American Choral Review Archive

Volume 14, No. 3

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Articles

The Performance of William Byrd's Church Music II. Music for the Catholic Rites

by Frederick Hudson

ABSTRACT:

Byrd's Anglican Church music was composed and performed in an...

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ABSTRACT:

Byrd's Anglican Church music was composed and performed in an atmosphere of toleration under royal patronage, and our earlier article on this genre gave reasons for believing that his Latin Church music with uncontroversial texts would be equally acceptable. So far we have considered his music for public worship in the Established Church and now come to his music designed solely for the Catholic rites, the Ordinaries and Propers of the Mass, which the present writer has no hesitation in terming the summation of his life's work and the expression of his inner self.

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Choral Works by Armin Knab

by Herbert Fromm

ABSTRACT:

Knab's musical output was devoted almost exclusively to vocal music....

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ABSTRACT:

Knab's musical output was devoted almost exclusively to vocal music. He left about two hundred solo songs which consciously broke with the declamatory, chromatic style of Hugo Wolf by establishing again the primacy of the vocal line. Knab was a master of melodic invention but he also knew how to write expressive and often highly imaginative accompaniments. A number of his songs were successful but they never gained the wide popularity of the works of Wolf, Strauss, and Mahler.

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Choral Conductors Forum: Palestrina Redivivus

by Thomas Day

ABSTRACT:

An imaginative "interview" with G. P. Palestrina, "A Hitherto Unknown...

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ABSTRACT:

An imaginative "interview" with G. P. Palestrina, "A Hitherto Unknown Manuscript: Being a Dialogue between Giovanni Pierluigi da Palestrina
and a Student, concerning the Curious Decline of the Former's Reputation
in Recent Years."

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Choral Music in the Liturgy: Synagogue Music Rediscovered – Part II

by Neal Zaslaw

ABSTRACT:

Like the author's earlier discussion of synagogue music, published in...

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ABSTRACT:

Like the author's earlier discussion of synagogue music, published in the previous issue of the AMERICAN CHORAL REVIEW, the present article is indebted to a doctoral dissertation by Israel Adler (Paris: Mouton & Co., I966) dealing with the musical practice in various Jewish communities in Europe during the seventeenth and eighteenth centuries-a work that has opened completely new vistas of choral music written for the Jewish liturgy.

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