Bradley Ellingboe's Requiem

Bradley Ellingboe’s Requiem: Influences and Analysis for Performance

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Authors Robison, Brett Patrick

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BRADLEY ELLINGBOE’S REQUIEM:

INFLUENCES AND ANALYSIS FOR PERFORMANCE

Brett Patrick Robison

______

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

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

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.

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

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

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

Musical Example 4.13 Grieg Motive Variation. Kyrie, m. 49-52 ...... 51

Musical Example 4.14 Grieg Formula Minor Variation. Death Be Not Proud, mm. 3-7 ...... 52

Musical Example 4.15 Grieg Formula. Communion, mm. 71-79 ...... 53

Musical Example 4.16 Related Grieg Formula. Elegy, mm. 1-4 ...... 54

Musical Example 5.1 Emotional Progression Text-Painting. Introit, mm. 40-47 ...... 61

Musical Example 5.2 Emotional Progression Text-Painting. Kyrie, mm. 77-80...... 63

Musical Example 5.3 Emotional Progression Text-Painting. Psalm, mm. 1-5 ...... 65

Musical Example 5.4 Emotional Progression Text-Painting. Psalm, mm. 6-30 ...... 67

LIST OF TABLES

Table 2.1 Roman Catholic Requiem Mass and Burial Components...... 16

Table 2.2 Comparison of Roman Catholic Requiem Mass and German/Protestant Requiem Components...... 18

ABSTRACT

Bradley Ellingboe (b. 1956) is an American composer who resides in Albuquerque, New

Mexico. Ellingboe has over one hundred and twenty choral compositions and four larger choral- orchestral works in print. Requiem, composed in 2001, was Ellingboe’s first major work for choir and orchestra.

Bradley Ellingboe’s study of the music of Edvard Grieg (1843-1907) and his prolonged exposure to Norwegian folk song and Lutheranism have influenced his melodic, textual, and formal choices in his Requiem. An understanding of these influences will aid conductors in creating stylistically appropriate performances of Requiem.

Bradley Ellingboe was raised in a Norwegian-American family in Lakeville, Minnesota.

To give further context, a brief biography of the composer and highlights of the history of requiem mass are included in this document. In this document, I discuss the importance of the inclusion of the folk tune, Jeg lagde mig saa silde and a recurring cello solo that serves as a

Leitmotif throughout Requiem. Through motivic analysis the influence of Norwegian folk music and the music of Edvard Grieg are further revealed. The discussion of the architecture, text choices, and the emotional progression in Requiem reveal the influence of Ellingboe’s Lutheran faith. This document also includes a chapter that provides rehearsal and performance suggestions for conductors.

CHAPTER 1 INTRODUCTION

During the summer and fall of 2001, Bradley Ellingboe (b. 1956) composed his first major work for choir and orchestra, Requiem. The work was premiered in the spring of 2002 at the University of New Mexico and has since been performed over three hundred times throughout the world including a Carnegie Hall performance of the work conducted by the composer in 2010. In 2003 Ellingboe’s Requiem was professionally recorded by The Augustana

Choir of Augustana University in Sioux Falls, South Dakota, Dr. James Johnson, conductor.

Bradley Ellingboe’s study of the music of Edvard Grieg (1843-1907) and his prolonged exposure to Norwegian folk song and Lutheranism influenced his melodic, textual, and formal choices in his Requiem. An understanding of these influences will aid conductors in creating stylistically appropriate performances of Requiem.

In this document I will examine the primary influences on Ellingboe’s Requiem and provide essential background information about the composer and history of the requiem form.

Ellingboe strongly identifies with both his Norwegian and Lutheran heritage and acknowledges that both played a significant role in composing Requiem.1 The document also includes a discussion of the formal structure of Ellingboe’s Requiem and the symmetry created by the architecture and texts used by the composer. Finally, a section of performance considerations for conductors is also included.

Composer, conductor, teacher, and bass-baritone, Bradley Ellingboe is a prolific composer of choral music who has over one hundred and twenty choral compositions and four large choral-orchestral works in print. His works are published by Oxford University Press,

1 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 12

Augsburg Fortress, Hal Leonard Corporation, Choristers Guild, Concordia Publishing House, and Kjos Music. Ellingboe’s compositions have been performed and recorded by such groups as

VocalEssence, Sante Fe Desert Chorale, Saint Olaf Choir, the Harvard Glee Club, and

Conspirare.

Ellingboe has received national and international recognition for his musical endeavors, including being knighted by the king of Norway for his scholarly work on Grieg’s music. He also has been awarded numerous ASCAP awards, and has received Carnegie Hall premieres of his music. Despite these accolades and his rise in stature in the choral field, there is no scholarly writing on his compositions. An examination of his first major choral-orchestral work will provide insight into the influences and complexity of Requiem.

A significant amount of scholarly writing has been devoted to the influence of folk elements in Edvard Grieg’s music. This investigation of Norwegian folk songs and melodies helps to connect their influence on Ellingboe’s Requiem. This document demonstrates the influence of both Norwegian folk music and the music of Edvard Grieg on Requiem by Bradley

Ellingboe.

CHAPTER 2 CONTEXT

Biography of Bradley Ellingboe

Bradley Ross Ellingboe was born April 16, 1958, to Veola Yvonne Soberg Ellingboe

(1929-2004) and Oscar Glenn Ellingboe (1917-1987). The youngest of three children, Bradley grew up with two older brothers, Craig Palmer Ellingboe (b.1948) and Randy Lane Ellingboe (b.

1952) in the Scandinavian-American community of Lakeville, Minnesota. Bradley Ellingboe’s family was one of several second-generation Norwegian-American families in Lakeville. His paternal grandfather, Ole Ellingboe (1874-1948), was born in Norway in 1874 and came to

America when his parents immigrated in 1880. Ole Ellingboe married Rose Thompson (1890-

1976), whose father, Andrew Thompson, immigrated around 1860 to the Midwest. Rose’s brother, Peter Thompson, was one of the founders of Lakeville, Minnesota. Ellingboe’s maternal grandfather was Palmer Soberg (1892-1954). Palmer’s father, Peter Soberg, emigrated from

Norway in about 1885, coming to Lakeville, Minnesota.

Ellingboe’s maternal great-grandfather, Bernt Sundal, attended Augsburg College with famed choral conductor and composer, F. Melius Christiansen (founder of the St. Olaf Choir) and was later the pastor of Highview Christiania Church outside Lakeville, Minnesota. His daughter, Ellingboe’s maternal grandmother, Judith Sundal (1899-1992) was born in the United

States. She attended St. Olaf College (class of 1924) and graduated with Olaf Christiansen and

Neil Kjos, Sr. Olaf Christiansen became the conductor of the St. Olaf Choir after his father F.

Melius retired. Neil Kjos, Sr. was the founder of Kjos Music, the company that would eventually publish Bradley Ellingboe’s Requiem.

Bradley Ellingboe spent his entire childhood in Lakeville, Minnesota, attending St.

John’s Lutheran Church where he was baptized in 1958 and confirmed in 1973. He was exposed 14

to Norwegian language and traditions, including folk songs. Ellingboe’s father was fluent in

Norwegian and English. Ellingboe recalls Christmas Eve services in churches outside his hometown where the pastor would still preach in Norwegian. Bradley Ellingboe’s interest and pride in his Norwegian heritage continued throughout his childhood into adult life. He graduated from Lakeville High School and attended St. Olaf College in Northfield, Minnesota, starting in the fall of 1976. Ellingboe graduated from St. Olaf with a Bachelor of Arts cum laude in Music

Theory and Composition in 1980. During his time at St. Olaf, he sang in the renowned St. Olaf

Choir for three years under the direction of Kenneth Jennings. Ellingboe still speaks with great admiration about his mentor and credits him with inspiring him to become a conductor of choirs.

Ellingboe also met his wife, Karen Hersey, at St. Olaf College. They married on July 18, 1981.

Ellingboe pursued the Master of Music degree in Choral Conducting and Vocal

Performance at the Eastman School of Music from 1981 to 1983. His major teachers were

Donald Neuen (b. 1933) for choral conducting and Jan DeGaetani (1933-1989) for vocal performance. At the beginning of his career in academia, Ellingboe studied the music of Edvard

Grieg and published two volumes of Grieg songs with phonetic transcriptions of the Norwegian texts, as well as high quality, singable, English translations. From 1984 to 1993, Ellingboe made three trips to Norway where he was able to study with Grieg scholars Dag Schjelderup-Ebbe

(1926-2013) and Finn Benestad (1929-2012). In 1993, the 150th anniversary of Grieg’s birth,

Ellingboe served on a national committee, organized by the Norwegian government, to celebrate this occasion in the United States. At the University of New Mexico, Ellingboe and his colleagues commemorated the 150th Grieg anniversary by producing a Grieg Music Festival.

Ellingboe’s scholarly activity and work to promote the music of Grieg in the United States earned him the honor of being awarded the Medal of St. Olav by the King of Norway in 1994. 15

Ellingboe decided at this point in his life he would now fully embrace and celebrate Norwegian culture and music whenever the opportunity presented itself. Composing Requiem in 2001-2002 was one of those opportunities.

Requiem Mass History and Content

An examination of Bradley Ellingboe’s Requiem confirms the composer’s understanding of the development and history of the requiem mass. Ellingboe had conducted, sung, and studied many of the great requiems before composing his own. This knowledge and experience influenced his own musical and textual choices.

Meeting the final moments of existence within the physical realm of life is the one common experience fated for all mortal beings. Since time immemorial, the response of the living to this natural occurrence is to commemorate the life of the departed through ceremonies and rituals, both formal and informal, as fitting to the circumstances. Throughout history, music has played a significant role in the various rites of passages observed to sanctify this journey from life to death. For nearly two millennia, the Christian quest for eternal peace in a more perfect form of existence has been expressed in a poetic-musical structure known as the requiem.2

The requiem mass originated in the Roman Catholic church and the earliest sources of requiem chant date back to the tenth century. The Missa pro defunctis, or “mass for the dead,” was sung on behalf of the departed on the day of burial, or the anniversary of the person’s death.

The name of the requiem mass is derived from the first lines of the Introit, of the mass: Requiem aeternam dona eis, Domine.

Musical settings of the requiem mass would continue to develop over the centuries from

Gregorian chant to polyphonic settings. The first extant polyphonic setting is by Johannes

Ockeghem (1410/1425-1497) and dates from the middle of the fifteenth century. The requiem

2 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham: The Scarecrow Press, Inc., 2003), xiii. 16

mass texts became standardized during the Council of Trent (1545-1563), when the Dies Irae became the designated sequence.

Table 2.1 Roman Catholic Requiem Mass and Burial Components3

*Introit: Requiem aeternam... Te decet hymnus Deus in Sion **Kyrie *Gradual: Requiem aeternam...In memoria aeterna *Tract: Absolve, Domine *Sequence: Dies irae *Offertory: Domine Jesu Christe - Hostias et preces **Sanctus & Benedictus **Agnus Dei *Communion: Lux aeterna

(After the Requiem mass service) Burial service texts: *Libera me *In Paradisum

*Mass Proper **Mass Ordinary

The seventeenth century saw an increase in requiem composition as hundreds were composed.4 The requiem mass continued to inspire composers throughout the Baroque,

Classical, and Romantic periods, and many of these requiems are part of the standard choral repertoire today. Notable examples include the Requiem in D minor, ZWV 48 (1730) by Jan

Dismas Zelenka (1679-1745), Requiem in D minor, K. 626 (1791) by Wolfgang Amadeus

Mozart (1756-1791), Missa pro defunctis (c. 1803-1809) by Anton Reicha (1770-1836), Requiem

3 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham: The Scarecrow Press, Inc., 2003), 2-10.

4 Ibid, xvii. 17

in C minor (1816) by Luigi Cherubini (1760-1842), Grande Messe des morts, Op. 5 (1837) by

Hector Berlioz (1803-1869), Messa da Requiem (1874) by Giuseppi Verdi (1813-1901),

Requiem in D minor, Op. 48 (1888) by Gabriel Fauré (1845-1924), Requiem, Op. 89 (1890) by

Antonin Dvořak (1841-1904), and Requiem, Op. 9 (1947) Maurice Duruflé (1902-1986).

After the Protestant Reformation of the sixteenth century, the newly formed Lutheran and

Anglican denominations forbade the use of the Catholic requiem mass. This theological change ushered in the German requiem (or Protestant requiem) tradition that would take root in seventeenth century Germany. Requiem scholar Robert Chase explains in his book, Dies Irae: A

Guide to Requiem Music, the beginning of the German requiem genre:

It was during this period that an alternative requiem with its roots based in Germany came into existence. The first of such works were the Musikalische Exequien by composer Heinrich Schütz, and Deutsche Sprüch von Leben und Tod by Leonhard Lechner. Although they were actually a Protestant version of the requiem, several examples were destined to follow its lead. Hassler, Scheidt, Schein, Bach, and Praetorius, among other Protestant composers, eventually replaced the requiem with the funeral motet or cantata. The ides of the German requiem soon passed into the hands of Catholic composers who continued to cultivate its concept and form. The text of this requiem was composed in the vernacular, generally paralleling that of the Latin rite. Similar works followed from many noted composers, including Thomas Selle, Georg Vogler, Johann Fasch, Franz Schubert, Michael Haydn, Franz Gruber, Hugo Kaun, Helmut Barbe, and César Bresgen. Ein Deutsches Requiem by Johannes Brahms has emerged as the most famous example of this type of requiem.5

One of the primary differences between the Catholic and Protestant requiem traditions is for whom they are written: the Catholic requiem is a mass for the person who died while the

Protestant/German requiem was written to comfort those who remain on earth. The Protestant requiem was not bound by the traditional texts and form of the Roman Catholic requiem mass.

