Origin of choral music

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Origin of choral music

The Beginnings – During the latter part of the medieval period, a style of vocal music called organum evolved out of Gregorian chant. With multiple, independent parts, this was arguably the first example of polyphonic vocal music in Europe, laying the groundwork for the choral music of the Renaissance era. Two kinds of choral composition were prominent during this time: the motet, a kind of Latin religious work; and the mass, another kind of sacred composition based specifically on settings of Liturgy – both were largely written for an a cappella ensemble. Baroque Period – Increased interaction between vocalists and instrumentalists grew as the late Renaissance into the early Baroque period. Baroque music forms a major portion of the “classical music” canon, and is now widely studied, performed, and listened to. One of the popular key composers of the Baroque era includes J. S. Bach. His composition performed by ChorSymphonica can be viewed here. Classical Works – Composers became increasingly preoccupied with the potential of instrumental and symphonic music during the Classical period, but choral works were never far from the surface. Mozart also composed a number of fine sacred choral works, especially masses, his patron being an archbishop. The Coronation Mass and Great Mass are widely thought to be among the highlights of his oeuvre, yet the most highly-regarded arguably his Requiem Mass. Romance – As the influence of the church began to wane during the 19th century, composers adapted pre-existing forms for more l d B th l d h lt t t dd t

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secular ends. Beethoven also used choral texture to add extra weight to his secular compositions, perhaps most famously in his Ninth Symphony. Another fine example of Beethoven’s choral writing can be seen in the cantata Calm Sea and a Prosperous Voyage. Thank you. #musicconcerts #conversationconcerts #choralmusic

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What is a motet? A “Motet” is a music genre, like “quartet” or “symphony,” which is based on a religious (in the Western tradition: Christian) text. Think of the French word for “word,” which is “mot.” Mot-et. To learn more, visit: https://chorsymphonica.org/

#choralmusic #conversationconcerts #musicconcerts

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What is a motet?

In this new, two-minute read about our work, Artistic Director and Conductor Richard Allen Roe answers the question, “What is a motet?” A “Motet” is a music genre, like “quartet” or “symphony,” which is based on a religious (in the Western tradition: Christian) text. Think of the French word for “word,” which is “mot.” Mot-et. So, a word-based piece of music, one could say, with a religious text. Must be sung… When talking about the ancient music of the Renaissance, it generally referred to music that was sung in church services, but wasn’t part of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei). And since it was a setting of a religious text, it would not be confused with later musical developments that were more secular in nature, such as madrigals, or operas. What about in Bach’s time? Well, Bach did compose a small number of motets, very small in number compared to his cantatas, about ten h t

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shorter pieces altogether. Scholars once thought that the Bach motets were commissioned by prominent Leipzig families to be performed at funerals for a deceased loved one. The view on this is changing, as more documentation from actual funerals in the period of 1720 – 50 in Leipzig is being discovered. One of Bach’s motets, “Jesu, meine Freude,” BWV 227, illustrates this development in scholarship. Recently discovered texts from the “bulletin” of the funeral long held to be the commission and provenance of the work, fail to mention the piece entirely. Even the listed pieces, which were sung by the congregation don’t include the chorale from which the motet gets its name. It’s doubtful that a work as substantial as “Jesu, meine Freude” could have been commissioned for this funeral, given its absence from the evidentiary materials related to the actual funeral. So, how did we get this, or any motet, from the pen of Johann Sebastian Bach? One possible answer lies in the long-standing tradition of Leipzig’s Thomaner (the famous boys choir from St. Thomas School and Church, where Bach was Cantor) to use the Bach cantatas as training pieces. When Mozart visited the St. Thomas School in 1789, he heard the Bach motet “Singet dem Herrn, ein neues Lied,” BWV 225. Of course, he was enthralled by this music, and enthusiastically copied the parts for his own collection. When American musicologist and Bach scholar Daniel Melamed visited the Thomas-Schule nearly three centuries later, he encountered the motets in a rather workaday fashion. He writes, “on a small table at the front of the room sat neat piles of the scores of Bach’s motets, stacked like some kind of bar graph of the choir’s work. It seemed particularly fitting that these compositions, which have apparently never left the repertory of the Thomanerchor since their composer’s tenure as its director, should be symbolically displayed as the heart of the choir’s repertory even today.” (Daniel Melamed, J. S. Bach and the German Motet, Cambridge University Press, 1995) One wonders if Mozart saw such a stack of motets, when he entered the rehearsal space on his visit? Doubtful, but not impossible. If so, the stacks would not have been scores, like we have nowadays, but rather piles of individual voice parts, handwritten by Thomaner students, into the soprano, alto, tenor, bass parts. Vocal music during the era of Bach or Mozart was not often published nor printed, and when it was, it was printed as individual voice parts, rather than the collective scores modern choirs enjoy. This would have made for some pretty high stacks, and considerable effort would have been required to make a neat impression. It is thought that Mozart heard Bach’s motet “Singet den Herrn,” BWV 225 on that trip in 1789. That work is for double choir, so there would have been eight individual parts to be collected and placed into the modern format. Just that motet alone would have created quite a “stack,” if that were to be the case. Source: https://chorsymphonica.org/ #choralmusic #conversationconcerts #musicconcerts

