Benjamin Britten's "Cantata Misericordium",Opus 69: A theoretical analysis and a

conductor's guide to gestural analysis.

Item Type text; Dissertation-Reproduction (electronic)

Authors Osborn, Lawrence David.

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

Download date 29/07/2018 19:40:03

Link to Item http://hdl.handle.net/10150/186533

INFORMATION TO USERS

This manuscript has been reproduced from the microfilm master. UMI

films the text directly from the original or copy submitted. Thus, some

thesis and dissertation copies are in typewriter face, while others may

be from any type of computer printer.

The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed through, substandard margins,

and improper alignment can adversely affect reproduction.

In the unlikely. event that the author did not send UMI a complete

manuscript and there are missing pages, these will be noted. Also, if

unauthorized copyright material had to be removed, a note will indicate

the deletion.

Oversize materials (c.g., maps, drawings, charts) are reproduced by

sectioning the original, beginning at the upper left-hand corner and

continuing from left to right in equal sections with small overlaps. Each

original is also photographed in one exposure and is included in

reduced form at the back of the book.

Photographs included in the original manuscript have been reproduced

xerographically in this copy. Higher quality 6" x 9" black and white

photographic prints are available for any photographs or illustrations

appearing in this copy for an additional charge. Contact UMI directly to order.

V·M·I University Microfilms International

A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106·1346 USA

313/761·4700 800:521·0600

Order Number 9421741

Benjamin Britten's "Cantata Misericordium," Opus 69: A theoretical analysis and a conductor's guide to gestural analysis

Osborn, Lawrence David, A.Mus.D.

The University of Arizona, 1993

V·M·I 300 N. Zeeb Rd. Ann Arbor, MI48106

BENJAMIN BRITTEN'S CANTATA MISERICORDIUM OPUS 69:

A THEORETICAL ANALYSIS AND A CONDUCTOR'S GUIDE

TO GESTURAL ANALYSIS

BY

Lawrence David Osborn

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements for the Degree of

DOCTOR OF MUSICAL ARTS

in the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 9 3

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have

read the document prepared by Lawrence David Osborn ------------------~--------------------

entitled Benjamin Britten's Cantata Misericordium Opus 69:

A Theoretical Analysis and a Conductor's Guide

to Gestural Analysis

and recommend that it be accepted 3S fulfilling the requirements

for A. Mus. D.

I • Date

/~ /;7/93 Date I I ()'/I-:ricI3

Date\, /

Date ll- ll-l?>

Date

/ Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.

Date

3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

Signed: ~tj) t2di!fV\-. ;

/

4

TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS. 5

ABSTRACT 7

CHAPTER

I. BENJAMIN BRITTEN: A BRIEF BIOGRAPHICAL SKETCH .. 9

II. STYLE PERIODS AND INFLUENCES. . . . . . . . .10

III. THE WAR REQUIEM AND ITS INFLUENCE ON THE CANTATA MISERICORDIUM. . . .12

IV. THE CANTATA MISERICORDIUM OP. 69. .17

V. HARMONIC TREATMENT. .21

VI. MELODIC TREATMENT .28

VII. RHYTHM AND METER. .40

VIII. GESTURAL ANALYSIS .49

SUMMARY AND CONCLUSIONS. .72

REFERENCES . . . . . . . .73

5

LIST OF ILLUSTRATIONS

Figure Page

1. War Requiem, rehearsal 97 .13

2. War Requiem, rehearsal 1. .14

3. War Requiem, 6 measures before rehearsal 101. .15

4. War Requiem, rehearsal 127-128. .16

5. Text: Cantata Misericordium . . .20

6. Cantata Misericordium, measure 5 .22

7. Cantata Misericordium, rehearsal 3. .23

8. "Hear the voice of a Roman":. . . . . 24

9. 2 measures before rehearsal 5, "Hear the voice of Jew": .24

10. Rehearsal 14, "Be of good cheer, traveller":. . . . 24

11. Rehearsal 18, "Look another (Levite) is coming.". . 25

12. Rehearsal 21, "See now, a third (Samaritan) is appearing." . . . . . . . . . . . . . . . 25

13. 1 measure before rehearsal 5, "but who is my neighbor?". . . . . . . . . . . . . . . . 26

14. Rehearsal 5, "Let us enact now a parable of Jesus." .27

15. String Quartet ritorne11o use of semi tone , measures 1-4. .28

16. Measures 5-8. . .29

17. One measure after rehearsal 1 (Soprano and Alto voices) .30

18. Rehearsal 6 .31

19. Rehearsal 7 .32

20. Rehearsal 9 .34

21. 3 measures before rehearsal 13. .35

22. 2 measures after rehearsal 16 .36

6

23. Rehearsal 19 ... .39

24. 6 measures before rehearsal 6 and 20. .40

25. 4 measures after rehearsal 21 .42

26. Rehearsal 1 and 3 on the word "Beati" .43

27. Rehearsal 25 .. .44

28. 3 measures before rehearsal 16. .45

29. Rehearsal 30. .47

30. Rehearsal 31. .48

31. Rhythmic pattern elongation on "Beati". . 52

32. Metric modulation via subdivision .53

33. Simultaneous 12/8 and 4/4 meter .54

34. Speed of gesture on second beat .56

35. Pronounced rallantando (slowing) on "Tate". . 57

36. Sixteenth note triplet (mm 48) to sixteenth note triplet (mm 144). .58

37. Recitative. . . . . .59

38. Asymmetrical metric grouping. .62

39. 3 measures before rehearsal 25-reh.25 .63

40. 2/4 meter use of a light, bouncy technique. .66

41. D-Augmented chord release and downbeat preparation. .67

42. Contrast of sections (animando to largamento) . .. .69

7

ABSTRACT

A complete theoretical and gestural analysis of Benjamin

Britten's Opus 69 has usually been treated in a separate and, in

terms of choral-orchestral synthesis, exclusive manner.

Twentieth-century music reveals more technical complexities than

music from earlier periods. For the professional conductor it is

becoming increasingly impractical to limit oneself to the choral

or instrumental area at the exclusion of the other. There are

mutually complementary features and advantages in both the choral

and instrumental area that can only serve to enhance and refine

conducting gesture and technical artistry. These factors can be

realized through the study and analysis of a delicate, balanced

work that requires, on the conductor's part, this synthesis of

choral and instrumental technique.

The choral-instrumental works of Benjamin Britten help provide

this necessary synthesis and discipline. The Cantata

Misericordium, in particular, admirably serves this necessary

balance of choral-instrumental integration. The modest scoring

for small string orchestra, string quartet, piano, harp, timpani,

SATB chorus, and tenor and baritone soloist provides the conductor

with a rich array of diversity in choral and instrumental

technique. According to the Peter Evens article on Benjamin

Britten in The New Grove Dictionary of Music and Musicians;

Twentieth-Century English Masters, The Composer Biography Series,

the Cantata Misericordium is "one of Britten's most beautifully

realized works .... ,,1 Writings on this work are few and provide

only a limited theoretical analysis with no practical application

pertaining to the technical aspects of gestural analysis.

This project is designed to present a thorough theoretical

and practical performance guide leading to performance through

mastery of gesture and the integration of choral and orchestral

forces. The purpose of the following Lecture-Recital Document is

thereby twofold: I. To provide a detailed compositional analysis

and style summary of Benjamin Britten's works from the time of

the War Requiem through the Cantata Misericordium, II. To

present a practical performance analysis that presents a study of

the more subjective area of gestural analysis and the application

of it in the context of the score itself. It is the application

of a variety of gestural patterns that shape and refine a

conductor's technical expertise. This score, along with other

choral works of Benjamin Britten, provides a wealth of gestural

analysis and application necessary for today's conductor.

IThe New Grove, Twentieth Century English Masters", (New York & London: W.W. Norton & Company, 1986), p. 267.

8

9

CHAPTER I

BENJAMIN BRITTEN: A BRIEF BIOGRAPHICAL SKETCH

Benjamin Britten was born on St. Cecilia's Day, (St. Cecilia

is the patron saint of music) November 22, 1913. His musical

training began at home. His earliest compositional attempts were

made at age five. Britten's attendance at music festivals in

England in 1924 and 1927 expanded his musical horizons. Britten

came in contact with the composer Frank Bridge, who became his

first composition teacher. This encounter with Bridge was an

important factor in Britten's early musical training; it was at

this time that Bridge was turning away from his earlier style of

Romantic eclecticism to a more progressive style of music that was

exhibited in Europe by such composers as Bartok, Stravinski,

Schoenberg, and Berg. In his mid teens, Britten disciplined

himself in the control of his compositional elements by way of an

intense inner scrutiny, (according to his family) rather than an

imposed academic discipline.

10 .

CHAPTER II

STYLE PERIODS AND INFLUENCES

Britten's highly developed aural imagination was the primary

factor in his compositional process. During the 1930's, Britten

expressed enthusiasm for the works of Percy Grainger, a composer

whose simple folksong arrangements provided Britten with a poetic

ideal that was to become one of the most important elements in his

musical language. In his book Introduction to Contemporary Music,

Joseph Machlis states: "Britten is essentially a lyricist.

Whatever he happens to be writing for voices or instruments, his

art draws its imagery and its melodic line from that most personal

of instruments, the human voice. "2 Britten's fondness for textual

expression is revealed in most of his vocal compositions and

instrumental compositions; for example, the early Sinfonietta from

1932, bears the stamp of song and poetry. Gustav Mahler was also

a great influence on the young Britten. Mahler's use of ostinato,

instrumental ensemble contrasts, so apparent in the War Requiem,

as well as semitone string writing are all a part of Britten's

musical/compositional vocabulary. Britten's fondness for parody

technique and satire, as exhibited in his work Our Hunting

Fathers, is thought to be based on Dimitri Shostakovich's

satirical opera, Lady Macbeth from 1932. These seemingly eclectic

and diverse influences have shaped Britten's individual style.