Heinrich Schütz’s (1585-1672) Musikalische Exequien (1636) was one of the first requiem-like

5 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham: The Scarecrow Press, Inc., 2003), xviii. 18

works in the vernacular (German). One of Johann Sebastian Bach’s (1685-1750) earliest cantatas was the funeral cantata BWV 106, Gottes Zeit ist die allerbeste Zeit (c.1707). “In common with later 17th-century cantatas, the libretto is essentially a sequence of Biblical texts. In Bach’s libretto these were extracted from a devotional prayer book drawn up by the theologian Johannes

Olearius entitled Christliche Bet-Schule (Christian School of Prayer).”6 Johannes Brahms’

(1833-1897) Ein deutsches Requiem (1868) was also written in German; Brahms assembled the texts from Martin Luther’s translation of the Bible and the Apocrypha.

It is impossible to recover conscious motivation behind the selection of these texts and the rejection of others. Although Brahms obviously used great care in the selection, his criteria must always remain hidden. Some conjectures, however, are more convincing than others. For example, by starting with the beatitude from the Sermon on the Mount, he chose to introduce the work as a whole with a theme that applies to every movement. Moreover, the choice of this theme distinguishes his work from the traditional mass for the dead by shifting attention from the dead to the living, for whom the central problem is not the loss of loved ones or the moment of death but the many forms of mortality encountered throughout life.7

Table 2.2 Comparison of Roman Catholic Requiem Mass and German/Protestant Requiem Components8

Roman Catholic Requiem Schütz, Musikalische Exequien Brahms Ein Deutsches Requiem,op. 45 and Burial Texts Op.7, SWV 279-281 (1636) (1868) Introit I. Concert in Form einer I. Selig sind, die da Leid Kyrie teutschen Begräbnis-Messe tragen Gradual II. Denn alles Fleisch Tract II. Motet Herr, wenn ich nur III. Herr, lehre doch mich Sequence dich habe IV. Wie lieblich sind Offertory V. Ihr habt nun Traurigkeit Sanctus & Benedictus III. Canticum B.Simeonis Herr, VI. Denn wir haben hie Agnus Dei VII. Selig sind die Toten Communion nun lässest du deinen Diener Libera me In Paradisum

6 Robin A. Leaver, “Brahms’s Opus 45 and German Protestant Funeral Music,” Journal of Musicology , vol. 19 (Fall 2002): 621.

7 Paul S. Minear, Death Set to Music (Atlanta: John Knox Press, 1987), 67.

8 Robert Chase, Dies Irae, 2-10, 540-542, 558-561. 19

During the middle of the nineteenth century, Brahms and many of his contemporaries moved away from composing requiems for a specific person’s mass or funeral; instead, most wrote requiem masses for non-liturgical purposes. Robert Chase discusses possible motivations for this shift in his book, Dies Irae; A Guide to Requiem Music. Chase also discusses the changes that occurred with performance practice and function, and states, “During the romantic era, the requiem made the journey from the sanctuary to the concert hall. Requiems composed by Berlioz and Dvořak, as well as Gounod’s Mors et vita (an oratorio containing a complete setting of requiem text), were specifically created for performance on the stage.”9

Modern composers in the twentieth and twenty-first centuries have continued to write liturgical and non-liturgical requiems. With the juxtaposition of texts from both the Catholic requiem mass and texts compiled by the composer, Ellingboe’s Requiem most certainly can be considered to have been influenced by the German or Protestant requiem tradition.

9 Robert Chase, Dies Irae, xx. 20

CHAPTER 3 NORWEGIAN FOLK MUSIC INFLUENCES

Use of Folk Melody and Leitmotif

Bradley Ellingboe was raised in a Norwegian-American family outside Lakeville,

Minnesota. Ellingboe and his extended family take great pride in their heritage, which has specifically included a lifelong interest in the music of Norway, studying the Norwegian language, and numerous trips to Norway. “Even more than in the fine arts, Norwegian

Americans have placed a great cultural imprint on Minnesota by the transplantation of folk art and folk music traditions”10

There is a strong influence and inclusion of Norwegian folk tunes in Bradley Ellingboe’s compositions and especially Requiem. The direct quotation of the folk tune Jeg lagde mig saa silde in Requiem, and the prominent positioning of this tune throughout the work is a clear indication of the influence. This Norwegian folk song is the primary melodic material for

Movement III, Graduale, and Movement VII, Agnus Dei. Ellingboe remembered singing an arrangement of it in the St. Olaf Choir and also heard this folk song during his travels to Norway.

When asked about the folk melody, Ellingboe stated, “Sometimes folk music can be the way in” and he went on to explain how folk music can be a bridge from popular to art or classical music.11

This Norwegian folk song tells the story of a man who was about to go to sleep one evening when he received word that his lover was sick. He rode quickly to her through the night,

10 Jon Gjerde, Carlton C. Qualey, and Bill Holm, Norwegians in Minnesota (Minnesota Historical Society, 2002), 54.

11 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 21

but by the time he arrived at her house she had already died. He left her house heart broken.12

Ellingboe uses this folk tune to communicate a sense of loss throughout Requiem.

Musical Example 3.1. Norwegian Folk Tune, Jeg lagde mig saa silde13

12 Maud Karpeles, Folk Songs of Europe (London: Novello and Company Limited, 1956), 16-17.

13 Ibid, 16. 22

Although Ellingboe had known this Norwegian folk song for many years, it was included in Requiem with the assumption that it would not be familiar to most listeners. Elllingboe felt the subject matter of the folk song was especially fitting for a requiem. He also liked that the folk tune was both major and minor, and, in his words, “both light and darkness.” Ellingboe considers the idea of the “light and darkness” to be a characteristic of Norwegian folk music and a dichotomy that works well in a requiem.14

The folk tune, Jeg lagde mig saa silde, is first used in the instrumental Graduale,

Movement III. This is the only movement that is entirely instrumental. Historically the Graduale, or Gradual, was sung from a step close to the altar and provided a musical echo to the scripture lesson and a transition to the next scripture lesson in the worship service. Traditionally the

Gradual is a psalm that is sung in meditation on the first lesson reading. Ellingboe’s Movement

III, Graduale also serves as a moment of transition in the larger form of Requiem. This third movement allows for a time of reflection as the performer and listener transition from the solemn, quiet ending of Movement II, Kyrie to the angry, loud fourth movement, Psalm, “My

God, why have you forsaken me.”

Graduale starts with a lamenting cello solo that was introduced in Movement I, Introit.

This cello solo works as a Leitmotif. A Leitmotif is “a musical motto or theme which recurs in a piece of music to represent a character, object, emotion, or idea.”15 The cello solo works as a

Leitmotif and represents the lament of the people left behind to grieve. The cello Leitmotif appears in movements I, III, and VIII serving as another unifying feature for the larger form of

14 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

15 Alison Latham, The Oxford Companion to Music (Oxford: University Press, 2003), 682. 23

Requiem. Other than the octave jump at the beginning of the cello solo, it very much sounds like a folk tune and is related to Jeg lagde mig saa silde. Both start on the fifth scale degree of C minor in this movement (both return in the key of B minor in Movement VIII) and primarily move in intervals of major/minor seconds or thirds, as shown in Musical examples 3.2 and 3.3.

Musical Example 3.2. Cello Leitmotif. Graduale, mm.1-916

Following the opening cello solo of Movement III, Graduale, a dirge-like ostinato begins in the bass clef at measure 10. The folk tune begins in measure 12 in the treble clef as the dirge continues underneath.

Musical Example 3.3. Norwegian Folk Tune. Graduale, mm.10-30

After the folk tune is played in its entirety, there is a short transition, and then the folk tune starts again in measure 42, now in duet with the lamenting cello solo, or Leitmotif. The movement concludes as the folk tune organ solo comes to an end and the cello solo that began this movement returns to close the Graduale. 25

The folk tune Jeg lagde mig saa silde returns in direct quotation in Movement VIII,

Agnus Dei. The cello solo from Movement III, Graduale, also begins Movement VIII. The cello solo establishes the key of B minor in Agnus Dei, versus the former key of C minor in Graduale, as the composer continues to explore new keys to further accentuate the desired mood for each text and movement of Requiem (this is discussed in further detail in Chapter 5 in the “Emotional

Progression” section). After the opening cello solo, the sopranos in the choir sing the traditional

“Agnus Dei” text to the tune of Jeg lagde mig saa silde.

Musical Example 3.4. Norwegian Folk Tune with Voices. Agnus Dei, mm.10-29

Following this, the entire choir sings the “Agnus Dei” text to the folk tune. The reverent mood of this movement continues with a choir and cello duet that is accompanied by the organ.

The folk tune aids in creating a somber mood to accompany this text, which refers to the crucifixion of Jesus Christ. This movement ends as it begins with the Leitmotif cello solo.

Thematic Development—Lord’s Prayer Motive

Movement V, The Lord’s Prayer, was published as a separate octavo a year before

Ellingboe began composing the larger work, Requiem. Ellingboe was familiar with John Rutter’s

Requiem and specifically the inclusion by Rutter of his separately published work, “The Lord is

My Shepherd.” Ellingboe not only included his own work published “The Lord’s Prayer” in

Requiem, but made it the source for most of the important motivic and melodic content. Through motivic analysis of Movement V, The Lord’s Prayer, the influence of folk music on Ellingboe’s

Requiem is further confirmed.

Ellingboe uses the opening three pitches of the primary melody in The Lord’s Prayer as a motive that appears throughout Requiem; specifically, the descending pitches, C-B-G and the corresponding intervals of a minor second and major third. This “Lord’s Prayer Motive” is set to the text “Our” and “who art in” in measures 3 and 4 of this movement (see Musical Example

3.5).

Musical Example 3.5. Lord’s Prayer Motive and Extended Lord’s Prayer Motive. The Lord’s Prayer, mm. 2-4

Throughout Requiem, there is also an “Extended Lord’s Prayer Motive” composed of the descending intervals minor second, major third, and followed by a minor third or a perfect fourth. This extended motive is seen in movement five, “Lord’s Prayer,” in the phrases “Our

Father” and “Who art in heaven” found in measures 2-4 (Musical Example 3.5). In the first 28

movement of Requiem the “Extended Lord’s Prayer Motive” is contained in the first two measures. The first pitch appears in the upper treble clef staff and the subsequent pitches in the lower treble clef staff. This “Extended Lord’s Prayer Motive” appears again in measure 4, and then again in measures 6-7.

Musical Example 3.6. Extended Lord’s Prayer Motive. Introit, mm. 1-7

“The Lord’s Prayer Motive” then functions as the top pitches in the opening of the interlude in measures 20-23, and is played by the flute in both the chamber and full orchestral versions of

Requiem (further discussion of the different instrumentations/versions of Requiem is found in

Chapter 6). This motive can be heard again in measure 110 and 111 in Introit, serving as bookends for the beginning and the ending of this movement.

Musical Example 3.7. Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Introit, mm. 20-23 and mm. 110-113

Movement X, Elegy is the final movement of Requiem. In measures 40-43 of Elegy,

Ellingboe recycles the exact same music, with the “Lord’s Prayer Motive,” used in Movement I,

Introit, in measures 20-23 as seen in Musical Example 3.7. In Movement X, Elegy, starting at measure 48, the tenor and basses of the choir reintroduce the identical “Requiem aeternam” melody and text from Movement I, Introit.

Musical Example 3.8. Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Elegy, mm. 40- 51

The remainder of Movement X, Elegy is the identical music and text used in Movement I,

Introit, except for one important and symbolic difference: The last four measures of Movement

X, Elegy are almost identical to the last two measures of Movement V, The Lord’s Prayer (see

Musical Example 3.9.) Ellingboe has created further symmetry and cohesion as the “Lord’s

Prayer Motive” closes the entire larger work.

Musical Example 3.9. Comparison of Endings in Elegy, mm. 82-85 and The Lord’s Prayer, mm. 46-48

In Movement II, Kyrie, the “Extended Lord’s Prayer Motive” is found in measures 6-8 and is sung by the sopranos, altos, and tenors of the choir. In this section of the Kyrie, Ellingboe once again uses both versions of the “Extended Lord’s Prayer Motive” (see Musical Example

3.5) consisting of the descending intervals of a minor second, major third, and minor third followed by the “Extended Lord’s Prayer Motive” with descending intervals of a minor second, major third, and perfect fourth (see Musical Example 3.10).

