Te Deum (Kodály): Difference between revisions
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{{Short description|Composition by Zoltán Kodály}} |
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{{AFC submission|d|reason|3=Declining; article isn't ready for move into mainspace. Please remove empty sections and add more references to the analysis section. Keep in mind that anything presented here must be attributed to a source, and [[WP:OR|not your own opinion]].|declinets=20121202205211|decliner=Bjelleklang|ts=20121126012056|u=Lwhit|ns=5|small=yes}}{{AFC submission|d|exists|3=Zoltán Kodály |declinets=20121113011218|decliner=MatthewVanitas|ts=20121113005349|u=Lwhit|ns=2}} |
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{{italic title}} |
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{{afc comment|My mistake, but the way your intro was written it looked like the article was about Zoltan rather than about one piece of music by him. I'm fixing up the format a little bit to make this clearer; feel free to clean it up further, but the intro should clearly be about the work rather than the author}} |
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[[Zoltán Kodály]] wrote a choral setting of the Christian hymn ''Te Deum''. First performed in 1936,<ref>Eosze, Laszlo. ''Zoltan Kodaly: His Life and Work''. London: Collet’s Holdings Ltd., 1962.</ref> this '''''Budavári Te Deum''''' is in a traditional Hungarian folk-music idiom but employs creative compositional methods unique to Kodály. |
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== Text == |
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{{afc comment|You also have some issue here with presenting opinions: per [[WP:NPOV]], articles should state no opinions except when presenting the opinions of cited authorities. If you/I/whoever thinks the TD sounds chaotic but captivating, it doesn't matter, and that's not neutral. If music critic James Jamerson says so in his 2004 ''Annual of Hungarian Composition'', then by all means quote it as "Jamerson opines that..."}} |
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{{main|Te Deum}} |
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| ⚫ | [[Te Deum]] is a hymn of thanks and joy used in the liturgy of the Roman Catholic church.<ref>Martin, Michael. “Te Deum.” ''Preces-Latinae Thesaurus Online''. Accessed on October 28, 2012 at http://www.preces-latinae.org/thesaurus/Trinitas/TeDeum.html</ref> It is sometimes referred to as the “Ambrosian Hymn” because the text was once believed to be by [[St. Ambrose]],<ref name="Gray">Gray, Cecil. "Zoltan Kodaly." ''Tempo'', Vol. 3, Issue 63 (1963): 22–27</ref> but it is now attributed to [[Nicetas of Remesiana|Nicetas]], Bishop of Remesiana.<ref name="Gray" /> Its liturgical use is year-round except for [[Advent]] and the penitential season of [[Lent]].<ref name="Gray" /> |
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{{afc comment|We have a full article [[Zoltán Kodály]], it is unnecessary to have a whole section here. Include only ''just'' enough bio info that is ''specific'' to the Te Deum, and the reader can follow the link to Zoltan's own article if he wants the story.}} |
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Kodály's setting of ''Te Deum'' has been recorded numerous times. A couple of examples are listed. |
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{{afc comment|Isn't most of this info at [[Te Deum]]? If so, it doesn't need to be repeated her ''except'' to whatever degree it frames this ''specific'' work by Zoltan.}} |
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{{afc comment|Again, these sections appear to be presenting your personal opinion about the merits of each recording.}} |
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{{AFC submission|||ts=20131216165313|u=Lwhit|ns=5}} |
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{{italictitle}} |
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{{Ibid|date=November 2012}} |
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'''''Te Deum''''' is a work by [[Zoltán Kodály]], who stands with [[Béla Bártok]] as one of the most prolific Hungarian composers of all time.<ref>Eosze, Laszlo. ''Zoltan Kodaly: His Life and Work''. London: Collet’s Holdings Ltd., 1962.</ref> While best known for his work in music education, Kodály has composed many great works that often go unnoticed or ignored. One of such works is his ''Te Deum'', composed for use in the Roman Catholic mass.<ref>Kodaly, Zoltan. ''Selected Writings of Zoltan Kodaly''. London: Boosey & Hawkes Music Publishers Ltd., 1974.</ref> Like most of his compositions, he employs traditional Hungarian folk music idioms, as well as creative compositional methods of his own. While exceptional, this work is unfortunately overlooked by most musicians and choral conductors. |
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== Biography == |
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Zoltán Kodály was born in the small Hungarian town of [[Kecskemét]] in 1882 to musical parents.<ref> Gray, Cecil. “Zoltan Kodaly.” ''Tempo'', Vol. 3, Issue 63 (1963): 22-27 </ref> His father was a railway official, and his family moved across the country frequently throughout his childhood. Starting at age 3, he began to learn the violin and the cello, and his gifts quickly became apparent. However, despite his accomplishments, his father did not want him to become a professional musician.<ref> Ibid. </ref> Against his father’s wishes, he went to study at the Franz Liszt Music Academy in [[Budapest]], quickly falling more and more in love with the traditional folk music of his country.<ref> Ibid. </ref> It was at this time that Kodály began to work closely with [[Béla Bártok]], as Kodály quickly became a professor in the Budapest Music Academy, where Bártok was also employed.<ref> Szabolcsi, B. “Zoltan Kodaly.” ''Studia musicological Academiae Scientiarum Hungaricae'', Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266. </ref> Kodály first became recognized as a composer with the premier of ''Psalmus Hungaricus'' in 1923.<ref> Ibid. </ref> His use of folk concepts in opera and other vocal music became very popular across Hungary. Around 1925, his focus turned towards choral music, particularly youth chorus and music education.<ref> Ibid. </ref> It was during this time that he initiated what we know today as the “[[Kodály method]]” of music education, which focuses on the [[solfege]] system and singing. While music education itself was his focus, he continued to compose incredible choral works, Te Deum being one of them. Kodály continued his work as an educator, composer, and ethnomusicologist until his death in 1967.<ref> Ibid. </ref> |
