DOCSLIB.ORG

Bradley Ellingboe's Requiem

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bradley Ellingboe's Requiem Bradley Ellingboe’s Requiem: Influences and Analysis for Performance Item Type text; Electronic Dissertation Authors Robison, Brett Patrick Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 11:48:40 Link to Item http://hdl.handle.net/10150/631900 BRADLEY ELLINGBOE’S REQUIEM: INFLUENCES AND ANALYSIS FOR PERFORMANCE by Brett Patrick Robison ____________________________________ Copyright © Brett Patrick Robison 2019 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 2 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotations from or reproduction of this manuscript in whole or in part may be granted by the head of the of the major department of the Dean of the Graduate College when in his or her judgment the proposed us of the material is in the interests of scholarship. In all other instances, however, permission must be obtained by the author. SIGNED: Brett Patrick Robison 4 ACKNOWLEDGEMENTS Bradley Ellingboe: Thank you for your patience during this long process. I am honored to write about your music. I am also honored to call you a mentor and friend. Dr. Bruce Chamberlain, Director of Choral Activities: Thank you for your support throughout this long and difficult journey. Your musicianship and work ethic is an inspiration. Dr. Elizabeth Schauer: Thank you for your support and guidance throughout this degree and document. Dr. John Brobeck: Thank you for your kindness and willingness to join my committee and see me through these final steps. Jennaya Robison: Thank you for not allowing me to give up and pushing me to finally getting this finished. You are the formatting master. I love you. Elise, Grace, and Ben: Thank you for allowing me to take the time needed to finish this document and degree. Without your support and patience this wouldn’t be possible. Lucik Aprahamian: Thank you for edits and advice in the proposal and document writing process. You are a true friend. 5 TABLE OF CONTENTS LIST OF FIGURES .........................................................................................................................6 LIST OF MUSICAL EXAMPLES ..................................................................................................7 LIST OF TABLES ...........................................................................................................................9 ABSTRACT ...................................................................................................................................10 CHAPTER 1. INTRODUCTION ..................................................................................................11 CHAPTER 2. CONTEXT ..............................................................................................................13 Biography of Bradley Ellingboe ........................................................................................13 Requiem Mass History and Content ..................................................................................15 CHAPTER 3. NORWEGIAN FOLK MUSIC INFLUENCES .....................................................20 Use of Folk Melody and Leitmotif .....................................................................................20 Thematic Development—Lord’s Prayer Motive ...............................................................27 CHAPTER 4. INFLUENCE OF THE MUSIC OF EDVARD GRIEG.........................................38 Drone Pedal Use ................................................................................................................38 Motivic Development ........................................................................................................46 CHAPTER 5. INFLUENCE OF LUTHERANISM .......................................................................55 Architecture........................................................................................................................55 Emotional Progression of Grief .........................................................................................59 Texts ...................................................................................................................................70 CHAPTER 6. REHEARSAL AND PERFORMANCE SUGGESTIONS .....................................78 Accompaniment Options ...................................................................................................78 Performance Venues ..........................................................................................................79 Rehearsal Suggestions .......................................................................................................79 Trouble Spots .....................................................................................................................81 CHAPTER 7. CONCLUSION.......................................................................................................85 APPENDIX A. PUBLISHED CHORAL MUSIC OF BRADLEY ELLINGBOE .......................86 APPENDIX B. PERMISSION LETTER ......................................................................................95 REFERENCES ..............................................................................................................................96 6 LIST OF FIGURES Figure 5.1 Ellingboe’s Requiem. Ten Movements and Architecture ......................................56 Figure 5.2 Ellingboe’s Requiem. Chiastic Structure ...............................................................57 Figure 5.3 Emotional Progression in Requiem ........................................................................59 7 LIST OF MUSICAL EXAMPLES Musical Example 3.1 Norwegian Folk Tune, Jeg lagde mig saa silde .............................21 Musical Example 3.2 Cello Leitmotif. Graduale, mm. 1-9...............................................23 Musical Example 3.3 Norwegian Folk Tune. Graduale, mm. 10-30 ...............................24 Musical Example 3.4 Norwegian Folk Tune with Voices. Agnus Dei, mm. 10-29 ..........26 Musical Example 3.5 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. The Lord’s Prayer, mm. 2-4 ..........................................................27 Musical Example 3.6 Extended Lord’s Prayer Motive. Introit, mm. 1-7 .........................28 Musical Example 3.7 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Introit, mm. 20-23 and mm. 110-113 ............................................29 Musical Example 3.8 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Elegy, mm. 40-51 ...........................................................................30 Musical Example 3.9 Comparison of Endings in Elegy mm. 82-85 and The Lord’s Prayer, mm. 46-48 ......................................................31 Musical Example 3.10 Extended Lord’s Prayer Motive. Kyrie, mm. 6-8 ..........................32 Musical Example 3.11 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Kyrie, m. 37-40 .........................32 Musical Example 3.12 Lord’s Prayer Motive. Psalm, mm. 1-5 .........................................33 Musical Example 3.13 Lord’s Prayer Motive. Psalm, mm. 58-61 .....................................34 Musical Example 3.14 Lord’s Prayer Motive. Sanctus et Benedictus, mm. 11-12 and 15-16 .....................................................................35 Musical Example 3.15 Lord’s Prayer Motive. Sanctus et Benedictus, mm. 68-72 .....................................................................................35 Musical Example 3.16 Lord’s Prayer Motive as a Norwegian Folk Motive, Motive B .....36 Musical Example 4.1 Norwegian Folk Melodies and Dances, Op. 17 .............................39 Musical Example 4.2 Drone Pedal. Introit, mm. 24-31 ....................................................40 Musical Example 4.3 Drone Pedal. Graduale, mm. 1-19 .................................................41 8 Musical Example 4.4 Drone Pedal. Sanctus et Benedictus, mm. 35-42 ...........................42 Musical Example 4.5 Drone Pedal. Agnus Dei, mm. 45-54 .............................................43 Musical Example 4.6 Drone Pedal. Evensong, mm. 1-8...................................................44 Musical Example 4.7 Drone Pedal. Evensong, mm. 27-41...............................................45 Musical Example 4.8 Grieg Motive. Piano Concerto in A minor, Op. 16, movt. I. .........46 Musical Example 4.9 Grieg Formula. Introit, mm. 63-73 ................................................48 Musical Example 4.10 Grieg Formula Variation. Introit, mm. 74-77 ................................49 Musical Example 4.11 Grieg Motive. Kyrie, mm. 14-18 ...................................................50 Musical Example 4.12 Grieg Motive Variation. Kyrie, mm. 41-45 ...................................51
Load more

Recommended publications
  • Pike Kor Repertoire - 1996-97
    AURORA - REPERTOIRE LIST - 1992-present Luther College, Decorah, Iowa Dr. Sandra Peter, conductor (updated August, 2010) Aurora is one of six auditioned choral ensembles at Luther College in Decorah, Iowa. Established in 1981, the group is comprised of 100 first-year women, selected each fall by audition. They perform on and off-campus for worship services, participate in the annual Christmas at Luther concert and Dorian Vocal Festival, and present a spring concert with the Norsemen, Luther‟s choral ensemble for first-year men. The choir has also participated in Luther performances of major choral/orchestral works, such as Beethoven‟s Mass in C major and Bach‟s The Passion according to St. John. Conducted by Dr. Sandra Peter since 1992, Aurora has performed at several regional conventions of the American Choral Directors Association. They released their first compact disc, Finding a voice, in 2006 and a second disc, Using our voice, in 2010. The word Aurora, Latin for dawn, represents the first light of day, or for these women, the beginning of their college experience and journey as independent scholars. Pike Kor was the name of this ensemble from the mid-1980s until the spring of 2008. AURORA – 2009-2010 In the time of Noah (from Three Alleluias) Amy Kucera Now I become myself Gwyneth Walker Steal away arr. James McKelvy O magnum mysterium Guy Forbes O come, o come, Emmanuel (premiere) arr. Sandra Peter Alleluia Paul Basler Kyrie Agneta Skøld Mir lächelt kein Frühling Johannes Brahms Friends Bob Chilcott The Gartan Mother‟s Lullaby (premiere) arr. Kathryn Lillich, S.
