s): Da voskresnet Boh; Да воскреснетъ Богъ; Gott steht auf
Larger Work/Collection: Sacred concertos, No. 34
Text Source: Bible, Psalm 68
Original Language: Church Slavonic
Voicing and Range: SATB; soli SSATTB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Allegro
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: f, tutti
Closing Texture: p, tutti
Approximate Duration: 6:30
157

Date of Composition: c.1780-90
15

Sacred/Secular: Sacred
Liturgical Use: General, Easter
Theme(s): Lord, Arise, Risen, Purify, Praise, Glory to God, Power
Musical Type: Sacred Choral Concerto
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Marika C. Kuzma, 2016 (Cyrillic/Transliteration)
Musica Russica, ed. Vladimir Morosan, 2016 (English)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: 35 Concertos for Mixed Chorus Unaccompanied, ed. Pyotr
Tchaikovsky. Muzyka, 1882 (Cyrillic, IMSLP)
Bortniansky: 35 Sacred Choral Concertos, ed. Marika C. Kuzma.
Carus-Verlag, 2008 (Cyrillic/Transliteration)
Selected Discography: Russian State Symphonic Cappella, Bortnyansky: Sacred
Concertos, Volume 5, conducted by Valeri Polyansky, Chandos,
2001.
Lege Artis Chamber Choir, Russian Liturgical Chants, conducted
by Abalyan Boris, Sony Classical, 1994.
Selected Bibliography: Kuzma, Marika. “Bortniansky à La Bortniansky: An Examination
of the Sources of Dmitry Bortniansky’s Choral Concertos.” The
Journal of Musicology 14, no. 2 (April 1996): 183-212.

Complete Text:

English Translation:
Да воскреснетъ Богъ, и расточатся врази
Его,
и да бѣжатъ отъ литца Его ненавидящіи
Его.

Яко исчезаетъ дымъ, да исчезнутъ:
яко таетъ воскъ отъ лица огня,
тако да погибнутъ грѣшницы отъ лица
Божія.

А праведницы да возвеселятся,
да возрадуются предъ Богомъ,
да насладятся въ веселіи.

Воспойте Богу, пойте имени Его.
Дадите славу Богови, на Израили
велелѣпота Его,
и сила Его на облацѣхъ.
Дивен Богъ во святыхъ Своихъ, Богъ
Израилевъ.
Let God arise, let his enemies be scattered,

let those also that hate him flee before him.

As smoke is driven away, so drive them away-
as wax melteth before the fire,
so let the wicked perish at the presence of God.

But let the righteous be glad;
let them rejoice before God;
yes, let them rejoice exceedingly.

Sing to the Lord, sing praises to His name;
Give glory to God; His glory dwells in Israel,

and His power of grace over the clouds.
Wondrous is God in His saints, the God of
Israel.
16

15
Kuzma, foreword to 35 Sacred Choral Concertos, ix.
16
English translation by Vladimir Morosan © 2016, reprinted with permission.
158

Insights & Performance Issues:
Organized in four distinct sections:
Allegro (~1:30)
Largo (~2:00)
Andante maestoso (~1:00)
Allegro (~2:00)

The Russian text moves quickly in the opening Allegro section as the parts continuously echo
and imitate each other.

Singing the text precisely will help the momentum created by this imitation continue to move
and the parts can take turns leading. If it not, it will all meld together, especially in an
acoustically live space. The English text setting by Vladimir Morosan in the Musica Russica is a
good option for those church choirs intimidated by the language.

The Largo section is sung by the soloists, opening with the soprano soloists. Continuing in pairs,
the soprano and alto sing in thirds while the tenor and bass echo. The soloists will need to spend
time together and be coached to appreciate the subtle chromatic nuances Bortniansky provides
as the moving line passes between parts. Soprano and tenor soloists who can sing quietly will
help maintain the haunting contrast to the previous and following sections.

The soloists conclude the Largo on A minor and the chorus begins the Andante maestoso in F
major. This transition may take some work, especially for the tenors ascending a minor 6th
interval. The section is a brief, homophonic bridge in chant style sung by the chorus.

The closing Allegro section opens with the soloists for eight measures before the chorus joins.
The movement contains similar imitation and interweaving of the main motifs to the Largo
section, but at a faster tempo.

The closing twenty-four measures include sustained pitches by the soprano and bass section.
Rehearsing staggered breathing and breath management will help intonation in the final
measures.

Lord, Make Me to Know My End (CM19c p147)
Alternate Title(s): Skazhi mi, Hospodi, konchinu moyu; Skažy mi, Hospodi, končinu
moju; Скажи ми, Гоцподи, кончину мою; Herr, lass mich mein
Ziel erkennen
Larger Work/Collection: Sacred concertos, No. 32
Text Source: Bible, Psalm 39:4-6, 10, 12, 13
Original Language: Church Slavonic
159

Voicing and Range: SATB; soli SATB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Andante moderato
Beginning Key/Mode: C minor
Ending Key/Mode: C minor
Opening Texture: mf, staggered (solo S/soli AT)
Closing Texture: pp, tutti
Approximate Duration: 9:00
Date of Composition: c.1780-90
17

Sacred/Secular: Sacred
Liturgical Use: General, Lent
Theme(s): Death, Forgiveness, Salvation, Prayer
Musical Type: Sacred Choral Concerto
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Marika C. Kuzma, 2016
Musica Russica, 1991
Muzyka, 1882 (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: 35 Concertos for Mixed Chorus Unaccompanied, ed. Pyotr
Tchaikovsky. Muzyka, 1882 (Cyrillic, IMSLP)
Bortniansky: 35 Sacred Choral Concertos, ed. Marika C. Kuzma;
Carus-Verlag (Cyrillic/Transliteration)
One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series; Musica Russica,
1991 (Cyrillic/Transliteration)
Selected Discography: Ensemble Cherubim, Dmitry Bortniansky: I cried out to the Lord,
Hymns and Choral Concertos, conducted by Marika Kuzma,
Naxos, 2013.
Estonian Philharmonic Chamber Choir, The Powers of Heaven,
conducted by Paul Hillier, Harmonia Mundi, 2003.
Selected Bibliography: Kuzma, Marika. “Bortniansky à La Bortniansky: An Examination
of the Sources of Dmitry Bortniansky’s Choral Concertos.” The
Journal of Musicology 14, no. 2 (April 1996): 183-212.
Kuzma, Marika. Foreword to 35 Sacred Choral Concertos, by
Dmitri Stepanovich Bortniansky, v-xv. Edited by Marika C.
Kuzma. Stuttgart: Carus-Verlag, 2008.

17
Kuzma, foreword to 35 Sacred Choral Concertos, ix.
160

Complete Text:

English Translation:
Скажи ми, Гоцподи, кончину мою,
и число дией моихъ, кое есть,
да разумѣю, что лишаюся азъ.

Ce пяди положилъ еси дни моя,
и составъ мой яко ничто же предъ
To бою, обаче всяческая суета.

Убо образомъ ходитъ человѣкъ,
обаче всуе мятет ся:
сокровиществуетъ, и не вѣсть, кому
соберет я.

Отстави отъ мене раны Твоя:
отъ крѣпости бо руки Твоея азъ исчезохъ.

Услыши молитву мою, Господи,
и моленіе мое внуши, слезъ моихъ не
премолчи.

Ослаби ми, да почію, прежде да же не
отъиду,
и ктому не буду.
“Show me, Lord, my life’s end
and the number of my days;
let me know how fleeting my life is.

You have made my days a mere handbreadth;
the span of my years is as nothing before you.
Everyone is but a breath, even those who seem
secure.
“Surely everyone goes around like a mere
phantom;
in vain they rush about, heaping up wealth
without knowing whose it will finally be.

Remove your scourge from me;
I am overcome by the blow of your hand.

“Hear my prayer, Lord,
listen to my cry for help; do not be deaf to my
weeping. I dwell with you as a foreigner, a
stranger, as all my ancestors were.
Look away from me, that I may enjoy life
again
before I depart and am no more.”
18

Insights & Performance Issues:
Organized in four distinct sections:
Andante moderato (~3:00)
Largo (~1:30)
Adagio (~:45)
Moderato (~4:00)

In the first two sections, much of the delicate and difficult writing is reserved for the soli quartet
while the chorus has phrases that are stepwise and harmonically intuitive. This is illustrated in
the opening Soprano line including chromaticism and large leaps.

The second section moves from the C minor established in the opening to Ab Major. The third
section is a seven measure chant by the chorus returning the key center to C minor.

The Moderato section contains the most difficult section consisting of a four-part fugue for the
chorus. While it will require line independence for each section, the part-writing is mostly
stepwise and remains harmonically intuitive.

18
New International Version.
161

While the work is relatively long in duration, the amount of text to learn is obtainable, even for
beginners to the Russian language. The Carus-Verlag and Musica Russica editions include
transliteration and Musica Russica has an audio diction guide available.

Tchaikovsky’s favorite sacred concerto.
19
Carus-Verlag edition, edited by Marika C. Kuzma, is
closer to Bortniansky’s original score removing the edits made by Tchaikovsky and the Russian
Imperial Court Chapel.
20

Overall, an accessible work for church and high school choirs with a solid soli quartet. Offers
opportunities for improving dynamic contrast, intonation, and part independence.

19
Kuzma, “Dmitry Bortniansky at 250,” 9-16.
20
Kuzma, foreword to 35 Sacred Choral Concertos, ix.
162

Brahms, Johannes (CM19c p52-67)
Birth/Death: May 7, 1833 – April 3, 1897
Place of Birth: Hamburg, Germany
Place of Death: Vienna, Austria
Nationality/Ethnicity: German
Selected Bibliography: Botstein, Leon, ed. The Compleat Brahms: A Guide to the Musical
Works of Johannes Brahms. New York: W.W. Norton, 1999.
Brahms-Institut at Musickhochschule Lübeck (website).
www.brahms-institut.de
Chen, Yu-Ting. “Brahms, the Early Choral Music Heritage and His
Piano Music.” DMA diss., University of Washington, 2001.
Geiringer, Karl. Brahms, His Life and Work. Boston: Houghton
Mifflin, 1936.
Glass, Beaumont. Brahms’ Complete Song Texts: In One Volume.
New York: Leyerle Publications, 1999.
Hancock, Virginia. Brahms’s Choral Compositions and His Library
of Early Music. Ann Arbor, MI: UMI Research Press, 1983.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).” http://www.kellydeanhansen.com/index.html
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
Molina, Marcela. “The Use of Chorale in the Motets of Johannes
Brahms: Plurality in Musical Languages.” DMA diss., The
University of Arizona, 2013.
Musgrave, Michael. The Cambridge Companion to Brahms.
Cambridge University Press, 2012.
Nero, Jonathan Leonard. “The A Cappella Motets for Mixed Voices
by Johannes Brahms: An Analytical Overview with Focus on
Brahms' Use of Compositional Techniques from Early Music.”
DMA diss., North Dakota State University, 2007.
Platt, Heather. Johannes Brahms: A Research and Information
Guide. New York: Routledge, 2012.

“Beherzigung” (CM19c p56)
Alternate Title(s): N/A
Larger Work/Collection: No. 6 from 6 Lieder und Romanzen, Op. 93a
Text Source: Johann Wolfgang von Goethe (1749-1832)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/4
163

Opening Tempo: Kraftig und lebhaft (Strong and lively)
Beginning Key/Mode: D minor
Ending Key/Mode: D major
Opening Texture: f, staggered (SA/TB)
Closing Texture: f, tutti
Approximate Duration: 1:15
Date of Composition: 1883
Sacred/Secular: Secular
Theme(s): Elitism, Power, Pride
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
CPDL
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Selected Discography: Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
North German Radio Chorus, Brahms: Complete Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 2015.
Stuttgart Gächinger Kantorei, Johannes Brahms: Liebeslieder
Waltzes (Love Song Waltzes), conducted by Helmuth Riling,
Ancanta, 1987.
Selected Bibliography: Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms.” http://www.kellydeanhansen.com/index.html.
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.

Complete Text:

English Translation:
Feiger Gedanken
bängliches Schwanken,
weibisches Zagen,
ängstliches Klagen
wendet kein Elend,
macht dich nicht frei.

Allen Gewalten
zum Trutz sich erhalten,
nimmer sich beugen,
kräftig sich zeigen,
rufet die Arme
der Götter herbei!
Cowardly thoughts,
timid wavering,
Lady-like hesitation,
fearful complaints,
Turn away no misery,
make one not free.

All force for defiance
preserves one,
Never to bow,
showing one's self powerful,
as the poor
call down their gods.
21

21
Translation copyright © 1990 by Gary Bachlund reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
164

Insights & Performance Issues:
For a stanza-by-stanza analysis, review the listening guide listed above by Kelly Dean Hansen.

Beginning Kraftig und lebhaft (Strong and lively), the short, through-composed part-song is
sung at the forte dynamic throughout.

In a two-part canon, Brahms pairs and the sopranos and altos and the lower voices repeat the
material an octave lower. Shifting from D minor to A minor, the first fifteen measures contain
chromatic material that may require rehearsal attention.

In m. 16 the canon moves to the tenor and basses, the meter to 2/4, and to D major. The
transition from the A major chord in m. 15 may require rehearsal attention to secure the new
tonal center.

“Der Abend” (CM19c p58)
Alternate Title(s): Evening
Larger Work/Collection: No. 2, Drei Quartette, Op. 64
Text Source: Friedrich von Schiller (1759-1805)
Original Language: German
Voicing and Range: SATB

Accompaniment: pf
Meter: ¾
Opening Tempo: Ruhig (Calm, Peaceful)
Beginning Key/Mode: G minor
Ending Key/Mode: G major
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1862-74
Sacred/Secular: Secular
Theme(s): Chariot, Cupid, Greek Mythology, Horses, Love, Phoebes
Musical Type: Part-song (Vocal Quartet)
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Sergej Rogowoj
C.F. Peters, (1874, IMSLP)
C.F. Peters, ed. Kurt Soldan (c.1925, IMSLP)
CPDL
Alternate Voicings/
Instr. Arrangements:
None Found
165

Collections/Anthologies: Brahms Quartets in 3 Volumes, Volume 1: Op. 31, 64, 92, 112, C.F.
Peters
Selected Discography: Latvian Radio Choir, Brahms: Liebeslieder, conducted by Sigvards
Kļava, Ondine, 2017.
RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.
Stuttgart Chamber Choir, Johannes Brahms: Quartets for four
voices and piano, conducted by Frieder Bernius, Profil, 2007.
Selected Bibliography: Bermingham, Gudrun A. “Teaching Choral Music by German-
Austrian 18
th
and 19
th
Century Composers Standard-Based
Lessons and Materials for Seven Pieces of the High School
Repertoire.” PhD diss., University of Florida, 2006.
Rogowoj, Sergej. Forward to Drei Quartetette, op. 64, by Johannes
Brahms, 2-4. Edited by Sergej Rogowoj. Stuttgart: Carus-Verlag,
2002.
Stark, Lucien. “Three Quartets OPUS 64.” In Brahms’s Vocal
Duets and Quartets with Piano: A Guide with Full Texts and
Translations, 56-62. Bloomington: Indiana University Press,
1998.

Complete Text:

English Translation:
Senke, strahlender Gott, die Fluren dürsten
nach erquickendem Tau, der Mensch
verschmachtet,
matter ziehen die Rosse,
senke den Wagen hinab.

Siehe, wer aus des Meers krystallner
Woge
lieblich lächelnd dir winkt! Erkennt dein Herz
sie?
Rascher fliegen die Rosse,
Thetys, die göttliche, winkt.

Schnell vom Wagen herab in ihre Arme
springt der Führer, den Zaum ergreift Cupido,
stille halten die Rosse,
trinken die kühlende Flut.

An dem Himmel herauf mit leisen Schritten
kommt die duftende Nacht, ihr folgt die
süße
Liebe. Ruhet und liebet!
Phöbus, der liebende, ruht.
Sink, beaming God; the meadows thirst
for refreshing dew, Man is
listless,
the horses are pulling more slowly:
the chariot descends.

Look who beckons from the sea's crystal
waves,
smiling warmly! Does your heart know
her?
The horses fly more quickly.
Thetis, the divine, is beckoning.

Quickly from the chariot and into her arms
springs the driver. Cupid grasps the reins.
The horses come silently to a halt
and drink from the cool waters.

In the sky above, with a soft step,
comes the fragrant night; she is followed by
sweet
Love. Rest and love!
Phoebus, the amorous, rests.
22

22
Translation copyright © by Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
166

Insights & Performance Issues:
For a compositional and textual analysis, see the chapter dedicated to opus 64 in the text by
Lucien Stark listed above.

A vocal quartet in ABB’A’ form, the music is set to the Friedrich Schiller’s poem of the same
title, depicting a love story between Greek gods.
23

The composition, like Brahms’ other quartets, has been absorbed into the choral repertoire. Stark
includes thoughts from Brahms on this topic, “In a letter dated the month before their
publication, Brahms remarked to the publisher that the Op. 64 quartets ‘might on occasion be
sung by a small choir.’ It is not clear whether this concession was an acknowledgment of the
size and weight of the quartets or of the shrinking market for domestic music of such
difficulty.”
24

The vocal lines move slowly and homophonically until m. 21 where chromatism and arpeggios
in contrasting motion may require rehearsal attention.

Beginning in m. 31, the bass and tenor sing a duet while the piano switches from playing chordal
with the voices to an arpeggiated eight-note figure. In mm. 42-62 the piano is given three-
against-two material that will require a skilled pianist. The voices, singing longer notes, should
not be affected by the contrasting rhythmic figures.

The key change to D major at m. 77 may require rehearsal attention for the tenor and bass.

The conductor should be attentive to the word stress of the German language, primarily
accenting beat one in 3/4-time, and to the extended low range for the alto and upper range for
the bass.

“Der englische Jäger” (CM19c p54)
Alternate Title(s): The Heavenly Hunter
Larger Work/Collection: No. 14 from Deutsche Volkslieder (German Folk Songs), WoO 34
Text Source: Traditional Folk Song
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common time
Opening Tempo: Poco Allegro
Beginning Key/Mode: G major

23
Bermingham, “Teaching Choral Music by German-Austrian 18
th
and 19
th
Century Composers,” 181.
24
Stark, Brahms’s Vocal Duets and Quartets with Piano, 56.
167

Ending Key/Mode: G major
Opening Texture: poco f, staggered (T/A/B/S)
Closing Texture: p, tutti
Approximate Duration: 1:30
Date of Composition: by 1864
Sacred/Secular: Sacred (Marian folk text)
Theme(s): Angel Gabriel, Forgiveness, Heaven, Hunting, Mary
Liturgical Use: Non-liturgical
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP) No.1-14
Carus-Verlag, ed. Günter Graulich, No. 1-14
J. Rieter-Biedermann (IMSLP) No.1-14
Alternate Voicings/
Instr. Arrangements:
Wind Band, arr. Robert Biles
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Selected Discography: Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
Selected Bibliography: Biles, Robert Logan. “Johannes Brahms, ‘Vierzehn Deutsche
Volkslieder,’ WoO 34, Nos. 1–14, an Arrangement,
Transcription and Pedagogical Rationale for Wind Band.” DMA
diss., University of Nevada, 2012.
Brahms-Institut (website). “WoO 34, 14 deutsch Volkslieder für
gemischten Chor.” https://brahmsinstitut.de.

Complete Text:

English Translation:
Es wollt gut Jäger jagen,
wollt jagen von Himmelshöhn,
was begegnet ihm auf der Heiden,
Maria, die Jungfrau schön.

Der Jäger, den ich meine,
der ist uns wohl bekannt,
er jagt mit einem Engel,
Gabriel ist er genannt.

O, heilige Maria,
nun bitt für uns dein Kind,
daß er uns auch wolle genädig sein,
und verzeihen unsre Sünd.
A hunter wanted very much to hunt,
Wanted to hunt in the heights of heaven;
What did he encounter in the heather?
Maria, the beautiful virgin.

The hunter that I mean,
He is well known to us,
He hunts with an angel,
Gabriel is what he is called.

O, holy Mary,
Now ask your child for us,
If he will also be gracious to us
and forgive our sin.
25

25
Translation copyright © 2009 by Bertram Kottmann reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
168

Insights & Performance Issues:
For a structural analysis of the composition, see Robert Biles’ dissertation listed in the
bibliography above.

The composition is three verses set in four-part, imitative counterpoint. Completely diatonic,
Brahms utilizes simple rhythmic motifs and creates syncopation with ties across bar lines in mm.
8-9, 9-10, 22-23, and 24-25.
26
These instances may require rehearsal attention.

A sudden dynamic shift occurs in m. 12 from forte to piano and back to forte in m. 16. These
moments may require rehearsal attention, especially for the tenor section – where shifts occur
two beats prior to the other voice parts. A final sudden dynamic shift from forte to piano occurs
in m. 26 with the tenors once again leading.

The brevity of the part-song, lack of chromaticism, and minimal range for the sopranos and altos
allows for the opportunity for a conductor to focus on the intricacies of teaching counterpoint.

The conductor should be attentive that the only collective breath is found at the end of m.14 and
provide guidance for individual section breath markings.

“Es ist das Heil uns kommen her” (CM19c p54)
Alternate Title(s): The Son of God is Come to Earth; Salvation is come unto us
Larger Work/Collection: No. 1 from Zwei Motetten (Two Motets), Op. 29
Text Source: Paul Speratus (1484-1551), "Glaubenslied"
Original Language: German
Voicing and Range: SATBB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: None given
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: f, tutti
Closing Texture: mf, tutti
Approximate Duration: 5:00
Date of Composition: c.1860
Sacred/Secular: Sacred
Liturgical Use: Christmastide, Epiphany, General, Lent
Theme(s): Faith, Jesus Christ, Salvation
Musical Type: Motet

26
Biles, “Johannes Brahms, ‘Vierzehn Deutsche Volkslieder,’ WoO 34, Nos. 1–14,” 75.
169

Editions, Arrangements,
and Publications:
Bärenreiter 25025
Breitkopf & Härtel (IMSLP)
C.F. Peters (English/German)
CPDL
Alternate Voicings/
Instr. Arrangements:
5 Guitars, arr. Anton Höger (IMSLP)
Brass Quintet, arr. Graham Bastable, International Music Co.
Collections/Anthologies: Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Günter Graulich, Stuttgart: Carus-Verlag.
Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Peter Schmitz, Bärenreiter-Verlag.
Selected Discography: North German Radio Chorus, Brahms: Complete Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 2015.
RIAS Chamber Chorus, Brahms: Sacred Choral Music, conducted
by Marcus Credd, harmonia mundi, 1996.
Selected Bibliography: Chen, Yu-Ting. “Brahms, the Early Choral Music Heritage and His
Piano Music.” DMA diss., University of Washington, 2001.
Graulich, Günter. Introduction to Geistliche Chormusick (Sacred
Choral Music), by Johannes Brahms, 15-17. Stuttgart: Carus-
Verlag, 1983.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).” http://www.kellydeanhansen.com/index.html
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
Molina, Marcela. “The Use of Chorale in the Motets of Johannes
Brahms: Plurality in Musical Languages.” DMA diss., The
University of Arizona, 2013.
Nero, Jonathan Leonard. “The A Cappella Motets for Mixed Voices
by Johannes Brahms: An Analytical Overview with Focus on
Brahms' Use of Compositional Techniques from Early Music.”
DMA diss., North Dakota State University, 2007.
Schmitz, Peter. Preface to Geistliche Chormusick (Sacred Choral
Music), by Johannes Brahms, VIII-XX. Stuttgart: Bärenreiter-
Verlag, 2013.

Complete Text:

English Translation:
Es ist das Heil uns kommen her
Von Gnad und lauter Güten,
Die Werke helfen nimmermehr,
Sie mögen nicht behüten.
Der Glaub' sieht Jesum Christum an:
Der hat g'nug für uns all getan,
Er ist der Mittler worden.
Salvation comes to us
from grace and simple goodness:
no longer will good deeds help us -
they may not protect us!
Faith recognizes that Jesus Christ
has done enough for all of us;
he has become our intermediary.
27

27
Translation copyright © by 2006 Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
170

Insights & Performance Issues:
For a full analysis can be found in both Jonathan Nero and Marcela Molina’s dissertations listed
above.

In AAB form, the motet is a setting of a sixteenth-century chorale by Paul Speratus in which
Brahms imitates baroque style.
28
Nero’s research shows direct similarities between Brahms’
motet and the fifth movement of Bach’s Christ lag in Todes Banden, BWV 4.
29

Sigfried Kross describes the form of the motet in his text, “Each verse of the chorale is treated in
fugal exposition carried through all voices; in order to avoid uniformity of structure, Brahms
employs a motivically enriched texture beginning with the sixth verse while tightening the
contrapuntal strictness. At the same time he preserves a certain unity by introducing the chorale
tune by augmentation in the bass part at the end of each section.”
30

In his dissertation, Jonathon Nero argues the fugal marking in m. 11 by Brahms (fuga á 5) is
mislabeled. “It is not, in fact, a Baroque fugue as defined today. Brahms may have used the term
fuga in the 16th-century sense, which sometimes referred to imitative writing in general.”
31

Nevertheless, the independent parts with arpeggiated figures and chromaticism will require
rehearsal attention.

Voiced for SATBB, the Bass I range is accessible by lower tenors and the tenor line is accessible
by lower altos. Conductors may consider shifting voices down a part t balance the five-part split.

Geistliches Lied, Op. 30 (CM19c p54-55)
Alternate Title(s): Lass dich nur nichts nicht dauren (Let Nothing Ever Grieve Thee)
Larger Work/Collection: N/A
Text Source: Paul Flemming (1609-1640)
Original Language: German
Voicing and Range: SATB

Accompaniment: org/pf
Meter: Cut time
Opening Tempo: Langsam (slowly)
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: p, instr. (brief)
Closing Texture: p, tutti

28
Molina, “The Use of Chorale in the Motets of Johannes Brahms,” 31.
29
Nero, “The A Cappella Motets for Mixed Voices by Johannes Brahms,” 7.
30
Kross, “The Choral Music of Johannes Brahms,” 12.
31
Nero, “The A Cappella Motets for Mixed Voices by Johannes Brahms,” 6.
171

Approximate Duration: 5:15
Date of Composition: 1856
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Acceptance, Faith, Grief, Peace, Trust
Musical Type: Motet
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
CPDL
GIA Publications, ed. James Jordan
J.M. Russel (English, IMSLP)
Oxford University Press, ed. John Rutter (German/English)
Alternate Voicings/
Instr. Arrangements:
Choir, Strings & Organ, arr. Mark Gotham (IMSLP)
TTBB, C.F. Peters
Collections/Anthologies: European Sacred Music, ed. John Rutter & Clifford Bartlett,
Oxford University Press, 1996.
Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Günter Graulich, Carus-Verlag.
Works for Choir and Quartets for Mixed Voices with Piano or
Organ, Volume 1, ed. Jakob Hauschildt, G. Henle Verlag
Selected Discography: North German Radio Chorus, Brahms: Complete Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 2015.
Tenebrae, Brahms & Bruckner Motets, conducted by Nigel Short,
Signum Classics, 2015.
Selected Bibliography: Chen, Yu-Ting. “Brahms, the Early Choral Music Heritage and His
Piano Music.” DMA diss., University of Washington, 2001.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
http://www.kellydeanhansen.com/index.html.

Complete Text:

English Translation:
Laß dich nur nichts nicht dauern mit Trauern,
sei stille, wie Gott es fügt,
so sei vergnügt mein Wille!

Was willst du heute sorgen auf morgen?
Der Eine steht allem für,
der gibt auch dir das Deine.

Sei nur in allem Handel ohn Wandel,
steh feste, was Gott beschleußt,
das ist und heißt das Beste.

Amen.
Let nothing indeed make you endure grief;
Be at peace! If God ordains it,
may my will accept it.

Why worry today about tomorrow?
God stands for all;
He also gives you what is yours.

In all your dealings be without whim -
stand firmly! That which God decides
is and means the best.

Amen.
32

32
Translation copyright © by 2006 Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
172

Insights & Performance Issues:
The composition is a double canon at the ninth in ABA form with an “Amen” coda accompanied
by organ or piano. The accompaniment supports the voices harmonically and has an introduction
and two short interludes.

In her dissertation, Yu-Ting Chen describes the style as, “mixture of neo-Baroque text-painting
and chorale-like melodies with homorhythm and stepwise motion; only its harmonic and
dynamic idioms belie its Romantic style.”
33

While the work is primarily stepwise as Chen describes, the bass is given arpeggiated lines,
include octave leaps in mm. 12 and 57 that may require rehearsal attention. The only Eb2 for the
bass occurs on the last chord and is not essential for performance

The organ assists with the tonal shifts to C minor in mm. 22 and 33.

The closing “Amen” includes arpeggiated entrances in the soprano and tenor leading to the
upper tessitura that may require vowel modification. The final phrase is primarily whole note
suspensions creating extended periods of dissonance that may require rehearsal attention.

“How Lovely Is Thy Dwelling Place” (CM19c p62)
Alternate Title(s): Wie lieblich sind deine Wohnungen
Larger Work/Collection: No. 4, Ein deutsches Requiem, Op. 45
Text Source: Psalm 84:2,3,5 (English verses 1,2,4)
Original Language: German
Voicing and Range: SATB

Accompaniment: Orch; org ad lib
Meter: 3/4
Opening Tempo: Mässig bewegt (at a moderate tempo)
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 5:00
Date of Composition: 1865-67
Sacred/Secular: Sacred
Liturgical Use: Epiphany
Year B: Proper 16 (13
th
Sunday after Pentecost)
Year C: Proper 25 (20
th
Sunday after Pentecost)

33
Chen, “Brahms, the Early Choral Music Heritage and His Piano Music,” 27.
173

Theme(s): House of God, Home, Yearning, Beauty, Blessing
Musical Type: Requiem Chorus
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (complete work, IMSLP)
Carus-Verlag, ed. Schrift (complete work)
C.F. Peters (complete work, IMSLP)
CPDL
G. Schirmer (octavo, German/English)
G. Schirmer (complete work, IMSLP)
Hinshaw
J. Rieter-Biedermann (complete work, IMSLP)
Novello
Numerous others
Alternate Voicings/
Instr. Arrangements:
SATB, Chamber Ensemble, ed. Joachim Linkelman, Carus-Verlag
SATB, 2 Pianos, arr. Grüters, Rieter-Biedermann (IMSLP)
SATB, Piano 4 hands, arr. Brahms, Rieter-Biedermann (IMSLP)
Piano and Organ Duet, arr. Billie Nastelin, Alfred Music
SAB, arr. Robert C. Van Howten, Laurendale
SSA, arr. Artman, Hal Leonard
Collections/Anthologies: Sacred Choruses, ed. John Rutter, Oxford University Press, 2018
Selected Discography: Monteverdi Choir, Brahms: Ein deutsches Requiem, conducted by
John Eliot Gardiner, Decca, 2010.
Stuttgart Gächinger Kantorei, Brahms: A German Requiem,
conducted by Helmuth Rilling, Hänssler Classic, n.d.
Seraphic Fire, Brahms: Ein deutsches Requiem, conducted by
Patrick Dupre Quigley, Seraphic Fire Media, 2012.
Selected Bibliography: Breden, Sharon. “Brahms on Death and Destiny: Philosophical,
Theological, and Musical Implications.” The Choral Journal 38,
no. 2 (Sept. 1997): 8-14.
Del Mar, Norman. “Ein deutsches Requiem nach Worten der
heiligen Schrift, Op. 45.” In Conducting Brahms, 193-
224. Oxford: Clarendon Press, 1993.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
http://www.kellydeanhansen.com/index.html.
John, James. “Brahms and the ‘Clara Emblem’: Musical Allusion as
a Key to Understanding the Thematic Sources at the Heart of Ein
deutches[sic]
34
Requiem.” The Choral Journal 44, no. 5 (Dec.
2003): 15–27.
Locke, Benjamin R. “Christiane: Cryptography in Brahms’s ‘Ein
deutsches Requiem.’” The Choral Journal 39, no. 2 (Sept.
1998): 9–14.
Musgrave, Michael. Brahms, A German Requiem. Cambridge:
Cambridge University Press, 1996.

34
Bozarth, “Brahms, Johannes,” (Grove); Brahms, Ein deutsches Requiem, (Rieter-Biedermann). deutsches.
174

Rilling, Helmuth. Johannes Brahms: A German Requiem. Stuttgart,
Germany: Carus-Verlag, 2017.
Weinert, William. “A New Edition of Ein deutsches Requiem:
Implications for Future Research and Performance.” The Choral
Journal 31, no. 10 (May 1991): 35-43.

Complete Text:

English Translation:
Wie lieblich sind deine Wohnungen, Herr
Zebaoth!
Meine seele verlanget und sehnet sich nach
den Vorhöfen des Herrn;
mein Leib und Seele freuen sich in dem
lebendigen Gott.
Wohl denen, die in deinem Hause wohnen, die
loben dich immerdar.
How lovely is your dwelling place, Lord
Almighty!
My soul yearns, even faints, for the
courts of the Lord;
my heart and my flesh cry out for the
living God.
Blessed are those who dwell in your house;
they are ever praising you.

Insights & Performance Issues:
Several texts and research documents have been written about Johannes Brahms’ Ein deutsches
Requiem.

The chorus only fourth movement is primarily contrapuntal writing in Five-part Rondo form
beginning in Eb major. The tonal center shifts in m. 23 Bb major,

In m. 23 the tonal center shifts to Bb major and the tenor section sings soli in imitation of the
violin line found two measures prior.

The chromaticism, non-diatonic leaps, and shifting tonal center in mm. 46-57 may require
additional rehearsal attention.

The conductor should be attentive to the fp articulation in the strings beginning in m. 66. The
chorus parts again contain chromaticism, non-diatonic leaps, and shifting tonal center mm. 70-
84 that will require specific rehearsal attention. The opening material returns in m. 84.

Dissonance is created with extended notes in m. 119 with the sopranos Db5 against the altos C5
and the tenors Eb4. As the sopranos approach this from the upper tessitura, vowel modification
may need rehearsal attention.

Double fugue begins in m. 124 and continues until m. 149. This part independence and quickly
moving lines will require rehearsal attention. The soprano, bass, and soprano each have phrases
in the upper tessitura that may require vowel modification. Multiple major 9th leaps occur in the
tenor and bass in mm. 146-147.

In mm. 164-170, the soprano and tenor have chromatically ascending whole notes in the upper
tessitura that will require rehearsal attention to maintain intonation through proper breath
support, vowel modification, and consonant neutralization.

175

“Im Herbst” (CM19c p57)
Alternate Title(s): Ernst is der Herbst
Larger Work/Collection: No. 5, Fünf Gesänge (Five Song), Op. 104
Text Source: Klaus Groth (1819-1899)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 6/4
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: C minor
Ending Key/Mode: C major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 5:00
Date of Composition: 1886, revised by 1888
Sacred/Secular: Secular
Theme(s): Autumn, Sun, Night, Tears, Nature
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Baerenreiter-Verlag
Breitkopf & Härtel (IMSLP)
CPDL
G. Schirmer
Hinshaw, arr. Robinson
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
String Quartet, arr. Bill Schuetter, Imagine Music
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
Selected Discography: Bavarian Radio Chorus, Leise Töne der Brust, conducted by Peter
Dijkstra, Oehms Classics, 2006.
Monteverdi Choir, Brahms: Choral Works – Gesänge, Opp. 17, 42
and 104 / Liebeslieder Waltzes / Quartets, Op. 92, conducted by
John Eliot Gardiner, Decca, 1992.
RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.
Selected Bibliography: Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
http://www.kellydeanhansen.com/index.html.
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
176

Complete Text:

English Translation:
Ernst ist der Herbst.
Und wenn die Blätter fallen,
sinkt auch das Herz
zu trübem Weh herab.
Still ist die Flur,
und nach dem Süden wallen
die Sänger, stumm,
wie nach dem Grab.

Bleich ist der Tag,
und blasse Nebel schleiern
die Sonne wie die Herzen ein.
Früh kommt die Nacht:
denn alle Kräfte feiern,
und tief verschlossen ruht das Sein.

Sanft wird der Mensch.
Er sieht die Sonne sinken,
er ahnt des Lebens
wie des Jahres Schluß.
Feucht wird das Aug,
doch in der Träne Blinken,
entströmt des Herzens
seligster Erguß.
Somber is the autumn,
and when the leaves fall,
so does the heart sink
into dreary woe.
Silent is the meadow
and to the south have flown
silently all the songbirds,
as if to the grave.

Pale is the day,
and wan clouds veil
the sun as they veil the heart.
Night comes early:
for all work comes to a halt
and existence itself rests in profound secrecy.

Man becomes kindly.
He sees the sun sinking,
he realizes that life is
like the end of a year.
His eye grows moist,
yet in the midst of his tears shines
streaming from the heart
a blissful effusion.
35

Insights & Performance Issues:
“Im Herbst” is set in varied strophic form and is the final and longest of the five songs in the
Brahms’ Op. 104.

Beginning in C minor in 6/4 meter, the bass and soprano lines include a syncopated rhythm at
the end of mm. 2 and 3 while altos and tenors are provided moving lines including most of the
chromatic writing. Both figures may require rehearsal attention in which the sections first sing in
pairs before combining.

In m. 20, Brahms changes the key signature to C major, with the first major chord occurring on
beat two of the measure with the alto moving from Eb4 to E ♮4.

The climax of the work is found in mm. 30-39. The phrase begins at pianissimo and builds to
forte over five measures and takes all the parts, except the alto, into the upper tessitura. This
gradual crescendo may require rehearsal attention for breath management and vowel
modification as the sections move through their passaggios.

35
Translation copyright © by 2004 Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
177

Kleine Hochzeitskantate (CM19c p67)
Alternate Title(s): Kleine Hochzeits-kantate; Little Wedding Cantata
Larger Work/Collection: N/A
Text Source: Gottfried Keller (1819-1890)
Original Language: German
Voicing and Range: SATB

Accompaniment: pf
Meter: 3/4
Opening Tempo: Tempo di Menuetto (Tempo of a minuet, slow and graceful)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: f, tutti
Approximate Duration: 1:30
Date of Composition: 1874
Sacred/Secular: Secular
Liturgical Use: General, Spring
Theme(s): Heaven, Love, Stars, Wedding
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Johannes Brahms: Various Choral Works with Piano
Accompaniment, Kalmus, 1900
Johannes Brahms: Works for Choir and Quartets for Mixed Voices
with Piano or Organ, Volume 2, ed. Bernd Wiechert, G. Henle
Verlag, 2008
Selected Discography: Leipzig Radio Choir, Johannes Brahms: The Complete Choral
Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
North German Radio Chorus, Johannes Brahms: Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 1983.
Selected Bibliography: Platt, Heather. Johannes Brahms: A Research and Information
Guide. New York: Routledge, 2012.
Stark, Lucien. “The Little Wedding Cantata: WoO POSTH. 16.”
In Brahms’s Vocal Duets and Quartets with Piano: A Guide with
Full Texts and Translations, 143-144. Bloomington: Indiana
University Press, 1998.

178

Complete Text:

English Translation:
Zwei Geliebte, treu verbunden,
gehen durch die Welt spazoren,
36

Jedes hat sein Herz verloren,
doch das Andre hat's gefunden.

Jeder trägt die leichte Last
wie die Uhr am Kettchen fast.
Also gehts auf Steg und Wegen
ruhig fort mit gleichen Schlägen.

"Schau, die könnens!" sagen ferne
an der Himmelshöh die Sterne,
"Wer sind sie?" gleich schrein wir da:
Sigmund und Emilia!
Two lovers, devotedly paired,
Stroll through the world,
Each of them has lost his heart,
But the other one has found it.

Each bears the light burden
As the watch attaches to the chain.
Thus it goes on paths and byways
Quietly onward with identical beats.

"Look, they can do it!" speak in the distance
The stars on the heights of heaven,
"Who are they?" immediately we call out:
Sigmund and Emilia!
37

Insights & Performance Issues:
“Marie Exner commissioned Keller and Brahms to write this work for her brother’s wedding.”
38

In his text on Brahms’ vocal duets and quartets with piano, Lucien Stark describes the imagery
of the composition stating, “With mock seriousness, the setting begins in the style of an
eighteenth-century minuet. The accompaniment's bassoon-like staccato left hand suggests
several of the text's images – the strolling couple, the lost-though found hearts, the ticking
watch, the shared beat to which the pair proceeds through life.”
39

Only thirty-seven measures long, the short work is primarily homophonic and marked piano
until the forte marking in m. 29. In 3/4, Brahms uses a dotted eighth followed by a sixteenth
rhythmic figure throughout.

The inner voices move in a stepwise with some chromaticism while the outer voices have
primarily arpeggiated lines. The conductor should be attentive to m. 25 which contains an octave
leap for the alto and bass and a minor 10th leap for the soprano and tenor.

36
Spazoren is not a word in the German language. It appears that Keller adjusted the spelling of the word
“spazieren” to “spazoren” to rhyme the word with “verloren” found in the previous stanza.
37
Translation copyright © 2009 by Sharon Krebs reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
38
Platt, Johannes Brahms: A Research and Information Guide, 68.
39
Stark, “The Little Wedding Cantata: WoO POSTH. 16,” in Brahms’s Vocal Duets and Quartets, 144.
179

“Morgengesang” (CM19c p54)
Alternate Title(s): Morning Song
Larger Work/Collection: No. 12 from Deutsche Volkslieder (German Folk Songs), WoO 34
Text Source: Traditional Folk Song
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 2/4 (mixed with 3/4)
Opening Tempo: Grazioso (Graceful)
Beginning Key/Mode: C minor
Ending Key/Mode: E major
Opening Texture: p, staggered (B/A/T/S)
Closing Texture: p, tutti
Approximate Duration: 1:45
Date of Composition: by 1864
Sacred/Secular: Secular
Theme(s): Awake, Birds, Caution, Innocence, Morning, Purity
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP) No.1-14
Carus-Verlag, ed. Günter Graulich, No. 1-14
C.F. Peters
E.C. Schirmer, 1938
J. Rieter-Biedermann (IMSLP) No.1-14
Alternate Voicings/
Instr. Arrangements:
Wind Band, arr. Robert Biles
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Selected Discography: Chamber Choir of Europe, Brahms: Choral Works, conducted by
Nicol Matt, Brilliant Classics, 2004.
Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
Darmstadt Concert Choir, Johannes Brahms: Die deutschen
Volkslieder, conducted by Wolfgang Seeliger, Christophorus,
2020.
Selected Bibliography: Biles, Robert Logan. “Johannes Brahms, ‘Vierzehn Deutsche
Volkslieder,’ WoO 34, Nos. 1–14, an Arrangement,
Transcription and Pedagogical Rationale for Wind Band.” DMA
diss., University of Nevada, 2012.
Brahms-Institut (website). “WoO 34, 14 deutsche Volkslieder für
gemischten Chor.” https://brahmsinstitut.de.

180

Complete Text:

English Translation:
Wach auf, mein Kind, steh auf geschwind,
sobald der Hahn die Flügel schwingt
und dir von vier od'r fünfen kräht;
der kommt zu spät, der sich lang dreht
und wälzet in den Federn um,
faulenzend hier und dort herum.

Bei deinem leichten weißen Kleid
der Unschuld denk und Reinigkeit,
und wann dein Seel ist rein und weiß,
vor Flecken hüt dich alles Fleiß,

wasch dich in Reu und Herzeleid,

so bleibt schneeweiß dein himmlisch Kleid.

Wer blindlich rote Rosen bricht,
gar leicht sich in die Dornen sticht,
was vorgetan und nachbedacht,
hat manchem großen Schaden bracht;
denk alles vor, tu alles wohl,

als wenns dein letztes Wort sein soll.
Awake, my child, get up quickly,
for as soon as the cock flaps his wings
and crows four or five times,
he will be too late [to wake you on time];
he turns around and fluffs his feathers,
lazily here and there.

In your simple white dress
representing innocence and purity,
when your soul is pure and white,
protect yourself from stains through
industriousness,
cleanse yourself of old heartache through
repentance,
and so your heavenly dress will remain snow-
white.

He who blindly plucks red roses,
in spite of sticking himself on the thorns,
that which was rashly done and only
considered later, has caused great harm;
think everything through, do everything
correctly,
as if each word were your last word on earth.
40

Insights & Performance Issues:
For a structural analysis of the work, see Robert Biles’ dissertation listed in the bibliography
above.

Marked Grazioso (Graceful), the part-song begins with staggered entrances, and sets three
verses in imitative counterpoint. The counterpoint begins with the bass and tenor in the upper
tessitura and the alto and soprano in the lower tessitura. The result is unisons that occur as the
SA and TB parts move in contrary motion. The conductor should be attentive to the crescendos
and decrescendos provided by Brahms in each phrase as it guides each voice to the important
text in each phrase.

In addition to being well-suited for building part independence, Biles brings attention to the
rhythmic challenges created from the ties across bar lines, “Syncopation takes place in the
soprano, alto, and tenor voices in mm. 12, 15, 35, and 38. Ties between measures are found in
the alto voice, mm. 12-13 and 35-36 and in the tenor voice, mm. 14-15, 21-22, 37-38, and 44-
45.”
41
Each of these moments may require individual section rehearsal attention.

40
Translation copyright © 2018 by Laura Prichard reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
41
Biles, “Johannes Brahms, ‘Vierzehn Deutsche Volkslieder,’ WoO 34, Nos. 1–14,” 68.
181

“Nächtens” (CM19c p58)
Alternate Title(s): At Night
Larger Work/Collection: No. 2, Sechs Quartette, Op. 112
Text Source: Franz Kugler (1808-1858)
Original Language: German
Voicing and Range: SATB

Accompaniment: pf
Meter: 5/4
Opening Tempo: Unruhig bewegt (Restless agitated)
Beginning Key/Mode: D minor
Ending Key/Mode: D minor (picardy 3
rd
)
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 2:00
Date of Composition: 1888
Sacred/Secular: Secular
Theme(s): Flowers, Night, Phantoms
Musical Type: Part-Song (Vocal Quartet)
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
C.F. Peters (IMSLP)
CPDL
G. Schirmer, arr. Klein
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Brahms Quartets in 3 Volumes, Volume 1, C.F. Peters
Works for Choir and Quartets for Mixed Voices with Piano or
Organ, Volume 2, ed. Bernd Wiechert, G. Henle Verlag
Selected Discography: Robert Shaw Chorale, Schubert: Mass in G / J.S. Bach: Komm,
Jesu, komm / Three Brahms Songs: Der Abend / Nacthens / Zum
Schluss, conducted by Robert Shaw, RCA Victor, 1954.
RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.
Selected Bibliography: Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
Stark, Lucien. “Six Quartets: OPUS 112.” In Brahms’s Vocal Duets
and Quartets with Piano: A Guide with Full Texts and
Translations, 134-142. Bloomington: Indiana University Press,
1998.

182

Complete Text:

English Translation:
Nächtens wachen auf die irren,
Lügenmächt’gen Spukgestalten,
welche deinen Sinn verwirren.

Nächtens ist im Blumengarten
Reif gefallen, daß vergebens
du der Blumen würdest warten.

Nächtens haben Gram und Sorgen
in dein Herz sich eingenistet,
und auf Tränen blickt der Morgen.
At night awaken those wandering,
deceptive phantoms
that bewilder the mind.

At night in the flower garden
frost falls so that it is futile
to wait for flowers to bloom.

At night grief and worry
nestle within your heart
and the morning gazes in upon tears.
42

Insights & Performance Issues:
For a compositional and textual analysis, see the chapter dedicated to opus 112 in the text by
Lucien Stark listed above.

The second song in the set of six vocal quartets, Nächtens is in varied strophic form with three
verses. Marked as 5/4 time, published editions include a dotted bar line splitting the measures
into 2+3 resulting in the work considered a mixed meter by some. A skilled and musical pianist
is required.

Beginning in the key of D minor, the pianist plays a two-measure introduction that includes a
musical motif used throughout the work. The first two verses are marked piano with several
crescendos and decrescendos shaping the phrases.

Brahms alternates between two voices and tutti in the first verse: soprano/tenor, tutti, alto/bass.
The alto and bass entrance in m. 4 contains the musical motif first played by the piano.
Rehearsals may benefit from sections first singing in pairs before combining.

In the second verse, the voicing pattern is switched: tutti, tenor/bass, tutti. Again, the altos and
basses sing the main musical motif, this time lower the E ♮ to Eb as Brahms shifts the tonal
center eventually landing in Bb major. The chromaticism may require additional rehearsal
attention.

The third verse, back in D minor, is sung tutti and begins with the main musical motif once
again sung by the alto and bass. While the verse begins piano as the first two verses, forte
markings are provided in mm. 17-18 as the voices move into the upper tessitura for the climax of
the work. The angular soprano line in these measures, paired with moving through the
passaggio, may require rehearsal attention, focusing on pitch accuracy and vowel modification.
The composition closes quietly, with the main motif played in the piano a final time with a
Picardy third.

42
Translation copyright © by Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
183

“O Heiland reiss die Himmel auf” (CM19c p55)
Alternate Title(s): O Savior, Throw the Heavens Wide
Larger Work/Collection: No. 2 from Zwei Motetten, Op. 74
Text Source: Friedrich Spee (1591-1635)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/2
Opening Tempo: Tempo giusto
Beginning Key/Mode: Dorian on F
Ending Key/Mode: F minor (picardy 3
rd
)
Opening Texture: f, staggered (T/B/S/A)
Closing Texture: f, tutti
Approximate Duration: 5:00
Date of Composition: 1863-64
Sacred/Secular: Sacred
Liturgical Use: Year B: First Sunday of Advent
Theme(s): Savior, Heaven, Gates of Heaven, Suffer, Trials
Musical Type: Motet
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag
Berliner Chormusik Verlag
Breitkopf & Härtel (IMSLP)
Carus-Verlag
Concordia Publishing
C.F. Peters
CPDL
E.C. Schirmer
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Brass Quartet, arr. Thomas Blackwell
String Quartet, arr. Anonymous
Trombone Choir, arr. Ralph Sauer, Cherry Classics
Collections/Anthologies: Brahms / Schubert / Mendelssohn: fur Gottesdienst und Konzert, ed.
Wolfgang Bretschneider, Carus-Verlag, 1997
Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Günter Graulich, Carus-Verlag
Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Peter Schmitz, Bärenreiter-Verlag
Selected Discography: RIAS Chamber Chorus, Brahms: Sacred Choral Music, conducted
by Marcus Credd, harmonia mundi, 1996.
USC Chamber Singers, I Have Had Singing, conducted by Jo-
Michael Scheibe, USC Thornton School of Music, 2014.
184

Selected Bibliography: Chen, Yu-Ting. “Brahms, the Early Choral Music Heritage and His
Piano Music.” DMA diss., University of Washington, 2001.
Hancock, Virginia. Brahms’s Choral Compositions and His Library
of Early Music. Ann Arbor, MI: UMI Research Press, 1983.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
Locke, Benjamin R. “Performance and Structural Levels: A
Conductor’s Analysis of Brahms’s Op. 74, No. 2, ‘O Heiland,
Reiss Die Himmel Auf and Op. 29, No. 2, Schaffe in mir, Gott,
ein rein Herz.’” DMA diss., Univ. of Wisconsin at Madison,
1985.
Molina, Marcela. “The Use of Chorale in the Motets of Johannes
Brahms: Plurality in Musical Languages.” DMA diss., The
University of Arizona, 2013.
Teie, Ernest W. “A Study of Non-Liturgical Choral Music from the
Romantic Period for Mixed Chorus.” master’s thesis, The
University of Montana, 1961.

Complete Text:

English Translation:
O Heiland, reiß die Himmel auf,
herab, herauf, vom Himmel lauf,
reiß ab vom Himmel Tor und Tür,
reiß ab, was Schloß und Riegel für.

O Gott, ein Tau vom Himmel gieß,
im Tau herab, o Heiland, fließ,
ihr Wolken, brecht und regnet aus
den König über Jakobs Haus.

O Erd schlag aus, schlag aus, o Erd,
daß Berg und Tal grün alles werd,
o Erd herfür dies Blümlein bring,
o Heiland aus der Erden spring.

Hie leiden wir die größte Not,
vor Augen steht der bittre Tod,
ach komm, führ uns mit starker Hand
von Elend zu dem Vaterland.

Da wollen wir all danken dir,
Unserm Erlöser für und für,
da wollen wir all loben dich,
je allzeit immer und ewiglich.
O Savior, tear open the heavens,
Hasten downward, downward from heaven!
Tear away the gate and door of heaven for us,
Tear off the locks and bolts!

O God, pour dew from heaven;
Flow downward, O Savior, in the dew.
Ye clouds, break and rain down
The king over Jacob's house.

O earth, break out, break out, O earth,
That all mountains and valleys may become
green.
O earth, bring forth this flower here,
O savior, spring out of the earth.

Here we suffer the greatest trials,
Before our eyes looms eternal death;
Ah come, lead us with a strong hand
From misery to the Father's land.

We all desire to thank thee,
Our redeemer, forever and ever.
We all desire to praise thee
ever and eternally at all times.
43

43
Translation copyright © 2009 by Kelly Dean reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
185

Insights & Performance Issues:
For a complete analysis, see Virginia Hancock’s text and the dissertations of Marcela Molina
and Jonathan Nero listed above.

The composition is entirely polyphonic and includes extended imitative counterpoint,
augmentation, diminution, stretto, inversion, and retrograde inversion.
44

Marcela Molina aptly describes the form and the origin of the musical theme of the work, “The
five stanzas with the closing “Amen” vary in their polyphonic structure. Each stanza contains
the same scoring but with its own meter, tempo, and articulation. It resembles Bach’s cantata
Christ lag in Todesbanden, BWV 4, in that its chorale melody appears in every verse.”
45

Virginia Hancock speaks more to the influences of J.S. Bach stating “However, in its musical
style “O Heiland, reiss” is not nearly so dependent on Bach as the other chorale motet, “Es ist
das Heil.” In fact, its five verses are not only a compendium of almost all the early music
techniques Brahms had used in his choral writing up to this time, but they exhibit the use of
additional resources that he had not yet drawn upon in choral music.”
46

Verse I, Tempo giusto (in exact time), 3/2, Dorian on F, mm. 1-17.
Verse II, Tempo giusto (in exact time), 3/2, Dorian on F, mm. 18-35.
Verse III, Tempo giusto (in exact time), 3/2, Dorian on F, mm. 36-55.
Verse IV, Adagio (slowly), Cut time, C minor, mm. 56-72.
Verse V, Allegro (fast), Common time, F minor, mm. 73-end.

The tenor section begins the imitative counterpoint in Verse I, but only the soprano is given the
complete chorale tune. Moving stepwise, rehearsal attention may be required for word stress
with the various entrances on strong and weak beats.

Verse II contains similar material to verse I with the chorale tune once again in the soprano. The
bass section leads the diminution counterpoint singing shorter note durations resulting in moving
twice as fast while the melody in the soprano remains extended. The arpeggios and leaps found
primarily in the bass (mm. 25, 30) and tenor (mm. 24, 28, 32-33) may require rehearsal attention
for pitch accuracy.

Verse III moves the chorale tune to the tenor and increases the complexity of the counterpoint,
including adding staccato articulation (mm. 37-38) and triplet rhythmic figures throughout the
verse.

The closing of the verse slows with the ritardando marking and includes ascending triplets in all
the voices except the tenor. The timing and intonation of this closing phrase will require
rehearsal attention.

44
Teie, “A Study of Non-Liturgical Choral Music from the Romantic Period for Mixed Chorus,” 60-61.
45
Molina, “The Use of Chorale in the Motets of Johannes Brahms,” 57.
46
Hancock, Brahms’s Choral Compositions and His Library of Early Music, 119.
186

The tempo slows in Verse IV, but the chromaticism increases, and the chorale theme is sung by
the bass section. Several challenging leaps are also given to the alto in mm. 66-67.
Verse V, marked Allegro, moves quickly and the chromatic polyphony leads to the closing,
canonic “Amen.” The chromaticism and independent lines will require section rehearsals,
including attention given to the phrases and breath markings.

A composition for an advanced choir with opportunities to improve upon line independence,
modal singing, and chromaticism.

“Rosmarin” (CM19c p56)
Alternate Title(s): Rosemary
Larger Work/Collection: No. 1, 7 Lieder, Op. 62
Text Source: from Des Knaben Wunderhorn (Collection of Germans Folk
poems)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Gehend (Moving)
Beginning Key/Mode: G minor
Ending Key/Mode: G minor
Opening Texture: p, tutti
Closing Texture: p, tutti
Approximate Duration: 2:00
Date of Composition: 1874
Sacred/Secular: Secular
Theme(s): Faith, Flowers, Garden, Maiden, Rose, Rosemary Wreath
Musical Type: Part-Song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag
C.F. Peters P6548 (English)
CPDL
Editions a Coeur Joie
N. Simrock (IMSLP)
Schott Music
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
187

Selected Discography: North German Radio Chorus, Brahms: Complete Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 2015.
RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.
Selected Bibliography: Hancock, Virginia. Brahms’s Choral Compositions and His Library
of Early Music. Ann Arbor, MI: UMI Research Press, 1983.
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
Kuzma, Marika. “Johannes Brahms Opus 62: ‘Sieben Lieder Für
Gemischten Chor’, Seven Unaccompanied Songs for Mixed
Chorus: A Detailed Exploration, Part I.” The Choral Journal 53,
no. 2 (September 2012): 8–16.
Kuzma, Marika. “Johannes Brahms Opus 62: ‘Sieben Lieder Für
Gemischten Chor’, Seven Unaccompanied Songs for Mixed
Chorus: A Detailed Exploration, Part II.” The Choral Journal 53,
no. 3 (October 2012): 8–25.

Complete Text:

English Translation:
Es wollt die Jungfrau früh aufstehn,
wollt in des Vaters Garten gehn.
Rot Röslein wollt sie brechen ab,
davon wollt sie sich machen
ein Kränzelein wohl schön.

Es sollt ihr Hochzeitskränzlein sein:
"Dem feinen Knab, dem Knaben mein.
Ihr Röslein rot, ich brech euch ab,
davon will ich mir winden,
ein Kränzelein so schön."

Sie ging im Grünen her und hin,
statt Röslein fand sie Rosmarin:
"So bist du, mein Getreuer hin!
Kein Röslein ist zu finden,
kein Kränzelein so schön."

Sie ging im Garten her und hin,
statt Röslein brach sie Rosmarin:
"Das nimm du, mein Getreuer, hin!
Lieg bei dir unter Linden,
mein Totenkränzlein schön."
A maiden wished to arise early,
Wished to go into her father's garden,
She wished to pick red roses,
From which she wished to make herself
A lovely wreath.

It was to be her bridal wreath:
"For the fine lad, for my lad,
You red roses, I pick you,
From you I wish to twine
A wreath so lovely."

She walked to and fro in the greenery,
Instead of roses she found rosemary:
"So you, my faithful one, are lost!
No rose is to be found,
[There shall be] no wreath so lovely."

She walked to and fro in the garden,
Instead of roses she picked rosemary:
"My faithful one, I offer you this [instead]!
I shall rest by you under the lime trees,
[In] my lovely burial wreath."
47

47
Translation copyright © 2009 by Sharon Krebs reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
188

Insights & Performance Issues:
For an in-depth review and analysis of Brahms’ 7 Lieder, Op. 62, see Marika Kuzma’s two
Choral Journal articles devoted to the set.

The nine-measure composition with four verses is marked Gehend (Moving or at a steady speed)
in G minor beginning in 3/4 and switching to common time in m. 5.
In simple strophic form, “Rosmarin” is based on the folk song tradition. Siegfried Kross
describes the setting stating, “Never did Brahms come as close to the genuine folk song as he did
in "Rosmarin". With unfailing precision, he follows the structure of the text in "Waldesnacht"
(the first of the "Fountain of Youth" songs) while he nevertheless retains the folk-song
quality.”
48

Marika Kuzma describes this melody and mood of the work saying, “The anacrusic rhythm of
“Rosmarin” draws the listener’s attention into the song from the first measure. Rather naïve in
structure (with facile antecedent/consequent phrases), the melody immediately suggests the
youth of the maiden protagonist.”
49

Chromaticism is minimal, but the descending leaps in m. 5 for the soprano and alto may require
rehearsal attention. The composition is an opportunity to introduce a choir to Brahms’ part-
songs, the German Language and simple canonic writing.

“Schaffe in mir” (CM19c p54)
Alternate Title(s): Create in Me a Clean Heart; Psalm 51; Make Thou in Me, O God
Larger Work/Collection: No. 2 from Zwei Motetten (Two Motets), Op. 29
Text Source: Psalm 51: 12-14
Original Language: German
Voicing and Range: SATBB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Andante moderato
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: f, tutti
Closing Texture: mf, tutti
Approximate Duration: 6:30
Date of Composition: c.1860
Sacred/Secular: Sacred

48
Kross, “The Choral Music of Johannes Brahms,” 19.
49
Kuzma, “Johannes Brahms Opus 62: ‘Sieben Lieder Für Gemischten Chor’, Part II,” 10.
189

Liturgical Use: Lent, Ash Wednesday
Theme(s): Forgiveness, Love, Mercy, Water
Musical Type: Motet
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Günter Graulich
CPDL
G. Schirmer
Lawson-Gould, ed. Robert Shaw
Alternate Voicings/
Instr. Arrangements:
5 Guitars, arr. Anton Höger (IMSLP)
Brass Quintet, arr. Graham Bastable, International Music Co.
Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Günter Graulich, Carus-Verlag.
Johannes Brahms: Geistliche Chormusick (Sacred Choral Music),
ed. Peter Schmitz, Bärenreiter-Verlag
Selected Discography: North German Radio Chorus, Brahms: Complete Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 2015.
RIAS Chamber Chorus, Brahms: Sacred Choral Music, conducted
by Marcus Credd, harmonia mundi, 1996.
Selected Bibliography: Brahms-Institut. “Opus 29, Zwei Motetten für fünfstimmigen
gemischten Chor a capella.”
https://brahmsinstitut.de/Archiv/web/bihl_digital/jb_werkeka
talog/op_029.html.
Chen, Yu-Ting. “Brahms, the Early Choral Music Heritage and His
Piano Music.” DMA diss., University of Washington, 2001.
Graulich, Günter. Introduction to Geistliche Chormusick (Sacred
Choral Music), by Johannes Brahms, 15-17. Stuttgart: Carus-
Verlag, 1983.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
http://www.kellydeanhansen.com/index.html.
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
Locke, Benjamin. “Melodic Unity in Brahms’s Schaffe in mir, Gott,
ein rein Herz.” The Choral Journal 27, no. 9 (April 1987): 5-7.
Nero, Jonathan Leonard. “The A Cappella Motets for Mixed Voices
by Johannes Brahms: An Analytical Overview with Focus on
Brahms' Use of Compositional Techniques from Early Music.”
DMA diss., North Dakota State University, 2007.
Schmitz, Peter. Preface to Geistliche Chormusick (Sacred Choral
Music), by Johannes Brahms, VIII-XX. Stuttgart: Bärenreiter-
Verlag, 2013.

190

Complete Text:

English Translation:
Schaffe in mir Gott ein rein Herz
und gib mir einen neuen gewissen Geist.
Verwirf mich nicht von deinem Angesicht
und nimm deinen heiligen Geist nicht von mir.
tröste mich wieder mit deiner Hilfe,
und der freudige Geist erhalte mich.
Have mercy on me, O God,
according to your unfailing love;
according to your great compassion
blot out my transgressions.
Wash away all my iniquity
and cleanse me from my sin.
50

Insights & Performance Issues:
For a full analysis, see Benjamin Locke’s Choral Journal article and Jonathan Nero’s
dissertation, both listed above.

Nero describes the overall form of the through-composed work in three movements, “The first
movement is canonic, the second is fugal, and the final movement is a two-part form, a canon
followed by fugue featuring a fanfare-like subject.”
51
Locke’s journal article focuses on
“understanding the more profound nature of this motet”
52
in hopes of providing useful insight to
choral conductors preparing the work. Both authors make specific comparisons between the
motet and works by J.S. Bach.

Conductors should note, the alto part divides in mm. 90-99.

Overall, ranges are more accessible than the first song in the set “Es ist das Heil uns kommen
her”, but the harmonic language, chromaticism, and melismatic lines create challenges for even
experienced singers.

Tafellied, Op. 93b (CM19c p67)
Alternate Title(s): Dank der Damen; The Ladies’ Toast; Chorus of Homage
Larger Work/Collection: N/A
Text Source: Josef Karl Benedikt von Eichendorff (1788-1857)
Original Language: German
Voicing and Range: SAATBB

Accompaniment: pf
Meter: 2/4
Opening Tempo: Allegretto grazioso (Fairly quick and graceful)
Beginning Key/Mode: Bb major
Ending Key/Mode: Bb major
Opening Texture: p, instr. (brief)

50
New International Version
51
Nero, “The A Cappella Motets for Mixed Voices by Johannes Brahms,” 7-8.
52
Locke, “Melodic Unity in Brahms’s Schaffe in mir, Gott, ein rein Herz,” 5.
191

Closing Texture: f, instr. (brief)
Approximate Duration: 3:30
Date of Composition: 1884
Sacred/Secular: Secular
Liturgical Use: General, Celebration
Theme(s): Drinking Song, Happiness, Homage, Toast
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
E.C. Schirmer, ed. H. Clough-Leighter (German/English)
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Works for Choir and Quartets for Mixed Voices with Piano or
Organ, Volume 2, ed. Bernd Wiechert; G. Henle Verlag
Selected Discography: Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
Selected Bibliography: Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
http://www.kellydeanhansen.com/index.html.

Complete Text:

English Translation:
Die Frauen:
Gleich wie Echo frohen Liedern
fröhlich Antwort geben muß,
so auch nahn wir und erwidern
dankend den galanten Gruß.

Die Männer:
Oh, ihr Gütgen und Charmanten!
für des Echos holden Schwung
nehmt der lustgen Musikanten
ganz ergebne Huldigung.

Die Frauen:
Doch ihr huldigt, wills uns dünken,
andern Göttern nebenbei!
Rot und golden sehn wirs blinken
sagt, wie das zu nehmen sei?

Die Männer:
Teure! zierlich, mit drei Fingern,
sichrer, mit der ganzen Hand -
und so füllt man aus den Dingern 's
Glas nicht halb, nein, bis zum Rand.

The women:
Just as the echo of happy songs
must give a happy answer,
so we also approach and return
the gallant greeting with thanks.

The men:
Oh, you kind and charming ones!
For the fair flight of the echo
Take from the joyful musicians
the homage that is offered!

The women:
Ah, but we perceive that you pay homage
to other Gods as well.
Red and gold we see it twinkling,
Tell us how should we take that?

The men:
Dear ones! Daintily with three fingers,
more securely with the entire hand -
And so the glass is filled from those
not halfway, but to the rim.

192

Die Frauen:
Nun, wir sehen, ihr seid Meister.
doch wir sind heut liberal;
hoffentlich, als schöne Geister,
treibt ihrs etwas ideal.
Die Männer:
Jeder nippt und denkt die Seine;
und wer nichts Besondres weiß:
Nun, der trinkt ins Allgemeine
frisch zu aller Schönen Preis!

Alle:
Recht so! Klingt denn in die Runde
an zu Dank und Gegendank!
Sänger, Fraun, wo die im Bunde,
da gibts einen hellen Klang!
The women:
Now we see that you are masters.
But we are liberal today.
Hopefully, as handsome spirits
you can be led to some ideal.
The men:
Each one sips and thinks of his own lady
and he who doesn't have one in particular -
now, he drinks in general
renewed praise to all beautiful ones!

All:
That is right! All around clink
toasts and returned toasts!
Where singers and women are united,
there will be a bright sound!
53

Insights & Performance Issues:
For a phrasal analysis, see Kelly Hansen’s listening guide listed above. Dedicated to the
Community Choral Society in Krefeld, Germany, for its fiftieth anniversary.

Tafellied is Brahms’ only published work written for choir with piano accompaniment. All other
part-songs with piano are composed for vocal quartets. Like many of the quartets, a skilled and
musical pianist is required.

The composition is set in alternating strophic form. The sopranos and altos sing verses one,
three, and five, in three-part harmony, and the basses and tenors sing verses two, four, and six in
three-part harmony. The seventh and final verse is sung tutti in six-part harmony.

The piano opens with a short introduction introducing the lilting, staccato rhythmic motif that is
found in each verse.

In mm. 10 and 13 the sopranos have a fast-moving arpeggio figure moving through the
passaggio that may require rehearsal attention to sing accurately as an ensemble.

The second verse adds moves to F major and a few moments of dissonance and chromaticism
are added. In m. 23 the tenors have an ascending major 7th leap and the baritones an ascending
major 6th, both of which may require rehearsal attention.

With similar material to the first verse, verse three moves to D major. After the fermata in m. 40,
the sopranos and altos are given the first forte marking of the composition followed by a piano
marking four measures later. The chromaticism is increased further in this verse, specifically for
the alto parts, that may benefit from a slow, deliberate rehearsal technique.

