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CMP TEACHING PLAN Name: Mark Lehmann Date: July 29, 2015 Title: O filii et filiae Composer: Ivo Antognini (b. 1963) Text: from canticle by Jean Tisserand (d. 1494) Arranger: none Voicing: SATB Also available SA with piano & cello Length: 2:40 Publisher: Alliance Ensemble: Church (Easter), HS or above Copyright: 2014 Octavo #: AMP 0967 ANALYSIS Broad Description Contemporary a cappella setting of medieval Latin Easter canticle Background Information: The text for this composition is taken from a French Easter canticle/hymn by Jean Tisserand (d. 1494). The English hymn translation set in many hymnals is “O Sons and Daughters” and generally uses the original tune with many verses telling the Easter story. It is sometimes referred to as “The Joyful Canticle” because of the many “alleluias” in the text. Swiss composer Ivo Antognini uses a very accessible harmonic language with moderate ranges to convey a calmness and serenity which finishes with a joyful alleluia section. At the 2015 Iowa All-State Festival Dr. Eklund will pair this with the Volckmar Leisring setting from 1608 of the first verse of the same text. Elements of Music Form The form of this composition is 2 verses with alleluia refrains followed by a concluding coda of alleluias. Verse 1 (A) 1-18 Refrain (B) 18-27 Verse 2 (A) 27-44 Refrain (B 1) 44-51 Coda 51-58 The verses are nearly identical with small allowances made for the differences in text, which also dictates some differences in phrasing. The second verse refrain begins the same as the first verse refrain, but is altered and shortened beginning at m. 49 (compare m. 22-23 to m. 48-49). The coda is a crescendo of six “alleluias” in two groups of three reminiscent of the concluding alleluias in the original medieval canticle. Rhythm Antognini uses anacrusis to set the text in a way which effectively preserves the natural accents of the Latin. Both the original hymn and the Leisring setting use 3/4 meter while this setting is almost completely in 4/4 meter. The rhythmic language is quite simple with nothing more than a few dotted quarter/eighth combinations. Melody This piece is dominated by a beautiful melody in the soprano accompanied by lovely interweaving lines in the other three voices. All lines are melodic and all parts utilize much stepwise motion. The bass does have some octave leaps and the soprano has only one (m. 49). Antognini stated in an interview with Nathan Windt, choral conductor at St. Ambrose University, Davenport, Iowa (April 2015 issue of the International Choral Bulletin) that he sings all the parts in his compositions and strives to make each part melodic. The ranges in this piece are very moderate, with the tenor (G-Eb) and alto (BbBb) especially confined. Harmony Antognini uses many extended chords with added 7ths, 9ths, added notes, etc. – a similar harmonic language to Eric Whitacre. There are some close dissonant chords, but the effect is tonal with the verses beginning in F minor and moving to Ab major in the refrain/Alleluia section which ends with a wonderful C major chord (m. 27). The second refrain introduces Gb in the bass at m. 50 and the coda then uses Ab maj – Gb maj – eb minor progression to end in Ab major. Alleluia refrain is also reminiscent in effect to sections of the “Alleluia” by Ralph Manuel. Texture The texture of this is melody in the soprano line accompanied by the other three voices. It is SATB throughout with only two notes divisi. In the two-part edition of this piece the bass line is played by a cello, and the bass line of this piece sings instrumentally to my ears with longer notes and simpler rhythms than the inner parts which move more contrapuntally against the soprano melody. All lines are melodic and logical with few difficult leaps. The alto and tenor ranges are not extensive and the entire effect is more of a “shimmer” in the verses with the Alleluia refrains and coda building to a joyful final cadence. Timbre Due to the close harmonies and quiet nature of the verses, this piece requires more control in the voices to tune the chords. The refrain and coda “Alleluias” will require more volume and a fuller sound Expression The verses are quieter, more reflective, and the joyfulness of the Alleluia refrains and coda are fuller, louder with the piece marked forte and molto ritardando at the final cadence. Tempo remains steady and the use of natural text stress will guide much of the dynamic shape of the phrases. Slight fermatas at the end of each verse are not marked but are heard in most recordings and highlight the verse/refrain structure of the piece. Text The text is for the Easter season and attributed to Jean Tisserand (d. 1494), a French preacher. The hymn originally had nine verses with Alleluia sections between every verse, thus leading Gueranger to call it “The Joyful Canticle.” Antognini utilizes two of the verses. A word-by-word translation: O filii et filliae, Rex coelestis, Rex gloriae, morte surrexit O sons and daughters, King of heaven, King of glory, from death has risen In hoc festo sanctissimo In this feast most holy hodie. today. sit laus et jubilatio, benedicamus Domino. Alleluia. be praise and jubilation, let us bless (the) Lord. Alleluia. O ye sons and daughters, the King of heaven and glory has risen from death today, alleluia! In this most holy feast, let there be praise and jubilation, let us bless the Lord, alleluia. Composer Ivo Antognini (b. 1963) is a Swiss pianist, composer and professor since 1987 at the Conservatorio della Svizzera Italiana in Lugano. He earned his diploma in piano performance in 1985 at Lucerne, and followed with studies in jazz piano in Bern. Most of his early compositions