Unger M.P. Historical Dictionary of Choral Music
Подождите немного. Документ загружается.
individual pieces are with piano or unaccompanied. They include
Seven Songs and a March, op. 89, for vv. and pf. (1941–42); and
Soldiers’ Marching Song, op. 121 (1950).
PROPER OF THE MASS. The specified texts of the Roman Catholic
Mass liturgy that vary according to the particular feast or season of
the year, in contrast to those comprising the Ordinary of the Mass.
PSALM. A lyrical poem or poetic prayer, one of 150 found in the Old
Testament book of Psalms. In Christian liturgies they are often sung
antiphonally. Verse paraphrases of these texts are called metrical
psalms. Confusion sometimes arises over their numbering. The Vul-
gate (the official Latin version of the Bible) follows the Septuagint
(the ancient Greek translation of the Jewish scriptures), while most
modern Bibles follow the Masoretic Text (the Hebrew text as revised
during the 6th to 10th centuries). A comparison of the two numbering
systems shows the following differences:
Vulgate Masoretic
Psalms 1–8 Psalms 1–8
Psalm 9 Psalms 9–10
Psalms 10–112 Psalms 11–113
Psalm 113 Psalms 114–115
Psalm 114 Psalm 116, vv. 1–9
Psalm 115 Psalm 116, vv. 10–19
Psalms 116–145 Psalms 117–146
Psalm 146 Psalm 147 vv. 1–11
Psalm 147 Psalm 147, vv. 12–29
Psalms 148–150 Psalms 148–150
PUCCINI, GIACOMO (22 DECEMBER 1858–29 NOVEMBER
1924). Italian composer, best remembered for his verismo operas. Of
his very few choral works the most significant is Messa a quattro, for
T, Bar., chorus, and orch. (1880), in which diverse textual passages
are set in dramatically contrasting ways.
PURCELL, HENRY (?10 SEPTEMBER 1659–21 NOVEMBER
1695). English composer. As a boy he served as a chorister in the
Chapel Royal, first under Henry Cooke, then under Pelham Hum-
frey. After the latter’s death he studied with John Blow. In 1679 he
362 • PROPER OF THE MASS
succeeded Blow as organist of Westminster Abbey—apparently the
elder musician resigned to create a vacancy for his young student.
In 1682 Purcell accepted a position as organist of the Chapel Royal,
while continuing to work at Westminster Abbey.
During his brief lifespan he wrote many songs, anthems, dramatic
works, odes, works for harpsichord and string or wind ensembles,
and catches. His writing is often vigorous, sometimes very chro-
matic, with frequent cross relations. Most of his sacred music was
written before the death of Charles II in 1685, after which the Chapel
Royal declined under James II as well as William and Mary.
Purcell’s sacred works include services (among them, a complete
morning and evening service, and several simple yet effective fu-
neral sentences), and some 65 anthems, most of which are of the
“verse” type, almost half of these accompanied by strings (suggest-
ing that they were written for the Chapel Royal). Among the more
famous of his anthems are I Was Glad (1685 full anthem) and My
Heart Is Inditing (1685 orchestral anthem), both written for corona-
tion services.
After 1690 Purcell concentrated on music for the theater, al-
though he continued to produce odes (most of them birthday
pieces for Queen Mary) and wrote a few sacred works, including
the famous Te Deum and Jubilate (for St. Cecilia’s Day, 1694).
He wrote over 50 works for the stage. The most famous of these
(though atypical in that it is sung throughout) is the masque, Dido
and Aeneas, composed for a girl’s boarding school about 1689.
Much of Purcell’s other dramatic music was written as introductory
or incidental music for plays. In his four semi-operas (The His-
tory of Dioclesian, King Arthur, The Fairy Queen, and The Indian
Queen) the music is more elaborate and often integral to the plot,
but the main characters usually still speak their lines. A chorus
from The Libertine, “In These Delightful Pleasant Groves,” has
remained in the choral repertoire.
Throughout his career Purcell wrote welcome songs and odes—in
all there are about two dozen, all orchestrally accompanied, the most
famous probably being Come, Ye Sons of Art, Away, for 4 solo vv.,
SATB, 2 rec., 2 ob., ?2 tpt., ?timp., str., and bc. (1694). Purcell also
wrote more than 40 sacred pieces for domestic use (scored for one to
four voices, most of them with continuo accompaniment) and more
than 50 catches (most for three voices).
PURCELL, HENRY • 363
– Q –
QUILTER, ROGER (1 NOVEMBER 1877–21 SEPTEMBER
1953). English composer, best known for his songs. His choral pieces
include mostly unaccompanied partsongs for various voice combi-
nations. Some are arrangements of his songs for solo voice.
