Posts Tagged 'sheet music'

Discovering Mårten Jansson & Bärenreiter’s Jansson Choral Competition

MartenJansson
Mårten Jansson

Every time we listen to Swedish composer Mårten Jansson we can’t help but get swept up in the whirlwind of emotions he creates. His music is full of all of the compositional elements that choristers love to sing: sweeping melodic lines, open chords and expressive dissonance.

Ultimately, though, performers and audiences alike fall in love with his music because they are drawn to the fundamental honesty at its core. Jansson approaches traditional sacred texts with humility, and he openly shares his experience of it through his music in a way that amplifies the text without pretense or contradiction.

JanssonMissaPopularis

This honesty should not, however, be confused with simplicity or naïveté. Jansson’s stunning Missa Popularis, for instance, manages to connect us to a profound range of emotions, while uniting many layers of thought and tradition into the microcosm of a single piece of music. In addition to all of Jansson’s neoromantic tendencies, the Missa sits atop a foundation of Swedish folk dances and simultaneously also sounds strikingly Medieval. This is perhaps most obvious in the opening of the “Kyrie” and the “Agnus Dei,” but the feeling of the chant is present throughout the entire Mass.

By uniting modern constructions with ancient ones, Jansson not only brings his Mass into the long tradition of the sacred ritual, but also brings the listener into communion with that tradition and with those who have celebrated it for centuries. The past shines through to the present, and the present holds its hand out to the past. Time becomes circular in celebration of the ritual, and Janssons’s Missa Popularis allows the audience to experience that in the music itself.

JanssonMariaIV

A similar combination of modern and ancient also underpins Jansson’s “Maria (IV),” which simultaneously elicits a deep-seated sympathy for the universal, fundamental suffering of motherhood and brings to life Mary’s individual sorrow as the mother of a child who belongs not to her, but to all mankind. Commissioned by the Royal Swedish Court for the Feast of the Annunciation to the Blessed Virgin Mary in 2013, this piece served as the focal point of Bärenreiter’s Mårten Jansson Choral Competition.

Ten choirs from around the world entered videos of their performances of “Maria (IV)” in the competition, and those videos were judged by an international panel of choral experts. The top three choirs all received vouchers for Bärenreiter choral publications, and the winning choir also received a commission for a new Jansson piece to suit their particular needs.

Here is the video submitted by the winning choir, the Jugendkonzertchor Dortmund from Dortmund, Germany directed by Felix Heitmann. This performance was praised by judges as “an absolutely perfect performance” and one that “really felt like the ensemble wanted to tell you something they feel is important.”

The University of Denver Lamont Chorale from Denver, Colorado, USA, directed by Catherine Sailer, came in second place with a video of a live performance of the piece that judges praised for “a nicely balanced full warm sound” and “an equally great interpretation,” as well as “excellent and well-structured dynamics and agogics.”

Rounding out the top three was Warsaw’s Vocore, a much smaller ensemble of eight singers founded only in 2017. Praised for being “the most ‘together’ performance among the entries,” the judges appreciated the choir’s warm tone and clear and present middle voices.

Dark Is the New Bright

Guest post by Mark Cabaniss

Just 30 or 40 years ago, the Tenebrae service was foreign to many a church, despite the service’s ancient roots. The Roman Catholic Church embraced it early, but it has only become popular and more regularly practiced in Mainline Protestant churches (and even some traditional evangelical churches) in recent decades.

These “services of darkness,” as they are often called, have become a “bright spot,” one could say, for churches around the world that are looking for fresh and creative ways to impart the Holy Week journey.

Sacred music publishers have responded to the heightened awareness of Tenebrae with a variety of publications that are ready to prepare and present as complete Tenebrae services with appropriate music and narration.

Tenebrae is a special service for Holy Week that can be conducted on Holy Wednesday, Maundy Thursday or Good Friday, or any day of Holy Week when a church has a regular or additional special service.

