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FELIX MENDELSSOHN-BARTHOLDY ' S MUSIC FOR MEN'S VOICES INCLUDING A DETAILED ANALYSIS OF FESTGESAMS: AN DIE KÔNSTLER, OPUS 68 AND ZNEI GEISTLICHE MÂNNERCHÔRE, OPUS 115 WITH SUGGESTIONS FOR REHEARSAL AND PERFORMANCE
DOCUMENT
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University
by Joseph H. Janisch, B.M.E., M.M.
*****
The Ohio State University 1998
Document Committee : Approved by Professor Hilary Apfelstadt, Advisor
Professor Richard Blatti Professor James Gallagher Music Graduate Program
Professor Marshall Haddock Professor Gary Lewis UMI Number: 9833935
UMI Microform 9833935 Copyright 1998, by UMI Company. All rights reserved.
This microform edition is protected against unauthorized copying under Title 17, United States Code.
UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Joseph H. Janisch 1998 ABSTRACT Felix Mendelssohn-Bartholdy is a con^ser of great stature and popularity, however much of Mendelssohn's prolific oeuvre remains unexplored. This document is intended for conductors and scholars interested in the music written for men's voices by Felix Mendelssohn-Bartholdy. Most musicians are familiar with Mendelssohn's oratorios. Saint Paul and Elijah, as well as his syn^honies and the tone poem, A Midsumner Night's Dream, but many are unaware of the pieces he wrote for men's voices. The first chapter of this document contains a brief biographical sketch of Mendelssohn auid an investigation of his works for men's voices. Chapter one describes the circumstances of their composition and provides a listing of musical characteristics including : the performing forces, the tonal center, form, instruments used, cuid ranges of the voices. Chapters two and three contain detailed descriptions and analyses of selected pieces that were included as part of a lecture-recital presented on March 7, 1998. This recital featured The Ohio State University Men's Glee Club and selected brass players performing Festgesanff: An die Kûnstler and Zwei geietliche MSnnercbôre. The areas of research included in chapters two and three of this document
ii are: the intended venue, number and types of performers, available and historic editions, pitch and temperament, texture, harmonic and melodic structures, form, meter, tempo, dynamics, and origin of the text for each piece. These chapters also contain suggestions for the rehearsal and preparation of the selected pieces including a description of the rehearsal schedule, suggestions for related vocalises as they were employed by the author in preparation of these pieces, and a description of the performance set-up used for the lecture recital .
lii Dedicated to ny wife, Julie
IV ACKNOWLEDGEMENTS
I wish to thank Professors Hilary Apfelstadt, Richard Blatti, James Gallagher, Marshall Haddock, and Gary Lewis
for their intellectual support, artistic guidance, encouragement, and enthusiasm. My appreciation is extended to Carus-Verlag of
Stuttgart who most generously gave permission to print the
Opus 115 pieces in Appendix C of this document. I thank the musicians who gave so freely and generously of their time cUid talent. I am especially grateful to the members of The Ohio State University Men's Glee Club for their assistance, friendship, and dedication during my tenure at OSU. I am also grateful to ny fellow conducting students who have always been willing to listen and to help.
Lastly, I wish to thank ray wife, Julie. Words cannot express all she has done for, and given to, me. VITA
February 19, 1957...... B o m - Mcuisfield, Ohio
1979...... B.M.E., Ashlcmd College
1979-1993...... K-12 Music Teacher, Buckeye Central Local Schools New Washington, Ohio
1993-1995...... Graduate Teaching Associate Bowling Green State University Bowling Green, Ohio
1995...... M.M. Choral Conducting, Bowling Green State University 1995-1998...... Graduate Teaching Associate The Ohio State University Columbus, Ohio
FIELDS OF STUDY
Major field: Music
VI TABLE OF CONTENTS
Page Abstract...... ii Dedication...... iv
Acknowledgements...... v Vita...... vi
List of Tables...... ix
Chapters : 1. Biography and Examination ...... 1 1.1 Mendelssohn's Life...... 1 1.2 An Examination of Mendelssohn's Music for Men ' s Voices...... 10 1.2.1 Sechs Lieder fûr vierstismigen Mâanerchor, Opus 50...... 10 1.2.2 Vier Lieder fûr vierstimnigen HSimerchor, Opus 75 (post.} ...... 15 1.2.3 Vier Lieder fûr vierstiimnigen Mânnerchor, Opus 76(post.)...... 18 1.2.4 Vier Lieder fûr vierscinmigen itSnnercbor, Opus 120 (post. )...... 22 1.2.5 Additional Part songs...... 26 1.2.6 Festgesang sur Sacularfeier d e r Buchdruckerkuast...... 28 1.2.7 Ad Vesperas Dominicai XXI post Trinitatis, Responsorium et Hymnus. Vespergesang fûr lùnnerstimaien mit Begleitung von Violincel und Bass, Opus 121...... 31 2. Festgesang: An die Kûnstler, Opus 68...... 35
2.1 Venue...... 35 2.2 Number and Types of Performers...... 35 vii 2.3 Edition...... 40 2.4 Pitch and Temperament...... 42 2.5 Texture...... 42 2.6 Harmonic Structures...... 43 2.7 Melodic Structures...... 60 2 .8 Text...... 61 2.9 Form, Meter, Tempo and Dynamics...... 61 2.10 Performance and Rehearsal Considerations...... 62 3. Zwei Geistlicbe MSnnercbôre, Opus 115...... 67 3 .1 Venue...... 67 3.2 Number and Types of Performers...... 68 3.3 Edition...... 69 3.4 Pitch emd Temperament...... 70 3.5 Texture...... 70 3.6 Harmonic Structures...... 71 3 .7 Melodic Structures...... 84 3.8 Text...... 85 3.9 Form, Meter, Tempo and Dynamics...... 86 3.10 Performance and Rehearsal Considerations...... 87
Appendices : A. Email Communication from Dr. Douglass Seaton, 28 May, 1997...... 95 B. Email Communication from Dr. Douglass Seaton, 15 December, 1997...... 97
C. Copy of Zwei geistlicbe MSnnerchdre, Opus 115...... 98 Bibliography...... 105
vxii LIST OF TABLES lahls 2aas. 2.1 Opus 68 Harmonic Analysis mm. 1-5...... 44
2.2 Opus 68 Harmonic Analysis ram. 6-10...... 44 2.3 Opus 68 Harmonic Analysis mm. 11-15...... 45
2.4 Opus 68 Harmonic Analysis ram. 16-20...... 45 2.5 Opus 68 Harmonic Analysis ram. 21-25...... 45
2.6 Opus 68 Harmonic Analysis ram. 26-30...... 46 2.7 Opus 68 Harmonic Analysis ram. 31-35...... 46
2.8 Opus 68 Harmonic Analysis ram. 36-40...... 46 2.9 Opus 68 Harmonic Analysis ram. 41-45...... 47 2.10 Opus 68 Harmonic Analysis tran. 46-50...... 47 2.11 Opus 68 Harmonic Analysis ram. 51-55...... 47
2.12 Opus 68 Harmonic Analysis ram. 56-60...... 48 2.13 Opus 68 Harmonic Analysis ram. 61-65...... 48 2.14 Opus 68 Harmonic Analysis ram. 66-70...... 48 2.15 Opus 68 Harmonic Analysis ram. 71-75...... 49
2.16 Opus 68 Harmonic Analysis ram. 76-80...... 49 2.17 Opus 68 Harmonic Analysis ram. 81-85...... 49 2.18 Opus 68 Harmonic Analysis ram. 86-90...... 50 2.19 Opus 68 Harmonic Analysis ram. 91-95...... 50
2.20 Opus 68 Harmonic Analysis ram. 96-100...... 50 2.21 Opus 68 Harmonic Analysis ram. 101-105...... 51
ix 2.22 Opus 68 Harmonic Analysis ram..106-110...... 51 2.23 Opus 68 Harmonic Analysis mm..111-115...... 51 2.24 Opus 68 Harmonic Analysis ram..116-120...... 52 2.25 Opus 68 Harmonic Analysis mm..121-125...... 52 2.26 Opus 68 Harmonic Analysis mm..126-130...... 53
2.27 Opus 68 Harmonic Analysis mm..131-135...... 53 2.28 Opus 68 Harmonic Analysis ram..136-140...... 53 2.29 Opus 68 Harmonic Analysis mm. 141-145...... 54 2.30 Opus 68 Harmonic Analysis mm. 146-150...... 54
2.31 Opus 68 Harmonic Analysis ram. 151-155...... 55 2.32 Opus 68 Harmonic Analysis mm. 156-160...... 55 2.33 Opus 68 Harmonic Analysis mm. 161-165...... 56 2.34 Opus 68 Harmonic Analysis mm. 166-170...... 56
2.35 Opus 68 Harmonic Analysis ram. 171-175...... 57 2.36 Opus 68 Harmonic Analysis mm. 176-180...... 57 2.37 Opus 68 Harmonic Analysis mm. 181-185...... 58 2.38 Opus 68 Harmonic Analysis ram. 186-190...... 58
2.39 Opus 68 Harmonic Analysis ram. 191-195...... 58 2.40 Opus 68 Harmonic Analysis ram. 196-200...... 59 2.41 Opus 68 Harmonic Analysis ram. 201-205...... 59 2.42 Opus 68 Harmonic Analysis ram. 206-210...... 59
2.43 Opus 68 Harmonic Analysis ram. 211-214...... 60 2.44 Opus 68 Harmonic Analysis ram. 215-218...... 60 3.1 Opus 115, No. 1 Harmonic Analysis ram. 1-5...... 72 3.2 Opus 115, No. 1 Harmonic Analysis mm. 6-10...... 73 3.3 Opus 115, No. 1 Harmonic Analysis mm. 11-15...... 73
X 3.4 Opus 115, No. 1 Harmonic Analysis ram. 16-20...... 74 3.5 Opus 115, No. 1 Harmonic Analysis mm. 21-25...... 74
3.6 Opus 115, No. 1 Harmonic Analysis mra. 26-30...... 75 3.7 Opus 115, No. 1 Harmonic Analysis mra. 31-35...... 75 3.8 Opus 115, No. 1 Harmonic Analysis mra. 36-40...... 76 3.9 Opus 115, No. 1 Harmonic Analysis mra. 41-45...... 76 3 .10 Opus 115, No. 1 Harmonic Analysis mra. 46-50...... 77 3.11 Opus 115, No. 1 Harmonic Analysis mra. 51-55...... 77
3.12 Opus 115, No. 2 Harmonic Analysis mra. 1-5...... 78 3.13 Opus 115, NO. 2 Harmonic Analysis mra. 6-10...... 78 3 .14 Opus 115, No. 2 Harmonic Analysis mra. 11-15...... 79 3 .15 Opus 115, NO. 2 Harmonic Analysis mra. 16-20...... 79 3.16 Opus 115, NO. 2 Harmonic Analysis mra. 21-25...... 80 3.17 Opus 115, NO. 2 Harmonic Analysis mra. 26-30...... 80 3 .18 Opus 115, NO. 2 Harmonic Analysis mra. 31-35...... 81 3 .19 Opus 115, No. 2 Harmonic Analysis mra. 36-40...... 81 3 .20 Opus 115, NO. 2 Harmonic Analysis mra. 41-45...... 82 3 .21 Opus 115, NO. 2 Harmonic Analysis mra. 46-50...... 82 3 .22 Opus 115, NO. 2 Harmonic Analysis mra. 51-55...... 83
3 .23 Opus 115, No. 2 Harmonic Analysis mra. 56-60...... 83 3.24 Opus 115, NO. 2 Harmonic Analysis mra. 61-65...... 84
3 .25 Opus 115, NO. 2 Harmonic Analysis mra. 66-71...... 84
XI CHAPTER 1
BIOGRAPHY AND EXAMINATION
MENDELSSOHN'S LIFE
Jakob Ludwig Felix Mendelssohn was b o m on February 3, 1909 in Hamburg, Prussia.^ His parents, Abraham (1776- 1835) and Lea (1777-1842), were devoted to their family. Because of their history and financial station, they were able to offer young Felix material and intellectual benefits many other composers lacked. The material benefits were the legacy of both Felix's mother, whose maternal great grandfather had acquired substantial wealth as the financial advisor and supporter of Friedrich II', and his father, who was involved in banking, first in Paris, then in Hamburg. The intellectual benefits were the legacy of Felix's paternal grandfather, Moses Mendelssohn né Dessau (1729- 1786), a philosopher who did much to shape the beliefs of his time.
'Biographical material contained in this document was culled from many sources and is therefore considered common knowledge. Those facts that are unique to one source will be cited in the appropriate manner. 'Eric Wemer, Mendelssohn: A New Image of the Courser and His Age, (London: Collier-MacMillan Limited, 1963), 7. When Felix was three years old his family moved, under cover of darkness, from Hamburg to Berlin.^ In Hamburg, Abraham and his brother Joseph had used their banking business to finance blockade running against the French government. For reasons of their safety they were compelled to relocate. The Mendelssohn family was given a hero's welcome in Berlin and accorded many honors not normally given people of Jewish descent. These circumstances set in motion the series of events that resulted in Abraham Mendelssohn having his three young children baptized in 1816 and given the surname "Mendelssohn-Bartholdy. " In 1822 Abraham and Lea Mendelssohn also became Christians .* Bartholdy was the name of the previous owner of the estate of Felix's maternal uncle Jacob Lewin Solomon. Jacob Lewin
Solomon had adopted the name Bartholdy when he converted and he was instrumental in convincing Felix's father to have the children baptized. Felix's Uncle Jacob was also influential in Felix's decision later in life to stop using the name
Bartholdy. Jacob did not believe that music was a suitable calling for his nephew and tried to convince Abraham to keep
^Heinrich Eduard Jacob, Felix Mendelssohn And His Times, trans. Richard and Clara Winston (Westport Ct : Greenwood Press, 1973), 29. ‘Philip Radcliffe, Mendelssohn, (London: J. M. Dent and Sons, 1990), 4. Felix from being a musician. Angered by Jacob's advice, Felix attempted to divorce himself from all connection to his vincle.* Jews in 18th-century Europe were caught in a social and
political situation that was opposite to that of American
Jews. In America every citizen was and is equal before the law, and, since the Constitution serves as a custodian of the citizen's rights, the Jews are entitled to legal equality; this does not and did not necessarily entail social equality. Conversely, in Europe, social equality of Jews preceded their legal recognition by many years, in some cases by a full century.® The choice to convert to Christianity was a common way to
achieve legal equality. At the age of six, Felix and his sister Fanny began to study the piano with their mother. Within a year, both Mendelssohn children progressed to the level that required a professional piano teacher. Felix's early abilities are
well documented. As a youth of only seven years, he studied piano with Marie Bigot and violin with Pierre Baillot in Paris during 1816. The next year was in^ortant for Felix and Fanny as concert pieuiists. On October 28, 1818 Felix took part in a concert given by the horn player Friedrich Gugel, which won a favorable review.’
'Erie Wemer, Mendelssohn: a New Image of the Coiqposer and His Age, trans. Dika Newlin (London: Collier-MacMillan Limited, 1963), 23. ‘Ibid., 28. ’R. Larry Todd, Mendelssohn's Musical Education: a Studÿ anfi Edition of his Exercises in Composition, (New York: Cambridge University Press, 1983), 12 In 1817 Felix began to study conç>osition with C.F. Zelter, the director of the Berlin Singakademie. The heritage of Zelter as a conç)osition teacher is quite
impressive and might be the reason Mendelssohn held Bach's music in such reverence.
Zelter's course of instruction...reflects a conservative theoretical tradition extending back to J.S. Bach. Zelter himself had been trained by Carl Friedrich Christian Fasch and Johann Philipp Kimberger, two eighteenth-century Berlin musicians who were contemporaries of C.P.E. Bach. Kimberger and C.P.E. Bach were both taught, of course, by Johann Sebasticui. A more or less direct pedagogical line, therefore, may be drawn from Bach through C.P.E. Bach, Kimberger, and Fasch, to Zelter, euid thence to Mendelssohn.*
On April 11, 1819, at the age of ten, Felix entered the Berlin Singsdcademie. Shortly thereafter, Zelter admitted his promising pupil into the sacred Sing Akademie. Felix's reputation had preceded him thither. He took his place unobtrusively among the altos, but the grown-ups, in whose midst he found himself, never ceased staring at him. It was unbelievable that his child, still in curls, possessed the prodigious gifts attributed to him. He came to the Sing Akademie for the serious business of learning great choral works, and these people treated him as if he were a curio.* Mendelssohn's first dated work was a cantata written in January of 1820, at the age of eleven. He continued to write voraciously and his prowess as a composer at an early age is reminiscent of Mozart. He completed the Opus 2 Piano Quartet in 1823 and a year later had finished the C minor
*Ibid., 2.