QUODLIBET. A piece of music in which familiar tunes (and/or texts)
are quoted, either simultaneously or successively.
– R –
RACHMANINOFF, SERGEI (20 MARCH/1 APRIL 1873–28
MARCH 1943). Russian composer, pianist, and conductor. After
the Russian Revolution of 1905, he moved to Dresden. In 1910, after
a concert tour to the United States, he returned to his homeland, but
the Bolshevik Revolution of 1917 caused him to leave once again, at
which time he set up residences in Switzerland and the United States.
Best remembered for his piano concertos and symphonies, he was
the last great representative of Russian Romanticism—though with a
distinctive voice characterized by soaring lyricism, lush harmonies, dis-
tinctive orchestration, and expressive breadth. Choral works constitute
a relatively small part of his output. Most notable examples include Lit-
urgy of St. John Chrysostom, op. 31, for unaccompanied choir (1910);
The Bells, op. 35, a choral symphony for S, T, Bar., chorus, and orch.
(1913); and his most famous choral work, the All-Night Vigil, op. 37,
for unaccompanied choir (1915), a chant-based setting of the fixed por-
tions of the Orthodox evening service (Vespers, Matins, and Prime).
RADCLIFFE CHORAL SOCIETY. A female chorus at Harvard
University. It was founded in 1899 by the first president of Radcliffe
College, an institution for women affiliated with Harvard University
(which formally merged with Harvard in 1999). The choir tours each
year and collaborates frequently with the Harvard Glee Club and
other Harvard choirs for performances of major works.
RAMEAU, JEAN PHILIPPE (BAPTIZED 25 SEPTEMBER 1683;
DIED 12 SEPTEMBER 1764). French composer and theorist. As a
composer he is best remembered for his dramatic works. These were
364 • QUILTER, ROGER
written only after he was 50 years old, however. Rameau’s early
career was spent mainly as an organist in various provincial centers.
In 1722, when he settled permanently in Paris, it was to oversee the
publication of Traité de l’harmonie, a lengthy treatise exploring the
nature of harmony from the perspective of natural physical prin-
ciples.
From 1733 his efforts were devoted largely to producing a steady
of stream of dramatic works (which were the source of considerable
controversy), while continuing to publish more theoretical works. As
early as 1735 he came under the patronage of Le Riche de la Pou-
plinière, a rich financier and highly influential supporter of the arts.
Although the terms of his appointment are unclear, it seems that he
acted more or less as the director of music in Pouplinière’s house-
hold. The arrangement ended in 1753, when he fell out of favor with
his employer.
Despite Rameau’s early career as a church organist, he apparently
wrote very few choral works. Surviving works consist of four grands
motets (two of which are incomplete): Deus noster refugium (Psalm
46), for S, S, Ct., T, T, B, SSCtTB, fl., ob., 2 vn., va., b., and bn.
(c. 1714; vocal line of final récit missing); In convertendo Dominus
(Psalm 126), for S, Ct., Bar., B, SSCtTBar.B, 2 fl., 2 ob., bn., 2 vn.,
2 va., b., and bc. (survives only in extensive revision for Concert
Spirituel [1751], which employs Psalm 69:31 as the text for the fifth
movement); Laboravi clamans (Psalm 69:2), for S, A, Ct., T, B, and
bc., published in Traité de l’harmonie (1722; probably a fragment
from a lost grand motet that included the entire psalm: Salvum me
fac Deus); and Quam dilecta tabernacula (Psalm 84), for S, S, Ct., T,
Bar., B, SSCtTBar.B, 2 fl., bn., 2 vn., va., b. viol, and bc. (?1713–22).
The four works are characterized by self-contained movements,
elaborate arias and ensemble pieces, contrapuntal choruses, and
imaginative orchestral writing.
RAMINSH, IMANT (18 SEPTEMBER 1943– ). Canadian choral
composer of Latvian birth. His style is lyrical and tonal, with rich
harmonies (sometimes described as quasi-Impressionistic), full tex-
tures, expressive melodies that are frequently modally based, lilting
rhythms, and a sensitive handling of the text. Of more than 80 choral
pieces (many written for Canadian choral ensembles), most have
English texts. About two-thirds have piano accompaniment. Many
RAMINSH, IMANT • 365
are for treble chorus. Notable examples include Ave, Verum Corpus
(1972, arr. female chorus, pf., and org., 1992, male chorus, 1998,
chorus, and str., 2000); Magnificat no. 1, for Mez., chorus, and pf.
