Amy Blosser, Editor
women’s chorus. His output includes a music teacher. Brahms studied piano WWomen'somen's ChoirsChoirs just over 100 pieces that were written and a variety of instruments, and it was Iris Levine, for women’s chorus or could be sung likely that his time playing popular mu- National R&S Chair by women’s chorus. Opus 37, titled Drei sic at private gatherings fi rst infl uenced
CHORAL JOURNAL Volume 53 Number 9 75 In addition to Göttinger, he often trav- and Clara exchanged letters. Eventually, I must fi rst write to you about my eled to and taught in his hometown of they returned the letters to the original delightful Hamburg Girls’ Choir. Oh, Hamburg.6 On one visit, he played organ author. Unfortunately, she destroyed my dear girls, where are you now! I for a wedding at which an ensemble of the letters she wrote to him before shall not even turn round when the 11 beautiful things I have written for women sang. Afterwards, Brahms was 1858, leaving the contents unknown. you are sung to me here. The whole asked by one of the women to compose His surviving correspondence with her forty of you will stand before me, pieces for a group of ladies to sing. Thus, indicates that he often kept her abreast and in spirit I shall see you and listen the Hamburg Frauenchor was born.7 of his musical endeavors. For example, to you. Believe me one of my fondest The group started small but expanded he would send her his compositions to memories is this choir of girls.14 to forty singers. review. In a letter dated September 18, Some of Brahms’s contemporaries 1859, Clara wrote to Brahms about the One of the choristers he showed thought he was not a great conductor. fi rst movements in Drei Geistliche Chöre: special attention to was Bertha Porubszy, Contradictory accusations were made later Bertha Faber, daughter of a Vien- stating that he was not friendly enough, The songs are charming and must nese pastor.15 Brahms was also interest- he did not point out the mistakes of his sound quite uncommon. How ed in her romantically, however, the most singers, and that he was too patient.8 beautifully the Adoramus fl ows, in signifi cant aspect of their relationship spite of its classical form. I at once However, Brahms had high expectations was her musical infl uence because she noticed how particularly tenderly the introduced him to Viennese folk music. for the Frauenchor. He created rules for end fi ts the words ‘Dein köstlich Blut,’ the women to follow that included fi nes before I had seen that you yourself He was already interested in folk music for tardiness or absences.9 His motto had called attention to these words. and this introduction kindled his excite- was “fi x oder nix,” which loosely means If only I could hear all these things!12 ment for the genre. Eventually their “up to the mark or nothing.”10 He held brief romance faded, but they remained to these standards even though he “Dein köstlich Blut” is translated to friends. Later he wrote Wiegenlied, also was not paid to conduct the Hamburg “your precious blood,” which is the last known as “Brahms’s Lullaby,” for Bertha’s Frauenchor. Although this was not the text sung in the fi rst movement, “O second son.16 only women’s chorus Brahms conduct- bone Jesu.” In addition to commentary It was Bertha who encouraged ed during his life, he held his tenure with on these two movements, Clara put Brahms to spend time in Vienna. She the Hamburg Frauenchor in high regard. together two concerts in which the invited him to start another women’s Frauenchor sang, one in January and one chorus there. He left the Detmold in November in 1861, the last year of chorus in 1859 and fi nished the last Work with Women: Brahms’s tenure with the Frauenchor.13 concert of the Hamburg Frauenchor in Clara Schumann She would have been familiar with much 1861, which allowed him the freedom to Prior to his time in Hamburg, Brahms of the music he wrote for women’s go to Vienna in 1862 to begin this new had met and worked with Robert chorus during this time. ensemble. While there, he continued to and Clara Schumann. In fact, Brahms compose, however, not as prolifi cally as met the Schumanns in 1853 and lived in Hamburg. During his time in Vienna, with them until Robert died in 1856. Work with Women: Other he penned the third and fi nal movement Brahms and Clara stayed connected, Infl uences or Musical Interactions of Drei Geistliche