2 - A Brief Anatomy of Choirs
Published online by Cambridge University Press: 08 May 2021
Summary
JOSQUIN des Prez, Tallis, Victoria, Monteverdi, Charpentier, Bach – the great choral composers of the past may be presumed to have understood the inner workings of their choirs comprehensively well; most had received a choirboy's education and virtually all spent a lifetime amongst their chosen singers. But to what extent do we share their understanding? Was Dufay's body of singers little different from that which Handel knew some 300 years later? Has ‘the choir’ somehow managed to remain essentially one and the same thing through the ages to our own time? Though much transcribed, discussed and performed, music written for choirs in earlier centuries generally reaches us through a filter of more recent choral expectations, with unfamiliar features disregarded, overlooked, or misconstrued. Thus, while close attention is routinely paid to specific works and their composers, and to compositional genres and choral institutions, the focus here will instead be on the very nature of those diverse musical bodies we call choirs.
Since for much of the period under consideration choral performance was nurtured almost single-handedly by the Church, it will suffice to define a ‘choir’ provisionally as ‘An organized body of singers performing or leading in the musical parts of a church service.’ This has the merit of making no attempt to prescribe how such a body is musically organized (whether for unison singing, or for music requiring just three solo voices or a multiplicity of voices intermixed with instruments), and it therefore encourages us not to concentrate unduly on familiar aspects of ‘choral’ performance as we now understand it.
IMPROVISED POLYPHONY
THE bedrock of the Church's music-making was plainchant, much of it sung from memory, and an evolutionary link between solo or unison chant and later composed choral polyphony lies in the hidden (and little explored) world of extempore chant-based singing. This could take many forms (variously named), from simple note-against-note affairs to the intricate counterpoint of highly skilled singers; by the mid-15th century English clerical singers were practising at least three such techniques – faburden, descant and ‘counter’. Different techniques tended to attach themselves to different portions of the liturgy: at the Church of Our Lady in Antwerp (1506), the Alleluia and Sequence were to be performed in discant, the Communion with contrapuncte, and the Introit ‘without singing upon the book’.
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- Information
- Composers' Intentions?Lost Traditions of Musical Performance, pp. 16 - 45Publisher: Boydell & BrewerPrint publication year: 2015