Berlioz's Requiem is often thought of only as a work of gigantic propor­ tions, with impressive, even bom­ Tonal Unity in Berlioz's Requiem bastic effects that require a large number of performers and are by David Janower guaranteed to raise the audience out of their seats. The four brass choirs positioned at the corners of the stage, or at the corners of the hall, ring out the threat of Judgment Day A quick glance at the keys shows us involves, therefore, a series of step in a way that is truly memorable. a series of dominant-tonic relation­ and third relationships. (Example 1) And yet, to think of this work only in ships in the middle of the work: E to these terms is to ignore other a/A to diD to G. On either side are moments of quiet devotion and in­ G1.b <3 the groups of third relationships: '!;l . e CO> tense beauty, and to deny the crafts­ g#-E and bb-Db-A. The only break in ;;;? . EE::?~L-...)L-.J manship that unifies this complex this scheme is at the beginning, the I step step third step J work in a highly skilled way. A per­ step progression between g minor tertian formance of this work that focuses and a minor. But let us take a closer Example 1. only on the bombastic effects and look. the thrilling orchestration does a The first movement is in g minor, The change from the g minor ot great injustice (disservice?) to the the key of the work as a whole. The the first movement to the a aeolian work and to the composer. tonal area of secondary importance of the second is prepared by the Berlioz has written, in the Re­ is the relative major, B-flat major final progressions of the first move­ quiem, a carefully woven work with a (third relationship). Much of the for­ ment. A traditional dominant-tonic strong sense of formal design, mal design of this movement in­ ending (D-g) would not have helped motivic development, melodic volves the relationship of these two relate g minor to a aeolian, since cyclicness, and tonal relationships, keys. The next movement begins in the D major dominant chord is not a and with thoughtful consideration a aeolian. Although this does not chord common to both keys. In­ for the setting of every word. This ar­ appear to be closely connected to stead, Berlioz ends the Introit with a ticle will deal with only one of these, the preceding g minor, it is actually long step progression, first with the the way the tonal relationships are the beginning of a long stepwise mo­ Neapolitan chord resolving to the used througholJt the work, between tion. The Dies Irae is in three sec­ tonic (m. 195), and then with a and within movements, to effect a tions and in three different keys, a descending step progression in the unified, consistent whole. aeolian - bb aeolian - d aeolian. Final­ bass line (mm. 202-205). The mo­ Key Relationships ly the last modulation leads to the Eb tion back up by step to a aeolian is Between Movements major of the Tuba Mirum. Thus we simply a reversal of the prevailing have within the Dies Irae a rising stepwise movement. Two other There are three basic relation­ progression by step and third that small touches help keep g and a as ships between keys in this work: results ultimately in the motion close as possible: (1) the presence of stepwise motion, third relationship, from the opening g minor of the In­ the lowered seventh (f natural) in the and the traditional dominant-tonic. troit to the Eb major of the Tuba final choral cadence enhances the That these relationships are close, Mirum. G minor and Eb major are relationship between the keys more and that third relationship is impor­ closely related, by third relationship than an f# would have, and (2) the tant are neither surprising nor again. Thus the third relationship fact that the Dies Irae begins with a unusual findings in Berlioz. What is within the first movement (the key a monophonic line instead of a triad interesting is the progression of third above g minor is of secondary helps as well, since the a can simply relationships and the way Berlioz importance) is mirrored by the third be heard as part of the aforemen­ prepares the key changes; these pro­ relationship between movements tioned stepwise motion, and there is gressions from movement to move­ (the key a third below g minor). no e-natural, as there would be in a ment are summarized in the follow­ The harmonic motion to this point full triad, to jar us away from g ing table. minor. Movement Key Type of motion from The feeling from the end of the previous movement first movement up to the Tuba 1. Introit 9 Mirum, consequently, is one of a 2. Dies Irae a (aeolian) step progression long step progression. The lack of Tuba Mirum Eb dominant-tonic cadences to 3. Quid sum miser g# (aeolian) third establish the new keys in this pro­ 4. Rex tremendae E third gression (Le., there is no V-i at the 5. Quaerens me A dominant-tonic end of movement 1, and there are 6. Lacrymosa a (- A) modal shift modal v-i cadences in the Dies Irae) 7. Domine, Jesu Christe d (- D) dominant-tonic supports this stepwise motion; the 8. Hostias 1st chord: G; dominant-tonic key: bb third quick juxtaposition of these keys 9. Sanctus Db third 1st chord: A; third Janower is Director of Choral Music at 10. Agnus Dei the State University of New York at key: bb Albany. (- 9 - G) March 1986 Page 31 ta

