Cantata Academica Posted on February 15, 2013February 20, 2013 From Dr. Whitmire: Cantata Academica Errata II Men-at mm 11-12 the word should be ar-ca-na (not a-re-a-na) Women at 17-18 the word should be ar-ca-na (not a-re-a-na). It should look like XIII Alto- at M24 (2 before square 45) the notes should be G – A (not B – A) All- rehearsal square 46 should be moved five measures forward, to m. 38 All- At rehearsal square 46 (m. 38) the syllable is “-lus” (not –lis) All- Add one measure before the final “saeculorum” VII Bass: M. 53-55. <EN-DAE-SA-NI-TA-TI-SA-NI-TA-TI-CON-SU> Tenor and Bass: M. 72-73. < FLO-REAT-STU-DI-UM> Bass: M. 81-83. <EN-DAE-SA-NI-TA-TI-SA-NI- TA-TI-CON-SU> M. 155. <TA-TI-TU-U> Tenor M.52; ALTO M81, 86, 87 <CO-PI-IS-LO-CU-P(I)ES> (in the music). <CO-PI-IS-LO-CU-P(L)ES > (in the translation) XIII Soprano, Alto, Tenor, Bass M.12-13: <VI-GE-AT> M. 15: Alto, Tenor, Bass <DE-MIA> M. 36-38 Soprano, Alto, Tenor, Bass <AT-QUE-O-CEL-LUS> Cantata Academica Notes Structural elements in #8 -The opening melody employs all 12 notes of the chromatic scale. (Britten tips his hat to serialism) -The successive fugal entrances starting with the basses at reh square 27 begin on each note of the chromatic scale: G F Eb E F# A D Bb C Db Cb (B) Ab -beginning at rehearsal square 29 the exact same series of pitches reappears, now in stretto (close succession). -Moreover, opening 12-tone theme of #8 dictates the overall structure of Cantata Academic, as each movement has as its key or tonal center the successive notes of the theme. I-G, II-F, III-Eb, IV-E, V- F#, VI-A, VII-D, VIII-Bb, IX- C, X-Db, XI-Cb, XII-Ab, XIII-G One of my singers said, “the notes seem so random.” I know what she means, but, as your see, thev are systematically structured and actually couldn’t be less random. #13 At the end we are using optional words (saeculis saeculorum) that Britten provided to make the piece less specific to Basle University, who commissioned the piece.