Unger M.P. Historical Dictionary of Choral Music
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92 • COWIE, EDWARD
groups: a large choir, a chamber choir, and a specialized ensemble of
12 soloists. Most of his efforts were devoted to the third group, which
gained an international reputation from its premieres and recordings
of avant-garde works.
COWIE, EDWARD (17 AUGUST 1943– ). English composer,
painter, and educator. For 12 years he lived in Australia (1983–95).
He was the first Composer in Association with the BBC Singers
(2002–2006). His music is often inspired by the natural world—es-
pecially by birds. Choral works include Gesangbuch, a four-move-
ment piece for wordless chorus of 24 voices and 12 instruments,
representing four seasons in different English locations (1973–76);
three books of madrigals for 12 voices (1980–81); Missa Brevis, for
mixed chorus and org. (1983); a choral symphony (1984); Water,
Stone, Wood and Breath, for mixed chorus and perc. (1996); An
Exultation of Larks, comprising three motets for 12 unacc. voices
(2001); and Lyre Bird Motet (2003); among others.
CRECQUILLON, THOMAS (BORN 1505–15; DIED 1557).
Franco-Flemish composer. He spent most of his career as a member
of the imperial chapel of Charles V. His compositions were regarded
highly by his contemporaries, and were disseminated widely. Other
composers, including Francisco Guerrero and Orlande de Lassus
used his works as models for parody masses. Along with Nicolas
Gombert, Clemens non Papa, and Adrian Willaert, he was instru-
mental in establishing pervading imitation as the basic contrapuntal
technique of the 1500s. He was especially famous for his chansons
(of which over 200 are extant, most of them for four voices). Espe-
cially popular were Pour ung plaisir and Ung gay bergier. His ap-
proximately 125 motets (mostly for four or five voices) are models
of points-of-imitation counterpoint. Almost all of his 12 extant
masses are of the parody type.
CROCE, GIOVANNI (C. 1557–15 MAY 1609). Italian composer. A
student of Gioseffo Zarlino, he sang in the choir of San Marco (St.
Mark’s Basilica) in Venice. After serving as Vice Chapel Master
in the 1590s he succeeded Baldassare Donato in 1603 as Chapel
Master. He published several volumes of motets (for four and eight
voices), three volumes of masses (for five to eight voices), and a
Magnificat (for six voices), among other sacred works. A volume
CROFT, WILLIAM • 93
of concertato motets called Sacre cantilene was published posthu-
mously in 1610. His secular works include canzonets (for three and
four voices), four books of madrigals (for five and six voices), and
madrigal comedies. He also published a set of spiritual madrigals
whose texts rendered the penitential psalms in the vernacular. His
works (especially the madrigals) were popular abroad, appearing in
editions in the Netherlands and England.
CROFT, WILLIAM (BAPTIZED 30 DECEMBER 1678; DIED 14
AUGUST 1727). Trained at the Chapel Royal under John Blow,
Croft later became joint organist there with Jeremiah Clarke (1704).
Upon Blow’s death in 1708, he took over the duties of Master of the
Children. He also succeeded his teacher as organist at Westminster
Abbey. In 1713 he published Musicus apparatus academicus (con-
taining two odes, for soloists, choir, and orchestra), submitted for
a doctorate in music from Oxford University. Although Croft was
at this time the senior composer at the Chapel Royal, his reputation
was eclipsed by that of George Frideric Handel, who had arrived
in 1710, and enjoyed the support of Queen Anne. In 1724 Croft
published Musica sacra, a two-volume collection of his own church
music—the first English volume of church music engraved in score
format rather than as parts. It contains anthems and a burial service
that has been used at state funerals ever since.
Although Croft composed instrumental pieces (music for plays
and sonatas) early in his career, his fame rests on his sacred music,
which includes a few services and nearly 90 anthems (most, by far,
of the verse type and almost all accompanied by organ alone). Of his
services, the orchestrally accompanied Morning Service in D (Te
Deum and Jubilate) is large in scale, with many soloists, five-part
chorus, trumpets, and strings. It was overshadowed only by Handel’s
Utrecht Te Deum of 1713. The burial service, already mentioned,
incorporates Henry Purcell’s setting of “Thou Knowest, Lord.” As
Croft explained: “The Reason why I did not compose that Verse
a-new (so as to render the whole Service entirely of mine own Com-
position), is obvious to every Artist.” He added, “in the rest of that
Service composed by me, I have endeavoured, as near as possible I
could, to imitate that great Master.” Croft’s reverence for Purcell is
also evident elsewhere: many of his other pieces are modeled after
works by that composer.
