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9914396.PDF (12.18Mb) INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, 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 afreet 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, b^inning 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 o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher 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 Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C. 0724) Te Deum and Dies irae A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By LINDA BETH JONES Norman, Oklahoma 1998 UMI Number: 9914396 Copyright 1998 by Jones/ Linda Beth All rights reserved. UMI Microform 9914396 Copyright 1999, 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 Linda Beth Jones 1998 All Rights Reserved A CONDL CTOR’S GL IDE TO THREE SACRED CHOR.AL/ ORCHESTRAL WORKS BY ANTOMO CALDARA: Magnificat in C, (1724) Te Deum and Dies irae A DOCl MEXT APPROV ED FOR THE SCHOOL OF ML SIC Dr. Dennis Shrock. Major Professor Dr. Steven Curtis iricoDr. Eugene EnricoiricoDr. Dr. ntione ACKNOWLEDGEMENTS My doctoral studies and this document would not have been possible if not for many gracious and generous people. To these people, I desire to extend my over­ whelming gratitude for their guidance, patience and foresight My husband and son, Mel and Paul Jones have always given me love, support and encouragement throughout the entire degree process. Without their ever­ present understanding, none of this would have been possible. My parents. Bill and Penny Mayfield, as well as my extended family have financially, mentally and physically supported me tfarou^out this endeavor. Their never- ending love and generosity will forever reside in my heart Linda Morales and Language Associates spent months translating Ursula Kirkendale’s book entitled, Antonio Caldara: sein Leben und seine veneaanisch- romischen Oratorien (Antonio Caldara: His Life and His Venetian-roman Oratorios). Without this information. Chapter I of this document would not have been possible. Beverly Theige, music typographer, has spent numerous hours preparing my editions of Caldara’s music for performance and publication. I am indebted to her own musicianship, thoroughness and accuracy, which enabled the {xoduction of the three works in this document Dr. Brian Pritchard’s willingness to share his knowledge of Caldara and his music with someone he had never even met was overviielming. His encouragement in the IV translation of Dr. Kirkendale’s book as well as with this entire document was an ever­ present guiding light Bârenreiter Music Corporation, for permission to reprint all of the musical examples from the Wolff, Kümmerlin and Homolya editions of Caldara’s Magnificat in C, (1724) Te Deum and Dies irae. Dennis Shrock, my mentor, friend and advisor has devoted countless hours to my studies. He has instilled in me a great love of early music, performance practice and conducting. Through his tutorage and scholarship, he has given me the skills and knowledge in which to examine, listen to and perform great works of choral art whether they be gems of large or small proportion. He has provided me with countless con­ ducting opportunities for which I am ever indebted. His guidance has forever changed my life. Dr. Marilyn Carver, my best friend and editor, has been a constant source of stimulation and support. Her unending faith in my skills and abilities has been a tremendous source of strength and determination. Through her knowledge of language usage and her literary skills, she has enabled me to be more confident in my own writing. Without her love, help, encouragement and endless hours of editing, this document would not have been possible. TABLE OF CONTENTS ACKNOWLEDGEMENTS............................................................... iv ABSTRACT........................................................................................... vüi Chapter Page L HISTORICAL BACKGROUND........................................................ 1 Antonio Caldara .................................................................................... 1 Magnificat ............................................................................................. 16 Te Deum.............................................................................................. 18 Dies irae.............................................................................................. 20 Endnotes ................................................................................................ 22 IL COMPOSITIONAL ANALYSIS - 26 Magnificat in C ................................................................................... 26 Comparison of Works ................................................................ 27 Score Discrepancies in the Editions of Caldara’s Magnificat in C ........................................................................ 53 (1724) Te Deum...................................................................................... 81 Score Discrepancies in the Editions of Caldara's (1724) Te Deum........................................................................... 100 Dies irae.................................................................................................. 145 Score Discrepancies in the Editions of Caldara’s Dies irae 147 HL BAROQUE PERFORMANCE PRACTICE GUIDE............................. 190 Introduction .......................................................................................... - 190 Sonority, Composition and Size of Performance Forces ........................ 192 Ornamentation and Rhythmic Alteration .............................................. 204 Ornamentation ............................................................................ 204 Rhythmic Alteration ................................................................... 219 Tempo and Meter .................................................................................... 228 Variations of Amplitude........................................................................ 243 Articulation and Phrasing ...................................................................... 253 Articulation and Bowing Techniques .......................................... 254 Phrasing ....................................................................................... 258 IV. CONDUCTING ANALYSIS............................................................... 268 vi Arrangemrat of Chorus and Orchestra ............................................268 Conducting Details ........................................................................ 272 Preparation Gestures ......................................................... 273 Breath Preparation.............................................. 274 Stopped Beat .........................................................- 279 Preparation For A Release On A Rest .................. 281 Subdivided Cadences......................................................... 283 Messa di Voce ..................................................................... 284 Summary ........................................................................................................... 293 SELECT BIBLIOGRAPHY................................................................................ 295 Appendix A. JONES EDITIONS Magnificat in C. 0724) Te Deum and Dies irae B. TEXT TRANSLATIONS Magnificat anima mea - 1 Te Deum laudamus................................................................................... 3 Dies irae.................................................................................................... 7 VII ABSTRACT A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C<. (1724) Te Deum and Dies irae By: Linda Beth Jones MAJOR PROFESSOR: D R DENNIS SHROCK Very little is known about Antonio Caldara’s life and choral works. Also, little has been done regarding performance practice recommendations for works such as those by Caldara in the Baroque
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