A2 Music

Religious Choral Music

1800 – 1890

Practice Question
Booklet

Mr Blake
Radyr Comprehensive
 KEY INFO

◦ An essay question which assesses knowledge of the

development of choral music within the wider social, cultural
and historical context.

◦ 1800-1890 religious choral music

◦ 15 mark question

◦ Examples of works are required to show knowledge

STRUCTURE OF ESSAY

Introduction-set the context of the Romantic period and link to

the question.

Paragraph 1- first example of work.

Paragraph 2- 2nd example of work

Paragraph 3- 3rd example of work

Paragraph 4- 4th example of work

Conclusion- your opinion/thoughts on the question or statement

and a link back to the question summarising development.
 Things you need to demonstrate your understanding of:

1. How musical elements are used in religious choral music, including:

 structure (e.g. kyrie, gloria, credo, sanctus, benedictus and agnus dei,
recitative, aria, chorus, duets and ensembles)
 tonality (e.g. related keys and their function within structure)
 texture (e.g. monophony, complex combinations of musical lines such as
homophony and polyphony, imitation, counterpoint and fugue)
 melody and thematic development (e.g. phrase structure, melodic devices
such as sequence, figuration, ornamentation, augmentation and diminution of
thematic material, expansion/fragmentation of the theme, combinations of
themes, transposition, re-harmonisation and re-orchestration of the theme)
 timbre (e.g. contrast and variety of instrumental tone-colours and
techniques, and combination of timbres)
 harmonic language (e.g. typical harmonic progressions, use of cadences, use
of the dominant 7ths, secondary and diminished 7ths, circle of 5ths,
 Neapolitan chords, augmented 6th, chromaticism, modulation and
tonicisation)
 tempo, metre and rhythm (e.g. use of accents, simple and compound time-
signatures, characteristic rhythms such as dotted rhythms, hemiola, triplets
and other divisions of the beat, syncopation and performance directions)
 expressive use of dynamics
2. The use of instrumental and vocal forces and development of the orchestra in
the period including:
 different combinations of voices including the use of the chorus as the
narrator or crowd and solo characterisation
 the increased importance of the woodwind section as they were entrusted
with more important and independent material
 advances in orchestration and orchestral effects due to commissioned works
 larger orchestral and vocal forces (especially brass and percussion)
 new sonorities (e.g. new instruments, technical improvements and use of
instrumental colour
3. The relationship between the words and the music
4. Important choral composers and landmark works in the period
5. How and why choral music was commissioned during the period (e.g. patronage
and the rise of public concerts)
6. How choral music developed through the period (e.g. length, number of
movements and new forms)
 Wider works to focus on:

PASSION ORATORIO CANTATA MASS

*Beethoven: Christ on Beethoven: Mass in
the Mount of Olives - C- 1807, Missa
1802 Solemnis in D major
– 1819-23
*Spohr: The Last Schubert 6 Masses
Judgement 1826 inc. no2 in G –
1815,no.6 in Eb
major - 1828
Liszt: Christus 1856 Rossini – Stabat Cherubini: Requiem
Mater – 1831 in C minor, Requiem
rev.1841 in D minor
Mendelssohn: *Mendelssohn: St. Mendelssohn: Hear *Berlioz: Grande
Christus 1847 Paul – 1834 -1836, my Prayer (Anthem) Messe des Morts -
Elijah - 1846, 1845 1837, Te Deum-
1849
Franck: Les Sept *Berlioz: L’Enfance du Bruckner: Requiem in
Paroles du Christ Christ – 1853-4 D minor, at least 7
1859 Masses in E minor
Dm Fm – all written
in the 1860s, Te
Deum
Gounod: Redemption Schumann: Requiem
1882
Franck: Les Gounod: St Cecilia
Beautitudes – 1869- Mass – 1854/5
79
Sullivan: The Prodigal Wesley: Anthems Rossini: Peteite
Son - 1869 Messe Solonelle
*Sir John Stainer: Dvorak: Stabat *Brahms: German
The Cruxifixion 1887 Mater 1877 Requiem – 1865 -8
*Elgar: Dream of Liszt: Messe des
Gerontius - 1900 Morts, Missa
Choralis – 1859 – 65,
Hungarian
Coronation Mass -
1867
Gouvy: Requiem
*Faure: Requiem –
1887-90
*Dvorak: Requiem in
Bb minor 1890
*Puccini: Messa di
Gloria - 1880
 The following are example exam question titles:

1) Trace the development of vocal forces during the romantic

period (i.e. chorus and soloists).
2) Discuss the relationship between choral forces and their
orchestral accompaniment.
3) Comment on the use of word-painting in romantic religious
choral music.
4) Discuss the development of the musical elements in religious
choral music.
5) Discuss the development of structure within religious choral
music.
6) Discuss the composition of Requiem masses from 1800-
1890, mentioning any different approaches that composers
displayed when writing in this particular genre.
7) Discuss the development of the oratorio, detailing
developments and similarities between classical (possibly
baroque influences) and romantic works.
8) Discuss patronage in religious choral music in the romantic
period