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What Hugo Distler's Totentanz Reveals About His Life and Music Alison Elizabeth Allerton Louisiana State University and Agricultural and Mechanical College

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What Hugo Distler's Totentanz Reveals About His Life and Music Alison Elizabeth Allerton Louisiana State University and Agricultural and Mechanical College Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 "Leave All That You Have, That You May Take All:" What Hugo Distler's Totentanz Reveals About His Life and Music Alison Elizabeth Allerton Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Allerton, Alison Elizabeth, ""Leave All That You Have, That You May Take All:" What Hugo Distler's Totentanz Reveals About His Life and Music" (2017). LSU Doctoral Dissertations. 4287. https://digitalcommons.lsu.edu/gradschool_dissertations/4287 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “LEAVE ALL THAT YOU HAVE, THAT YOU MAY TAKE ALL:” WHAT HUGO DISTLER’S TOTENTANZ REVEALS ABOUT HIS LIFE AND MUSIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts by Alison Elizabeth Allerton B.M.E., James Madison University, 2000 M.M., University of Rochester, 2008 May 2017 ACKNOWLEDGMENTS I wish to express my profound gratitude to those who have helped me complete this study. First and foremost, I am deeply indebted to my mentor, Dr. John Dickson, whose endless support and encouragement, not only in the writing process but throughout my degree, enabled me to explore my intellectual curiosities, take risks with confidence, and find success in all my endeavors. Thank you for trusting me with great responsibility, sharing with me your thoughtful insights and intellect, and inspiring me to constantly refine my work. This document would not be what it is without your dedicated oversight and keen eye for editing. Thank you also to Dr. Alison McFarland and Dr. Daniel Shanahan for challenging me to clarify my thinking and thoroughly examine every perspective. Your expertise in musicology and analysis were so graciously shared and have resulted in a study that is more rich and informed because of your insightful contributions. Finally, thank you to Dr. Gundela Hachmann for offering your invaluable knowledge of German history and culture and for introducing perspectives I would never have considered. I am also indebted for all the time and attention you devoted to checking and amending my translations. ii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................................................................. ii ABSTRACT .....................................................................................................................................v INTRODUCTION ...........................................................................................................................1 CHAPTER ONE: BIOGRAPHICAL INFORMATION .................................................................7 Early Life .............................................................................................................................7 Leipzig .................................................................................................................................9 Lübeck ................................................................................................................................11 Stuttgart ..............................................................................................................................21 Berlin ..................................................................................................................................24 Death ..................................................................................................................................25 CHAPTER TWO: MUSICAL STYLE AND INFLUENCES.......................................................30 Singbewegung ....................................................................................................................33 Jugendbewegung ................................................................................................................34 Orgelbewegung ..................................................................................................................34 Berneuchener Bewegung ...................................................................................................35 Gebrauchsmusik .................................................................................................................36 Karl Straube .......................................................................................................................37 Günther Ramin ...................................................................................................................38 Hermann Grabner ...............................................................................................................39 Kurt Thomas ......................................................................................................................40 Axel Werner Kühl ..............................................................................................................41 Bruno Grusnick ..................................................................................................................41 Contemporaneous Sources .................................................................................................42 Declamatory Style of Schütz and Distler ...........................................................................44 CHAPTER THREE: DISTLER, NATIONAL-SOCIALISM, AND THE ROLE OF MUSIC IN THE THIRD REICH ................................................................................................................49 Role of Music in Nazi Germany ........................................................................................51 Reichskulturkammer ..........................................................................................................54 Reichsmusikkammer ..........................................................................................................55 Paul Hindemith ..................................................................................................................59 Degenerate Music ..............................................................................................................60 Religion and Nazism ..........................................................................................................61 German Christians .............................................................................................................62 The Confessional Church ...................................................................................................64 Office of Church Musicians ...............................................................................................66 Hitlerjugend .......................................................................................................................67 Distler and Nazism .............................................................................................................68 iii CHAPTER FOUR: TOTENTANZ ................................................................................................76 Geistliche Chormusik .........................................................................................................76 The Years 1933-1934 .........................................................................................................79 Leonhard Lechner and Deutsche Sprüche .........................................................................82 Totentanz Artwork .............................................................................................................87 Angelus Silesius and The Cherubinic Wanderer ...............................................................92 Totentanz Premiere ..........................................................................................................102 Solo Flute Variations .......................................................................................................102 Eschatological Perspectives .............................................................................................104 CHAPTER FIVE: ANALYSIS OF TOTENTANZ .....................................................................108 Medieval Traits: Florid Melismas ....................................................................................108 Medieval Traits: Use of Church Modes ...........................................................................111 Medieval Traits: Parallel Motion in Fourths, Fifths, and Octaves ...................................113 Medieval Traits: Discant-Like Passages ..........................................................................116 Medieval Traits: Use of Mensurstriche and Metric Ambiguity .......................................118 Medieval Traits: Open Fifth Cadences ............................................................................124 Renaissance Traits: Imitative Polyphony .........................................................................126 Renaissance Traits: Phrase Elisions .................................................................................131
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