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== The ''Te Deum'': Purpose and Translation == |
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| ⚫ | [[Te Deum]] is a hymn of |
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For the text, refer to [[Te Deum]]. |
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== Kodaly's ''Te Deum'' == |
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== Analysis == |
== Analysis == |
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This work references a stylistic choice used in all of Kodály’s compositions, to reference the tools used in traditional Hungarian folk music. In this way, he was quite similar to Béla Bartók, who also used these traditional resources in his compositions. The works of these two composers use certain pentatonic groups, isometric strophe structure, and tempo giusto most commonly. |
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| ⚫ | It can be seen from this example that most of the ''Te Deum'' follows the traditional compositional style of Kodály. Not only does one see stepwise motion in two of the voices (one of the common pentatonic groups he uses), but one also notices the leap of a fourth in the first measure in the bass line. This is a technique of Hungarian folk music that Kodály commonly uses, and continues to use consistently throughout ''Te Deum'', particularly in the bass line.<ref name="Gray" /> |
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| ⚫ | As is common in [[Hungarian folk music]], he employs verse structure, giving each section of the text its own individual musical style. There are no true or even tonal repeats at all throughout the work. Kodály begins the work in A minor, however he modulates multiple times throughout this lengthy work. He slowly modulates upward by step until the B section, during which he moves to E-flat major. The C section moves to E major. The D section slows down significantly, changing from 4/4 to 3/4 and introduces B-flat major. This is the solo section, and continues on in B-flat major, and it finally returns to E major. The remainder of the work contrasts between E major and E-flat major, ending in A major. The work contains a large amount of dynamic contrast, consistently alternating between forte and piano (or pianissimo). The overall mood of the dynamic starts forte and slowly wind down to a pianissimo finish. |
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| ⚫ | It can be seen from this example that most of the ''Te Deum'' follows the traditional compositional style of Kodály. Not only does one see stepwise motion in two of the voices (one of the common pentatonic groups he uses), but one also notices the leap of a fourth in the first measure in the bass line. This is a technique of Hungarian folk music that Kodály commonly uses, and continues to use consistently throughout Te Deum, particularly in the bass line.<ref |
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| ⚫ | As is common in [[Hungarian folk music]], he employs verse structure, giving each section of the text its own individual musical style. There are no true or even tonal repeats at all throughout the work. Kodály begins the work in A minor, however he modulates multiple times throughout this lengthy work. He slowly modulates upward by step until the B section, during which he moves to E-flat major. The C section moves to E major. The D section slows down significantly, changing from 4/4 to 3/4 and introduces B-flat major. This is the solo section, and continues on in B-flat major, and it finally returns to E major. The remainder of the work contrasts between E major and E-flat major, ending |
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Throughout the work, Kodály seems to be less concerned with overall [[text painting]], and seems more focused on portraying the folk music of his country. There are occasions when the dynamic level or the chord structure used doesn’t quite match up. For instance, he uses a strong fortissimo marking with the text “pleni sunt coeli et terra” ("heaven and earth are full of majesty"), which most composers paint in a soft and subtle manner. However, it is a very powerful and influential work with beautiful, folk-style harmonies, intervals, and rhythms. His use of frequent key change, though may seem a bit chaotic at times, is truly unique and beautiful.{{pov-inline}} |
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'''Citations''' |
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{{reflist}} |
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'''Sources''' |
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* Szabolcsi, B. “Zoltan Kodaly.” ''Studia musicological Academiae Scientiarum Hungaricae'', Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266. |
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{{Zoltán Kodály}} |
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{{Portal bar|Classical music|Music}} |
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{{DEFAULTSORT:Te Deum (Kodaly)}} |
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{{Reflist}} |
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[[Category:Compositions by Zoltán Kodály]] |
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[[Category:Te Deums|Kodaly]] |
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[[Category:1936 compositions]] |
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Latest revision as of 07:23, 14 June 2021
Zoltán Kodály wrote a choral setting of the Christian hymn Te Deum. First performed in 1936,[1] this Budavári Te Deum is in a traditional Hungarian folk-music idiom but employs creative compositional methods unique to Kodály.
