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Daniel Hahn
"Dear Christians, one and all, rejoice": The Chorale Fantasias of Dietrich Buxtehude
Dietrich Buxtehude's Nun freut euch lieben Christen g'mein, BuxWV 210, is one of the prime examples of the chorale fantasia genre. This form represented the highest quality of organ playing in 17th century Germany and was inextricably linked to the philosophies of rhetoric of the day. Rhetorical procedures are found particularly in the use of figures corresponding to rhetorical formulas, and forms corresponding to the scheme of speeches. The genre also appealed to non-musicians, functioning as a type of organ sermon in which the organist was free to interpret at length the text and music of a chorale.
- How popular was the chorale fantasia genre, and from which other composers do examples survive?
- What role does registration play in the interpretation of the chorale fantasias?
- What are the modern uses of the chorale fantasia genre?
Jane Huber
Rereading Sacred Texts
Rereading Sacred Texts was a short film created for use as a teaching tool for adult education in the church. The film documented the rehearsal of music transcribed from the Feast of the Assumption as found in a 12th century breviary with focus on: the process of rehearsal; the architectural space in which the music was rehearsed; comments from observers; and the visual contrast of sacred to secular space. In its focus on music from a particular historical period, the film was intended to provide a context for the broader discussion of contemporary understandings of the liturgy by different members of the Riverside Church, an interfaith community located in New York City. Through the documentation of elements of a particular liturgical event, the focus of the film on re-reading sacred texts was also intended to provoke conversation about the relationship between individually held theological convictions and their corresponding liturgical practice.
Further questions:
- What production/direction considerations determined the making of the film?
- Did rehearsal of the music affect the written transcription?
- The film was made to provoke response from an inter-faith, multi-cultural audience, but was presented to an academic, interdisciplinary audience (also inter-faith, multi-cultural); were the "audiences" given adequate consideration?
Christopher Hossfeld
Benjamin Britten's Curlew River
The presentation explored the opera, its origins, and the themes that permeate it. Of particular interest was the combination of Asian and medieval English influences masterfully acheived by Britten in this adaptation of a Japanes Noh play. A more in-depth look at the music revealed the chant melodies interwoven in the musical texture.
Questions:
- Could you please comment on why Britten chose to have men play all the roles in Curlew River?
- How did you deal with this particular gender issue in your production of Curlew?
- How did Britten's homosexuality affect his interpretation of Sumidagawa, the Japanese play on which Curlew River is based?
Christopher Jennings
Ora Labora: The Unique Heritage of the Anglican Choral Tradition and its Calling in the 21st Century Church
This presentation discusses the history of the Anglican Choral tradition, and, most notably the role of children in the choirs of the great cathedrals of England, and now in parish churches in America as well. It presents ideas for founding a chorister program as well as the benefits of doing so. The most important benefits of these programs for parishes is the way in which they draw children to the church—children become a proactive part of the parish as they make a vital contribution to the liturgy in the lifting up of their voices in song. By the end of their time as choristers they become professional musicians, but not without rigorous training and discipline. This is not to say that chorister programs cannot and are not fun, rather the opposite is true. When working with children, one always has to think on one's feet and one is always surprised at the ways in which children enrich the lives of those around them through their own gifts as members of the household of God. They are not the "future" of the church, but a vital part of the church TODAY, and when they are given the tools with which to work, they will do amazing things.
As a follow-up to this presentation, I am currently just beginning a new full-time job as organist and choirmaster at St. James's Episcopal Church, West Hartford, Connecticut, where I have been hired to rejuvenate the chorister program. The parish has amazing potential for a successful chorister program but lacks focus, energy, and drive, and so I have been called there to put my study into action!
- Why do we need children as part of the liturgy?
- What are some ways of recruiting?
- What are the physical differences of the boys' and girls' vocal cords and what are the benefits of having them sing separately?
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