Choral ode

“ O may my heart in tune be found
Like David's harp of solemn sound? THE TUNE.
Old “Portland” by Abraham Maxim, a fugue tune in F major of the canon style, expressed all the joy that a choir could put into music, though with more sound than skill. The choral is a relic among relics now, but it is a favorite one.
“Sweet is the Light of Sabbath Eve” by Edmeston; Stennett's “Another Six Days' Work is Done,” sung to “Spohr,” the joint tune of Louis Spohr and J.E. Gould; and Doddridge's “Thine Earthly Sabbath, Lord, We Love” retain a feeble hold among some congregations. ”

“ When the powerful choral anthems of the church peal out over the kneeling multitude, it requires little fancy to imagine them the golden trumpets of concealed archangels, who would be quite at home in that incomparable choir. ”

“ Certainly no other religious institution has come so near the solution of the problem of the proper use of the instrumental solo in public worship. Through the connection of the organ music with the people’s hymn in the choral prelude, and the conformity of its style to that of the choir music in motet and cantata, it became vitally blended with the whole office of praise and prayer; its effect was to gather up and merge all individual emotions into the projection of the mood of aspiration that was common to all. ”

“ The vast volume of choral sound we listen to stirs us with contagious emotion. Our pleasure in grand organs with their roll of diapasons and arresting challenge of trumpets and tubas; our willing yielding up of ourselves to be swayed hither and thither for hours in the power of the massive orchestra, that wonderful machine of nerves and muscles,—what does it mean? It is all dynamical, all barbaric. It is not only the ear that is concerned in listening, the whole being is under strain and stress. Do I hence imply that it is wrong, is reprehensible so to employ music? ”

“ The introduction of the air also gives more importance to the soprano part and relieves the succession of choral movements in the close of the work. The remaining numbers are the beautiful chorale, "Abide with me, fast falls the Eventide;" the chorus, "Now we believe," one of the most finished in the whole work; a short tenor solo ("His Salvation is nigh them that fear Him") ,--the only one in the oratorio for that voice; the chorus, "I will call upon the Lord;" and the final imposing fugue, "Blessed be the Lord God of Israel." ”

“ Many well-known writers have given an ideally balanced choir in numbers, but it is practically impossible for anyone to lay down a hard and fast law, for the simple reason that in speaking of tenors, one has to know whether they are robusto or lyric, the former having a much more powerful effect in choral work than the latter. ”

“ This leads to the final chorus, which is a fugue, in E major, with alla breve time, on the words, ‘And the Lord of Hosts is with us; the God of Jacob is our refuge,’ towards the close of which a Gloria Patri is introduced, being woven in with fragments of the fugue to a strong climax. The whole composition finishes with an impetuous accelerando. My central idea was to make a choral and orchestral work, the solo, while requiring a good singer, being only secondary. The Psalm seemed to me particularly adapted for musical composition, as being capable of a varied, even dramatic effect. ”

“ The choral song developed in the ages of faith is pervaded by the accents of that calm ecstasy of trust and celestial anticipation which give to mediaeval art that exquisite charm of naïveté and sincerity never again to be realized through the same medium, because it is the unconscious expression of an unquestioning simplicity of conviction which seems to have passed away forever from the higher manifestations of the human creative intellect. ”

“ At the close of this number begins a choral theme for trumpets, horns, and trombones, followed by [162] strings and woodwinds, and introducing a soprano recitative (“With Grace, thy Gaze, O Harmony”) descriptive of the blessing brought into the world by music, followed by a picture of the misery of the race without its consolation. At the close the brasses give out a solemn march-like theme. A short chorus (“Joy to us! Again descending, thou Heavenly One”) describes the might of song. ”

“ It has been a matter of frequent comment that there has been no such increase in choral singing either in town or city as our public school music teaching should lead us to expect. In fact the countless young people who graduate from our schools seem to make almost no impression on choral singing. It still remains the least of our musical activities. It is as difficult as ever to secure people who care enough for the practice of singing to come to rehearsals. Voluntary choir singing, for the pleasure to be derived from it, is rare. ”

“ As they are now sung in the German churches they have been greatly modified in harmony and rhythm, and even in many instances in melody also. The only scale and harmonic system then in vogue was the Gregorian. In respect to rhythm also, the alterations have been equally striking. The present choral is usually written in notes of equal length, one note to a syllable. The metre is in most cases double, rarely triple. This manner of writing gives the choral a singularly grave, solid and stately character, encouraging likewise a performance that is often dull and monotonous. ”

“ They are a set of fellows (as I conceive) who, being limited by their talents to the burden of the song at the playhouses, in revenge have got the common popular airs by Bishop or some cheap composer, arranged for choruses, that is, to be sang all in chorus,—at least, I never can catch any of the text of the plain song, nothing but the Babylonish choral howl at the tail on't, "That fury being quenched,'—the howl I mean,—a burden succeeds of shouts and clapping and knocking of the table. ”

“ Organizations of the kind in view differ from instrumental in being composed of amateurs; and amateur choir-singing is no older anywhere than in the United States. Two centuries ago and more the singing of catches and glees was a common amusement among the gentler classes in England, but the performances of the larger forms of choral music were in the hands of professional choristers who were connected with churches, theatres, schools, and other public institutions. ”

