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附錄一魯特與研究者往返之電子郵件研究者之提問一jan. 15, 2007 Dear

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附錄一魯特與研究者往返之電子郵件研究者之提問一jan. 15, 2007 Dear 附錄一 魯特與研究者往返之電子郵件 研究者之提問一 Jan. 15, 2007 Dear Mr. Rutter: I'm a graduate student major in Choral Conducting at the National Taiwan Normal University. I am a big fan of you and your works; therefore I take your master piece "Gloria" as my graduation master thesis. May I ask you two questions about you and your work which I could not find thru other sources? 1. Other than Sir David willcocks at Clare College, who else, from your own point of view, also gave you great influence on your music style? 2. Are you a religious person? Does religion play an important role in your works? Thank you for your time and look forward to receiving your reply. Sincerely yours Chen, Chu-Yang - 161 - 魯特之回覆一 Jan. 20, 2007 Dear Chu Yang, Thank you for your questions, which I will try to answer rather briefly: 1.Sir David Willcocks (who was Organist and Choir Director at King's College Cambridge, not Clare which was my college next door) was not really an influence on my musical style, more of a general inspiration as someone who took an interest in me and my work and who thought my compositions deserved to be published. He introduced me to my publisher, Oxford University Press. He did write beautifully for choir, and some of his choral textures did, I suppose, find his way into my writing (though not in the Gloria). I would point to other composers as the main influences on the Gloria: William Walton (who wrote festive, ceremonial music so well), Stravinsky (who I think was the model for the style of the second movement) and Poulenc (who maybe influenced the third movement opening with its short phrases and 3/4 - 4/4 alternation). And the outlines of Gregorian chant had a big influence on the Gloria – the melodic motif which is heard when the choir enters in the first movement is based on a chant, and the intervals of that chant are used to create the motivic material of most of the rest of the work. Motivic unity was very important to me at that time.At the time I wrote the Gloria (1974), I don't think I had absorbed all my influences and really learned to speak with my own voice. When I hear it now, I think it is too close in style to its models. In general, my influences are eclectic. I could give a list of composers who are important to me, but it would be a very long list. 2. I was baptised into the Christian church as a baby, and I grew up singing in church and school chapel choirs. At Cambridge, I sang in my college choir at Clare (which I later directed). So, I am very familiar and comfortable with Christian tradition, the liturgy and music of the Christian church, and I have been asked often to write church music, which I enjoy. I am inspired by religious faith, though I do not fully share it personally. For me, the important thing is to understand faith and the texts which I set to music, and I think I do have this understanding, and also respect. With best wishes, Sincerely, John Rutter - 162 - 研究者之提問二 Jan. 20, 2007 Dear Mr. Rutter: Thank you so much for your reply. I'm so overwhelmingly happy to receive this amazing letter. Through your letter, I once again experienced God's love as you are so kind and willingly to share with me your precious time and talent (I was told that it's impossible to get a reply form such a busy person like you). Your response is so helpful and encouraging to me and you are the first foreigner whom I have successfully communicated with (I've determined to study English harder). Above all, your faith touches me really. I still have some additional questions about Gloria. It would be very appreciated if you can give me more hints to find the way out.Thank you. 1. Does the Gregorian chant shown completely on the First movement or you just used a part of it? I can't find the one you used. Can you give me the name or score of the chant? (I've already figured some motives out on the Gloria without the chant.) 2. For motives, I designed some patterns. Do you agree with that? 3. The Third movement is not easy to practice.What's your suggestion? For example mm.52-87 4. Does the Voices of Mel Olson still exist? I can't find any information about this group.Is it a professional choir or a student choir? 5. Among the three versions of the Gloria, which one is your favorite?why? Thank You again for your time and kindness! Emmanuel Sincerely yours Chu Yang ps. There are five parts in my thesis.1.Introduction 2.Background of Gloria and Mass 3.An analysis of composing 4.Conducting and Rehearsal suggestions 5.Conclusion. - 163 - 魯特之回覆二 Jan. 23, 2007 Dear Chu Yang, Here are the best quick answers I can give you: 1. I have just used the first six notes of the Gloria chant found on P.26 of the Catholic Liber Usualis (from the Mass Cunctipotens Genitor Deus). I have not fitted the words the same way, however. But the intervals are the same, if you look at the first choral entry in my Gloria (figure 2, bars 41-46). 