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T¡'Lllì,.Ì L, I Public long trilogy Messis (Hawest).The -l Fl declamation through repetition that Sarah MacDonald. Sìng, My Soul, His that nonetheless retains a sense of work could nearly be classified as a five- hour son of two pianists, Langgaard began builds in intensity then settles down Wondrous Loøe, SÆÍB, org. (Selah, mystery. The charged chromaticism of voice setting. Lower voices, however, lrl Irt piano lessons at a young age, started into a comforting final cadence. 470 - 653, 2020), 8 pp., fi2.25. the preceding passage fades slowly as never divide, and advanced choirs of composing age 7, added violin and o o The short work is well within the MacDonald's hymn tune Nelson is the music returns to a somber D minor. even modest size would suffice for lnstrumentol ít organ lessons at age 10, and at age 13 ! reach of any ensemble able to sing the basis for this traditionally cast hymn Choir one picks the tune of Picardy performance. two songs and two piano unaccompanied and could be used at anthem. Unison voices sing verse one, back up as choir two slowly intones Music Reviews published z z Between 1908 and 1913, the Þ Þ the conclusion of almost any liturgy or the choir sings verses two and three to repeated alleluias in sustained half- Annabel Rooney. O Natø Lux de pieces. F F traveled each year to even concert performance. the same four-part harmonization with note chords. The anthem crescendos Lutnine, SATB, unacc. (Selah,405- young musician q o and meet the option of singing unaccompanied, one final time for a final, triumphant 320, 2020), B pp., fi2.25. Berlin to hear the orchestra + + o o Sarah MacDonald. Five Introits, and lower voices with optional conclusion of "AJleluia, Lord most This motet is the lone piece in the the conductors and musicians of the orchestra. age 19, his Symphony No. <n U) (Selah, verse choral fantasia makes a dozen releases that operates within the At (/) (/) SATB, unacc. 470-711, congregation sing the fourth high!" ïhis so 1 "Mountain Pastorals" was performed o o 2020),16 pp., $2.80. with soprano descant. The tune itself fair number of demands on the choir, ubiquitous pandiatonic style popular BRIAN P. HARLOW c) o performers and listeners. Unlike in concert by the Berlin Philharmonic These five pieces vary in length, is expansive, with wide leaps and broad requiring a proficient ensemble with with --lt --lt the organ piece Preludio harmonic language, complexity, and gestures. The harmonization for the enough voices to fill out the eight-part some of the more indulgent examples along with õ õ in this volume, and z mood. The longest, for the feast of inner verses contains some typical harmony. Its immediately engaging of the style, though, Rooney retains a Rued Langgaard. Orgøn Works 1907- patetico, published z Sphinx. Imagine o o dedication of a church, contains fully chromatic alterations for tonicizing manner promises to make it a popular harmonic activity and direction that 1947,The Rued Langgaard Edition the orchestral work ï I (2002 leading orchestra today devoting developed ideas and could be used as the mediant, and beyond that is fully choice for congregations and singers holds the attention and engages the Edition Wilhelm Hansen/ a entire concert to the works of a z Z a full-fledged anthem. Even those of diatonic. The music could be learned alike. listener's mind. Somewhat typical of Wise Music Group; distrib. Hal an C) C) old! = more modest length boast a rhetorical in a rehearsal or two by most choirs, the style, parts divide freely to create Leonard, WH33231), 787 pp., nineteen-year o= o (hardcover). Sadly, this concert was the climax completeness that belies the frequent and it does not require large forces Cecilia McDowall. Missø Bre,uis: sonorous washes of sound, and in $36.95 Z Z classical Langgaard's professional careeÍ. suggestion of an introit as a throw-away from either ensemble or accompanying Tongaes of Fìre, SAIB, org. (Selah, place of vertiginous alternations of Unfortunately, mâny of a few By the end of the First World War, C C is 470-9 62, 2020), 44 pp., ff 5.25. rubøto and ø tel/t4o, Rooney effectively musicians are only familiar with =U) (/)= musical moment. Parts divide from organ. This general use anthem air of Denmark's most famous composers Nielsen had risen up as a musical leader c) c) time to time in each piece, although an effective contrast to Ned Rorem's The largest work included in this employs beats of rest to allow the Buxtehude (7637- for Denmark, and Langgaard found t part ranges and individual lines are only familiar setting and to the t.:r:'e St. Bees packet is McDowall's mass setting to clear. On the whole the piece is not such as Dietrich Z Z he himself without an audience. His late (n <t) moderately difficult. Most of the texts as found in Tlte Hymnal 1982.It would originallyfrom 2000 and appearing here particularly challenging, especially for 1707) who was Danish, though in Romantic style, influenced by \Magner, -+ -+ are drawn from the Psalms, although serve well in various 'þreen" seasons in a revised form from 2013. As typical ensembles accustomed to singing in spent the latter part of his life Bruckner, and Strauss, and his interest the Introitfor Creationtide uses a brief of the year and be a handy back-up for a missa breais, the Credo is omitted; this style. It strikes an attractive balance Germany; composer and conductor the style and more Niels Gade (1817-1890); the great in lofty themes of religion and the o o passage from the Genesis creation for choirs to have in their library for however, McDowall includes a non- between white-note C C (1865- had been embraced by a on short movement entitled Lingua rigorously stnrctured idioms, widening symphonist Carl Nielsen cosmos, which narrative ("He made the stars also, and times when piece is required canonical m m and so many European composers prior to = God set them in the firmament of the notice. Ignis, a setting in Latin of Acß 2:2-4 its appeal to a maximum audience. 7937); and perhaps organist ¡\) N) (b.1,922) seen many as irrelevant. s heaven to give light upon earth.") in depicting he tongues offire resting on church musician Leif Thybo the war, were by s and modernist Per Nørgård (b.1932). Langgaard's music was backward z z a luminous, evocative set piece. As a Stephanie Martin. Let Áll Mortøl Flesh the heads of the apostles on the day c c picturesque set, these five short pieces paint broad KeE Silence, SATB:SAIB, unacc. of Pentecost. This movement ties the Even to those who have extensively looking, recalling the @ @ studied organ repertoire, the talented music of Otto Valdemar Malling =m m= strokes on a relatively small canvas. (Selah, 410-435, 2020), 7t pp., mass to a particular feast day, although 7 Langgaard (1893-7952) is a (1848-7975), whose compositions he (¡ fi2.85. excluding this section would do little Rued (, have played. The cultural Preces Responses, These atmospheric words from damage to the musical integrity of the little-known figure. The 1973 edition is known to Sarah MacDonald. tl -l --+ Corliss Arnoldb Organ Literature: climate was interested instead in a Set 2, SS, unacc. (Selah, 470-933, the Liturgy of St. James often call work. Conversely, this movement could of (I have return to the simplicity and directness 2020),7 pp.,fi2.50. forth impressionistic responses from be excerpted from the larger work for A Comprehensioe Suraey dont = = neo-classical style, Ð F responses are set two composers, and this setting is well use as a motet on the day of Pentecost. a newer edition to compare) mentions of folk music and ô ô These for T I as its him in passing, but does not name any leaving Langgaard to compose mainly equal voices, and MacDonald gives within this tradition. If an¡hing, The entire setting is full of fire, N) N) score of his compositions, not even the two- for himself. Half of his works were O o each voice opportunities to sing, and Martin's approach pushes this genre subtitle would suggest, and the N) N) not performed in his lifetime. As an O O even cadence, on top of the texture. into even more hazy vistas, creating an contains many daz,zling effects for struggled find MacDonald draws from a limited even more exalted vision. The opening both voices and organ. Characteristic organist, he also to employment, only becoming number of harmonic progressions, measures build a claustrophobic of McDowall's compositional voice, proper Ribe Cathedral age 46. yielding uniformity for the set and stacking of pitches as subsequent the highly chromatic, sophisticated organist at at .ìl -\ì not feel called to be reducing the need for rehearsal time. entries add to dense cluster chords. harmonic language creates its own lrri1,1t. Although he did - q an organ recitalist, he found occasions Even inexperienced treble choirs could Following a dozen measures of sonic spectrum. Singers must acclimate ' , \: - \ ;' ìt) l" to perform some of his organ works in adopt these versicles with only modest introduction, choir one begins the to her style before melodic lines can t¡'lllì,.ì l, I public. Despite his clear faith and his practice. The officiant intonations are familiar Picardy melody as choir tvvo feel natural and predictable. The ( ,ì'lli'll ,r and jealousy the typical formulae, and the tvvo-part continues the mysterious texture of the rhythmic organization is similarly eady success, bitterness of Nielsert's popularity came through harmony is built in stable, conventional opening.
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