Johann Sebastian Bach~His Cantatas as a Musical Resource
Marie Stultz, Contributing EditorThis year marks the 250th anniversary of Bach's death. On these kinds of anniversaries, musicians love to introduce audiences or congregations to music by someone of the stature of J.S. Bach. As educated musicians, we were all taught by musicologists or conducting purists that his cantatas should be performed in their entirety. Bach's church cantatas were conceived for every Sunday of the church year. Totaling 200, the church cantatas with chorales, solos, duets, and four-part choruses are an enormous resource for normal sized choirs of amateur singers or choirs with small forces.
The secular cantatas are mini dramas, opera-like in dramatic gesture. They fall into three catagories; not able to be categorized (The Coffee Cantata), dramas that were written to prove something, such as Phoebus and Pan, and finally those in honor of someone such as Hercules at the Crossroads or The Peasant Cantata. The secular cantatas are wonderful resources for small dramatic presentations, voice recitals, or chamber ensembles.
THE HISTORIC PRECEDENT FOR USING PORTIONS OF BACH'S CANTATAS
Much has been written about Bach's life, how his music should be performed, or how it should be edited. Thousands of performances of his music occur every year in their entire form, but much of this music seems impossible to program by the local choir director or music teacher. Singing an entire cantata or oratorio by this compositional giant seems beyond the realm of possibility, but singing portions of them can be a highly successful experience for both audience and singers alike. Performances of sections or portions of these great works can be justified historically and structurally.
About two-fifths of Bach's sacred cantatas are lost. With his secular cantatas, more are lost than have survived. "Bach's early cantatas are distinguished from their central German precursors by his tendency to give each movement a unified structure, assuring its artistic independence, and his development of a broad formal scheme. Further, he found the means to unify movements that are not self-contained by the use of motivic material, in solo movements, and in choral ones, with the 'permutational fugue', and his earliest type of choral fugue in which the subject and its counterpoints are retained and continually interchanged." - Groves Dictionary of Music
Because of this compositional technique, it makes perfect sense to approach the use of all his cantatas both as a whole or in its powerful parts.THE CHORALES
Bach chorale settings are wonderful for building a beautiful blend and a balance of parts. They are also useful as part of the warm-up process. Each cantata is based on a chorale tune. Try using them to emphasize the importance of clearly enunciated consonants and purely articulated vowels. These short pieces cover every Sunday of the church year, therefore they are an ideal resource as service music.THE ARIAS
Many of Bach's arias sound beautifully on unison voices and can be particularly successful with children. Young singers love the challenge of singing Baroque music, sorting out the tricky melismatic phrases and intervals. Singing Baroque music simply develops a choir's musical accuracy. When selecting an aria for performance, make sure it is within the realm of capability of your choir and that the range is within the choir's capability. The subject matter should also be studied for appropriateness.THE DUETS
The duets are an enormous resource for the small church choir or children's chorus. Those duets that are assigned to a male and female singer can be particularly successful on unison men and women's voices or with choirs of limited vocal resources. Many of the duets work beautifully as choral anthems for treble voices. Editions of appropriate duets can be found in most of the major series by such children's choir editors as Doreen Rao, Jean Ashworth-Bartle, Henry Leck, Mary Goetze, and myself.THE SATB MOVEMENTS
Obviously these pieces, sung outside the cantata format, can be tremendously successful. Start out by selecting movements that fit the church year and are more simple in structure. Because many of these movements are fugal in nature, carefully pick pieces within the grasp of your choir. Select more difficult pieces as the choir grows in capability. If properly planned, the choir may build to a point where an entire cantata can be presented. While working at Centre Congregational Church in Lynnfield, MA, I had the adult and children's choir join forces to present an entire cantata. The children sang the chorale tune and one of the arias, with the adults singing the SATB movements and the more difficult solos. It worked beautifully for all concerned.REVOICING FOR SMALLER FORCES
We all hesitate to water down a great piece of music. In the case of Baroque composers, reducing the parts is much more successful than in other periods of music. This is because of the tight structure, careful counterpoint, and voicing of the movements. The counterpoint between two, three, or four voices is so strong, that often one voice can be eliminated all together or played by a solo instrument. When selecting arrangements of Bach's music, carefully select the editor. Study the edition and compare it to the original to determine what the editor or arranger did to the piece.RESOURCES IN THE STUDY OF BACH CANTATAS
Helmuth Rilling has recorded all the Bach church cantatas. As a leading authority on the performance of J.S. Bach, these recordings are an invaluable resource even though they were recorded in 1985. As part of that project, Hänssler-Verlag, Neuhausen-Stuttgart, published a book entitled "The Texts of Johann Sebastian Bach's Church Cantatas." This is a wonderful book for getting accurate translations, how to use the various movements in the church year, what forces are required, etc. The ISBN number if you would like to own a copy is 3-7751-0970-6. Dover Books has a number of volumes on the cantatas of Bach as well. One I have in my library is "The Literary Background to Bach's Cantatas," by James Day. This reference book covers both the sacred and secular cantatas.