...... r 1-t' • J' EDUCATIONAL LEADERSHIPI _____~-~-~ J' THE RECORDING ART ______..... ___ _ The Phil Mattson School is the first school to take seriously the training of The school's total training includes extensive hands-on experience in every aspiring singers with a curriculum and standards that are not "watered aspect of the production of recorded music. Students sing, produce, play, down," but are as comprehensive and demanding as the "real world" of the write, engineer, and sell the products of their creative work. The skills won professional vocal musician. in this synthesis of all these aspects of recording provide a marketable J' CURRICULUM - THE TOTAL MUSICIANI ______competence that is so multi-faceted as to be virtually unstoppable. Each student is trained to become a total and well-rounded musician, J' MUSICAL BALANCE ______equally at home as a composer-arranger, conductor, at the keyboard, in Mozart and The Manhattan Transfer, Poulenc and Puerling, Schubert and the studio, or as a group or solo singer-artist. Sinatra - students discover the oneness of all music through studies J' GREAT PERFORMANCESI ______which balance their artistic growth and competencies. The Phil Mattson School Chorale has earned the highest praise for its J' A LIBERAL EDUCATION ______artistic achievements. The school's vocal jazz ensembles are the ac­ A carefully chosen core curriculum covering practical skills such as knowledged world standard-setters in this aspect of the musical art. writing, personal time-management, goal setting, psychology, and logic as J' A FACULTY OF VOCAL PROFESSIONALSI_...... _____ well as studies in the history, thought, literature, and art of Western The faculty of The Phil Mattson School are vocal professionals Civilization is offered to provide a well-rounded liberal and aesthetic successful in the "real world" of professional vocal performance, writing, education for students. and studio work. As active performers, the faculty bring their expertise, experience, and enthusiasm to the classroom in a manner that is uniquely contemporary and authentic!

For a catalog and complete information on academic programs, write: The Phil MaUson School- Admissions, East 2723 Gordon, Spokane, WA 99207 (509) 487-3135 ~HE PHIL MATTSON SCHOOL Professional Education for the Singer-Musician Page 32 CHORAL JOURNAL without preparation suggests a This is much closer than the pro­ at the end of the Rex Tremendae. series of rising pitches-a stepwise gression D# (V/g#)-g#-E would have We now have begun the series of melody-rather than a series of been. dominant-tonic key changes with unrelated keys. the V-I connection between the Rex The E-f1at major of the Tuba Tremendae and the Quaerens Me. 1 Gl:!i.h_ I I 0 Mirum is followed by the g#aeolian ) 1""$ d q a I 0 This latter movement is in three sec­ of movement three. This relation­ Neap. [to E major] tions, partially defined by the alter­ ship is that of a V-i, spelled enhar­ nation of the tonic major and minor: monically. The arrival of g# is Example 3. A - a (m. 31) - A (m. 42). The modal prepared carefully by the final shifting continues throughout the cadence of the Tuba Mirum: instead At the end of the Rex Tremendae four sections of the following of a V-I cadence there is a "digres­ there is the first V-I final cadence in Lacrymosa, with the addition of the sion" to the flat subdominant, the work. (This is incredible! None of third relationship we encountered in preparing the minor tonic of move­ the earlier movements nor the movement one, from a minor tonic ment three. (Example 2) modal sections of the Dies lrae to its relative major: a - C (m. 42) - a l ended with a traditional dominant­ (m. 91) - A (m. 124). In fact, the for­ tonic.) Perhaps this is due to the fact mal organization of the Lacrymosa ..... -""" ..... that the next movement is to be in A is the same as that of the first move­ - major, resulting in a clear V-I from ment: the relative major involves a the E of the Rex Tremendae to the second thematic idea, and the return I 1 D ~!~ new A major, and thus no special of the minor tonic coincides with the treatment or preparation is needed return of the primary thematic I -e­ bVI P I;v I mE MUSIC MART __ ""...... t.Aij~W •• v~uii._~ .... Example 2. Sheet m~c specialists This may be analyzed as III-i-V (-i) in for more than three decades. the new key of g# minor (aeolian). The final cadence of the movement makes the connection absolutely smooth. It should be mentioned that To order choral music of all ab and g# are not to be considered publishers, call toll-free: different keys; the English horn is written in ab while the other parts are 1-800-545-6204 in g#. (inNM.265-7721) The relationship between move­ ments three and four is tertian, g# to E. Again, this relationship is 210 Yale SE/Box 4280 .• Albuquerque NM B7106 prepared by the final cadence of movement three. The surprising (and beautiful) Neapolitan chord, a modal surprise, makes the final pro­ gression, re-analyzed in the new key of E major, IV-iii (-I). (Example 3)

