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Ave maria franz biebl 2 soprano1/11/2024 ![]() ![]() ![]() (Medium) Limited divisi, unaccompanied, or with independent accompaniment (voice parts not doubled), many chromatics, phrases of varying lengths, more contrapuntal textures, moderately complex rhythms, some difficult intervals (disjunct motion), moderately difficult/challenging ranges, extended techniques are potentially challenging, and some sustained singing.Ĥ. The alternate mixed version still needs the same voice parts, but in creating a mixed ensemble in both choirs, the ranges are more accessible.ġ: (Easy) No divisi in voice parts, accompaniment doubles or supports vocal parts, diatonic, symmetrical phrases, textures mostly homophonic, simple rhythms, stepwise voice leading (conjunct), moderate ranges, no extended techniques, and limited sustained singing.Ģ: (Medium Easy) Limited divisi, voices somewhat independent from accompaniment, some chromatics, phrases may be longer or more fragmented, mostly homophonic, moderate rhythmic complexity, some difficult intervals (disjunct motion), moderate ranges, extended techniques are simple, limited sustained singing.ģ. I felt that this was the truest way to present the piece, knowing that the majority of mixed choirs tend to have larger soprano and alto sections than tenor and bass sections however, the upper soprano parts do sit very high in their range and I would recommend only one or two sopranos float the top part, or possibly the top two soprano parts. I will also add that in creating the mixed version, I first decided to move the chant organum to a 6-part chorus of sopranos and altos, with a full male chorus taking the original solo quartet lines. These ideas inspired the vocal fountain for the third verse found in the solo quartet. The bubbling water at the top that would flow down into many levels of shallow pools and then be sent back to the top to continue the journey reminds me of the goodness of God: his forgiving nature, his understanding and compassion that always flows forth. With the third verse, an image of an old outdoor fountain found within the gardens of an estate continued to come to mind. The mood of the second verse seemed to bring me back to an earlier time and a simple unison delivery of the gregorian chant seemed to be the perfect choice. Although the piece is strophic and verse one and four are set identically, I was also drawn to the individual verses. The piece combines the gregorian chant tune, originally presented in an organum setting with the full men’s chorus, and alleluias from the solo male quartet that have a more 21st-century style. "Thee We Adore" was originally composed for 10 male vocal parts: a 6-part chorus and a solo quartet, but after having many conductors ask me if there was a mixed choir arrangement, I decided to create one. For our first major tour of the east coast in the summer 1998, I wanted to write a piece that had some of the same ideas of flowing lines, chant-based melodies, and the antiphonal texture, but with a new twist. ![]() ![]() "Thee We Adore" is a piece that was inspired by Franz Biebl’s cherished setting of “Ave Maria.” I was still with Cantus, the full-time professional male vocal ensemble in Minneapolis, when the Biebl become a staple of our repertoire. ![]()
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