New Releases ~ Sacred SATB Voices ~ Sacred
Az Ikh vel Zogn Lekho Doydi, arr. Joshua Jacobson, Hebrew text, Transcontinental, 982079, SATB, solo, & piano. An Eastern-European Jewish folksong, this piece was first published in the collection Yidisher folklor in Vilna in 1938. The cantor acts as the teacher to young singers who must learn the proper response. A pronunciation guide and translation accompany this joyous setting of a traditional Yiddish song. Difficulty rating 3. $1.45
Draw Near, by Jonathan Willcocks, English text, Lorenz, 10/1539LA, SATB & keyboard. Warm harmonies and elegant suspensions pervade this straightforward setting of a text by the composer. A perfect piece for communion, the lovely melody and simple parts will be easily learned because of the logical voice leading. The quiet dynamics add to the prayerful mood of the text. Difficulty rating 3. $1.30
Exultate deo, by Alessandro Scarlatti (1660-1725), Latin text, SATB a cappella. Founder of the Neapolitan School of composition, Scarlatti was a prolific composer of both vocal and instrumental music and is best known for his many operas. This motet is taken from one of over 600 cantatas accredited to Scarlatti. Filled with simple counterpoint, the piece will be a challenge as the choir works to create elegant phrase shapes. A translation and performance suggestions by editor Irene Funk are included in the edition. Difficulty rating 3-4. $1.40
Four Introits, by Ned Rorem, English text, Boosey, M-051-47221-5, SATB a cappella. Stark harmonies dominate these homophonic settings. Almighty God was written for Advent, The Work of the Lord for Pentecost, and Cry Out With Joy and I Heard Every Creature are both for general use. Commissioned for the 150th anniversary of Old First Presbyterian Church in San Francisco, these short introits are excellent additions to contemporary service music. Difficulty rating 4-5. $2.10
Hosianna dem Sohne Davids (Hosianna to the Son of David), by Melchoir Franck (1580-1639), Latin/English text, Warner, OCT02586, SATB a cappella. Simple counterpoint is juxtaposed to warm homophonic sections written in 4/4 and 3/4 meters. The suspensions and phrase shapes are typical of the early Baroque and are joyously set to this classic text. Difficulty rating 3-4. $1.10
It Is a Good Thing to Give Thanks, by Paul Bouman, English text, MorningStar, MSM-50-6503, SATB & keyboard. A reissue of a spectacular Psalm 92 setting first published in 1981, the piece is written on unmetered phrase shapes that alternate between unison and harmonic sections. Perfect for service or festival use, the piece was composed for the choirs of Albany Park Lutheran Church in Chicago, Illinois. Difficulty rating 3. $1.25
Noels, arr. George Baker, English text, Hal Leonard, 08739097, SATB & keyboard. Set to the French carol tune 'Twas in the Moon of Wintertime, this simple setting works well with a choir of limited forces. Set mostly in unison, the simple harmonies at the conclusion are easy to learn. Difficulty rating 1. $1.35
Once in Royal David's City, arr. Philip Ledger, English text, Lorenz, 10/2209R, SATB, solo, congregation, & organ. A simply harmonized setting of this popular Christmas carol, the piece is perfect for an amateur choir of limited forces. Difficulty rating 2. $1.50
People, Look East, arr. Hal Hopson, English text, MorningStar, MSM-50-0029, SATB & keyboard (opt. hand drum & handbells). This advent hymn is ideal for church or school use. The block hand bell chords and repetitious drum part in 6/8 and 9/8 can easily be played by amateur performers. Difficulty rating 3. $1.50
Psalm 150, by Heinrich Schütz (1585-1672), English text, MorningStar, MSM-50-7040, SATB, percussion, & organ. This arrangement by B. Wayne Bisbee set to a translation by Daniel G. Reuning is quite effective. The finger cymbals, tambourine, and hand drum part can easily be played by a choir member. A-B-A in form, the strophic harmonies will be easily learned by the most amateur singer and is ideal for choirs of limited vocal resources. Difficulty rating 2. $1.25
Tu pauperum refugium, by Josquin des Prez, Latin text, National, RCS-114, SATB a cappella. The second part of Josquin's four-part motet Magnus es tu, Domine, this section is written mostly homophonically on changing meters of 2/2, 3/2, and 4/2. Editor Bonnie Borshay Sneed has translated the Latin text and offers performance suggestions in the publication. Difficulty rating 3. $1.50
SATB Voices ~ Sacred