2Machlis, Joseph, Introduction to Contemporary Music, (New York, W.W. Norton & Company Inc., 1961), p. 304.

11

For the purpose of delimiting the scope of this document,

three style periods will be examined: I. Works during the 1930's,

II. Works form 1942-1954, and III. Works from 1955-1964.

Britten's stylistic traits during the 1930's feature a fondness

for English modality as seen in the Hymn to the Virgin, the

duality of using English and Latin texts, and antiphonal spacing

of large and small choral ensembles. Another representative

example from this period is the set of choral variations, A Boy

was Born. In her unpublished dissertation entitled, "The Choral

Music of Benjamin Britten," Mary Margart Dundore states: "Wholly

outstanding is A Boy was Born, a set of choral variations .... "

It is easily Britten's finest a cappella work. ,,3

The works from 1942-1954 show poetic influences. Poets such

as W. H. Auden and Christopher Smart, in whose poetry Britten

found compelling enough to set choral works such as: Hymn to St.

Cecilia and Rejoice in the Lamb respectively, provided Britten

with the English textual spirit (the union of text and music)

missing since Henry Purcell in the 17th century. Lyricism,

melodic sensitivity towards text, choral recitative, ostinato,

rhythmic freedom, and dramatic use of the chorus all characterize

Britten's compositional synthesis during this time.

3Dundore, Mary Margaret, "The Choral Music of Benjamin Britten", (Diss. University of Washington, 1964), p. 9.

CHAPTER III

THE WAR REQUIEM AND ITS INFLUENCE ON

THE CANTATA MISERICORDIUM

12

Works from 1955-1964 feature the monumental work, the War

Reguiem. Written in 1961 and first performed on May 30, 1962, the

work contains some of the 20th century's most profound writing.

The combinations of Wilfred Owen's war poems and the Requiem Mass,

provided Britten with the text through which he could, as well as

all humanity, voice his opposition to war and the effects of man's

inhumanity towards man. It is the purpose of this document to

show, however, the influence of the War Requiem on the Cantata

Misericordium, an influence perhaps overlooked because of the

monumental significance of the former.

In its tonal language the War Requiem uses the tritone as the

basic kernel of melodic and harmonic evolution whereas the Cantata

Misericordium uses the interval of the third as its fundamental

structural basis. In the Agnus Dei of the War Requiem this

tritona1 relationship is revealed by tonal juxtaposition of b­

minor and C-major chords, in its most basic and traditional

relationship, a tonic-neopo1itan melodic scale is shown in example

1. The use of outer polarities (the interval of a tritone where

both notes have equal importance), or in the case of the War

Requiem's use of the tritone, are typical structural unification

devices for Britten. Syllabic word stress, even when working with

non-English texts, reveals Britten's mastery in craftsmanship. In

oCt a: ... VI W J:

Ii o

CI12 In B~

B,CI In Sp

AN M

1&1 ,,~ U

13

C>2 _ -ppp~. I~P~ - -

~., Ippp~· ~.:---. I .' ~ B5n.l.2 ---<

I -!~ .. -. IWP s",..th I~IT ==

o B5"

PPP-'~h =-"I~ SOPRANOS 1Jppsmooffl

I'" I .. • ,,;' I q,. .. '-A-gnu50.· I, qUI loHi5 pec·co· la

,,~ ALTOS IlPJ> smooth

" --..,-\:l-li5 P"C·ca· ta A-gnuso.· I, qUI

" " TENORS PJ1fl ""0',",

I" .. I -.. • .. I ~al-I~ pec·co· ta A-grus 0.. I, qUI

BASSES ppp smooth

A'gRls -De. i, quI . -

tal· II 5 pee· ca· to

"" y -

VI.I

II" I I T~~··lq'~1

Figure 1. War Reguiem, rehearsal 97

Figure 2 both features of word stress and C-F# polarization are

shown,

In the "Libera me" section of the War Reguiem, Britten uses

another structural device that is related to melodic

configuration. In Figure 3 the central pitch, D, is framed by

the pitches C# and E·b. This device is also used in the Cantata

Misericordium.

I

14

let I in el> Aa ---!~ ~ ,

I 9 CI. It! 8~

101 _i} __

\~ j::;.. .. ~ ~. ~i

.,,, 9P ...--.---. -.! 1

r~ pp"'rt_~ ~<i '...:!!._rl· ~Ir:!' ~ -Q~!

TJ-J\ '1 ,-~ 3 T§i:::::-' I 1 i "" 8sn.1.2 , f ~ • • =----PI' t--

.~ -o 8sn

pp~ = . - --,-12 I

I'~. t!z'CI_W ~. \=:6_. ~.::. ~. "._1 PI' == ===---1 -~n In F"

34

lei y_i iI-a i v.-Li. ~-. pp =F-- L. I ==--! I 1.2

" ~ .J.. J'.= ,

==--pp - ~ Tbne -~ J a:

pp =-- = ... IJl l!! 8ells U a: Per:. 0

p Pi?

S.

Requiem atlernam dena • "5. dOona e· IS Dorrunc, p

A.

• Requiem oe'ttrr.am dona

P . T

Rrqulcm aeternamdcna e-is>, do·no e· is Dc· m, •

Figure 2. War Requiem, rehearsal 1

In terms of orchestral-ensemble relationships, the War

Requiem exhibits Mahler's influence in spatially divided use of

choir, chamber orchestra, boys choir with organ, and full

orchestra with soprano soloist. The chamber orchestra features

tenor and baritone soloists as does the small ensemble scoring of

the Cantata Misericordium. Figure 4 illustrates the before-

mentioned juxtaposition of chamber orchestra with tenor and

r

<I a: t­I/) W J: u a: o

Fl.2

CI1 'n B

Bsn.

b

1

.. I"

.. I"

~=

-==-- PP D/wD/3 SU31

-0

==-- PP D/walS SlJS'

15

-- l!!-u_ .~- j,!l.v~o_

,Q tlle- e~ rr ... --';-,,-

(Ot)'$j5010) , h • • j ~ J J PlIl, B.D. f 1 ~- • T-= ::-: - • ! PP-== ~ -=== ==- -=== ==-

Tm Or j JlI ~n-" ! 1 n ./l I , _I

pP (olwoy$ 50'0) I

Cymb i I

Prrc

--.. SOPRANOS pp'D_n'~ =-

I" ·Ii- - pOI L.· br-ra m~,

" ALTOS pp'.mtf'llfl9. =-- =-

~ a: 2 u

rll R·~"· - ~. ~~ "-LI·be'·ra mt. __ Oo-m·nc._

Vc

R- - ~ • j!: PP11 1-= ===- -==-:::=-

, y" , ., , y ., In ~~) ---'~

Il·- .~. - -----' .-- --== ==- ;.....-- .....:::: :::=-.I,m

Figure 3. War Requiem, 6 measures before rehearsal 101.

baritone soloist. It is interesting to note here that the key is

D-Lydian as is the sleep section (the closing lullaby section in

triple meter) for tenor and baritone solo in the Cantata

Misericordium.

16

!i12I ver~ qui.' 1111 the end (",.lto lronquiu.l

J J

I J j

t I:: ~t : H ua r Pl'Psw .. "y =---

r I r r ! iiWJ I : r r :a: := r : til I

TENOR SOlO pp ~-r I , c: e I

" L• I _ us sloep

.----. l II now, __

'rhaOl

I pp sW""y

~ mut.d ~ ~ - ....... -.. Vc

PPSW,,'! .;, ~.Q-(Unmut'd~. ;. ;,. -

pp

== I r I, p II I r ,

sum, d. - du - canl Ie An·q. - Ii, __ _

Figure 4. War Requiem, rehearsal 127-128.

17

CHAPTER 1V

THE CANTATA MISERICORDIUM OP. 69

According to Peter Evans in his book The Music of Benjamin

Britten, "Britten's first choral work after the War Requiem is

difficult to view in a context altogether divorced from that of

the Requiem. "4 Evans continues to state: "In the Cantata

Misericordium there is even so direct a reminder as a dialogue of

tenor and baritone soloists that culminates in a soft, bright

music (to which harp colour contributes distinctively) to the

words 'Dormi nunc, amice' ."5

OVERALL STRUCTURE AND TEXTUAL TREATMENT

With the overall structure being based on the text, the

Cantata Misericordium combines features of Cantata, Oratorio,

Opera, and the Passion. The story is a simple parable of the Good

Samaritan. The work was composed for the Commemoration Day of the

Centenary of the Red Cross, held in Geneva on September 1, 1963.

For this international occasion Britten chose the Latin text to

provide international accessibility for the whole Western world.

The chorus functions as a Greek Chorus in that it comments on the

4Evans, Peter, The Music of Benjamin Britten, (Minneapolis, University of Minnesota Press, 1979) p. 440.

5 Evans, Peter, IBID, p. 440.

18

story just as the chorus would in a Passion account. This use of

narrative commentary provided Britten with a dramatic use of

choral and orchestral techniques that will be examined further.

The most basic textual significance, and certainly a timely one

that parallels the Red Cross mission, is that doing nothing when

one has the power to do so, is the sin which the work speaks

against. The roles of the Priest and Levite are not represented

by actual assigned roles, but rather referred to by the dramatic

reflection and outcries of the chorus, in this manner the drama

unfolds in a more urgent, immediate way.

Figure 5 is the organization of the text for the Cantata

Misericordium. Because of the Prelude and Postlude nature of the

Misericordes theme, (the returning "Beati" chord in the chorus)

the Cantata is arranged in a cyclical fashion that uses the

Traveller and chorus in a manner that is framed by the beginning

and ending chorus. The result is an ABA structure.