Musical Example 3.10. Extended Lord’s Prayer Motive. Kyrie, mm. 6-8

In measure 39 of Kyrie, there is a trumpet solo that uses the “Lord’s Prayer Motive” as the music and text moves from Kyrie eleison in 3/4 time to Christe eleison in 4/4 time. The listener cannot miss this solo since it is featured prominently in the trumpet in the full orchestral version, and on the trumpet organ stop in the other instrumentations available for Requiem. This inclusion of the “Lord’s Prayer Motive” in Kyrie further unifies the larger structure by motivic continuity.

Musical Example 3.11. Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Kyrie, m. 37- 40

An additional use of the “Lord’s Prayer Motive” can be found in Movement IV, Psalm.

In this movement, each pitch is sustained to create striking dissonances as the choir cries out 33

“My God!” In measure one, the soprano part sings the sustained pitches A and G-sharp and then the alto part begins in measure two with the pitch E. This creates the descending intervals of minor second followed by a major third, or the “Lord’s Prayer Motive.” This is repeated in measure 3 and 4 with the addition of the tenors and basses.

Musical Example 3.12. Lord’s Prayer Motive. Psalm, mm. 1-5

In this same movement, Psalm, the sopranos sing the “Lord’s Prayer Motive” in a musical sequence in measures 59 and 60 to the text “pierced my hands and feet, my hands and feet.” The tenors sing this same sequence in measures 61 and 62. This sequence outlines a chromatic scale that is also used in the accompaniment during this section (see Musical Example

3.13).

Musical Example 3.13. Lord’s Prayer Motive. Psalm, mm. 58-61

In Movement XII, Sanctus et Benedictus, the composer was imagining the Palm Sunday story of Jesus coming into Jerusalem and the crowd shouting “Hosanna!”17 This movement includes the sequence of the “Lord’s Prayer Motive” found in Movement IV, as part of opening music to the Sanctus et Benedictus in measures 11-12 and 15-16. At this point in the work, the

“Lord’s Prayer Motive” serves as a powerful reminder and foreshadowing of the “pierced my hands and feet, my hands and feet” in this Palm Sunday movement (see Musical Example 3.14).

17 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

Musical Example 3.14. Lord’s Prayer Motive. Sanctus et Benedictus, mm. 11-12 and 15-16

Continuing in Movement XII, Sanctus et Benedictus, the sopranos and altos of the choir also sing, in unison, both versions of the “Extended Lord’s Prayer Motive” in measures 69-72 to the text “Benedictus” (see Musical Example 3.15). The chromatic sequence “Lord’s Prayer Motive” returns once again in measure 75 and continues throughout the closing of the Sanctus et

Benedictus movement.

Musical Example 3.15. Lord’s Prayer Motive. Sanctus et Benedictus, mm. 68-72

Ellingboe uses the “Lord’s Prayer Motive” and the “Extended Lord’s Prayer Motive” throughout the work to unify musical and thematic concepts. The composer was well aware that the descending motive of a minor second followed by a major third is common in Norwegian folk music.18 In the dissertation “Comparison of Melodic Variants in the Hardingfele Repertoire of Norway: An Analytical Study of an Aural Folk Tradition,” by Andrea Ruth Een, this motive is mentioned as one of the primary motives in this folk music tradition. “Four different motives were identified as significant elements of most of the variants: these were labeled Motive A,

Motive B, Motive C1, and Motive C2.”19 Motive B’s first three pitches create the descending intervals of a minor second followed by a major third. Grieg scholars, Finn Benestad (1929-

1998) and Dag Schjelderup-Ebbe (1926-2013), also support this claim in their book, Edvard

Grieg: The Man and the Artist, “a descending line in which the minor second is followed by a major third (c-b-g). This melodic pattern is found frequently in Norwegian folk music.”20

Musical Example 3.16. Lord’s Prayer Motive as a Norwegian Folk Motive, Motive B21

18 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

19 Andrea Ruth Een, Comparison of Melodic Variants in the Hardingfele Repertoire of Norway: An Analytical Study of an Aural Folk Tradition (Ann Arbor: University of Illinois at Urbana-Champaign, 1977), 41-42.

20 Finn Benestad and Dag Schjelderup-Ebbe, Edvard Grieg: The Man and the Artist (Lincoln and London: University of Nebraska Press), 49.

21 Andrea Ruth Een, Comparison of Melodic Variants, 42. 37

Folk music is clearly one of the major influences in Requiem. Bradley Ellingboe’s upbringing included significant exposure to the folk music tradition of Norway. His inclusion of the folk tune, Jeg lagde mig saa silde, and his pervasive use of the “Lord’s Prayer Motive,” which is a Norwegian folk motive, further demonstrates this influence on his first major choral- orchestral work. “In the history of music, Norway is unusual. Because of its geographical isolation and the difficulties of travelling within the country, it has a long tradition of folk music of great variety peculiar to itself, whereas it came only recently into the realms of ‘classical’ music compared with other European countries. Folk music has had a major influence on

Norwegian art music and is of some antiquity”22 Ellingboe’s Requiem is another example of this relationship of folk music inspiring classical music.

22 Beryl Foster, The Songs of Edvard Grieg (Aldershot: Scolar Press, 1990), 1. 38

CHAPTER 4 INFLUENCE OF THE MUSIC OF EDVARD GRIEG

Bradley Ellingboe is a Grieg scholar who published two volumes of Grieg songs with phonetic transcriptions of the Norwegian texts. Through his extensive work on the music of

Grieg, Ellingboe discovered that one of the distinctive characteristics of much of Grieg’s music is the drone pedal. The drone pedal is used in the playing of the Norwegian folk instrument, the

Hardanger fiddle. “The Hardanger fiddle is also distinguished by its four sympathetic strings and the drone effect produced by them and by the short strings on the other popular stringed instrument, the langeliek, is also reflected in Grieg’s frequent use of pedal notes.”23 Ellingboe’s use of drone pedals as a musical device not only pays homage to the Norwegian folk tradition but is also evidence of Grieg’s influence on Ellingboe and his Requiem.

Drone Pedal Use

It is common to find many of the folk tunes in Grieg’s music coupled with a drone pedal.24 “Grieg harmonizes much of this music (referring to Norwegian Folk Melodies and

Dances, Op. 17) with drone pedals; this simple folk like effect consorts oddly with the mildly chromatic style of nineteenth century art music also present in the set.”25 A drone is defined as a

“sustained droning sound, or a musical instrument or part of an instrument which produces such

23 Beryl Foster, The Songs of Edvard Grieg (Aldershot: Scolar Press, 1990), 5.

24 John Horton and Nils Grinde, “Grieg, Edvard” (Grove Music Online, 2001) Accessed March 9, 2018, http://www.oxfordmusiconline.com.ezproxy4.library.arizona.edu/grovemusic/ view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000011757.

25 Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York: W.W. Norton & Company, 1984), 394-5. 39

a sound and maintains it throughout a piece or section of music.”26 In the case of these examples, the drone is located in the lower voice, therefore making it a drone pedal.

Musical Example 4.1. Norwegian Folk Melodies and Dances, Op. 1727

Bradley Ellingboe’s Requiem uses drone pedals as an accompaniment in many of the movements. In Movement I, Introit, the introduction and accompaniment for the “requiem aeternam” melody is a drone pedal from measures 24-30, with a repeated harmonic interval of a fifth created by the pitches C2 and G2 in ostinato of half note followed by a quarter note in 3/4 time. The same rhythmic ostinato returns in measures 36-39. The same drone pedal accompaniment also returns in measures 74-80 when the “Requiem aeternam” melody returns.

26 Anthony C. Baines, “Drone (i)” (Grove Music Online, 2001) Accessed September 23, 2018, http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/ 9781561592630.001.0001/omo-9781561592630-e-0000008192.

27 Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York: W.W. Norton & Company, 1984), 395. 40

Musical Example 4.2. Drone Pedal, Introit, m. 24-31

A similar drone pedal (with a second quarter note added) is in Movement III, Graduale, in measures 10-27. In this instance, the ostinato is in 4/4 time and in the key of C minor. In this movement, the drone pedal accompanies the folk tune, Jeg lagde mig saa silde. This movement also uses a G2 sustained pedal in measures 1-9 as sparse accompaniment to the opening cello solo. This same sustained G2 pedal returns in measures 43-49 and measure 52-57 in the

Graduale.

Musical Example 4.3. Drone Pedal. Graduale, mm. 1-19

Ellingboe once again uses a drone pedal in Movement XII, Sanctus et Benedictus, on the pitch E2, measures 1-34. In measures 35-42, there is a drone containing the pitches E3-B3-E4.

The E2 pedal from the beginning of this movement returns in measures 52-59, and then changes to an E2-B2-E3 pedal in measures 60-67. Measures 68-76 have a similar drone pedal sustaining underneath the choir but it is now E3-B3-E4.

Musical Example 4.4. Drone Pedal. Sanctus et Benedictus, mm. 35-42

Movement VIII, Agnus Dei has a unique drone pedal ostinato that is used in measures 49-

66. This ostinato is in 4/4 time and is made up of half notes. B2 and C-sharp4 are simultaneously sounded and are followed by a half note on F-sharp3. The ostinato from B2 and C-sharp4 to the

F-sharp3 is an ascending and descending interval of a fifth. This new drone pedal accompanies the folk tune Jeg lagde mig saa silde sung by the choir on a unison “oo,” or hum.

Musical Example 4.5. Drone Pedal. Agnus Dei, mm. 45-54

Similar to Movement VIII, Agnus Dei, Movement IX, Communion (“Evensong”) begins with a pedal ostinato of half note F-sharp2 followed by half note F-sharp3 in measures 1-8.

Musical Example 4.6. Drone Pedal. Evensong, mm. 1-8

In measures 27-43, there is a two-measure pattern where the tied whole notes, F-sharp3 and F- sharp4, are sustained for two measures and then played again after a lift. This two-measure pattern also includes a D4 whole note tied to a half note that resolves down to a C-sharp4 half note. The bass line of this pattern is four half notes (B2-A2-G2-A). This two-measure pedal ostinato accompanies a unison men’s part in the choir. This is not a folk tune but functions in a similar fashion with the single line that moves primarily in stepwise motion (see Musical

Example 4.7).

Musical Example 4.7. Drone Pedal. Evensong, mm. 27-41

Motivic Development

One aspect of Norwegian folk music and the music of Edvard Grieg is consistent motivic quotation and development. Ellingobe’s use of the “Lord’s Prayer Motive” throughout the work further demonstrates the influence of Grieg and Norwegian folk song.

The Grieg-motif, a theme built on three notes, was gradually to become a trademark in many of his works, and is prominent in the second movement of the violin sonata. This theme gradually came to be regarded as the musical expression for the Norwegian element in Grieg's music. The theme has the notes A – G-sharp – E in A minor and, in the major key, the notes A – G – E. Another distinctive example of the use of this theme is in the beginning of the first movement of the Piano Concerto, Op. 16.28

Musical Example 4.8. Grieg Motive. Piano Concerto in A minor, Op. 16, movt. I

The Grieg Motive (in the minor key) as described by Norheim is the “Lord’s Prayer Motive” from Ellingboe’s Requiem. Both motives use the descending intervals of a minor second and a major third.

The folk song Jeg lagde mig saa silde is the primary melodic material in Movements III,

Graduale and VIII, Agnus Dei. This folk tune begins with the interval of a major third followed by a minor second. This is an inversion of the “Lord’s Prayer Motive.” The influence of Grieg

28 Øivind Norheim, liner notes to Grieg: Violin Sonatas Nos. 1-3, Helge Kjekshus and Henning Kraggerud, Naxos 8.553904, CD, 1997.

and Norwegian folk music, which cannot be over-stated, is further evidenced by understanding these motivic relationships in Ellingboe’s Requiem. “The Grieg-motif, in its simple, original form, is not particular to Grieg, as it appears in many other connections, with other composers and in Norwegian and other folk-music. Much instrumental Norwegian folk-music is constructed of such small melodic themes, almost like cells, which are repeated with small variations. The sections are then connected into larger units.”29

St. Olaf College published a collection of lectures from a four-day symposium on the music of Edvard Grieg in 1993. Bradley Ellingboe was one of the Grieg scholars invited to lecture and perform for this symposium. One of the published lectures found in Edvard Grieg

Today, A Symposium is by Peter Hamlin (b.1951), Assistant Professor of Theory and

Composition at St. Olaf College (at the time of publication), titled “A Composer’s Perspective.”

In this published lecture Hamlin discusses the motivic material found in Grieg’s Piano Concerto in A minor, “one of the things that I find most striking about his piano concerto is the way that

Grieg has taken the materials and made them relate in very interesting ways.”30

Hamlin mentions the familiar opening motive of A-G-sharp-E (descending minor 2nd- major 3rd) of Grieg’s Piano Concerto in A minor. This is the same motive as Ellingboe’s “Lord’s

Prayer Motive”. Hamlin goes on to show how future motives in the Piano Concerto in A minor are related to this opening motive. Near the end of his lecture he states, “I find Grieg ingenious in the skill with which he takes simple elements and spings them into very natural-sounds and still highly integrated musical materials. Moreover, I think such a practice is itself very forward-

29 Øivind Norheim, liner notes to Grieg: Violin Sonatas Nos. 1-3, Helge Kjekshus and Henning Kraggerud, Naxos 8.553904, CD, 1997.