Chöre, “Regina coeli.” and during his time in Hamburg, he As evidenced by his relationship with Clara, Brahms was infl uenced and en- couraged by the women in his life. One General Overview of Works for example of this can be found in a letter Women’s Chorus he wrote to Clara in 1859. In this letter, Brahms wrote many of his works for he expressed his excitement about the HAMPDEN-SYDNEY COLLEGE women’s chorus during and his time Hamburg Frauenchor, describing a recent (Virginia) seeks choral director. with the Hamburg Frauenchor. Table 1 concert after which the singers had Tenure-track. is a listing of the music Brahms wrote given him an inscribed box as a gift of Details at apply.interfolio.com/22864 for women’s chorus and for individual appreciation. The letter also expressed female voices that could be sung by a affection for the Frauenchor: women’s chorus. He wrote Opus 12,
76 CHORAL JOURNAL Volume 54 Number 5 Table 1. Brahms’s Music for Female Voices
Brahms’s Music for Female Voices Opus Number
Ave Maria for four-voice women’s chorus and orchestra or organ Opus 12 Vier Gesänge für Frauenchor, 2 Hörner und Harfe [Four Songs for three-voice women’s chorus Opus 17 with 2 horns and harp] Drei Duette für Sopran und Alt mit Pianoforte [Three Duets for soprano and alto with piano] Opus 20 Der 13. Psalm [Psalm 13] for three-voice women’s chorus with organ or piano Opus 27 Drei Geistliche Chöre [Three Sacred Choruses] for unaccompanied four-voice women’s chorus Opus 37 Zwolf Lieder und Romanzen [Twelve Songs and Romances] for unaccompanied four-voice Opus 44 women’s chorus or with piano ad libitum Seven Lieder [Seven Songs] Opus 48 Movement One- Der Gang zum Liebchen [The Way to His Sweetheart] for three-voice women’s chorus Vier Duette für Sopran und Alt mit Pianoforte [Four Duets for soprano and alto with piano] Opus 61 Seven Lieder [Seven Songs] Opus 62 Movement Six- Es geht ein Wehen durch den Wald [I Hear a Sighing Through the Wood] for four-voice women’s chorus Fünf Duette für Sopran und Alt mit Pianoforte [Five Duets for soprano and alto with piano] Opus 66 Four Ballades and Romances Opus 75 Movement Two- Guter Rat [Good Advice] for two female voices Movement Four- Walpurgisnact [Walpurgis Night] for two female voices Fünf Romanzen und Gesänge [Five Romances and Songs] Opus 84 Movement One- Sommerbend [Summer evening] for two female voices Movement Two- Der Kranz [The Wreath] for two female voices Movement Three- In den Beeren [Among the Berries] for two female voices
13 Kanons für Frauenstimmen [Thirteen Canons for women’s voices] Opus 113 8 Deutsche Volkslieder [8 German Folksongs] for three-and-four-voice women’s chorus no opus number 16 Deutsche Volkslieder [16 German Folksongs] for three-and-four-voice women’s chorus no opus number 20 Deutsche Volkslieder [20 German Folksongs] for three-and-rour-voice women’s chorus no opus number Dein Herzlein Mild [The Little Heart Mild] for four-voice women’s chorus no opus number O wie sanft [O How Gently] for four-voice women’s chorus no opus number Wann? [When?] canon for soprano and alto no opus number Ellens Gesang II [Ellen’s Song] for three female voices, Brahms arrangement of a Schubert piece no opus number
CHORAL JOURNAL Volume 54 Number 5 77 “Ave Maria,” prior to his tenure with were well versed in musical notation and through their correspondence Brahms the Frauenchor, but most works were often had taken music lessons of some suggested they write music and send written with the Frauenchor in mind type before joining the ensembles. This it to each other for a critique. The fi rst and were not originally intended for allowed him freedom to compose and two movements of Drei Geistliche Chöre, publication.17 One of the reasons he program music with some degree of “O bone Jesu” and “Adoramus te,” could arranged and composed so many works diffi culty, including polyphony. His love have begun through this early exer- for women’s chorus was because there for early music had a direct impact on cise in writing canon.19 He composed were not many women’s pieces available some of his fi rst choral compositions many canons during this time period at the time. These works were among and works for the Frauenchor. Brahms (1856–1864) and many had written the fi rst written for a secular women’s also arranged, programmed, and con- explanations of the canonic imitation ensemble and, despite some of the