were for jazz piano, and he wrote for television and film. He began to compose choral works after attending a concert of a children’s choir, Coro Calicantus, from northern Italy conducted by one of his former piano students, Mario Fontana. He was so inspired that he began to write for choirs and continues to do so with great success. He presented several of his compositions with the Coro Calicantus at the World Choral Symposium in Copenhagen (2008), and was an adjudicator and presenter at the World Choral Games in Cincinnati in 2012. DCINY will present a concert of his music at Lincoln Center, New York City, in March 2016. His works are performed regularly by many professional and university choirs throughout the world. Recordings can be found on Youtube as well as his website, www.ivoantognini.com. A link to the interview with Antognini by Nathan Windt, Director of Choral Activities at St. Ambrose University, Davenport: http://www.ivoantognini.com/MUSIC_COMPOSER/home_files/eICB_20152%20-%20interview%20-%20short.pdf The companion setting for All-State is by Volckmar Leisring (b. 1588, d. 1637), a singer, composer and pastor in the Lutheran church in Thuringia. He studied theology in Jena starting in 1606. During that time he authored two books and published a collection of 5-8 part choruses titled Cymbalum Davidicum. After studying theology he served three congregations. Encumbered by his duties and the worries of the Thirty Years War (1618-1648), he apparently ceased composing during his remaining days as pastor. What is the “Heart” of this piece? The serene, beautiful melodic lines of the verses which lead into the joyful alleluia refrains reflect the joy of the Easter text in a contemporary harmonic language that contrasts with the original medieval melody as well as other settings of the hymn, such as the familiar double choir setting by Leisring. Introducing the Piece Since this is to be paired with the Leisring setting of the same text at All-State, I would introduce the two together. First play the Youtube video of Pete Eklund’s University Singers performing the Antognini setting ( https://www.youtube.com/watch?v=n-04z3MImd8 ) looking at structure of the piece, noting in their music where they heard repetition of music and/or text. After looking at what they noticed (hopefully verse-refrain), I would introduce the translation of the text with a short discussion of their ideas on the mood conveyed in the composer’s interpretation of this text. Then we would continue the video with the short Leisring setting. With their folder partner they would have a three minutes to write on 3 x 5 cards what differences they heard between the two settings and how their responses differed to the two settings of the same (almost) text. SKILL OUTCOME Students will perform verse 1 and first refrain (mm. 1-27) on solfege syllables thereby exploring the relationship between F minor and its relative major, Ab. SKILL STRATEGIES: Establish the key signature by singing scales in Ab major, then extending to the relative minor – F. Following a chromatic scale chart, sing chromatic scales, beginning on Ab as DO and on F as LA. Find deviations from the diatonic scale. (m. 19 – A natural, m. 20 – E natural, m. 26 – D natural) and mark in their scores what the proper syllable would be for those accidentals. Voice sections rehearse separately to solfege their parts for measures 1-8, then put together. Next session is m. 9-18, then the refrain, 18-27. Find other examples of a minor song moving to relative major. Compose short melodies moving from f minor to Ab major. KNOWLEDGE OUTCOME Students will identify verse-refrain form in other hymn tunes and folk songs and recognize how the Antognini setting moves beyond the ordinary with the second verse changes in text resulting in changes of phrasing and the addition of the coda. KNOWLEDGE STRATEGIES: The introduction of the song will help students establish the verse-refrain form. Students mark their scores with the verse and refrain. After marking in Dr. Eklund’s breath marks, students will discuss with their folder partner the differences between the two verses and the two refrains. (text, phrasing, m. 48) Sing the verses of some familiar songs of different genres and have the students join in on the choruses. (Examples: Blowin’ in the Wind, Angels We Have Heard on High, Battle Hymn of the Republic) Have each student submit one verse-refrain song of any genre. (email mp3 clips or youtube links). Choose several for the ensemble to sing as part of the class warmups. AFFECTIVE OUTCOME Students will reflect on three different settings of the same text (medieval, Leisring and Antognini) and compare and contrast the emotional response they have from each. AFFECTIVE STRATEGIES: Learn/sing verse 1 of the original hymn melody with Latin text. http://www.mipucpr.org/cantoral/wp-content/uploads/OfiliiGR.pdf Learn/sing verse 1 of the setting in English, “O Sons and Daughters, Let Us Sing” http://www3.cpdl.org/wiki/images/8/89/O_sons_and_daughters_%28cpdl%29.pdf Also found on p. 386 of Evangelical Lutheran Worship (hymnal) Sing verse 1 from the Gregorian chant notation (Translations and Annotations of Choral Repertoire, Volume I: Sacred Latin Texts, compiled by Ron Jeffers, c. 1988 earthsongs; p. 173) Also in Chants of the Church, p. 118. Learn, sing, or listen to (depending on the stage of your choir) the Volckmar Leisring setting. Using a 3x5 card the students will reflect on the following questions: 1. What differences do you see in meter and rhythm? 2. What differences do you notice in melody? 3. Which setting (Leisring or Antognini) is most like the original? Why? 4. What mood or emotional response do YOU get from the three settings?