30 Edvard Grieg Sesquicentennial Symposium, William H. Halverson, and Dag Schjelderup-Ebbe, Edvard Grieg Today: A Symposium (Northfield: St. Olaf College, 1993), 38. 48

looking, for that is precisely how many twentieth-century composers think about their material.”31

Ellingboe introduces his primary motivic material in the first two bars of Requiem, just like Grieg in his Piano Concerto in A minor (see Musical Examples 3.6 and 4.1). This motive is related to motivic and melodic material throughout Requiem. Movement I, Introit, includes examples of motives related to the opening motive of Requiem. The lamenting cello solo, first introduced in measures 63-72 of the first movement, uses a clear example of a related motive.

After the octave leap (G3-G4), the first two descending figures are G-F-D and F-E-flat-C. Both descending figures have major seconds followed by minor thirds.

Musical Example 4.9. Grieg Formula. Introit, mm. 63-73

In Grieg’s music, this is known as the minor form of the Grieg Formula. Grieg scholar Dag

Schjelderup-Ebbe speaks to this minor version: “It should be pointed out, however, that this

31 Edvard Grieg Sesquicentennial Symposium, 40. 49

phrase also occurs in another, less noticed version with a descending major second followed by a minor third. We will speak of these two melodic patterns as the major and minor forms of the

“Grieg Formula.”32 This cello solo includes both the major and minor forms of the Grieg

Formula with measures 68-69 and 70-71 include the descending figure of C-B-G, or the “Lord’s

Prayer Motive.”

Measures 74-77 of Introit function as an introduction to the return of the melody that goes with the text “requiem aeternam.” This four-measure introduction also includes a variation of the “Grieg formula” with the short phrase of C-B-C-G that is repeated. The only difference is the added C. This motive is also used in measures 94, 96, 102, and 104.

Musical Example 4.10. Grieg Formula Variation. Introit, mm. 74-77

The primary melody of Movement II, Kyrie is also related to the Grieg Formula. The melody set to the “Kyrie eleison” text begins on the tonic, B-flat, and descends to the leading tone. The B-flat is the first pitch of the melody and the A is stressed by the placement on beat one. The longer phrase then ends on the dominant (F) and is a half note. This ensures that the listener hears the tonic, leading tone, and dominant in the longer melodic phrase.

32 Finn Benestad and Dag Schjelderup-Ebbe, Edvard Grieg: The Man and the Artist (Lincoln: University of Nebraska Press, 1988), 49. 50

Musical Example 4.11. Grieg Motive. Kyrie, mm. 14-18

In the middle section of Movement II, Kyrie, the melody for the text “Christe eleison” is also related to the Grieg Motive. This melody begins with a sequence of tonic-leading tone- tonic-dominant in measures 41-42. The next phrase is tonic-leading tone-tonic-subdominant

(measures 42-43) followed by tonic-leading tone-tonic-mediant (measures 43-44). This sequence melody ends on the dominant in measure 45. Once again, the listener’s ears are lead to the tonic, leading tone, and dominant by their placement within the larger phrase.

Musical Example 4.12. Grieg Motive Variation. Kyrie, mm. 41-45

The sopranos begin a new melody in measure 49 of the Movement II, Kyrie, still on the text of “Christe eleison.” This new “Christe eleison” melody is sung by the sopranos in measures

49-54 and is repeated in measures 66-71. The opening phrase of this new melody begins with the ascending pitches B-flat, D, E-flat. These create the intervals of a major third followed by a minor second. This is a retrograde inversion, or related motive of the Grieg Motive.

Musical Example 4.13. Grieg Motive Variation. Kyrie, m. 49-52

Ellingboe uses the minor version of the Grieg Formula (major second followed by minor third) to begin the primary melody in Movement VI, Death Be Not Proud. Measures 3-4, in the top line of the organ (or orchestra) accompaniment, is the first appearance of the minor Grieg

Formula in this movement. This Grieg Formula, or variation of the “Lord’s Prayer Motive,” is then sung by the alto soloist in measure 7 (see Musical example 4.14). This variation also returns in the B section of the movement in the accompaniment in measures 51 and 59. In both measures the alto soloist has dropped out to ensure this part of the accompaniment is not missed.

Musical Example 4.14. Grieg Formula Minor Variation. Death Be Not Proud, mm. 3-7

Ellingboe uses the variation motive of the ascending intervals of a major third followed by a minor second at the middle of Movement IX, Communion (“Evensong”). At measure 75, the tenors and basses sing the first phrase of a new melody with the ascending pitches E-G- 53

sharp-A. The second phrase, sung by the sopranos and altos, begins with ascending pitches A-B-

D which is a major second followed by a minor third. This pattern is repeated in measures 78-81,

97-98, and 101-102. This melodic content leads us into the D major climax in measures 116-131.

Musical Example 4.15. Grieg Formula. Communion, mm. 71-79

The final movement, Elegy has a related motive that begins in the flute solo in measure 1.

The flute starts with the dominant pitch in G major: D. The flute begins its first phrase by playing an ornamental figure on the pitches D and E and eventually climbs to the G (the tonic).

A reduction of this opening solo would be dominant-submediant-tonic, creating the ascending intervals of a major second followed by a minor third.

Musical Example 4.16. Related Grieg Formula. Elegy, mm. 1-4

The related motivic material throughout Requiem creates cohesion and further demonstrates the influence of Edvard Grieg. “Eggen suggests that Grieg employs folk tunes in two ways. He either straightforwardly presents a folk tune as a polished gemstone, or, having received inspiration from the folk song, creates a new composition from this material.”33

Ellingboe, like Grieg, has both presented a folk tune as a polished gemstone (Jeg lagde mig saa silde) and received inspiration for new melodic and motivic material from this tradition.

33 Edvard Grieg Sesquicentennial Symposium, William H. Halverson, and Dag. Schjelderup-Ebbe, Edvard Grieg Today: A Symposium (Northfield: St. Olaf College, 1993), 38. 55

CHAPTER 5 INFLUENCE OF LUTHERANISM

Bradley Ellingboe was raised as a Lutheran in Lakeville, MN. Many of his family members have served in the Evangelical Lutheran Church of America (ELCA) including one brother who currently serves as an ELCA pastor. Ellingboe attended a college of the ELCA church, St. Olaf College, and has held membership in various Lutheran congregations the majority of his adult life. He also served as the Director of Music at St. Paul Lutheran in

Albuquerque, New Mexico for nineteen years. The larger form, texts, and text-painting used in

Requiem were clearly influenced by his Lutheran background, beliefs, and understanding of the function of the liturgy.

Architecture

In discussing the larger form of Requiem and the texts he included, Bradley Ellingboe stated, “My guiding principle was what music would happen if this was a church service.”34

Ellingboe was specifically trying to create a liturgical work that could function in a funeral or memorial service in a traditional Lutheran church. Here are the ten movements of his Requiem.

34 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 56

Movement Title I. Introit* II. Kyrie** III. Graduale* IV. Psalm (“Why Have You Forsaken Me?”) V. The Lord’s Prayer VI. Death Be Not Proud text by John Donne VII. Sanctus et Benedictus** VIII. Agnus Dei** IX. Communion (“Evensong”) text by George Herbert X. Elegy (Lux aeterna)*

* Mass Proper, ** Mass Ordinary

Figure 5.1. Ellingboe’s Requiem. Ten Movements and Architecture

Ellingboe’s Requiem is divided into two parts: the Word (Movements I-V) and the Meal

(Movements VI-X). This division places Movement III as the central movement of the “Word” portion of Requiem and Movement VIII as the central movement of the “Meal” portion. These two movements are mirrors of each other; the Graduale being the third movement from the beginning and the Agnus Dei the third movement from the end. The Graduale and Agnus Dei movements contain the same melodic material, the Norwegian folk tune Jeg ladge mig saa silde.

This chiastic structure, or quasi-arch form, not only creates symmetry, but further emphasis of specific musical material and adds cohesion to Requiem.

Word I. Introit II. Kyrie III. Graduale IV. Psalm 22 V. The Lord’s Prayer

Meal VI. Death Be Not Proud VII. Sanctus et Benedictus VIII. Agnus Dei IX. Communion (“Evensong”) X. Elegy

Figure 5.2. Ellingboe’s Requiem. Chiastic Structure

Another example of Ellingboe’s use of chiastic structure in Requiem is found with

Movement I, Introit, and Movement X, Elegy. These two movements not only share similar melodic and motivic content, but also share similar texts. Movement X, Elegy, which closes the entire work, includes the “Requiem aeternam” text from Movement I. Opening and closing the

Requiem with identical music and texts aids in the unification and chiastic symmetry of the larger form.

The location and inclusion of Movement V, The Lord’s Prayer, reveals the influence of

Ellingboe’s Lutheran faith on the overall structure and texts in Requiem. Ellingboe designed this movement to be the end of the first half of Requiem, or the Word portion of the service. The

Lord’s Prayer is spoken in a traditional Lutheran service by the entire congregation. Not only does The Lord’s Prayer serve as the end of the Word portion of Requiem, but also as a quasi- sermon. During the interview with Ellingboe he stated, “Everything we need to know in 58

Christian religion is in the Lord’s Prayer.”35 The unique use and prominent positioning of the

Lord’s Prayer text further demonstrates the influence of the composer’s Lutheran faith.

But where there is to be a true prayer, there must be earnestness. Men must feel their distress, and such distress as presses them and compels them to call and cry out; then prayer will be made spontaneously, as it ought to be, and men will require no teaching how to prepare for it and to attain to the proper devotion. But the distress which ought to concern us most, both as regards ourselves and every one, you will find abundantly set forth in the Lord’s Prayer.36 Essentially, Martin Luther knew no better way to express devotion to God than through prayer, and when a person is in distress, no prayer was better suited than “The Lord’s Prayer.”

In keeping with the practical goal of having Requiem work in a liturgical service, the composer included a movement for musical reflection following the sermon (a vocal solo,

Movement VI) and communion music (Movement IX). Movement VI, Death Be Not Proud, is a vocal solo for alto (or mezzo-soprano.). This same movement can also fulfill the function of an offertory for the service that would normally take place after the sermon; in this case The Lord’s

Prayer is considered the sermon.

In Catholic and some Protestant traditions, the Sanctus and Agnus Dei would be spoken or sung before receiving the elements of communion. In Ellingboe’s Requiem, these two parts of the requiem mass are included and sung in Latin. Movement IX, Communion (“Evensong”), functions as the music performed during the congregation’s receiving of the elements.

35 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

36 Martin Luther, The Large Catechism (Grand Rapids, MI: Generic NL Freebook Publisher), 26-27. 59

Emotional Progression of Grief

Ellingboe’s Requiem is a musical representation of the experience of losing a loved one.

The composer revealed in an interview, “I was trying to chart an emotional progression.”37 The universal experience of the mourning process was another major consideration in the larger form, text choices, melodies, keys, and other musical choices in Requiem. As discussed in the brief history of the requiem tradition in Chapter 2, this concern with the feelings of the mourners is also a characteristic of the German, Protestant requiem tradition and further demonstrates

Ellingboe paying homage in Requiem to his Lutheran background.

The overall emotional progression in Ellingboe’s Requiem can be charted with the movement to the nadir, or lowest moment in the mourner’s grief, and then the rise to the zenith, or highest moment, representing the final stage of grief and loss: acceptance.38 In Lutheran and other Christian denominations, the deceased’s journey would eventually end in heaven or hell.

The composer’s assumption is that the person who has died has lived a good life and is headed to heaven.39

I II III IV V VI VII VIII IX X Requiem movements Movement IV- Nadir (lowest point) Movement IX- Zenith (highest point)

Figure 5.3. Emotional Progression in Requiem

37 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

38 Susan Roos, “The Kublar-Ross Model: An Esteemed Relic,” Gestalt Review (2012): 314.

39 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 60

The well-known Kubler-Ross stages of grief are denial, anger, bargaining, depression, and acceptance. Susan Roos states, “The world owes much to Kubler-Ross for sharing with us her understandings of death and dying.”40 In charting an emotional progression, Ellingboe includes four of these five stages in his Requiem and uses musical devices to express these stages of grief. Movements I and II, Introit and Kyrie, are musical representations of the stages of grief known as denial and anger. Movement III, Graduale, represents the stage of grief known as depression. Movement IV, Psalm, is clearly a movement of anger. Movements V through X represent the long journey toward the final stage of grief, acceptance.41

The opening movement, Introit, represents the denial that first accompanies the feelings of loss and grief. The movement is in C major except for a middle section, measures 44-72, where it abruptly changes to C minor with a tempo shift from Andante (mm.=86) to Allegro

(mm.=132.). In measure 74, there is a return to C major and the movement ends in this key.

