Part song

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A part song, part-song or partsong is a form of

secular or non-liturgical sacred text,[1] written or arranged for several vocal parts. Part songs are commonly sung by an SATB choir, but sometimes for an all-male or all-female ensemble.[2] Part songs are intended to be sung a cappella
, that is without accompaniment, unless an instrumental accompaniment is particularly specified.

In Britain

The part song was created in Great Britain, growing out of the madrigal tradition (though initially with more emphasis on homophonic harmony and less on polyphonic part writing) and the 18th century Glee.[3] Paul Hillier describes the Glee as "a uniquely English creation...the convivial music of all-male musical societies". The classic Glee is "essentially a work for unaccompanied men's voices, in not less than three parts...simpler [than the madrigal] in texture, less sophisticated in design, and generally based on the simplest kind of diatonic harmony".[4] One of the most famous examples is Samuel Webbe's Glorious Apollo, composed in 1790.[5]

The part song was soon established as more suitable for mixed-voice choirs, its development marked by increasing complexity of form and contrapuntal content.[6] It gradually attracted the attention of a wider range of composers. One of these was Felix Mendelssohn, already influential in the English choral tradition through his oratorios. Translated into English, his part songs became very popular in England. Mendelssohn was familiar with Glees, his teacher Carl Friedrich Zelter founded the Berliner Liedertafel in 1808, the German equivalent of the Glee club.[4]

Part songs were quickly seen as a commercial opportunity by music publishers. From the early 1840s Novello and Co's Musical Times and Singing Class Circular included a simple piece of choral music (alternating secular and sacred) inside every issue, which choral society members subscribed to collectively for the sake of the music.[7]

Early British composers of part songs include John Liptrot Hatton, R. J. S. Stevens, Henry Smart and George Alexander Macfarren, who was renowned for his Shakespearean settings. Around the turn of the 20th century in the heyday of the part song, Hubert Parry, Charles Villiers Stanford and Edward Elgar were the principal exponents, often bringing a high-minded seriousness to their settings of great English poetry both contemporary and from earlier epochs. More recent major contributors to the genre include Ralph Vaughan Williams, Granville Bantock, Arnold Bax, Peter Warlock, Gustav Holst and Benjamin Britten (his Five Flower Songs of 1950). Interest declined rapidly from the 1950s as more specialist choirs began to champion the madrigal tradition.[8]

Composers have also successfully used the part song medium to make contemporary arrangements of traditional

Ireland. Part songs can sometimes be sacred as well as secular. The unaccompanied liturgical anthem can be closely related in form and texture. Sullivan's Five Sacred Partsongs were published in 1871.[6]

In Europe

The first German Liedertafel male-voice music society, was founded in Berlin by Carl Friedrich Zelter in 1808. Heinrich Marschner and Carl Weber wrote examples for male voices only. These were followed by mixed-voiced pieces setting German romantic poetry by Schubert, Schumann, Mendelssohn, Peter Cornelius and Brahms.[9] Similarly in France, the first Orphéons choral societies for men were established in the mid-19th century. Gounod, Saint-Saëns, Delibes, Debussy and Ravel all wrote examples for mixed-voice choirs.[6]

In Ukraine

In Ukraine part song replaced a

Mykola Diletsky.[10]

According to the number of voices and the nature of polyphony, Ukrainian part songs are divided into three groups: party concerts, party motets and party works with constant polyphony. Party concerts include all works with 8 or more voices, and motets include party works of variable polyphony with 6 or less voices. Seven-part works have not yet been found, so they are not included in this classification, but most likely they must also be included in concerts. According to the themes of the texts and the predominant musical means, the part songs are divided into two large groups: vivatno-panegyric (glorious) and lyrical-dramatic (repentant).[10]

In the USA

The Mendelssohn Glee Club was founded in New York in 1866. Its second musical director was Edward MacDowell. Part songs flourished in the USA from 1860 well into the 1930s. Examples were composed by Amy Beach, Dudley Buck, George Whitefield Chadwick, Arthur Foote, Henry Hadley, Margaret Ruthven Lang, Edward MacDowell and Horatio Parker, and more recently by Randall Thompson and Elliott Carter.[11]

Examples

References

  1. ISBN 9780810872301
    . Retrieved 3 August 2022.
  2. ISBN 978-1-4067-6292-1
    .
  3. ^ Michael Hurd: 'Glees, Madrigals and Partsongs', in Music in Britain: the Romantic Age, 1800–1914, ed. N. Temperley (London, 1981), pp. 242–65
  4. ^ a b Hillier, Paul. Preface to English Romantic Partsongs, Oxford University Press (1986)
  5. ^ Richard Franko Goldman. 'After Handel - in Britain and America', in Arthur Jacobs (ed.), Choral Music (Pelican, 1963), pp. 192-194
  6. ^ a b c Judith Blezzard, 'Partsong', in Grove Music Online (2001)
  7. ^ Scholes, Percy.A. 'The 'Musical Times' Century', in The Musical Times, Vol. 85, No. 1216, Centenary Number 1844-1944 (June, 1944), pp. 173-176
  8. ^ Herbert Antcliffe. The Disappearance of the Partsong, in The Musical Times, Vol. 94, No. 1330 (December 1953), pp. 562-563
  9. ^ Judith Blezzard: 'Sing, Hear: the German Romantic Partsong', in The Musical Times Vol. 134, No. 1803, May 1993, pp. 254–5
  10. ^ a b Korniy L. (2011). "Партесний спів [Partsong]". Encyclopedia of the History of Ukraine.
  11. ^ William Osborne. 'Partsong (USA)', in Grove Music Online (2001)
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