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March 1986 Page 33 material. makes use of third relationships that rival of the,b-flat minor triad in sec­ The A major ending of the are connected by dominant-tonic ond inversion (m. 10) the tonality is Lacrymosa leads smoothly to the d motion. clearly,b-flat minor. minor of the Offertory. The first The Hostias and the parallel The second part of the Hostias part, Domine, Jesu Christe, is tonal­ Agnus Dei are, tonally speaking, the begins with an E-flat major triad (m. ly based on third relationships; the most ambiguous of the work. The 22). Coming from b-flat minor, this opening d minor eventually moves opening progression of the Hostias is obviously not a clear dominant­ to its relative, F major (m. 60), which involves the following chord pro­ tonic relationship. Berlioz might

then moves to B-flat (m. 78) and gression: G (-e6) - F# (-F#7) - bb~. The have made this relationship occur back by third to d minor (m. 102). G major chord sounds, when it by shifting to the tonic major (B-flat This movement follows the lead of resolves at first, like a Neapolitan, major) as he had been doing, or by the preceding one and ends on the but when the F#7 arrives, the G simply using the B-flat root without tonic major. This prepares the chord sounds as if it had been a VI/b. the third of the chord (as he does change at the beginning of the next Our expectations of b minor are fru­ between the Agnus Dei and the movement, the G major chord of the strated, however; the F#7 resolves as return of the B-flat major section Hostias. Consequently, we have two a German sixth (respelled from movement one). Instead he movements whose inner structure "properly" Gb-Bb_Db_E). From the ar- gives us here a rest under a fermata to bridge the distance between b-flat minor and E-flat major. It is curious that after so much careful prepara­ tion of connective tissue between tonalities he chooses to make a rather sudden shift, allowing only time to soften the surprise. (Certain­ ly the E-flat major takes on a special, brighter-than-normal quali­ ty because of the lack of prepara­ tion, as well as because of the com­ Performing Arts at Oberlin • Summer 86 parative darkness of the preceding June I 5-August 9 key.) The parallel progression to the first half now occurs: Eb-D-D7. The D7 resolves as a misspelled German Oberlin Conservatory sixth, but not in the same way as had the earlier F#7' The resolution is to a D-flat major triad (m. 31), as if the of Music Institutes chord had been a German sixth on ebb (a parallel resolution to that of the earlier progression would have and Workshops resulted in an f#~ chord). Inter­ estingly, the D and D-flat chords are Vocal Enrichment Institute in inversion, so that the trombones July 6-)uly 12 have the same F-F# that they had in • unique opportunity for intensive study of technical and the first half. From this point, the practical aspects of performance for high-school. college, earlier progression in b-flat minor is and private students and teachers of singing repeated. -Richard Miller. Director The next movement is in D-flat major, a third away, and again the Performing Arts at Oberlin Summer 86 includes eight third relationship involves a minor Conservatory workshops; the Oberlin Theater Institute with a tonic and its relative (the only third professional repertory company of American theater artists and members of the Royal Shakespeare Company as actor­ teachers; and the Ohio Ballet. For information. contact the Oberlin Conservatory of Music. Oberlin MUSIC DIRECTOR. choral direc­ College. Oberlin. Ohio 44074, 216/77 5-8200. For the Baroque ting/organ performance (position may Performance Institute. telephone 216/775-8268. be divided). graded choral and bell choirs. 3 manual ·Cassavant organ. 2200 member church in university ci­ ty. Extensive experience required. Position to be filled by June 1. Send resume's to Music Search Committee. Westminster Presbyterian Church. 2110 Sheridan Blvd.. Lincoln. NE 68502

