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Voluntary (music)From Wikipedia, the free encyclopedia

In music a voluntary is a piece of music, usually for organ, that is playedas part of a church service. In English-speaking countries, the musicplayed before and after the service is often called a 'voluntary', whether ornot it is titled so.

 he title 'voluntary' was often used by English composers during the late!enaissance, "aro#ue, and $lassical periods. %riginally, the term wasused for a piece of organ music that was free in style, and was meant tosound improvised &the word voluntary in general means free, i.e., notforced to do something(). his probably grew out of the practice of churchorganists improvising after a service.

*ater, the voluntary began to develop into a more de+nite form, though ithas never been strictly de+ned. uring the late th century, a 'voluntary'was typically written in a fugal or imitative style, often with di/erentsections. In the 0th century the form typically began with a slowmovement and then a fugue. wo to four movements were common, withcontrasting tempos &slow-fast-slow-fast). In the 0th century England, theword 'voluntary' and 'fuge' were interchangeable. hese English style'fuges' &or fugue) do not follow the strict theoretic form of 1erman-stylefugues. hey are more related to the 'fugues' written by Italian composersof the time.

"esides the fugal type of voluntary, two other common forms developed2the trumpet voluntary and the cornet voluntary. hese two were usuallynon-fugal, but still contained movements with contrasting tempos. hesevoluntaries were meant to feature the stops for which they are named.%ne very long e3ample of this form of voluntary was written by 4epusch,and has 5 total movements. 6everal of the movements are named afterorgan solo stops or mi3tures &bassoon, cornet, trumpet, ses#uialtera,7ute, twelfth, etc.).

8any composers wrote voluntaries, including %rlando 1ibbons, 9ohn "low,:enry 4urcell, William "oyce, 9ohn 6tanley, :andel and homas ;rne.%ften, when English music printers published continental organ music,they would, by default, title the works as 'voluntaries', though the wordwas not used by composers in mainland Europe. ypically, thesecontinental works were fugues or other imitative forms.

6ome voluntaries were called double voluntaries. hese were pieceswritten for organs with two manuals &keyboards). he pieces contrasted aloud manual with a soft one.

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Chorale prelude

From Wikipedia, the free encyclopedia

;utograph manuscript of the chorale prelude Wie schön leuchtet derMorgenstern, "W< 5=, >?

In music, a chorale prelude is a short liturgical composition for organ using a chorale &a simple tune, often derived from 1regorian chant) as its

basis. It was a predominant style of the 1erman "aro#ue era and reachedits culmination in the works of 9.6. "ach, who wrote @A &with a @thun+nished) e3amples of the form in his %rgelbBchlein.CD

Function

 he liturgical function of a chorale prelude in the "aro#ue period isdebated. %ne possibility is that they were used to introduce the hymnabout to be sung by the congregation, usually in a 4rotestant, andoriginally in a *utheran, church.

Style

;lthough it was typically a polyphonic setting, the chorale would be plainlyaudible. here was sometimes an obbligato line above or below themelody.

;s an independent genre, the chorale prelude began with the works ofieterich "u3tehude, @0 of which are listed as e3tant in ew 1rove II.umerous e3amples also e3ist from the =th and >th centuries, includingsome by 9ohannes "rahms and 8a3 !eger. Works in the form continue to

be composed in the present day.

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Form

8ost of the chorale prelude form is a theme and variation with a long ;where the voices retrograde, invert, imitate while following the originalbasso continuo.

Baroque period

 he only known painting of "u3tehude &detail, 9ohannes <oorhout, A@)

4robably, the earliest record of a melody used in chorale prelude by 9ohann 6ebastian "ach is his arrangement of Gelobet seist du, Jesu Christ  &"W< A>@). his melody appears in a manuscript c. 5>, in the city of$elle. *ater, it appears with an original te3t by 8artin *uther, printed inthe Geystliche gesangk Buchleyn ( de ) &edited by 9ohann Walter), inWittenberg, ?@. In ?, the hymn's book of 1otha, 1ermany, hadalready printed the melody of Gelobet seist du, Jesu Christ . 6oon after, in

, "ach was re#uested by the uke of 6a3e 1otha to present a musicalpassion.CD

:owever, in a singular style, the chorale prelude +rst appeared in theworks of ieterich "u3tehude &A5G>), and includes @0 e3tensivecompositions.C5D

"esides "ach, 9ohann 4achelbel's music is of special importance, withmany of his chorale preludes elaborating upon the 4rotestant melodies of8iddle and orthern 1ermany.C@D

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Romantic period and twentieth century

 here are several e3amples of =th- and >th-century chorale preludes,such as the Eleven $horale 4reludes by 9ohannes "rahms, 8a3 !eger'sand 6amuel "arber's.C?D Works such as these continue to be produced

nowadays such as :elmut Walcha's four volumesCAD and the seven volumesof Flor 4eeters.CD

