Choral Repertoire by Dennis Shrock

By Dennis Shrock

Choral Repertoire is the definitive and entire one-volume presentation of the canon of the Western choral culture. Designed for working towards conductors and administrators, scholars and academics of choral tune, beginner singers, students, and vocal fanatics, it truly is an account of the total choral output of the main major composers of this style all through historical past. geared up through period (Medieval, Renaissance, Baroque, Classical, Romantic, and Modern), Choral Repertoire covers basic features of every ancient period; developments and kinds exact to varied nations; biographical sketches of over 500 composers; and function annotations of greater than 5,000 person works. This ebook could be an important advisor to programming, a reference software for software notes and different learn, and, most significantly, a key source for conductors, teachers, students, and scholars of choral tune.

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However, instrumental participation during the Renaissance was common, especially during the latter half of the era. The serpent (a bassoon-like instrument) often played along with bass voices in masses and motets, and it also accompanied Gregorian chants (even following the singers when they processed). In addition, the organ was frequently used to support the a cappella textures of sacred genres. Most cathedrals, chapels, and courts had several organs for this purpose, often with an organ in each performance location.

Ockeghem’s three most famous masses are not based on preexisting material and are representative of the composer’s penchant for mathematical complexities. Missa prolationum (prolation or mensuration mass), so called because of its simultaneous use of all four of the prolations (time signatures) prescribed by Philippe de Vitry in his treatise Ars nova, consists of double canons that begin in unison and progress through all intervals until the octave; Missa cuiusvis toni (in whatever mode) is designed to be sung in any of the existing modes or key signatures; and Missa Mi-mi uses only a two-note interval as a head motif and unifying factor throughout the mass.

Memor esto verbi tui – Portio mea, Domine (Psalm 119:49–64) – SATB chorus – 5 minutes. Alma redemptoris mater / Ave regina celorum – SATB chorus – 6 minutes. 32 Choral Repertoire Inviolata, integra et casta es – SATTB chorus – 5:30 minutes. Vultum tuum deprecabuntur omnes divites plebes – SATB chorus – 18 minutes. Domine, ne in furore (Psalm 38) – SATB chorus – 5 minutes. Praeter rerum seriem – SSATBB chorus – 5 minutes. O Domine Jesu Christe – SATB chorus – 12 minutes. Victimae paschali laudes - Dic nobis, Maria – SATB chorus – 3 minutes.

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