Interpretation of Sheppard's Media vita--Performance Pitch?

[philadams]

Greetings all!

I am putting together a performance of Sheppard's Media vita in March, with eight voices (ladies singing treble and mean, doubled until last verse; men singing all other parts).

My question is one of interpretation. Should the tenor predominate? Would that have been important in Sheppard's time, or was the actual tenor only a springboard from which to develop a whole composition which really musically does not revolve around its origins?

If the tenor SHOULD predominate, would it be recommended that I find another singer to double that part for the performance?

Any comments and thoughts welcome![/i]

[CHGiffen]

Thanks for you interesting question about the augmented chant in the tenor. From my experience, both with Sheppard and other Renaissance works constructed on a cantus firmus (such as Sheppard's Salvator mundi, Domine, the Taverner Missa Gloria tibi Trinitas, the Obrecht Missa Sub tuum praesidium, and even the Josquin Praeter rerum seriem, i would say that there is no reason whatever for the tenor to predominate in the Media vita.

This comment should be taken in the context that, in early music choral polyphony with the ease by which higher voices tend to carry and penetrate the texture, lower voices should be given more weight. One way to visualize this is as a pyramid with the bass voice at the bottom and the treble at the top, the width of the pyramid at any voice level giving some indication of the intensity of tone required to produce a sound that is balanced to the ear. With only one or two voices to a part, this is more of a problem of singers listening carefully to each other.

If you feel you have to double the tenor because of the augmentation and long vocal lines, it would be alright (and make staggered breathing possible), but then each singer on that part must sing more softly. I'm not sure what your situation is, but if you do double the tenor part, then you might give serious consideration to doubling the bass part, too, especially since there are rather long melismas in the bass which might make it difficutl to sustain the all-important tonal foundation.

Good luck on your venture! It sounds very exciting.

Chuck

[philadams]

Chuck,

Thanks for your reply. Indeed, it is ambitious, performing the Media vita, let alone one on a part! I have an excited and hard-working group, though, and they're certainly more than willing to make a good go of it.

Thank you for your thoughtful comments in regards to volume levels, the "pyramid" and Renaissance polyphony. Given the voices I'm working with (all of my ladies have pretty light voices, and the men are naturally strong) it shouldn't be an issue.

I guess the selfish bit is that the Media vita is one of the pieces on my long list of choral works to perform before I die! A worthy goal, nonetheless.

Wish us luck!

[philadams]

Chuck (or anyone else),

What should be our performance pitch? We are currently learning the Media vita at written pitch, but I understand that their is some scholarly work which indicates that perhaps it should be sung about a fourth higher. Any thoughts on this?

[CHGiffen]

Well, given the treble highs and bass lows, I would probably sing this at the written pitch. Different pitches might have been used, but I strongly doubt that it would have been sung up a perfect fourth (putting the trebles on a high B flat). More important is to sing it at a pitch that is comfortable for the singers.

Chuck

[philadams]

Chuck,

Thanks again for your reply.

I do have a soprano that can manage the B flat just fine. I also have a bass who can sing all the low Es! My issue is really with the middle voices. Thank goodness for an alto that can sing those low Es as well! The most I could stretch upwards is a major second, without putting my tenors at a strain. So, we're keeping it at written pitch (I'm of course, using Sabine's edition on CPDL). Also, the male voices must be very careful to sing with a slender enough tone to keep the texture from being to muddy. If they are careful, the sound is wonderful and warm in that low key! What a great effect.

Things are really progressing well in rehearsal. After we sing it on March 9th, I'll send you a recording if you like!

[CHGiffen]

Singing it up a major second is not a bad idea at all. The Tallis Scholars recorded the John Taverner Missa Gloria tibi Trinitas up a major second with good effect, mostly because of their "laser sopranos" ... but when I sang the work with Zephyrus, we sang it at the written pitch and achieved a very warm tone which was excellent in both venues (Charlottesville's St Paul's Memorial Church and Washington's St. Matthew Cathedral). I can tell you it was fun singing all those low D's in the bass! If memory serves me correctly, we sang it with 14 singers - two on a part for the bottom four parts, three on a part for the Treble and Mean.

I would love to get a recording of your performance!

Chuck

[philadams]

Chuck,

I wanted to tell you that we sang the Sheppard straight through for the first time last night. Glorious!

We're singing it on March 9th. I'll definitely send you a recording.

Phil

[CHGiffen]

Hi Phil,

I can hardly wait to receive a recording of the performance from you. I'll be singing the Brahms German Requiem the same day!

Cheers,
Chuck