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Proportional Signs in the Works of Heinrich Schutz Jang Woo Park
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-1-2010 Proportional signs in the works of Heinrich Schutz Jang Woo Park Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Park, Jang Woo, "Proportional signs in the works of Heinrich Schutz" (2010). Dissertations. Paper 224. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School PROPORTIONAL SIGNS IN THE WORKS OF HEINRICH SCHÜTZ A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Jang Woo Park College of Performing and Visual Arts School of Music Music History and Literature May, 2010 THIS DISSERTATION WAS SPONSORED BY Deborah Kauffman, D.M.A. Research Advisor Jang Woo Park DISSERTATION COMMITTEE Advisory Professor________________________________________________________________ Jonathan Bellman, D.M.A. Advisory Professor________________________________________________________________ Robert Ehle, Ph. D. Faculty Representative_____________________________________________________ Joonok Huh, Ph. D. Assistant Vice President for Research Dean of the Graduate School & International Admissions ____________________________________________ Robbyn R. Wacker, Ph. D. Examination Date of Dissertation_____________________________________________ © 2010 JANG WOO PARK ALL RIGHTS RESERVED ABSTRACT Park, Jang Woo. Proportional Signs in the Works of Heinrich Schütz. Published Doctor of Arts dissertation, University of Northern Colorado, 2010. Some time signatures used in the Neue Schütz Ausgabe (Bärenreither, 1955– 2008) differ from both modern signatures and contemporary mensuration signs, obscuring Schütz’s original intentions. -
The Development of Works for Choir and Brass: a Study of Four
THE DEVELOPMENT OF WORKS FOR CHOIR AND BRASS: A STUDY OF FOUR REPRESENTATIVE WORKS A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Christina Marie Armendarez In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music April 2012 Fargo, North Dakota North Dakota State University Graduate School Title THE DEVELOPMENT OF WORKS FOR CHOIR AND BRASS: A STUDY OF FOUR REPRESENTATIVE WORKS ByByBy Christina Marie Armendarez The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTDOCTOROR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Jo Ann Miller Chair Dr. Michael Weber Dr. Andrew Froelich Dr. John Helgeland Approved: 4/05/2012 Dr. John Miller ii ABSTRACT As brass instruments evolved from crude instruments limited to only a few notes into instruments that could play melodic passages within the vocal range, they began to be paired with the voice. The development traced in this paper will focus primarily on the addition of brass instruments with a choral ensemble from the late Renaissance period through the Modern period. Insight into the historical use of brass and the evolution of choral and brass music allows us to better understand the genre and how subject matter, text, and/or the occasion for which the compositions were composed often influenced the composer’s decision to add brass. Four representative pieces will be studied: In Ecclesiis by Giovanni Gabrieli (c.1554-1612); Herr, unser Herscher by Heinrich Schütz (1585-1672); Ecce Sacerdos by Anton Bruckner (1824- 1896); and Ode a la Musique by Frank Martin (1890-1974). -
Download Issue
AMERICAN CHORAL REVIEW GEORGE]. BUELOW •• A SCHUTZ READER Documents of Performance Practice JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XXVII • NUMBER 4 • OCTOBER, 1985 AMERICAN CHORAL REVIEW ALFRED MANN, Editor ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD jACKSON MARTIN PICKER WESLEY S. COFFMAN The AMERICAN CHORAL REVIEW is published quarterly as the official journal of The American Choral Foundation, Inc. The Foundation also publishes a supplementary Research Memorandum Series. Membership in The American Choral Foundation is available for an annual contribution of $27.50 and includes subscriptions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's advisory services. All