Britten's tonal language is perhaps best described by composer

Eric Salzman in his book Twentieth-Century Music: An Introduction.

Salzman summarizes:

His [Britten's] fundamental idiom is based on a synthetic tonal technique elucidated with great simplicity, naturalness, and skillful clarity growing out of a kind of melodic thinking which is often vocal in or1g1n. He has also responded to English tradition­the tradition of Purcell and of English choral music, rather than that of the folk song or Elizabethan madrigal, but any specifically English quality which

can be ascribed to his music is the result of its force of character rather than of any easily isolated musical features. Britten has never hesitated to use­often with conspicuous success - a wide range of musical techniques integrated by means of simple, artful, new tonal forms. His forms are nearly always, in spite of appearances, highly constructed; a problem is that they are not always organic. The music is typically put together in freely diatonic melodic-vocal phrases, often set into a simple contrapuntal web and punctuated by clipped, highly colored, triadic harmonies. The basic long-range motion, the big structure, and even ultimately the sense of convincing tonal organization depend, however, on a careful inner manipulation of relationships functioning at another and far less simple level than the attractive and easily apprehended exterior .... 6

6Salzman, Eric, Twentieth Century Music: An Introduction, (New Jersey, Englewood Cliffs, 2nd Ed.,1974), p. 81.

19

CANTATA MISERICORDIUM

"","us 1 ...... _ .... q .. doIoft __ ....... _. ,, __ 11-:

n_ Drutnl-wi __ •.

ntoous ,, __ 11IIIod:

.... toNUS . ""'-... --.. ~.-.. ~ n IAAnDHUI "."",.--""" .. , QIOOUI .......... _iun_ ... r ..... OIDIIIUS

fa ... cor q ...... II> \a..aa. iIolondoo. "" ... , ... ,,-, "h_fonpnl ......... _pcr ............ TrmI ....... '.IIdo. ____ .. _ .... .-. _.11 ..... -."""'"'". propm.

DlQllUI Co ... _. "' .. , ,-"-.iII _la_ . ... ,,-~ ... _.Co ... _._!

...... q.. ..... _'C ... oo:.,_,,, ... ,.,..., A ..... ' ......... r"",boIo vapuIo ..... opoIoor ........ . Quo r"" ....... , Ehcu ........... Ie.,;~ .. -............... _.

CMDOL' Ubo nunc .. trona ilu' Qooom ClIO .......... rlapoc _I. Sululldo ublq ... """lido .. 1Iiaoc,_. Qui. huic IUICCWI11m I.aMI ~IU&a""

..... us lotto nunc uumo n.. "ialOr. Nam ut.. ~I ...,r ....... qu'haboIUnl_. " ....... _1. CompcIIa ...... .

\'lAte. !ullom, •• h ",110m,; .... 1m _1IIOf1.

nw_l."I 0.,. IOm'dcK. quod oculo. ...,.,., Quod proaol __ "III __ L ... bol .......... __ •

.....

20

QIOO .. Ea .............. _T .. _ ....... - . Ow ........ LniIa. ...... ......-.

""-F __ " __ "_.

QIOO .. Orm.. ....... _IH .. ___ _ ..- ocaIrrI .. .,-. T_ coda ...... _ poIIoooIw' 1 -._ L .. II ...... I.0.......-__

'-of-: Orttn,,. ...... "-.1r:!tiuI~ -..t ........ _ .... :_

pn>pot""" - --..... - ... Qwd iIo_s-ncMIi 1 ___ ....... -'

""-NiIcn:n IIICi, 1oaopIa,1IIicti .

.......... NUI'T.-I All. eli boou' Qoud .1liii0' Quid ..... polin , .. WIIIoo' '-' U: _w. __ ........ /\P. __ loOK ..... adl ...... Ubo .... _, Ubo_' s.u-__ ~ .... __ ~ ai.

0<01 .. v-. ......... ..- ............ H .. pools ;,------. .............

o.c. ""'PO . .;quad _: apcri po<1UI. v_ odIcto • rau-buo apoJ.-I_. "peri. q_ . . . ..;pc . .... -_ .. _ ..... ~.-Ioo. N,'uuu.bcllAd_ ... LC ....... __ nIoaaoI. Doboubid_ ........

... -, ... "' ................... _ .. - .... 1Ioopoc __ n'U .... a ... """"

S.hlllq_libi ... I1 .. ,.,.... ...... ' IAIWln ...... Qua ...... _ ... u __ ..-.

Donu._._donru;_* ....... QIOOUI

M.tit 1Ma. adlYlDnI qUi Irn'aVlt .. uce .. Pro ..... _ .. bod .... I......--'_ O .. __ u~ ........... !

Nortooa I'-:i~ Nan_I ........ _I; Sod-wa. ..... ~ .... IiI: ......... E ....... ..-u __

_n ... n-... Qua.,_ ........ .,... ..

V_.ud ..........

Figure 5, Text: Cantata Misericordium.

CHAPTER V

HARMONIC TREATMENT

21

In the most traditional sense, the harmonic basis of the

Cantata Misericordium is the use of a D Augmented seventh chord

(spelled D-F#-A#-C#). However, Britten uses this two equal major

third structure as a pivotal basis on which to build a rich

variety of harmonic and melodic means which feature whole-tone

scales, octatonic passages, enharmonic shifts, and modal shifts

which may be used simultaneously. Britten's use of key signatures

merely suggest basic areas of tonality that serve only as

guidelines for structural, tonal support. Example 6 illustrates

the use of a C#Mm7 chord with a tonic f# pedal. Even though the

opening prelude (string ritornello figure that sets the mood)

clearly suggests the tonal area of f#-minor, especially with the

C#Mm7 emphasis, the tonality is later on more unsettling and

transitional (see Figure 7).

22

Figure 6. Cantata Misericordium, measure 5.

-'"·l='~' 111,--, f~ 't I'; I: !e I~ ~' 11l Ar~l~' ~~~~".~~

~ ~ ;j;!;1

If o u

5

A.

T.

e.

VII

VII I

a '" Via

Vo

VII

Viii

Vie.

Ve,

Cb

~ ~ l.-. f=-=:-.. e. a. ti, a.·a. ti ~ . • f_. I-

8N1. ti, a..a. ti

-Ail f.-' _/~-;;--'

I~ Be-a. ti, Bo· •• U

Ir-' .f..--:::-'

a.a. II. Booa • Ii 1\ ~~

"' .~ , .~

I"'

.~':"""~ j

~cu;,.H =- lU~~

~ ~=- ;~

areaD! =-- ~.~

area J! ==-- Jf ~ -

..If" =-- J1 =-

R'~ ;--- '"= . p~

mi· ... ri· cor-.Oft, I: €':': ,,\'i .• -;;::,

I':.-

;; . ... ;: .. cor. eM., mi. P. -

., mi· ... rl. co,. .. .... 'i'I

mi •• ·r.o co,..de'. ...--=

;- f- W'_·_·,.t"9 =-- ......

..:=. = ..... ...- ~- -- p

----p-~~~ -e~ p ~

P =--

11'

PI'

PI' 'l:

11' "':L ~ b ~ It

...

Figure 7. Cantata Misericordium, rehearsal 3.

23

24

The following sequence of semi tone and wholetone synthesis

(Figures 8, 9, 10, and 11) reveal the masterful way in which

Britten portrays the textual evolution of introduction (Roman),

anticipation (Jew) (both commenting on mankind's inherent

goodness), and frustration (after being rebuffed by the Priest and

Levite) . ITt'

'"' _1'P-.crfJC. Jt,/no.ntlo /.

I .. . -Au·dl .. t~_ ...o·orm Roma .. "i\

t':'I PFer'IC. (' string I. . ' .. Au • di .. tt ~ .. cem...Romani

t':'I n'rtsr.' SlrmQ ' ,

Au·di . to_ r- yocemRoma .. nit 1ftr"c, ,strin9' ~ -" t':'I

A"" .. dl. tl YO .. OImROITIl- N

Figure 8. "Hear the voice of a Roman": P 'fI,C • SIf;n "100 f·

~ It. _ -eJ1' te_ ~.(', .. c.. Slri"

w·~m ru.doI - ,~:

Ill,; - ;.r. .. lu _ dot

If! Crt,,, J ,'cnt;l -.,a.elm .:,',1

Au-dl . t. -...- \oOOImr~oo. . )!' . ~C"'C' Sir",",

Au .. di .. t'I yO. cem lu--dct - j:

Figure 9. 2 measures before rehearsalS, "Hear the voice of Jew":

I!:; ... ':' ... nunc

e: .. .. no nunc "''''1<.' ,,"";';;,;

.. aent-rna a.vto .. tor.

-a .. ntmO '., _ 'VI .. a .. tor.

I""

" 80 .. no flJnc a .. ,.. .. mo IS, ".0 .. tor.

®

Figure 10. rehearsal 14, "Be of good cheer, traveller":

I~:... 7;;._ J";'_,,"C. , ur'no,ntJo . .

En oJ - tr,. ~ crISe., J/finp.noo

,n conSOtCturn~... - nit.

En

@

II. :a 01- ttf'

·n cDn1Ol'Ctum Vf' - -

Figure 11. rehearsal 18, "Look another (Levite) is coming."

~ ,,,"" Ir£! ; I'

1t...L~ ..t

Ec.. Cf_ 'f" - tj. uS ap'po - "f~.

Figure 12. rehearsal 21,

, '0

"See now, a third (Samaritan) is appearing."

Note, in Figure 12, how the voices move in semitones at different

speeds and end on an F# Major triad. This harmonic excursion

illustrates the framework in which Britten maneuvers and

juxtaposes the elements of who1etone, semitone, and tonal ideas

simultaneously. Figure 13 is the D-Augmented element in its most

stark presentation:

25

; chi.,. , ; r II ;

!