53
Translation copyright © 2009 by Kelly Dean reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
193

Verse four, five, and six include material found in the first three verses, but it now sung by the
opposite voicing. The end of verse six includes the marking animato and builds to the climatic,
tutti verse seven in m. 94. The polyphony in mm. 94-97, 108-115 will require rehearsal
attention. The conductor should be attentive that the accompaniment drops out in mm. 102-104
and 107-108.

The composition offers opportunities to develop SA and TB independence and chromaticism.

“Täublein Weiss” (CM19c p54)
Alternate Title(s): The White Dove
Larger Work/Collection: No. 5 from Deutsche Volkslieder (German Folk Songs), WoO 34
Text Source: Traditional Folk Song
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Con moto (with motion)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, staggered (B/T/A/S)
Closing Texture: p, tutti
Approximate Duration: 3:00
Date of Composition: by 1864
Sacred/Secular: Sacred
Liturgical Use: Advent, Lent
Theme(s): Garden, Mary, Mercy, White Dove
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP) No.1-14\
Carus-Verlag, 2013
J. Rieter-Biedermann (IMSLP) No.1-14
Alternate Voicings/
Instr. Arrangements:
Wind Band, arr. Robert Biles
Collections/Anthologies: Breitkopf & Härtel (IMSLP) No.1-14
Carus-Verlag, ed. Günter Graulich, No. 1-14
CPDL
J. Rieter-Biedermann (IMSLP) No.1-14
Selected Discography: Dresden Chamber Choir, Weihnachten, conducted by Hans-
Christoph Rademann, Raumklang, 2002.
Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
194

Selected Bibliography: Biles, Robert Logan. “Johannes Brahms, ‘Vierzehn Deutsche
Volkslieder,’ WoO 34, Nos. 1–14, an Arrangement,
Transcription and Pedagogical Rationale for Wind Band.” DMA
diss., University of Nevada, 2012.
Brahms-Institut (website). “WoO 34, 14 deutsch Volkslieder für
gemischten Chor.”
https://brahmsinstitut.de/Archiv/web/bihl_digital/jb_werkekatal
og/woo_034.html.

Complete Text:

English Translation:
Es flog ein Täublein weiße vom Himmel herab
in engelischem Kleide zur einer Jungfrau zart;
es grüßet sie so hübsch und säuberlich,
ihr Seel war hochgezieret, gesegnet ward ihr
Leib.
Kyrie eleison.

Der Himmel ward erschlossen durch Gottes
Schlüssel klar,
Maria ist der Garten, da er gewachsen war,
der Heilig Geist den Garten besser hat,
gar schön ist er gezieret mit göttlicher
Majestät.
Kyrie eleison.

So hat der Ruf ein Ende wohl hie zu dieser
Stund,
so wolln wir Gott nur bitten aus unsres
Herzens Grund,
daß er uns allen wolle gnädig sein,
er woll uns auch behüten vor der heißen Hölle
Pein.
Kyrie eleison.
A little white dove flew down from the sky
to a tender young virgin in angelic dress;
it greeted her so pleasantly
that her soul sparkled, blessed was her
love.
Lord have mercy.

Heaven was locked with God’s key,

Mary is the garden in which he grew,
and the holy spirit
enriched the garden with his majesty.

Lord have mercy.

Now that the song is over, we must pray to
God
from the bottom of our hearts to have mercy on
us
and protect us all
from the eternal agony of hell.

Lord have mercy.
54

Insights & Performance Issues:
For a structural analysis of the work, see Robert Biles’ dissertation listed in the bibliography
above.

Marked dolce (sweetly), the part-song begins with staggered entrances, and sets three verses in
imitative counterpoint.

While there are multiple crescendo and decrescendo markings, the only dynamic provided is
piano.

54
Translation copyright © 2017 by Sophia Gibeau reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
195

Biles describes the opportunity for building part independence, “Often, these dynamic changes
last only two or three beats, while at other times they are more gradual, taking place across
multiple measures. As with the previously discussed aspects of Täublein weiss, dynamics
occur autonomously in each part and provide an excellent resource for building independence in
the ensemble.”
55

Each verse ends with a meter change to 3/4 and the text Kyrie eleison (Christ have mercy). The
conductor should be attentive to keeping the quarter note pulse.

“Vergangen ist mir Glück und Heil” (CM19c p56)
Alternate Title(s): Gone is my happiness and well-being
Larger Work/Collection: No. 7, 7 Lieder, Op. 62
Text Source: Anonymous
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: D Dorian
Ending Key/Mode: D Dorian
Opening Texture: p, staggered (S/ATB)
Closing Texture: p, tutti
Approximate Duration: 4:00
Date of Composition: pub. 1874
Sacred/Secular: Secular
Theme(s): Hopelessness, Pity, Sadness, Sorrow, Suffering
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag
C.F. Peters (English)
CPDL
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Johannes Brahms: Sieben Lieder Op. 62, ed. Gunter Graulich,
Carus-Verlag
Selected Discography: RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.

55
Biles, “Johannes Brahms, ‘Vierzehn Deutsche Volkslieder,’ WoO 34, Nos. 1–14,” 37-38.
196

Selected Bibliography: Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.
Kuzma, Marika. “Johannes Brahms Opus 62: ‘Sieben Lieder Für
Gemischten Chor’, Seven Unaccompanied Songs for Mixed
Chorus: A Detailed Exploration, Part II.” The Choral Journal 53,
no. 3 (October 2012): 8–25.

Complete Text:

English Translation:
Vergangen ist mir Glück und Heil
Und alle Freud' auf Erden;
Elend bin ich verloren gar,
Mir mag nit besser werden.
Bis in den Tod
Leid' ich groß Not,
So ich dich, Lieb, muß meiden,
Geschieht mir, ach,
O weh der Sach'!
Muß ich mich dein verjehen,
Groß Leid wird mir geschehen.

Erbarmen tu ich mich so hart,
Das kommt aus Buhlers Hulde,
Die mich in Angst und Not hat bracht,
Und williglich das dulde.
Um dich allein,
Herzliebste mein,
Ist mir kein Bürd' zu schwere,
Wär's noch so viel,
Ich dennoch will
In deinem Dienst ersterben,
Nach fremder Lieb' nit werben.

Um Hülf' ich ruf', mein höchster Hort,
Erhör mein sehnlich Klagen!
Schaff mir, Herzlieb, dein' Botschaft schier,
Ich muß sonst vor Leid verzagen!
Mein traurig's Herz,
Leid't großen Schmerz,
Wie soll ich's überwinden?
Ich sorg', daß schier
Der Tod mit mir
Will ringen um das Leben,
Tu mir dein Troste geben.
Gone is my happiness and well-being
And all my joy on earth;
I am wretched, completely lost,
Things will never become better.
Until death,
I will suffer great distress,
For I must part from you, my love,
Alas, it has come to pass,
That woeful thing!
If I must lose you,
Great sorrow will befall me.

I pity myself so much;
It comes from a lover's sensibility,
Which has brought me fear and hardship,
And willingly I bear it.
For you alone,
My heart's dearest,
No burden is too heavy;
Were it twice as heavy,
I yet would die
In your service,
Never seeking to woo a strange love.

For help I call, my highest treasure,
Hear my yearning lament!
Send me a message quickly, darling,
Or I must despair with sorrow!
My sad heart
Suffers with great pain,
How can I overcome it?
I fear that suddenly
Death will struggle with me
For my life;
O give me hope!
56

56
Translation copyright © by Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
197

Insights & Performance Issues:
For an in-depth review and analysis of Brahms’ 7 Lieder, Op. 62, see Marika Kuzma’s two
Choral Journal articles devoted to the set.

The composition offers opportunities to develop independence in the soprano section, familiarity
with the German language and may be well-suited for sight-reading and conducting exercises.
In her second article, Kuzma aptly describes the structure stating, “Of all the songs in Opus 62,
“Vergangen ist mir Glück und Heil” is the only one completely devoid of chromatic
development and almost without contrapuntal variation. The only moments that depart from
absolute homorhythm and homophony are the beginnings of each phrase, where the soprano is
alone for the first half of each first measure.”
57

The sopranos exposed entrances described may require rehearsal attention including the timing
of the breaths prior to each phrase. The chords are primarily in root position resulting in a bass
line with consistent leaps that may require sectional rehearsal.

“Verlorene Jugend” (CM19c p56)
Alternate Title(s): Lost Youth
Larger Work/Collection: No. 4, Fünf Gesänge (Five Songs), Op. 104
Text Source: Josef Wenzig (1807-1876) translation of traditional Bohemian
poem
Original Language: German
Voicing and Range: SATBB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Lebhaft, doch nicht zu schnell (Lively, yet not too fast)
Beginning Key/Mode: D minor
Ending Key/Mode: D major
Opening Texture: f, staggered (A/STBB)
Closing Texture: p, tutti
Approximate Duration: 1:45
Date of Composition: by 1888
Sacred/Secular: Secular
Theme(s): Lost Youth, Mountains, Nature, Old Age, Regret
Musical Type: Part-song

57
Kuzma, “Johannes Brahms Opus 62: ‘Sieben Lieder Für Gemischten Chor’, Part II,” 20.
198

Editions, Arrangements,
and Publications:
Alfred Music
Breitkopf & Härtel (IMSLP)
CPDL
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Woodwind Quartet, transcr. Bill Schuetter; Imagine Music
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Romantik A Cappella, Vol. 1: Secular Part Songs
(European Choral Music of the 19th Century), Michael Aschauer &
Jan Schumacher; Helbling Verlagsgesellschaft
Selected Discography: Bavarian Radio Chorus, Leise Töne der Brust, conducted by Peter
Dijkstra, Oehms Classics, 2006.
Monteverdi Choir, Brahms: Choral Works – Gesänge, Opp. 17, 42
and 104 / Liebeslieder Waltzes / Quartets, Op. 92, conducted by
John Eliot Gardiner, Decca, 1992.
RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.
Selected Bibliography: Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).”
http://www.kellydeanhansen.com/index.html.
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.

Complete Text:

English Translation:
Brausten alle Berge,
sauste rings der Wald,
meine jungen Tage,
wo sind sie so bald?

Jugend, teure Jugend,
flohest mir dahin;
o du holde Jugend,
achtlos war mein Sinn!

Ich verlor dich leider,
wie wenn einen Stein
Jemand von sich schleudert
in die Flut hinein.

Wendet sich der Stein auch

um in tiefer Flut,
weiss ich, dass die Jugend
doch kein Gleiches tut.
The mountains all bluster,
the woods murmur all about
my days of youth,
where have you so soon gone?

Youth, precious youth,
you have flown from me;
o lovely youth,
so heedless was my mind!

I lost you regrettably, [accidentally,]
as when one takes a stone
and flings it away
into a stream.

Sometimes a stone can be reversed in its
course
and return from the deep flood -
but I know that youth
will never do the same thing.
58

58
Translation copyright © by 2004 Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
199

Insights & Performance Issues:
“Verlorene Jugend” is a short work set for five voices in four distinct sections. In alternating
strophic (ABA’B) form in which the A sections contain canonic writing.

The A section marked forte and Lebhaft, doch nicht zu schnell (Lively, yet not too fast), begins
in D minor with an alto section solo. They are followed in m. 2 by the other voices, including an
exact imitation in the soprano. The tenor line has a chromatic counter harmony that may require
rehearsal attention in mm. 6-11.

The B section begins at a mezzo forte in m. 12 marked Ein wenig gehalten (A little restrained),
in D major. Singing homophonically for the first four measures, the voices sing a dotted rhythm
and large ascending leaps that may require rehearsal attention to develop rhythmic and pitch
precision.

The A section returns in m. 23 marked piano and Wie zu Anfang (Like at the beginning), and
again in D minor, but with the leading canonic voice in the baritone instead of the alto. The
soprano once again sings the imitation, and the tenor has a similar counter harmony as in the
beginning in mm. 27-33 that may require rehearsal attention.

The B section returns in m. 34 with the same material as the previous B section until the short
ending in m. 42 with the voices ending quietly in D major.

Rehearsals may benefit from singing the two A sections and the two B sections together and
create and understanding of the subtle differences between the two. This should also reinforce
the contrasts between the A and B sections.

“Vineta” (CM19c p56-57)
Alternate Title(s): N/A
Larger Work/Collection: No. 2, Drei Gesänge, Op. 42
Text Source: Wilhelm Müller (1794-1827)
Original Language: German
Voicing and Range: SAATBB

Accompaniment: Piano ad lib.
Meter: 3/8
Opening Tempo: Con moto (with motion)
Beginning Key/Mode: B major
Ending Key/Mode: B major
Opening Texture: f, tutti
Closing Texture: f, tutti
Approximate Duration: 3:00
200

Date of Composition: 1860
Sacred/Secular: Secular
Theme(s): Atlantis, Magic, Ocean, Water
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Alfred Music
August Cranz (IMSLP)
Breitkopf & Härtel (IMSLP)
Carus-Verlag
CPDL
Schott Music
Alternate Voicings/
Instr. Arrangements:
SSAA, Johannes Brahms
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Novello’s Part-song Book (Second Series): A collection of part-
songs, glees, and madrigals, Volume 19, No. 523, Novello
Selected Discography: Monteverdi Choir, Brahms: Ein deutsches Requiem, conducted by
John Eliot Gardiner, Decca, 2010.
RIAS Chamber Chorus, Brahms: Secular Choral Songs, conducted
by Marcus Credd, harmonia mundi, 2010.
Selected Bibliography: Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).” http://www.kellydeanhansen.com/index.html.
Kross, Siegfried. “The Choral Music of Johannes Brahms.”
American Choral Review, 25, no.4 (1983): Entire issue.

Complete Text:

English Translation:
Aus des Meeres tiefem, tiefem Grunde
klingen Abendglocken, dumpf und matt.
Uns zu geben wunderbare Kunde
von der schönen, alten Wunderstadt.

In der Fluten Schoß hinabgesunken,
blieben unten ihre Trümmer stehn.
Ihre Zinnen lassen goldne Funken
widerscheinend auf dem Spiegel sehn.

Und der Schiffer, der den Zauberschimmer

einmal sah im hellen Abendrot,
nach der selben Stelle schifft er immer,
ob auch ringsumher die Klippe droht.

Aus des Herzens tiefem, tiefem Grunde
klingt es mir wie Glocken, dumpf und matt.
Ach, sie geben wunderbare Kunde
von der Liebe, die geliebt es hat.

From the ocean's deep, deep depths
toll evening bells, muffled and faint,
to give us wonderful tidings
of the beautiful, ancient miracle-city.

Sunk deep down beneath the surging tide,
its ruins have stood fast.
Its battlements send up golden sparks
that reflect visibly on the surface.

And the sailor who once saw this magical
shimmer
in the bright sunset
always sails back to the same place,
despite the circle of menacing cliffs above.

From the heart's deep, deep depths
rings a sound like bells, muffled and faint.
Ah, it sends such wonderful tidings
of the love that it has loved.

201

Eine schöne Welt ist da versunken,
ihre Trümmer blieben unten stehn,
lassen sich als goldne Himmelsfunken
oft im Spiegel meiner Träume sehn.

Und dann möcht ich tauchen in die Tiefen,

mich versenken in den Wunderschein,
und mir ist, als ob mich Engel riefen
in die alte Wunderstadt herein.
A beautiful world is sunk there,
its ruins have stood fast,
often sending up golden, heavenly sparks
visible in the mirror of my dreams.

And then I would like to plunge into the
depths,
to immerse myself in the wondrous shining,
for it seems to me as if angels called me
into the ancient miracle-city.
59

Insights & Performance Issues:
For a phrasal analysis, see Kelly Hansen’s listening guide listed above. In the guide, Hansen
comments on the phrase structure stating, “Throughout the song, the pentameter of the poem is
usually translated into distinctive five-bar phrases/lines, but four of them are expanded to six
bars.”
60
The two six measure phrases are found in mm. 42-47 and mm. 99-104.

The work is Ternary ABA’ form in B major set in 3/8 with an accompaniment marked
Pianoforte ad libitum (Piano at one’s pleasure). Two verses are sung within each section.

The composition begins tutti with the 3/8 meter creating a lilting feel. Rehearsal may be required
to align the word stress of the German text, specifically the unstressed syllabus.

In m. 12, the D#5 in the soprano is lowered to D ♮5 shifting the tonal center to D major. The
second first is a repeat of the musical material of verse one.

The third verse and B section begins in m. 21 with the sopranos and altos singing soli for the
first phrase and the piano part on one note. The tenors and basses join and the key shifts to F#
major before ending in B major.

The fourth verse begins in unison octaves between the altos and basses. The tonality shifts in
moving from E minor to C major to E major and back to B major. The chromaticism and angular
writing associated with these tonal shifts may require additional rehearsal attention.

The opening material returns in m. 64 and is nearly identical to the opening A section. The
composition offers opportunities to develop phrase direction and word stress while singing in
3/8 meter.

59
Translation copyright © by 2005 Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
60
Hansen, “Three Partsongs (Gesänge) For Six-Voice Mixed Chorus, Op. 42,” Listening Guides to the Works of
Johannes Brahms.
202

“Vom heiligen Märtyrer Emmerano, Bischoffen zu Regensburg” (CM19c p54)
Alternate Title(s): The Holy Martyr Saint Emmeran, Bishop of Regensburg
Larger Work/Collection: No. 4 from Deutsche Volkslieder (German Folk Songs), WoO 34
Text Source: Traditional Folk Song
Original Language: German
Voicing and Range: SATB; soli SATB

Accompaniment: Unaccompanied
Meter: Common Time (mixed)
Opening Tempo: Allegro
Beginning Key/Mode: D minor
Ending Key/Mode: G minor
Opening Texture: f, staggered (A/B/ST)
Closing Texture: f, tutti
Approximate Duration: 2:30
Date of Composition: by 1864
Sacred/Secular: Secular
Theme(s): Bishop, Loire Valley, Martyrdom, Regensburg
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP) Nos.1-14
Carus-Verlag, ed. Günter Graulich, Nos. 1-14
J. Rieter-Biedermann (IMSLP) Nos.1-14
Alternate Voicings/
Instr. Arrangements:
Wind Band, arr. Robert Biles
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Selected Discography: Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
Selected Bibliography: Biles, Robert Logan. “Johannes Brahms, ‘Vierzehn Deutsche
Volkslieder,’ WoO 34, Nos. 1–14, an Arrangement,
Transcription and Pedagogical Rationale for Wind Band.” DMA
diss., University of Nevada, 2012.
Brahms-Institut (website). “WoO 34, 14 deutsch Volkslieder für
gemischten Chor.”
https://brahmsinstitut.de/Archiv/web/bihl_digital/jb_werkekatal
og/woo_034.html.

203

Complete Text:

English Translation:
Komm Mainz, komm Bayrn, komm Österreich
komm Aquitan, komm ganz Frankreich.

Refrain:
Ruft alle an Sankt Emmeran,
sein Vorbitt uns geleit
zu der ewigen Seligkeit.

Zu Piktavis, da du geborn,
zum Bischoff erstlich wirst erkorn.

Dein Eifer aber da nicht bleibt,
von dann'gen Regenspurg dich treibt.

Bayern dein ander Bistum war,
manch Seel errettst aus Not und G'fahr.

Dein Tod solchs g'nug bezeugen tut,
zahlst fremde Schuld mit deinem Blut.

Der wöll ihm durch sein Mart'r und Pein
all Christen lan befohlen sein.
Come Mainz, come Bavaria, come Austria
come Aquitaine, come all of France.

Refrain:
Everyone call on St. Emmeran,
his Preface guides us
to eternal salvation.

To the Loire Valley, for this you were born,
to the bishopric you were first elected.

But your enthusiasm was not satisfied there,
on to Regenburg you drove.

Bavaria was your other bishopric,
you saved many souls from distress and
danger.
Your death attests enough, in that,
you pay strangers’ debts with your blood.

For his martyrdom and pain
all Christendom is ordered to honor him
61

Insights & Performance Issues:
For a structural analysis of the work, see Robert Biles’ dissertation listed in the bibliography
above.

Biles describes the rhythmic structure of the work stating, “[‘Vom heiligen’] exhibits a higher
level of rhythmic sophistication than most of the other works in the Vierzehn Deutsche
Volkslieder. The piece alternates between 4/4 and 6/4 and does not maintain a consistent quarter-
note pulse. Instead, the half-note in 4/4 equals the dotted-half-note in 6/4.”
62

The change of pulse allows the conductor to remain in a consistent two pattern through the soli
to chorus meter changes.

The soli sections include staggered, accented entrances with each part singing primarily in the
upper tessitura.

The soli sections each end with a fermata (m. 5 and 16) and the timing of the chorus entrance on
the pick-up note in the new 6/4 meter that follows, may require additional rehearsal.

61
Translation copyright © 2018 by Laura Prichard reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
62
Biles, “Johannes Brahms, ‘Vierzehn Deutsche Volkslieder,’ 31.
204

The chorus sections begin in C minor and transition through the six-measure phrase back to D
minor. The fourth measure in each phrase is in 4/4 and the conductor may assume the note of
dotted-half-note equal half-note applies to this measure and the remainder of the work. The
voices parts are angular with accidentals found in each part that may benefit from layering the
sections one at a time during rehearsal.

The strophic composition is marked forte throughout and creates opportunities to improve word
stress in the German language, rhythmic precision, and intonation within a shifting tonal center.

“Von edler Art” (CM19c p54)
Alternate Title(s): The Ardent Suitor
Larger Work/Collection: No. 1 from Deutsche Volkslieder (German Folk Songs), WoO 34
Text Source: Traditional Folk Song
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Grazioso (Graceful)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, staggered (TB/A/S)
Closing Texture: mp, tutti
Approximate Duration: 3:00
Date of Composition: by 1864
Sacred/Secular: Secular
Theme(s): Devotion, Love, Nobility, Purity, Tenderness
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP) No.1-14
Carus-Verlag, ed. Günter Graulich, No. 1-14
CPDL
J. Rieter-Biedermann (IMSLP) No.1-14
Alternate Voicings/
Instr. Arrangements:
Wind Band, arr. Robert Biles
Collections/Anthologies: Brahms: Weltliche Gesange (Secular Choruses), C.F. Peters
Selected Discography: Darmstadt Concert Choir, Johannes Brahms: Die deutschen
Volkslieder, conducted by Wolfgang Seeliger, Christophorus,
2020.
Leipzig Radio Chorus, Johannes Brahms 1833-1897: The Complete
Choral Works a cappella and with Instrumental Accompaniment,
conducted by Wolf-Dieter Hauschild, Orfeo, 1997.
205

Selected Bibliography: Biles, Robert Logan. “Johannes Brahms, ‘Vierzehn Deutsche
Volkslieder,’ WoO 34, Nos. 1–14, an Arrangement,
Transcription and Pedagogical Rationale for Wind Band.” DMA
diss., University of Nevada, 2012.
Brahms-Institut (website). “WoO 34, 14 deutsch Volkslieder für
gemischten Chor. https://www.brahmsinstitut.de.

Complete Text:

English Translation:
Von edler Art,
Auch rein und zart,
Bist du ein Kron,
Der ich mich han
Ergeben gar,
Glaub mir fürwahr;
Das Herz in mir
Kränkt sich nach dir,
Darum ich b'gehr
Auf all dein Ehr:
Hilf mir, ich hab nicht Trostes mehr.

Wie ich ihm tu,
Hab ich kein Ruh,
Ohn dein Gestalt,
Die mich mit G'walt
Gefangen hat:
Herzlieb gib Rat,
Des ich mich doch
Zu dir versieh
In Hoffnung viel,
Nit mehr ich will,
Allein setz mir ein gnädigs Ziel.

Seit du die bist,
gen der ich List
nit brauchen soll,
das weisst du wohl:
ohn allen Scherz
will dir mein Herz
in Treuen sein,
darum ich dein
kein Stund im Tag
vor Leid und Klag,
auch rechter Lieb vergessen mag.
Of noble kind,
Also pure and tender,
Thou art a crown
To which I have fully
Devoted myself,
Truly believe me;
The heart in me
Is sick for thee,
Therefore I beseech [thee]
By all thy honour:
Help me, I have no other comfort.

No matter what I do for [my heart]
I have no peace
Without thy image,
Which has violently
Imprisoned me:
Beloved, give me counsel,
For which I always
Look to thee
With great hopes.
I want nothing more,
Only graciously set me a goal.

Since thou art the one
Against whom
I must not use guile,
As well you know:
In all sincerity
My heart wants
To be faithfully thine.
Therefore I shall not
During any hour of the day
For sorrow and lamentation,
Also for true love, forget to think of thee.
63

63
Translation copyright © 2015 by Sharon Krebs reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
206

Insights & Performance Issues:
For a structural analysis of the work, see Robert Biles’ dissertation listed in the bibliography
above.

In his text, Biles encourages the learning objective of part independence, “Part independence in
Von edler Art is made more achievable by the work's overall rhythmic and melodic simplicity.
Note durations are limited to half-notes, quarter-notes, and eighth-notes with the only sixteenth-
notes occurring in the final two measures. Pitches are diatonic in the key of F-major except in
the soprano voice, m. 15; alto voice, mm. 3–4; and tenor voice, m. 5.”
64

The tenor and soprano sections begin their lines on F4 and F5 respectively. With the quiet
dynamic, the conductor may consider starting with smaller numbers within the section and
adding voices as the line descends.

The exposed entrance for bass and tenor mm.15-16 occurs in the upper tessitura and may require
rehearsal attention. The end of each verse includes a dotted rhythm for all parts, except the bass
section. The conductor should be attentive to gesture clarity to ensure ensemble unity as the
rhythmic contrast occurs with the ritardando.

“Wach auf!” (CM19c p54)
Alternate Title(s): Wake Up!
Larger Work/Collection: No. 7 (No. 21) from Deutsche Volkslieder (German Folk Songs),
WoO 35
Text Source: Traditional Folk Song
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 2/4
Opening Tempo: Anmutig bewegt (Gracefully agitated)
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: p, staggered (B/SAT)
Closing Texture: f, tutti
Approximate Duration: 1:30
Date of Composition: by 1864
Sacred/Secular: Secular
Theme(s): Blessing, Comfort, Dusk, Happiness, Love, Morning, Nightingale,
Rooster, Stars, Wake up

64

207

Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP) Nos.15-26
Carus-Verlag
CPDL
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Amadeus Choir, Brahms Choral Works, conducted by Nicol Matt,
Brilliant Classics, n.d.
North German Radio Chorus, Brahms: Complete Choral Works,
conducted by Gunter Jena, Deutsche Grammophon, 2015.
Selected Bibliography: Glass, Beaumont. Brahms’ Complete Song Texts: In One Volume.
New York: Leyerle Publications, 1999.

Complete Text:

English Translation:
Wach auf, meins Herzens Schöne,
zart Allerliebste mein!
Ich hör ein süß Getöne
von kleinen Waldvöglein;
die hör ich so lieblich singen,
ich mein, ich seh des Tages Schein
vom Orient her dringen.

Ich hör die Hahnen krähen
und spür den Tag dabei.
Die kühlen Windlein wehen,
die Sternlein leuchten frei.
Singt uns Frau Nachtigalle,
singt uns ein süße Melodei,
sie meldt den Tag mit Schalle.

Selig sei Tag und Stunde,
darin du bist geborn.
Gott grüß mir dein rot Munde,
den ich mir auserkorn!
Kann mir kein Liebre nie werden,
schau, daß mein Glück nicht sei verlorn,
du bist mein Trost auf Erden.
Wake up, beauty of my heart,
my tender most beloved!
I hear a sweet song
from small forest birds;
I hear their dulcet song,
I think, I see the glow of daybreak
coming in from the east.

I hear the roosters crowing
and with that, I sense the day.
The cool breezes blow,
the little stars light the sky.
Miss Nightingale sings to us,
sings a sweet melody,
she announces the day with her song.

Blessed be the day and hour
when you were born.
God bless your red lips,
which I have chosen for myself!
No one else can be more loved by me,
see, that my happiness isn't lost,
you are my comfort on earth.
65

65
Translation by Beverly Freeland Clajus ©2021, used with permission.
208

Insights & Performance Issues:
Word for word translation, IPA transcription, and commentary available in Beaumont Glass’
text listed above.

Setting three verses of text, Brahms includes short, staggered entrances in each phrase,
alternating the voice and voice pairings at the beginning of each. Rehearsal attention may be
required as each entrance contains an ascending leap.

The first two verses are marked piano and the third verse is marked mezzo forte, with forte in the
final phrase. Keeping the forward motion and intonation aligned may require rehearsal attention,
especially during the soft dynamic in the first two verses.

The voice ranges are primarily comfortable with exceptions in m. 5 (alto G3), m. 12 (tenor Ab4),
and m. 25 (bass Eb4). The brevity of the work and staggered entrances makes the part-song well-
suited for sight-reading and conducting exercises.

“Zum Schluss” (CM19c p58)
Alternate Title(s): To Close; Conclusion
Larger Work/Collection: No. 15, Neue Liebeslieder, Op. 65
Text Source: Johann Wolfgang von Goethe (1749-1832)
Original Language: German
Voicing and Range: SATB

Accompaniment: pf four-hands
Meter: 9/4 (3/4)
Opening Tempo: Ruhig (Quietly)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: f, instr. (brief)
Closing Texture: p, tutti
Approximate Duration: 2:45
Date of Composition: 1874
Sacred/Secular: Secular
Theme(s): Anguish, Conclusion, Ending, Finality, Love, Muses
Musical Type: Part-song (Vocal Quartet)
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Michael Musgrave
CPDL
G. Schirmer
N. Simrock (IMSLP)
209

Alternate Voicings/
Instr. Arrangements:
Clarinet Choir, Western International Music Co.
Collections/Anthologies: Brahms Quartets in 3 Volumes, Volume 2: Op. 52, 65, C.F. Peters
Selected Discography: Westminster Choir, Singing for Pleasure: The Westminster Choir
Sings Brahms, conducted by Joseph Flummerfelt, Delos, 1996.
Selected Bibliography: Glass, Beaumont. Brahms’ Complete Song Texts: In One Volume.
New York: Leyerle Publications, 1999.
Hansen, Kelly Dean. “Listening Guides to the Works of Johannes
Brahms (website).” http://www.kellydeanhansen.com/index.html.
Musgrave, Michael. Foreword to Neue Liebeslieder, Op. 65, by
Johannes Brahms, 3-7. Stuttgart: Carus-Verlag, 1998.
Stark, Lucien. “Neue Liebeslieder: OPUS 65 (NEW SONGS OF
LOVE). In Brahms’s Vocal Duets and Quartets with Piano: A
Guide with Full Texts and Translations, 63-79. Bloomington:
Indiana University Press, 1998.

Complete Text:

English Translation:
Nun, ihr Musen, genug!
Vergebens strebt ihr zu schildern,
wie sich Jammer und Glück
wechseln in liebender Brust.

Heilen könnet die Wunden ihr nicht,
die Amor geschlagen,
aber Linderung kommt einzig,
ihr Guten, von euch.
Now, you Muses, enough!
In vain you strive to describe
how misery and happiness
alternate in a loving breast.

You cannot heal the wounds
that Amor has caused,
but solace can come
only from you, Kindly Ones.
66

Insights & Performance Issues:
Word for word translation, IPA transcription, and commentary are available in Beaumont Glass’
text listed above. For a complete structural analysis, see Lucien Stark’s chapter devoted to the
song collection, also listed above.

Set for four voices and four-hand piano in ternary form, Stark describes the musical structure
and tonal shifts stating, “The 9/4 Goethe setting "Zum Schluß" addresses "you Muses" and is in
the form of a passacaglia interrupted by a contrapuntal central section. The key, F major, relates
to the work's apparent tonic, A, as submediant – Brahms's usual choice for consideration of the
unreal or imaginary. The weight of both form and text combine to lend the New Songs of Love
substantially more gravity than is possessed by the earlier cycle.”
67

The passacaglia, or grounded bass, is set in groups of three in the right hand of the secondo
piano with material borrowed from the final section of Brahms’ “Alto Rhapsody,” Op. 53.
68

66
Translation copyright © by Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
67
Stark, Brahms’s Vocal Duets and Quartets, 64.
68
Ibid, 78.
210

The voices sing contrasting duplets and combined with the 9/4 meter, may create a disconnect
for the singers and require rehearsal attention.

The contrapuntal section described by Stark begins in m. 10 in the soprano. The tonal center
shifts from F major to Db major and the voices sing leaping lines followed by descending steps.
The conductor should be attentive to the piano parts resting in mm. 16-17 as the voices are given
a diminuendo from the previous climax. The chromatic lines in these two measures may require
rehearsal attention especially without the support of the accompaniment.

The opening material, including the passacaglia, returns in m. 18 sung by all four voices and
leads to the coda in m. 22. The tenor line sings the passacaglia motif as the bass sings extended
notes underneath. They are joined two measures later by the soprano and alto to close the work
quietly.

Overall, the composition is well-suited to close a program, and offers opportunity for improving
light counterpoint and contrasting rhythms.

211

Bruch, Max (CM19c p74-75)
Birth/Death: January 6, 1838 – October 2, 1920
Place of Birth: Cologne, Germany
Place of Death: Berlin, Germany
Nationality/Ethnicity: German
Selected Bibliography: Fifield, Christopher. Max Bruch: His Life and Works. Woodbridge,
Suffolk: Boydell Press, 2005.
Maitland, J.A. Fuller. Masters of German Music. New York:
Charles Scribner’s Sons, 1894.

“Gebet” (CM19c p75)
Alternate Title(s): A Prayer; Herr, schicke, was du willst
Larger Work/Collection: No. 4, Nine Lieder, Op. 60
Text Source: Eduard Mörike (1804–1875)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 2/4
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: E minor
Ending Key/Mode: E minor
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:30
Date of Composition: 1892
Sacred/Secular: Sacred
Liturgical Use: General, All Saints, Prayer Response, Call to Prayer
Theme(s): Contentment, Prayer
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, 1990
CPDL
Heinrichshofen's Verlag (IMSLP)
Stretta Music
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Geistliches Chorbuch der Romantik, ed. Wolfgang Helbich and
Ernst Herzog. Carus-Verlag, 1990.
Geistliche Musik für Chor und Bläser, ed. Karl Heinz Mertens.
Carus-Verlag, 1986.
212

Selected Discography: Dortmund Choral Academy Youth Concert Choir, Romantic Choral
Music: German Motets, conducted by Felix Heitmann. Cantate,
2003.
Selected Bibliography: LiederNet Archive (website). “Herr, schicke was du willt.”
https://www.lieder.net/lieder/get_text.html?TextId=11656.

Complete Text:

English Translation:
Herr, schicke was du willt,
ein Liebes oder Leides,
ich bin vergnügt, dass Beides
aus deinen Händen quillt.

Wollest mit Freuden
und wollest mit Leiden
mich nicht überschütten,
doch in der Mitten,
liegt holdes Bescheiden.
Send what You will, my Lord,
May it be love or sorrows!
I am content that both
From Thy dear hands do pour.

May You with love
and may You with sorrows
Not overwhelm me!
For it's the midway
Where modesty grows.
69

Insights & Performance Issues:
The German text is accessible, and the open text returns to close the work.

The work is a mix of chromatism and arpeggios that may challenge less experienced singers,
especially in the alto and tenor parts.

The composition is laden with ample opportunities to demonstrate a wide variety of dynamics
and the use of rubato.

Careful attention must be paid to the alto line in mm. 23-24 due to the low range, a possible
solution is to perhaps add a tenor of two to help with balance.

Measure 32 is potentially a difficult location for the tenor to tune, especially for tenors ascending
a whole step from C#4 to D#4.

The soprano balance at m. 37 should be carefully addressed as they are the only one of the four
vocal parts in their upper tessitura.

The bass range is quite large, however the E2 only occurs once on the last chord, doubling the E3
down the octave.

69
Translation copyright © 2004 by Bertram Kottmann reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
213

Bruckner, Anton (CM19c p48-52)
Birth/Death: September 4, 1824 – October 11, 1896
Place of Birth: Ansfelden, near Linz, Austria
Place of Death: Vienna, Austria
Nationality/Ethnicity: Austrian
Selected Bibliography: Harrandt, Andrea. “Bruckner and the Liedertafel Tradition: His
Secular Music for Male Voices.” The Choral Journal 37, no. 5
(December 1996): 15-21.
Liebergen, M. Patrick. “The Cecilian Movement in the Nineteenth
Century.” The Choral Journal 21, no. 9 (May 1981): 13-16.
Mathews, Theodore K. “The Masses of Anton Bruckner: A
Comparative Analysis.” PhD diss., University of Michigan,
1974.
Miller, Ronald L. “The Motets of Anton Bruckner.” The Choral
Journal 37, no. 2 (September 1996): 19-25.
Watson, Derek. Bruckner. Oxford and New York: Oxford
University Press. 1996.
Williamson, John, ed. The Cambridge Companion to Bruckner,
Cambridge, United Kingdom: Cambridge University Press,
2004.

Ave Maria (WAB 6) (CM19c p50)
Alternate Title(s): Hail, Blessed Mary
Larger Work/Collection: N/A
Text Source: Prayer of the Roman Rite; Bible: references to scriptures Luke 1:28
and Luke 1:42.
Original Language: Latin
Voicing and Range: SAATTBB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Andante (Sehr langsam) (moderately slowly, “walking”)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, staggered (SAATTBB)
Closing Texture: p, tutti
Approximate Duration: 3:00
Date of Composition: 1861
Sacred/Secular: Sacred
Liturgical Use: Advent (4
th
Sunday), Annunciation
Theme(s): Virgin Mary, Annunciation, Angel Gabriel
214

Musical Type: Motet
Editions, Arrangements,
and Publications:
Alfred Music, ed. Patrick Liebergen
Carus-Verlag, ed. Thomas Kohlhase, 1979
CPDL
Edition Peters (IMSLP)
GIA Publications, ed. Richard Proulx
Alternate Voicings/
Instr. Arrangements:
String Octet, arr. Stephen DeCesare. Exsultet Music
Brass Septet, arr. Simon Cox. Resonata Music
Woodwind Octet, arr. Bill Schuetter. Imagine Music Publishing
Collections/Anthologies: Anton Bruckner: für Gottesdienst und Konzert (Sacred works for
worship and concert), ed. Matthias Kreuels. Carus-Verlag, 1996.
European Sacred Music, ed. John Rutter & Clifford Bartlett.
Oxford University Press, 1996.
Selected Discography: Tenebrae, Brahms & Bruckner Motets, conducted by Nigel Short,
Signum Classics, 2015.
Latvian Radio Choir, Bruckner Latin Motets, conducted by
Sigvards Kļava, Ondine, 2020.
Selected Bibliography: Jeffers, Ron. “Ave Maria.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 99-100.
Corvalis, OR: Earthsongs, 1988.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.
Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Ave Maria, gratia plena:
Dominus tecum,

Benedicta tu in muleiribus,
et benedictus fructus ventris tui, Jesus.

Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace,
the Lord is with thee,

blessed art thou among women,
and blessed is the fruit of the womb, Jesus.

Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death. Amen.
70

Insights & Performance Issues:
Dedicated to the Frohsinn choir in Linz for their Anniversary Celebrations. Opens with three-
part treble (SAA) followed by four-part in the lower voices (TTBB).

Measures 25-26 contains a repeated A5 in the soprano line and F5 for in the Alto I. Shifting some
sopranos to the Alto I part may help balance the voices.

70
Jeffers, Translations and Annotations, 99-100.
215

Depending upon the capabilities of the singers, the conductor’s choice of tempo should be
carefully thought through as a too slow andante may affect intonation.

Measures 39-41 feature octave leaps in the soprano, alto, and tenor which may require extra
attention and rehearsing.

Ecce sacerdos magnus (CM19c p51)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Bible, cf. Ecclesiasticus 44: 7, 16, 22, 25; Gloria Patri
Original Language: Latin
Voicing and Range: SSAATTBB

Accompaniment: 3 trombones, organ
Meter: Common Time
Opening Tempo: Maestoso
Beginning Key/Mode: A minor
Ending Key/Mode: A minor
Opening Texture: fff, SATB, organ
Closing Texture: ppp, SATB (a cappella)
Approximate Duration: 5:00
Date of Composition: 1885
Sacred/Secular: Sacred
Liturgical Use: Celebration of Priest or Pastor
Theme(s): Blessing, Preacher, Priest
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Günter Graulich (Latin/English)
C.F. Peters
Edition Peters (IMSLP)
Universal Edition
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Dresden Kreuzchor, Bruckner: Symphony No. 0, “Nullte” / Motets,
conducted by Neville Marriner, Capriole, 1993.
St. Bride’s Church Choir, Fleet Street, Bruckner: Motets, conducted
by Robert Jones, Naxos, 1994.
Tenebrae, Brahms & Bruckner Motets, conducted by Nigel Short,
Signum Classics, 2015.
216

Selected Bibliography: Jeffers, Ron. “Ecce Sacerdos.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 121-23.
Corvalis, OR: Earthsongs, 1988.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.

Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Ecce sacerdos magnus,
qui in diebus suis placuit Deo.

Ideo jurejando fecit illum Dominus
crescere in plebem suam.

Benedictionem omnium gentium dedit illi,
et testamentum suum confirmavit
super caput ejus.

Gloria Patri et Filio,
et Spiritui Sancto.
Sicut erat in principio,
et nunc, et semper.
et in saecula saeculorum. Amen.
Behold a great priest,
who in his days pleased God.

Therefore, by an oath the Lord made him
to increase among his people.

He gave him the blessing of all nations,
and confirmed his covenant
upon his head.

Glory to the Father, and to the Son,
and to the Holy Spirit.
As it was in the beginning,
is now, and ever shall be,
world without end. Amen.
71

Insights & Performance Issues:
The work has several challenging aspects including: harmonic language, dissonant staggered
entrances, chant passages, and chromatic passages.

The accompaniment of trombones and organ may present balance issues depending on the size
of the choir and the acoustics of the performance space. The dramatic, fanfare-like opening is
marked fortississimo and smaller choirs will struggle to compete dynamically with the
accompaniment.

Soprano and tenor sections spend most of the work in the upper part of their tessituras. A proper
warmup is strongly urged and careful attention to the placement of the composition in a concert
program.

Soprano and bass must negotiate numerous octave leaps within their vocal lines that will require
practice and may present intonation issues.

71
Jeffers, Translations and Annotations, 121-23.
217

Locus iste (CM19c p51)
Alternate Title(s): This is God’s House
Larger Work/Collection: N/A
Text Source: Bible: based on Genesis 28:16-22
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Allegro moderato
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 3:00
Date of Composition: 1869
Sacred/Secular: Sacred
Liturgical Use: Gradual for the Mass, Dedication of a Church
Theme(s): Holy Place, Sanctuary, Foundation
Musical Type: Motet, Gradual
Editions, Arrangements,
and Publications:
Alfred Music, ed. Patrick Liebergen (Latin/English)
Carus-Verlag, 2013
C.F. Peters
CPDL
Edition Peters (IMSLP)
G. Schirmer (Latin/English)
Josef Eberle & Co. (IMSLP)
Oxford, ed. John Rutter (Latin/English)
Tetra/Continuo Music
Alternate Voicings/
Instr. Arrangements:
Brass Quintet, Bill Schuetter. Imagine Music Publishing
String Orchestra, arr. Robert Longfield. Hal Leonard
Trombone Quartet, arr. Art Pecht. American Brassworks
Collections/Anthologies: Anton Bruckner: für Gottesdienst und Konzert (Sacred works for
worship and concert), ed. Matthias Kreuels, Carus-Verlag, 1996.
European Sacred Music, ed. John Rutter & Clifford Bartlett,
Oxford University Press, 1996.
Five Centuries of Choral Music for Mixed Voices, Volume 2,
compiled by Margaret Hawkins, G. Schirmer
Selected Discography: Tenebrae, Brahms & Bruckner Motets, conducted by Nigel Short,
Signum Classics, 2015.
Latvian Radio Choir, Bruckner Latin Motets, conducted by
Sigvards Kļava, Ondine, 2020.
218

Selected Bibliography: Jeffers, Ron. “Locus iste.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 153. Corvalis,
OR: Earthsongs, 1988.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.
Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Locus iste a Deo factus est,
Inaestimabile sacramentum,
irreprehensibilis est.
This place was made by God;
a priceless holy place,
it is without fault.
72

Insights & Performance Issues:
Composed for the dedication of the Votivkapelleof, the cathedral in Linz, Austria.

The alto and tenor ranges may be too low for some high school choirs.

The work is full of chromaticism and chords with sevenths and ninths. The brevity of the work
and intuitive part writing provides an excellent vehicle to introduce these musical elements to a
choir.

The bass section has exposed entrances throughout as Bruckner the basses to start phrases.

Measures 12 and 16 are two such examples that begin in low in the range (G2 and A2), ascending
through arpeggios, and followed by a sequence of descending leaps at the octave.

Os Justi (WAB 30) (CM19c p51)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Bible, Psalm 37:30-31
Original Language: Latin
Voicing and Range: SSAATTBB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Nicht schnell (not fast)
Beginning Key/Mode: F Lydian
Ending Key/Mode: F Lydian

72
Jeffers, Translations and Annotations, 153.
219

Opening Texture: p, tutti
Closing Texture: ppp, tutti (unison octaves)
Approximate Duration: 5:00
Date of Composition: 1879 (for Ignaz Traumihler, 1815-84)
Sacred/Secular: Sacred
Liturgical Use: Feast of the Holy Church Fathers
Theme(s): Confidence, Honor, Righteous, Truth, Wisdom
Musical Type: Motet
Editions, Arrangements,
and Publications:
Berlinder Chormusik Verlag
Carus-Verlag, ed. Günter Graulich, 1974 (Latin/English)
C.F. Peters Co.
CPDL
Edition Peters (IMSLP)
G. Schirmer, arr. John Finley Williamson
Roger Dean Publishing Co. (piano reduction)
Theodore Presser Co.
Theodor Rättig (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Brass Choir, arr. Connie Bolton. Eighth Note Publications
Brass Quintet, arr. Ben Volkits. Cimarron Music Press
Horn in F Octet, arr. George McCracken. Musicians Publications
Collections/Anthologies: Anton Bruckner: für Gottesdienst und Konzert (Sacred works for
worship and concert), ed. Matthias Kreuels. Carus-Verlag, 1996.
European Sacred Music, ed. John Rutter & Clifford Bartlett.
Oxford University Press, 1996.
Selected Discography: Tenebrae, Brahms & Bruckner Motets, conducted by Nigel Short,
Signum Classics, 2015.
Latvian Radio Choir, Bruckner Latin Motets, conducted by
Sigvards Kļava, Ondine, 2020.
Selected Bibliography: Liebergen, M. Patrick. “The Cecilian Movement in the Nineteenth
Century.” The Choral Journal 21, no. 9 (May 1981): 13-16.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.
Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Os justi meditabitur sapientiam,
et lingua ejus loquetur judicium.
Lex Dei ejus in corde ipsius:
et non supplantabuntur gressus ejus.
Alleluia.
The mouths of the righteous utter wisdom,
and their tongues speak what is just.
The law of their God is in their hearts;
their feet do not slip.
Alleluia.
73

73
New International Version.
220

Insights & Performance Issues:
Bruckner avoided sharps, flats, seventh chords and other “modern features” to accommodate the
Cecilian movement popular at the time, a style he found archaic.

While the harmonies are straightforward, the division of parts, polyphony, and extended ranges
in the soprano and bass parts make the work challenging for even the most experienced choirs.

The melismatic lines and polyphonic texture will need special attention to shape the individual
phrases. This includes the conductor determining on collective breaths or if the chorus utilizes
staggered breathing.

Pange lingua et Tantum ergo (WAB 33) (CM19c p51)
Alternate Title(s): Pange lingua et Tantum ergo
Larger Work/Collection: N/A
Text Source: St. Thomas Aquinas (1226-74)
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: half note = 84
Beginning Key/Mode: E Phrygian
Ending Key/Mode: E Phrygian
Opening Texture: p, staggered (SA/T/B)
Closing Texture: pp, tutti
Approximate Duration: 4:30
Date of Composition: 1868
Sacred/Secular: Sacred
Liturgical Use: Gradual for the Mass, Feast of Corpus Christi; Maundy Thursday;
Benediction of the Blessed Sacrament (Tantum ergo)
Theme(s): Communion, Faith, Praise, Sacrament
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Günter Graulich, 1980 (Latin/English)
C.F. Peters
C.G. Röder (IMSLP)
CPDL
Edition Peters (IMSLP)
Friedrich Pustet (IMSLP)
GIA Publications ed. James Jordan (piano reduction)
Tetra/Continuo Music
221

Alternate Voicings/
Instr. Arrangements:
Brass Quintet, arr. Bill Schuetter. Imagine Music Publishing
Collections/Anthologies: Ash Wednesday to Easter, ed. Dakers & Scott, Oxford University
Press, 1998.
Selected Discography: Latvian Radio Choir, Bruckner Latin Motets, conducted by
Sigvards Kļava, Ondine, 2020.
Prague Chamber Choir, Bruckner: Motets & Choral Music,
conducted by Josef Pančík, Orfeo, 1995
Selected Bibliography: Jeffers, Ron. “Pange lingua.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 185-86.
Corvalis, OR: Earthsongs, 1988.
Liebergen, M. Patrick. “The Cecilian Movement in the Nineteenth
Century.” The Choral Journal 21, no. 9 (May 1981): 13-16.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.
Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Pange, lingua, gloriosi
Corporis mysterium,
Sanguinisque pretiosi,
Quem in mundi pretium
Fructus ventris generosi,
Rex effudit gentium.

Tantum ergo Sacramentum
Veneremur cernui:
Et antiquum documentum
Novo cedat rítui:
Praestet fídes supplementum
Sensuum defectui.

Genitori, Genitoque
Laus et iubilatio,
Salus, honor, virtus quoque
Sit et benedictio:
Procedenti ab utroque
Compar sit laudatio.
Amen.
Sing, O tongue, the mystery
Of the glorious Body,
And of the precious blood,
Which the King of all nations,
The fruit of a noble womb,
Poured forth as the ransom for the world.

Let us the ref ore, bowing low,
Venerate so great a Sacrament;
And let the old Law
Give way to the new rite;
Let faith afford assistance
To the deficiency of the senses.

To the Begetter and the Begotten
Let there be praise and jubilation,
Salvation and honor,
And power and blessing;
And to the One proceeding from both
Let there be equal praise.
Amen.
74

74
Jeffers, Translations and Annotations, 185-86.

222

Insights & Performance Issues:
This work features a balance of traditional compositional techniques customary for the Cecilian
cultural movement, as well as newer dissonance unique to the period in which this piece was
composed.

The layered entrances start in closed harmonic structure (all voices within an octave range). As
the voices move apart in stepwise fashion, dissonance is created that may challenge the
intonation and line independence of amateur singers. However, the repetition of this technique
will offer opportunities for less experienced singers to build confidence.

The dissonance at the end of the work was “corrected” in the collection of Eucharistic Songs by
Franz X. Witt, one of the leaders of the Cecilian Reform movement. Witt’s correction was not
approved by Bruckner.
75

Tantum ergo (WAB 44) (CM19c p51)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: St. Thomas Aquinas (1226-74)
Original Language: Latin
Voicing and Range: SATB

Accompaniment: 2 trumpet, 2 violin, organ
Meter: Cut time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: Bb major
Ending Key/Mode: Bb major
Opening Texture: p, tutti
Closing Texture: mf, tutti
Approximate Duration: 2:30
Date of Composition: 1854
Sacred/Secular: Sacred
Liturgical Use: Communion
Theme(s): Communion, Faith, Praise, Sacrament
Musical Type: Motet
Editions, Arrangements,
and Publications:
CDPL
Gustav Bosse Verlag (Bärenreiter)
Manuscript (IMSLP)
Musikwissenschaftlicher Verlag

75
Williamson, ed., The Cambridge Companion to Bruckner, 57.
223

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Rias Kammerchor and Berlin Akademie für Alte Musik Orchestra,
Anton Bruckner: Missa Solemnis, conducted by Łukasz
Borowicz, Accentus Music, 2018.
Selected Bibliography: Jeffers, Ron. “Pange lingua.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 185-86.
Corvalis, OR: Earthsongs, 1988.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.
Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Tantum ergo Sacramentum
Veneremur cernui:
Et antiquum documentum
Novo cedat rítui:
Praestet fídes supplementum
Sensuum defectui.

Genitori, Genitoque
Laus et iubilatio,
Salus, honor, virtus quoque
Sit et benedictio:
Procedenti ab utroque
Compar sit laudatio.
Amen.

Pange Lingua, Stanzas 5,6
Let us the ref ore, bowing low,
Venerate so great a Sacrament;
And let the old Law
Give way to the new rite;
Let faith afford assistance
To the deficiency of the senses.

To the Begetter and the Begotten
Let there be praise and jubilation,
Salvation and honor,
And power and blessing;
And to the One proceeding from both
Let there be equal praise.
Amen.
76

Insights & Performance Issues:
Bruckner has several settings of the Tantum ergo text.

The organ supports the chorus throughout while the strings add additional harmonies with
arpeggiated and running eighth notes passages.

In mm. 17-23 the sopranos echo the bottom three voices with a high, chromatic obbligato. A
light timbre set for quickly moving phrasing will prove useful for the sopranos in this section.
The soprano line is, in general, more difficult than the other voice parts.

76
Jeffers, Translations and Annotations, 185-86.

224

While the accompaniment of 2 trumpets, 2 violins, and organ is uncommon, this may be a work
to consider when performing additional repertoire with chamber orchestra. The work may also
be appropriate for a smaller chorus as the trumpet parts are minimal.

In a sacred setting, the work is an appropriate composition for the preparation of the elements
for Holy Communion.

Virga Jesse floruit (CM19c p51)
Alternate Title(s): Virga Jesse; The Branch from Jesse
Larger Work/Collection: N/A
Text Source: Bible, Isaiah 11:1-4
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Feierlich langsam (solemnly slow)
Beginning Key/Mode: G major
Ending Key/Mode: E minor
Opening Texture: p, tutti
Closing Texture: ppp, tutti
Approximate Duration: 4:00
Date of Composition: 1885
Sacred/Secular: Sacred
Liturgical Use: Annunciation, Easter, Advent (2
nd
Sunday)
Theme(s): Virgin Mary, Blossoming
Musical Type: Motet, Gradual
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Günter Graulich, (Latin/English)
C.F. Peters
CPDL
E.C. Schirmer, ed. Walter Williams (Latin/English)
Edition Peters (IMSLP)
Theodore Rättig (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Tuba Quartet, arr. Mark Nelson. Tuba Euphonium Press
Bassoon Quartet, arr. Darly Durran. Trevco Music
Collections/Anthologies: Anton Bruckner: für Gottesdienst und Konzert (Sacred works for
worship and concert), ed. Matthias Kreuels. Carus-Verlag, 1996.
Advent for Choirs, ed. Malcolm Archer & Stephen Cleobury,
Oxford University Press, 2006.
Christmas Motets, ed. John Rutter; Oxford University Press
225

Selected Discography: Tenebrae, Brahms & Bruckner Motets, conducted by Nigel Short,
Signum Classics, 2015.
Latvian Radio Choir, Bruckner Latin Motets, conducted by
Sigvards Kļava, Ondine, 2020.
Selected Bibliography: Jeffers, Ron. “Virga Jesse floruit.” In Translations and Annotations
of Choral Repertoire, Volume 1: Sacred Latin Texts, 250.
Corvalis, OR: Earthsongs, 1988.
Miller, Ronald L. "The Motets of Anton Bruckner." The Choral
Journal 37, no. 2 (September 1996): 19-25.
Williamson, John, ed. “Bruckner and the motet.” In The Cambridge
Companion to Bruckner, 54-63. Cambridge, United Kingdom:
Cambridge University Press, 2004.

Complete Text:

English Translation:
Virga Jesse floruit:
Virgo Deum et hominem
genuit:
pacem Deus reddidit,
in se reconcilians ima
summis.
Alleluia.
The rod of Jesse has blossomed:
a virgin has begotten One who is both God and
man;
God has restored peace,
reconciling in himself the lowest to the
highest.
Alleluia!
77

Insights & Performance Issues:
While the composition is marked Feierlich langsam (solemnly slow), the speed of the harmonic
progressions creates a sense of forward motion. The quick harmonic movement may require
slow, meticulous rehearsing to achieve balance and proper intonation, and for the singers to
develop a sense of how their individual part fits within each chord.

Measures 21-30 feature alternating closed and open chordal textures possibly playing on the
word “floruit” (blossom). The leaps used to create this effect, including the ascending minor
sixth in the sopranos, may require rehearsal attention.

In mm. 80-81, after sustaining G#5 for two measures, the sopranos raise a half-step to A5. This
passage may challenge the sopranos’ breath management and require neutralizing the “l”
consonant of “alleluia” and modifying the vowels in the upper tessitura.

The work closes with a pedal E2 in the bass and descending motifs in the upper voices. This
includes an exposed entrance for the tenors on a high B4 marked forte and falsetto that may
require additional rehearsal attention to maintain proper intonation.

77
Jeffers, Translations and Annotations, 250.
226

Buck, Dudley (CM19c p203-205)
Birth/Death: March 19, 1839 – October 6, 1909
Place of Birth: Hartford, CT, United States
Place of Death: West Orange, New Jersey, United States
Nationality/Ethnicity: American
Selected Bibliography: Gallo, William K. “The Life and Church Music of Dudley Buck
(1839-1909).” PhD diss., Catholic University of America, 1968.
Kent, Ralph McVety. “A Study of Oratorios and Sacred Cantatas
Composed in America Before 1900.” PhD diss., The University
of Iowa, 1954.
Orr, N. Lee. Dudley Buck. Urbana, IL: University of Illinois Press,
2008.

“Festival Te Deum No. 7” (CM19c p204)
Alternate Title(s): Festival Te Deum No. 7 in Eb
Larger Work/Collection: No. 1, Morning Service, Op. 63
Text Source: Book of Common Prayer
Original Language: English
Voicing and Range: SATB, Soli SATB

Accompaniment: Organ
Meter: Common Time
Opening Tempo: Allegro con spirito
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: mf, instr. (brief)
Closing Texture: ff, tutti
Approximate Duration: 7:30
Date of Composition: pub 1873
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Mercy, Praise, Salvation, Thanks, Trust
Musical Type: Chorus from Te Deum
Editions, Arrangements,
and Publications:
Oliver Ditson & Co., 1873 (LOC)
Whaley, Royce & Co. (complete work, IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
227

Collections/Anthologies: Dudley Buck: American Victorian Choral Music, ed. N. Lee Orr. A-
R Editions, 2005.
Selected Discography: Trinity Choir and Victor Orchestra, Festival Te Deum, no. 7, in E
flat, op. 63, no. 1, Victor, 1910.
https://www.loc.gov/item/jukebox-421970/
Selected Bibliography: Gallo, William K. “The Life and Church Music of Dudley Buck
(1839-1909).” PhD diss., Catholic University of America, 1968.

Complete Text:

We praise Thee, O God, we acknowledge Thee
to be the Lord:
All the earth doth worship Thee, the Father
everlasting.

To Thee all angels cry aloud.
The Heavens and all the Powers therein.
To Thee Cherubim and Seraphim continually
do cry.
Holy! Holy! Holy Lord God of Sabaoth.
Heaven and earth are full of the Majesty of
Thy Glory.

The glorious company of the Apostles praise
Thee.
The goodly fellowship of the Prophets praise
Thee.
The noble army of Martyrs praise Thee.
The Holy Church throughout all the world
doth acknowledge Thee,
the Father of an infinite Majesty,
Thine adorable true, and only Son;
Also the Holy Ghost, the Comforter.
Thou art the King of Glory, O Christ,
Thou art the everlasting Son of the Father.

When Thou tookest upon Thee to deliver man.
Thou didst humble Thyself, to be born of a
Virgin.
When Thou hadst overcome the sharpness of
death,
Thou didst open the kingdom of Heaven to all
believers
Thou sittest at the right hand of God, in the
glory of the Father.

We believe that thou shalt come to be our
Judge.
We therefore pray thee, help Thy servants,
whom Thou hast redeemed with Thy precious
blood.
Make them to be numbered with Thy saints in
glory everlasting.

O Lord, save Thy people and bless Thine
heritage,
Govern them, and lift them up forever.
Day by day, we magnify Thee;
and we worship Thy name ever world without
end.

Vouchsafe O Lord to keep us this day without
sin
O Lord, have mercy upon us
O Lord, let Thy mercy be upon us as our trust
is in Thee.
O Lord, in Thee have I trusted,
Let me never be confounded.

Insights & Performance Issues:
A through composed anthem containing several tempo, meter, and dynamic changes with
substantial material for the chorus and features for each soloist.

The chorus generally sings in homophony and is supported harmonically by the accompaniment
while the solo sections contain difficult meter changes and chromatism.

228

The dotted and double dotted rhythms found in the chorus parts should be distinctly different
from each other and may require rehearsal time to sing precisely.

The entrance in m. 114 includes a polyphonic section for the chorus, pairing the parts in unison
octaves. The sopranos and tenors are given chromatic phrases in m. 116, 118, and 120 that may
require individual section rehearsal.

While it is not marked in the Whaley edition, m. 142 is assumed to be a chorus entrance
following the soprano and alto duet. This section includes the tempo markings Vivace (Lively)
and rallant. molto (very gradually slower). Consistency in the gradual tempo changes will assist
in the ensemble unity.

229

Chausson, Ernest (CM19c p97)
Birth/Death: January 20, 1855 – June 10, 1899
Place of Birth: Paris, France
Place of Death: Limay, Yvelines
Nationality/Ethnicity: French
Selected Bibliography: Barricelli, Jean-Pierre, and Leo Weinstein. Ernest Chausson: The
Composer’s Life and Works. Norman: University of Oklahoma
Press, 1955.
Caldwell, Stephen. “The Choral Music of Ernest Chausson.” Choral
Journal 58, no. 10 (May 2018): 28-42.
Grover, Ralph Scott. Ernest Chausson, the Man and His
Music. Lewisburg: Bucknell University Press, 1980.

“Ave Maria” (CM19c p97)
Alternate Title(s): N/A
Larger Work/Collection: No. 1 from Three Motets, Op. 12
Text Source: Prayer of the Roman Rite; references to Luke 1:28 and Luke 1:42
Original Language: Latin
Voicing and Range: SATB; solo S (child)

Accompaniment: vc; hp (piano); org
Meter: 4/4
Opening Tempo: Pas trop lent
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: pp, instr. (brief)
Closing Texture: ppp, tutti
Approximate Duration: 3:30
Date of Composition: 1886 (for Léon Husson)
Sacred/Secular: Sacred
Liturgical Use: Advent (4
th
Sunday), Annunciation
Theme(s): Virgin Mary, Annunciation, Angel Gabriel
Musical Type: Motet
Editions, Arrangements,
and Publications:
Editions Schola Cantorum
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
230

Selected Bibliography: Barricelli, Jean-Pierre, and Leo Weinstein. “Religious Music.” In
Ernest Chausson: The Composer’s Life and Works, 135-39.
Norman: University of Oklahoma Press, 1955.
Caldwell, Stephen. “The Choral Music of Ernest Chausson.” Choral
Journal 58, no. 10 (May 2018): 28-42.
Jeffers, Ron. “Ave Maria.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 99-100.
Corvalis, OR: Earthsongs, 1988.

Complete Text:

English Translation:
Ave Maria, gratia plena:
Dominus tecum,

Benedicta tu in muleiribus,
et benedictus fructus ventris tui, Jesus.

Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace,
the Lord is with thee,

blessed art thou among women,
and blessed is the fruit of the womb, Jesus.

Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death. Amen.
78

Insights & Performance Issues:
The composition is in three sections: unison children’s choir soli, instrumental interlude, and
closing chorus. The opening section may be sung by a soprano or tenor soloist.

The organ supports the choir’s chant style singing while the children’s choir, harp and cello are
tacet. The cello returns for a brief solo before the final “Amen.”

The short work would be well placed as a call to prayer or prayer response during the fourth
Sunday of Advent or as part of a Nine Lessons and Carols service.

78
Jeffers, Translations and Annotations, 99-100.
231

Cherubini, Luigi (CM19c p175-179)
Birth/Death: September 14, 1760 – March 15, 1842
Place of Birth: Florence, Italy
Place of Death: Paris, France
Nationality/Ethnicity: Italian (active in Paris)
Selected Bibliography: Deane, Basil. Cherubini. London: Oxford University Press, 1965.
Gerber, Gary George. “A Conductor’s Analysis of the Sacred
Choral Music of Luigi Cherubini.” DMA diss., Southwestern
Baptist Theological Seminary, 1993.
White, Maurice Lynn. “The Motets of Luigi Cherubini.” PhD diss.,
University of Michigan, 1968.

“Petrus apostolus” (CM19c p176)
Alternate Title(s): Apostle Peter; Antifona sul canto fermo 8 tona
Larger Work/Collection: 9 Antiphons
Text Source: Catholic Liturgy, first appeared in Trent codices (1445-1470)
Original Language: Latin
Voicing and Range: SSATTB

Accompaniment: Unaccompanied
Meter: 4/2
Opening Tempo: None Given
Beginning Key/Mode: C major
Ending Key/Mode: G major
Opening Texture: [mp], staggered (S1/T2/S2/B/T1/A) (incipit)
Closing Texture: [mf], tutti
Approximate Duration: 3:00
Date of Composition: 1778
Sacred/Secular: Sacred
Liturgical Use: Feast of Saints Peter and Paul (June 29); Solemnity of Saints Peter
and Paul (if on a Sunday)
Theme(s): Apostle Peter; Apostle Paul; Teacher
Musical Type: Motet
Editions, Arrangements,
and Publications:
Berliner Chormusik Verlag, 2006
N. Simrock
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Bavarian Radio Chorus, Cherubini: Masses, Overtures, Motets,
conducted by Riccardo Muti, EMI Classics, 2010.
232

Selected Bibliography: Gerber, Gary George. “A Conductor’s Analysis of the Sacred
Choral Music of Luigi Cherubini.” DMA diss., Southwestern
Baptist Theological Seminary, 1993.
White, Maurice Lynn. “The Motets of Luigi Cherubini.” PhD diss.,
University of Michigan, 1968.

Complete Text:

English Translation:
Petrus apostolus
et Paulus doctor gentium,
ipsi nos docuerunt, legem tuam Domine.
Peter the Apostle,
and Paul the teacher of the Gentiles,
these have taught us your law, O Lord.

Insights & Performance Issues:
In the style of Palestrina utilizing Cantus firmus technique.

Selecting collective breaths for each phrase prior to rehearsals will assist with breath
management and phrase direction. The alto and Tenor I lines contain extended phrases, singing
primarily whole notes, while the outside voices alternate running quarter note passages.

A canon at the 4th begins in m. 6 with the markings Canon ad Diatesseron (Canon at the
fourth)
79
for the Tenor I and Resolutio (Resolution) for the alto.

The closing phrase contains moving lines for all the parts, including the alto, while the tenors
sing an eight-measure pedal tone on G3.

The Tenor I part is within the typical alto range if a choir’s balance is prohibitive to a tenor
divisi.

79
Hogg, The Diatessaron of Tatian, Back cover. Diatesseron literally means “Through four” or in a musical
setting, “Harmony”.
233

Cui, César Antonovich (CM19c p156-157)
Birth/Death: January 18, 1835 – March 26, 1918
Place of Birth: Vilnius, Lithuania (Russia in 1835)
Place of Death: Petrograd (St Petersburg), Russia
Nationality/Ethnicity: Russian
Selected Bibliography: Campbell, Stuart, ed. Russians on Russian Music, 1830–1880: An
Anthology. Cambridge University Press, 1994.
Norris, Geoffrey, and Lyle Neff. “Cui, César.” Grove Music Online.
https://www.oxfordmusiconline.com.
Teie, Ernest W. “A Study of Non-Liturgical Choral Music from the
Romantic Period for Mixed Chorus.” master’s thesis, The
University of Montana, 1961.

“Barcarole” (CM19c p157)
Alternate Title(s): Баркарола
Larger Work/Collection: No. 5 from Five Choruses, Op. 46
Text Source: Konstantin Konstantinovich Romanov (1858-1915)
Original Language: Russian
Voicing and Range: SSAATTBB

Accompaniment: Unaccompanied
Meter: 6/8
Opening Tempo: Moderato
Beginning Key/Mode: F major
Ending Key/Mode: D major
Opening Texture: p, staggered (S/A/T/B)
Closing Texture: pp, tutti
Approximate Duration: 3:30
Date of Composition: 1893
Sacred/Secular: Secular
Theme(s): Evening, Gondola, Guitar, Love, Moon, Sea, Serenades
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Muzyka
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
Selected Bibliography: None Found
234

Complete Text:

English Translation:
Плыви, моя гондола,
озарена луной,
раздайся, баркарола,
Над сонною волной.

Настроена гитара;
О, друг, я в честь твою
Всего земного шара
Все песни пропою!

Смотри, уж на Пьяццетте
Потушены огни,
При ярком лунном свете
С тобою мы одни.