Except for the middle section of measure 44-73, the movement is purposefully “straight forward.”42 This represents the mourner attending the wake, or funeral, and as Ellingboe states,

“going through the motions.”43 Measures 44-72 foreshadow what is to come emotionally in

Movement IV, Psalm: Anger! The text used in both movements is, “Exaudi orationem meam ad te omnis caro veniet,” translated as “O Lord I pray Thee, hear my prayer. For to thee all flesh shall come.” This passage gives the impression of the mourner shouting out these words because

40 Susan Roos, “The Kublar-Ross Model: An Esteemed Relic,” Gestalt Review, vol. 16, no. 3 (2012): 314.

41 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

42 Ibid.

43 Ibid. 61

Ellingboe has set this text with a forte dynamic and the call for marcato articulation in measures

46-51. The shift to C minor is also striking and is accompanied by a tempo change. The instrumental accompaniment also changes character, moving away from the rhythmic pattern established in measures 24-43 of half note followed by a quarter note in each 3/4 measure. The harmonic rhythm in measures 24-43 is slow with only one chord per measure. In measures 44-63 the accompaniment changes to an accented beat one followed by two beats of rest and a faster harmonic rhythm.

Musical Example 5.1. Emotional Progression Text-Painting. Introit, mm. 40-47

The change to a faster harmonic rhythm and use of silence and accents in the accompaniment further accentuate the angry musical outburst as the mourner expresses anger over the reality that: “For to thee all flesh shall come.” This move away from denial into anger is only for a brief moment. It is as if the mourner is saying “I don’t want you to take this particular ‘flesh’ away from me!”44

Beginning at measure 64 of Introit (remaining in C minor), Ellingboe first introduces the solo cello that will return in Movements III and VIII. This cello solo begins with an octave leap from G3 to G4. This is also the upper part of the cello range; producing a striking timbre. The range and octave leap imitate a cry, or shout. The cello solo represents the lament of the grieving person.45 These musical devices used in measures 44-72 clearly express the emotion of pain and anger at this point in the mourning process. The measure of rest (measure 73) and the four measures of interlude (measures 74-77) bring us back to the “Requiem aeternam” text and music, and the key area of C major. This is also a return in the emotional progression to denial, or numbness, which ends the Introit movement.

Movement II, Kyrie, is a more emotionally stagnant movement. There is an opening, unaccompanied section for the choir in measures 1-9 that modulates from C major to B-flat major. B-flat remains for the entirety of the Kyrie and the text and form follow the tradition of three parts: Kyrie eleison, Christe eleison, Kyrie eleison. The melodies in the opening Kyrie

(measures 10-38) and Christe (measures 39-79) sections stay in comfortable ranges and each section changes dynamics gradually so that there is nothing subito or melodically disjunct. The

44 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

45 Ibid. 63

first sign of an emotional change that is manifested in the music is in measures 77-79 with a

Maestoso marking. Until this point in the movement, the tempo has stayed consistent with

Andante (quarter note = 80). Measure 77 is forte and is followed by a very fast diminuendo and molto ritardando in measure 78 that leads to a pianissimo dynamic and fermata on a unison B- flat in measure 79 sung by the sopranos and altos. At measure 80, the “Kyrie eleison” text and melody return with the marking of “Longingly” and a piano dynamic. These few bars indicated

Maestoso, and the measures leading to it, are a short departure from the overall feeling of denial and numbness that has been musically expressed through the consistent tempo and key, comfortable ranges in the choir, and gradual dynamic shifts.

Musical Example 5.2. Emotional Progression Text-Painting. Kyrie, mm. 77-80

The Kyrie movement ends with descrescendo al fine and the singers hum the last five bars. This represents a musical and emotional segue that prepares for Movement III. At the end of Movement II the mourner is no longer in a stage of denial or disbelief, but is starting to feel the overwhelming sadness and anger which is represented more fully in Movements III and IV. 64

In describing the end of the Kyrie, the composer used the imagery of the mourner being at home with friends and family, after the funeral, where pleasantries are expressed about the person who has died. It is from measure 77 to the end where the final guests are leaving, and the door is slowly closing. The person in mourning is finally all alone and they fall to the floor weeping, overcome with grief.46

Movement III opens with the lamenting cello solo that first appeared in Movement I.

New here is a G pedal played underneath the nine-measure cello solo. The key returns to C minor, as it was in the middle section of Movement I. At measure 10, a “dirge” begins (as described by Ellingboe).47 This dirge ostinato is slow (quarter note = 68) and is supposed to remain steady. The use of this repeated rhythmic pattern of half note, quarter note, quarter note for each 4/4 bar further accentuates a relentless feeling of hopelessness and despair. This dirge ostinato also represents a funeral procession. The minor key and lamenting cello solo musically set the desired emotion. Starting at measure 12, the folk tune Jeg lagde mig saa silde is introduced in the treble clef, above the dirge ostinato. The importance of the inclusion of this

Norwegian folk tune is further discussed in Chapter 3. This folk tune itself feels unsettled, with the raised and then lowered leading tone. A particularly poignant moment in this movement starts at measure 42 where the folk tune is played in duet with the lamenting cello solo while a G pedal accompanies underneath. The movement ends quietly with fragments of both the folk tune and the cello solo in measures 58-64. The change in texture in these measures signals a change in the emotional progression. The final chord includes the pitches C-D-G, an open fifth with an

46 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

47 Ibid. 65

added 9th/2nd. The D pitch adds an unstable quality and sets up the new key of D minor in the following movement.

The opening music of Movement IV imitates an angry outburst, or shouting. The sopranos simultaneoulsy sing the pitches A and G-sharp and hold into measure two while the altos simultaneoulsy sing pitches E and D-sharp. This creates sustained dissonances of minor seconds and tri-tones being sung at a fortissimo dynamic. The emotional progression has clearly moved to anger. The tenors and basses follow this same pattern until all singers are together in a dissonant cry in measures 4 and 5. In referring to this movement, Ellingboe stated in our interview, “I think it’s okay to yell at God.”48

Musical Example 5.3. Emotional Progression Text-Painting. Psalm, mm. 1-5

48 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 66

Measure 6 of Movement IX, Psalm, begins what the composer calls a “Pointless

Pasacaligia.”49 This repeating bass line represents the anxious thoughts that bother a person in the night. From measure 6 to 9 there is a single bass line until a counter melody joins at measure

10. This single bass line continues to grow in number of parts and volume until measure 28 where a fortissimo dynamic is reached and the “Pointless Pasacaligia” has developed from a single bass line to a full texture for the organist or orchestra.

49 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

Musical Example 5.4. Emotional Progression Text-Painting. Psalm, mm. 6-30

This is a musical depiction of how one anxious thought leads to another and eventually to a point of exhaustion and anger. It is at that moment that the text of Psalm 22, “My God, why have You forsaken me? Why are you so far from me?” is sung in unison at a fortissimo dynamic by the 68

choir in measures 28-37. This movement represents the lowest point in the emotional progression of grief (refer to Figure 5.3. Emotional Progression in Requiem).

Movement V, The Lord’s Prayer, is the central movement of Requiem. Movement IV,

Psalm was the nadir, or lowest point, and Movement V, The Lord’s Prayer is the beginning of moving towards acceptance and healing in the grief process. The opening of The Lord’s Prayer indicates a change with the return of C major (the key of Movement I). This is a striking difference from Movement IV that ends with a D minor chord with an added ninth . In the last two bars of Psalm, the men in the choir are singing the text “Help me” on the pitch E4. This is in the highest part of the bass range which creates intensity for the singer and the listener. Ellingboe wanted it to feel like, “It’s the wrong note.”50 The beginning of Movement V is a complete departure from the feeling of hopelessness created at the end of Movement IV. This shift from D minor to C major clearly indicates a move towards the zenith, or highest part of the emotional progression in Requiem.

Movements V-VII continue the steady rise to the zenith, which is Movement IX,

Communion (“Evensong”). The text and text-painting in Movement VI, Death Be Not Proud is discussed in more detail in the section in this chapter on Soul Sleep. This movement is what the composer calls a “Dance with Death.”51 This movement is primarily in C minor, but because of the dance-like meter of 8/8 (3+3+2), it does not have the same emotional feel as Movement III

(also in C minor.) Movement VI ends with a C major chord at a fortissimo dynamic that declares a clear victory over death.

50 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014.

51 Ibid. 69

Movement VII, Sanctus et Benedictus is in E major and has the tempo indication of

“With urgency,” dotted quarter note = 80. The key and 6/8 meter continue a rise in the emotional progression. The text-painting in this movement is more concerned with the Palm Sunday story of Jesus coming into the city of Jerusalem. This text and the musical devices Ellingboe uses are discussed later in this chapter.

In Movement VIII, Agnus Dei there is a return of the lamenting cello solo in measure 1-9.

The sopranos sing the traditional “Agnus Dei” text from the Catholic mass to the folk tune Jeg ladge mig saa silde in measures 10-29 with a single cello line accompaniment. The folk tune is then restated with the “Agnus Dei” text by the entire choir in measures 30-49, with the lower three voices of the choir providing harmony. The key of B minor and the return of the folk tune and cello solo are meant to recall the feelings of sadness and anger expressed in the first four movements of Requiem. The difference is that now the mourner has the emotional strength and understanding, because of the texts and music in Movements V-VII, to deal with the loss of their loved one. This change is evident in the progression of the lamenting cello solo that is first introduced in Movement I. In Introit, the cello solo interrupts the choir and orchestra/organ in the middle of the movement with a strong mezzo forte entrance that is supposed to stay intense throughout the solo. This is the same at the beginning of Movement III, Graduale. The last time the lamenting cello solo is heard is at the end of Movement VIII, Agnus Dei. This time the composer calls for a forte entrance with the marking con forza by the cellist. The cello solo also starts to slow down with a ritardando al fine marking and a written out diminuendo of f-mf-mp-p.

This difference in how the cello solo is to be played represents the final acceptance in the emotional progression of the mourner and moves us to the zenith of this progression.

The climax of Requiem is found in Movement IX and this movement is the arrival point of the positive ascension in the emotional progress. This movement is in D major, although it takes time to establish the major key. The choir starts in unaccompanied octaves at measure 118 and ascends to a fortissimo D major chord in measure 123 on the text “And wake with Thee forever”; all anxiety, anger, sadness, and doubt are finally eliminated with this triumphant ending of the movement. Ellingboe uses a circle of fifths going from D major at the end of Communion to G at the beginning of Lux Aeternam. At measure 40 of Movement X the music and text from

Movement I, as well as the key of C major, return to end the work. This key progression of D-G-

C major adds a sense of finality and closure in the last two movements of Requiem.

Texts

Bradley Ellingboe described himself as a “traditionalist” during one of our interviews.52

This “traditionalist” part of the composer is apparent when examining the texts chosen for many of the movements of Requiem. As mentioned before, the composer envisioned this work being used in a Lutheran church service. The Kyrie, Psalm, Lord’s Prayer, Sanctus et Benedictus, and

Agnus Dei texts all would be spoken or sung in the congregation’s vernacular in a traditional

Lutheran service. The Alto solo Movement VI, Death Be Not Proud, to poetry by John Donne

(1572-1631), functions as Offertory music. Movement IX, the Communion music, sets the poem

“Evensong” by George Herbert (1593-1633). The Introit and Elegy include traditional requiem and burial texts. Further examination will reveal the Lutheran influence.

52 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 71

The first two movements of Requiem are the Introit and Kyrie. Both movements include liturgical texts from the original Roman Catholic requiem tradition. It is important to note that

Bradley Ellingboe did alter the traditional order of the Introit text in Requiem. Here is the standard order of the Introit opening from the Roman Catholic tradition53:

(Antiphon) Requiem æternam dona eis, Domine, et lux perpetua luceat eis. (Psalm 65) Te decet hymnus Deus, in Sion, et tibi reddetur votum in Ierusalem. Exaudi orationem meam; ad te omnis caro veniet. (Antiphon) Requiem æternam dona eis, Domine, et lux perpetua luceat eis.

Here is the order of the text in Ellingboe’s Introit:

Te decet hymnus Deus, in Sion, et tibi reddetur votum in Jerusalem. Requiem æternam dona eis, Domine, et lux perpetua luceat eis. Exaudi orationem meam; ad te omnis caro veniet. Requiem æternam dona eis, Domine, et lux perpetua luceat eis.

In Ellingboe’s Introit, the text begins with “Te decet hymnus Deus, in Zion, et tibi redetur votum in Ierusalem.” This text originates from the first verses of Psalm 65 and translates as follows, “A hymn befits thee, O God in Zion, and to Thee we offer a vow in Jerusalem.” The composer describes this beginning of his Introit as a “formal greeting.”54 It was important to Ellingboe to

53 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham: The Scarecrow Press, Inc., 2003), 2.

