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Some Tho:Ughts on Antiphonal Singing

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Some Tho:Ughts on Antiphonal Singing SOME THO:UGHTS ON ANTIPHONAL SINGING placement of organs in two separate arms Decani choir (south side of the Cathe• LEONARD VAN CAMP of this cross caused the experimentation dral) and a Cantoris choir (north side of Prepared for the Fourth Annual High with alternating the sound of the two the Cathedral). Many works which we School Choral Clinic, Southern Illinois instruments (which had been done ear- think to be for four-part choir were in• University, Edwardsville Campus, ·by Dr. lier in other places). Further exploration stead intended to be sung by alternate Van Camp, Director of Choral Activities showed the feasibility of placing separate choirs, including for example (in the choirs across the nave from each other. writer's opinion) the oft-performed A marvelously colorful musical experi- With each succeeding generation of mas- "Lord, for Thy Tender Mercies' Sake" ence awaits the director and choir who ter composers the Venetian school of by Richard Farrant (c. 1530-1581) and undertake choral music which. incorpor-' polychoral singing developed to a higher Christopher Tye's (c. 1500-c. 1572) "O ates antiphonal singing. We must first and more colorful peak. The height of Come, Ye Servants of the Lord," both of of all answer the question: "What do you this development which began in earnest which take mi new meaning when per• mean, antiphonal singing?" The term at St. Mark's in 1527 with Adrian Wil- formed in this way. The Roman School, refers, in a general way, to music for laert (c. 1490-1562), and continued even especially Antonio Lotti (1667-1740) two choirs in which one choir imitates after the days of the famous composer, and Antonio Caldara ( 1670-1736), was or echoes the music of the other. The Claudio Monteverdi (1567-1643). His noted for Renaissance-like antiphonal term comes from the Greek antiphonia Jubilate Dea (done at S.I.U. Edwards- works, too. (counter-sound), which designated the ville in the summer of 1965) and In That monumental Baroque figure, J. S. interval of an octave. The early Chris- E~c!esiis ( done on . !~st year's cho;al Bach ( 1685-1750), made use of the heri• tian rites included the singing of sue- clinic here) both for eight parts and m- tage of antiphonal singing in the opening cessrve verses oFJ)Sfilmso yalternafing-·-stFuments-aFe-n:arvelE>~s--examples-of--chorus-of-the-S-r.-Matthew ·Pa;ssion;·Four choruses, like today's responsive read- colorful texture in music, and they have of his six motets also make use of the· ings in many Protestant churches. The' b.een co~npared to the. works of such Vene- double choir technique, as does his Can• practice. of alternating psalm verses by tI~n pamters as. ~ Tmtoretto, Veronese, tata No. 50. And his Brandenburg Con• priest and choir or cantor and choir is Giogione, and Titian. certos are a delightful instrumental use still prevalent in Catholic and ] ewish One of the composers who came to of 'the echo principal of which Baroque services. Since the early practice was to study with Gabrieli (whose uncle, Andrea composers were so fond. And Wolfgang have the first choir made up of men, and Gabrieli, c. 1520-1586 was also famed Mozart {1756-1791) wrote a composi• the second 'made up of women or boys, for· his polychoral works) was the Ger- tion for. double chorus, strings, and or• the octave difference in their voices man, Heinrich Schuetz (1585-1672). gan in 1776, the. year of our Declaration caused the Greek word to be attached to After absorbing the ideas and techniques of Independence; Nineteenth century com• this kind of singing. A sort of refrain of the master Gabrieli, as well as the posers were also fond of the echo prin• which was used to introduce the psalm Italian love for beautiful melodic lines cipal, particularly in opera, where mili• and which was used between verses grad- and sparkling rhythms Schuetz returned tary signals and hunting calls. were thus ually took on the name antiphon, which to Germany after Gabrieli's death in 1612. used. (HDM 225) The Requiem of both term is still used today. While it is said He returned in 1628 to update his know- Hector Berlioz (1803-1869) and Guisep• that St. Ignatius first introduced anti- ledge of Italian methods and especially to pe Verdi ( 1813-1901) contain sections phonal singing at Antioch, in the second learn the style of Monteverdi. Schuetz for brass groups stationed about the con• century after seeing a vision of angels brings to us music of two epochs, the cert" hall for special antiphonal effects in singing in that manner, -it is more prob- Renaissance and the Baroque. And, at portraying the sounding of the trumpet able that it began in