Уж Замолкли серенады,
И ставни заперты, —
Среди ночной прохлады
Не спим лишь я да ты.

До Лидо не далеко,
Мы быстро доплывем;
Там море так широко
Раскинулось кругом;

Там месяц волны любит:
Смотри, как с вышины
Лучами он голубит
Морские глубины.

Пусть звуки поцелуя
Подслушает волна,
И, как тебя люблю я,
Пусть подглядит луна!
Glide along, my gondola,
Gleaming under the moon,
Stretch out, barcarole,
Upon the sleepy wave.

A tuned guitar;
Oh, my friend, in your honor
From the world over
I’ll sing every song!

Look, on the Piazzetta
The lights are out,
In the bright moonlight
You and I are alone.

The serenades have fallen silent,
And amidst the locked shutters,
In the cool of the night
Only you and I do not sleep.

To Lido we’ve not far,
We’ll make it there quickly;
There, the sea so broadly
Stretches out round about;

There, the moon loves the waves:
See how from above
With its beams it strokes
The depths of the sea.

Let the sound of a kiss
Be overheard by a wave
And of how I love you
May the moon catch a glimpse!
80

Insights & Performance Issues:
Nos. 1-4 of the Five Choruses, Op. 46 are written for treble voices. No. 5 is set for mixed voices.

The melody is primarily found in the soprano, with the tenors given short melodic material
throughout. In mm. 31-33 and mm. 74-75 the soprano part contains an extended upper range that
may require sectional rehearsal.

80
Translation by Serge Liberovsky ©2021, used with permission.
235

The bass line has several occurrences of pedal tone as the harmony shifts in the upper voices.
These shifts are chromatic, and rehearsal attention may be required to maintain intonation.

The 6/8 meter can result in a lilting feel that is out of place with the nineteenth-century Russian
harmonic language. Consider working for a legato, connected line to match the traditional style
of the period.

236

Delaney, Alfred (CM19c p200)
Birth/Death: Unkown
Place of Birth: Unkown
Place of Death: Unkown
Nationality/Ethnicity: American
Selected Bibliography: None Found

Dirge (CM19c p200)
Alternate Title(s): N/A
Lager Work/Collection: N/A
Text Source: James Gates Percival (1795-1856)
Original Language: English
Voicing and Range: SATB

Accompaniment: pf
Meter: Common Time
Opening Tempo: Grave
Beginning Key/Mode: A minor
Ending Key/Mode: A minor
Opening Texture: mf, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 4:30
Date of Composition: 1863
Sacred/Secular: Secular
Liturgical Use: Veteran’s Day
Theme(s): American Civil War, Abraham Lincoln, Gettysburg Address, War,
Conflict, Nationalism, Death, Sacrifice, Elysian, Valiant,
Rebuilding
Musical Type: Hymn
Editions, Arrangements,
and Publications:
Lee & Walker (LOC)
Alternate Voicings/
Instr. Arrangements:
None Found

Collections/Anthologies: None Found
Selected Discography: Truman State University Cantoria and Brass Ensemble, Dirge,
YouTube, 2009. https://www.youtube.com/watch?v=Kibu-
DjZWgs
Selected Bibliography: Library of Congress. “Notated Music: Dirge sung at the
consecration of the soldier's cemetery, Gettysburg, Pa.
https://www.loc.gov/item/ihas.200001000/.

237

Complete Text:

O! it is great four our Country to die, whose
ranks are contending,
Bright is the wreath of our fame; Glory awaits
us for aye;
Glory, that never is dim, Shining on with a
light never ending,
Glory, that never shall fade, never, O! never
away!

O! it is sweet for our Country to die, how
softly reposes
Warrior youth on his bier, wet by toe tears of
his love,
Wet by a mother's warm tears; they crown him
with garlands of roses,
Weep, and then joyously turn, bright where he
triumphs above.
Not in Elysian fields, by the still oblivious
river,
Not in the Isles of the blest, over the blue
rolling sea;
but on Olympian heights shall dwell the
devoted forever;
There shall assemble the good, there the wise,
valiant, and free.

O! then how great for our Country to die, in
the front rank to perish, Firm with our
breast to the foe, victory's shout in our ear;
Long they our statues shall crown, in songs our
memory cherish;
We shall look forth from our heaven, pleased
the sweet music to hear.

Insights & Performance Issues:
This hymn was sung with brass accompaniment at the consecration of the Soldier’s Cemetery,
Gettysburg, Pennsylvania on November 19, 1863, just before Abraham Lincoln delivered the
Gettysburg Address.

The work is hymn-like, homophonic and syllabic with the accompaniment supporting the
singers.

As no dynamic markings are provided, the conductor should consider changing dynamics and
textures for each verse. Such is the case with Truman State University recording listed in this
entry’s discography, using the following general textures:
Verse 1: tutti mf
Verse 2: soprano solo, chorus on hum
Verse 3: tutti mp
Verse 4: tutti f

An appropriate selection for concerts or ceremonies centered around the American Civil War,
Abraham Lincoln, and the Gettysburg Address. The accompaniment could be arranged for brass
ensemble or concert band.

238

Donizetti, Gaetano (CM19c p181)
Birth/Death: November 1797 – April 8, 1848
Place of Birth: Bergamo, Italy
Place of Death: Bergamo, Italy
Nationality/Ethnicity: Italian
Selected Bibliography: Ashbrook, William. Donizetti. London: Cassel, 1965.
Cassaro, James P. Gaetano Donizetti: A Research and Information
Guide. London: Taylor and Francis, 2009.

Ave Maria (CM19c p181)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Prayer of the Roman Rite; Bible: references to scriptures Luke 1:28
and Luke 1:42.
Original Language: Latin
Voicing and Range: SATB; solo S

Accompaniment: Strings
Meter: 2/4
Opening Tempo: Largo non troppo
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: mf, instr. (brief)
Closing Texture: p, instr. (extended)
Approximate Duration: 5:00
Date of Composition: 1842
Sacred/Secular: Sacred
Liturgical Use: Advent (4
th
Sunday), Annunciation
Theme(s): Virgin Mary, Annunciation, Angel Gabriel
Musical Type: Motet
Editions, Arrangements,
and Publications:
Edition Peters (Editio Musica, 1975)
Ricordi
Tetra/Continuo Music
Alternate Voicings/
Instr. Arrangements:
Bassoon & Piano, arr. Jan Valta, Editions Marc Reift
Collections/Anthologies: None Found
Selected Discography: Hungarian State Opera Choir of Cluj Napoca, Ave Maria: Marian
Hymns, conducted by László Kovács. Brilliant Classics, 2020.
239

Selected Bibliography: Jeffers, Ron. “Ave Maria.” In Translations and Annotations of
Choral Repertoire, Volume 1: Sacred Latin Texts, 99-100.
Corvalis, OR: Earthsongs, 1988.
Nagy, Olivér. Preface to Ave Maria, by Gaetano Donizetti, 2.
Budapest: Editio Musica, 1975.

Complete Text:

English Translation:
Ave Maria, gratia plena:
Dominus tecum,

Benedicta tu in muleiribus,
et benedictus fructus ventris tui, Jesus.

Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae.
Hail Mary, full of grace,
the Lord is with thee,

blessed art thou among women,
and blessed is the fruit of the womb, Jesus.

Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death.
81

Insights & Performance Issues:
Donizetti composed two additional settings of the Ave Maria text:
SA with string orchestra, 1844
TB with piano, n.d.

The motet features a soprano soloist with the strings and chorus providing a musical backdrop.
The soloist begins the composition by singing through the Luke text in its entirety with the
strings, no chorus. The solo line includes chromaticism, several large leaps, and a delicate grace
note on a F5.

The chorus enters at m. 34 with the sopranos singing the melody sung previously by the soloist
while the bottom three parts complete the harmonic structure. The sopranos have the same leaps
and additional grace notes previously sung by the soloist and it might require additional
rehearsal time to prepare the tutti section.

The altos and tenors have active and chromatic lines with an especially difficult passage
occurring in mm. 43-48.

Like the sopranos, the bass section also has leaps that may require rehearsal attention,
specifically mm. 34-35 and 45-47. The F2 seen on the bass range chart only occurs once in the
final chord.

Overall, an appropriate composition to program for a lyric soprano, strings, and chorus, suitable
for a concert setting or worship service.

81
Jeffers, Translations and Annotations, 99-100.

240

Drechsler, Joseph (CM19c p47)
Birth/Death: May 26, 1782 – February 27, 1852
Place of Birth: Vlachovo Brězí, nr Strakovice
Place of Death: Vienna
Nationality/Ethnicity: Bohemian (based in Austria)
Selected Bibliography: Branscombe, Peter. “Drechsler, Joseph.” Grove Music
Online. https://www.oxfordmusiconline.com.

Haleluyaw Halelu Eyl (CM19c p47)
Alternate Title(s): Psalm 150; Halelujah, Praise Jehovah
Larger Work/Collection: No. 109, Schir Zion Volume 1, ed. Salomon Sulzer
Text Source: Bible: Psalm 150
Original Language: Hebrew
Voicing and Range: SATB (SSB)
82

Accompaniment: org/pf ad lib. (unaccompanied)
Meter: Common Time (Cut time)
Opening Tempo: Allegro non troppo (Allegro)
Beginning Key/Mode: G major (A major)
Ending Key/Mode: G major (A major)
Opening Texture: f, tutti
Closing Texture: ff, tutti
Approximate Duration: 1:30
Date of Composition: 1841
Sacred/Secular: Sacred
Liturgical Use: Judaism: Morning Service for Daily Synagogue Service; Rosh
Hashanah, “Musaf” liturgy
RCL: General; Year C Second Sunday of Easter
Theme(s): Praise, Song, Dance, Joy
Musical Type: Liturgical Song
Editions, Arrangements,
and Publications:
Broudes Brothers Limited (Hebrew/English), 1992
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Schir Zion, Volume 1, No. 109, Salomon Sulzer, Vienna: Engel &
Sohn, 1865
Selected Discography: Zamir Chorale of Boston, The Majesty of Holiness: Masterworks
from the Great Nineteenth-Century Synagogues of Berlin, Paris
and Vienna, conducted by Joshua Jacobson, 1997.

82
Text in parenthesis indicates markings from original publication that differ from critical edition.
241

Selected Bibliography: Jacobson, Joshua R. "Great Choral Classics You've Never Heard
of." The Choral Journal 60, no. 5 (December 2019): 20-36.

Complete Text:

English Translation:
Haleluyáw halelú Eyl bekawdshó.
Halelúhu birekía uzó.
Halelúhu bigevurosáwv.
Halelúhu keróv gudló.
Halelúhu beséyka shofáwr.
Halelúhu benéyvel vechinór.
Halelúhu besóf umawchól.
Halelúhu beminím veugáwv.

Halelúhu betsiltseléy sháwma.
Halelúhu betsiltseléy sruáw.
Kawl haneshawmáw tehalél yaw,
Haleluyáw.
Praise God (‘el in Hebrew) in ‘his’ holiness
Praise ‘him’ in ‘his’ powerful vault!
Praise ‘him’ for ‘his’ heroic actions
praise ‘him’ in light of ‘his’ glorious greatness!
Praise ‘him’ with shofar sound
praise ‘him’ with stringed harp!
Praise ‘him’ with tambourine and with dance;
praise ‘him’ with strings and pipe!

Praise ‘him’ with cymbal sound
praise ‘him’ with crashing cymbals!
Let all that breathes praise YHWH!
Praise YAH!
83

Insights & Performance Issues:
Work was commissioned by Salomon Sulzer for Schir Zion collection.

The Broude Brothers edition offers an English translation, but the Hebrew text is accessible and
aligns better with the phrasing and accents throughout.

The start of each phrase begins with unison octaves on the word “Haleluhu.” This can act as an
intonation anchor for the choir. Time spent unifying the vowels and perfecting these octaves will
be rehearsal time well spent.

The soprano and alto lines have most of the moving passages. Stay alert to note precision in m. 3
specifically the C# followed by C ♮. Careful attention early in the rehearsal process will help lead
to a secure performance.

Soprano and alto have triplet figures in mm. 28 and 31 that will require light singing to stay in
time.

The bass line has a few quick moving arpeggio leaps in mm. 12, 21, 34, and 37-38 that will
require rehearsal time to perfect.

Overall, an accessible composition for a liturgical setting or concert filled with the ability to
practice accents, dynamic shifts, unison singing, and arpeggios.

83
Translation by John Holbert ©2021, used with permission.
242

Dvořák, Antonín (CM19c p131-138)
Birth/Death: September 8, 1841 – May 1, 1904
Place of Birth: Nelahozeves, nr Kralupy
Place of Death: Prague
Nationality/Ethnicity: Czech
Selected Bibliography: Antonín Dvořák. Ondrej Supka. http://www.antonin-dvorak.cz/.
Beckerman, Michael, ed. Dvorak and His World. Princeton, New
Jersey: Princeton University Press, 1993.
Guthmiller, John. “The Choral Music of Antonín Dvořák: A
Sesquicentennial Review.” The Choral Journal 32, no. 3
(October 1991): 7-14.
Hughes, Gervase. Dvořák; His Life and Music. New York: Dodd,
Mead, 1967.
Strimple, Nick. “The Choral Works of Antonín Dvořák: An
Annotated Discography.” The Choral Journal 37, no. 9 (April
1997): 45-52.

“Cradle Song” (CM19c p138)
Alternate Title(s): Ukolébavka; Lullaby
Larger Work/Collection: No. 2, Čtyři sbory (Four Part-songs), Op. 29
Text Source: Adolf Heyduk (1835-1923)
Original Language: Czech
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 2/4
Opening Tempo: Andantino
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:45
Date of Composition: 1876
Sacred/Secular: Secular
Theme(s): Lullaby, Quiet, Sleep
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Miroslav Nový (Czech/German)
Joseph Boonin, ed. Kurt Stone B., 1973 (English)
National Music Publications, ed. Anita Smisek
Alternate Voicings/
Instr. Arrangements:
SSA & Piano, arr. Anita Smisek, Alliance
243

Collections/Anthologies: Dvorák: Vier Chorlieder, ed. Miroslav Nový, Carus-Verlag
(Czech/German)
Selected Discography: Prague Singers, Dvorák: Complete Choruses & Duets, conducted
by Stanislav Mistr, Brilliant Classics, 2006.
Selected Bibliography: Strimple, Nick. “The Choral Works of Antonín Dvořák: An
Annotated Discography.” The Choral Journal 37, no. 9 (April
1997): 45-52.
Complete Text: English Translation:
Junošiku, plných rtíků, hlávko lysá,
pospi svatě, mamuška tě pokolísá.

Tím očičkem sokolíčkem neprohlédni:
budeť máti kolíbati třeba ke dni.

Ťapky zlaté baculaté, polož dolů,
jsouť jak perce nebeměrce ze sokolů.

Ukryj ty je, má lilie, do podušky,
sen již k oušku chce, zlatoušku, na pošušky.

Spi jen! V denní probuzení čeka tebe
peří skovoctné z ohňochvostné bludky nebe.

Však až v trati bude státi měsic v novu,
k hraní, plesu, harfu snesu Davidovu.
Janosik with nice full lips, head with no hair,
sleep peacefully while mom is swinging you.

Keep your eyes closed,
mom will keep to swing you [in the cradle].

Lay down your golden hands
an Angel is coming to sing you to sleep.

Rest my lily [child] beneath the blanket,
Dream is coming in your ears, sweet child, as
you sleep.

Keep sleeping you will have to wake up early,
Stars are gleaming in the night sky.

When the new moon comes,
I will bring David's harp to play.
84

Insights & Performance Issues:
Accents from the Czech language do not transfer well when sung in German or English as the
Czech language typically accents the first syllable of every word.

The work is harmonically more challenging than may appear at first glance. The first example
occurs in mm. 16 and 17 with a phrase ending with a soprano minor 7th leap, while the bottom
three voices rest, facilitating a harmonic shift from a C major chord (V in F major) to a new
tonal center of Eb major.

Over the next 12 measures, the tonal center returns to F major through chromatic part writing
that will require attention during the rehearsal for less experienced singers. This chromaticism
continues throughout the work, especially for the inner voices.

A piu mosso marking in m. 42 begins with tutti fp with two measure motifs that begin in the
upper tessitura (G5/F5) for the soprano. To maintain intonation, the “g” and “l” consonants may
need to be neutralized and the “o” and “e” vowels modified.

84
Translation by Radek Smolik ©2021, used with permission.
244

The opening tempo and material return in m. 53. A coda is found in place of the tonal shift
beginning with a poco stringendo e cresc. that continues over the next four mm.

The dynamic returns to p and remains quiet until the end. These gradual dynamic shifts will
require rehearsal time but can be stunning when perfected.

“Napadly písně v duši mou” (CM19c p138)
Alternate Title(s): Music Descended to my Soul; Songs have befallen; Melodies steal
into my heart; Es zog manch’ Lied
Larger Work/Collection: No. 1, V přirodě (Amid Nature), Op. 63; In Nature’s Realm; In der
Nature; Songs of Nature
Text Source: Vitězslav Hálek (1835-1874)
Original Language: Czech
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: pp, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:15
Date of Composition: 1883
Sacred/Secular: Secular
Theme(s): Dew, Moon, Morning, Nature, Soul
Musical Type: Chorus
Editions, Arrangements,
and Publications:
Broudes Brothers, ed. Herbert Zipper, 1952 (English)
CPDL
Helbling, 2017 (Czech, German, English)
SNKLHU (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Kühn Mixed Choir, Foerster, Dvořák, Suk: Classical Czech
Choruses, conducted by Pavel Kühn, Supraphon, 1996.
Vox Humana, Viva la Musica, conducted by Wolfgang Ziegler,
Camerata Tokyo, 1996.
245

Selected Bibliography: Antonin-Dvorak. “In Nature’s Realm.” http://www.antonin-
dvorak.cz/en/in-natures-realm-choruses.
Bilmayer-Frank. Preface to V přirodě, In der Natur, In Nature’s
Realm, by Antonin Dvořák, 3-6. Innsbruck: Hebling, 2017.
Strimple, Nick. “The Choral Works of Antonín Dvořák: An
Annotated Discography.” The Choral Journal 37, no. 9 (April
1997): 45-52.
Teie, Ernest W. “A Study of Non-Liturgical Choral Music from the
Romantic Period for Mixed Chorus.” master’s thesis, The
University of Montana, 1961.

Complete Text:

English Translation:
Napadly písně v duši mou,
nezavolány, znenadáni,
jako když rosy napadá
po stéblokadeřavé stráni.

Kol se to mihá perlami,
i cítím dech tak mladý, zdravý,
že nevím, zda jsou radost má,
či pláč mé duše usedavý.

Však rosu luna zrodila,
a není písním v duši stáni:
tekou co slast a slza má,
a den se chystá ku svítání.
Songs fell into my soul,
unsummoned, suddenly,
like dew appears
on a hill covered with kale stalks.

Pearls flicker about,
I feel so young, healthy,
that I don’t know if it’s my joy,
or the cry of my forlorn soul.

But the moon begat the dew,
and the songs don’t stay in my soul:
they flow with happiness and tears,
and day prepares for dawn.
85

Insights & Performance Issues:
A wonderful composition with which to feature the alto and bass section as Dvořák features
their lower ranges and includes moving lines and suspensions.

With four bar phrases, Dvorak constantly modifies the texture with various articulations,
rhythms, text phrasing, and harmonic motion. Due to this complexity and nuance, singing the
original Czech text is recommend for word stress alignment.

Chromaticism in mm. 14-15 for the soprano, tenor and bass sections may require rehearsal
attention.

As part of the conductor’s score preparation, careful attention should be given to the articulation
and note duration in mm. 19, 23-24, and 35 to aid the choir in developing consistent technique.

85
Translation copyright © 2015 by Laura Prichard reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
246

The Old Folks at Home Stephen Foster, arr. Antonin Dvořák (CM19c p138)
Alternate Title(s): Old Folks at Home; Old Folks; Swanee River; Way Down Upon the
Swanee River
Larger Work/Collection: N/A
Text Source: Stephen Foster
Original Language: English
Voicing and Range: SATB; soli SB

Accompaniment: Orchestra
Meter: Common Time
Opening Tempo: Moderato
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: p, instr. (brief)
Closing Texture: ff, tutti
Approximate Duration: 7:00
Date of Composition: 1893-94
Sacred/Secular: Secular
Theme(s): Florida, Home, River, Suwannee River
Musical Type: Folk Song
Editions, Arrangements,
and Publications:
C.F. Peters, ed. Steven Richman
Alternate Voicings/
Instr. Arrangements:
1 Piano, 6 Hands, arr. Helen MacGregor, Willis Music
SATB, solo T, arr. Alice Parker and Robert Shaw, Alfred Music
Solo Voice (numerous settings)
Collections/Anthologies: None Found
Selected Discography: Harmonie Ensemble, Arthur Woodley, baritone, Dvořák
Discoveries, conducted by Steven Richman, Music and Arts
Programs of America, 1996.
Selected Bibliography: Richman, Steven. Preface to Old Folks at Home, by Antonin
Dvořák, 3-5. NewYork: C.F. Peters, 1997.
Strimple, Nick. “The Choral Works of Antonín Dvořák: An
Annotated Discography.” The Choral Journal 37, no. 9 (April
1997): 45-52.

247

Complete Text:

Verse 1
Way down upon the Swanee River,
Far, far away,
There's where my heart is turning ever,
There's where the old folks stay.
All up and down the whole creation,
Sadly I roam,
Still longing for the old plantation,
And for the old folks at home.

Chorus
All the world is sad and dreary,
Everywhere I roam.
Oh! how my heart is oh so weary,
Far from the old folks at home.

Verse 2
All ‘round the little farm I wandered,
When I was young,
Then many happy days I squandered,
Many the songs I sung.
When I was playing with my brother,
Happy was I.
Oh! take me to my kind old mother,
There let me live and die.

Chorus

Verse 3
One little hut among the bushes,
One that I love.
Still sadly to my memory rushes,
No matter where I rove.
When will I see the bees a humming,
All ‘round the comb?
When shall I hear the banjo strumming,
Down in my good old home?
86

Chorus

Insights & Performance Issues:
The lyrics have been revised numerous times due the stature as Florida’s official state song. The
lyrics is this entry are from the C.F. Peters 1997 edition Lyrics adapted by Josephine Harreld
Love.

While only one soloist is required, a different soloist may be used for each verse. The solo line is
not challenging and may offer an opportunity for a soloist from within the ensemble. The chorus
sings the homophonic, eight-measure refrain after each verse.

Careful to take note of the second violin in m. 30 after the fermata. Also, careful of the dotted
rhythm in m. 31.

This provides another opportunity for chamber orchestra with solo and chorus. The majority of
the composition is sung by the soloist.

86
Lyrics adapted by Josephine Harreld Love in C.F. Peters Edition.
248

“Slavíkovský Polečko Malý” (CM19c p138)
Alternate Title(s): Das Pfand der Liebe; The Pledge of Love
Larger Work/Collection: No. 2, Moravské dvojzpěvyh (Moravian Duets), Op. 32, arr. Leoš
Janáček
Text Source: Volkslieder (Folk songs) compiled by František Sušil (1804-1868)
Original Language: Czech
Voicing and Range: SATB

Accompaniment: pf
Meter: 2/4
Opening Tempo: Allegro
Beginning Key/Mode: A minor
Ending Key/Mode: E major
Opening Texture: mf, instr. (brief)
Closing Texture: ppp, instr. (brief)
Approximate Duration: 1:15
Date of Composition: 1876
Sacred/Secular: Secular
Theme(s): Defiance, Holding Hands, Love, Marriage, Mother
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag (Czech/German)
CPDL
SNKLHU (Czech/German, IMSLP)
Alternate Voicings/
Instr. Arrangements:
SA, Dvořák (original setting)
Collections/Anthologies: None Found
Selected Discography: Cappella Amsterdam, Janáček Choral Works Six Moravian
Choruses (after Dvořák), conducted by Daniel Reuss, Harmonia
mundi France, 2012.
Ensemble Cythera, Homelands Vol. 1, conducted by Mihály Zeke,
Paraty, 2021.
Hudson Middle School Mixed Choir, 2016 Texas Music Educators
Association, conducted by Kelly Flores, Mark Records, 2017.
Selected Bibliography: Strimple, Nick. “The Choral Works of Antonín Dvořák: An
Annotated Discography.” The Choral Journal 37, no. 9 (April
1997): 45-52.

249

Complete Text:

English Translation:
Slavíkovský polečko malý,
nebudeme, synečku, svoji,
nebudeme, néní to možná,
ani nám to,
můj synečku, tvá mama nedá.

Co pak je nám po našé mamě,
naša mama, nama nevládne.
Jenom ty mě, má panenko, jenom ty měchcej.
Jenom ty mně na debró noc ručenky podej.
Small field in Slavkov,
we never will be able get married,
never will, it is not possible,
it won't happen,
Your mom will never let it happen.

We will not listen my mom,
She doesn't make the call.
It is only you my dear who I want to marry.
It is your hands I want to hold every night.
87

Insights & Performance Issues:
The composition is from Dvořák’s Moravské dvojzpěvyh (Moravian Duets), Op. 32, written for
two voices and arranged by Leoš Janáček for SATB.

The quick moving Czech text may be the main challenge in this short, ABA work.

The A section, in A minor, features voice lines that primarily move stepwise with minimal
chromaticism while the piano accompaniment supports the choir harmonically.

A skilled and musical pianist is required.

The B section shifts to A major and is marked Meno Mosso. The voices move in larger intervals
with difficult passages for the tenor and bass lines. The intervals in mm. 23-30 may require
rehearsal attention to develop consistent note and rhythmic accuracy.

Careful attention should be paid to the phrase structure and musical direction. The work is
primarily sung at the marking of piano or below.

An excellent choice for conductors who wish to introduce the Czech language, learning to sing a
supported piano, and to work on rhythmic accuracy.

Chant singing on a single moderate range with the text in unison, first slowly, and finally up to
tempo is one strategy to help the ensemble with textual clarity and rhythmic vitality.

87
Translation by Radek Smolik ©2021, used with permission.
250

“Zelenaj se, Zelenaj” (CM19c p138)
Alternate Title(s): Die Zuversicht; Trust
Larger Work/Collection: No. 6, Moravské dvojzpěvyh (Moravian Duets), Op. 32, arr. Leoš
Janáček
Text Source: Volkslieder (Folk songs) compiled by František Sušil (1804-1868)
Original Language: Czech
Voicing and Range: SATB, arr. Leoš Janáček (original SA)

Accompaniment: pf
Meter: 2/4
Opening Tempo: Allegro molto
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: p, instr. (brief)
Closing Texture: pp, instr. (brief)
Approximate Duration: 3:00
Date of Composition: 1876
Sacred/Secular: Secular
Theme(s): Bride, Dying, Love, Marriage, Nature, Trees
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag (Czech/German)
CPDL
SNKLHU (Czech/German, IMSLP)
Alternate Voicings/
Instr. Arrangements:
SA, Dvořák (original setting)
Collections/Anthologies: None Found
Selected Discography: Cappella Amsterdam, Janáček Choral Works Six Moravian
Choruses (after Dvořák), conducted by Daniel Reuss, Harmonia
mundi France, 2012.
Selected Bibliography: Strimple, Nick. “The Choral Works of Antonín Dvořák: An
Annotated Discography.” The Choral Journal 37, no. 9 (April
1997): 45-52.

Complete Text:

English Translation:
Zelenaj se, zelenaj,
zelená trávo v lesi.
Jak se já mám zelenať,
dy už sem na pokosi?
Zelenaj se, zelenaj,
zelená trávo v háju!
Jak se já mám zelenať,
dy mě už dotínajú?

[Grass] Turn green, (turn) green,
green grass in the forest.
How should I turn green,
when I am about to be cut?
[Grass] Turn green, (turn) green,
green grass in the grove!
How should I turn green,
when they are already cutting me?

251

Zelenaj se, zelenaj,
zelený tulipáne!
Jak se já mám zelenať,
dy mně už listí vjadne?
Dyž ty mčhceš opustiť,
můj švarný galáne.

Podivaj se, má milá,
tam na tu suchú plánku;
jesli se rozzelená,
budeš mojú galankú.

Podivaj sa, má milá,
tam na tu suchú jedlu;
jesli se rozzelená
teprem si tebe vezmu.

Už sem já se dívala,
ja, včera odpoledňa;
zatrápená ta jedla,
dyž se nic nezelená.

Už sem se já dívala
včera, ba i dneska;
ja, už se tam zeleňá,
ve vršku halúzka.
[Tullip] Turn green, (turn) green,
green tulip!
How should I turn green,
when my leaves wilted?
When you want to leave me,
my soon to be husband.

Can you see darling,
the dying little tree,
if it turns back green,
you will be my bride.

Can you see darling,
the dying little tree (evergreen),
if it turns back green,
you will be my bride.

I've already looked,
yesterday afternoon,
tired tree (evergreen),
nothing is green now.

I've already looked,
yesterday, and today as well,
[A little twig on the top] It started getting
green, a little twig on the top.
88

Insights & Performance Issues:
The composition is from Dvořák’s Moravské dvojzpěvyh (Moravian Duets), Op. 32, written for
two voices and arranged by Leoš Janáček for SATB.

A skilled and musical pianist is required for the fast paced, Allegro molto, dramatic work in
ABABA double variation form.

While the piano generally supports the choir harmonically, The A section includes a constant
triplet figure in contrast to the choir’s duple rhythms.

The A section, which begins in C major and ends in C# major, transitions in mm. 35-41 to the B
section with a cascading, staggered phrase. The tonality shifts from C# major and F# major. The
difficult transition should be addressed early in the rehearsal process.

The B section begins in m. 43 in F# major with the marking Quasi andante con moto (As if
moderately slow with motion).

88
Translation by Radek Smolik ©2021, used with permission.
252

In four bar phrases the altos sings a repeated motif that includes an upper neighboring tone.

The last phrase of the section, beginning in m. 59, includes difficult chromaticism and leaps. The
is especially true for the soprano in mm. 67-68 as they hold a D4 and ascend to D#4.

The opening material returns in m. 69 with Dvořák revoicing the melodic material. This includes
a soprano section feature in mm. 109-116 which closes with an octave leap. This is followed by
the same transition material which appeared in the first B section, only reharmonized.

The work closes with a variation on the opening material beginning in m. 143.

253

Dvoretsky, Ivan (CM19c p160)
Birth/Death: Unknown
Place of Birth: Unknown
Place of Death: Unknown
Nationality/Ethnicity: Russian
Selected Bibliography: Morosan, Vladimir. Notes to Gladsome Light, by Ivan Dvoretsky,
2. Encinitas, CA: Musica Russica, 1991.

Svéte tíhiy (CM19c p160)
Alternate Title(s): Gladsome Light
Larger Work/Collection: N/A
Text Source: Anonymous
Original Language: Church Slavonic
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: No meter (chant)
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: mf, tutti
Closing Texture: mf, tutti
Approximate Duration: 2:00
Date of Composition: n.d.
Sacred/Secular: Sacred
Liturgical Use: All-Night Vigil/Vespers
Theme(s): Evening, Glory, Jesus Christ, Light, Praise, Singing, Trinity
Musical Type: Motet
Editions, Arrangements,
and Publications:
Musica Russica, ed. Morosan, 1991
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series; Musica Russica,
1991.
Selected Discography: St. Vladimir’s Seminary Chorale, Vigil, conducted by Kevin Smith,
SVS Press, 2011.
Selected Bibliography: Morosan, Vladimir. Notes to Gladsome Light, by Ivan Dvoretsky,
2. Encinitas, CA: Musica Russica, 1991.

254

Complete Text:

English Translation:
Свете тихій святыя славы,
Безсмертнаго,
Отца Небеснаго, Святаго, Блаженго, І исусе
Христе!
Пришедше на западъ
солнца,
видѣвше свѣтъ вечерній,
поемъ Отца, Сына, и Святаго Духа
Бога.
Достоин еси во вся времена
пѣтъ быти гласы преподобными,
Сыне Божій, животъ даяй:
тѣмже міръ Тя славитъ.
Gladsome Light of the holy glory of the
Immortal One–
the Heavenly Father, holy and blessed–O Jesus
Christ!
Now that we have come to the setting of the
sun,
and behold the light of evening,
we praise the Father, Son, and Holy Spirit–
God.
Thou art worthy at every moment
to be praised in hymns by reverent voices.
O Son of God, Thou art the Giver of Life;
therefore all the world glorifies Thee.
89

Insights & Performance Issues:
The Musica Russica edition contains editorial measure lines and numbers to assist with phrasing
and text accentuation.
90

In Binary form, with the B section beginning in m. 18 with intuitive harmonic language and
accessible chromaticism.

Odd numbered phrase groupings may challenge the conductor and choir and are found in mm. 4,
9, 12, and 20.

An excellent way to introduce chant to a chorus, contains repetitive harmonies and very straight
forward four-part choral writing. The composition may also be well-suited for a sighting reading
exercise or conducting class.

89
English translation by Vladimir Morosan © 1991, reprinted with permission.
90
The measures numbers referenced in this section are those listed in the Musica Russica edition.
255

Elgar, Edward William (CM19c p115-116)
Birth/Death: June 2, 1857 – February 23, 1934
Place of Birth: Broadheath, nr Worcester
Place of Death: Worcester
Nationality/Ethnicity: English
Selected Bibliography: Adams, Byron, ed. Edward Elgar and His World. Princeton, N.J.:
Princeton University Press, 2007.
Harper-Scott, J. P. E. Edward Elgar, Modernist. Cambridge:
Cambridge University Press, 2006.
Holloway, Robin. “The Early Choral Works.” In The Cambridge
Companion to Elgar, edited by Daniel M. Grimley and Julian
Rushton, 63–80. Cambridge: Cambridge University Press, 2005.

“Deep In My Soul” (CM19c p116)
Alternate Title(s): N/A
Larger Work/Collection: No. 2, Four Partsongs, Op. 53
Text Source: Lord Byron (1788-1824) “The Corsair”, Canto I, xiv, 1-2
Original Language: English
Voicing and Range: SAATTBB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Andante expressivo
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: p, staggered (B/SAT)
Closing Texture: pp, tutti
Approximate Duration: 3:00
Date of Composition: 1907
Sacred/Secular: Secular
Theme(s): Dark, Flame, Light, Lonely, Lost, Secret, Silence, Soul
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Novello (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Music of Edward Elgar, arr. Philip Lawson, Hal Leonard
Selected Discography: Tenebrae, Music of the Spheres: Part Songs of the British Isles,
conducted by Nigel Short, Signum Classics, 2016.
256

Selected Bibliography: Elgar Research Center. “Elgar – his music: Part-songs 1889-1909.”
All About Elgar. http://www.elgar.org/3parts1.htm
Hurd, Michael. “Glees, Madrigals, and Partsongs.” In Music in
Britain: The Romantic Age 1800-1914, edited by Nicholas
Temperley, 242-265. London: The Athlone Press, 1981.
Jaeger, August. “Elgar’s New Choral Works.” The Musical Times
49, no. 785 (July 1908): 453-54.
Parris, George. “The tumult of thy mighty harmonies’: Tonal
Conflict in Elgar’s Four Part-songs, Op. 53.” The Elgar Society
Journal 18, no. 6 (December 2014): 27-39.

Complete Text:

Deep in my soul that tender secret dwells,
Lonely and lost to light for evermore,
Save when to thine my heart responsive swells,
Then trembles into silence as before.
There, in its centre, a sepulchral lamp
Burns the slow flame, eternal — but unseen;
Which not the darkness of Despair can damp,
Though vain its ray as it had never been.

Insights & Performance Issues:
For a full analysis, see George Parris’s entry in The Elgar Society Journal listed above. The
work is dedicated to a friend of the Elgar family, Julia Worthington, affectionately known as
‘Pippa’.

The work features the bass section and begins with an arpeggiated line requiring pitch accuracy
and consistent breath management as it moves through the passaggio. The line is marked p and
includes staccato tenuto articulations in m. 5. The upper three voices echo the bass in m. 6,
marked ppp and are set to a syncopated rhythm, beginning on the second half of beat two.

The tonal center changes throughout the work. August Jaeger’s 1908 description hears the
harmonic progressions as ambiguous while George Parris sees a “rigid strategy” to the work.
91

“Despite its being written in an Eb major/C minor key signature, there is much to make us
believe that the real tonic of Deep in My Soul is in fact Ab major.”
92

A few rehearsal trouble spots include the following:
mm. 12-13, intonation for homophonic, descending chromaticism and arpeggiated lines.
mm. 22-25, alto line contains difficult intervals with triplet rhythm.
mm. 26-27, tenor divisi sings in dissonance and includes difficult entrance.
m. 45 includes another descending arpeggiated line that ascends a measure later.

Measure 19 includes an enharmonic D# to Eb for the bass that may catch them unprepared
during the first read through.

The harmonic motion, syncopated rhythms, difficult independent lines, range of dynamics, and
various articulations make this a composition well-suited for advanced choirs with an excellent
bass section.

91
Parris, “The tumult of thy mighty harmonies,” 31.
92
Ibid.
257

Fauré, Gabriel (CM19c p93-94)
Birth/Death: May 12, 1845 – November 4, 1924
Place of Birth: Pamiers, Ariège, France
Place of Death: Paris, France
Nationality/Ethnicity: French (active in England)
Selected Bibliography: Duchen, Jessica. Gabriel Fauré. London: Phaidon, 2000.
Edward R. Phillips. Gabriel Fauré: A Research and Information
Guide 2nd ed. New York: Routledge, 2011.
Gartside, Robert. Interpreting the Songs of Gabriel Fauré. Geneseo,
N.Y: Leyerle Publications, 1996.
Nectoux, Jean-Michel. Gabriel Fauré: a Musical Life. Cambridge,
England: Cambridge University Press, 1991.
Orledge, Robert. Gabriel Fauré. Rev. ed. London: Eulenburg
Books, 1983.

Cantique de Jean Racine (CM19c p94)
Alternate Title(s): Canticle of Jean Racine; Hymn of Jean Racine
Larger Work/Collection: N/A
Text Source: Jean Racine (1639-1699), “Hymnes traduits du bréviare romain”,
French adaption of Latin hymn “Consors paterni luminis”
Original Language: French
Voicing and Range: SATB

Accompaniment: Organ; Harmonia, String Quintet; Orchestra
Meter: Common Time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: Db major
Ending Key/Mode: Db major
Opening Texture: p, instr. (extended)
Closing Texture: ppp, tutti
Approximate Duration: 6:00
Date of Composition: 1865, 1866, orchd 1906
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Light, Grace
Musical Type: Motet
Editions, Arrangements,
and Publications:
Broude Brothers, ed. Zipper
Carus-Verlag, ed. Jean-Michel Nectoux (Organ/Piano,
French/German)
Carus-Verlag, ed. Jean-Michel Nectoux (Organ/Str Qnt,
French/German)
258

Carus-Verlag, ed. Jean-Michel Nectoux (Organ/Piano,
French/German)
CPDL
F. Schoen (IMSLP)
Oxford, ed. John Rutter (Strings & Harp, French/English)
Alternate Voicings/
Instr. Arrangements:
Brass Quintet, arr. Bill Schuetter, Imagine Music Co.
Guitar Duet, arr. Jan Hron, Chanterelle Verlag
Handbells, arr. Arnold Sherman, Hope Publishing
SSAA, arr. John Rutter, Organ/Piano or Strings & Harp, Oxford
SSA, arr. Jean Ashworth Bartle, Hinshaw Music
String Orchestra, arr. Kenneth Neufield, Boosey & Hawkes
TTBB, arr. K. Lee Scott (Piano & opt. Violin), Hinshaw Music
Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
European Sacred Music, ed. John Rutter & Clifford Bartlett,
Oxford University Press, 1996
Fauré: "Musique religieuse" (Sacred Music), ed. Jean-Michel
Nectoux, Carus-Verlag (Includes three accompaniment settings)
Religious music for one or more voices, Hamelle (IMSLP)
Selected Discography: The Cambridge Singers, Fauré Requiem and other Sacred Music,
conducted by John Rutter, Collegium, 2010.
Selected Bibliography: Nectoux, Jean-Michel. Foreword to Cantique de Jean Racine, op.
11, by Gabriel Fauré, 3. Stuttgart: Carus-Verlag, 2005.
Orledge, Robert. “The First Period: 1860-85, The École
Niedermeyer: first compositions (1861-5).” In Gabriel Fauré,
46-47. Rev. ed. London: Eulenburg Books, 1983.

Complete Text:

English Translation:
Verbe égal au Très-Haut,
notre unique espérance,
Jour éternel de la terre et des cieux,
de la paisible nuit nous rompons le silence:
Divin Sauveur, jette sur nous les yeux.

Répands sur nous le feu de ta grâce puissante;
que tout l'enfer fuie au son de ta voix.
Dissipe le sommeil d'une âme languissante
qui la conduit à l'oubli de tes lois!

Ô Christ sois favorable à ce peuple fidèle
pour te bénir maintenant rassemblé;
Reçois les chants qu'il offre à ta gloire
immortelle,
et de tes dons qu'il retourne comblé!
O Word, equal of the most high,
Our sole hope,
eternal day of earth and the heavens,
we break the silence of the peaceful night.
Divine Savior, cast your eyes upon us!

Shed the light of your mighty grace upon us.
Let all hell flee at the sound of your voice.
Dispel the slumber of a languishing soul
that leads it to the forgetting of your laws!

O Christ, be favorable upon your faithful
people now gathered to bless you.
Receive the songs they offer to your immortal
glory
and may they return filled with your gifts.

259

Insights & Performance Issues:
Cantique de Jean Racine was a final examination project for Fauré while attending École de
musique classique et religieuse. The composition is well-suited for a concert hall or liturgical
setting.

In addition to Fauré’s three accompaniment editions, John Rutter’s edition for strings and harp is
also an option.

The conductor should be attentive to the choir’s duplet rhythm as the triplet figure in the
accompaniment may result in the choir singing their duplets with a triplet feel.

After the extended instrumental introduction, the bass section should be encouraged to use good
breath support and not under-sing the line. An additional solution is to add the tenor section to
the opening line.

The voice parts appear straight forward, but Fauré’s harmonic language contains difficult
chromaticism and will take careful attention by the singers and conductor to master.

The bass and tenor pairings in mm. 13-19 and mm. 60-65 both begin with an ascending leap
followed by descending steps. Separating the language from the pitches and rehearsing the
pitches first by sliding from one interval to the next, and then later singing them staccato, may
serve to help secure the pitches. Most often, the French language is the issue – and as noted
earlier, change singing initially when learning the language can assist in building confidence.

Tantum Ergo, Op. 55 (CM19c p94)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: St. Thomas Aquinas (1226-74)
Original Language: Latin
Voicing and Range: SATBB; solo T

Accompaniment: Organ and Harp or Organ and String Quintet
Meter: Common Time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: A major
Ending Key/Mode: A major
Opening Texture: p, instr. (brief)
Closing Texture: pp, tutti
Approximate Duration: 3:30
Date of Composition: c.1890
Sacred/Secular: Sacred
260

Liturgical Use: Communion
Theme(s): Blessing, Communion, Jubilation, Praise, Sacrament, Salvation,
Blessing
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, 1998 (org; hp)
Carus-Verlag, ed. Jean Michel Nectoux, 2002 (org; str qnt)
CPDL
Durand & Fils (IMSLP)
Kalmus
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Fauré: "Musique religieuse" (Sacred Music); ed. Jean-Michel
Nectoux; Carus-Verlag CV 70.301/00
Selected Discography: La Chapelle de Québec, Gabriel Faure, conducted by Bernard
Labadie, Universal Classics, 2008.
Selected Bibliography: Jeffers, Ron. “Tantum Ergo.” In Translations and Annotations of
Choral Repertoire, 213. Corvalis, OR: Earthsongs, 1988.
Nectoux, Jean-Michel. Foreword to Tantum ergo, op. 55, by
Gabriel Fauré, 2-3. Stuttgart: Carus-Verlag, 2002.
Orledge, Robert. “Maturity and the Second Period: 1885-1906,
Religious vocal music.” In Gabriel Fauré, 112-17. Rev. ed.
London: Eulenburg Books, 1983.

Complete Text:

English Translation:
Tantum ergo Sacramentum
Veneremur cernui:
Et antiquum documentum
Novo cedat rítui:
Praestet fídes supplementum
Sensuum defectui.

Genitori, Genitoque
Laus et iubilatio,
Salus, honor, virtus quoque
Sit et benedictio:
Procedenti ab utroque
Compar sit laudatio.
Amen.

Pange Lingua, Stanzas 5,6
Let us the ref ore, bowing low,
Venerate so great a Sacrament;
And let the old Law
Give way to the new rite;
Let faith afford assistance
To the deficiency of the senses.

To the Begetter and the Begotten
Let there be praise and jubilation,
Salvation and honor,
And power and blessing;
And to the One proceeding from both
Let there be equal praise.
Amen.
93

93
Jeffers, Translations and Annotations, 185-186.
261

Insights & Performance Issues:
Fauré has three settings of Tantum Ergo: Op.55, Op. 65 E Major, and one without opus number.

Careful attention to the purchase of the correct version of the Tantum Ergo Opus 55 is
warranted. As an example of the confusion, as of February 2021, there are six albums on Naxos
Music Library that include recordings of Fauré’s Tantum Ergo, Op. 55. Three of the six are
mislabeled. Two are recordings of Op. 65 and one is the third version without an opus number.

An accessible composition with the opportunity to feature a soloist and harpist. The soprano solo
may be substituted with a tenor.

The choir’s first entrance occurs on a harmonic shift from E major to C minor with the tenors
starting on a high G4 pianissimo. The organ supports the choir, but this may require rehearsal
attention to build confidence including warming up the tenors in a lighter mechanism. The
conductor may also consider reducing the number of tenors singing this line.

Tantum Ergo (CM19c p94)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: St. Thomas Aquinas (1226-74)
Original Language: Latin
Voicing and Range: SATB; Solo S or T

Accompaniment: Organ
Meter: 2/2
Opening Tempo: Andante moderato
Beginning Key/Mode: Gb major
Ending Key/Mode: Gb major
Opening Texture: p, instr. (brief)
Closing Texture: p, tutti
Approximate Duration: 2:00
Date of Composition: 1904
Sacred/Secular: Sacred
Liturgical Use: Communion
Theme(s): Blessing, Communion, Jubilation, Praise, Sacrament, Salvation
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Jean Michel Nectoux, 1998
CPDL
Hamelle (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
262

Collections/Anthologies: Fauré: "Musique religieuse" (Sacred Music), ed. Jean-Michel
Nectoux; Carus-Verlag
Selected Discography: Lausanne Vocal Ensemble, Mozart Requiem Fauré Requiem,
conducted by Michel Corboz. Erato-Parlophone, 2005.
Selected Bibliography: Jeffers, Ron. “Tantum Ergo.” In Translations and Annotations of
Choral Repertoire, 213. Corvalis, OR: Earthsongs, 1988.
Orledge, Robert. “Maturity and the Second Period: 1885-1906,
Religious vocal music.” In Gabriel Fauré, 112-17. Rev. ed.
London: Eulenburg Books, 1983.

Complete Text:

English Translation:
Tantum ergo Sacramentum
Veneremur cernui:
Et antiquum documentum
Novo cedat rítui:
Praestet fídes supplementum
Sensuum defectui.

Genitori, Genitoque
Laus et iubilatio,
Salus, honor, virtus quoque
Sit et benedictio:
Procedenti ab utroque
Compar sit laudatio.
Amen.

Pange Lingua, Stanzas 5,6
Let us the ref ore, bowing low,
Venerate so great a Sacrament;
And let the old Law
Give way to the new rite;
Let faith afford assistance
To the deficiency of the senses.

To the Begetter and the Begotten
Let there be praise and jubilation,
Salvation and honor,
And power and blessing;
And to the One proceeding from both
Let there be equal praise.
Amen.
94

Insights & Performance Issues:
Fauré has three settings of Tantum Ergo: Op.55, Op. 65 E Major, and one without opus number.

Careful attention to the purchase of the correct version of the Tantum Ergo Opus 55 is
warranted. As an example of the confusion, as of February 2021, there are six albums on Naxos
Music Library that include recordings of Fauré’s Tantum Ergo, Op. 55. Three of the six are
mislabeled. Two are recordings of Op. 65 and one is the third version without an opus number.

An accessible, short motet with a brief soprano or tenor solo at the beginning and end. The
accompaniment doubles the vocal lines, and the conductor may choose to remove the melody
line from the accompaniment as is the case in the Lausanne Vocal Ensemble recording listed
above.

Measures 22-25 includes a phrase with two descending P5ths followed by a descending minor
6th in the soprano line and an ascending minor 7
th
leap in the bass part that may require
rehearsal attention.

94
Jeffers, Translations and Annotations, 185-186.
263

Franck, César (CM19c p92)
Birth/Death: December 10, 1822 – November 8, 1890
Place of Birth: Liége, Belgium
Place of Death: Paris, France
Nationality/Ethnicity: French
Selected Bibliography: Flynn, Timothy. César Franck: An Annotated Bibliography.
Hillsdale: Boydell & Brewer, 2019.
McCray, James. “César Franck’s Choral Music.” The American
Organist 24, vol. 11 (Nov. 1990): 82 – 86.
Stove, R. J. César Franck: His Life and Times. Lanham, MD: The
Rowman & Littlefield Publishing Group, 2012.
Tiersot, Julien, and Frederick H. Martens. “César Franck (1822-
1922).” The Musical Quarterly 9, no. 1 (1923): 26-55.

Psalm 150 (CM19c p92)
Alternate Title(s): Psaume 150
Larger Work/Collection: N/A
Text Source: Bible, Psalm 150
Original Language: French
Voicing and Range: SATB

Accompaniment: Orch; org
Meter: Common Time
Opening Tempo: Poco allegro ma maestoso
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: pp, instr (extended)
Closing Texture: ff, instr (brief)
Approximate Duration: 5:00
Date of Composition: 1888
Sacred/Secular: Sacred
Liturgical Use: Catholicism: Daily morning service (Lauds)
RCL: General; Year C Second Sunday of Easter
Theme(s): Dance, Joy, Praise, Song
Musical Type: Motet
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Wolfgang Hochstein, 1991
CPDL
Kalmus
Novello
Alternate Voicings/
Instr. Arrangements:
TTBB; Organ
SATB; Chamber Orchestra, arr. Armin Landgraf, Carus-Verlag
264

Collections/Anthologies: None Found
Selected Discography: Les Chantres Musiciens & Les Voix d’Elles, Frère André, un
homme de prière/ Musique pour la réflexion et la méditation,
conducted by Gilbert Patenaude, Disques Helena, 2014.
Matthias Church Choir, Matthias Church Orchestra, Solemn Mass
in the Matthias Church, conducted by Laszlo Tardy.
Hungaroton, 2006.
Selected Bibliography: Hochstein, Wolfgang. “Foreword” to Psalm 150, by César Franck,
4. Edited by Wolfgang Hochstein. Stuttgart: Carus-Verlag, 1991.
McCray, James. “César Franck’s Choral Music.” The American
Organist 24, vol. 11 (Nov. 1990): 82 – 86.

Complete Text:

English Translation:
Hallelujah.

Louezle Dieu, caché dans ses saints
tabernacles,
Louezle Dieu qui règne en son immensité.
Louezle dans sa force et ses puissants miracles.
Louezle dans sa gloire et dans sa majesté.

Louezle par la voix des bruyantes trompettes,
que pour lui le nébel se marie au kinnor.
Louez-le dans vos fêtes au son du tambourin,
sur lorgue et sur le luth, chantez, chantez
encor.

Que pour lui dans vos mains ré sonne la
cymbale.
La cymbale aux accords éclatants et joyeux.
Que tout souffle vivant, tout soupir qui
s’exhale, dise:
louange à lui, louange au Roi des cieux.

Hallelujah.
Hallelujah.

Praise God in his sanctuary;

Praise him in his mighty heavens.
Praise him for his acts of power;
praise him for his surpassing greatness.

Praise him with the sounding of the trumpet,
For him with the harp and lyre,
Praise him with festivals and dancing,
Praise him with the strings and pipe,

praise him with the clash of cymbals,

praise him with resounding cymbals.
Let everything that has breath praise the Lord

Praise the Lord.

Hallelujah
95

Insights & Performance Issues:
Scored for orchestra with organ, the organ reduction found in the Breitkopf & Härtel vocal score
can also be effective. Most recordings are organ and choir and a skilled organist and/or orchestra
is required. Allow for extra rehearsal time for the choir to prepare the French.

The choir is harmonically supported by the accompaniment, but generally not doubled. Measure
45 contains an extended bass section solo that is within the tenor range if additional support is
needed. Overall, an accessible, triumphant work for a festival choir or celebration service.

95
New International Version.
265

Glinka, Mikhail Ivanovich (CM19c p149-150)
Birth/Death: 20 May/June 1, 1804 – February 15, 1857
Place of Birth: Novospasskoye, nr Yelnya, Smolensk district, Russia
Place of Death: Berlin, Germany
Nationality/Ethnicity: Russian
Selected Bibliography: Brown, David. Mikhail Glinka: A Biographical and Critical
Study. London: Oxford University Press, 1974.
Dunlop, Carolyn C. The Russian Court Chapel Choir, 1796-
1917. Amsterdam: Harwood Academic Publishers, 2000.
Morosan, Vladimir. Choral Performance in Pre-Revolutionary
Russia. Ann Arbor, Mich: UMI Research Press, 1986.
Orlova, Alexandra A. Glinka’s Life in Music: A Chronicle.
translated by Richard Hoops. Ann Arbor: UMI Research Press,
1988.

Come di gloria al nome (CM19c p150)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Unknown
Original Language: Italian
Voicing and Range: SATB, soli SATB

Accompaniment: Strings
Meter: Common Time
Opening Tempo: Allegro moderato
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: ff, instr. (brief)
Closing Texture: ff, tutti
Approximate Duration: 5:30
Date of Composition: c.1828
Sacred/Secular: Secular
Theme(s): Glory, Laurels, Triumph, Victory
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Muzyka, ed. Zagornyi (Italian/Cyrillic)
Alternate Voicings/
Instr. Arrangements:
None Found
266

Collections/Anthologies: Classical Scores Library, Volume I, ed. Nestor Nikolaevich
Zagornyi. Moscow: Muzyka, 1969.
Selected Discography: None Found
Selected Bibliography: Brown, David. “The St. Petersburg dilettante.” In Mikhail Glinka: A
Biographical and Critical Study, 23-55. London: Oxford
University Press, 1974.
Orlova, Alexandra A. “1827.” In Glinka’s Life in Music: A
Chronicle, 41-44. translated by Richard Hoops. Ann Arbor: UMI
Research Press, 1988.

Complete Text:

English Translation:
Come di gloria al nome palpita questo core,
sul campo dell’ o nore si trionfar saprá.

Vedrá cadere il vinto apié del vincitor!

Dunque a partir t’appresta ad affrontar la sorte,
a disprezzar la morte a compiere il dover.

Cinta d’allor la fronte pur ti vediam adorno.

Deh! Vieni onor di patria a ristorar tue pene,
a ristorare.
Dolce imene amor ti donerà,
dolce soave imene amor ti donerà.

Cinta d’allor la fronte pur ti vediam adorno
un si beato giorno si che brillar dovrà!

Ora si vada al tempoo a ringraziar
Il nume che a noi concesse il ben di veder ti
ancor,
che a noi concesse, provido! il ben di veder ti
ancor!
Benigno dio di pace ci dona il suo favor!
O how this heart beats with glory at the name,
On the field of honor, we will know how to
triumph.
It will see the conquered fall at the feet of the
victor!
Therefore, the time draws night to face your
fate, to defy death and fulfill your duty.

We see you adorned, your head encircled with
laurels.
Oh! Come honor of homeland to relieve your
pains, to heal.
Sweet, bliss love will give you,
sweet, tender bliss love will give you.

We see you adorned, your head encircled with
laurels.
Such a blessed day, certainly must shine!
Now make haste to thank
the muse, that granted us the joy to see you
again.
that granted us, oh wise one! the joy to see you
again.
Benevolent God of peace grant your favor!
96

Insights & Performance Issues:
The composition was written as an exercise for Glinka’s Italian lessons with Luigi Zamboni Jr.
97

The main melodic motifs include dotted rhythms for both the chorus and the strings. The string
accompaniment also includes consistent syncopation and staccato articulation.

After a brief string introduction, the work begins with the bass soloist followed in the next
phrase by the tenor soloist.

96
English translation by Michael Turnblom © 2021, used with permission.
97
Brown, Mikhail Glinka: A Biographical and Critical Study, 46.
267

The top three chorus parts sing homophonically in m. 12, which is echoed by the bass section
singing two measures later. The strings support the chorus harmonically with a triplet figure
written in the upper strings.

In m. 20, a call and response section begins between the choir and strings. The choir sings the
dotted rhythms homophonically and unaccompanied while the strings respond in a moving
triplet figure. While the support of the accompaniment is removed, the chorus part is chordal and
includes only a few chromatic moments, including a French augmented 6th in m. 31.

This material is developed through the next thirty measures. In m.33, the melody is transferred
to the violin and viola in sequence, while the other strings and the voices sing chords in an
accompaniment fashion. The basses and tenors sing section solos with arpeggiated lines that will
require additional rehearsal attention.

An editorial note is offered in m. 45 commenting on the accuracy of the first note in the tenor
line which differs from the other similar motifs in this section.

New material appears for the soli quartet entrance in mm. 60-70 and mm. 75-87. The chorus
responds in mm. 71-74 with chromatic part-writing that may require additional rehearsal
attention. The material is developed by the chorus with the upper strings playing on the offbeat.

The opening material returns in m. 95 in a different key with an instrumental interlude in mm.
103-11. Development of previous material follows including another soli quartet phrase in mm.
127-135. In m. 137 the chorus sings sf followed by a decrescendo to piano over the four beats.
This figure occurs a total of four times and may require additional rehearsal to accurately sing
the articulation. The work ends with a short coda beginning in m. 157.

Great Litany (CM19c p150)
Alternate Title(s): First Litany; Kyrie; Ектенія первая; Ekteniia pervaia; Yekteniya
pervaya
Larger Work/Collection: N/A
Text Source: Divine Liturgy
Original Language: Church Slavonic
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 5/2
Opening Tempo: None Given (Chant)
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: tutti
Closing Texture: tutti
268

Approximate Duration: 2:00
Date of Composition: c.1856
Sacred/Secular: Sacred
Liturgical Use: Lent
Theme(s): Lord, Mercy
Musical Type: Chant
Editions, Arrangements,
and Publications:
P. Jurgenson (OSMRL)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Galuppi to Vorotnikov: Music of the Russian Court Chapel Choir I,
ed. Carolyn C. Dunlop, Routledge (2000)
Selected Discography: Harmonia Sacra, Cherubim and Seraphim, conducted by Peter
Leech, Nimbus Alliance, 2012.
Selected Bibliography: None Found

Complete Text:

English Translation:
Аминь. Господи Помилуй. Amen. Lord have mercy.

Insights & Performance Issues:
A simple, twelve-measure chant with minimal range in all voice parts that begins and ends in C
major. The P. Jurgenson edition contains double bar lines after every measure which are bolded
at the end of each system.

A suitable composition as a prayer response in a liturgical setting. May also be used as a
rehearsal tool for intonation exercises, a choral warmup, or conducting classes working on chant
or fermatas.

Heruvimskaya pesn’ (CM19c p149-150)
Alternate Title(s): Херувимcкaя пѣснь; Cherubic Hymn
Larger Work/Collection: N/A
Text Source: Divine Liturgy
Original Language: Church Slavonic
Voicing and Range: SSAATTBB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Adagio non tanto
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: p, staggered (SAT1/T2/B1/B2)
Closing Texture: p, tutti
269

Approximate Duration: 5:00
Date of Composition: 1837
Sacred/Secular: Sacred
Liturgical Use: Divine Liturgies of St. John Chrysostom and St. Basil the Great
(except Holy Thursday and Holy Saturday)
98

Theme(s): Trinity, Cherubim, Creation, Eucharist, Holy Sacrament
Musical Type: Motet
Editions, Arrangements,
and Publications:
Musica Russica, ed. Vladimir Morosan, 1991
Jurgenson, 1878
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Galuppi to Vorotnikov: Music of the Russian Court Chapel Choir I,
ed. Carolyn C. Dunlop, Routledge, 2000.
One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series; Musica Russica,
1991.
Selected Discography: Choir of Clare College, Cambridge, O Lux, Beata Trinitas,
conducted by Graham Ross, Harmonia Mundi, 2017.
South West German Radio Vocal Ensemble, Russia: Schnittke /
Tanejew / Gubaidulina / Glinka / Rachmaninov / Tschaikowsky,
conducted by Marcus Creed, SWR Classic, 2014.
Selected Bibliography: Brown, David. “Problems and responsibilities: Imperial
Kapellmeister.” In Mikhail Glinka: A Biographical and Critical
Study, 137-54. London: Oxford University Press, 1974.
Morosan, Vladimir. Notes to Heruvimskaya pesn, by Mikhail
Glinka, 2. Edited by Vladimir Morosan. Encinitas, CA: Musica
Russica, 1991.
Orlova, Alexandra A. “1837.” In Glinka’s Life in Music: A
Chronicle, 151-82. translated by Richard Hoops. Ann Arbor:
UMI Research Press, 1988.

Complete Text:

English Translation:
Иже херувимы тайио образующе,
и животворящей Тройцѣ
Трисвятую пѣснь припѣвающе,
всякое нынѣ житейское отложимъ
попеченiе.
(Аминь.)
Яко да Царя всѣхъ подымемъ,
ангельскими невидимо дориносима
чинми.
Аллилуiа, aллилуiа, aллилуiа.
Let us who mystically represent the Cherubim,
and who sing the thrice-holy hymn
to the life-creating Trinity,
now lay aside all cares of this life,

(Amen.)
that we may receive the King of All,
who comes invisibly upborne by the angelic
host.
Alleluia, alleluia, alleluia.
99

98
Morosan, notes to Heruvimskaya pesn, 2.
99
English translation by Vladimir Morosan © 1991, reprinted with permission.
270

Insights & Performance Issues:
Cherubic Hymn was Glinka’s first attempt at composing church music. David Brown speaks to
the overall characteristics of the composition, “…a trifle reflecting the traditional slow, resonant
solemnity of the Orthodox church music tradition, making much use of sustained passing,
auxiliary, or suspended dissonance. He also tried his hand at a choral fugue, but not surprisingly
this was a failure.”
100

The composition is set for six voices, SATTBB, but divisi, while minimal, also occurs in the
soprano (mm. 3, 18, 33, 66-77) and the alto (m. 69-73, 89). The same musical material, as
described by Brown, is the same for the three verses of text. The Bass II has an extended low
tessitura, including a C2 in the tenth measure of each verse and pedal D2 in the three measures
that follow.

In his Musica Russica edition, Vladimir Morosan describes how the music functions within a
liturgical setting, “The Cherubic Hymn begins the Eucharistic portion of the Divine Liturgy and
accompanies the great entrance, during which bread and wine are taken from the Table of
Preparation and placed upon the Holy Table. During the great entrance the priest remembers the
hierarchy of the Church, the civil authorities and all those present, after which ‘Amen’ is sung,
and the concluding verse of the hymn follows. (In concert performances it is customary to omit
the exclamation and the ‘Amen.’”
101

Following the “Amen,” the fugal material begins in m. 48 in cut time, remaining in C major. A
four-part soprano and alto phrase written in mm. 66-77 that may require additional rehearsal for
the added chromaticism and dissonance.

Alexandra Orlova writes specifically about the fugue in her chronicle of Glinka’s life, “The
‘fugue with text’ is apparently the unfinished liturgical work Khvalia, prizovu Gospoda (With
praise I call upon God.)”
102
The Cherubic Hymn is listed as unfinished in some catalogues, and
this may be the root of that confusion.

100
Brown, Mikhail Glinka: A Biographical and Critical Study, 142.
101
Morosan, notes to Heruvimskaya pesn, by Mikhail Glinka, 2.
102
Orlova, Glinka’s Life in Music: A Chronicle, 168.
271

Gounod, Charles-François (CM19c p89-91)
Birth/Death: June 17, 1818 – October 18, 1893
Place of Birth: Paris, France
Place of Death: Saint-Cloud, France
Nationality/Ethnicity: French
Selected Bibliography: Bovet, Marie Anne de. Charles Gounod: His Life and His
Works. London: S. Low, Marston, Searle & Rivington
limited, 1891.
Gounod, Charles. Charles Gounod: Autobiographical
Reminiscences with Family Letters and Notes on Music. London:
W. Heinemann, 1896.
Johnson, Dirk. "A Conductor’s Guide to the Masses of Charles
Gounod." Doctoral Dissertation, University of Cincinnati, 2009.

“Sanctus” (CM19c p91)
Alternate Title(s): Holy
Larger Work/Collection: St. Cécilia Mass; Messe Solennelle Sainte Cecile
Text Source: Bible: adapted from Isaiah 6:3
103

Original Language: Latin
Voicing and Range: SATTB; solo T

Accompaniment: Orch; org; (org/pf)
Meter: 9/8
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: mf, instr (brief)
Closing Texture: p, instr (brief)
Approximate Duration: 6:00
Date of Composition: 1850
Sacred/Secular: Sacred
Liturgical Use: General, Easter
Theme(s): Holy, Praise, Thanks
Musical Type: Chorus from Mass
Editions, Arrangements,
and Publications:
Bourne Co., ed. Mitzelfelt (piano/organ)
CPDL
G. Schirmer (Sanctus & Benedictus)
Kalmus
Le Beau (complete mass (IMSLP)
Novello (complete mass, IMSLP)

103
Jeffers, Translations and Annotations, 55.
272

Alternate Voicings/
Instr. Arrangements:
Concert Band; Org; SATB; Solo T,ed. Christiaan Janssen, Baton
Music
Organ; C Instrument; SATB; Solo T; arr. Hal Hopson; Lorenz
Trombone Quintet (ATTBB); Organ; transcr. Gary Bricault; Wehr’s
Music House
TTBB; Solo T; arr. Dale Grotenhuis; Shawnee Press
Collections/Anthologies: None Found
Selected Discography: Munich Motet Choir, Munich Symphony, Charles Gounod: St.
Cecilia Mass, conducted by Hans Rudolf Zöbeley, Profil, 2005.
Selected Bibliography: Arenas, Erick G. “A Historical Study of Charles Gounod’s Messes
Solennelle de Sainte-Cécile.” master’s thesis, University of
Oregon, 2004.
Johnson, Dirk. “A Conductor’s Guide to the Masses of Charles
Gounod.” DMA diss., University of Cincinnati, 2009.

Complete Text:

English Translation:
Sanctus, Sanctus, Sanctus Dominus Deus
Sabaoth
Pleni sunt caeli gloria tua.
Hosanna in excelsis.
Holy, holy, holy, Lord of Hosts.

Heaven and earth are full of thy glory.
Hosanna in the highest.
104

Insights & Performance Issues:
The mass movement features a tenor soloist with accessible choral writing doubled by the
accompaniment. While the orchestral accompaniment is ideal, organ accompaniment can be
effective with a skilled and musical organist.

After the opening tenor solo, the chorus enters ppp in a homophonic, hymn-like style. The
phrases for the chorus primarily end on an offbeat. The conductor should consider the placement
of the ending consonants for each phrase early in the rehearsal process to address issues with the
phrase releases.

The tenor part contains divisi consistently throughout the work, but the range is such that an alto
divisi could be substituted if the choir’s personnel is not conducive to a tenor split. The tenor
soloist sings again in mm. 37-56 singing in the upper tessitura at both piano and forte dynamics.
The tenor soloist and chorus do not sing together during this movement.

The bass section leads each of the stretto entrances in mm. 59, 64, 69, and 74 followed by the
tenors and then soprano and altos together. Each four-measure phrase begins quietly; the bass
section should be encouraged to use good breath energy and not under-sing the line. An
additional solution is to add the tenor section to the line.

The chorus is given the tenor soloist’s opening theme in m. 81 with a fff dynamic marking that
leads to the closing “Hosanna” in mm. 97-102. The dotted rhythm in this closing phrase may
require additional rehearsal attention.

104
Jeffers, Translations and Annotations, 54.
273

Grieg, Edvard (CM19c p164)
Birth/Death: June 15, 1843 – September 4, 1907
Place of Birth: Bergen, Norway
Place of Death: Bergen, Norway
Nationality/Ethnicity: Norwegian
Selected Bibliography: Foster, Beryl. Edvard Grieg: The Choral Music. Taylor and
Francis, 2017.
Peed, John H. “Edvard Grieg’s Music for Male Chorus: Forgotten
Gems from Norway.” Choral Journal 33, no. 9 (April 1993): 15-
20.
Weber, Ryan R. “‘All and All Kinds’: Harmonic Language and
Questions of Identity in Edvard Grieg’s Late Vocal Works.” PhD
diss., University of Connecticut, 2012.

