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View of Literature Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 The Choral Music of Joachim Raff (1822– 1882)Jeremy Kenneth Wiggins Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CHORAL MUSIC OF JOACHIM RAFF (1822–1882) By JEREMY KENNETH WIGGINS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Jeremy Wiggins defended this dissertation on March 12, 2019. The members of the supervisory committee were: André J. Thomas Professor Directing Dissertation Michelle Stebleton University Representative Kevin Fenton Committee Member William Fredrickson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For my best friend and wonderful wife, Christina Louise Wiggins iii ACKNOWLEDGMENTS First, I want to thank my family, whose love and support have meant the world to me. Thank you to Alyssa and Stacey, my dear friends, who have supported and cheered for me every step of the way. I want to thank my professors at Florida State University, who have shaped both my mind and my character. Thank you to Dr. André Thomas for guiding me, encouraging me, getting me to smile, and being an inspiration to me and so many throughout your career. We are all better for knowing you. Thank you to Dr. Fenton, who works every day in pursuit of making this world better through music. I will miss our conversations, and I am thankful that I had the opportunity to learn from you for the past three years. Thank you to Dr. Clifford Madsen, Dr. Judy Bowers, Dr. John Geringer, Dr. William Fredrickson, and Dr. Denise Von Glahn. I have learned so much from each of you, and I will never forget my time in your classrooms. Thank you to Professor Stebleton for being on my dissertation committee and being an integral part of this process. Thank you to Robert Istad and Christopher Peterson from California State University, Fullerton, who guided me through my undergraduate and master’s degrees. You have invested an incredible amount of time in me and my career. I am eternally grateful. Thank you to the FSU choral cohort, who have been the best colleagues and friends. Thank you to the members of the Lafayette Presbyterian Church Choir, who have been extremely supportive over the last two years. I will miss our time together. Thank you to Alice Vickers! I could not have done this without your help! Thank you to Mark Thomas and Volker Tosta, whose decades of research on Joachim Raff spurred my interest in the composer. Thank you for your insight and assistance in the development of this research. iv TABLE OF CONTENTS List of Tables ................................................................................................................................ vii List of Figures .............................................................................................................................. viii List of Examples ............................................................................................................................ ix Abstract ......................................................................................................................................... xii 1. INTRODUCTION, NEED FOR STUDY, PURPOSE OF STUDY, AND PROCEDURES .....1 Introduction .................................................................................................................................1 Need for the Study ......................................................................................................................2 Review of Literature .................................................................................................................3 Research Questions ...................................................................................................................4 Delimitations .............................................................................................................................5 Purpose ........................................................................................................................................5 Procedures ...................................................................................................................................5 Organization of the Study .........................................................................................................6 2. BIOGRAPHY .............................................................................................................................8 Origins and Youth .......................................................................................................................8 Compositional Beginnings ........................................................................................................11 Career Beginnings .....................................................................................................................13 Weimar, Doris, and Liszt ..........................................................................................................17 Wiesbaden .................................................................................................................................21 Prominence as a Composer .......................................................................................................24 3. UNACCOMPANIED AND A CAPPELLA WORKS FOR CHORUS ...................................29 Overview ...................................................................................................................................29 The Role of Nineteenth-Century Part-Songs on German National Identity .............................29 Zehn Gesänge für Männerchor, op. 97 ...................................................................................30 Zehn Gesänge für Männerchor, op. 122 .................................................................................33 Zehn Gesänge für Männerchor, op. 195 .................................................................................37 Zehn Gesänge für Geminschten Chor, op. 198 .......................................................................39 In dulci jubilo!, WoO. 41A .....................................................................................................41 Cecilian Movement of the Nineteenth Century ........................................................................43 Four Marion Antiphons, WoO. 27 .........................................................................................44 “Alma redemptoris mater,” no. 1 .......................................................................................45 “Ave regina coelorum,” no. 2 .............................................................................................46 “Regina coeli,” no. 3 ..........................................................................................................48 “Salve Regina,” no. 4 .........................................................................................................48 “Kyrie” and “Gloria,” WoO. 31 .............................................................................................49 Pater Noster, WoO. 32 ...........................................................................................................51 Ave Maria, WoO. 33 ..............................................................................................................53 v 4. WORKS FOR CHORUS AND ORCHESTRA ........................................................................55 Overview ...................................................................................................................................55 Te Deum, WoO. 16 .................................................................................................................55 Dornröschen, WoO. 19 ..........................................................................................................61 The Elven choruses ..............................................................................................................64 Other choruses and characters .............................................................................................65 Wachet auf!, op. 80 .................................................................................................................71 Deutschlands Auferstehung, op. 100 ......................................................................................77 De Profundis, op. 141 .............................................................................................................84 Zwei Gesänge für Gemischten Chor, op. 171 ........................................................................96 Morgenlied and Einer Entschlafenen, op. 186 .......................................................................99 Die Tageszeiten, op. 209 ......................................................................................................103 Die Sterne, WoO. 53 ............................................................................................................112 Welt-Ende – Gericht – Neue Welt, op. 212 ..........................................................................118 5. CONCLUSIONS .....................................................................................................................139
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