texts ducted a sizable amount of early music in his works. He later removed these being sacred, they were not intended while leading the Frauenchor, including notations.20 as part of a worship service. He wrote works by Bach, Byrd, Hassler, Isaac, Lotti, The singers in the Frauenchor cop- fewer pieces for his ensemble in Vienna, Palestrina, and Gallus.18 ied their own parts into books (Stim- likely due to his full concert schedule menhefte). The Stimmenhefte, some of and time spent composing chamber, which are available today, were copied piano, and solo works. While working Opus 37: Beginnings of Drei between 1859 and 1861.21 They include with the women’s chorus in Vienna, Geistliche Chöre and Stimmenhefte both his own compositions and ar- Brahms often programmed works he Before and during his Hamburg ten- rangements of other composers. These had previously written and arranged. ure, Brahms corresponded often with manuscript parts predate the publica- The singers in his women’s ensembles his friend, violinist Joseph Joachim, and tion of Drei Geistliche Chöre.22 Brahms was a neat and orderly person, and this applied to his manuscript writing and to his expectations of the Stimmenhefte copied by each singer. Figure 1 shows an example of the Stimmenhefte. The third piece in the set, “Regina coeli,” was written in 1863 while Brahms was working with his Vienna women’s chorus; this movement is considered the last of his early works.24 “Regina coeli” is not included in the Stimmenhefte since it was written at a later point in time. Some Stimmenhefte are located in the Sophia Smith Collection at Smith College in Boston, Massachusetts. The main contributor of this collection was Brahms researcher Sophie Drinker. Through her research, she collected Stimmenhefte from a few families in Ger- many. One of the original singers of the Frauenchor was interested in publishing her Stimmenhefte and talking to Drinker about her experience with Brahms. Un- fortunately, not all the materials were sent to Drinker before World War II. After the war, Drinker received a let- ter stating the rest of the Stimmenhefte Figure 1. “O bone Jesu” and “Adoramus te” Stimmenhefte. Soprano 2.23 were destroyed. American troops had
78 CHORAL JOURNAL Volume 54 Number 5 come through the house and turned on both public and private, were not well- Brahms wrote about this performance, the water, fl ooding the cellar where the documented when they did occur. noting that the audience enjoyed the Stimmenhefte were held. The mess that Each of the three documented public concert so much, “Everything was sung was left over could not be salvaged.25 performances are associated with other twice.”30 musicians or institutions, including two concerts arranged by Clara Schumann.27 Opus 37: Drei Geistliche Chöre Brahms composed and arranged many Opus 37: Drei Geistliche Chöre Performances pieces for the Frauenchor’s public and Texts and Translations Not much is known about the public private performances. Drinker reports The texts for Drei Geistliche Chöre are performances of Drei Geistliche Chöre or that some members in the Frauenchor in Latin, despite the German title of the about performances of the Hamburg initially thought the fi rst two movements set. This makes Drei Geistliche Chöre one Frauenchor in general. The Hamburg would be diffi cult to sing.28 However, “O of only a small number of choral works Frauenchor did not often perform in pub- bone Jesu” and “Adoramus te” were Brahms composed in a language other lic,26 as public performances by women premiered in September of 185929 at a than German. The fi rst two pieces, “O in Brahms’s day could contribute to private performance. In a letter to Clara bone Jesu” and “Adoramus te,” contain questionable reputations. Performances, Schumann at the end of September, texts often used on Good Friday of Holy
CHORAL JOURNAL Volume 54 Number 5 79 Week. The third piece, “Regina coeli,” is a Marian text recited or sung dur- Table 2 Texts and Translations for Drei Geistliche Chöre ing Easter. Although he was born into a Lutheran family, Brahms was not a I. O bone Jesu, miserere nobis, O good Jesus, have mercy on us, religious man in the traditional sense. quia tu creasti nos, because You created us, However, he chose sacred texts for tu redemisti nos sanguine tuo You redeemed us with Your most precious blood. Drei Geistliche Chöre (Table 2). praetiosissimo.
