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Study of Two Biblical Choral Symphonies with an Original Composition Gregory Klug

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Study of Two Biblical Choral Symphonies with an Original Composition Gregory Klug University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-1-2012 Study of two biblical choral symphonies with an original composition Gregory Klug Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Klug, Gregory, "Study of two biblical choral symphonies with an original composition" (2012). Dissertations. Paper 185. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2012 GREGORY KYLE KLUG ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School A STUDY OF TWO BIBLICAL CHORAL SYMPHONIES WITH AN ORIGINAL COMPOSITION A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Gregory Klug College of Visual and Performing Arts School of Music Department of Composition May, 2012 i ABSTRACT Klug, Gregory. A Study of Two Biblical Choral Symphonies With an Original Composition. Published Doctor of Arts dissertation, University of Northern Colorado, 2012. The choral symphony is a hybrid genre. A symphony may be defined as an orchestral work that balances musical variety with an overarching unity, and creates the sense of a journey. Formal cohesion and a sense of inevitability are integral. These ends may be achieved without adherence to Classical symphonic structure. Franz Liszt’s Dante Symphony and Hilding Rosenberg’s Revelation of St. John are choral symphonies that use text from the Bible, and merit close analysis. They both serve as models in various ways to an original composition, the Symphony of Creation. Analysis of all three of these works shows the use of rhetorical formal structures, and demonstrates the explanatory power of a theory about the meaning of music: it is a language in which musical phenomena are recognized as metaphors for extra-musical phenomena. All the parameters of music—pitch, rhythm, timbre, harmony, dynamics, and range—collaborate to generate metaphors for such ideas as height and depth, light and dark, malevolence and benevolence, pain and pleasure, violence and gentleness. ii ACKNOWLEDGMENTS I wish to acknowledge my committee members, Dr. Robert Ehle, Dr. Jonathan Bellman, Dr. Russell Guyver, Dr. Aaron Liu-Rosenbaum, and Pr. Steve Luttmann, for their guidance and acumen; my wife, Renee Ronika, for her inestimably vital support; my parents, Brian and Monica Klug, for their encouragement; my parents-in-law, Ajit and Patricia Bhatti, for their generosity; Wayne and Deborah Cavaliere, for their magnanimity; Michael Wertheimer and the Wertheimers for introducing me to UNC and being family in Colorado; Ryan Olson for his inspirational dialogue; and my daughters, Ariel and Eva. iii TABLE OF CONTENTS CHAPTER I. INTRODUCTION.………..........................................................................1 II. ANALYSIS OF FRANZ LISZT’S “DANTE SYMPHONY”.....................9 Movement I: Inferno..................................................................................11 Movement II: Purgatorio............................................................................33 III. ANALYSIS OF HILDING ROSENBERG’S “REVELATION OF ST. JOHN”...............................................................44 Movement I................................................................................................45 Movement II...............................................................................................50 Movement III.............................................................................................59 Movement IV.............................................................................................65 Movement V..............................................................................................70 Movement VI.............................................................................................78 Movement VII............................................................................................85 Chorale and Finale.....................................................................................91 IV. ANALYSIS OF THE “SYMPHONY OF CREATION”.........................100 Movement I: The Beginning....................................................................100 Movement II: The Corruption..................................................................107 Movement III: Lament.............................................................................111 Movement IV: The Plan...........................................................................116 Movement V: The Word..........................................................................123 REFERENCES................................................................................................................136 APPENDIX: SYMPHONY OF CREATION..................................................................140 I. The Beginning, Psalm 33:6..................................................................141 II. The Corruption, Isaiah 14:12-14.........................................................165 III. Lament, Ezekiel 28:11-19..................................................................179 IV. The Plan, Genesis 50:20....................................................................195 V. The Word............................................................................................213 iv LIST OF MUSICAL EXAMPLES All musical examples were created with Sibelius 7 software. Ex. 1: Liszt, Inferno, mm. 1-5, reduction...........................................................................12 Ex. 2: Liszt, Inferno, mm. 9-11, reduction.........................................................................13 Ex. 3: Liszt, Inferno, mm. 14-19, reduction.......................................................................14 Ex. 4: Liszt, Inferno, mm. 22-27, reduction “Descending Chromatic Theme”.................15 Ex. 5: Liszt, Inferno, mm. 64-68, reduction with alternative harmonic analyses..............16 Ex. 6: Liszt, Inferno, mm.131-140, reduction with analysis..............................................18 Ex. 7: Liszt, Inferno, mm. 163-175, reduction...................................................................19 Ex. 8: Opening phrase with noted B♭ -major harmony.....................................................20 Ex. 9: Descending Chromatic Theme................................................................................21 Ex. 10: Ascending Octatonic Scale of mm. 9-11...............................................................21 Ex. 11: Comparison of motives of opening phrase and violento theme............................21 Ex. 12: Comparison of mm. 2-3 with mm. 67-69..............................................................22 Ex. 13: Liszt, Inferno, mm. 287-292 with layer analysis...................................................24 Ex. 14: Liszt, Inferno, mm. 354-355 reduction with harmonic analysis...........................26 Ex. 15: Liszt, Inferno, mm. 359-365, reduction with analysis...........................................27 Ex. 16: Comparison of rhythmic motive............................................................................28 Ex. 17: Liszt, Inferno, mm. 384-385..................................................................................28 v Ex. 18: Liszt, Inferno, mm. 571-582, reduction.................................................................29 Ex. 19: Liszt, Inferno, mm. 637-646, reduction.................................................................31 Ex. 20: Liszt, Purgatorio, mm. 8-13, reduction.................................................................33 Ex. 21: Liszt, Purgatorio, mm. 128-136, fugue subject & excerpt of first answer............35 Ex. 22: Liszt, Purgatorio, mm. 201-206, reduction...........................................................36 Ex. 23: Liszt, Purgatorio: Magnificat, mm. 314-319, reduction........................................39 Ex. 24: Liszt, Purgatorio: Magnificat, mm. 375-382, reduction........................................40 Ex. 25: Rosenberg, Movement I, mm. 1-5, reduction........................................................46 Ex. 26: Rosenberg, Movement I, mm. 6-8 chorus with orchestral reduction....................47 Ex. 27: Rosenberg, Movement I, mm. 24-29, Chorus.......................................................49 Ex. 28: Comparison of sets used in Rosenberg, Mvt. II, and Liszt’s Magnificat..............51 Ex. 29: Rosenberg, Movement II, mm. 11-18, reduction..................................................52 Ex. 30: Rosenberg, Movement II, mm. 32-34...................................................................53 Ex. 31: Rosenberg, Movement II, mm. 46-58, reduction.............................................54-55 Ex. 32: Rosenberg, Movement II, mm. 99-100, chorus and piano reduction....................56 Ex. 33: Movement I, opening motive................................................................................59 Ex. 34: Rosenberg, Movement III, mm. 6-9, string section...............................................59 Ex. 35: Rosenberg, movement III, mm. 26-34, chorus with orchestral reduction.............61 Ex. 36: Rosenberg, movement III, mm. 35-37, “Dragon Theme” ....................................62 Ex. 37: movement III,
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