Voluntary (music)
Encyclopedia
In music a voluntary is a piece of music, usually for organ, which is played as part of a church service. In English-speaking countries, the music played before and after the service is often called a 'voluntary', whether or not it is titled so.
The title 'voluntary' was often used by English composers during the late Renaissance
, Baroque
, and Classical
periods. Originally, the term was used for a piece of organ music that was free in style, and was meant to sound as if it was being improvised (the word voluntary in general means “free”, i.e. not “forced to do something”). This probably grew out of the practice of church organists improvising after a service.
Later, the voluntary began to develop into a more definite form, though it has never been strictly defined. During the late 17th century, a 'voluntary' was typically written in a fugal or imitative style, often with different sections. In the 18th century the form typically began with a slow movement and then a fugue. Two to four movements were common, with contrasting tempos (slow-fast-slow-fast). In the 18th century England, the word 'voluntary' and 'fuge' were interchangeable. It should be noted that these English style 'fuges' (or fugue
) do not follow the strict theoretic form of German style fugues
. They are more related to the 'fugues' written by Italian composers of the time.
Besides the fugal type of voluntary, two other common forms developed: the trumpet voluntary
and the cornet voluntary. These two were usually non-fugal, but still contained movements with contrasting tempos. These voluntaries were meant to feature the stops for which they are named. One very long example of this form of voluntary was written by Pepusch
, and has 13 total momevents. Several of them movements are named after organ solo stops or mixtures (bassoon, cornet, trumpet, sesquialtera, flute, twelfth, etc).
Several composers wrote voluntaries, such as Orlando Gibbons
, John Blow
, Henry Purcell
, William Boyce, John Stanley
, Handel
, Thomas Arne, and many others. Often, when English music printers published continental organ music, they would, by default, title the works as 'voluntaries', though the word was not used by composers in mainland Europe. Typically, these continental works were fugues or other imitative forms.
Some voluntaries were called double voluntaries. These were pieces written for organs with two manuals (keyboards). The pieces contrasted a loud manual with a soft one.
The title 'voluntary' was often used by English composers during the late Renaissance
Renaissance music
Renaissance music is European music written during the Renaissance. Defining the beginning of the musical era is difficult, given that its defining characteristics were adopted only gradually; musicologists have placed its beginnings from as early as 1300 to as late as the 1470s.Literally meaning...
, Baroque
Baroque music
Baroque music describes a style of Western Classical music approximately extending from 1600 to 1760. This era follows the Renaissance and was followed in turn by the Classical era...
, and Classical
Classical period (music)
The dates of the Classical Period in Western music are generally accepted as being between about 1750 and 1830. However, the term classical music is used colloquially to describe a variety of Western musical styles from the ninth century to the present, and especially from the sixteenth or...
periods. Originally, the term was used for a piece of organ music that was free in style, and was meant to sound as if it was being improvised (the word voluntary in general means “free”, i.e. not “forced to do something”). This probably grew out of the practice of church organists improvising after a service.
Later, the voluntary began to develop into a more definite form, though it has never been strictly defined. During the late 17th century, a 'voluntary' was typically written in a fugal or imitative style, often with different sections. In the 18th century the form typically began with a slow movement and then a fugue. Two to four movements were common, with contrasting tempos (slow-fast-slow-fast). In the 18th century England, the word 'voluntary' and 'fuge' were interchangeable. It should be noted that these English style 'fuges' (or fugue
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
) do not follow the strict theoretic form of German style fugues
Fugues
Fugue can refer to:* Fugue for the type of musical piece* See :Category:Fugues for individual pieces.* Fugues for the Canadian gay magazine* Fugue for the American literary journal.* Fugue state, a psychological term...
. They are more related to the 'fugues' written by Italian composers of the time.
Besides the fugal type of voluntary, two other common forms developed: the trumpet voluntary
Trumpet Voluntary
Trumpet Voluntary is the name given to some English keyboard pieces from the Baroque era. A trumpet voluntary is most commonly played on the organ using the trumpet stop, hence the name...
and the cornet voluntary. These two were usually non-fugal, but still contained movements with contrasting tempos. These voluntaries were meant to feature the stops for which they are named. One very long example of this form of voluntary was written by Pepusch
Johann Christoph Pepusch
Johann Christoph Pepusch , also known as John Christopher Pepusch and Dr Pepusch, was a German-born composer who spent most of his working life in England....
, and has 13 total momevents. Several of them movements are named after organ solo stops or mixtures (bassoon, cornet, trumpet, sesquialtera, flute, twelfth, etc).
Several composers wrote voluntaries, such as Orlando Gibbons
Orlando Gibbons
Orlando Gibbons was an English composer, virginalist and organist of the late Tudor and early Jacobean periods...
, John Blow
John Blow
John Blow was an English Baroque composer and organist, appointed to Westminster Abbey in 1669. His pupils included William Croft, Jeremiah Clarke and Henry Purcell. In 1685 he was named a private musician to James II. His only stage composition, Venus and Adonis John Blow (baptised 23 February...
, Henry Purcell
Henry Purcell
Henry Purcell – 21 November 1695), was an English organist and Baroque composer of secular and sacred music. Although Purcell incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music...
, William Boyce, John Stanley
John Stanley (composer)
Charles John Stanley was an English composer and organist.-Biography:Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew's, Holborn from 1726...
, Handel
HANDEL
HANDEL was the code-name for the UK's National Attack Warning System in the Cold War. It consisted of a small console consisting of two microphones, lights and gauges. The reason behind this was to provide a back-up if anything failed....
, Thomas Arne, and many others. Often, when English music printers published continental organ music, they would, by default, title the works as 'voluntaries', though the word was not used by composers in mainland Europe. Typically, these continental works were fugues or other imitative forms.
Some voluntaries were called double voluntaries. These were pieces written for organs with two manuals (keyboards). The pieces contrasted a loud manual with a soft one.