Laudate Dominum for two choirs and organs
  • SalieriSalieri
    Posts: 3,177
    .
    Thanked by 3Casavant Organist CHGiffen M. Jackson Osborn
  • CHGiffenCHGiffen
    Posts: 5,151
    Looking forward to the sound file. Writing for 6 or more voices is fun, challenging, and rewarding when done ... even better if you can actually get someone to sing it for you, but that's not easy if you are not the music director/conductor of a choir/chorus of that size (I'm not and hence have to rely on the kindness of others).
    Thanked by 1Salieri
  • M. Jackson Osborn
    Posts: 8,368
    So, having completed your 8 voice (and 2 organs!) Laudate Dominum warmup are you now starting your response to Spem? 41 voices?
    Thanked by 1Salieri
  • SalieriSalieri
    Posts: 3,177
    Thanks for the Compliments, Chuck and Jackson. I've never written much for more than five voices before starting this piece, and nothing polychoral, so it is a bit of a learning experience.

    Haha, Jackson. I have started an unaccompanied 12-part (three SATB choirs) setting of one of the Communion antiphons (I forget which one a present), but I think 41 would be a bit much. I still don't know how Tallis wrote a piece for 40 voices in which every voice is needed. Spem is an inspired piece of polychoral composition that will probably never be matched.
    Thanked by 2M. Jackson Osborn CHGiffen
  • M. Jackson Osborn
    Posts: 8,368
    We have so much admirable compositional talent on the forum! I am a congenital want-to-be when it comes to complex polyphony. I do well to write a decent two voice motet that is more or less worthy to stand in the shadows of Lassus' similar masterpieces. I've done a number of these, the most recent being the alleluya verse for the Trinity vigil, which will be done (with the Gregorian alleluya!) with my schola at St Basil's UST next week. (This will be a totally sung English NO with Palmer-Burgess' propers+an Osborn plainchant setting of the RespPs, a Tye offertory motet, and a Trinity office hymn set to Tallis' Canon as a communion meditation hymn.) I'm working on a Te Deum in memory of my father and in thanksgiving for the ordinariate, and a Magnificat in memory of my mother. They may be performable in a year or so. They are both in the BCP language and the English anthem style, with organ. I've also done a setting of the propers (BCP English) for the dedication-anniversary of a church for SATB choir, organ, brass consort, and tympani. One of my years long projects is an a capella motet-style setting (Latin) of my favourite Bible verse, oculos non vidit. When I view the creations of some of my colleagues, though, I wonder why I even attempt to compose. But I do - and love it.
    Thanked by 2CHGiffen Salieri
  • SalieriSalieri
    Posts: 3,177
    Jackson: with composition, like all things, you have to do it to do it, and do it because you love it. Would you be willing to share your Trinity Vigil alleluia verse? I'd love to see it. One of the things that I am "in to" is music by forgotten composers, or even forgotten music by famous composers, and have found much that is worthy of revival - and thanks to CPDL and IMSLP for making much of it available! - and, of course, new music by living and (more or less) unknown composers, of which there are many, many, worthy new compositions that should be performed!
    Thanked by 1CHGiffen
  • M. Jackson Osborn
    Posts: 8,368
    Salieri, and any others who might be interested:

    Here, as per your request, is my two-equal-voices setting of the alleluya verse for Trinity - with apologies to Lassus, et al. I think it's nice and is the sort of thing that should be available for those who really want a historically grounded liturgical music praxis for their masses. Normally at these masses the Gregorian verse (a la P-B) has been sung by a soloist, but I thought to try this for something different with a basis in our patrimony.

    Any who think that it is worthy may feel free to copy it and use it.

    Well - sorry. I tried attaching it but got an ugly message all marked in yellow that it couldn't be done. Aren't computers wonderful!? Just when we think that we can't do without them they tell us that we can't do anything with them!
  • francis
    Posts: 10,668
    period

    yellow box

    looking forward to seeing score


    salieri
    hope to review score later today when at computer
  • SalieriSalieri
    Posts: 3,177
    In mm. 58(bts. 3,4)-59(bt.1) there are parallel octaves between T-II and B-II: F# to D, and then between T-II and S-I: D to C#; these should be fixed (I hope) by having T-II stay on F# before descending to C#.
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