 Johannes Brahms

6ee Eleven $horale 4reludes.

 he Eleven Chorale Preludes, %p. , are a collection of choralepreludes for organ by 9ohannes "rahms, composed in 0=A, and publishedposthumously in =>.CD

 he eleven pieces are relatively short and are based on selected verses ofnine separate *utheran chorales. his work is considered a +nal statementon "rahms' life and pending death. %ne of the selections is a prayer forhealing and restoration to health. 6ome organists sense that there is agood-bye in the last prelude based on % Welt, ich muss dich lassen &%World, I ow 8ust *eave hee).

Preludes

. 8ein 9esu, der du mich. :erHliebster 9esu, was hast du verbrochen

5. % Welt, ich muss dich lassen

@. :erHlich tut mich erfreuen

?. 6chmBcke dich, o liebe 6eele

A. % wie selig seid ihr doch, ihr Frommen

. % 1ott, du frommer 1ott

0. Es ist ein !os' entsprungen

=. :erHlich tut mich verlangen

>.:erHlich tut mich verlangen &second version)

.% Welt, ich muss dich lassen &second version)

a! Re"er

$horale 4reludes for %rgan, %p. =b &=>>G>@)

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. ';ch 1ott, verla mich nicht. 'Ein' feste "urg ist unser 1ott

5. ':err, nun selbst den Wagen halt'

@. '8orgenglanH der Ewigkeit

?. '8it Fried und Freud fahr ich dahin'

A. 'Wer wei, wie nahe mir mein Ende'

. ';uferstehn, Ja auferstehn wirst u'

0. '$hrist ist erstanden von dem od'

=. '$hristus, der ist mein *eben'

>.'8it Fried und Freud fahr ich dahin'

.'un danket alle 1ott'

.':err, nun selbst den Wagen halt'

5.'Warum sollt ich mich gramen'

In addition to 8a3 !eger's %p. =b, he also wrote 5> small choralepreludes, %p. 5?a &=@).

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#avotte

From Wikipedia, the free encyclopedia

 his article is about the folk and court dances and their music. For other uses,

see 1avot.

; gavotte dance in "rittany, France, 00

 he "avotte &also "avot or "avote) originated as a French folk dance,taking its name from the 1avot people of the 4ays de 1ap region ofauphinK, where the dance originated.Ccitation neededD It is notated in @L@ or Ltime and is of moderate tempo. he distinctive rhythmic feature of the0th-century French court gavotte is that phrases begin in the middle ofthe barM that is, in either @L@ or L time, the phrases begin on the third#uarter note &crotchet) of the bar, creating a half-measure &half-bar)upbeat, as illustrated below2

1avotte rhythm.CD

%n the contrary, the music for the earlier court gavotte, +rst described by hoinot ;rbeau in ?0=, invariably began on the downbeat of a duplemeasure, and the various folk gavottes found in mid->th-century "rittanywere danced to music in @L@, L@, =L0, and ?L0 time.CD he =th-century

column-dance also called gavotte has nothing at all in common with thedances of the Ath to the 0th centuries.C5D

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Renaissance

 he gavotte is +rst described in the late Ath century, as a suite ormiscellany of double branles, danced in a line or circle to music in dupletime, with little springs in the manner of the :aut "arrois branle, with

some of the dance steps divided with +gures borrowed from the galliard. he basic step pattern is the same as for the common or double branle,with the line of dancers moving alternately to the left and right with adouble à gauche and double à droite. In the double branle, each of thesecomposite steps consists of four components2 a pied largi &+rm outwardstep), pied approche &the other foot drawn near but not #uite up to the+rst), another pied largi, a pied oint  &following foot drawn against theleading one). he basic gavotte steps di/er as follows2 in the initial doubleà gauche a skip & petit saut ) is inserted after each of the four componentsMthe second pied largi is replaced by a !ar"ue pied crois# &the following,

right foot crossed over the left and with the toe contacting the 7oor)M the+nal pied approche is replaced by a gr$%e crois#e &the right foot crossesover the left and is raised in the air). he double à droite begins now witha pieds oints and petit saut , followed by two #uick steps, a !ar"ue piedgauche crois# and !ar"ue pied droit crois#, during beat two, a gr$%e droit crois#e and petit saut  on beat three, and concluding on the last beat with

 pieds oints and a capriole &leap into the air with entrechat).C@D

Baroque music

 & 'e!po di Ga%otti by 1eorge Frideric :andel

 he gavotte became popular in the court of *ouis NI< where 9ean-"aptiste*ully was the leading court composer. $onse#uently several othercomposers of the "aro#ue period incorporated the dance as one of manyoptional additions to the standard instrumental suite of the era. hee3amples in suites and partitas by 9ohann 6ebastian "ach are best known.When present in the "aro#ue suite, the gavotte is often played after thesarabande and before the gigue, along with other optional dances such asthe minuet, bourrKe, rigaudon, and passepied.