*Schima Kaufman, Mendelssohn "a second Elijah", (New York: Tudor Publishing Compauiy, 1934), 19. Sytiçîhony. At the age of seventeen he conç)osed the Overture to A Midsummer Night's Dream. Mendelssohn con^osed on a regular basis throughout his life. He wrote for nearly every medium and his music was immensely popular during his lifetime. Many of his works have faded into obscurity for one reason or another, but several remain as standards of the current repertory, among them his oratorio Elijah, several symphonies, the "Songs Without Words, " the E minor Violin concerto, several overtures, six organ sonatas, and many shorter works for instruments and voices. Mendelssohn often revised his compositions. Mendelssohn's habitual urge to revise was, in fact, an obsession. If we survey the conpositional history of his major works, consistent signs of intense self doubt, unrelenting scrutiny, and exacting revision emerge. Todd systematically sites examples of Mendelssohn's revisions in every medium and even offers an explanation of these revisions by the composer himself.
During the 1840s, Mendelssohn discussed his views about composition with J. C. Lobe, a Weimar musician and composer who served as editor of the Leipzig Allgeaaeine muBxcallsche Zeitvng from 1846 to 1848. In 1855 Lobe published his "Gesprâche mit Mendelssohn, " set down in a style reminiscent of Eckermann's GesprÀche mit Goethe. According to Lobe's paraphrase, Mendelssohn observed that "in beginning a composition, one has a high idea of what will be created! These ideas for which one proceeds to search take on much more lovely forms as shadowy presentiments thsui when they actually are put down on paper...If only those thoughts that
^°R. Larry Todd, "The Unfinished Mendelssohn," in Mendelssohn and His World, ed. R. Larry Todd (Princeton N J : Princeton University Press, 1991), 159. correspond conpletely to one's requirements were accepted, then nothing or very little would ever be brought to fruition. Just for this reason I have occasionally begun works and left them unfinished. Mendelssohn also gained popularity as a conductor and on March 11, 1829, at the age of twenty, conducted a performance of Bach's St. Matthew Passion which led to its revival as a work of major stature.
I [Mendelssohn] have been very busy lately conducting, for the benefit of a charitable institution, two performances of Sebastian Bach's Passion according to Saint Matthew, with the aid of the Sing-Akademie and the Royal Beuid; and now the public is loud in its demands for a third performance, which, however, is quite out of the question.^* In addition to his work as a conductor in Germany,
Mendelssohn achieved popularity in London conducting there for the first time in 1829. He returned to England several times during his lifetime, in 1832, 1833, 1837, 1840, 1842, 1844, 1846, and 1847. As word of his abilities as a conductor grew, he was invited to conduct in Düsseldorf at the Lower Rhine Festival and was appointed the conductor of the Leipzig Gewandhaus concerts in 1835. Mendelssohn also conducted during his visits to Italy in 1830 and 1831, France in 1831 and 1832, and Switzerland in 1847. Mendelssohn moved from Berlin to Düsseldorf in 1833 when he was appointed to the post of general director of the
“ Ibid., 162. “ Felix Moscheles, Letters of Felix Mendelssohn to Ignaz and Charlotte Moscheles, trans. by Felix Moscheles, (Freeport NY: Books for Libraries Press, 1888), 8. Lower Rhine Festival. In 1835 he moved to Leipzig and kept his home there until he died. Mendelssohn married Cécile Jeanrenaud on March 28, 1837. While living in Leipzig, in addition to occasionally serving as the conductor of the Gewandhaus Orchestra, Mendelssohn taught piano and composition at the Conservatorium which he founded in 1842. By a curious coincidence, plans for a conservatorium at Leipzig had been promulgated in April, 1840, two months before the coronation of Frederick IV of Prussia. A certain Herr Blumner had died, leaving a legacy of twenty thousand thalers in custody of the King of Saxony for the erection of an Institute of Arts and Sciences. On April 8, of his own accord, Mendelssohn had opened the subj ect to the court at Dresden, requesting that the proposed Institute be established at Leipzig. In a long letter to Kreis-Direktor von Falkenstein, he had given a detailed account of the many advantages accruing from such a project at that city, and enclosed an outline of its functions. The court was highly amenable to any proposition which would bring added glory to Saxony. The King expressed willingness to add to Blummer's [sic.] legacy from the privy purse, and the matter was expedited in every way. This was the germ of the famous Leipzig Conservatorium which was to come into being a few years later. Felix Mendelssohn died in Leipzig on November 4, 1847.
After his death the stature of Mendelssohn as a conductor and conçoser severely declined. This is due, in part, to the antisemetic attack issued by Wagner. Even though some conteti^oraries, including Schumann and Berlioz, maintained certain doubt about much of Mendelssohn's output, the anti-Mendelssohn campaign began in earnest in 1850 with the publication of
Schima Kaufman, Mendelssohn "a second Elijah" (New York: Tudor Publishing Cottqpany, 1934), 277. Wagner's essay "Judaism in Music." The success of the contetrç)tuous Wagnerian view of Mendelssohn the man, his music, and its social and cultural influence was profound.
There are others, in addition to Wagner, who found
Mendelssohn's compositions substandard. At the root of many of these opinions may be the drastic change of musical taste afoot in the middle of the eighteenth-century. The cause of the diversity of opinion with respect to Mendelssohn's merits and rank as a composer must be looked for not in his works, which are pre-eminently costal-like in their intelligibility, but in the widely differing notions of critics and public, musicians and amateurs, concerning the musical art. If, as Niecks writes, a judgement based on the opinions of critics and the public concerning Mendelssohn's ability as a composer cannot be trusted, then the only reliable basis for a judgement of the quality of Mendelssohn's music is the music itself. For this reason I shall examine Mendelssohn's music for men's voices in an effort to provide an overview of his output in this genre, as well as examine in detail the Festgesang: An die Kûnstler Opus 68, and the Zwei geistlicbe Chôre fûr Mânnerstimmen Opus 115.
^*Leon Bot stein, "The Aesthetics of Assimilation and Affirmation: Reconstructing the Career of Felix Mendelssohn," in Mendelssohn and His World, ed. R. Larry Todd (Princeton NY: Princeton University Press, 1991), 5.
^'Friedrich Niecks, "On Mendelssohn and Some of His Contemporary Critics," in Mendelssohn and His World, ed. R. Larry Todd (Princeton NJ: Princeton University Press, 1991) , 383. 8 These works have been selected using the following criterion:
1. At least one of the works selected for detailed study must use instruments as well as voices. This is a requirement of the degree program. 2. The works selected must be pieces of some significance among the works of Mendelssohn.
3. At least one of the works selected for detailed study must contain more than one movement, or be of a substantial length. 4. The works selected for detailed study must coirqplement each other in order to form a balanced, unified, and interesting recital. 5. The works selected must facilitate new scholarship in the field.
The remainder of chapter one will provide an overview of Mendelssohn's works for men's voices including a brief description of the circumstances of the compositions, and an overview of musical characteristics: the performing forces, tonality, form, and ranges of the voices.
The areas of research considered in chapters two auid three of this document include: the intended venue, number and types of performers, available eUid historic editions, pitch cuid tenperament, texture, harmonic and melodic structures, form, meter, tenpo, dynamics, auid origin of the text for each piece. These chapters also contain suggestions for the rehearsal and preparation of the selected pieces including a proposed rehearsal schedule, suggestions for related vocalises, and a description of a proposed performance set-up. AN EXAMINATION OF MENDELSSOHN'S MUSIC FOR MEN'S VOICES A survey of Mendelssohn's works for men's voices reveals that he composed twenty-nine secular songs, two more substantial works that are listed as Festgesânge^, two sacred choruses, and a multi-movement sacred piece entitled Vespergesang fûr MSnnerstixmen mit Begleitung von Violoncell und Bass, Opus 121.
Although several of Mendelssohn's secular songs for men's voices are grouped together under opus numbers, the dates of these songs reveal that they were not originally composed in groups or cycles. For this reason each song will be examined separately.
Sechs Lieder fûr vierstimnigen MSnnercbor, Opus 50 The six songs, Opus 50, are dedicated to Die Liedertafel in Leipzig.^* Lledertafeln were singing societies, sometimes consisting of men's or women's voices alone, and sometimes mixed voices; these societies were usually identified with towns. Zelter, Mendelssohn's composition teacher, was the founder of the Liedertafel in Leipzig in 1808, the first such organization founded in
Germany.” During Mendelssohn's lifetime, singing
^'Schima Kaufman, Mendelssohn "a second Elijah" (New York: Tudor Publishing Cotipany, 1934), 329. ” Erick Wemer, Mendelssohn: A New Image of the Composer and His Age (London: Collier-MacMillan Limited, 1963), 16. 10 societies were in decline, but he attempted to revive them by providing suitable, appealing music.
The Berliner Liedertafel and her sister organizations had striven since Zelter's time to counteract this decline of social choral singing; but somehow the compositions of Zelter, B. Klien, Romburg, etc, did not become popular. None of these composers was a real melodist. Schubert (who, however, accompanies his choruses with piêuio} was unknown in North and Central Germêuiy. Here, Mendelssohn could fulfill what Zelter had initiated; he brought to his task the necessary equipment of melodic inventiveness and special familiarity with a cappella choruses.^*
The Turkisches Schenkenlied (Turkish Drinking Song), Opus 51, No. 1, was composed in 1835 using a text written by Goethe. Zelter had introduced Mendelssohn to Goethe in 1821 in Weimar. Goethe was very impressed with the twelve-year- old Mendelssohn and they developed a lifelong relationship.
The song is written for four solo voices cuid a four-part men's chorus in the key of g-minor. Allegro Vivace is the tempo marking and the piece is in common time. There is some use of polyphony, but the texture is primarily homophonie. The form is AB, repeated, cuid followed by a coda. Mendelssohn has indicated the use of a range of
'Ibid., 355.
11 dynamics from pp to //. The voice ranges^* are: Tenor I, d to a'; Tenor II, d to e'; Baritone, B to d'; and Bass, D to d' .
Der Jàger Abschied (The Hunter's Farewell), Opus 50, No, 2, was written in 1840 and uses a text by Eichendorf, Although the text*“ is secular, it makes frequent
references to God and is a truly a mixture of nationalist, sacred, and secular. There is not much known concerning the circumstances of this composition, other than the fact that Mendelssohn was in Leipzig when he wrote it. Although the recording'^ studied by this author is a cappella, Der Jàger Abschied is the only accompanied partsong Mendelssohn wrote
for men's voices. The instrumental accompaniment, for two horns in E^, two horns in B" basso, and bass trombone is marked "ad libitum,” and merely reinforces the vocal parts. The composition, in E** major and triple meter, is in strophic foirm, and is mostly homophonie with occasional polyphony. Marked "Alla Marcia," the piece uses a dynamic
"The pitch identification scheme used in this document identifies middle c as c' . The other notes called "c" in relation to c' are as follows: Ci, C, c, c ', c'' , c'' ' . The form of the name changes with each c, proceeding upward. Therefore, the b above middle c is b', and the b below middle c is b.
"Text translations, unless otherwise indicated, are by Susan Marie Praeder and are from the liner notes of Die Singphoniker, Singpbanic Mendelssohn: The Part Songs for Male Voices (Georgsmarienhûtte, Germany: CPO 999 091-2, 1994). "Die Singphoniker, Singpbanic Mendelssohn: The Part Songs for Male Voices (Georgsmarienhûtte, Germany: CPO 999 091-2, 1994), Band 2.
12 range of pp to /; the voice ranges are : Tenor I, g to g '; Tenor II, e** to e*” ; Baritone, d to d'; and Bass, F to d'. Goethe wrote the text of Sonwnerlied (Summer Song) , Opus 50, Ho. 3. Composed in 1837, this is the earliest of the
Opus 50 partsongs. Mendelssohn wrote the song in 6 Major, using 6/8 meter, for solo quartet and four-part men's chorus. There are two verses written in strophic form using mostly homophonie texture with occasional uses of imitation between the voices. Although the basic tempo is marked
"Vivace e leggiero,” there are several fluctuations indicated by "ritard.," "a tempo,” "Un poco ritenuto,” and "Tempo I." The voice ranges are: Tenor I, g to g'; Tenor
II, d to e'; Baritone, b to c'; and Bass, G to C . The WasserfaJxct (Boat Trip), Opus 51, No. 4, was composed in 1837 using a text written by Heine. In b minor, the song is scored for a four-part chorus a cappella. The tempo marking is Andante, and the meter is 6/8. The texture is homophonie; the form strophic. Each of the verses ends with a Picardie third. Mendelssohn has indicated the use of a range of dynamics from pp to /. The voice ranges are:
Tenor I, f to g'; Tenor II, f to d'; Baritone, d to d'; and
Bass, P to g. Lieb und Wein (Love and Wine) , Opus 50, No. 5, was written in 1839 cUid uses a text by Mosen. This song is more elaborate than the others included as part of the Opus 50 set. There are two verses, each clearly divided into two
13 sections by use of tenço, meter and modal changes. The first section of the verses uses a "question and answer" format. This section is marked Maestoso and is in common time. The baritone soloist first asks two two-measure questions each answered by the entire chorus in single measures. The next question posed by the baritone is a four-measure question, but still receives a one-measure answer from the chorus. To conclude the first portion of
this verse the baritone repeats the chorus's last answer, as if to make sure of it, and the chorus affirms their answer. Each of the chorus' answers ends with a fermata, thus giving the entire section a metrically free feeling of recitative. The entire first section is in g-minor. The second section of each verse is sung by the chorus and abandons the "question and answer" format. The function of this section is like that of a Greek chorus: to comment on the plight of the baritone soloist. The tenç)o increases in this section to Allegro Mol to, the meter changes to 6/8, and the mode changes from g-minor to G-major. The texture used in the second section of the verses is mostly polyphonic. Although the format of each of the verses is the same, the piece is through-conposed and ends with a cadential extension. Mendelssohn has indicated the use of a range of dynamics from pp to //. The text of this song will be an issue for the conductor wishing to program it. The first verse describes a scenario in which a maui is having romantic
14 problems. The second verse lauds wine as the solution to the man's problems. The appropriateness of the text of this song might become an issue because it addresses the consuirption of alcohol. The voice ranges are: Tenor I, f* to b'; Tenor II, f* to g'; Baritone, c to e'; and Bass, G to d' .
Eichendorf wrote the text of Wonderlied (Hiking Song), Opus 50. No. 6. Like the second song in this set, also using Eichendorf ' s poetry, this piece is about the beauty of nature. The performing forces are solo quartet euid four- part men's chorus. Written in 1840, the song is in D-major auid uses 2/4 meter. There are three verses, treated in strophic form. The music for the second verse is identical to the first, but the third verse has subtle changes in both the melodic and harmonic structure. The texture is mostly homophonie with very short sections of imitation among the voices, and a wide range of dynamics is indicated in the score. The tenpo is marked Allegro Mol to throughout. The voice ranges are: Tenor I, e to a'; Tenor II, e to e' ; Baritone, c* to d' ; and Bass, D to b.
Vier Lieder fûr viergtimmigen Mâxmerchor, Opus 75 (post. ) The four songs. Opus 75 were written over a speui of seven years, from 1837 to 1844. During this period Mendelssohn made two trips to Englemd, lived for a short time in Berlin, but spent most of his time in Leipzig. He
15 wrote several pieces that were very well received including the Lobgesanff, the Gutenberg Festgesang, incidental music to Sophocles' Antigone, and the Scottish Synphony.
The Der frôhe Wandersmaxm (The Happy Wayfarer) , Opus 75, No. 1, was coiqposed in 1844 using a text written by Eichendorf. The song is written for a four-part chorus in the key of E-major. The tenço is Andante and the meter is
3/4. The texture is primarily homophonie with little use of polyphony. The music of the first two verses is identical. The third verse begins with a change in meter to common time for one measure and then a return to the triple meter used in verses one and two. The third verse also contains some minor changes in voice leading for the second tenors and baritones, but these chcuiges do not alter the harmony. The third verse ends with a four-measure cadential extension following a sequence of slightly altered harmonies. Mendelssohn has indicated the use of a range of dynamics from p to //, as well some interesting articulations including the use of portato. It appears as though the articulation markings have no use as far as text-painting is concerned. This author would interpret the staccato marks as indicating separation, but the slur as a caution that the separation should not destroy the contour of the melodic line. The voice ranges are: Tenor I, e to a'; Tenor II, f* to e' ; Baritone, B to c*'; and Bass, E to b.
16 Eichendorf also wrote the text for Abendstândchen (Serenade), Opus 75, No. 2. Coirç)osed in 1839, this piece is the shortest and sin^lest of the Opus 75 songs. B" Major and 3/4 meter provide the tonal and metric underpinning of
this piece written for four-part men's chorus. There are three verses treated in strophic form, using homophonie
texture. The ten^o marking provided by the composer is "Andante sostenuto, " and there is a wide range of dynamic markings used. The articulation indication of several
staccato notes grouped under a slur is indicated in this piece also. This type of articulation appears in the first two songs of this set but not in the last two. The voice ranges are: Tenor I, f to g'; Tenor II, f to d'; Baritone, d to c'; and Bass, E** to a".