Extended WorksJubilate (O Be Joyful), by Bob Chilcott, English text, Oxford, 355827-0, SATB, soprano or tenor solo, piano or brass ensemble. This fabulous piece for brass and choir is set to texts from various sources including the Book of Common Prayer. Written for the University of Kansas Chamber Choir, Brass Ensemble, and their director Simon Carrington, this 16 minute piece is a wonderful addition to the choral repertoire. It is filled with rich harmonies and brilliant text painting. Another great piece of choral music from this gifted composer, conductor, and singer. Difficulty rating 4. $6.50
Psalm 104 (Praise, My Soul), by Hilary Tann, English text, Oxford, 386239-5, SATB, two C trumpets, & organ. This 8-minute work was premiered by the North American Welsh Choir at the Central Lutheran Church in Minneapolis, Minnesota. Based on five verses from Psalm 104 by metaphysical poet Henry Vaughan (1621-1695) and four verses of the Psalm from the King James Bible. The Welsh hymn Praise, My Soul, written by John Goss (1800-1880), opens the piece. Difficulty rating 5. $4.95
Treble Voices ~ Sacred
Alleluia! Loving Spirit, by Helen Kemp, English text, Lorenz, CGA862, unison, opt. handbells, & keyboard. This simple piece with a limited vocal range is perfect for the newly formed or inexperienced choir. The handbell part requires 3 octaves. Written in block chords it requires more advanced players. Difficulty rating 2. $1.20Christe Eleison, by J.S. Bach, Latin text, Boosey, M-051-47223-9, SA & keyboard (opt. strings & continuo). Taken from the duet portion of the complete "Kyrie" from Bach's Mass in B Minor-BWV 232, the edition is a real challenge. Dance-like in nature, this is a great programming substitute for the duet from Cantata 78, Jesu der du meine selle (Wir eilen mit schwachen doch emsigen schritten). String and continuo parts are available from the publisher. Difficulty rating 4. $2.40
Creator of the Stars of Night, arr. Michael Burkhardt, English text, MorningStar, MSM-50-0402, unison (opt. two-part), handbells, viola, & organ. Perfect for teaching your children's choir how to sing plainsong, this beautiful 9th century chant is based on Conditor alme siderum, Mode IV. Difficulty rating 1. $1.25
How Can I Keep from Singing? arr. Alice Parker, English text, Hinshaw, HMC-1749, SSAA, solo. & keyboard. This setting of the famous Quaker folk hymn is filled with changing meters and stark harmonies that accompany the elegant melody. The piece requires an accomplished keyboard player. Difficulty rating 3-4. $1.50
Lord of the Dance, arr. John Rutter, English text, Hope, C5102, unison (opt. descant) & piano (opt. orchestra). This strophic setting of the tune with a canonic closing is very easy to learn. The interesting part about this edition is that it is orchestrated for full orchestra including harp. Typical of Rutter's style, the accompaniment is filled with harmonic and metric interest. Difficulty rating 2. $1.95
Sinner Man, arr. Jonathan Willcocks, English text, Lorenz, 15/1492R, SSAA a cappella. This a cappella setting of a famous spiritual is a real challenge. Filled with tricky rhythms and counterpoint, the piece requires an accomplished choir to be effective. The phrase gestures for chorus and semi-chorus are in an extreme vocal range in the lower tessitura. These range requirements make it more appropriate for women's chorus. The dynamics and phrase shapes must be performed with a great deal of care and artistic sensitivity. Difficulty rating 4. $1.95
The Storke, by Gerald Near, English text, MorningStar, AE117, SA (divisi) & harp (piano). Set to an anonymous text from the fly-leaf of King Edward VI's Prayer Book dating from 1549, this two-part piece is filled with surprising unisons and octaves. The intervalic relationships and rhythms between the two parts are quite challenging. The choir must have fine intonation and breath control if the piece is to be artistically effective. Written for the Santa Fe Women's Ensemble, the piece requires an accomplished ensemble of singers. Difficulty rating 4. $1.75
Tyrley, Tyrlow, by Mark G. Sirett, English text, Hinshaw, HMC-1754, SSA, recorder (or C instrument), & piano. Written for the 20th anniversary of the Toronto Children's Chorus, the piece metrically alternates between 3/4 and 6/8. Set to an anonymous text from 1450, the recorder part can be played by an accomplished amateur. The piece is filled with intervalic challenges between the vocal parts. Difficulty rating 4. $150