 he gavotte could be played at a variety of tempiM in his Musicalischeseicon &*eipHig, 5), 9ohann 1ottfried Walther wrote that the gavotte is

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often #uick, but occasionally slowMC?D and 9ohann 9oachim OuantH wrote in*ersuch einer &n+eisung die löte tra%ersiere -u spielen &"erlin, ?)that ; ga%otte is almost like a rigaudon, but is a little more moderate intempo.CAD

 he gavotte in the "aro#ue period is typically in binary form. ; notablee3ception is the Ga%otte en .ondeau &1avotte in rondo form) from 9.6."ach's 4artita o. 5 in E 8aJor for solo violin, "W< >>A.

$ater mani%estations

*ater composers, particularly in the =th century, wrote gavottes thatbegan like the Ath-century gavotte on the downbeat rather than on thehalf-measure upbeat. he famous 1avotte in by 1ossec is such ane3ample, as is the 1avotte in 8assenet's Manon. ; gavotte also occurs in

the second act of 'he Gondoliers by 1ilbert and 6ullivan and the Finale ofthe First ;ct of .uddigore also by 1ilbert and 6ullivan.

6ergei 4roko+ev employs a gavotte instead of a minuet in his $lassical6ymphony.

Re%erences in popular culture

Wikimedia $ommons has media related to

Gavotte.

• $arly 6imon's song  Pou're 6o <ain includes the lyric Pou had one eye in

the mirror as you watched yourself gavotte. In this conte3t it can be takento mean a pretentious or egotistical style of dancing.

•  he 6tephen 6ondheim musical /unday in the 0ark With George uses theword ga%otte as a satirical device in the otherwise irregular, non-steadilyrhythmical, song It's :ot Qp :ere to start the second ;ct, We're stuckup here in this gavotte.

•  he 9ohnny 8ercer song 6trip 4olka includes the lyric %h, she hatescorny waltHes and she hates the gavotte.

• 1eneticist W. . :amilton in his paper entitled 1amblers since life began2barnacles, aphids, elms. in the 1uarterly .e%ie+ of Biology  &=?) madean attempt at wit by referring to the drilled formality of the mechanisms of individual reproduction as the gavotte of chromosomes.

• ;gustin "arrios wrote a solo guitar piece called Madrigal Ga%otte, which isa combination of the two styles.

• In the anime 2iniro no Corda ( a Corda 345ro ), the 1avotte in by1ossec is heard many times, though referred to only as 1avotte.

• In the novel Good 5!ens, it is noted that one cannot determine how manyangels can dance on the head of a pin, because angels do not danceRthee3ception being the 4rincipality ;Hiraphale, who once learned to do the

gavotte.

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•  he $utting 1avotte is an attack in the 9apanese version of the !416n7nite 8ndisco%ery .

• In the "roadway musical 9::; during the song $ool, $onsiderate 8en,reference is made to 8r. ;dams' new gavotteRa reference regarding

 9ohn ;dams' ideas for a declaration of independence from 1reat "ritain.

• In the =A movie, <o+ 'o /ucceed 6n Business Without .eally 'rying, thesong ; 6ecretary Is ot ; oy refers to a gavotte. he song discouragespersonal indiscretions with secretaries at the +rm. he reference to agavotte is meant to be ironic, as the original dance accompanying thesong from the "roadway show was a modi+ed gavotte.

• In the manga and anime 5ne 0iece, the skeleton musician character"rooke &and his Hombie, !yuuma, which was given life by "rooke'sshadow) has a signature techni#ue2 Ga%otte Bond en &%ant .

• In the !obert 4insky poem 6!possible 'o 'ell the gavotte is mentioned in

the +rst line.

• he ;scot 1avotte is a song in the =?A musical 8y Fair *ady by ;lan 9ay*erner and Frederick *oewe.

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Siciliana

From Wikipedia, the free encyclopedia

6iciliano rhythms.CD

 he siciliana or siciliano &also known as the sicilienne) is a musical style or genre often included as a movement within larger pieces of music

starting in the "aro#ue period. It is in a slow AL0 or L0 time with liltingrhythms making it somewhat resemble a slow Jig, and is usually in a minorkey. It was used for arias in "aro#ue operas, and often appeared as amovement in instrumental works. he siciliano evokes a pastoral mood,and is often characteriHed by dotted rhythms.

