Dream of Gerontius - Elgar - 1. Jesu Maria/Assistants (Pray For Me) Flashcards

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1
Q

Describe the first vocal melody, sung by Gerontius.

A

The melody begins monotone on the mediant in the key of Gm, Bb. This, in combination with the piano dynamic creates a sense of stillness.

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2
Q

What accompanies the opening tenor melody and what effect does this create?

A

A dominant D pedal underlies the melody which creates the feeling of a recitative and a sense of emptiness.

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3
Q

What word painting is used on the word ‘death’ when Gerontius sings ‘I am near to death’?

A

It falls a minor 3rd to the word death, which holds to show the significance.

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4
Q

What happens when Gerontius sings ‘Thou, thou art calling me’?

A

He rises a perfect 5th on the word ‘Thou’ as he crescendos to a triplet quaver rhythm for ‘thou art’, which creates a sense of freedom and imitates speech. The vocal melody then diminuendos before it is imitated by the orchestra with pianissimo dynamics.

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5
Q

What happens when Gerontius sings ‘Not by the token of this faltering breath…’?

A

There is a rising sequence with a crescendo to build tension. There is a performance direction implying it should sound hurried.

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6
Q

What happens when Gerontius sings’ This dampness on my brow’?

A

On the word dampness, the melody rises a semitone which sounds panicky. The music then slows down again to show how Gerontius is confused about his feelings.

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7
Q

What happens when Gerontius sings ‘Mary, pray for me’?

A

On the word ‘pray’, the note is a G which is the highest note sung so far with a tenuto, so the singer can choose how long to hold it for, showing the importance of the word. In the orchestra, a perfect cadence leads us into F minor as Gerontius sings the word ‘me’.

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8
Q

What happens when Gerontius sings ‘Tis this strange inner most abandonment’?

A

He goes back to a pianissimo dynamic with the orchestra split into very high notes and very low notes. This creates a sparse texture and a feeling of emptiness, with Gerontius’s melody in the middle, to represent him being frightened that there will be nothing there for him when he dies.

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9
Q

What chord arrives on the word ‘strange’ when Gerontius sings ‘Tis this strange inner most abandonment’?

A

A G major chord - the tonic major of how the piece began with Jesu Maria. It parodies his prayer from that section in that it is another recitative . The chord then rises semitonally to Ab major in the following bar, which also demonstrates his confusion.

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10
Q

What happens in the orchestra during the words ‘God I look to thee’, sung by Gerontius?

A

A plagal cadence in the key of F, demonstrates religious connotations, but this is undermined as it is not the key that we seem to be in.

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11
Q

What word painting is used on the word ‘force’ when Gerontius sings ‘And natural force…’?

A

An accelerando and a crescendo both lead to it. There is a high F on the note and strong brass comes in to create power.

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12
Q

Following the slow prayer passage, why does the metre change to 3/4?

A

It creates a more urgent passage as Gerontius becomes panicky again and sings more chromatically.

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13
Q

Who do the assistants represent?

A

The friends by Gerontius’s death bed. They are praying for him.

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14
Q

How does the assistants passage begin, after Gerontius’s solo?

A

It begins only with the tenors, who overlap Gerontius last note whilst singing the same note. This represents the closeness between him and his friends. There is then a series of fugal entries as all of the parts enter, creating polyphony. Lots of melismas.

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15
Q

What is the accompaniment to the assistants passage?

A

There isn’t one. It’s a cappella. It represents the still mood whilst they are praying for him.

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16
Q

1 bar after the Bass enters, what happens in the tenor line to connote death?

A

The semitone fall from a C to a B creates a diminished 7th idea.

17
Q

How does Elgar treat the orchestra under the lines ‘Holy Mary, pray for him’?

A

The orchestra enter here. It is imitative of the choir here, with the lower instruments imitating the lower voices and the higher instruments imitating the higher voices.

18
Q

What happens to the treatment of the choir following the orchestras entry in the assistants passage?

A

The fugal idea takes off more so, with various thematic material passed around voices. Particularly on the treatment of words such as ‘pray for him’ and ‘holy confessors’.

19
Q

How does Elgar treat the word ‘martyrs’?

A

A long melisma is given to the alto and tenor parts, singing largely in 3rds. The bass voice underneath holds a dominant pedal whilst the soprano rises in key to give this section more power.

20
Q

How does the assistant section end?

A

The orchestral part concludes with a perfect cadence, and then drops out. The mood of the piece is then back to being that of a solemn prayer. The melodies within each of the vocal parts become more monotone so that this section is concluded with stillness.