54 Bradley Ellingboe, interview by author, Albuquerque, New Mexico, January 10-11, 2014. 72

first “greet” and give God praise before asking for eternal rest for the person who has died. The accompaniment to the opening text of Ellingboe’s Introit is sparse, which further draws the listener’s attention to this opening phrase. This formal greeting begins with a pedal in the organ

(or strings) of an open fifth. This opening section of text ends with unaccompanied singing on the final words “votum in Jerusalem,” or “a vow in Jerusalem.”

In keeping with the Roman Catholic requiem tradition, the third movement of Ellingboe’s

Requiem is the Graduale. The Roman Catholic gradual was sung after the reading of the Epistle.

The text is:

Requiem æternam dona eis, Domine: et lux perpetua luceat eis. In memoria æterna erit iustus, ab auditione mala non timebit.55

This translates to “Grant them eternal rest, O Lord. Let perpetual light shine upon them. The just shall be in everlasting memory:” In Ellingboe’s Movement III, there is no text. Ellingboe pays homage to traditional Roman Catholic Requiem by including the title Graduale instead of simply calling this movement “instrumental interlude.”

The title of the fourth movement is Psalm (“Why Have You Forsaken Me”). The text for this movement is from Psalm 22. The inclusion of this psalm text is a departure from the traditional Roman Catholic requiem. This psalm includes text spoken from the cross by Jesus in the Gospel of St. Mark and is used in Good Friday readings in both the Catholic and Protestant traditions. As mentioned in the discussion of the emotional progression of the grieving, in regard to the larger form, this movement is the nadir, or lowest point in Requiem. Verses 1, 11, 16, 19,

21, 27, and 28 are the specific verses excerpted from Psalm 22 by Ellingboe:

55 Robert Chase, Dies Irae, 3. 73

My God, why have You forsaken me? Why are you so far from me? Be not far from me; for trouble is near; for there is none to help. The assembly of the wicked has enclosed me: they pierced my hand and feet. But You, O Lord, be not far from me: O my strength, hasten to help me! I will declare your name in the midst of the assemblies I will praise You. For the kingdom is the Lord’s. And none can keep alive his own soul.56

Movement V, The Lord’s Prayer is the central movement of Requiem. This is another text that would not be part of a traditional Roman Catholic requiem, but would be spoken at a

Lutheran funeral service. The text for The Lord’s Prayer originates from the gospels of Matthew

(6: 9-13) and Luke (11: 1-4.) The Lord’s Prayer is not exclusively Lutheran, nor Protestant, except for the addition of these lines by Martin Luther: “Thine is the kingdom and the power, and the glory, forever and ever.”57

John Donne (1571-1631) wrote the poetry used in movement six, Death Be Not Proud.

John Donne was an English poet who eventually became an Anglican priest in 1615. This poem is from a collection called “The Holy Sonnets.” The influence of Ellingboe’s Lutheran faith again is revealed through the decision to include this particular poem. Donne’s poem mocks death and belittles its power.

Death be not proud, though some have called thee Mighty and dreadful, for, thou art not so. For, those, whom thou think'st thou dost overthrow, Die not, poor Death, nor yet canst thou kill me.

From rest and sleep, which but thy pictures be, Much pleasure; then from thee, much more must flow, And soonest our best men with thee do go,

56 Bradley Ellingboe, Requiem (San Diego, CA: Kjos Music Press, 2002), 79.

57 Martin Luther, The Large Catechism (Grand Rapids, MI: Generic NL Freebook Publisher), 26-27.

Rest of their bones and souls delivery. Thou art slave to Fate, Chance, kings, and desperate men, And dost with poison, war and sickness dwell, And poppy, or charms can make us sleep as well, And better than thy stroke; why swell'st thou then? One short sleep past, we wake eternally, And death shall be no more; Death, thou shalt die.

“In his most famous confrontation with death - the holy sonnet beginning ‘Death be not proud’ -

Donne boldly affirms his eventual triumph over mortality: ‘One short sleepe past, wee wake eternally / And death shall be no more; death, thou shalt die’ (13-14).”58 Not only does this poem take on death, but also weighs in on the theological question and debate on what happens to our loved ones once they die. Donne’s poem speaks of the concept of “soul sleep,” with lines like,

“rest of their bones and souls delivery.” Soul sleep was a theological tenet of Martin Luther as opposed to the concept of purgatory, a Catholic eschatological belief. “From an earthly perspective there is a troublesome lag between the hour of an individual’s death and the dawning of the Last Day, but Luther insists that the soul that goes to sleep in death wakes in its body to the presence of God with no sense of time having passed.”59

In Movement VII, Sanctus et Benedictus, Ellingboe returns to the liturgical Roman

Catholic requiem text. This text is also used in Lutheran services. The Sanctus et Benedictus is part of the Eucharist, or Communion, prayer. “The text is taken from Isaiah 6:3, Sanctus,

Sanctus, Sanctus, which is a Greek translation of the original Hebrew, threefold Kadosh, Kadosh,

Kadosh. Benedictus is drawn from the Gospel of Matthew 21:9, Blessed is He who comes in the

58 Aschad Guiborry, ed., The Cambridge Companion to John Donne, 1st ed (Cambridge: Cambridge University Press, 2006), 218.

59 Robert Kolb, Irene Dingel, and Ľubomír Batka, The Oxford Handbook of Martin Luther's Theology (Oxford: Oxford University Press, 2014), 354. 75

name of the Lord.”60 Ellingboe’s use of this text serves two functions-it is a traditional part of the

Lutheran service that is spoken or sung at the beginning of communion but also a reminder of the

Palm Sunday story of Jesus riding into Jerusalem.

In many Eucharistic prayers, the Sanctus is juxtaposed with the Benedictus: ‘Blessed is he who comes in the name of the Lord, Hosanna in the Highest’. This, again, is an intertext and we are invited by the liturgical author to interpret the Sanctus in light of this juxtaposed text, to anachronistically interpret an Old Testament passage in light of a New Testament passage, and by a ritual signing with the cross during the Benedictus to relate the text to Christ. The juxtaposition of these two intertexts creates a mystery for the worshipper to unravel.61

Ellingboe didn’t create the duality of this particular text but does emphasize the Palm Sunday story through his musical setting of the text.

Movement VIII, Agnus Dei, is a mass ordinary text and is traditionally included in a musical setting of a Roman Catholic requiem. Ellingboe does not alter the text, but does add a section where the choir sings on “oo” or hums. This movement is a musical mirror to the

Graduale, Movement III.

Movement IX, Communion (“Evensong”) is the musical climax of Ellingboe’s Requiem and sets a poem by George Herbert (1593-1633). Like John Donne, George Herbert was an

English poet who would eventually become an Anglican priest. John Donne was his godfather.

The concept of soul sleep returns in Herbert’s poetry (final stanza) and once again reveals the composer’s belief in the afterlife (at least at the time of composition). Ellingboe’s eschatology is in line with Martin Luther’s and is the reason for the inclusion of this poem62:

60 Robert Chase, Dies Irae, 73-74.

61 Juliette J. Day, Reading the Liturgy (London: Bloomsbury Publishing, 2014), 94.

62 Bradley Ellingboe, Requiem (San Diego, CA: Kjos Music Press, 2002), 79.

The Day is spent, and hath his will on me: I and the Sun have run our races, I went slower, yet more paces; For I decay, not he.

Lord, make my Loss up, and set me free, That I, who cannot now by day Look on his daring brightness, may Shine then more bright than he.

If thou defer this light, then shadow me: Lest that the Night, earth's gloomy shade Fouling her nest, my earth invade, As if shades knew not Thee.

But thou art Light and darkness both together: If that be dark we cannot see: The sun is darker than a tree, And Thou are more dark than either.

Yet Thou art not so dark, since I know this, But that my darkness may touch Thine: And hope, that may teach it to shine, Since light thy darkness is.

Oh let my Soul, whose keys I must deliver Into the hands of senseless dreams Which know not thee, suck in Thy beams, And wake with Thee forever.

The final movement of Requiem is Elegy. This musical lament uses the traditional communion text in the Roman Catholic requiem, “Lux aeterna.” The change of order is unique to

Ellingboe’s Requiem since Movement IX is titled Communion (“Evensong”) but does not use the traditional “Lux aeterna” text. Instead he uses the poem by George Herbert. The positioning of this text was most important to the emotional progression and chiastic structure of the work.

Closing, by once again asking God for requiem, rest and lux aeterna, light eternal for a lost loved one is also in line with Ellingboe’s Lutheran theology.

Bradley Ellingboe has been a Lutheran his entire life. The composer admits to having spent over a month carefully choosing the texts and mapping out the form for his first major work. This structure and these texts support the influence of his Lutheran faith on Requiem.

“Lutheran public worship kept traditional liturgical forms, vestments, and the ancient designation of the Mass as ‘sacrifice of praise’ (BC 253:25). Liturgical reform centered on clear communication. It used vernacular language.”63

This examination of the texts in Ellingboe’s Requiem further categorizes this modern requiem as a hybrid of the German-Protestant requiem tradition. As explained earlier, the composer uses many of the traditional Latin texts of the Roman Catholic requiem mass, but also included The Lord’s Prayer, and poetry by John Donne and George Herbert in the vernacular,

English. Ellingboe’s Requiem is also a combination of both liturgical and non-liturgical traditions of requiems. His original concept was a liturgical requiem to be used in a church.

63 Eric W. Gritsch, Fortress Introduction to Lutheranism (Minneapolis: Augsburg Press, 1994), 117.

CHAPTER 6 REHEARSAL AND PERFORMANCE SUGGESTIONS

Accompaniment Options

Bradley Ellingboe composed three accompaniment options for Requiem. The full orchestral arrangement is available for rental from Kjos Music. Another option is the sextet/chamber instrumental version, also with rental parts from Kjos Music. The third option is with just the organ accompaniment that is for purchase in the choral score.

Conductors should consider the performance venue and size and level of their choir when choosing which version of Requiem they will program. The orchestral version is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (glockenspiel, bass drum, cymbal, mark tree), harp, and strings. This larger orchestration is recommended for choirs that exceed one hundred singers.

The sextet version is scored for flute, oboe, cello, harp, timpani, and organ. This version is also effective in bringing out the folk tune and primary motives that have been previously discussed. One primary difference between the full orchestra and sextet version is the opening solo of Mvt. X, Elegy. The full orchestra version uses a violin soloist while the sextet version uses a flute soloist. The sextet version works with choirs ranging in size from 30-100.

For smaller choirs and limited budgets, Ellingboe’s Requiem can be performed with organ accompaniment. The organ-only version demands attention to the organ registrations to ensure the important melodic and motivic elements are displayed in the performance. Requiem is written for SATB choir, divisi within the choral parts is infrequent and manageable for most amateur choirs. The variation of dynamics and some of the higher vocal ranges in the tenor and soprano parts are considerations for conductors when determining the appropriate size and skill level of the choir to perform Requiem. 79

Performance Venues

The premiere of Requiem (2002) was conducted by the composer in Popejoy Hall at the

University of New Mexico using the full orchestra version. Requiem has continued to be performed in prestigious concert halls, including Carnegie Hall. The sextet and organ-only accompaniment options dictate the need for a performance venue with an organ. Ellingboe wrote this piece with the idea that it could be used in a church service. The sextet and organ-only accompaniments will work in many church settings and/or services.

Rehearsal Suggestions

Requiem is a cohesive and symmetrical larger work. Ellingboe spent considerable time devising the overall form and selecting the texts. To ensure a more meaningful and informed performance for the choir, instrumentalists, and audience it is recommended to spend rehearsal time discussing the form, texts, primary motives, folk tune, and emotional progression.

A larger work for an amateur choir can be a daunting process. Explaining the symmetry and repetition in Requiem can be a useful tool in garnering excitement and understanding. An efficient method for introducing Requiem to the choir is to start with Movement V, The Lord’s

Prayer. Let your musicians know that this is the central movement to the work and was first published by itself a year before Requiem. Explain to the choir how this movement inspired much of the motivic and melodic content in the rest of the larger work. Point out the primary descending motive of a minor second followed by a major third that is first sung by the sopranos and altos of the choir, and doubled by the orchestra in measure 2 and 3. Afterwards, show them some of the measures that were mentioned in Chapter 4 where the “Lord’s Prayer Motive” is used to construct new melodic and harmonic material throughout Requiem.

To demonstrate the cohesive motivic relationships in Requiem, draw attention to the first three notes played by the orchestra in Movement V, The Lord’s Prayer: C4-E4-F4. This is a major third followed by a minor second. Conductors can then explain how the Norwegian folk tune, Jeg lagde mig saa silde begins with these same harmonic intervals. Teach the choir the folk tune and the original story that is found in Chapter 3. Continue teaching the symmetry of the larger work by explaining and rehearsing the music set to the “Requiem aeternam” texts in

Movements I, Introit and X, Elegy.

It will be helpful for your musicians to understand the emotional progression that informed many of Ellingboe’s compositional choices, especially with regard to keys, harmonies, and the influence of Lutheranism. To understand that Movement IV, Psalm, is the nadir, or lowest part, of the emotional progression will assist in understanding and performing the dissonant opening chords and E4 against a D minor chord at the very end of the movement.