Ave maris stella (CM19c p164)
Alternate Title(s): Hail, star of the ocean
Larger Work/Collection: N/A
Text Source: Vesper hymn, ascribed to St. Bernard of Clairvaux (c.1090-1153)
105

Original Language: Latin
Voicing and Range: SSAATTBB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Allegretto molto tranquillo
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 3:00
Date of Composition: 1893 solo version, 1898 choral version
Sacred/Secular: Sacred
Liturgical Use: Feast Days for Blessed Virgin Mary
Theme(s): Heaven, Purity, Rejoice, Stars, Virgin Mary
Musical Type: Motet

105
Jeffers, Translations and Annotations, 102-103.
274

Editions, Arrangements,
and Publications:
Carus-Verlag, 1996
C.F. Peters
CPDL
Gray Company, ed. Clarence Dickinson (English/Latin)
Oxford University Press, ed. John Rutter
Wilhelm Hansen, 1899 (Latin/Danish/German/English)
Alternate Voicings/
Instr. Arrangements:
Piano Solo, arr. Ludvig Schytte, Augener (IMSLP)
Piano Trio, arr. Nikolaj Hansen, Hansen, 1912 (IMSLP)
Soprano/Alto Voices (CPDL)
SSA; piano, arr. Roar Kvam, KVA Music
Tenor/Bass Voices (CPDL)
Violin; Cello; Piano’ Harmonium, arr. Nikolaj Hansen, Hansen,
1904, (IMSLP)
Collections/Anthologies: European Sacred Music, ed. John Rutter & Clifford Bartlett,
Oxford University Press, 1996
Selected Discography: Norwegian Soloists’ Choir, Edvard Grieg: Choir Music, conducted
by Grete Pedersen-Helgerod, BIS, 2007.
The Sixteen, A Mother’s Love: Music for Mary, conducted by Harry
Christophers, Universal Classics, 2007.
Selected Bibliography: Foster, Beryl. “Later Works and Choral Arrangements.” In Edvard
Grieg: The Choral Music, 135-55. Taylor and Francis, 2017.

Complete Text:

English Translation:
Ave, maris stella,
Dei Mater alma,
Atque semper Virgo,
Felix caeli porta.
Solve vincla reis:
Profer lumen caecis,
Mala nostra pelle,
Bona cuncta posce.

Vitam praesta puram,
lter para tutum,
Ut, videntes Jesum,
Semper collatemur.
Sit laus Deo Patri,
Summo Christo decus,
Spiritui Sancto;
Tribus honor unus. Amen.
Hail, Star of the Sea,
Loving Mother of God,
And Virgin immortal,
Heaven’s blissful portal!
Break the chains of sinners,
Bring light to the blind,
Drive away our evils,
And ask for all good things.

Keep our life pure,
Make our journey safe,
So that, seeing Jesus,
We may rejoice together forever.
Let there be praise to God the Father,
And glory to Christ the most High,
And to the Holy Spirit,
And to the Three be one honor. Amen.
106

106
Jeffers, Translations and Annotations, 102-103.
275

Insights & Performance Issues:
For an in-depth comparison and analysis of the work, see Beryl Foster’s text listed above.

The work is dedicated to Cæiliaforeningens Madrigalkor og dens Dirigent, Frederik Rung (The
St Cecilia Society’s Madrigal Choir and its conductor, Frederik Rung)

Grieg originally composed the work for piano and solo voice. In his text Foster compares the
differences in the two versions stating, “The original piano accompaniment was mostly chordal
and followed the rhythm of the melody and this has been reassigned to the voices without much
alteration, except again in the spacing of the parts.”
107

A short, strophic, but challenging work, with shifting tonal centers and divisi of voice parts. The
first harmonic transition occurs in m. 5 from the opening key of G major to B major.

A chain of unresolved chords is found in mm. 11-16. This is followed by an arpeggiated motif
for divisi soprano and alto in mm. 19-21. Additional rehearsal may be required to develop
timing and intonation with the ascending line, crescendo and decrescendo, and poco rit. marked
in these three measures.

The opening material returns in m. 22 with the same musical material set to different text
concluding with an additional “Amen.”

With its repetitive material and accessible Latin text, the composition is a suitable introduction
to nineteenth-century chromatism and shifting tonalities.

“Hvad est du dog skjon” (CM19c p164)
Alternate Title(s): How Fair is Thy Face; How beautiful you are
Larger Work/Collection: Four Psalms, Op. 74, no. 1
Text Source: Hans Adolf Brorson (1694-1764) “Svane-sang” (Swan-song)
Original Language: Danish
Voicing and Range: SATB; solo Bar.

Accompaniment: Unaccompanied
Meter: 6/8
Opening Tempo: Un poco Allegro
Beginning Key/Mode: A minor
Ending Key/Mode: A major
Opening Texture: f, staggered (SA/TB)
Closing Texture: pp, tutti

107
Foster, “Later Works and Choral Arrangements,” In Edvard Grieg, 144.
276

Approximate Duration: 5:00
Date of Composition: 1906
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Jesus Christ, Beautiful, Sulamite, Friendship, Rock, Calm, Peace,
Shelter
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, 1994 (Danish/German), 1994
C.F. Peters, 1985 (Danish/German), 1985
C.F. Peters, 1925 (English, transl. Percy Granger)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Malmö Chamber Choir, Edvard Grieg: Album for Male Voices, Op.
30 / Four Hymns, Op. 74 / Two Religious Choirs, conducted by
Dan-Olof Stenlund, Simax Classics, 1987.
Norwegian Soloists’ Choir, Edvard Grieg: Choir Music, conducted
by Grete Pedersen-Helgerod, BIS, 2007.
Selected Bibliography: Foster, Beryl. “The Four Psalms, op. 74.” In Edvard Grieg: The
Choral Music, 156-72. Taylor and Francis, 2017.
Weber, Ryan R. “‘All and All Kinds’: Harmonic Language and
Questions of Identity in Edvard Grieg’s Late Vocal Works.” PhD
diss., University of Connecticut, 2012.

Complete Text:

English Translation:
Hvad est du dog skjøn,
Ja skjøn, ja skjøn,
Du allerlifgste Guds Søn!
Du min Sulamit, Sulamit,
Ja mit, ja mit,
Alt, hvad jeg har er også dit.

Min Ven, du est min,
Ja min, ja min;
Så lad mig altid være din!
Ja vist, evig vist
Du min skal blive her og hist.

Men tænk, jeg er her,
Ja her, ja her,
Iblandt såmange dragne Sværd!
Så kom, Due! Kom Due!
Ja, kom! Ja, kom!
I Klippens Rif er Ro og Rum.
How beautiful thou art,
How beautiful, how beautiful,
Thou most blessed Son of God.
Thou art my Sulamite, Sulamite,
Yes mine, yes mine,
All that I have is also thine.

My friend, thou art mine,
Yes mine, yes mine;
So let me ever be thine!
In truth and always verily, verily
Thou shalt bide here and everywhere.

But behold, I am here,
yes here, yes here,
Among so many drawn blades!
So come, dove, come!
Yes, come! Yes, come!
In rock’s hollows are peace and shelter.
108

108
Text and translation provided courtesy of Oxford Lieder (www.oxfordlieder.co.uk).
277

Insights & Performance Issues:
For an in-depth analysis of the work, see Beryl Foster’s text listed above.

Foster describes the compositional techniques in the work stating, “Throughout the piece the
melody is interwoven between the soloist and the choir and fragments of it are used in imitation
and contrary motion in the inner parts, while the cadences are enriched by suspensions and
chromatic shifts.”
109

The strophic composition opens with a short introduction with the melody in the chorus, first in
the soprano and alto and imitated two beats later in the tenor and bass. The forte dynamic, set in
the upper tessitura on an upbeat make the onset of the initial entrance challenging. The choir
should be encouraged to use good breath energy and not under-sing the line.

Each verse begins with chant style singing in the chorus with the baritone soloist singing the
melody above. The chorus material that follows the baritone’s brief solo becomes chromatic and
rhythmically complex including short moments of polyphony. The second half of each verse
may require additional rehearsal attention.

Greig modifies the second half of the third verse, developing the musical material with a canon
between the soprano and tenor beginning in m. 43. The fourth verse begins in A major, and the
Baritone solo sings a modal version of the melody.

A few brief divisi occur in the bass in m. 54 and mm. 60-62. Tenors also divide in mm. 60-62.

109
Foster, “The Four Psalms, op. 74,” In Edvard Grieg, 162.
278

Halévy, Jacques-François-Fromental (CM19c p83)
Birth/Death: May 27, 1799 – March 17, 1862
Place of Birth: Paris, France
Place of Death: Nice, France
Nationality/Ethnicity: French
Selected Bibliography: Baron, John H. “A Golden Age for Jewish Composers in Paris:
1820–1865.” Musica Judaica, 12 (1991–2): 30–51.
Curtiss, Mina. “Fromental Halévy.” The Musical Quarterly 39, No.
2 (April 1953): 196-214.
Macdonald, Hugh. “Halévy, (Jacques-François-) Fromental (-
Elie).” Grove Music Online.
https://www.oxfordmusiconline.com.

Ave verum corpus (CM19c p83)
Alternate Title(s): Ave, verum corpus
Larger Work/Collection: N/A
Text Source: Pope Innocent III (1198-1216) or Pope Innocent IV (1243-1254)
Original Language: Latin
Voicing and Range: SSTTBB; 2 S soli

Accompaniment: Orchestra/organ
Meter: Common Time
Opening Tempo: Andantino espressivo
Beginning Key/Mode: D minor
Ending Key/Mode: D major
Opening Texture: pp, instr. (brief)
Closing Texture: p, tutti
Approximate Duration: 5:30
Date of Composition: 1847 with organ, orchd 1850
Sacred/Secular: Sacred
Liturgical Use: Mass of the Most Holy Sacrament
Feast of Corpus Christi
Theme(s): Baptism, Crucifixion, Jesus Christ, Mercy, Sacrifice, Virgin Mary
Musical Type: Motet
Editions, Arrangements,
and Publications:
La Sinfonie d'Orphée, ed. Joël-Marie Fauquet, 2008 (organ)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
279

Selected Bibliography: Fauquet, Joël-Marie. Preface to Ave, verum corpus, by Jacques
Fromental Halévy, 2-6. Edited by Joël-Marie Fauquet. Tours: La
Sinfonie d'Orphée, 2008.

Complete Text:

English Translation:
Ave verum corpus,
natum de Maria Virgine;
Vere passum,
immolatum in cruce pro homine;
Cujus latus perforatum
fluxit aqua et sanguine:
Esto nobis praegustatum
mortis in examine.

O Jesu dulcis! O Jesu pie!
O Jesu, Fili Mariae,
tu nobis miserere.
lste Deus meus Et glorificabo eum.
Hail the true body,
Born of the Virgin Mary,
Truly suffered,
sacrificed on the Cross for mankind,
Whose pierced side
flowed with water and blood,
Let it be for us, in consideration,
a foretaste of death.

O Jesu sweet, O Jesu merciful,
O Jesu Son of Mary,
have mercy on us.
He is my God and I will glorify him.
110

Insights & Performance Issues:
The work is dedicated to Halévy’s nieces, Félicité and Mathilde.

In the published edition by La Sinfonie d'Orphée, editor Joël-Marie Fauquet describes the style
of the motet, “The Ave, verum corpus from Jacques Fromental Halévy belongs to the monarchie
de Juillet cultural context, when the religious expression was not excluding melodic seduction.
The solo vocal parts present hence a certain theatricality. Halevy nevertheless does not choose
the easy way.”
111

The chorus parts are designated for STB with divisi. An alto section may be applied to the top
line in tenor divisi and the bottom line in soprano divisi. Several A3s are written for the soprano
line that would benefit from alto voices.

Much of the work features two soprano soloists on three variations with similar melodic
material. The chorus sings brief interludes in mm. 27-34 and mm. 52-63 between the solos. Each
solo section concludes with virtuosic material. New material in D major is introduced m. 81 as
the chorus and soloists sing together for the first time with a melodically simple, but
rhythmically syncopated line.

Mm. 116-120 may require the most rehearsal attention for the chorus. The structure is similar to
phrase previously sung m. 52, but with more arpeggiated lines for the tenor and bass. A short
coda on the text “Ave” begins at mm. 123 to the end of the work with all voices singing
elongated chords ending in G major.

While grand with the orchestral accompaniment, the organ edition offers increased accessibility.

110
Translation by Joël-Marie Fauquet in Ave, verum corpus, by Jacques Fromental, 6.
111
Fauquet, Preface to Ave, verum corpus, by Jacques Fromental Halévy, 5.
280

Haydn, Franz Joseph (CM19c p11-20)
Birth/Death: March 31, 1732 – May 31, 1809
Place of Birth: Rohrau, Lower Austria
Place of Death: Vienna, Austria
Nationality/Ethnicity: Austrian (active in England)
Selected Bibliography: Berkenstock, James Turner. “The Smaller Sacred Compositions of
Joseph Haydn (Volumes I and II).” PhD diss., Northwestern
University, 1975.
Cushman, David Stephen. “Joseph Haydn's Melodic Materials: An
Exploratory Introduction to the Primary and Secondary Sources
Together with an Analytical Catalogue and Tables of Proposed
Melodic Correspondence and/or Variance.” PhD diss., Boston
University, 1973.
Geiringer, Karl, and Robert N. Freeman. Joseph Haydn and the
Eighteenth Century: Collected Essays of Karl Geiringer.
Warren, Mich: Harmonie Park Press, 2002.
Gibbs, Thomas Jordan, Jr. “A Study of Form in the Late Masses of
Joseph Haydn.” PhD diss., The University of Texas at Austin,
1972.
Schenbeck, Lawrence. Joseph Haydn and the Classical Choral
Tradition. Chapel Hill, N.C: Hinshaw Music, 1996.

“The Heavens are Telling the Glory of God” (CM19c p19-20)
Alternate Title(s): Die Himmel erzählen die Ehre Gottes
Larger Work/Collection: No. 13 (14), conclusion of Part I, Die Schöpfung (The Creation)
Text Source: Gottfried van Swieten (1733-1803), paraphrase of Psalm 19:1-4
Original Language: English and German
Voicing and Range: SATB, soli STB (Gabriel, Uriel, Raphael)

Accompaniment: Orchestra
Meter: Cut time
Opening Tempo: Allegro
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: f, tutti
Closing Texture: f, instr. (brief)
Duration: 5:00
Date of Composition: 1798
Sacred/Secular: Sacred
281

Liturgical Use: RCL (NRSV):
Year A: Season after Pentecost, Proper 22 (27)
Year A, B, C: Easter
Year B: Third Sunday in Lent
Year B: Season after Pentecost, Proper 19 (24)
Year C: Third Sunday after Epiphany
Theme(s): Heaven, Glory of God, Wonder, Creation, Fourth Day: sun, moon,
stars
Musical Type: Oratorio Chorus
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (complete work, IMSLP)
Carus-Verlag, arr. Horn, 2005 (organ)
CPDL
G. Schirmer (piano)
Novello (complete work, IMSLP)
Oxford, ed. Rutter, 1998 (piano)
Alternate Voicings/
Instr. Arrangements:
SA, pf, arr. Braz, Hinshaw, 2005
SAB, pf/org, arr. Deis, Schirmer
Hymn (SATB), Austin Miles, Ideal Sunday School Hymns, 1913
Handbells, pf, arr. Martha Lynn Thompson, Hope Publishing, 1989
Orch (15 parts), arr. Karl Akerman, Score Exchange
String orch, arr. Hellem, Kjos Music Co
Collections/Anthologies: Sacred Choruses, ed. John Rutter, Oxford University Press, 2018
Schirmer Classic Choruses, arr. Stan Pethel, G. Schirmer, 2004
Selected Discography: St. Hedwig’s Cathedral Choir and Berlin Phiharmonic Orchestra,
Haydn: Die Schöpfung, conducted by Igor Markevitch,
conductor, Deutsche Grammophon, 2008.
Academy of St. Martin in the Fields Chorus & Orchestra, Joseph
Haydn: Die Schöpfung (The Creation), conducted by Neville
Marriner, Decca, 2016.
Stuttgart Bach Collegium and Stuttgart Gächinger Kantorei, Joseph
Haydn: Die Schöpfung (The Creation), conducted by Helmuth
Rilling, Hänssler Classic, n.d.
Selected Bibliography: Dolan, Emily. “The Work of the Orchestra in Haydn’s Creation.”
19th-Century Music 34, no. 1 (Summer 2010): 3-38.
Lucas, James Arnold. “A Conductor's Analysis of “The Creation”
by Franz Joseph Haydn.” DMA diss., University of Iowa, 1977.
Temperley, Nicholas. Haydn, The Creation. Cambridge: Cambridge
University Press, 1991.
Temperley, Nicholas: “Haydn’s Tempos in “The Creation”.” Early
Music 19, no. 2 (May 1991): 235-245.

Complete Text:

English Translation:
Die Himmel erzahlen die Ehre Gottes.
Und seiner Hande Werk zeigt an das
Firmament.
The heavens are telling the glory of God.
The wonder of his works displays the
firmament.
282

Insights & Performance Issues:
For a full structural analysis, see James Lucas’ dissertation listed above.

The oratorio chorus is attacca from the previous movement, a short recitative, In vollem Glanze
steiget jetzt (In splendor bright is rising now), sung by Uriel (T). The conductor may consider
including the recitative or the first four bars of the chorus as an introduction.

Lucas describes the overall structure, “There are five sections, with section one, three, and five
related and sections two and four contrasting (ABA'CA"). The tutti and forte of the A, A', and
A" Sections is contrasted by the soli and piano of the B and C Sections.”
112

The A Sections are sung by the chorus, supported by the accompaniment, with increased
complexity found in each reiteration.

Before the finale A Section, two fermatas are written for the soli voices on beat one of m. 91 and
m. 92. The soprano line moves from C5 to C#5 on beat four of m. 92. The conductor should
determine whether to break or connect to the subsequent measure before returning to a tempo
early in the rehearsal process.

When determining the opening tempo, the Piu Allegro in m. 95 should be considered by the
conductor, keeping in mind the fast-running lines in the accompaniment. This final A section
includes a subsection in mm. 109-143 that may require additional rehearsal attention.

The English translation of the German text exhibits proper alignment with the original phrase
structure and word stress.

112
Lucas, “A Conductor's Analysis of “The Creation” by Franz Joseph Haydn,” 87.
283

Hensel, Fanny Mendelssohn (CM19c p46)
Birth/Death: November 14, 1805 – May 14, 1847
Place of Birth: Hamburg
Place of Death: Berlin
Nationality/Ethnicity: German
Selected Bibliography: Stokes, Laura K. T. Fanny Hensel: A Research and Information
Guide. New York, NY: Routledge, 2019.
Todd, Larry R. “Fanny Hensel.” In Nineteenth-Century Choral
Music, edited by Donna M. Di Grazia, 135–140. New York:
Routledge, 2012.
Todd, Larry R. Fanny Hensel: The Other Mendelssohn. New York:
Oxford University Press, 2009.
Wallace, Sean M. “Fanny Mendelssohn Hensel (1805-1847): A
Comprehensive Bibliography Part II: Articles and Essays, Choral
Music Discography.” Research Memorandum Series, no. 179
(April 2001). Washington D.C.: Chorus America.

“Abendlich Schon Rauscht Der Wald” (CM19c p46)
Alternate Title(s): Abschied; At Dusk the Forest Already Murmurs
Larger Work/Collection: No. 5, Gartenlieder, Op. 3
Text Source: Josef Karl Benedikt von Eichendorff (1788-1857) “Abschied”
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: A minor (C)
Ending Key/Mode: A minor
Opening Texture: p, tutti
Closing Texture: p, tutti
Approximate Duration: 2:00
Date of Composition: 1846
Sacred/Secular: Secular
Theme(s): Evening, Forrest, Home, Rest, Trees, Wind
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Bote & Bock (IMSLP)
Earthsongs, ed. Gordon Paine, 1993
Hildegard

284

Alternate Voicings/
Instr. Arrangements:
Harp and Choir, arr. Udo-Rainer Follert, Furore-Edition, 2011
Collections/Anthologies: The Oxford Book of Flexible Choral Songs, ed. Alan Bullard,
Oxford University Press, 2019.
Weltliche a-cappella-Chöre von 1846 Vol. 1, ed. Elke Mascha
Blankenburg, Furore Verlag, 2007.
Selected Discography: Dresden Vocal Concert, Abschied vom Walde: Fanny Hensel &
Felix Mendelssohn Choral Music, conducted by Peter Kopp,
Berlin Classics, 2010.
Selected Bibliography: Todd, Larry R. “Engraver’s Ink and Heavenly Songs (1845-1847).”
In Fanny Hensel: The Other Mendelssohn, 311-49. New York:
Oxford University Press, 2009.
Wallace, Sean M. “The Gartenlieder, Op. 3, of Fanny Mendelssohn
Hensel (1805-1847).” DMA diss., Michigan State University,
2000.

Complete Text:

English Translation:
Abendlich schon rauscht der Wald
Aus den tiefsten Gründen,
Droben wird der Herr nun bald
An die Sternlein zünden,
Wie so stille in den Schlünden,
Abendlich nur rauscht der Wald.

Alles geht zu seiner Ruh,
Wie die Welt verbrause,
Schauernd hört der Wandrer zu,
Sehnt sich tief nach Hause,
Hier in Waldes grüner Klause
Herz, geh' endlich auch zur Ruh!
Evening breezes rustle yet in the wood
from the deepest grounds;
above the lord will now soon
light the stars.
How silent in the chasms!
Just evening breezes in the wood.

Everything goes to its rest.
Wood and world vanish;
shuddering, the wanderer listens,
yearning for home.
Here in the quiet hermitage of the forest,
Heart, at last too go to rest.
113

Insights & Performance Issues:
For a full analysis, see Sean Wallace’s dissertation listed above. In his writing, Wallace speaks
to the structure of the work and includes how No. 5 is different from the other songs in
Gartenlieder, “It is the shortest at thirty-seven measures, and it has the slowest tempo marking,
Andante. It is most spartan in its textures; it is the only piece to begin and end in a minor key;
and it is the most chromatic and dissonant in its harmonic vocabulary. Fanny’s setting is
through-composed, but falls into a binary form, AB: Section A, mm. 1-20, and Section B, mm.
21-37. There is no coda, which is also unusual for the Gartenlieder.”
114

The opening begins with the melody in the soprano, a motif that is used throughout the work. In
m. 9, the bottom three voices echo the soprano line.

113
Translation copyright © by Jakob Kellner reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
114
Wallace, “The Gartenlieder, Op. 3, of Fanny Mendelssohn Hensel (1805-1847),” 201-2.
285

Section B begins in A major, lasts for one, four measure phrase before returning to A minor in
m. 25. One phrase in the composition, mm. 29-32 is marked forte. The rest of the part-song is
marked piano or pianissimo.

Larry Todd also provides additional insight to the text and esthetic, “…‘Abendlich,’ a quiet
evening song in A minor, with lean, spare textures reminiscent of the Andante espressivo op. 8,
no. 2. As the world comes to rest, Eichendorff's wanderer yearns for home, and the omnipresent
rustling is now perceptible only in the very depths of the forest.”
115

Overall, a brief, slow, and quiet part-song, with accessible chromatic writing and standard
ranges in all voice parts.

115
Todd, “Engraver’s Ink and Heavenly Songs (1845-1847),” In Fanny Hensel, 326.
286

Herzogenberg, Heinrich von (CM19c p75-76)
Birth/Death: June 10, 1843 – October 9, 1900
Place of Birth: Graz, Austria
Place of Death: Wiesbaden, Germany
Nationality/Ethnicity: Austrian (Active in Leipzig and Berlin)
Selected Bibliography: Boozer, John Elbert. “Heinrich Von Herzogenberg’s Zweibibusche
Scenen: A Conductor’s Study.” DMA diss., Louisiana State
University, 1999.
Demaree, Robert Kyso. “The Late Choral Works of Heinrich Von
Herzogenberg and Their Relationship to the Heritage of Specific
Choral Genres.” DMA diss., University of Illinois at Urbana-
Champaign, 1996.
Seeley, Gilbert Stewart. “German Protestant Music Since 1925.”
DMA diss., University of Southern California, 1969.

“Wär's dunkel, ich läg' im Walde” (CM19c p76)
Alternate Title(s): The Lonely Girl; The Lonely Maiden
Larger Work/Collection: No. 1, Vier Notturnos, Op. 22
Text Source: Josef Karl Benedikt von Eichendorff (1788-1857)
Original Language: German
Voicing and Range: SATB

Accompaniment: pf
Meter: 6/8
Opening Tempo: Andante con moto
Beginning Key/Mode: Bb major
Ending Key/Mode: E major
Opening Texture: pp, instr. (brief)
Closing Texture: pp, instr. (brief)
Approximate Duration: 3:30
Date of Composition: 1876
Sacred/Secular: Secular
Theme(s): Evening, Forrest, Loneliness, Night, Nightingale, Trees
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Alliance Music, ed. William Hatcher
Breitkopf & Härtel (IMSLP) (complete set)
Carus-Verlag, ed. Klek, 2010 (complete set)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Heinrich von Herzogenberg: Weltliche Chormusik (Secular choral
music a cappella and with piano), ed. Konrad Klek, Carus, 2010.
287

Selected Discography: Ensemble Cantissimo, Heinrich von Herzogenberg: Wie schön, hier
zu verträumen, conducted by Markus Utz, Carus, 2011.
Orpheus Vocal Ensemble, O schöne Nacht: Romantic Choral Music
Rheinberger, Brahms, Herzogenberg, conducted by Michael
Alber, Carus, 2020.
Selected Bibliography: None Found

Complete Text:

English Translation:
Wär's dunkel, ich läge im Walde,
im Walde rauscht's so sacht,
mit ihrem Sternenmantel
bedeckt mich da die Nacht!
Da kommen die Bächlein gegangen,
ob ich schon schlafen tu?

Ich schlaf' nicht, ich höre noch lange
den Nachtigallen zu,
wenn die Wipfel über mir schwanken,
es klinget die ganze Nacht!
das sind im Herzen die Gedanken,
die singen, wenn Niemand wacht!
Would it were dark, I would lie in the wood,
in the wood it rustles so gently;
With its coat of stars
Night covers me there.
There come the brooks
if I am yet asleep?

I don't sleep, by a long way I attend
to the nightingales.
When the treetops wave above me,
they resound all night.
Those are the thoughts in the heart -
They sing when no one is left awake.
116

Insights & Performance Issues:
The composition is dedicated to Philipp Spitta with whom Herzogenberg founded the Bach-
Verein in Leipzig in 1874.
117

The German text includes instances of alliteration that may challenge singers with little
experience singing in the German language, but certainly obtainable.

The alto section is given opportunities to sing in their lower tessitura with interesting, chromatic
moving lines.

A skilled and musical pianist is required. Accompaniment is a balance of support for the choir
while also containing musical independence.

While m. 9 contains a ritardando, no a tempo marking is provided in the Breitkopf & Härtel of
the Carus-Verlag score. Carus-Verlag editor Konrad Klek implies the a tempo begins at measure
10 by ending the dash marking of the ritardando on beat one. A similar situation occurs in mm.
17-18.

The conductor should prioritize word stress including the de-emphasis of the second syllable on
the multiple two syllable words.

116
Translation copyright © by Jakob Kellner reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
117
Wessely, “Herzogenberg,” (Grove).
288

Horner, Wilson G. (CM19c p200)
Birth/Death: 1834 – October 28,1868
Place of Birth: Unknown
Place of Death: Unknown
Nationality/Ethnicity: American
Selected Bibliography: Horner, John B. Lincoln’s songbird: Wilson G Horner, 1834-1864:
a brief life of melody and harmony. Gettysburg PA: Horner
Enterprises, 1998.

National Consecration Chant (CM19c p200)
Alternate Title(s): National Consecration Hymn; Consecration Chant
Larger Work/Collection: N/A
Text Source: Major Benjamin Brown French
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: N/A
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: tutti
Closing Texture: tutti
Approximate Duration: 3:00
Date of Composition: 1863
Sacred/Secular: Sacred
Liturgical Use: Veteran’s Day, Memorial Day
Theme(s): Gettysburg Address, Abraham Lincoln, Civil War, Death, Sacrifice,
War
Musical Type: Chant
Editions, Arrangements,
and Publications:
Henry McCaffrey, 1864 (Hathi Trust Digital Library)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
289

Selected Bibliography: Horner, John B. Lincoln’s songbird: Wilson G Horner, 1834-1864:
a brief life of melody and harmony. Gettysburg PA: Horner
Enterprises, 1998.
Library of Congress Catalog. “National consecration chant: or
hymn.” Catalog-Music Score.
https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searc
hArg=2017570611&searchType=1&permalink=y

Complete Text:

‘Tis holy ground,
This spot where in their graves
We place our country’s braves,
Who fell in Freedom’s holy cause,
Fighting for liberties and laws:
Let tears abound.

Here let them rest,
And summer’s hear, and winter’s cold,
Shall glow and freeze above this mould,
A thousand years shall pass away,
A nation still shall mourn this clay,
Which now is blest.

Here, where they fell,
Oft shall the widow’s tear be shed,
Oft shall fond parents mourn their dead.
The orphan here shall knell and weep,
And maidens where their lovers sleep
Their woes shall tell.
Great God in Heaven!
Shall all this sacred blood be shed,
Shall we thus mourn our glorious dead?
Oh, shall the end be wrath and woe,
The knell of Freedom’s overthrow,
A country riven?

It will not be!
We trust, O God! Thy gracious power
To aid us in our darkest hour.
This be our prayer: “O Father, save
A people’s Freedom from its grave:
All praise to Thee!”

Insights & Performance Issues:
Dedicated to “The Memory of the Fallen Heroes of Gettysburg.”

Simple hymn setting in chant style containing a I, V, vi chord progression.

The composition may be well-suited with organ or brass accompaniment. Also, consider
changing the texture of the verses with solos or section solos while the other voice parts hum.

290

Janáček, Leoš (CM19c p138-139)
Birth/Death: July 3, 1854 – August 12, 1928
Place of Birth: Hukvaldy, Moravia
Place of Death: Moravská Ostrava, Czech Republic
Nationality/Ethnicity: Czech
Selected Bibliography: Hollander, Hans. Leoš Janáček: His Life and Work. New York: St.
Martin’s Press, 1963.
Ledec, Jan. “Contemporary Czech Choral Music Creation.” The
Choral Journal 21, no. 9 (May 1981): 25–34.
Simeone, Nigel. The Janáček Compendium. Boydell & Brewer,
2019.
Smith, Marion. “A Survey of the Secular Unaccompanied Male-
Voice Choruses of Leoš Janáček.” PhD diss., Washington
University, 1986.
Strimple, Nick. “The Choral Music of Leoš Janáček: An Annotated
Discography.” The Choral Journal 38, no. 9 (April 1998):
47–52.
TIC Brno (website). “Leoš Janáček.”
https://www.leosjanacek.eu/en/.

Hospodine pomiluj ny (CM19 p139)
Alternate Title(s): Lord, Have Mercy; Höre Mich, Herr!; O Lord (Hospodiňe)
118

Larger Work/Collection: N/A
Text Source: Anonymous, tenth – eleventh century Czech
Original Language: Czech
Voicing and Range: 2 SSATB; soli SATB

Accompaniment: 3 tpt; 4 trbn; tuba; hp; org
Meter: 3/2
Opening Tempo: Moderato
Beginning Key/Mode: G major

118
Hollander, Leoš Janáček, 211.
291

Ending Key/Mode: G major
Opening Texture: pp, instr. (brief)
Closing Texture: pp, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1896
Sacred/Secular: Sacred
Liturgical Use: Lent
Theme(s): Jesus Christ, Mercy, Peace, Listen, Voices
Musical Type: Anthem
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag, 1977 (Czech/German)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Brno Philharmonic Choir and Czech Philharmonic, Faure Requiem
/ Janáček Otče náš / Zdrávas Maria / Hospodine!, conducted by
Petr Fiala, ArcoDiva, 2012.
Czech Philharmonic Chorus, Janáček: The Eternal Gospel,
conducted by Jiri Pinkas, Supraphon, 1965.
Selected Bibliography: Simeone, Nigel. “Dictionary.” In The Janáček Compendium, 7-244.
Boydell & Brewer, 2019.
Smith, Marion. “A Survey of the Secular Unaccompanied Male-
Voice Choruses of Leoš Janáček.” PhD diss., Washington
University, 1986.
Strimple, Nick. “The Choral Music of Leoš Janáček: An Annotated
Discography.” The Choral journal 38, no. 9 (April 1998): 47–52.

Complete Text:

English Translation:
Hospodine, pomiluj ny!
Jezu Kriste, pomiluj ny!
Ty Spase všeho míra,
spasiž ny, i uslyšiž,
Hospodine, hlasy našě!
Daj nám všem, Hospodine,
žizň a mír v zemi;
žizň a mír v zemi.
Krleš! Krleš! Krleš!
Lord! have mercy upon us.
Jesus Christ! have mercy upon us.
Thou, Saviour of the whole world,
Save us, and listen,
Lord! to our voices.
Give us all, O Lord,
Plenteousness and peace on earth.
Plenteousness and peace on earth.
Kyrie Eleison!
119

119
Translation by John Bowring (public domain).
292

Insights & Performance Issues:
In his Choral Journal Article on the choral music of Janáček, Strimple writes, “This highly
personalized arrangement of an ancient Czech hymn was written for the choir of the Brno
Teachers Training Institute.”
120

Marion Smith writes about Janáček’s interest in folk music in her dissertation, “The total
assimilation of folk song techniques were incorporated into what can be labeled a “new style”,
which is characterized by ostinato rhythms, short melodic fragments in juxtaposition, a
prevalence of modality, and unusual harmonic progressions. These characteristics can be seen in
several choral works from this period; the cantata “Amarus” (1887), a setting of “Hospodine
pomiluj ny” (Lord Have Mercy Upon Us, 1896), and “Otcencis” (Lord's Prayer, 1901).”
121

More specifically, In The Janáček Compendium, Nigel Simeone speaks to the text and style of
the work, “A translation of ‘Kyrie eleison’, it is the oldest known song in Czech. The musical
elements of Janaček’s work give it a distinctly Pan-Slavic flavour: though the text is in Czech,
the style of the setting closely resembles that of Russian Orthodox chant rather than Czech
hymnody.”
122

The accompaniment of organ, harp and brass paired with double chorus and soli quartet provides
opportunities to use the acoustics of the performance space to assist in the musical experience.
The conductor should keep balance in mind when considering the placement of the various
instruments and voices.

The tenor part is featured in both the soli quartet and in Choir I. Choir II repeats the same chords
in each entrance and is consistently doubled by the brass providing text to the brass fanfare. This
excludes the piano final phrase of the repeated “Kyrie.”

Rhythmic accuracy in the triplet and duplet rhythms may require rehearsal attention, especially
when combined with the full accompaniment.

120
Strimple, “The Choral Music of Leoš Janáček,” 48.
121
Smith, “A Survey of the Secular Unaccompanied Male-Voice Choruses of Leoš Janáček,” 11.
122
Simeone, The Janáček Compendium, 172.
293

Lewandowski, Lewis (CM19c p144-146)
Birth/Death: April 3, 1821 – 1894
Place of Birth: Wreschen, Poland
Place of Death: Berlin, Germany
Nationality/Ethnicity: German
Selected Bibliography: Duffy, Coreen S. “Synagogue Choral Music of Nineteenth-century
Vienna, Paris, and Berlin: Its Repertoire and History.” DMA
diss., University of Southern California, 2014.
Nemtsov, Jascha, and Hermann Simon. Louis Lewandowski: “Love
Makes the Melody Immortal!” Berlin: Hentrich & Hentrich,
2011.
Walden, Joshua S., ed. The Cambridge Companion to Jewish
Music. Cambridge Companions to Music. Cambridge:
Cambridge University Press, 2015.

Psalm 150 (CM19 p144)
Alternate Title(s): Haleluyaw; Hallelujah; Hallalujoh
Larger Work/Collection: Todah W'Simrah (Thanksgiving and Song)
Text Source: Psalm 150
Original Language: Hebrew
Voicing and Range: SATB

Accompaniment: Org ad lib
Meter: Common Time
Opening Tempo: Allegro maestoso
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: f, tutti
Closing Texture: ff, tutti
Approximate Duration: 2:30
Date of Composition: 1882
Sacred/Secular: Sacred
Liturgical Use: Judaism: Morning Service for Daily Synagogue Service; Rosh
Hashanah, “Musaf” liturgy
RCL: General; Year C Second Sunday of Easter
Theme(s): Praise, Song, Dance, Joy
Musical Type: Anthem
Editions, Arrangements,
and Publications:
Broudes Brothers, ed. Joshua Jacobson (Hebrew/English)
H.W. Gray, arr. N. Lindsay Norden (English, IMSLP)
Transcontinental Music (Hebrew/English)
Alternate Voicings/
Instr. Arrangements:
Brass Band, transcr. Carlton King; Score Exchange
294

Collections/Anthologies: None Found
Selected Discography: Hamburg St. Michaelis Boys Choir, Die Stimme der Synagoge,
conducted by Andor Izsák, Bella musica, 2016.
Selected Bibliography: Duffy, Coreen S. “Synagogue Choral Music of Nineteenth-century
Vienna, Paris, and Berlin: Its Repertoire and History.” DMA
diss., University of Southern California, 2014.
Nash, Ethan D. “Choral Music: A Conductor’s Guide to Bloch’s
Avodath Hakodesh, Bernstein’s Chichester Psalms and Other
Works.” DMA diss., University of Hartford, 2007.

Complete Text:

English Translation:
Haleluyoh halelú eil bekawdshó
Halelúhu birkía uzó,
Halelúhu bigvurosáwv,
Halelúhu keróv gudló.

Halelúhu beséyka shofáwr.
Halelúhu benéyvel vechinór.
Halelúhu besóf umawchól.
Halelúhu beminím veugáwv.

Halelúhu betsiltseléy sháwma.
Halelúhu betsiltseléy sruáw.
Kawl haneshawmáw tehalél yaw,
Haleluyáw.
Praise God (‘el in Hebrew) in ‘his’ holiness
Praise ‘him’ in ‘his’ powerful vault!
Praise ‘him’ for ‘his’ heroic actions
praise ‘him’ in light of ‘his’ glorious greatness!

Praise ‘him’ with shofar sound
praise ‘him’ with stringed harp!
Praise ‘him’ with tambourine and with dance;
praise ‘him’ with strings and pipe!

Praise ‘him’ with cymbal sound
praise ‘him’ with crashing cymbals!
Let all that breathes praise YHWH!
Praise YAH!
123

Insights & Performance Issues:
Lewandowski has two settings on Psalm 150, both in D Major. This setting, No. 202, can be
sung with organ or a cappella.

Coreen Duffy describes the opening texture in her dissertation, “The triumphant D-major
arpeggio at the opening of Lewandowski’s famous Hallalujoh, No. 202, as well as the octave
leaps on D in the bass in measures 5-6, emulate trumpets heralding the grandeur of God. The
alternation between men’s voices and tutti in a call-and-response format, beginning in measure
7, on the text, “Praise God for His mighty acts,” emphasizes and re-emphasizes the number and
power of God’s acts.”
124

In m. 7, a triplet figure is introduced. The conductor should be consistent in rehearsal to keep the
rhythms of the triplets and the duplet eighth notes distinct.

The unison octaves found in the opening phrase, continue in m. 14 as the alto and bass sections
sing together. Four measures later, this motif is echoed a major third higher by the sopranos and
tenors.

123
Translation by John Holbert ©2021, used with permission.
124
Duffy, “Synagogue Choral Music of Nineteenth-century,” 107.
295

A new arpeggiated theme is introduced in m. 23 in the soprano. The tenor sings the same motif
in imitation while the alto and bass sections sing a short counter harmony. The descending
octave in the bass may require sectional rehearsal for pitch accuracy. The roles are reversed in
m. 32 when the altos and basses sing the melody.

A new musical motif begins in m. 40, first sung by the tenor and bass, then six measures later by
the sopranos and altos. The counter harmony for the bass section involves repeated octave leaps
that may require additional rehearsal attention.

The opening material returns in m. 54 and is followed by a short, declamatory coda. The
Transcontinental edition includes an accel. marking five measures from the end. This marking is
not found in the Broudes Brothers or H.W. Gray editions.

296

Liszt, Ferenc (Franz) (CM19c p140-142)
Birth/Death: October 22, 1811 – July 31, 1886
Place of Birth: Raiding, (Doborján), Austria
Place of Death: Bayreuth, Germany
Nationality/Ethnicity: Hungarian
Selected Bibliography: Friddle, David. “Franz Liszt and Hector Berlioz: Conducting,
Interpretation and Two Underappreciated Legacies.” American
Choral Review 58, no. 1 (Fall 2019), 1-13.
Grothkopp, William. “Liszt as a Choral Composer: An Analysis of
Missa choralis (1865), The Legend of St. Elizabeth (1862),
Christus (1867), The Via crucis (1878-79).” DMA diss., Stanford
University, 1961.
Liebergen, M. Patrick. “The Cecilian Movement in the Nineteenth
Century.” The Choral Journal 21, no. 9 (May 1981): 13-16.
Merrick, Paul. Revolution and Religion in the Music of
Liszt. Cambridge: Cambridge University Press, 1987.
Michael Saffle. Franz Liszt: A Research and Information Guide.
Taylor and Francis, 2013.
Pesce, Dolores. “Liszt’s sacred choral music.” In The Cambridge
Companion to Liszt, edited by Kenneth Hamilton, 223–48.
Cambridge: Cambridge University Press, 2005.
Woodward, Ralph. “The Large Sacred Choral Works of Franz
Liszt.” DMA diss., University of Illinois, 1964.

Pater noster III, S41 (CM19c p141)
Alternate Title(s): Our Father; The Lord’s Prayer
Larger Work/Collection: N/A
Text Source: Bible: Matthew 6:9-13
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Organ
Meter: Common Time
Opening Tempo: Lento
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: mf, instr. (brief)
Approximate Duration: 3:00
Date of Composition: 1869
Sacred/Secular: Sacred
Liturgical Use: General
297

Theme(s): Lord’s Prayer, Prayer, Father, Forgiveness, Heaven
Musical Type: Motet
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Günter Graulich, 1986
CPDL
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Gloriae Dei Cantores, Faith of My Heart: Sacred Choral Music of
Franz Liszt, conducted by Elizabeth C. Patterson, Gloriae Dei
Cantores, 2010.
Radio Svizzera Choir, Lugano, Liszt: Sacred Choral Music,
conducted by Diego Fasolis, Naxos, 1997.
Selected Bibliography: Pesce, Dolores. “Liszt’s sacred choral music.” In The Cambridge
Companion to Liszt, edited by Kenneth Hamilton, 223–48.
Cambridge: Cambridge University Press, 2005.

Complete Text:

English Translation:
Pater noster, qui es in coelis;
sanctificetur nomen tuum;
adveniat regnum tuum;
fiat voluntas tua,
sicut in coelo et in terra.

Panem cotidianum da nobis hodie;
et dimitte nobis debita nostra,
sicut et nos dimittimus debitoribus nostris;

et ne nos inducas in tentationem;
sed libera nos a malo.
Amen.
Our Father, which art in heaven,
hallowed be thy name;
thy kingdom come;
thy will be done,
on earth as it is in heaven.

Give us this day our daily bread.
And forgive us our trespasses,
as we forgive them that trespass against us.

And lead us not into temptation,
but deliver us from evil.
Amen.

Insights & Performance Issues:
Liszt composed multiple settings of the Pater noster text. This setting is dedicated to J. Laussot
and the Cherubini Choral Society and two arrangements exist: one for mixed chorus with organ,
one for men’s chorus with organ or harmonium or piano.
125

The organ accompaniment supports the choir harmonically throughout the work, playing simple
chord changes and sustaining or resting until the chord changes. This light support increases
accessibility for choirs not as comfortable singing a cappella.

Most of the tonal shifts are accomplished gradually through intuitive, stepwise part writing. An
exception being mm. 8-9 (F-Eb) that may require additional rehearsal attention.

125
Pesce, “Liszt’s sacred choral music.” In The Cambridge Companion to Liszt, 243.
298

The dynamics range from pianissimo to forte, transitioning quickly in mm. 12, 16, and 20. The
conductor should be attentive to the crescendos and decrescendos written throughout to assist in
shaping each phrase.

A short motet well-suited to introduce the choral music of Franz Liszt to choral ensembles and
audiences. The homophonic, chromatic part-writing create an opportunity for sight-reading and
intonation exercises.

Pater noster IV, S22, RV 520 (CM19c p141)
Alternate Title(s): Our Father; The Lord’s Prayer
Larger Work/Collection: N/A
Text Source: Bible: Matthew 6:9-13
Original Language: Latin
Voicing and Range: SATB

Accompaniment: org
Meter: Cut time
Opening Tempo: Andante pietoso
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: p, tutti
Closing Texture: ff, tutti
Approximate Duration: 2:00
Date of Composition: Unknown
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Lord’s Prayer, Prayer, Father, Forgiveness, Heaven
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Günter Graulich, 1986

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Geistliches Chorbuch der Romantik, ed. Wolfgang Helbich & Ernst
Herzog, Carus-Verlag
Selected Discography: None Found
Selected Bibliography: Pesce, Dolores. “Liszt’s sacred choral music.” In The Cambridge
Companion to Liszt, edited by Kenneth Hamilton, 223–48.
Cambridge: Cambridge University Press, 2005.

299

Complete Text:

English Translation:
Pater noster, qui es in coelis;
sanctificetur nomen tuum;
adveniat regnum tuum;
fiat voluntas tua,
sicut in coelo et in terra.

Panem cotidianum da nobis hodie;
et dimitte nobis debita nostra,
sicut et nos dimittimus debitoribus nostris;

et ne nos inducas in tentationem;
sed libera nos a malo.
Amen.
Our Father, which art in heaven,
hallowed be thy name;
thy kingdom come;
thy will be done,
on earth as it is in heaven.

Give us this day our daily bread.
And forgive us our trespasses,
as we forgive them that trespass against us.

And lead us not into temptation,
but deliver us from evil.
Amen.

Insights & Performance Issues:
A chant-style motet that alternates short sections with unison octaves and four-part harmony.

The motet is set with primarily brief, two measure phrases with each phrase containing one or
two words, each divided by a quarter rest. The conductor should be attentive to the forward
motion or lack thereof.

The dynamic level is piano for most of the work with a crescendo to forte halfway through in
mm. 21-25, again in m. 52, and fortissimo for the closing “Amen.” Each of these crescendos are
gradual and will benefit from the conductor encouraging proper breath management throughout.

The brevity of the work, and short phrases, make the work a suitable introduction to chant style
singing. For further variety, the unison sections could be sung by a soli quartet or solo leader.

300

Lvov, Aleksei Fyodorovich (CM19c p149)
Birth/Death: May 25/June 5, 1798 – December 16/28, 1870
Place of Birth: Reval (now Tallinn), Estonia
Place of Death: Near Kovno (now Kaunas), Lithuania
Nationality/Ethnicity: Russian
Selected Bibliography: Dunlop, Carolyn C. The Russian Court Chapel Choir, 1796-
1917. Amsterdam: Harwood Academic Publishers, 2000.
Morosan, Vladimir. Choral Performance in Pre-Revolutionary
Russia. Ann Arbor, Mich: UMI Research Press, 1986.
Musica Russica (website). “Aleksei Lvov (1798-1870).”
“http://www.musicarussica.com/composers/aleksei-lvov

It Is Truly Fitting, No. 3 (CM19c p149)
Alternate Title(s): Достойно есть No. 3; Dostoino est' No. 3
Larger Work/Collection: No. 14 from Polnoye sobraniye dukhovno-muzїkal’ nїkh sochineny
A. L’vova (The complete collected sacred musical works of A. Lvov)
Text Source: Divine Liturgy
Original Language: Church Slavonic
Voicing and Range: SATTBB

Accompaniment: Unaccompanied
Meter: None (Chant)
Opening Tempo: None Given
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: mp, tutti
Closing Texture: mp, tutti
Approximate Duration: 1:30
Date of Composition: Unknown
Sacred/Secular: Sacred
Liturgical Use: Liturgy of St. Basil the Great; Major Feasts; Paschaltide
(Eastertide); Divine Liturgy of St. John Chrysostom
Theme(s): Mother of God,
Musical Type: Chant (Greek)
Editions, Arrangements,
and Publications:
A. Gutheil, 1887 (Orthodox Sacred Music Reference Library)
CPDL
Musica Russia, ed. Ruggieri and Morosan, 1991
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series; Musica Russica,
1991
301

Selected Discography: None Found
Selected Bibliography: Morosan, Vladimir. Notes to It is Truly Fitting, by Aleksei
Fyodorovich Lvov, 2. Edited by Vladimir Morosan. Encinitas,
CA: Musica Russica, 1991.

Complete Text:

English Translation:
Дoстoйно есть, яко воистину, блажити Тя
Богорoдицу, присноблажeнную и
пренепоро
́ чную,
и Мaтерь Бoга нaшего.
Честнѣйшую Херувимъ
и слaвнѣйшую безъ сравненiя ерафимъ,
безъ истлѣнiя Бо
́ га Слова рождшую,
сущую Богородицу Тя величаемъ.
It is truly fitting to bless You, O Theotokos,
ever-blessed and most pure,
and the Mother of our God.
More honorable than the Cherubim
and more glorious beyond compare than the
Seraphim,
without defilement You gave birth to God the
Word; true Theotokos, we magnify You.
126

Insights & Performance Issues:
The Musica Russica edition contains editorial measure numbers to assist with phrasing and text
accentuation.
127
This includes the opening that begins with a group of one written to avoid
accenting the first syllable of the word Дoстoйно (Dostóyno).

The main musical material is constructed in the first thirteen measures with primarily stepwise
motion in the voices. The opening material returns in m. 14 with a modulation in mm. 23-25 to
E minor cadencing in m. 26 to G major.

Much of the alto line is a repeated G4, and the tenors sing in dissonance on F4 in mm. 5, 9, and
11 and again in mm. 18, 22, and 29. In the Musica Russica edition, m. 29 is missing a natural
sign on the F4 in the right hand of the piano reduction. The other occurrences of the musical
motif are marked correctly in the reduction.

In contrast to the prior material, the altos sing a G#4 for the first time in m. 30, three measures
from the end. The result is an E major chord (V of ii) that sounds briefly before ending in G
Major.

A short, Russian chant-style work with an accessible voice range in all parts, including the low
bass. Also, a suitable setting for teaching chant or mixed meter in a conducting class. Musica
Russica offers an audio pronunciation guide.

126
English translation by Vladimir Morosan © 1991, reprinted with permission.
127
The measures numbers referenced in this section are those listed in the Musica Russica edition.
302

Of the Mystical Supper (CM19c p149)
Alternate Title(s): Of Thy Mystical Supper; Вечери Твоея тайиыя; Vecheri Tvoeia
tainyia
Larger Work/Collection: No. 23 from Polnoye sobraniye dukhovno-muzїkal’ nїkh sochineny
A. L’vova (The complete collected sacred musical works of A. Lvov)
Text Source: Liturgy of Great and Holy Thursday
Original Language: Church Slavonic
Voicing and Range: SATBB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Adagio
Beginning Key/Mode: C minor
Ending Key/Mode: C minor
Opening Texture: pp, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:30 (concert portion), 3:30 (full)
Date of Composition: n.d.
Sacred/Secular: Sacred
Liturgical Use: Holy Thursday
Theme(s): Holy Sacrament, Acceptance, Confession
Musical Type: Motet
Editions, Arrangements,
and Publications:
A. Gutheil, 1887 (OSMRL)
Musica Russica, ed. Vladimir Morosan, 1991
Alternate Voicings/
Instr. Arrangements:
SAB, arr. Howard D. McKinney; J. Fischer & Bro, 1967
Collections/Anthologies: Galuppi to Vorotnikov: Music of the Russian Court Chapel Choir I,
ed. Carolyn C. Dunlop, Routledge, 2000
One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series, Musica Russica,
1991
Selected Discography: Choir of the Moscow Church, Chants of the Russian Orthodox
Church: Lent and Holy Easter, conducted by Nikolai Matveyev,
Мелодия, 1987.
St. John the Baptist Church Choir, We Sing Unto Thee, IM Lab,
2005.
Selected Bibliography: Morosan, Vladimir. Notes to Of Thy Mystical Supper, by Aleksei
Fyodorovich Lvov, 2. Edited by Vladimir Morosan. Encinitas,
CA: Musica Russica, 1991.

303

Complete Text:

English Translation:
Вечери Твоея тайиыя днесь, Сыне Божiй,
причастника мя прiими:
не бо врагомъ Твоимъ тайну повѣмъ,
ни лобзанiя Ти дамъ, яко Iуда,
но яко разбойникъ исповѣдаю Тя:
помяни мя, Господи, во царствiи Твоемъ.
Aллилуiя, aллилуiя, aллилуiя.
Aминь.
Of Thy Mystical Supper, O Son of God,
accept me today as a partaker;
for I will not speak of Thy mystery to Thine
enemies,
neither like Judas will I give Thee a kiss,
but like the thief will I confess Thee:
“'Remember me, O Lord, in Thy Kingdom.”
128

Insights & Performance Issues:
In the Notes section of the Musica Russica edition, editor Vladimir Morosan provides insight
into how the sections of the work are to be used in a liturgical and concert settings, “…mm. 1-28
are to [be] performed in place of the Cherubic Hymn (several times, if necessary) until the great
entrance. The celebrant's exclamation is followed by "Amen," after which mm. 46- 61 are sung.
When performed as the Communion Hymn, mm. 1-28 are followed by mm. 29-43, which
concludes the hymn. As the post-Communion, "Amen" is sung, followed by mm. 46-61. (In a
concert performance only mm. 1-43 should be performed.)”
129

The Bass II part is simply the Bass I part sung down the octave for the entirety of the work.

The increased chromaticism in mm. 15-19 includes a chain of secondary dominant chords that
may require additional rehearsal time due the harmonic shifts.

A chain of suspensions, full of dissonance, is found in mm. 35-43. This section includes a
difficult arpeggio figure in the bass lines and ends with a cadential extension. The entire section,
mm. 29-42 is repeated in mm. 46-end with different text. The fragmentation of musical ideas
makes the work a suitable choice for liturgical settings that may be interjected with readings.

Standing Before the Cross (CM19c p149)
Alternate Title(s): Предстояще Кресту; Predstoiashche Krestu
Larger Work/Collection: No. 34 from Polnoye sobraniye dukhovno-muzїkal’ nїkh sochineny
A. L’vova (The complete collected sacred musical works of A. Lvov)
Text Source: Sticheron Stavrotheotokion
Original Language: Church Slavonic
Voicing and Range: SATBB

Accompaniment: Unaccompanied
Meter: None

128
English translation by Vladimir Morosan © 1991, reprinted with permission.
129
Morosan, Notes to Of Thy Mystical Supper, by Aleksei Fyodorovich Lvov, 2.
304

Opening Tempo: Moderato
Beginning Key/Mode: E minor
Ending Key/Mode: G major
Opening Texture: p, tutti
Closing Texture: p, tutti
Approximate Duration: 2:00
Date of Composition: Unknown
Sacred/Secular: Sacred
Liturgical Use: Wednesday Matins, fourth week of Lent
Theme(s): Mary, Suffering, Grief, Jesus Christ, Crucifixion
Musical Type: Miniature Sacred Concerto
Editions, Arrangements,
and Publications:
A. Gutheil, 1887 (Orthodox Sacred Music Reference Library)
Musica Russica, ed. Vladimir Morosan, 1991
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series, Musica Russica,
1991.
Selected Discography: Chamber Choir of the Musical Theatre of Moscow, Music of the
Eastern Church: Hymns to the Mother of God of the Russian
Orthodox Church, conducted by Boris Pevsner, Cantica, 1995.
Selected Bibliography: Morosan, Vladimir. Notes to Standing Before the Cross, by Aleksei
Fyodorovich Lvov, 2. Edited by Vladimir Morosan. Encinitas,
CA: Musica Russica, 1991.

Complete Text:

English Translation:
Предстояще Кресту
неискусобрачная Мати
отъ Нея безъ сѣменно pождшагося,
взываше:
мѣчъ сердце мое пройде, о Сыне!
нетерпящи повѣшена на древѣ тя
зрети,
eгоже трепещутъ всяческая,
яко Создателя и Бога.
Долготерпѣливе, слава Тебѣ.
Standing before the Cross,
the Mother who had not known wedlock
cried unto Him who was born of her without
seed:
"A sword has pierced my heart, O my Son!
I cannot bear to see Thee hanging upon the
wood,
before whom all creation trembles
as before the Creator and God!"
O long-suffering One, glory to Thee!
130

130
English translation by Vladimir Morosan © 1991, reprinted with permission.
305

Insights & Performance Issues:
In the Notes of his Musica Russica edition, Vladimir Morosan provides performance insights,
“The style and expressive character of this work suggest that it was intended for performance as
a sacred concerto at the Divine Liturgy or in concerts of sacred music which were known to take
place at the Imperial Court, rather than in the context of the Lenten service.”
131

The Musica Russica edition contains editorial measure numbers to assist with phrasing and text
accentuation.
132
Most of the phrases are grouped in beats of 2, 4, or 6. Odd number groupings
are found in mm.7, 9, 21, 23, 35. Also of note is m. 18 which is a grouping of 12 beats.

Beginning in E minor, the work goes through several tonal shifts. The conductor should be
attentive to the deceptive cadence in m. 5, the F ♮ in the alto part in m. 9 leading to G major, and
the double tritone in m. 12. The only flat in the work is in the alto part in m. 28. The
composition ends in the key of G major.

The Bass II part is simply the Bass I part sung down the octave for the entirety of the work.
A low B1 occurs once in m. 20, while the low C2 is sung consistently.

Overall, the brief composition is a nice introduction to the nineteenth-century Sacred Concerto
genre, especially if the choir has a Bass II section with an extended low range.

131
Morosan, Notes to Standing Before the Cross, by Aleksei Fyodorovich Lvov, 2.
132
The measures numbers referenced in this section are those listed in the Musica Russica edition.
306

MacDowell, Edward (CM19c p206)
Birth/Death: December 18, 1860 – January 23, 1908
Place of Birth: New York, NY
Place of Death: New York, NY
Nationality/Ethnicity: American
Selected Bibliography: Bomberger, E. Douglas. Very Good for an American: Essays on
Edward MacDowell. Melton: Boydell & Brewer, 2018.
Gilman, Lawrence. Edward MacDowell. New York: Da Capo
Press, 1908.
Lehman, Donna Hollister. “The Choral Music of Edward
MacDowell.” master’s thesis. University of South Carolina,
1991.
Malham, Charles Vincent. “Eighteen Part Songs for Male Chorus of
Edward MacDowell.” PhD diss., Laval University, 1977.
Wilson, Gary Paul. “A Conductor's Analysis of Edward
MacDowell's Original Choral Music for Mixed Voices and
Women's Voices, and Arrangements for Men's Voices.” DMA
diss., University of Nebraska, 2004.

“The Brook” (CM19c p206)
Alternate Title(s): N/A
Larger Work/Collection: No. 1, Two Northern Songs, Op. 43
Text Source: Edward MacDowell
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 6/8
Opening Tempo: Allegretto
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:30
Date of Composition: 1891
Sacred/Secular: Secular
Theme(s): Crying, Laughing, Life, Stream, Water
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Arthur P. Schmidt, 1891 (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
307

Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
Selected Discography: Los Angeles Chamber Singers, Shenandoah: An American
Chorister, 1890-1990, conducted by Peter Rutenberg, Klavier,
2004
Selected Bibliography: Library of Congress. “Article: “Two Northern Songs, Op. 43: No. 1,
The Brook; No. 2, Slumber Song” by Edward MacDowell.”
https://www.loc.gov/item/ihas.200185391/
Wilson, Gary Paul. “A Conductor's Analysis of Edward
MacDowell's Original Choral Music for Mixed Voices and
Women's Voices, and Arrangements for Men's Voices.” DMA
diss., University of Nebraska, 2004.

Complete Text:

In sunlight and shadow
Thro’ forest and field,
Laughing and crying,
Softly sighing
A tiny stream shallow
Runs on.
From stream-let to river
Till lost in the ocean
Dreaming of love,
Of strife, of devotion
So runs our life
So ends our life of emotion.

Insights & Performance Issues:
For an in-depth analysis, see Gary Wilson’s dissertation listed above. He describes the overall
form as Binary with a coda that includes monophonic modulation used to connect the A and B
sections.
133

The short composition contains difficult harmonic progressions, especially in the A sections.
The chromaticism in the tenor, switching back and forth from B ♮ to Bb will need to be precise
for overall intonation.

The B section, mm. 9-20, features moving lines in imitation in the alto and bass lines while the
sopranos and tenors hold a single pitch in unison octaves. The added C# and B ♮ move the tonal
center to D Major in m. 10. This is followed in the next phrase by a shift to A major. The
moving eighth notes in the bass and alto and the shifting tonal center will require additional
rehearsal attention.

The A section returns in m. 20, in D major where it remains. The soprano section is given the
melody again and similar chromaticism as the beginning.

The Coda includes the soprano and bass singing on “Ah!” while the text is given to the alto and
tenor. In the A section and the Coda, the soprano line includes a grace note figure that may
require additional rehearsal attention.

133
Wilson, “A Conductor's Analysis of Edward MacDowell's Original Choral Music,” 71.
308

“Slumber Song” (CM19c p206)
Alternate Title(s): N/A
Larger Work/Collection: No. 2, Two Northern Songs, Op. 43
Text Source: Edward MacDowell
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 2/4
Opening Tempo: Very slowly and softly
Beginning Key/Mode: F# minor
Ending Key/Mode: F# minor
Opening Texture: p, tutti
Closing Texture: ppp, tutti
Approximate Duration: 1:30
Date of Composition: 1891
Sacred/Secular: Secular
Theme(s): Winter, Snow, Wind
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Arthur P. Schmidt (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Los Angeles Chamber Singers, Shenandoah: An American
Chorister, 1890-1990, conducted by Peter Rutenberg, Klavier,
2004
Selected Bibliography: Library of Congress (website). “Article: ‘Two Northern Songs, Op.
43: No. 1, The Brook; No. 2, Slumber Song’ by Edward
MacDowell.” https://www.loc.gov/item/ihas.200185391/
Wilson, Gary Paul. “A Conductor's Analysis of Edward
MacDowell's Original Choral Music for Mixed Voices and
Women's Voices, and Arrangements for Men's Voices.” DMA
diss., University of Nebraska, 2004.

Complete Text:

Frozen is the ground,
The stream’s ice bound,
Softly the north wind croons.
Drowsy, sleepily
Falls the snow
As the frost king carves his runes.
Misty dreamland’s
Moon lit strand
Awaits the coming guest.
The pin logs smoulder,
As soft on my shoulder
A flaxen head sinks to rest.
309

Insights & Performance Issues:
For an in-depth analysis, see Gary Wilson’s dissertation listed above.

The second song in the set is more accessible than the first song, “The Brook”, but the
chromatism, especially in the inner voices, will require rehearsal time.

In slow, four bar phrases, the sopranos sing the melody while the lower three voices hum the
entire work. Without words, the chorus may lose a sense of rhythm and timing of phrases. The
conductor should encourage increased listening and internalizing the pulse.

Wilson describes the harmony and harmonic progression as “…highly chromatic, and the
tonality is restless throughout. The piece begins on a minor iv chord. The first minor tonic chord
occurs in the third measure, followed by a major I in the fourth measure. Although the Bass
alone looks functional, the inner voices make the progression coloristic. Few chords are in root
position, and chromatic alteration is common (m. 21-24).”
134

Primarily duplet rhythms with triplet figures in mm. 3 and 19 and dynamic markings ranging
from p to ppp.

134
Wilson, “A Conductor's Analysis of Edward MacDowell's Original Choral Music,” 74.
310

Macfarren, George Alexander (CM19c p106-107)
Birth/Death: March 2, 1813 – October 31, 1887
Place of Birth: London, England
Place of Death: London, England
Nationality/Ethnicity: English
Selected Bibliography: Banister, H. C. “The Life and Work of Sir G. A. Macfarren.”
Proceedings of the Musical Association 14, no. 1 (1887): 67–88.
Temperley, Nicholas, ed. Music in Britain: The Romantic Age
1800-1914. London: The Athlone Press, 1981.

“Orpheus, with his lute” (CM19c p107)
Alternate Title(s): N/A
Larger Work/Collection: Shakespeare Songs for Four Voices
Text Source: William Shakespeare (1564-1616) from King Henry VIII
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: quarter note = 116
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 4:30
Date of Composition: 1860-64
Sacred/Secular: Secular
Theme(s): Death, Lute, Music, Nature, Orpheus, Sleep
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Banks Music Publications
CPDL
J. Curwen & Sons, 1901
Novello
W. Paxton & Co., 1934
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: English Romantic Partsongs, ed. Paul Hillier, Oxford University
Press
Novello Part-Song Book (2
nd
Series), Vol 1, no. 49, 1869 (IMSLP)
Seven Shakespeare Songs, ed. Paul Hillier, Theatre of Voices, 2008
The New Novello Part-Song Book, ed. Robert Walker, 1999
311

Selected Discography: VivaVoce, Good Night, Good Night, Beloved …and other Victorian
part songs, conducted by Peter Schubert, ATMA Classique,
2012
Selected Bibliography: Hurd, Michael. “Glees, Madrigals, and Partsongs.” In Music in
Britain: The Romantic Age 1800-1914, edited by Nicholas
Temperley, 242-265. London: The Athlone Press, 1981.

Complete Text:

Orpheus, with his lute, made trees
And the mountain tops that freeze
Bow themselves, when he did sing;
To his music plants and flowers
Ever sprung, as sun and showers
There had made a lasting spring;
Every thing that heard him play,
Even the billows of the sea,
Hung their heads and then lay by.
In sweet music is such art,
Killing care and grief of heart.
Fall asleep, or, hearing, die.

Insights & Performance Issues:
The part-song contains clear harmonic shifts in its ABA form:
A section
mm. 1-16, F major
B section
mm. 17-24, C major
mm. 25-28, transition
mm. 29-37, A minor
mm. 37-44, transition
A section
mm. 45-64, F major
mm. 64-79, F major

In the A sections, dissonance occurs between the soprano and the tenor in mm. 12 and 56 that
may require additional rehearsal attention. The bass entrance on G2 in mm. 7 and 51 is also
challenging with the dissonance created by the sopranos A4, and the prior extended tacet with
the last sung pitch being F3.

The sfp in m. 33 is found in all voice parts on the word “hung.” The conductor should determine
when to close to the “ng” early in the rehearsal process.

The tonal transition measures in the B section include added chromaticism and dissonance. The
second transition features the tenors in mm. 41-44 that may require sectional rehearsal as their
soli line leads the chorus back to F major.

Text painting with the words “Fall asleep, or, hearing, die” Macfarren lengthens the phrases in
the coda. The conductor should be attentive to offbeat entrances to create clean onsets.

312

MacKenzie, Alexander Campbell (CM19c p110-111)
Birth/Death: August 22, 1847 – April 28, 1935
Place of Birth: Edinburgh, Scotland
Place of Death: London, England
Nationality/Ethnicity: Scottish
Selected Bibliography: Barker, Duncan James. “The Music of Sir Alexander Campbell
Mackenzie (1847-1935): A Critical Study.” PhD diss.,
University of Durham, 1999.
Purser, John. “The Withdrawing Room and the Concert Hall 1820-
1920.” In Scotland’s Music: A History of the Traditional and
Classical Music of Scotland from Early Times to the Present
Day, 245-272. Edinburgh: Mainstream Publishing, 2007.

“Autumn” (CM19c p111)
Alternate Title(s): N/A
Larger Work/Collection: No. 3, 7 Part-songs, Op. 8
Text Source: Nathaniel A. Haven (1790-1826)
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Molto lento
Beginning Key/Mode: Ab major
Ending Key/Mode: Ab major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 4:00
Date of Composition: 1879
Sacred/Secular: Secular
Theme(s): Autumn, Flowers, Love
Musical Type: Part-song
Editions, Arrangements,
and Publications:
CPDL
Novello
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Novello’s Partsong Book (Second Series), vol. xii, no. 353
Selected Discography: None Found
Selected Bibliography: Barker, Duncan James. “The Music of Sir Alexander Campbell
Mackenzie (1847-1935): A Critical Study.” PhD diss.,
University of Durham, 1999.
313

Complete Text:

Autumn, I love thy bower
With faded garlands drest;
How sweet, alone to linger there,
When tempests ride the midnight air!
To snatch from mirth a fleeting hour,
The sabbath of the breast!
Autumn! thy fading flowers
Droop but to bloom again;
So man, though doom’d to grief awhile,
To hang on fortune’s fickle smile,
Shall glow in heaven with nobler powers,
Nor sigh for peace in vain.