contributions are tax deductible. Multiple back issues of the AMERICAN CHORAL REVIEW and Research Memorandum Series are housed and maintained at the Temple University Boyer College of Music, Philadelphia, Department of Choral Activities, Alan Harler, Chairman. A computerized, annotated listing of the contents of back issues by author, title, subject, and period has been assembled as a joint project of Temple University and the American Choral Foundation. Back issues of the AMERICAN CHORAL REVIEW are available to members at $5.00; back issues of the Research Memorandum Series at $2.00. Bulk prices will be quoted on request. Through affiliation with the American Choral Directors Association the Foundation offers membership to American Choral Directors Association members at a reduced contribution amount. Please consult the boxed announcement on the inside back cover for details. THE AMERICAN CHORAL FOUNDATION, INC. Administered by the Association of Professional Vocal Ensembles Janice F. -
Reinterpreting the Genevan Psalter: an Examination of Psalm 128 As Set by Goudimel, Sweelinck and Schütz
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship 2014 Reinterpreting the Genevan Psalter: an examination of Psalm 128 as set by Goudimel, Sweelinck and Schütz Sara A. (Sara Alicia) Ferguson Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Ferguson, Sara A. (Sara Alicia), "Reinterpreting the Genevan Psalter: an examination of Psalm 128 as set by Goudimel, Sweelinck and Schütz" (2014). WWU Graduate School Collection. 347. https://cedar.wwu.edu/wwuet/347 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Reinterpreting the Genevan Psalter: An Examination of Psalm 128 as Set by Goudimel, Sweelinck, and Schütz By Sara Alicia Ferguson Accepted in Partial Completion of the Requirements for the Degree Master of Music Kathleen L. Kitto, Dean of the Graduate School ADVISORY COMMITTEE Chair, Dr. Bertil H. van Boer, Jr Dr. Carla Rutschman Dr. Leslie Guelker-Cone MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and do not infringe or violate any rights of others. -
Heinrich Schütz (1585 – 1672) Weihnachtsvesper
CHRISTUSKIRCHE BREMERHAVEN Sonntag, den 8. Dezember 2013, 18.00 Uhr Heinrich Schütz (1585 – 1672) Weihnachtsvesper Sopran: Annegret Schönbeck · Altus: Beat Duddeck Tenor: Jan Hübner · Bass: Peter Klan Bremerhavener Kammerchor Johann Rosenmüller Ensemble Zink: Arno Paduch, Friederike Otto Violine: Anette Sichelschmidt, Anna Markova · Violone: Jörg Meder Posaune: Detlef Reimers, Gerd Schnackenberg, Henning Plumeyer Dulzian: Kristina Filthaut Chitarrone: Dennis Götte · Orgel: Margit Schultheiß Lesung und Textauswahl: Dirk Böttger Leitung: Eva Schad www.kreiskantorat-bremerhaven.de Zu den aufgeführten Werken Die heute zur Aufführung gebrachte Weihnachtsvesper ist keine zusammenhän- gende Originalkomposition von Heinrich Schütz, sondern eine Kompilation von Motetten, geistlichen Madrigalen und geistlichen Konzerten, die verschiedenen Sammlungen (u. a. den Kleinen geistlichen Konzerten von 1636, den mehrchörigen Psalmen Davids von 1619 und der Geistlichen Chormusik von 1648) entnommen sind. Johann Rosenmüller Ensemble Das Johann Rosenmüller Ensemble wurde 1995 von Arno Paduch in Leipzig ge- gründet. Seitdem hat das Ensemble zahlreiche Konzerte in ganz Deutschland gegeben, u. a. beim Rheingau Musikfestival, der Ansbacher Bachwoche, den Hän- delfestspielen in Halle/Saale, dem MDR-Musiksommer, dem Rheinisch- Westfä- lischen Musikfest, dem Hohenloher Kultursommer, den Leipziger Bachtagen, den Mitteldeutschen Heinrich-Schütz-Tagen in Bad Köstritz und Weißenfels, den Arolser Barockfestspielen, den Aschaffenburger-Bachtagen sowie in Tschechien, Polen, -
The Splendor of Gabrieli, Schütz, and Monteverdi