Text
[edit]Te Deum is a hymn of thanks and joy used in the liturgy of the Roman Catholic church.[2] It is sometimes referred to as the “Ambrosian Hymn” because the text was once believed to be by St. Ambrose,[3] but it is now attributed to Nicetas, Bishop of Remesiana.[3] Its liturgical use is year-round except for Advent and the penitential season of Lent.[3]
Recordings
[edit]Kodály's setting of Te Deum has been recorded numerous times. A couple of examples are listed.
- Zoltán Kodály and the Budapest Chorus, Polygram, 1990.[4]
- Janos Ferencsik and the Budapest Symphony Orchestra, Hungaraton, 1994.[5]
Analysis
[edit]This work references a stylistic choice used in all of Kodály’s compositions, to reference the tools used in traditional Hungarian folk music. In this way, he was quite similar to Béla Bartók, who also used these traditional resources in his compositions. The works of these two composers use certain pentatonic groups, isometric strophe structure, and tempo giusto most commonly. It can be seen from this example that most of the Te Deum follows the traditional compositional style of Kodály. Not only does one see stepwise motion in two of the voices (one of the common pentatonic groups he uses), but one also notices the leap of a fourth in the first measure in the bass line. This is a technique of Hungarian folk music that Kodály commonly uses, and continues to use consistently throughout Te Deum, particularly in the bass line.[3] As is common in Hungarian folk music, he employs verse structure, giving each section of the text its own individual musical style. There are no true or even tonal repeats at all throughout the work. Kodály begins the work in A minor, however he modulates multiple times throughout this lengthy work. He slowly modulates upward by step until the B section, during which he moves to E-flat major. The C section moves to E major. The D section slows down significantly, changing from 4/4 to 3/4 and introduces B-flat major. This is the solo section, and continues on in B-flat major, and it finally returns to E major. The remainder of the work contrasts between E major and E-flat major, ending in A major. The work contains a large amount of dynamic contrast, consistently alternating between forte and piano (or pianissimo). The overall mood of the dynamic starts forte and slowly wind down to a pianissimo finish.
References
[edit]Citations
- ^ Eosze, Laszlo. Zoltan Kodaly: His Life and Work. London: Collet’s Holdings Ltd., 1962.
- ^ Martin, Michael. “Te Deum.” Preces-Latinae Thesaurus Online. Accessed on October 28, 2012 at http://www.preces-latinae.org/thesaurus/Trinitas/TeDeum.html
- ^ a b c d Gray, Cecil. "Zoltan Kodaly." Tempo, Vol. 3, Issue 63 (1963): 22–27
- ^ Kodály, Zoltán and the Hungarian National Philharmonic Orchestra. Kodaly Conducts Kodaly: Psalmus Hungaricus/Budavári Te Deum/Missa Brevis. Polygram Records, 1990, CD.
- ^ Ferencsik, Janos and the Budapest Symphony Orchestra. Kodaly: Budavári Te Deum & Missa Brevis. Hungaraton, 1994, CD.
Sources
- Kodály, Zoltán. Te Deum, Choral Score. London: Universal Edition, 1952.
- Szabolcsi, B. “Zoltan Kodaly.” Studia musicological Academiae Scientiarum Hungaricae, Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266.
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