    [Show full text]
  • All-State Past Conductors
    Minnesota Music Educators Association All-State Conductors Band Stephen Peterson, 2012 Tony Baker, 2004 Harold Bachmann, 1946 Captain Michelle Rakers, 2013 Juan Tony Guzman, 2005 Carleton Stewart, 1952 Craig Kirchhoff, 2014 James Carlson, 2006 Frank Piersol, 1956 Kevin Sedatole, 2015 Dean Sorenson, 2007 Lucien Cailliet, 1960 Jerry Luckhardt, 2016 Robert Washut, 2008 Frank Bencriscutto, 1962 Shanti Simon, 2017 Chris Vadala, 2009 Frank Bencriscutto, 1964 Betsy McCann, 2018 Trent Kynaston, 2010 Don McCatheran, 1965 Emily Threinen, 2019 Douglas Snapp, 2011 Miles Johnson, 1966 David Hagedorn, 2012 Karl Holvik, 1967 Symphonic Band Christopher Merz, 2013 Mayo Savold, 1968 Tom Swanson, 1999 Richard MacDonald, 2014 Frank Bencriscutto, 1969 Douglas Nimmo, 2000 Ellen Rowe, 2015 Charles Minelli, 1970 Matthew George, 2001 Miles Johnson, 1971 Tim Mahr, 2002 Jazz Band H. Robert Reynolds, 1972 Bruce Ammann, 2003 Ryan Frane, 2016 J. Robert Hanson, 1973 Richard Blatti, 2004 Matt Harris, 2017 John Paynter, 1974 Donald Schleicher, 2005 James (JC) Sanford, 2018 Frank Bencriscutto, 1975 Andrew Boysen, 2006 Patty Darling, 2019 Michael Polovitz, 1976 Russel Mikkelson, 2007 Frank Piersol, 1977 Gary Hill, 2008 Orchestra Frank Bencriscutto, 1978 Scott Weiss, 2009 Paul Oberg, 1944 J. Robert Hanson, 1979 Richard Heidel, 2010 Henry Sopkin, 1948 Miles Johnson, 1980 Frank Wickes, 2011 Gerald Samuel, 1954 George Regis, 1981 Takayoshi Suzuki, 2012 Antal Dorati, 1958 James Croft, 1982 James Spinazzola, 2013 Herman Hertz, 1962 Russell Pesola, 1983 Scott Hagen, 2014 Herman
    [Show full text]
  • The Gustavus Choir: a 75 Year Commitment to Musical Excellence David Holdhusen
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Gustavus Choir: A 75 Year Commitment to Musical Excellence David Holdhusen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE GUSTAVUS CHOIR: A 75 YEAR COMMITMENT TO MUSICAL EXCELLENCE By J. DAVID HOLDHUSEN A dissertation submitted to the College of Music In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2007 Copyright 2007 David Holdhusen All Rights Reserved The members of the Committee approve the dissertation of J. David Holdhusen defended on February 7, 2007. ______________________________ Kevin Fenton Professor Directing Dissertation ______________________________ Larry Gerber Outside Committee Member ______________________________ André Thomas Committee Member ______________________________ Judy Bowers Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I wish to thank the many people who have encouraged and supported my efforts to achieve this longtime goal of completing the doctoral degree. This process is one that cannot be accomplished alone. I would especially like to thank those who have provided me with professional advisement and to those who have supplied me with unending love and support. I would first like to extend my sincere appreciation to Dr. Kevin Fenton for his guidance and support throughout my years at Florida State University. As my major professor, his encouragement and direction on this project has been immeasurable. He has truly allowed me to grow as a scholar, a musician, and a person.