The name “Tenebrae” comes from the Latin for “shadows” or “darkness,” and denotes a service of shadows. The Tenebrae service makes use of gradually diminishing light as candles are extinguished one-by-one to guide the congregation through the events of Holy Week from the triumphant Palm Sunday entry through Jesus’s burial. This increasing darkness symbolizes the approaching darkness of Jesus’s death of hopelessness in the world without God. The service concludes in darkness, sometimes with a final candle, the Christ candle, being extinguished or carried out of the sanctuary to represent the death of Jesus. A loud noise may also sound, echoing the closing of Jesus’s tomb. The worshipers then leave in silence to ponder the impact of Christ’s death and await the coming Resurrection.

Tenebrae services generally should begin in a dark sanctuary lit only by five candles at the front, along with a sixth candle, the Christ candle. Each candle is extinguished as directed by the worship leader(s) during the service, with the Christ candle being extinguished near the end of the final piece of the work. Some churches desire the Christ candle not be extinguished, but taken from the sanctuary in front of a silent procession with the choir as they exit. Regardless of the approach you choose for the Christ candle, the congregation should part in silence. (This direction should be given in the program so that everyone in attendance can be fully informed.)

During a prelude, you may choose to have the choir process led by chosen choir members or laypersons carrying the six lit candles. Those candles are then placed in holders in front of the sanctuary.

The narration may be read by one reader or by several readers. If you choose to have more than one reader, the readings can be divided among lines and paragraphs as desired.

ItIsFinishedA new Tenebrae service for 2019, Mary McDonald’s It Is Finished, offers PowerPoint images that correspond to the mood of each piece being sung. These can be projected during the service to enhance the overall impact of the work and help bring to life the events depicted during Holy Week. The images change with the beginning of each anthem sung during the 30-minute presentation.

Another service option for Tenebrae is to serve communion during the work if so desired. This option further enhances and deepens the overall experience of the service, while engaging the congregants in the act of communion as Jesus did with his disciples during Holy Week.

In whatever manner you may choose to carry out Tenebrae, you’ll find this ancient service still speaks beautifully to today’s worshipers, especially when utilizing one of the newest or more recent published services that help guide and provide a compelling experience for all participants.

 


MarkCabanissMark Cabaniss is a music publisher, producer, writer and educator. He is President/CEO of Jubilate Music Group, based in Nashville, Tennessee. http://www.markcabaniss.com

15 Things You Need to Know About Supporting Your Child Learning to Play the Piano (via Elissa Milne)

 

via 15 Things You Need to Know About Supporting Your Child Learning to Play the Piano

Q&A: Everything is better with music — (via Oxford University Press)

Vanessa Reilly is a teacher, OUP author and teacher trainer. In this post, she answers some of the questions from her recent ‘Everything is better with music’ webinar. 1,248 more words

via Q&A: Everything is better with music — Oxford University Press

John Cage’s In a Landscape and more than a score…

By Jacy Burroughs

John Cage’s In a Landscape from more than the score… series

When I learned about John Cage for the first time as an undergraduate music major, I was only instructed in his most avant-garde concepts: the infamous 4’33”, his prepared piano pieces, and his chance compositions, some of which he composed using the I Ching (an ancient Chinese divination text, also known as the Book of Changes.) I recently heard a recording of Adam Tendler performing Cage’s piano solo In a Landscape. If I had not read on the score that the music was by Cage, I would not have believed it. It was so beautiful, and honestly, that’s not an adjective I would associate with Cage’s music.

I was sure there are others who share similar misconceptions about Cage’s music with me, so when I had the opportunity to meet Adam Tendler, I jumped at the chance.  Adam Tendler works closely with the John Cage Trust and has performed Cage’s music internationally. He has also recorded video masterclasses and performances of Cage’s music for Tido Music, a groundbreaking web resource and iPad app. The videos were produced by Edition Peters, John Cage’s sole publisher, and are housed in the app’s Piano Masterworks collection.

And now Peters has just released a new sheet music print series, more than the score…, which can be used alongside the video masterclasses and digital editions in Tido Music. The series includes In a Landscape, presented by Tendler. As a leading interpreter of Cage’s works, I knew Adam would have encountered the whole spectrum of opinions of Cage. Here is an excerpt of my interview with him.