94 • CROSS RELATION
CROSS RELATION (FALSE RELATION). The successive appear-
ance of contradictory pitches in different voices—the second pitch
being a chromatic alteration of the original one (or its equivalent in
another octave).
CRÜGER, JOHANNES (9 APRIL 1598–23 FEBRUARY 1662).
German composer and theorist who composed, arranged, and com-
piled chorales. His original chorale melodies include those often as-
sociated with the texts “Herzliebster Jesu, was hast du verbrochen,”
“Jesu, meine Freude,” and “Schmücke dich, o liebe Seele.”
CYCLIC MASS. See MASS.
– D –
DALE WARLAND SINGERS. See WARLAND, DALE.
DALEY, ELEANOR (21 APRIL 1955– ). Canadian choral composer,
director, and keyboard accompanist. She has served for many years
as a church music director in Toronto, and as an accompanist for
many choirs in the area. Among more than 80 choral works are a re-
quiem and Rose Trilogy, both of which won National Choral Awards
for Outstanding Choral Composition of the Year by the Association
of Canadian Choral Conductors (1994 and 2004, respectively).
DALGLISH, MALCOLM (14 AUGUST 1952– ). American dulcimer
player and choral composer. His many choral pieces exhibit a great
variety of vocal scorings (e.g., SSAT, SAAT, SSAAT, etc.) and of-
ten show the influence of folk tunes and traditions; many include a
dulcimer accompaniment.
DALLAPICCOLA, LUIGI (3 FEBRUARY 1904–19 FEBRUARY
1975). Italian composer, pianist, lecturer, and writer. He was born
and raised in Istria, a disputed territory in the Austrian empire, now
part of Croatia. A graduate of the music conservatory in Florence, he
later taught there for more than 30 years. He became one of Italy’s
most influential 20th-century composers, and is largely credited for
introducing the dodecaphonic style to that country—in a manner that
combined Anton Webern’s serial techniques with Italian lyricism.
He was greatly affected by the political upheavals of the two world
DAVID, JOHANN NEPOMUK • 95
wars (during the first war his family was interned by the Austrians as
suspected Italian subversives; during the second, he and his Jewish
wife had to go into hiding on two occasions for some months), and
several of his most important works focus on the concept of liberty.
Most of Dallapiccola’s early, tonal works remain unpublished in
accordance with his wishes. His Sei cori di Michelangelo Buonarroti
il giovane (Il coro delle malmaritate and Il coro dei malammogliati
for chorus [1933]; I balconi della rosa and Il papavero, for boys’
ensemble or female chorus and 17 insts. [1935]; Il coro degli Zitti
and Il coro dei Lanzi briachi, for chorus and orchestra [1936]) show
development from a diatonic, neo-madrigal style to experimentation
with 12-note series. Canti di prigionia, for chorus, 2 pf., 2 hps., and
perc. (1941) is widely considered his greatest choral work. In it a
percussive accompaniment contrasts with the sustaining vocal lines;
harmonically the work combines 12-tone series with modal writ-
ing. A large part of its third movement is an exact mirror of itself.
A subsequent work, Canti di liberazione, for chorus and orchestra
(1955), is likewise a protest piece on the theme of liberty. Later
works include Requiescant for chorus and orchestra (1958) and
Tempus destruendi—Tempus aedificandi for chorus (1971), a work
on two medieval texts about the barbaric destruction and rebirth of a
nation, symbolic for the composer of the reestablishment of a Jewish
homeland after the World War II.
DANISH NATIONAL RADIO CHOIR. Danish choir formed in 1932
for the purpose of performing larger choral works with orchestra. In
1937, a professional chamber choir was formed within the larger orga-
nization to explore the a cappella repertoire and to encourage compos-
ers to write for this medium. Since its founding, the choir has gained
international recognition through extensive recordings and tours.
DAVID, JOHANN NEPOMUK (30 NOVEMBER 1895–22 DE-
CEMBER 1977). Austrian composer who taught at conservatories in
Leipzig, Salzburg, and Stuttgart. Having received his early musical
training at the Augustinian monastery of St. Florian (where Anton
Bruckner had studied and worked) and at the Benedictine Gym-
nasium in Kremsmünster, David was grounded in the traditions of
liturgical counterpoint, which imbued his writing throughout his ca-
reer, even after his musical language evolved from modal tendencies
96 • DAVIES, PETER MAXWELL
to the use of more dissonant (extended tonal) harmonies and more
disjunct melodies. Along with Hugo Distler and Ernst Pepping, he
was instrumental in the renewal of German church music during the
20th century.