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Why Do We Need Choral Music Strengthen feeling of togetherness, Reduce stress levels and depression, For the Audience, Benefits of choir at schools, Improves discipline and teamwork, Bridges social gaps. To read more visit: https://medium.com/@emilymaddison1112/importance-of-choralmusic-e236b615888f


#choralmusic #conversationconcerts #musicconcerts

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Why we need Choral Music

Importance of choral music Research has shown for some time that singing in a choir has tremendous benefits for physical and mental well being, leading some to campaign for it to be prescribed as a treatment for medical conditions. Choral music brings out the hearts and souls in perfect harmony which is the kind of emblem what we need in today’s world. Let’s go through the importance of choral music in our lives. 1. Strengthen feeling of togetherness Humans are wired for rhythmic togetherness; from choral singers, musicians, and dancers, the science is coming in that we bond best when we are making music with each other. Research led by psychologist Nick Stewart of Bath University indicates that people who participate in a choir enjoy a greater feeling of togetherness and being part of a collective endeavor than others involved in different social activities. 2. Reduce stress levels and depression For the Singers — Singers develop breathing techniques to create phrasing and musical expression. This has many physical benefits like singing increases blood flow, improves sleep, boosts your immune system, releases chemicals like endorphins, dopamine and oxytocin, which affect our moods and happiness. And it also transports the singer to another level, to a place where they no longer think about their day-to-day worries. 3. For the Audience — Watching a concert also leads to reduced negative mood states (afraid, tense, confused, sad, anxious and stressed) and increased positive mood states (relaxed and connected). 4. Benefits of choir at schools Singing is very important for children; an inclusive activity whereby all children can be equal and connected. Singing helps children’s memories. Practicing musical patterns and rhythms helps form neurological pathways, with huge implications for children’s learning. 5. Improves discipline and teamwork Choirs truly know what teamwork means. Preparing for concerts not only requires the discipline of attending weekly rehearsals, but it


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also develops the skills of listening, concentration, teamwork and developing confidence. Choirs bring people together with a sense of purpose. 6. Bridges social gaps Choral groups and choral singers are diverse in the broadest sense: involving people from every region of all ages, in numerous musical styles from classical to gospel. Many choristers testified to the degree to which their choral singing made them more aware of other people’s life experiences, helping them to bridge social gaps. To read more visit: Choral Music and Importance of Choral Music #choralmusic #conversationconcerts #musicconcerts #musicians

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Articles on Choral Music ChorSymphonica Find the latest articles & updates on Choral Music. To read blogs and know more, visit: https://chorsymphonica.org/blog/

#choralmusic #conversationconcerts #musicconcerts

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Choral Music and Importance of Choral Music With the advent of modern music, many people think that choral music has fallen by the wayside. But this is categorically untrue. More than ever, people seek the togetherness and intimacy that singing with others affords. To know more visit: https://chorsymphonica.org/choral-music-and-importance-of-choralmusic/