(1983, arr. with orch., 1990); Magnificat no. 2, for Mez. and chorus
(1985); I Will Sing unto the Lord (Psalm 104), for treble chorus,
mixed chorus, and pf. (1988, arr. with orch., 1998, arr. with str.,
2000); Missa brevis, for S, female chorus, and pf./orch. (1989, arr.
S, chorus, and orch., 1998), and Veni, Creator Spiritus, for chorus, 2
tpt., 2 trbn., b. trbn., timp., and org. (1993).
RAUTAVAARA, EINOJUHANI (9 OCTOBER 1928– ). Finnish
composer. Educated in both musicology (University of Delaware)
and composition (Sibelius Academy), he is a prolific composer who
has written in a wide variety of genres, demonstrating considerable
versatility in combining traditional, and modern international styles.
His music is often accessible, and frequently mystical in effect. He
himself authored or compiled most of his choral texts.
Examples of his many choral compositions include Missa duo-
decanonica (1963); Nattvarden [Communion] (1963); True and
False Unicorn, for 3 spkrs., chbr. chorus, ens., and tape (1971); Vi-
gilia, ehtoopalvelus [Vigil, Night Watch] (Orthodox liturgy), for solo
vv. and chorus (1971, concert version 1996);Vigilia, aamupalvelus
[Vigil, Morning Watch] (Orthodox liturgy), for solo vv. and mixed
chorus (1972, concert version 1996); Magnificat, for solo vv. and
mixed chorus (1979); Marjatan jouluvirsi (1995; taken from his
1975 stage work Marjatta matala neiti, which is based on the Finn-
ish national epic, the Kalevala); and Elämän kirja [A Book of Life],
11 songs (with texts in five languages) for solo vv. and male chorus
(1972).
RAVEL, MAURICE (7 MARCH 1875–28 DECEMBER 1937).
French composer. He studied with Gabriel Fauré at the Paris Conser-
vatoire, where his fifth unsuccessful attempt to win the Prix de Rome
for composition caused a scandal that forced the resignation of the
director, Théodore Dubois, who was then replaced by Fauré. Ravel’s
nonconformist style is characterized by refinement, economy, preci-
sion, clarity, and objectivity. In his early career he had a close friend-
ship with Igor Stravinsky, which cooled later on, however. He shared
an Impressionistic musical language with Claude Debussy (extended
chords are integral and modal melodies are common), but steadfastly
366 • RAUTAVAARA, EINOJUHANI
maintained his individuality. He had wide-ranging interests—he was
fascinated with exotic music as well as with music of the past, while
remaining open to modern influences such as jazz and bitonality. He
often employed dance-inflected rhythms and he was an imaginative
orchestrator. Of his mere half-dozen choral works, the most often
performed are the Trois chansons for unaccompanied mixed chorus
(1915), which were perhaps inspired by French chansons of the Re-
naissance.
RECITATIVE. A vocal passage or movement (normally for a single
solo voice) in a work of operatic style, in which the text is declaimed
in a manner approximating the inflection of natural speech. Its
rhythm, in contrast to that of the aria, is metrically irregular, and its
text is set syllabically. It usually carries the dramatic action forward
by means of narration or direct speech. During the 17th and 18th cen-
turies, recitatives could be for voice and continuo alone (recitativo
semplice or, by the later 18th century, recitativo secco) or for voice
with accompanying instruments (recitativo accompagnato). Choral
recitative is found in the music of Andrea and Giovanni Gabrieli,
Claudio Monteverdi, and Heinrich Schütz, among others.
RED ARMY CHORUS (A. V. ALEXANDROV RUSSIAN ARMY
TWICE RED-BANNERED ACADEMIC SONG AND DANCE
ENSEMBLE). A Russian performing ensemble (formed in the
late 1920s), which serves as the official choir of the Russian armed
forces. It consists of a male chorus, orchestra, and dance ensemble.
Its repertoire ranges from Russian folk tunes to church music, oper-
atic arias, and popular music. After the USSR disintegrated in 1991,
the ensemble continued to perform, acting as cultural ambassadors
for Russia.
REGER, MAX (19 MARCH 1873–11 MAY 1916). German com-
poser, pianist, organist, conductor, and teacher. One of the last Ger-
man romanticists, he composed prolifically despite a relatively short
life marked by considerable personal and professional turbulence.
From 1901 he lived in Munich, where he taught at the Akademie der
Tonkunst (from 1904). From 1907 until 1911 he served as director
of music at the University of Leipzig. From 1911 to 1914 he was
conductor of the Meiningen Orchestra. He was strongly influenced
by the music of Johann Sebastian Bach, Ludwig van Beethoven,
REGER, MAX • 367
and Johannes Brahms, whose formal procedures he emulated while
employing a highly chromatic language that pushed tonality to its
limits—evidently an influence of Richard Wagner. His emphasis on
absolute music and, in particular, his penchant for complex counter-
point brought considerable criticism, especially from supporters of
the “New German School” of Franz Liszt and his circle. Although
Catholic, he was greatly preoccupied with the Lutheran chorale—
especially in his many organ works.