Insights & Performance Issues:
The part-song is in ABA form with the second A section containing strict repetition of the first.

Throughout the work, a rhythmic contrast is created between a syncopated dotted eighth
followed by a 16th note against straight eighth notes. This syncopation is often found in the
soprano line, but each voice part has the dotted rhythm at least once. The conductor may
consider making the rhythmic figures part of their daily warm-ups.

The tonality shifts consistently, beginning in m. 4 including a difficult harmonic transition in
m.7 with a German augmented 6th to G major. This involves large leaps for the soprano and
bass lines. Both voice parts may benefit from hearing the destination tonality as the penultimate
notes for each part include the seventh and second scale degrees of G major.

The arpeggiated soprano line in mm.11-12 and 29-30 contains difficult leaps that may require
sectional rehearsal. The bass part extends the upper range to E4 in mm. 9 and 27, and bass divisi
occurs twice, mm. 17-18 and mm. 34-35.

Overall, the short part-song contains interesting rhythmic material, chromatism, arpeggiated
lines, and text painting.

314

Makarov, Pavel (CM19c p160)
Birth/Death: Unknown
Place of Birth: Unknown
Place of Death: Unknown
Nationality/Ethnicity: Russian
Selected Bibliography: Ruggieri, Alexander, and Vladimir Morosan. Notes to Angel
vopiyáshe, by Pavel Makarov, 2. Edited by Alexander Ruggieri
and Vladimir Morosan. Encinitas, CA: Musica Russica, 1991.

Angel vopiyáshe (CM19c p160)
Alternate Title(s): Ангел вопияше; The Angel Cried Out
Larger Work/Collection: N/A
Text Source: Divine Liturgy: Paschal Hymn to the Theotokos
Original Language: Church Slavonic
Voicing and Range: SATB; soli SSA

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Allegro moderato
Beginning Key/Mode: A major
Ending Key/Mode: D major
Opening Texture: f, SSA soli
Closing Texture: f, tutti
Approximate Duration: 2:00
Date of Composition: n.d.
Sacred/Secular: Sacred
Liturgical Use: Paschaltide (Eastertide)
Theme(s): Angel, Resurrection, Virgin Mary, Mother of God, Rejoice
Musical Type: Motet
Editions, Arrangements,
and Publications:
Musica Russica, ed. Alexander Ruggieri and Vladimir Morosan
ECS Publishing, ed. Anthony Antolini
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series; Musica Russica,
1991
Selected Discography: Children’s and Youth Choir “Sophia,” Russian Orthodox Music,
conducted by Olga Roussakova, Claves Records, 1998
315

Selected Bibliography: Ruggieri, Alexander, and Vladimir Morosan. Notes to Angel
vopiyáshe, by Pavel Makarov, 2. Edited by Alexander Ruggieri
and Vladimir Morosan. Encinitas, CA: Musica Russica, 1991.

Complete Text:

English Translation:
Ангел вопияше благодатней:
„чистая Дево, радуйся!
И паки реку: радуйся!
Твой Сын воскресе тридневен от
гроба,
и мертвыя воздвигнувый,
людие, веселитеся!“

Свeтися, свeтися, новый Иерусалиме!
Cлава бо Господня на тебе возсия:
ликуй ныне и веселися Сионе!
Ты же, Чистая, красуйся, Богородице,
о востании Рождества Твоего!
The Angel cried out to the Lady Full of Grace:
''Rejoice, O Pure Virgin!
Again I say: Rejoice!
Your Son is risen from His three days in the
tomb!
With Himself he has raised all the dead!
Rejoice, all ye people!"

Shine! Shine! O New Jerusalem!
The glory of the Lord is risen on you!
Exult now and be glad, O Zion!
Be radiant, O Pure Theotokos,
in the Resurrection of your Son!
135

Insights & Performance Issues:
A short composition in two parts.
1. 3-part treble, C major
2. SATB, D Major

The first section 3-part treble solo includes the melody in the Soprano I with the Soprano II and
Alto providing harmony. The dissonance in the part-writing may challenge less experienced
singers.

The second half moves slightly faster with the soprano and alto singing a moving line and the
tenor and bass supporting with pedal tones. While there are some dynamic shifts to rehearse, the
dissonance is diminished in the second half.

The composition includes accessible ranges for the Russian Orthodox genre. A suitable
introduction to the language and sight-reading exercise focusing on dissonance in the upper
voices.

135
English translation by Vladimir Morosan © 1991, reprinted with permission.
316

Mendelssohn-Bartholdy, Felix (CM19c p36-40)
Birth/Death: February 3, 1809 – November 4, 1847
Place of Birth: Hamburg, Germany
Place of Death: Leipzig, Germany
Nationality/Ethnicity: German
Selected Bibliography: Cooper, John Michael and Angela R. Mace. Felix Mendelssohn
Bartholdy: A Research and Information Guide. Routledge: New
York, NY, 2011.
Jessop, Craig Don. “An Analytical Survey of the Unaccompanied
Choral Works for Mixed Voices by Felix Mendelssohn-
Bartholdy.” DMA diss., Stanford University, 1981.
Lee, Pyng-Na. “Psalms of Felix Mendelssohn-Bartholdy.” DMA
thesis, University of Cincinnati, 2000.
Mace, Angela Regina. “Fanny Hensel, Felix Mendelssohn
Bartholdy, and the Formation of the Mendelssohnian Style.”
PhD diss., Duke University, 2013.
Shearer, Clarence Maynard. “A Look at Choral Music in the
Ninetheenth Century (Felix Mendelssohn): PART II.” The
Choral Journal 8, no. 4 (March-April 1968): 24-26.

“Die Nachtigall”, Op. 59, No. 4 (CM19c p39)
Alternate Title(s): The Nightingale
Larger Work/Collection: No. 4, Sechs Lieder (Six Part-Songs), Op. 59
Text Source: Johann Wolfgang von Goethe
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/8
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: Ab major
Ending Key/Mode: Ab major
Opening Texture: p, treble voices
Closing Texture: p, tutti
Approximate Duration: 2:00
Date of Composition: 1843
Sacred/Secular: Secular
Liturgical Use:
Theme(s): Flying, Nightingale, Singing, Springtime, Travel
Musical Type: Part-song, canon
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (6 Lieder), ed. Julius Rietz (IMSLP)
C.F. Peters
317

CPDL
Hinshaw Music, ed. Ray Robinson
National Music Publishers, ed. Lynn Gackle
Schott Music
Pavane Publishing, ed. Peter Aston
Walton Music, arr. Geoffrey Mason
Alternate Voicings/
Instr. Arrangements:
SAB, arr. Russel Robinson, Walton Music
Collections/Anthologies: 28 Choruses, Op. 41, 59, 88, 100, C.F. Peters
Three Choral Songs, ed. Peter Aston, Pavane Publishing
Selected Discography: RIAS Kammerchor, Mendelssohn Lieder, Choral Works, Opp. 41,
48, 59, 88 & 100, conducted by Hans-Christoph Rademann,
Harmonia Mundi, 2008.
MDR Leipzig Radio Chorus, Mendelssohn: Choral Music – Opp.
41, 48, 50, 59, 75, 88, 100, conducted by Horst Neumann,
Classical, 1971.
Netherlands Chamber Choir, Felix Mendelssohn – Sechs Lider im
Freien zu singen, Op. 59, conducted by Uwe Gronostay, Globe,
1992.
Selected Bibliography: Jessop, Craig Don. “An Analytical Survey of the Unaccompanied
Choral Works for Mixed Voices by Felix Mendelssohn-
Bartholdy.” DMA diss., Stanford University, 1981.

Complete Text:

English Translation:
Die Nachtigall, sie war entfernt,
Der Frühling lockt sie wieder;
Was neues hat sie nicht gelernt,
Singt alte, liebe Lieder.
The nightingale was far away,
But the spring has tempted her once again;
She has not learned anything new,
So sings old, beloved songs.
136

Insights & Performance Issues:
Mendelssohn sets the single stanza of Goethe’s German text three times. Each time the poetry is
full of opportunities to focus on word stress and phrasing in the strophic (AAA) form.

In his dissertation on Mendelssohn’s unaccompanied choral works, Craig Jessop describes the
structure, “Though not strictly canonical, it utilizes imitative counterpoint. The first subject is
introduced by a soprano/alto duet. The principal subject is then sung by a tenor/bass duet while
the soprano and alto provide a brief countersubject constructed of imitative fragments from the
principal theme. It concludes with a third repetition of the text in a homophonic setting of the
principal melody with a short coda.”
137

The phrases are relatively long at five measures, and the choir's ability to keep energy in their
breath may ultimately dictate the interpretation of the Andante.

136
Translation copyright © by 2011 Michael P. Rosewall reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
137
Jessop, “An Analytical Survey of the Unaccompanied Choral Works,” 39.
318

“Ehre sei Gott” (CM19c p40)
Alternate Title(s): Ehre sei Gott in der Höhe, Glory to God in the Highest
Larger Work/Collection: Die Deutsche Liturgie; A German Liturgy
Text Source: Mass Ordinary: Gloria
Original Language: German
Voicing and Range: 2 SATB; soli SATB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Andante con moto
Beginning Key/Mode: A minor (D major)
Ending Key/Mode: A major
Opening Texture: f, staggered (TB/SA)
Closing Texture: Forte, tutti
Approximate Duration: 4:00
Date of Composition: 1846, ed. c.1855 in Musica sacra
Sacred/Secular: Sacred
Liturgical Use: Mass Ordinary: Gloria; General
Theme(s): Glory, Glory to God, Thanks
Musical Type: Motet
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Judith Silber Ballan, 1975 (German/English)
CPDL
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Mendelssohn: Die deutsche Liturgie, Carus-Verlag
Selected Discography: Kammerchor Stuttgart, Felix Mendelssohn Bartholdy Geistliches
Chorwerk (Sacred Choral Works), conducted by Frieder
Bernius, Carus, 2012.
Choir of Trinity College, Cambridge, Mendelssohn: Sacred Choral
Works, conducted by Richard Marlow, Chandos, 2006.

319

Selected Bibliography: Ballan, Judith Silber. Forward to Die Deutsche Liturgie, by Felix
Mendelssohn, 4-10. Edited by Judith Silber Ballan. Stuttgart:
Carus-Verlag, 1998.
Jessop, Craig Don. “An Analytical Survey of the Unaccompanied
Choral Works for Mixed Voices by Felix Mendelssohn-
Bartholdy.” DMA diss., Stanford University, 1981.
Shearer, Clarence Maynard. “The Unaccompanied Choral Music of
Felix Mendelssohn.” master’s thesis. North Texas State
University, 1967.

Complete Text:

English Translation:
Ehre sei Gott in der Höhe
und Friede auf Erden und den
Menschen ein Wohlgefallen!
Wir loben dich, wir benedeien dich,
wir beten dich an, wir preisen dich,
wir sagen dir Dank um deiner großen
Herrlichkeit willen. Herr Gott!
Himmlischer König! Allmächtiger Vater!
Herr, du eingeborner Sohn, Jesu Christe!
Herr, Gott, du Lamm Gottes, Sohn des
Vaters!
Der du die Sünde der Welt trägst, erbarme dich
unser!
Der du die Sünde der Welt trägst, nimm an
unser Gebet!
Der du sitzest zur Rechten des Vaters, erbarme
dich unser!
Denn du allein bist heilig, denn du allein bist
der Herr,
du allein bist der Allerhöchste,
Jesus Christus mit dem heiligen Geist
in der Herrlichkeit Gottes des Vaters. Amen!
Glory to God in the highest
and peace on earth,
goodwill towards men
We laud Your name, we bless You
we adore You, we praise You,
we give You thanks because of
Your great glory, Lord God!
Heavenly King! Almighty Father!
Lord, You begotten Son, Jesus Christ!
Lord, God, You Lamb of God, Son of the
Father!
You, who takes away the sin of the world,
have mercy on us!
You, who takes away the sin of the world, hear
our prayer!
You, who sits at the right of the Father, have
mercy on us!
For You alone are holy, for you alone are the
Lord,
You alone are the most High,
Jesus Christ with the Holy Spirit
in the Glory of God the Father! Amen!
138

Insights & Performance Issues:
For a complete analysis of the work, see Clarence Shearer’s thesis listed above.

The composition is through-composed with four clear sections coinciding with the four verses of
text. Each section varies in tempo, texture, and tonality. The conductor should examine the work
as whole when interpreting the tempo markings and articulations.

The first section, marked Andante, is an eight-part motet in A minor, modulating to D major.

138
Translation by Beverly Freeland Clajus ©2021, used with permission.

320

The double choir material begins in the antiphonal second section. Marked Allegro, the section
starts with octave leaps in the tenor and bass of both choirs (D3-D4) and modulates to F# minor
beginning in m. 24.

A soli quartet sings the Adagio third section alternating with the chorus.

The fourth section returns to the Allegro tempo and antiphonal singing between the two choirs. It
includes the most complex imitation and polyphony of the work that will require additional
rehearsal attention.

As part of his analysis, Shearer describes the overall harmonic structure, “The harmonic
structure of this work contains a great deal of both major and minor seventh chords with minor
sevenths occurring most frequently. Many first and second inversions are used, especially in the
linear sections. When this happens, the bass part usually moves in contrary motion to the upper
voice.”
139

“Heilig” (CM19c p40)
Alternate Title(s): Holy, Holy, Holy; Heilig, heilig ist Gott, der Herr Zebaoth
Larger Work/Collection: Die Deutsche Liturgie; A German Liturgy
Text Source: Mass Ordinary: Sanctus
Original Language: German
Voicing and Range: 2 SATB

Accompaniment: Unaccompanied
Meter: Cut time
Opening Tempo: Con moto
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: p, staggered (S1/S2/A1/A2/T1/T2/B1/B2)
Closing Texture: ff, tutti
Approximate Duration: 2:00
Date of Composition: 1846
Sacred/Secular: Sacred
Liturgical Use: General; Mass Ordinary: Sanctus
Theme(s): Holy, Hosanna, Nations, Glory, Praise

139
Shearer, “The Unaccompanied Choral Music of Felix Mendelssohn,” 126.
321

Musical Type: Motet
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
CPDL
G. Schirmer
Hinshaw, ed. Ray Robinson
Oxford University Press, ed. John Rutter
Walton, ed. Smith
Alternate Voicings/
Instr. Arrangements:
SSA, arr. W. Harris, Theodore Presser Co
Double Tuba/Euphonium Quartet, arr. David Butler, Tuba
Euphonium Press
Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
Choral collection Brahms, Mendelssohn, Schubert, ed. Hans-
Christian Dromann and Wolfgang Bretschneider, Carus-Verlag
Four Sacred Partsongs, Hal Leonard
Selected Discography: Kammerchor Stuttgart, Felix Mendelssohn Bartholdy Geistliches
Chorwerk (Sacred Choral Works), conducted by Frieder
Bernius, Carus, 2012.
Selected Bibliography: Jessop, Craig Don. “An Analytical Survey of the Unaccompanied
Choral Works for Mixed Voices by Felix Mendelssohn-
Bartholdy.” DMA diss., Stanford University, 1981.

Complete Text:

English Translation:
Heilig, heilig, heilig, ist Gott, der Herr
Zebaoth!
Alle Lande sind seiner Ehre voll.
Hosianna in der Höh’!
Gelobt sei, der da kommt im Namen des
Herrn!
Hosianna in der Höh’!
Holy, holy, holy is God, the Lord
Sabaoth!
Ev’ry nation proclaims his glorious praise.
Sing Hosanna in the heights.
O blest is he that comes in God’s holy name.

Sing Hosanna in the heights.

Insights & Performance Issues:
Craig Jessop aptly describes the composition in his dissertation, “Heilig (D major, Con moto,
Alla breve) begins with a softly descending line starting with the sopranos in Choir II. Each
voice part enters separately on the word Heilig, growing to a fortissimo on the words “Holy is
the Lord God of Sabbaoth!” Beginning with the words “Heaven and earth of full of thy Glory,”
the two choirs are set in a strict homophonic style, but which the words “Hosanna in the
highest!” they divide in an exuberant polychoral passage.”
140

Arguably, the most challenging section of the work is the opening, staggered entrances,
specifically for the sopranos on D5 with a piano marking. The conductor may consider adding
alto singers to the line to facilitate a more confident sound. The conductor should also be
attentive to the diphthong in the first syllable “Heilig.”

140
Jessop, “An Analytical Survey of the Unaccompanied Choral Works,” 78-9.
322

With the repeated text, the conductor should determine collective breaths early in the rehearsal
process to assist with phrase structure. Breathing or lifting with each textual comma results in a
marcato feel, while stretching to four or eight bar phrases creates a more legato result.

The composition is well-suited for introducing an ensemble to double choir repertoire with its
brevity, accessible voice ranges, and homophony.

“How Lovely Are the Messengers” (CM19c p38)
Alternate Title(s): Wie lieblich sind die Boten
Larger Work/Collection: No. 26, St. Paul, Op. 36. (Paulus)
Text Source: Julius Schubring (1806-1889) after The Acts of the Apostles;
English version by William Bartholomew (1793-1867)
Original Language: German and English
Voicing and Range: SATB

Accompaniment: Orchestra with organ; piano; organ
Meter: 6/8
Opening Tempo: Andante con moto
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: p, staggered (instr./A/B/ST)
Closing Texture: p, instr. (brief)
Approximate Duration: 3:00
Date of Composition: 1836
Sacred/Secular: Sacred
Liturgical Use: Year A: Proper 14, Eleventh Sunday after Pentecost
Theme(s): Peace, Gospel, Nations
Musical Type: Cantata Chorus
Editions, Arrangements,
and Publications:
Augsburg Publishing
Breitkopf & Härtel (Paulus), ed. Julius Rietz (IMSLP)
Carus-Verlag (Paulus), ed. R. Larry Toddy
C.F. Peters (Paulus)
CPDL
E.C. Shirmer, ed. Archibald T. Davison, org acc. Henry Clough-
Leighter
G. Schirmer
Jackman Music Corp, ed. Ottley
Lawson-Gould Music, ed. Donald Neuen
Theodore Presser Co
323

Alternate Voicings/
Instr. Arrangements:
SAB, arr. Russel Robinson, Alfred Music
SSA, arr. Robert Shaw, Theodore Press
2-Part, arr. Hal H. Hopson, Morning Star Music
Brass Quintet, arr. Robert Wallace, Cimarron Music
Collections/Anthologies: Theodore Press 392-41601; ed. Robert Shaw
Selected Discography: Stuttgart Chamber Choir, Felix Mendelssohn Bartholdy: Paulus,
Deutsche Kammerphilharmonie Bremen, conducted by Frieder
Bernius, Carus, 2007.
Westminster Choir, Favorite Hymns & Anthems, conducted by
Joseph Flummerfelt, Westminster Choir College, 1990.
Selected Bibliography: Chambers, Robert. “Your Church Choir Can Sing Mendelssohn!”
Choral Journal 50, no. 9 (April 2010): 33-47.
Grove, George. “Mendelssohn’s Oratorio ‘St. Paul.’” The Musical
Times 50, no. 792 (Feb. 1909): 92-93.
Green, Jonathan D. A Conductor’s Guide to Nineteenth-Century
Choral-Orchestral Works. Lanham, Maryland: The Scarecrow
Press, Inc., 2008.
Jessop, Craig Don. “An Analytical Survey of the Unaccompanied
Choral Works for Mixed Voices by Felix Mendelssohn-
Bartholdy.” DMA diss., Stanford University, 1981.
Krummacher, Friedhelm. “Art—History—Religion: On
Mendelssohn’s Oratorios St. Paul and Elijah.” In The
Mendelssohn Companion, edited by Douglass Seaton, 299-393.
Westport, CT: Greenwood Press, 2001.
Todd, Larry R. Forward to St. Paul, by Felix Mendelssohn, 6-13.
Edited by Larry R. Todd. Stuttgart: Carus-Verlag, 1997.

Complete Text:

English Translation:
Wie lieblich sind die Boten, die den Frieden
verkündigen,
In alle Lande ist ausgegangen ihr Schall.

How lovely are the messengers that preach us
the gospel of peace!
To all the nations is gone forth the sound of
their words.

Insights & Performance Issues:
In Mendolsohhn’s St. Paul, the chorus, “How Lovely are Thy Messengers,” is attacca from
previous tenor/bass duet, “So sind wir nun Botschafter” (Now we are ambassadors). In the
concert setting, the conductor should consider including the duet as an introduction.

The chorus movement opens with the alto section presenting the opening theme. The bass
section joins shortly after continuing the theme with the altos switching to harmony. The range
of both parts are such that the soprano and tenor section could double if needed.

The accompaniment supports the chorus throughout. This, combined with repetition of text and
only sporadic harmonic challenges, makes this work accessible for most high school and church
choirs.

324

Beginning in m. 40, the sopranos and tenors have an exposed duet includes sustained notes with
words ending in “l,” “to all” in English and “In alle” in German. The conductor should be
attentive to the singers not closing to the ending consonant and focusing on the “Ah” for the
duration for the held pitches. The altos and basses follow in imitation, with equally difficult
challenges.

The Sopranos consistently have leaps of 5ths and octaves, and sing several G5s, but only sing the
one A5.

The English translation of the German text exhibits proper word stress alignment with the
original phrase structure.

Psalm 100 (CM19c p40)
Alternate Title(s): Jauchzet dem Herrn; Jauchzet dem Herrn, alle Welt; Der 100
th

Psalm; Shout to the Lord; Make a Joyful Noise Unto the Lord
Larger Work/Collection: N/A
Text Source: Bible, Psalm 100:1-5
Original Language: German
Voicing and Range: SATB; soli SSAATTBB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Andante con moto
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: f, tutti
Closing Texture: mf, tutti
Approximate Duration: 4:30
Date of Composition: 1844, ed. in Musica sacra
Sacred/Secular: Sacred
Liturgical Use: Year A: Season after Pentecost, Proper 6 (11)
Year A: Season after Pentecost, Reign of Christ - Proper 29 (34)
Year C: Season after Pentecost, Thanksgiving Day, USA
Year C: Season after Pentecost, Canadian Thanksgiving Day
Theme(s): Praise, Joyful Noise, Thanks, Mercy
Musical Type: Motet
325

Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag
CPDL
Emerson Music, ed. Lynn
GIA Publications, ed. James Jordan
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Four Sacred Choruses, Kalmus
Four Sacred Partsongs, Hal Leonard
Geistliche Chormusik der Romantik: 60 Motetten und Choralsätze
für gemischten Chor, ed. Siegfried Bauer, Carus-Verlag, 1990
Selected Discography: Kammerchor Stuttgart, Felix Mendelssohn Bartholdy Geistliches
Chorwerk (Sacred Choral Works), conducted by Frieder
Bernius, Carus, 2012.
Selected Bibliography: Hirsch, Lily E. “Felix Mendelssohn’s Psalm 100 Reconsidered.”
Philomusica On-line 4, no. 1 (2005).
Jessop, Craig Don. “An Analytical Survey of the Unaccompanied
Choral Works for Mixed Voices by Felix Mendelssohn-
Bartholdy.” DMA diss., Stanford University, 1981.
Mercer-Taylor, Peter. The Cambridge Companion to Mendelssohn,
Cambridge: Cambridge University Press, 2004.
Shearer, Clarence Maynard. “The Unaccompanied Choral Music of
Felix Mendelssohn.” master’s thesis. North Texas State
University, 1967.
Werner, Eric. "Felix Mendelssohn’s Commissioned Composition
for the Hamburg Temple: “The 100
th
Psalm (1844).” Musica
Judaica 7, no. 1 (1984): 54-57.

Complete Text:

English Translation:
Jauchzet dem Herrn alle Welt.
Dienet dem Herrn mit Freuden, kommt vor
sein Angesicht mit Frohlocken.
Erkennet, dass der Herr Gott ist. Er hat uns
gemacht, und nicht wir selbst, zu seinem Volk
und zu Schafen seiner Weide.
Gehet zu seinen Toren ein mit Danken. Zu
seinen Vorhöfen mit Loben. Danket ihm, lobet
seinen Namen.
Denn der Herr ist freundlich und seine Gnade
währet ewig und seine Wahrheit für und für.
Make a joyful noise unto the Lord, all ye lands.
Serve the Lord with gladness: come before his
presence with singing.
Know ye that the Lord he is God: it is he that
hath made us, and not we ourselves; we are his
people, and the sheep of his pasture.
Enter into his gates with thanksgiving, and into
his courts with praise: be thankful unto him,
and bless his name.
For the Lord is good; his mercy is everlasting;
and his truth endureth to all generations.
141

141
King James Bible
326

Insights & Performance Issues:
The division of parts may be intimidating, but it should be noted, the full chorus sections are all
four-part. The work is through composed and divided into three sections, the first and last
sections in C Major and the middle in F Major.

In the first section, marked Andante con moto (moderately slow with motion), Mendelssohn
interjects chorale-like homophony with short phrases of polyphony in both the first and last
section. This variation provides accessible opportunities to rehearse polyphony.

The middle section, marked Poco Lento (little slow), features a soli octet singing with
overlapping, flowing lines sung antiphonally between the tenor/bass and sopranos/alto.

In his dissertation, Craig Jessop describes the closing section, “The concluding section returns
the original key of C major and is marked Andante. The texture is largely homophonic and is
hymn-like in character. It’s beauty and clarity of line, avoidance of any harsh dissonance and
reserved character make it typically Mendelssohn.”
142

“There Shall a Star Come out of Jacob” (CM19c p38-39)
Alternate Title(s): Es wird ein Stern aus Jacob; There Shall a Star from Jacob Come
Forth; There Shall a Star; Behold a Star from Jacob Shining
Larger Work/Collection: Part 1, No. 3, Christus, Op. 97
Text Source: Bible: Numbers 24:17; Johann Adolf Schlegel (1721-1793)
Original Language: German
Voicing and Range: SATB

Accompaniment: Orchestra with organ (organ; piano; chamber orchestra)
Meter: Common
Opening Tempo: Allegro Moderato
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 5:00
Date of Composition: 1847 (unfinished)
Sacred/Secular: Sacred
Liturgical Use: Epiphany
Theme(s): Star, Morning Star, Light, Jacob, Israel, Truth, Mercy
Musical Type: Chorus

142
Jessop, “An Analytical Survey of the Unaccompanied Choral Works,” 68.
327

Editions, Arrangements,
and Publications:
Breitkopf & Härtel (complete work, IMSLP)
Boosey & Hawkes (Includes preceding recit & trio)
CPDL
G. Schirmer (complete work, English)
G. Schirmer, arr. Dudley Buck
Jubilate Music Group
Hal Leonard, arr. John Leavitt (piano/chamber orch)
Hal Leonard, arr. Henson
Kalmus (complete work)
Neil A. Kojos Music Co.
Schott, ed. Philip Brunelle (organ)
Alternate Voicings/
Instr. Arrangements:
TTBB, arr. Bruce Trinkley, Yelton Rhodes Music
Handbells, arr. Lee J. Afdahl, Concordia Publishing House
Collections/Anthologies: None Found
Selected Discography: Accentus Chamber Choir and Ensemble Orchestral de Paris, Felix
Mendelssohn: Christus/Choral Cantatas, conducted by
Laurence Quilbey, Naïve, 2011.
Selected Bibliography: Green, Jonathan D. A Conductor’s Guide to Nineteenth-Century
Choral-Orchestral Works. Lanham, Maryland: The Scarecrow
Press, Inc., 2008.
Hoensbroech, Raphael Graf von. Felix Mendelssohn Bartholdys
unvollendetes Oratorium ‘Christus’. Kassel: Gustav Bosse,
2005.
Mahruan, Daniel A. ““What Language Shall I Borrow?” Singing in
Translation.” Choral Journal 56, no. 10 (May 2016): 8-26.

Complete Text:

English Translation:
Es wird ein Stern aus Jacob aufgehn
und ein Scepter aus Israel kommen.
der wird zerschmettern Fürsten und Städte.
- Numbers 24:17

Wie schön leuchtet der Morgenstern!
O welch' ein Glanz geht auf
vom Herrn,
Uns Licht und Trost zu geben!

Dein Wort, Jesu, ist die Klarheit,
führt zur Wahrheit und zum Leben.
Wer kann dich genug erheben?
- Johann Adolf Schlegel
There shall come a Star out of Jacob,
and a Sceptre shall rise out of Israel,
it will smash princes and cities.
- Numbers 24:17

How brightly gleams the morning star!
What sudden radiance from afar
delights us with its shining?
God's glory breaks upon the night,
and fills our darkened souls with light,
who long for truth were pining!
Your word, Jesus, truly feeds us,
rightly leads us, life bestowing.
Praise such mercy overflowing!
143

143
Translation by Mary Winkworth (public domain)
328

Insights & Performance Issues:
The conductor may consider including the preceding soprano recitative and Three Kings trio as
an introduction creating an effective set for Epiphany in combination with the anthem.

A flowing triplet rhythm in the accompaniment contrasts the steady duplet rhythm in the vocal
writing. If one hears the parts not lining up, some singers may be shortening the duple rhythm to
match the triplets.

The main musical motif is an arpeggiated, ascending melodic line. The conductor should
encourage light singing as the line ascends. A homophonic, dramatic B section provides
opportunity for stylistic and dynamic contrast with each part singing in the upper tessitura and sf
markings in mm. 43, 47, and 59.

After the repeat of the A section, the work closes with the hymn tune "Wie schön leuchtet der
Morgenstern" (How lovely shines the morning star) by German Lutheran pastor and hymnist
Philipp Nicolai.

The English translation of the German text exhibits proper alignment with the original phrase
structure, as well as fitting word stress.

329

Meyerbeer, Giacomo (CM19c p44)
Birth/Death: September 5, 1791 – May 2, 1864
Place of Birth: Berlin, Germany
Place of Death: Paris, France
Nationality/Ethnicity: German (active in Paris)
Selected Bibliography: Letellier, Robert, ed. Giacomo Meyerbeer: Choral Music and
Songs. Newcastle-upon-Tyne, England: Cambridge Scholars
Publishing, 2010.
Letellier, Robert, ed. Giacomo Meyerbeer: Sacred Works.
Newcastle-upon-Tyne, England: Cambridge Scholars Publishing,
2010.

Pater Noster (CM19c p44)
Alternate Title(s): Our Father, The Lord’s Prayer
Larger Work/Collection: N/A
Text Source: Bible; Matthew 6:9-13
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Andante cantabile
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: pp, tutti
Closing Texture: pp, tutti
Approximate Duration: 3:30
Date of Composition: 1857
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Father, Forgiveness, Heaven, Lord’s Prayer, Prayer,
Musical Type: Motet
Editions, Arrangements,
and Publications:
La Maitrise (IMSLP)
Carus-Verlag
CPDL
Stretta Music
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: French Choral Music (Franzosische Chormusik | Musique chorale
francaise), ed. Denis Rouger, Carus-Verlag
Selected Discography: Philharmonia Chor Stuttgart, Vater Unser, Pater Noster, conducted
by Helmut Wolf, Profil - Edition Günter Hänssler, 2011.
330

Selected Bibliography: Letellier, Robert, ed. Giacomo Meyerbeer: Sacred Works.
Newcastle-upon-Tyne, England: Cambridge Scholars Publishing,
2010.

Complete Text:

English Translation:
Pater noster, qui es in coelis;
sanctificetur nomen tuum;
adveniat regnum tuum;
fiat voluntas tua,
sicut in coelo et in terra.

Panem cotidianum da nobis hodie;
et dimitte nobis debita nostra,
sicut et nos dimittimus debitoribus nostris;
et ne nos inducas in tentationem;
sed libera nos a malo.
Amen.
Our Father, which art in heaven,
hallowed be thy name;
thy kingdom come;
thy will be done,
on earth as it is in heaven.

Give us this day our daily bread.
And forgive us our trespasses,
as we forgive them that trespass against us.
And lead us not into temptation,
but deliver us from evil.
Amen.

Insights & Performance Issues:
The composition is full of harmonic, rhythmic, and dynamic contrasts, providing an elegant
setting to the well-known prayer.

While the opening begins in homophony, each following phrase begins with a section solo, or a
group of sections. On each exposed entrance, the section or sections should be encouraged to use
energy in the breath and not under-sing the line. An additional solution is to add the voices to the
exposed entrances.

New material is presented in m. 25 beginning in the bass line with an angular motif that is
imitated by each section. The disjunct leaps may require additional rehearsal attention. The
conductor should also be attentive to mm. 35-3 that includes challenging, chromatic descending
lines for the sopranos, tenors, and basses with the marking trés doux (very soft/gentle).

For a brief period, the opening material returns in m. 55, before transitioning to the closing
“Amen,” The dynamic and harmonic shifts offer opportunities for an ensemble to improve
breath management, intonation, and chromatic lines.

331

Mussorgsky, Modest (CM19c p157)
Birth/Death: March 9/21, 1839 – March 16/28, 1881
Place of Birth: Karevo, Pskov district
Place of Death: St. Petersburg
Nationality/Ethnicity: Russian
Selected Bibliography: Brown, David. Musorgsky: His Life and Works. Oxford, England:
Oxford University Press, 2006.
Calvocoressi, Michel-Dimitri. Mussorgsky. London: Dent & Sons,
1946.
Reilly, Edward R. The Music of Mussorgsky: A Guide to the
Editions. New York: The Musical Newsletter, 1980.

The Destruction of Sennacherib (CM19c p157)
Alternate Title(s): Porazheniye Sennakheriba; Поражение Сеннахериба; The Defeat
of Sennacherib
Larger Work/Collection: N/A
Text Source: Lord Byron (1788-1824) from Hebrew Melodies based on 2 Kings,
Chapter 19; Russian translation by Aleksey K. Tolstoy (1817-1875)
Original Language: Russian
Voicing and Range: SSAATTBB

Accompaniment: Orchestra
Meter: 2/2
Opening Tempo: Allegro Moderato
Beginning Key/Mode: E minor
Ending Key/Mode: E minor
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 6:00
Date of Composition: 1866-7, revised 1874
Sacred/Secular: Secular
Theme(s): Angel of Death, Assyrian Army, Jerusalem
Musical Type: Dramatic Scene for Chorus
Editions, Arrangements,
and Publications:
Belaiev, ed. Rimsky-Korsakov, 1893 (Russian/French/English)
Boosey & Hawkes, 1934 (English)
Boosey & Hawkes, 2010 (original version, Russian/phonetic
transcription)
M.P. Belaieff, Leipzig, 1893 (revised version, Russian, IMSLP)
Schott (German)
Alternate Voicings/
Instr. Arrangements:
None Found
332

Collections/Anthologies: M.P. Musorgskiy: polnoye sobraniye sochineniy (Complete
Collection of Works), Series 6, Volume 2, ed. P. Lamm with B.
Asaf′yev, 1928-39.
Selected Discography: Prague Philharmonic Choir and Berlin Philharmonic, Mussorgsky:
Pictures at an Exhibition, conducted by Claudio Abbado,
Deutsche Grammophon, 1994
Selected Bibliography: Calvocoressi, Michel-Dimitri. “Instrumental and Choral Works.” In
Mussorgsky, 166-183. London: Dent & Sons, 1946.
Reilly, Edward R. “Choral Works.” In The Music of Mussorgsky: A
Guide to the Editions, 29. New York: The Musical Newsletter,
1980.

Complete Text:

Original English Text:
144

Как стая волков голодных, на нас враги
набежали.
Толпы их златом и пурпуром нас
ослепляли.
Толпы их нас ослепляли.

Их копья стальные блистали,

как звезды на зыби играя,

Как лес роскошный и могучий.

С восходом солнца поднимались толпы
вражьи.

И солнце померкло, не стало зари от
полчищ вражьих, не стало зари
Поблекшими листьями, бурей гонимыми,
Те толпы толпы их с закатом солнца поле
покрыли, поле покрыли.

И ангел смерти взмахнул крылом в тиши
ночной,
Парил на крыльях смерти страшный дух.

И Ангел смерти взмахнул крылом,
дыханьем смерти врагов поразил.
Смертным, страшным дыханьем поразил
врага.

The Assyrian came down like the wolf on the
fold,
And his cohorts were gleaming in purple and
gold;

And the sheen of their spears was like stars on
the sea,
When the blue wave rolls nightly on deep
Galilee.
Like the leaves of the forest when summer is
green,
That host with their banners at sunset were
seen:

Like the leaves of the forest when autumn hath
blown,
That host on the morrow lay withered and
strown.

For the Angel of Death spread his wings on the
blast,
And breathed in the face of the foe as he
passed;

And the eyes of the sleepers waxed deadly and
chill,
And their hearts but once heaved, and forever
grew still!

144
In lieu of a phrasal translation, Lord Byron’s original poem in English is provided in parallel, indicating which
verses A.K. Tolstoy used as inspiration for each stanza, though the final result is a new work entirely.
333

Ангел смерти врага оледенил.

Смертным, страшным дыханьем поразил
врага. Ангел мщенья.
И сердца врагов забились в последний раз,
в последний раз.

Как стая волков голодных, на нас враги
набежали.
Толпы их златом и пурпуром нас
ослепляли. Толпы их нас ослепляли.

Их копья стальные блистали, как звезды на
небе играя,
Как лес роскошныи могучий.

С восходом солнца поднимались толпы
вражьи.
Как солнце померкло, не стало зари от
полчищ вражьих, не стало зари
Поблекшими листьями, бурей гонимыми,

Те толпы толпы их с закатом солнца поле
покрыли, поле покрыли.
И Ангел Божий врагов поразил!
145

And there lay the steed with his nostril all
wide,
But through it there rolled not the breath of his
pride;
And the foam of his gasping lay white on the
turf,
And cold as the spray of the rock-beating surf.

And there lay the rider distorted and pale,
With the dew on his brow, and the rust on his
mail:

And the tents were all silent, the banners alone,
The lances unlifted, the trumpets unblown.

And the widows of Ashur are loud in their
wail,
And the idols are broke in the temple of Baal;

And the might of the Gentile, unsmote by the
sword,
Hath melted like snow in the glance of the
Lord!

Insights & Performance Issues:
The composition opens with the tenor and bass section singing piano in two-part, and then four-
part harmony. In general, the accompaniment supports the choir harmonically, but often has its
own rhythmic motifs including a consistent walking bass line.

The vocal lines move primarily in stepwise motion with a march-like style that is supported by
the staccati in the accompaniment. A four-measure gradual crescendo begins in m. 14 to the ff
climax of the phrase in m. 18.

The conductor should be attentive to the syncopated rhythm in m. 18. It is a dramatic musical
moment, with the tenors and basses singing fortissimo in their upper tessitura and sf articulation
in the orchestra. This motif returns in mm. 67, 169, and 221.

The soprano and alto sections enter in m. 25 with new musical motifs and a key change to Bb
major in m. 29. The G common tone should assist the singers with the harmonic transition.

145
Russian Translation of the English text by A.K. Tolstoy.
334

The soprano line quickly moves to the upper tessitura, singing an Ab5 in their third phrase (m.
34) and a A5 four measures later (m. 38). A proper warmup is strongly urged and careful
attention to the placement of the composition in a concert program.
E minor and the opening material returns in m. 54 along with the dramatic syncopated rhythm in
m. 67.

The poco meno mosso (little less motion) Tranquillo (tranquil) in m. 80 provides a hymn-like
reprise in contrast to the dramatic opening. The chorus alternates phrases in pairs beginning with
the tenor and bass section, with divisi in all parts. The chorus sings tutti beginning in m. 135 to
close the chorale section.

The opening material returns in m. 148 and is the same structure as the beginning until m. 224.
Mussorgsky adds a G# in the soprano and tenor and quickly reduces the dynamic to pp, ending
the composition quietly in E major.

Jesus Nevin (CM19c p157)
Alternate Title(s): Joshua; Jesus Navin; Iisus Navin; Yesus Navin
Larger Work/Collection: N/A
Text Source: Bible: Joshua 10:10-13, text reworked by Mussorgsky
Original Language: Russian
Voicing and Range: SSATTBB; soli AB

Accompaniment: Piano (orchestra)
Meter: 2/2
Opening Tempo: Allegro marziale (Fast march)
Beginning Key/Mode: Ab major
Ending Key/Mode: Ab major
Opening Texture: f, tutti
Closing Texture: sf, instr. (brief)
Approximate Duration: 5:00
Date of Composition: 1874-77, orched by Rimky-Korsakov 1883
Sacred/Secular: Sacred
Liturgical Use: Non-liturgical
Theme(s): Battle of Jericho, Joshua
Musical Type: Cantata
Editions, Arrangements,
and Publications:
Bessel, 1883 (IMSLP)
Boosey & Hawkes, 1934 (English)
Breitkopf & Härtel
G. Schirmer, 1910 (English)
Alternate Voicings/
Instr. Arrangements:
None Found
335

Collections/Anthologies: Mussorgsky, Modest Petrovich, and P. Lamm. “Complete works.”
New York: E.F. Kalmus, 1969.
Selected Discography: Prague Philharmonic Choir and Berlin Philharmonic, Mussorgsky:
Pictures at an Exhibition, conducted by Claudio Abbado,
Deutsche Grammophon, 1994
Moscow Chamber Choir and USSR Symphony Orchestra, The
Anthology of Russian Symphony Music: Alexander Borodin,
Modest Mussorgsky, Anatoly Liadov, conducted by Evgeny
Svetlanov, Boheme Svetlanov, 2009
Selected Bibliography: Calvocoressi, Michel-Dimitri. “Instrumental and Choral Works.” In
Mussorgsky, 166-183. London: Dent & Sons, 1946.
Guerrieri, Matthew. “Mussorgsky’s ‘Jesus Navin’ is a study in
contrasts.” The Boston Globe, May 19, 2014.
Jacobson, Joshua. “Sacred Bridges.” The Choral Journal 41, no. 3
(Oct. 2000): 9-16.
Reilly, Edward R. “Choral Works.” In The Music of Mussorgsky: A
Guide to the Editions, 29. New York: The Musical Newsletter,
1980.
Zamir Chorale of Boston. “Joshua, Mussorgsky.” Jewish Choral
Music. https://www.jewishchoralmusic.com/compositions-
im/joshua-mussorgsky

Complete Text:

English Adaptation:
146

Веленьем Иеговы сокрушить Израиль
должен
Амореев нечестивых, непреклонных
Откровенью.

Гайга! Пали стены Иерихона,
Гайга! В Гаваоне враг наш сгибнет,
И на холмах Ханаана станет днесь Ковчег
Завета.
Смело, смело в бой! Вперёд!

Наголо твой меч, Израиль! Смело стрелы,
копья в дело!
Смело, свободно взлетает орёл крылатый,

И в сводах голубых зорко следит добычу.

Израиль, не дремли, враг твой коварен;
Соблазнам не внимай жен Ханаана.

Thus saith the Lord of Hosts:

Israel, to you is given the land of Amorea, that
hath scorned my revelation.

Heiah! Jericho’s walls already crumble,
Heiah! Gibeon, too, goes down in ruin;
Soon upon the hills of Canaan will the Holy
Ark be planted.
On to battle, on! To the war!

Israel, unsheathe thy sword, Loose thine
arrows, wield thy lances!
So doth the eagle, ascending on mighty
pinions,
Circle the vault of heaven, watching for prey
beneath him.

Watch thou, O Israel: Thy foes surround thee,
The foes of Jehovah, this heathenish race,

146
It worth noting that this is not a 1:1 translation, though Henry G. Chapman/Schirmer did an excellent job
preserving the structure intact, stanza by stanza.
336

Ты сильной десницей врага Иеговы
И род нечестивых рассей по земле!
Бог Авраама тебе в том защита во век.
Бог Авраама, Бог Иакова погубит врага.

Плачут жены Аммореи,
стоном стонут веси Хананеи,
А под Гайем тучи грозные висят.

Под стенами Гаваона рухнут царства
древней Аммореи
И прольются реки горьких слёз.

Плачут жены Аммореи,
стоном стонут веси Хананеи,
А над Гайем тучи грозные висят.

Внемли Израиль: остановилось солнце.
Веленьем Иеговы сокрушить Израиль
должен
Аммореев нечестивых,
непреклонных Откровенью.

Гайга! Пали стены Иерихона,
Гайга! В Гаваоне враг наш сгибнет,
И на холмах Ханаана, станет днесь Ковчег
Завета.
Смело, смело в бой! Вперёд!

Наголо твой меч, Израиль! Смело стрелы,
копья в дело!
Плачут жены Ханаана,
льют потоки горьких слёз.

Славьте Навина, Иеговы избранника!
Славьте из рода в род все колена Израйля!
Славьте, пойте героя, пойте Навина!
Славьте, пойте героя.
Сгибло племя Хананеев непреклонных
Откровенью
И засиял ковчег Завет!
Слава Иегове Вседержителю, Господу сил.
Destroy thou with mighty arm,
like chaff on the wind.
The Lord thy God is with thee wherever thou
shalt go!

Hear ye Amorea’s daughters,
Hear their lamentation unto Canaan,
Under Gajem’s awful, dark and threat’ning
brow!

‘Neath the walls of Gavanona
Falls the broken crown of Amorea,
Whence are flowing streams of bitter tears.

Hear ye Amorea’s daughters,
Hear their lamentation unto Canaan,
Under Gajem’s awful, dark and threat’ning
brow!

Behold, Israel: The sun stands still in heaven!
Thus saith the Lord of Hosts:

Israel, to you is given the land of Amorea,
that hath scorned my revelation.

Heiah! Jericho’s walls already crumble,
Heiah! Gibeon, too, goes down in ruin;
Soon upon the hills of Canaan will the Holy
Ark be planted.
On to battle, on! To the war!

Israel, unsheathe thy sword, Loose thine
arrows, wield thy lances!
Weeping wander Gibeon’s daughters
Far and wide thro’ Canaan’s land.

Honour to Joshua, Who is chosen of the Lord!
Praise him forever, all ye tribes of Israel!
Sing ye praises to Joshua!
They that scorned the revelation,
Are o’erthrown before thine anger!

Still brightly shines the Ark most holy!
Glory be to God, the almighty Lord, Lord God
of Hosts!
147

147
English adaptation from G. Schirmer Edition by Henry G. Chapman (public domain).
337

Insights & Performance Issues:
Both Boosey & Hawkes and G. Schirmer editions are based off the revised edition by Rimsky-
Korsakov.
148

An adaptation of material from Mussorgsky’s Salammbô, Mussorgsky brings his opera chorus
writing to this short oratorio depicting the battle of Jericho. The opening theme is based on a
Hassidic niggun (devotional melody) attributed to Rabbi Abraham Ha-Mal'akh (1741-81), that
the Russian master heard in his neighborhood.
149

The grace notes in the theme provide an important rhythmic function and may require additional
rehearsal attention for less experienced choruses. The conductor should determine the timing of
the grace note early in the rehearsal process.

The mezzo-soprano solo contains virtuosic cadenzas at the end of phrases in mm. 72 and 79. In
m. 80, the sopranos and altos sing a delicate entrance marked piano in unison octaves (Gb4/Gb5).
The unison octaves continue for the phrase leading to a short bass solo written in the upper
tessitura for the bass vocal range.

The opening material returns in m. 91 and is an approximate repeat of the beginning until m. 133
which includes the marking Poco string. (Gradually a little faster). The orchestra continues the
moving notes while the chorus build tension through dissonance between the altos and basses.

Animato assai (very animated) and fortissimo is marked in m. 141 and the sopranos sing a
cascading chromatic line starting on A5. This figure is repeated by the tenors four measures later.

The bass section has an arpeggiated section solo in mm. 151-154 that may require additional
rehearsal attention. This is followed by a Meno mosso (less motion) and e poco ritenuto (a little
slower) markings while the chorus has a three-measure a cappella section, creating a moment of
calm before orchestra crescendos and plays sf on the final note.

With a memorable melody that composition is well-suited for combined orchestral concerts with
a large chorus and a experienced mezzo soprano soloist.

148
Reilly, The Music of Mussorgsky, 28.
149
Jacobson, “Sacred Bridges,” 14.
338

Nietzsche, Friedrich (CM19c p79)
Birth/Death: October 15, 1844 – August 25, 1900
Place of Birth: Röcken, nr Leipzig, Germany
Place of Death: Weimar, Germany
Nationality/Ethnicity: German
Selected Bibliography: Baugh, Hansell. “Nietzsche and His Music.” The Musical Quarterly
12, no. 2 (April 1926): 238-247.
Moritz, Benjamin T. “The Music and Thought of Friedrich
Nietzsche.” DM diss., Northwestern University, 2002.
Thatcher, David S. “Musical Settings of Nietzsche Texts an
Annotated Bibliography (III).” Nietzsche-Studien 15 (1986):
440–452.

Hymne an das Leben (CM19c p79)
Alternate Title(s): Hymnus an das Leben; Hymn of Life
Larger Work/Collection: N/A
Text Source: Lou (Louise) von Andreas-Salomé (1861-1937), "Lebensgebet"
Original Language: German
Voicing and Range: SATB

Accompaniment: orch
Meter: Common Time
Opening Tempo: Entschlossen; mit heroischem Ausdruck
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: f, instr. (brief)
Closing Texture: pp, tutti
Approximate Duration: 6:00
Date of Composition: 1887
Sacred/Secular: Secular
Theme(s): Life, Friendship, Mystery, Love, Grief
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag, 1976
E.W. Fritzsch (IMSLP)
Alternate Voicings/
Instr. Arrangements:
SSATBB, arr. Clytus Gottwald, Carus-Verlag, 2011
Collections/Anthologies: None Found
Selected Discography: KammerChor Saarbrücken, Clytus Gottwald: Hymn to Life,
conducted by Georg Grün, Carus-Verlag, 2013.
Orchestra 1813 - Orchestra del Conservatorio di Como, Nietzsche e
la musica, conducted by Bruno Dal Bon, YouTube, 2012,
https://www.youtube.com/watch?v=FIOIUlDB5yU
339

Selected Bibliography: Baugh, Hansell. “Nietzsche and His Music.” The Musical Quarterly
12, no. 2 (April 1926): 238-247.
Mitrović, Radoš. Preface to The Hymn of Life (Hymnus an das
Leben), by Friedrich Nietzsche, 2. Germany: Repertoire
Explorer, 2017.
Moritz, Benjamin T. “The Music and Thought of Friedrich
Nietzsche.” DM diss., Northwestern University, 2002.

Complete Text:

English Translation:
Gewiss, so liebt ein Freund den Freund,
wie ich dich liebe, rätselvolles Leben!
Ob ich in dir gejauchzt, geweint,
Ob du mir Leid, ob du mir Lust gegeben,

ich liebe dich mit deinem Glück,
und Harme, und wenn du mich vernichten
musst,
entreisse ich mich schmerz voll deinem
Arme,
wie Freund sich reisst von Freundes
Brust.

Mit ganzer Kraft umfass’ ich dich.
Lass deine Flamme meinen Geist entzünden,
und in der Gluth des Kampfes, mich
die Räthsellösung deines Wesens finden!

Jahrtausende zu denken und zu leben
wirf deinen Inhalt voll hinein!
Hast du kein Glück mehr übrig mir zu geben,
wohlan! noch hast du deine Pein.
Certainly, so loves one friend the other friend
as I love you, mysterious life!
Whether I celebrated or cried in you (you=life)
Whether you gave me sorrow or delight

I love you with your happiness
and grief, and if you must annihilate me,

then I will painfully tear myself away from
your arm,
as a friend tears him/herself from a friend's
breast.

I embrace you with all my strength.
Let your flame ignite my spirit
and in the heat of the battle, let me
solve the enigma of your essence.

Millenia to think and to exist,
completely throw in your substance!
If you have no happiness left to give me,
So be it! Still you have your torment.
150

Insights & Performance Issues:
The composition is an arrangement of material from Nietzsche’s Hymnus auf die Freundschaft
and was written in a collaboration with composer Peter Gast (1854-1918) for choir and
orchestra.
151
The piano reduction accompaniment is also effective. In both versions, the
accompaniment doubles the chorus with a few moments of independence.

In the preface of his Carus-Verlag edition, Radoš Mitrović states, “Although the choral setting is
firmly rooted in the Protestant choral, the music lends itself to something wandering. This is a
moment which also recurs in Niezsche’s philosophy: it fluctuates between what is strictly
intended and literature.”
152

150
Translation by Beverly Freeland Clajus ©2021, used with permission.
151
Moritz, “The Music and Thought of Friedrich Nietzsche,” 168-9.
152
Mitrović, Preface to The Hymn of Life (Hymnus an das Leben), by Friedrich Nietzsche, 2.
340

In his Musical Quarterly article, Hansell Baugh speaks candidly about the characteristics of the
work, “As for the ‘Hymn to Life,’ it is in very simple song-form in two stanzas, with harmonic
progressions and rhythm and phrasing that are interesting for little more than their clear
revelations of Nietzsche's musical admirations: Hymnus, the church, where (through an
"accidental inspiration") he first became interested in music; the bold march rhythm, mit
heroischem Ausdruck, relates back to Schumann's grave at Bonn; the chords just preceding the
close are the last indication of Nietzsche's thoroughgoing and incurable Wagnerism.”
153

The overall range is relatively narrow for the alto and bass sections. The soprano part primarily
sits above the staff, including a sustained high A5 marked p (m. 33), several leaps to the upper
tessitura (m. 9m 15, 27, 33, 35, 38). The tenor part sings a few passages in the upper tessitura
(m. 25, 32, 63, 70).

In m. 20 the tenor and bass sing triplets as the soprano and alto sing duplets. The same passage
in m. 58 and may require additional rehearsal attention.

153
Baugh, “Nietzsche and His Music,” 247.
341

Nunes Garcia, José Maurício (CM19c p220-221)
Birth/Death: September 22, 1767 – April 18, 1830
Place of Birth: Rio de Janeiro, Brazil
Place of Death: Rio de Janeiro, Brazil
Nationality/Ethnicity: Brazilian
Selected Bibliography: Béhague, Gerard. “Music in Brasil: Rio de Janeiro.” In Music in
Latin America, an Introduction, 85-93. Englewood Cliffs, N.J:
Prentice-Hall, 1979.
Bernardes, Ricardo, ed. Música no Brasil Vol II - Real Capela do
Rio de Janeiro: Obras sacras de José Maurício Nunes Garcia,
Sigismund Ritter von Neukomm, Marcos Portugal. Rio de
Janeiro: Funarte, 2002.
Musica Brasilis. “José Maurício Nunes Garcia.”
https://musicabrasilis.com/composers/jose-mauricio-nunes-
garcia

Laudate Dominum omnes gentes, 76 (CM19c p220)
Alternate Title(s): Salmo 116; Psalm 117
Larger Work/Collection: N/A
Text Source: Bible, Psalm 117, Gloria Patri
Original Language: Latin
Voicing and Range: SATB, Soli SATB

Accompaniment: Chamber orch (2fl, 2hn, str (no va))
Meter: 4/4
Opening Tempo: Allegro Maestoso
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: f, instr. (brief)
Closing Texture: f, instr. (brief)
Approximate Duration: 7:00
Date of Composition: 1813
Sacred/Secular: Sacred
Liturgical Use: Holy Saturday
Theme(s): Gloria Patri, Kindness, Love, Praise
Musical Type: Motet
Editions, Arrangements,
and Publications:
Artur Penha Soares (IMSLP)
CPDL
Musica Brasilis (score and parts)
342

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Salmos: Laudate Pueri and Laudate Dominum, ed. Cleofe Person
de Mattos; Rio de Janeiro: Funarte, 1981.
Selected Discography: Turicum Ensemble, Missa Pastoril: para noite de Natal, conducted
by Mathias Weibel, Phaia Music, 1999.
Selected Bibliography: Mattos, Cleofe Person de. Preface to Salmos: Laudate Pueri and
Laudate Dominum, by José Maurício Nunes Garcia, 5-23. Edited
by Cleofe Person de Mattos. Rio de Janeiro: Funarte, 1981.

Complete Text:

English Translation:
Laudate Dominum omnes gentes;
Laudate eum, omnes populi.

Quoniam confirmata est
Super nos misericordia ejus,
Et veritas Domini manet in aeternum.

Gloria Patri et Filio et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper.

Et in saecula saeculorum. Amen.
O praise the Lord, all ye nations;
praise him, all ye peoples.

For his loving kindness
has been bestowed upon us,
and the truth of the Lord endures forever.

Glory be to the Father, and to the Son, and to
the Holy Spirit.
As it was in the beginning, is now, and ever
shall be,
world without end. Amen.
154

Insights & Performance Issues:
Nunes Garcia composed a later setting of Laudate Dominum omes gentes in 1821 that pays
homage to Franz Joseph Haydn’s The Creation including arrangements of musical motifs.
155

The composition is similar in form and melodic themes to Nunes Garcia’s setting of Psalm 113,
Laudate pueri Dominum.

Set in a classical style, the work consists of two sections; first the Laudate Dominum, a six-
minute chorus with solos, and second the Sicut erat and Amen, a one minute coda to close the
work.

In 4/4 meter, the Laudate Dominum contains a repetitive motif for the chorus that is supported
by the accompaniment. The main theme includes a 16th note turn on the word “laudate” that
may require rehearsal attention to sing precisely as an ensemble.

The soprano and bass soli each have challenging melissas and arpeggios in mm. 13-54 and mm.
86-115 respectively. The alto and tenor soli sing as a duet in mm. 145-163 with material that is
less virtuosic than soprano and bass soli.

154
Jeffers, Translation and Annotations, 149-150.
155
Bernardes, Música no Brasil Vol II, LXV.
343

The chorus sings the Sicut erat and Amen which moves quickly with a meter change to cut time
and the marking Allegro vivo. The strings double the voices, but the tempo change may require
additional rehearsal attention. The upper three voices sing whole notes while the bass section
sings a melismatic line on the text “Amen” in mm. 214-225. Breath management and vowel
modification may need rehearsal attention for the twelve-measure phrase that travels through the
passaggio.

The composition is an opportunity to feature soloists and chamber orchestra in the classical style
while demonstrating the influences the Catholic Church had on the music of the nineteenth
century in Brazil.

Laudate pueri Dominum, 77 (CM19c p220-221)
Alternate Title(s): Salmo 113; Psalm 113
Larger Work/Collection: N/A
Text Source: Psalm 113, Gloria Patri
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Chamber orch (2fl, 2hn, str (no va))
Meter: Common Time
Opening Tempo: Allegro maestoso
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: f, instr. (brief)
Closing Texture: ff, instr. (brief)
Approximate Duration: 8:00
Date of Composition: 1813
Sacred/Secular: Sacred
Liturgical Use: Year A: Easter, Visitation of Mary to Elizabeth
Year B: Season after Pentecost, Visitation of Mary to Elizabeth
Year C: Easter, Visitation of Mary to Elizabeth
Year C: Season after Pentecost, Visitation of Mary to Elizabeth
Year C: Season after Pentecost, Proper 20 (25)
Theme(s): Children, Healing, Praise, Rising Sun, Trinity
Musical Type: Motet
Editions, Arrangements,
and Publications:
Artur Penha Soares (IMSLP)
CPDL
Musica Brasilis CPM077 (score and parts)
344

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Música no Brasil Vol II - Real Capela do Rio de Janeiro: Obras
sacras de José Maurício Nunes Garcia, Sigismund Ritter von
Neukomm, Marcos Portugal, ed. Ricardo Bernardes; Rio de
Janeiro: Funarte, 2002.
Psalms (Laudate Pueri and Laudate Dominum), ed. Cleofe Person
de Mattos; Rio de Janeiro: Funarte, 1981.
Selected Discography: Turicum Ensemble, Missa Pastoril: para noite de Natal, conducted
by Mathias Weibel, Phaia Music, 1999.
Selected Bibliography: Mattos, Cleofe Person de. Preface to Salmos: Laudate Pueri and
Laudate Dominum, by José Maurício Nunes Garcia, 5-23. Edited
by Cleofe Person de Mattos. Rio de Janeiro: Funarte, 1981.

Complete Text:

English Translation:
Laudate pueri Dominum,
Laudate nomen Domini.
Sit nomen Domini benedictum ex hoc
Nunc et usque in saeculum.
A solis ortu usque et ad occasum,
Laudabile nomen Dominum.

Excelsus super omnes gentes Dominus,
Et super coelos gloria ejus.
Quis sicut Dominus Deus noster,
Qui in altis habitat,
Et humilia respicit in coelo
et in terra?

Suscitans a terra inopem
Et de stercore erigens pauperem:
Ut collocet eum
Cum principibus populi sui.

Qui habitare facit sterilem
In domo, matrem filiorum laetantem.

Gloria Patri et Filio et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper.

Et in saecula saeculorum. Amen.
O praise the Lord, ye children,
praise the name of the Lord.
Blessed be the name of the Lord
from hence forth now and forever.
From the rising of the sun even unto its setting,
the name of the Lord is praiseworthy.

The Lord is high above all nations,
his glory is above the heavens.
Who is like the Lord our God,
who dwells on high,
and yet he considers the lowly
in heaven and on earth?

Lifting up the needy from the dust,
and raising the poor from the dungheap,
so that he may place him
with the princes of his people.

Who makes the sterile woman to dwell
in her house, the joyful mother of children.

Glory be to the Father, and to the Son, and to
the Holy Spirit.
As it was in the beginning, is now, and ever
shall be,
world without end. Amen.
156

156
Jeffers, Translation and Annotations, 151-152.
345

Insights & Performance Issues:
Similar in form and melodic theme to Nunes Garcia’s setting of the Psalm 117 text, Laudate
Dominum omnes gentes.

Set in the classical style, the work consists of two sections; first the Laudate pueri, a six-minute
chorus with solos, and second the Sicut erat and Amen, a one minute coda closing the work.

The Laudate pueri contains a repetitive motif for the chorus, supported by the accompaniment.
Unlike the Laudate Dominum, the main theme does not include a 16th note turn.

Each solo is given challenging melismatic, arpeggios, and passages in the extended upper and
lower ranges. The chorus provides a homophonic echo within each solo section. The soprano is
the only soloist that has two excerpts, opening and closing the work.

The Sicut erat and Amen move quickly with a meter change to cut time and the marking Allegro
vivo. The strings double the voices, but the tempo change may require additional rehearsal
attention. This shorter closing section will require more rehearsal for the chorus then the longer
first section.

The composition is an opportunity to feature soloists and chamber orchestra in the classical style
while demonstrating the influences the Catholic Church had on the music of the nineteenth
century in Brazil.

346

Paine, John Knowles (CM19c p201-203)
Birth/Death: January 9, 1839 – April 25, 1906
Place of Birth: Portland, ME
Place of Death: Cambridge, MA
Nationality/Ethnicity: American
Selected Bibliography: O’Brien, Richard. “John Knowles Paine: An Annotated
Bibliography for Choral Musicians.” Research Memorandum
Series, no. 186 (Fall 2004). Washington D.C.: Chorus America.
Schmidt, John C. The Life and Works of John Knowles Paine. Ann
Arbor, Mich: UMI Research Press, 1980.

“How Brightly Shines the Morning Star” (CM19c p202)
Alternate Title(s): How Lovely Shines the Morning Star
Larger Work/Collection: No. 5, St. Peter, Op. 20
Text Source: Philipp Nicolai (1556-1608)
Original Language: English
Voicing and Range: SATB

Accompaniment: Orchestra
Meter: Common Time
Opening Tempo: None Given
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: mf, tutti
Closing Texture: p, tutti
Approximate Duration: 1:30
Date of Composition: 1872
Sacred/Secular: Sacred
Liturgical Use: Year C: Eastertide, Seventh Sunday of Easter
Year A, B C: Christmastide, Second Sunday after Christmas Day
Theme(s): Morning Star
Musical Type: Chorale
Editions, Arrangements,
and Publications:
CPDL
Oliver Ditson & Co. (complete work, IMSLP)
Alternate Voicings/
Instr. Arrangements:
Several arrangements of Philipp Nicolai’s hymn tune have been
composed. None were found with John Knowles Paine’s
harmonization.
Collections/Anthologies: None Found
Selected Discography: Back Bay Chorale and Pro Arte Chamber Orchestra of Boston, John
Knowles Paine: St. Peter: An Oratorio, conducted by Gunther
Schuller, GM Recordings, 1989
347

Selected Bibliography: O’Brien, Richard. “John Knowles Paine’s St. Peter: An Analysis.”
DMA diss., Colorado, 1995.
Van Hooser, R. Irving. “John Knowles Paine’s ‘St. Peter’: A
Stylistic and Dramatic Analysis”. DMA diss., University of
Cincinnati, 1994.

Complete Text:

How Lovely shines the Morning Star!
The nations see and hail afar
The light in Judah shining.
Thou David’s Son of Jacob’s race,
My Bridegroom, and my King of grace,
For thee my heart is longing.
Lowly, holy,
Ever glorious and victorious is my Saviour;
He alone is King forever.

Insights & Performance Issues:
The three chorales in St. Peter are from the Lutheran Choral Book arranged with the original
harmony and orchestrated by the composer.
157

“Adapting a tune written for Psalm 100 found in Wolff Köphel's Psalter (1538), Nicolai
composed the hymn tune WIE SCHÖN LEUCHTET, which was published with the text in
1599.”
158

The opening section consists of three, two bar phrases, each cadencing with a fermata. The
conductor should consider the transition after each fermata to the next phrase early in the
rehearsal process.

The vocal lines are stepwise, except for the bass section singing primarily arpeggios. A large
leap and dynamic shift from p to ff occurs for all voices in m. 12 that may require additional
rehearsal attention.

Overall, a chorale suitable for a concert setting or worship service. More verses to the hymn
exist than are used in the oratorio if desired for a liturgical setting. The melody may be sung by
the congregation with choir or instruments provide the harmony.

157
Oliver Ditson Publication
158
Brink, Psalter Hymnal Handbook, 512.
348

Parry, Charles Hubert Hastings (CM19c p112-113)
Birth/Death: February 27, 1848 – October 7, 1918
Place of Birth: Bournemouth, England
Place of Death: Rustington, Sussex, England
Nationality/Ethnicity: English
Selected Bibliography: Benoliel, Bernard, and C. Hubert H. Parry. Parry before Jerusalem:
Studies of His Life and Music with Excerpts from His Published
Writings. Aldershot, Hants, England: Ashgate, 1997.
Dibble, Jeremy. C. Hubert H. Parry: His Life and Music. Oxford:
Clarendon Press, 1992.
Parry, C. Hubert H. The Evolution of the Art of Music. Cambridge:
Cambridge University Press, 1896.
Town, Stephen. An Imperishable Heritage: British Choral Music
from Parry to Dyson: A Study of Selected Works. New York:
Routledge, 2016.

“At the round earth’s imagined corners” (CM19c p113)
Alternate Title(s): N/A
Larger Work/Collection: No. 5, Songs of Farewell
Text Source: John Donne (1572-1631)
Original Language: English
Voicing and Range: SSAATBB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Slow
Beginning Key/Mode: B minor
Ending Key/Mode: D major
Opening Texture: mf, staggered (S1S2A1/A2B2/TB1)
Closing Texture: ppp, tutti
Approximate Duration: 6:30
Date of Composition: 1917
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Angels, Earth, Judgement, Repentance, Trumpets
Musical Type: Motet
Editions, Arrangements,
and Publications:
CPDL
Cramer Music
Oxford, ed. Robert Quinney
Alternate Voicings/
Instr. Arrangements:
None Found
349

Collections/Anthologies: None Found
Selected Discography: Tenebrae, Hubert Parry Songs of Farewell, conducted by Nigel
Short, Signum Classics, 2011.
Choir of the University College, Durham, In Memoriam, conducted
by Will Sims, Priory Records, 2020.
Selected Bibliography: Benoliel, Bernard, and C. Hubert H. Parry. “Selected Published
Writings of Hubert Parry.” In Parry before Jerusalem: Studies of
His Life and Music with Excerpts from His Published
Writings. Aldershot, Hants, England: Ashgate, 1997.
Quinney, Robert. Preface and Textual Notes to Songs of Farewell,
by C. Hubert H. Parry, iii-vii. Edited by Robert Quinney.
Oxford, United Kingdom: Oxford University Press, 2017.
Temperley, Nicholas. “Cathedral Music.” In Music in Britain: The
Romantic Age 1800-1914, edited by Nicholas Temperley, 171-
213. London: The Athlone Press, 1981.

Complete Text:

At the round earth's imagined corners blow
Your trumpets, angels, and arise, arise
From death, you numberless infinities
Of souls and to your scattered bodies go,
All whom the flood did, and fire shall
overthrow,
All whom war, dearth, age, agues, tyrannies,
Despair, law, chance, hath slain; and you
whose eyes
Shall behold God and never taste death's woe.
But let them sleep, Lord, and me mourn a
space,
For, if above all these my sins abound,
'Tis late to ask abundance of thy grace,
When we are there. Here on this lowly ground,
Teach me how to repent; for that's as good
As if thou'dst sealed my pardon with Thy
blood.

Insights & Performance Issues:
“Performers of these motets should know they were written for fairly large choirs like the Bach
Choir. The Anglican tradition of using boys' voices to replace sopranos and altos is deadly for
these songs. All too often, the white, expressionless, slightly flat, strained sound of boy trebles
robs this music of its glowing warmth.”
159

The composition is suitable for choirs comfortable and experienced with polyphony and part
divisi.

