Unger M.P. Historical Dictionary of Choral Music

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voices (with more syllabic declamation). In many respects, his music

may be seen as a bridge between the styles of Josquin des Prez and

Giovanni Pierluigi da Palestrina.

Most of his 25 surviving masses are for five voices. Many of them

rework preexisting motets, chansons, or madrigals in evermore

inventive ways. Of the more than 100 surviving motets with secure

attribution, most are for four or five voices; a few are for three or six

voices. A dozen are for specific occasions, among them, motets on

secular texts. Also surviving are two motet-like Passions and a set-

ting of Lamentations. Additional sacred works include a Magnificat

and psalm settings published in collaboration with Adrian Willaert

and others. Toward the end of his life, he wrote hymns, utilizing a

simpler style evidently influenced by the principles of the Council

of Trent.

JACOPO DA BOLOGNA. See ITALIAN TRECENTO.

JANÁC

EK, LEOŠ (3 JULY 1854–12 AUGUST 1928). Czech com-

poser. He received his basic education in Old Brno, where he also

served as a chorister at the Augustinian monastery. Following in

his family’s vocational footsteps, he enrolled at the Brno Teach-

ers’ Training Institute (1869–74). In 1872, while still a student,

he became conductor of the monastery choir; the following year,

conductor of Svatopluk, a working-men’s choral society (for

which he wrote some of his earliest works). After completing his

required two-year period of unpaid teaching, he obtained a leave

to study at the Prague Organ School (1874–75). Returning to Brno

in 1875, he resumed his various teaching and conducting duties.

From 1876 until 1888 he conducted the Beseda choral society, a

male organization, which he soon turned into a mixed choir. By

adding additional singers from the monastery and Institute, he was

able to expand the choir’s numbers to more than 200, allowing him

to program large-scale works.

Janáček’s development as a composer was gradual. He studied

eastern Moravian and Slovak folk music, and began incorporating

folk elements in his works. He was also very interested in Russian

language and culture. Recognition as a composer began to come

slowly, as several choral societies started programming his choral

pieces. Acclaim came finally in 1916, with the successful Prague

performance of a revised version of his 1904 opera, Jenu

fa. A rapid

succession of operas followed.

222 • JACOPO DA BOLOGNA

Although he wrote a significant number of dramatically oriented

choral works, he was primarily interested in opera and, after the suc-

cess of Jenu

fa, he focused on that genre. His early works build on

the Romantic style of Antonín Dvorˇák. His mature compositions,

while still tonal, employ increased dissonance and a distinctive or-

chestration (involving unidiomatic writing, extreme registers, and

the inclusion of unusual instruments for local color), while avoiding

traditional counterpoint.

Janáček’s choral works include some nine compositions with or-

chestra, among them, three cantatas: Amarus, for S, T, Bar., SATBB,

and orch. (1897, rev. 1901); Na Soláni c

arták [The Čarták on Soláň],

for T, TTBB, and orch. (1911, rev. 1920); and Ve

né evangelium

[The Eternal Gospel], for S, T, SSATTBB, and orch. (1914); as well

as his masterpiece, Mša glagolskaja (Glagolitic Mass), for S, A, T, B,

SSAATTBB, orch., and org. (1927). More a celebration of Slavic

culture than an expression of religious sentiment, the unconventional

mass includes framing movements for orchestra, and a movement for

solo organ. Although he had little interest in institutional religion, he

also wrote some 15 liturgical works, many of them originating early

in his career. Also extant are some 45 secular choruses, many of them

for male chorus.

JANEQUIN, CLÉMENT (C. 1485–AFTER 1558). French composer,

remembered for his chansons. His early years were spent in the Bor-

deaux area, where he studied for the priesthood. In 1530s he moved to

Angers, where for several years he was music director at the cathedral.

