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Male chorus

Male chorus

Stockholm academy male voice chorus (Stockholm Academic Male Chorus)
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One form of the chorus only by the man who was over an age of voice break with the male chorus (だんせいがっしょう). It is a form to be seen in Indonesian kecak and a Japanese leader of lumber-carriers, a statement of the Buddhism, but, in this clause, describes a male chorus in the classical music in particular.

Table of contents

Summary

It is turned off for a part by a range of voice, quality of voice, and it is often played sequentially in 4 parts (male voice four copies chorus) of first tenor (with the first tenor, the top tenor), the second tenor (with the second tenor, the lead tenor), baritone bus by upper register. The formation called three copies of choruses of the tenor baritone bus and six copies of choruses that divided tenor and a baritone bus into by 3 part more is occasionally seen. In addition, the part of the countertenor may be added. The first tenor usually sings themes. I call the second tenor a lead by the ensemble of the barbershop-style (later description), and here is in charge of a theme.

It is approximately two octaves and a half, and naturally the range of the standard male voice madrigal is narrower than mixed chorus, but I can play a higher range of voice if I use a falsetto and can cover higher than 3 octaves that is really equal to mixed chorus because the low range of the bus is wider than alto. "Six male voice madrigal work 35" of "wandering maniac" and Schoenberg of Janacek is the examples which made full use of such an extreme range. In addition, there are people who make use of this rich range, and play mixed voices madrigal (for example, clear a chantilly).

There are many performances by a cappella (no accompaniment) to be able to make use of it which a lot of harmonic overtones produce because a low range is substantial as for the male chorus. In addition, it is often that I play with other musical instruments including a piano and an organ and the orchestral music.

In addition, the one of the names "glee club" (glee club) to be seen in the Japanese male voice chorus well comes from the club of the same name born in the U.K. in the late 18th century. It was a group to sing the music of the form called the glee in, but it reaches the United States in the 19th century, and various choruses come to give their glee club [1]. In addition, "men flannel call (Männerchor)" which is often seen means a male chorus (団) in German.

History

History of world male chorus

Even if the history of the male chorus limits it to classical music, it is long. "The woman must remain silent at the church" and was written as (14-34), and therefore the church music has been taken on "letter one to a believer of Corinth" in the New Testament exclusively up to modern times only by a man. It may be said that it is the influence that the recording of the Gregorian chant is often carried out by a male chorus today. The high voice part was substituted by a boy and a countertenor, a castrato (such a madrigal is often played by the mixed voices chorus which added a woman now). In the 19th century, the participation of the woman in church music was becoming common, but the male chorus will greet a golden age around a field of the common customs music in this century.

It is the early 19th century, and Orpheus on occurs successively in a liederkranz, France in リーダーターフェル, south Germany and Switzerland in Germany, and birth, the male chorus exercise by them spread to North Europe, Eastern Europe and the United States. Most of composers who played an active part at this time performed conduct and composition for a male voice chorus.

I sang in a male voice chorus since he was impressed by the male voice madrigal of the person called Hans シュレーガー in 1843 when I took Bruckner as an example and organized a oneself male voice vocal quartet corps and sometimes commanded it and sometimes composed it for 団 and gave it to this genre between things really for half a century. As for his first publication work, the last completion work is all a male voice madrigal, too.

Sibelius also leaves dozens of pieces of works for a male voice chorus and, with the Shinki Hel University chorus who gave the first public performance of most, leaves a big footprint for the whole music circles as well as chorus world of Finland (I am placed as one of the globally well-known choruses, and the Helsinki University chorus performs a performance frequently today in foreign countries including Japan). In addition, Gounod serves out a musical director of the Orpheus on of Paris from 1852 through 1860, and, as for Wagner, the pattern that is a short term takes office as a leader of リーダーターフェル of Dresden.

In addition, he was not engaged in direct exercise because I died about Schubert loved by many male voice choruses today before chorus exercise rose suddenly in earnest. However, with a surge of the exercise, Schubert was appreciated in the German area, and many works given the first public performance of as duet music were taken up by the chorus [2].

On the other hand, the U.K. traced the way where was different from Germany and France. This is because the genre called a catch born in the 17th century and the glee that became active after the late 18th century was praised to the skies as. In the diary of Samuel Pepys, the description that he sang a catch in is seen [3]. In addition, Haydn knits "12 catches and glees" for these genres.