Watts' Cradle Song, by Ruth Watson Henderson, English text, Hinshaw, HMC-1755, SSAA & piano. Set to the famous text by Isaac Watts, this unusual carol was written for the twentieth anniversary of the Toronto Children's Chorus. Set in 6/8 meter, the harmonies are effective but not difficult. Written mostly homophonically, the sopranos provide a lovely contrapuntal descant to the alto line. Difficulty rating 3. $1.25
SAB Voices ~ Sacred
The Lord's My Shepherd, arr. Emma Lou Diemer, English text, Hinshaw, HMC-1746, unison mixed voices, congregation, & keyboard (opt. brass). Utilizing the hymn tune Evan by William Havergal (1846), the text is taken from Psalm 23 as it appears in the Scottish Psalter of 1650. The brass choir is scored in a chorale-like style in both tone and harmony. The congregation part is printed at the back of the octavo and brass parts are available for purchase from the publisher. Difficulty rating 1. $1.25
Von Himmel hoch (From Heav'n on High), by Michael Praetorius (1571-1621), German/English text, Hal Leonard, 08501402, SSAB & organ. Beautifully edited by Margaret Boudreaux, this fine piece alternates between solo voices in a concertato-like setting with instrumental interludes. Authentic to these forces, this challenging piece will be quite rewarding for the choir with small forces. The string and continuo parts are available for sale from the publisher. Difficulty rating 4. $1.50
New Releases ~ Secular SATB Voices ~ Secular
Amo ergo sum (Because I Love), by Antonín Tucapsky, English text, Presser, 392-01054, SATB (divisi) & piano. Set to a poem by Kathleen Raine, this extensive choral art song requires a fine choir. The word painting is quite spectacular, with challenging divisi sections set to rich harmonies. The changing meters and complex rhythmic phrases make the piece more appropriate for an advanced choral society or accomplished college choir. Difficulty rating 5. $4.00
Es ist verraten (It Is Betrayed), by Robert Schumann, German/English text, National, NMP289, SATB & piano. Edited by Hugh Chandler, this choral art song is fifth in a cycle entitled the Spanisches Liederspiel, op. 74. Written with Bolero-like rhythms, the piece is composed homophonically with some simple counterpoint. All accomplished choirs will enjoy learning this wonderful love song. Difficulty rating 4. $1.35
Jägerchor (Hunter Chorus), by Franz Schubert, German/English text, National, NMP287, SSAATTBB & piano. One of the two choruses from "Rosamunde," this piece is filled with challenging rhythms, wide vocal ranges, and alternating counterpoint with homophonic passages. The divisi sections are quite challenging and the accompaniment requires an accomplished pianist. The piece is typical of Schubert's advanced compositional style. (The other chorus "Hirtenchor" is available separately, NMP260). Difficulty rating 4. $1.25
Plaisir d'Amour (The Joys of Love), by Jean Paul Martini (1741-1816), French/English text, SATB & piano. Martini was born in Southern Germany, but spent most of his compositional career in France, writing operas, symphonies, and chamber music. He was one of the first composers to write songs for piano rather than continuo. Originally written for solo voice, this arrangement by Bruce Trinkley is quite effective. Difficulty rating 4. $1.40
Swing Along!, by Will Marion Cook (1869-1944), English text, Hal Leonard, 08501386, SATB & piano. One of a number of Afro-American composers who wrote at the turn of the century, Cook drew his inspiration from the folk music of black Americans. Taken from the 1903 production of In Dahomey, the piece is arranged by Gaston Borch for SATB, SSAA, or TTBB voices. Set in spiritual style, the secular text is ideal for school use. Difficulty rating 4. $1.50
Two English Part Songs, (April Is in My Mistress' Face, by Thomas Morley, What If I Never Speed, by John Dowland), English text, Hal Leonard, O8596729, SATB a cappella. Madrigals are great fun to sing and these two pieces are no exception. Edited by John Leavitt, the contrapuntal phrases in the first piece encourage an elegant vocal style. The second piece is composed homophonically with some interesting contrapuntal sections that are ideal for developing fine tuning and a balance of parts. Difficulty rating 3. $1.40
Velvet Shoes, by Jan Sanborn, English text, Hinshaw, HMC1787, SSAATTBB & keyboard. This contemporary setting of this famous poem by Elinor Wylie is filled with stark, powerful harmonies. The changes of key are quite effective and add to the power of the musical statement. A challenge to tune, the piece is set quite effectively. Difficulty rating 5. $1.25
Treble Voices~Secular