He evidently composed a great deal during this decade, for he published

several volumes of chansons. In 1549 he moved to Paris, where he be-

came a student at the university and received appointments at the royal

court. His surviving works (almost invariably for four voices) include

more than 250 chansons (many of which are onomatopoeic), more than

100 French psalm settings and chansons spirituelles, and two chanson-

based masses. A volume of motets, published in 1533, is lost. Popular

examples of his descriptive chansons include La Guerre, La Chasse, Le

chant des Oiseaux, Les Cris de Paris, and Le Caquet des Femmes).

JAZZ CHOIR. A choir devoted to singing vocal jazz.

JOHNSON, HALL (12 MARCH 1888–30 APRIL 1970). African

American choral director, arranger, and composer. After graduating

with a music degree from the University of Pennsylvania in 1910, he

JOHNSON, HALL • 223

studied at the Juilliard School and the University of Southern Califor-

nia. In 1914 he moved to New York City, where he supported himself

as a violinist and violist. In 1923 he began playing viola in the Negro

String Quartet. In 1925, seeking to present African American music

more authentically, he formed a choir of eight singers (originally

called the Harlem Jubilee Singers). Renamed the Hall Johnson Choir,

the group soon drew critical acclaim. In 1930 the choir was hired for

the Broadway musical Green Pastures. In 1935, when moviemakers

decided to turn the musical into a film, the group traveled to Hol-

lywood, where they remained, appearing in many films during the

next decade, under Johnson’s leadership. In 1946 Johnson returned

to New York. In 1951 the choir represented the United States at the

International Festival of Fine Arts, held in West Berlin.

Throughout his career, Johnson worked to preserve and promote

the African American spiritual. He arranged many examples of the

genre, and composed some original works, among them, the folk

drama Run Little Chillun (1933), the cantata Son of Man (1946), and

the operetta Fi-Yer (1959).

JOHNSON, ROBERT (C. 1500–C. 1560). Scottish composer. He was a

Scottish priest, who apparently fled to England in the 1530s because of

an accusation of heresy. His surviving works include some 10 liturgical,

contrapuntal pieces for the Latin rite (for two, four, and five voices),

some of which are of considerable length; service music in homopho-

nic style (Te Deum, Jubilate, Benedictus, Creed, Magnificat, Nunc

Dimittis); and a half-dozen complete English pieces (mostly for four

voices), some of which evidently originated as Latin works.

JOHNSTON, BEN (15 MARCH 1926– ). American composer. From

1951 until his retirement in 1983, he taught at the University of Il-

linois. His works explore just intonation, proportions, serialism, and

especially microtonality. Despite this latter characteristic, however,

many of his pieces are tonal, and use traditional forms. Choral works

include Night, for Bar., female chorus, and ens. (1955); Prayer, for

SSA (1996); Ci-Gît Satie, for chorus, db., and drums (1967); Rose

(1971); a Mass, for SATB, 8 trbn., and perc. (1972); I’m Goin’ Away

(1973); Vigil, for 6 improvising vv. (1976); Sonnets of Desolation,

for double SATB (1980); Journeys, for A, chorus, and orch. (1986);

On Love, for chorus and orch. (1986); Mantram and Raga (1993);

and Secret (1994).

224 • JOHNSON, ROBERT

JOMMELLI, NICCOLÒ (10 SEPTEMBER 1714–25 AUGUST

1774). Italian composer. He received much of his training at con-

servatories in Naples, where he met Johann Hasse. By 1740 he had

established himself as an opera composer. Sometime between 1743

and 1745, he was appointed music director of the Ospedale degli

Incurabili in Venice, for whose young women he wrote sacred works.

In the following years he produced operas in various cities, among

them, Naples, Parma, Rome, and Paris.

In 1749 he was appointed maestro di cappella at St. Peter’s Ba-

silica in Rome, a position he took up the following year. In his new

role, he began to write more sacred works, while continuing to pursue

recognition as an opera composer. As his fame increased, he began

to receive international offers, among them, one to become music

director at the Stuttgart court, which he accepted. He took up his new

duties in January of 1754.