#choralmusic conversationconcerts musicconcerts


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About ChorSymphonica - Choir, Soloists and Orchestra

Our musicians are some of the nation’s finest classical choral music performers specialized in choral-orchestral repertoire… CHORSYMPHONICA.ORG

Our musicians are some of the nation’s finest classical choral music performers specialized in choral-orchestral repertoire based in Greater Washington, DC To Know More, Visit: About ChorSymphonica #choralmusic conversationconcerts musicconcerts

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Who are We - Chorsymphonica Based in Rockville, MD, a suburb of Washington, DC, we are a professional choral-orchestral ensemble supported by grants from The Arts and Humanities Council of Montgomery County.Additional support comes from private foundations, including the Paul M. Angell Family Foundation, as well as gifts from the general public, and the 20/20/20 Campaign. ​Founded in 2011 by conductor Richard Allen Roe, the group first took the name The Advent Project, owing to the Advent repertoire performed on their first concert. The group has since explored a wide range of repertoire, from Renaissance to Romantic era a cappella music, with a strong emphasis on the cantatas of Johann Sebastian Bach.


Unique Conversation Concerts Along with their concert performances, we have developed a unique concert experience, called Conversation Concerts. We continue to produce these educational and musical events along with traditional (non-lecture) concerts, and hope you will join us for our next performance. ChorSymphonica is a professional, project-based ensemble of musicians drawn from across the Mid-Atlantic region and beyond. Nearly all of our musicians have earned graduate degrees in vocal performance. Every one of our members are dedicated to using their artistic life to improve the lives of others, to inspire others to a more complete point of view, reaching out to audiences with our music making through our concerts. This purpose guides and directs every rehearsal and every concert. ChorSymphonica is a project-based ensemble. We don’t meet on a regular basis for rehearsals, but come together for brief, intense work periods (“projects”), which culminate in performances. Musicians self-select for projects, depending on their own

availability. In this way we can draw upon the range of qualified musicians throughout the region for our concerts. Auditions are held periodically for membership in our database of singers, and for solo opportunities. Soloists are drawn from the ranks of the chorus. Our music reaches people on a personal level, brings them to contemplation. ​ChorSymphonica makes music ​that touches and moves people. ​ We are the House Ensemble of The Rockville Bach Academy, Inc, a non-profit organization chartered in Maryland. To Know More, Visit: Chorsymphonica #choralmusic conversationconcerts musicconcerts

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Conversation Concert | Pre Concert Lecture - ChorSymphonica

Conversation concert is a pre concert lecture performed by ChorSymphonica to explore the musical & historical context of… CHORSYMPHONICA.ORG

Conversation concert is a pre concert lecture performed by ChorSymphonica to explore the musical & historical context of the programmed work in 20 minutes. To Know More, Visit: Chorsymphonica #choralmusic conversationconcerts musicconcerts

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Our Mission and Values -


Our Mission and Values ChorSymphonica

ChorSymphonica mission is to inspire, educate, enlighten & enriche Montgomery County & the Greater Washington, DC wit… CHORSYMPHONICA.ORG

ChorSymphonica mission is to inspire, educate, enlighten & enriche Montgomery County & the ​Greater Washington, DC with the values of choral music repertoire Our Mission and Values ChorSymphonica To Know More, Visit: ChorSymphonica #choralmusic conversationconcerts musicconcerts

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How We Do It : CHORSYMPHONICA Dedicated Musicians Every one of our members is dedicated to using their artistic life to improve the lives of others, to inspire others to a more complete point of view, to reach out to audiences with our music-making through our concerts. This purpose guides and directs every rehearsal and every concert. Our music reaches people on a personal level, brings them to contemplation. ChorSymphonica is a project-based ensemble. We don’t meet on a regular basis for rehearsals but come together for brief, intense work periods (“projects”), which culminate in performances. Musicians self-select for projects, depending on their own availability. In this way, we can draw upon the range of qualified musicians throughout the region for our concerts. Soloists are drawn from the ranks of the chorus.