Q""~U! I~ t .,

fu"l! ~i2 401'& •• t! r.\

E +

26

Figure 13. 1 measure before rehearsal 5 "but who is my Neighbor?"

In Figure 14, Britten achieves sectiona1ized order through

the use of enharmonic means, in this case the D-Augmented triad

is mutated (F# to F natural) to make use of the tonal area of d-

minor. Here, Britten uses traditional harmony in a non-

traditional way. (D-Augmented chord to d-minor chord with no

modulation at 2 measures after rehearsal 5, second beat.)

A

0

:3 v T.

B

r VI I

I VI II

i_ 15 il/) Via

1 Ve

VI I

VIII

VI<.

® Con molo AQitalO(J. ge) .

,"

"

1-"

I" JL

I"

I"' -,,-"

lit' .. .u pc f "..,,,,,,,,

j 'd!

a:_

11:= It ____ -- a

! -~-3 , 't>'_

iir

~ !

5 -ro· bo.la (em no-bit fi. at fa .. bu-Ia, klm no-btl ,','Oat, ==--- ;=- ~.m

ro .. bo·la 10m no .bl. ,.. .. 01 10 .. by.la, iam noobi, a·. at.

==-- =--

leo .. IU po - :.a .. bo-okJ iam no· bt. fi .. at i."""'oro ~. -/L .. ~a'd""

ra .. bo·lo ian no.bl. fI' .. at V _:;

fa .. 6u.ra, lam no .. bll (j .. at, V

3· =--.

==--v

=--fr, on mo 0.0 Alo , V v

Imof(.- =-- ~ ~.m .- V v

1m", - =-- - ;;;;::- rt ... LIn" V V

Imo" I =-- ~t -uni~ - - .,...--,. 1. .-- I -.. -

/mol'( i ==--- =-- dim p.u

Figure 14. RehearsalS, "Let us enact a parable of Jesus,"

27

CHAPTER VI

MELODIC TREATMENT

Britten's ability to extract melodic components from the

harmonic foundation in the Cantata Misericordium is evidenced in

the following musical examples:

PATRICK WILKINSON

Arpa

S.

o A a: o u T.

B.

r Vlollno I

i:. o III

Vlollnoll

Viola

l VtOloncello

Viole-

Violoncelll

ContraboU j

~ LMlol.l.48)

11''' ;.I

0-. :I

0-• :I

0-

~ .; . . , il -.- ,

.. ~-... .& PrJOirp

.A u Lento~.~.48J

~ ~

..

qee. -:::,

..l. ~--

J'b:-"J""' J

'P.",;;-

.- -" ~ j

J

"f'" ~ ~ ..-:::.~ -

J ~ !..

PrJ:~

BENJAMIN MITTEN Op&l

-,ij"J, ---=!

- - --~l ('rl1( - -C",(' J =/ .-.,...,....,a~: ...

J " !

Figure 15. String Quartet ritornello use of semiton~ measures 1-4.

28

29

Notice the gradual migration to the Dominant Seventh chord and

the use of semi tone appogituras (non-harmonic tones) that create

a highly favored, English use of cross relations, so esteemed by

English composers.

Britten's fondness for English tradition is presented in the

following examples. Figure 16 shows how he spins out the

Misericordes theme from the harmony of the C#Mm7 chord, with each

vocal entry as part of the chord.

5, .. , :,. . .. -

0 ,. 5 u

T. ,. i

B

1 Vc

'I!. -'lrt I~ ~ I; !r;:1 r!' I: I Con Ptd

;;,-''''1 : : !' :: I ~ ~ot;~ ~; .. ;

J j, !!2'·

8 •. 0. ". I 1_. Be.Q. tl I -:::s-"="

ml • N. 1'" COl"o.,.

.L::

;B •• O. ". -. Beoo. ti

~.o .ti ;::::uo=;

Be.a· tl

-. 'I - ... ,.,,1 • I.e' r. I' cor. a.,

I : .... ,.1 .~

ml _ ' •• 1"1 •• c.o"~&,.

Figure 16. Measures 5-8

30

As the preceding example continues, Britten effectively uses a

dramatic stretto technique (shown below in Figure 17) to portray

an urgent appeal for mercy. The next example shows cross relation

used in a simultaneous way on the word "Beati".

,illl.Ji.. .....

nO l["'"r' 'r': -F:rtJC -T:

-. Ar pa< crt'Se.

Tim p.

::i o

VI

VII

5

A

T.

B

I

I

Via

Vc

VII

VIII

Vir

Vc

Co

~' 7 i ~

-. c, .... t -Irue , ... ,' ~ n -[II m, • _.rl'~- •

~

,....-~'~ ... "~~m" ... ro.~r.

.. cor.OIrs, ml'H pc" ~

m, ... ri

,MWL ... --. .

lnjJL":L....===. (tr)( -,r~~;Ii -...: -P Crt" --

--peffsc

i1D~-

~ p-'

.... " " I'"

A •

., • .01.

~ ~ .. 1\ .

(fISc

}

r.: ": -- l==---) lim

- .. J 1=---) J .,'"

~ ~ i ~ ~

-. . ~ =- '1 =-----== .f =--. J. . ~~-=I'+

CIH _~.~tlf e.·a .. II. --= ,~.

-:- w. "d;.L l..n. Fi. a.·a • lit .f=-- " ~

• ,.. (arde .. Be·a . I,. Be·a • tl, = .I ',--:-. - - ~.

cor .. de., De·Q .. ti, a.·a t"

~I

!:.'"' ! '=: ~---=1 b=. . .

J CD I I

}r =-- I)~ =--

=-=-- =-,=i§-

/1 =-- it ==--

d::; a~f =-- ,? ==---

--= .OJ ',oJ J =-- I -=--

Figure 17. One measure after rehearsal 1 (Soprano and Alto voices)

31

Whole tone sections are also another compositional element that

Britten explores with great finesse in the Cantata Misericordium.

The following baritone solo passage reveals a descending whole

tone scale from dl to d to portray the text of "Ah how long this

way is, how desolate the countryl"

Plano 11::: I !-A~l=I:'"

Vc 5010

VIII

VI.

Vc

Cb

I I

I I

!1m ,

q.,1 . ..---. -

" =-- p

. - .==-.

"": .. ..!' ,E::::

=--p ->c-

®

I: u ! I: I: I: !I~

III I: I: II: I: I: IlAAITONO SOlO ~~~-e

""-- ""-==--

..,.... 0 - I'U • .,j I - -- -;; ,:,.-" ...,,--... ~ ---= -=-- --== 6) "'I =-- =--

".~ ,.~ /P ...... "'-"

- t'!lP~

~ ~ .. ~

- ~ ~ ..,==- ~ - -;:. - .Y =--- .....---. ~ =-- ---== - =--

Figure 18. Rehearsal 6.

I

:::1 ill AlI_

. -.:=0.

,.

.= .1'=

32

Pure diatonic ism is also obvious in Figure 18 with sharply

punctuated d-minor chords (harp, piano and chorus) that reveal

the traveller to be totally isolated and unaware of his impending

fate. Figure 19 further reinforces the diatonic nature of

Britten's music. Here, the Traveller sings diatonic melody with

the piano and harp, while the lower strings foreshadow the

ensuing fate: Here F-Major (a-minor) is superimposed over an

implied f#-minor in the lower strings:

Figure 19. Rehearsal 7.

,,,··l: .... j:: -!:

- I

s~~; I), 55; F t s j T,,.N11nC s.o. h·lu·dO,

ir::tn I ;

Ir=~!; i F

ft tdt ttrl"tt 0ft'\I\I1 MJPH,

Figure 19. (continued)

o-rnnror"

Perhaps the most progressive element Britten uses in this

composition is scale patterns. Octatonic passages, alternating

half and whole steps, are used frequently in the Cantata

Misericordium. Figure 20 shows the various ways that Britten

employs these scales. Notice in this example that the following

four compositional elements are contained in three measures: I.

Hemiola, II. Simultaneous cross relations, III. Diatonicism (d-

33

minor) juxtaposed against e-flat minor (octatonic harmony) and IV.

Octatonic unison choral passages.

o a o v

B

, ~, ~ . ,.·1

" •

,,, I

I •

:" , ~

® anlmando

col I.gno

I Ca'vCo\'t(ltOf'I

I pP--==

I C .......... lorl pP--=

SJPC"U I ~~"Ol~'

Calt.. cav •. 'Iatol"l

:at. 1. !. .Z2 i3 pP---==== P ~ . .

I Lalml - ,-.". on umon. 1.lron.. 1 P ---=="""'. I

lat,nt _ i ..... "'um.N.IoI....... I p --=~ •

Lotmt_ I'JlIl in "",tr.1 kJtronn,

P ----:=i. •

L.ahnl_ !-Ita Inumbt'lllatro,..,.

VII ~~~~~~~~~~~~~§~~~~~~~~~~

:c::: : Figure 20. Rehearsal 9.

dl., CMII

J

Figure 21 illustrates the mirror octatonic passage that is

34

sung by the choir on the text: "Who will help this man in such a

wilderness?"

;} 0 ..

mello roll.

p.ana ~:~~:,_ :_;"":-:. :0...:' ":=,.-.:=;u:='''''i·:.c--:;;-~_:_=If;:C:::::::.:k

~

A A

0

'" 1&1 0 U ,.11

T

'"

0

VII .. " ."'

VIII tJ-'",

I Vic

Ie

. @ Llnlo (coml prlmll) ,J.';')

~JI

tuc: lYCtu"", n ton· to YO'ltl'

~

Qul~ hue lUCCurMln lon.to "'00.". """--'7-~~~~' =

Outs_ tucSt.ccurrrt en tal· to vo'lt., mallo roll.

r---~--~~----------I "-jj

-= J

,,,",

Figure 21. 3 measures before rehearsal 13.