Page 34 THE CHORAL JOURNAL relationship we have seen unlike Cadences tonic. Movement one is a special that was from g#-E). Once again case: it has almost no real cadence, there is not a dominant-tonic As mentioned earlier, Berlioz but rather unwinds bit by bit, drop­ cadence at the end of the Hostias, tends not to use a conventional ping by degrees onto the tonic. The but instead a "digression" to the dominant-tonic cadence at the ends final motion of that movement is, in subdominant side, as we saw in the of movements. A quick look at a larger sense, that of a Neapolitan final moments of the Tuba Mirum. cadences reveals that plagal motion (A-flat major, m. 194) dropping to The dominant chord toward the end is consistently introduced into the tonic (return to the G pedal). The of the Hostias (m. 34) moves by cadences through the use of the sub­ last measures melodically come deceptive cadence to VI (m. 38), dominant, supertonic, and Neapoli­ down the chromatic scale: d-B-G, Bb­ then to iv (m. 39), and then to i (m. tan as the penultimate chords. Only G, A-G, N-G (and G-G). This is ex­ 40: F-Gb-eb-bb), and finally to the Db movements 4, 6, and 9 end with actly parallel to the harmonic of the Sanctus. This progression clear, unadorned dominant-tonic cadence at the very end of the entire could be analyzed in D-flat major as cadences. Movements 2, 5, 7, and 8 work, which moves also by IV-ii-vi-1. Interestingly, the F major end with clear plagal motion (7 ends chromatic descent, with chords over chord (V/bb) missing from the final IV-I-V-l); movement 3 ends with the the bass: cadence of the Hostias comes as the Neapolitan chord resolving to the second chord of the Sanctus! Berlioz G major: V-I IV-I iii-I ii-I E6(VI)-1 Neap-I (V-I) once again closely links the keys of Bass line: deB A Ab Ab G the movements by giving us an Measures: 185-6 187-8 189-90 191-2 193-4 195-6 197-8 unexpected, or at least non­ traditional, final cadence. r-_____ BROUDE BROTHERS LIMITED ~ The music of the Hostias returns in the Agnus Dei, expressed in triple 141 White Oaks Road/Williamstown, MA 01267 time. [t would not be possible within Spring 1986 New Issues this system of closely-related keys to move from D-flat major directly John Dowland: Away With These Self-Loving Lads. SATB, instru- to the G major that had begun the mental doubling ad lib. Eng. .55 Hostias, so Berlioz now adds to the Edward Elgar: Three Motets, Op. 2.1. Ave Verum Corpus; 2. Ave music of the Hostias an "introduc­ Maria; 3. Ave maris stella. S solo, SATB, organ. Lat-Eng. 1.10 tory" chord progression, designed Gabriel Faure: Messe Basse pour voix de femmes. S solo, SA, organ or to facilitate the ultimate tonal mo­ tion of a tritone, utilizing the chord harmonium. Lat-Eng. 1.15 relationships we have seen through­ Edmund Hooper: 0 Thou God Almighty. SATBB. Eng. .55 out this work: step, major/minor Josquin des Pres: Absalon, fili mi. TTBB. Lat-Eng. .85 shift, and third: Cipriano de Rore: Datemi pace. SATB. It-Eng. .85 George Smart: 0 Lead Me Forth. SA TB. Eng. .55 Key: A - Bb - a - C - a -D(V)- G Complimentary reference copies will be sent upon request. Measure: 1 3 5 7 9 11 13

