Herrick Cantata, Op. 49. A Cycle of Poems by Robert Herrick Set to Music for Tenor Solo,Mixed Chorus and Orchestra by John Gardner; Robert HerrickReview by: James ReyesNotes, Second Series, Vol. 20, No. 1 (Winter, 1962 - Winter, 1963), pp. 130-131Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894257 .

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CHORAL MUSIC CHORAL MUSIC

John Clements: Five Settings of Herrick, for SCTB. London: Elkin; U. S. A.: Galaxy Music Corp., New York, 1961. [24 p., $1.00]

John Clements has set to music, in unaccompanied part-song style, five of Robert Herrick's most appealing lyrics. The poems chosen here have not the gay, "pagan" flavor of Herrick's best-known work but rather the sweet pathos and the favorite themes (faithfulness, "divine" love, self-discipline) associated with the Metaphysical school of 17th-century Eng- lish poetry. The titles are "To Blos- soms," "An Hymne to Love," "His Cove- nant or Protestation to Julia," "To Keep a True Lent," and "The White Island." The poems are quite suitable for this kind of simple choral setting, since their images and sentiments are clear, and their form is both compact and direct.

The sonorous choral writing, sensitive word-setting, and folk-like melodies em- ployed here are typical of much English choral composition. These melodies (especially the vigorous setting of "An Hymne to Love" and the energetic open- ing section of "To Keep a True Lent,") have the distinct flavor of English folk song. They are harmonized in a simple diatonic-modal style, which provides good melodic lines for the inner voices and reflects the warmth and charm of the poetry. Three of the songs are in varied strophic form, the others being com- posed in contrasting sections.

The text of the final number deals with the universal theme of the final home of eternity, "Jerusalem the Golden," the "Land of Rest" which Jews, Negroes, and countless others have repeatedly sung about. This idea, combined with a simple hymn-like melody, gives the song almost the character of a southern American hymn-tune of the 19th century. The opening verse has rather straightforward music; later verses employ different har- monizations and melodic elaboration. However, the song is also one of love. For, in addition to dreaming of attain- ing the peaceful "White Island," the autlior writes:

John Clements: Five Settings of Herrick, for SCTB. London: Elkin; U. S. A.: Galaxy Music Corp., New York, 1961. [24 p., $1.00]

John Clements has set to music, in unaccompanied part-song style, five of Robert Herrick's most appealing lyrics. The poems chosen here have not the gay, "pagan" flavor of Herrick's best-known work but rather the sweet pathos and the favorite themes (faithfulness, "divine" love, self-discipline) associated with the Metaphysical school of 17th-century Eng- lish poetry. The titles are "To Blos- soms," "An Hymne to Love," "His Cove- nant or Protestation to Julia," "To Keep a True Lent," and "The White Island." The poems are quite suitable for this kind of simple choral setting, since their images and sentiments are clear, and their form is both compact and direct.

The sonorous choral writing, sensitive word-setting, and folk-like melodies em- ployed here are typical of much English choral composition. These melodies (especially the vigorous setting of "An Hymne to Love" and the energetic open- ing section of "To Keep a True Lent,") have the distinct flavor of English folk song. They are harmonized in a simple diatonic-modal style, which provides good melodic lines for the inner voices and reflects the warmth and charm of the poetry. Three of the songs are in varied strophic form, the others being com- posed in contrasting sections.

The text of the final number deals with the universal theme of the final home of eternity, "Jerusalem the Golden," the "Land of Rest" which Jews, Negroes, and countless others have repeatedly sung about. This idea, combined with a simple hymn-like melody, gives the song almost the character of a southern American hymn-tune of the 19th century. The opening verse has rather straightforward music; later verses employ different har- monizations and melodic elaboration. However, the song is also one of love. For, in addition to dreaming of attain- ing the peaceful "White Island," the autlior writes:

"There in calm and cooling sleep, We our eyes shall never steep, But eternal watch shall keep, attending Pleasures such as shall pursue Me, immortaliz'd, and you .. ."

Thus the pleasure and purity of love are reconciled to the desire for heavenly and eternal peace.

The charm of such sentiments as these is effectively captured in this lovely col- lection of choral settings.

John Gardner: Herrick Cantata, Op. 49. A cycle of poems by Robert Her- rick set to music for Tenor solo, mixed chorus and orchestra. London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1961. [Piano-vocal score, 59 p., $3.00; orchestral materials available for hire]

Just as the Clements settings of Her- rick are typical of a certain type of English song in their simplicity and tunefulness, this work is in many ways typical of the contemporary English festival cantata in which anything goes that sounds well and makes a rousing noise. In his 27-minute cantata for tenor solo, mixed chorus and orchestra, Gardner has set to music parts of ten Herrick lyrics. It will be worthwhile to list them in the order in which they appear, since it is my opinion that their particular combination here seems som?- what arbitrary. The texts are: 1. "To music: a song," 2. "To daisies, not to shut too soon," 3. "A dialogue betwixt himself and Mistress Eliza Wheeler," 4. "Cherry ripe," 5. "Love: what it is," 6. "To love," 7. "Corinna's going a-Maying," 8. "To music, to becalm his fever," 9. "On himself," and 10. "To Anthea, who may command him anything."