Two more examples of octatonic writing follow. The first Figure

achieves its sense of drama and sense of purpose as the chorus

cries: "Hard hearted Priest."

35

~. M

p..., . {,~ J

Arpo

::. o LII

s

It.

o cr o u

D

VI I

VII I

VI.

1111

VlI I

Vic

Cb

1 .Ad -'is ... , ....

{,U'! I~~

,~~Jl.1 ,o".~

I'" Ou- ..... -cor·do., .. A.- ~ .I <on luo,.

I" Du· ... Ioa'mr • doll, l O. ~ ./,on luo,o I

I" Du - ... ....... -k. I J fion ~.o,o _.;----.

Du .. rc ao-Cfr .. dII>S,

I.~ ~ • ...4.,

I" ~.! . , " !rr ; .

• ,=F v =t='

.In " n

~ • i...J--~

, ~

I'" I I " u H , • ,

. -",I' Of. · .. I .1 •

,,';F -r-n

r ! r:> n

,

.,

1'-:

~

'0 - CC1"''' dOS,

~

10- ccr -dos,

.....--"

IO- c.r .. dell. . 0::----,

aa - orr . dol,

V d:.:,

. • . .J....

V ~.

.. ,

, • ...1-.,

-

n

n

H' ~~' ¥ I~t' I'r: I! It

.----" -.. --~ ~-lI ..

01° rtf q .. "d o • cu'lo6 a . vcr • til, · . ~ ----. ~

dI' re. ,,-,d o • cu_ a·wr· La'

~ ~ -~

du • rt. qUid o -c;u·kJs a-wr .. t.a, .-L'--' ~ -i ;0-,

dl.l" re, qUId o .. Q,I.k), Q'WY' .. t.I'

V d::. • ..J.. - • o-EE.I=-=t=

• , • , • _. -. · • ,.1. • .4.. , -

n •

,~~ . • ..I. - -- ,

· , · J ,

.....1-, · , • ~--,

n n ,

W n •

Figure 22. 2 measures after rehearsal 16.

According to Peter Evans: "Britten's scalic lines draw on all

twelve notes by the Bartokian procedure of returning movements

that fill in the pitches omitted in whole-tone steps: the

agitated section beginning at "Dure, sacerdos" is the most

sustained example."l Notice how the voices are paired in unison-

I Evans , Peter, IBID, p. 442.

36

37

octave ascending lines as the drama is increased and the chorus

commentary reaches its climax seven measures before rehearsal 17.

-== " eN • rr la' c.r . dca,

I"

B ~,~,.*~~~~~~~~~~.i~---~~-~··gg~d.~~~Q§U~'d~P~~~C~~~~~'~'I~t~f~~~'!~~~~~~~ • \/Ir' bS.?

Plano

Arpa

o or o u

s

A

a

Ouldproculprot·t, - rll' Ou • n la·eft'· dO$,

F"' .J.. -;;-== mlcre" h Ivt.c , .. , ,-I

"!' •• "t ! \! ~'!. ~ ;~ ~ ~ ~ 'J\. ' • ~ .. ..~ ..

{ ' ~ ..!::...-b I' > I':t r ~ I' I : ,11"'~"u< I'; I ...

A. /L .... ,--,=; ~

du·,. .. ' UI prDf'"ll' rll. ul "". II .. o· C~'"I. ul preM·t. rli. A, yA-. f.~ --= CfI'E--r

...

!" tt..'::' rtl UI Pf'Of'·t .. . ril, utob- It •• O' cuolll, ul prot-tl" rll. ut ab- It, ul A .~ ,r:---=: - -= . - ~;- .. ..

I" duo 1'.' UI pmo.r. 'rit, ut cb' It .. O' OJ·III. ut prw·tl' I'll.

,.!l £--=i =-n - ~. h~ I!! "~~ ul lb· II. '"

Figure 22. (Continued)

o a:

8

0 [5 U

Plan -F' ~~ ~ ~~ .~ <! .~

/'." ~

Arpo w

.I·~: I~'t I~' • '" , . .

All (fiSC

~ --= ._-" 5.

I"' uI Ob' If, IJI .... Ii, ut ,Ii,. If ex o· CI.I'U,

A. ~ . "'"' ~

A w

00·11. ul Ob-I£. ul ab' 1\ e.c 0" CU"'lit ,. ~ crIse

1.

IW u\ 00' ,r. ul ab· It. ut ab' It e .. 0 - CU'hs

" .---r::. ...JI~ ~:--.. ~1i!:'A/l

B

00' II. ul ab-II. uI ab- ~ ... o· cu,lI,

-, ,1111 .I -:----

dim

I"' ho -rna 50 - ct"-"I_Tl~ua!_ Ouore SQ·c.r-dos,

MIH f -------.. .,-- dim

... 1

01 ho- mo '0 - c; ..... rl_rr~us~_ DU'r~ 5G ,c.,.·dos.

,oJ II .I' c:1~

.", ha-mo so - cer-,.j - fTmu.!_ Ibu-re so-c.r-dOl.

,1- ,fb..-- dim

B

hO- rna 00 -crr- rl- mu,'_ Du-n so cer'dOS,

.p_,Jon"

'~~~b::::,zI

!J. '1 .. • • puori,

.; t:;i~~~

1- ~

hoomo ao-cer· rl- mu,._

/I' ----. ~

he· mo 10' otf"'" ri - mut._

IT.:------

ho·mo 'a'c.r"f'1- ~_ 6Jf"~.lid;--;- _

M·mo sa-eft'· rl· mus._

du- n. ;,;. t~ 00-

CkJo ,. •. do.~ !io-

du-re, du-~ AG-

du' r •. du- re 10 -

riaJ.. @l I, en 0 come prima I

a/,w ~

Arpa

o a: o U

5.

A.

B.

~ ... i¥

.. ~UI.l.!

~ .

~,H

01 or

.11" icor .• os.

w .. 1111 icor-aos,

,01 • -cerodos,

=< ... Jl.~

-eer-do,.

"~

IAbl q~ ..

...... ' du- reo,

•. tI' du- rt',

• tI' du- re,

du- re,

PI>

Iff !'. .tt !'_It . pp

.B!.

!,~, ~

.":).;. .lI' .. '

!_~I m

.

du - rt l

Figure 22. (continued)

. I I

38

39

Rehearsal 19 (Figure 23) is another example of octatonic scale

use, but here there is a direct (pitch level) reminder of Figure

3 that was observed in the "Libera me" passage from the War

Requiem. Britten's technique of drawing attention to a pitch

level by framing it with two outside pitches a major second apart

is apparent here .

.... 1==1 r , con /Dr.o S r.y .

: r" o

f~

o

ton lotio

frr'rr- a he· ml- f'lJm cor-oal Hie

~on~~~----t.. -~ ~ :::Ji~' .

ftf'°rC''" 0 ho·ml· num cor'do! Hie

:

[ Vlo r.a=:J~~,rrr:;;:;~'lf!~r.=ji~l~~~Bl~~~~~~bm~ 15 '" L vc

Jl/"o" ==:---Jlnon '''PPOI @ Mollo lInimato IJ., ee)

VII ~.a'1~'t·· :.~-mf '

----_."

:.KJf.6 :r------·-:'i-:::-b~~~~~ VI" ~=a - ':;.:·=·-----:--"f-=V!=

m/

"If P

Figure 23. Rehearsal 19.

40

CHAPTER VII

RHYTHM AND METER

Britten's fondness for hemiola, used in non-traditional ways,

is perhaps the most apparent feature demonstrated in the Cantata

Misericordium. Figure 24 below shows some of the ways that

Britten manipulates rhythmic groupings:

Vc 501 0

VI.I I

VII.

=--

,A

-.r

=---=--

- - ,..".. .-n:. -:-..

~ .. =-- ~ =-- ---==

Hmpr. con molo -oilato

W~

'..!!' ~ "';;;

...-" -- ...... "'"- ,..., t;;;;I ';..-. ~==- c,.JC. --=.

..-- ...... ,....~

... =-- ~ .--.c,. .. --=

,.-.. _'Qb. ~

I -~..,

->~ -"f I'

~'fI-!' "-

~ ibA ... l'

=

J -=: ==-- "'I ..--.. !Iial... .-<=:,

:-' I -=-

Figure 24. 6 measures before rehearsal 6 and 20.

41

In both the first and second examples in Figure 24, a

simple placement of tied notes serves the purpose of negating any

regular occurring pulse and accent. The use of two simultaneous

meters, as examined earlier in Figure 20, is another means of

achieving rhythmic tension and release. The rhythmic essence of

the work is that of the sixteenth note triplet that pervades

throughout the Cantata. Short, syllabic recitative sections that

come closest to Passion music are also obvious in Figure 25.

A consistency of rhythmic groupings are reworked throughout

the course of the Cantata. Figure 26 shows how the first

downbeat is deemphasized and the rebound is the important element

in motivic organization.

Figure 27 shows the wonderfully simple, yet effective, way

Britten portrays the Samaritan's knock on the innkeeper's door

with the sixteenth note figure in timpani/strings that demands a

response. The sixteenth note rhythm doesn't abate, and becomes

even more urgent, until the innkeeper finally responds in 1 before

rehearsal 26 (Figure 28).

42

prvf:Ii·or YI·ck>-lur"·.e

II 1111

VI.

poco lui PMI ''IF""" """,n

Vc.

A.

~ "

B

,II VI.I

. W-

VUI

..:i1

Vie .., V<:

a.. , ,

Figure 25. 4 measures after rehearsal 21

Piano rJl.b· .•

[01 r: r: \<:ru, I:

-Arpa Cf,'S(

i' i i ~

Tlmp -. -. A". ~

C,,"I rr'H

-. - :'i'-..•.