Reger composed over two dozen choral works (comprising more
than 100 individual pieces). Among them are four chorale cantatas
(1903–5); Weihegesang, for A, chorus, and wind orch. (1908); Psalm
100, op. 106, for chorus, orch., and org. (1909); Die Nonnen, op. 112,
for chorus and orch. (1909); Die Weihe der Nacht, op. 119, for A,
male vv., and orch. (1911); Acht geistliche Gesänge, op. 138, for 4–8
vv. (1914); Zwei Gesänge, op. 144, for solo vv., chorus, and orch.
(1915); and many other sacred pieces.
REGNART, JACOB (BORN C. 1540–1545; DIED 16 OCTOBER
1599). Franco-Flemish composer, active in Austria and Bohemia.
He spent most of his career serving the emperors Maximilian II
and Rudolf II. From 1582 he worked for Archduke Ferdinand in
Innsbruck (first as vice Kapellmeister, then as Kapellmeister).
After Ferdinand died in 1596, he returned to the imperial court in
Prague, where he served as vice Kapellmeister under Philippe de
Monte.
A prolific composer, Regnart was especially admired for his
Teutsche Lieder for three voices. These initially appeared in three
volumes (1574, 1577, 1579). Written in the style of the villanella,
they proved highly popular, and were reprinted several times in vari-
ous editions. Some were also used in arrangements by other compos-
ers. His other secular publications include a volume of madrigal-like
German pieces for five voices (1580), and two volumes of Italian
canzone (1574, 1581)—essentially also madrigals, which later ap-
peared in German translation.
Though less popular, Regnart’s sacred works constitute an even
larger body of works. Surviving publications include at least seven
volumes of motets and masses, ranging in their scoring from four
to 12 voices. Left in manuscript are some 20 masses, a St. Matthew
Passion, some 100 hymns, additional motets, and 2 odes.
368 • REGNART, JACOB
REQUIEM. Traditionally, a setting of the Roman Catholic mass for
the dead [Lat. Missa pro defunctis], which includes not only texts
from the Ordinary of the Mass but also some from the Proper of
the Mass, because they too remained constant from the Council of
Trent (1545–63) to the Second Vatican Council (1962–65). The name
derives from the first text sung (Introit) in the Tridentine version:
“Requiem aeternam dona eis, Domine” (“Eternal rest grant to them,
O Lord”). A requiem mass follows the general outline of the normal
mass liturgy, but with the Gloria and Credo omitted, the “Dies irae”
(“Day of Wrath”) added, and the Agnus Dei altered.
Requiem masses may be performed on the day of someone’s
burial, later memorial services, and on All Souls Day (November 2),
which commemorates all faithful departed. The texts for the Requiem
mass include:
Introit: “Requiem aeternam”
Kyrie
Gradual: “Requiem aeternam”
Tract: “Absolve, Domine”
Sequence: “Dies irae, dies illa” (The subsequent text may be divided
into several subsections: “Tuba mirum,” “Liber scriptus,” “Quid
sum miser,” “Rex tremendae,” “Recordare,” “Ingemisco,” “Con-
futatis,” “Lacrimosa.”)
Offertory: “Domine Jesu Christe”
Sanctus-Benedictus
Agnus Dei (altered)
Communion: “Lux aeterna luceat eis”
On solemn occasions, additional texts are sometimes added at the
conclusion of the mass: “Libera me” (a responsory from the Absolu-
tion) and “In paradisum” (an antiphon for accompanying the body as
it is taken from the church).
The first surviving polyphonic Requiem is by Jean de Ockeghem
(after 1450), suggesting that composers were slow to set the Requiem
text polyphonically. Subsequent Renaissance composers treated the
text in a conservative manner, favoring cantus firmus and chant
paraphrase techniques over parody construction with its associated
imitative textures. Individual works vary considerably with respect to
the texts chosen for polyphonic treatment.
REQUIEM • 369
Many Catholic composers wrote Requiem settings; during the
Renaissance these included Jean Richafort, Pedro Escobar, Pierre
de la Rue [La Rue], Cristóbal de Morales, Giovanni Pierluigi da
Palestrina, Orlande de Lassus, and Tomás Luis de Victoria.
