ChB 5342 – Smolka, Per divina bellezza by Breitkopf & Härtel

Per divina bellezza

Vier Sätze für Vokalsextett Four Chants for Vocal Sextet

Partitur Score

Chor-Bibliothek 5342

Per divina bellezza

Vier Sätze für Vokalsextett

Four Chants for Vocal Sextet

Chor-Bibliothek 5342 Printed in Germany

Francesco Petrarca

Aspro core

Aspro core e selvaggio e cruda voglia in dolce, umìle, angelica figura, se l’impreso rigor gran tempo dura, avran di me poco onorata spoglia

ché quando nasce o mor fior, erba e foglia, quando è’l dì chiaro, e quando è notte oscura, piango ad ogni or. ben ho di mia ventura, di madonna, e d’Amore, onde mi doglia.

Vivo sol di speranza, rimembrando che poco umor già per continua prova consumar vidi marmi e pietre salde.

Non è sì duro cor che lagrimando, pregando, amando, talor non si smova, né sì freddo voler che non si scalde.

Veni Sancte Spiritus (Sequenz | Sequence)

Veni Sancte Spiritus, Et emitte coelitus Lucis tuae radium. Veni pater pauperum, Veni dator munerum, Veni lumen cordium.

Consolator optime, Dulcis hospes animae, Dulce refrigerium. In labore requies, In aestu temperies, In fletu solatium.

O lux beatissima, Reple cordis intima Tuorum fidelium. Sine tuo numine, Nihil est in homine, Nihil est innoxium.

Lava quod est sordidum, Riga quod est aridum, Sana quod est saucium. Flecte quod est rigidum, Fove quod est frigidum, Rege quod est devium.

Da tuis fidelibus, In te confidentibus, Sacrum septenarium. Da virtutis meritum, Da salutis exitum, Da perenne gaudium. Amen.

Francesco Petrarca In qual parte del ciel

In qual parte del ciel, in quale idea era lʼesempio onde natura tolse quel bel viso leggiardo, in chʼella volse mostrar qua giù quanto lassù poeta?

Qual ninfa in fonti, in selva mai qual dea chiome dʼoro sì fino lʼaura sciolse?

Quando un cor tante in sé vertuti accolse?

(Ben che la somma è di mia morte rea.)

Per divina bellezza indarno mira chi gli occhi de costei già mai non vide come soavemente ella gli gira;

non sa come Amor san e come ancide, chi non sa come dolce ella sospire, e come dolce parla e dolce ride.

Alma Redemptoris Mater (Marianische Hymne | Marian hymn)

Alma Redemptoris Mater, quae pervia coeli porta manes, et stella maris, succurre cadenti surgere qui curat, populo:

tu quae genuisti, natura mirante, tuum sanctum genitorem, Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum miserere.

Amen.

Anmerkung: Die Texte sind vollständig wiedergegeben. In der Partitur sind sie stellenweise gekürzt verwendet. | Note: The texts were given complete, however for setting to music they were partly shortened.

Explanations

General

There are several sections, where crescendo should appear very naturally number of voices and/or ascending to higher register (bar 16, 19,

There are several sections, where crescendo should appear very naturally by increasing number of voices and/or ascending to higher register (mm. 16, 19, 22, 39, 94f.).

Slurs in this score express a division of syllables, while phrasing and articulation are proposed in words such as quasi legato. (Exception: the first two slurs of soprano and bass in Aspro core indicate melodic phrasing.)

> - decresc. al niente

There are several sections, where crescendo should appear very naturally number of voices and/or ascending to higher register (bar 16, 19,

There are several sections, where crescendo should appear very naturally number of voices and/or ascending to higher register (bar 16, 19, 22,

“i > u” - gradual transformation of vocal “u > m” - gradual closing to bocca chiusa

gradual transformation of vocal gradual closing to bocca chiusa

“i > u” - gradual transformation of vocal “u > m” - gradual closing to bocca chiusa

The entrances of soprano in bar 59-60 should be almost inaudible should be more and more present.

The entrances of soprano in mm. 59f. should be almost inaudible initially, only later they should be more and more present.

è - 1/6 –tone lower (minus 31 cents - it is used mostly as part of the natural small minor

è - 1/6 –tone lower (minus 31 cents - it is used mostly as part of the natural small minor third, thus the interval which is between 6th and 7th pitch of harmonic series)

1/6 tone lower (minus 31 cents – it is used mostly as part of the natural small minor third, thus the interval which is between 6th and 7th pitch of harmonic series)

The entrances of soprano in bar 59-60 should be almost inaudible should be more and more present.

The entrances of soprano in bar 59-60 should be almost inaudible initially, should be more and more present.

third, thus the interval which is between 6th and 7th pitch of harmonic series)

There are two chords including the 1/6–tone which should have the specific “droning” vibration (like cats purr). This droning is typical for purely tuned chords in just intonation. The two chords here consist of ratios 8:7:6 (Veni Sancte, m.49-53) or 9:8:7:6 (Alma Redemptoris, m.1-54, 76-91).