The chorus sets itself apart by the standard of our individual singers, of whom almost all have earned graduate degrees in music performance. They have earned their place in our group through a unique and rigorous audition process. The Artistic Director/Conductor makes a final determination in a particular musician’s suitability for a given project, based on repertoire and ensemble requirements, and the audition profile of the individual singer. We are supported by grants from The Arts and Humanities Council of Montgomery County. Additional support comes from the Paul M. Angell Family Foundation, as well as gifts from the general public, and the Annual Campaign. To Know More, Visit: CHORSYMPHONICA #choralmusic conversationconcerts musicconcerts


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How We Do It - CHORSYMPHONICA

CHORSYMPHONICA.ORG

Every one of our members is dedicated to using their artistic life to improve the lives of others, to inspire others to a more complete point of view, to reach out to audiences with our music-making through our concerts. This purpose guides and directs every rehearsal and every concert. Our music reaches people on a personal level, brings them to contemplation. To Know More, Visit: Choral music #choralmusic conversationconcerts musicconcerts

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What We Do - CHORSYMPHONICA

CHORSYMPHONICA.ORG

We inspire, educate, enlighten, and enrich Montgomery County and the Greater Washington, DC area with unique choral concerts, performed at the highest artistic standard. We further strive to promote an appreciation for and understanding of our specialty repertoire through educational programming such as our Conversation Concerts. #choralmusic conversationconcerts musicconcerts

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Conversation Concerts by ChorSymphonica A Conversation Concert is a unique event, where soloists, chorus and orchestra are employed to illustrate points of a preperformance lecture. In twenty minutes, we explore the musical and historical context of the programmed work, in order to make the composer’s efforts more accessible to our modern ears, and more relevant to our contemporary way of life. ​For our Wheaton programs, we translate the lectures into Spanish, so that the message of the music reaches more people. Following the introduction, we perform the entire work, uninterrupted.


“I first learned how to do this by watching Leonard Bernstein and the New York Philharmonic Young People’s Concerts on TV, ” says founder and conductor Richard Allen Roe. “In college, I had a wonderful teacher, Professor Henry Gibbons, who studied in Germany with Helmuth Rilling, himself a pupil of Bernstein. It’s Rilling who really perfected the art and science of GesprächsKonzerte. Particularly at the Oregon Bach Festival in the US. But he has been doing them (and still is) for more than 50 years in Germany, and all over the world. Later, when I studied with Rilling myself, singing in the Gächinger Kantorei, we were performing more concerts than we had rehearsals, and many of them were Conversation Concerts. I really learned how to do it from all three:

Rilling, Gibbons, Bernstein. But it was my years of study with Rilling that gave me the experiences and insight to forge my own way.” “The name is a bit misleading. In order to prepare the pre-concert lecture, in my study and preparation I imagine myself having a conversation with the composer. It is there that I ask questions like, why this chord, why this note, why this instrument or voice? Of course, Bach, Mozart, Beethoven, Brahms, Schütz, Stravinsky, Verdi, Poulenc, Fauré, Monteverdi, they are not around to participate in an actual conversation. I must try, based on my experience, knowledge of the composer’s life and work, and of the music at hand, to speak for the composer, from their point of view. To try to get into the head of a composer, to place myself in their shoes, as a conductor, is to create a fuller understanding of the message they were trying to convey. That’s what we, in turn, try to communicate with our audiences always, but especially and in a uniquely verbal way at our Conversation Concerts.” ​Here are video excerpts from our “Conversation Concerts,” featuring the cantata Himmelskönig, sei willkommen, BWV 182, by Johann Sebastian Bach. To Know More, Visit : Chorsymphonica #choralmusic conversationconcerts musicconcerts