The Trinklied (Drinking Song), Opus 75, No. 3, was conposed in 1837 using a text written by Goethe. The song
is written for four solo voices and four-part chorus in the key of E-Major. The teirpo is Allegro vivace and the meter is 3/4. The texture of this piece, as compared to the other pieces in this opus, is more polyphonic. There are two identical verses. The dynamics indicated range from pp to /. This text, which is a satirical conparison of the benefits and consequences of drinking too much and falling in love, is much less pointed than the Opus 50, No. 5 song that lauded the benefits of wine as a solution to life's problems. A thoughtful conductor should still consider
17 carefully, however, the consequences of programming this
piece with juvenile performers, but the message presented to the audience by Trinklied is much more palatable than that of Liebe und Wein. The voice ranges used in Trinklied are:
Tenor I, f* to g*'; Tenor II, f* to d* ' ; Baritone, A to c*';
and Bass, E to c*' . Mendelssohn wrote Ahschiedstafel (Final Toast), Opus 75, No. 4 in 1844. Three of the four songs grouped as opus
75 use texts by Eichendorf, but this text is different from the others. The first two pieces are about nature and man's relationship to nature, the "Final Toast" is «d)out man's relationship with his fellow man. The song is in D Major and uses 2/4 meter. There is considerable use of descending chromaticism in this piece and, for this reason, intonation will be a challenge. There are three verses, in strophic form, with small rhythmic and melodic alterations in the third strophe which reflect the meaning, and not the meter, of the text. The texture is homophonie, and the range of dynamics is indicated in the score. The tempo is marked Assai maestoso alia Marcia throughout. The voice ranges are: Tenor I, d to a'; Tenor II, d to f* ' ; Baritone, c* to e'; and Bass, D to e'. Because of the wide ranges, the vocal techniques required, and the considerable harmonic challenges presented by the downward chromatic movement, this piece is more difficult than the others in the set.
18 vier Lieder fûr vierstiamigea MSrmercbor, Opus 76 (post. ) The Opus 76 songs present some textual issues that would preclude their performance as a group. The text for the second and third song in this group make reference to militant aggression against neighboring countries by the German people that, in light of World War II, would tiake any performance of them inappropriate. Mendelssohn composed Das Lied vom braven Mann (The Song of the Valiant Man) , Opus 76, No. 1 in 1840 using a text by Heinrich Heine. The song is scored for bass solo cuid four- part men's chorus, and is in strophic form. Each strophe is divided into two parts texturally, with the first sung by the soloist, and the second part sung by the chorus which echoes the solo text. The choral portion of each strophe is four measures longer than the solo portion due to a cadential extension. Each of the three strophes uses the same music. Das Lied vom braven Mann is in G Major and in common time. Unlike many of the other songs examined, this song has only one dynamic indication for the chorus, forte, and no dynamic indication is given for the soloist. The song is marked Im Studententon, or "with a student-like tone." The technical demands placed on the soloist auid chorus are considerable including a leap of a minor ninth for the soloist and members of the first tenor section. The style marking of the piece requires that the interpreter encourages the singers to use a somewhat unrefined tone to
19 express the youthful and course nature of the text even though the technical demands of the music require a performer with mature vocal technique. The melody is coitçjosed of mostly descending passages which would result in
pitch difficulties unless care was taken to avoid them. The voice ranges are: Tenor I, d to g'; Tenor II, d to e'; Baritone, d to d'; and Bass, 6 to d'. Rheinweinlied (Rhine Wine Song), Opus 76, No. 2 was
composed in February of 1844.*^ The title would lead one to believe that it is a drinking song like many of the others written by Mendelssohn. An examination of the translation of the third verse, however, reveals something
quite different. He is not worthy of the blood of the vine who will not gladly swing his sword to euinihilate the eneny. He is not worthy of the blood of the vine, who will not gladly swing his sword to annihilate the enetry for the German woman and the German man."
Although the third verse contains the most offensive images, there are references to Germein aggression throughout the song. "Rhine Wine Song" coirçrises three strophes of music scored for four-part men's chorus in the key of D Major, and
in common time. There are many instances of extended repeated pitches in the tenor voices, as well as frequent
" "Schima Kaufman, Mendelssohn "a second Elijadi" (New York: Tudor Publishing Cotrç>any, 1934), 332.
"Georg Herwegh, "Rheinweinlied, " translation by David Oyen, Kalmus Study Scores No. 1213 (New York: Edwin F. Kalmus, Publisher of Music, n.d.), 21.
20 use of descending half-step passages in the baritone and bass voices, that might result in intonation problems for a choir. Mendelssohn has indicated the tempo at Allegro mol to, and included a variety of dynamic markings. There are occasional instances of paired voicing between the first and second tenors and the baritones and basses, but the texture is principally homophonie. The voice ranges are: Tenor I, a to a'; Tenor II, f* to f*'; Baritone, e to d'; and Bass, D to d'. Lied fûr die Deutschen in Lyon (Song of the Germans in Lyon), Opus 76 No. 3, uses a text that suggests music is what will unite the Germans against the French in Lyon. The text was written by Stolze, cind the song was con^osed in October of 1846. "Song of the Germans in Lyon" consists of three verses in common time and a refrain, repeated after each verse, in triple meter. The piece is in F Major and is scored for four-part men's chorus. The use of a variety of dynamics, and several chromatic passages help create diversity in this principally homophonie piece that is marked Allegro maestoso. The voice ranges are: Tenor I, a to g'; Tenor II, C to g'; Baritone, C to e'; and Bass, F to e'. The collected works, published by Breitkopf & Hârtel, list the date of congletion for Comitat (It Acconpanies) , Opus 76 No. 4, as the end of the summer 1847.** According
**Julius Rietz, ed. Felix Mendelssohn Bartholdy's Nerke, Serie 17 (London: Reprinted by Gregg Press, 1967), 24.
2 1 to all available information one can conclude that Comitat is the final song for men's chorus written by Mendelssohn. The text, by Hoffmann von Fallersleben, speaks of the
parting of a group of singers and concludes with these words :
Brother, raise your hand now to pledge that we remain true to each other, honest without faltering, free from envy and (parrel in all our dealings. Finally, it will someday happen; we will see each other again, rejoice and renew the bond. Live well, goodbye. Live well, goodbye.*® Opus 76 No. 4 consists of three identical strophes, using homophonie texture, and is scored for four-part men's chorus. This song is in F Major and uses a wide range of
dynamics. The tempo indication is Allegro moderato. The music is sinple and straightforward, reminiscent of an alma mater or hymn. The voice ranges are: Tenor I, f to g' ; Tenor II, f to d'; Baritone, f to C ; and Bass, E to c'.
Vier Lieder fur vierstimmigen Mânnercbor, Opus 120 (post. ) Mendelssohn cotrçosed Jaglied (Hunting Song), Opus 120, No. 1 in 1837 using a text by Sir Walter Scott. The
Breitkopf and Hârtel edition of Mendelssohn's collected works**, edited by Julius Rietz, provides only the first
*®Hoffmann von Fallersleben, "Comitat, " translation by David Oyen, Kalmus Study Scores No. 1213 (New York: Edwin F. Kalmus, Publisher of Music, n.d.), 24. **Julius Rietz, ed., Felix Mendelssohn Bartholdy's Werke Serie 17 (London: Reprinted for Gregg Press Limited, 1967) , 25.
22 verse of the text, but the recording of the song by Die Singphoniker uses three verses. The liner notes of the recording state that the recording artists were able to study Mendelssohn's autograph scores to prepare the CD.*’ Therefore, this author assumes that the two missing verses appear in the autograph but not in the collected works. The performing forces called for are four soloists and four-part men's chorus. This piece, as alluded to above, is in strophic form, the key is C Major, and the meter 2/4. The texture is mostly homophonie with short sections of imitation among the voices, and the wide range of dynamics is indicated in the score. The ten^o is marked Presto throughout. The voice ranges are : Tenor I, e to g ' ; Tenor
II, e to f '; Baritone, c to d'; and Bass, G to c '. Morgengruss des thûringischen Sângerbundes (Morning Greeting of the Thuringian Choral Society), Opus 120, No. 2 was written in Leipzig in 1847, and uses a text by an unknown author. There was no information available about the Thuringian Choral Society. Like the first piece in the
Opus 120 set of songs, this music is in strophic form. Morning Greeting of the Thuringian Choral Society is in a major mode and uses F as a tonal center. Common time is the metric indication. Morgengruss will present some intonation and balance problems to most choirs because of the use of
Die Singphoniker, Singpbonic Mendelssohn: The Part Songs for Male voices (Georgsmarienhûtte, Germany: CPO 999 091-2, 1994), 8. 23 unison singing on c' in m. 11-12. The parts subsequently separate resulting in a wedge effect that will weaken the forte dynamic indicated unless the singers make an effort to sustain it. If the indication were piano rather than forte the basses and baritones could use an energized head voice most likely resulting in a better balance and intonation. The leap of a major 10th by the basses, from IP to d', in m.
21 will also present problems for the singers. Allegro non troppo is the. tenço indication given by the con^oser. Opus 120, No. 2, unlike the other songs by Mendelssohn explored by this author uses a very limited dynamic range. The voice ranges are: Tenor I, g to a'; Tenor II, e to f ; Baritone, c to d'; and Bass, F to d'.
Very little is known concerning the cotiç)ositional circumstances of Im Sûden (In the South), Opus 120, No. 3. There is no author given for the text, nor is there a date of composition available. This piece begins quietly and would provide a respite from the forte used in the previous song, if they were sung as a set. The music serves as an accurate representation of the text which describes the soothing winds of the peaceful southern countryside. There is no use of solo voices indicated in either the second or third song of Opus 120. There are, however, occasional instances of polyphony amidst the homophonie texture. The song is in B" Major, uses common meter, and is in strophic form. The music for the first two strophes is identical,
24 but there are subtle rhythmic alterations in the third strophe to accommodate the text. The tenç>o marking is Andante. Voice rauages are: Tenor I, f to g ’; Tenor II, f to eb ' ; Baritone, d to bb ' ; and Bass, F to g . Mendelssohn chose to set a text by Goethe for the final song of the Opus 120 set; Zlgexmerlied (Gypsy Song), Opus 120, No. 4. The Gypsy Song, composed of four slightly varied strophes with a two measure codetta, is the most challenging of the four Opus 120 songs. Mendelssohn has used chromaticism and wide leaps to express the haunted quality of the text. But it is the use of hocket to represent the hooting of the forest owls (m. 9, 13-14, etc) , and the use of alternating triplets auid duplets that give this piece its unique place among the other partsongs in this set. The tonal center and mode of Zigevnerlied is g minor auid the meter is 2/4. As an outgrowth or extension of the hocket, Mendelssohn has paired the first tenors and baritones, and juxtaposed them with the second tenors and basses. The use of paired voices provides the listener with a varied textural palate including monophony, polyphony, and homophony even though the piece is written for four-part men's chorus. Mendelssohn's use of dynamics runs the gamut from pianissimo to fortissimo. The voice rauiges are: Tenor I, d to g'; Tenor II, f* to d'; Baritone, G to b*" ; auid
Bass, F* to a' .
25 Additional Partsongs
Mendelssohn wrote eleven additional partsongs that were not grouped in sets. Seven of these remain unpublished and the autograph scores are housed in the Bxblioteka Jagiellonska in Krakow where Mendelssohn's scores were moved shortly after World War II. Prior to that time the scores were housed in the Prussian State Library in Berlin." Ersatz fûr Unbestand is one of the three ungrouped songs that is published in the Felix Mendelssohn Bartholdy's
Werke, Serie 17 by Breitkopf & Hârtel. The other two are Nachtgesang, auid Die Stiftungsfeier.
Written in 1839 for Tauchnitz's Musenalmanach", Ersatz fûr Unbestand (The Next Best Thing) is divided into two sections by meter, ten^o and mode changes. Mendelssohn set a text by Rûckert which laments the brevity of both love and music. Rûckert's solution to the problem is to fall in love, and sing songs, again and again. The first section of the piece is in c minor, common time and is marked Andante; the second is in C Major, uses 6/8 meter and is marked Allegro Vivace. Ersatz fûr Unbestand is scored for four solo voices and four-part men's chorus. Mendelssohn has
"Information concerning Mendelssohn's autograph scores was collected from a series of email messages between the author and Douglas Seaton in May of 1997. Transcripts of those email messages are contained in Appendix A of this document. "Schima Kaufman, Mendelssohn, "a second Elijah," (New York: Tudor Publishing Co., 1934), 337. 26 indicated a wide range of dynamics in the score and has written the piece using mostly homophonie texture with occasional brief uses of monophony. The voice ranges are: Tenor I, g to a'; Tenor II, g to f ; Baritone, d to d' ; and Bass, F to C .
Nachtgesang (Night Song) is subtitled aus dent Repertorium fûr Mànnergesang (from the Male Vocal Repertoire), but little else is known about the song. There is no author of the text listed, however according to Schima Kaufman, the song was written in 1842.” Night Song, con^osed of two strophes and a fifteen measure coda, is in B** Major and triple meter. The performing forces required are four solo voices auid four-part men's voices. The title is somewhat misleading as the "night" to which the text refers is death rather than the end of daylight. The wide use of dynamics indicated in the score is evocative of the text. There is no ten^o indicated, but Mendelssohn has marked the music "Sostenuto.” The voice ranges are: Tenor I, a to g'; Tenor II, f to d'; Baritone, C to b"; and Bass, F to c'. Cotrposed in 1842, Die Stiftungsfeier (The Foundation Celebration) is scored for four-part men's chorus and is in AABA^ form. E" Major serves as the tonal center of this mostly homophonie song. The A sections are in 3/8 and the B section is in common time. There is no indication given for
” Ibid., 339. 27 the metric relationship among the sections, but the tenpo is marked Andante. Mendelssohn has indicated a range of dynamic markings in the score from pp and /. The voice ranges are: Tenor I, b^ to b*’*; Tenor II, e" to g'; Baritone, e" to e" ' ; and Bass, E** to c ' .
Festgesang zvr Sacularfeier der Bucbdruckerkunst This piece, commonly called the "Gutenberg Festgesang," was conposed in 1840 for the anniversary celebration of the invention of the printing press. The celebration was held in the town square of Leipzig and the con^oser conducted the premier of the work.
For this occasion Mendelssohn composed two choral works, the "Festgesang" and the "Lobgesang" (The Hymn of Praise). The "Festgesang" is a brief cantata for male chorus and brass band, a rather noisy piece, presented out of doors in the Leipzig market place on June 24. Mendelssohn wrote his mother that there were over two hundred men in the chorus; in the bauid there were twenty trombones, sixteen trunpets, and the rest of the instrumentation in proportion. The "Gutenberg Festgesang" was published without opus number and comprises four short movements. Movements I, II, and IV are in common time; the third movement is in cut time. The voice ranges are: Tenor I, d to a'; Tenor II, d to f '; Baritone, B** to eb' ; and Bass, G to c' . Each movement will be explored individually.
^^John Erskine, Song Without Words: The Story of Felix Mendelssohn (New York: Julian Messner, Inc., 1941),118. 28 Movement I is scored for brass instruments (four trumpets, four horns, four trombones, and a euphonium), four-part men's chorus, and a smaller echo brass ensemble (one trumpet, one horn, and three trombones) . This movement consists of two chorale strophes, the first strophe presented simply and accompanied by only the main instrumental ensemble, and the second strophe divided by phrases with the echo ensemble repeating the last four beats of each phrase. The accompaniment most often doubles the vocal lines but interpolates common nonharmonic tones where appropriate, in addition to some octave displacement. The movement is in G Major and the dynamics indicated are the result, or reinforce, the effects achieved by the echo ensemble. The second movement of the work is the best known because it is the melodic source for the Christmas Carol
"Hark, The Herald Angels Sing." Accompanied by the principal brass ensemble only, the movement is scored for two-part chorus singing in unison for all but the last two phrases of the first two verses. The third verse, which changes modes from G Major to g minor, begins with a greatly altered melody for two phrases returning to the familiar melody and accompaniment for the last half of the last verse. The texture is homophonie and the range of dynamics is indicated in the score.
29 Movement III, the longest and most complex of the four, begins with unaccon^anied unison voices that serve as a bridge from G Major to E" Major by going through the key of g minor. The echo ensemble plays again in this movement echoing the rather fanfare-like passages presented by the chorus and main instrumental ensemble. The third movement is clearly divided into two sections (mm. 1-44, mm. 45-165) through the use of a fermata and a teti^ change from Allegro Mol to to Pin Allegro. The texture of the second portion of this movement also changes from homophony to alternating phrases of imitative polyphony and homophony in the second.