    [Show full text]
  • A Conductor's Guide to Selected Choral Works of F. Melius
    A Conductor’s Guide to Selected Choral Works of F. Melius Christiansen (1871-1955) A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Conducting and Ensembles Division of the College-Conservatory of Music 2009 by Albert Pinsonneault B.M., St. Olaf College, 2002 M.M., University of Minnesota, 2005 Committee Chair: Brett Scott ABSTRACT F. Melius Christiansen (1871-1955) created a pioneering American a cappella choral ensemble, the St. Olaf Choir, which influenced an entire philosophical school of choral performance within the United States. His body of choral literature has been utilized as a significant part of secondary and post-secondary choral education, and his music is amongst the most performed American composers of his generation. This document is a conductors’ guide to selected Christiansen repertoire. The literature selected displays his diversity of genres and compositional styles, and represents his most integrous work. This document will explore eleven compositions in detail, Beautiful Savior, Built on a Rock, Celestial Spring, How Fair the Church, Lamb of God, Lost in the Night, Lullaby on Christmas Eve, O Day Full of Grace, Praise to the Lord, Psalm 50, and Wake, Awake. For each piece the document will include origins of source materials, structural graphs with phrase analyses, guides to obsolete words and pronunciations, employment of choral forces within divisi, issues of tempi and rubato, and other preparatory suggestions for the prospective conductor. iii Copyright © 2009 by Albert Pinsonneault All rights reserved iv To Brett Scott, Earl Rivers, and Ray Wheeler for their help, wisdom, and advice A Special thanks to Earl Rivers for bringing me to Cincinnati To Kathy Romey and Dale Warland for their incredible support and many kindnesses To Anton Armstrong, Robert Scholz, and the choirs of St.
    [Show full text]
  • Dean Jilek Curriculum Vitae and Rep List
    Dean Jilek 1 DEAN F. JILEK 651– 402 – 8606 (mobile) 3120 Hornbeam St., [email protected] Argyle, TX 76226 _________________________________________________________________________________ EDUCATION University of North Texas, Denton, TX, 2016 DMA, Performance in Choral Conducting Dr. Jerry McCoy, Major Professor Additional studies with Dr. Richard Sparks Minor in Vocal Pedagogy, Dr. Stephen Austin, Professor North Dakota State University, Fargo, ND, 2004 M.M., Choral Conducting and Literature Dr. Jo Ann Miller, Major Professor Additional studies with Dr. Michael Weber Dickinson State University, Dickinson, ND, 1995 B.S., Vocal Music Dr. Elwood H. Brown, Major Professor ADDITIONAL STUDIES/PROFESSIONAL CONDUCTING SYMPOSIA 2015 International Conducting Workshop and Festival, Sofia, Bulgaria Orchestra Conducting Full Participant Studied with Larry Rachleff, Rice University and Don Schleicher, University of Illinois 2014 Vancouver Chamber Choir Conducting Symposium, Vancouver, BC Choral Conducting Full Participant Studied with Jon Washburn APPOINTMENTS (Academic) University of North Dakota, 2016-present • Director of Choirs o Concert Choir MUSC 260 o Varsity Bards MUSC 263 o Voice Class MUSC 150 o Vocal Methods MUSC 140 o Choral Conducting MUSC 357 o Advanced Choral Conducting MUSC 561 o Choral Literature MUSC 416 o Chamber Music Groups MUSC 277 o Special Topics MUSC 399 o University of North Dakota Honor Choir o Recruiting Committee o Masterworks Concert § Chichester Psalms – Leonard Bernstein § Rejoice in the Lamb – Benjamin Britten §
    [Show full text]
  • St. Olaf College on "Because We Had Not Gained Wide What Was to Become the Most Impor­ Recognition Yet
