transcribed by jeff held, 2016 michael praetorius urania ... · pdf filetriple choir motet...

TripleChoirMotetJESAIA,DEMPROPHETENXXIVfromUrania,1603

byMichaelPraetorius

(1571-1621)

for3antiphonalgroupsofwinds

transcribedbyJeffHeld,2016

Group1:2trumpets,horn,tromboneGroup2: ugelhorn,2horns,2clarinets,bassoon

Group3:2trumpets,2trombones

www.cui.edu

HistoricalContext:ItwastheVenetiancathedralsinthe1540sthatfirstrangoutwithmusicforcorispezzati(separatedchoirs).AdrianWillaertpioneeredthetechnique,agrandstylethatplacechoirsondifferentbalconiestocreateasurroundsoundeffect.GiovanniGabrielibroughtittoitsheightinthe1590sbyaddingnginstruments,notablyincludingwindinstrumentswhichpreviouslyhadlittle,ifany,roleinthechurch.ManycomposerstraveledtoVenicetohearthisfestivechurchmusic.MichaelPraetorius(1571-1621)wasnotoneofthose,buthezestfullyabsorbedthestylefromthosethatdid.

MichaelPraetoriuswasoneoftheleadingmusiciansinGermanyintheearly1600s.Hewasaprolificcomposer,pubishingover2000works-aremarkablefeatforaperiodwhentheprintingprocesswassolaborious.Manyofhispublishedworkswereinthepolychoralstyle(corispezzati)andwereusedinLutheranworshippractice.ThepredominanceofthechoraleinLutheranworshipledtohisusageofthemastheunderlyingmusicalmaterialforhispolychoralworks.ThisisadifferentcontributiontochurchmusicthanfoundinVenice,wheretheItalianstylewouldutilizeitsancientplainchantmelodiesororiginalmelodies.Praetorius'scompositionaltechniqueallowedthechoraletextstoremainunobscuredbymusicalcomplexities,anidealthatwasalsoprominentinCatholicchurchmusicatthetime(theCounter-Reformation).Notsurprisingly,thesecompositionswereinfluencedbythemusicofhiscontemporary,Palestrina,whowasthemusicalchampionoftheCounter-Reformation.Praetorius,though,wasadedicatedLutheran-heregrettedneverbecomingordained-who,likeLuther,sawacloseconnectionbetweenpreachingandsingingtheGospel.

Praetorius’splaceinmusichistoryliesinadirectlinefromMartinLutherandhismusicalcollaborator,JohannWalter(hisfatherwasacolleagueofWalterandMichaelstudiedinthepedagogicalsystemcreatedbyWalterattheLatinSchoolinTorgau).HisprolificexpositionofLutheranchoralessolidifiedtheirartisticandspiritualvalueforuseinworship,whichsetthetableforfuturegenerationsofLutherancantorssuchasBuxtehudeandJ.S.Bach.Healsowasknowasamusictheoristwhopublishedwritingsonthetheoryandpracticeofmusic,particularlyinchurchsettings.

Aboutthissetting:Conductorsmaywishtoadaptthesepartstofitaparticularinstrumentationfortheirensembles.Thisisperfectlyacceptable.Thissettinghasbeengeneratedoutofasenseofparticularadaptation(usingthewindsathandduringaGermanytouroftheConcordiaSinfonietta).Pleasenotethatsomeadditionalalternate/doubledwindpartshavebeengeneratedandincludedinthepartsetalready,althoughtheyarenotincludedinthescore.

Dynamicshavebeeninsertedbytheeditor.Thismusicwasnotpublishedoriginallywithdynamics,soconductorsshouldfeelfreetoalterthem.Also,someaccentshavebeenadded.Thesetypicallydenotewhereinstrumentalistsshouldparticularlycometotheforewhenthefullensembleisplaying.Usually,theyareaddedwhereaninstrumenthasalonemovingpartthatneedstocutthroughacomparativelystaticensemble.Theseaccentsshouldbedistinguishedfromtheensemble.Theirlengthshouldbemoderatedasindicatedwithtenutoorstaccatomarks:allaccentswithstaccatoshouldbeseparated,notnecessarilyshort,andallaccentswithtenutoshouldbelonger,butnotconnected.Often,Praetoriusassignedoneortwopartsofrhythmicinterestatanygivenmoment,evenamidsttuttisections.Theymustbeheard!

JeffHeld

I:Trumpet1

I:Trumpet2

I:Horn

I:Trombone

II:Flugelhorn

II:Horn1

II:Horn2

II:Bassoon

III:Trumpet1

III:Trumpet2

Trombone

BassTrombone

Urania,XXIV(1613)JESAIA,DEMPROPHETEN

(c)2017Allrightsreserved.Usermayadaptthisarrangementto tensembleneedsbutmaynotdistributeadaptationtootherensembles.

OriginalchoralebyMartinLuther,1526MichaelPraetorius(1571-1621)

tr.JeffHeld

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4 Urania,XXIV(1613)JESAIA,DEMPROPHETEN

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cresc.pocaapoca

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