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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Kreegi Vihik (Kreek's Notebook) for Chorus and Strings by Tõnu Kõrvits: A Conductor's Guide Alex Timothy Favazza Jr. Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC KREEGI VIHIK (KREEK’S NOTEBOOK) FOR CHORUS AND STRINGS BY TÕNU KÕRVITS: A CONDUCTOR’S GUIDE By ALEX TIMOTHY FAVAZZA, JR. A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Alex Timothy Favazza, Jr. defended this dissertation on April 9, 2018 The members of the supervisory committee were: André J. Thomas Professor Directing Dissertation Michelle Stebleton University Representative Kevin Fenton Committee Member William Frederickson Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii For my wife, Melanie Favazza, who is the love of my life. iii ACKNOWLEDGMENTS I cannot begin to count the ways that I have been influenced by professors at Florida State University. I am profoundly grateful for your investment in me. Your philosophies and practices have shaped me more than I could have ever imagined. First, to Dr. André J. Thomas, my major professor and mentor, I thank you for the countless ways you have instructed and empowered me as a conductor, teacher, and scholar. I also thank you for many opportunities you have given me as well as your unwaivering support for me in everything I undertake. I wish to acknowledge the members of my doctoral supervisory committee: Dr. Kevin Fenton, Dr. William Frederickson, and Professor Michelle Stebleton. You are each a model of professionalism, and I appreciate your encouragement and support. I wish to convey my deepest gratitude to Tõnu Kõrvits. Thank you for writing increbile music which has changed my life. However, I thank you even more for being a wonderful friend. Your brilliance is only outweighed by your humility and kindness. To Dr. Gregory Fuller, thank you for mentoring me and further opening my eyes to the depths of treasure in Estonian choral music. To professors Mart Humal, Anu Kõlar, and Toomas Siitan from the musicology department at the Estonian Academy of Music and Theater in Tallinn, thank you for meeting with me and providing me innumerable resources in my study. Thank you to the Estonian Theater and Music Museum, particularly to Mihkel Roolaid who personally guided me in researching folk-hymn transcription manuscripts. Thank you to Fr. Brian Smith and the Episcopal University Center at Ruge Hall for holding the Canterbury Concert Series including the performance of Kreek’s Notebook. Thank you to my friends in the chorus and orchestra for making every moment an absolute joy. iv To Timothy Fitzpatrick, I offer my gratitude for your insight into Estonian music and culture. Thank you for consulting with me on my study and for being a source of encouragement. Thank you to Sam Carlton and Phil Biedenbender for playing through my rehearsal piano reductions and offering edits and suggestions. Thank you to Grete Kõrvits for your word for word translation of Kreek’s Notebook. Thank you to Laura Gayle Green, head librarian at the Florida State University College of Music. Thank you to the musicology faculty at the Florida State University College of Music, especially Dr. Denise Von Glahn and Dr. Sarah Eyerly. Thank you to my editor Ryan Whittington. You are a brilliant scholar, and I am thankful to have had you on this project. I wish to thank Marianne Kõrver for including me in her documentary on Tõnu Kõrvits. I wish to thank Dr. Judy Bowers for encouraging me to research what I love. Thank you for your ceaseless patience with me. I hope your teaching echoes in everything I do. Thank you to my friend and colleague Marques L. A. Garrett for listening to everything about Estonian choral music for the last three years. You are a true friend. Thank you to my best friend Derek Meler for being a sounding board for almost every idea in this dissertation. Thank you for your unending friendship and encouragement. Thank you to my parents Tim and Arlene Favazza who have always supported my dreams. Thank you to my family at First Presbyterian Church Quincy, FL for your endless care and love. Finally, I wish to honor and acknowledge my wife Melanie Favazza. I love you more than anything. I could have never done any of this without you. You are my partner in everything in life, and I thank God for you every day. v TABLE OF CONTENTS List of Tables ............................................................................................................................ vii List of Figures ......................................................................................................................... viii List of Examples ....................................................................................................................... xii Abstract ................................................................................................................................... xiii 1. INTRODUCTION ................................................................................................................. 1 2. I. NÜÜD OLE, JEESUS, KIIDETUD .................................................................................. 18 3. II. NÜÜD ON SEE PÄEV JU LÕPPENUD ......................................................................... 37 4. III. MA KIITLEN ÜKSPÄINIS NEIST VERISIST HAAVUST .......................................... 55 5. IV. OH VÕTA, ARMAS JEESUS, VASTU MUULT .......................................................... 