There are two chords including the 1/6-tone which should have the specific “droning” vibration (like cats purr). This droning is typical for purely tuned chords in just intonation. The two chords here consist of ratios 8:7:6 (Veni Sancte Spiritus, measures 49–53) or 9:8:7:6 (Alma Redemptoris Mater, mm. 1–54, 76–91).

Quasi campane - this coda should remind a distant ringing of church accents under ties indicate, that the sound should be one, uninterrupted, and dynamics

Quasi campane – this coda should remind a distant ringing of church bells. The “text” and accents under ties indicate, that the sound should be one, uninterrupted, just changing color and dynamics

Quasi campane - this coda should remind a distant ringing of church accents under ties indicate, that the sound should be one, uninterrupted, and dynamics

3 In qual parte del ciel

In qual parte del ciel

3 In qual parte del ciel

The fast repeated words should remind the typical Italian excited diction.

The fast repeated words should remind the typical Italian excited

Consonants such as “M, N, L“ or “ƞ” are sometimes in function of vocals. A neutral vocal (“ə”) should be sung instead of vocal, but with various shaping of mouth: “M” - bocca chiusa

Consonants such as “M, N, L“ or “ƞ” are sometimes in function of vocals. A neutral vocal (“ə”) should be sung instead of vocal, but with various shaping of mouth:

“M” - bocca chiusa

Consonants such as “M, N, L“ or “η” are sometimes in function of vocals. A neutral vocal (“ə”) should be sung instead of vocal, but with various shaping of mouth: “M” bocca chiusa

The crescendi and decrescendi should suggest an image of passing not be literally recognizable but should be present as a feeling, as in minds of the singers.

“L ,N” - neutral vocal while mouth is as if pronouncing “L” or “N” “ƞ” - a nasal sound like “ng” in English word “ringing”

“L, N” neutral vocal while mouth is as if pronouncing “L” or “N”

“η” a nasal sound like “ng” in English word “ringing”

Explanations to individual chants

Notes in brackets may be omitted, thus replaced with rests. (These unisons were created just to keep whole words in individual parts, musically they have low importance.)

1 Aspro core

The fast repeated words should remind the typical Italian excited

The crescendi and decrescendi should suggest an image of passing flock of birds. This need not be literally recognizable but should be present as a feeling, as a background layer at least in minds of the singers.

The fast repeated words should remind the typical Italian excited diction.

The crescendi and decrescendi should suggest an image of passing not be literally recognizable but should be present as a feeling, as in minds of the singers.

The crescendi and decrescendi should suggest an image of passing not be literally recognizable but should be present as a feeling, as a in minds of the singers.

Notes in brackets may be omitted, thus replaced with rests. (These unisons were created just to keep whole words in individual parts, musically they have low importance.)

In the word „ella” the first “l” should come just after the very short suggests the notation in measure 1-22. The same manner should be measure 22. In the word “dolce” the “l” can be stressed similarly.

Notes in brackets may be omitted, thus replaced with rests. (These unisons were created just to keep whole words in individual parts, musically they have low importance.)

Explanations to Individual Chants

Aspro core

4 Alma Redemptoris Mater

In the word “ella” the first “l” should come just after the very short “e” and be prolonged as suggests the notation in mm. 1–22. The same manner should be continued, too, after m. 22. In the word “dolce” the “l” can be stressed similarly.

4 Alma Redemptoris Mater

Alma Redemptoris Mater

Accents in brackets - very gentle, but remarkable attack, like hFÏ (or FÏ over the note) The tone should be slightly

Accents in brackets – very gentle, but remarkable attack, like bells from afar

soprano espressivo - „solo“, slightly in foreground; free, still changing dynamic

Accents in brackets - very gentle, but remarkable attack, like bells

soprano espressivo - „solo“, slightly in foreground; free, still changing dynamic bass in bars 7-19 - only shadow of soprano, softer than soprano

bass in bars 7-19 - only shadow of soprano, softer than soprano

soprano high b - moderate, non dramatic

2 Veni Sancte Spiritus

quasi f (bars 42-65) - maestoso, not ff. Expression rather like stone columns than pain.

2 Veni Sancte Spiritus

soprano espressivo “solo”, slightly in foreground; free, still changing dynamic bass in mm. 7–19 only shadow of soprano, softer than soprano quasi f (mm. 42–65) maestoso, not ff. Expression rather like stone columns than pain soprano high b moderate, non dramatic

Veni Sancte Spiritus

hFÏ (or FÏ over the note) The tone should be slightly beginning and tuned back close to it’s end. It important to do only tuning of the given pitch (down and back), not more than the 1/8-tone.