II. Adoramus te, Christe, We adore You, Christ, Opus 37: et benedicimus tibi, and we bless You, Harmonic and Structural Analysis quia per sanctam crucem For by Your holy cross While the three choral pieces tuam redemisti mundum, You have redeemed the world, can be performed separately, they qui passus es pro nobis. who have suffered for us. were clearly meant to be a set. The Domine, miserere nobis. Lord, have mercy upon us. movements are related by key, com- positional techniques, and textual III. Regina coeli laetara, Queen of heaven rejoice, for whom you did merit to bear, similarity. Each movement is double quia quem meruisti portare He rose as He said. the length of the previous move- resurrexit sicut dixit. Ora pro nobis Deum. Pray for us to God. ment. Figure 2 is an overview of Drei Regina coeli, Queen of heaven, Geistliche Chöre, which was written gaude et laetara, virgo Maria, rejoice and be glad, Virgin Mary, for four unaccompanied treble voices, quia surrexit Dominus vero. because the Lord is risen indeed. SSAA. The third movement, “Regina Alleluja! Alleluia! coeli,” includes a duet for soprano and mezzo-soprano and a four-part women’s chorus. The fi rst piece of the set, “O bone Jesu,” is in F major. It is only 18 measures blood” of Jesus from measures 11 to A minor, the mediant of F major, which in length and is through-composed, the end. The music fi nally reaches a clear is the key of the previous movement. although there is a half cadence in mea- resolution on a major I chord at the end However, Brahms soon destabilizes the sure six, allowing a moment of respite of the piece (Figure 3). listener’s sense of tonality by shifting on the word “nobis.” The choir moves “Adoramus te,” the second of the key centers and changing the major and through suspensions and resolutions set, is centered in A minor. Brahms be- minor quality. “Adoramus te” does not as they sing about the “most precious gins the polyphonic “Adoramus te” in come to a clear cadence until measure 26, and it is a half cadence in A major. Here, as in “O bone Jesu,” the half cadence is on the word “nobis.” The only homophonic Figure 2. Drei Geistliche Chöre overview texture in the fi rst two pieces occurs when the text pleads, “O God, have mercy on us.” “O bone Jesu” “Adoramus te” “Regina coeli” The texture change indicates 18 measures 36 measures 72 measures the importance of these words (Figure 4). “Regina coeli” is the fi nal and longest of the three movements. Back in F major, the music begins F Major A minor F Major with a polyphonic duet between a soprano and mezzo-soprano
80 CHORAL JOURNAL Volume 54 Number 5 CHORAL JOURNAL Volume 54 Number 5 81 soloist (see Figure 5). The chorus sings refrains of “alleluja” through- out most of the third movement and the “alleluja” sets are centered in different keys. The duet leads the chorus through the majority of the piece by introducing new text after each “alleluja” set. In measure 49, the choir introduces new text for the fi rst time. The soloists rest during this section, but it is only 17 measures of the entirety of “Regina coeli.” In the fi nal “alleluja” set, secondary dominants shift the key center before coming back to F major. Unlike the previous pieces in the set, the last chord is sung with dynamic strength.
Rehearsing Opus 37 This is a moderately diffi cult set. However, if the singers are indepen- dent on their parts and have had even a small amount of experience with polyphony, Drei Geistliche Chöre is a good challenge. This set would not be appro- priate for a beginning women’s chorus, but could be sung by an advanced high school, adult, or a collegiate women’s ensemble. Setting up the chorus for success should begin during warm-ups. A few recommendations are as follows: sing in a round, create major and minor tonalities with an acute awareness of which voice part is singing the third, sing warm-ups with voice crossing, varying articulation, and tempo changes; and sing warm-ups with large interval leaps. Fig- ures 6 and 7 are examples of exercises that could be sung at the beginning of a rehearsal. The exercise in Figure 6 uses voice crossing and approaches unison from different pitches. The exercise in Figure 7 is based on “alleluia,” a word that is used often in “Regina coeli,” and focuses on intonation, vowel unifi cation, and changing tonality. This will transfer
