Heinrich Von Herzogenberg's "Zwei Biblische Scenen": a Conductor's Study
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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 Heinrich Von Herzogenberg's "Zwei Biblische Scenen": a Conductor's Study. John Elbert Boozer Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Boozer, John Elbert, "Heinrich Von Herzogenberg's "Zwei Biblische Scenen": a Conductor's Study." (1999). LSU Historical Dissertations and Theses. 7036. https://digitalcommons.lsu.edu/gradschool_disstheses/7036 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. 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Higher qualify 6" x 9' black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI*800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HEINRICH VON HERZOGENBERG’S ZWEIBIBUSCHE SCENEN : A CONDUCTOR’S STUDY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by John Elbert Boozer B.C.M., Samford University, 1972 M.C.M., The Southern Baptist Theological Seminary, 1977 December 1999 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 9951596 Copyright 1999 by Boozer, John Elbert All rights reserved- __ ___ ® UMI UMI Microform9951596 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright 1999 John Elbert Boozer All rights reserved ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This paper is dedicated to Patricia, JoBeth, and Britt, who have always been, and will continue to be, my greatest inspiration. iu••• Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I sincerely wish to thank those who have been encouraging and helpful throughout the process of completing this document. Grateful appreciation goes to the members of The Choral Academy of St. Andrew Bay, who performed my second conducting recital, and The Orchestra of St. Andrew Bay, which included music by Herzogenberg on my programs. For editorial suggestions I am indebted to Susan C. McWhorter, Mary Augusta Kracke and Mickie Lawley. For encouragement 1 wish to thank the congregations of First Baptist Church of Panama City, Florida; Gulf Beach Baptist Church of Panama City Beach, Florida; St. Andrew Baptist Church of Panama City, Florida; and First Baptist Church of Lynn Haven, Florida; as well as the students, faculty, and staff of Florida Baptist Theological College, Graceville, Florida. A word of appreciation is extended to the members of my committee, Dr. Sara Lynn Baird, Dr. Jan Herlinger, Dr. Richard Kaplan, and Dr. Joseph Ricapito, who have given patient advice during this process. A special word of thanks goes to Dr. Kenneth Fulton, who introduced me to the music of Herzogenberg and has been an invaluable mentor throughout this process. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS DEDICATION................................................... iii ACKNOWLEDGEMENTS......................................................................... iv LIST OFTABLES......................................................................................... vii UST OF EXAMPLES..................................................................................viii LIST OF CHARTS ....................................................................................... xi ABSTRACT..................................................................................................... xii CHAPTER ONE HEINRICH VON HERZOGENBERG: HIS LIFE......... 1 The Life of Heinrich von Herzogenberg ................ 1 The Relationship and Influence of Johannes Brahms .........................................................11 Herzogenberg and Friedrich Spitta .......................... 17 TWO THE HISTORICAL CONTEXT OF HERZOGENBERG’S ZWEIBIBUSCHE SCENEN, OPUS 1 0 9...................... 25 Decline of Sacred Choral Music in the Nineteenth Century .....................................................25 The Cecilian Movement ............................................ 29 The Prussian Revival .................................................46 Conclusion ................................................................... 51 THREE THE TEXTS OF ZWEI BIBUSCHE SCENEN .......... 55 The Text of “Der Seesturm" .......................................55 The Text of “Das kananaische Weib” ........................57 FOUR OBSERVATIONS ON THE MUSIC AND PERFORMANCE CONSIDERATIONS OF ZWEI BIBUSCHE SCENEN ..........................................63 Musical Observations on “Der Seesturm” ................63 Overall Structure and Forces Used in Der Seesturm".....................................................63 Unifying Elements Found in “Der Seesturm"....................................................67 V Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Rhythm and Tempo in “Der Seesturm” ........... 67 Melody andTexturein “Der Seesturm”.... ...... 6? Dynamics in “Der Seesturm” ................... 80 Harmony and Tonality in “Der Seesturm” ........86 Musical Observations on “Das kananaische Weib”.. 92 Overall Structure and Forces Used in “Das kananaische Weib” .....................................92 Rhythm and Tempo in “Das kananaische Weib” ............................. 92 Melody and Texture in “Das kananaische Weib” .....................................97 Dynamics in “Das kananaische Weib” ............ 102 Harmony and Tonality in “Das kananaische Weib” ................................... 102 Performance Considerations ............................. 107 Performance Venues for Zwei biblische Scenen .................................... 107 Programming .....................................................108 Performance Forces ..........................................109 Interpretation ......................................................110 Conducting “Der Seesturm” ............................. I ll Conducting “Das kananaische Weib” ...............115 Zwei biblische Scenen and Tradition ............ 116 Herzogenberg Today ...................................... 117 BIBLIOGRAPHY........................................................................................ 120 APPENDIX ONE: UST OF SACRED CHORAL MUSIC OF HEINRICH VON HERZOGENBERG.......................................................127 APPENDIX TWO: THE TEXTS OF ZWEI BIBUSCHE SCENEN ....................................................................................................... 130 APPENDIX THREE: LETTERS OF PERMISSION TO USE EXAMPLES.................................................................................................. 135 APPENDIX FOUR: PERFORMANCE EDITION OF ZWEI BIBUSCHE SCENEN , OPUS 109.................................................138 “Der Seesturm” ............................................................... 139 “Das kananaische Weib” ............................................... 201 VITA.............................................................................................................216 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF TABLES 3.1 A comparison of the sources of the text for the chorale “Jesu, meine Freude” with the text Herzogenberg selected and