Known especially for his 21 volumes of chorale-based organ
works, he also wrote choral compositions, most of them unaccom-
panied. They include some 30 sacred works (some of them sets of
pieces) with German and Latin texts (among them, Protestant motets
as well as masses and motets for the Catholic rite) and about half
as many secular works. Examples include Victimae pascali laudes,
op. 35/1 (1948); Missa choralis de angelis, op. 43 (1953); Requiem
chorale, op. 48, for S, A, T, B, SATB, and orch. (1956); Sechs Evan-
gelienmotetten (1958); Psalm 139 (1961); Mass, op. 67, for SSAA
(1968); Drei Evangelienmotetten, op. 69, for SATB and insts. (1972);
and Komm, Heiliger Geist, op. 72, a cantata for double chorus (STB,
SATB) and orch. (1972).
DAVIES, [SIR] PETER MAXWELL (8 SEPTEMBER 1934– ).
English composer. His teachers included Goffredo Petrassi, Roger
Sessions, and Milton Babbitt. Committed to European modernism,
he made an early mark with turbulent theatrical pieces. Although
instrumental pieces constitute most of his overall output, many of
them reflect extra-musical influences. Consistent elements in his
changing musical style include numerical organization and historical
reference—often the manipulation of preexisting material such as a
segment of chant. Most of his 20-plus choral works were composed
after he settled in Orkney (Scotland), whose landscape, history, and
mythology led him away from unchecked Expressionism to a calmer,
less experimental style. Nearly half of them employ texts by Orkney
poet and novelist George Mackay Brown. Works include Veni Sancte
Spiritus, for S, A, B, chorus, and chbr. orch. (1963); Ecce manus tra-
dentis, for S, A, T, B, chorus, and 10 insts. (1965); Solstice of Light
for T, SATB, and org. (1979); The Three Kings, for S, Mez., T, Bar.,
SATB, and orch. (1995); and Job, an oratorio for S, A, T, B, SATB,
and orch. (1997).
DAVISON, ARCHIBALD T. (11 OCTOBER 1883–6 FEBRUARY
1961). American music educator and choral conductor. A graduate
of Harvard University, he taught there from 1909 to 1955, serving
as university organist and choirmaster. He directed the Harvard
DECANI • 97
Glee Club from 1912 until 1933 (as conductor from 1919), greatly
increasing its artistic stature. He is known for his many choral ar-
rangements and especially as editor of the two-volume Historical
Anthology of Music.
DAVY, RICHARD (C. 1465–1538). English composer. Nine of his
works appear in the Eton Choirbook, an important source of Latin
sacred music in England, compiled just before 1500.
DAWSON, WILLIAM (C. 23 SEPTEMBER 1899–2 MAY 1990).
American composer and choral conductor. He was educated at the
Tuskegee Institute (Alabama), the Horner Institute of Fine Arts in
Kansas City, the Chicago Musical College, and the American Con-
servatory in Chicago. During the 1920s he taught music in Kansas
and worked as a jazz performer (trombone and bass) in the American
Midwest. He taught at the Tuskegee Institute from 1931 to 1956,
bringing the Tuskegee Choir to a position of international renown.
He subsequently toured as a guest conductor in the United States
and abroad. Although he composed instrumental music as well, he
is remembered primarily for choral arrangements of black American
spirituals, which continue to be performed widely.
DEBUSSY, CLAUDE (22 AUGUST 1862–25 MARCH 1918).
French composer. He and Maurice Ravel are considered the most
prominent composers of the Impressionist school, although he
himself resisted the label. Nevertheless, like French Impressionistic
painters, he emphasized color over line in his compositions. By us-
ing chords for their sound rather than their harmonic function, and
employing nontraditional scales and tonal structures, he formed an
ambiguous modernist language that emphasized sensuousness and
evocation of mood over concrete images. Most of his approximately
one dozen choral works are unpublished. Available works include
Invocation, for male chorus and orch. (1883); La damoiselle élue, for
S, female chorus, and orch. (1888, reorch. 1902); Trois chansons de
Charles d’Orléans, a set of unaccompanied pieces for mixed chorus
(1898–1908); and Le martyre de St Sébastien, conceived as inciden-
tal music for a theatrical production (1911).
DECANI. See ENGLISH CATHEDRAL MUSIC OF THE REFOR-
MATION AND RESTORATION.
98 • DE CORMIER, ROBERT
DE CORMIER, ROBERT (7 JANUARY 1922– ). American cho-
ral conductor, composer, and arranger. A graduate of the Juilliard
School, he served as music director of the New York Choral Society
for 17 years. His wide-ranging career has included engagements in
musical theater, opera, and television, and concert tours with his own
professional group, the Robert De Cormier Singers. His many choral
arrangements have found a permanent place in the North American
choral repertory.