Mendelssohn has written many borrowed chords and chromatic nonharmonic tones in the beginning of the second section of this movement giving it the feeling of a fantasy or development section of a sonata. In m. 102 a return of melodic motives from the beginning of the movement gives the listener the impression of form, but closer examination reveals that the reappearance of melodic material only serves to draw the movement to a close and is not a formal event comparable to the one in m. 44. Although the movement begins in E** Major, it ends in G Major.
Movement IV uses the chorale Nun Banket alle Gott for melodic material, consists of only one strophe, and does not use the echo ensemble. The straightforward amd unaltered use of this chorale for the finale of the work reflects the
30 historical nature of the celebration for which it was written. Movement IV is in G major and has no tenqpo or dynamic indications included in the score. Ad Vesperas Dcaiaicae XXI post: Triaitatis, Respoasorium et
HynmuB. Vespergesang fûr USanerstimaea. mit Begleitang von Violoncell und Bass, Opus 121. Written in 1833 when Mendelssohn was twenty-four years old, the Vespergesang (Evening Hymn) is quite obscure. The title indicates that the piece is to be sung as the responsory and hymn for the Vespers service on the Twenty- first Sunday of the Trinity or Pentecost season. An examination of the Liber Usualis revealed that these texts were not the appointed texts for that Sunday, but that the text for the third movement is designated as the tract for the Saturday after the Third Sunday in Advent**, and the text for the fifth movement is similar to the vesper hymn designated for the Sunday of the Holy Family during the season of Epiphany. While it is true that some of the texts appointed for the Sundays in Epiphany are to be used during the Trinity season, these texts are never used for the twenty-first Sunday in Trinity.** The "Evening Hymn, Opus 121" is conposed of five movements, and all but the second are acconganied by cello euid bass, in
**The Benedictines of Solemnes, ed. Liber UsuaLLis (Tournai Belgium: Desclee & Co., 1952), 351. **Ibid. ,475. 31 octaves. There is an indication in several resources, including the thematic catalogue**, that the work is to be accotiçcuaied by organ, but no part is provided and no figured bass symbols are given in the instrumental part. The voice ranges used are: Tenor I, e to a'; Tenor II, e to f ;
Baritone, A to e' ; and Bass, F to e' . Each movement will be explored individually.
The first movement of the Vespezgesaing is scored for three-part men's chorus divided, TBB. The movement is in a minor, uses mostly polyphonic texture, suid is in common meter. It is clearly divided into two sections by the use of a five-measure instrumental interlude. This movement begins with an eight-measure instrumental introduction, and ends with a six-measure instrumental postlude. The initial vocal entrances are imitative and in a fugal key pattern. There is no countersubject. The second section begins in m. 48 with descending thematic material, the entrances are imitative, but the fugal key relationship is present only through the first two entrances. Thematic material from the first section returns in m. 69, but it is used to signal a conclusion of the movement and not as a return to the A section. A five-measure melisma using unison bass and baritone voices set against the tenor voices a third higher expands to a major chord, that includes a Picardie third.
** Tbematisches Verzexcbness der im Druck erschienenen Compositi The second movement is six measures long, and is scored for a solo tenor voice in a quasi-recitative style. This movement is in Aeolian mode. There is no dynamic marking given. Con Mo to is the ten^o marking for the third movement, which is scored for baritone and bass soloists emd four-part men's chorus. Movement III is in F major and is very polyphonic and melismatic. The form of this movement is through conposed with a return of material from the beginning to help unify it. The third movement is in 3/4. Movement IV is scored for four soloists, and begins with a repeat of the second movement with the interpolation of B ‘’s for Bs. Centered around four repetitions of the opening five measures by the baritone soloist, the movement progresses by adding, first the two tenor soloists above the baritone, and finally the bass beneath. The tenors, using the text of the "Gloria Patri, " sing am ornamented duet moving mostly in thirds with occasional use of suspension. The bass sings a legato melody using the Gloria text. The bass melody alternately joins the tenor melody in homophonie texture, or functions as an unrelated melodic line in polyphony with the other parts. The tettpo of the fourth 33 movement is Adagio and it is in 2/4 time. The dynamic indications range from piano to forte, and the movement is in the Phrygian mode with frequent uses of the raised third scale degree. The final movement of the Vespergesang is tonally and texturally the simplest. It remains in A Major throughout with only occasional uses of accidentals, and the texture is homophonie. This movement is in binary form with a coda that uses melodic material from the second and fourth movement to unify the entire piece. The tempo is marked Andante and it is in common meter. This movement is scored for four soloists and four-part men's chorus. The use of modal harmony, extended polyphonic sections, several melismatic passages, as well as the use of cello and bass accompaniment, will make learning auid performing this piece more challenging thaui nearly all the other music for men's voices by Mendelssohn. Other than the score in the collected works auid a Kalmus Study score, the author is aware of no other publication of the Vespergesang. 34 CHAPTER 2 FESTGESANG: AN DIE KÔNSTLER, OPUS 68 VENUE The Festgesang: An die KUnstler, Opus 68 was written in June of 1846 and premiered at the opening concert of the Gernan-Flemish Singing Festival in Cologne, Germany. As a whole, the event was not well received due to poor organization and administration, but the Festgesang was "one of the few high points of the dismal festival."" The premiere was conducted by the conqposerThere is no indication in any resource concerning the specific location of the premiere performance. NUMBER AND TYPES OF PERFORMERS The Festgesang is written for four male soloists, four- part men's chorus and brass instruments including two pairs, each, of trunlets cuid horns, in E^ and B", alto trombone, ""Das erste Deutsche-Vlamische SSngerfest in Kôln.” Allgemeine musikalisbe Zeitung 48 (Leipzig: Breitkopf & Hartel, 1846) 474. "NIeue Zeitscbrift fûr Musik 25 (Leipzig: Breitkopf & Hartel, 1846) 7. 35 tenor trombone, two bass trombones, ophicleide, and tuba.’’ The number of participants in the choir at the first performance is a matter of some speculation; conservative estimates give the number of singers at 2000,’* and the highest number found is 3000." No available resource lists either the number of solo voices or the number of brass players used at the premiere. The type of brass instruments played at the premiere is also in question. The mid-nineteenth century was a time of great innovation in the development of brass instruments. The valve was invented in 1814 by Heinrich Stôlzel and Friedreich Bluhrael, and the design of the contenqporary valve was codified by Bluhmel in 1828." There was, however, a time of close to twenty years between the invention of the Bluhmel-Stôtzel valve and the time when valve-horns and trumpets were specified in full scores." For this reason, it is inpossible to determine which types of instruments were intended by Mendelssohn. One can be certain, however. "Julius Rietz, ed., Felix Mendelssobn Bcurtboldy'e Nerke Serie ZV, (Leipzig; Breitkopf & Hârtel, 1875), No. 119. ’’Allgemeixie Wiener Musik-Zeitung, 11, J'uni 1846, 331. "Eduard Devrient, My Recollections of Felix Mezidelssohn- Bartholdÿ, and His Letters to Me. Translation by Natalia Macfarren, (New York: Vienna House, 1972), 275. *°Don Michael Randel, ed., The New Harvard Dictionary of Music, (Cambridge, MA: The Belknap Press of Harvard University Press, 1986), s.v. "Valve." *’Adam Carse, The History of Orchestration, (New York: E.P. Dutton & Conpany, 1925), 212. 36 that some sort of valve, slide or key mechanism was used because all the instrument parts call for notes outside the harmonic series and are impossible to produce on a natural instrument. In his essay entitled "Woodwind and Brass," David Charlton writes: Valves were long used as a complement to, not a replacement of, hand-horn technique. They (valves) were applied to the horn before any other instrument and two valves were used on the first valve-horns. For a long time after the valve-instrument had come into general use conqposers continued to write for the horn crooked in many different keys. It was the horn players who first realized that the valve had rendered any change of crook all but redundant.** There is a change of crook indicated in the E** horn part, from horn in E" to horn in F, in the collected works, but there are no other crook changes indicated in the other instruments. There are reports of music written for valve-truirpets in E** and B" as early as 1824 in Prussia, and for double- piston C and B" trunlets in Munich.** These reports give a *'David Charlton, "Woodwind and Brass," from The Norton/Grove Handbooks in Music Performance Practice: Music after 1600, Howard Mayer Brown and Stanley Sadie, edd., (New york: W.W Norton & Company, 1989), 417. **Adam Carse, The History of Orchestration, (New York: E.P. Dutton & Cotipauiy, 1925), 213. **Anthony Baines, Brass Instruments : Their History and Development, (London: Farber and Farber, 1976), 232. 37 clear indication that some sort of keyed or valve trumpet was theoretically available to the players Mendelssohn conducted at the premiere of this work. The thumb-valve used to extend the range of the trombone to C was invented in 1839 in Leipzig.*® Therefore, the tenor trombone can play all the trombone parts written in the Festgesang^: An die Kûnstler. The reason for the use of the alto and tenor clef is legibility. If the bass clef had been used for all the trombone parts, most of the second and nearly all the first trombone part would have been written using ledger lines. One Ccuinot rule out the use of the valve-trombone that was commonly used in the nineteenth century. The sort of intricate chromatic passages which required the use of a valve-trombone referred to by Charlton in his essay, however, do not occur in the Mendelssohn.*® The earliest tuba was patented in 1835 by Carl Wilhelm Moritz after a design by Wilhelm Wieprecht.*’ Therefore, Mendelssohn was cd>le to write a bass part for the Festgesang without depending on the limited range amd odd tone color of **Ibid., 245. *® David Charlton, "Woodwind and Brass," from The Norton/Grove Handbooks in Music Performance Practice: Music After 1600, Howard Mayer Brown and Steuiley Sadie, edd., (New York: W.W. Norton & Coirpany, 1989), 419-420. "Don Michael Randel, ed., The New Harvard Dictionary Of Music, (Cambridge MA: The Belknap Press of Harvard University Press, 1986), s.v. "Tuba." 38 the ophicleide, which can best be compared to the bassoon,*® and is one semi-tone short of being able to play the tuba part (m. 69). Why, then, did Mendelssohn write an ophicleide part? The ophicleide part sinç>ly doubles the tuba part one octave higher. Research shows that the ophicleide was a trcuisitional instrument that is, one that could supply a bass voice to the brass family prior to the invention of the valve and the tuba but after the use of keys on brass instruments which started in the late eighteenth century.*® The cuiswer could lie in the tone color of the ophicleide. According to John Webb: "The ophicleide had a distinctive sound not approximated by the tuba... (a sound) that blends well with voices."*" David Charlton corroborates by writing: "a major lacuna in our perception of the nineteenth-century orchestra is caused by the absence of the ophicleide from our aural consciousness."®^ "David Charlton, "Woodwind and Brass," The Norton/Grove Handbooks in Music Performance Practice: Music After 1600, Howard Mayer Brown and Stemley Sadie, edd., (New york: W.W. Norton & Con^any, 1989), 417. * "Anthony Baines, Brass Instruments : Their History cuid Development. (London: Farber & Farber, 1976), 190-205. "John Webb, "Nineteenth-Century Keyed Brass, " The Musical Times 127: Feb. 1986, 84. "David Charlton, "Woodwind and Brass," The Norton/Grove Handbooks in Music Performance Practice: Music After 1600, Howard Mayer Brown, and Stanley Sadie, edd. (New York: W.W. Norton & Conç)any, 1989), 417. 39 Every resource examined by this author that conqpared the tone color of nineteenth century and twentieth century brass instruments stated that the sound of the instruments had become louder and more focused as the instruments developed. EDITION I was able to discover five editions of the Festgesang: An die Kûnstler, but could examine only two of them. In an effort to gain information concerning these unavailable editions, I sought the help of respected Mendelssohn scholars. Douglass Seaton, a Professor of Music in the History/Musicology area at The Florida State University with whom I have communicated via email, has sent his notes on the manuscript score, in 1989 Dr. Seaton was able to examine the score first hand in Krakow in the Biblioteka Jagiellonska where it has been housed since the end of World War II. It is bound into volume 41 of the Mendelssobn Nachlass, originally deposited by Mendelssohn's heirs in the Prussian State Library in Berlin in the late nineteenth-century. The work occupies pages 73-88. The paper is Mendelssohn's usual paper for that period- a paper without watermarks, mechsuiically ruled with sixteen staves, having a total span of 246mm, and a staff length of 186mm. On the top of the first page (73) is Mendelssohn's common abbreviation "H.d.m." (hilf du mir) , which 40 indicates a first cooplete draft. The score is, in fact, a condos it ion and revision score, with changes entered in pencil and in red crayon.** The two early prints of the Festgesang, which were unavailable for examination, were published in Bonn by N. Simrock and in London by Ewer & Cie.®* The early print examined by this author was published in 1875 by Breitkopf & Hart el as part of the Felix Mendelssobn Bartboldy's Werke.** The original of this early edition was reissued by Gregg Press in 1968. Julius Rietz, the editor of the collected works, served as the conductor of the Leipzig Gewandhaus Orchestra following Mendelssohn's death.®* The most recent m o d e m edition of the Festgesang: An die Kûnstler was copyrighted in 1960 by Robert King Music Co., and is currently out of print. A chorus part with a keyboard reduction, as well as the instrumental parts for m od em instmments and a full score were issued. The m o d e m **This quote includes the complete email communication from Dr. Seaton save the number and description of the bifolios, and their arrangement in volume 41 of the Mendelssohn Nachlass. Douglass Seaton, Tallahassee, FL., to Joseph H. Janisch, Columbus, OH, via email, 28 May, 1997. **Julius Rietz, ed., Thematsches Verzeicbniss der im Druck erschienenen Compositionen von Felix Mendelssobn Bartboldy, (London: H. Baron, 1882), 42. **Julius Rietz, ed., "Festgesang: An die Kûnstler,” Felix Mendelssobn Bartboldy's Nerke. Kritiscb durcbgesehene Ausgabe, Serie XV, (Leipzig: Verlag von Breitkopf & Hartel, 1875), No. 119. ®*Stanley Sadie, ed.. New Grove Dictionary of Music and Musicians, (London: Macmillaui, 1980), s.v. "Leipzig." 