While there are a few notes below B3, in general, the range of the Bass I part does allow for a
three-part spilt in the tenor/bass section if desired for balance.

The texture is constantly passing the melodic moving line between voices. The composition is a
great exercise for role recognition and line independence as the music can become easily muddy
to the listeners.

159
Benoliel, Parry Before Jerusalem, 132-33.
350

Several dynamic shifts occur throughout, with the first major significant shift a m. 14. In
addition to dropping in dynamic from ff to p, nearly all the parts descend an interval of an octave
or more. This may require additional rehearsal attention to maintain proper intonation.

One of the more difficult passages occurs in mm. 30-32 in the tenor and bass parts due to the
harmonic progression, syncopated rhythms, extended range, and a cesura before the phrase
concludes.

Another passage the conductor should be attentive to includes mm. 85-92. Full of accidentals
and dissonance, each vocal line is exposed on their individual entrances. Moving slowly and
deliberately during rehearsal will benefit the choir’s understanding of the harmonic progression.

I Was Glad (CM19c p113)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Book of Common Prayer: Psalm 122:1-3, 6, 7; Vivat Regina
Elizabetha!
Original Language: English/Latin
Voicing and Range: 2 SATB, Semi-Chorus

Accompaniment: Organ
Meter: 4/4
Opening Tempo: Maestoso
Beginning Key/Mode: Bb major
Ending Key/Mode: Bb major
Opening Texture: f, instr. (extended)
Closing Texture: ff, instr. (brief)
Approximate Duration: 7:00
Date of Composition: 1902 (Coronation Anthem for Edward VII; revised for Coronation
of George V)
Sacred/Secular: Sacred
Liturgical Use: Year A: Advent, First Sunday of Advent
Theme(s): Heaven, Judgement, Jerusalem, Peace, Queen Elizabeth
Musical Type: Anthem
351

Editions, Arrangements,
and Publications:
CPDL
Jubilate Music Group
Novello (IMSLP)
Oxford University Press
Theodore Presser Co.
Alternate Voicings/
Instr. Arrangements:
SSAA, arr. Andrews; Banks Music Publications
Collections/Anthologies: Sacred Choruses, ed. John Rutter; Oxford University Press, 2018
Selected Discography: The Sixteen, A New Heaven, conducted by Harry Christopher,
Universal Classics, 2009.
Selected Bibliography: Long, Kenneth R. “The Awakening.” In The Music of the English
Church, 368-82. London: Hodder and Stoughton, 1971.
Nativo, Glenda. “Compositional Devices of C.H.H. Parry as a Link
to Emerging Definitive English Style and Anglicanism.”
master’s thesis, California State University, Fullerton, 2013.
Temperley, Nicholas. “Cathedral Music.” In Music in Britain: The
Romantic Age 1800-1914, edited by Nicholas Temperley, 171-
213. London: The Athlone Press, 1981.

Complete Text:

I was glad when they said unto me,
We will go into the house of the Lord.
Our feet shall stand in thy gates, O Jerusalem.
Jerusalem is builded as a city, that is unity in
itself.

Vivat Regina Elizabetha!

O pray for the peace of Jerusalem,
They shall prosper that love thee.
Peace be within thy walls,
and plenteousness within thy palaces.

Insights & Performance Issues:
The accompaniment often does not support the melodic material of the chorus. A skilled
organist is required. Set for double chorus and a semi-chorus, the work requires larger numbers
to accomplish effectively. The conductor should consider the acoustics and sightlines of the
space when deciding on the placement of the choirs and semi-chorus.

In general, the opening and closing of the work is triumphant and marcato, with Choir II echoing
Choir I. Clarity of the text is maintained as the imitation occurs while the opposite choir sustains
their chord, providing an echo of each line of text.

Before the slower middle section, an optional cut occurs allowing the omission of the “Vivat
Regina! Elizabetha”
160
for concerts and worship services. If included, it should be sung in
classical Latin, not church Latin. The semi-chorus sings in mm. 77-88 and requires wide ranges
for each voice part.

The ending brings the chorus back together singing mostly homophonically and includes Bb5s
for the sopranos.

160
Originally sung “Vivat Edward”
352

Rheinberger, Josef Gabriel (CM19c p77-78)
Birth/Death: March 17, 1839 - November 25, 1901
Place of Birth: Vaduz, Liechtenstein
Place of Death: Munich, Germany
Nationality/Ethnicity: German
Selected Bibliography: Lin, Shan-Hui. ”A Survey of A Cappella Sacred Music for Mixed
Choir of Josef Rheinberger.” DMA diss., University of Illinois at
Urbana-Champaign, 2016.
Maitland, J.A. Fuller. Masters of German Music. New York:
Charles Scribner’s Sons, 1894.
Person, Ryan. “The Male Chorus Part Songs of Josef Rheinberger:
A Conductor’s Study.” DMA diss., Texas-Tech University,
2018.
Sexton, Timothy C. “The Accompanied Secular Part Songs of Josef
Rheinberger: Relationship of Music and Poetry in 19th Century
Part Song.” DMA diss., University of South Carolina, 2009.

“Abendlied” (CM19c p78)
Alternate Title(s): Evening Song
Larger Work/Collection: No. 3, Drei geistliche Gesänge, Op. 69; Three Sacred Songs
Text Source: Bible: Luke 24:29
Original Language: German
Voicing and Range: SSATTB

Accompaniment: Unaccompanied
Meter: Common Meter
Opening Tempo: Andante molto
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 3:00
Date of Composition: 1855
Sacred/Secular: Sacred
Liturgical Use: Year A,B,C: Eastertide, Easter Evening
Year A Third Sunday of Easter
Theme(s): Abide, Emmaus, Evening, Jesus, Pleading, Teacher, Travel, Stay
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag (German/Korean)
CPDL
GIA, ed. James Jordan
N. Simrock (IMSLP)
353

Alternate Voicings/
Instr. Arrangements:
Brass Sextet, arr. Bill Schuetter, Imagine Music
Concert Band, arr. Shelley Hanson, Boosey & Hawkes
SSSAAA, arr. Gunther Martin, Carus-Verlag
Collections/Anthologies: Choral Scores, ed. Dennis Shrock, Oxford University Press
European Sacred Music, ed. John Rutter & Clifford Bartlett,
Oxford University Press, 1996
Josef Gabriel Rheinberger: Geistliche Chormusic für gemischten
Chor (Sacred music for mixed choir), ed. Wolfgang
Bretschneider, Carus-Verlag, 2001
Selected Discography: Westminster Kantorei, Lumina, conducted by Amanda Quist,
Westminster Choir College, 2017.
Kansas City Chorale and Phoenix Bach Choir, Rheinberger: Sacred
Choral Works, conducted by Charles Bruffy, Chandos, 2007.
Selected Bibliography: Lin, Shan-Hui. “A Survey of A Cappella Sacred Music for Mixed
Choir of Josef Rheinberger.” DMA diss., University of Illinois at
Urbana-Champaign, 2016.

Complete Text:

English Translation:
Bleib bei uns, denn es will Abend werden,
und der Tag hat sich geneiget.
But they urged him strongly, “Stay with us, for
it is nearly evening; the day is almost over.”
So he went in to stay with them.
161

Insights & Performance Issues:
For a full analysis of the work, see Shan-Hui Lin’s dissertation listed above.

In addition to this setting, Rheinbergers’s Op. 150 (6 pieces) contains a setting of “Abendlied”
for violin and organ.

The motet consists of one verse of scripture, Luke 24:29. Set in a rondo-binary form (AA’) the
composition modulates to G minor and C major, but interestingly, not the relative minor, D
minor.
162

Lin describes the texture of the choral setting of “Abendlied,” “There are three kinds of texture
used in Bleib bei uns. The most obvious texture of Bleib bei uns is imitation. Only the beginning
and ending phrases deviate from this texture. The homophonic texture, which is usually the most
obvious feature in Rheinberger's other works, only appears at the end of Bleib bei uns for five
measures.”
163

The conductor should be attentive to the clarity between the “p” and “b” of bleib bei as it is
easily lost. In addition, sopranos should be encouraged to use consistent breath energy to
maintain proper intonation on the pedal point phrases on C5 found in mm. 7-11 and 26-29.

161
New International Version.
162
Lin, “A Survey of A Cappella Sacred Music for Mixed Choir of Josef Rheinberger,” 115.
163
Ibid., 116.
354

“Hymne” (CM19c p78)
Alternate Title(s): Dein sind die Himmel; Thine Are the Heavens; Tui sunt coeli
Larger Work/Collection: No. 2, Drei geistliche Gesänge, Op. 69; Three Sacred Songs
Text Source: Bible: Psalm 89: 11, 14a
Original Language: German
Voicing and Range: SSATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Adagio non troppo
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: p, tutti
Closing Texture: f, tutti
Approximate Duration: 2:30
Date of Composition: pub. 864
Sacred/Secular: Sacred
Liturgical Use: General, Christmas (Offertory, 3rd Mass)
Theme(s): Earth, Fullness, Heaven, Heavenly Kingdom, Justice, Pillars
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Günter Graulich (German/Latin)
CPDL
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Choir and Orchestra, arr. Johannes X. Schachtner, Sikorski Music
Choir and Organ, arr. Johannes X. Schachtner, Sikorski Music
Collections/Anthologies: Josef Gabriel Rheinberger: Geistliche Chormusic für gemischten
Chor (Sacred music for mixed choir), ed. Wolfgang
Bretschneider, Carus-Verlag, 2001
Selected Discography: Saint Clement’s Choir Philadelphia, The Romantic Mass: Choral
Works by Rheinberger and Brahms, conducted by Peter Richard,
Dorian Sono Luminus, 1995.
Selected Bibliography: Lin, Shan-Hui. “A Survey of A Cappella Sacred Music for Mixed
Choir of Josef Rheinberger.” DMA diss., University of Illinois at
Urbana-Champaign, 2016.

Complete Text:

English Translation:
Dein sind die Himmel, und dein ist die Erde;
du hast der Welten Kreis,
hast die Fülle der Erde fest begründet;
Gerechtigkeit und der Wahrheit Kraft
sind die Pfeiler deines Thrones.
Thine are the heavens, and earth is thine also;
Thou hast made all the worlds,
And the earth in its fullness thou hast founded.
For justice, Lord, and the might of truth
Are the pillars of thy kingdom.
164

164
From Carus-Verlag edition, no translation citation provided.
355

Insights & Performance Issues:
The shortest and in many ways, the most accessible of the three motets in the Drei geistliche
Gesänge (Three Sacred Songs), Op. 69, with five parts instead of six, primarily homophonic
texture, and the narrowest voice ranges.

The work is AA’ form with partial music recapitulation in the second A section with the same
text.
165

The conductor should be attentive to the octaves and large leaps occurring in every phrase of the
bass and Soprano I. The tenors sing section solos in mm. 4-6, 12-13, and 15-16 with the first and
last including an octave leap (G3-G4) that may require additional rehearsal attention. This same
motif is sung by the Soprano I in mm. 6-8 and 27-28.

In addition, the works final phrase presents challenges, primarily for the Soprano I and altos.
The leaping figures for the Soprano I include exposed lower pitches as the other voices sing on
every other beat. This is combined with the phrase concluding on an E5 held for twelve counts.
While the Soprano I sustain the E5, the altos sing a melismatic, chromatic eighth note running
line leading to the final cadence. In both voices, the conductor should encourage consistent
breath energy to maintain the phrases.

“Morgenlied” (CM19c p78)
Alternate Title(s): Morning Song
Larger Work/Collection: No. 1, Drei geistliche Gesänge, Op. 69; Three Sacred Songs
Text Source: August Heinrich Hoffmann von Fallersleben (1798-1874)
Original Language: German
Voicing and Range: SSATTB

Accompaniment: Unaccompanied
Meter: Common Meter
Opening Tempo: Con moto
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, staggered (TTB/SSA)
Closing Texture: p, tutti
Approximate Duration: 5:00
Date of Composition: 1864
Sacred/Secular: Sacred
Liturgical Use: Year A,B,C: Easter
Year B: Proper 17

165
Lin, “A Survey of A Cappella Sacred Music for Mixed Choir of Josef Rheinberger,” 95.
356

Theme(s): Evening, Light, Morning, Nightingale, Silence, Singing
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Günter Graulich (German/English)
CPDL
J.M. Russell (English, IMSLP)
N. Simrock (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Kansas City Chorale and Phoenix Bach Choir, Rheinberger: Sacred
Choral Works, conducted by Charles Bruffy, Chandos, 2007
Saint Clement’s Choir Philadelphia, The Romantic Mass: Choral
Works by Rheinberger and Brahms, conducted by Peter Richard,
Dorian Sono Luminus, 1995
Selected Bibliography: Lin, Shan-Hui. ”A Survey of A Cappella Sacred Music for Mixed
Choir of Josef Rheinberger.” DMA diss., University of Illinois at
Urbana-Champaign, 2016.

Complete Text:

English Translation:
Die Sterne sind erblichen
mit ihrem güldnen Schein,
bald ist die Nacht entwichen,
der Morgen dringt herein.

Noch waltet tiefes Schweigen
im Tal und überall.
Auf frischbetauten Zweigen
singt nur die Nachtigall.

Sie singet Lob und Ehre
dem hohen Herrn der Welt,
der über'm Land und Meere
die Hand des Segens hält.

Er hat die Nacht vertrieben,
ihr Kindlein fürchtet nichts,
stets kommt zu seinen Lieben
der Vater alles Lichts.
The stars this hour have faded
With all their golden light.
Soon will the night be ended;
The morning will be bright.

Now deepest silence crouches,
In valley and on hill.
On dew bespangled branches
there sings the nightingale.

She sings with adoration
To him who rules all worlds,
Who over land and over ocean,
The hand of blessing holds.

He drives the night before him,
Its children tremble not;
He comes to those who love him,
The Father of all light.
166

166
English Singing Version by Jean Lunn, Carus-Verlag
357

Insights & Performance Issues:
Arguably, the most difficult of the Drei geistliche Gesänge (Three Sacred Songs), Op. 69, set for
six voices with alternating homophony and chromatic polyphony, chromatic tonal shifts, and
includes the widest voice ranges. “Morgenlied” is the longest of the three at approximately five
minutes in duration.

The author, August Heinrich Hoffmann von Fallersleben, is known for writing the text for the
German national anthem. No direct connection with specific scripture, but the phrase “heavenly
light” is found in James 1:17 and Psalm 136: 7. Several other scripture passages contain
instances of light from heaven.

The texture is a mix of imitation between the bottom three voices and the upper three voices
interspersed with general polyphony and short moments of homophony. The conductor should
be attentive to the p and f dynamic markings that alternate the beginning of each phrase.

Sections that may require additional rehearsal attention include mm. 24-37 and mm. 52-65. In m.
24 the sopranos and altos sing arpeggiated lines in imitation with accidentals. The phrase
culminates with one measure of homophony in m. 30 with leaps in the voices including tritone
leaps in the sopranos and altos. This is immediately following by sustained unison octaves on
E4/E5 by the Soprano I and altos. The conductor should consider the breath marks early in the
rehearsal process and encourage consistent breath energy from the choir to maintain proper
intonation.

In mm. 52-61, the choir sings descending, chromatic imitation at the fourth beginning in C major
and landing in Db major. Four mm. later is an abrupt shift C major in m. 65 rooted with a pedal
tone in the bass that is held for the ten measures.

The opening material returns in m. 74 returning to F major. The same musical material is
repeated with different text until the homophonic coda begins in m. 86.

358

Rimsky-Korsakov, Nikolai (CM19c p157-160)
Birth/Death: March 18, 1844 – June 21, 1908
Place of Birth: Tikhvin, Russia
Place of Death: Lyubensk, Russia, near Luga (now Pskov district)
Nationality/Ethnicity: Russian
Selected Bibliography: Morosan, Vladimir. Choral Performance in Pre-Revolutionary
Russia. Ann Arbor, Mich: UMI Research Press, 1986.
Rakhmanova, Marina. Introduction to Nikolai Rimsky-Korsakov:
The Complete Sacred Choral Works, xxxi-xl. Edited and
translated by Vladimir Morosan. Madison, CT: Musica Russica,
1999.
Seaman, Gerald R. Nikolay Andreevich Rimsky-Korsakov: A
Research and Information Guide. Oxfordshire, England:
Routledge, 2015.
Wall, Jeffery B. “The Influence of Znamenny Liturgical Chant on
the Nineteenth-Century Russian Choral School: A Guide to
Performance.” The Choral Journal 50, no. 3 (October 2009): 20-
32.
Yastrebtsev, V.V. Reminiscences of Rimsky-Korsakov. New York:
Columbia University Press, 1985.

Otche nash (CM19c p160)
Alternate Title(s): Our Father; The Lord’s Prayer
Larger Work/Collection: N/A
Text Source: Bible; Matthew 6:9-13; Divine Liturgy
Original Language: Church Slavonic
Voicing and Range: SSATTBB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Adagio
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: pp, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:00
Date of Composition: 1883
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Lord’s Prayer, Prayer, Father, Forgiveness, Heaven
Musical Type: Motet
359

Editions, Arrangements,
and Publications:
Musica Russica, 1996
Yazdovsky, 1884
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Bakhmetev to Lyapunov: Music of the Russian Court Chapel Choir,
Volume 2, ed. Carolyn C. Dunlop, Harwood Academic
Publishers, 2000.
Nikolai Rimsky-Korsakov: The Sacred Choral Works of, ed.
Vladimir Morosan, Mussica Russica, 1999.
Selected Discography: Holst Singers, Ikon, Vol. 2: Sacred Choral Music from Eastern
Europe, conducted by Stephen Layton, Hyperion, 2010.
Selected Bibliography: Morosan, Vladimir. Editor’s Note to Otche Nash, by Nikolai
Rimsky-Korsakov, 2. Edited by Vladimir Morosan. Encinitas,
CA: Musica Russica, 1996.

Complete Text:

English Translation:
Отче наш, Иже еже еси на небесех!
Да святится имя Твое,
да приидет царствие Твое,
да будет воля Твоя, яко на небеси и на
земли.
Хлеб наш насущный даждь нам днесь;
и остави нам долги наша,
якоже и мы оставляем должником нашим;
и не введи нас во искушение,
но избави нас от лукаваго.
Our Father, Who art in heaven,
hallowed be Thy name.
Thy Kingdom come.
Thy will be done on earth as it is in
heaven.
Give us this day our daily bread;
and forgive us our debts,
as we forgive our debtors;
and lead us not into temptation,
but deliver us from the evil one.
167

Insights & Performance Issues:
Vladimir Morosan provides valuable insight in the Editor’s notes of his Musica Russica edition,
“Rimsky-Korsakov's setting of ‘Otche nash,’ the Lord's Prayer, embodies the most traditional
manner of rendering this prayer in the Russian Orthodox liturgy–as a simple chordal recitative,
suitable for (or reflective of) singing by the entire assembly of worshipers. The music alternates
between an unmetered, word-determined rhythm and passages at the ends of phrases, where a
more measured rhythm prevails; in neither case, however, must the music appear to be unduly
rigid or proportionally exact. The text must at all times be properly inflected and display the
character of natural recitation.”
168

As Morosan describes, singing chant presents specific conducting challenges to align the voices
without being too rigid in rhythm or tempo. The conductor should determine the phrase
destinations and word stress early in the rehearsal process, especially for the unmetered phrases.

While the vocal range of the top three voices is minimal, the bass line includes a F2.

167
English translation by Vladimir Morosan © 1996, reprinted with permission.
168
Morosan, Editor’s Note to Otche Nash, by Nikolai Rimsky-Korsakov, 2.
360

The short chant is well-suited for a liturgical or concert setting and presents accessible
opportunities for singing chant and the Russian language. May also be segmented effectively for
sight-reading or conducting exercises.

“Procession of the Nobles” (CM19c p159)
Alternate Title(s): Entry of the Nobles
Larger Work/Collection: Mlada Opera-Ballet, Scene III; Mlada Suite, No. 5 Cortége
Text Source: Viktor Krylov (1838-1908)
Original Language: Russian
Voicing and Range: SSAATTTBB

Accompaniment: Orchestra
Meter: 3/4
Opening Tempo: Allegro moderato e maestoso
Beginning Key/Mode: G minor
Ending Key/Mode: Eb major
Opening Texture: ff, instr. (extended)
Closing Texture: sf, instr. (brief)
Approximate Duration: 4:30
Date of Composition: 1872 incomplete collaboration; 1889-90 opera-ballet; 1903 suite
Sacred/Secular: Secular
Theme(s): Glory, Procession, Fanfare, Prince, Princess
Musical Type: Opera Chorus
Editions, Arrangements,
and Publications:
M.P. Belaieff Leipzig, Opera-ballet version, 1891 (Russian/French,
IMSLP)
M.P. Belaieff Leipzig; Suite version, 1895 (Russian, IMSLP)
Musica Russica, ed. Morosan, piano reduction, 2016
(Russian/Phonetic)
Alternate Voicings/
Instr. Arrangements:
Brass Quintet, arr. Marc Oliver, Ayotte Custom Musical Engravings
Concert Band, arr. Jay Bocook, Hal Leonard
String Orchestra, arr. Albert Wang, Ludwig-Masters
Numerous others
Collections/Anthologies: Opera Choruses, ed. John Rutter & Clifford Bartlett, Oxford
University Press, 1995.
Chorus Camarata and Kingsway Symphony Orchestra, 40 Famous
Marches, Decca, 1990.
Selected Discography: Soloists of Bolshoi Theatre, Rimsky-Korsakov: Complete Operas &
Fragments, Profil, 2020.
Selected Bibliography: Taruskin, Richard. “Mlada (i).” Grove Music Online. 2002.
361

Complete Text:

English Translation:
Слава Войлаве кияжне!
Слава Яромиру, арконскому князю!
Слава князю Мстиою!
Слава полабским князьям!
Слава! Слава!
Слава всем славянским землям!
Слава! Слава!
Glory to the Princess Voyslava!
Glory to Yaromir, the Prince of Arkona!
Glory to Prince Mstivoy!
Glory to the Polabian princes!
Glory! Glory!
Glory to all the Slavic lands!
Glory! Glory!
169

Insights & Performance Issues:
The extended introduction, full of energy, may be an effective processional to begin a concert or
return from intermission. The suite version without chorus is often performed by orchestras.

If performing with orchestra, the conductor should be attentive to balance as the work is suited
for larger choruses, especially with divisi in each voice part.

The vocal part is homophonic throughout and is continuously supported by the accompaniment.
The first choral entrance is at the halfway mark in m. 82 with the sopranos and altos singing
piano. The dynamic shifts to forte in m. 96 where it stays for the remainder of the work.

A tenor three-part split occurs in mm. 128-133. The altos do not sing during this phrase and the
range is such that adding alto voices to the top tenor line a viable option for maintaining balance.

The dotted rhythm used for the main melodic motif is sung by the voices for the first and only
time in mm. 138-152, sung in unison octaves by the upper sopranos and tenors.

We Praise Thee, O God (CM19c p159)
Alternate Title(s): Tebe Boga khvalim; Teбe Бога хвалим
Larger Work/Collection: N/A
Text Source: Hymn of St. Ambrose at the Prayer Service
Original Language: Church Slavonic
Voicing and Range: 2 SATB; soli SATB

Accompaniment: Unaccompanied

169
English translation by Vladimir Morosan © 2016, reprinted with permission.
362

Meter: 3/2
Opening Tempo: Maestoso
Beginning Key/Mode: A minor
Ending Key/Mode: C major
Opening Texture: f, staggered (Choir I/Choir II)
Closing Texture: f, tutti
Approximate Duration: 4:30
Date of Composition: 1883
Sacred/Secular: Sacred
Liturgical Use: Lent, General
Theme(s): Glory, Holy Spirit, Mercy, Praise, Trinity
Musical Type: Sacred Concerto
Editions, Arrangements,
and Publications:
Musica Russica, ed. Morosan, 1997
Muzgiz, n.d. (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Nikolai Rimsky-Korsakov: The Complete Sacred Choral Works, ed.
Vladimir Morosan, Musica Russica, 1999.
Selected Discography: Yale Russian Chorus, conducted by David-Marc Finley, New
Haven, CT, 1991.
Blagovest Ensemble of Sacred Music, N. Rimsky-Korsakov:
Gesamtausgabe der geistlichen Kompositionen, conducted by
Galina Koltsova, Duophon, 1995.
Selected Bibliography: Morosan, Vladimir. Editor’s Note to We Praise Thee, O God, by
Nikolai Rimsky-Korsakov, 42. Edited by Vladimir Morosan.
Encinitas, CA: Musica Russica, 1997.

Complete Text:

English Translation:
Тебе Бога хвалим,
Тебе Господа исповедуем.
Тебе Превечнаго Отца
вся земля величает;
Тебе вси Ангели, Тебе небеса и вся
Силы.
Тебе Херувими и Серафими
непрестанными гласы взывают:
Свят, Свят, Свят, Господь Бог Саваоф,
полны суть небеса и земля
величества славы Твоея.
Тебе преславный Апостольский лик,
Тебе пророческое хвалебное число,
Тебе хвалит пресветлое мученическое
воинство,
Тебе по всей вселенней исповедует Святая
Церковь,

We praise Thee, O God,
we acknowledge Thee to be the Lord.
All the earth worships Thee,
the Father everlasting.
To Thee all Angels, the Heavens, and the
Powers,
the Cherubim and Seraphim,
cry out with unceasing voices:
"Holy, Holy, Holy, Lord God of Hosts,
Heaven and earth are full
of the majesty of Thy glory!"
The glorious choir of the Apostles,
the noble fellowship of the Prophets,
and the white-robed army of the Martyrs praise
Thee,
the Holy Church throughout the world
confesses Thee:

363

Отца непостижимаго величества,
покланяемаго Твоего истиннаго и
Единороднаго Сына
и Святаго Утешителя Духа.
Ты, Царю славы, Христе,
Ты Отца Присносущный Сын еси.
Ты, ко избавлению приемля человека,
не возгнушался еси Девическаго чрева.
Ты, одолев смерти жало,
отверзл еси верующим Царство
Небесное.
Ты одесную Бога седиши во
славе Отчей,

Судия приити веришися.

Тебе убо просим: помози рабом Твоим,
ихже Честною Кровию искупил еси.

Сподоби со святыми Твоими
в вечной славе Твоей царствовати.
Спаси люди Твоя, Господи,
и благослови достояние Твое,
исправи я и вознеси их во веки;
во вся дни благословим Тебе
и восхвалим имя Твое
во век и в века века.
Сподоби, Господи, в день сей без греха
сохранитися нам.
Помилуй нас, Господи, помилуй нас;
буди милость Твоя, Господи, на нас,
якоже уповахом на Тя.
На Тя, Господи, уповахом,
да не постыдимся во веки. Аминь.
O Father of infinite majesty,
Thine praiseworthy, true, and
only-begotten Son,
and the Holy Spirit, the Comforter.
Thou art the King of Glory, O Christ;
Thou art the everlasting Son of the Father;
When Thou didst come to deliver man,
Thou didst not disdain the Virgin's womb.
Having overcome the sting of death,
Thou didst open to believers the Kingdom of
Heaven.
Thou sittest at the right hand of God in the
glory of the Father.

We believe that Thou shalt come to be our
judge;
we therefore beseech Thee: help Thy servants,
whom Thou hast redeemed with Thy precious
Blood.
Count them worthy to reign with Thy saints
in Thine everlasting glory.
O Lord, save Thy people,
and bless Thine inheritance.
Govern them and exalt them forever.
Every day we shall bless Thee
and praise Thy name for ever and ever.

Count us worthy, O Lord, of passing this day
without sin.
Have mercy on us, O Lord, have mercy on us.
Let Thy mercy, O Lord, be upon us,
as we have placed out hope in Thee.
In Thee, O Lord, have we trusted:
let us not be confounded for eternity.
170

Insights & Performance Issues:
In the Editor’s Note of his Music Russica edition, Vladimir Morosan provides valuable insight
into the works melodic and rhythmic themes, “The concerto is based on the melody of Russian
‘Greek’ Chant in Tone 3. The composer maintains the theme rather strictly throughout the piece;
the slight deviations affect primarily the chant's rhythmic aspects (resulting from the need to
emphasize stressed syllables). The technique of antiphonal singing with the choirs joining at the
cadential phrases alternates effectively here with passages of unmeasured choral recitative–the
‘supplications.’”
171

170
English translation by Vladimir Morosan © 1997, reprinted with permission.
171
Morosan, Editor’s Note to We Praise Thee, O God, by Nikolai Rimsky-Korsakov, 42.
364

The 3/2 meter may challenge some less experienced singers especially when the music divides
into two choirs. However, Rimsky-Korsakov writes intuitive voice leading and intersperses
homophony between the short segments of imitation.

The choral recitatives, as Morosan describes, present specific conducting challenges to align the
voices without being too rigid in rhythm or tempo. The conductor should determine the phrase
destinations and word stress early in the rehearsal process.

The conductor should be attentive to the dynamic markings in mm. 24-30, as the top three voices
of Choir II echo the top three voices of Choir I. Choir II sings forte in response to the Choir I
piano. This homophonic section continues as the basses join in the next phrase and the dynamic
levels switch.

The soprano sections in both choirs have exposed entrances in mm. 32-33 at piano that may
require additional rehearsal attention.

The soli quartet sings in mm. 70-86 with Choir II. The entire section is sung piano and contains
simple rhythmic and melodic material.

Overall, the antiphonal singing, homophony, soli quartet, and chant alternating throughout,
offers a variety of musical techniques for a choir to rehearse. A concert or liturgical setting
where the two choirs can be divided will make the antiphonal singing more effective for the
listeners.

365

Rossini, Gioachino (CM19c p180-181)
Birth/Death: February 29, 1792 – November 13, 1868
Place of Birth: Pesaro, Italy
Place of Death: Passy, France
Nationality/Ethnicity: Italian
Selected Bibliography: Braun, William R. “From Youth to the ‘Sins of Old Age’: The
Choral Music of Rossini.” The Choral Journal 32, no. 7
(February 1992): 7-14.
Gallo, Denise. Gioachino Rossini: A Research and Information
Guide. Florence: Taylor and Francis, 2012.
Osborne, Richard. Rossini: His Life and Works. New York: Oxford
University Press, 2007.

“Et inflammatus est” (CM19c p180)
Alternate Title(s): Inflammatus et accesnsus; When thou comest; Air and Chorus; Aria
e Coro; Air et Choeur
Larger Work/Collection: No. 8, Stabat mater
Text Source: Based on various Holy Scriptures: John 19:25, Luke 2:35, Sacharias
13:6, II
Original Language: Latin
Voicing and Range: SSTB, solo S

Accompaniment: Orchestra (piano)
Meter: Common Time
Opening Tempo: Andante maestoso
Beginning Key/Mode: C minor
Ending Key/Mode: C major
Opening Texture: ff, instr. (extended)
Closing Texture: ff, instr. (brief)
Approximate Duration: 4:45
Date of Composition: 1842
Sacred/Secular: Sacred
Liturgical Use: Holy Week, Good Friday, Lent
Theme(s): Judgement, Grace, Fire, Virgin Mary, Crucifixion, Salvation,
Forgiveness
Musical Type: Air & Chorus
Editions, Arrangements,
and Publications:
Carl Fischer
Carus-Verlag, ed. Klaus Döge (complete work)
CPDL
Edition Eulenburg, ed. Luciano Tomelleri (complete work, IMSLP)
G Schirmer (complete work, Latin/English, IMSLP)
366

Kalmus (complete work)
Novello (complete work)
Ph. Maquet & Cie (complete work, IMSLP)
Schott (complete work, IMSLP)
Alternate Voicings/
Instr. Arrangements:
Concert Band, arr. Earl Gannon, BRS Music
Piano 4 Hands, arr. Carl Czerny, E. Troupenas (complete work,
IMSLP)
Collections/Anthologies: None Found
Selected Discography: Accademia Nazionale de Santa Cecilia Choir and Orchestra,
Rossini: Stabat Mater, conducted by Antonio Pappano, Warner
Classics, 2010.
Hungarian State Opera Chorus and Orchestra, Rossini: Stabat
Mater, conducted by Pier Giorgio Morandi, Naxos, 1999.
Selected Bibliography: Braun, William R. “From Youth to the ‘Sins of Old Age’: The
Choral Music of Rossini.” The Choral Journal 32, no. 7
(February 1992): 7-14.
Dennison, John Teman. “A Study and Performance of Rossini’s
‘Stabat Mater.’” DMA diss., University of Southern California,
1985.
Döge, Klaus. Foreword to Stabat Mater, by Gioachino Rossini, 3.
Edited by Klaus Döge. Stuttgart: Carus-Verlag, 2016.

Complete Text:

English Translation:
Inflammatus et accensus
Per te, Virgo, sim defensus,
In die judicii.

Fac me cruce custodiri
Morte Christi praemuniri
Confoveri gratia.
Inflamed and burning,
may I be defended by thee, O Virgin,
at the day of judgement.

Grant that I may be protected by the cross,
saved by the death of Christ,
and supported by his grace.

Insights & Performance Issues:
William Braun describes the overall structure of the full work, “The 10 movements of the Stabat
Mater are musically independent of one another except for the first and last movements which
share musical material.”
172

The piano accompaniment is a viable option, but the brilliance of the unison brass sections will
be lost.

John Dennison offers insights on the tonality and form of the movement in his dissertation,
“Structurally, the movement is three part, repeated. A (C-minor) solo, B (C-minor) chorus, C (E-
flat major) solo and chorus; the repeat changes only the key of the C section to C-major.”
173

172
Braun, “From Youth to the ‘Sins of Old Age,’ 10.
173
Dennison, “A Study and Performance of Rossini’s ‘Stabat Mater’”, 55-6.
367

The conductor should be attentive to the sextuplet rhythm in the accompaniment when
determining tempo. This rhythm is contrasting with the chorus and soloists’ double dotted
rhythm and may require additional rehearsal attention to align.

The chorus is well-suited to feature a soprano soloist with a community choir, especially for a
concert combined with the orchestra. At the collegiate level, it may be an opportunity to
collaborate with the voice department.

368

Saint-Saëns, Camille (CM19c p94-95)
Birth/Death: October 9, 1835 – December 16, 1921
Place of Birth: Paris, France
Place of Death: Algiers, Algeria
Nationality/Ethnicity: French (active in Egypt and Algeria)
Selected Bibliography: Flynn, Timothy S. Camille Saint-Saëns: A Guide to Research. New
York: Routledge, 2003.
Hervey, Arthur. Saint-Saëns. New York: Dodd, Mead & Co., 1922.
Lyle, Watson. Camille Saint-Saëns, His Life and Art. Westport,
Conn: Greenwood Press, 1970.

“Tollite hostias” (CM19c p94)
Alternate Title(s): N/A
Larger Work/Collection: Closing Movement (No. 10) from Oratorio de Noël, Op. 12
Text Source: Bible: Psalm 96:8-13
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Str; org (full work includes harp)
Meter: Common time
Opening Tempo: Maestoso
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: f, tutti
Closing Texture: ff, tutti
Approximate Duration: 2:00
Date of Composition: 1863
Sacred/Secular: Sacred
Liturgical Use: Advent, Christmas
Theme(s): Christ Child, Heaven, Offering, Rejoice
Musical Type: Oratorio Chorus
Editions, Arrangements,
and Publications:
A. Durand & Fils (Full Score, IMSLP)
CPDL
Durand S.A. Editions Musicales
G. Schirmer (Vocal Score, IMSLP)
Kalmus
MorningStar Music
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: French Choral Music (Franzosische Chormusik | Musique chorale
francaise), ed. Denis Rouger, Carus-Verlag
369

Selected Discography: Logumkloster Vokal Ensemble and Logumkloster Chamber
Orchestra, Camille Saint-Saëns, Vol. 2, conducted by Sven-
Ingvart Mikkelsen, Documents, 1998
Rastatt Vocal Ensemble, Camille Saint-Saëns: Oratorio de Noël,
conducted by Holger Speck, Carus-Verlag 2006
Selected Bibliography: Lee, Eunji. “Oratorio De Noël, Op. 12 by Camille Saint-Saëns:
Conservative Eclecticism.” DMA diss., The University of
Arizona, 2019.
Music, David W. “Camille Saint-Saens's Christmas Oratorio:
Description, Accessibility, Comparison”, The Choral Journal 39,
no. 5 (December 1998): 49-53.

Complete Text:

English Translation:
Tollite hostias, et adorate Dominum in atrio
sancto eius.
Laetentur coeli, et exultet terra
a facie Domini, quoniam venit.

Alleluia.
Bring an offering, adore God in “his” holy
home!
Let the skies celebrate; let the earth be thrilled
in the presence (face) of God, because God
(“he”) comes!
Hallelujah.
174

Insights & Performance Issues:
For a survey of the Oratorio de Noël, including the final chorus, “Tollite hostias,” see David
Music’s article listed above.

When performing the complete Oratorio de Noël, the chorus receives its opening pitches from
the organ in the previous movement. If excerpting the “Tollite hostias” movement from the
oratorio, the conductor may consider extending the introduction with themes from the previous
movement or including the previous movement, Consurge Filia Sion, for chorus and soli quintet.

In his article in The Choral Journal, David Music describes the texture of the movement, “The
piece begins in chorale style, with the voices singing homophonically. This section is repeated,
then the tenors begin a brief imitative passage with the voices often in pairs and, after a brief
organ arpeggio, the work closes in chorale style. Throughout this last movement the voices are
doubled by the strings and organ.”
175
51 CJ

The Latin text is structurally a better choice, but some English translations are acceptable. The
conductor should be attentive to the phrase and word stress of the Latin text and use it as a guide
(referring back to the text stress).

An accessible oratorio chorus with the vocal parts doubled by the accompaniment. The overall
range is high each part but does not remain in the upper tessitura for extended periods of time.

174
Translation by John Holbert ©2021, used with permission.
175
Music, “Camille Saint-Saens's Christmas Oratorio: Description, Accessibility, Comparison,” 51.
370

Schubert, Franz Joseph (CM19c p32-34)
Birth/Death: January 31, 1797 – November 19, 1828
Place of Birth: Vienna, Austria
Place of Death: Vienna, Austria
Nationality/Ethnicity: Austrian
Selected Bibliography: Brown, Maurice J. Schubert: A Critical Biography. London:
Macmillan, 1958.
Gingerich, John. “‘To How many shameful deeds must you lend
your image’: Schubert’s Pattern of Telescoping and Excision in
the Texts of His Latin Masses.” Current Musicology, no. 70 (Fall
2000).
Green, Jonathan D. A Conductor’s Guide to Nineteenth-Century
Choral-Orchestral Works. Lanham, Maryland: The Scarecrow
Press, Inc., 2008.
Gibbs, Christopher H, ed. The Cambridge Companion to Schubert.
Cambridge: Cambridge University Press, 1997.
Heider, Anne Harrington. “A Survey of Schubert’s Part-Songs for
Mixed Voices.” American Choral Review. 22, no. 3 (1980): 3-
17.
Holcomb, Stephen Norris. “A Conductor’s Study of Selected
Sacred Choral Works for Mixed Voices by Franz Schubert and
Felix Mendelssohn-Bartholdy.” Southwestern Baptist
Theological Seminary, 1993.
Perkins, Timothy P., “The Development of the Early Romantic
Choral Song and the Contribution of Franz Schubert.” The
Choral Journal 21, no. 9 (May 1981): 20-24.

Chor der Engel, D. 440 (CM19c p32)
Alternate Title(s): Choir of Angels; Christ ist erstanden
Larger Work/Collection: N/A
Text Source: Johann Wolfgang von Goethe (1749-1832)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common
Opening Tempo: Langsam (slowly)
Beginning Key/Mode: C minor
Ending Key/Mode: C minor (picardy)
Opening Texture: p, tutti
Closing Texture: f, tutti
371

Approximate Duration: 3:00
Date of Composition: 1816
Sacred/Secular: Sacred
Liturgical Use: Easter
Theme(s): Jesus, Joy, Resurrection
Musical Type: Motet
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, ed. Thomas Schmid
CPDL
Oxford University Press
Tetra Music Co.
Alternate Voicings/
Instr. Arrangements:
Brass Quartet, arr. Angelo Manzo, Tuba Euphonium Press

Collections/Anthologies: Brahms, Mendelssohn, Schubert: für Gottesdienst und Konzert, ed.
Wolfgang Bretschneider and Hans-Christian Drömann. Carus-
Verlag, 1997.
Geistliches Chorbuch der Romantik, ed. Wolfgang Helbich and
Ernst Herzog. Carus-Verlag, 1990.
Selected Discography: Berlin Radio Choir, Franz Schubert: Hymns, conducted by Dietrich
Knothe, Capriccio, 1986.
Selected Bibliography: Perkins, Timothy P., “The Development of the Early Romantic
Choral Song and the Contribution of Franz Schubert.” The
Choral Journal 21, no. 9 (May 1981): 20-24.

Complete Text:

English Translation:
Christ ist erstanden!
Freude dem Sterblichen,
den die verderblichen,
schleichenden, erblichen
Mängel umwanden.
Christ has risen!
Joy to the Mortal
whom pernicious,
insidious, and hereditary
failings [once] entwined.
176

Insights & Performance Issues:
While the composition is set in a simple homophonic texture, the harmonic material is complex.

The conductor should be attentive to the Langsam (slowly) tempo and encourage the ensemble
to keep energy in the breath allowing for longer phrases and dynamic contrasts of p to f.

The bass section is given two section solos, first in mm. 17-18, and second in mm. 42-43. The
latter includes an ascending minor 7th leap that may require additional rehearsal attention.

Minimal vocal ranges, brevity, minor key, homophony, and chromaticism present opportunities
for a chorus to improve vowel unification, intonation, and dynamic range. The short motet is
also well-suited for advanced sight-reading.

176
Translation copyright © 2004 by Emily Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
372

Die Geselligkeit, D. 609 (CM19c p32)
Alternate Title(s): Lebenslust
Larger Work/Collection: N/A
Text Source: Johann Karl Unger (1771-1836)
Original Language: German
Voicing and Range: SATB

Accompaniment: Piano
Meter: 6/8
Opening Tempo: Geschwind (Quickly)
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: p, instr. (brief)
Closing Texture: ff, tutti
Approximate Duration: 1:15
Date of Composition: 1818
Sacred/Secular: Secular
Theme(s): Birds, Community, Dove, Joy, Kisses, Life, Love, Lust, Nature
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Associated Music Pub.
Breitkopf & Härtel (IMSLP)
CDPL
Hinshaw Music, ed. Ray Robinson
Roger Dean Publishing
Tertra Music, ed. Cennen Gordon
Alternate Voicings/
Instr. Arrangements:
SAB, arr. Russell Robinson, Carl Fischer
Three-part Mixed Chorus, arr. Linda Spevacek-Avery
Two-Part Chorus, arr. Linda Spevacek-Avery
Collections/Anthologies: None Found
Selected Discography: Berlin Radio Choir, Franz Schubert: Secular Vocal Works,
conducted by Dietrich Knothe, Capriccio, 1987.
Selected Bibliography: Bermingham, Gudrun A. “Teaching Choral Music by German-
Austrian 18
th
and 19
th
Century Composers Standard-Based
Lessons and Materials for Seven Pieces of the High School
Repertoire.” PhD diss., University of Florida, 2006.
Perkins, Timothy P., “The Development of the Early Romantic
Choral Song and the Contribution of Franz Schubert.” The
Choral Journal 21, no. 9 (May 1981): 20-24.
Yelm, Katelynn. “A Conductor’s Guide to Selected Works: Nature
and the Elements.” master’s thesis, Southern Illinois University
Carbondale, 2019.

373

Complete Text:

English Translation:
Wer Lebenslust fühlet,
der bleibt nicht allein,
allein sein ist öde, wer kann sich da freu'n.
Im traulichen Kreise, beim herzlichen Kuß
beisammen zu leben, ist Seelengenuß!

Das lehrt uns der Tauber,
für Liebe und Lust
erhebt sich dem Täubchen die seidene Brust,
es gurret der Tauber, er lehret im
Kuß
beisammen zu leben, sei Herzensgenuß!

Geselligkeit fesselt die ganze Natur,
in Lüften, im Wasser, auf lachender Flur.
Er selber gebot es, der alles erschuf,
beisammenzuleben ist Menschenberuf!
Whoever experiences the lust for life,
that person does not remain alone,
to be alone is odious, who could be happy.
In an intimate setting, with a heartfelt kiss
to live together is delight for the soul.

The dove (specifically male dove) teaches us
that, out of love and lust
the beloved raises the silky breast,
The dove (male dove) coos, he teaches in
kissing
to live together is delight for the heart.

Social life binds all of nature
in the air, in water, in rustling meadow
He Himself commanded it, Who created
everything living together is the calling of
humankind.
177

Insights & Performance Issues:
For a full analysis of the composition, see Katelynn Yelm’s thesis listed above. In addition,
Gudrun Bermingham provides lesson plans and resources in his dissertation, also listed above.

More commonly known by its alternate title, Lebenlust, the part-song in D major requires a fine
collaborative pianist to provide the light and precise piano accompaniment.

Yelm aptly describes the structure and harmonics of the composition, “Accompanied by a
percussive and arpeggiated two-hand piano line Schubert’s piece is mostly homo-rhythmic with
the exception of the bass line which occasionally introduces a phrase before the rest of the voice
parts. The work has some repetition with the structure being ABB
1
. The A section runs from
measure 1 to18 at the fermata. The B section runs from measure 19 to measure 28 with the B
1

happening from measure 29 to 38 at the conclusion of the piece.”
178

Executing the German text in the Geschwind (Quickly) tempo may require additional rehearsal.
The brevity and lighthearted nature of the work provide a well-suited composition for choruses
at all levels.

177
Translation by Beverly Freeland Clajus ©2021, used with permission.
178
Yelm, “A Conductor’s Guide to Selected Works: Nature and the Elements,” 45-46.
374

Psalm 92 (CM19c p46)
Alternate Title(s): Tov L'hodos; Tov Lehodos
Larger Work/Collection: No. 6, Schir Zion Volume 1, ed. Salomon Sulzer, D. 953
Text Source: Psalm 92:2-9
Original Language: Hebrew
Voicing and Range: SATB; solo B; soli SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: f, soli SATB
Closing Texture: p, tutti
Approximate Duration: 5:00
Date of Composition: 1838
Sacred/Secular: Sacred
Liturgical Use: Regularly follows the Kabbalat Shabbat as an introduction of the
evening prayer on Friday
Theme(s): Faith, Joy, Love, Morning, Singing
Musical Type: Liturgical Song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Broude Brothers
CPDL
J.P. Gotthard (German, IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Berlin Radio Choir, Franz Schubert: Hymns, conducted by Dietrich
Knothe, Capriccio, 1986
Monteverdi Choir, Schubert: Mass in A flat, conducted John Eliot
Gardiner, Decca, 2014.
375

Selected Bibliography: Gibbs, Christopher H, ed. “Schubert’s religious and choral music
toward a statement of faith.” In The Cambridge Companion to
Schubert, edited by Glenn Stanley, 207-23. Cambridge:
Cambridge University Press, 1997.
Jacobson, Joshua R. “Franz Schubert and the Vienna Synagogue.”
The Choral Journal 38, no.1 (August 1997): 9-15.
Rees, David, and Alon Schab. “A New Source for Schubert’s
Hebrew Psalm 92 (D. 953).” Nineteenth-Century Music Review
13, no. 1 (2016): 71–81.

Complete Text:

English Translation:
tôw l'hôdôs laᵃdônoj
ul'sammer lᵉschimᵉcho eljôn,
l'haggid babbôker chasdecho
weᵉmunos'cho ballelôs.
ale osôr waᵃle nowel
ale higgojôn b'chin nôr.

ki simmachtanni adônoj b'folecho
bᵉmaᵃse jodecho arannen.
mah god'lu maᵃsecho adônoj
m'ôd omᵉku machschᵉwôsecho.
isch baar lô jedo
uch'sil lô jowin es sôs.

bif'rôach rᵉschoim k'mô esew
wajjozizu kol pôᵃle owen
l'hischom'dom ade ad.
w'attoh morôm l'ôlom adônoj.
Proclaiming your love in the morning
and your faithfulness at night,
to the music of the ten-stringed lyre
and the melody of the harp.
For you make me glad by your deeds, Lord;
I sing for joy at what your hands have done.

How great are your works, Lord,
how profound your thoughts!
Senseless people do not know,
fools do not understand,
that though the wicked spring up like grass
and all evildoers flourish,
they will be destroyed forever.

But you, Lord, are forever exalted.
For surely your enemies, Lord,
surely your enemies will perish;
all evildoers will be scattered.
179

Insights & Performance Issues:
For a structural overview, see Joshua Jacobson’s article listed above.

The work was commissioned by Salomon Sulzer (1804-1890) for the Vienna Synagogue and
was published in his collection for cantor and mixed choir, Shir Zion.

In his article, Jacobson speaks to the texture of the composition, “Schubert knew no Hebrew, so
he must have spent some time reviewing the pronunciation and the translation with the cantor.
He did not employ any of the modal or rhythmic characteristics of traditional Jewish music.
Rather, the writing is typical of Schubert's part-songs-homophonic texture, simple harmonies,
and balanced phrases.”
180

179
New International Version.
180
Jacobson, “Franz Schubert and the Vienna Synagogue,” 13.
376

The soli quartet and the baritone solo never sing at the same time presenting an opportunity have
the soloist also sing the bass part in the quartet. The conductor should take note that the bass part
of the quartet part spends the majority of the time in the lower range, while the baritone solo
spends significant time in the upper tessitura. In addition, the soli quartet may sing with the
chorus during the baritone solo section.

Several entrances with the soli quartet and chorus occur on an offbeat pickup that may require
additional rehearsal attention. The key and tempo changes occur in mm. 29 and 72. The second
transition, back to C major and Tempo I, is sung by the quartet.

The final eight measures may require additional rehearsal attention with the dynamic change
from ff to p, an extended upper tessitura for the soprano and bass sections, and a tenor section
solo. The conductor may consider shifting a few altos to the tenor part to assist with the moving
line, and move second sopranos to the alto part to relieve those without a comfortable A5.

“Zum Sanctus” (CM19c p33-34)
Alternate Title(s): Heilig; Heilig, Heilig, Heilig; Sanctus
Larger Work/Collection: No. 5, Deutsche Messe (German Mass) D. 872
Text Source: Johann Philipp Neumann (1774-1849)
Original Language: German
Voicing and Range: SATB

Accompaniment: Wind band 2ob, 2cl, 2bn, 2tpt, 3tbn, timp, organ (a cappella),
(organ)
Meter: 3/4
Opening Tempo: Sehr langsam (very slowly)
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: pp, tutti
Closing Texture: pp, tutti
Approximate Duration: 3:00
Date of Composition: 1827
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Holy, Praise, Thanks
Musical Type: Chorale
Editions, Arrangements,
and Publications:
Bärentreiter, ed. Kassel (complete work, wind band)
Breitkopf & Härtel (IMSLP)
Carus, ed. Reiser (complete work, wind band/organ reduction)
CPDL
Novello, 2001 (piano/organ)
Schott Music, ed. Felix Loy (complete work, organ)
377

Alternate Voicings/
Instr. Arrangements:
String orch, arr. James Curnow, Hal Leonard
Brass Quartet, arr. Krzeminski, CWJ Music House
Collections/Anthologies: None Found
Selected Discography: Bavarian Radio Chorus, Schubert Deutsche Messe D 872 Messe D
167, conducted by Wolfgang Sawallisch, Warner Classics, 2012
Selected Bibliography: Loy, Felix. Preface to Deutsch Messe, by Franz Schubert, 4-5.
Edited by Felix Loy. Mainz, Germany: Schott Music, 2016.
Reiser, Salome. Foreword to Deutsch Messe, by Franz Schubert, 4-
8. Edited by Salome Reiser. Stuttgart: Carus-Verlag, 2000.

Complete Text:

English Translation:
Heilig, heilig, heilig, Heilig ist der Herr!
Heilig, heilig, heilig, Heilig ist nur Er!
Er, der nie begonnen, Er, der immer war,
Ewig ist und waltet, Seyn wird immerdar.

Heilig, heilig, heilig, Heilig ist der Herr!
Heilig, heilig, heilig, Heilig ist nur Er!
Allmacht, Wunder, Liebe, Alles rings
umher!
Heilig, heilig, heilig, Heilig ist der Herr!
Holy, holy, holy, Holy is the Lord!
Holy, holy, holy, Only He is holy!
He, who never began, He, who always was,
It is eternal and prevails, And will always be.

Holy, holy, holy, Holy is the Lord!
Holy, holy, holy, Only He is holy!
Omnipotent, Wonder, Love, Everything
around!
Holy, holy, holy, Only He is holy!

Insights & Performance Issues:
Proceeded by “Zum Offertorium” and followed by “Nach der Wandlung” in Deutsche Messe.

One of Schubert’s more accessible works due to the simple, hymn-like melody and harmonies,
set to limited text.

The accompaniment is colla parte throughout and is also effective when sung a cappella in
either German or English text.

Measures 11, 19, and 27 include a tutti decrescendo while the tenor and bass parts ascend in
pitch. The conductor should encourage both parts to use continuous breath energy and not
under-sing the line.

The 2001 Novello edition includes an error in the soprano line in m. 10, beat three. F4 is written
and it should be a G4.

378

Schumann, Robert (CM19c p34-36)
Birth/Death: June 8, 1810 – July 29, 1856
Place of Birth: Zwickau, Saxony
Place of Death: Endenich, near Bonn
Nationality/Ethnicity: Austrian
Selected Bibliography: Abraham, Gerald, ed. Schumann: A Symposium. London: Oxford
University Press, 1952.
Mott, Maxine Elizabeth. “The Choral Works of Robert Schumann
(1810-56).” PhD diss., University of Birmingham, 1991.
Paul, Sharon June. “Robert Schumann’s Choral Music for Women’s
Voices.” DMA diss., Stanford University, 1984.
Pellegrino, Gina. “Robert Schumann and the Gesangverein: The
Dresden Years (1844-1850).” PhD diss., Washington University
in St. Louis, 2011.

Beim Abschied zu singen, Op. 84 (CM19c p36)
Alternate Title(s): To be Sung at Parting
Larger Work/Collection: N/A
Text Source: Ernst von Feuchtersleben (1806-1849)
Original Language: German
Voicing and Range: SATTBB; soli SATB

Accompaniment: Wind ensemble (2 fl, 2 ob, 2 cl, 2 hn, 2 bn)
Meter: Common
Opening Tempo: Langsam (slowly)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: p, instr. (brief)
Closing Texture: pp, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1848
Sacred/Secular: Secular
Theme(s): Crying, Love, Parting, Singing
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, 1989 (piano)
CPDL
Tetra/Continuo Music Corp., arr. H. Saltzman
Whistling, 1850 (piano/wind ensemble)
379

Alternate Voicings/
Instr. Arrangements:
Double Woodwind Quintet, arr. Bill Schuetter, Imagine Music
Publishing
Concert Band (Optional Choir), Beriato Music
Collections/Anthologies: None Found
Selected Discography: Leipzig Radio Chorus, Schumann: Works for Choir, conducted by
Horst Neumann, Berlin Classics, 1996.
Studio Vocale Karlsruhe, Schumann: The Secular Choral Works,
conducted by Werner Pfaff and Bernd Engelbrecht, Brilliant
Classics, 2012.
Selected Bibliography: Pellegrino, Gina. “Robert Schumann and the Gesangverein: The
Dresden Years (1844-1850).” PhD diss., Washington University
in St. Louis, 2011.

Complete Text:

English Translation:
Es ist bestimmt in Gottes Rath,
dass man vom Liebsten was man hat,
muss scheiden,
wiewohl doch nichts im Lauf der Welt
dem Herzen, ach, so sauer fällt,
als scheiden, ja scheiden.

So dir geschenkt ein Blümlein was,
So thu' es in ein Wasserglas,
doch wisse:
blüht morgen dir ein Röslein auf,
es welkt wohl schon die Nacht darauf.

Und hat dir Gott ein Lieb bescheert,
und hältst du sie recht innig werth,
die Deine, es wird wohl wenig Zeit nur sein,
dann weine, da lässt sie dich so gar allein
dann weine;

Nun musst du mich auch recht verstehn,
Ja, recht verstehn,
Wenn Menschen auseinandergehn,
so sagen sie: auf Wiedersehn!
It is certain in God's wisdom
that from our dearest loved one
we must part,
even if there is nothing in the world
that falls, oh! so bitterly on the heart
as such parting, yes parting.

As to you is given a small bud,
thus put it into a tumbler,
but know this, yes know it!,
a little rose that blooms tomorrow,
the following night will see it wither, know
that, yes know it.

And as God has given you a devotion
and you hold that love quite dearly,
as your own!
It will be about eight boards, then,
you soon will put her in!,
weep then, yes weep!

Now, you must also understand me properly,
yes, understand!
If people do thus part, then,
they say: we'll see each other again, yes,
again.
181

181
Translation copyright © by John H. Campbell reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
380

Insights & Performance Issues:
For additional insight, see Gina Pellegrino’s dissertation listed above.

Pellegrino speaks to the character of the composition stating, “The almost chorale-style
permeates the text with its moralizing message stressing the need of acceptance in the face of
loss. This simplicity and the religious overtones of the work encompass both the secular and
sacred sphere. There is an achingly beautiful solo line in measure 43 that begins with a striking
minor 6th leap from g to e flat followed by a conjunct, weeping descent to f sharp for ‘dann
weine, dann weine’”
182

After resting on the choir’s initial entrance, the accompaniment doubles the voices throughout.
The solo quartet provides musical contrast in the form of short phrases inserted before, in
between, and after the choir’s lines creating a conversation between the two groups.

An accessible composition with opportunities for a high school or community choir to
experience nineteenth-century romantic music.

“Das Schifflein” (CM19c p35)
Alternate Title(s): The Little Ship
Larger Work/Collection: No. 5, Romanzen und Balladen, (Romances and Ballads), Op. 146
Text Source: Ludwig Uhland (1787-1862)
Original Language: German
Voicing and Range: SATB; solo S

Accompaniment: Hn, fl
Meter: Common Time
Opening Tempo: Nicht schnell (Not fast)
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: mf, tutti
Closing Texture: p, tutti
Approximate Duration: 2:15
Date of Composition: 1849
Sacred/Secular: Secular
Theme(s): Boats, Flute, Horn, Ship, Shore, Singing, Travel, Water
Musical Type: Part-song

182
Pellegrino, “Robert Schumann and the Gesangverein: The Dresden Years (1844-1850),” 143.
381

Editions, Arrangements,
and Publications:
Breitkopf & Härtel (IMSLP)
Carus-Verlag, 1988
CPDL
National Music Publishers
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Works for Mixed Choir a Cappella, ed. Gunter Graulich, Carus-
Verlag, 2018.
Selected Discography: Leipzig Radio Chorus, Schumann: Works for Choir, conducted by
Horst Neumann, Berlin Classics, 1996.
Selected Bibliography: Pellegrino, Gina. “Robert Schumann and the Gesangverein: The
Dresden Years (1844-1850).” PhD diss., Washington University
in St. Louis, 2011.

Complete Text:

English Translation:
Ein Schifflein ziehet leise den Strom hin seine
Gleise.
Es schweigen, die drin wandern, denn keiner
kennt den andern.

Was zieht hier aus dem Felle der braune
Waidgeselle?
Ein Horn, das sanft erschallet; das Ufer
widerhallet.

Von seinem Wanderstabe schraubt jener Stift
und Habe,
Und mischt mit Flötentönen sich in des Hornes
Dröhnen.

Das Mädchen saß so blöde, als fehlt' ihr gar die
Rede,
Jetzt stimmt sie mit Gesange zu Horn und
Flötenklange.

Die Rudrer auch sich regen mit taktgemäßen
Schlägen.
Das Schiff hinunter flieget, von Melodie’n
gewieget.

Hart stößt es auf am Strande,
man trennt sich in die Lande:
“Wann treffen wir uns, Brüder, auf einem
Schifflein wieder?” Wann, wann, wann?
A little ship quietly travels its path along the
current.
Those travelling on it are silent for they do not
know each other.

What is it that from beneath his pelts the
brown forester pulls out?
It is a horn that softly sounds: the shore echoes
[its sounding].

From his walking stick another unscrews
prong and possessions,
And mixes the tones of a flute into the droning
of the horn.

The maiden who had sat so bashfully, as if she
were incapable of speech,
Now lifts her voice in song to the sounds of the
horn and the flute.

The rowers, too, bestir themselves with
rhythmic strokes.
The ship beneath them flies rocked by
melody.

The shore is reached with a hard bump, the
passengers go their separate ways into the land:
"When, brethren, will we meet again upon a
little ship?" When, when, when?
183

183
Translation copyright © 2013 by Sharon Krebs reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
382

Insights & Performance Issues:
Accompaniment is independent from the chorus and does not support the vocal lines.

The conductor should be attentive to shaping the phrases and maintaining a sense of forward
motion using the dynamic contrast specified by the composer as a guide.

The harmonic shift to E major in m. 16 may require additional rehearsal attention. This is a
crucial pivot point for maintaining proper intonation in the second half of the work.

In addition to the uncommon horn and flute accompaniment, Schumann adds the additional
element of a soprano solo halfway through. The conductor should be attentive to the soprano
solo lines flowing triplet melody that can be rhythmically distracting for the chorus singing
duplets.

The work concludes with a short, Alla breve section in cut time. The audience may believe the
song has ended prior to this, and the sf that begins the closing section may surprise them if too
much time is given after the fermata.

“Gute Nacht” (CM19c p35)
Alternate Title(s): Good Night
Larger Work/Collection: No. 4, Vier Gesänge (Four Songs), Op. 59
Text Source: Friedrich Rückert (1788-1866)
Original Language: German
Voicing and Range: SATB; solo S

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Langsam (slowly)
Beginning Key/Mode: Ab major
Ending Key/Mode: Ab major
Opening Texture: p, tutti
Closing Texture: p, tutti
Approximate Duration: 1:30
Date of Composition: 1846
Sacred/Secular: Secular
Theme(s): Evening, Friendship, Good Night, Greeting
Musical Type: Part-song
Editions, Arrangements, Breitkopf & Härtel (IMSLP)
383

and Publications: Carus-Verlag
CPDL
Alternate Voicings
/Instr. Arrangements:
None Found
Collections/Anthologies: Works for Mixed Choir a Cappella, ed. Gunter Graulich, Carus-
Verlag, 2018.
Romantik A Cappella, Vol. 1: Secular Part Songs (European
Choral Music of the 19th Century), Michael Aschauer & Jan
Schumacher, Helbling Verlagsgesellschaft m.b.h.
Selected Discography: Flemish Radio Choir, Robert Schumann: Choral Music, conducted
by Bo Holten, Etcetera, 2012.
Orpheus Vocal Ensemble, Robert Schumann: Secular Choral
Music, conducted by Gary Graden, Carus, 2006.
Selected Bibliography: Pellegrino, Gina. “Robert Schumann and the Gesangverein: The
Dresden Years (1844-1850).” PhD diss., Washington University
in St. Louis, 2011.

Complete Text:

English Translation:
Die gute Nacht, die ich dir sage,
Freund, hörest du!
Ein Engel, der die Botschaft trage
Geht ab und zu.

Er bringt sie dir und hat mir wieder
Den Gruß gebracht:
Dir sagen auch des Freundes Lieder
Jetzt gute Nacht.
The good night wish, with which I greet you,
Friend, may you hear!
An angel, who conveys the greeting,
Goes here and there.

To you and back to me is bringing
The wish I sent:
The songs your friend sends now are saying
I bid good night.
184

Insights & Performance Issues:
The work begins with a pick-up quarter note on beat four. This phrase pattern is repeated
throughout.

The soprano solo sings briefly between each phrase with text that is then echoed by the chorus.
The conductor should determine if the chorus responds in time, or if a breath is given before
and/or after the solo.

The brevity and simple harmonic structure, offers opportunities for building musicality and is
also well-suited for sight-reading and conducting exercises.

184
Translation copyright © 1996 by David Kenneth Smith reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
384

“Zigeunerleben” (CM19c p35)
Alternate Title(s): Gypsy Life
Larger Work/Collection: No. 3, Drei Gedichte (Three Poems), Op. 29
Text Source: Emanuel Geibel (1815-1884)
Original Language: German
Voicing and Range: SATB; soli SSATTB

Accompaniment: Piano, optional triangle, tambourine
Meter: Common
Opening Tempo: Belebt (Lively, Animated)
Beginning Key/Mode: E minor
Ending Key/Mode: E minor
Opening Texture: p, instr. (brief)
Closing Texture: p, instr. (brief)
Approximate Duration: 3:00
Date of Composition: 1840
Sacred/Secular: Secular
Theme(s): Dancing, Fire, Forrest, Gypsy, Magic, Trees, Witchcraft
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Associated Music Pub.
Breitkopf & Härtel (IMSLP)
Carus-Verlag, Stuttgart, ed. Gunter Graulich
CPDL
Edition Peters
Lawson-Gould Music Publishers, ed. Abraham Kaplan
Walton Music (Includes percussion parts)
Alternate Voicings/
Instr. Arrangements:
SSAA, arr. Ferdinand Hummel
TTBB, pf 4-hand, arr. Johann Herbeck
Mixed Voices with Orchestra, arr. Carl Reinecke
Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
The Musical Times, No. 411, Novello & Co, (English, IMSLP)
Selected Discography: Leipzig Radio Chorus, Schumann: Works for Choir, conducted by
Horst Neumann, Berlin Classics, 1996.
Selected Bibliography: Pellegrino, Gina. “Robert Schumann and the Gesangverein: The
Dresden Years (1844-1850).” PhD diss., Washington University
in St. Louis, 2011.
Teie, Ernest W. “A Study of Non-Liturgical Choral Music from the
Romantic Period for Mixed Chorus.” master’s thesis, The
University of Montana, 1961.
385

Complete Text:

English Translation:
Im Schatten des Waldes, im Buchengezweig

Da regt sich’s und raschelt und flüstert
zugleich;
Es flackern die Flammen, es gaukelt der
Schein
Um bunte Gestalten, um Laub und Gestein.

Das ist der Zigeuner bewegliche Schar,
Mit blitzendem Aug’ und mit wallendem Haar,
Gesäugt an des Niles geheiligter Flut,
Gebräunt von Hispaniens südlicher Glut.

Ums lodernde Feuer in schwellendem Grün

Da lagern die Männer verwildert und kühn,
Da kauern die Weiber und rüsten das Mahl,
Und füllen geschäftig den alten Pokal.

Und Sagen und Lieder ertönen im Rund,
Wie Spaniens Gärten so blühend und bunt,

Und magische Sprüche für Not und Gefahr

Verkündet die Alte der horchenden Schar.

Schwarzäugige Mädchen beginnen den Tanz;
Da sprühen die Fackeln im rötlichen Glanz,
Heiß lockt die Gitarre, die Cymbel klingt,
Wie wilder und wilder der Reigen sich schlingt.

Dann ruhn sie ermüdet von nächtlichen Reihn;

Es rauschen die Buchen in Schlummer sie ein,
Und die aus der glücklichen Heimat verbannt,
Sie schauen im Traume das glückliche Land.

Doch wie nun im Osten der Morgen erwacht,
Verlöschen die schönen Gebilde der Nacht;
Es scharret das Maultier bei Tagesbeginn,
Fort ziehn die Gestalten, wer sagt dir wohin?
In the shaded wood, among the beech tree’s
boughs
Things stir and rustle and murmur;

The flames flicker, the glow dances

Round coloured forms, round foliage and
stone.

It is the gypsies who throng there
With flashing eyes and waving hair,
Suckled alongside the sacred Nile,
Bronzed by Spain’s southern heat.

Around the blazing fire in the burgeoning
green
The bold, wild men are stretched,
The women crouch and prepare the meal,
And busily fill the ancient goblet.

And fables and songs sound all around,
Colourful and blooming as the gardens of
Spain,
And the old gypsy recites to the listening
throng
Her magic spells against famine and danger.

Dark-eyed girls begin the dance;
Torches sparkle in the reddish gleam,
Passionate guitars entice, cymbals sound,
As the dance grows wilder and wilder.

Then, exhausted, they rest from the nightly
dance,
The beech trees rustle them to sleep,
And, banished from their native land,
They see in dreams that happy land.

But when the day dawns in the east,
The nocturnal visions fade;
The mule at daybreak paws at the ground,
The figures set off, but who knows where?
185

185
Translation © Richard Stokes, author of The Book of Lieder, published by Faber, provided courtesy of Oxford
Lieder (www.oxfordlieder.co.uk), used with permission.
386

Insights & Performance Issues:
For additional insight, see Gina Pellegrino’s dissertation listed above.

