July 2007

In This Issue | Carroll Gonzo

Markus Rathey’s article is an exploration of J. S. Bach’s development as a composer during his Weimer and Leipzig years (1714 and 1724) respectively. Rathey focuses on two similar pieces, both performed by Bach on Christmas Day 1723: Christen, ätzel diesen Tag, BWV 63 and Magnificat in E-flat major, BWV 243a.  The compositional differences between the two quite similar compositions lies not in a discrepancy of character or impact, asserts Rathey. Rather, the changes in Bach’s composing from Weimar to Leipzig are in the depth and complexity of his style. Rathey points out that Bach’s tenure at the court of Cöthen was an all-important influence, because here he composed mainly secular instrumental music. This exposure to instrumental music and the problems of instrumental composition provided Bach with the skills he needed to tackle the above compositions. Using a structural analysis of the two compositions and knowledge of Bach’s instrumental compositions, Rathey is able to present some compelling insights into the compositional similarities and differences between the two compositions.

The use of vibrato in singing is always a pressing issue, whether in the voice studio or in a conductor’s decision-making about it relative to the choral music of the Renaissance era. Christopher Jackson proposes that there are two schools of thought regarding the use of vibrato in late Renaissance music: the straight-tone school and the natural vibrato school.  Jackson’s intention is to shed some new light on the views of these two differing views or schools of thought. As a result of Jackson’s research, he suggests that the evidence indicates the no-vibrato option is comparable to the options with audible vibrato in terms of freedom of vocal production, resonance, and breath management. Moreover, the conductors in this research concluded that stylistically appropriate vibrato does not unduly affect intonation, clarity of the imitative entries in Renaissance choral music, and balance and blend.

Dennis Schrock is known to many of our readers for a variety of reasons: his former role as editor of the Choral Journal; his work as an academician at the University of Oklahoma; his performances as a choral conductor; and his scholarly achievements as an author. In Jason Bishop’s interview of Schrock, the reader is first introduced to Schrock’s development as a symphonic conductor through his tenure with the Oklahoma Symphony and the Santa Fe Desert Chorale. As the interview unfolds, it becomes clear how each of the above four professional areas of Schrock’s life evolved and continue to influence his current scholarly and musical activities. At one point in Schrock’s career, Howard Swan challenged him to be a conductor and scholar. That admonition has taken root, and we learn from Bishop’s interview that there are a variety of publications swirling around in Schrock’s brain destined for the printing press in the very near future.

Carroll Gonzo

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