Concert Choir Member Information Page

You need only be present for the five minutes of each octet in which you are singing for Bill for juries.

Solo Auditions

Concert Music Repertoire

Like his mentor, Dukas, Duruflé was incredibly self-effacing, and spent considerable time re-working his compositions until they achieved what he felt was the correct level of perfection; in fact, there are only 14 published Opus numbers to his name. Duruflé's early musical training was at the cathedral in Rouen, where there was a famous school of Gregorian chant. This repertory of liturgical song had become something of a French speciality in the 19th century, and among the scholars working on the chants were a group of Benedictines at the French monastery of Solesmes, who developed a theory of chant rhythm as a free succession of notes of mostly equal value in groups of two and three.

The Solesmes school of chant restoration and performance achieved widespread acceptance in the Catholic church and even some Protestant congregations. After a thorough steeping in this tradition, Duruflé came to Paris and studied at the Conservatoire, where he confronted the tradition of Fauré, Debussy, and Ravel. When he came to write his Requiem in 1947, like the earliest composers of polyphonic Requiems, Duruflé took the Gregorian plainchant Mass for the Dead as his raw material. His declared intention was 'to reconcile, as far as possible, Gregorian rhythm…with the exigencies of modern meter.' That is, he did not transcribe literally the original melodies with their irregular alternation of twos and threes; he adjusted the rhythms subtly so that larger metric patterns emerge, but still he allowed the meter to shift frequently so that a sense of spontaneity is preserved. At the same time, he clothed the sometimes archaic-sounding melodies in sophisticated harmonies of the early modern school. Although he came from a different liturgical tradition, Duruflé used similar texts to those used by Fauré in his requiem.

The Solesmes school of chant restoration and performance achieved widespread acceptance in the Catholic church and even some Protestant congregations. After a thorough steeping in this tradition, Duruflé came to Paris and studied at the Conservatoire, where he confronted the tradition of Fauré, Debussy, and Ravel. When he came to write his Requiem in 1947, like the earliest composers of polyphonic Requiems, Duruflé took the Gregorian plainchant Mass for the Dead as his raw material. His declared intention was 'to reconcile, as far as possible, Gregorian rhythm…with the exigencies of modern meter.' That is, he did not transcribe literally the original melodies with their irregular alternation of twos and threes; he adjusted the rhythms subtly so that larger metric patterns emerge, but still he allowed the meter to shift frequently so that a sense of spontaneity is preserved. At the same time, he clothed the sometimes archaic-sounding melodies in sophisticated harmonies of the early modern school. Although he came from a different liturgical tradition, Duruflé used similar texts to those used by Fauré in his requiem.

The piece is in the true tendresse style, leaving out the chilling full Dies Irae and accentuating the aspect of forgiveness through the inclusion of a separate Pie Jesu and through constant repetition of the phrase 'Requiem aeternam dona eis Domine'. Duruflé published the Requiem in three versions: for organ alone; for full orchestra and for organ and string quintet with harp, trumpets and timpani ad libitum

The early 1920's marked a pastoral interlude for Vaughan Williams. As well as the aforementioned opera, Sir John in Love, the period also saw the composition of The Lark Ascending, The Pastoral Symphony and The Shepherds of the Delectable Mountains. In 1921, the same year as the latter two pieces, Vaughan Williams also wrote his Mass in G minor. Its musical link with the pastoral works is unmissable, as the piece is full of the rich harmonies associated with the composer in his most 'English summertime' moments, but the origins of the piece are also, as with Howell's Requiem, in the revival of English polyphony and with Vaughan Williams' identification of his music with 'the imperishable glories of English prose.

The piece is dedicated to Gustav Holst and the Whitsuntide Singers (Holst and Vaughan Williams were very close at this time), and it received its first performance on 6 December 1922 in Birmingham Town Hall. The first liturgical performance was at Westminster Cathedral under R R Terry, who took an instant liking to the work and, along with Holst, championed its liturgical use. The work is set for unaccompanied double choir and soloists. The success of the Mass in G minor as a liturgical work in post-war Britain, is best summed up in Terry's own words to Vaughan Williams: 'I'm quite sincere when I say that it is the work one has all along been waiting for. In your individual and modern idiom you have really captured the old liturgical spirit and atmosphere.

Following the death of Purcell in 1695, English music went into a long period of decline that was not reversed until the late 19th century with the emergence of Elgar, followed by a whole new generation of talented composers. The leading figure of this younger group of musicians was Ralph Vaughan Williams, who for nearly sixty years remained one of the most influential figures in English music, his nine symphonies and succession of major choral works being widely regarded as his greatest achievements.

Like Elgar, Vaughan Williams was a late developer, reaching his mid-thirties before attracting serious attention as a composer. He eventually developed his own unique musical style, which was profoundly influenced by his love of Tudor music and his immensely important work in collecting English folksongs.

In 1908 Vaughan Williams studied with Ravel for a brief three months, and shortly afterwards produced a series of major works, including the song-cycle On Wenlock Edge, the Fantasia on a theme by Thomas Tallis and, in 1911, the Sea Symphony and the Five Mystical Songs, the latter a setting of poems by George Herbert (1593 – 1633). Despite his declared atheism, which in later years mellowed into what his wife Ursula described as ‘a cheerful agnosticism’, Vaughan Williams was inspired throughout his life by much of the liturgy and music of the Anglican church, the language of the King James Bible, and the visionary qualities of religious verse such as Herbert’s.

The baritone soloist is prominent in the first four of the Mystical Songs, with the chorus taking a subsidiary role. In the opening song, the lute and its music are used as a metaphor for the poet’s emotions at Easter. The second song features a simple but moving melody for the baritone soloist, who is joined by the chorus for the third verse. In the third song the choir can be heard intoning the ancient plainsong antiphon, O sacrum convivium, whilst the fourth movement, The Call, is for baritone solo. An accompaniment suggestive of pealing bells introduces the triumphant final song of praise, in which the chorus is heard to full effect.

Special Events

Socials

There are four socials during each term, one hosted by each section.
This semester, they will come in STAB order.

Grading and Member Policies (syllabus.pdf)

Grading Policies

Students can register for 21M.401 to receive 6 units (0-4-2) of music performance credit for their participation in Concert Choir. This credit may be used to fulfill a HASS concentration, minor, or major in Music (21M). There are no prerequisites. Your grade in Concert Choir will be determined by Bill Cutter (our director) using the following criteria:

General Member Policies

To maintain the musical standards of the Concert Choir, there are a number of policies for all our members. Those taking choir for credit can also expect these policies to be a factor in the grading of the class, as stated above.

Concert Dress

For those of you new to the choir (and as a reminder to the rest), concert dress is formal. In other words, start looking for something to wear. Information on what both women and men are expected to wear is below. If you have questions that are not answered by the information below, please ask our president or conductor.

One convenient place you can go to purchase or rent a tuxedo is Keezer's, 140 River St., Cambridge (map).

Rehearsal Schedules

Regular Rehearsals

Dress Rehearsal Schedule for Spring 2008

Juries Schedule