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Who We Are - CHORSYMPHONICA

CHORSYMPHONICA.ORG

Chorsymphonica is a professional, project-based ensemble of musicians drawn from across the Mid-Atlantic region and beyond. Nearly all of our musicians have earned graduate degrees in vocal performance. Every one of our members are dedicated to using their artistic life to improve the lives of others, to inspire others to a more complete point of view, reaching out to audiences with our musicmaking through our concerts. #choralmusic conversationconcerts musicconcerts


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What is a Motet ? What is a Motet? In this new, two-minute read about our work, Artistic Director and Conductor Richard Allen Roe answers the question, “What is a motet?” A “Motet” is a music genre, like “quartet” or “symphony,” which is based on a religious (in the Western tradition: Christian) text. Think of the French word for “word,” which is “mot.” Mot-et. So, a word-based piece of music, one could say, with a religious text. Must be sung…

When talking about the ancient music of the Renaissance, it generally referred to music that was sung in church services but wasn’t part of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei). And since it was a setting of a religious text, it would not be confused with later musical developments that were more secular in nature, such as madrigals, or operas. What about in Bach’s time? Well, Bach did compose a small number of motets, very small in number compared to his cantatas, about ten shorter pieces altogether. Scholars once thought that the Bach motets were commissioned by prominent Leipzig families to be performed at funerals for a deceased loved one. The view on this is changing, as more documentation from actual funerals in the period of 1720–50 in Leipzig is being discovered. One of Bach’s motets, “Jesu, meine Freude,” BWV 227, illustrates this development in scholarship. Recently discovered texts from the “bulletin” of the funeral long held to be the commission and provenance of the work, fail to mention the piece entirely. Even the listed pieces, which were sung by the congregation don’t include the chorale from which the motet gets its name. It’s doubtful that a work as substantial as “Jesu, meine Freude” could have been commissioned for this funeral, given its absence from the evidentiary materials related to the actual funeral. So, how did we get this, or any motet, from the pen of Johann Sebastian Bach? One possible answer lies in the long-standing tradition of Leipzig’s Thomaner (the famous boys choir from St. Thomas School and Church, where Bach was Cantor) to use the Bach cantatas as training pieces. When Mozart visited the St. Thomas School in 1789, he heard the Bach motet “Singet dem Herrn, ein neues Lied,” BWV 225. Of course, he was enthralled by this music, and enthusiastically copied the parts for his own collection. When American musicologist and Bach scholar Daniel Melamed visited the Thomas-Schule nearly three centuries later, he encountered the motets in a rather workaday fashion. He writes, “on a small table at the front of the room sat neat piles of the scores of Bach’s motets, stacked like some kind of bar graph of the choir’s work. It seemed particularly fitting that these compositions, which have apparently never left the repertory of the Thomanerchor since their composer’s tenure as its director, should be symbolically displayed as the heart of the choir’s repertory even today.” (Daniel Melamed, J. S. Bach and the German Motet, Cambridge University Press, 1995)


One wonders if Mozart saw such a stack of motets, when he entered the rehearsal space on his visit? Doubtful, but not impossible. If so, the stacks would not have been scores, like we have nowadays, but rather piles of individual voice parts, handwritten by Thomaner students, into the soprano, alto, tenor, bass parts. Vocal music during the era of Bach or Mozart was not often published nor printed, and when it was, it was printed as individual voice parts, rather than the collective scores modern choirs enjoy. This would have made for some pretty high stacks, and considerable effort would have been required to make a neat impression. It is thought that Mozart heard Bach’s motet “Singet den Herrn,” BWV 225 on that trip in 1789. That work is for double choir, so there would have been eight individual parts to be collected and placed into the modern format. Just that motet alone would have created quite a “stack,” if that were to be the case. To Know More, Visit: ChorSymphonica #choralmusic conversationconcerts musicconcerts

choirmusic Follow

What We Do - CHORSYMPHONICA We inspire, educate, enlighten, and enrich Montgomery County and the Greater Washington, DC area with unique choral concerts, performed at the highest artistic standard. We further strive to promote an appreciation for and understanding of our specialty repertoire through educational programming such as our Conversation Concerts.

#choralmusic conversationconcerts musicconcerts


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