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Music in the making. Produced by Milliken university under a grant from the Educational Television Radio Center in cooperation with the National Association of educational broadcasters. The only thing the School of Music presents Professor Wesley Snyder in the Milliken University Choir in a recorded consideration of the gradual acceptance of tonality in choral music. The musical illustrations were composed by Handel who came to London in the early 17:00 as a composer of Italian opera but London audiences rebelled at the rigid conventions of traditional operatic form. Every opera must have three acts each area must express a single emotion. The Arias had to be allotted equally to male and female singers and so forth. So Handel turned to operas nearest related for an oratory Oh and composed the great works for which she is best remembered. Here to take over at this point is the conductor of the Milliken University Choir Professor Snider. The mention of the name George Frederick Handel often brings to mind the music of this messiah.
Now a lot is true that the Messiah is a great musical work. It represents only a small portion of the total output. Handel was born in Hala in Lower Saxony in 69 85 and by the time he was seven years old had taken up on his own playing the harpsichord he had attracted a great deal of attention as a child prodigy and his father had him taught to play the oboe the violin the harpsichord and the organ. But the time he was 19 he had already had a job as a member of the orchestra in Hamburg orchestra Opera Orchestra. Shortly after this he had an opportunity to go to Italy where he completed his musical education. While he was there he met many of the famous composers of the day and thoroughly assimilated the Italian style of composition. The most popular kind of music of course in Italy at the time was that of the opera.
He wrote Italian operas which exceeded the works of even the Italian composers of that day. Returning from Italy he went to Hanover and became chapel master to George of Hanover. Shortly after this job was given him he asked for a leave of absence and went to London where he composed several operas which were very successfully received. Then he returned to Hanover and his chapel master's job. A little while later he asked for a second leave to go back to London. And George reluctantly gave him his consent. This time in London Handel found the place so much to his liking that he didn't want to go back and finally overstayed his leave. And of course this didn't make George of Hanover very happy. However before Handel could get back George of Hanover had become George the first
of England but handles musical genius was of such caliber that George forgave him and accepted him as a member of his musical establishment in England and all the rest of Handel's life was spent of course in England. George established the Royal Academy of Music with Handel and Bono and cine as co directors I suppose we could call them and Handel went on a search for new musical talent. He brought back some of the famous Italian singers of the day put them on the stage in his operas and gradually achieved a sort of supremacy over bone and Cheney. This didn't make Bill and Cheney very happy of course so he left and was set up in his own establishment. Now at this time the high fees paid to the singers was depleting the treasury of these the Royal Academy
and finally in 17 37 it went broke and Handel had to turn to some other field of writing. He chose the oratorio which was quite similar to the opera but yet was of such a nature that it could be put on without scenery and costumes thus saving lots of money as the first example of Handel's oratory or style we've chosen one of the great choruses from Samson. It's the ever popular let their celestial concerts all unite let us hear it now as sung by the Milliken University Choir. Oh OK. Oh it was a oh yeah.
Oh and OH OH OH OH OH OH YEAH YEAH YEAH OH OH OH OH OH OH OH YEAH OH YEAH. Film. Oh oh oh oh oh oh yes. We'll. Yeah.
Oh oh oh oh yes oh and oh yeah oh yes oh yes oh yeah yeah yeah yeah yeah yeah. Yes oh yeah. Oh oh oh. Oh oh oh oh oh oh.
Yeah oh oh. I hate. I think you would agree that the inspiration which produced a Messiah was also drawn upon to produce the piece you just heard. Technically many of the great choruses of the Messiah are quite similar to this one with its vigorous and active vocal lines. Handel when he chose could write music of great tenderness as well as music of great figure. Such a composition is the next we hear. Even though it's much softer and moves at a slower pace than the last. It's not a desire still handily in the breadth of their conception. The Milliken University Choir sings now thanks be to the E. This is taken from
Handel's can Todd Akin's straw man which means simply a piece to be song with instrumental accompaniment. Alan Cox Rob that's a soprano is the soloist. Sure are.
The climax provided by the arranger in this case was somewhat stronger than Handel himself deemed necessary. He sort of succumbed to the urge to guild the lily for our concluding number. We hear another of those great and stirring choruses for which Handel is justly esteemed. This one is hollow man. From his Judas Maccabee Yes. This was written when Handel was at the height of his powers when his musical mastery was so great that he was able to turn out one composition after another of the highest quality the the hundred the word who
they are the way one of them. With with with a on oh on with or without ya. Ya
ya ya ya with. Professor Wesley Sneider and the Milliken University Choir have brought here a recorded consideration of the gradual acceptance of tonality choral music. Music in the making was produced by Milliken university under a grant from the Educational Television Radio Center. This program is distributed by the National Association of educational broadcasters. This is the end of the tape network.
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Series
Music in the making
Episode
Gradual acceptance of tonality in choral music
Producing Organization
Millikin University
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-db7vrc2t
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-db7vrc2t).
Description
Episode Description
This program analyzes the gradual acceptance of tonality in choral music, as well as George Handel's role in the developments.
Series Description
Instructional comments and musical illustrations using faculty and students from the Millikin University School of Music. The first thirteen programs in the series focus upon historical aspects of music. The second half of the series explores music's technical side.
Broadcast Date
1956-01-01
Topics
Music
Subjects
Handel, George Frideric, 1685-1759. Choral music
Media type
Sound
Duration
00:14:36
Credits
Producing Organization: Millikin University
Speaker: Snyder, Wesley
AAPB Contributor Holdings
University of Maryland
Identifier: 56-8-2 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:14:21
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Citations
Chicago: “Music in the making; Gradual acceptance of tonality in choral music,” 1956-01-01, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 21, 2024, http://americanarchive.org/catalog/cpb-aacip-500-db7vrc2t.
MLA: “Music in the making; Gradual acceptance of tonality in choral music.” 1956-01-01. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 21, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-db7vrc2t>.
APA: Music in the making; Gradual acceptance of tonality in choral music. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-db7vrc2t