Accents in brackets - very gentle, but remarkable attack, like hFÏ (or FÏ over the note) The tone should be slightly beginning and tuned back close to it’s end. It is important to do only tuning of the given pitch (down and back), not more than the 1/8-tone.

(or over the note) – the tone should be slightly under-tuned just after beginning and tuned back close to it’s end. It is important to do only a very gentle change of tuning of the given pitch (down and back), not more than the 1/8-tone.

beginning and tuned back close to it’s end. It is important to do only tuning of the given pitch (down and back), not more than the 1/8-tone.

The Italian expression indications should be understood metaphorically: Campane (bells), Luminosità (luminosity), Maretta (wave), Apparizione (home) and Lontano (from afar).

quasi f (bars 42-65) - maestoso, not ff. Expression rather like stone columns than pain. soprano high b - moderate, non dramatic

The Italian expression indications should be understood metaphorically: Campane (bells), Luminosità (luminosity), Maretta (wave), Apparizione (home) and Lontano (from afar).

The Italian expression indications should be understood metaphorically: Preghiera (prayer), Campane (bells), Luminosità (luminosity), Maretta (wave), Apparizione (apparition), A casa (home), and Lontano (from afar).

The piece contains most of all various allusions to sound of ringing undertuning a 1/8-tone and back imitates behavior of large swinging sound of bell decay etc.

Only general dynamic indications are given. The real dynamic should be much more „breathing”, especially each longer note should be shaped by slight crescendo and decrescendo as it is usual in ancient music (exception of this rule is indicated pp statico).

Only general dynamic indications are given. The real dynamic should be much more “breathing,” especially each longer note should be shaped by slight crescendo and decrescendo as it is usual in ancient music (exception of this rule is indicated pp statico).

The piece contains most of all various allusions to sound of ringing undertuning a 1/8-tone and back imitates behavior of large swinging sound of bell decay etc.

“Amen” - individualbreathing ad lib., always before letter “e”

The piece contains most of all various allusions to sound of ringing church bells. The undertuning a 1/8-tone and back imitates behavior of large swinging bell, nasal η imitates the sound of bell decay etc.

“Amen” – individual breathing ad lib., always before letter “e”

Leseprobe Sample page

quandoè ᾽ldi chiaro,è œ

quandoè ᾽ldichiaro,è

quandoènotteoscura,

quandoè ᾽ldichiaro,è

quandoènotteoscura,

quandoè ᾽ldichiaro,è

quandoènotteoscura,

Leseprobe Sample page

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Kompositionsauftrag von Singer Pur, gefördert durch die Ernst von Siemens Musikstiftung

Commissioned by Singer Pur, sponsored by Ernst von Siemens Music Foundation

Inhalt | Contents

Seite | page

1 Aspro core (Francesco Petrarca) 4

2 Veni Sancte Spiritus (Sequenz | Sequence) 13

3 In qual parte del ciel (Francesco Petrarca) 23

4 Alma Redemptoris Mater (Marianische Hymne | Marian hymn) 46

Aufführungsdauer | Duration ca. 22 Minuten | approx. 22 minutes (4’, 5’, 8’, 5’)

Die vorliegenden Sätze beziehen sich auf Madrigale und Motetten von Adrian Willaert, denen dieselben Texte zugrundeliegen. In Willaerts Sammlung Musica Nova (1559 – genau 400 Jahre vor meiner Geburt) stehen – unüblich für die damalige Praxis – Madrigale auf Texte von Petrarca neben Motetten auf geistliche lateinische Texte. Die ungewöhnlich inspirierende Idee, neue Vokalmusik in Bezug auf Willaert zu komponieren und dabei Petrarca und lateinische Texte aus der Musica-Nova-Sammlung gegenüber zu stellen, war ein Vorschlag des Ensembles Singer Pur, das mir auch – mit Unterstützung der Ernst von Siemens Musikstiftung – den Auftrag erteilte. Ich habe die Freude und Ehre, Per divina bellezza dem Ensemble Singer Pur zu widmen. Die Sätze können auch einzeln oder paarweise aufgeführt werden.

Martin Smolka

These chants are related to madrigals and motets by

Adrian Willaert, which were set to the same texts. In Willaert’s collection Musica Nova (1559 – just 400 years before my birth), quite unusually when comparing the period practice, the madrigals on Petrarca were printed beside motets on Latin sacred texts. The unusual inspiring idea to write new vocal music related to Willaert by pairing Petrarca and sacred texts from the Musica Nova collection was proposed by ensemble Singer Pur, who commissioned this piece with kind support of the Ernst von Siemens Musikstiftung. I have the pleasure and honor to dedicate the Per divina bellezza to ensemble Singer Pur.

The chants may be performed separately as well, or in pairs etc.

Martin Smolka