&istory

!aymond 8onelle +nds musicologists' attempts to trace the style to anyauthentic tradition in 6icily inconclusive, but traces its origins to madrigalsin triple time with dotted rhythms.CD

Baroque era

 he siciliana was +rmly established as a signi+er of a pastoral conte3t inthe operas of ;lessandro 6carlatti, though only two of his slow arias inL0 are actually titled aria siciliana in the scores.C5D 8onelle notes thatte3ts of 6carlatti's siciliana arias are generally lamenting and melancholic.From >5, sicilianas are described in musical dictionaries. %there3amples of "aro#ue sicilianas are found in 9. 6. "ach music &e. g., in the$oncert for clavicembalo o. in E). ;nother well-known siciliana is the

last movement of ;. $orelli's $hristmas $oncerto %p. A, o. 0.

Classical era

Works in siciliana rhythm appear occasionally in the $lassical period. 9oseph :aydn, perhaps inspired by the bucolic associations of the genre,wrote a siciliana aria for soprano in his oratorio 'he Creation, un beutdie Flur das frische 1rBn &With verdure clad the +elds appear), tocelebrate the creation of plants. For 8oHart, the hesitating rhythm of thesiciliana lent itself to the portrayal of grief, and some of 8oHart's mostpowerful musical utterances are tragic sicilianas2 the aria for soprano;ch, ich fBhl's, es ist verschwunden from 'he Magic lute, the F sharpminor slow movement of the 4iano $oncerto, S. @00, the F minor ;dagio

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from the 4iano 6onata, S. 0>, and the +nale of the 6tring Ouartet in minor, S. @.

 he third movement of omenico $imarosa's %boe $oncerto is a siciliana.%ther e3amples of sicilianas are featured in the last movement of $arl

8aria von Weber's <iolin 6onata o. ? and the second movement of ;nton!eicha's $larinet Ouintet in F maJor, %p. >.

 he guitar virtuoso 8auro 1iuliani &0-0=) was very fond of thesiciliana form and fre#uently composed in it. ; notable e3ample of this isin the second movement of his 1uitar $oncerto o. in ; maJor, %p. 5>.

Romantic era

In the !omantic era "rahms wrote a siciliana as the nineteenth variation inhis <ariations and Fugue on a heme by :andel for solo piano &0A). hesecond of 8oritH 8osHkowski's 'rois Morceau po#ti"ues, %p. @ &00), isa 6iciliano.

:KlTne's aria, 8erci, Jeunes amies from <erdi's opera es %=pressiciliennes is another e3ample of a siciliana, suited to its setting, and isreferred to as such in the score, even though it is popularly called abolero.

'th century

E3amples of sicilianas in >th-century music include Igor 6travinsky's6erenata from 0ulcinella, %ttorino !espighi's 6iciliana from ;ncient ;irsand ances, 6uite o. 5, and 8alcolm ;rnold's 6iciliano in the *ittle 6uiteo. for "rass. he 6uite from 0ell#as et M#lisande by 1abriel FaurK alsocontains a well-known siciliana. 8aurice uru7K's 6uite for %rgan &op. ?)contains a sicilienne. !achmanino/ utiliHed siciliana style and rhythms inthree of his %p. 5 4reludes for piano, the "♭ minor &%p. 5, o. ), the "minor &%p. 5, o. >), and the " maJor &%p. 5, o. ). :ungariancomposer, 1yUrgy SurtVg references the style in a surprising way in his=0 magnum opus, Safka-Fragmente %p.@, for soprano and violin inthe movement er Wahre Weg. :owever, perhaps the most notable

e3ample of siciliana style in the >th century inhabits the 'Intrada' and'rhapsody' from FinHi's e3#uisite cantata, 'ies atalis'.

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rumpet voluntary

rumpet Voluntary is the name given to some English keyboard piecesfrom the "aro#ue era. ; trumpet voluntary is most commonly played onthe organ using the trumpet stop, hence the name. rumpet voluntariesusually consist of a slow introduction followed by a faster section with theright hand playing fanfare-like +gures over a simple accompaniment in theleft hand. In some instances, the rumpet is replaced by the $ornet stop,or even a Flute stop. Echo e/ects are also used sometimes.

 he most celebrated trumpet voluntary is the 0rince of 3en!ark4s March,a composition by 9eremiah $larke written circa. >>.CD It is properly arondo for keyboard and was not originally called a trumpet voluntary. It isvery popular as wedding music and was played at the =0 wedding of$harles, 4rince of Wales, and *ady iana 6pencer.CDC5DC@D his piece,particularly in a well-known arrangement for trumpet, string orchestra andorgan by 6ir :enry Wood, was incorrectly attributed for years to :enry4urcell. It is now known to have been the work of $larke.

 he organist and composer 9ohn 6tanley also wrote a number of trumpetvoluntaries, as did $larke's teacher 9ohn "low.