41 instruments include trunç>ets in B**, horns in F, and the ophicleide part has been rescored for the baritone, a suggested substitution.®* PITCH AND TEMPERAMENT The fact that the international standardization of pitch occurred in 1859, after the Festgesang was composed, precludes any assurance of the use of A=440hrz.®^ It is, however, safe to assume that the pitch standard used in 1846 was lower than the pitch standard used today.®* A lower pitch standard would make the performing of the Festgesang easier. In m. 46 the highest pitch for both solo and chorus is reached, a b*” . At today's pitch standard this pitch is very hard to sing using heavy mechanism and the use of light mechanism will create balcuice issues that must be solved by the conductor. The terms heavy suid light mechanism refer to the amount of chest or head voice used by the singers. ®*John Webb, "Nineteenth-Century Keyed Brass, " The Musical Times 127: Feb. 1986, 84. ®’D. K e m Holoman, "Introduction to Chapter XVI," The Norton/Grove Handbooks on Music Performance Practice: Music After 1600, Howard Mayer Brown euid Stanley Sadie, edd. (New York: W.W. Norton & Conpauiy, 1989), 325. "Don Michael Randel, ed.. The New Hcurvard Dictionary of Music, (Cambridge, MA: The Belknap Press of Harvard University Press, 1986), s.v. "Pitch." 42 TEXTURE Mendelssohn makes dramatic changes in texture and timbre throughout the Festgesang. For example, Mendelssohn uses voices and brass antiphonally in mm. 1-13, as well as his sudden use of solo voices in m. 36 and again, for a more extended period, in mm. 101-111. It is precisely Mendelssohn's thoughtful use of textural variety that keeps the piece simple enough for a festival chorus, but still has enough diversity to keep the music interesting. Most often the texture is homophonie and when the voices or soloists sing a cappella, the texture is always homophonie. In the measures where polyphony is used (mm. 72-80 and mm. 142- 153}, the brass instruments double the voices. HARMONIC STRUCTURES The harmonies used by Mendelssohn in the Festgesang are limited to diatonic harmonies, secondary dominants, common altered chords, borrowed chords, and a German augmented sixth chord. Harmonic embellishments include frequent cadences on weak beats (an example of this occurs in m. 4}, suspensions, passing chords and neighboring chords, as well as an occasional pedal tone as indicated in the harmonic analysis. In an effort to enable the reader to use the material easily the harmonic auialysis consists of several 43 tables, each table representing a five-measure section of music, and each line of the table representing one measure. 1 mm. 1-5 beat 1 beat 2 beat 3 beat 4 1 1 ^ B": I m. 2 vi m. 3 I 2nd inv V7 added 9 m. 4 V7 I m. 5 I Table 2.1: Opus 68 Harmonic Analysis mm. 1-5. mm. 6-10 beat 1 beat 2 beat 3 beat 4 1 m. 6 vi 1 m. 7 I 2nd inv V7 added 9 1 m. 8 V7 I 1 1 ^ uni b* 1 m. 10 I V7/IV IV 1 Table 2.2: Opus 68 Harmonic Analysis mm. 6-10. ^’Abbreviations used in the harmonic analysis tables are as follows: nc=neighbor ing chord, nt=neighboring tone. pt=passing tone, pc=passing chord, susp=suspension, ped=pedal tone, inv ped=inverted pedal, uni=unison, inp=in^lied, inv=inversion, ten=tenor, ant=anticipation, res=resolution, app=appoggiatura, oct=octave, Tl=first tenor, T2=second tenor, Bl=baritone, B2=bass. 44 1 mm. 11-15 beat 1 beat 2 beat 3 beat 4 m. 11 uni b* IV m. 12 V7 1st inv/ V m. 13 ra. 14 V7 2nd inv/ V m. 15 V V7 I i Table 2.3: Opus 68 Harmonie Analysis mm. 11-15. mm. 16-20 beat 1 beat 2 beat 3 beat 4 m. 16 V m. 17 V A**: v i m. 18 m. 19 IV V7 1st i n v m. 20 I, *4-3 I SUSP Table 2.4: Opus 68 Harmonie Analysis mm. 16-20 mm. 21-25 beat 1 beat 2 beat 3 beat 4 m. 21 m. 22 V7 3rd inv/IV m. 23 IV D*»: I V7 1 m. 24 V7 I m. 25 vii* B*»: ii“ Table 2.5: Opus 68 Harmonie Analysis mm. 21-25. 45 mm. 26-30 beat 1 beat 2 beat 3 beat 4 m. 26 V “III m. 27 *’vi7 V7 2nd inv/V m. 28 V7 2nd V7 inv/V m. 29 I 2nd inv V7 m. 30 I 2nd inv V V7 Table 2.6: Opus 68 Harmonie Analysis mm. 26-30. i ram. 31-35 beat 1 beat 2 beat 3 beat 4 1 m. 31 I 2nd inv V7 ra. 32 I I 1st inv ii PC m. 33 V ii III V7/vi ra. 34 vi ii 1st inv m. 35 I 2nd inv V7 V7 3rd inv Table 2.7: Opus 68 Harmonie Analysis ram. 31-35 ram. 36-40 beat 1 beat 2 beat 3 beat 4 ra. 36 I 1st inv ii 1st inv V/V m. 37 V ii V/vi V7/vi ra. 38 vi ii 1st inv ra. 39 I 2nd inv V V7 m. 40 I V7/IV Table 2.8: Opus 68 Harmonie Analysis mm. 36-40 46 mm. 41-45 beat 1 beat 2 beat 3 beat 4 m. 41 IV 2nd inv I IV 2nd inv V7/IV m. 42 IV 2nd inv V 3rd inv/V m. 43 vii" 3rd I NC inv/iii m. 44 I V7 1st inv/ IV m. 45 IV V7 3rd IV 1st inv I 2nd inv inv/IV Table 2.9: Opus 68 Harmonie Analysis mm. 41-45. mm. 46-50 beat 1 beat 2 beat 3 beat 4 m. 46 V7 1st PC inv/V 7-6 SUSP m. 47 I 1st inv I I 2nd inv V7 m. 48 I m. 49 I m. 50 I Table 2.10: Opus 68 Harmonie Analysis mm. 46-50. mm. 51-55 beat 1 beat 2 beat 3 m. 51 d: uni d m. 52 iv m. 53 i m. 54 ii" over ped m. 55 i Table 2.11: Opus 68 Harmonie Analysis mm. 51-55. 47 1 mm. 56-60 beat 1 beat 2 beat 3 m. 56 IV m. 57 V7 1st inv/I 1 m. 58 i 2nd inv V7 1 m. 59 i ] m. 60 i Table 2.12: Opus 68 Harmonie Analysis mm. 56-60. 1 mm. 61-65 beat 1 beat 2 beat 3 1 m. 61 V7 m. 62 i m. 63 V7 V7 3rd inv m. 64 i 1st inv m. 65 V7/V Table 2.13: Opus 68 Harmonie Analysis mm, 61-65 mm. 66-70 beat 1 beat 2 beat 3 m. 66 V m. 67 V7/iv m. 68 iv m. 69 i 2nd inv V7 m. 70 i Table 2.14: Opus 68 Harmonie Analysis mm. 66-70. 48 ram. 71-75 beat 1 beat 2 beat 3 ra. 71 VI 1 ra. 72 III 4-3 susp m. 73 iv m. 74 V7/Neapolitan m. 75 Neapolitan Table 2.15: Opus 68 Harmonie Analysis mm. 71-75 1 ram. 76-80 beat 1 beat 2 beat 3 1 m. 76 V7 1st III inv/III ra. 77 V7 1st inv/iv iv m. 78 ii“ 1st inv w . inverted ped m. 79 i 2nd inv m. 80 iv Table 2.16: Opus 68 Harmonie Analysis ram. 76-80. ram. 81-85 beat 1 beat 2 beat 3 m. 81 German aug 6 m, 82 i 2nd inv PC m. 83 i 2nd inv V7 m. 84 i 2nd inv PC ra. 85 i 2nd inv V7 Table 2.17: Opus 68 Harmonie Analysis ram. 81-85. 49 mm. 86-90 beat 1 beat 2 beat 3 m. 86 i 1st inv i V/III m. 87 III VI m. 88 silenee ii" 1st inv V7 1 m. 89 i m. 90 iv Table 2.18: Opus 68 Harmonie Analysis mm. 86-90. 1 mm. 91-95 beat 1 beat 2 beat 3 ! 1 i 1 m. 92 ii“/ped 1 m. 93 i B" : vi 1 m. 94 V7 2nd inv 1 m. 95 V7 1st inv PC Table 2.19: Opus 68 Harmonie Analysis mm. 91-95. ram. 96-100 beat 1 beat 2 beat 3 m. 96 V7 2nd inv m. 97 V7 1st inv V7 2nd inv PC m. 98 V7 1st inv m. 99 V7 1st inv m. 100 V7 1st inv Table 2.20: Opus 68 Harmonie Analysis mm. 96-100. 50 ram. 101- beat 1 beat 2 beat 3 beat 4 105 m. 101 Silenee I I 1st inv I 2nd inv m. 102 I V7 3rd inv m. 103 I 1st inv PC m. 104 I vi 1st inv m. 105 V7 3rd inv/V Table 2.21: Opus 68 Harmonie Analysis mm. 101-105 1 ram. 106- beat 1 beat 2 beat 3 beat 4 1 1 110 ra. 106 V 1st inv V7 3rd inv/V ra. 107 V V7 3rd 1 inv ra. 108 I 1st inv V7 3rd inv I 1st inv PC ra. 109 vii“7/ii ii ra. 110 I 2nd inv V7 1 Table 2.22: Opus 68 Harmonie Analysis mm. 106-110. mm. 111- beat 1 beat 2 beat 3 beat 4 115 ra. 111 I I 1st inv I 2nd inv ra. 112 I V7 3rd inv ra. 113 I 1st inv PC ra. 114 I vi 1st inv ra. 115 V7 3rd inv/V Table 2.23: Opus 68 Harmonie Analysis mm. 111-115 51 ram. 116- beat 1 beat 2 beat 3 beat 4 120 ra. 116 V 1st inv V7 3rd inv/ V ra. 117 V V7 3rd inv ra. 118 I 1st inv V7 3rd inv I 1st inv PC ra. 119 vii"7/ii ii ra. 120 I 2nd inv V7 Table 2.24: Opus 68 Harmonie Analysis ram. 116-120. 1 rara. 121- beat 1 beat 2 beat 3 beat 4 I ra. 121 I ra. 122 V7/iii 4-3 susp ra. 123 iii 2nd I 1st inv inv ra. 124 V 2nd inv vii=7 2nd inv/V ra. 125 V uni a uni c' 1 Table 2,25: Opus 68 Harmonic Analysis ram. 121-125. 52 mm. 126- beat 1 beat 2 beat 3 beat 4 130 m. 126 uni f ' V7 1st inv m. 127 I vi m. 128 VI7 1st PC vii«7 1st inv inv/ii m. 129 V 2nd inv m. 130 V7/V Table 2.26: Opus 68 Harmonie Analysis mm. 126-130 ----- '----- mm. 131- beat 1 beat 2 beat 3 beat 4 135 m. 131 V uni f uni a uni e ' m. 132 V7 1st inv m. 133 i D" : vi m. 134 vii=7 1st inv/V m. 135 iii 2nd inv Table 2.27: Opus 68 Harmonie Analysis mm. 131-135. mm. 136- beat 1 beat 2 beat 3 beat 4 140 m. 136 V7 1st inv m. 137 I PC m. 138 IV 2nd inv PC m. 139 I I 1st inv |m. 140 IV 1 Table 2.28: Opus 68 Harmonie Analysis mm. 136-140. 53 mm. 141- beat 1 beat 2 beat 3 beat 4 145 m. 141 ii 1st inv V7 1st inv/V m. 142 V I 2nd inv m. 143 V 43 susp V7 m. 144 I 4-3 susp vi 1st inv m. 145 V7 2nd V7/vi inv/vi Table 2.29: Opus 68 Harmonie Analysis ram. 141-145. mm. 146- beat 1 beat 2 beat 3 beat 4 150 m. 146 vi vi 2nd inv m. 147 F: V7 1st V7 3rd inv inv 4-3 susp m. 148 I 1st inv m. 149 V7 2nd inv V7 4-3 susp m. 150 I 4-3 susp Table 2.30: Opus 68 Harmonic Analysis mm. 146-150. 54 mm. 151- beat 1 beat 2 beat 3 beat 4 155 m. 151 17 1st inv PC B": V7 1st inv m. 152 V7 m. 153 V7 V7 2nd inv PC m. 154 V7 1st inv I 1st inv I ] m. 155 I 2nd inv V7 Table 2.31: Opus 68 Harmonie Analysis mm. 151-155. 1 mm. 156- beat 1 beat 2 beat 3 beat 4 160 m. 156 I uni f V7 3rd inv m. 157 I 1st inv vii“7 3rd i 1st inv inv/iii m. 158 V7/V V7 3rd inv/V m. 159 V7 1st inv V7/V m. 160 V 4-3 susp uni f V7 3rd inv Table 2.32: Opus 68 Harmonie Analysis ram. 156-160. 55 mm. 161- beat 1 beat 2 beat 3 beat 4 165 m. 161 I 1st inv V7 3rd inv I 1st inv PC m. 162 vii»7/V/V V7 3rd inv/V m. 163 I 2nd inv V7 m. 164 I I 2nd inv V7 V7 3rd inv m. 165 I 1st inv V7 3rd inv I 1st inv V 2nd inv Table 2.33: Harmonie Analysis mm. 161-165. mm. 166- beat 1 beat 2 beat 3 beat 4 1 170 m. 166 vii°7/V V I 1st inv m. 167 ii 1st inv vii»7 1st inv/iii m. 168 i 2nd inv m. 169 V7 4-3 vii“ susp m. 170 V7 I Table 2.34: Opus 68 Harmonie Analysis mm. 166-170. 56 mm. 171- beat 1 beat 2 beat 3 beat 4 175 m. 171 V7 m. 172 I IV IV 1st inv m. 173 IV 2nd inv I V7 2nd inv/IV m. 174 IV m. 175 V7 1st inv/V Table 2.35: Opus 68 Harmonie Analysis mm. 171-175 mm. 176- beat 1 beat 2 beat 3 beat 4 180 m. 176 I 2nd inv m. 177 V7 1st inv/vi m. 178 vi m. 179 vii=7 1st inv/V m. 180 V 1st inv 7-8 susp Table 2.36: Opus 68 Harmonie Analysis mm. 176-180 57 mm. 181- beat 1 beat 2 beat 3 beat 4 185 m. 181 I uni b* m. 182 m. 183 V7/IV m. 184 m. 185 IV Table 2.37: Opus 68 Harmonie Analysis ram. 181-185 ram. 186- beat 1 beat 2 beat 3 beat 4 190 m. 186 uni B** m. 187 V7/vi m. 188 m. 189 IV vii°7 3rd inv/ii m. 190 ii 1st inv PC Table 2.38: Opus 68 Harmonic Analysis mm. 186-190. ram. 191- beat 1 beat 2 beat 3 beat 4 195 m. 191 I 2nd inv V7 m. 192 I uni b" m. 193 m. 194 uni d' V7 1st inv/vi m. 195 Table 2.39: Opus 68 Harmonic Analysis mm. 191-195. 58 mm. 196- beat 1 beat 2 beat 3 beat 4 200 m. 196 vi m. 197 ra. 198 V7 3rd inv/IV m. 199 m. 200 IV 1st inv vii“7 3rd inv/ii Table 2.40: Opus 68 Harmonie Analysis mm. 196-200 mm. 201- beat 1 beat 2 beat 3 beat 4 205 m. 201 ii 1st inv vii°7/III m. 202 I 2nd inv V7 m. 203 I V7 3rd inv/ IV m. 204 IV 1st inv vii“7 1st inv/V/V m. 205 V 1st vii" 1st inv/V inv Table 2.41: Opus 68 Harmonie Analysis mm. 201-205 mm. 206- beat 1 beat 2 beat 3 beat 4 210 m. 206 I 2nd inv V7 m. 207 I m. 208 I m. 209 I m. 210 I Tcuble 2.42: Opus 68 Harmonie Analysis mm. 206-210 59 ram. 211- beat 1 beat 2 beat 3 beat 4 214 m. 211 I I 1st inv I 2nd inv I m. 212 I 1st inv V Ü » 1st inv m. 213 vi 1st inv V 1st inv m. 214 vii°/V vii“7 ist inv Table 2.43: Opus 68 Harmonie Analysis ram. 211-215 mm. 215- beat 1 beat 2 beat 3 beat 4 218 m. 215 I 1st inv V7 1st inv/ V m. 216 I 2nd inv m. 217 V7 m. 218 I Table 2.44: Opus 68 Harmonic Analysis ram. 215-218. MELODIC STRUCTURES Mendelssohn's most interesting use of melodic material is his exploitation of fanfare-like motives and themes, nearly all of which coitç>rise leaps that are available to natural brass instruments, and the use of dotted rhythms. There are no melodies or motives that this author would characterize as "lyric." 60 TEXT Mendelssohn chose a portion of Schiller's Gedicht for the text of the Festgeaangz An die Kûnstler. In an undated letter, Fanny Hensel wrote to her bother: I'm delighted with your choice of text for the Cologne music society and it once again shows that you have a good grasp of things and are able to pick out a text that already contains the essence of the entire work." Mary Rasmussen wrote in an article in The Brass Quarterly: The work {Festgesang: An die Kûnstler) was one of the few performed at the festival {Deutsche-Vlamisch Sàngerfest) with a text appropriate to the high-minded pretensions of the festival." FORM, METER, TEMPO, AND DYNAMICS Festgesang: An die Kûnstler is in three large sections that are " through-composed. " Mendelssohn makes use of melodic motives to unify the sections. One such motive appears in m. 5, and then reappears in mm. 40-43, and is augmented and reappears in mm. 137-138. The opening melodic material also is altered and reappears to begin the coda in m. 181. Section A comprises mm. 1-50; section B comprises ram. 51-100; and section C, including the coda, conç)rises ram. 101-218. Section A is in common time and is marked Andante Maestoso, section B is in triple meter and is marked Allegro "Marcia Citron, The Letters of Fanny Hensel to Felix Mendelssohn, (Pendragon Press, 1987), 346. "Mary Rasmussen, "The First Perforttance of Mendelssohn's Festgesang: An die Kûnstler, Opus 68," Brass Quarterly, Vol. IV, No. 4 (Durham, NH) , 154. 61 Moderato e Grave, and section C returns to common time, but is marked Allegro Assai Vivace. No metronome markings are given in either of the editions I examined, although there are metronome markings in Elijah which Mendelssohn was cotiposing during the same time frame. Chorus number 42 from Elijah ("And then, then shall your light") has the same tenpo marking as the first section of the Festgesang-, Andante Maestoso and is marked quarter note = 96. The other tempo markings from Opus 68 do not appear in ElijeOi. Mendelssohn indicates a wide range of dynamics throughout the piece, from pianissimo to fortissimo. There are occasional sforzando markings in each of the three sections. Often a chcuage of dynamics occurs at the start of a new theme and is accompanied by a change of texture. PERFORMANCE AND REHEARSAL CONSIDERATIONS The principal rehearsal and performance considerations that were anticipated in the Festgesang related to text and balcuice. The Ohio State University Men's Glee Club has relatively little experience singing in Germaui, therefore the intricacies of the German vowels, specifically the umlauted vowels, needed to be addressed. The text was introduced using a call and answer format. I would pronounce a word amd the singers would repeat it. Members of the Glee Club that had experience in German diction worked with me and held the diction to the highest scrutiny. 