., I ~ mI· .... ,. .. w':""

.~ - I!,-'.-~ ~ mi . M' rl . co,. .

'"~ =- '"' T

.. co,. .... ml'N p"'"

B -ml ... rl

P,ano 11'" Ll!t=-1

1..fl..tI..!I. ..J .1

A

It 9Nl- Ii. 8 A ~ f-.

e..o. ti I ""b."i:'

r: ": - I: I==---I "'" -,

I

- .. /I=--I ! " ..

i ~i ~ ~ -. . :, =-- Of =------= .I =-. I~

. -. _~.a..:....t'. e.·a .. tI • --= j~J

N' clrL Et.,a. fl. B..a • II.

i_ -",carMa. Be·a . h, Do·a tI.

=="'= .i -. .1::- -. -cor • dei • Be,a • ti, Be'a • h.

Figure 26, Rehearsal 1 and 3 on the word "Beati ",

43

44

@ Pi'; mo"" IJ.QII) ~l

~-- .. -1-o ~~.~~ I'P

IiO -'"

~ .•• : I I : J I ~ -col~o

P ~. -

Arpa

T,m

TtNOR~ ~LO I

, a '"

, •• 1 ,

--i,-:~~ ........ ~..2-,-= ,_~~:;. J~",;~_,. > ,.~

III o~ he. co,,-po, 51.quid (JJ.di.~ o-pt·r. por<lDn\O • pe rio vi·a ·to· rwnaHt.f'O

5 !2.I» ,. "'---. .,

-1oO·r.·um.

A I~li b-J;--I"

-10'''1''''',

T ~:-tJl-.-.0'",' urn.

J~:- ~~. -B ~.~'U-:=.: . - - -

·s,o·r.·UfTl.

@ Pi'; mo.", 1.1,96)

~:~I . . !'! ' ~ ~ ,f • sulpon' ~~ ;'-f:~ ~~~~-='l= == VII

. ., J~ 1= ....... I'f'

Itq=- -~--I .. .

i' .. , 1.1. ,,1. , , .d pIH1'

~- .~ .-Jffi: - ._-I~'!~ r~~f 'f 't III' _...f4~ 1'1'

/ • ".,.,

~:.: .... - . Vc . , , , .... "1' , , ",

I /0'<0 _ .. _ _..10. ~ -~j~.-~:. ... I. II . . 1· ... -' -,- "to J Cb

Figure 27. Rehearsal 25.

45

nol • 'i .

tUtll J" I' -= --'?"'='-13: ,=fr

Cb _!!.'f> V) I ! == ::::: @ con molo

="" -"-Tlmp. t:t!::It --

f I ".l1f'n

"" I~ -.110 ,ho

-v-.o ..--:,:.r- ·c .. ~ Ten ... ,.: 1>010

Figure 28. 3 measures before rehearsal 26.

In the closing Lullaby section of the Cantata, the use of

hemiola is evident as the Samaritan sings a lullaby in compound

meter while the men in the chorus sing in duple groupings on the

text: '0 that men like this (Samaritan) gentle helper, who

saved a wounded man and treated as his neighbor an unknown

stranger, may be found allover the world.' (See Figure 29)

The rhythmic, as well as overall climax, is reached in

rehearsal 32, when all voices unite in rhythmic, melodic, and

harmonic agreement with the text: "But when one mortal relieves

another like this, charity springing from pain unites them."

46

47

P,on '1~;~:r: : I : I ~~.

]f'ddc<

.ti ,onpHJ

Arpa

-:'\ U --e.S~~

l~ PPdo'c< r" H. ........ .--.. -- . .. -- .......... -

=-- --== ==--.Jlll. ~ ~--:r-' ,"?l:.b. ~ - r:'I ""

P

'l"0~··:

;;;:,ml" .... "; . I'" ..... If-

- par· .. ce._ par - - cr-QUIH'- r,.·,.~ __

'ii~ ~ ."t'. i>f. ==;r-.:. r:'I ,,~ ~~ -VII

J'P --= ===-Pi'P

&~'~ , -= .-,- 1..- ~t:'\ . " --I' ~.::r.: - . . .. ..

W --= ===-I'PP VIII

::; 51 -,.... ~ r:"I . - tJ .c·u ··c.-.- - - -Via

--= ==--ppp ,

IJP

, ... ~J.I''---::: 11.-:'- .. , - , r:'I

- .. .. Vc

PI> --= =-PPP

~n I. .ml a ee, der· ml;

~ 5.

A

1

8 T.

0

lilt.

unj5~~ -=

Figure 29. Rehearsal 30.

I~ ,. II .. m·ItS .. ' , .

A 0 to! ex lill-tn·" ... 0

70' • u T

to! "" IIS:- ocn" tI .. urn' II o ", vn" 1~11P a ...

