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Your Church Choir<br />
Can Sing Mendelssohn!<br />
extends over three measures. The section<br />
ends with a lengthy phrase of similar rhythm<br />
and melodic movement to that with which it<br />
began, cadencing on the fi rst beat of a common<br />
time measure that begins the second<br />
section.<br />
This Adagio e lento, by far the shortest of<br />
the sections, includes the full chorus moving<br />
in block chords except for brief imitation on<br />
the words, “thine honourable.” It begins in D<br />
major and ends in C ♯ minor.<br />
As noted above, the Andante e lento<br />
resumes not only the meter and tempo, but<br />
the music from the beginning of the work.<br />
Soloists take up phrases that begin imitatively<br />
and lead to cadences fi rst in D major and<br />
then G major. The last half of this section uses<br />
mostly white notes and features echoing of<br />
soli and tutti.<br />
Even the Allegro moderato in Canone<br />
has a brief homophonic phrase for soli<br />
separating the two canonic tutti phrases. As<br />
he did in the second section, Mendelssohn<br />
changes the meter to common time. In this<br />
clever, though brief, double canon, the initial<br />
entries of all four voices seem to indicate a<br />
simple canon before the true picture unfolds<br />
(Figure 6). When the chorus returns, they<br />
appear at fi rst to be repeating the canon<br />
but quickly change to new material and end<br />
on the dominant.<br />
After the soloists enter imitatively, the<br />
fi nal Andante moves quietly and reverently,<br />
one note per beat. One fi ve-measure phrase<br />
(Figure 7) dominates the section. The work<br />
concludes with this phrase extended by repeating<br />
the fi rst two measures three times,<br />
40 Choral Journal • April 2010
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