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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the t®rt directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, be^nning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 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................
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