[HANASHIR:9972] Re: anthems (a definitive commentary)

[Burton A. Zipser <zipmusic...>]

Dear Friends:
        There has been so much discussion in re to the subject of 
anthems that an explanation is needed.
        The term refers to a musical composition in which additional 
vocal parts are added to an existing melody.  Anyone who has ever 
added a descant (or upper melody) to an existing part has created 
something like this. The original example can be found in the music 
of the Catholic church beginning in the 12th century. The original 
melody was called the "cantus firmus" or "principal song". In the 
14th century and later, the extra parts were designed to relate 
harmonically to the main melody.  While the original melody might not 
have been strictly "sacred" in nature, the musical form became know 
as a "motet" and was strictly sacred, and the music was a basic part 
of the Catholic service. When the musical form was adapted to the 
Protestant church, and especially the Anglican (or in America, 
Episcopalian) church where it became a composition called an "anthem" 
which was reserved for the choir and permitted the group of singers 
to present a more elaborate vocal setting which would have been 
impossible or unsuitable to use in other parts of the service. 
Sometimes the composition became extended and might include one or 
more solos, eventually, in some situations, becoming a cantata (which 
used a sacred story to emphasize a specific text or religious idea. 
The best known cantatas were created by Bach for the Lutheran Church 
in Germany and were actually designed to be used for specific 
services during the church year.
        The equivalent music in a Jewish context developed in 
European congregations, especially those in the Reform movement from 
the middle of the 19th century.  In Germany and Austria, where church 
services were elaborate affairs involving organ accompaniments and 
even orchestral accompaniments.  The Reform congregations in Germany 
adapted the Sabbath and High Holy Day services to a similar kind of 
performance. Examples can be heard on two CDs of music perfomed in 
the Jewish Reform Congregation in Berlin during 1928-30. The CD 
numbers are both BTR 9702 (in two parts).
        The equivalent in American Conservative and Reform practice 
usually occurred either before or after the sermon.  By relating the 
music either to the Torah or Haftarah portions for the particular 
Shabbat service, it was possible to take the time to prepare 
uplifting, meditative, and exciting musical selections.  An example 
still found in many congregations is the use of the Lewandowski 
"Psalm 150" which is often included in the Rosh Hashanah service. 
Although solo cantatas are still found in church services, the strict 
anthem form, or its Jewish counterpart, may be disappearing from 
contemporary Jewish services.
        I hope this answers a few of the questions raised.

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