Quonium Tu Solus (Nelson Mass)
Basic overview of the piece (not complete) as I created this for my mock.
- Created by: ashtonfrancesca
- Created on: 12-01-14 15:58
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- Quonium tu Solus (Nelson Mass) - Haydn
- Background
- 1798
- Choral Mass: Uses Latin words of the Catholic service
- Haydn composed for the Esterhazy family
- Tonality
- D major - this movement in tonic major to lighten mood
- Tonality of overall mass is D minor
- Fugue Section: B minor (bar 35), A major (bar 38), E minor (bar 45) & G major (bar45)
- Resources
- SATB chorus and soloists, 3 trumpets, timpani, strings & organ
- Orchestra condensed dramatically - financial issues
- No woodwind - would've been added in later versions
- Harmony
- Mainly perfect cadences
- Interrupted cadence (bars 44&45)
- Pedal notes particularly in 'amen' section (tonic pedal)
- Diatonic & Functional - typically classical harmony
- Inversions: V7b & V7d (bar5) + diminished chord 1 (bar7)
- Bar 37 hints at circle of 5ths
- Mainly perfect cadences
- Structure
- From a Mass - final part of the 'Gloria' an uplifting movement
- MASS: Kyrie, Gloria, Credo, Sanctus & Benedictus, Agnus Dei
- Ternary Form
- Instruments determine structure (see full notes & score)
- From a Mass - final part of the 'Gloria' an uplifting movement
- Metre
- 4/4
- Rhythm
- Quavers & semiquavers give energy & movement
- Anacrusis (bars 4,5,16+17)
- Tonic pedal quavers (bar15) drive piece forward & establish tonality
- Contrast: long tied semibreves in bar 61 onwards
- Syncopation: orchestration bar 17
- Dotted rhythms in voice parts (bar 1&4)
- Tied notes over barline in sop&alto (bar 57&58)
- Texture
- Antiphonal responses between solo & choir at opening
- Solo accompanied by homophonic accompaniment: MDH
- Imitation: sop&alto (bar39+40), 'stretto' tenor&bass (bar44+45)
- Homophonic chorus at start until fugue (bar22)
- Parts are polyphonic in last 'amen' until bar 80
- Orchestral parts double voice parts (fugue section - 37 onwards)
- Changes in texture create dynamic structure
- Antiphonal responses between solo & choir at opening
- Melody
- Lots of sequence (counter subject, 1st occurs bar24 in bass)
- Many repeated notes, also many leaps (8ve leap bar 55 sop part)
- Bar 6 heterophonic texture: Violin 1 semiquavers based on melody in sop 1
- Melodic material mainly based around scales
- Fugue
- 2 bar fugue subject, 1st occurs in bass (bars 22+23)
- subject built on triads & is descending
- Counter subject accompanies at the same time as fugue enters
- subject built on triads & is descending
- Counter subject, full of quavers, also occurs in bass (bars 24&25)- also descending sequence
- 2 bar fugue subject, 1st occurs in bass (bars 22+23)
- Background
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