62 After the chorus members were familiar with the text they chanted it using the rhythm written by Mendelssohn, but limited the pitches to those that made up a root position fully-diminished seventh chord on d. The purpose of assigning pitches to chant the text was to keep the chanting in a good speaking range of the voice, and to promote careful listening by the singers. The text was introduced over the course of three rehearsals, and was interspersed with work on. pitches and rhythm in an effort to vary rehearsal strategies and enliven the practice sessions. German diction was addressed at all the rehearsals of Opus 68, but following the three rehearsals when the text was introduced and the single rehearsal that consisted of addressing any specific problem spots, issues of diction created few concerns. The scoring of the Festgesang, as well as the size of the Glee Club, created many balance problems. At the premiere of the work Mendelssohn had a chorus of 2000-3000 members. I had a chorus of 80. I positioned the Glee Club in sections rather than their usual mixed performing positions on the risers in order to give the singers a better sense of sectional unity, and to allow the smaller voices to gain confidence from the larger ones. In the middle of the chorus I positioned the "solo ensemble." Rather than using four solo voices, as indicated in the score, I elected to use a small ensemble of sixteen singers, 63 drawn from the chorus, to sing the "solo" passages. The use of sixteen singers instead of four created a more equitable balance among the brass instruments, the chorus, and the small ensemble. There was no indication in any resource concerning the size of the "solo ensemble." In the final analysis, I made the decision to use sixteen singers rather than four based on the opinions of respected colleagues and my own musical judgement. The "solo ensemble" sang with the chorus when there was nothing scored in solo parts. The balance issue was also addressed by placing one brass player on each part auid positioning the brass choir in the orchestra pit while the singers remained on the stage. The dynamic indications given by Mendelssohn were softened in the brass parts, and the brass players were asked to play with as mellow emd dolce a tone as possible. As discussed earlier in this document, this type of tone is entirely in keeping with the available research concerning brass instruments. The use of a bright choral tone color enabled the chorus to project more easily over the acconganiment. At times the bright production resulted in "spread vowels" that were solved by creating more vertical resonating space in the buccal cavity. Although there were balance problems during the performance of this piece, these balance problems are inherent in the music and an adequate balance was achieved through diligent work and careful listening by all the performers. 64 The pitches and rhythms in Opus 68 presented few difficulties for the singers or players. Standard rehearsal techniques including count singing, singing on neutral syllables, and rehearsal of specific problem areas eneUaled the chorus to l e a m the parts quickly. There were several misprints in the brass and chorus parts that were corrected through careful attention by the conductor and players. The dotted rhythms present in the singing scores were made crisper by interpolating a short space in place of the dot. This technique allowed the singers to achieve an articulation that could be heard over the brass players, and did not adversely affect the melodic line. The brass players naturally articulated the dotted rhythms in this manner. Careful attention to the difference between sixteenth-note and eighth-note pick-ups enabled the chorus to solidify the rhythms indicated in the score. The rhythmic intricacies of the opening theme of the second section (mm. 51-63) continued to elude the singers. Further rehearsals on staccato consonant sounds, at first without any pitch, and then subsequently adding pitch emd then text, might eliminate this problem. Repeated eighth-notes created problems with text stress in mm. 60-81. The text stress problems were solved by chanting the text using an exaggerated text stress, then slightly modifying or lessening the exaggeration. Another rehearsal technique entailed asking the singers to use their 65 hands to trace the shape of the text stress. The brass players also had difficulties playing these measures in the correct style. Despite repeated verbal and conducting descriptions of the proper articulations I eventually had to demonstrate the desired articulation vocally. The brass players, after hearing the correct articulation, were immediately able to produce it on their instruments. The Festgesang: An die Kûnstler was rehearsed over a period of five weeks with three fifty-minute rehearsals each week. At the beginning of the five-week period we rehearsed Opus 68 almost exclusively. For the last two weeks of rehearsal we rehearsed other pieces that the Glee Club had performed on previous concerts, but would also be a part of the concert on which the Festgesang would be featured. I met with the brass players for four rehearsals, two with chorus and two without. We had two rehearsals during the five week period that were spent on perfecting the thirty musical exanç>les that would be used as part of the pre concert lecture. Our performance of the Festgesang: An die Kûnstler was quite successful and both the singers and players expressed appreciation of the piece as being well written and entertaining. 66 CHAPTER 3 ZWEI GEISTLICHE MÂNNERCHÔRE, OPUS 115 VENUE The date of these two short Latin pieces is a matter of conjecture. Because Mendelssohn was a con^oser who traveled frequently and accepted commissions from many locations, one also cannot be certain of the original venue of the Zwie geistliche Màimerchôre. Although certainty is not possible, The New Grove Dictionary of Music And Musicians indicates that the date of these pieces is presumed to be 1833.“ The time frame of 1833-1834 was corroborated, via email, by Douglass Seaton, Mendelssohn scholar and Professor of Music in the Music History/Musicology area at The Florida State University.*^ During the years of 1833-1834 Mendelssohn was employed as the general music director of the Lower Rhine Music Festival in Düsseldorf. As part of his duties Mendelssohn was ''Stanley Sadie, ed. New Grove Dictionary of Music and Musicisms (Washington, DC, Grove's Dictionaries of Music Inc, 1980), s.v. "Mendelssohn(-Bartholdy) , (Jakob Ludwig) Felix" by Eric Wemer, 154. “A copy of this email communication is located in Appendix A of this document. 67 responsible for the music at the Düsseldorf Church, a Catholic parish. The venue of a Catholic Church would explain the use of a Latin text for these pieces. When Mendelssohn assumed his duties he was dismayed at the music available in the church library. Unluckily I could not find among all the music here even one single, tolerable solemn Mass; not a single one of the old Italian master; nothing but m o d e m stuff. I took a fancy to travel through try domains in search of good music; so, after the Choral Association on Wednesday, I got into a carriage and drove off to Elberfeld, where I hunted out Palestrina's "Itt^roperia", emd the Misereres of Alegri and Baini, and also the score and the vocal parts of "Alexander's Feast", which I carried off forthwith, and went on to Bonn. [In Bonn] I found some splendid things and took away with me six Masses of Palestrina, one of Lotti and one of Pergolesi, and Psalms by Leo and Lotti.** The "Two Sacred Pieces for Men's Chorus" are very conservative with regard to conçositional style and could easily have been written by Mendelssohn to meet the need for what he deemed to be appropriate literature in the setting of a Catholic Parish. One assumes because of the reasons listed above that the initial venue for the Opus 115 pieces was the Catholic Church in Düsseldorf. NUMBER AND TYPES OF PERFORMERS In a letter to his sister Rebecca dated 26 October, 1833 Mendelssohn wrote: The history of my life during the last few weeks is long and pleasant. Sunday I had my first Mass; the **Felix Mendelssohn(-Bartholdy) Letters, G. Seldon-Goth, ed. (New York: Pantheon Books, Inc., 1945), 216. 68 choir was crammed with singers, male and female, and the whole church decorated with green branches and tapestry.” On the basis of this letter one can assume that there was an adequate number of singers. Although there is no exact way of knowing how large the choir was that sang the Opus 115 choruses, one can assume, because the score is divided into solo and tutti sections, there were at least twelve singers in the chorus. That would allow three on each part, one singer on each part for the solo, emd two on each part for the tutti sections. EDITION The shroud of obscurity that covers Zwei geistliche Mânnercbôre, Opus 115 is due to the unknown location of the original manuscripts.” There is a m o d e m critical edition available from Carus that was copyrighted in 1980. These pieces are also included in the R. Mendelssobn-Bartholdy: Nerke: kritlecb durhgesebene Ausgabe, Volume XIV, C edited by Julius Rietz and published by Breitkopf & Hârtel in 1874-7. The Breitkopf & Hârtel edition was reissued as a miniature score by Edwin F. Kalmus, Publisher of Music as "Kaltnus ” Ibid., 215. 'Douglass Seaton, Tallaihassee, FL, to Joseph H. Janisch, Columbus, OH, via email, 15 December 1997, Transcript included in Appendix A of this document. 69 Study Score No. 1209." The source of all of these editions is a publication of the score in 1868-69 by Rieter- Biedeannann. PITCH AND TEMPERAMENT The fact that the international standardization of pitch occurred in 1859, after the Opus 115 pieces were coTiposed, precludes any assurance of the use of A=440hrz.*' Furthermore, since these pieces are a cappella, the performance key can be changed to meet the needs of the specific performance. The Opus 115 pieces are notated in C Major and D Major respectively. In consideration of the voices in this particular chorus, however, I elected to perform both pieces in C* major. The use of this key enables the singers to move from one movement to the other without the retaking of pitches euid with little concern of a faulty beginning of Opus 115, No. 2. TEXTURE Brantley D. Greeson included a detailed textural analysis of the Opus 115 choruses in his Ph.D. dissertation entitled A Survey of Selected Sacred Choral Coa^sitions by ‘’Ibid. **D. K e m Holoman, "Introduction to Chapter XVI," The Norton/Grove Handbooks on Music Performance Practice: Music After 1600, Howard Mayer Brown and Stanley Sadie, edd. (New York: W.W. Norton & Company, 1989), 325. 70 Felix Mendelssohn.** Although some of the historical information is spurious, the textural analysis is very thorough. In an effort not to reprint information, this author has limited the data about the textures used in the Opus 115 pieces to general observations. Opus 115, No. 1 coTT^rises mostly homophonie texture with occasional uses of polyphony. A brief period of unison singing occurs in mm. 16 and 17. The polyphony often consists of imitative entrances but quickly departs from strict imitation. In contrast. Opus 115, No. 2 congrises of mostly polyphonic texture with occasional uses of homophony, and brief periods of unison singing in mm. 22-24 and mm. 38 auid 39. HARMONIC STRUCTURES The harmonies used by Mendelssohn in Opus 115, No. 1 are limited to diatonic harmonies, secondary dominants, and common altered chords. Several exanples of nonharmonic tones occur including suspensions, passing chords and passing tones, and upper and lower neighboring tones. Beati mortui begins and ends in C Major auid includes modulations that are limited to closely related keys. A detailed harmonic analysis follows. In an effort to enable the reader to use the material easily the harmonic analysis ‘*Brantley D. Greeson, "A Survey of Selected Sacred Choral Con^ositions by Felix Mendelssohn" (Ph.D. diss., University of Southern Mississippi, 1974), 130-134. 71 consists of several tables, each table representing a five- measure section of music, and each line of the table representing one measure.’" Opus 115, No. l begins with a quarter note pick-up using tonic harmony. 1 mm. 1-5 beat 1 beat 2 beat 3 beat 4 1 m. 1 C: I V m. 2 IV I I 1st inv m. 3 IV I 1st inv ii (T2 pt) I m. 4 V {T2 4-3 V uni g susp) m. 5 IV (B2 2-3 susp) Table 3.1: Opus 115, No. 1 Harmonic Analysis mm. 1-5 ’"Abbreviations used in the harmonic analysis tables are as follows: nc=neighboring chord, nt=neighboring tone. pt=passing tone, pc=passing chord, susp=suspens ion, ped=pedal tone, inv ped=inverted pedal, uni=unison, inp=in^lied, inv=inversion, ten=tenor, ant=anticipation, res=resolution, app=appoggiatura, oct=octave, Tl=first tenor, T2=second tenor, Bl=baritone, B2 =bass. 72 ram.6-10 beat 1 beat 2 beat 3 beat 4 ra. 6 I 1st inv V/V ixnp. (B2 2-3 susp) m. 7 V (B1 4-3 ii 1st 1 susp) inv 1 ra. 8 V’/vi T2 ant of a:V res ra. 9 a:i B2 pt and iv 1st inv i 2nd inv ant 10 ii" 1st Bl inv ped i 2nd inv iv 1st ■ inv inv Table 3.2: Opus 115, No. 1 Harmonic Analysis ram. 6-10. ram 11-15 beat 1 beat 2 beat 3 beat 4 y ra. 11 i 2nd inv V ra. 12 i silence oct a ra. 13 iv ra. 14 V silence i ra. 15 V (T2 4-3 V susp) Table 3,3: Opus 115, No. 1 Harmonic Analysis ram. 11-15 73 mm. 16-20 beat 1 beat 2 beat 3 beat 4 1 m. 16 i F: uni m. 17 m. 18 I pc on 2nd half of beat m. 19 I 1st inv I IV T2 pt 1 m. 20 I Table 3.4: Opus 115, No. 1 Harmonic Analysis mm. 16-20. mm. 21-25 beat 1 beat 2 beat 3 beat 4 1 m. 21 ii Bl pt I 1st inv 1 m. 22 ii 1st inv IV 1st inv ii 1st (T2 inv inv pc on ped) first half of beat m. 23 V (T2 4-3 V susp) m. 24 I uni a, I pt on harmony second in%) half of beat m. 25 uni c, I uni a, I vi a:iv ant harmony harmony a: iv of I on itip inq? the second half of the beat Table 3.5: Opus 115, No. 1 Harmonic Analysis mm. 21-25. 74 mm. 26-30 beat 1 beat 2 beat 3 beat 4 m. 26 a:I m. 27 iv V m. 28 iv 1st inv iv i 2nd 1 inv, iv 1st inv (T2 ant) m. 29 V i i m. 30 iv 1st inv add T2 inv ped Table 3.6 Opus 115, No. 1 Harmonic Analysis mm. 26-30. 1 ram. 31-35 beat 1 beat 2 beat 3 beat 4 1 m. 31 iv 1st inv (T2 inv ped) m. 32 2nd inv/ iii m. 33 i 1st inv C: vi 1st inv m. 34 C: V’/V m. 35 I 2nd inv V Table 3.7: Opus 115, No. 1 Harmonic Analysis mm. 31-35 75 mm. 36-40 beat 1 beat 2 beat 3 beat 4 m. 36 V I 1 m. 37 I B2 ped V B2 ped m. 38 IV vii° B2 I I 1st inv ped m. 39 IV I 1st inv V 2nd inv I m.40 V (T2 4-3 V revoiced susp) : Table 3.8: Opus 115, No. 1 Harmonic Analysis mm. 36-40 1 mm. 41-45 beat 1 beat 2 beat 3 beat 4 m. 41 I V’/IV m. 42 IV (Bl 4-3 IV IV susp)(T1 revoiced 9-8 susp) (T1 pt) 1 m. 43 V (T2 4-3 V 1 susp) m. 44 I I revoiced I revoiced add Bl pt m. 45 IV 2nd inv T2 and Bl ii T2 pt pt Table 3.9: Opus 115, No. 1 Harmonic Analysis mm. 41-45 76 mm. 46-50 beat 1 beat 2 beat 3 beat 4 m. 46 vii° 1st add 7 (Bl) V/vi add 7 inv, (T1 (T2) app) m. 47 vi B2 pt IV (T1 pt) vi 2nd inv m. 48 V’/V 1st V T1 ant inv m. 49 I I revoiced I revoiced (Bl pt) 1 m. 50 IV 2nd inv T2 and Bl ii T2 pt pt Table 3.10: Opus 115, No. 1 Harmonic Analysis mm. 46-50. mm. 51-55 beat 1 beat 2 beat 3 beat 4 m. 51 vii“ 1st add 7 (Bl) V/vi add 7 inv (T1 (T2) app) m. 52 vi IV V’/V m. 53 V (T2 4-3 V susp) m. 54 I IV 2nd inv m. 55 IV 2nd inv I Table 3.11: Opus 115, No. 1 Harmonic Analysis mm. 51-55 The harmonies used by Mendelssohn in Opus 115 No. 2 are also limited to diatonic harmonies, secondary dominants, and common altered chords. The nonharmonic tones interpolated by Mendelssohn include suspensions, passing chords and passing tones, and upper auid lower neighboring tones. Modulations within Periti autem are to closely related keys, 77 and this piece begins and ends in D Major. A detailed harmonic analysis follows in table form. Opus 115, No. 2 begins with a unison quarter note pick-up on a. 1 mm.1-5 beat 1 beat 2 beat 3 beat 4 1 m. 1 D:I isb V inv 1 m. 2 I lower nc 1 ^ IV 2nd inv pc 1 m. 4 I silence V 2nd inv 1 m 5 I 1st inv lower nc V/V 1st inv Table 3.12: Opus 115, No. 2 Harmonic Analysis mm. 1-5. 