63 6. V. SU HOOLEKS ENNAST ANNAN MA .......................................................................... 86 7. VI. LENDA ÜLES KURBTUSEST ..................................................................................... 99 8. VII. MINU HING, OH OLE RÕÕMUS ............................................................................. 122 9. VIII. MA VAATAN ÜLES MÄELE .................................................................................. 146 10. A CONDUCTOR’S REFLECTION ON PREPARING KREEK’S NOTEBOOK.............. 159 11. CONCLUSION ................................................................................................................ 164 APPENDICES ........................................................................................................................ 166 A. CATALOG AND SCORES OF CYRILLUS KREEK’S ARRANGEMENTS OF FOLK- HYMN VARIANTS THAT APPEAR IN KREEK’S NOTEBOOK ........................................ 166 B. CATALOG OF MAJOR WORKS FOR CHORUS: CHORAL-ORCHESTAL, MULTI- MOVEMENT, AND LARGE SCALE CHORAL WORKS BY TÕNU KÕRVITS THROUGH 2017 ....................................................................................................................................... 190 References .............................................................................................................................. 192 Biographical Sketch ................................................................................................................ 197 vi LIST OF TABLES Table 2.1 Metric distribution for diphthong vowels in Nüüd ole, Jeesus, kiidetud...................... 28 Table 3.1 Metric distribution for diphthong vowels in Nüüd on see päev ju lõppenud. .............. 47 Table 5.1 Metric distribution for diphthong vowels in Oh võta, armas Jeesus vastu mult. ......... 74 Table 6.1 Metric distribution for diphthong vowels in Su hooleks ennast annan ma. ................. 94 Table 7.1 Metric distribution for diphthong vowels in Lenda üles kurbtusest. ......................... 111 Table 8.1 Metric distribution for diphthong vowels in Minu hing, oh ole rõõmus .................... 133 Table 9.1 Metric distribution for diphthong vowels in Ma vaatan üles mäele. ......................... 153 vii LIST OF FIGURES Figure 1.1 Tõnu Kõrvits. Photo by the author.............................................................................. 1 Figure 1.2 A bust of Cyrillus Kreek sitting on top of the composer’s piano at his home in Haapsalu. Photo by the author.. ............................................................................................. 8 Figure 1.3 The nave of St. Nicolas Cathedral in Haapsalu. Photo by the author. ........................ 14 Figure 2.1 Collection manuscript EÜS IV 1857/41/ of Nüüd ole, Jeesus, kiidetud (Kihnu) by Peeter Süda 1907, courtesy of the Estonian Theater and Music Museum. ............................ 20 Figure 2.2 Excerpt from the 1915 Tallinn Punschel Choralbuch: No. 443, Gelobet seist du, Jesus Christ. One version of the chorale that Cyrillus Kreek would have seen. Public Domain. .... 20 Figure 2.3 Melodic transformation graph of Gelobet seist du, Jesu Christ to Nüüd ole, Jeesus, kiidetud. .............................................................................................................................. 21 Figure 2.4 Repurposing M7 on fourth and seventh scale degrees and harmonic use. I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook. .................................................................................... 25 Figure 2.5 Chord super-imposed over different bass note, I. Nüüd ole, Jeesus, kiidetud, Kreek’s Notebook............................................................................................................................
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  • Bach Notes No. 1

    Bach Notes No. 1

    No. 1 Spring 2004 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY MS. BACH P 271, A UNIFIED COLLECTION OF CHORALE-BASED PIECES FOR ORGAN? ROBIN A. LEAVER Over the past two years or so, I have been associated with two dissertations on the so-called Leipzig Chorales (BWV 651-668), and both reactivated my long-held skepticism regarding the generally- held view that the Leipzig Chorales are to be considered separately from the Canonic Variations on Vom Himmel hoch (BWV 769). The Leipzig Chorales and the Canonic Variations are found in the same manuscript, P 271, and the latter appear within the sequence of the former. The main argument for considering the Canonic Variations as separate from the Leipzig Chorales is the fact that the variations were published and the chorale preludes were not. This argument has an obvious logic, but the fact that the variations were published may turn out to be something of a red herring. The first dissertation, for which I was at the ABS meeting in Houston in 2001 an external examiner, is Anne Leahy’s in which he made the suggestion that the IN THIS ISSUE: “Text-Music Relationships in the Leipzig Chorales were intended for the PAGE ‘Leipzig’ Chorales of Johann Sebastian Advent season.2 The immediate response Bach,” Ph.D., University of Utrecht, the from a number of participants, myself 1. Ms. Bach P 271, a Unified Netherlands (2002). In her study, Dr. included, was lukewarm. For example, Collection of Chorale-based Leahy was concerned with establishing how could these chorales be for Advent Pieces for Organ? by Robin A.