DELIBES, LÉO (21 FEBRUARY 1836–16 JANUARY 1891). French
composer remembered for his theatrical works (especially two ballets
that influenced Piotr Ilyitch Tchaikovsky greatly). Also extant are a
few sacred choral works and some 25 secular ones—among them, 9
choruses written or arranged for male voices.
DELIUS, FREDERICK (29 JANUARY 1862–10 JUNE 1934). Eng-
lish composer, of German parents, who spent most of his life abroad.
After a musical education in Leipzig (where he became a friend of
Edvard Grieg), he settled in France. As a composer he achieved
success first in Germany and Norway, then, through the promotion
of the conductor Thomas Beecham, gained recognition in England.
His musical style is characterized by a seamless sensuousness, which
finds its basis in a rhythmically flexible and imaginatively connected
stream of chords.
Although known especially for his rhapsodic tone poems, Delius
also composed significant choral works for chorus and orchestra.
They include Mitternachtslied Zarathustras (text by Friedrich Nietz-
sche), for Bar., male chorus, and orch. (1898); Appalachia, for Bar.,
chorus, and orch. (1903; a revision of an 1896 work); Sea Drift (text
by Walt Whitman), for Bar., chorus, and orch. (1904); A Mass of Life
(text by Nietzsche), for S, A, T, Bar., chorus, and orch. (1905); Songs
of Sunset, for Mez., Bar., chorus, and orch. (1907); An Arabesque
for Bar., chorus, and orch. (1911); The Song of the High Hills, for
wordless chorus, and orch. (1912); and Requiem (text by Heinrich
Simon), for S, Bar., chorus, and orch. (1914). His Songs of Farewell
(text by Walt Whitman), for chorus and orch., was completed in 1930
with the help of Eric Fenby.
An avowed secularist, Delius was drawn to texts by Walt Whitman
and Friedrich Nietzsche, among others. In the orchestrally accompa-
nied choral medium he found an ideal vehicle for the expression of
DEMANTIUS, CHRISTOPH • 99
a self-reliant spirituality that embraced life and the natural world. He
also wrote a handful of works for unaccompanied chorus.
DELLO JOIO, NORMAN (24 JANUARY 1913– ). American
composer and educator, known for his choral works. Having taken
keyboard lessons from his father and godfather (the organist at St.
Patrick’s Cathedral in New York, Pietro Yon), he began his career as
an organist. He attended the Institute of Musical Art and the Juilliard
Graduate School, then took further studies under Paul Hindemith
at the Berkshire Music Center and at the Yale School of Music.
Hindemith urged Dello Joio to write in a natural, unaffected man-
ner, which led to an extroverted, neo-Classical style that synthesized
musical influences of Dello Joio’s youth: Gregorian chant, Italian
opera, sacred counterpoint, and jazz. His work was well received
from early on, garnering many awards, grants, and performances.
Dello Joio’s dozens of choral works generally include instrumental
accompaniment—often piano or organ. For example, three mass set-
ting all call for organ (or piano) and brass. Several choral works are
on texts by Walt Whitman: Vigil Strange, for SATB and pf. 4 hands
(1941); The Mystic Trumpeter, for SATB and hn. (1943); A Jubilant
Song, for SATB/women’s vv. (1945); Song of the Open Road, for
SATB, tpt., and pf. (1952); Proud Music of the Storm, for SATB,
brass, and org. (1967); Years of the Modern, for SATB, brass, and
perc. (1968); and As of a Dream, a “modern masque” for solo vv.,
SATB, nar., dancers, and orch. (1978). In addition, the four Songs
of Walt Whitman, for SATB and orch. (1966) employ texts by the
composer, modeled after Whitman. Examples of his sacred works
include A Psalm of David, for SATB, str., brass, and perc. (1950);
Prayers of Cardinal Newman, for SATB and org. (1960); Mass, for
SATB, brass, and org./pf. (1969); Psalm of Peace, for SATB, tpt.,
hn., and org./pf. (1972); Mass in Honor of the Eucharist, for SATB,
cantor, congregation, brass, and org. (1975); and Mass in Honor of
the Blessed Virgin Mary, for cantor, congregation, SATB, org., and
opt. brass.
DEMANTIUS, CHRISTOPH (15 DECEMBER 1567–20 APRIL
1643). German composer, poet, and writer on music. From 1604 until
his death he worked as Kantor at the Cathedral in Freiberg, Saxony.
