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Opus 69, No. 3 As with its companions, the Magnifi cat concludes with a setting of the Gloria Patri, which is preceded by six sections in fi ve different tempi. The meter changes from alla breve to three-two to common meter. The odd-numbered sections are polyphonic, the second is homophonic, and the other two are a mixture of chordal structure and imitation. In the Allegro moderato that opens the piece, imitation at two beats shortly turns into dotted quarter-eighth rhythms that remind one of Purcell’s anthems. In the second section the Anglican and German versions differ considerably from measures 40 to the third beat of measure 80. The Soprano part remains the same in both versions, but in the Anglican version, organ accompaniment supports a soprano soloist as chorus sopranos and altos provide harmonic support at two cadence points. In the German version, four part soli present these measures in chords with only slight East Stroudsburg University in the Pocono Mountains of Pennsylvania Join us for a variety of choral workshops, reading sessions, special interest workshops, concerts and performances featuring nationally acclaimed clinicians. August 2-3 Greg Gilpin Carol Baird Valerie Lippoldt Mack Dr. Timothy Seelig Michael & Jill Gallina Steve Zegree August 4-6 Joseph Martin Heather Sorenson Don Besig & Nancy Price John Purifoy Joel Raney Dan Forrest The Burchfield Brothers REGISTER TODAY! Visit us online at musicmountains.com for complete workshop details. Register before June 18th and receive discount pricing! University Credit – PA Act 48 Credit – NJ Professional Development Credit are all available. Cosponsored by Pine Lake Music Choral Journal • April 2010 43
Your Church Choir Can Sing Mendelssohn! imitation. In both versions, the full choir enters at measure 80 beat three and concludes the section. In three-two meter, an Andante con moto follows. Points of imitation alternate between soli and tutti throughout this section. Common meter starts with the Maestoso and continues to the end of the work. The section introduces martial rhythms and block chords on the words “He hath shew’d strength with His arm” before yielding to imitation. The Andante fi fth section is a clever combination of homophonic and imitative phrases with the two ideas united in the penultimate phrase (Figure 11). It uses only solo voices unaccompanied. All forces return for the Allegro (sixth section), which introduces two separate themes in succeeding phrases and then combines the two (Figure 12). The Gloria Patri, similar to the other Gloria Patri sections in these English works, is hymn-like, but Mendelssohn cleverly repeats the material of the fi rst phrase in the second and trades parts between tenor and soprano. This Magnifi cat is perhaps the fi nest of these English pieces. Within the literature, it constitutes 'one of the most important works of the nineteenth century,' according to Hermann Kretschmar. It is intensely contrapuntal, strict to the point of severity, and not easy to perform. But it enchants the listener through its wonderful lucidity of choral setting and through its variety of moods. 25 With the Te Deum, these pieces for the Anglican service present music that fi ts well in worship and is approachable by many church choirs. Whether one chooses to perform the music with organ accompaniment or unaccompanied is a matter of personal taste or necessity. Mendelssohn did not live long enough to comment on the German edition. As is the case with many Anglican anthems of the Baroque era and much other music of that period, choirs with capable soloists will be able to produce convincing performances of these works. Though the Magnifi cat is a bit long for many services, its inclusion on special occasions should be welcomed. Choirs who attempt any of these works will fi nd the process extremely rewarding. The Hundredth Psalm, Jauchzet dem Herrn, alle Welt 26 That Mendelssohn composed this Psalm 100 for a Jewish synagogue as Eric Werner believed 27 has been disputed by R. Larry Todd. 28 Mendelssohn had been requested to compose either Psalm 24, 84, or 100 for the dedication of the new temple in Hamburg in December 1843, but it is highly doubtful that this Psalm 100 was in any way related to the piece he composed for that occasion. Psalm 100 is divided into three sections with no unifying material. The two outer sections are in the key of C major and use four-part choir. After the Andante con moto opens with a chordal statement, “Nations Give Thanks to the Lord” (Figure 13), the piece unfolds in alternating imitative and homophonic phrases. The middle section in F major employs eight solo voices. This Poco lento begins with eight bars in which the women answer the men and then this phrase is presented in reverse, men answering women. The final section consists of an eight-bar phrase sung by altos, tenors, and basses which is repeated in four parts with the sopranos singing the melody an octave higher than it was 44 Choral Journal • April 2010
Page 2 and 3: Your Church Choir Can Sing Mendelss
Page 4 and 5: The immediate predecessor of the
Page 6 and 7: Deines Kind’s Gebet erhöre [Fath
Page 8 and 9: the section began. This time, howev
Page 10 and 11: Jubilate, one borrowed from Mendels
Page 14 and 15: Conclusion Within these sacred work
Page 16: 13 NOTES Ibid., 6. 1 Peter Mercer-T

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