82 CHORAL JOURNAL Volume 54 Number 5 easily to Drei Geistliche Chöre. “Adoramus te” is the second piece in Drei Geistliche Chöre but the best with which to introduce the set. The rehearsal should begin at measure 27. Here, the rhythm is simple and the intervals are not too diffi cult, as long as the choir is aware of ascending whole steps and the need to keep them high. Dy- beginning in measure 5 through the fi rst ning of “Adoramus te,” except for the namics can be introduced during sight- half of measure 23. Figure 8 shows the octave in which the parts are sung and reading and vowels quickly adjusted if beginning of this line. a few whole step/half step intervals. needed. After this section is learned, all The second alto and fi rst soprano All vocal parts are sung in canon until singers should sing the second alto line parts are almost identical at the begin- measure 22, with varying whole step/half
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CHORAL JOURNAL Volume 54 Number 5 83 step intervals that make the difference in tonality. The weaving of the vocal lines creates the forward motion of the piece in the fi rst 22 measures, so each chorus member should have a good idea when their line should be heard above the rest of the texture, as well as when the en- trances of other vocal parts take priority. Measures 23–26 can be taught beginning with the two alto parts, then adding the second soprano line, and fi - nally adding the rhythmically radical fi rst soprano line. In addition to having the only rhythmically different line, the fi rst sopranos will have to be diligent about the intonation of the A5 on beat one of measure 23. The ritardando is marked to fi rst of the set, “O bone Jesu.” Set in F duet voices have similar rhythm until begin halfway though measure 25, but major, it will be benefi cial to begin the measure 11, at which point the rhythm it is effective if begun earlier. After the process by internalizing F major through becomes intentionally varied to create moment of stillness in measure 26, the singing a scale. First sopranos and fi rst suspensions and resolutions between texture and expression change to fi nish altos should learn their lines together, the two lines. Count singing is also use- the piece with a prayer. while the other two voices should ful, as each voice line has a partner with The second piece to be taught is the partner together to learn their lines. The whom to count sing. In addition, it helps with cleanliness and intonation. From measure 11 to the end, it will be impos- sible for the conductor to show the dif- ferent crescendos and releases for each vocal part, so the conductor will need to focus on the overall shape of the last seven measures. A driving force in this Conducting Women’s Choirs piece is the push and pull, or forward S TRATEGIES FOR SUCCESS movement and relaxation, of the tempo Book and DVD the conductor chooses to employ. The Compiled and edited by Debra Spurgeon choir must watch this closely, which will CoC nducting Women’s Choirs: Strategies for Success is a keep them attentive to both tempo and ppioneering yet practical book and DVD devoted to all aspects intonation. oof the women’s choir—a groundbreaking contribution and “Regina coeli” is the fi nal piece to be a true collaborative effort from top professionals in the field. taught. In this movement, there are fi ve CChapter Authors: (ILARY !PFELSTADT s ,YNNE 'ACKLE s ,ORI “alleluja” sets. It is possible to use each ((ETZEL s -ARY (OPPER s )RIS ,EVINE s *EANETTE -AC#ALLUM s ..ANCY -ENK s *ANNA -ONTGOMERY s *OELLE .ORRIS s 3ANDRA 0ETER of these as sight-reading material at the 33ANDRA 3NOW s $EBRA 3PURGEON s 0HILLIP 3WAN s 3HELBIE 7AHL beginning of each choral rehearsal while Contributors: %LIZABETH !LEXANDER s %LIZABETH !RNOLD s #AROL "ARNETT s !BBIE "ETINIS s $ERRICK working on the fi rst two movements. "ROOKINS s $AVID "RUNNER s 0AUL #AREY s $REW #OLLINS s %LEANOR $ALEY s -ICHAEL %HRLICH s 3TEPHEN By the time the choir is ready to start (ATlELD s 2ON *EFFERS s 3HARON 0AUL s 2OSEPHANYE 0OWELL s +ATHLEEN 2ODDE s 2EBECCA 2OTTSOLK s rehearsing “Regina coeli,” much of the -ARK 3TAMPER s : 2ANDALL 3TROOPE s *OAN 3ZYMKO s 'WYNETH 7ALKER piece will already be familiar. Figure 9 is G-8367 Hardcover, 340 pages with DVD GIA Publications, Inc. an excerpt of the sight-reading based (800) GIA-1358 or (708) 496-3800 www.giamusic.com on “Regina coeli.” Solfege syllables are recommended.31 If the ensemble does not practice
