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ETD Template THE RISE OF LYRICISM AND THE DECLINE OF BIBLICAL NARRATION IN THE LATE LITURGICAL PASSIONS OF GEORG PHILIPP TELEMANN by Jason Benjamin Grant BA, Bates College, 1994 MA, University of Pittsburgh, 1998 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason Benjamin Grant It was defended on April 11, 2005 and approved by David Brodbeck, Professor of Music Mary S. Lewis, Professor of Music Francesca L. Savoia, Professor of French & Italian Dissertation Director: Don O. Franklin, Professor of Music ii Copyright by Jason Benjamin Grant 2005 iii THE RISE OF LYRICISM AND THE DECLINE OF BIBLICAL NARRATION IN THE LATE LITURGICAL PASSIONS OF GEORG PHILIPP TELEMANN Jason Benjamin Grant, PhD University of Pittsburgh, 2005 My dissertation focuses on the rise of lyricism and the decline of biblical narration in the late liturgical Passions by Georg Philipp Telemann (1681-1767). During his forty-six-year career as the Cantor of the Johanneum (St. John's School) and Director musices (director of music) of Hamburg's five main churches, Telemann composed a total of forty-six liturgical Passions. Although based on the traditional biblical narration and chorales which made these works suitable for liturgical use, the Passions also contain poetic interpolations drawn from the operatic and oratorio traditions. These poetic and narrative procedures changed significantly over the years, some of the most important of which took place during the last decade or so of Telemann's life. It has been claimed that these changes are linked to developments in the non-liturgical Passions and other oratorios, intended for concert performances, which Telemann cultivated between 1755 and 1765. I test the extent to which the lyric and narrative processes of the liturgical Passions are dependent on their non-liturgical counterparts. I also argue that these processes, especially in the late works, developed independently within the repertory of liturgical Passions themselves. The dissertation begins with an overview of Telemann's Hamburg career and the several vocal repertories he cultivated there, followed by a discussion of the liturgical Passions themselves, which I divide into three main groups: early (1722-36), middle (1737-54), and late iv (1755-67). The study continues with detailed discussions of lyric content and narrative reprocessing in the late Passions, including case studies of the 1764 St. Luke and 1765 St. John Passions. My conclusions take up the broader implications of Telemann's lyric and narrative procedures, including reception issues and the overall development of the liturgical Passion in Hamburg. v TABLE OF CONTENTS LIST OF ABBREVIATIONS......................................................................................................xiii ACKNOWLEDGMENTS ........................................................................................................... xiv 1. BACKGROUND TO THE STUDY....................................................................................... 1 1.1. INTRODUCTION .......................................................................................................... 1 1.2. CONCEPTUAL FRAMEWORK ................................................................................... 2 1.3. CHAPTER OUTLINE.................................................................................................... 3 1.4. LITERATURE REVIEW ............................................................................................... 5 1.5. NOTES ON METHODOLOGY..................................................................................... 9 2. HAMBURG REPERTORIES AND TELEMANN'S LATE PROFILE............................... 11 2.1. TELEMANN'S ARRIVAL IN HAMBURG ................................................................ 11 2.2. LITURGICAL MUSIC FOR ORDINARY OCCASIONS .......................................... 15 2.3. VOCAL MUSIC FOR EXTRAORDINARY OCCASIONS ....................................... 19 2.4. ORDINARY AND EXTRAORDINARY CIVIC VOCAL MUSIC............................ 20 2.5. UNOFFICIAL VOCAL MUSIC .................................................................................. 27 2.5.1. Operatic Music...................................................................................................... 27 2.6. PROFILE OF TELEMANN IN HIS LATER YEARS................................................. 28 2.6.1. Telemann's Own Words........................................................................................ 30 2.6.2. G. M. Telemann's Remembrance of his Grandfather ........................................... 34 2.6.3. The Testimony of a Rediscovered Manuscript ..................................................... 38 2.7. SUMMARY.................................................................................................................. 43 3. OVERVIEW OF TELEMANN’S LITURGICAL PASSIONS............................................ 44 3.1. PASSION MUSIC IN HAMBURG.............................................................................. 44 3.2. GENERAL FEATURES OF TELEMANN'S PASSION REPERTORY..................... 46 3.2.1. The Early, Middle, and Late Groups of Passions ................................................. 50 3.2.2. Early Contrasts: Lukaspassion 1728 and Matthäuspassion 1730......................... 51 3.2.3. Works of the Middle Period.................................................................................. 54 3.2.4. Works of the Late Period ...................................................................................... 56 3.3. SUMMARY.................................................................................................................. 57 4. TWO LYRIC MODELS: KLOPSTOCK AND RAMLER.................................................. 58 4.1. SUMMARY OF THE 1748 ST. LUKE PASSION...................................................... 59 4.2. ROOTS OF LYRICISM: KLOPSTOCK'S DER MESSIAS ......................................... 60 4.2.1. Klopstock's Lyricism ............................................................................................ 62 4.2.2. Klopstock's Hybrid Theology ............................................................................... 64 4.3. CONNECTIONS BETWEEN KLOPSTOCK AND TELEMANN............................. 65 4.4. LYRICISM IN THE LUKASPASSION 1748 ............................................................... 66 4.4.1. Lyricism at the Local Level .................................................................................. 67 4.4.2. The Question of Structural Lyricism .................................................................... 69 4.4.3. The Exordium and Conclusio................................................................................ 70 vi 4.4.4. Juxtaposition of Lyric Meditation and Narratio................................................... 72 4.5. THE SECOND LYRIC MODEL: RAMLER'S DER TOD JESU................................ 74 4.6. OVERVIEW OF THE CONCERT ORATORIOS....................................................... 74 4.7. RAMLER'S CONCERT ORATORIO LIBRETTI....................................................... 77 4.7.1. Ramler's Lyricism................................................................................................. 78 4.7.2. Lyric Reportage .................................................................................................... 79 4.7.3. Neologie................................................................................................................ 80 4.8. STRUCTURE AND DESIGN OF DER TOD JESU.................................................... 82 4.8.1. Accompagnati: Opening and Closing Lines ......................................................... 82 4.8.2. Lyric Reportage .................................................................................................... 83 4.8.3. Composite Gospel Citations/Allusions................................................................. 87 4.8.4. Exordium and Conclusio....................................................................................... 88 4.8.5. Ramler's Formal Conservatism............................................................................. 96 4.9. COMPARISON OF DER TOD JESU TO LUKASPASSION 1760.............................. 96 4.10. SUMMARY............................................................................................................ 101 5. LYRICISM IN THE LATE LITURGICAL PASSIONS ................................................... 103 5.1. UNUSUAL LYRIC PROCESSES OF THE LATE PASSIONS ............................... 103 5.1.1. Chorale Sequences, 1759-66............................................................................... 105 5.1.2. Reversal of Narratio and Lyric Reportage ......................................................... 120 5.1.3. Genre-Blending................................................................................................... 121 5.1.4. Liberties Taken with Libretto ............................................................................. 124 5.2. LYRICISM IN THE 1764 AND 1765 PASSIONS.................................................... 127 5.3. GENERAL CONTENT OF THE 1764 AND 1765 PASSIONS................................ 133 5.3.1. Lukaspassion 1764.............................................................................................
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