Another point that should be pointed out when I talk about a male chorus of the U.K. will be a relation with the Freemason which is a global group born in this country. This group was run in principle only by a man, and naturally a male chorus and a monody were made when a song was necessary for various ceremonies and events. The composer who belonged to the Freemason needs Thomas Arne, Benjamin Cook, Samuel Web. Three people whom I enumerated here are composers of the all glee. The most of the male voice madrigal about this group are forgotten today, but can refer to the male voice madrigal that Mozart composed after the enrollment with a CD and score now [4]. The catch declines with the spread of glees, and the glee also declines in the late 19th century, and it is not looked back very much now, but the name "glee club" is used for Japan and the American male voice chorus willingly.

In addition, it was prevalent men gathered at the barbershop in the United States of the late 19th century, and to enjoy a quartet of no accompaniment and built the original style called "barbershop harmony". In late years the ensemble of the barbershop-style becomes popular in Japan (but although the barbershop ensemble due to a woman's voice and mixed voices is few, I exist leading a male voice).

When the male chorus that greeted the golden age in Central Europe becomes by the sudden rises of the decline of the chorus campaign and mixed voices, the female chorus in the 20th century, it declines. Richard Strauss had the lowness of the quality of a male voice chorus and the male voice madrigal pointed out so that which "I hardly deserve it if I considered it" wrote, "artistic gain is very few" about a German male voice chorus [5], and Tatsuo Minagawa suggested that the music that they played about a cause of the decline of the Orpheus on lapsed into simple music 〉" suitable for "〈 amateurs [6].

It may be said that this century is North Europe, Eastern Europe and the United States, a golden age for Japan. Above-mentioned Sibelius and マデトヤ, Alfven and others did it in North Europe including Bartok and Kodaly who built the basics of chorus of this ground in Hungary, and Robert shows played an active part in a field of the arrangement in the United States (they mention it later about Japan).

The sacred song of the Greek Orthodox Church was still carried distantly in remote Russia from the center of the male chorus campaign by a man until I led to it in the 19th century (it is an achievement of the Al Kahn gel ski that mixed chorus came to be adopted in Russian church music). A male voice is the basic of the Greek Orthodox Church sacred song in the Greek Church (the Greek Orthodox Church in the Hellenic Republic) in the present age. When the Soviet Union was born, the religious music was largely confined to the sacred song tradition of such Greek Orthodox Church including Greek Orthodox Church sacred song while I was oppressed, and the arrangement of the folk song and a patriotic hymn, the madrigal of secular contents came to be found instead. The Red Army troops chorus which consisted of the serviceman of the Soviet Union plays such a work and succeeds in getting the global popularity. In addition, the sacred song genre accomplishes revival after the Soviet Union collapse, too, and the boy monastery of each place of the modern Russian Orthodox Church comes to record many sacred song CDs.

Like classic other fields, the male choruses also spread world everywhere, and many works are created by a composer of each place every year now. Judging from history of music, today's male chorus world does not have the power like the chorus campaign of the 19th century, but, just like other genres, this field is not unrelated to the fashion of the classical music world, too. In late years the American male voice ensemble chantilly clear to deal with from the Gregorian chant that became the boom to a folk song, gospel, popular music widely heals it and is supported for a boom and receives high support.

History of male chorus of Japan

Prewar days

It is about 1899 that the Kansei Gakuin glee club which is the Japanese oldest male voice chorus was born. Because the suite "four seasons" of Rentaro Taki regarded as a first Japanese madrigal are born in 1900, the history of male chorus of Japan is almost piled up with history of madrigal creation of Japan. But it is not a male voice madrigal in the suite "four seasons" (the first piece "flower" is a woman's voice duet or woman's voice chorus in two parts, and the second piece "enjoying the cool breeze" sings a solo as for the third piece "moon" and last "snow" mixed voices vocal quartet or mixed chorus in four parts music). The waterfall left the world without associating with the field of the male chorus.