1 mm.6-10 beat 1 beat 2 beat 3 beat 4 1 m. 6 V silence uni a m. 7 IV inç) pt IV ittç) IV m. 8 I 1st inv I I 1st inv I (Bl & 2 pt m. 9 IV T1 & 2 pt m. 10 I 1st inv I {B1&2 I 1st inv I pt) Table 3.13: Opus 115, No. 2 Harmonic Analysis mm. 6-10 78 ram.11-15 beat 1 beat 2 beat 3 beat 4 ra. 11 V V revoiced V revoiced 1 ra. 12 I I 1st inv V 2nd inv I ra. 13 V’/ii 2nd II inv ra. 14 iii uni d I 1st inv 1 ra. 15 V’/V 1st V’/V (Bl & V’/V 1st V’/V inv 2 pt) inv Table 3.14: Opus 115, No. 2 Harmonic Analysis mm. 11-15 1 ram. 16-20 beat 1 beat 2 beat 3 beat 4 I m. 16 V I 1st inv ra. 17 V’/V 1st V’/V (Bl & V’/V 1st V’/V inv 2 pt) inv ra. 18 V V revoiced I I 2nd inv ra. 19 I I revoicedI revoiced ra. 20 I chromatic pc Table 3.15: Opus 115, No. 2 Harmonic Analysis ram. 16-20 79 mm. 21-25 beat 1 beat 2 beat 3 beat 4 ra. 21 V’/V ra. 22 V uni a uni pt on | the 1 second half of the beat ra. 23 uni c, modulation inç) ra. 24 uni c uni a ra. 25 G:V Table 3.16: Opus 115, No. 2 Harmonic Analysis ram. 20-25. ram. 26-30 beat 1 beat 2 beat 3 beat 4 ra. 26 G:I I revoiced pc I (ped in Bl & 2) ra. 27 IV 2nd inv nc nc on 2nd half of beat ra. 28 I I revoiced pc I revoiced ra. 29 I nc vii° 1st inv ra. 30 I I revoiced vi Table 3.17: Opus 115, No. 2 Harmonic Analysis ram. 26-30. 80 mm. 31-35 beat 1 beat 2 beat 3 beat 4 I m. 31 vii“/v 1st V 1st inv inv - m. 32 I add 6 i r / i i 1 st inv D:V’/V 1st inv m. 33 V V revoiced uni a V’ 3rd inv m. 34 I 1st inv pc 1st inv I m. 35 I V uni a V 3rd inv Table 3.18: Opus 115, No. 2 Harmonic Analysis mm. 31-35. mm. 36-40 beat 1 beat 2 beat 3 beat 4 1 m. 36 I 1st inv pc V’ 1st inv I m. 37 I V silence uni a m. 38 uni b lower nt uni e m. 39 uni a pt on the uni f* I 1st inv second (Bl &2 pt half of on last the beat quarter beat m. 40 I uni b maj or 2nd a & b, V’/V/V imp 1 Table 3.19: Opus 115, No. 2 Harmonic Analysis ram. 36-40. 81 mm. 41-45 beat 1 beat 2 beat 3 beat 4 m. 41 V/V 1st V/V add 7 V I 1st inv inv second half of beat m. 42 IV Bl lower ii 1st inv T1& 2 pt nt m. 43 iii (B2 2- Bl pt V/IV add 7 3 susp) m. 44 IV Tl & 2 pt ii Bl upper nt m. 45 vii“/vi tenn l & 2 vi vi 2nd upper nt inv Table 3.20: Opus 115, No. 2 Harmonic Analysis mm. 41-45 mm. 46-50 beat 1 beat 2 beat 3 beat 4 1 m. 46 IV B2 lower vii° nt m. 47 V’/vi Tl & 2 vi 1st inv pt/nt, B2 pt m. 48 ii Tl lower vii" 1st Bl add 7 nt inv m. 49 III Tl pt V/bVII m. 50 bVII 2nd T2 lower viiViV inv nt (B2 ped) Table 3.21: Opus 115, No. 2 Harmonic Analysis mm. 46-50 82 mm. 51-55 beat 1 beat 2 beat 3 beat 4 m. 51 IV T2 & Bl pt IV IV revoiced revoiced m. 52 iv Bl & 2 V/V imp lower nt 3rd m. 53 V Bl & 2 iii I 1st inv lower nt m. 54 IV B2 pt vii“ 1st I inv m. 55 V (B2 ped) V revoiced I (imp) I (imp) revoiced Table 3.22: Opus 115, No. 2 Harmonic Analysis mm. 51-55. mm. 56-60 beat 1 beat 2 beat 3 beat 4 m. 56 V’/ii Bl lower ii nt m. 57 V I 2nd inv pc m. 58 I 2nd inv T2 lower V/V add 7 nt m. 59 V Tl lower V revoiced V' 3rd inv nt, T2 pt m. 60 I 1st inv Tl pt IV V / V ( in%) 3rd) Table 3.23: Opus 115, No. 2 Harmonic Analysis mm. 55-60. 83 mm. 61-65 beat 1 beat 2 beat 3 beat 4 1 m. 61 V V 3rd inv I 1st inv ii 1st inv m. 62 I 2nd inv V m. 63 I silence uni a (V I in?)) 1 m. 64 I 1st inv V m. 65 V /I V Tl lower V / V 1 nt revoiced H Table 3.24: Opus 115, No .2 Harmonic Analysis mm. 61-65. mm. 66-71 beat 1 beat 2 beat 3 beat 4 1 m. 66 IV 2nd inv pc ra. 67 I silence V m. 68 vi’ ii Tl pt 1 m. 69 V I I 1st inv m. 70 I 2nd inv V Bl add 7 m. 71 I Table 3.25: Opus 115, No. 2 Harmonic Analysis ram. 66-71. MELODIC STRUCTURES The melodic structures used in the Opus 115 pieces are mostly stepwise with occasional use of leaps that rarely exceed the interval of a fifth. Often the melody is a reflection of the text smd these instances will be examined under the heading of text. Mendelssohn uses instances of limited melodic imitation in the Opus 115 pieces. 84 TEXT Biblical texts from the books of Daniel, Matthew and Revelation are used for the Zwle geiatllcbs OSimercbôre. Opus 115, No. 1 has text setting that is syllabic, while Opus 115, No. 2 uses a combination of syllabic and melismatic text setting. Because the original purpose of these pieces is unknown, it is unclear whether these texts were appropriate to the given situation. The texts of these pieces would make them useful for a funeral or memorial service. It is the opinion of this author, however, that the sacred message of the text is not so evangelical that it could create a problem if used in a public high school, college, or university. Mendelssohn uses text-painting very effectively in both pieces. In Beati mortui mm. 5-9 the rising melodic contour culminating with the word "Domine” (Lord) , and the stepwise rising melody that accoirganies the text "et opera illorum sequuntur ipsos” (and all their works will follow them) are two exan^les. Another exati^le is the use of unison singing of a fanfare-like melody for the text "Dicit enim spirit us" (For the Spirit says) , followed by an immediate reduction in dynamic on the text "ut requiescant a laboribus suis" (They shall rest from their labors) . An example of text-painting that occurs in Periti autem is the many repetitions of the phrase "omnem aetemitatem” (all eternity) . 85 FORM, METER, TEMPO AND DYNAMICS Opus 115, No. 1 is in ABA^ form. The A section conç>rises mm. 1-15, the B section comprises mm. 16-36, and the A^ section comprises mm. 37-44. The piece concludes with cui eleven-measure coda. Beati vaortul is in common meter and uses a range of dynamics from forte to pianissimo. Mendelssohn's dramatic dynamic changes are frequently related to, and often reflect, the text. For example, this piece starts quietly and builds gradually arriving at forte in m. 9 on the word Domino (God) . Abrupt chêuiges in dynamics also occur between the formal sections. Opus 115, No. 1 is marked Andante sostenuto. The form of Opus 115, No. 2 is ABB^A^. Mm. 1-22 comprise the A section, mm. 23-37 comprise the B section, mm. 38-63 comprise the section, and mm. 64-71 comprise the A^ section. Periti Autem is in cut time and uses only forte and piano dynamic miarkings. One reason for the lack of dynamic contrast is the frequent use of polyphonic texture. The use of polyphonic texture eliminates the need to create interest through varied dynamic indications. For example, in mm. 38-63 there are frequent instances when the polyphonic texture results in rests in some voice parts while others continue singing. Another example of interest created by the use of polyphonic texture is the juxtaposition of different words. If sung with the correct word stress then, through the placement of stressed 86 syllables in some parts at the same time as unstressed syllables in others, interest is created without smy change of dynamic indicated in the score. The tenç>o marking of Opus 115, No. 2 is allegro vivace. PERFORMANCE AND REHEARSAL CONSIDERATIONS The principal rehearsal and performance considerations that were anticipated in Opus 115, No. 1 were text related, specifically the pronunciation "Beati", and the tuning and execution of prepared and unprepared suspensions. The word ”Beati” created two problems. The first was the interpolation of a diphthong on the second syllable, cind the second was a "spread vowel" on the second syllable. The diphthong was addressed by creating a warm-up exercise that used the word "Beh-tah-tee" on the solmization syllables Do- Sol-Mi in various keys. After the singers developed a clear concept of the three distinct vowel sounds the first "t" was removed. It was necessary to repeat this exercise for three rehearsals before the problem had been corrected. Occasionally it was incumbent upon the conductor to remind the singers of the tendency to use a diphthong to correct the reappearauice of the problem. It is the opinion of the author that this reoccurrence is due to a lack of concentration. The issue of the "spread vowel" was addressed with this exercise also by reminding the singers to keep their lips rounded and to use enough of vertical 87 mouth space. In the end the " spread vowel " reappeared in the baritone part and had to be addressed as part of the rehearsal of the piece. A discussion of the location and procedure followed for correcting the problem appears below. After perusing the harmonic analysis included in this chapter, the reader can see the number and location of suspensions contained in Opus 115, No. 1. I chose to use cinother warm-up exercise to address this issue. For the purpose of this exercise the chorus was divided into two groups. I used the division of basses and tenors, but there is no reason that another division of singers would not work. In any given key both voice parts start on a unison Sol, the tenors move to La while the basses continue to sing Sol creating a suspension. The basses move to Fa to resolve the suspension. Through the use of alternating downward scale-wise movement, suspensions are subsequently created and resolved. When the tenors arrive on Do the basses move upward from Ti to Do to end the exercise on a unison pitch. This exercise can be performed several times in the course of a warm-up session in various keys. The use of solmization syllables is useful to learn the exercise, but repeating the exercise on neutral syllables is recommended in order that the choir can also work on vowel unification. The interpolation of êui increase in intensity and relaxation during each suspension and resolution is also recommended to give the singers an idea of the appropriate execution of the 88 suspension. This exercise was used as a warm-up for two rehearsals and actually used during the rehearsal process of mm. 5-8 and 30-35 of the piece. A balance problem arose during the rehearsals of this piece. Due to the thickness of the homophonie texture the inner parts were often obscured by the outer parts. This problem was solved by rehearsing the inner parts using text and the outer parts on a neutral syllable, preferably a bright "e" for the basses and an "oo" or "oh" for the tenors depending on the tessatura of the part. After the singers had heard the appropriate balance, all singers were asked to return to the text but to maintain the appropriate balauice. Balancing the imitative entrances in mm. 44-52 was also addressed in the course of the rehearsal process. I selected the section which sang the figure most appropriately and asked that section to demonstrate it for the others. At first no mention of any change on the part of the other sections was addressed. The change naturally occurred in the second tenor as they immediately matched the articulation and warmth of the first tenors. The baritone part was not as easily solved. At this time, rather than belabor the issue I decided to step back auid restudy, the problem. In the end, the difficulty in the baritone part was the result of a spread vowel on the second syllable of 89 "Beati.” Once the problem was correctly identified, the baritones were able to solve it by creating more vertical space in their mouths and rounding their lips. I had assumed that the repeated pitches in the baritone and second tenor parts in mm. 30-35 would create a problem, and they did. The second tenor problem manifested itself in the poor intonation of the B" in m. 32. Rather than being flat, as I suspected would be the case, the pitch was sharp. Sharping had not been a problem for the B"s in mm. 18 or 24. The oblique resolution of the B" between the second tenors cuid basses, however, kept the singers from hearing the note as a seventh of a dominant seventh chord in F major auid the singers treated it as a leading tone in C major. The problem was solved by directing the tenors to listen to the harmonic structure of their part in relation to the others. The baritone problem in these measures is an issue of the tessitura, dynamics, and breath support. The middle C scored for the baritones in this section is a note that can be sung using the heavy mechanism by some and the light mechanism by others. The indication of a "piano” dynamic marking made the use of heavy mechanism unwieldy, but the ability of all the singers to sing this note using light mechanism without loss of focus and support was also a problem. The problem was therefore principally an issue of dynamics and breath support. If the chorus reached a true "forte" in mm. 24-29 as indicated in the score then mm. 31- 90 33 need only be pulled back to "mezzo forte." The greater dynamic allowed the baritones to sing with greater freedom and better breath support. Lastly the issue of solo versus tutti passages was addressed. Despite continued research and investigation, I found no definitive suggestion concerning the size of the solo group. In a effort to make the transition between the two groups of singers less abrupt, I elected to use a group of twenty singers on the solo passages and the full ensemble, including the small ensemble, for the tutti passages. The use of twenty singers would allow for the same division on both the Opus 68 and Opus 115 pieces with little concern for balancing the solo chorus and the brass ensemble in the Festgesang. The problems that arose during the rehearsals of Opus 115, No. 2 were mostly rooted in the text. Often the unaccented syllable of a word fell on the accented beat. This problem was addressed in many ways. First, for the word "aetemitatem" the "ta" or accented syllable was stressed and "tem" was sung much softer. This articulation problem was quite difficult to resolve because of the plossive "t" consonant on both the stressed and unstressed syllable. The chorus also had the tendency to close to the "m" sound very quickly which stressed the unaccented syllable. The singers were never able to accomplish the correct articulation during performeuice without a gestural 91 reminder. Second, the text "erunt stellarvm similes” which occurs in mm. 26-32 was set with such poorly placed metric accents in both tenor voices that it required an adjustment of the metric accents to more closely match the speech accents. This was accomplished by first determining the pattern of accented and unaccented syllables in the text. Next, within the rhythmic relationships given by Mendelssohn, a new pattern of macro-beats was determined with some of the macro-beats containing three quarter notes and some macro-beats containing two quarter notes. This enables the conductor to indicate the correctly accented speech pattern. In an effort to reconcile the correct speech accents with the metric accents set by Mendelssohn the passage must be performed with a legato articulation. The bass auid baritone parts, comprising successive half notes on unison g, do not pose the same text stress problems for the singers. The use of polyphonic texture in ram. 37-63 created balance problems that were addressed by rehearsing the motivie material on text and the secondary material on a neutral syllable. After the chorus heard the correct balance, all singers were asked to sing the text, but with appropriate balance. The Opus 115 pieces were rehearsed over a period of four months for short periods of time. These short periods of rehearsal ranged from five minutes at the shortest to 92 half-hour rehearsal segments. The first rehearsal consisted of a run-through. The subsequent rehearsals consisted of intensive practice of shorter sections of the pieces as determined by the overall form. For example, a typical rehearsal would include work on the A and sections of either Opus 115 No. l or No. 2 followed by a run-through of whichever movement had been rehearsed. If significant progress was made, the next rehearsal would consist of work on the other movement; if not, work continued on the previously rehearsed movement. As preparation of the pieces progressed, the short passages that contained the problem areas listed above were given more attention. The first run-through was done with the chorus standing in sections, but each subsequent rehearsal and performance was conducted with the chorus standing in mixed formation. The chorus I was directing for this perfonricuice included many astute singers who had the ability to l e a m and rehearse music in a mixed formation. If the choir had not been able to do this we would have stayed in a sectional formation. The benefits of rehearsing in a mixed formation were the development of further vocal independence and increased confidence, as well as a singer's increased knowledge of the entire score and not just his own part. It is also easier, when singing non-polyphonic music especially, to hear emd tune chords, and sing with appropriate balance when a chorus sings in mixed formation. 