Jump to content

Te Deum (Kodály): Difference between revisions

Edit links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
AnomieBOT (talk | contribs)
Bots
6,569,771 edits
m Dating maintenance tags: {{Pov-inline}}
Importing Wikidata short description: "Composition by Zoltán Kodály" (Shortdesc helper)
 
(19 intermediate revisions by 16 users not shown)
Line 1: Line 1:
{{Short description|Composition by Zoltán Kodály}}
{{italictitle}}
{{italic title}}
[[Zoltán Kodály]] composed a choral setting of the Christian hymn '''''Te Deum''''' that was first performed in 1936. Kodály 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 noted works. 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.
[[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.

== Composer ==

[[Zoltán Kodály]] (1882–1967) was born in the small Hungarian town of [[Kecskemét]]. Kodály quickly became a professor in the Budapest Music Academy, and first became recognized as a composer for ''[[Psalmus Hungaricus]]'' in 1923.<ref name="Gray">Gray, Cecil. “Zoltan Kodaly.” ''Tempo'', Vol. 3, Issue 63 (1963): 22-27</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 name="Gray" /> 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 noted choral works, including ''Te Deum'', which was first performed in 1936.


== Text ==
== Text ==
{{main|Te Deum}}
{{main|Te Deum}}
[[Te Deum]] is a hymn of joy and thanksgiving 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 church originally thought was written by [[St. Ambrose]].<ref name="Gray" /> It is now attributed to [[Nicetas]], Bishop of Remesiana.<ref name="Gray" /> It is used in the common liturgy of the Catholic church, and is excluded on special occasions such as Lent or during the Christmas season.<ref name="Gray" />
[[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" />


== Recordings ==
== Recordings ==
Kodály's setting of ''Te Deum'' has been recorded numerous times. A couple of examples are listed.
Kodály's setting of ''Te Deum'' has been recorded numerous times. A couple of examples are listed.
⚫
* Janos Ferencsik and the Budapest Symphony Orchestra, Hungaraton, 1994.<ref> Ferencsik, Janos and the Budapest Symphony Orchestra. ''Kodaly: Budavári Te Deum & Missa Brevis''. Hungaraton, 1994, CD.</ref>
* Zoltán Kodály and the Budapest Chorus, Polygram, 1990.<ref>Kodály, Zoltán and the Hungarian National Philharmonic Orchestra. ''Kodaly Conducts Kodaly: Psalmus Hungaricus/Budavári Te Deum/Missa Brevis''. Polygram Records, 1990, CD.</ref>
* Zoltán Kodály and the Budapest Chorus, Polygram, 1990.<ref>Kodály, Zoltán and the Hungarian National Philharmonic Orchestra. ''Kodaly Conducts Kodaly: Psalmus Hungaricus/Budavári Te Deum/Missa Brevis''. Polygram Records, 1990, CD.</ref>
⚫
* Janos Ferencsik and the Budapest Symphony Orchestra, Hungaraton, 1994.<ref>Ferencsik, Janos and the Budapest Symphony Orchestra. ''Kodaly: Budavári Te Deum & Missa Brevis''. Hungaraton, 1994, CD.</ref>


== Analysis ==
== Analysis ==
Line 19: Line 16:
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.
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.<ref name="Gray" />
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" />
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 with a big IV chord in E major. This emphasizes the characteristic use of the interval of a fourth often used by Kodály. 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.
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 ==
Throughout, the work is less concerned with overall [[text painting]], and seems more focused on portraying the folk music of his country.{{pov-inline|date=January 2014}}. Kodály 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.
'''Citations'''
{{reflist}}


'''Sources'''
⚫
== References ==
* Kodály, Zoltán. ''Te Deum'', Choral Score. London: Universal Edition, 1952.
* 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.
* Szabolcsi, B. “Zoltan Kodaly.” ''Studia musicological Academiae Scientiarum Hungaricae'', Vol. 14, No. 1 (1972): 5-9. doi: 0039-3266.
{{Reflist}}
{{Zoltán Kodály}}
{{Portal bar|Classical music|Music}}



{{DEFAULTSORT:Te Deum (Kodaly)}}
[[Category:Works by Hungarian people]]
[[Category:Te Deums]]
[[Category:Compositions by Zoltán Kodály]]
[[Category:Te Deums|Kodaly]]
[[Category:1936 compositions]]

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]
Main article: Te Deum

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

  1. ^ Eosze, Laszlo. Zoltan Kodaly: His Life and Work. London: Collet’s Holdings Ltd., 1962.
  2. ^ Martin, Michael. “Te Deum.” Preces-Latinae Thesaurus Online. Accessed on October 28, 2012 at http://www.preces-latinae.org/thesaurus/Trinitas/TeDeum.html
  3. ^ a b c d Gray, Cecil. "Zoltan Kodaly." Tempo, Vol. 3, Issue 63 (1963): 22–27
  4. ^ Kodály, Zoltán and the Hungarian National Philharmonic Orchestra. Kodaly Conducts Kodaly: Psalmus Hungaricus/Budavári Te Deum/Missa Brevis. Polygram Records, 1990, CD.
  5. ^ 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.
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Te_Deum_(Kodály)&oldid=1028481621"