Pellegrino speaks the style of the composition, “Schumann uses characteristic dance-like
rhythms to suggest the exotic gypsies in a safe, accessible manner for Western ears: dotted
rhythms along with dactylic (long-short-short) patterns.”
186

There are seven verses of the German text and it moves quickly. Additional rehearsal time may
be required for the chorus to master the text with expressive enunciation and appropriate word
stress.

A skilled and musical pianist is required. Percussion is optional, and speaking to the original
publication, Pellegrino writes, “There is no written out part for the tambourine and triangle,
suggesting that the singers were meant to improvise the parts.”
187
Pellegrino also identifies a
musical motif, “In measure 23, there is a nod to Weber, with a quote from Der Freischütz, “Und
Sagen und Lieder.”
188

The bass section part plays a key role in mm. 18 and 20 as they have the initial entrance of the
sequential phrases. The line may require additional rehearsal attention for the basses two octave
leaps and a leap of a minor 7th.

Each phrase begins on the offbeat of a weak beat (2 or 4). The conductor should be attentive to
maintain the forward motion found in each phrase and entrance. The middle section provides
opportunities for a solo quartet to develop musicality and theatrical storytelling.

The extended ritardandos in mm. 61-64 may require additional rehearsal attention for the
soloists and the transition back to a tempo with the chorus.

186
Pellegrino, “Robert Schumann and the Gesangverein: The Dresden Years (1844-1850),” 109.
187
Ibid., 107-8.
188
Ibid., 109.
387

Silva, Prescilliano (CM19c p222)
Birth/Death: 1854-1910
Place of Birth: São João del Rei, Brazil
Place of Death: Unknown
Nationality/Ethnicity: Brazilian
Selected Bibliography: None Found

Crux fideles (CM19c p222)
Alternate Title(s): N/A
Larger
Work/Collection:
N/A
Text Source: Venantius Fortunatus, Saint (c530 - c609)
Original Language: Latin
Voicing and Range: 2 SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Andante moderato
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: f, tutti
Closing Texture: pp, tutti
Approximate Duration: 2:30
Date of Composition: Unknown
Sacred/Secular: Sacred
Liturgical Use: Good Friday
Theme(s): Burden, Flowers, Holy Cross, Nature, Saints, Sin
Musical Type: Motet
Editions, Arrangements,
and Publications:
Rafael Sales Arantes (IMSLP)
Funarte, 1997
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Sacra Vox, Música Sacra Brasileira nos Séculos XVIII e XIX, conducted
by Valeria Matos
388

Selected Bibliography: Figueiredo, Carlos Alberto. “Details: Crux fidelis.” The Catalogue of
published Brazilian Sacred and Religious Music - Works from the
18th and 19th Centuries.
http://musicasacrabrasileira.com.br/en/detalhespublicacao.php?id=151

Complete Text:

English Translation:
Crux fidelis, inter omnes
arbor una nobilis,
nulla talem silva profert,
fronde, flore, germine.

Dulce lignum, dulces clavos,
dulce pondus sustinet.
Faithful Cross the Saints rely on,
Noble tree beyond compare!
Never was there such a scion,
Never leaf or flower so rare.

Sweet the timber, sweet the iron,
Sweet the burden that they bear!
189

Insights & Performance Issues:
The short composition is divided in five parts: Introduction, A, B, A’, and Coda.

The introduction is declamatory with both choirs singing homophonically with chromatic material
in m. 3 in the alto and bass sections.

The A section begins in m. 7. A pattern of alternating polyphony and homophony emerges with
Choir I singing first with imitative material, and Choir II responding homophonically. The roles
switch in m. 13 with Choir II beginning the polyphony.

The conductor should be attentive to the challenging B section in mm. 20-32 that involves more
polyphony, syncopation, chromaticism, and dissonance. The sopranos and basses of Choir I and II
sing the B section together while the tenors and altos of Choir I provide syncopated imitation. The
tenors and altos of Choir II are not given much to contribute.

Opening material (A’) returns with similar imitative writing, but with altered voicing and order of
the staggered entrances in m. 33.

The closing ten measure Coda, labeled Poco rall., is sung homophonically. The sudden dynamic
shift in the middle of the closing phrase, forte to pianissimo may require additional rehearsal
attention.

189
The Roman Missal (2010).
389

Smetana, Bedřich (CM19c p127-130)
Birth/Death: March 2, 1824 – May 12, 1884
Place of Birth: Leitomischl, Bohemia (now Litomyšl, Czech Republic)
Place of Death: Prague, Czech Republic
Nationality/Ethnicity: Czech
Selected Bibliography: Clapham, John. Smetana. London: Dent, 1972.
Large, Brian. Smetana. New York: Da Capo Press, 1985.
Ledec, Jan. “Contemporary Czech Choral Music Creation.” The
Choral Journal 21, no. 9 (May 1981): 25-34.
St. Pierre, Kelly. Bedřich Smetana: Myth, Music, and Propaganda.
Rochester: Boydell & Brewer, 2017.

Heilig ist der Herr Zabaoth (CM19c p127)
Alternate Title(s): Heilig ist der Herr; Holy is the Lord of Hosts
Larger Work/Collection: N/A
Text Source: Bible: Isaiah 6:3
Original Language: German
Voicing and Range: 2 SATB

Accompaniment: Unaccompanied
Meter: 2/1
Opening Tempo: Unmarked
Beginning Key/Mode: Eb major
Ending Key/Mode: Eb major
Opening Texture: f, staggered (Choir I/Choir II)
Closing Texture: pp, tutti
Approximate Duration: 4:00
Date of Composition: 1846
Sacred/Secular: Sacred
Liturgical Use: Trinity Sunday
Theme(s): Glory, Lord, Trinity
Musical Type: Motet
Editions, Arrangements,
and Publications:
Edition Ferrimontana

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
390

Selected Discography: Czech Radio Choir, Bedřich Smetana: Souborné dílo (Complete
Works) I, conducted by Milan Malý, Supraphon, 1984
Selected Bibliography: Large, Brian. “Years of Apprenticeship 1843-1846.” In Smetana,
20-37. New York: Da Capo Press, 1985.

Complete Text:

English Translation:
Heilig, heilig, heilig
ist der Herr Zebaoth.
Alle Lande sind seiner Ehre voll.
Holy, Holy, Holy
is the Lord Almighty.
The whole earth is full of his glory.
190

Insights & Performance Issues:
One of four exercises for unaccompanied mixed choruses that Smetana composed based on
Lutheran models.
191

This motet may be the weakest of the four, described by Brian Large as, “…little more than a
contrapuntal exercise in the handling of antiphonal choral effects. The coda, contrived over
sustained pedals, is particularly weak.”
192

The ranges are lower in Choir I excluding the bass. The conductor should be attentive to mm.
19-28 and mm. 37-43 which both included chromatic and arpeggiated motifs sung in imitation.
These sections are sung only by Choir I.

Other than the two sections mentioned, this work is accessible for ensembles comfortable
dividing into two choirs.

lch hoffe auf den Herrn (CM19c p127)
Alternate Title(s): Psalm 26
Larger Work/Collection: N/A
Text Source: Psalm 26:1
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Unmarked
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: Unmarked, [mf] staggered (B/T/A/S)
Closing Texture: Unmarked, [mf], tutti

190
New International Version.
191
Strimple, Choral Music in the Nineteenth Century, 127.
192
Large, Smetana, 29.
391

Approximate Duration: 2:00
Date of Composition: 1846
Sacred/Secular: Sacred
Liturgical Use: Year A: Season after Pentecost, Proper 17
Theme(s): Faith, Hope, Trust
Musical Type: Motet
Editions, Arrangements,
and Publications:
Edition Ferrimontana

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Drei kleine Chorstucke, ed. Michael Goldbach, Goldbach
Musikverlag
Selected Discography: None Found
Selected Bibliography: Large, Brian. “Years of Apprenticeship 1843-1846.” In Smetana,
20-37. New York: Da Capo Press, 1985.

Complete Text:

English Translation:
Ich hoffe auf den Herrn,
darum werde ich nicht fallen.
I place my hope in the Lord,
therefore, I will not fall.
193

Insights & Performance Issues:
One of four exercises for unaccompanied mixed choruses that Smetana composed based on
Lutheran models.
194

The composition is a short, straight forward fugue. Beginning in the bass, the subject in stepwise
in motion with the countersubject containing some chromaticism but should present little
difficulty.

Listen for the F# and F ♮ as each part alternates between the two throughout. The most
chromatic section occurs in the development of the fugue in mm. 21-24 with the alto and tenor
sections.

The soprano has a lone melismatic line in mm. 29-34 that may require additional rehearsal
attention to achieve ensemble unity. This section also includes the return of the opening and the
recapitulation section of the fugue

Overall, the motet is well-suited for practicing fugues or sight-reading and would pair well with
Smetana’s short motet Jesu, meine Freude.

193
Translation by Beverly Freeland Clajus © 2021, used with permission.
194
Strimple, Choral Music in the Nineteenth Century, 127.
392

Jesu, meine Freude (CM19c p127)
Alternate Title(s): Jesus, my joy
Larger Work/Collection: N/A
Text Source: Johann Franck (1618-1677)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Unmarked
Beginning Key/Mode: E minor (B)
Ending Key/Mode: E major
Opening Texture: Unmarked, [mf], staggered (S/A/T/B)
Closing Texture: Unmarked, [mp], tutti
Approximate Duration: 1:30
Date of Composition: 1846
Sacred/Secular: Sacred
Liturgical Use: Lent
Theme(s): Devotion, Jesus, Lamb of God, Suffering
Musical Type: Chorale
Editions, Arrangements,
and Publications:
Edition Ferrimontana
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Drei kleine Chorstucke, ed. Michael Goldbach, Goldbach
Musikverlag
Selected Discography: None Found
Selected Bibliography: Large, Brian. “Years of Apprenticeship 1843-1846.” In Smetana,
20-37. New York: Da Capo Press, 1985.

Complete Text:

English Translation:
Jesu, meine Freude,
Meines Herzens Weide,
Jesu, meine Zier.

Ach, wie lange
ist dem Herzen bange,
und verlangt nach dir!

Gottes Lamm, Mein Bräutigam,
Außer dir soll mir auf Erden,
Nichts sonst Liebers werden.
Jesus, my joy,
pasture of my heart,
Jesus, my desire,

Ah how long, how long
is my heart filled with anxiety,
and longing for you!

Lamb of God, my bridegroom,
apart from you on the earth
there is nothing dearer to me.
195

195
Public domain.
393

Insights & Performance Issues:
One of four exercises for unaccompanied mixed choruses that Smetana composed based on
Lutheran models.
196

The simple melody is in the soprano line while the bottom three voice lines sing in imitation of
each other on highly chromatic themes.

Phrases end with fermatas in mm. 2, 7, 9, 14, 17, and 23. The conductor should determine the
length and treatment of the transition following the fermata early in the rehearsal process. The
soprano sings first after each fermata followed by staggered entrances in the other voice parts,
often on the offbeat.

Overall, the composition is well-suited for improving independent lines and phrase structure and
would pair well with Smetana’s short fugue Ich hoffe auf den Herrn.

Lobet den Herrn (CM19c p127)
Alternate Title(s): Psalm 117; Praise the Lord
Larger Work/Collection: N/A
Text Source: Bible: Psalm 117
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Opening Meter: Common Time
Opening Tempo: N/A
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: [f ], tutti
Closing Texture: [f ], tutti
Approximate Duration: 2:30
Date of Composition: 1846
Sacred/Secular: Sacred
Liturgical Use: General
Year C: 9th Sunday in Ordinary Time (CLM)
Year C: 21st Sunday in Ordinary Time (CLM)
Theme(s): Love, Faith, Praise, Nations
Musical Type: Introduction and fugue
Editions, Arrangements,
and Publications:
Edition Ferrimontana

196
Strimple, Choral Music in the Nineteenth Century, 127.
394

Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Drei kleine Chorstucke, ed. Michael Goldbach, Goldbach
Musikverlag
Selected Discography: None Found
Selected Bibliography: Large, Brian. “Years of Apprenticeship 1843-1846.” In Smetana,
20-37. New York: Da Capo Press, 1985.

Complete Text:

English Translation:
Lobet den Herrn!
Alle Heiden, preiset ihn,
alle Völker, lobet den Herrn!

Denn seine Gnade und Wahrheit
waltet uber uns in Ewigkeit.

Hallelujah.
Praise the Lord, all you nations;
extol him, all you peoples.

For great is his love toward us,
and the faithfulness of the Lord endures
forever.

Praise the Lord.
197

Insights & Performance Issues:
One of four exercises for unaccompanied mixed choruses that Smetana composed based on
Lutheran models.
198

In his text, Brian Large speaks about the composition, “Another fugue, this time with
introduction and called ‘Lobet den Herrn’ (‘Praise the Lord’), shows his [Smetana] growing
technical assurance. The introduction is homophonic, and the fugue displays a fine
understanding of polyphonic textures not found in the previous exercises.”
199

The opening fugue subject is stepwise in motion and intuitive to sing.

In m. 21, the meter changes to 3/2 and the altos begin a new theme with a descending major 7th
leap, and an ascending major 6th leap. This line is repeated by each voice and may require
individual section rehearsal attention before bringing the polyphony together.

In mm. 33-38 a brief moment of homophony occurs that includes three parts singing together
while the soprano sings the melody separately. The bottom three lines are chromatic with
contrary motion.

Overall, the composition is well-suited for developing fugues and would work appropriately on a
concert demonstrating the history of Smetana’s progression as a composer.

197
New International Version
198
Strimple, Choral Music in the Nineteenth Century, 127.
199
Large, Smetana, 29.
395

“Opening Chorus” The Bartered Bride (CM19c p129)
Alternate Title(s): Let Us Join in Celebration
Larger Work/Collection: Prodaná nevěsta (The Bartered Bride)
Text Source: Karel Sabina (1813-1877)
Original Language: Czech
Voicing and Range: SATB

Accompaniment: Orchestra (piano)
Meter: 2/4
Opening Tempo: Allegro molto
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: ff, instr. (extended)
Closing Texture: ff, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1863-6, 2
nd
version 1868-9, 3
rd
version 1869, 4
th
(definitive) version
1870
Sacred/Secular: Secular
Theme(s): Fleeting Happiness, Good Health, Life, Rejoice
Musical Type: Opera Chorus
Editions, Arrangements,
and Publications:
Boosey & Hawkes, arr. Emily Ellsworth (Czech/English)
Boosey & Hawkes, arr. Greg Pliska
Bote & Bock (German, IMSLP)
CPDL
Kalmus (Czech, IMSLP)
Muzgiz (Cyrillic, IMSLP)
Umělecká beseda (IMSLP)
Alternate Voicings/
Instr. Arrangements:
SSAA, arr. Emily Ellsworth, Boosey & Hawkes

Collections/Anthologies: None Found
Selected Discography: BBC Singers and BBC Symphony Orchestra, Bedřich Smetana: The
Bartered Bride, conducted by Jiří Bělohlávek, harmonia mundi,
2012.
Consortium Musicum Ljubljana and Radio Symphony Orchestra
Ljubljana, Famous Opera Choruses, conducted by Marko Munih,
Dureco, 1994.
Selected Bibliography: Kopecký, Jiří. “The International Success of Smetana’s The
Bartered Bride.” In Czech Music Around 1900, edited by Lenka
Krupková and Jiří Kopecký, 41–60. Boydell & Brewer, 2017.
Sadie, Stanley. The New Grove Dictionary of Opera. London:
Macmillan Press, 1992.

396

Complete Text:

English Translation:
Proč bychom se netěšili,
když nám pán bůh zdraví dá, zdraví dá.

Kdož z nás ví, zda pouť budoucí
vesele tak uhlídá, uhlídá.

A kdo ženat, která vdaná,
rozžehnej se s radovánky!
Žena doma hospodaří,
muž se uklidá za džbánky.

Ouvej, ouvej!
konec radostí!
hrnou se starosti, zlosti, mrzutosti,
Ouvej, ouvej!

Proč bychom se netěšili,
když nám pán bůh zdraví dá,
jenom ten jest v pravdě šťasten,
Kdo života užívá!
Why should we not celebrate,
when God gives us health, gives us health.

Who knows what's next in our journey
(he) will watch over us.

Married men and married women,
say goodbye to fun!
Woman takes care of the household,
Man is hiding behind pitchers

Ouch, ouch!
The joy is over!
Worry, anger, annoyance is coming,
Ouch, ouch!

Why should we not celebrate,
when God gives us health, gives us health,
Only the one who is truly happy,
is the one who enjoys life!
200

Insights & Performance Issues:
Accents from the Czech language do not transfer well when sung in German or English as the
Czech language typically accents the first syllable of every word.

After the extended introduction, the chorus enters with the marking Con vivacita (with vivacity)
in m. 23 moving primarily in stepwise motion. The conductor should be attentive to the
staccatissimo and accent articulation markings when shaping phrases, especially the accents that
occur less intuitively on beat two in mm. 33-34, 37-38, and 41-42.

In mm. 77-84 the soprano and alto echo the bass and tenor parts in unison octaves (D4/D5) with
all sections leaping descending an octave a measure later. This is followed by a difficult
chromatic section in mm. 84-100 that may require additional rehearsal attention.

The opening material returns in 132 repeating the same music and text until the coda begins in
m. 152 pui mosso. The coda will also require additional rehearsal attention with the increased
speed and leaps for all voices (except altos) in mm. 154 and 162. This includes dissonance in the
tenors leaping to F4 against the altos and sopranos G4/G5.

A chorus well-suited for a program of opera choruses in collaboration with an orchestra.

200
Translation by Radek Smolik © 2021, used with permission.
397

Stainer, John (CM19c p119)
Birth/Death: June 6, 1840 – March 31, 1901
Place of Birth: London, England
Place of Death: Verona, Italy
Nationality/Ethnicity: English
Selected Bibliography: Dibble, Jeremy. John Stainer: A Life in Music. Martlesham:
Boydell & Brewer, 2007.
Gatens, William J. “John Stainer (1840-1901) and Joseph Barnby
(1838-96): the High Victorian idiom.” In Victorian Cathedral
Music in Theory and Practice, 170-201. Cambridge; Cambridge
University Press, 1986.
Temperley, Nicholas. “Ancient and Modern in the Work of Sir John
Stainer.” In Nineteenth-Century British Music Studies, 3:103–
118. 1st ed. Routledge, 2003.

“God So Loved the World” (CM19c p119)
Alternate Title(s): N/A
Larger Work/Collection: No. 9, The Crucifixion
Text Source: Bible: John 3:16, 17
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Andante, ma non lento
Beginning Key/Mode: D major
Ending Key/Mode: D major
Opening Texture: p, tutti
Closing Texture: ppp, tutti
Approximate Duration: 3:30
Date of Composition: 1887
Sacred/Secular: Sacred
Liturgical Use: Lent, Good Friday, Trinity Sunday
Theme(s): Begotten Son, Crucifixion, Everlasting Life, Jesus, Love, Sacrifice,
Savior
Musical Type: Oratorio Chorus
Editions, Arrangements,
and Publications:
Boosey & Co. (complete work, IMSLP)
CPDL
G. Schirmer (complete work)
Novello, (complete work, IMSLP)
Theodore Presser
Willis Music Company
398

Alternate Voicings/
Instr. Arrangements:
2 Baritones, 2 Tubas arr. Judith Kane Cimarron Music
Handbells, arr. Lonnie Dorgan Hope Publishing
SAB, Willis Music Company
SSA, arr. Kingsbury Walton
Solo Voice, arr. Stickels, G. Schirmer
Collections/Anthologies: Ash Wednesday to Easter, ed. Dakers & Scott, Oxford University
Press, 1998.
Selected Discography: Choir of Clare College, Cambridge, Stabat Mater dolorosa: Music
for Passiontide, conducted by Graham Ross, harmonia mundi,
2014.
The National Lutheran Choir, Eternity, conducted by David
Cherwien, Independent release, 2006.
Selected Bibliography: Dibble, Jeremy. “1882-1888 H. M. Inspector of Schools and The
Crucifixion.” In John Stainer: A Life in Music, 243-4.
Martlesham: Boydell & Brewer, 2007.
Kelley, David. “John Stainer as Organist and Educator During the
English Musical Renaissance.” DMA diss., Peabody
Conservatory of Music, 2015.
Temperley, Nicholas. “Hatton, John Liptrot.” Grove Music Online.
https://www.oxfordmusiconline.com.

Complete Text:

God so loved the world,
that he gave his only begotten Son,
that whoso believeth in him should not perish,
but have everlasting life.
For God sent not his Son into the world
to condemn the world;
but that the world through him might be saved.

Insights & Performance Issues:
While speaking about the entire oratorio British musicologist Jeremy Dibble describes the
format and tonality of the movement, “…masterly choral centrepiece of the work, the
unaccompanied anthem ‘God so loved the world’ (the only choral movement founded on a
biblical text), makes use of a simple ternary design, aping the simple Baroque tonal shift to the
mediant minor at the end of the central section before the recapitulation.”
201

Homophonic throughout, the work contains dissonance and harmonic language that may be
challenging for inexperienced choirs. Primarily, the dissonance occurs with the bass and alto,
with the most challenging phrases occurring in mm. 15, 26, 52, 61.

The conductor should determine the phrases and breath marks early in the rehearsal process. The
composition’s homophony and harmonic language offers opportunities for improving listening
and intonation.

201
Dibble, “1882-1888 H. M. Inspector of Schools,” In John Stainer, 243.
399

Stanford, Charles Villiers (CM19c p114-115)
Birth/Death: September 30, 1852 – March 29, 1924
Place of Birth: Dublin, Ireland
Place of Death: London, England
Nationality/Ethnicity: Irish
Selected Bibliography: Dibble, Jeremy. Charles Villiers Stanford: Man and
Musician. Oxford: Oxford University Press, 2002.
Greene, Harry Plunket. Charles Villiers Stanford. London: E.
Arnold & Co., 1935.
Lancaster, Michael A. “The Unaccompanied Motets of Charles
Villiers Stanford (1852-1924).” DMA diss., University of
Southern California, 1988.
Moore, James Stanley. “The Shorter Sacred Choral Works of
Charles Villiers Stanford.” DMA diss., Southwestern Baptist
Theological Seminary, 1989.
Nash-Robertson, Nina Marie. “The Irish Partsongs of Charles
Villiers Stanford.” DMA diss., University of Illinois at Urbana-
Champaign, 1993.
Rodmell, Paul. Charles Villiers Stanford. Burlington, VT: Ashgate,
2002.

“Beati quorum via” (CM19c p115)
Alternate Title(s): N/A
Larger Work/Collection: No. 3, Three Motets, Op. 38
Text Source: Bible: Psalm 119:1
Original Language: Latin
Voicing and Range: SSATBB

Accompaniment: Unaccompanied
Meter: 3/4
Opening Tempo: Con moto tranquillo ma non troppo lento (with calm movement but
not too slow)
Beginning Key/Mode: Ab major
Ending Key/Mode: Ab major
Opening Texture: p, staggered (SSA/TBB)
Closing Texture: pp, tutti
Approximate Duration: 3:00
Date of Composition: 1905
Sacred/Secular: Sacred
Liturgical Use: Year A: Sixth Sunday after the Epiphany (RCL)
Year B: Season after Pentecost, Proper 26 (RCL)
Theme(s): Blessed, Walking, Law, Lord
400

Musical Type: Motet
Editions, Arrangements,
and Publications:
Boosey & Co. (IMSLP)
Boosey & Hawkes
Carus-Verlag, 2016
CPDL
Novello
Roger Dean Music
Alternate Voicings/
Instr. Arrangements:
Brass Sextet, arr. Bill Schuetter, Imagine Music
SSA, Arista Music
2 SSA, arr. Russell Robinson, Alfred Music
2 TBB, arr. Russell Robinson, Alfred Music
Collections/Anthologies: A Stanford Anthology, ed. Jeremy Dibble, Oxford University Press.
Choral Scores, ed. Dennis Shrock, Oxford University Press.
Selected Discography: Cambridge Singers, Treasures of English Church Music, conducted
by John Rutter, Naxos, 2011.
The Sixteen, A New Heaven, conducted by Harry Christopher,
Universal Classics, 2009.
Selected Bibliography: Lancaster, Michael A. “The Unaccompanied Motets of Charles
Villiers Stanford (1852-1924).” DMA diss., University of
Southern California, 1988.
Rodmell, Paul. “Professorship at Cambridge: National and
International Recognition (1888-1892).” In Charles Villiers
Stanford, 191-241. Burlington, VT: Ashgate, 2002.

Complete Text:

English Translation:
Beati quorum via integra est:
Qui ambulant in lege Domini.
Blessed are they whose ways are blameless,
Who walk according to the law of the Lord.
202

Insights & Performance Issues:
For a full analysis of the composition, see Michael Lancaster’s dissertation listed above.

The work is dedicated to Alan Gray and the Choir of Trinity College, Cambridge.

In his text, Charles Villiers Stanford, Paul Rodmell describes the form and beauty of third motet,
“Stanford makes fertile use of sonata principles, not least in the exquisitely understated
recapitulation where the original alteration of upper and lower voices is transformed into a richer
polyphony. The imitative accumulation of voices in the mellifluous coda is also quite lovely.”
203

Michael Lancaster describes the texture and structure of the work, “It is almost double choir in
texture with the three upper voices being one choir and the three lower voices being the other.
The composition is divided into four sections, with the divisions in the text determining the
musical divisions.”
204

202
New International Version.
203
Rodmell, Charles Villiers Stanford, 193.
204
Lancaster, “The Unaccompanied Motets of Charles Villiers Stanford (1852-1924),” 39.
401

Beginning in Ab major, the opening section includes three, nine measure phrases – upper voices,
lower voices, combined, ending in Eb major.

New material is introduced in m. 27 and is developed with an imitative figure with staggered
entrances starting in the bass followed by the other voices in order from low to high. Additional
rehearsal attention may be needed to balance the entrances with the gradual crescendo and
ascending pitch and secure the shifting tonality.

The three measure crescendos and decrescendos in mm. 43-46 offer opportunities for rehearsing
breath management, dynamics, and vowel unification. This is followed by a return of the
opening theme in m. 51, this time, as Rodmell described, with polyphony.

The conductor should be attentive to the bass pedal tone in mm. 76-85, encouraging breath
energy as the upper voices sing imitatively above and rely on the consistency of the bass pitch.

The motet is suitable for the concert and liturgical settings. For choirs comfortable splitting into
six parts, the composition presents opportunities to improve musicality, line independence and
vowel unification.

402

Starorussky, Vasily (CM19c p160)
Birth/Death: 1818 – 1871
Place of Birth: Unknown
Place of Death: Novgorod, Russia
Nationality/Ethnicity: Russian
Selected Bibliography: “Priest Vasily Starorussky (1818-1871).” Musica Russica.
http://www.musicarussica.com/composers/starorussky-priest-
vasily.

Ot yúnosti moyeyá (CM19c p160)
Alternate Title(s): From My Youth; Since My Youth
Larger Work/Collection: N/A
Text Source: Matins Service: Gradual Antiphon in Tone 4
Original Language: Church Slavonic
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Andante (moderately slow, “walking”)
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: mf, tutti
Closing Texture: p, tutti
Approximate Duration: 1:45
Date of Composition: n.d.
Sacred/Secular: Sacred
Liturgical Use: All-Night Vigils in weeks of Tone 4; Eves of Twelve Great Feasts
Theme(s): Holy Trinity, Purity, Mystery, Youth, Zion
Musical Type: Motet
Editions, Arrangements,
and Publications:
Musica Russica
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: One Thousand Years of Russian Church Music: 988-1988, Volume
1, Monuments of Russian Sacred Music Series, Musica Russica,
1991
Selected Discography: Choeur de l’Église russe de Genève, La Fête de la Croix, conducted
by Alexandre Diakoff, Cascavelle, 1997.
Selected Bibliography: Morosan, Vladimir. Notes to From My Youth, by Vasily
Starorussky, 2. Edited by Vladiir Morosan. Encinitas, CA:
Musica Russica, 1991.
403

Complete Text:

English Translation:
Отъ юности моея мнози борютъ
мя страсти,
но Самъ мя заступи и сласн,
Сласе мой.

Ненавидящіи Сіона, посрамитеся отъ
Господа,
яко трава бо огемъ будете изсохше.

Слава Отцу, и Сыну, и
Святому Духу,
и нынѣ, и присно, и во вѣки вѣковъ. Аминь.
Святымъ Духомъ всяка душа живится,
и чистотою возвышается,
свѣтлѣется Тройческимъ единствомъ
священнотайнѣ.
From my youth many passions have fought
against me;
but do Thou protect me and save me,
O my Savior.

You who hate Zion shall be put to shame by
the Lord;
you shall be withered up like grass by the fire.

Glory to the Father, and to the Son, and to the
Holy Spirit,
now and ever, and unto ages of ages. Amen.
Every soul is enlivened by the Holy Spirit
and is exalted in purity,
illumined by the Triune Godhead
in a sacred mystery.
205

Insights & Performance Issues:
In the notes of his Musica Russica publication Vladimir Morosan states, “Ot yúnosti moyeyá
(From my youth) is a freely composed setting of the gradual antiphon in Tone 4, a hymn in
honor of the Holy Trinity sung at All-Night Vigils in the weeks of Tone 4 and on the eves of the
twelve great feasts.”
206

Set in AABA form with a coda, the composition is primarily homophonic. The tenor section
sings in imitation of the other voices creating tenor section features in m. 7 and m. 17. Both
occurrences may require additional rehearsal attention as the tenor’s melodic material is raised a
step from the melodic material in the sopranos

The B section, mm. 20-26, shifts to C major and introduces more chromaticism and a
challenging bass line with numerous large leaps.

The opening returns in F major in m. 27 and repeats the musical material with new text, until the
coda begins in m. 34. Meno mosso e rall. is written three measures from the end. The conductor
may choose to slow down sooner similar to the recording by the Choeur de l’Église russe de
Genève provided in the discography.

Musica Russica offers an audio diction guide for the Church Slavonic text.

205
English translation by Vladimir Morosan © 1991, reprinted with permission.
206
Morosan, Notes to From My Youth, by Vasily Starorussky, 2.
404

Stenhammar, Wilhelm (CM19c p166)
Birth/Death: February 7, 1871 – November 20, 1927
Place of Birth: Stockholm, Sweden
Place of Death: Stockholm, Sweden
Nationality/Ethnicity: Swedish
Selected Bibliography: Madrone, Juliana Elizabeth. “Place, Polity, and Identity in Swedish
Music and Art, 1890-1910.” PhD diss., University of Colorado at
Boulder, 2013.
Ternhag, Gunnar. “Notes”. In Tre körvisor (Three Songs), by
Wilhelm Stenhammar, 11. Edited by Magnus Svensson. Swedish
Music Heritage, 2018.
Wallner, Bo, and Hans Åstrand. “Stenhammar, (Karl)
Wilhelm.” Grove Music Online, 2001.

“September” (CM19c p166)
Alternate Title(s): All the Growing Shadows
Larger Work/Collection: No. 1, Tre körvisor (Three Choral Ballads)
Text Source: Jens Peter Jacobson (1847-1885)
Original Language: Danish
Voicing and Range: SAATTBB

Accompaniment: Unaccompanied
Meter: 6/8
Opening Tempo: Poco lento
Beginning Key/Mode: F# minor
Ending Key/Mode: F# minor
Opening Texture: ppp, tutti
Closing Texture: p, tutti
Approximate Duration: 2:15
Date of Composition: c.1890
Sacred/Secular: Secular
Theme(s): Dreams, Evening, Flowers, Linden Tree, September, Shadows,
Stars
Musical Type: Ballad
Editions, Arrangements,
and Publications:
Gehrmans Musikforlag (complete set)
Swedish Musical Heritage (complete set)
Walton Music (complete set, English)
Alternate Voicings/
Instr. Arrangements:
None Found
405

Collections/Anthologies: Romantik A Cappella, Vol. 1: Secular Part Songs (European
Choral Music of the 19th Century), Michael Aschauer & Jan
Schumacher, Helbling Verlagsgesellschaft m.b.h.
Selected Discography: Music Ficta, Sange af J.P. Jacobsen, conducted by Bo Holten,
Naxos, 2008.
Selected Bibliography: Wallner, Bo, and Hans Åstrand. “Stenhammar, (Karl)
Wilhelm.” Grove Music Online, 2001.

Complete Text:

English Translation:
Alle de voksende Skygger har vævet sig
sammen til en,
ensom paa Himmelen lyser en Stjerne saa
straalende ren,
Skyerne have saa tunge Drømme,
blomsternes øjne i Duggraad svømme,
underligt Aftenvinden suser i Linden.
All the growing Shadows have woven together
into one,
lonely in the sky a star shines so radiantly
clean,
The shadows have such heavy dreams,
the eyes of the flowers in Duggraad swim,
The strange evening wind whirls in Linden.

Insights & Performance Issues:
A part-song consisting of three, four measure phrases and a coda. The short work is full of
challenging chromaticism, dissonance, and vocally challenging melodic lines. This is especially
the case for the soprano line that must navigate back and forth through the passaggio.

The alto line is constantly moving back and forth between E and E #. In the case of the French
augmented 6th chord in m. 8, the conductor should encourage the altos to think of their E# as the
leading tone of F# minor, found in the following measure.

A challenging phrase is written for the tenor section in mm.11-12 with a chromatic line followed
by tritone leaps (B4 to E#3) in dissonance with the soprano A4 on beats one and three. In the
same two measures, the bass section is descending to F#2 in dissonance with the sopranos G4.

The coda begins in m. 13 with arpeggiation in the upper three voices. Pedal tones are written in
the bass section beginning in m.18 while the upper three voices move harmonically from V to I.

A hauntingly beautiful part-song that may challenge the singers and the audience’s ears. The
composition presents numerous opportunities for more advanced choirs to rehearse intonation
and musicality.

406

Tchaikovsky, Pyotr Il'yich (CM19c p152-154)
Birth/Death: 25 April/May 7, 1840 – 25 Oct/Nov 6, 1893
Place of Birth: Kamsko-Votkinsk, Vyatka province
Place of Death: St. Petersburg, Russia
Nationality/Ethnicity: Russian
Selected Bibliography: Abraham, Gerald, ed. The Music of Tchaikovsky. New York: W.W.
Norton, 1946.
Brown, David. Tchaikovsky, the Man and His Music. London:
Faber and Faber, 2006.
Morosan, Vladimir, ed. Peter Tchaikovsky: The Complete Sacred
Choral Works. Madison, CT: Musica Russica, 1996.
Mihailovic, Alexander, ed. Tchaikovsky and His Contemporaries: A
Centennial Symposium. Westport, CT: Greenwood Press, 1999.
Seaman, Gerald R. Pëtr Il’ich Tchaikovsky: A Research and
Information Guide. New York, NY: Routledge, 2020.
Sylvester, Richard Disbro. Tchaikovsky’s complete songs. A
companion with texts and translations. Bloomington, IN: Indiana
University Press, 2002.
Tchaikovsky: Open World. www.culture.ru/catalog/tchaikovsky
Tchaikovsky Research. www.tchaikovsky-research.net

“Angel vopiyashe” (CM19c p154)
Alternate Title(s): Ангел вопияше; The Angel Cried Out; The Angel Cried; Der
Engel sprach
Larger Work/Collection: No. 10 from Ten Sacred Choruses
Text Source: Paschal Hymn to the Mother of God
Original Language: Church Slavonic
Voicing and Range: SATBB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Moderato assai.
Beginning Key/Mode: G major
Ending Key/Mode: D major
Opening Texture: pp, tutti
Closing Texture: ppp, tutti
Approximate Duration: 3:15
Date of Composition: 1887
Sacred/Secular: Sacred
Liturgical Use: Paschaltide (Eastertide)
Theme(s): Angel, Mother of God, Rejoice, Resurrection, Virgin Mary
Musical Type: Motet
407

Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Thomas Kohlhase, 1990 (Transliteration/German)
Musica Russica, ed. Vladimir Morosan, 1992
(Russian/Transliteration)
P. Jurgenson (OSMRL)
Alternate Voicings/
Instr. Arrangements:
None Found

Collections/Anthologies: Peter Tchaikovsky: The Complete Sacred Choral Works, ed.
Vladimir Morosan. Musica Russica, 1996.
Selected Discography: Gloriae Dei Cantores, Sacred Songs of Russia, conducted by Emily
Patterson, Paraclete Press, 1999.
Latvian Radio Choir, Tchaikovsky: All-Night Vigil, Sacred Choral
Works, conducted by Sigvards Kjava, Ondine, 2020.
St. Petersburg Chamber Choir, Russian Sacred Choral Music,
conducted by Nikolai Korniev, Decca, 2002.
Selected Bibliography: Morosan, Vladimir. Notes to The Angel Cried Out, by Pyotr Il'yich
Tchaikovsky, 2. Edited by Vladimir Morosan. Encinitas, CA:
Musica Russica, 1992.
Morosan, Vladimir, ed. “The Angel Cried Out.” In Peter
Tchaikovsky: The Complete Sacred Choral Works, 391-402.
Madison, CT: Musica Russica, 1996.
Tchaikovsky Research. “The Angel Cried Out.”
http://en.tchaikovsky-research.net/pages/The_Angel_Cried_Out

Complete Text:

English Translation:
Ангел вопияше благодатней:
„чистая Дево, радуйся!
И паки реку: радуйся!
Твой Сын воскресе тридневен от
гроба,
и мертвыя воздвигнувый,
людие, веселитеся!“

Свeтися, свeтися, новый Иерусалиме!
Cлава бо Господня на тебе возсия:
ликуй ныне и веселися Сионе!
Ты же, Чистая, красуйся, Богородице,
о востании Рождества Твоего!
The Angel cried out to the Lady Full of Grace:
''Rejoice, O Pure Virgin!
Again I say: Rejoice!
Your Son is risen from His three days in the
tomb!
With Himself he has raised all the dead!
Rejoice, all ye people!"

Shine! Shine! O New Jerusalem!
The glory of the Lord is risen on you!
Exult now and be glad, O Zion!
Be radiant, O Pure Theotokos,
in the Resurrection of your Son!
207

207
English translation by Vladimir Morosan © 1991, reprinted with permission.
408

Insights & Performance Issues:
Originally published separate from Nine Sacred Choruses. Divine Liturgy of St. John
Chrysostom, Op. 41 and the Nine Sacred Choruses are the only works Tchaikovsky composed
for the Orthodox Liturgy resulting in modern publications including The Angel Cried Out as the
“tenth chorus.”
208

Three sections:
1. Moderato assai (mm. 1-6)
2. Piu mosso (mm. 7-31)
3. Adagio (mm. 31-end)

The composition begins on beat two of the first measure. The conductor's preparatory gesture by
which they engage the breath on beat one, will ensure a solid entrance by the choir.

Section 1 contains stepwise, flowing phrases with comfortable voice leading and ranges in every
part.

Along with Piu mosso (more motion) in Section 2, Tchaikovsky adds polyphony and increased
upper tessitura for all parts including high A4/A5 for the tenors and sopranos. The added
rhythmic energy, harmonic motion, and dynamic levels help depict the text of “Rejoice!” and
“Shine!” This short section may require additional rehearsal time to determine the phrasing
within in the polyphony.

Homophony and chant style returns in section 3 along with essential low D2s in the Bass II.

“The Cherubic Hymn” (CM19c p154)
Alternate Title(s): Херувимcкaя пѣснь; Heruvimskaya pesn; Cherubinischer Gesang
Larger Work/Collection: No. 6 from Divine Liturgy of St. John Chrysostom, Op. 41
Text Source: Divine Liturgy of St. John Chrysostom
Original Language: Church Slavonic
Voicing and Range: SSAATTBB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Adagio
Beginning Key/Mode: E minor (B unison)
Ending Key/Mode: B major
Opening Texture: pp, staggered (SA/T/B)
Closing Texture: ff, tutti
Approximate Duration: 5:00

208
Morosan, Notes to The Angel Cried Out, by Pyotr Il'yich Tchaikovsky, 2.
409

Date of Composition: 1878
Sacred/Secular: Sacred
Liturgical Use: Divine Liturgies of St. John Chrysostom and St. Basil the Great
(except Holy Thursday and Holy Saturday)
209

Theme(s): Trinity, Cherubim, Creation, Eucharist, Holy Sacrament
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Thomas Kohlhase, 1984
CPDL
E.F. Kalmus (complete work, IMSLP)
Musica Russica, ed. Vladimir Morosan, 1992
P. Jurgenson (complete work, IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Peter Tchaikovsky: The Complete Sacred Choral Works, ed.
Vladimir Morosan. Musica Russica, 1996.
Selected Discography: Clare College Choir, Cambridge, O Lux Beata Trinitas: Music for
Trinity and Ordinary, conducted by Graham Ross, harmonia
mundi, 2018.
North German Radio Choir, Peter I. Tschaikowsky Sacred Choral
Music, conducted by Philipp Ahmann, Carus, 2016.
Selected Bibliography: Highben, Zebulon M. “Defining Russian Sacred Music:
Tchaikovsky s Liturgy of St. John Chrysostom (Op. 41) and Its
Historical Impact.” Choral Journal 52, no. 4 (November 2011):
8-16.
Morosan, Vladimir. Editor’s Note to Cherubic Hymn, by Pyotr
Il'yich Tchaikovsky, 3. Edited by Vladimir Morosan. Encinitas,
CA: Musica Russica, 1992.

Complete Text:

English Translation:
Иже херувимы тайио образующе,
и животворящей Тройцѣ
Трисвятую пѣснь припѣвающе,
всякое нынѣ житейское отложимъ
попеченiе.
(Аминь.)
Яко да Царя всѣхъ подымемъ,
ангельскими невидимо дориносима
чинми.
Аллилуiа, aллилуiа, aллилуiа.
Let us who mystically represent the Cherubim,
and who sing the thrice-holy hymn
to the life-creating Trinity,
now lay aside all cares of this life,

(Amen.)
that we may receive the King of All,
who comes invisibly upborne by the angelic
host.
Alleluia, alleluia, alleluia.
210

209
Morosan, editor’s note to Cherubic Hymn, 3.
210
English translation by Vladimir Morosan © 1992, reprinted with permission.
410

Insights & Performance Issues:
In the Editor’s Notes of his Musica Russica edition, Vladimir Morosan discusses the motes use
in the liturgical setting, “In a liturgical context, the first three verses of the Cherubic Hymn are
followed by the Great Entrance, a solemn procession in which bread and wine are taken from the
Table of Preparation and placed upon the Holy Table. During the great entrance the priest
remembers the hierarchy of the Church, the civil authorities and all those present, after which
“Amen” is sung, and the concluding verse of the hymn follows. In concert performances it is
customary to omit the exclamation and the “Amen.”
211

The composition is set in two distinct sections:
1. Adagio (mm. 1-70) – verses 1-3, “Amen”
2. Allegro (mm. 71-98) – verse 4

The Adagio begins in E minor on a unison B4 sung by the soprano and alto sections. As the alto
line descends stepwise, the tenor and bass enter in mm. 2 and 3 respectively, also descending
stepwise. The choir’s comfort with the dissonance created by the stepwise motion, could benefit
by incorporation in the rehearsal warmups.

The Adagio contains three of the four verses of text and verses one and two are set to the same
music. The section is homophonic throughout and shifts through several tonal centers with voice
divisi and a large range of dynamics.

The Allegro follows the “Amen” changing keys to B major. The section is still mostly
homophonic with a brief phrase of polyphony in mm. 78-81 that may require additional
rehearsal attention.

Dostóyno yest (CM19c p154)
Alternate Title(s): “It is Truly Fitting”
Larger Work/Collection: No. 11 from Divine Liturgy of St. John Chrysostom, Op. 41
Text Source: Divine Liturgy of St. John Chrysostom
Original Language: Church Slavonic
Voicing and Range: SATB

Accompaniment: Unaccompanied, arr. pf (1879)
Meter: 3/2
Opening Tempo: Adagio
Beginning Key/Mode: G major
Ending Key/Mode: G major
Opening Texture: p, staggered (SA/TB)

211
Morosan, Editor’s Note to Cherubic Hymn, by Pyotr Il'yich Tchaikovsky, 3.
411

Closing Texture: ff, tutti
Approximate Duration: 2:30
Date of Composition: 1878
Sacred/Secular: Sacred
Liturgical Use: Liturgy of St. Basil the Great; Major Feasts; Paschaltide
(Eastertide); Divine Liturgy of St. John Chrysostom
Theme(s): Blessed, Purity, Virgin Mary, Cherubim, Glory
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Thomas Kohlhase, 1984
CPDL
E.F. Kalmus (complete work, IMSLP)
Musica Russica, ed. Vladimir Morosan, 1992
P. Jurgenson (complete work, IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Peter Tchaikovsky: The Complete Sacred Choral Works, ed.
Vladimir Morosan. Musica Russica, 1996.
Selected Discography: Latvian Radio Choir, Tchaikovsky: Liturgy of St. John Chrysostom
/ Nine Sacred Choruses, conducted by Sigvards Kļava, Ondine,
2019.
North German Radio Choir, Peter I. Tschaikowsky Sacred Choral
Music, conducted by Philipp Ahmann, Carus, 2016.
Selected Bibliography: Highben, Zebulon M. “Defining Russian Sacred Music:
Tchaikovsky’s Liturgy of St. John Chrysostom (Op. 41) and Its
Historical Impact.” Choral Journal 52, no. 4 (Nov. 2011): 8-16.
Morosan, Vladimir. Editor’s Note to Dostóyno yest, by Pyotr Il'yich
Tchaikovsky, 2. Edited by Vladimir Morosan. Encinitas, CA:
Musica Russica, 1992.

Complete Text:

English Translation:
Дoстoйно есть, яко воистину,
блажити Тя Богорoдицу,
присноблажeнную и пренепоро
́ чную,
и Мaтерь Бoга нaшего.
Честнѣйшую Херувимъ
и слaвнѣйшую безъ сравненiя
ерафимъ,
безъ истлѣнiя Бо
́ га Слова рождшую,
сущую Богородицу Тя величаемъ.

Ивcеx, ивcя.
It is truly fitting
to bless You, O Theotokos,
ever-blessed and most pure,
and the Mother of our God.
More honorable than the Cherubim
and more glorious beyond compare than the
Seraphim,
without defilement You gave birth to God the
Word; true Theotokos, we magnify You.

And all mankind.
212

212
English translation by Vladimir Morosan © 1991, reprinted with permission.
412

Insights & Performance Issues:
In his Editor’s notes in his Musica Russica publication, Vladimir Morosan discusses the motets
use in a liturgical setting, “In a liturgical context, the exclamation preceding the Hymn
constitutes part of the universal commemoration of the departed and the living, which concludes
the Canon of the Eucharist. While the Hymn is sung, the celebrant continues the
commemorations in a quiet voice, ending with the audible exclamation ‘Among the first,
remember...,’ to which the choir answers ‘And all mankind.’ In a concert performance, the
exclamations and the final choral response are usually omitted.”
213

The only marking provided is the Adagio for the opening. However, the work is easily divided
into phrases, each approximately ten measures in duration.

Phrase 1: mm. 1-11
Phrase 2: mm. 11-17
Phrase 3: mm.18-28
Phrase 4: mm. 29-43
Phrase 5: mm. 43-51
In 3/2, the first phrase contains homophonic harmonic language full of whole step dissonance,
suspensions, and 7th chords all at a piano dynamic. The long phrases will require rehearsal with
catch breathing and breath management. The second phrase begins forte and divides the choir
into two parts, with the tenor and bass echoing the soprano and alto.

The third phrase changes meter to 4/4 and divides the choir into four parts presents challenges
with added chromaticism, independent lines, and extended upper ranges for all parts. The fourth
phrase returns to piano and homophony. The fifth and final phrase includes a pedal tone for the
bass on G2, while the tenors echo the soprano and alto sections.

In addition to being well-suited for a liturgical service or concert, the composition is also easily
divided into the short phrases for sight-reading and intonation exercises.

Legenda (CM19c p152,154)
Alternate Title(s): A Legend; Legend; The Crown of Roses; Легенда
Larger Work/Collection: N/A
Text Source: Aleksey Pleshcheyev (1825-1893), a translation from English poem
Roses and Thorns (1857) by Richard Henry Stoddard (1825–1903)
Original Language: Russian
Voicing and Range: SATB

Accompaniment: Unaccompanied

213
Morosan, Editor’s Note to Dostóyno yest, by Pyotr Il'yich Tchaikovsky, 2.
413

Meter: 2/4
Opening Tempo: Moderato
Beginning Key/Mode: E minor
Ending Key/Mode: E minor
Opening Texture: mf, tutti
Closing Texture: p, tutti
Approximate Duration: 2:30
Date of Composition: 1889 (solo voice and piano version 1883, orchd 1884)
Sacred/Secular: Sacred
Liturgical Use: Lent, Christmas
Theme(s): Crown of Thorns, Jesus, Blood, Rose, Thorns, Wreath
Musical Type: Motet
Editions, Arrangements,
and Publications:
CPDL
E.C. Schirmer, 1941 (English)
G Schirmer
Musica Russica, 1995
Muzyka (original solo/piano version, IMSLP)
Novello (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Brass Septet, S. Cox
Concert Band, arr. Cheyette, Sam Fox
String Orchestra, arr. Forsbald, Kendor Music
Solo Voice and Orchestra, arr. Tchaikovsky
Tenor Bass Vocal Ensemble, arr. J. Lubbock
Collections/Anthologies: Peter Tchaikovsky The Complete Sacred Choral Works, ed.
Vladimir Morosan, Musica Russica, 1996.
Selected Discography: Latvian Radio Choir, Tchaikovsky: All-Night Vigil, Sacred Choral
Works, conducted by Sigvards Kjava. Ondine, 2020.
Selected Bibliography: Morosan, Vladimir, ed. “Appendices: A Legend.” In Peter
Tchaikovsky: The Complete Sacred Choral Works, 420-25.
Madison, CT: Musica Russica, 1996.
Sylvester, Richard Disbro. Tchaikovsky’s complete songs. A
companion with texts and translations. Bloomington, IN: Indiana
University Press, 2002.

Complete Text:

English Translation:
Был у Христа младенца сад,
и много роз взрастил он в нём.
Он трижды в день их поливал,
чтоб сплесть венок себе
потом.

Когда же розы расцвели,
детей еврейских созвал он;
oни сорвали по цветку,
и сад был весь опустошён.

When Christ was a child, He had a garden,
and many roses He grew therein.
Three times a day did He water them,
for He planned to weave Himself a wreath
someday.

When the roses came into full bloom,
He summoned the neighbor Hebrew children;
they each plucked a flower,
and the garden was bare.

414

„Как ты сплетёшь себе
венок,
в твоём саду нет больше роз?“
„Вы позабыли, что шипы
oстались мне,“ сказал Христос.

И из шипов они сплели
венок колючий для него,
и капли крови вместо роз
чело украсили его.
“How will You weave yourself a wreath?”
they asked.
“Your garden has no more roses in it.”
“You have forgotten
that the thorns are left for me,”' Christ said.

And from the thorns
they pleated Him a prickly wreath;
and drops of blood, instead of roses,
Adorned His brow.
214

Insights & Performance Issues:
Originally for solo voice and piano, No. 5 from 16 Songs for Children, Op. 54 and arranged for
SATB by Tchaikovsky.

Entrances occur primarily on the offbeat and may benefit from the conductor encouraging a
sense of forward motion and holding the previous half note for its full value.

Dynamic contrasts from ff to pp occur throughout including subito dynamic shifts following the
4+4 measure text phrases. Most phrases follow the four-measure pattern, except in m. 20 where
an eight-measure phrase is created by the musical line carrying through the 4
th
to the 5
th
beat.

The sopranos maintain the melody throughout and should lead the rhythmic motion and dynamic
contrast mentioned above. The opening E5 for the sopranos, may require additional rehearsal
attention. The alto section has a few chromatic, leaping passages including mm. 19 and 24 that
will attention for intonation and accuracy.

The tenors move stepwise for the majority of the work with only a few points of attention: an
octave leap to a G4 in m. 21, a chromatic passage from mm. 51-56 that repeats again four
measures later, and the exposed entrance on an E4 in m. 33.

The bass part sits in a higher tessitura than most Russian anthems, including D4s in mm. 49 and
57. The low E2 only occurs as an octave split on the final chord. Additional bass voice splits
occur in mm. 35-36, and 40.

Measure 49 is marked Meno mosso and consists of two eight-measure phrases, both with four
measure crescendos (p to ff) followed by two bar decrescendos (back to p). Careful rehearsal
attention will be required to maintain the breath support through the long phrase to include the
gradual dynamic changes.

Musica Russica offers an audio diction guide for the Russian text. The E.C. Schirmer edition
with English text also works quite well for a church choir or high school ensemble.

214
English translation by Vladimir Morosan © 1995, reprinted with permission.
415

“Otche nash” (CM19c p152,154)
Alternate Title(s): Our Father; Отче наш; Vater unser
Larger Work/Collection: No. 6 from Nine Sacred Pieces
Text Source: Bible: Matthew 6:9-13; Divine Liturgy
Original Language: Church Slavonic
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Allegro moderato
Beginning Key/Mode: D minor
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: f, tutti
Approximate Duration: 4:00
Date of Composition: 1884-85
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Father, Forgiveness, Heaven, Lord’s Prayer, Prayer,
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Thomas Kohlhase (Church Slavonic/German)
CPDL
Musica Russica, 1992
P. Jurgenson (complete set, IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Peter Tchaikovsky: The Complete Sacred Choral Works, ed.
Vladimir Morosan. Musica Russica, 1996.
Selected Discography: Latvian Radio Choir, Tchaikovsky: Liturgy of St. John Chrysostom
/ Nine Sacred Choruses, conducted by Sigvards Kļava, Ondine,
2019.
North German Radio Choir, Peter I. Tschaikowsky Sacred Choral
Music, conducted by Philipp Ahmann. Carus, 2016.
Oratorio Society of New York. Vaughan Williams: Serenade to
Music/Mahler: Symphony No. 8, conducted by Lyndon
Woodside. Sony Classical, 2018.
Selected Bibliography: Brown, David. “First Months at Maidanovo: The Enchantress.” In
Tchaikovsky: The Final Years (1885-1893), 14-19. London:
Norton & Co., 1991.
Morosan, Vladimir, ed. “Nine Sacred Pieces: Our Father.” In Peter
Tchaikovsky: The Complete Sacred Choral Works, 358-365.
Madison, CT: Musica Russica, 1996.
416

Complete Text:

English Translation:
Отче наш, Иже еже еси на небесех!
Да святится имя Твое,
да приидет царствие Твое,
да будет воля Твоя,
яко на небеси и на земли.

Хлеб наш насущный даждь нам днесь;
и остави нам долги наша,
якоже и мы оставляем должником нашим;

и не введи нас во искушение,
но избави нас от лукаваго.
Аминь.
Our Father, Who art in heaven,
hallowed be Thy name.
Thy Kingdom come.
Thy will be done
on earth as it is in heaven.

Give us this day our daily bread;
and forgive us our debts,
as we forgive our debtors;

and lead us not into temptation,
but deliver us from the evil one.
Amen.
215

Insights & Performance Issues:
Tchaikovsky composed another setting of “Otche Nash” from the Divine Liturgy of St. John
Chrysostom, Op. 41 not to be confused with this setting, No. 6 from Nine Sacred Pieces.

The composition is divided into three distinct sections:
1. Allegro moderato (mm. 1-32)
2. Meno mosso, moderato assai (mm. 33-45)
3. Piu animato (mm. 46-end)

In the Allegro moderato the tenors are given the moving line in the beginning chant-like section.
This includes a major 6th leap in m. 9 that may require additional rehearsal attention. The
tonality transitions from D minor to E minor beginning in m. 14 and is carried through to the
second section.

The Meno mosso includes a short fugue beginning with the tenors. Finding the opening pitch
from the previous section may be challenging. The conductor may consider adding altos to the
tenor line if needed.

The transition to the Piu animato includes the alto section maintaining an A4 while the other
three voices each leap up an octave from the pitches ending the previous section. These octaves
will take great care to align the intonation which is further complicated with the dynamic change
from p to f.

The forte opening of Piu animato is followed by a quiet chant section until the final Amen. If
sung in a liturgical setting, the choir waits for the leader to speak or sing the remainder of the
Lord’s Prayer before singing the Amen.

215
English translation by Vladimir Morosan © 1992, reprinted with permission.
417

Turner, Joseph W. (CM19c p199-200)
Birth/Death: Unknown
Place of Birth: Unknown
Place of Death: Unknown
Nationality/Ethnicity: American
Selected Bibliography: None Found

President’s Hymn (CM19c p199-200)
Alternate Title(s): Give Thanks All Ye People
Larger Work/Collection: N/A
Text Source: William Augustus Muhlenburg (1796-1877)
Original Language: English
Voicing and Range: SATB

Accompaniment: pf/org
Meter: Common Time
Opening Tempo: Maestoso
Beginning Key/Mode: C major
Ending Key/Mode: C major
Opening Texture: p, instr. (brief)
Closing Texture: mp, tutti
Approximate Duration: 3:30
Date of Composition: 1863
Sacred/Secular: Sacred
Liturgical Use: Thanksgiving
Theme(s): Abraham Lincoln, Thanksgiving, Patriotism, Freedom
Musical Type: Hymn
Editions, Arrangements,
and Publications:
Oliver Ditson & Co., c.1863 (LOC)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: None Found
Selected Bibliography: Library of Congress. “Notated Music: The President’s Hymn.”
https://www.loc.gov/item/ihas.200002131/

Complete Text:

1. Give thanks, all ye people, give thanks to the Lord, Alleluias of freedom, with joyful accord:
Let the East and the West, North and South roll along, Sea, mountain and prairie, One
thanksgiving song.

418

Refrain: Give thanks, all ye people, give thanks to the Lord, Alleluias of freedom, with joyful
accord.

2. For the sunshine and rainfall enriching again, Our acres in myriads, with treasures of grain;
For the Earth still unloading her manifold wealth, For the Skies beaming vigor, the Winds
breathing health:

3. For the Nation's wide table, o'erflowingly spread, Where the many have feasted, and all have
been fed, With no bondage, their God-given rights to enthral, But Liberty guarded by Justice
for all:

4. In the realms of the Anvil, the Loom, and the Plow, Whose the mines and the fields, to Him
gratefully bow: His the flocks and the herds, sing ye hill-sides and vales; On His Ocean
domains chant His Name with the gales.

5. Of commerce and traffic, ye princes, behold, Your riches from Him Whose the silver and
gold, Happier children of Labor, true lords of the soil, Bless the Great Master-Workman, who
blesseth your toil.

6. Brave men of our forces, Life-guard of our coasts, To your Leader be loyal, Jehovah of Hosts:
Glow the Stripes and the Stars aye with victory bright, Reflecting His glory, - He crowneth
the Right.

7. Nor shall ye through our borders, ye stricken of heart, Only wailing your dead, in the joy have
no part: God’s solace be yours, and for you there shall flow, All that honor and sympathy's
gifts can bestow.

8. In the Domes of Messiah, ye worshipping throngs, Solemn litanies mingle with jubilant
songs; The Ruler of Nations beseeching to spare, And our Empire still keep the Elect of His
care.

9. Our guilt and transgressions remember no more; Peace, Lord! righteous Peace, of Thy gift we
implore; And the Banner of Union, restored by Thy Hand, Be the Banner of Freedom o'er All
in the Land.

Insights & Performance Issues:
Not to be confused with English artist J.M.W. Turner, Joseph Mallord William Turner (1775-
1851).

The poem was written in response to the proclamation of the president of the United States
recommending a general thanksgiving on November 26
th
, 1863. The voice ranges are based on
the accompaniment part on the verses per the composers note, “This piece may be sung entirely
as a chorus by the different voices singing the accompaniment.”
216

216
Turner, The President’s Hymn, (Oliver Ditson & Co.), 3.
419

Verdi, Giuseppe (CM19c p185-189)
Birth/Death: October 9/10, 1813 – January, 1901
Place of Birth: Roncole, nr Busseto
Place of Death: Milan, Italy
Nationality/Ethnicity: Italian
Selected Bibliography: Balthazar, Scott L. Cambridge Companion to Verdi. Cambridge:
Cambridge University Press, 2004.
Budden, Julian. Verdi. New York: Oxford University Press, 2008.
Harwood, Gregory W. Giuseppe Verdi: A Research and
Information Guide. Florence: Routledge, 2012.
Phillips-Matz, Mary Jane. Verdi: A Biography. Oxford, England:
Oxford University Press, 1993.

“Ave Maria” (CM19c p187)
Alternate Title(s): Ave Maria sulla scala enigmática; Ave Maria based on an enigmatic
scale
Larger Work/Collection: Quattro pezzi sacri (Four Sacred Pieces)
Text Source: Prayer of the Roman Rite; Bible: references to scriptures Luke 1:28
and Luke 1:42.
Original Language: Latin
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Moderato
` C major
Ending Key/Mode: C major
Opening Texture: p, tutti
Closing Texture: p, tutti
Approximate Duration: 4:30
Date of Composition: 1889, revised 1898
Sacred/Secular: Sacred
Liturgical Use: Advent (4
th
Sunday), Annunciation
Theme(s): Angel Gabriel, Annunciation, Enigma, Virgin Mary
Musical Type: Motet
Editions, Arrangements,
and Publications:
Carus-Verlag, ed. Albrecht Gaub, 2013 (complete set)
CDPL
C.F. Peters, ed. Kurt Soldan
Ricordi (IMSLP)
Alternate Voicings/
Instr. Arrangements:
Clarinet Quartet, arr. Alessandro Scndiffio (IMSLP)
420

Collections/Anthologies: Choral Music: A Norton Historical Anthology, ed. Ray Robinson,
W.W. Norton & Co., 1978
European Sacred Music, ed. John Rutter & Clifford Bartlett,
Oxford University Press, 1996
Selected Discography: Los Angeles Master Chorale, Verdi Requiem/4 Pezzi sacri,
conducted by Zubin Mehta, Decca 2014.
Monteverdi Choir, Verdi Requiem/4 Pezzi sacri, conducted by John
Eliot Gardiner, Decca, 1995.
Selected Bibliography: Budden, Julian. “Choral and Religious Works.” In Verdi, 353-5.
New York: Oxford University Press, 2008.
Burke, Richard. “That Awkward Scale”: Verdi Puccini, and the
Scala enigmatica.” Music Theory Online 21, no. 2 (June 2015).
Gaub, Albrecht. Foreword to Quattro pezzi sacri, by Giuseppe
Verdi, 5. Edited by Albrecht Gaub. Stuttgart: Carus-Verlag,
2013.
Georgieva, Irina. “Quattro Pezzi Sacri: Early History and
Programming Considerations, Analysis, and Interpretation.”
DMA diss., Eastman School of Music, 2012.
Herrmann Jr., William Albert. “Religion in the Operas of Giuseppe
Verdi.” Ph.D. diss., Columbia University, 1963.

Complete Text:

English Translation:
Ave Maria, gratia plena:
Dominus tecum,

Benedicta tu in muleiribus,
et benedictus fructus ventris tui, Jesus.

Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace,
the Lord is with thee,

blessed art thou among women,
and blessed is the fruit of the womb, Jesus.

Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death. Amen.
217

Insights & Performance Issues:
For a detailed analysis of the work, see Iriana Georgieva’s dissertation listed in the bibliography
above.

The choral version is not to be confused with Verdi’s Ave Maria for soprano solo and strings.

In the foreword of the Carus-Verlag edition, Albrecht Gaub discusses the harmonic language of
the choral setting, “based on the “scala enigmatica,” heptatonic scale devised by the Bologna
Conservatory professor Adolfo Crescentini. Although this scale is based on the material of the
standard twelve-tone scale in equal temperament, semitones and augmented seconds are used in
such a way that the scale contains no perfect fourths or fifths.”
218

217
Jeffers, Translations and Annotations, 99-100.
218
Gaub, Foreword to Quattro pezzi sacri, by Giuseppe Verdi, 5.
421

In her dissertation, Georgieva urges “Understanding the harmonic language of Ave Maria is
crucial when approaching this piece. Analyzing the chord progressions in the context of
traditional Western modes is irrelevant.”
219

In his text, Julian Budden states, “Verdi never attached any artistic importance to it; for him it
was a sciarada, a rebus, a mere conundrum. As far as he was concerned the Sacred Pieces were
three, not four.”
220

The work is highly chromatic, polyphonic and contains several tonal shifts. With over four
minutes of slow, soft, and difficult a cappella music – intonation will be one of the biggest
challenges of the work.

“Chorus of the Hebrew Slaves” (CM19c p185)
Alternate Title(s): Va pensiero; Coro di Schiavi Ebrei
Larger Work/Collection: Nabucco, Act 3, Scene 2
Text Source: Bible: Psalm 137 (paraphrased)
Original Language: Italian
Voicing and Range: SSATTB

Accompaniment: Orch (pf)
Meter: 4/4
Opening Tempo: Largo
Beginning Key/Mode: C# major
Ending Key/Mode: F# major
Opening Texture: p, instr. (extended)
Closing Texture: pp, tutti
Approximate Duration: 4:00
Date of Composition: 1840-1842
Sacred/Secular: Sacred
Liturgical Use: N/A
Theme(s): Babylon, Freedom, Homeland, Jerusalem, River Jordan, Slavery,
Zion
Musical Type: Opera Chorus
Editions, Arrangements,
and Publications:
CPDL
Kalmus (complete work, IMSLP)
O Brasil Musical (complete work, IMSLP)
Ricordi (complete work, IMSLP)
Rio de Janeiro
Schonenberger (complete work, IMSLP)

219
Georgieva, “Quattro Pezzi Sacri,” 26.
220
Budden, Verdi, 353.
422

Alternate Voicings/
Instr. Arrangements:
Wind Ensemble, arr. E. Ball
Piano 4 Hands, G Schirmer (IMSLP)
Piano 4 Hands, Schoenberger (IMSLP)
String Quartet, Jakub Kowalewski (IMSLP)
Numerous others
Collections/Anthologies: Opera Choruses, ed. John Rutter & Clifford Bartlett. Oxford
University Press, 1995.
Selected Discography: Slovak Philharmonic Chorus and Slovak Radio Symphony
Orchestra, Italian Opera Choruses, conducted by Oliver
Dohnányi, Naxos, 1997.
Selected Bibliography: Budden, Julian. “From Oberto to Emani.” Verdi, 173-4. New York:
Oxford University Press, 2008.
Martin, G. “Verdi, Politics, and ‘Va, Pensiero’ - The Scholars
Squabble.” The Opera quarterly 21, no. 1 (2005): 109–132.
Petrobelli, Pierluigi, and Roger Parker. “From Rossini’s Mosé to
Verdi’s Nabucco.” In Music in the Theater: Essays on Verdi and
Other Composers, 25-29. Princeton, New Jersey: Princeton
University Press, 1994.

Complete Text:

English Translation:
Va, pensiero, sull'ali dorate;
va, ti posa sui clivi, sui colli
ove olezzano tepide e molli
l'aure dolci del suolo natal!
Del Giordano le rive saluta,
di Sionne le torri atterrate.
Oh, mia patria sì bella e perduta!
Oh, membranza sì cara e fatal!

Arpa d'or dei fatidici vati,
perché muta dal salice pendi?
Le memorie nel petto raccendi,
ci favella del tempo che fu!
O simile di Solima ai fati
traggi un suono di crudo lamento,
o t'ispiri il Signore un concento
che ne infonda al patire virtù!
Go, thought, on golden wings
Go and rest on rises and hills
Where the sweet and soft
Air of the native land is to breath!
Greet the shores of Jordan River,
The destroyed towers of Sion.
Oh, my country, beautiful and lost!
Oh remembrance, so dear and fated.

Golden harp of the prophetic poets
Why do you hang, dumb, from the willow?
You renew memories in our breasts,
Talking about the time that once was.
Oh, alike Solima to the poets
You draw a sound of crude mourning,
May the Lord inspire you to a concert
That may give virtue to the suffering.
221

221
Translation by George Martin in “Verdi, Politics, and ‘Va, pensiero’ The Scholars Squabble.”
423

Insights & Performance Issues:
The opera chorus is an excellent introduction to the genre for choirs as the tune is well-known
and the chorus primarily sings in unison. This also is a great composition to talk about Verdi and
this particular composition in historical context.

With no soloists, Rossini described the movement as an aria given to the chorus.
222
Singing in
unison can cause its own intonation challenges but is an opportunity to practice passaggio
adjustments and vowel modification as a group.

The conductor should be attentive to the accidentals in mm. 21-23 as learning this phrase
correctly the first time will save rehearsal time in the future. In addition, be attentive to the
clarity in the alternating duplets and triplets while the chorus. The accompaniment plays
consistent triplets, a texture the Budden recognizes in Verdi’s later works, “Its principal features
will appear in many a Verdi opera from here on–a slow, simple line articulated in long strains
and underpinned by triplet pulsations.”
223

The work is more dramatic and grander with orchestral accompaniment, but the piano and piano
4 hand settings can create a moving performance with a skilled pianist. The orchestral and 4
hands piano accompaniments double the melody.