The writing of a cantata usually in- volves a definite plan of textual organiza- tion, and a clear idea of what is to be conveyed by the work as a whole. Such a binding idea is lacking here. The ideas of music's power and charm, and the various aspects of courtship, love, and faithfulness are combined here with all good fun but with no convincing plan

"There in calm and cooling sleep, We our eyes shall never steep, But eternal watch shall keep, attending Pleasures such as shall pursue Me, immortaliz'd, and you .. ."

Thus the pleasure and purity of love are reconciled to the desire for heavenly and eternal peace.

The charm of such sentiments as these is effectively captured in this lovely col- lection of choral settings.

John Gardner: Herrick Cantata, Op. 49. A cycle of poems by Robert Her- rick set to music for Tenor solo, mixed chorus and orchestra. London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1961. [Piano-vocal score, 59 p., $3.00; orchestral materials available for hire]

Just as the Clements settings of Her- rick are typical of a certain type of English song in their simplicity and tunefulness, this work is in many ways typical of the contemporary English festival cantata in which anything goes that sounds well and makes a rousing noise. In his 27-minute cantata for tenor solo, mixed chorus and orchestra, Gardner has set to music parts of ten Herrick lyrics. It will be worthwhile to list them in the order in which they appear, since it is my opinion that their particular combination here seems som?- what arbitrary. The texts are: 1. "To music: a song," 2. "To daisies, not to shut too soon," 3. "A dialogue betwixt himself and Mistress Eliza Wheeler," 4. "Cherry ripe," 5. "Love: what it is," 6. "To love," 7. "Corinna's going a-Maying," 8. "To music, to becalm his fever," 9. "On himself," and 10. "To Anthea, who may command him anything."

The writing of a cantata usually in- volves a definite plan of textual organiza- tion, and a clear idea of what is to be conveyed by the work as a whole. Such a binding idea is lacking here. The ideas of music's power and charm, and the various aspects of courtship, love, and faithfulness are combined here with all good fun but with no convincing plan

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of presentation. The sequence of the two final numbers is one example of this lack of direction. In number nine, the com- poser sets Herrick's "On himself," in which the poet writes: "I'll write no more of love; but now repent . . .," after which Gardner writes a rollicking Allegro molto setting of "To Anthea, who may Command him Anything." If this is an example of humor, or of subtle wisdom, it still remains unconvincing dramatically.

Weakness in over-all planning is also reflected in the music. The score is fluent and inventive, but the music is uneven in quality. Thematic and styl- istic coherence throughout the work is slight. The Cantata is composed in a freely tonal style, which in some of the choruses is quite effective but is often unconvincing in the solo sections. Rather than being an organic whole, the score is simply a set of diverting pieces which relate and contrast in a confusing and unsatisfying manner.

In general the choral writing is quite effective, but it is instrumental in con- ception. The text has obviously inspired the composer to the point where, at times, word-painting is overly obvious. (For ex- ample, the rather forced canonic writing at the words "love is a circle . . ." and the long string of parallel seventh chords (in 5 parts) to the words "love is a syrup." In addition, there are moments when the musical language seems some- what forced upon the text, especially in the two solos "To Love," and "Corinna's going a-Maying," and in the chorus "To music: a song." The latter is curiously chromatic and dissonant, and presents unjustified choral problems.

The most outstanding moments of the score are the "Dialogue betwixt himself and Mistress Eliza Wheeler," a duet be- tween solo tenor and three-part female chorus, and the two choruses "To music, to becalm his fever," a lovely pastoral movement, and "To Anthea, who may command him anything," the rousing finale. But although this score is in many places charming, and is un- doubtedly effective in its full orchestral dress, it suffers from a facility which is undisciplined in direction and purpose.

of presentation. The sequence of the two final numbers is one example of this lack of direction. In number nine, the com- poser sets Herrick's "On himself," in which the poet writes: "I'll write no more of love; but now repent . . .," after which Gardner writes a rollicking Allegro molto setting of "To Anthea, who may Command him Anything." If this is an example of humor, or of subtle wisdom, it still remains unconvincing dramatically.