Abschiedslied der Zurvögel (Farewell Song of the Birds of Passage), by Felix Mendelssohn, German/English text, SA & piano. Composed homophonically, the harmonies contain many third relationships which make the piece easy to learn in parts. The long phrase shapes on ascending scales suggest birds in flight. The duet is perfect for developing fine breath control and elegant phrases often sung piano. Difficulty rating 3. $1.20
Das Blümchen Wunderhold (The Loveliest Flower), by Ludwig van Beethoven (1770-1827), German/English, Hal Leonard, 08551431, Unison (opt. 2-part) & piano. Arranged by Emily Crocker, this solo art song describes the beauty of tiny flowers as the text compares it to love between two people. The optional second part is written mostly in thirds which is easily learned and actually outlines the piano part. Difficulty rating 3. $1.40
Four Spanish Lullabies, arr. Francisco J. Núnez, Spanish text, SSA, 2 solo voices, & guitar. These four beautiful lullabies are sensitively set. The anonymous texts come from different regions of Spain. The edition by Doreen Rao contains extensive performance notes and translations of the text. An IPA pronunciation guide is also included. The performance time for all four pieces is 11 minutes and 45 seconds. The guitar part requires an accomplished player. Difficulty rating 4. $2.75
Islands, by Lyn Williams, English text, Boosey, M-051-47115-7, SSA, solo, flute, & harp (or piano). This unusual piece is set to a text by James Reeves from his Complete Poems for Children. Written on a hot Australian summer day, the piece conjures up idyllic holidays in the Coral Sea. The atmospheric writing of the voice parts accompany a beautiful solo melody written in the upper tessitura of the voice. The soloist needs to have a strong, pure voice with excellent intonation and purity. The flute part is not difficult but requires an accomplished player. Difficulty rating 3. $2.40
Sommerruh (Summer Calm), by Robert Schumann, German/English text, National, NMP290, SA & piano. Edited by Robert Carl, this elegant piece builds the upper tessitura and tuning of both vocal parts. The harmonies are dominated by thirds composed homophonically. The dynamics and long phrase shapes will build the choir's breath control and easy pure singing. Difficulty rating 3.$1.20
Sebben, crudele, by Antonio Caldara (1670-1736), Italian/English text, Hal Leonard, 08551415, SA & piano. This Baroque aria has been arranged and orchestrated by Henry Leck. The composed alto part carefully shadows the continuo part. Written for the Tuscany Festival in Florence, Italy, this piece is a welcomed addition to the treble orchestrated repertoire. Difficulty rating 3. $1.40
Sure On This Shining Night, by Samuel Barber, English text, MorningStar, MSM-50-9921, unison & keyboard. Taken from a set of four solo songs composed in 1937, this piece is one of the great art songs of the twentieth century. It is ideal for teaching a pure, ringing tone quality in the upper tessitura of the voice. It is perfect for church or school and simply rings on treble voices. A teaching tool and historic background is included in this edition by Marie Stultz. (Note: The final piano chord should be a lower b flat rather than octave d's as incorrectly notated.) Difficulty rating 3. $1.25
Three Canonic Folksongs for Young Singers, arr. Michael Burkhardt, English text, Lorenz, CGA863, SS (opt. three and four part) equal voices, keyboard, & instrumental ostinato. These arrangements are quite useful. Filled with historic information, teaching techniques, optional ostinatos, and service suggestions they are excellent for building beginning partsinging. Difficulty rating 2. $1.50
Three Italian Songs of the Sea, arr. Henry Leck, Italian/English text, Hal Leonard, 08551416, SA & keyboard (opt. organ). Arranged for the Tuscany International Children's Chorus Festival in Italy, these Italian folksongs about the sea have an original second part. Composed homophonically, the simple second parts will be easy to teach and will teach solid partsinging. Difficulty rating 3. $1.95
Vocalise, by Sergei Rachmaninoff, no text, Boosey, M-051-47120-1, unison & piano (opt. orchestra). This famous vocalise is one of 14 songs, op. 34 written between 1910-1912 by this famous Russian pianist and composer. Although in unison, the piece is a real challenge and requires young singers or women of advanced capability. The choir must have a pure tone, with excellent intonation and advanced breath control. Written in the Russian Romantic style, the piece is an excellent addition to the treble orchestrated repertoire. Difficulty rating 4. $1.40