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Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
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Requiem, Jacob K. Lee
Requiem, Jacob K. Lee
Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
Traditionally, the requiem form began as a Catholic mass to honor the dead. Today, the requiem is generally composed conveying messages of solace to troubled hearts. Many composers, such as Britten and Rutter, choose to abandon some of the orthodox text of the mass to provide an added measure of connection for the audience. The result of these later requiems is often a baring of the composer’s soul – something profoundly personal shared in the hope of inspiring others. This latter process is my aim in creating my Requiem. I approach this end in several ways, compositionally: There is a …
Werner Jaegerhuber’S Messe Sur Les Airs Vodouesques Or Messe Folklorique Haïtienne: A Performance Edition, Canes Nicolas
Werner Jaegerhuber’S Messe Sur Les Airs Vodouesques Or Messe Folklorique Haïtienne: A Performance Edition, Canes Nicolas
Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
Originally written for solo soprano with choir and organ, Werner Jaegerhuber completed this work in 1953, and his close friend and artistic collaborator, Louis Maximilien, commissioned it for the sesquicentennial of Haiti’s independence on January 1, 1954. However, since there are no published scores or even a reliable manuscript of this piece, what has been kept in the archives of the Société de recherche et de diffusion de la musique Haïtienne in Montreal, Canada are two dissimilar scores by unknown sources. One is the choral and organ version, which was made by a professional copyist in the 1950’s (judging by …
Missa Prolationem, Kurt Knecht
Missa Prolationem, Kurt Knecht
Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
Missa Prolationem is a setting of the traditional Latin Ordinary mass text that seeks to explore counterpoint in the context of metric problems. Though Ockeghem’s specific contrapuntal techniques were not utilized, his Missa Prolationem served as the original inspiration for this setting of the mass. Each movement attempts to explore a specific problem created by the interaction of the counterpoint and meter. In the Kyrie, contrapuntal passages in multiple meters are both superimposed and juxtaposed. The Gloria includes a triple fugue in which each subject is in a different time signature. The Credo is a series of canons at descending …