In Stuttgart Jommelli had wide-ranging artistic control over all as-

pects of his productions. He expanded the orchestra, making it one of

the finest in Europe. Although he was also responsible for the oversight

of both Protestant and Catholic church music, he was not in charge of

regular services, and he evidently composed few sacred works. Works

that date from this time include the Requiem in E-flat (1756), a Miser-

ere in G minor, a Te Deum (1763), and the Mass in D (1766).

By 1768 intrigues at the court caused him to begin negotiations with

the Portuguese court (a contract was signed the following year). Un-

fortunately, his enemies in Stuttgart succeeded in ousting him while

he was on a trip to Italy with his invalid wife. He spent most of his last

years in Naples, where he continued to work despite ill health.

Throughout his life, Jommelli composed prolifically. Among the

securely attributed choral works are 9 oratorios and sacred canta-

tas, 3 masses (including a requiem), individual mass movements, 6

canticles (including 3 Te Deum settings), two dozen psalm settings,

3 Lamentations, a set of 27 responses for Holy Week, and another

two dozen liturgical works. Many of his works call for soloists and

orchestra; the simplest settings have continuo accompaniment or an

accompaniment of continuo and strings.

JONES, KELSEY (17 JUNE 1922–10 OCTOBER 2004). Canadian

composer, harpsichordist, pianist, and teacher. He grew up in Maine,

then in 1939 moved to New Brunswick (Canada), where he studied

JONES, KELSEY • 225

at Mount Allison University (Sackville). Studies at the University

of Toronto followed. After teaching at Mount Allison, he received

an appointment at McGill University (Montreal), where he taught

counterpoint for three decades (1954–84), and cofounded the Ba-

roque Trio of Montreal (1955–73). His compositions are somewhat

conservative, while using dissonance for effect. Examples of his cho-

ral works include Jack and the Beanstalk, for nar., SATB, and orch.

(1954); Nursery Suite, for Tr., SATB, pf. 4 hands, and rhythm band

(1954); Nonsense Songs (1955); Songs of Time, for SATB and pf. 4

hands (1955); Songs of Experience (1958); Prophecy of Micah, for

SATB, winds, and perc. (1963); Kishamaquac Suite (1971); Hymn

to Bacchus, for SATB and pf. 4 hands (1972); and Da musica, con

amore, for SATB and brass qnt. (1977).

JOPLIN, SCOTT (1867/68–1 APRIL 1917). African American com-

poser. He is remembered for his piano rags (the most famous of which

is The Maple Leaf Rag) and the opera Treemonisha. Because he was

unable to get a publisher to accept the opera, he eventually published

it at his own expense. Nevertheless, a full production did not occur

until 1972 under Robert Shaw. Since then choirs have performed its

choruses.

JOSQUIN DES PREZ (BORN C. 1450–55; DIED 27 AUGUST

1521). The leading Franco-Flemish composer of his time. Many de-

tails of his life are uncertain. For this reason, and because his works

were widely imitated during his lifetime, it is often difficult to be

certain that works attributed to him are actually his. The problem is

compounded by the wide range of styles and techniques he employed

(evidently the result of a desire to continuously explore new ground),

which also makes it hard to establish a work chronology.

Josquin probably originated from the area of Saint Quentin (south

of Cambrai). In 1477 he was listed as a singer in the court chapel of

René of Anjou in Aix-en-Provence. After his employer’s death in

1480, he may have moved with the other chapel singers to the Sainte

Chapelle in Paris, in service to King Louis XI. The dissemination of

his works by this time suggests that his reputation as a composer was

already widespread.

By 1484 he was serving the Sforza family in Milan, where he prob-

ably met Franchinus Gaffurius. From 1489 to about 1495 he served

in the papal choir. There is speculation that he served the French king

226 • JOPLIN, SCOTT

at the end of the decade. In 1503 he traveled from France to Ferrara

to assume a highly paid position in the chapel choir at the Este court.