2. There is a pattern, at least in the first and second movements (the third movement is not so closely connected to the Gregorian chant). 3. Just work at it slowly. This section is maybe harder than the rest of the Gloria, but, if the singers are expert, it's no problem (my Cambridge Singers just read it at sight!). If they are not so expert, practise it slowly but rhythmically with them. 4. The Voices of Mel Olson no longer exists. Mel Olson was a church musician in Omaha, USA, active there in the 1960s and 70s. He founded a concert choir (about 80 adults, who were not professional singers but who wanted to sing music with some challenge) and that was The Voices of Mel Olson. In about 1980 he moved to California to a new church job, and his concert choir in Omaha therefore came to an end. In the 1990s he sadly died. 5. I don't have a preference. The reason I made the later version for orchestra without organ was for use in Carnegie Hall in New York, where there is no organ. I maybe prefer the middle movement in the orchestra version, it is more colourful than organ in the introductory section. Best wishes for your dissertation. - 164 - 附錄二 魯特其他的合唱作品 【器樂作品 Instrumental Works】 編 作品名稱 聲部編制 號 1 遙遠的地方 2.2(II+ca).2.2-4.2.3.1-timp-hp-str Distant Land 2 管絃樂組曲 2.2.2.2 - 4.3.3.1 - timp.perc - hp – str Partita for Orchestra 3 東方的三博士 2.2.2.2 -2.0.0.0 - perc.hp - str THREE KINGS OF ORIENT 4 來，來，以馬內利 2.2.2.2 - 22.3.3.1 - timp. Tub. bells –st O COME O COME EMMANUEL 5 奇想迴旋曲 Guitar Rondeau caprice 6 古式組曲 flute, harpsichord, and strings or flute and piano Suite Antique 7 三幅美國畫像 flute and clarinet Three American Miniatures 8 七的觸技曲 organ with pedals，include in A Second Easy Album for Organ Toccata in Seven 9 復活節主題變奏曲 organ duet based on the theme 'O Filii et Filiae' Variations on an Easter Theme 10 歡樂響叮噹！ 2tpt, hn, tbn, tuba Ding dong!merrily on high - 165 - 【器樂作品 Instrumental Works】續前頁 編 作品名稱 聲部編制 號 11 五首管絃樂默想曲 orchestral transcriptions of five choral works Five Orchestral 2.1.ca.2.0-2.0.0.0-hp-hpsch-str (see below for scoring of Meditaions individual movements) no.1 What Sweeter Music 2.1.2.0-2.0.0.0-hp-str no.2 Blow, blow, thou winter wind 2.1.ca.0.0-hp-hpsch-str no.3 Candlelight 2.1.2.0-2.0.0.0-hp-str no.4 Lord, make me an instrument of thy peace 1.1.1.0-1.0.0.0-hp.str no.5 The Lord bless you and keep you 2.1.1.0-1.0.0.0-str 12 上帝喜悅溫順者之前 Organ solo 奏曲 Include in the oxford Book of Christmas Prelude on‘God rest you merry, gentlemen’ 13 祝你聖誕快樂 Brass quintet with optiona percussion We wish you a merry Christmas 【無伴奏合唱作品 Choral Unaccompanied】 編 作品名稱 聲部編制 歌詞 號 1 張開我們的雙眼 An Anthem Lancelot Open thou mine eyes SATB unaccompanied Andrewes 2 阿們合唱曲 SSAATTBB unaccompanied Latin A Choral Amen 3 合唱幻想曲 SSAATTBB unaccompanied Psalm 81 A Choral Fanfare 4 主在我前方 SATB unaccompanied Sarum Primer God be in my head SSA unaccompanied - 166 - 【無伴奏合唱作品 Choral Unaccompanied】 續前頁 編 作品名稱 聲部編制 歌詞 號 5 光的創造者讚美詩 SATB Lancelot Hymn to the Creator of double choir unaccompanied Andrewes Light (1555-1626) and J. Franck (1618-77) 6 愛綿羊的牧羊人 SSATB unaccompanied (with S solo) Jane Leeson Loving shepherd of thy sheep 7 美好的花朵 SATB unaccompanied John Audelay There is a flower 8 三首聖誕頌歌 SA and SSA Christmas Three Carols Songs 9 甜美的夜晚，臨近了 SATB unaccompanied Shakespeare Draw on, sweet night 10 一對情人 (1) SATBarB unaccompanied Shakespeare It was a lover and his (2) SA (with divisions) and piano lass 11 我心中的真愛 SATB unaccompanied Sir Philip My true love hath my SSAA unaccompanied Sidney heart 12 兩首歌 SATB unaccompanied (with some divisi) Five Two songs SATB unaccompanied (with some divisi) Childhood Lyrics 13 來吧！愛神 unaccompanied double SATB choir English Come down, O Love translation of a divine 13th-century Latin text 【以鍵盤樂器伴奏的合唱作品 Choral With Keybroad】 編 作品名稱 聲部編制 歌詞 號 1 與聖靈一起唱歌 (1) SATB and organ Ifirst I will sing with the (2) 2-part voices and piano Corinthians 14 spirit - 167 - 【以鍵盤樂器伴奏的合唱作品 Choral With Keybroad】 續前頁 2 敬拜上主 SATB and keyboard John Rutter I will worship the Lord 3 讓我們進入和平 SATB and keyboard John Rutter Let us go in peace 4 看看世界 unison children's choir and/or mixed SATB John Rutter Look at the world choir and piano or organ 5 克麗兒的祝福 (1) unison or two-part voices with keyboard John Rutter A Clare Benediction (2) upper voices with keyboard (3) SATB unaccompanied or with keyboard 6 聖餐儀式 Congregation with optional SATB and organ ASB Rite Communion Service A/RC ICEL 7 蓋爾語的祝福 SATB and organ (with optional guitar) Adapted from A Gaelic Blessing Only in The New Church Anthem Book an old Gaelic rune 8 和平的上帝 SATB and organ 1662 Book of The peace of God SSA and organ Common Prayer 9 來吧！神聖聖靈 SATB and organ Pentecost or Veni Sancte Spiritus Golden Sequence 10 菲德勒人 No.
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