Further insight in the emotional progression is gained by explaining that Movement IX,

Communion, is the zenith, or highest part of the emotional progression in Requiem. This will affect the manner in which the climactic movement will be sung.

Many choir members will be familiar with the standard mass ordinary texts used in the

Kyrie, Sanctus et Benedictus, and Agnus Dei movements of Requiem. If your singers have performed a liturgical requiem mass they will also be familiar with the texts found in the Introit and Elegy movements. It should be mentioned that all the texts were chosen with the vision that this requiem could be used in a Lutheran funeral or memorial service. This assists in explaining the inclusion of the texts found in the Psalm, The Lord’s Prayer, Death Be Not Proud, and

Communion movements. It will also be helpful to explain the inclusion of Movement III,

Graduale. 81

It is my recommendation to review the specific texts found in Movement VI, Death Be

Not Proud and IX, Communion. These are unique to Ellingboe’s Requiem and can be difficult to understand without studying these poems by John Donne (1571?-1631) and George Herbert

(1593-1633). A choir can have a difficult time singing the text “suck in thy beams,” found in measures 107-116 in Communion, without some context. It will also be more meaningful if there is some explanation as to how these two texts deal with the theological concept of soul sleep.

The lamenting cello solo that functions as a Leitmotif is important for the cellist and larger ensemble to understand. To know that this solo represents the outpouring of sadness and anger of losing someone you care about should inform the manner in which it is played. This will also help explain the placement of this Leitmotif in the larger work. This cello solo is not easy for an amateur cellist, so it will be important to hire a professional or give an amateur soloist plenty of time to practice ahead of the first orchestra/chamber ensemble rehearsal.

Trouble Spots

Bradley Ellingboe wrote Requiem with the goal that it could be performed by amateur singers. That does not mean there are not some challenging sections for the choir. Spending some extra rehearsal time on these sections will lessen frustration within the choir and ultimately create a higher level of performance.

Movement I has measures that will require some review. The tenors and basses will need repetition to be able to sing the opening chant-like music in measures 8-19. This section is primarily accompanied by a pedal in octaves (C2 and C3) and has no accompaniment when the women join the men in singing measures 16-19. The middle section of measures 43-63 can be a challenge because of the change from C major to C minor and the tempo shift to Allegro (quarter 82

note = 132). Singers can have a difficult time singing this amount of text, set syllabically, at this fast tempo. The other challenge of this section is managing the articulations, dynamics, and ritardandos. Time spent explaining the emotional progression, which includes angry musical outbursts will also assist the choir in the section.

In Movement II, Kyrie the most challenging section is the first nine measures. This opening is unaccompanied and is also used to modulate from C major to B-flat major. Another unaccompanied section is from measure 14 to 24. Keeping these sections in tune are imperative since the orchestra enters afterwards exposing any intonation discrepancies.

In Movement IV, Psalm, the sopranos must find their first pitch, A4, without assistance.

This can be especially difficult since Movement III, Graduale ends with a C minor choir with an added ninth. The middle section of Psalm, measures 44-72, demands extra rehearsal time with the 6/8 and 3/4 meters. This is a good section to first rehearse by speaking the rhythms. The transition into this section is also difficult since it moves from 4/4 and D minor to 6/8 in A natural minor. The final “Help me” in the last two measures of this movement will also be a challenge because of E4 being at the top of the bass vocal range and that is accompanied by a D minor chord in the orchestra.

Movement V, The Lord’s Prayer has an unaccompanied section in measures 26-32 that can be difficult for the basses to keep in tune because of their first three descending pitches of

C4-A3-G3. Some of the basses will want to instead sing the “Lord’s Prayer Motive” that would be C4-B3-G3. Spend extra time solidifying the A3 pitch in measure 26 and 30. It would also be helpful to mention the return of the “Lord’s Prayer Motive” and the pitch B3 in measures 34 and

35.

Movement VI, Death Be Not Proud, is written for an alto, or mezzo-soprano soloist. The range of this solo is D3-F4. It can be sung by a soprano with a strong lower range. The most challenging part of this solo is the meter of 8/8, with a 3+3+2 organization, in the beginning and end of this movement. The soloist will need adequate time to practice singing this John Donne text at Ellingboe’s fast tempo (eighth note = 190) while incorporating the unique dance feel of the scored indicated “Quasi Tarentella” (an Italian dance).

Movement VII, Sanctus et Benedictus, begins with a lively 6/8 meter with a tempo of a dotted quarter note = 80. Measures 17-22 include difficult dissonances in the soprano and alto parts. The first sopranos are also high in their range with an A5 pitch in measures 21 and 22.

This can be difficult for amateur sopranos. Conductors might consider assigning this pitch to only the most skilled sopranos. The same consideration should be made at the end of this movement in measures 85-88 with a B5 pitch sung on “Ah!”

The sopranos are unaccompanied as they sing the traditional mass ordinary text in measures 10-17 of Movement VIII, Agnus Dei. The folk tune can be difficult to sing accurately because of the major and minor ambiguity created by the changing A-sharp and A-natural. The entire choir sings unaccompanied from measure 30 to measure 45, which is especially difficult with Ellingboe’s harmonization of the folk tune.

Some of the challenges of Movement IX, Communion, include the long phrases and higher tessitura in the vocal parts. This is made even more difficult because there have been eight movements before this one in a performance of Requiem. The beginning of Movement IX includes a drone pedal of F-sharp2 and F-sharp3. This drone pedal is the only supporting accompaniment for the bass’s lengthy phrase from measure 3 through measure 8. Another example of a long phrase, this time for the entire choir, is in measures 18-25. It requires 84

staggered breathing because of the text. The choir is also unaccompanied in these measures. In addition to the long phrases throughout this movement, there are tempo changes that need attention in measures 72-74 and 94-96. The climax of the entire Requiem takes place in this movement starting at measure 118. The music then builds into a slower Maestoso, half note = 52, at measure 123. The conductor will need to use a clear and intentional gesture to ensure the choir and orchestra are together in these particular tempo changes.

The flute (or violin) solo at the beginning of Movement X, Elegy is marked “freely” in the score, but the conductor will need to gesture the orchestra entrance in measure 3. The conductor also will need to show the tempo change of quarter note = 66 to quarter note = 86 in measure 15. The final transition that will possibly need more attention is in measure 34 where the choir has a fermata, cuts off, and then the sopranos enter on beat four with a new tempo of a quarter note = 60.

Bradley Ellingboe’s Requiem has been performed by amateur choirs of varying skill levels around the world. The Augustana College Choir recorded this work in 2003 and there is another recording with the choirs from the University of New Mexico that is conducted by the composer. These recordings can also assist you and your choir in learning Requiem. A thorough discussion on the form, texts, motives, folk tune, and emotional progression will assist your musicians in making a deeper connection and informed performance of Bradley Ellingboe’s

Requiem.

CHAPTER 7 CONCLUSION

Our experiences shape us as people and artists. Bradley Ellingboe was raised Lutheran in the Norwegian-American community of Lakeville, Minnesota where he was exposed to the language, culture, and folk music of Norway. Ellingboe attended a Lutheran college and continued to honor his Norwegian heritage by studying the music of Norway’s most famous composer, Edvard Grieg. The analysis of specific motivic, melodic, textual, and formal choices in Ellingboe’s Requiem have verified the influence of Ellingboe’s Norwegian-American background, Lutheran faith, and the study of Grieg’s music.

“Discussing folk music and Grieg, Liv Greni points to two approaches found in Grieg’s mature compositions based upon folk music. They are first, a purely harmonic setting of the folk song with little or no alteration; and second, shaping the folk tune into a subject for theme and variations, or motivic development.”64 Bradley Ellingboe incorporates both approaches in

Requiem by including the folk song Jeg lagde mig saa silde with no alteration and the “Lord’s

Prayer Motive” that was used to shape other motives and melodic content.

It is hoped that future performances of Requiem will be shaped by an understanding of these major influences on the composition. This examination demonstrates the cohesion, symmetry, and uniqueness of Bradley Ellingboe’s Requiem. After awarded the Medal of St. Olav by the King of Norway in 1994, Ellingboe made the decision to fully embrace and celebrate

Norwegian culture and music whenever the opportunity presented itself. In the summer and fall of 2001, the opportunity materialized with Requiem.

64 Elray Stewart-Cook, Grieg, Norwegian Folk Music, and Nineteen Norwegian Folksongs, Op. 66 (M.A. thesis, University of Oregon, 1985), 31. 86

APPENDIX A65 PUBLISHED CHORAL MUSIC OF BRADLEY ELLINGBOE, UPDATED AUGUST 2018

2018 “Rise Up, My Love” for SATB chorus and piano. Commissioned for the Choral Organizations & Developing Artists Concert Series, Carnegie Hall, New York. Hal Leonard Corp.

2018 “Here Am I, Send Me” for SATB choir and piano. Commissioned by Bethlehem Lutheran Church, Los Alamos, New Mexico. Kjos Music.

2018 “Do Not Pass Me By,” for SATB choir, optional string bass. Kjos Music.

2018 “O Sacrum Convivium” (“O Sacred Feast”) for SATB choir and piano. Kjos Music.

2018 “The Reason For My Song” for SSAATTBB choir. Commissioned by the Valley of the Moon Chamber Ensemble, Sonoma, California. Pavane Music.

2017 “This Is a Good World” for SATB choir. Published in Craig Hella Johnson’s Conspirare series. G. Schirmer Music.

2017 “Light Dawns On a Weary World” for SATB choir, piano and optional congregation. GIA Publishing.

2016 “Clap Your Hands” for SATB choir and piano. Commissioned by Pure Sound: the Youth Choir of St. Luke’s United Methodist Church, Houston, TX. Augsburg Fortress Press.

2016 “We Are More Than Conquerors” for SATB choir and piano. Commissioned by University United Methodist Church, Irvine, CA. Kjos Music.

2016 “Go Out In Joy” for SATB choir and organ. Commissioned by Good Samaritan United Methodist Church, Edina, MN. Kjos Music.

2015 “Dappled Things” for SATB choir divisi and soprano solo. Commissioned by the Santa Fe Desert Chorale. Walton Music.

2015 “Let the Heavens Ring!” for SATB choir and piano. Commissioned by the “Festival by the Sea” church choir consortium of North and South Carolina. Selah Music Publishers.

65 Bradley Ellingboe, “Website Choral Music List”, Accessed August 18, 2018, http://bradleyellingboe.com/wp-content/uploads/2017/03/ChoralMusicList.pdf. 87

2014 “Star Song” for SATB choir divisi, tenor solo and piano, or chamber orchestra, or full orchestra. Published by Kjos Music. Premiere in Albuquerque, 12/3/13. Lincoln Center premier 5/25/14. London premier 6/8/14. I. Overture (Sagan) II. Music (Liiv) III. Ring Out, Ye Crystal Spheres (Milton) IV. Symphony of the Heavens (Milton) V. O Pastor Animarum (Hildegard von Bingen) VI. Prends moi par la main (Rilke) VII. Looking at the Stars (Van Gogh) VIII. Everyone Sang (Sassoon) IX. The Song of the Stars (Native American) X. Kadosh Adonai (trad. Hebrew) XI. Questions About Angels (Collins) XII. The Mystic Trumpeter (Whitman)

2013 “That Passeth All Understanding” for SSAA choir, soprano solo, B-flat clarinet and optional windchimes. Commissioned by the Santa Fe Women’s Ensemble. Alliance Music Publications.

2012 “I Love to Tell the Story” for SATB choir, mezzo-soprano solo and violin. Commissioned by the Association of Lutheran Church Musicians. Kjos Music.

2012 “Hymns of Glory” for SATB choir and organ (incorporating “O Day Full of Grace”). Commissioned by First Presbyterian Church of Albuquerque. Oxford University Press.

2012 “Within Thy Grace” for SATB choir and piano (incorporating “Thy Holy Wings”). Commissioned by St. Paul Lutheran Church of Albuquerque. Augsburg Fortress Press.

2012 “Thy Little Ones, Dear Lord, Are We” for SATB choir and piano (optional orchestra). Commissioned by St. John’s United Methodist Church of Albuquerque. Kjos Music.

2012 “The Lord’s Prayer” for SSAA choir. Kjos Music.

2011 “Peace at the Last” for TTBB choir and keyboard. Alliance Music Publications.

2011 “Heart, We Will Forget Him” for SSAATTBB chorus and cello. Oxford University Press.

2010 “Welcome to Our Wondering Sight!” for SATB choir divisi, oboe and harp. Commissioned by the Valley Chamber Chorale, Stillwater, MN. Published by Kjos Music. I. Welcome to Our Wondering Sight II. a. In This Our Happy Christmastide b. Interlude c. Reprise III.a. I Heard the Bells on Christmas Day b. Postlude

2010 “Behold a Host” arranged for SAB choir and piano. Written for Helen Kemp and her “elder choir” at York Manor, PA. Published by Augsburg Fortress Press.

