Antiphonal Joy (from Mentre su l'alto monte): Score: Choral SoundPax
From Mentre su l'alto monte
Music by Giovanni Anerio / ed. and arr., with English text, by Patrick M. Liebergen
Item: 00-PR-0001339
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Description
A fine antiphonal masterwork for today's mixed choirs. May be performed by one choir with any of the following performing the antiphonal part: a second choir, a small group of voices, a brass quartet, or solo trumpet. A powerful, yet not-too-difficult oratorio chorus. Includes part for two brass quartets.
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Additional Details
Series:
Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
16
SKU:
00-PR-0001339
Instrumentation:
SoundPax
More about this title
About the Composer: Giovanni Anerio
Giovanni Anerio (1567-1621) was an influential Roman composer during the late Renaissance and early Baroque periods. His sacred and secular works circulated widely throughout Italy and beyond, establishing him as a significant voice in the transition between Renaissance polyphonic traditions and emerging Baroque styles.
Why we love this
Antiphonal Joy captures everything that makes antiphonal writing engaging: spatial dialogue, dynamic contrast, and structural clarity that rewards both singers and listeners. Patrick Liebergen's arrangement preserves the oratorio's dramatic bones while making it genuinely accessible for mixed choirs without specialized early music training. The flexible scoring options (second choir, small group, brass quartet, or solo trumpet) transform a single piece into multiple programming solutions.
What to expect
Grand yet accessible. The piece radiates Renaissance polyphonic dignity and Baroque dramatic sweep, with clear harmonic language that lets voices shine individually and collectively. Moments of powerful unison alternate with rich sectional writing that rewards singers with satisfying vocal lines.
Who it's for
Mixed choirs looking for an oratorio-style piece that commands attention without excessive difficulty. Directors who want to explore antiphonal writing or seek flexible scoring options that adapt to their ensemble's strengths and available resources.
How to get the most out of it
- Establish clear spatial separation between the main choir and the antiphonal group, whether that's a second choir, ensemble, or brass players. Physical distance matters as much as musical balance.
- Shape the main choir's phrases with forward momentum so the antiphonal responses land as genuine dialogue rather than echo. Think conversation, not repetition.
- If using brass for the antiphonal part, schedule joint rehearsals early to lock articulation and cutoffs with the choir. The brass timbre requires precision from singers to achieve blend.
- Balance the recorded accompaniment so it supports without overwhelming either choir section. Test your playback system in the actual performance space well before concert day.
How to use it
Pair this with other Renaissance or early Baroque works for a thematic concert exploring music across centuries. Its oratorio-scale presence makes it an effective program centerpiece or finale. Consider programming it where you can use the antiphonal flexibility to showcase multiple sections of your choir or to feature guest instrumentalists.
Skills your students will build
- Singing in antiphonal texture with clear call-and-response phrasing
- Blending with brass instruments or second choir at appropriate dynamic levels
- Maintaining rhythmic independence while tracking a separate antiphonal group
- Reading Renaissance-era polyphonic notation and harmonic language
- Performing with ensemble awareness in split-choir settings