Sunday, April 23, 2006

Baroque Rites of Spring

I really enjoyed listening to the pieces the Chamber choir sang on Thursday which were from the Baroque era, well some of them were. The first piece they sang, Revecy Venir du Printans, by Claude LeJeune was an appropriate and happy song about the coming of spring. The chanson was very typical for it’s time, and contained polyphonic voices coming together frequently at cadences The melody was very repetitive and catchy. I was particularly interested in their second piece, Crucifixus by Antonio Lotti because Prof. Crouch said Lotti was majorly influenced by the stile antico, created by Palestrina, which I’m writing my music history research on. Just as he mentioned, it was a sacred piece which was polyphonic and contained many suspensions. Laslty, Au Miserere mei was a chant which a quartet singing in the back balcony of Meharry. The quartet would sing a beautiful refrain and then the rest of the chorus would respond in a Gregorian chant-like response. It was gorgeous but it repeated so many times with different lyrics that it got a bit repetitive. A three movement Bach motet, Singet Dem Herrn was next. It sounded very difficult for such a small choir to be divided into so many parts, but it was beautiful. After that 15 minute piece you could tell everyone up couldn’t stand there another minute, but it was worth it.

1 comment:

Scott Spiegelberg said...

Some pieces from the Baroque and Renaissance were intended for church, not the concert hall. The Au Miserere mei is such an example. The repetition was meant both to allow the educated listeners to hear the whole scripture, and to lull the whole congregation into a meditative state, more conducive to praying.