.. gf'll .. tum,_ o " .. @ largamcnll

~~~ Pian

01 "'/ uuc

Arpa

o g u

o ex 8

p

S

A

T.

B

A

H' IJ.,J)

! ml'''>t·

H'

• A. H "-'.

t .. to Iu

.IL~ f!

I" fo .. mel 10

_~" H

" '0 - "'"

-: t.

lOd.lL=~

I" 01 ttr cp.M)Il-do

~D·MJl

I" 10

l~,d-~

"

~~

~y

pc

. -~

10" t.

IU

01 • t ••

les, _

01 . trr c:,.aon .. do 01 to •

fl.' B

.. ra\j

-t

~-

p

~ .~ ~

rat;

.. ,.

t. au • pc • rol, _

= au . . pc' rol,_

pi - rat.

rum &Ie lub I. . .Inpnu

I- E do .. 10 rc

Nm ~Cr~,.," .. J n, ~ ,------,

E do ·10 rc

Figure 30. Rehearsal 31.

JP""" ......,.- ......,.-• .,. .L

ii/...!:/ iI~-;C9

~ - -

l,nlll'l" ....... .... .,. ~

il~ iI...!/ ~~

.t , J~J.S

~

Sed rnor-ta .. I ...

J'

Sod - mor -1-' .t..~

I-- Sed mer·to lIS,

, .t -Iu . pc .

=-- trf·~

val, E do·

,....---, 0;----, ~

pro .. crt'- Q to co n·

=--

val,

~.--,....., ~

pro ,,....Q . to co . n •

48

CHAPTER VI II

GESTURAL ANALYSIS

49

The impetus behind modern conducting technique, as we know it,

began in the 17th and 18th century with the use of a small stick

or roll of paper. It was also during this time that rhythms were

becoming increasingly complex. It was this rhythmic complexity

that led to the basis of a defined and precise conducting

technique as is observed in instrumental conducting practice

today. It is much earlier, however, that actual communication,

through physical gesture, took place. The practice of indicating

the rise and fall of the vocal line, called Chironomy, began in

ancient times. During the Renaissance, the director outlined the

basic shape of the melodic line while keeping the tact, or pulse,

clear and unobtrusive. The basis for the choral idiom was melodic

shape, through hand gesture, and the basis for the instrumental

area was metric organization and clarity of metric and rhythmic

structure. These two related, but often isolated, areas will be

applied through a gestural analysis of Benjamin Britten's Cantata

Misericordiym. In his book Choral Directin&, Wilhelm Ehmann

states: "Contemporary musical activity which is largely dominated

by instrumental music hardly recognizes a professional musical

status for the choir director and cantor .... Many music schools

50

offer only one course in orchestral or choral conducting. "8 The

importance od integrating a sound choral-orchestral gestural means

is summarized by Ehmann:

.... there is still no other device in choral work which offers the possibility of the same security, precision, thoroughness and economy of energy as the mastery of a sound time-beating technique. It is astonishing to observe how time and time again many choir directors with many years of experience reveal an astonishing lack of knowledge and ability in this aspect of their work and because of this have to resort to a more casual or free-lance manner of directing their choirs. It would be most beneficial to the choir director if occasionally he were placed in front of an orchestra and were forced to learn thoroughly even the most basic and essential skills of a sound conducting technique!9

It logically follows, then, that an integration of choral and

orchestral gestures would greatly beneift and serve the choral

conductor. It is for this reason that the Cantata Misericordium

was selected for the purpose of choral-orchestral gestural

analysis and application. The choral works of Britten reveal a

mastery of text setting and overall rhythmic vitality. The

Cantata Misericordium provides an ideal range of gestural nuance

and subtle economy of choral-orchestral techniques.

In the book Handbook of Conducting, Hermann Scherchen states:

There are two fundamental types of gestures used in conducting, namely, a quick movement completed in the shortest possible time, and a movement long drawn out.

8 Ehmann , Wilhelm, Choral Directing, Trans. by George D. Wiebe, (Minneapolis, Augsburg Publishing House, Minneapolis, Minn., 1968), p. 109.

9 Ehmann , Wilhelm, IBID, p. 114-115.

These correspond to the two elementary opposites, legato and staccato .... We differentiate then, rhythm­forming abrupt conductin5 movements and melody-forming persuasive gestures .... 1

With these ideas in mind, the various variety of their

applications will be examined in the following gestural analysis

of Britten's Cantata Misericordium.

Benjamin Britten's choral compositions afford some of the

51

greatest textual-rhythmic unions in the twentieth century .

. Although difficult, this sensitivity in textual nuance provide

the conductor with the discipline necessary to master both quick

and slow gestural movements, sometimes in a simultaneous context.

Figure 31 provides an excellent progression of rhythmic

pattern elongation on the word, "Beati" with each succeeding

measure revealing an imploring urgency.

Note that in the 5/8 measure of the preceding example that

the pattern is 2+3 to facilitate the crossing of the axis for the

proper syllabic stress on the work "Beati". The rhythmic nuance

in the preceding example is such that there is a reflexive action

that is a result of the downbeat that lightens the textual stress

by placing it on the second beat of the measure.

In Figure 32, metric modulation, via subdivision, provides the

conductor with the means for a smooth transition. Here, the

transition is from an eighth note (mm 48), to a quarter note

lOScherchen, Hermann, Handbook of Conducting, Trans. from the German by M.C. Calvocoressi, (London, Oxford Univ. Press. 1935), p. 151.

metronome marking of 96. In the recitative measure (1 before

rehearsalS) the quarter note rest can be used as an upbeat

preparation. At rehearsalS, a sharp downbeat will provide the

ensemble with the attack needed to enter on the second beat

sforzando.

4

8

5 8

Bt,a .. • h.

52

~-:¥.f¥

3 4

9 8

90-0 • - 1/

Figure 31. Rhythmic pattern elongation on "Beati".

Timp.

CD

..". •• otI- r.:L_._

0

!5 u

53

Ip .• aKn,a . rna.,' ..t'

@c

Plano 1

Arpa r Tomp

lA 5

101

.JL A

, .. , ..

on malo agll.olO (J. 00) -Jz ==--~Ig· I~.

> --

-1

Ie .. ru po.. I"Q .. bo·la ian na.bi. fi .. at JJnorcolO =::----,

-!:--~

_D --:oJ:

-

fa .. bu·lo. kim ro .. INa , ... at, _~d""

It .. au po .. ~ .. bo·la ~m no.~il "'.ot 'a. bu.kJ,;m nO-bit ,t.at, J 1710'"1:1 ==--- ==--

Figure 32. Metric modulation via subdivision.

Sometimes the need to convey two simultaneous meters is shown in

Figure 33. Here the compound effect of 12/8 meter is

superimposed against he motorhythmic pulse 4/4 in the harp and

piano. The need for a sharp, pointed third beat is necessary.

54

Figure 33. Simultaneous 12/8 and 4/4 meter.

55

In Figure 34 the baritone (Traveller) is being assaulted by

the robbers. The string writing is such as to portray blows.

Speed of gesture plays an increasingly important part here, as the

downbeat of measures 2 and 3 require beat 2 to be smaller and

quicker, confined to an intensified, yet clear, conveyance of the

baritones duple against the blows, which are triplets.

In the next measure (Figure 35), the choral passage (2

measures before rehearsal 13) sets up the transition back to the

string quartet passage of time motive. The measure before the 2/4

measure is a pronounced rallantando that slows on the word "tate".

The following Lento section is prepared by a quarter note rest

which serves as the preparation in the new tempo.

Britten's masterful execution of metric modulation is again

evidenced in the transition to the "Dure Sacerdos" section in

Figure 36 in which the eight note pulse is taken from the

preceding section where each string quartet triplet equals mm - 48

and the new tempo is eighth note equals 144 (subdividing the

previous eight note to arrive at mm - 144).

56

Figure 34. Speed of gesture on second beat.

s

" § T

8

VI I

VII I

VI.

,art" I QUII

ppp

0ulJ _ tuc lUCCurrtt ., tu\. '0 YO ••.

. @ Lento (corne prme) ,J.J)

ilB'· _ ,i.Jj

.. ... r" · "to. t.· 1~:~1i:'~='"fr~ ,41 .II .

111 'lQ.,~'

'~L,=-~~:IF .. .i _. "IT" · to· t~? .. ~ .~ .-.HI ,

.•. · to· tt' @ . • J Ji Lento (come prIma) . ' '-iJl .

I.r. - .-I"'

il. -~ ~W/!~' I"' 1--=1 p_. J

-

.&: ~~Wi¢ p-- 1

f..,.

Figure 35. Pronounced rallantando (slowing) on "Tate".

57

f.'\ ® MollO. lmalo (./I. ",) n t .... ~_'

·1 · . iii "I .. ...,. W..,., cr ......

"

1m p

:; o ..

VI

VI

r •

I

•

Via

Vc

~I

VIII

Via

Vc

Cb

" ._" ., 'of ~~

, ..

'"

I f' ...... ,-.. . ..;;. "::: It.. ... ,.

~.

~"- -,:", r.=" -~ '"~

mo- rl. moor,

,ft. ,. ~~,. ® 140110 ~nlmalo --..J _____ .~_ ()\-':") _W • .l.. •

v -: .. '!" • . 'u;.r I'PIIMtt 'InC .fIIt

1\ • • J · J • IV ·tln ~' f ,n ~' ~ .-; ..

, .. "fir' f'pr ~..,,. • • • • - '~ . . '7'

~,. 1'1'-- ........... " • " "

>t' ,'. ~.

":;!" 1'P",.rc crt •. ""11

.J.. ,,» • , , , I" ~ ... <r' • . _,ui l. 'r.r "" ..... ,. unt' ,,*10

J , .,

'~;I:J ~. ~"'d !' ~' •... ". ..... AJ"'I'~. e,," ,.."to , , ... '" ) -". ,

..l. ,.~=

-~ I'PP . . .,..

1'PMa"C erne.""" = • "' ... ,. n " -- "ye, .. , '!"

f'PP

.. ".- "'~ n , n

• Pf'I' f'pMWt. erne""" -=

Figure 36, Sixteenth note triplet (mm 48) to sixteenth note triplet (rom 144),

58

59

in the preceding example care must be taken to ensure that the new

sixteenth note triplet figure (strings) is not turned into a

thirty-second note-si.xteenth grouping. The triplet must be

articulated by a smaller, rounder gesture followed by the

conveyance of a duple grouping: this will help ensure proper

choral articulation later on.

Not every transition in the Cantata is linked by metric

modulation means. In Figure 37, a recitative (baritone) leads

into an animated choral section in 6/8 meter in which the mm.

marking is 88 for the dotted eighth. A light, cont~ined gesture

is appropriate for this passage as is the penultimate measure that

leads, without ritard, to the 4/8 measure (ritornello) which

requires immediate gestural slotl7ing to convey the Lento "come

sopra" (like the beginning). Here. (Figure 37 which is continued

on the next two pages) the gesture must slow immediately on the

downbeat of rehearsal 20:

limp

Vo

=---Cb ~~:.~f!;.~----

w =---

Figure 37. Recitative.

Plano

II a o u

T

B

~- ~::

I~~=~ --ItAI" __ --J"- ~-

tg~~-'-- C~,Io"o ---== J. - --: .. 0 'fr·n~ a t\O. ml- num coroda' HIe

I~~:-. I.. =,":{i'- -- i-=;=

; .. 0 f~,..rf .. a 00' ml~ rum cDNiaI Hie:

~4-~f~ con IoflO .,-- -= .- -:A' !!" - .- ....

0 'fro rt· 0 ho-rN'" nJm corda! Hie

ItlILlrfi=tc ===fB~~ conll"~._~ ~~ '':- -- - ~- .!-

0 '".·,.,.-0 ho·",,· num e.,.-dol Hie

Figure 37. (continued)

60

quo"",~~ 10·

CJ.'O'q.,tocn..,..."n kJ ..

CJM)'qJtc::on-iP""11 10"

-~""tClCft'''·.lt 10"

61

~II ~ .P[' .iLll s I"'

,. I'~~

• «> . ·lanoCtt' L." vi . - ....... I nunc,

I:l. J) .~ ",8

.. -aon-ct. L. - VI . - 10 •• ~ nunc.~ nunc .

~, p W ,~ ~

~

I· ,. i'\:,.'~ nunc.~ "lOn-ct, Lf' .. VI - - nunc.

"" - . p. ~ . B

-IOn· ct. Lt . vi - - 10. I nunc, , nunc.

E/t!t:t.W .= elL ..

rIIm. AI

'Hr.rrf'r~ . ,;,:. ............. ·W

JlPP :::-===---

Figure 37. (continued)

Another example of the asymmetrical metric grouping is shown

in Figure 38. Here, the choir articulates the word "Vincit"

(Triumph) which is followed, in a form of ellipse, at the end of

the subdivided 3/4 measure. The gesture is 2+3 for the 5/8

measure, and 2+2+2 for the 3/4 measure.

. ~ .ok· .l! !.-.. t: II; .~. l ' I, "I" l .... d .. ~~.I ... I .. /. .' /.

Arpa

lImp

5

B

l'

t~· p =

WJi

I A~ ~

I W

I.D..lI..li

I A ~ ~

5 8

.

.. Ipt ~ w

If'

.L,...c-.:~.

Ah,_ di_' =.;;; I

If' .

.1. .1.

I'f' ,.

~ .. i ~~ " ~ i ~ 3~ ., ~.

-. If'

""l "'1 -. . -L~-;:---.~_ .-,

~---'~r-'~

$uf' • ..."" """- .......... - m.po.mon. __ ~~ rN. i,

W"""

vM1- cit.

",..."

~.r.t. 1fJ'-

Vin. cit,

",IIXL

--ec-CII,t,m,.dtm

~

:. :::'.:", .--.

K" CIt,ton-drn1 .--.

3 4

~

mi ..... Ij~ck_a. vln • cit.

;:;.tf_.rl'~cr..-;. :n. ;j't. ~

m\ .. .,. ri.Q)f"';o..Q. v;n .. c.l.

~

Figure 38. Asymmetrical metric grouping.

62

63 As this section progresses, a stringendo serves as a transition

to the Samaritan-Traveller duet that follows. The transition thus

becomes a mm. 48 (for the eighth note) to mm. 96 for the quarter

note at rehearsal 25. This metric modulation can be executed by

thinking, and consequently articulating, eighth notes which

require subdivision to arrive at the quarter note which is eighth

note - quarter (Figure 39).

Hie pt ... tp .. Ie co .. mi· to .. tu,.. .. urn in de .. \/' ....

Hoc po·doo ip - H CD- mo ta • lur. - ..... in dIt .. ¥If"

.......

Hoe: po- Ip - .. co .mi - ta- IIor. ..... de .. wr ..

..-

Hi<: po-doo ip - .. co_ mi- lo .. tUl' •

Figure 39. 3 measures before rehearsal 25-reh.25.

PIa "a

Arpa

Tomp

5

A

T

B

VII

@ Pi" rnouo c~.oo' .~)

l~- ... -

~f:--:

l£.t . --

iot .. '--

to'''-~. :.

." 00 0

-I

- .. -o ••

TENORE SOlO Iuru

t1~;-.. >

O·ho, cau-PO.

~{~~ -J-If.,,:j,: -10 r,·Utn·

IiU-bi+= ·1Q·r,'IIn,

&t;J-~. -IO-r.·.."".

~j}.h, -.&Q·",·urn,

® fTl" mouo C~.90' ~;~I ' ',' !' 1~F=f"°-

'= J ~~.~-.

•• • • I II .,

I

:

"" >- -~ .. ~

S"qud (aI·d •• !

! t t'

"""'"

, ... ~ ./ffilc:';;.·= 1::." • :

I • I I -f' I-~!H- -ti!rf 1

~-~" .- -- :

.," • II.

Vc

loroco

If!'j .Jffl.l· ',-=.. ~. ........,. .........

~ 1,·'t··I--·~·· . II II

Cb

I

I : Iw I -~ -PI'

~ -.

-=-='.,.... >~ ;l!!!!!.<"" --== ::-~

o-pt·rl PGt'bn.a • ~,.I, vi'o.to,"""~,,,

! 0 wlpotll

~

FI'

. 0

"''''''' r or 1'1'

I poll'

. 0 ",

Figure 39. (continued)

64

65

The section from rehearsal 26 through rehearsal 29 reveals the

climax of the baritone line which follows the duet. At rehearsal

26 (Figure 40), a light, bouncy technique in two-four, best conveys

this solo .textured section. At rehearsal 29 (ad lib), the return

to the "Beati" (merciful) theme requires the gesture of a moderate

speed two pattern which communicates to the strings the triplet

feel (this time in triplet eighths).

The section at rehearsal 30, (lullaby section) features

hemio1a and requires a gesture which communicates triplet lilt and

duple tension (Figure 41). This is accomplished by keeping the

first beat of each triplet precise and unaffected by extraneous

motion: The simpler the gestural movement, the more effective and

clear.

66

@ conmolo

Tlmp. • I • • Jim

"" 'Ilr. Ton !>ol.

.:.

11m

f ~, ~~II ..

a..ni . gM. Po • ra no- bel c. . nom, @ con molo

cau· po,

.. :> .. Ir~

Vc /, .. 11m . '., --_._.

Sal • WI CJM:I. mo • do II . b,

...... - = I

TENORE SOlD pOtl~b.

Qu,. .m,

0t'0." . 01 re .. II .. rom d. • anal'

,,~ .---. P _'"'I""T?-.-,.-, ...--,....,.......=:;-

'"' un·cIt lim gon -If-urn, par •• 00,_ poI''' ___ ~.::".

~,,~ - V > VII

"y-= =-- H> --=. ==--,," ~

'v ~-= ~ --= =--R' , >

Vila

BU I' -== =- If> --== ==--111:- ta 11 .. - '-.. h~ :::::::

--= ==--

Figure 40, 2/4 meter use of a light, bouncy technique,

, .. -~-;;.. ~~ ~- par - - c.-cr.-- r ..... __

. ¥~-'-'~r.-. Ii

