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Felix -Adels S N THE UNACCOMPANIED CHORAL MUSIC OF FELIX -ADELS S N APPROVED: a or Proeser Cx -IOV itA~l , giiior ?refe suer sam he Graduate eoof -4 L ~heGrdua eSho /V { Ao I 6 TI UNACCOMPANIED CHORAL MUSIC o FELIX iTDELSSON THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of t he Requirements For the Degree of MASTER OF mUSIC By Clarence Maynard Sheerer, Jr., B. N. E. Denton, Texas January, 1967 PREFACE A considerable amount of study has been given to the areas of music history, interpretation, and analysis; however, little study has been given to the integration of these three, Although this study is largely an analy- zation, it is intended to show how stylistically correct interpretations cannot be made unless they are coupled with a thorough knowledge of history and analysis. The absence of any one of these elements will not give the performer, be he conductor, singer, or instrumentalist, the proper perspective upon which to base his interpre- tation; therefore, the musical style of a composer, for which all music performers must be in search, is the composite character which results from the composer's treatment of the constituent elements, a treatment which, in turn, derives at least in part from a combination of certain backgroun 9 influences, and certain technical determinants. 4usic and the theater have in common one element that dis t inguishes then from the other arts: both require an interpreter to set before us the patterned ideas of the composer or playwright. Therefore, the goal of an analysis should be interpretation, and this should ultimately result in performance. 1Lloyd Hibberd, "A Note on Musical Style," Music Quar- t L1, XIX, No. 3 (August, 1958), 201. iii iv The musical system must be heard if it is to have significance, for though the written symbols can be understood visually, they are merely a highly stylized representation of the music and not the music itself. To think otherwise, to analyse the black dots as though they were music, to compose them into an intellectually or visually pleasing pattern without reference to their implied sound: activities of this kind are not concerned with music but with its symbols, and in music the ear, not the eye, is the only judge. 2 The unaccompanied choral music of Felix Mendelssohn was selected for this study because of its unquestionable beauty and its unfamiliarity to American choral directors, These works are ideal for many types of choral organizations. Writing as a composer whose amiable character is always ubiquitous in his works, Mendelssohn fuses the textures of the sixteenth century, the lyricism of the eighteenth century, and the emotional qualities of the nineteenth cen- tury into a style of choral writing that is of the highest nature, Mendelssohn's unaccompanied choral music has remained relatively unknown because it has not been made available to today's choruses in practical octavo editions. 2 Thurston Dart, The Interpretation of Music (New York, 1963), p. 12. ABL O F C1'1ONTET Page S EFA E:0 . * . a . a i . 4. 9 9 9. vii IST T L 9 LIZT us IL USRATIONS . viii Chapter I. S'2 "tEPENT O o THEL PROBL EMi . .". *. .P The purpose Sub-Problems Definition of Terms Delimitations Basic Hypothesis Basic Assumption Plan for This Study II. BACKGROUND FOR TESTUDY ........... 5 The State of Choral Music in the Nineteenth Century Felix Mendelssohn Biography An Image of the Composer and the Man An Image of the Conductor III. AN ANALYSIS OF TH UNCCOMANIED C>tAL UIC OF FELIX ENDELSSON . 29 Psalms for the Berlin Cathedral Choir General Psalms Music for the German Liturgy Music for the Anglican Service Chorale Motets Sacred Choruses for Mixed Voices Sacred Choruses for Kale Voices Secular Choruses for Mixed voices Secular Choruses for iale Voices IV . S TLISTIC C EIEAtC TERIS T2ICS: AN ANALY TICAL COMPARISON . « " ".. ".i.*.". .w.".".". 154 Introduce tion Medium Number and Type of Voices Voice Range and Tessitura V T abl Page I. Number of 'ompos itions Written for Various Choral Types - - - - - - - - . .- . * - -21< II. Key Velationshps h - - - - - - - * - . - . , 158 III. Number andLType Cfaters ...... ,... 161 vii LIST OF ILLUSTRATIONS Figure Page 1. ",.a r t d Heiden" Key Changes . * 0 30 s e 2. "War t ben die Heder" Measures 1-4 . * ., 31 4oben 3,* "arumt ;oben die Hden," Measures 104-106 * 9 32 " 0 q2 4. " run t ob e die H eid'n," suree 13-14 . *. * 0 aru t ob en die Heiden," feasres 31-34. 