2010 "Yet It Stood Strong" for SATB choir, trumpet and piano. Commissioned by St. Mark's Evangelical Lutheran Church, Mooresville, NC. Kjos Music.

2010 “The Church on the Hill” for SATB choir, C instrument and piano. Commissioned by Highview Christiania Lutheran Church, Farmington, MN. Kjos Music.

2009 “Above the Moon, Earth Rises” for SATB choir and piano. Commissioned by St. Mark Presbyterian Church, Newport Beach, CA. Kjos Music.

2009 “In the Beauty of Holiness” for SATB choir, flute and piano. Commissioned by the Johns Creek United Methodist Church, Duluth, Georgia. Augsburg Fortress Press.

2009 "Light Upon a Darkened World" for SATB choir and piano. Augsburg Fortress Press. Commissioned by St. Michael's Catholic Church, Stillwater, MN. Augsburg Fortress Press.

2009 "Come and See" for SSAATTBB choir and oboe. Commissioned by St. Paul United Methodist Church, Omaha, NE. Kjos Music.

2008 “For Only a Short Time” a five-movement choral suite commissioned by the Edina, MN, high school choir upon the retirement of Diana Leland. Kjos Music. I. Unheard Music (Gavotte) II. Laughter and Noise (Waltz) III. The Secret (Minuet) IV. Attack Dog (Tango) V. Perfect Strangers (Sarabande)

2008 “Lift Up Your Heads” for SATB Choir and piano, optional children’s choir. Commissioned by St. John’s Lutheran Church, Lakeville, MN. Kjos Music.

2008 “Getting Used to Heavens” for SSAA choir and piano. Commissioned by the Alaska High School All State Treble Chorus. Kjos Music.

2008 “He Wishes for the Cloths of Heaven” for SSAATTBB choir. Commissioned by the Santa Fe Desert Chorale in honor of their 25th anniversary. Walton Music.

2007 “Love Never Ends” for SATB choir, children’s choir and piano. Commissioned by the First United Methodist Church of Modesto, CA. Kjos Music.

2007 “Hymn of Promise” for unison (children’s) choir, piano and optional flute. Choristers Guild.

2006 “Innisfree” for TTBB Chorus. Setting of the Yeats poem for the Harvard Glee Club, 2005. Oxford University Press.

2006 “Seed That in Earth Is Dying” arranged for SAB choir and piano. Augsburg Fortress Press.

2006 “Hosanna to the Lord!” for SAB choir and piano. Chorister’s Guild.

2006 “Revelations” for SATB choir (divisi), organ, brass and timpani. Kjos Music. I. Psalm 27 II. The Light III. This is the Day!

2006 “When Shall I See?” for two-part mixed choir and piano. Kjos Music.

2006 “Psalm 100” for SATB choir, organ, handbells and 2 trumpets. Commissioned by the First Congregational Church of Dundee, IL. Kjos Music.

2006 “O Gracious Light” for SSAATTBB choir and flute. Commissioned by St. Luke’s Lutheran Church of Houston, TX. Kjos Music.

2006 “A Song for St. Cecilia” for SATB choir and organ. Commissioned by Northminster Presbyterian Church of Tucson, AZ. Kjos Music.

2006 “Joy All Around!” for SATB choir and piano. Kjos Music.

2006 “Our Wistful Song” for SATB choir. Commissioned by the Valley Chamber Chorale, Stillwater, MN. Augsburg Fortress Press.

2006 “Beneath the Cross of Jesus” arranged for SATB choir, clarinet and piano. Kjos Music.

2005 “Come to Me” for SAT(B) choir and piano. Choristers Guild.

2005 “Be Music, Night” for SATB (divisi) choir. Commissioned by Santa Fe Desert Chorale. Oxford University Press.

2005 “We Look to Thee” for SATB choir and piano. Kjos Music.

2005 “Agnus Dei” by Hassler, edited by Ellingboe, for SATB choir. Kjos Music.

2005 “All Loveliness New-Born” for SATB choir and piano. Kjos Music.

2005 “Benediction” for SATB choir (divisi) and organ. Kjos Music.

2005 “My Heart Is Longing” arranged for SATB choir, harp and oboe. Kjos Music.

2004 “Sing for Joy!” for SSATBB choir and organ. Kjos Music.

2004 “The Wondrous Gift” for SATB choir. Commissioned by Santa Fe Desert Chorale. Kjos Music.

2004 “Down to the River to Pray” arranged for SATB choir. Kjos Music.

2004 “For the Beauty of the Earth” for SATB chorus and piano. Kjos Music.

2004 “There’s a Wideness in God’s Mercy” for SATB choir and piano. Augsburg Fortress Press.

2004 “The Prayer of St. Francis” for SAB choir and piano. Kjos Music.

2004 “We Need Each Other’s Voice to Sing” for SATB chorus, organ and flute, (optional congregation.) Commissioned by the Bloomington Covenant Church, Bloomington, MN. Kjos Music.

2004 “Agnus Dei” by Cristobal de Morales, edited by Ellingboe, for SAB choir. Hal Leonard.

2003 “To Walk Like Giants” for unaccompanied SATB chorus (optional piano accompaniment.) Commissioned by Baltimore County Public Schools and premiered in Meyerhoff Hall. Hal Leonard Corp.

2003 “Simeon’s Song” for SATB choir and piano. Kjos Music.

2003 “The Chief Cornerstone” for two-part mixed choir and organ or piano (optional trumpet.) Augsburg Fortress Press.

2003 “Teach Each Other In Wisdom” for SATB choir and organ. Commissioned by Gwynedd Square Presbyterian Church, Lansdale, PA. Kjos Music.

2003 “Psalm 150” for SATB choir, organ (or piano) optional, handbells. Commissioned by Summit Avenue Presbyterian Church, Bremerton, WA. Kjos Music.

2003 “Then We Shall Sing for Joy!” for SATB choir, organ, violin, optional children’s choir, optional congregation. Commissioned by St. Michael’s Catholic Church, Stillwater, MN. Kjos Music.

2003 “Ring Out, Wild Bells!” for SSAA chorus and handbells. Commissioned by Cantorei of Luther College and appearing on the PBS special, Christmas at Luther. Also recorded by the Riverside Singers of Augsburg College and seen on the PBS special Advent Vespers. Kjos Music.

2002 “Astonished By Your Empty Tomb” for SATB choir and piano. Concordia Publishing House.

2002 Requiem for chorus and orchestra. This is a ten-movement work. (*) Indicates work is also published as a separate octavo. Editions include options for full orchestra, sextet/chamber instrumental accompaniment, or organ. Kjos Music.

I. Introit (“Requiem aeternam”) II. Kyrie * III. Graduale (orchestral interlude) IV. Psalm (Why Have Your Forsaken Me?) V. The Lord’s Prayer * VI. Offertory (“Death Be Not Proud”) – alto solo VII. Sanctus and Benedictus * VIII. Agnus Dei IX. Communion (Evensong) X. Elegy (“Lux aeterna”)

2001 “Now at the Peak of Wonder” for SATB choir and keyboard, Concordia Publishing House.

2001 “We Light One Advent Candle” for children’s choir and piano, optional Orff and C instrument. Augsburg Fortress Press.

2001 “In the Bleak Midwinter” (Holst) arranged for SATB choir and electronic keyboard. Kjos Music.

2001 “Agnus Dei” (Morley) for SATB choir. Kjos Music.

2001 “The Lord’s My Shepherd” for SATB choir and optional piano. Kjos Music.

2001 “The Food of Life” for SATB choir and piano, optional bell-tree. Kjos Music.

2001 “I Am So Glad” (“Jeg er saa glad”) for SATB choir and clarinet. Kjos Music.

2001 “Come All You People” for SATB choir, piano, conga (optional string bass). Kjos Music.

2000 “Ave Regina Caelorum” (Power), edited, for SSA choir. Kjos Music.

2000 “The Lord’s Prayer” for SATB choir and piano. Kjos Music.

2000 “Glory, Glory, Hallelujah” for SATB choir and piano. Augsburg Fortress Press.

2000 “How Far Is the Star?” for SATB choir and piano. Kjos Music.

2000 “The House of the Lord” for SATB choir, organ, piano, handbells and conga. Kjos Music.

2000 “The Holy Trinity” for two-part mixed choir and piano. Kjos Music.

2000 “How Can I Keep From Singing?” for SSAA choir, piano and oboe. Kjos Music.

1999 "Christmas" for SATB choir and organ. Kjos Music.

1999 "Day by Day” (Lena Sandell) arranged for SATB choir and piano (optional c instrument). Kjos Music.

1999 "Let Us Run to Jesus" for SATB choir, organ and brass quartet. Kjos Music.

1999 "Now Unto Him" by Cann, arranged for SATB choir and piano. Kjos Music.

1999 "Magnificat" for SSA choir, soprano solo, oboe and marimba. Kjos Music.

1999 "Jesus, Good Shepherd" for SATB choir and piano. Augsburg Fortress Press.

1999 "Soul, Adorn Yourself With Gladness" (Johann Franck) arranged for SATB choir, unaccompanied. Augsburg Fortress Press.

1998 "How Can I Keep From Singing?" for SATB choir, oboe and piano. Kjos Music.

1998 "How Can I Keep From Singing?" for TTBB choir, oboe and piano. Kjos Music.

1998 "Psalm 47” for SATB choir and percussion. Kjos Music.

1998 "Let Us Run To Bethlehem" for SATB choir, flute and organ. Kjos Music.

1998 "Blessed Be the Lord" for SATB choir and oboe. Kjos Music.

1998 "Mary at the Tomb" for SATB choir and piano. Augsburg Fortress Press.

1997 "Oh, Love, How Deep" for two-part mixed choir, organ and percussion. Kjos Music.

1997 "Let Us Talents and Tongues Employ" for SATB choir and organ. Kjos Music. 93

1997 "Spirit of God, Descend Upon My Heart" for SATB choir, clarinet and handbells. Kjos Music.

1997 "Prepare the Royal Highway" for SATB choir and organ. Kjos Music.

1997 "There Is A Green Hill Far Away" (using the tune "The Turtle Dove") for two-part choir and piano. Kjos Music.

1997 "Kveldssang for Blakken" ("Lullaby for Dobbin") by Edvard Grieg for SSA choir. Kjos Music.

1997 "Fiskervise” ("Fisherman's Song") by Edvard Grieg for SSA choir. Kjos Music.

1996 "A la ru, a la me" (northern New Mexican Christmas carol) for SSA choir and two flutes. Hal Leonard Corporation.

1996 "Lokk" ("Farmyard Song") by Edvard Grieg for SSA chorus. Kjos Music.

1996 "Elegit eum Dominus" by Gaspar Fernandes for SSATB choir. Hal Leonard Corporation. (Permanently out of print.)

1996 "Jesus, Jesus, Rest Your Head" for SATB choir. Augsburg Fortress Press. Also published in THE AUGSBURG CHOIRBOOK: Music of the 20th Century, Kenneth Jennings, General Editor, 1998.

1996 "Children of the Heavenly Father" for SATB choir. Kjos Music.

1996 "Wondrous Love" for SATB choir, two flutes and organ. Kjos Music.

1996 "Coenantibus Autem Illis" by Juan de Lienas, arranged for SATB choir. Kjos Music.

1996 “Pentecost Hymn" by Edvard Grieg, arranged for SATB choir. Kjos Music.

1996 “The Child of Mary” for SATB choir, soprano solo and harp. Kjos Music.

1996 “The Lamb” for children’s chorus and piano. Mark Foster Music Company.

1996 "Twilight Song" (text by Longfellow) for SSA chorus, a cappella. Hal Leonard Corporation.

1995 "Tandi Tanga Jesus" (African) arranged for SATB choir and percussion. Augsburg Fortress Press.

1995 "You Are Peter!" for SATB choir. Mark Foster Music Company. 94

1995 "Love Consecrates the Humblest Act" for SATB choir and oboe. Augsburg Fortress Press. (Permanently out of print.)

1994 "Praise, All You People!" for SATB choir. Augsburg Fortress Press. (Permanently out of print.)

1994 "The Ash Grove" for SATB choir and two clarinets. Mark Foster Music Company.

1994 "Paal paa haugen" ("Paul and his Chickens"), children's chorus and piano. Kjos Music.

1993 "Before Your Throne We Come" for SATB choir, and soprano solo. Mark Foster Music Company.

1992 "Paal paal haugen" ("Paul and his Chickens"), SATB choir. Kjos Music.

1992 "Wind of the Western Sea," SSA Chorus and piano. Hal Leonard Corp. This piece also appeared in the textbook Essential Elements for Choir published by the Hal Leonard Corp. in 1996.

1990 "Sing We All of Our Savior Mild," for SATB choir, two flutes & tambourine. Mark Foster Music Company.

1990 "Holy Wings," for SATB choir. Curtis Music Press/Kjos Music.

1989 "Away in a Manger," for SATB choir. Mark Foster.

1989 "Evening Prayer," for SATB choir. Posthorn Press/Intrada. (Permanently out of print.)

APPENDIX PERMISSION LETTER

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