The opening A major chord is related to the end of the Sanctus by third relationship once again, much preSDy(erian closer-especially after the great amount of tertian tonal movement chOO\ thus far-than would have been the OF CHR\ST\AN EOUCAT\ON tritone relationship from D-f1at to G. The b-f1at minor that is the true key of the Agnus Dei ultimately offers a graduate program in Church undergoes yet another of Berlioz's MusiC and Christian Education modal shifts and returns us to the ian B-f1at major material of the middle Fo' tho" with a bach,to,', d'9'" in m"ic tho p",bytot Schoot of movement one. We then return by ot Ch'''t"n Ednc"ion 0"," a dcat comP'''"'y Mao'" 01 "" third to g minor, the relative key. A pmg"m 10' tbO" ",king to combin, a mini,,,y io m"icn with a final modal shift ends the piece in G min""y 01 Ch,i,tia ,dncation in th' tocat cong"gatio . ThO o,,,ing' 01 t\l'IS tWO-year coursen include', Biblical Studies' Historlcal­n major. Th,otOg Sled'" _ThOOtY lOt Edncation tn R,ligio -roaet'tng wat S\<.ills. Groupicat Process' cnoral Literature and Perlormance • condncling _CbO"t Ananging-HymnotOgy -WOt,htP R,no - Choi'

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March 1986 Page 35 There can be no question as to the The emphasis on step progression This publication is relationship between these two and third relationships at the begin­ available in microform descending chromatic cadences, the ning and end is balanced by the from University final cadences of the outer series of dominant-tonic relation­ movements. We may note in addi­ ships in the middle. This tonal Microfilms tion that the piece begins exactly scheme is not immediately apparent International. opposite to this, with a chromatic to the ear, which in this work is nor­ ascent from G to d. It is not incorrect mally distracted by the monumental to state that the Requiem begins as musical moments, and yet it serves in Example 4 and ends as in Exam­ as a clear basis of this skillfully com­ ple 5 and that this is a formal outline posed composition.2 of some sort. This is certainly the guiding structure of the opening movement. To this writer's ear, the Notes final cadence of the work is an answer to the opening ascending lit should be mentioned that a case can be made for considering" f# aeolian to be the key line. of the Quaerens me, as Dr. Julius Herford believed. Certainly there is an existing duality o Please send information about these titles: GYJ] ,L _ between a and f# throughout the movement; :....,llf 0 0 0 0 =»~~ :: I'll not argue that point here. There can be no argument, however, about the relationship Example 4. Name ______between E major at the end of the Rex Tremendae and the implied A major tried at CompanyiInstitution G'Lb ..... the beginning of the Quaerens me. :.2I b ------""'-::Ol¥o bo 0-=.1) Q _ 21n the December 1979 issue of the Journal Address ______(Vol. XX, No.4) there was an article by this Example 5. author discussing editons of Berlioz's Re­ City ______quiem and offering a list of errata in the State Zip,______Thus, careful tonal relationships available piano-vocal scores. Since that time

Phone!.[ __L-- ______within movements and between the author has prepared an extensive list of corrections. Anyone desiring this list may Call toll-free 800-521-3044. In Michigan. movements-the latter prepared by Alaska and Hawaii call collect 313-761-4700. Or adjustments in final cadences-act communicate with David Janower, 27 mail inquiry to: University Microfilms International. Homestead Avenue, Albany, New York 300 North Zeeb Road. Ann Arbor. MI 48106. as a unifying factor in the ReqUiem. 12203.

CULTURAl OMNIBUS WORLD STAGE PERFORMANCES ONE WEEK MASTERWORK PROJECT FOR CHORUSES Accompanied by Professional Orchestras December - January 1986 - 1987 Perform Great Masterworks in one of the Following Locations: 1. Handel's MESSIAH in LONDON 2. Faure's REQUIEM in PARIS 3. Prokofiev'S ALEXANDER NEVSKY & Beethoven'S ODE TO JOY 4. Bach's MAGNIFICAT in MEXICO CITY 5. Choral Masterwork in JERUSALEM, SCHUOLA CANTORUM

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Page 36 THE CHORAL JOURNAL