That summer the city experienced an outbreak of the plague, and it is

perhaps for this reason that he decided to leave already in 1504.

The esteem in which Josquin was held by this time is clear from

the fact that Jacob Obrecht, who was hired to replace him (and who

unfortunately succumbed to the plague in 1505), received only half

as much as his predecessor. Meanwhile, Josquin had been appointed

provost at the collegiate church of Notre Dame in Condé-sur-Escaut

(near the present-day Belgium border), where he remained for the

rest of his life (1504–21).

Widespread recognition of his genius is demonstrated by the fact

that Ottaviano Petrucci, the first music printer, opened each of his

first four motet collections (1502, 1503, 1504, 1505, respectively)

with a work by Josquin, and subsequently published three volumes

of masses by him. Thereafter, works attributed to him appeared in-

ternationally in many volumes, some of them dedicated to his works

alone. After his death, his influence continued to grow (reinforced by

many reprints of his works), and his music came to be regarded as the

supreme model of contrapuntal writing throughout the rest of the

16th century. Later Renaissance composers who paid homage to him

by choosing his works as models for their own include Antoine de

Févin, Jacquet of Mantua, Orlande de Lassus, Claudio Merulo,

Philippe de Monte, Cristóbal de Morales, Giovanni Pierluigi da

Palestrina, Cypriano de Rore, and Adrian Willaert. Of the theo-

retical treatises that cite his works, none had greater influence than

Heinrich Glarean’s Dodecachordon (1547).

Depending on one’s view regarding attribution, there are some 22

masses and another 10 mass sections extant, most of them for four

voices. Although not as progressive as the motets, in that they focus

more on structure than expressiveness, the masses were nevertheless

recognized in his day as masterful examples of the genre. Thus, for

instance, Petrucci started his series of mass publications with three

volumes devoted to examples by Josquin. Among them are cantus-

firmus masses (in which a borrowed melody placed in the tenor pro-

vides musical unity), paraphrase masses (in which a chant melody

provides the motivic material for all voices in an imitative texture),

and masses that approach parody technique (in which an entire poly-

phonic fabric is borrowed and reworked). In some works, elements

JOSQUIN DES PREZ • 227

from these different types are combined. In the Missa l’homme armé

super voces musicales, a secular cantus firmus rises by step from

movement to movement (C-D-E-F-G) but stays in the Dorian mode,

and mensuration canons are employed for added complexity. Two

masses use a technique that Gioseffo Zarlino later called “soggetto

cavato”: vowels from the title become scale degrees. Thus the Missa

Hercules dux Ferrarie (for Duke Ercole d’Este) is built on the sol-

mization syllables re, ut, re, ut, re, fa, mi, re, and Missa La sol fa re

mi derives most of its material from the five solmization syllables of

the title (which were perhaps a pun on the words “Laise faire moy”).

Paraphrase masses include the Missa Pange lingua, in which a Gre-

gorian hymn (chant) permeates the entire musical fabric. Evidently

a late work, it uses no rigid structural devices and is largely syllabic,

with homophonic tutti sections for important points (e.g., “Et in-

carnatus”). His Missa Malheur me bat borrows single voices from

a three-voice chanson for the various movements, in a manner that

approaches the parody technique of the later Renaissance. In Missa

Fortuna desperata, Josquin approximates parody technique even

more closely by incorporating brief sections of the original three-

voice fabric. Canonic construction is frequently found; see especially

Missa Ad fugam and Missa Sine nomine.

