AHJ, Vol. 7 No. 4, Winter 1980

The harp's figuration is clearly D major despite the conspicuous
absence of the leading note (a fairly constant uait
of this cycle, together with the avoidance of the direct V -1).
But the vocal line is heard rather as Dorian on E, so that the
piece points both as IV and V towards the returning A of
"Deo Gracias."•
-Ed.] 4
"Deo Gracias"
The form of "Deo Gracias" is A A' B Coda. The
material of all the A sections is in the Dorian mode
on A, although at the beginning the modality is not
clear. The example of Stravinsky is not lost on Britten
in the work: the chorus declaims its text as a
staccato percussive chant, while the harp accompanies
with a scale figure sotto voce under the chant.
Syncopations almost suggestive of jazz punctuate the
choral material just before the cadence. Following a
direct repeat with change of text for the second
stanza, the harp shifts its scale accompaniment to the
upper register. The chorus resumes its staccato chant
as before (pianissimo), but at the conclusion of the
stanza rises in brilliant cadence to an E major chord
which functions as a dominant pivot chord to A
major, the apparent key of section B; shortly, however,
the Mixolydian mode is revealed by the G­
naturals.
Throughout Section B the harp accompanies with
octaves filled in by fifths and fourths, a fanfare-like
figure. Over this figure the chorus continues to declaim
its text, this time in the highest register
reached in the piece. A climactic syncopated section
which features the interval of a minor third (derived
from the Mixolydian influence on A major) brings
the piece to a final cadence on an A major chord.
A Coda follows of mixed modality. The chorus
enters into a lively stretto on the opening pentatonic
theme in the Aeolian or Dorian mode (without the
sixth scale degree one cannot be sure), while the harp
accompanies with an ostinato glissando terminating
on an A major chord. Bisbigliando glissandos at the
end, which suggest a tone cluster, immediately precede
the final A major glissando as the chorus sustains
the terminal A major chord.
"Deo gracias," the penultimate number in the
cycle, seems to bear the same relationship to the
framing "Recession" as "Wolcum Yole" did to the
opening "Processional". They are both spirited and
of metrical design to contrast with the plainchant.
With the repetition of "Hodie Christus natus est,"
Britten brings to a conclusion his seemingly timeless
Christmas gift to harpist and chorister alike.
Notes
'Erwin Stein, "The Symphonies," in Benjamin Britten, ed. Donald
Mitchell and Hans Keller (London: Rockcliff Pub., 1952; reprint
ed., Westport: Greenwood Press, 1972).
'Liber Usualis: With Introduction and Rubrics in English, ed. the Benedictines
of Solesmes (New York and Tournai, 1963), p. 413.
3
Eric Blom, ed., Grove's Dictionary of Music and Musicians, 5th ed.
(London, 1954), 6:723.
4
Peter Evans, The Music of Benjamin Britten (Minneapolis, 1979), p.
87.
Winter/1980
University
of Oregon
School of Music
Ruth Lorraine Close
Harp Fellowships
$55,000 available
in awards of $3,000,
$2,000, or $1,000
ELIGIBILITY :
Applications are encouraged from all areas of
performance on an orchestral instrument, keyboard,
voice, or harp, and from the fields of composition,
history, or music education.
Application deadline: February 5, 1981
Audition dates : March 13, 14, 1981
COMPETITION PROCEDURES
Close applicants will perform for a panel of nonresident
adjudicators :
Gwendolyn Koldovsky, pianist and vocal coach,
U. of S.C.
Susann McDonald, concert harpist, Los Angeles
Morton Feldman, composer State U. of N.Y. at
Buffalo
William Kuyper, hornist, New York Philharmonic
ADMISSION PROCEDURES:
Entering students at all levels will be selected for
admission as music majors in the School of Music by a
representative faculty committee on the basis of the
students' qualifications and the space limitations of the
school. Early application is recommended.
GRADUATE PROGRAMS AVAILABLE:
D.M .A. in Music Education (teaching) composition,
performance, history, and musicianship.
D. Ed. in M usi•c Ed uca tion (admi nistration)
Ph.D. in M usic Education (resea rch)
M . Mus. and M.A. ava ilable in all fields listed above
plus choral conducting and theory
FOR FURTHER INFORMATION WRITE TO:
Monette Rider, Dean
School of Music
University of Oregon
Eugene, Oregon 97403
Th e Un1versi1y o f OrC"1