AHJ, Vol. 7 No. 4, Winter 1980

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follows a dominant-tonic ostinato during the verses but adds an independent treble line based on parallel seventh chords suggestive of the opening choral motif when the chorus chants its unison Latin refrains. A spirit of free chant is suggested by the two-against-three rhythm of the refrains. The tonality of "There Is No Rose" is purposefully vague. Although the melody outlines the basic pitches of the key of F in the opening choral motif, the key center is not clearly defined. The ostinato harp figure begins on C (the dominant of the key of F), the Latin phrases are intoned on the dominant throughout the composition, and the final chord is a tonic chord with its fifth in the bass. The emphasis on the dominant results in a hypo-modal sound. A trend toward an increasingly dissonant relationship between ostinato and chorus is achieved by the addition of an ever-increasing number of flats in the key signature, culminating at the end of the third verse in D-flat major. The fourth verse continues in the same key, but a sudden tonal shift is made in mid-verse to A major (measure 28) to reflect the brightness of the exclamation "Gloria in excelsis Deo." The climax of the piece occurs when the first trebles reach their fortissimo high A at measure 31 on the word "Deo." Following another chant-like Latin refrain, the music of the first verse is recalled. The subsequent Latin refrain text "Transeamus" is set not in the parlando style of the previous refrains but to a soaring line duplicated at the upper octave by the first trebles. A secondary climax is marked by the first break in the ostinato pattern: a clear agreement of chorus and accompaniment on the chord of E-flat major is heard briefly in measure 47. The tonal shift back to F major is accomplished via F minor, a technique seen also in "Wolcum Yole" (mm. 36 to 38). The denouement consists of the Latin refrains murmured in sequence pianissimo. A ritard is written in by the use of note values of greater length. "That Yonge Child" "That Yonge Child" begins in F minor, the parallel minor of the preceding piece. Although cast in a loose bipartite form, the piece is unified by the harp ostinato figure. The sixth step of F minor-D-flathere functions as an appoggiatura to the dominant. In Section A (mm. 1-8), the bass of the harp accompaniment follows a descending minor tetrachord, although the final C is not sounded by the harp but, rather, by the voice. The text is set in recitative style, each phrase rising to a climactic note, then falling. With each successive phrase, the note of climax rises higher from the first note than it did in the preceding phrase. The first five measures of Section B (mm. 9 to the end) are set in A minor, followed by A major. The voice part follows the pattern of parlando phrases previously described. At measure 13, the dominant harp ostinato figure is repeated with increasing rapidity to a dynamic crescendo, thus setting the stage 28 for the climax, sung to a rising A major chord. The intensity subsides through a diminuendo in measures 15 and 16. Voice _and harp cadence in C-sharp major in measure 17, but the ostinato to C-natural lingers on: the ear begins to accept the D-flat (originally a dissonance) of the ostinato figure as C-sharp in the last two measures, which then becomes a dominant preparation (now a consonance) for the succeeding piece. This close relationship is evidenced in Britten's numbering of the two pieces as 4a and 4b. "Balulalow" "Balulalow" exhibits ambivalence between F-sharp major and F-sharp minor, the subdominant key of the C-sharp of the preceding piece. It is in a modified strophic form. Hemiola is responsible for much of the rhythmic interest: the accompaniment falls consistently into three groups of two, while the voice parts are usually cast in two groups of three and, occasionally, in three groups of two. The usual~ rhythm of the voice parts undoubtedly is intended to suggest the rocking of a cradle, for "Balulalow" is a lullaby. For the first time in A Ceremony of Carols, considerable contrast of texture is exhibited. The first strophe is taken by a solo voice, the second by the chorus in homophonic style (entering by elision over the first strophe), the third by the chorus in polyphonic style, and the conclusion is set for solo voice and chorus. The final chords return again to the alternating F sharp major and F-sharp minor of the beginning. The harmony of the accompaniment serves to illustrate the text between measures 18 and 21. As the chorus sings "The knees of my hert sall I bow ... ," the harp descends from D major through C major to B-flat major. Britten's designated close relationship of 4a and 4b via text and numbering has previously been noted. They also share an ambivalence of key and pliant rhythmical patterns. "As Dew in Aprille" "As Dew in Aprille" opens with a unison entrance of chorus and harp on B-flat, enharmonically translated from the A-sharp of the final F-sharp major chord of "Balulalow." When this initial B-flat rises to E-flat, accompanied by a broken E-flat major chord played by the harp, the new tonality of E-flat major is firmly established. The piece is divided into three sections, of which the middle section exhibits canonic style. The first section (mm. 1-11) is cast in homophonic style, as is the third section (mm. 41 to the end). The three-part chords of the voices are supported by the broken-chord accompaniment of the harp. The middle section (mm. 12-41) is composed of a two-part canon at the unison, split between three voice parts. The canon is introduced first by the Treble III, which functions as the dux. The part of comes, however, is divided between Trebles I and II. At the second entrance (m. 22), Treble II assumes AMERICAN HARP JOURNAL
the role of dux, while the role of comes is divided between Trebles I and III. At the third entrance (m. 30), as one might expect, Treble I functions as dux and the role of comes is divided between Trebles II and III. Britten directs that the final unison note held by the chorus should be made increasingly louder, as a preparation for the succeeding piece. "This Little Babe" "This Little Babe" begins in E-flat minor (Aeolian mode), the parallel minor key of the preceding work in E-flat major. The initial theme, sung in unison (mm. 4- 17), functions perfectly as a melody on its own. It is destined, however, for canonic treatment at the unison at the close time interval of a quarter note in two parts (mm. 20- 33), and in three parts (mm. 36- 50). Because of the close time interval, the effect of stretto is achieved. The chorus joins forces for a fortissimo homophonic section to the text "My soul, with Christ join thou in fight." The harmony (mm. 51-61) alternates between E-flat minor and its dominant, B-flat major; thus, the strength of the words is supported by the strongest possible harmonic progression. The climax of the piece brings back the opening theme in augmentation, continued ever upward to a cadence in E-flat major. The rhythmic interest in this final section is created by the use of hemiola over each two-measure unit. A real excitement is generated when choral parts and harp accompaniment enter into a non-simultaneous duple feeling against the ~ time signature. "Interlude" In the "Interlude," the placement and character of which remind one of the "Pastoral Symphony" of Handel's Messiah, Britten offers evidence of consummate craftsmanship. The entire plainchant of the "Procession" (minus part of the Alleluias) is paraphrased in the treble of the harp solo over an ostinato pattern marked by a descending fifth. The notation of the entire plainchant defies the usual laws of notation for 1 ; meter. It is obviously the composer's intention that quadruple pulsation is to be avoided and that the plainchant paraphrase should float freely above the ostinato, thus retaining the character of plainsong. A further contribution to the floating sensation of this piece is made by the scoring of the ostinato figure in harmonics, a special ethereal effect of which only the harp is truly capable. Modality and tonality are judiciously mixed. The opening four measures are in the Aeolian mode on A-flat. The ostinato then descends on a full step so that the Mixolydian mode on G-flat is heard in the following three measures. The bass figure descends Patricia Pence - Sokoloff instruction m harp Bachelor of Music/Bachelor of Arts Major in Harp Electives in Harp Majors in Arts Management Electives in Arts Management Salem College SCHOOL OF MUSIC Winston - Salem, North Carolina 27108 A distinguished school of music for 100 years Winter/1980 29
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AHJ, Vol. 7 No. 4, Winter 1980

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