The motets show even more varied techniques and structures. Bal-

ancing inventiveness of construction with an (increasing) emphasis

on expressive text-setting, they ensured Josquin’s fame long after his

death. Of more than 100 surviving works, about two-thirds are for

four voices, the remainder for three, five, and six voices. Textures

are typically transparent, with pairs of duets alternating with tutti

sections. A few works still employ a tenor cantus firmus in long

notes. Despite difficulties of dating, Josquin’s stylistic development

can be traced: the later motets tend to be more syllabic (with motives

related more directly to the declamation and meaning of the text),

more thoroughly imitative, and more inventive in their harmonic

language (which often appears to be similarly related to the meaning

of the text). An evidently early work is Alma Redemptoris Mater/Ave

Regina Celorum, with its old-fashioned melismatic duets. Ave Maria

. . . virgo serena (which Petrucci chose to open his first volume of

motets) demonstrates a rich array of imitative schemes. Two settings

of Christ’s genealogy, Liber generationis and Factum est autem,

demonstrate Josquin’s ability to work with the most uninspiring of

228 • JOSQUIN DES PREZ

texts. The motet cycle Vultum tuum deprecabuntur (reminiscent of

those composed by Loyset Compère and Gaspar van Weerbeke)

provides alternatives to certain liturgical chants in the celebration of

the mass; it was probably written while Josquin was working for the

Sforza court.

Among the approximately 80 chansons, there are some 25 for three

voices, about 30 for four voices, and approximately one dozen each

for five and six voices. They exhibit an expressive power similar to

that of the motets, but were not as widely disseminated—the first ma-

jor publication devoted to Josquin’s chansons was Tylman Susato’s

Septiesme livre, published in 1545, nearly a quarter century after the

composer’s death. The fact that some of the sources are without texts

suggests that instrumental performance was common. Nevertheless,

Josquin almost always based his chansons on preexisting (mostly

secular) tunes, which he employed as a cantus firmus in imaginative

ways, often in strict imitation, most especially, in canonic counter-

point.

Josquin’s works were performed and imitated widely throughout

the rest of the 16th century. While they went out of vogue with the

advent of monody in the 17th century, and were eclipsed by the

posthumous reputation of Palestrina’s compositions in the 1700s and

1800s, they regained stature in the 20th century.

JOUBERT, JOHN (20 MARCH 1927– ). British composer of South

African birth. After studies at the South African College of Music

(Cape Town) and the Royal Academy of Music, he taught at Hull

University (1950–62) and the University of Birmingham (1962–86).

He received early recognition with two carols and an anthem that

won the 1952 Novello anthem competition, namely, Torches, op. 7a

(1951); There Is No Rose of Such Virtue, op. 14 (1954); and O Lorde,

the Maker of Al Thing, op. 7b (1952), respectively. These pieces soon

became staples in the Anglican repertory and led to many subsequent

commissions. Large-scale works include Urbs beata, op. 42, a can-

tata for T, Bar., SATB, and orch. (1963); The Raising of Lazarus, op.

67, an oratorio for Mez., T, SATB, and orch. (1971); and 3 choral

symphonies: The Choir Invisible, op. 54, for Bar., SATB, and orch.

(1968); Gong-Tormented Sea, op. 96, for Bar., SATB, and orch.

(1982); and For the Beauty of the Earth, op. 124, for S, Bar., SATB,

and orch. (1989). Among dozens of pieces for unaccompanied choir

JOUBERT, JOHN • 229

or with keyboard (most of them sacred) are Missa Beata Ioannis,

op. 37, for SATB and org. (1962); Communion Service, op. 46, for

SATB and org. (1962); Te Deum, op. 49, for SATB and org. (1965);

and two settings with organ of the Magnificat and Nunc Dimittis:

op. 57 (1969) and op. 103 (1985).

JUBILATE. Psalm 100 (99 in the Vulgate), identified by the first

word of the text in its Latin translation. In the Anglican liturgy, it has

served as a substitute for the Benedictus canticle in Morning Prayer

(Matins) since the 1552 version of the Book of Common Prayer.

JUBILEE SINGERS. See FISK JUBILEE SINGERS.