Influenced by Orlande de Lassus, he wrote in a conservative (late-
Renaissance) yet individualistically expressive style. He apparently
100 • DENISOV, EDISON
wrote no sacred concertos and he seldom included a basso continuo
part in his pieces. His extant works (most of which were evidently
written before the Thirty Years’ War) include motets (on German
and some Latin texts, often for six or more voices), masses, Magnifi-
cats, psalm settings, and hymns. Of significance in the development
of German Lutheran church music were his Gospel motets and a
St. John Passion for six voices. He also wrote numerous occasional
works such as wedding and funeral odes (epithalamia and threnodies).
Other secular works (which also often call for five or more voices)
include dances, some of which introduce Polish elements. As a theo-
retician he became most famous for compiling the first alphabetical
German music dictionary.
DENISOV, EDISON (6 APRIL 1929–24 NOVEMBER 1996). Rus-
sian composer. Educated first in physics and mathematics, he was
encouraged to pursue a musical career by Dmitri Shostakovich.
After studies at the Moscow Conservatory, he continued on as a
professor. An important advocate of the avant garde in Russia at a
time when the government was firmly opposed to Western ideas, he
served as an important link to the West for Russian composers. His
choral works include a requiem for S, T, chorus, and orch. (1980);
Venue du printemps (1984) and Gladsome Light (Russian liturgi-
cal texts) for unaccompanied chorus (1988); Kyrie for chorus and
orch. (1991); the oratorio Histoire de la vie et de la mort de Notre
Seigneur Jésus Christ, for T, B, chorus, and orch. (1992); Morning
Dream for S, chorus, and orch. (1995); and Choruses for Medea, for
chorus and ensemble (1995).
DENNARD, BRAZEAL (1 JANUARY 1929– ). American choral
conductor, teacher, and arts administrator. In 1972 he founded the
Brazeal Dennard Chorale in Detroit, a choir committed to the per-
formance of works by African American composers. Subsidiary or-
ganizations of the Chorale include the Brazeal Dennard Community
Chorus and the Brazeal Dennard Youth Chorale.
DE PAUR, LEONARD (18 NOVEMBER 1914–7 NOVEMBER
1998). American conductor, arranger, and administrator. He received
his musical education at Columbia University and the Institute of
Musical Arts (later the Juilliard School). From 1947 to 1968 he
conducted more than 2000 performances with the de Paur Infantry
DIAMOND, DAVID • 101
Chorus, the de Paur Opera Gala, the de Paur Gala, and the de Paur
Chorus. For 17 years he was the director of community relations at
Lincoln Center in New York. He was highly regarded for his con-
tributions to male chorus music and African American history and
culture. His many choral arrangements often follow the lush style of
his teacher, Hall Johnson.
DESMARETS [DESMARESTS], HENRY (FEBRUARY 1661–7
SEPTEMBER 1741). French composer. As a child chorister at the
court of Louis XIV, he was influenced by Pierre Robert and Henry
Du Mont. His bid in 1683 to succeed them as sous-maître at the
royal chapel was unsuccessful, however. Legal prosecution arising
from the “abduction” of one of his pupils (a tax official’s daughter)
led to exile in 1699. For a few years the couple lived in Brussels.
Then, in 1701, Desmarets obtained a post at the Spanish court of
Philip V. Some six years later he received a court appointment at
Lorraine. Having receiving a pardon in 1720, Desmarets hoped to
succeed Michel-Richard de Lalande at Versailles in 1726, but his
application was unsuccessful. Despite such career vicissitudes, Des-
marets produced significant works, among which are some 18 grands
motets and a mass for two choirs.
DESSOFF CHOIRS. A choral organization in New York City, com-
prised of several ensembles of varying size, including the Symphonic
Choir, which appears with major orchestras. It was founded in 1924
by Margaret Dessoff and has become known for innovative program-
ming.
DIAMOND, DAVID (9 JULY 1915–13 JUNE 2005). American com-
poser. He studied under Roger Sessions in New York City and with
Nadia Boulanger in Paris. He was honored with numerous awards,
including three Guggenheim Fellowships. For some 15 years he
lived in Florence, Italy. He moved back to the United States on a
permanent basis in the mid-1960s, ultimately gaining an appoint-
ment as a professor of composition at the Juilliard School of Music
(1973–86).
In his music Diamond avoided techniques of the avant garde, prefer-
ring to emphasize a chromatic yet tonal or modal harmonic language,
traditional forms, rhythmic drive, and imaginative orchestration. His
choral works include Mizmor L’David, a sacred service for T, chorus,