American Choral Review Archive

In recent years there has been a renewal of interest...

In recent years there has been a renewal of interest in the early compositions of Felix Mendelssohn-Bartholdy. Many works remained in manuscript after the composer's death, and most of the choral works are now in the archives of the Deutsche Staatsbibliothek, East Berlin. In the aftermath of World War II they were believed lost, but in 1960 Staatsbibliothek officials announced the rediscovery of "some one hundred early works," which include forty-four volumes of original manuscripts "bound
together by the composer himself." In 1977 the Leipzig edition offered the first volume of sacred choral music, a first edition of the Te Deum in D of December 5, 1826. Due to the relatively recent publication date and past difficulties in gaining access to the manuscript, little has been written about the work.

One of the most ambiguous notational symbols in Anglo-American psalmody...

One of the most ambiguous notational symbols in Anglo-American psalmody of the eighteenth century is the slur connecting a series of repeated notes. Are these to be performed as discrete, articulated sounds, or do they represent merely one continuous sound, without separate articulation, the ties for which have been combined into one symbol for convenience? Are all cases to be interpreted the same way? If not, what conditions warrant different readings? The notational device is often found in American sacred music of the Colonial and Federal periods and is frequently encountered in the music of William Billings. Since Billings was the leading American composer of sacred music in his day, this study will focus on his use of the device, but inasmuch as he followed the same notational practices as most Anglo-American psalmodists, our conclusions should have some relevance to the music of other composers in the psalmody tradition as well.

With special 1985 issues devoted to the music of Bach,...

With special 1985 issues devoted to the music of Bach, Handel, and Schiltz, the American Choral Review paid tribute to a year of choral activities of unprecedented scope.