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Conclusion Within these sacred works of Felix Mendelssohn-Bartholdy lie simplicity, challenge, beauty, joy, sincerity, and deep expressions of faith. It was the intent of this article to CONDUCTOR’S WORKSHOP fi rst sung. An alteration in the last measure of this repeat leads to a four bar extension that ends the piece. Any choir that can fi nd eight voices to cover the solo middle section will enjoy this cheerful setting of Psalm 100. The piece requires sopranos to sing up to g 2 , tenors to g 1 and the bass solo to descend to F. Otherwise, parts generally remain mid range. Zum Abendsegen, Herr, Herr, sei gnädig unserm Flehn (Lord, Lord, Have Mercy upon Us) 29 This brief Responsory for Evening Prayer 30 is only forty-four measures in length. For four-voice choir unaccompanied, this Andante begins with cries of “Lord, Lord!“ set over two whole-note chords of the tonic A minor triad. 31 The second chord repositions the voices: basses move up an octave, all other voices move up to the next chord tone. The remainder of the work treats a theme fi rst introduced by tenors imitatively (Figure 14). Brief passages of chordal harmony interrupt the fl ow of the nine entrances of this theme. The last three of these pile on top of each other, one measure after the other (alto, tenor, soprano), to begin the fi nal phrase. The simple text consists of a single sentence: “Lord, have mercy upon us, and write all these thy laws in our hearts, we beseech thee!” A wonderful prayer, response to scripture, or benediction, any choir could enjoy singing this piece. For further information contact Tracey Greider at 317.940.8043 or tgreider@butler.edu June 13 - 19, 2010 HENRY LECK, FOUNDER & ARTISTIC DIRECTOR INDIANAPOLIS CHILDREN’S CHOIR BUTLER UNIVERSITY, INDIANAPOLIS, INDIANA Choral Journal • April 2010 45
Your Church Choir Can Sing Mendelssohn! present music that is accessible to average church choirs by one of the fi nest of early Romantic composers. These pieces have suffered neglect because they are largely unknown. The hope is that choral conductors will move from this introduction to the music itself and then challenge their choirs to sing it. These “beautiful, well-written pieces … are faithful settings of the spirit of the texts even if there are occasions of unfaithful declamation and liturgically unjustifi ed repetition.” 32 This music represents an important and personally signifi cant portion of Mendelssohn’s life’s work. It is unfortunate for these pieces to remain in obscurity and for music lovers and churches to be denied the privilege of hearing and worshiping with these fi ne pieces of sacred music. Anton Armstrong Adult Choir Conductor Christopher Aspaas Women’s Choir Conductor Notes on Performing Mendelssohn’s Church Music If these sacred compositions are to be performed <strong>today</strong>, a proper approach to performing them is perhaps best modeled on their composer’s own practice as a conductor. Felix Mendelssohn was widely acclaimed as a conductor. [W]hether a great conductor can ever be a great composer is a doubtful matter. No modern example of the kind exists, save, perhaps in the case of Mendelssohn:… 33 Mendelssohn was one of the fi rst famous conductors to use the new baton technique. He was renowned for his work with the Gewandhaus Orchestra in Leipzig. He [B]ased his interpretation on classical principles, fluent, elastic, elegant; and the highly declamatory, so called ‘neo-German’ performance, of which Liszt was the inaugurator and Wagner the most important exponent. 34 The tempo in Mendelssohn’s works should never be allowed to drag. The composer was often criticized for rapid tempi. He held many rehearsals and was not satisfi ed until all technical diffi culties were resolved. “He made certain that the musicians thoroughly understood the style and interpretation of 35, 36 the work under study.” So, perform the works of Mendelssohn in your churches and your schools. Beware that editor’s markings in contemporary editions do not always refl ect what Mendelssohn wrote. If you have doubts, check the complete works in a local university library or consult a musicologist. Where you are certain of Mendelssohn’s original markings, be careful to observe those fi rst before adding other interpretive dynamics. On questions of tempo, see above. As for style, err on the side of clarity of text and delineation of musical lines. Where Mendelssohn repeats material, as he often does, one should use similar declamation for similar music. For tone quality, consider that Mendelssohn often writes in a manner similar to Bach and yet his motets and other works are precursors of Brahms. Consider also that much of Mendelssohn’s church music is polyphonic, so vibrato must be controlled to allow various themes to shine through the fabric and to aid tuning. The vast majority of this music requires legato singing. In a few cases marcato may be called for, but there is almost never an instance in these pieces that requires staccato treatment. If your choir has never sung any Mendelssohn, begin with “Lord, Have Mercy,” one of the Geistliches Lieder, the Te Deum, or Psalm 100. If you have sung “He Watching Over Israel” or “There Shall a Star from Jacob Come Forth,” you might begin with one of the Op. 69 motets or include Aus tiefer Not or Hear My Prayer in a service that allows more time for music. Above all, sing Mendelssohn! You will enjoy it, your choir will grow through it, and your congregation will be uplifted. Heather Potter Youth Choir Conductor Kenney Potter Teen Choir Conductor The St. Olaf Conference on and Worship, Theology the Arts july 19–23, 2010 northfield, minn. stolaf.edu/events/cwta • 800-726-6523 2011 National Honor Daily worship will celebrate Advent, Christmas Eve and Epiphany. 46 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 12 and 13: Opus 69, No. 3 As with its companio
Page 16: 13 NOTES Ibid., 6. 1 Peter Mercer-T

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