While Kosaku Yamada dyed a hand into mixed chorus and a female chorus early and though belonged to the Kansei Gakuin glee club, and there was often the connection with the male voice chorus including the glee afterwards, did not leave a male voice madrigal (as for the song of group an exception); [7]. In the field this as for a lot of of the composer who make Kiyoshi Nobutoki, and make Kunihiko Hashimoto, and do it to Saburo Moroi, and played an active part in prewar days a work true; cook it, or provide only some. They were not so whether a male voice chorus at the time was existence of the shade, and, led by a university, movement of the male chorus group establishment was seen at a nationwide level, and some groups performed the recording of the record. In addition, there are more male voice choruses than mixed voices, a woman's voice when I see the breakdown of the participation group of the chorus contest "chorus contest size music festival" (contest chorus festival) carried out in prewar days [8]. When Kosuke Komatsu, Tamotsu Kinoshita, the person of consequence of the music circles at the time of Kyosei Akemoto and others consider the circumstances to affect a male chorus, it is a wonder that fictionization was duller than mixed voices and a woman's voice [9].

It was usual that I mainly played an overseas song in the text of a song in translation, and, in this time, the male voice chorus performed almost none of the commission activity except that I sang the song of the school. It seemed to be considered that the score of the male chorus did not sell from the scene that paid more attention only to a foreign work (although I did not participate for a contest, as for Toshiaki Okamoto, the chorus activity at the girls' school was performed [10] that I wrote, "the others of the female chorus were not going to publish it" flourishingly about a music publishing company at the time) and was poor in the environment that let you did a composer and leave for the male chorus creation [11]. You must wait for postwar period so that this environment is improved.

In addition, as the person who left a lot of male voice madrigals in prewar days, there is Kiyomi Fujii [12]. Most are arrangement of the folk song, but "the song of the sailor" by the poetry of Sofu Taketomo becomes after the war, and it is published by Ongaku no tomo sha corp. and Kawai score, the federation of all-Japan chorus.

Postwar

I did it after the war, and, in the higher education system, the number of boys largely exceeded a girl in rose bears. The times when the ratio of the male chorus in the chorus of a high school, the university is big lasted, but as a high school, the college-going rate of the girl increases before long, a male voice chorus makes it mixed chorus or mixed voices, a woman's voice chorus comes to be established, and the ratio becomes small. I cannot deny that various bases which moves, and supports a male chorus in comparison with (singing voice campaign, mom chorus, "the ninth" boom in Japan) which supported mixed voices, a female chorus were weak even if I look at the whole postwar chorus world of Japan. However, there is the thing which is more remarkable than prewar days in the composition. From three viewpoints, I overlook the flow of the male chorus creation of Japan after the war as follows.

Composition

The Japanese composers who greatly contributed to a male chorus after the war include Osamu Shimizu and Takehiko Tada. They compose several hundred pieces of male voice madrigals and publish dozens of male chorus score.

The spring water participated in the federation of after the war all-Japan chorus and wrote a male voice madrigal for the first all-Japan chorus contest. It is "an autumn clown" by the poetry of 堀口大學. As for this work, it was incorporated a chorus suite in "moonlight and a clown" in the next year. "Moonlight and the clown" were given the first public performance of by conduct of oneself by Tokyo male voice chorus and got nationwide popularity. He sent Megumi Onaka, Ro Ogura, Minoru Miki, the male chorus work of Takehiko Tada and others to the world other than oneself as a manager of the Kawai score while "saying grace on the mountain" left a large number of works including "ウポポ of Ainu" for this field afterwards.

Takehiko Tada played an active part as a leader in Kyoto University male voice chorus and received instruction of the composition to Osamu Shimizu and completed maiden work "Yanagawa wind vulgar poem". I announce the male voice madrigal (as a male chorus suite as 65 works) of 400 or more to date afterward in 2006. These most are no accompaniment.

To here, it described a male chorus of Japan led by a composer, but it is reliable that the majority of their work have been supported by the commission activity of a chorus and the leader even if it does it to other composers even if it will have spring water and Tada. This is particularly remarkable in a male chorus than mixed voices, a woman's voice, a child with a little demand in an educational front (grades K-12) [13]. The Tokyo male voice chorus which gave the first public performance of "moonlight and a clown" began the commission activity to a Japanese in 1948, but, according to the spring water, "seemed to be a totally unprecedented thing at that time" [14]. It becomes about time when this, and, not only a male voice, the commission activity of the chorus begins in earnest.

As a result, in contrast with prewar days, many composers came to be concerned with a male chorus. Who is concerned and leaves it to "a main male voice madrigal" what kind of works were produced.

Arrangement

The prewar male voice chorus sang a foreign song exclusively, but there were a lot of arrangement works in them, too. Shuichi Tsugawa who is known as a person of arrangement arranges some overseas songs for a male voice chorus.

