Jonathan Shaw

     The next of my choruses that followed my supposed ‘chorus’ structure of having a first chorus, followed by a second chorus, and then a final chorus that used material from the first chorus (and supposedly an accompanying hymn – but alas, the hymn is absent!)

​

     Where "C.28 - Chorus No.1" explored homophonic chordal movement and was general simple, and "C.29 - Chorus No.2" explored into counterpoint and two choirs, this third chorus delved into fugal and canonic experiments as well as further counterpoint over a continuously static cello line. This piece also returned to more traditional religious techniques, particularly through the use of plagal cadences which I used more frequently here than in the prior choruses.

​

     The earliest material I wrote for this piece was actually the ascending sequence seen at the end of the first chorus starting at b.80 (and again in the final chorus). I love this sequence, and still do as of writing these words. Yes, it is simple, but there is just enough interest that it elicits some form of joyful emotion, I can’t quite put my finger on it. Nevertheless, I built the rest of the composition surrounding this sequence.

​

     The first chorus explored the use of canon, albeit briefly, and the second chorus then went on to explore fugal counterpoint in the choirs. As per the previous chorus compositions, I repeat both choruses in a sort of German bar-form AAB (as to whether I was aware of that at the time is another mystery).

​

      The little text that does appear is my own original text, as you can tell from the waft of nearby Stinking Bishop, but I never did get around to adding words to the entire piece. This is the main reason there is no accompanying hymn (if I couldn’t finish the text for the main chorus, how on Earth would I be able to write text for a completely separate piece?)

​

      I recall that bars 95 – 96, with the dynamic build, were influenced from Haydn’s "Quoniam tu Solus" from his Nelson Mass, which is a piece I still admire for its counterpoint and fugal choral writing. Much to my amusement, I later discovered that the bass sequence I wrote starting in the 2nd half of b.80 was also used by Haydn in a sequence towards the end of "Quoniam tu Solus" in the alto part.

​

      On the whole, I do still enjoy this piece, regardless of its simplicity and that fact it is unfinished. That sequence, and the fugal play in the second chorus are things that I still find some pleasure in, and if anyone else does, that is an added bonus!

 

      (Also, to sopranos, I apologize for that final note.)