84 CHORAL JOURNAL Volume 54 Number 5 in the interest of intonation to lis- the mezzo-soprano solo line in measure ten for the notes. Since the voices 38 is particularly tricky. cross in the music, the written score can look confusing, as well as being aurally distracting to their Considerations: “musical ears.” The conductor can Singer Awareness and Balance alleviate the problem through Each line is important and has mo- explanation and demonstration ments of prominence within the texture. of voice crossing. While this will be taught through the The progress of the choir rehearsal process, it is imperative for will inform the conductor of the choir to be aware of balance. For the appropriate time to add the example, in “Adoramus te,” each line Latin. Following Robert Shaw’s enters with the text “benedicimus tibi.” example, the majority of the initial Each one of these entrances should be rehearsals should be spent count heard above the rest of the choir. While singing or singing on neutral syl- the chorus may not need to analyze the lables. Once the music is familiar, piece’s complete structure, understand- sight-reading, then start at the begin- the Latin should be introduced. Given ing the structure will enhance their ning of “Regina coeli.” Each “alleluja” that Latin only has fi ve vowels, it is an musical experience and contribute to section, including the longer section excellent language to introduce poly- what is happening textually. This will from measure 67 through the end, phonic singing. Vowel unifi cation is of help the ensemble outline the structure should be learned fi rst. Once at mea- the utmost importance for intonation. for the audience through dynamics, sure 49, the conductor should separate Since some [i] vowels are in the upper texture, articulation, and tonal shifting. the sopranos and altos to initially sing register for the sopranos, this creates For example, the “alleluja” sections in and learn the “Gaude” section. Singing a great opportunity to address vowel “Regina coeli” function as punctuation this section on a staccato “doot” helps modifi cation. rather than the main event until the last with intonation and rhythmic precision. “alleluja” section. Only at this last “alle- Moving lines should be brought out of luja” section should the chorus “alleluja” the texture, including measure 50 for Considerations: become equal with the duet. the fi rst sopranos, measure 51 for the Voice Range second altos, measure 56 for the second Knowing the comfortable and healthy Considerations: sopranos, and measure 57 for the fi rst range of the ensemble’s highest and low- Performance Edition altos. This is a great example of inverted est singers will aid in deciding whether The Choral Public Domain Library’s canon if that is a concept to be taught or not to program the set. Sopranos (CPDL) edition by Robert Urmann to the singers. Intuition will add a slight should be able to sing healthily and eas- is excellent. The Urmann edition, the ritardando in measure 66, but too much ily while sustaining the F5/G5 tessitura. Stimmenhefte, and the complete works will create a diffi cult transition into the The altos must be able to sing healthily of Brahms32 all contain most of same last “alleluja” section. The soloists should below middle C, and their voices should musical markings (dynamics, expres- only be introduced once the ensemble be able to maneuver into their midrange sive marks, etc). The Urmann edition is familiar with individual lines and are without being too heavy or fl at in timbre contains only one additional marking able to sing it in their four-part texture. and pitch. If these factors can be met or accidentally excluded from the original Voice crossing occurs frequently in easily taught, Drei Geistliche Chöre or a manuscript. In the second soprano line this set since the fi rst two pieces of the piece from the set should be considered. of the third measure of “O bone Jesu,” set are polyphonic. The singers should As an additional consideration, “Regina Urmann adds a crescendo/diminuendo be instructed in this technique. The coeli” has two soloists. The mezzo-so- mark that is in the other three voices choir must be aware when moments of prano solo range extends into a low (Figure 10). Brahms was purposeful in unison or octaves occur. These moments register, making it imperative the key his markings,33 and as a result, the con- return consistently throughout and it is center does not shift downward. Also,