the middle of the the same time, we find the blend of both on judgment day. Johannes Brahms fourth century. (Groves Dictionary I, German and Italian traits in his music. ( 1833-1897) paid tribute to the Baroque 169). His fondness for double choir writing period and showed his deep understand- But the simplicity of the singing of and his use of multiple choirs accornpan- ing of love for Bach when he composed psalms in unison gave way in time to. a ied by a variety of instruments are main- several motets and some festival anthems much more complicated type of singing ly attributable to his acquaintance with for double choir. You will hear one of in which two or more "separated choirs" the Venetian polychoral works which he these motets sung by my Concert Chor• ( cori speziati) were used. Examples of heard arid studied. ale from the Edwardsville Campus this 16 to 24 voice masses are not too rare, The dominating figure of the late Ren- afternoon along with other double choir and 'Thomas Tallis (c. 1505-1585) wrote aissance, Giovanni da Palestrina (c. 1557- works by Heinrich Schuetz and Knut a pie-Ce for forty voices! Eight separate 1612), was also affected by the Venetians Nystedt (written 1956). Felix Mendel• five-part choirs are involved in this work. and wrote many motets and a few masses ssohn (1809-1847) wrote for this type of But this is not the most colossal one - using the antiphonal style. Particularly choral. grouping as well, along with. Sir Orazio Benevoli (1605-1672) wrote a striking is his Stabat Meter which the John Stainer (1840-1901) and other Ro• mass in which 53 separate staves of mu- 19th century Richard Wagner (1813- mantic composers. sic are needed for the musical score. 1883) liked so mud: that .h.e edite~ and And d~wn to the present day, cornpos- An early composer, Josquin des Pres published a performmg edition of it. ers have explored the idea of two separ- ( c. 1450-1521) used an echo-like effect Many other composers were attracted ated choirs singing in imitation of one in his music by having the sopranos and to this fascinating style of composition, another ~ notably Healy Willan . ( 1880- altos sing a two-part phrase which was including Orlando di Lasso ( 1532-1594), . ) with his "An Apostrophe to the echoed exactly by the tenors and basses. whose famed "Echo Song" has delighted Heavenly Hosts," and ] ean Berger But it was the composers of Venice who many choral groups since it first ap- (1901- . ) with .his recent "How Love• were to more fully develop this simple peared in 1581. The Anglican church in ly are Thy Tabernacles" and Martin but powerful idea. The Cathedral of St. England (known as the Episcopal church Shaw's (1875-1958) "Sing We Merrily Marks in Venice was built in the shape here in America) made frequent use of Unto God Our Strength" further exern• of a Greek cross, not a Latin cross. The the antiphonal. devices too, employing a plifies this contemporary usage. Ralph 18 THE CHORAL. JOURNAL Vaughan William (1872-1958), Randall clinic by singing out-of-doors in· the instruments, ( 5) all voices singing Choir Thompson ( 1899- ) , and Daniel Pink• courtyard of the Peck Classroom Build• I with brass choir playing Choir II ham ( 1923c ) are some other present• ing, making use of the marvelous acous• parts, (6) woodwinds and brass only day composers who have demonstrated a tical properties of that setting. playing the motet as an instrumental similar interest in antiphonal singing. Some of the ways in which we might piece (perfectly possible, though not It is obvious that there is a wealth of use the Palestrina piece include: ( 1) strictly speaking, "authentic"), and (7) music for double choir or for multiple straight double choir; (2) everybody two choirs supported only by a continua choirs.' It is unfortunate that so little of sing all the time, but with great dynamic part (cello and keyboard instrument). this literature is performed by high contrast on the choir-two part;; ( 3) use While I have made some specific de• school singers today.. There are some an "inner" choir for choir two ; ( 4) use cisions as to what I think to be the most excellent advantages to be gained from a quartet for the inner choir. The Con• logical and colorful way in which we using this type of literature : ( 1) the temporary piece by Warren Martin can do this piece, I will eagerly seek opportunity to listen to the other choir (written 1951) can be sung (1) as a your opinions as to what "feels" right sing is a valuable listening and ·learning number for a single choir (everybody to your ears. I have suggested dynamic experience; (2) the spirit of friendly sing all the time) or (2) for double choir, markings which will help reveal the text "competition" between the two choirs can as written.
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