The person who tried for the repertory expansion of the male voice chorus through arrangement after the war has Yoichiro Fukunaga. I establish the Tokyo Colla rear that is the first occupation chorus which "assumed concert activity a main purpose" in 1952 [15] and perform much arrangement for this group [16]. 関西学院グリークラブ出身であり、東京コラリアーズに歌い手として所属していた北村協一も後に編曲に携わり、彼らの編曲を、彼ら自身や、東京コラリアーズの協同設立者である畑中良輔が積極的に演奏した。 3人に共通するのは声楽（オペラ）界とのつながりも強いという点であり、良いオリジナル男声合唱曲が少ないという福永や畑中の認識[17]もあって、オペラや歌曲、ミュージカルなどさまざまな分野の作品が男声合唱界に「輸入」された。

以上は他人が編曲したものについてである。日本人作曲家が自作曲を男声合唱に編曲した例は、戦前はほとんどないと思われるが、戦後には飛躍的に増加する。髙田三郎「水のいのち」、廣瀬量平「海鳥の詩」、荻久保和明「IN TERRA PAX」、木下牧子「方舟」、大中恩「島よ」など、混声合唱からの編曲が多い。逆に、男声合唱から混声合唱への編曲も数多く、先に書いた清水脩の「月光とピエロ」はその先例である。

現代の「聲明[18]作品」

最初に記したように、いわゆるクラシック音楽以外においても、聲明のように、男性のみが歌う形態が古くから存在していた。作曲家の幾人かがこれに目をつけ、男声合唱団によって歌われる作品にしたてている。黛敏郎の「涅槃交響曲」や藤原義久「法華懺法」などである。

ここで扱う音楽は、クラシック（現代音楽）の作曲家によって書かれながら、合唱団ではなく、普段から聲明に取り組んでいる僧侶たちによって演奏されるものである。この手の作品が登場したのは「現代邦楽」や「現代雅楽」に比べてずっと遅く、1980年代になってのことである。

このジャンルの誕生経緯は、木戸敏郎編『日本音楽叢書　三　聲明〔一〕』『日本音楽叢書　四　聲明〔二〕』（音楽之友社、1990年）に詳しい。木戸は国立劇場が開場した1966年から聲明の公演を行っているが、それ以前においては、このジャンルの演奏はもっぱら寺院でしか接することができず、それゆえ多くの人々にとっては「未知の音楽体験」[19]であった。しばらくは、すでに存在している演目を披露していたが、やがて現代の作曲家に新作を委嘱しようという動きになり、石井眞木の「蛙の声明」や、近藤譲「壤歌」、高橋悠治「夢切記（ゆめのきぎれ）」などが生まれた。「聲明」という伝統的かつ新しい音楽ジャンルは欧米でも注目され、「蛙の声明」はドイツで演奏された他、細川俊夫の「観想の種子」のように、イタリアの音楽祭から委嘱を受けたものもある。

もっとも「聲明」といっても、数十人の声を必要とするような作品もあれば、「観想の種子」のように歌い手が4人というものもあり、すべての「聲明作品」を合唱の文脈で説明することについては慎重な検討が必要かもしれない。

主な男声合唱曲

ここでは、古典派以降の作曲家の作品を生年順に紹介する。（）内は伴奏形態を示す。リストの膨れ上がりを回避するため、CDで聴くことができる作品に限定している。

日本人の男声合唱曲

戦後の男声合唱曲に関しても、海外編と同じくリストの膨張を避けるために、「CD・レコード化されている（コンクール、プライベート盤を除く）」「オリジナルの編成が男声である（すなわち混声、女声、歌曲などからの編曲ではない）」の両方を満たしたものを紹介する。出版されていないものについては日本の絶版・未出版男声合唱曲に詳しい。同じく、生年順にまとめている。