33 6. ari :ohen die Heiden, Measures 63-67 . * 33 * . 7 arum toben di HMeiden," measures 2-32c. 33 . 8. "Warumt toben die iden," Measures 71-78 . 3- 9. "varut toben ie Heiden, Meaures 140-14't 35 10. arum die oHeiden," Measures 82-89 . .9 35 * .* 11.0 "Richte ml h, Gott," measures 76-79 . u9 37 12. "Rchte mih, . .0 38 Gott, Measures yc-yo . * * 13. ti e h ,&ott," 'feasuros 1-10 . S . 39 "ic hte * 40 14. he Gott," Measures 21-2 . 0 "I.he gic1i'0 40 '5., ,Gott,"' ieasures 34-45 * * .*. * "0 16. "Wi der kirsch," Op. 42 No. 4, Measures 1-7 L 4 1. tRchte micK, Gott," Measures 73-79 * * * * 42 1t. ' i h te Xich, Gott," Measures 8t87 * * * t of . 9. 1icht 0 ih, Gr": Oomprivot of uslcal Elements . * . , * . , * . * . 43 20. 'Mein Gott, warum halt du mich vorassen4', Measures 1-3 * . * . -a 45 45 21, "f ein Gott," Measures 3-38 . - . * -- viii .. F igure Page 22 , iGot," measures 126-129 . .o . ., .0 .4 .0 .4 45 99 23- "ein cott, Pe astres 84-)> . 46 t 24. " ein Gott," measure 7-60 . 4.6 * . * 2. "ein ott," eas'res 147-10 . 9 . 9 47 26. "Singet dar Herr ," measures 1-4 . .# .# .0 .* 49 * * 09 9 9 9 27, "%nget den Herrn," Peasures 12-17 49 2 "Cnget dem errn," heures 12-17 * 9 . 9 . 50 29. ";irSnget dei Hera," >easuies 43- I . 9 9 .9 51 30. tJauchvet der Hrrn," 'easures 4-," . 9 . .9 53 31. Y eh z> e t dem Htrrn, Measures 2 -2 9 . 9 9 . .9 53 32. "Juhz et die Herrn," Measures 64-7 1 ., . 9 . .9 54 33. JaJauohset uoh dern Herrn," Geasres o-8 1 . 55 34. "Jauchzet em Herrm," Peasures 32-3 9 . .9 55 35, t uc zet das Herr ," easres 4o-4 1 . 56 . 9 . 9 9 59 36. "Heilig," 23a.ures r2 2 . 'He ii," 37, >0asuV(s 25-27 . .*. 9 9 . 9 9 9 .9 59 380 'Heill>," measures 3O-2 . 9 60 11$ easrces 34-37 . 9 . 9 9 . 9 60 . 9 9 . 9 9 .9 40. Mesures 1-b . 61 . 09. *99 099 09. 9*, !*9 *9. * .9 L2-19 . 62 41o. tHe 1 , I Measures "Hieil " teasLres 42-4 . 63 43,m Kyrie eleisom," easures 8-10 . 9 . 9 .9 6! 44 AKyrie eleison," P assuress 1-8 67 45.V ei hnc:te," measure 1-2 . 9 . 9 . 9 .9 46 . "Psihnedhten," isesures. 2Lp-30 68 47. ,ehnachtfn," easures 13-15 . C; x Fiure Page g8.e 10. "Am Neujahthage : Key Changes . 70 9W. "A Ne ojahr star e, .Eaures 10-13 . .. 71 "Am .'ei jahrswa g e, s' r es - ,... 72 'r e jar .ae,"rt measures 1s-23 * * . * . 72 "Am eLujSarstg, heasures )0-45 * . * * . 72 "f1 .Q1jSCr <P , DCeA3 . 73 4 * " j ahrstae," Measures 7-29 . 7374 53. 3 sA Njhr stage e.xt& 'r hanges . * 74 56. "ea simehartsLae eures 1-3 . * - 76 57. "t iim.''ras ssta-e,"3. **. .- 76 measurea 58. "Am :t-imi:rahrtStde," measures 10-12 . * . 7 { . 79 J9f "I der tas a _ sisz t," '4easpres 1-4 60. CIn der .assonss 3t," ' fssures 12-17 * . 80 5 6,. Im Advnt," K aseasures 1-2 . * . * * . 81 I A pn, as'rs 11-17 . * . * . * . 82 62.3 rl sdv n4, 1.f. RMessures 17-19 . ".. .a 82 64- "Im Advet," <eS'urs 26-29 ,. ... .*.* .9. 8 68 9 Im vent," Measures 29-34 . * . * . * 84 66. "Am Charfreitage," iiPeasures 1-8 . * . * 86 67. "Te Deum, Measures 1-4 . * * . 18 a cu*": i RhthmicaljCI Valration . , , . ,"9 69. "Te De,"~ a suras 1-4 . * . 89 -90 70, ITe D0 1 1 ," leas re 4- . "e um," Measures 94-98 . 90 72. T Deu.," Measures 142-149., . 90 734 "Te D eu ," asures 139-141 . , . 931 xi figure Page "ra , sel i4. gndig," Measures 3-6 . 0 93 75. 'Herr, se tgldig," Measures 19-2 . i . 94 76. "Herr, sei gndSK," ieas'res 10- 1. * . 914 77. "'err, se gndig," 1 Measures 24-30 . r 9 6 . 0 78. Yrr, s jndi6," Measures 1-2 . 96 79, "Herr, nun 1sse t": Tonal an . 97 8o. "Herr, nun Isset, " Measures 1-7 . .0 . 0 0 97 81. "Herr, nun issest," Measures 100-10 . 0 0 . 98 82. "ie r, nun l zssest," Measures 122-125 98 83. "jerr, nun 1ssest," Measures 11-15 * 0 0 . 4 98 8L. "Herr, nun lUssest," Measures 128-132 . * 99 82. Uerr, no InAs st, Measures 56-60 * . 0 0 9 9 99 86. "Juchzet aem er rn," Keasur es p-, .*. 0 . 0 . 101 27. %Juchzet deHtiern, assures 1>6- . 0 . 9 0 101 88 "auchzet de errn, 'Measures 78-1.5 * 0 . 0 102 9. "Jauhzet d Herrn: aModulations, Section One 102 a0 . tj uchzet der errn" hSecondary Dominant 102 Modul t on . + . 91. "Jatabset dm LIerr": eTones of the Opening . There . * . * . * * . 103 92* 'auchzet dem Hern," measures 12-30 . , 104 M 93. "Ja czt de iHerrn," easures 51-53 * . * 104 94. Juchet dem Herrn, measures 1-4 / .
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