~~~~~~~-=~~=~~~ - - =-'1";'1 .M

-- .. c- r~-"iJ-:~ ~- ---= =--ppp

,r.-.

Figure 41, D-Augmented chord release and downbeat preparation.

- .... [):)nrT\tr'\n,a •

Notice that the release is synonymous with the D-Augmented chord pizzacato (before rehearsal 30).

67

J:~

5

A

9 0 T. u

B

IOU .. CI

di .... VII.

_ dlv-Vc.

um_

=--

.... rni_ o·m,· c.._

Pt-g. x. -IN

Pro·xi ~ .1 .. eM 4t .. ,dt ho .. .p .. Wn ." .. CD

un,s

u"i = ----=--

Figure 41. (continued)

68

69

The final gestural evaluation is observed in Figure 42 at the

poco animando section (8 measure before rehearsal 32). Here, the

more urgent appeal of the choir leads into the broad climax at

rehearsal 32. The transition here is accomplished by using the

animando section as a tempo contrast so that at rehearsal 32, the

largamento gives the illusion of being more expansive because of

the preceding, slightly faster section.

Figure 42. Contrast of sections (animando to largamento).

Plano

Arpo

T""

s

A

o g u

T

B

~Vla

E Vc

p

VI. I

VII I

VI<

Vc

I~ "'/ UIIC

~}~ .• Jl H' ~!

If"'.'*'~ Itt/u.u -

-~ ~!

JI. H:1.'_ .k.

'" \.0 lu po

•• 1/

~

to' mel 10 - -.II~ H •

10 - ",.. 10 - t.

-: Ie OU

•

II .. H

..

.A .. H.

'"

:'~Yl. 1#_

.1' "'.I,n" ~

Figure 42.

70

@ IarVa",..,l •

. ~ '-:7 _ ..• ---~! :.:: .

~- ;/y ...::,/ -

--,,.. .... -r ~ -.~ .. -

a_ ;/~- -...!./ j~ .~

P .I ~, · " .... ,J.I ..----~

ratj Sod ~tQ· I.a. .f

I. ou-po'rol, _ e.- 5 •• ...... -· {M~~ OU - - ... ·rol._ r- Sod """"to .. I",

· .I ... ... - rat. ou po .

@ largamtnl • . PI L

,,';. ..... . .. pI.~I~

_ ... -..t=e=.

IlnlO aord ./,..... .. n--

d,Y _ £~

" .Jpr.,JI IInlO lOrd cl<Y t:~

" 'hUG lOrd .= ~

Mnlo lord .I u pr,u

~

J' ,! .. ~nl. 1l , .b y

\I L--1" ""1'" ...... J

./,..-

(continued)

"Ian 0

o a: 8

5

T

B

VI I

VI. •

Vc

VII

VI U

Vie

Vc

Cb

t"I,," -""'- . ..c...- ~, ,,-;:-, .--;-r.

:i::r _ - - -,...-, ~ .. ...,:..;

II- - - ... .~ '- -- -

l=~-: C7".--. r:::=:" ~1:._~e

......, ~""":"; -~.

... .... ~ .... -

'II""':;"; .. -=- - """"" ,111d

.. al • t.rq,mn ... do 01 • I. ' rum

lie """ Ie -

l~.1f .I~J

• to lu._ e.... E do ·10 • rt

~4J1--~

I" al - tor _.do at to • rum lie a,b Ie

1" J~fl' <=-->

.. rat, E ,*,.", • rt

'II. d DIU.

.. _~ 'II ... • ~. ~ DIll.

,,.. .. ,,,. .. ,i;': .. .. Iii .. ., .. •

I ....., ..

""'" -... ta .....,

- -II. ~ \!-r. r.-ft ~-~ ft-" ;. fa.

'~Mf ;. ;---"" j.:::==:.- "----" -~ UN'

" I ~Jpr ... ' "----" ..-----"

~ '----'- <------'

~' ..,----.p ~-

) '.Ai ,~ ~ ',. ,J! J"rfJ. '~ r-+r.l ...

Figure 42. (Continued)

71

... ~ ......-t

;:;;-. ,.. -~. ...--.... - -- --;..;-,... ;;; -........ _ . ...... . - "f'~

"'". E do' ,.-----,. .----. --n

pro .. CT'f- a .. to co " . =--

""I. ~.".....-,--.,~

pro .. c,.... a .. to co . ".

... .... -,.. .,. . ." .. .-

;U _11*' lin, .. " ;::: • ,.,. -*" .. ,:::: a,..._ ;' .... ~~*"~

==----. ...-.... ~ -

~ =;;-- .it

. . p

72

SUMMARY AND CONCLUSIONS

It is hoped that the present study will help elucidate the

technical challenges presented in the Cantata Misericordium.

Although there are a variety of ways that each score can be

interpreted, the more disciplined and simpler the gesture is, the

more it can be communicated qualitatively.

The analysis and subsequent application of the score all help

in the communication, through gesture, process. The more variety

of gestural patterns each conductor is able to master, the better

they are in communicating with their ensemble. It is the

theoretical analysis and effective practical application that

communicates most directly.

REFERENCES

Britten, Benjamin. War Requiem. Boosey and Hawkes. London. 1962.

Britten, Benjamin. Cantata Misericordium. London: Boosey and Hawkes. Hawkes Pocket Scores. 1963.

Dundore, Mary Margaret. "The Choral Music of Benjamin Britten". Dissertation. University of Washington. 1964.

Ehmann, Wilhelm. Choral Directing. Trans. by George D. Wiebe. Augsburg Publishing House. Minneapolis, Minn. 1968.

Evans, Peter. The Music of Benjamin Britten. Minneapolis. University of Minnesota Press. 1979.

The New Grove. Twentieth Century English Masters. New York & London. W. W. Norton & Company. 1986.

Machlis, Joseph. Introduction to Contemporary Music. New York. W. W. Norton & Company, Inc. 1961.

Salzman, Eric. Twentieth Century Music: An Introduction. New Jersey. Englewood Cliffs, 2nd Ed. 1974.

Scherchen, Hermann. Handbook of Conducting. Trans. from the German by M.D. Calvocoressi. London, Oxford University Press, 1935.

73