Overall, the opera chorus is well-suited for larger community and high school choirs, especially
in concerts with orchestral accompaniment. This chorus is followed by the equally famous tenor
solo “La donna è mobile” that paired effectively for an opera themed concert.

222
Petrobelli, “From Rossini’s Mosé to Verdi’s Nabucco,” 27.
223
Budden, Verdi, 173.
424

Wesley, Samuel (CM19c p104-105)
Birth/Death: February 24, 1766 – October 11, 1837
Place of Birth: Bristol, England
Place of Death: London, England
Nationality/Ethnicity: English
Selected Bibliography: Ambrose, Holmes. “The Anglican Anthems and Roman Catholic
Motets of Samuel Wesley.” PhD diss., Boston University, 1969.
Carroll, William Pearson. “The Latin Choral Music of Samuel
Wesley (1766-1837).” DMA diss., University of Cincinnati,
1989.
Zon, Bennett, ed. Music and Performance Culture in Nineteenth-
Century Britain: Essays in Honour of Nicholas Temperley.
Farnham: Taylor & Francis Group, 2012.

In exitu Israel (CM19c p105)
Alternate Title(s): N/A
Larger Work/Collection: N/A
Text Source: Bible: Psalm 113:1-3
Original Language: Latin
Voicing and Range: 2 SATB

Accompaniment: Unaccompanied
Meter: Common Time
Opening Tempo: Allegro
Beginning Key/Mode: Bb major (F)
Ending Key/Mode: Bb major
Opening Texture: ff, staggered (TB/S/A)
Closing Texture: pp, tutti
Approximate Duration: 7:00
Date of Composition: 1810
Sacred/Secular: Sacred
Liturgical Use: Year A: Easter, Visitation of Mary to Elizabeth
Year B: Season after Pentecost, Visitation of Mary to Elizabeth
Year C: Easter, Visitation of Mary to Elizabeth
Year C: Season after Pentecost, Visitation of Mary to Elizabeth
Year C: Season after Pentecost, Proper 20 (25)
Theme(s): Egypt, Israel, Jacob, Jordan River, Judah, Oppression, Redemption,
Strangers
425

Musical Type: Motet
Editions, Arrangements,
and Publications:
CPDL
Novello, ed. J. Barnby
Oxford University Press, ed. Richard Lyne
Walton Music, ed. Phillip Brunelle
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Gonville and Caius College Choir, Cambridge, Samuel Wesley:
Sacred Choral Music, conducted by Geoffrey Webber, Universal
Classical, 2015.
Selected Bibliography: Carroll, William Pearson. “The Latin Choral Music of Samuel
Wesley (1766-1837).” DMA diss., University of Cincinnati,
1989.
Marsh, Francis John. “The Latin Church Music of Samuel Wesley
(Three Volumes).” PhD diss., University of York, 1975.
Lyne, Richard. Introduction to In exitu Israel, by Samuel Wesley, 2.
Edited by Richard Lyne. Oxford, United Kingdom: Oxford
University Press, 2010.

Complete Text:

English Translation:
In exitu Israel de Aegypto,
domus Jacob de populo barbaro:
Facta est Judaea sanctificatio ejus.
Israël potestas ejus.
Mare vidit, et fugit,
Jordanis conversus est retrorsum.
When Israel came out of Egypt: and the
house of Jacob from among the strange people,
Judah was his sanctuary:
and Israel his dominion.
The sea saw that, and fled:
Jordan was driven back.
224

Insights & Performance Issues:
For a full analysis of the fugue and the key relationships, see William Pearson Carroll’s
dissertation listed above. Carroll describes the form, “In two large sections with coda, the five
subjects are based on a distant relationship to the melodic contours of the corresponding
plainchant.”
225

For this composition, the range graphic is somewhat deceiving. The Soprano I line includes the
Bb3 once and in unison with all voices. Outside this phrase, the lowest pitch is F4. The Tenor I
and II, sing one A4 in m. 153. The G4 is sung consistently along with the low Bb3 that they sing
in unison with the basses on several occasions.

The quick moving melismas and syncopated rhythms occur in each part throughout the work and
will require additional rehearsal attention. In addition, the arpeggiated motive in the second
subject beginning in m. 64, a subject that is sung in unison in m. 154 and will also require
additional rehearsal attention.

224
Church of England 1662 Book of Common Prayer
225
Carroll, William Pearson, “The Latin Choral Music of Samuel Wesley (1766-1837),” 105.
426

Wesley, Samuel Sebastian (CM19c p106)
Birth/Death: August 14, 1810 – April 19, 1876
Place of Birth: London, England
Place of Death: Gloucester, England
Nationality/Ethnicity: English
Selected Bibliography: Carroll, William Pearson. “Samuel Sebastian Wesley (1810-1876)
Composer and Reformer.” Choral Journal 22, no. 8 (April
1982): 5-9.
Hiebert, Arlis John. “The Anthems and Services of Samuel
Sebastian Wesley (1810-1876).” PhD diss., Northwestern
University, 1965.
Gatens, William J. “Samuel Sebastian Wesley (1810-76), a
frustrated romantic.” In Victorian Cathedral Music in Theory
and Practice, 128-146. Cambridge; Cambridge University Press,
1986.
Horton, Peter. Samuel Sebastian Wesley: A Life. Oxford: Oxford
University Press, 2004.
Zon, Bennett, ed. Music and Performance Culture in Nineteenth-
Century Britain: Essays in Honour of Nicholas Temperley.
Farnham: Taylor & Francis Group, 2012.

“And the ransomed of the Lord” and “And sorrow and sighing” (CM19c p106)
Alternate Title(s): N/A
Larger Work/Collection: No. 6 and No. 7 in The Wilderness
226

Text Source: Isaiah 35:10
Original Language: English
Voicing and Range: SSATB; soli SATTB

Accompaniment: Organ; orchd 1852
Meter: Common Time
Opening Tempo: Allegretto con spirito
Beginning Key/Mode: E major (V)
Ending Key/Mode: E major
Opening Texture: ff, tutti
Closing Texture: p, tutti
Approximate Duration: 4:00

226
In some editions, the two movements are considered one, final movement.
427

Date of Composition: 1832, orchd 1862
Sacred/Secular: Sacred
Liturgical Use: Advent
Year A: Third Sunday in Advent
Theme(s): Happiness, Joy, Returning Home, Singing, Joy, Zion
Musical Type: Anthem
Editions, Arrangements,
and Publications:
CPDL
Novello, 1951 (complete work)
Stainer & Bell, ed. Peter Horton (complete work)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Musica Britannica: A National Collection of Music, Volume 63,
Samuel Sebastian Wesley, Anthems II, ed. Peter Horton; Stainer
& Bell (Organ and Orch Accompaniment)
Selected Discography: Choir of Clare College, Cambridge, Samuel Sebastian Wesley:
Anthems, conducted by Christopher Robinson, Naxos, 2007.
Selected Bibliography: Fandrich, David John. “The Birthing Process: Select Anthems of
Samuel Sebastian Wesley and the Nineteenth-Century English
Musical Renaissance.” DMA diss., North Dakota State
University, 2008.
Gatens, William J. “Samuel Sebastian Wesley (1810-76), a
frustrated romantic.” In Victorian Cathedral Music in Theory
and Practice, 128-146. Cambridge; Cambridge University Press,
1986.
Long, Kenneth R. “Some Victorian Composers.” In The Music of
the English Church, 340-58. London: Hodder and Stoughton,
1971.
Temperley, Nicholas, Philip Olleson, Stanley C. Pelkey, and Peter
Horton. “Wesley family.” Grove Music Online, 2001.

Complete Text:

And the ransomed of the Lord shall return and come to Zion with songs and everlasting joy upon
their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

Insights & Performance Issues:
For a full analysis and comparison to Wesley’s contemporaries, see David Fandrich’s
dissertation listed above.

Fandrich describes the form of No. 6, “And the ransom of the Lord,” “ABA; a homo-rhythmic
opening and closing (mm. 190-203, 257-78) followed by contrapuntal fantasia which
embellishes periodic statements of the opening melodic theme; the primary mode of thematic
manipulation is imitation at the fifth.”
227

227
Fandrich, “The Birthing Process: Select Anthems of Samuel Sebastian Wesley,” 16.

428

For a full analysis and comparison to Wesley’s contemporaries, see David Fandrich’s
dissertation listed above.

Fandrich describes the form of No. 6, “And the ransom of the Lord,” “ABA; a homo-rhythmic
opening and closing (mm. 190-203, 257-78) followed by contrapuntal fantasia which
embellishes periodic statements of the opening melodic theme; the primary mode of thematic
manipulation is imitation at the fifth.”
228

The fugue is full of melismatic motifs that may challenge less experienced choruses, but the
accompaniment does support the chorus throughout. This is especially the case when the
melismatic phrases are elongated for the alto, soprano, and bass sections beginning in m. 246.

A pedal tone in the bass is written in mm. 238-244 that will require rehearsing breath
management and staggered breathing to maintain intonation.

Fandrich also describes the form of No. 7, “The Anadatino section is in ABA
1
form and features
five soloists in delicate, homophonic singing with most of the soprano line sung in the upper
register. The section is full of “sighing” motives. “Sighing motives have been utilized by
composers since the late Renaissance period to express emotion. There is pathos in the
descending minor second interval that was appreciated, in particular, by late sixteenth-century
Italian madrigalists.”
229

This virtuosic closing movement by the soloists is full of chromatism and will need ample
rehearsal time to be sung as a cohesive quintet. The first soprano soloist has the most difficult
and exposed line in the section.

The chorus returns for the final five measures to quietly end the movement and the work.

These two movements excerpted and paired work well in the concert setting or in a liturgical
service. If using the organ accompaniment, a skilled and musical organist is required.

228
Fandrich, “The Birthing Process: Select Anthems of Samuel Sebastian Wesley,” 16.

229
Ibid., 11.
429

“Thou Judge of quick and dead” and “O may we thus insure” (CM19c p106)
Alternate Title(s): N/A
Larger Work/Collection: No. 4 and 5, Let Us Lift Up Our Heart
Text Source: Charles Wesley (1707-1788)
Original Language: English
Voicing and Range: SATTBB

Accompaniment: Organ
Meter: Common Time
Opening Tempo: Lento
Beginning Key/Mode: B minor (V)
Ending Key/Mode: D major
Opening Texture: f, staggered (ATB/S)
Closing Texture: p, tutti
Approximate Duration: 4:30 (1:30 + 3:00)
Date of Composition: c.1836
Sacred/Secular: Sacred
Liturgical Use: General, Advent, Holy Week
Year A: Season after Pentecost, Proper 27 (Matthew 25:13)
Year B: Advent, First Sunday of Advent (Mark 13:33)
Year C: Season after Pentecost, Proper 14 (Luke 12:35-38)
Year A,B,C: Holy Week, Holy Saturday (1 Peter 4:5)
Theme(s): Alert, Blessed, Judgement, Peace, Prayer, Prepare
Musical Type: Anthem
Editions, Arrangements,
and Publications:
Bayley & Ferguson, 1914
Cathedral Music, ed. Edward C. Baristow, 1989
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: Musica Britannica: A National Collection of Music, Volume 57,
Samuel Sebastian Wesley, Anthems I, ed. Peter Horton, Stainer &
Bell.
Selected Discography: Chichestor Cathedral Choir, Let us lift up our heart: 19
th
Century
Church Music, conducted by Alan Thurlow and John Birch,
Griffin Records, 2016.
Choir of Clare College, Cambridge, Samuel Sebastian Wesley:
Anthems, conducted by Christopher Robinson, Naxos, 2007.
430

Selected Bibliography: Baristow, Edward C. Prefatory Note to Let Us Lift Up Our Heart,
by Samuel Sebastian Wesley, 2. Suzzex: Cathedral Music, 1989.
Gatens, William J. “Samuel Sebastian Wesley (1810-76), a
frustrated romantic.” In Victorian Cathedral Music in Theory
and Practice, 128-146. Cambridge; Cambridge University Press,
1986.
Long, Kenneth R. “Some Victorian Composers.” In The Music of
the English Church, 340-58. London: Hodder and Stoughton,
1971.

Complete Text:

Thou Judge of quick and dead, Before whose bar severe,
With holy joy, or guilty dread, We all shall soon appear;

Do thou our souls prepare For that tremendous day;
And fill us now with watchful care, And teach our hearts to pray:

O may we thus insure a lot among the blest, and watch a moment to secure an everlasting rest.

Insights & Performance Issues:
The final two movements of Let Us Lift Up Our Heart are easily excerpted and performed as a
pair in a concert or liturgical setting. They are preceded by a bass aria “Thou, O Lord God”
should a quality soloist be available.

The organ supports the choir through both movements. While the composition benefits from a
skilled and musical organist, there is nothing virtuosic in the final two movements.
“Thou Judge of quick and the dead” opens in unison octaves with the bass, tenor, and alto
sections on an ascending arpeggio. The voices split in the second phrase including a tenor divisi,
but the alto may double the Tenor I in this phrase if more tenors are needed on the second part.

A low alto range is prevalent in these movements and many of Wesley’s works. Kenneth Long
describes Wesley’s writing for the also in his text, “Every choirmaster has to rearrange Wesley’s
voice parts to make them practical and effective; in particular, the extremely low alto parts have
frequently to be interchanged with the tenor.”
230

“O may we thus insure” begins with fugal writing opening with the bass section. It is within the
tenor range if a fuller sound is needed. The fugue contains an extended pedal point that requires
steady breath management and rhythmic accuracy from all sections.

The movement is intuitive harmonically, and generally moves stepwise. However, the bass
section has an arpeggio in mm. 47-49 that may require additional rehearsal attention.

230
Long, The Music of the English Church, 343.
431

White, George L. (Fisk Jubilee Singers) (CM19c p213-216)
Birth/Death: 1838 – 1895
Place of Birth: Unknown
Place of Death: Unknown
Nationality/Ethnicity: Unknown
Selected Bibliography: Anderson, Toni P. Tell Them We Are Singing for Jesus: The
Original Fisk Jubilee Singers and Christian Reconstruction,
1871-1878. Macon, GA: Mercer University Press, 2010.
Graham, Sandra Jean. "Jubilee Singers." Grove Music Online. 16
Oct. 2013. https://www.oxfordmusiconline.com/grovemusic/
view/10.1093/gmo/ 9781561592630.001.0001/ omo-
9781561592630 -e-1002249936.
Marsh, J. B. T. The Story of the Jubilee Singers: With Their
Songs. London: Hodder and Stoughton, 1875.
Ward, Andrew. Dark Midnight When I Rise: The Story of the
Jubilee Singers, Who Introduced the World to the Music of Black
America. New York: Farrar, Straus and Giroux, 2000.

Swing Low, Sweet Chariot (CM19c p215), ed. George L. White
Alternate Title(s): N/A
Larger Work/Collection: No. 2, The Story of the Fisk Jubilee Singers, with Their Songs
Text Source: Traditional Spiritual
Original Language: English
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 2/4
Opening Tempo: N/A
Beginning Key/Mode: F major
Ending Key/Mode: F major
Opening Texture: staggered (SA/TB)
Closing Texture: tutti
Approximate Duration: 4:00
Date of Composition: 1877
Sacred/Secular: Sacred
Liturgical Use: General
Theme(s): Chariot, Despair, Elijah, Freedom, Home, Freedom, Suffering
Musical Type: Spiritual
Editions, Arrangements,
and Publications:
CDPL
IMSLP
Numerous published arrangements
432

Alternate Voicings/
Instr. Arrangements:
Voice and Piano, arr. H.T. Burleigh (IMSLP)
SATB, Solo Bar, arr. Arthur Warrell, Stainer & Bell
Collections/Anthologies: Jubilee songs: as sung by the Jubilee Singers of Fisk University,
The American Missionary Association, Biglow & Main.
Selected Discography: Apollo Jubilee Quartette, Lost Sounds: Blacks and the Birth of the
Recording Industry 1891-1922, Archeophone Records, 2005.
Fisk University Jubilee Quartet, Swing Low, Sweet Chariot, Victor,
1909. https://www.loc.gov/item/jukebox-128141/
Selected Bibliography: Anderson, Toni P. “‘Swing Low, Sweet Chariot’—The Fisk
University Jubilee Quartet (1909).” National Registry (2002).
https://www.loc.gov/static/programs/national-recording-
preservation-board/documents/Swing%20Low%20article.pdf.
Fenner, Chris. “Swing low, sweet chariot.” Hymnology Archive.
September 26, 2018, rev. October 16, 2020.
https://www.hymnologyarchive.com/swing-low-sweet-chariot
Marsh, J. B. T. The Story of the Jubilee Singers: With Their
Songs. London: Hodder and Stoughton, 1875.
“The Jubilee Singers.” The Christian Weekly 2, no. 18 (May 1872):
210.

Complete Text:

Swing low, sweet chariot,
Coming for to carry me home.

I looked over Jordan, and what did I see,
Coming for to carry he home?
A band of angels coming after me,
Coming for to carry me home.

If you get there before I do,
Coming for to carry me home,
Tell all my friends I'm coming too,
Coming for to carry me home.
The brightest day that ever I saw
Coming for to carry me home,
When Jesus washed my sins away,
Coming for to carry me home.

I’m sometimes up and sometimes down,
Coming for to carry me home,
But still my soul feels heavenly bound.
Coming for to carry me home.

Insights & Performance Issues:
The Story of the Fisk Jubilee Singers, with Their Songs J.B.T. Marsh prefaces the music with
performing instructions. “It will be observed that in most of these songs the first strain is of the
nature of a chorus or refrain, which is to be sung after each verse. The return to this chorus is to
be made without breaking the time. In some of the verses the syllables do not correspond exactly
to the notes in the music. The adaptation is so easy that it was thought best to leave it to the skill
of the singer rather than to confuse the eye by too many notes. The music is in each case
carefully adapted to the first verse. Whatever changes may be necessary to singing the remaining
verses will be found to involve no difficulty.”
231

231
Marsh, The Story of the Jubilee Singers, 125.
433

The pentatonic melody is set in a simple verse and refrain hymn structure. However, the
dictation in the music was not necessarily followed by the singers. Many early recordings
include the harmony only during the refrain, or at the end of each on the text “coming for the
carry me home.” While there are numerous arrangements of the tune, starting with and building
upon this setting can be a meaningful and enlightening exercise for the choir, both musically and
historically.

The text may have been inspired by 2 Kings 2:1-12 and the story of the prophet Elijah being
taken into heaven by a chariot of fire.
232

In 1872, The Christian Weekly included the music for Swing Low, Sweet Chariot and the article
concluded with this response to hearing The Jubilee Singers, “We give, with this article, one of
their most characteristic melodies, but the type cannot interpret its full meaning. Our readers
may, by the aid of the piano or the melodeon, get a glimpse of the quaint, weird music, but only
those who in earth's sorrow have longed for the coming of the chariot of the Lord can
comprehend the song as it is sung by the Jubilee Singers themselves.”

232
Fenner, “Swing low”, II. Analysis.
434

Wolf, Hugo (CM19c p78-79)
Birth/Death: March 13, 1860 – February 22, 1903
Place of Birth: Windischgraz, Styria (now Slovenjgradec, Slovenia)
Place of Death: Vienna, Austria
Nationality/Ethnicity: Austrian
Selected Bibliography: McKinney, Timothy R. “Harmony in the Songs of Hugo Wolf.”
DMA diss., University of North Texas, 1989.
Pocock, Peter George. “The Choral Music of Hugo Wolf: A
Discussion of the Musical and Textual Relationships with
Performance Editions for Male Chorus.” DMA diss., University
of Southern California, 1996.
Thompson, Lee. “The Choral Music of Hugo Wolf.” DMA diss.,
University of Cincinnati, 1987.

“Aufblick” (CM19c p78)
Alternate Title(s): Looking Upwards
Larger Work/Collection: No. 1, Sechs Geistliche Lieder
Text Source: Josef Karl Benedikt von Eichendorff (1788-1857) “Der Pilger”
(The Pilgrim)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Gemessen
Beginning Key/Mode: E major
Ending Key/Mode: E major
Opening Texture: f, staggered (SAT/B)
Closing Texture: f, tutti
Approximate Duration: 1:15
Date of Composition: 1881
Sacred/Secular: Sacred
Liturgical Use: General, Lent
Theme(s): Dust, Heaven, Power, Presence, Sin, Tumult
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag, ed. Clifford G. Richter (German/English)
Bote & Bock
CPDL
Doblinger, ed. Hans Jancik
Lauterbach & Kuhn (IMSLP)
Alternate Voicings/
Instr. Arrangements:
None Found

435

Collections/Anthologies: German Romantic Motets: Reger Rhainberger, Schubert, Wagner,
and Wolf, ed. Ralph Allwood, Novello, 2004.
Selected Discography: Saarbrucken Chamber Choir, Der Mensch lebt und bestehet: Choral
music Reger, Webern, Wolf, conducted by Georg Gruen. Carus,
1996.
Netherlands Chamber Choir, Hugo Wolf: The Choruses, conducted
by Uwe Gronostay, Globe Records, 1993.
Selected Bibliography: Richter, Clifford. Preface to Sechs geistliche Lieder, by Hugo Wolf,
3. Germany: Bärenreiter-Verlag, 1973.
Thompson, Lee. “The Choral Music of Hugo Wolf.” DMA diss.,
University of Cincinnati, 1987.

Complete Text:

English Translation:
Vergeht mir der Himmel
von Staube schier,
Herr, im Getümmel
zeig' dein Panier!

Wie schwank' ich sündlich,
lässt du von mir:
unüberwindlich,
bin ich mit dir!
Heaven passes me by,
Utterly in the dust.
Lord, amid the tumult
Show me your banner!

How I falter in sin
When you depart from me:
Invincible
Am I with you!
233

Insights & Performance Issues:
For a full structural analysis of the motet, see Lee Thompson’s dissertation listed above.

Only thirteen measures in length the work is syllabic, homophonic, heavily chromatic and
dissonant. These characteristics and the brevity of the work make it well-suited for advanced
sight-reading.

The conductor should be attentive to clarity in the various dotted rhythms, specifically when in
contrast to straight quarter notes. In addition, mm. 4-5 include challenging descending intervals
for all the voice parts that may require additional rehearsal attention.

Thompson aptly describes the harmonic language, “Wolf sets the text of "Aufblick" in syllabic,
homophonic style. The key center of the chorus is E-major. Wolf moves quickly and
chromatically away from E-major by introducing half-step movement and dissonances among
the voice parts. Almost every beat of the composition includes some sort of chromatic inflection.
However, the tonal center is never completely obscured or lost.”
234

233
Translation copyright © 2011 by Michael P. Rosewall reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
234
Thompson, “The Choral Music of Hugo Wolf,” 53-4.
436

Thompson also speaks to the meaning of the text, “The poem, also titled "Aufblick," is a plea for
God's presence and power. The speaker is in turmoil and cries out for a sign from God as an
evidence of Heaven. He acknowledges how sinfully he falters when apart from God and how
unconquerable he is when in the presence of God. Interestingly, Wolf chooses to repeat the final
two lines of text to conclude the piece. Only in "Aufblick," "Letzte Bitte," and "Erhebung" does
Wolf repeat a line of text which is not repeated in the original poem.”
235

Der Feuerreiter (CM19c p78)
Alternate Title(s): The Fire-Rider
Larger Work/Collection: No. 44, Mörike Lieder, Heft IV
Text Source: Eduard Mörike (1804-1875)
Original Language: German
Voicing and Range: SAATTBB

Accompaniment: Orch (pf)
Meter: 4/4
Opening Tempo: Lebhaft bewegt (Lively agitated)
Beginning Key/Mode: G minor
Ending Key/Mode: B minor
Opening Texture: pp, instr. (brief)
Closing Texture: ppp, instr. (brief)
Approximate Duration: 6:00
Date of Composition: 1892
Sacred/Secular: Secular
Theme(s): Bones, Burning, Death, Dust, Fire, Horses, Mill, Peace, Rest
Musical Type: Part-song
Editions, Arrangements,
and Publications:
C.F. Peters (IMSLP)
Doblinger (Boosey & Hawkes)
Musikwissenschaftlicher Verlag, ed. Leopold Spitzer
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
Selected Discography: Stuttgart School of Music Chorus, Württemberg Chamber Choir
and Stuttgart Ensemble Orchestra, Hugo Wolf: The Works for
Choir and Orchestra, conducted by Dieter Kurz. Claves
Records, 1996.
Figure Humaine Kammerchor, …Wo Die Zitronen Blühn: Songs for
Choir and Piano, conducted by Denis Rouger, Carus, 2021.

235
Thompson, “The Choral Music of Hugo Wolf,” 53.
437

Selected Bibliography: Loewen, Wesley James. “The Relationship of Text and Vocal
Aspects in the Morike Songs of Hugo Wolf.” DMA diss.,
University of Missouri-Kansas City, 1983.
Thompson, Lee. “The Choral Music of Hugo Wolf.” DMA diss.,
University of Cincinnati, 1987.

Complete Text:

English Translation:
Sehet ihr am Fensterlein
dort die rothe Mütze wieder?
nicht geheuer muss es sein,
denn er geht schon auf und nieder.
Seht! und auf einmal welch Gewühle
bei der Brücke, nach dem Feld!
Horch! das Feuerglöcklein gellt:
hinter’m Berg,
hinter’m Berg
brennt es in der Mühle!

Schaut! da sprengt er wütend schier
durch das Thor der Feuerreiter,
auf dem rippendürren Thier,
als auf einer Feuerleiter!
Querfeldein! durch Qualm und Schwüle
rennt er schon und ist am Ort!
drüben schallt es fort und fort:
hinter’m Berg,
hinter’m Berg,
Brennt es in der Mühle!

Der so oft den rothen Hahn
meilenweit von fern gerochen,
mit des heil'gen Kreuzes Spahn
freventlich die Gluth besprochen -
weh! dir grinst vom Dachgestühle
dort der Feind im Höllenschein.
Gnade Gott der Seele dein!
hinter’m Berg,
hinter’m Berg,
ras’t er in der Mühle!
Do you see at the window
there again, that red cap?
Something must be the matter
for it is going up and down.
And what a sudden mob
is now by the bridge near the field!
Hark! the fire-bell is shrilling:
beyond the hill,
beyond the hill,
there's a fire in the mill!

Look, there he goes, galloping furiously
through the gate - it's the fire-rider
on his horse, a bony nag
like a fire-ladder!
Across the fields, through the smoke and heat
he plunges, and he's already reached his goal!
Over there the bells are pealing,
beyond the hill,
beyond the hill,
there's a fire in the mill!

You who so often smelled fire
from a mile off,
and with a fragment of the holy cross
maliciously conjured the blaze -
woe! from the rafters there grins
the Enemy of Man in hellish light.
May God have mercy on your soul!
Beyond the hill,
beyond the hill,
he is raging in the mill!

438

Keine Stunde hielt es an,
bis die Mühle borst in Trümmer;
doch den kecken Reitersmann
sah man von der Stunde nimmer.
Volk und Wagen im Gewühle
kehren heim von all dem Graus;
auch das Glöcklein klinget aus:
hinter’m Berg,
hinter’m Berg,
brennt's!

Nach der Zeit ein Müller fand
ein Gerippe sammt der Mützen
aufrecht an der Kellerwand
auf der beinern Mähre sitzen:
Feuerreiter, wie so kühle
reitest du in deinem Grab!
Husch! da fällt's in Asche ab.
Ruhe wohl,
ruhe wohl
drunten in der Mühle!
Not an hour had passed
before the mill was reduced to rubble;
but the bold rider
from that hour was never seen again.
People and wagons in crowds
turn toward home away from all the horror;
and the bell stops ringing:
beyond the hill,
beyond the hill,
it's burning!

Later a miller found
a skeleton together with the cap
upright against the wall of the cellar
sitting on the mare of bone:
Fire-rider, how coolly
you ride now to your grave!
Hush! there it falls to ashes.
Rest well,
rest well,
down there in the mill!
236

Insights & Performance Issues:
For a full structural analysis of the motet, see Lee Thompson’s dissertation listed above.

The composition is based on the composer’s Lied of the same title written four years prior for
solo voice and piano. The choral setting is written for chorus and orchestra. If using the piano
accompaniment, a highly skilled and musical pianist is essential.

Thompson describes the differences between the solo and choral setting, “He [Hugo Wolf] uses
the various colors and textures of the orchestra to enlarge the drama of the composition. The
orchestration adds tremendously to the expressive power of “Der Feuerreiter” and works most
successfully because it is an enlargement of a Lied, a genre in which Wolf felt completely
comfortable.”
237

A wide range is written for all voice parts. The soprano part splits for two measures (mm. 94-
95). The German text moves quickly and with little repeated text. The opening phrase includes
the marking flüsternd (whispering) which sets the tone for the work.

Perfecting the rhythmic motifs will require additional rehearsal attention but is essential for the
effectiveness of the work. Rhythmically challenging passages with dotted rhythms and
syncopation occur in mm. 2-10, 36-38, 56-57, and 64-65.

236
Translation copyright © by Emly Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
237
Thompson, “The Choral Music of Hugo Wolf,” 91.
439

The accompaniment is a driving triplet theme against the chorus singing in two. The chorus
sings the triplet figure once in mm. 86-88 on a chromatic run for all parts that may require
additional rehearsal attention.

The work is full of chromatism, dissonance, tempo changes, style changes, and several features
for tenor and bass sections singing in four-part harmony. The conductor should be attentive to
the staggered entrances in mm. 2-13, the exposed arpeggiated bass section is featured in mm. 36-
39, the alto soli with a minor 7
th
followed by an octave leap in mm. 78-81, and the sopranos
“Husch!” on Eb5 pp in m. 118.

Overall, it is an incredibly dramatic and exciting composition that advanced choirs should
consider when performing with an orchestra or skilled and musical pianist.

“Im stillen Friedhof” (CM19c p79)
Alternate Title(s): In the Peaceful Grave
Larger Work/Collection: No. 2 from op. 17
Text Source: Ludwig Pfau (1821-1894)
Original Language: German
Voicing and Range: SATB, soli SATB

Accompaniment: pf
Meter: Common Time
Opening Tempo: Getragen
Beginning Key/Mode: F minor
Ending Key/Mode: F minor
Opening Texture: p, instr. (brief)
Closing Texture: pp, instr. (brief)
Approximate Duration: 4:00
Date of Composition: 1876
Sacred/Secular: Secular
Liturgical Use: Memorial
Theme(s): Death, Grave, Sadness
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Doblinger, ed. Hans Jancik
Musikwissenschäftlicher Verlag (IMSLP)
National Music Publishers (German/English)
Alternate Voicings/
Instr. Arrangements:
None Found
Collections/Anthologies: None Found
440

Selected Discography: Netherlands Chamber Choir, Hugo Wolf: The Choruses, conducted
by Uwe Gronostay, Globe Records, 1993.
Selected Bibliography: Thompson, Lee. “The Choral Music of Hugo Wolf.” DMA diss.,
University of Cincinnati, 1987.

Complete Text:

English Translation:
Wenn ich im stillen Friedhof geh’,
wird mir so schwer zu Herzen,
dass man die treuste Menschenbrust,
die mitgetragen Leid und Lust,
so eilig kann verschmerzen.

Gras wächst darüber, ach, wie bald,
das Grab wird selber heiter;
wie wenn ein Blatt vom Wipfel fällt,
so geht ein Leben aus der Welt!
Die Vögel singen weiter.

O Menschenherz mit deinem Stolz!
Was flüstern die Zypressen?
Wir steh’n auf einem schmalen Raum,
darunter liegt ein Herze kaum,
so ist es schon vergessen.
When I pass by a peaceful grave,
my heart grows sad while thinking,
that one so quickly can forget,
Ev’n the most loyal human heart,
with all the grief and joy endured.

Grass covers o’er it, oh, so soon,
the grave itself becomes bright;
as when a leaf falls from a tree,
thus does a life depart this world!
Yet birds continue their song.

Oh heart of man, with your great pride!
What do the cypress whisper?
We stand upon the narrow ground,
beneath which barely lies a heart,
already not forgotten.
238

Insights & Performance Issues:
For a full structural analysis of the motet, see Lee Thompson’s dissertation listed above.

The first 26 measures are sung p and pp in a chordal, hymn-like fashion supported by the piano.
In mm. 30-31, the dynamic transitions from pp to f and back pp over the course of three
measures. The appreciated line into the upper tessitura for the soprano may require additional
rehearsal attention encouraging vowel modification.

Measure 33 begins the polyphonic imitation section sung by the soli quartet. Thompson aptly
describes the section, “The four-measure motive is stated completely and in turn by bass, tenor,
soprano, and alto. A second theme is presented in each voice as counterpoint to the primary
motive. As the alto finishes the primary motive, the lower three voices return to homophonic
style while the soprano executes a two-measure melisma on the word ‘vergessen’ (forgotten).
This is the only example of melismatic writing found in the early choral works of Wolf”
239

The choir returns in m. 53 to sign the last phrase and the work ends with the piano as it began.
Overall, this work is one of Wolf’s more accessible choral lieder. With a strong soli quartet, this
composition is a solid introduction to his work.

238
English translation by Ronald Reinholdt in National Music Publishers edition.
239
Thompson, “The Choral Music of Hugo Wolf,” 41.
441

“Resignation” (CM19c p78)
Alternate Title(s):
Larger Work/Collection: No. 3, Sechs Geistliche Lieder
Text Source: Josef Karl Benedikt von Eichendorff (1788-1857) “Der Einsiedler”
(The Hermit)
Original Language: German
Voicing and Range: SATB

Accompaniment: Unaccompanied
Meter: 4/4
Opening Tempo: Langsam, innig (slowly, sincere)
Beginning Key/Mode: F major (C)
Ending Key/Mode: F major
Opening Texture: p, tutti
Closing Texture: pp, tutti
Approximate Duration: 4:00
Date of Composition: 1881
Sacred/Secular: Sacred
Liturgical Use: General, Lent
Theme(s): Comfort, Death, Evening, Life, Loneliness, Transition, Water
Musical Type: Part-song
Editions, Arrangements,
and Publications:
Bärenreiter-Verlag, ed. Clifford G. Richter (German/English)
Bote & Bock
Carus-Verlag, ed. Günter Graulich (German/English)
CPDL
E.C. Schirmer
Lauterbach & Kuhn (IMSLP)
Alternate Voicings/
Instr. Arrangements:
TTBB, arr. Max Reger, Bote & Bock
Collections/Anthologies: Romantik A Cappella, Vol. 1: Secular Part Songs (European
Choral Music of the 19th Century). Michael Aschauer & Jan
Schumacher. Helbling Verlagsgesellschaft m.b.h.
Selected Discography: Saarbrucken Chamber Choir, Der Mensch lebt und bestehet: Choral
music Reger, Webern, Wolf, conducted by Georg Gruen, Carus,
1996.
Selected Bibliography: Richter, Clifford. Preface to Sechs geistliche Lieder, by Hugo Wolf,
3. Germany: Bärenreiter-Verlag, 1973.
Thompson, Lee. “The Choral Music of Hugo Wolf.” DMA diss.,
University of Cincinnati, 1987.

442

Complete Text:

English Translation:
Komm, Trost der Welt, du stille Nacht!
Wie steigst du von den Bergen sacht,
die Lüfte alle schlafen;
ein Schiffer nur noch, wandermüd',
singt übers Meer sein Abendlied
zu Gottes Lob im Hafen.

Die Jahre wie die Wolken gehn
und lassen mich hier einsam stehn,
Die Welt hat mich vergessen,
da tratst du wunderbar zu mir,
als ich beim Waldesrauschen hier
gedankenvoll gesessen.

O Trost der Welt, du stille Nacht!
Der Tag hat mich so müd' gemacht,
das weite Meer schon dunkelt,
laß ausruhn mich von Lust und Not,
Bis einst das ew'ge Morgenrot
den stillen Wald durchfunkelt.
Come, comfort of the world, you still night!
How softly you climb from the hills!
The breezes are all sleeping,
only one sailor still, weary with travel,
sings across the sea an evening song
to praise God from the harbor.

The years go by like clouds
and leave me standing here alone;
the world has forgotten me.
Then amazingly, you came to me
when I was here by the rustling wood,
sitting lost in thought.

O comfort of the world, you still night!
The day has made me so weary;
the wide sea is darkening already.
Let me rest from joy and suffering
until the eternal dawn
illuminates the still wood throughout.
240

Insights & Performance Issues:
For a full structural analysis of the motet, see Lee Thompson’s dissertation listed above.

Thompson describes the form and text, “The third of Wolf's Sechs geistliche Lieder is titled
“Resignation.” It uses the complete poem ‘Der Einsiedler’ (The Hermit) and is the longest of the
six texts in this collection. It contains eighteen lines, divided equally into three stanzas. The poet
is comparing the passing of day into night with the passing of life into death.”

Like to the first work in the set, Resignation is heavily chromatic and dissonant. However, the
alto and tenor parts are significantly more independent and challenging.

The first onset in unison octaves (C4/C5) and piano is challenging to begin together and with
proper intonation. The conductor should encourage consistent breath energy and not under-
singing the starting note. The same entrance occurs in m. 26 with the recap of the opening
material.

The conductor should be attentive to the imitation in mm. 12-19 as it may require additional
rehearsal attention. This is Wolf’s only use of imitation in the entire six-song set.
241
Note
discrepancies exist between the Carus-Verlag and Bärenreiter-Verlag editions on beat four of m.
2 and m. 28 in the alto part and m. 22 in the bass part.

240
Translation copyright © by Emly Ezust reprinted with permission from the LiederNet Archive,
https://www.lieder.net/.
241
Thompson, “The Choral Music of Hugo Wolf,” 56-7.
443

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482

APPENDIX A: SELECT GROUPINGS FROM CHAPTER 3 CATALOGUE

TABLE 1: OPENING KEY/MODE
Key/Mode Composer Title Page #
C major Alkan Etz chajjim hi 125
Attwood I Was Glad 133
Beethoven Hallelujah 142
Bruckner Locus iste 217
Cherubini Petrus apostolus 231
Dvořák, arr. Janáček Zelenaj se, Zelenaj 250
Glinka Great Litany 267

Heruvimskaya pesn’ 268
Haydn The Heavens are Telling the Glory of God 280
Liszt Pater noster IV 298
Mendelssohn Psalm 100 324
Schubert Psalm 92 374
Smetana Ich hoffe auf den Herrn 390
Turner President's Hymn 417
Verdi Ave Maria 419
C minor Alkan Marcia funebre sulfa morte d'un papagallo 128
Berlioz Le ballet des ombres 147
Bortniansky Lord Make Me to Know My End 158
Brahms Im Herbst 175

Morgengesang 179
Lvov Of the Mystical Supper 302
Rossini Et inflammatus est 365
Schubert Chor der Engel 370
C# major Verdi Chorus of the Hebrew Slaves 421
Db major Fauré Cantique de Jean Racine 257
D major Attwood O Lord, Grant the King a Long Life 135
Foster, arr. Dvořák The Old Folks at Home 246
Franck Psalm 150 263
Lewandowski Psalm 150 293
Mendelssohn Heilig 320
Nietzsche Hymne an das Leben 338
Nunes Garcia Laudate Dominum omnes gentes 341
Laudate pueri Dominum 343
Schubert Die Geselligkeit 371
Silva Crux fideles 387
Smetana Lobet den Herrn 393
483

D major Stainer God So Loved the World 397
D minor Brahms Beherzigung 162
Nächtens 181
Verlorene Jugend 197
Vom heiligen Märtyrer Emmerano 202
Tchaikovsky Otche nash 415
D Dorian Brahms Vergangen ist mir Glück und Heil 195
Eb major Bishop Home, Sweet Home 152
Brahms Geistliches Lied 170
How Lovely is Thy Dwelling Place 172
Vineta 199
Wach auf! 206
Buck Festival Te Deum No. 7 226
Elgar Deep in My Soul 255
Mendelssohn There Shall a Star Come Out of Jacob 326
Meyerbeer Pater Noster 329
Paine How Brightly Shines the Morning Star 346
Schubert Zum Sanctus 376
Smetana Heilig ist der Herr Zabaoth 389
E major Beethoven Elegischer Gesang 140
Berlioz The Shepherd's Farewell 149
Brahms Es ist das Heil uns kommen her 168
Brahms Schaffe in mir 188
Chausson Ave Maria 229
Schumann Das Schifflein 380
Wesley S.S. And the Ransomed of the Lord 426
Wolf Aufblick 434
E minor Bruch Gebet 211
Lvov Standing Before the Cross 303
Mussorgsky Destruction of Sennacherib, The 331
Schumann Zigeunerleben 384
Smetana Jesu, meine Freude 392
Tchaikovsky Cherubic Hymn, The 408

Legenda 412
E Phrygian Bruckner Pange lingua et Tantum ergo 220
F major Bendix Psalm 33 144
Bortniansky Let God Arise 156
Brahms Kleine Hochzeitskantate 177
Täublein weiss 193
Von edler Art 204
Zum Schluss 208
Bruckner Ave Maria 213
Cui Barcarole 233
Donizetti Ave Maria 238
484

F major Dvořák Cradle Song 242
Dvoretsky Svéte tíhiy 253
Glinka Come di gloria al nome 265
Gounod Sanctus 271
Halévy Ave verum corpus 278
Liszt Pater noster III 296
MacDowell Slumber Song 208
MacFarren Orpheus and His Lute 310
Rheinberger Abendlied 352

Morgenlied 355
Rimsky-Korsakov Otche nash 358
Schumann Beim Abschied zu singen 378
Starorussky Ot yúnosti moyeyá 402
Spiritual, ed. White Swing Low, Sweet Chariot 431
F major Wolf Resignation 441
F minor Wolf Im stillen Friedhof 439
F Dorian Brahms O Heiland reiss die Himmel auf 183
F Lydian Bruckner Os Justi 218
F# minor Balakirev Let All Mortal Flesh Keep Silence 137
MacDowell Brook, The 206
Stenhammmar September 404
Gb major Fauré Tantum Ergo 261
G major Bortniansky Glory to God in the Highest 154
Brahms Der englische Jäger 166
Bruckner Virga Jesse floruit 224
Drechsler Haleluyaw Halelu Eyl 240
Dvořák Napadly písně v duši mou 244
Grieg Ave maris stella 273
Horner National Consecration Chant 288
Janáček Hospodine pomiluj ny 290
Lvov It Is Truly Fitting, No. 3 300
Mendelssohn How Lovely Are the Messengers 322
Rheinberger Hymne 354
Saint-Saëns Tollite hostias 368
Smetana Opening Chorus from Bartered Bride 395
Tchaikovsky Angel vopiyashe 406

Dostóyno yest 410
G minor Alkan Halelouyoh 126
Arensky Anchar 130
Brahms Der Abend 164

Rosmarin 186
Rimsky-Korsakov Procession of the Nobles 360
Wolf Der Feuerreiter 436
Ab major Mackenzie Autumn 312
485

Ab major Mendelssohn Die Nachtigall 316
Mussorgsky Jesus Nevin 334
Schumann Gute Nacht 382
Stanford Beati quorum via 399
A major Fauré Tantum Ergo 259
Makarov Angel vopiyáshe 314
A minor Bruckner Ecce sacerdos magnus 215
Delaney Dirge 236
Dvořák, arr. Janáček Slavíkovský Polečko Malý 248
Grieg Hvad est du dog skjon 275
Hensel Abendlich Schon Rauscht Der Wald 283
Mendelssohn Ehre sei Gott 318
Rimsky-Korsakov We Praise Thee, O God 361
Bb major Brahms Tafellied 190
Bruckner Tantum ergo 222
Herzogenberg Wär's dunkel, ich läg' im Walde 286
Parry I Was Glad 350
Wesley S. In exitu Israel 424
B minor Parry At the round earth's imagined corners 348
Wesley S.S. Thou Judge of quick and dead 429

486

TABLE 2: CLOSING KEY/MODE
Key/Mode Composer Title Page #
C major Alkan Etz chajjim hi 125
Attwood I Was Glad 133
Beethoven Hallelujah 142
Brahms Im Herbst 175
Bruckner Locus iste 217
Dvořák, arr. Janáček Zelenaj se, Zelenaj 250
Glinka Great Litany 267
Heruvimskaya pesn’ 268
Haydn The Heavens are Telling the Glory of God 280
Liszt Pater noster IV 298
Mendelssohn Psalm 100 324
Rimsky-Korsakov We Praise Thee, O God 361
Rossini Et inflammatus est 365
Schubert Psalm 92 374
Smetana Ich hoffe auf den Herrn 390
Turner President's Hymn 417
Verdi Ave Maria 419
C minor Alkan Marcia funebre sulfa morte d'un papagallo 128
Berlioz Le ballet des ombres 147
Bortniansky Lord Make Me to Know My End 158
Lvov Of the Mystical Supper 302
Schubert Chor der Engel 370
Db major Fauré Cantique de Jean Racine 257
D major Attwood O Lord, Grant the King a Long Life 135
Brahms Beherzigung 162

Verlorene Jugend 197
Cui Barcarole 233
Foster, arr. Dvořák The Old Folks at Home 246
Franck Psalm 150 263
Halévy Ave verum corpus 278
Lewandowski Psalm 150 293
Makarov Angel vopiyáshe 314
Mendelssohn Heilig 320
Nietzsche Hymne an das Leben 338
Nunes Garcia Laudate Dominum omnes gentes 341
Laudate pueri Dominum 343
Parry At the round earth's imagined corners 348
Schubert Die Geselligkeit 371
Silva Crux fideles 387
Smetana Lobet den Herrn 393
487

D major Stainer God So Loved the World 397
Tchaikovsky Angel vopiyashe 406
Wesley S.S. Thou Judge of quick and dead 429
D minor Brahms Nächtens 181
D Dorian Brahms Vergangen ist mir Glück und Heil 195
Eb major Bishop Home, Sweet Home 152
Brahms Geistliches Lied 170
How Lovely is Thy Dwelling Place 172
Wach auf! 206
Buck Festival Te Deum No. 7 226
Elgar Deep in My Soul 255
Mendelssohn There Shall a Star Come Out of Jacob 326
Meyerbeer Pater Noster 329
Paine How Brightly Shines the Morning Star 346
Rimsky-Korsakov Procession of the Nobles 360
Schubert Zum Sanctus 376
Smetana Heilig ist der Herr Zabaoth 389
E major Beethoven Elegischer Gesang 140
Berlioz The Shepherd's Farewell 149
Brahms Es ist das Heil uns kommen her 168
Morgengesang 179
Schaffe in mir 188
Chausson Ave Maria 229
Dvořák, arr. Janáček Slavíkovský Polečko Malý 248
Herzogenberg Wär's dunkel, ich läg' im Walde 286
Schumann Das Schifflein 380
Smetana Jesu, meine Freude 392
Wesley S.S. And the Ransomed of the Lord 426
Wolf Aufblick 434
E minor Bruch Gebet 211
Bruckner Virga Jesse floruit 224
Mussorgsky Destruction of Sennacherib, The 331
Schumann Zigeunerleben 384
Tchaikovsky Legenda 412
E Phrygian Bruckner Pange lingua et Tantum ergo 220
F major Bortniansky Let God Arise 156
Brahms Kleine Hochzeitskantate 177
Täublein weiss 193
Von edler Art 204
Zum Schluss 208
Bruckner Ave Maria 213
Donizetti Ave Maria 238
Dvořák Cradle Song 242
Dvoretsky Svéte tíhiy 253
488

F major Glinka Come di gloria al nome 265
Gounod Sanctus 271
Liszt Pater noster III 296
MacDowell Slumber Song 208
MacFarren Orpheus and His Lute 310
Rheinberger Abendlied 352
Morgenlied 355
Rimsky-Korsakov Otche nash 358
Schumann Beim Abschied zu singen 378
Spiritual, ed. White Swing Low, Sweet Chariot 431
Starorussky Ot yúnosti moyeyá 402
Tchaikovsky Otche nash 415
Wolf Resignation 441
F minor Wolf Im stillen Friedhof 439
F minor* Brahms O Heiland reiss die Himmel auf 183
F Lydian Bruckner Os Justi 218
F# major Verdi Chorus of the Hebrew Slaves 421
F# minor Balakirev Let All Mortal Flesh Keep Silence 137
MacDowell Brook, The 206
Stenhammmar September 404
Gb major Fauré Tantum Ergo 261
G major Alkan Halelouyoh 126
Bortniansky Glory to God in the Highest 154
Brahms Der Abend 164
Der englische Jäger 166
Cherubini Petrus apostolus 231
Drechsler Haleluyaw Halelu Eyl 240
Dvořák Napadly písně v duši mou 244
Grieg Ave maris stella 273
Horner National Consecration Chant 288
Janáček Hospodine pomiluj ny 290
Lvov It Is Truly Fitting, No. 3 300

Standing Before the Cross 303
Mendelssohn How Lovely Are the Messengers 322
Rheinberger Hymne 354
Saint-Saëns Tollite hostias 368
Smetana Opening Chorus from Bartered Bride 395
Tchaikovsky Dostóyno yest 410
G minor Arensky Anchar 130

Brahms Rosmarin 186
Vom heiligen Märtyrer Emmerano 202
Ab major Mackenzie Autumn 312
Mendelssohn Die Nachtigall 316
Mussorgsky Jesus Nevin 334
489

Ab major Schumann Gute Nacht 382
Stanford Beati quorum via 399
A major Fauré Tantum Ergo 259
Grieg Hvad est du dog skjon 275
Mendelssohn Ehre sei Gott 318
A minor Bruckner Ecce sacerdos magnus 215
Delaney Dirge 236
Hensel Abendlich Schon Rauscht Der Wald 283
Bb major Bendix Psalm 33 144
Brahms Tafellied 190

Vineta 199
Bruckner Tantum ergo 222
Parry I Was Glad 350
Wesley S. In exitu Israel 424
B major Tchaikovsky Cherubic Hymn, The 408
B minor Wolf Der Feuerreiter 436
*See Chapter 3 catalogue entry for additional details on tonality.

490

TABLE 3: WORKS WITH SOLO VOICE OR SOLI VOICES
Voicing Composer Title Page #
Solo Child (S) Chausson Ave Maria 229
Solo S Donizetti Ave Maria 238
Fauré Tantum Ergo 261
Rossini Et inflammatus est 365
Schumann Das Schifflein 380

Gute Nacht 382
Solo T Fauré Tantum Ergo 259

Gounod Sanctus 271
Solo Bar Grieg Hvad est du dog skjon 275
Solo Bar, S Foster, arr. Dvořák The Old Folks at Home 246
Solo B, Soli SATB Schubert Psalm 92 374
Soli 2 S Halévy Ave verum corpus 278
Soli AB Mussorgsky Jesus Nevin 334
Soli SSA Makarov Angel vopiyáshe 314
Soli STB Haydn The Heavens are Telling 280
Soli SATB Balakirev Let All Mortal Flesh Keep Silence 137
Bortniansky Lord Make Me to Know My End 158
Brahms Kleine Hochzeitskantate 177
Buck Festival Te Deum No. 7 226
Glinka Come di gloria al nome 265
Janáček Hospodine pomiluj ny 290
Mendelssohn Ehre sei Gott 318
Nunes Garcia Laudate Dominum omnes gentes 341
Rimsky-Korsakov We Praise Thee, O God 361
Schumann Beim Abschied zu singen 378
Wolf Im stillen Friedhof 439
Soli SATB* Brahms Der Abend 164
Nächtens 181
Vom heiligen Märtyrer Emmeran 202
Zum Schluss 208
Soli SAATB Bortniansky Glory to God in the Highest 154

Wesley S.S. And the Ransomed of the Lord 426
Soli SSATTB Bortniansky Let God Arise 156

Schumann Zigeunerleben 384
Soli SSAATTBB Mendelssohn Psalm 100 324
Semi-Chorus Parry I Was Glad 350
*Works for vocal quartet, not additional soloists

491

TABLE 4: WORKS FOR DOUBLE CHOIR & OTHER SETTINGS WITH DIVISI
Voicing Composer Title Page #
2 SATB Janáček Hospodine pomiluj ny 290
Mendelssohn Ehre sei Gott 318

Heilig 320
Rimsky-Korsakov We Praise Thee, O God 361
Silva Crux fideles 387
Smetana Heilig ist der Herr Zabaoth 389
Wesley S. In exitu Israel 424
2 SATB, Semi-Chorus Parry I Was Glad 350
SSATB Rheinberger Hymne 354
Schumann Zigeunerleben 384
Wesley S.S. And the Ransomed of the Lord 426
SATBB Brahms Es ist das Heil uns kommen her 168
Schaffe in mir 188
Verlorene Jugend 197
Fauré Tantum Ergo 259
Lvov Of the Mystical Supper 302

Standing Before the Cross 303
Tchaikovsky Angel vopiyashe 406
STTBB Berlioz Le ballet des ombres 147
SSATTB Cherubini Petrus apostolus 231
Rheinberger Abendlied 352

Morgenlied 355
Verdi Chorus of the Hebrew Slaves 421
Stanford Beati quorum via 399
SAATBB Bishop Home, Sweet Home 152
Brahms Tafellied 190

Vineta 199
SSTTBB Halévy Ave verum corpus 278
SATTBB Lvov It Is Truly Fitting, No. 3 300
Schumann Beim Abschied zu singen 378
Wesley S.S Thou Judge of quick and dead 429
SSAATBB Parry At the round earth's imagined corners 348
SSATTBB Mussorgsky Jesus Nevin 334
Rimsky-Korsakov Otche nash 358
Stenhammmar September 404
SAATTBB Wolf Der Feuerreiter 436
SSAATTBB Bendix Psalm 33 144
Bortniansky Glory to God in the Highest 154
Bruckner Ave Maria 213
Ecce sacerdos magnus 215
492

SSAATTBB Bruckner Os Justi 218
Cui Barcarole 233
Elgar Deep in My Soul 255
Glinka Heruvimskaya pesn’ 268
Grieg Ave maris stella 273
Mussorgsky Destruction of Sennacherib, The 331
Tchaikovsky Cherubic Hymn, The 408
SSAATTTBB Rimsky-Korsakov Procession of the Nobles 360

493

TABLE 5: WORKS FOR SATB WITH NO DIVISI
Voicing Composer Title Page #
SATB Alkan Halelouyoh 126
Arensky Anchar 130
Attwood I Was Glad 133

O Lord, Grant the King a Long Life 135
Balakirev Let All Mortal Flesh Keep Silence 137
Beethoven Elegischer Gesang 140

Hallelujah 142
Berlioz The Shepherd's Farewell 149
Bortniansky Let God Arise 156

Lord Make Me to Know My End 158
Brahms Beherzigung 162
Der Abend 164
Der englische Jäger 166
Geistliches Lied 170
How Lovely is Thy Dwelling Place 172
Im Herbst 175
Kleine Hochzeitskantate 177
Morgengesang 179
Nächtens 181
O Heiland reiss die Himmel auf 183
Rosmarin 186
Täublein weiss 193
Vergangen ist mir Glück und Heil 195
Vom heiligen Märtyrer Emmerano 202
Von edler Art 204
Wach auf! 206
Zum Schluss 208
Bruch Gebet 211
Bruckner Locus iste 217
Pange lingua et Tantum ergo 220
Tantum ergo 222
Virga Jesse floruit 224
Buck Festival Te Deum No. 7 226
Chausson Ave Maria 229
Delaney Dirge 236
Donizetti Ave Maria 238
Drechsler Haleluyaw Halelu Eyl 240
Dvořák Cradle Song 242

Napadly písně v duši mou 244
Dvořák, arr. Janáček Slavíkovský Polečko Malý 248
494

SATB Dvořák, arr. Janáček Zelenaj se, Zelenaj 250
Dvoretsky Svéte tíhiy 253
Fauré Cantique de Jean Racine 257
Franck Psalm 150 263
Foster, arr. Dvořák The Old Folks at Home 246
Glinka Come di gloria al nome 265

Great Litany 267
Gounod Sanctus 271
Grieg Hvad est du dog skjon 275
Haydn The Heavens are Telling the Glory of God 280
Hensel Abendlich Schon Rauscht Der Wald 283
Herzogenberg Wär's dunkel, ich läg' im Walde 286
Horner National Consecration Chant 288
Lewandowski Psalm 150 293
Liszt Pater noster III 296

Pater noster IV 298
MacDowell Brook, The 206
Slumber Song 208
MacFarren Orpheus and His Lute 310
Mackenzie Autumn 312
Makarov Angel vopiyáshe 314
Mendelssohn Die Nachtigall 316
How Lovely Are the Messengers 322
Psalm 100 324
There Shall a Star Come Out of Jacob 326
Meyerbeer Pater Noster 329
Nietzsche Hymne an das Leben 338
Nunes Garcia Laudate Dominum omnes gentes 341

Laudate pueri Dominum 343
Paine How Brightly Shines the Morning Star 346
Saint-Saëns Tollite hostias 368
Schubert Chor der Engel 370
Die Geselligkeit 371
Psalm 92 374
Zum Sanctus 376
Schumann Das Schifflein 380

Gute Nacht 382
Smetana Ich hoffe auf den Herrn 390
Jesu, meine Freude 392
Lobet den Herrn 393
Opening Chorus from Bartered Bride 395
Spiritual, ed. White Swing Low, Sweet Chariot 431
Stainer God So Loved the World 397
Starorussky Ot yúnosti moyeyá 402
495

SATB Tchaikovsky Dostóyno yest 410
Legenda 412
Otche nash 415
Turner President's Hymn 417
Verdi Ave Maria 419
Wolf Aufblick 434
Im stillen Friedhof 439
Resignation 441
SS(A)TB Alkan Etz chajjim hi 125

Marcia funebre sulfa morte d'un papagallo 128

Rossini Et inflammatus est 365

496

TABLE 6: DURATION
Duration Composer Title Page #
1:15 Brahms Beherzigung 162
Dvořák, arr. Janáček Slavíkovský Polečko Malý 248
Schubert Die Geselligkeit 371
Wolf Aufblick 434
1:30 Brahms Der englische Jäger 166
Kleine Hochzeitskantate 177
Wach auf! 206
Drechsler Haleluyaw Halelu Eyl 240
Lvov It Is Truly Fitting, No. 3 300
MacDowell Brook, The 206
Paine How Brightly Shines the Morning Star 346
Schumann Gute Nacht 382
Smetana Jesu, meine Freude 392
1:45 Alkan Halelouyoh 126
Brahms Morgengesang 179

Verlorene Jugend 197
Starorussky Ot yúnosti moyeyá 402
2:00 Alkan Etz chajjim hi 125
Brahms Nächtens 181

Rosmarin 186
Dvoretsky Svéte tíhiy 253
Fauré Tantum Ergo 261
Glinka Great Litany 267
Hensel Abendlich Schon Rauscht Der Wald 283
Liszt Pater noster IV 298
Lvov Standing Before the Cross 303
Makarov Angel vopiyáshe 314
Mendelssohn Die Nachtigall 316

Heilig 320
Rimsky-Korsakov Otche nash 358
Saint-Saëns Tollite hostias 368
Smetana Ich hoffe auf den Herrn 390
2:15 Dvořák Napadly písně v duši mou 244
Schumann Das Schifflein 380
Stenhammmar September 404
2:30 Brahms Vom heiligen Märtyrer Emmerano 202
Bruch Gebet 211
Bruckner Tantum ergo 222
Lewandowski Psalm 150 293
Lvov Of the Mystical Supper 302
497

2:30 MacDowell Slumber Song 208
Rheinberger Hymne 354
Silva Crux fideles 387
Smetana Lobet den Herrn 393
Tchaikovsky Dostóyno yest 410

Legenda 412
2:45 Brahms Zum Schluss 208

Dvořák Cradle Song 242
3:00 Berlioz Le ballet des ombres 147
Bishop Home, Sweet Home 152
Brahms Täublein weiss 193
Vineta 199
Von edler Art 204
Bruckner Ave Maria 213

Locus iste 217
Cherubini Petrus apostolus 231
Dvořák, arr. Janáček Zelenaj se, Zelenaj 250
Elgar Deep in My Soul 255
Grieg Ave maris stella 273
Horner National Consecration Chant 288
Liszt Pater noster III 296
Mendelssohn How Lovely Are the Messengers 322
Rheinberger Abendlied 352
Schubert Chor der Engel 370

Zum Sanctus 376
Schumann Zigeunerleben 384
Smetana Opening Chorus from Bartered Bride 395
Stanford Beati quorum via 399
3:15 Tchaikovsky Angel vopiyashe 406
3:30 Brahms Tafellied 190
Chausson Ave Maria 229
Cui Barcarole 233
Fauré Tantum Ergo 259
Herzogenberg Wär's dunkel, ich läg' im Walde 286
Meyerbeer Pater Noster 329
Stainer God So Loved the World 397
Turner President's Hymn 417
4:00 Beethoven Hallelujah 142
Berlioz The Shepherd's Farewell 149
Brahms Der Abend 164

Vergangen ist mir Glück und Heil 195
Bruckner Virga Jesse floruit 224
Mackenzie Autumn 312
Mendelssohn Ehre sei Gott 318
498

4:00 Schumann Beim Abschied zu singen 378
Smetana Heilig ist der Herr Zabaoth 389
Spiritual, ed. White Swing Low, Sweet Chariot 431
Tchaikovsky Otche nash 415
Verdi Chorus of the Hebrew Slaves 421
Wesley S.S. And the Ransomed of the Lord 426
Wolf Im stillen Friedhof 439

Resignation 441
4:30 Bruckner Pange lingua et Tantum ergo 220
4:30 Delaney Dirge 236
MacFarren Orpheus and His Lute 310
Mendelssohn Psalm 100 324
Rimsky-Korsakov Procession of the Nobles 360

We Praise Thee, O God 361
Verdi Ave Maria 419
Wesley S.S. Thou Judge of quick and dead 429
4:45 Rossini Et inflammatus est 365
5:00 Brahms Es ist das Heil uns kommen her 168
How Lovely is Thy Dwelling Place 172
Im Herbst 175
O Heiland reiss die Himmel auf 183
Bruckner Ecce sacerdos magnus 215

Os Justi 218
Donizetti Ave Maria 238
Franck Psalm 150 263
Glinka Heruvimskaya pesn’ 268
Grieg Hvad est du dog skjon 275
Haydn The Heavens are Telling the Glory of God 280
Janáček Hospodine pomiluj ny 290
Mendelssohn There Shall a Star Come Out of Jacob 326
Mussorgsky Jesus Nevin 334
Rheinberger Morgenlied 355
Schubert Psalm 92 374
Tchaikovsky Cherubic Hymn, The 408
5:15 Balakirev Let All Mortal Flesh Keep Silence 137

Brahms Geistliches Lied 170
5:30 Arensky Anchar 130
Bortniansky Glory to God in the Highest 154
Glinka Come di gloria al nome 265
Halévy Ave verum corpus 278
6:00 Beethoven Elegischer Gesang 140
Fauré Cantique de Jean Racine 257
Gounod Sanctus 271
Mussorgsky Destruction of Sennacherib, The 331
499

6:00 Nietzsche Hymne an das Leben 338
Wolf Der Feuerreiter 436
6:30 Bortniansky Let God Arise 156
Brahms Schaffe in mir 188
Parry At the round earth's imagined corners 348
7:00 Bendix Psalm 33 144
Foster, arr. Dvořák The Old Folks at Home 246
Parry I Was Glad 350
Wesley S. In exitu Israel 424
7:30 Attwood I Was Glad 133
Buck Festival Te Deum No. 7 226
Nunes Garcia Laudate Dominum omnes gentes 341
8:00 Nunes Garcia Laudate pueri Dominum 343
9:00 Alkan Marcia funebre sulfa morte d'un papagallo 128
Attwood O Lord, Grant the King a Long Life 135
Bortniansky Lord Make Me to Know My End 158

500

TABLE 7: OPENING DYNAMIC
Dynamic Composer Title Page #
ppp Stenhammmar September 404
pp Chausson Ave Maria 229
Dvořák Napadly písně v duši mou 244
Franck Psalm 150 263
Halévy Ave verum corpus 278
Herzogenberg Wär's dunkel, ich läg' im Walde 286
Janáček Hospodine pomiluj ny 290
Lvov Of the Mystical Supper 302
Meyerbeer Pater Noster 329
Rimsky-Korsakov Otche nash 358
Schubert Zum Sanctus 376
Tchaikovsky Angel vopiyashe 406
Cherubic Hymn, The 408
Wolf Der Feuerreiter 436
p Alkan Marcia funebre sulfa morte d'un papagallo 128
Arensky Anchar 130
Balakirev Let All Mortal Flesh Keep Silence 137
Bendix Psalm 33 144
Berlioz Le ballet des ombres 147
Bishop Home, Sweet Home 152
Brahms Der Abend 164
Geistliches Lied 170
How Lovely is Thy Dwelling Place 172
Im Herbst 175
Kleine Hochzeitskantate 177
Morgengesang 179
Nächtens 181
Rosmarin 186
Tafellied 190
Täublein weiss 193
Vergangen ist mir Glück und Heil 195
Von edler Art 204
Wach auf! 206
Bruch Gebet 211
Bruckner Ave Maria 213
Locus iste 217
Os Justi 218
Pange lingua et Tantum ergo 220
Tantum ergo 222
Virga Jesse floruit 224
501

p Cui Barcarole 233
Dvořák Cradle Song 242
Dvořák, arr. Janáček Zelenaj se, Zelenaj 250
Elgar Deep in My Soul 255
Fauré Cantique de Jean Racine 257
Tantum Ergo 259
Tantum Ergo 261
Foster, arr. Dvořák The Old Folks at Home 246
Glinka Heruvimskaya pesn’ 268
Grieg Ave maris stella 273
Hensel Abendlich Schon Rauscht Der Wald 283
Liszt Pater noster III 296

Pater noster IV 298
Lvov Standing Before the Cross 303
MacDowell Brook, The 206

Slumber Song 208
MacFarren Orpheus and His Lute 310
Mackenzie Autumn 312
Mendelssohn Die Nachtigall 316
Heilig 320
How Lovely Are the Messengers 322
There Shall a Star Come Out of Jacob 326
Mussorgsky Destruction of Sennacherib, The 331
Rheinberger Abendlied 352
Hymne 354
Morgenlied 355
Schubert Chor der Engel 370
Schubert Die Geselligkeit 371
Schumann Beim Abschied zu singen 378
Gute Nacht 382
Zigeunerleben 384
Stainer God So Loved the World 397
Stanford Beati quorum via 399
Tchaikovsky Dostóyno yest 410

Otche nash 415
Turner President's Hymn 417
Verdi Ave Maria 419

Chorus of the Hebrew Slaves 421

Asset Metadata

Creator Schultz, Andrew Frederick (author)

Core Title A companion guide to Nick Strimple’s Choral Music in the Nineteenth Century: a research and repertoire guide for nineteenth century small form choral works for mixed voices

Contributor Electronically uploaded by the author (provenance)

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Degree Conferral Date 2021-12

Publication Date 09/20/2021

Defense Date 08/31/2021

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Choral Music,choral music catalogue,choral music repertoire guide,choral repertoire,choral repertoire selection,concert programming,mixed voices,motets,Nick Strimple,nineteenth century choral music,oai:digitallibrary.usc.edu:usctheses,OAI-PMH Harvest,part-songs

Format application/pdf (imt)

Language English

Advisor Grases, Cristian (committee chair), Scheibe, Jo-Michael (committee chair), Strimple, Nick (committee chair)

Creator Email afschult@usc.edu,andrewfschultz@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC15919472

Unique identifier UC15919472

Legacy Identifier etd-SchultzAnd-10080

Document Type Dissertation

Format application/pdf (imt)

Rights Schultz, Andrew Frederick

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email uscdl@usc.edu

Abstract (if available)

Abstract Undergraduate courses in choral music education curriculums typically do not focus on repertoire selection and concert programming. Upon graduation, a student’s primary source of repertoire knowledge stems from music they have performed as a choral singer. Unfortunately, the majority of collegiate-level repertoire will be inaccessible for the student’s first high school or church choir. Thus, students need to find quality resources to bridge the gap in their knowledge. Nick Strimple’s Choral Music in the Nineteenth Century is a repertoire resource for choral conductors. Strimple's primary focus is to provide a narrative account of the historical context in which choral compositions, organized by geographical region, were written. Although Strimple’s text covers a wealth of choral repertoire, its formatting is limited in its use as a programming tool. This dissertation serves as a companion catalogue to Choral Music in the Nineteenth Century, with the objective of providing a functional tool for students and professionals alike in programming for concerts and worship services. The dissertation includes in two catalogues: 1) the composers and compositions discussed in Strimple’s text formatted with basic compositional details 2) 144 small-form compositions for mixed voices with each entry providing a structural overview of the composition, thematic and programmatic information, rehearsal insights and performance issues, and resources for further research. Additionally, the small forms catalogue is organized into tables for searching by key, voicing, text and the other criteria provided in the small forms catalogue. By creating companion catalogues to Nick Strimple’s Choral Music in the Nineteenth Century, this dissertation aims to provide a detailed and practical resource for students and conductors invested in quality programming for their choirs.