93 The continued interest and excitement of the Men's Glee Club throughout a year of rehearsals and performances of the Opus 115 pieces is a testimony to the quality of these works. Although these pieces are not performed often, they are accessible, well written, and entertaining. The small number of performsmces of these pieces may be an indication of their lack of availability in an easily accessed and affordable edition, or of the dearth of men's choruses to sing them. It is my belief that quality literature for men's voices, con^osed by great composers, is gradually disappearing from the shelves of the publishing houses, amd subsequently from the programs of men's choruses, because there is a lack of knowledge about said literature. If conductors were aware of the great music that is available they would purchase and program it with their choruses. It is my hope that this document will help to inform conductors, and that Mendelssohn's music for men's voices will achieve its rightful place. 94 APPENDIX A Date: Wed, 28 May 1997 13:54:35 -0400 From: Douglass Seaton Subject: Re: Mendelssohn Dear Joe, I can give you may notes on the "An die Kûnstler" manuscript pretty quickly. It is in the Biblioteka Jagiellonska in Karkow, where is has been since World War II euid Where I examined it in 1989. It is bound into volume 41 of the Mendelssohn Nachlass, originally deposited by Mendelssohn's heirs in the Prussian State Library in Berlin in the late nineteenth century. The work occupies pages 73-88. These pages consist of three consecutive bifolios and a single leaf, i.e., pages 73/74-75/76 77/78-79/80 81/82-85/86 (including 83/84 and 85a, see below) 87/88 95 The paper is Mendelssohn's usual paper for that period--a paper without watermarks, mechanically ruled with sixteen staves, having a total span of 246mm. and a staff length of 168mm. There are paste-over corrections on the third bifolio, so that pages numbered 83/84 are a paste-over on the top of page 82, and 85a is a paste-ever on page 85. On the top of the first page (73) is Mendelssohn's common abbreviation "H.m.d." (Hilf du rair), which indicates a first complete draft, the score is, in face, a con^osition and revision score, with changes entered in pencil and in red crayon. And that's about it < For what it's worth. I’m a Professor of Music in the Music History/ Musicology area at The Florida State University. Hope this helps. Good Luck! Douglass Seaton 96 APPENDIX B Date: Mon, 15 Dec 1997 09:34:06 -0500 From: Douglass Seaton state.edu> Subject: Re: Mendelssohn, Opus 115 Greetings, Joe! Well, there's not much to say about op. 115, really. It seems that these two short Latin pieces come from Mendelssohn's period in Düsseldorf (i.e. they date from sometime in 1833-34), when the composer's responsibilities included the local (Catholic!) church music. The locations of the original manuscripts are unknown. The principle source is the publication by Rieter-Biedermann in 1868-69. There is, as you probably know, a m o d e m critical edition available from Carus. That's about all we know, I think. All the best for the holidays ! DS 97 APPENDIX Zwei geistliche Mlnnerdiôre. op. 115 1. Selig sind die Toten / Beati mortui Felix MendeUiohn Bartholdy Andante sostenuto 1809 -1 8 4 7 ft Tenort I Tenore II Basso I Basso II y Solo b# bo Solo jjpTuni CH • d t Awfllhruaydaeer / Otm oM i ck U • 2 omo. e l9IObyCanM >Vflria|ScM afm-CV4atM /30 V«rvicinitig«agta jigSrtwr Arc bad fCMttUcb w bow a./A ay iMMvttiorlicdrryrod#cdaa i* ptoldbrwd by l#w. AU# R td u t lerb d w k so / A l rifbct i f i ctd / M a u d io Cciim ajr Hemiagmbm C tan r Crtuttdi ^^Felix Mendelssohn Bartholdy, Zwei geistliche Mâxmercbôre, Opus 115, reproduced by permission of Carus- Verlag, Stuttgart Germany. 98 f?— ^ f - >■ p r r lY y Di •- dtcit # - aim tpt * ri * turn, at r# -qui • m » cant a la ■ bo • ri -bum au At - to tprleht dor Goitt 4t$ ffarm, «fc ru * Wa mut ven th • rmr MB • hm und Ar Di • d t • * aim api - ri • tua, at r# * qui * aa » cant a la - bo - ri -boa au At • to tprieht dôr Otitt dmt /tmrm, tit ru •hmn mut ton tfi • rmr MB • hm und Ar tua, di • dt t - aim api ri * tua, ut ra ■ qui * aa • cant a la - bo -ri »bua au Hmrm. at ■ to tprieht dmr Omltt dmt Hmrm, tit ru • hmn au» — ton th • rmr MB • ha und Ar tua, di • dt a - aim apim • n * tua, ut ra qui * aa * cant a la * bo «ri -bua au Harm, ai • to tprieht d tr Gmitt dmt Harm, tie ru • han mut ton ih - rmr MB ■ hm und Ar 2 4 d t tprieht dmr Qmietth . MB ■ hm a « aim api la « bo « ri «bua au tprieht dmr Gmitt rar Jffi ' hm und Ar batt d t a « aim api * ri * tua, ut ra « qui tprieht dmr Gmitt dmt Harm, tim ru ham O i . MB • hm und Ar a • nim api bo ri «bua au apriahf dar Gmitt tffi 3 0 AX. iuun«tur |uun«tur Ih • ra eresc. Ha lu u n -tu r ertse. at lu u ih tu r km ra il rum Ih - ra CV 40.190/20 99 * i in Ô o-m i-nomo* ri * en be * m * Ü mer * ûi* I, be Tb • («n, tfte (n dém H«r>ran *r«r • lait M • Ur. M • Ur «bld dW J9 Solo JITUtQ Be * m * ti mor*tu * i in Do* mi* no mo -ri en Wia m • Ug find di* Tb • r«n. di* bi d*mH*r^r*n *t*r • /7 \ P Solo ti in De mi* no mo * ri * en * tes, be * e * ti mor * Uff «bld. di* (R d*mH*r-r*n a(«r • 6«n. i*l* t* • Ug, «• • Solo de di*To To Solo mor* tu de To $* ■ iig di* To Solo be * m * ti de Ta di* To * Mm, di* Solo Ta 4 9 Tutn Tutti PP «bld dit Ta Tutti ceps, be * s * ti mor tu * i,_ be * t * ti mor* tu * I btn. iDie M • Ur. •* ‘ Ug «bld. dt* Ta * Mn. di* bn War Tutti be mer*tu • i de dit (m H*r- CV 40.190/20 100 2. Es strahlen hell die Gerechten / Periti autem Felix Mendelsohn Bartholdy Allegro vivace 1 8 0 9 -1 8 4 7 Tenore I «u - u m fui - I* tê hall dt» • f«eJ Im Olanc Tenore 11 ftu - teni fui ' g# St «lroh*i hall dia O* - laah d t Imteh • tan tm Olans Basso I e u > U m fu i * g* Êê h«0 dit 09 raci‘ da lauch • (an (m Glana daa Harm. Basso 11 mu - Mm fui - g* Kê hall d it Oa - raeh • lauch- ri - ti_ _ m u • U m fui * g# • bunk u t fui • gor M " the r# » um, Ut fui • gor, ut afmh • law _ hall dJa Ga • r a e i • (an, da Uuch-tên Im OlmtiM d»$ Htrm, da lauch • (an, da ri • tl _#u . tem fui » ge • - buot ut fui • gor ae-the • re • ua, u t •Irah • law - Hma dit Ga meh - • **“ lauch'lan tmOUnz dm Harm, lauch • (an, da fui • gor ma * the • re * ua, êtroM tn hall Ga • rach • lauch lan Im Glana Harm. P# - bunt ut fui » gor me the • rc i(9vh>lan hall dit Oa •raeh . (an, da lêueh-tÊH tmGIaiu dm u t gor. u t lauch • (an (m Glana daa da fui - g o r ae - th e ua. ut fui - gor lauch • (an Im Olmu H trm , da Itueh • fui " gor ae the re - ItucH • (an Im Glana daa da laueh*(an Im Glana daa Harm, da ItutH • (an Im Glana dm fui • gor ae • the - re ut fui • gor ae the • rt • ua, ut fui - gor ae«tha - re lauch • (an Im Glana daa Harm, da lauch• (an Im Glana daa Harm, da lauch -(an hm Glana dm 101 gor, ut ful Qui*qut mul* rtd'di ' dt • mot «te toueii * ten im OlaiuW9l eh€ w t e . fakr Ut fui gor. ut ful - gor S t the • re US. Qui’que mul tos rtd * di rant i«fi. «te teuefi • («fttm Otefu dn Mcrm. w€l • chM wte - te US, u q u t mul*Cos rtd * di • d t • runt tus ' H«rm, teueii • ttn im Otmiu fUtr . us. Qui que mul to# rtd • di d t * rant im w«l • «M «te • te Ater «un L« • Sen 26 t ' runt la -rum n - mi Its. t ‘ rant stti - It ' ram fen. dte utgr • den Sfer - • den m ln den Sier • nen gitteh. dte wer • den aefn den tos t ' rant sttl It ' rum si - mi - Its. t ' ran t sttl * It - ram si - ml - Its. t • ru n t sttl * It ' rum ten. dte den ««In den Sier » nen gtalch. die totr • den «ein den S ier > nen gtaieh,dte den «eln den tos rant Sttl Its. t • rant sttl die gittch. die uter • den tos e rant sttl Its, t • rant sttl * It • ram fen. dte gtêieh. die i«cr den ««in den 32 ttr • ni , om * ntm s t ttr - nittm Sier ten er - lid * tei om * n tm a t ttr * ni cm* atm t t t t r - ni toi • ten e r. lid > liei mi tt r * ni gtoleh: «te •el lid . Iiei n tm t t * ttr • ni ten er . lid - liet CV 40.190/20 102 37 o m - nam m# t# r • ni to t • ten «r - hd • hot Um , om - M m M -tcr • ni don. toi ’ Ion or - hé ■ Hot cm - M m at*U r - oi Um , •ol - Ion or-hé - hot tot tto in om * oem at-Ur • ni toi • Ion or • hé ' hot tot tot 4 2 tot tot tot ■ ton oT'hé - hot tot to o m - n tm a t - U r - ni •oi - ton or - hé ‘ hot 4 7 U r tot • ton or - hé • hot hé om ' ntm tt*Ur • ni U m , in ton. aoi ' ftm or - hé • ttot don, tto U r hé hot oxn tot héIon CV 40.190/20 103 U m , in «of ton U r sot ton fi4 om - oem me»ter * ni tmr te • tem , in om - Mm ao-Ur - ni «ol • ton «r- hd • hot Hà «to «of > ton tr - M - fur om • oem me-ter - ni U U m , me «of • ton s r » M 'Mot om nem , m ter sot ton. «to MÛ 8s om - nem me-ter - oi «of ton «r - hb - hot ton 8s ter tem . •of ton h é dim . tem . «to «of Ion mareato ritenuto Adagio U m ful touefi • ttn Im mt mu - U m ful b u n tUt ful • gor hoU dio Qo «to touefi - fm Horm. b u n t u t gor me «to ton fm mu * tem ful - ge b u n t fu l gor hoU dto Oo • rtcfi •to touefi fm CV 40.190/20 104 BIBLIOGRAPHY Allgemeine Wiener Musik-Zeitung 11 (27 Juni, 1846) : 331. Autograpben, Erstaugaben und Frûbdrucke der Werke von Felix Mendelssohn Bartholdy in Leipziger Bihliotheken und Archiven. Leipzig; Musikbibliotek der Stadt Leipzig, 1972. Baines, Anthony. Brass Instruments: Their History and Development. London: Farber and Farber, 1976. Bate, Philip. The Truiqpet and Troinbone: An Outline of their History, Development and Construction. New York; W.W. Norton and Co. Inc., 1966. Brown, Howard Mayer, and Stanley Sadie, eds. The Norton/Grove Handbooks in Music Performance Practice : Music After 1600. New York: W.W. Norton eind Co., 1989. Carse, Adam. The History of Orchestration. New York: E.P. Dutton and Co., 1925. Carse, Adam. Musical Wind Instruments. London: Macmillan and Co., 1939. Citron, Marcia. The Letters of Fanny Hensel to Felix Mendelssohn. Pendragon Press, 1987. "Das erste deutsch-flamische Sângerfest in Kôln.” Allgemeine musicalisch Zeitung 48 (1846): 474. Devrient, Eduard. My Recollection of Felix Mendelssohn- Bartholdy, and His Letters to Me. Translated by Natalia Macfarren. New York: Vienna House, 1972. Ehrle, Thomas. Die Instrumentation in den Sympbonien und Ouverturen von Felix Mendelssohn Barthold^, Wiesbaden: Breitkopf & Hartel, 1983. Elvers, Rudolf, ed. Felix Mendelssohn : A Life in Letters. Translated by Craig Tomlinson. New York: Fromm International Publishing Corporation, 1986. 105 Elvers, Rudolf, ed. Felix Mendelssohn Bartboldy: Briefe an deutscb Verlager. Berlin: Walter de Gruyter and Co., 1968. Erskine, John. Song Without Words. New York: Julian Messner, Inc., 1941. Finson, Jon w., and R. Larry Todd, eds. Mendelssohn and Schumann ; Essays and Their Music and Its Context. Durham, NC: Duke University Press, 1984. Garretson, Robert L. Choral Music: History, Style, and Performance Practice. Englewood Cliffs, NJ: Prentice Hall, 1993. Glehn, M.E. von. Goethe and Mendelssohn. Translated by Karl Mendelssohn-Bartholdy. New York: Haskell House, 1970. Gotch, Rosamund Brunei. Mendelssohn and His Friends in Kensington. London : Oxford University Press, 1934. Greeson, Brantley D. "A Survey of Selected Sacred Choral Compositions by Felix Mendelssohn." Ph.D. diss., University of Southern Mississippi, 1974. Grove, George. Beethoven Schubert Mendelssohn. London : Macmillan and Co. Ltd., 1951. Hiller, Ferdinand. Mendelssohn, Letters «md Recollections. Translated by M.E. von Glehn. New York: Vienna House, 1972. Jessop, Craig D. "An Analytical Survey of the Unaccompanied Choral Works for Mixed Voices by Felix Mendelssohn-Bartholdy." DMA Thesis, Stanford University, 1980. Kaufman, Schima. Mendelssohn: "a second Elijah.” New York: Tudor Publishing Company, 1934. Mendelssohn, Felix. Festgesang: An die Kûnstler. (Full Score, Choral Score, and Brass Parts) North Easton, MA: Robert King Music Company, Music for Brass No. 615. Mendelssohn, Felix. Kalmus Study Scores No. 1208: Seven Sacred Choral Works. New York: Edwin F. Kalmus Publishers of Music, N.D. Mendelssohn, Felix. Kalmus Study Scores No. 1209: Twelve Sacred Chorsü. Works. New York: Edwin F. Kalmus Publishers of Music, N.D. 106 Mendelssohn, Felix. Kalmus Study Scores No. 1213: Songs for Four Men's Voices. New York: Edwin F . Kalmus Publishers of Music, N.D, Mendelssohn, Felix. Zwei geistliche Mânnercbôre, Opus 115. Stuttgart, Germany: Carus Verlag, 1980. Mendelssohn-Bartholdy, Paul, and Carl Mendelssohn-Bartholdy, eds. Letters of Felix Mendelssohn-Bartholdy: From 1833-1847. Translated by Lady Wallace. London: Longmans, Green and Co., 1878. Morley-Pegge, Reginald. The French Horn. New York: Philosophical Library, 1960. Moscheles, Felix. Letters of Felix Mendelssohn to Ignaz and Charlotte Moscheles. Freeport New York: Books for Libraries Press, 1970. Norris, J. Weldon. "A Chronology of the Choral Works of Felix Mendelssohn." American Choral Review 133. New York: American Choral Foundation (1981): 19. Polko, Elise. Reminiscences of Felix Mendelssohn-Bartholdy : A Social and Artistic Biography. Translated by Lady Wallace. New York: Glegridge Publishing Ltd., 1987. Radcliffe, Phillip. Mendelssohn. New York: Collier, 1963. Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge MA: The Belknap Press of Harvard University Press, 1986. Rasmussen, Mary. "The First Performance of Mendelssohn's Festgesang, An die Kuenstler, Opus 68. " Brass Quarterly. (Vol. IV, NO. 4), 151-155. Repertoire International des Sources Musical on CD-Rom. München: K.G. Saur Verlag, 1997. Rietz, Julius, ed. "Festgesang: An die Kûnstler." Felix Mendelssohn Bartholdy's Werke. Kritisch durchgesehene Ausgabe. Leipzig: Verlag von Breitkopf & Hartel, 1875. Rietz, Julius, ed. Thematische Verzeichness der im Durch erscbiennen Congwsi tionen von Felix Mendelssohn Bartholdy. London: H. Baron, 1882. Robinson, Ray and Allen Winold. The Choral Experience: Literature, Materials, and Methods. New York: Harper's College Press, 1976. 107 Seldon-Goth, D. ed. Felix Mendelssohn ; Letters. New York: Vienna House, 1945. Stratton, Stephen S. Mendelssohn. New York: E.P. Dutton and Co. Inc., 1934. Todd, R. Larry. Mendelssohn and His World. Princeton, NJ: Princeton University Press, 1991. Todd, R. Larry. Mendelssohn's Musical Education: A Study and Edition of his Exercises in Coaqposition. New York: Cambridge University Press, 1983. Todd, R. Larry. Mendelssohn Studies. Cambridge, England: Cambridge University Press, 1992. Tortolano, William. Original Music For Men's Voices: A Selected Bibliography. Metuchen, NJ: Scarecrow Press, Inc., 1973. Ulrich, Homer. A Survey of Choral Music. New York: Harcourt Brace College Publishers, 1973. Webb, John. "19th-Century Keyed Brass." The Musical Times 127 (Feb., 1986): 83-85. Wemer, Eric. Mendelssohn : A New Image of the Composer and His Age. Translated by Dika Newlin. London: Collier- Macmillan Limited, 1963. Whitwell, David. History and Literature of the Wind Band and Wind Ensemble. Northridge, CA: Winds, 1984. 108 IMAGE EVALUATION TEST TARGET (QA-3) y A y.x % 12.8 1.0 : S 2.2 1^ 11111= La il 2£ i.i 1.8 1.25 1.4 1.6 150mm V <9: / A P P L I E D A IM/IGE . Inc " 1653 East Main Street ■ Rochester, NY 14609 USA ’/ a Phone: 716/482-0300 — ------Fax: 716/288-5989 0 1993. Applied Image. Inc.. Ail Rights Reserved