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Choral R e

2 voices combine into one line and songs for mixed-voice groups, bring- Eumelio, drama patorale (1606)
baritones and basses split into two ing in a variety of styles, including Libretto: Torquato de Cupis (1577
lines. both unaccompanied and accompa- – 1657) and Francesco Tirletti
There is a lot of rhythmic and nied, and many of them singable by (1588 – 1648), translated by
intonation work within sections and one-per-part or multiple on a part. Carol Gilson Rosen
across the ensembles. It’s a great This is an intriguing piece, with Music: Agostino Agazzari
piece for analysis. What are the styles manageable ranges that allow the (1578 – 1640), edited by
brought in? Where and how does singers to focus on rhythmic preci- Matthew J. Hall, Elizabeth Lyon,
the dynamic balance shift? What is sion and vowel alignment across the and Zoe Weiss
the chord structure doing and how ensemble. Instrumentation/Voicing: 13 vocal
is each voice functioning within the solo roles, 8 part mixed chorus,
chord? The use of scat syllables is an Shannon Gravelle, basso continuo, early baroque
important aspect, and intonation ne- University of Wisconsin Oshkosh orchestra
cessitates that the scat vowels not be A-R Editions, Inc.
neglected. https://www.areditions.com/
One of these Days comes from the agazzari-eumelio-dramma-
Voice Junction Series, a series of secular pastorale-1606-b227.html

78 CHORAL JOURNAL October 2022 Volume 63 Number 3