Continue reading ‘John Cage’s In a Landscape and more than a score…’

Top 10 Facts About Claude Debussy

Written by: Austin Hennen Vigil

Saint-Germain-en-Laye, Paris

Claude Debussy was a famous French composer that was born on August 22nd, 1862, in Saint-Germain-en-Laye, France. The town is located near Paris and he was the oldest of five children.

He was a prominent musician who was known as the founder of Impressionist music and was one of the most influential/highly regarded composers in the world during the late 19th and early 20th centuries. March 25, 2018 was the 100th anniversary of his death, so in his honor here are 10 facts about the legendary French composer of which you may not have been aware:

Continue reading ‘Top 10 Facts About Claude Debussy’

UNFINISHED: Tradition and Completion of Mozart’s C Minor Mass

Guest post by Uwe Wolf, Chief Editor of Carus-Verlag

 

What an amazing story! Mozart makes a vow to compose a mass after the successful birth of his first-born child. The performance is planned on the occasion of his first journey with his wife to Salzburg so he can introduce her to his family – both personally and musically, for Constanze is to sing one of the demanding soprano parts. But the baby, left behind with a wet-nurse in Vienna, then dies, and Mozart stops work on the composition – precisely at the Et incarnatus est, one of his most beautiful and heartfelt movements, dealing with the subject of the incarnation, i.e. birth. Too much of a coincidence? Probably. Continue reading ‘UNFINISHED: Tradition and Completion of Mozart’s C Minor Mass’

Gustav Mahler: The Conductors’ Interviews

Gustav Mahler was considered one of the greatest opera conductors of his time; he could even be called the first intercontinental star conductor. But that was not the case with his music; until the 1960s, his compositions were only performed by specialists, the pieces nowhere near belonging to the standard repertoire.

Today, however, performances of Mahler’s music rival those of Beethoven’s in frequency, thus counting Mahler among the most successful symphonists. What happened to cause that change? Continue reading ‘Gustav Mahler: The Conductors’ Interviews’

The Excitement of Editing Debussy’s Works: Interview with Bärenreiter Editor Douglas Woodfull-Harris

Douglas Woodfull-Harris has been working at Bärenreiter as an editor for orchestral and chamber music for more than 25 years and has overseen the production of countless editions. In 2018 we will commemorate Claude Debussy’s death 100 years ago. Among the editions which Woodfull-Harris has personally edited are Debussy’s La Mer, Afternoon of a Faun, his Cello Sonata and String Quartet, Images for piano, Syrinx for Flute, and most recently the Rhapsodie Première for Orchestra with Solo Clarinet (coming in December 2017).

Claude Debussy, c. 1908

Douglas Woodfull-Harris

Why Debussy? What made you turn to his works?

Douglas Woodfull-Harris (DWH): From conversations with musicians I knew that the existing editions had problems such as discrepancies between score and parts of orchestral works. Orchestras had their correction lists and made do with what they had but scholarly-critical editions were badly needed. Also, I simply enjoy the music.

The first work by Debussy which you edited was his cello sonata. How did you proceed?

DWH: Of course, I gathered together all relevant sources as I always do. During this process I investigated a private collection in Winterthur (Switzerland) which nobody appears to have looked into, and there I found sketches to the Cello Sonata.

Now, the final note in measure 18 of the 2nd movement is the lowest note on the cello, a C. In the autograph score, the first edition, and all other published editions a “circle” or “zero” appears above the note (*see example below). This circle today is understood to indicate that the note should be played as an open string. I asked myself why an experienced composer like Debussy would mark a note in such a way that can only be played as the open C string. It simply didn’t make sense to me. The marking seemed redundant. But is it possible Debussy meant something else? Continue reading ‘The Excitement of Editing Debussy’s Works: Interview with Bärenreiter Editor Douglas Woodfull-Harris’

Celebrating 150 Years of Edition Peters Green

Originally posted on www.editionpeters.com.

Hidden behind the iconic green covers of Edition Peters lies a story that is fascinating, complex, at times heartbreakingly tragic, but overwhelmingly inspirational. This year Edition Peters proudly celebrates 150 years of the green cover series and here is a short version of our story.

Continue reading ‘Celebrating 150 Years of Edition Peters Green’


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