CHORAL JOURNAL Volume 54 Number 5 85 ductor and singers should pay very close quicker than those applied in modern on the tempo.39 Most importantly, the attention to dynamic, phrasing, and writ- performances.34 This could suggest that tempo chosen by a conductor should ten instructions in the Urmann edition. tempos a few decades before the turn refl ect the realistic abilities of the sing- Aside from the Urmann edition, of the century were also somewhat ers. Brahms’s tempos would have been CPDL has another performance edition quicker than today.35 There has been infl uenced by the group of musicians he available on their website. Carus-Verlag psychological and experimental re- conducted.40 has a performance edition and compact search that suggests composers would discs of Drei Geistliche Chöre available have desired faster tempos.36 However, for purchase. International Music Score church music in the nineteenth century Conclusions Library Project (IMSLP) also has a became slower.37 Either of these factors Brahms’s work with the Hamburg performance edition available on their could have an affect on the tempo that Frauenchor gave him the opportu- website. Both CPDL and IMSLP have the conductor chooses to take in Drei nity to experiment with compositional links to scanned copies of the original Geistliche Chöre. techniques including those in the Re- manuscript as well. The fi rst complete Brahms was not fond of metronomes naissance style. His tenure with the works of Brahms, published in 1926–27, and this is evidenced by his written Frauenchor produced a wealth of contains an edition as well. A new com- tempo markings rather than articulated women’s choral music. It is some of plete works of Brahms is currently being beats per minute. Even among his writ- the fi rst music written for a secular published, however Drei Geistliche Chöre ten tempos, there is one particularly women’s chorus. Drei Geistliche Chöre is not yet available. important distinction; a tempo marking is only a small portion of this collection written in all lowercase is a warning of music. It is an accessible set because and a capitalized tempo marking is Brahms wrote it for ensembles he was Considerations: a mandatory instruction.38 In a letter encouraging and building, the fi rst two Tempo to Clara Schumann, he expressed his movements for the Frauenchor and the Based on early recordings, tempos belief that tempo was fl uid and it may third movement for the Vienna women’s at the end of the nineteenth century of take time and experimentation before chorus. The amount of rehearsal time Brahms’s music tended to be a slightly a conductor can make a fi nal decision Drei Geistliche Chöre will need depends on the age, musical understanding, and skill level of the women’s chorus. If the ensemble does not have much experi- ence singing polyphony, this set will pro- vide them with an extra (but rewarding) challenge. Drei Geistliche Chöre could be a strong closer before an intermission, especially with the virtuosity of the so- UNIVERSITY loists and rhythmic energy of the third movement, “Regina coeli.” The perfor- MUSIC SERVICE mance editions of Drei Geistliche Chöre 0/ "OX s (ERSHEY 0! that are available are clear and true to 2OSS 7 %LLISON 0H$ /WNER AND -ANAGER the original manuscript. Hopefully these additional resources will serve as en- $ISCOUNT ON #HORAL -USIC couragement so that more conductors s 0ROMPT PROFESSIONAL SERVICE will program Brahms’s music for their women’s chorus. This is an opportunity s &RIENDLY KNOWLEDGEABLE STAFF for women’s ensembles to sing under- s 3PECIALISTS IN CHORAL MUSIC performed works written specifi cally for 0HONE &AX their voices that are musically challenging WWW5NIVERSITY-USICCOM E MAIL 3ALES 5NIVERSITY-USICCOM and historically interesting. “Serving the choral profession since 1979”
86 CHORAL JOURNAL Volume 54 Number 5 16 NOTES ---, 5. 28 Sophie Drinker, 20. 17 Victoria Meredith, “The Pivital Role 29 Virginia Hancock, Brahms’ Choral 1 Marika Kuzma, “Johannes Brahms Opus of Brahms and Schubert in the Compositions and his Library of Early 62: Sieben Lieder für gemischten Chor, Development of the Women’s Choir,” Music, 110. 30 Seven Unaccompanied Songs for Mixed Choral Journal 37, no. 7 (January 1997): 9. Berthold Litzmann, 111. 18 31 Chorus: A Detailed Exploration,” Choral Victoria Meredith, 11 Contact the author if you are interested in 19 Journal 53, no. 2 (September 2012): Hans Gal, 120. receiving the sight-reading based on the 20 8–16, no. 3 (October 2012): 8–25. Karl Geiringer and Irene Geiringer, Brahms, “Alleluja” sets of “Regina coeli.” 32 2 George S. Bozarth and Walter Frisch, His Life and Work, 3rd ed. (New York: Da George S. Bozarth, “Editing Brahms’s Music,” “Brahms, Johannes,” Grove Music Online, Capo Press, 1982), 292–95. vol. 2 of Brahms Studies, ed. David 21
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