“ Of the thirty-nine Choral Cantatas of the whole period only two exhibit the earlier form. Of all the others the libretto consists partly of unaltered hymn-stanzas—invariably used for the first and last movements, and occasionally elsewhere—but chiefly of paraphrased stanzas of the hymn, whose accustomed melody, wherever else it may be introduced, is associated invariably with the hymn when the text is used in its unaltered form. We, to whom both words and melody are too frequently unfamiliar, may view the perfections of the Choral Cantata with some detachment. ”

“ Having settled that plain chant should have a part, and indeed a large part, in our choral service, but that figured music should not be excluded, it remains for us to say what figured music is to be used in alternation with plain chant, or substituted when plain chant is completely set aside. ”

“ German writers, however, apply the terms “Choral” and “Chorale-gesang,” as Luther himself would apply them, to any solemn melody used in the church. It is thus the equivalent of canto fermo; and the German rhymed versions of the biblical and other ancient canticles, such as the Magnificat and the Te Deum, are set to curious corruptions of the corresponding Gregorian tunes, which adaptations the composers of classical German music called chorales with no more scruple than they applied the name to tunes of secular origin, German or foreign. ”

“ But in the psalms and canticles both the minister and choir join together in the chant, without distinction, each verse being sung in full harmony.
The chanting of the prayers has always been observed in our principal cathedrals; and till recent times, it was universal in all those places within the reformed Church of England where choral foundations existed; and therefore the disuse of this custom, in any such establishments, is a plain contradiction to the spirit of our liturgy. ”

“ I reflected that the tiresome monotony of male singing, which even the orchestra could only enliven to a slight extent, can only be endured by the introduction of dramatic themes. I therefore designed a great choral scene, selecting the apostolic Pentecost with the outpouring of the Holy Ghost as its subject. ”

“ The only satisfactory choirs are the mixed choirs of men and women. Upon them has devolved the cultivation of artistic choral music in our public concert-rooms. As we know such choirs now, they are of comparatively recent origin, and it is a singular commentary upon the way in which musical history is written, that the fact should have so long been overlooked that the credit of organizing the first belongs to the United States. ”

“ But, at the same time, there arose a pressing necessity for that advanced form of the Faux-bourdon which so soon developed itself into the Four-part Choral; and, in this, the German Composers distinguished themselves, if not above all others, at least as the equals of the best contemporary writers—witness the long list of Choral books, from the time of Walther to the close of the 17th century. We all know to what splendid results this new phase of Art eventually led; but, for the time being, it acted only as a hindrance to healthful progress ”

“ What constitutes excellence in a choral performance? To answer: The same qualities that constitute excellence in an orches [Pg 269] tral performance, will scarcely suffice, except as a generalization. A higher degree of harmonious action is exacted of a body of singers than of a body of instrumentalists. Many of the parts in a symphony are played by a single instrument. Community of voice belongs only to each of the five bodies of string-players. In a chorus there are from twelve to one hundred and fifty voices, or even more, united in each part. ”

“ Sensuous beauty of tone, even in large aggregations, is also dependent to a great degree upon careful and proper emission of voice by each individual, and it is because the contralto part in most choral music, being a middle part, lies so easily in the voices of the singers that the contralto contingent in American choirs, especially, so often attracts attention by the charm of its tone. ”

“ This method prepared the development of a harmony that was more in the nature of modern chord progressions, and when the choir and congregation severed their incompatible union, the complex counterpoint in which the age delighted was allowed free range in the motet, while the harmonized choral became more simple and compact. The partnership of choir and congregation was dissolved about 1600, and the organ took the place of the trained singers in accompanying the unison song of the people. ”

“ The Cantata.—More popular even than the Oratorio with choral societies is the Cantata, both sacred and secular, and the great increase in strong choral organizations, particularly in England, Germany, France and the United States, has resulted in the production of a number of splendid works which show dramatic power and the highest skill in handling voices and instruments. ”

“ The cantata is in five numbers. A short prelude of a quiet and cheerful character introduces the stately opening chorus (“Who believeth and obeyeth will be blest forever”) . Another brief prelude prepares the way for the brilliant tenor aria (“Of Love, Faith is the Pledge and Token”) , which leads up to the chorale, “Lord God, my Father, holy One,” based upon the old chorale, “Wie schön leucht uns der Morgenstern” (“How brightly shines the Morning Star”) , which has always been a favorite in the church service, and which more than one composer has chosen for the embellishment of his themes. ”

“ We can only indicate here a few instances of various treatments of the chorale.
Every one knows the opening double chorus in the Matthew Passion. After an instrumental introduction full of dignity and solemnity, built chiefly on tonic and dominant pedals (E minor) , the first chorus sings, “Come ye daughters, weep with me, behold the Lamb as a bridegroom.” The second chorus exclaims, “Whom? How?” while the first continues its course, and a “Soprano ripieno” chorus enters with the chorale—
O thou begotten son of God. ”

“ In very few is there any well-sustained and continuous choral organization giving concerts year after year supported by the general public. The record of choral singing in America shows a constant endeavor to attain grandiose results rather than to foster the love of choral singing for itself. Singing societies are continually wrecked by the expense of highly paid soloists, and are continually striving for something beyond their reach. ”

“ But, on the other hand, the chorale singing may be regarded as a renewal of the old cantus firmus, while at the same time it sets aside the secular music style and the artificialities of counterpoint and the elaborate ornamentation with which the false taste of the Middle Ages had overlaid it. The congregation sang the cantus firmus or melody in unison, the singers in the choir gave it the accompaniment of a harmony. The organ during the Reformation age was used for support, and accompanied only in elaborate, high-class music. ”