The Proclamation of the Christ: Isaiah 53

This is a cantatta that I'm working on setting the text from some of Isaiah 52 and all of Isaiah 53. The text's translation is an adaption by me where I merged all the major English translations of the Bible and edited them for the best poetic effect.

Musically, I have been trying to get away from the traditional romantic non-counterpoint style that plagued my Symphony. Did I succeed somewhat?

Instrumentation is SATB Soloists, Chorus, and Orchestra

Structure so far:

(Complete means musically, not necessarily orchestrationally)

Prelude: Isaiah 52:13-15 Bass Recit. - Complete, need to rework the lyrics a bit.

Overture - Not Started

Tenor Recitative: Isaiah 53:1 - Complete

Tenor Aria: Isaiah 53:2 - Very Incomplete

Alto Aria: Isaiah 53:3 - Complete

Chorus: Isaiah 53:4-5 - Incomplete

Soprano Aria: Isaiah 53:6 - Not Started

Undecided for Isaiah 53:7-10

Chorus: Isaiah 53:11-12 - Not started

Attached are several movements to various degrees of completion. PDF's attached below.

mp3's:

1. Prelude (Bass)

3. Tenor Recit.

4. Tenor Aria

5. Alto Aria

6. Chorus

3. Tenor Recit.pdf

4. Tenor Aria.pdf

5. Alto Solo.pdf

6. Chorus.pdf

1. Prelude.pdf

While I'm downloading the first movement I might as well ask what you mean with this:

the traditional romantic non-counterpoint style

What?

While I'm downloading the first movement I might as well ask what you mean with this:

What?

A reference to criticisms that were waged against my symphony. It was "too traditional", "150 years out of date", and had an "utter lack of counterpoint" among other vices. Check out the original thread here for those comments.

OMG!! This is one of the best pieces I've ever heard on that page! Epic really. At least a person who knows what he want not just write a piece without any conception. You should finish it!

Anyway am I heard right that you used EWQL? I very enjoyed the French Horn parts.

A little notice: Take care of your score and write next to the instrument names the number of the parts. (Eg. not just "Flute", but "Flute I. + II.") Anyway it was great.

Keep on composing! :thumbsup:

Thaks Norby!

The score is a mess, I know. The parts are not explicitly laid out yet. I'm not sure how many horns will play a particular line, I just know that its gonna be a horn. In essence, what I posted was a "semi-short score" if you will.

This is a cantatta that I'm working on setting the text from some of Isaiah 52 and all of Isaiah 53. The text's translation is an adaption by me where I merged all the major English translations of the Bible and edited them for the best poetic effect.

Actually, it ain't bad at all. Well, when I say it ain't bad, I only listened to the chorus section.

What samples were you using here?

Justin -

First off, I applaud you for trying to stretch your style. Just relax though about being "current" and non-counterpoint. Your string quartet refutes those criticisms. Symphonic writing is not easy as you know and it takes time to incorporate your knowledge of counterpoint and newer styles. So be patient.

The Prelude has a very Mahlerian sound. Just the way the voice works with the orchestra - it will require a big operatic voice. I liked what you did with the horn and brass writing. Especially about midway where the brass share similar pitches - nice touch of color. Also enjoyed the crescendo and descrescendo in the strings and how the flute line and other instrumental lines were layered over it.

For the prelude the strings harmonic underpinning is OK - I'd say slightly borderline even. It works here because it suggest expectancy by the tremelos and is a counterbalance to the spurts of brass and percussion. Just be careful using such a device as used too long or overdone with sustained notes may weaken the counterpoint by reducing the music to a drone , singer's melody and ornamental figuration for color.