便宜上、戦前、戦中の作品については※を付した。

男声合唱が加わる交響曲や協奏曲

音源がないものも含む。

参考文献・注記

[ヘルプ]
  1. ^ 日本で最初に名乗った合唱団は関西学院グリークラブだという（山中源也『関西学院グリークラブ八十年史』関西学院グリークラブ部史発行委員会、1981年、p.14）。ただこの団体は、音楽形式としてのグリーを愛唱するために設立されたわけではない。
  2. ^ たとえば男声八部と弦楽のための「水の上の精霊の歌」は、ヨハン・ヘルベックによって1857年に再発見され、彼とウィーン男声合唱協会によって再演されている。彼はシューベルトの作品発掘および演奏に尽力し（「未完成交響曲」のそれで名高い）、1866年には合唱作品全集を出版している。
  3. ^ 1660年7月21日、9月10日など。
  4. ^ リストも会員として、フリーメイソン主催の演奏会のために男声作品を書いているが、モーツァルトほどには知られていない。
  5. ^ エクトル・ベルリオーズ、リヒャルト・シュトラウス『管弦楽法』音楽之友社、2006年、p.472。
  6. ^ 皆川達夫『合唱音楽の歴史　改訂版』全音楽譜出版社、1965年、p.403。
  7. ^ 遠山音楽財団付属図書館編 『山田耕筰作品資料目録』遠山音楽財団付属図書館、1984年。
  8. ^ たとえば、第1回（1927年）においては、11の参加団体のうち、男声合唱団は6（女声2・混声3）、第6回（1932年）においては、22団体のうち、男声合唱団は14（女声4・混声4）。長木誠司「"運動［ムーヴマン］"としての戦後音楽史 1945～」第6回、第7回（『レコード芸術』音楽之友社、2004年6月号-7月号）。
  9. ^ たとえば、山田耕筰編『世界音楽全集9 日本合唱曲集』（春秋社、1930年）に収録されている合唱曲81作品のうち、男声合唱曲はたったの4曲に過ぎない（それに対して、混声41曲、女声23曲、同声11曲、重唱2曲）。
  10. ^ 浜辺の歌音楽館編『「浜辺の歌」の成田為三』秋田文化出版社、1998年、p.38。
  11. ^ 青島広志は「日本の戦前の合唱曲というと、男声合唱曲が女声合唱曲をしのぐという現象が起きている」（『作曲家の発想術』講談社現代新書、2004年、p.155）と書いているが、実際にはその逆であった。
  12. ^ 彼の男声合唱曲については、呉市昭和地区郷土史研究会編『作曲家藤井清水』大空社、1996年。
  13. ^ 対して、混声三部合唱曲はNHK全国学校音楽コンクールをのぞくと、もっぱら出版社の委嘱により作られている。混声四部、女声合唱、児童合唱曲もその経由でたくさん作曲されているが、男声合唱においては少ない。
  14. ^ 『からかれても……――東京男声合唱団創立五十周年記念誌』東京男声合唱団、1999年、p.13。委嘱作品のみで構成された楽譜『現代男声合唱曲集』（東京男声合唱団編）が音楽之友社から出版されている。
  15. ^ 福永陽一郎『演奏ひとすじの道』《CONDUCTOR》編集部、1996年、p.72
  16. ^ 東京コラリアーズを離れた後もさまざまな合唱団のために編曲を行っている。編曲作品の一部は福永陽一郎『演奏ひとすじの道』の巻末や、2001年に行われた「福永陽一郎メモリアルコンサート&回顧展 陽ちゃんといっしょ in 藤沢」のパンフレットに掲載されているが、全容については不明。
  17. ^ 福永は『合唱事典』（音楽之友社、1967年）の「編曲」の項目で、編曲に慎重な態度をとる一方、男声合唱や女声合唱によい曲が少ない現状から、編曲はやむを得ないものとしている。また、畑中は慶應義塾ワグネル・ソサィエティー男声合唱団の定期演奏会のパンフレットにこう書いている。「男声合唱曲は、オリジナルなものだけでは、真にすぐれた音楽性を持つ曲は限られて来る。オリジナルの曲数の多い割に、演奏する者の一生の宝となるような曲は、ほんとに少ない。」[1]一方、「良いオリジナル男声合唱曲が少ない」という認識を共有しつつも、それを作曲家の新作によって改善させていこうと考える者もいた。田中信昭がその代表的人物である。
  18. ^ 木戸敏郎「聲明という音楽概念の開発」（木戸敏郎編『日本音楽叢書　三　聲明〔一〕』音楽之友社、1990年）によると、「聲明」は「仏教の声の音楽全般」を指す概念として、著者らによって再定義されたもの。旧漢字を使うのは、労働組合運動の文脈で用いられていた「声明（せいめい）」との混同を避けるためである。「現在定着している」という著者の見解に従い、本項でも「聲明」を上述の意味で用いる。
  19. ^ 木戸敏郎「『聲明』現代の音楽概念へ飛躍」　『日本音楽叢書　四　聲明〔二〕』p. 7。

関連項目

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