– K –

KABALEVSKY, DMITRI (17/30 DECEMBER 1904–14 FEBRU-

ARY 1987). Russian composer. He studied at the Scriabin Musical

Institute (1919–25) and at the Moscow Conservatory (1925–29),

where he later taught. Throughout his career, he worked as a loyal

member of Soviet society. He wrote patriotic music, and served as a

music critic in print and on radio, remaining steadfastly conservative

in his musical values. He was a key figure in the Union of Soviet

Composers, and he became a leader in the field of music educa-

tion for children, not only writing an important body of literature

for young performers, but also developing a program for music in

schools.

His choral works with orchestra include the cantata Rodina ve-

likaya [The Great Homeland], op. 35, for Mez., B, chorus, and orch.

(1942); Pesnya utra, vesnï i mira [The Song of Morning, Spring,

and Peace] op. 57, a cantata for children’s chorus and orch. (1958);

Lenintsï [Leninists], op. 63, a cantata for children’s chorus, youth

chorus, chorus, and orch. (1959); Rekviyem [Requiem], op. 72, for

Mez., Bar., children’s chorus, chorus, and orch. (1962); O rodnoy

zemlye [About Our Native Land] op. 82, a cantata for children’s cho-

rus and orch. (1965); and the oratorio Pis’mo v XXX vek [Letter to

the 30th Century], op. 93 (1972). Smaller-scale works include ones

for children’s chorus and piano.

KAGEL, MAURICIO (24 DECEMBER 1931– ). German composer,

filmmaker, and playwright of Argentine birth. Born into a Jewish fam-

230 • JUBILATE

ily with strong leftist leanings, he was largely self-taught as a com-

poser. In 1957 he moved to Cologne, where he established himself as

an imaginative modernist composer who brought unexpected (often

subversive/theatrical) dimensions to all types of musical performance.

Since 1961 he has performed extensively with his Cologne New

Music Ensemble, and appeared as a lecturer and teacher. In 1974 he

became professor of new music theater at the Cologne Conservatory.

Kagel’s choral works include Palimsestos (1950); Anagrama, for

S, A, Bar., B, speaking chorus, fl., cl., b. cl., 3 perc., cel., 2 pf., and

2 hp. (1958); Die Mutation, for 30 male/children’s vv. and pf./hpd.

(1971); Vom hören sagen, for 18 girls’ vv. and hmn./org. (1972);

1898, for children’s vv. and insts. (1972, rev. female chorus, 1996);

Gegenstimmen, for SATB and hpd. (1972); Vox humana?, a cantata

for solo loudspkr., SA, and orch. (1979); Mitternachtsstük, for spkr.,

S, A, T, chorus, and insts. (1986; film, 1987); Sankt-Bach-Passion,

for spkr., Mez., T, B, boys’ chorus, 2 SATB, and orch. (1985)—an

oratorio whose relatively traditional musical style is counterbal-

anced by Kagel’s parodistic libretto, in which Johann Sebastian

Bach is crucified; Intermezzo, for spkr., SATB, and insts. (1983);

Fragende Ode, for double chorus, brass, db. ens., and perc. (1989);

and Liturgien, for T, Bar., B, SATB, and orch. (1990).

KAMMERCHOR STUTTGART. A chamber choir resident in Stutt-

gart, Germany. Since its founding in 1968 by Frieder Bernius, it has

been recognized for high musical standards and stylistic flexibility,

winning many international awards. It has toured and recorded ex-

tensively.

KANTOR [CANTOR]. In Germany, as well as in some other Lu-

theran countries, the term signifies the director of music in a Lu-

theran church or church-related educational institution. The role may

include the teaching of subjects other than music.

KAPELLMEISTER. The music director of a German chapel (Kapelle).

In the 19th century, the term was used for a conductor of any en-

semble; it has since become a derogatory characterization. See also

MAESTRO DE CAPILLA; MAESTRO DI CAPPELLA; MAÎTRE DE

CHAPELLE.

KAY, ULYSSES (7 JANUARY 1917–20 MAY 1995). African Ameri-

can composer, conductor, and educator; nephew of jazz musician Joe

KAY, ULYSSES • 231