After 1600 some composers continued employing the stile antico,
among them, Eustache du Caurroy and Giovanni Francesco An-
erio. More modern procedures were used by Heinrich Biber and
Johann Kerll. Requiems dating from the 18th century include those
by Niccolò Jommelli (1756), François-Joseph Gossec (1760), Jo-
hann Hasse (1763), Michael Haydn (1771), Wolfgang Amadeus
Mozart (uncompleted at his death in 1791, finished later by Franz
Süssmayr), and Luigi Cherubini (1816, 1836). Of these, Mozart’s
setting has gained the greatest renown, despite its fragmentary status.
Hector Berlioz’s monumental setting (1837) and Gabriel Fauré’s
chamber-like one (1877, 1887–93) are also famous. Other important
settings include those by Franz Liszt (1868), Giuseppe Verdi (1874),
Antonín Dvorˇák (1890), Maurice Duruflé (1947), and Igor Stravin-
sky (Requiem Canticles, which set only part of the liturgy [1966]). By
virtue of their grand scale and occasional textual liberties, several of
these settings are better suited to the concert hall than the church.
Requiems that augment or replace the traditional text with non-
liturgical (or even nonreligious) ones include Heinrich Schütz’s
Musikalische Exequien (1636), Johannes Brahms’s Ein deutsches
Requiem (1868), Frederick Delius’s Requiem, Paul Hindemith’s
When Lilacs Last in the Door-yard Bloom’d (1946), Benjamin Brit-
ten’s War Requiem (1962), Krzysztof Penderecki’s Polish Requiem
(1984), and
John Rutter’s Requiem (1990). See also REQUIEM
DER VERSÖHNUNG.
REQUIEM DER VERSÖHNUNG. A collaborative work by 14 com-
posers, among them, Luciano Berio, John Harbison, Krzysztof
Penderecki, Wolfgang Rihm, and Alfred Schnittke. Commis-
sioned by the Bachakademie, Stuttgart, in commemoration of the
50th anniversary of the end of WWII, it was premiered in 1995 by
the Gächinger Kantorei Stuttgart, Krakow Chamber Choir, and
the Israel Philharmonic Orchestra, Helmuth Rilling conducting. See
also MASS; REQUIEM.
RESPIGHI, OTTORINO (9 JULY 1879–18 APRIL 1936). Italian
composer, best known for his orchestral works. He took a few com-
370 • REQUIEM DER VERSÖHNUNG
position lessons with Nikolai Rimsky-Korsakov in St. Petersburg
(where he was first violist in the opera orchestra), and studied briefly
with Max Bruch in Berlin. From 1913 until 1935 he was professor
of composition at the Liceo Musicale di Santa Cecilia (later known
as the Conservatorio di Santa Cecilia), serving as director from 1924
until 1926. A generally conservative composer, he often incorporated
archaic elements in his works, clothing them in lush tonal harmonies
and colorful orchestral timbres. Among his few choral works are
Christus, op. 24, a cantata for T, Bar., male chorus, and orch. (1899)
and Lauda per la natività del Signore, op. 166, for S, Mez., T, chorus,
pic., fl., ob., eng. hn., 2 bn., triangle, and pf. 4 hands (1930).
RESPONSORIAL. Responsive; often the antiphonal alternation of
cantor with choir and/or congregation. See also RESPONSORY.
RESPONSORY. A psalm, canticle, or other sacred musical text sung
by a cantor and choir (or congregation) in an alternating manner,
the cantor singing the verses and the choir responding. See also RE-
SPONSORIAL.
REUTTER, GEORG (BAPTIZED 6 APRIL 1708; DIED 11
MARCH 1772). Austrian composer. He received his early musi-
cal training from his father (also named Georg), who in 1686 had
succeeded Johann Kerll as organist at St. Stephen’s Cathedral in
Vienna, had become court organist in 1700, then had served as vice
Kapellmeister at the cathedral (from 1712), advancing to the rank
of Kapellmeister in 1715 (after Johann Fux had left the position).
Subsequent studies with Antonio Caldara and a trip to Italy gave the
younger Georg a thorough grounding in Italian operatic style.
In 1720 his father passed the St. Stephen’s organ position (which
had been denied him several times under Fux’s administration) on to
him. In 1738, upon his father’s death, Georg assumed the position of
Kapellmeister at the cathedral, where his students included Joseph
and Michael Haydn.
He became increasingly influential at the imperial court, eventually
attaining the rank of court Kapellmeister in 1769. For three decades
he was the leading church musician in Vienna. His influence, which
touched Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig
van Beethoven, was augmented by a prodigious output: dozens of
operas and serenatas, some 10 oratorios, 80 masses, 6 Requiems,
REUTTER, GEORG • 371