    HC) NORTHFIELD MINNESOTA U A Kenneth Jennings, Conductor In Concert 1990 I rrprf"~ri Top: St. Olaf Choir at Washington Memorial Monument in Philadelphia, 1920. Bottom: St. Olaf Choir, 1989-90. Note: The taking of photographs and the use of recording devices are prohibited. Concert-goers are requested to check cameras, tape recorders, video cameras, and pagers. Please ask an usher for checking location. "Great Tour East" Was First Stop on Road to National and International Recognition for the St. Olaf Choir The world was marking the start of a its concerts would include a perfor­ new decade. Europe, having been made mance before Norway's king and safe for democracy, was adjusting to a queen. new set of borders. In the United States "The Great Tour East" was, how­ the Twenties were getting ready to roar. ever, the Choir's first real "national" And, in Northfield, Minn., F. Melius tour. The crowds were small as they Christiansen was plotting a route and headed East, one of the members of the locating sponsors in preparation for tak­ 1920 chorus recalled recently. That was ing the choir of St. Olaf College on "because we had not gained wide what was to become the most impor­ recognition yet. But on the return trip tant tour of its eight-year history. from New York, news about our earlier By the conclusion of that 1920 tour concerts had spread, and we sang to to the great performing halls of the East packed houses." Coast and the Upper Midwest, the St. Spreading the word about the Choir Olaf Choir had established itself as one were some of the nation's best music of the country's best.
    [Show full text]
  • Evolution of Choral Sound of the St. Olaf Choir and the Westminster Choir Alan Zabriskie
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Evolution of Choral Sound of the St. Olaf Choir and the Westminster Choir Alan Zabriskie Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC EVOLUTION OF CHORAL SOUND OF THE ST. OLAF CHOIR AND THE WESTMINSTER CHOIR By ALAN ZABRISKIE A Dissertation submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2010 The members of the committee approve the dissertation of Alan Zabriskie defended on March 3, 2010. ________________________________ Kevin Fenton Professor Directing Dissertation ________________________________ Matthew Shaftel University Representative ________________________________ André J. Thomas Committee Member ________________________________ Judy Bowers Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicate this to my wife, Jennie. iii ACKNOWLEDGEMENTS I first wish to thank my wife, Jennie, who has constantly sacrificed her own ambitions in order that I might be able to accomplish mine. Her constant love, support, and encouragement have enabled me to succeed in this degree and in other aspects of my life. I owe a debt of gratitude to my committee members, Kevin Fenton, André Thomas, Judy Bowers, and Matthew Shaftel. Each has provided valuable insight, specific feedback, and encouragement throughout this project and my time at FSU. Throughout my experience at FSU, the faculty has lived up to the reputation of being world-class musicians, researchers, and, most importantly, exceptional people.
    [Show full text]
  • Musical Dramaturgy in Craig Hella Johnson's Considerin
    UNIVERSITY OF CALIFORNIA Los Angeles “We Tell Each Other Stories”: Musical Dramaturgy in Craig Hella Johnson’s Considering Matthew Shepard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Ryan Russell Brown 2021 © Copyright by Ryan Russell Brown 2021 ABSTRACT OF THE DISSERTATION “We Tell Each Other Stories”: Musical Dramaturgy in Craig Hella Johnson’s Considering Matthew Shepard by Ryan Russell Brown Doctor of Musical Arts University of California, Los Angeles, 2021 Professor James K. Bass, Chair At the beginning of the twenty-first century, the number of choral organizations which pay their members has increased greatly. Along with the emergence of these professional choirs, there is an increased focus on considering the audience experience. One of the ways that professional choral organizations are seeking to elevate the audience experience is through storytelling. Consequently, professional choirs are commissioning and performing oratorios with greater frequency. Considering Matthew Shepard, a modern chamber oratorio composed by Craig Hella Johnson, serves as an archetype of this new era of musical dramaturgy in choral music. Interviewing conductors of professional choirs and investigating practices in script-writing, the author applies modern concepts of narrative discourse to oratorio. The author explores musical dramaturgy within Considering Matthew Shepard using “action analysis” and suggests performance practices which highlight the musical dramaturgy within the work.
    [Show full text]