Weakness in over-all planning is also reflected in the music. The score is fluent and inventive, but the music is uneven in quality. Thematic and styl- istic coherence throughout the work is slight. The Cantata is composed in a freely tonal style, which in some of the choruses is quite effective but is often unconvincing in the solo sections. Rather than being an organic whole, the score is simply a set of diverting pieces which relate and contrast in a confusing and unsatisfying manner.

In general the choral writing is quite effective, but it is instrumental in con- ception. The text has obviously inspired the composer to the point where, at times, word-painting is overly obvious. (For ex- ample, the rather forced canonic writing at the words "love is a circle . . ." and the long string of parallel seventh chords (in 5 parts) to the words "love is a syrup." In addition, there are moments when the musical language seems some- what forced upon the text, especially in the two solos "To Love," and "Corinna's going a-Maying," and in the chorus "To music: a song." The latter is curiously chromatic and dissonant, and presents unjustified choral problems.

The most outstanding moments of the score are the "Dialogue betwixt himself and Mistress Eliza Wheeler," a duet be- tween solo tenor and three-part female chorus, and the two choruses "To music, to becalm his fever," a lovely pastoral movement, and "To Anthea, who may command him anything," the rousing finale. But although this score is in many places charming, and is un- doubtedly effective in its full orchestral dress, it suffers from a facility which is undisciplined in direction and purpose.

Paul Thomas, editor: The Hymn of the Week. Part 1: Advent to Trans- figuration. Part 2: Septuagesima to Good Friday. Part 3: Easter to Trinity Sunday. Part 4: Trinity I to Trinity XVI. Part 5: St. Michael and All Angels Day to Last Sunday after Trinity. St. Louis: Concordia Publishing House, 1961. [33, 28, 27, 49, 49 p.; each 75¢]

This publication is another in a long series of both scholarly and practical contributions to the music of today's Lutheran Church in America which Con- cordia has brought out in the past few years. A great deal of the wonderful heritage of Lutheran liturgical music was lost as a result of the movements of Pietism and Rationalism. But in the past decades a large and commendable movement has been underway in this country to demonstrate that the Luth- erans are a singing church.

The Hymn of the Week plan dates from the Reformation, when Martin Luther introduced a congregational hymn in place of the Gradual of the Mass and prescribed a definite series of such hymns appropriate for each Sunday and festival in the church year. Anti- phonal singing was always a factor in psalm-singing, and this practice was car- ried over into the congregational hymns, where the congregation sang alternate verses with a choir (which sang in either unison or in harmony) or with organ or instrumental ensemble. Thus the aims of art and the practical needs of the congregation were equally well-served, and united to produce a genuine religious offering. It is these ideals which have prompted the present publication.

The settings offered here are designed to be sung by a mixed choir as alternate verses of the Hymn of the Week. The German chorales and hymns in The Lutheran Hymnal are printed in their original rhythmic forms, and are not squeezed into regular bar-phrases as they are in most other current hymnals. The settings here are, of course, similarly preserved. They are by composers from the time of the Reformation to the

Paul Thomas, editor: The Hymn of the Week. Part 1: Advent to Trans- figuration. Part 2: Septuagesima to Good Friday. Part 3: Easter to Trinity Sunday. Part 4: Trinity I to Trinity XVI. Part 5: St. Michael and All Angels Day to Last Sunday after Trinity. St. Louis: Concordia Publishing House, 1961. [33, 28, 27, 49, 49 p.; each 75¢]

This publication is another in a long series of both scholarly and practical contributions to the music of today's Lutheran Church in America which Con- cordia has brought out in the past few years. A great deal of the wonderful heritage of Lutheran liturgical music was lost as a result of the movements of Pietism and Rationalism. But in the past decades a large and commendable movement has been underway in this country to demonstrate that the Luth- erans are a singing church.

The Hymn of the Week plan dates from the Reformation, when Martin Luther introduced a congregational hymn in place of the Gradual of the Mass and prescribed a definite series of such hymns appropriate for each Sunday and festival in the church year. Anti- phonal singing was always a factor in psalm-singing, and this practice was car- ried over into the congregational hymns, where the congregation sang alternate verses with a choir (which sang in either unison or in harmony) or with organ or instrumental ensemble. Thus the aims of art and the practical needs of the congregation were equally well-served, and united to produce a genuine religious offering. It is these ideals which have prompted the present publication.

The settings offered here are designed to be sung by a mixed choir as alternate verses of the Hymn of the Week. The German chorales and hymns in The Lutheran Hymnal are printed in their original rhythmic forms, and are not squeezed into regular bar-phrases as they are in most other current hymnals. The settings here are, of course, similarly preserved. They are by composers from the time of the Reformation to the

131 131

This content downloaded from 91.229.229.44 on Sun, 15 Jun 2014 17:44:25 PMAll use subject to JSTOR Terms and Conditions