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44 Cambridge Pre-U Teacher Guide 1843). Another unusual work that perhaps does not deserve its neglect is Schumann’s Paradise and the Peri (1843). Dvoák’s The Spectre’s Bride (1885) was a huge success at its first performance in Birmingham, and contains some thrilling music. Mass settings designed for the concert hall have generally fared better and many such works are still regularly performed and thus are more accessible. Well-known examples include those by Beethoven, Schubert, Rossini and Bruckner; slightly less familiar are those by Cherubini, Saint-Saëns, Gounod and Liszt. Dvoák’s characteristically Slavonic Mass in D was originally written for choir and organ, but was orchestrated in a rather inflated manner at the insistence of his English publisher, Novello; the original version was not published until as recently as 1988. Settings of the Requiem Mass provided romantic composers with a rich source of dramatic imagery, to which they responded with music that was often overtly theatrical. Famous examples include Berlioz’s Grande Messe des morts (1837) with its novel use of off-stage brass bands, and works by Verdi, Bruckner, Gounod, Liszt and Saint-Saëns. Cherubini composed two requiems, in C minor (with a highly controversial tam-tam stroke at the start of the Dies irae) and in D minor (for male voices). Less familiar examples include one by Schumann, written almost at the end of his life. The setting by Fauré, specifically intended for liturgical use, is an altogether gentler and more peaceful work, while Brahms’s Ein deutsches Requiem (1868) is a setting of biblical texts rather than of the mass for the dead. Other liturgical texts were also set as concert works. Examples include the Stabat Mater (Rossini, Dvoák, Liszt, Verdi) and the Te Deum (Berlioz, Verdi, Bruckner, Dvoák). Smaller choral works were written by most of the composers already mentioned and are too numerous to list in detail. The motets of Bruckner are especially noteworthy, while a specifically English genre, the anthem, produced some fine works by composers such as Samuel Sebastian Wesley (The Wilderness, 1832; Ascribe unto the Lord, c.1852), Parry and Stanford, among many others. Secular part-songs, either accompanied or with piano accompaniment, were also popular, though not often of great historical importance. 3 Song Cycles A song cycle is a series of songs designed as a sequence to be performed in its entirety. In most cases the poems tell some kind of story, or are linked by a common theme. The core repertoire, for the purposes of this examination, includes: • Beethoven An die ferne Geliebte (1816). • Schubert Die schöne Müllerin (1823) Winterreise (1827) • Schumann Liederkreis, Op. 24 (1840) Liederkreis, Op. 39 (1840) Myrthen (1840) Dichterliebe (1840) Frauenliebe und -leben (1840) www.cie.org.uk/cambridgepreu
Cambridge Pre-U Teacher Guide In addition to these the following may be of interest, not least because they demonstrate that the song cycle was not an exclusively Germanic form: • Berlioz Les Nuits d’été (1841, orchestral version 1856) • Fauré La bonne chanson (1894) • Mussorgsky The Nursery (1872) Sunless (1874) Sings and dances of Death (1879) Paper 12 Section C Topics C1 – C5 The individual topics set for Section C are described in some detail in the Syllabus (under Curriculum Content). The following suggestions for listening and reading may, however, be helpful. Topic C1: English Church Music of the Late Renaissance (c. 1530–c.1610) The following list gives, in chronological order, some of the most significant composers of church music active in England during this period, together with a selective summary of their works. John Taverner (c.1490–1545) Mass Gloria tibi Trinitas Mass Western Wynde 3 Magnificats Motets Thomas Tallis (c.1505–1585) Spem in alium (motet in 40 parts) Ave rosa sine spinis (Votive Antiphon) Gaude gloriosa Dei mater (Votive Antiphon) Salve intemerata virgo (Votive Antiphon) Mass Puer natus est nobis Lamentations Dorian Service If ye love me O Lord, give thy Holy Spirit 9 Psalm tunes for Archbishop Parker’s The Whole Psalter Christopher Tye (c.1505–?1572) In pace in idipsum Mass Euge bone Mass Western Wynde The Actes of the Apostles Praise ye the Lord, ye children From the depth I called www.cie.org.uk/cambridgepreu 45
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