James John Artistic Director P RESENTS The Splendor of Gabrieli, Schütz, and Monteverdi Friday, March 22, 2019, 8 pm Sunday, March 24, 2019, 3 pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Jubilate Deo à 8 Giovanni Gabrieli (c.1554–1612) Sopranos Altos Tenors Basses Singet dem Herrn ein neues Lied, SWV 35 Heinrich Schütz (1585–1672) Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb Molly Masterton Linnea Johnson Frank Camacho Rich Dikeman Jennifer Oates Allegra Kuney Mark Hewitt Stephen Iger Jeanette Rodriguez Cathy Markoff Michael Klitsch Dean Rainey Hodie completi sunt à 8 Giovanni Gabrieli Ellen Schorr Myrna Nachman David Letzler Tom Reingold Aus der Tiefe, SWV 25 Heinrich Schütz Talya Westbrook Katie Wilkes Ken Short Larry Sutter Oliver Van Oekelen Exultavit cor meum Giovanni Gabrieli Guest Instrumentalists Jauchzet dem Herren, SWV 36 Heinrich Schütz Dongmyung Ahn, violin 1 (orchestral contractor) Nathaniel Cox, cornetto Intermission Kate Goddard, violin 2/viola Liza Malamut, alto sackbut Peter Kupfer, viola Erik Schmalz, tenor sackbut Cantate Domino à 6 Claudio Monteverdi (1567–1643) Matt Zucker, cello Mack Ramsey, bass sackbut Cantate Domino, SWV 81 Heinrich Schütz Daniel Swenberg, theorbo Dylan Sauerwald, organ Das ist je gewißlich wahr, SWV 388 Heinrich Schütz Beatus vir à 6 Claudio Monteverdi Jennifer Oates, soprano; Ellen Schorr, soprano; Mark Hewitt, tenor; Ken Short, tenor; Dean Rainey, bass Dixit Dominus II Claudio Monteverdi Jennifer Oates, soprano; Jamie Carrillo, alto THE ARTISTS JAMES JOHN, ARTISTIC DIRECTOR Now in its twenty-fourth season, CERDDORION (Welsh for “musicians”) is one of JAMES JOHN is in his ninth season as Artistic Director of Cerddorion Vocal New York’s most highly regarded volunteer choral ensembles. -
Introduction to the Psalms by Wilbert R
Introduction to the Psalms By Wilbert R. Gawrisch [Revised 1981] A Select Bibliography Lexicons Brown, Driver, Briggs, A Hebrew and English Lexicon of the Old Testament. New York: Houghton Mifflin, 1907. Gesenius-Tregelles, Hebrew and Chaldee Lexicon. Grand Rapids: Eerdmans, 1949. Holladay, William L., A Concise Hebrew and Aramaic Lexicon of the Old Testament. Grand Rapids: Eerdmans, 1971. Koehler, Ludwig, and Walter Baumgartner, Lexicon in Veteris Testamenti Libros. Grand Rapids: Eerdmans, 1951. Grammar Gesenius-Kautzsch, Gesenius’ Hebrew Grammar. A.E. Cowley, tr. (2nd ed.) Oxford: Clarendon, 1910. Commentaries Alexander, J.A., Commentary on the Psalms (1863). Reprint: Grand Rapids: Zondervan, 1958. Barnes, Albert, Notes on the Old and New Testaments, Psalms. 3 vols. Robert Frew, ed. Grand Rapids: Baker, 1950. Blaiklock, E.M., Commentary on the Psalms. 2 vols. Philadelphia & New York: A.J. Holman, 1977. Briggs, Charles and Emilie, The Book of Psalms (The International Critical Commentary), 2 vols. New York: Scribners, 1914. Calvin, John, The Psalms, 5 vols. (1571). Grand Rapids: Eerdmans, 1949. Cohen, A., The Psalms, Hebrew Text, English Translation and Commentary. London: Soncino, 1945. Dahood, Mitchell, The Psalms (The Anchor Bible), 3 vols. Garden City: Doubleday, 1970. Delitzsch, Franz, The Psalms, 3 vols. (1867). Reprint: Grand Rapids: Eerdmans, 1952. Hengstenberg, E.W., The Psalms. Edinburgh, 1869. Kirkpatrick, A.F., The Book of Psalms. (1906). Cambridge, 1957. Kittel, Rudolf, Die Psalmen. (Sellins Kommentar zum Alten Testament). Leipzig: Deichert, 1914. Koenig, E., Die Psalmen, eingeleitet, uebersetzt und erklaert. Guetersloh: Bertelsmann, 1927. Kraus, Hans-Joachim, Psalmen, 2 vols. Neukirchen-Vluyn:Neukirchener Ver lag des Erziehungsvereins, 1966. Kretzmann, P.E., Popular Commentary of the Bible, Old Testament, Vol. -
HEINRICH SCHÜTZ Die Gesamteinspielung Box I
CCarus HEINRICH SCHÜTZ Die Gesamteinspielung Box I Dresdner Kammerchor Hans-Christoph Rademann Libretto C Heinrich Schütz (1585 – 1672) Carus Die Gesamteinspielung · Complete Recording Box I (Vol. 1–8): Libretto Vol. 1 Geistliche Chor-Music 1648 (CD 1–2) ....................................................... Seite/page 77 Dresdner Kammerchor · Cappella Sagittariana Dresden · Hans-Christoph Rademann Printed music: Carus 20.912 Vol. 2 Italienische Madrigale (CD 3) ....................................................................... Seite/page 86 Dresdner Kammerchor · Hans-Christoph Rademann Printed music: Carus 20.901 Vol. 3 Musikalische Exequien (CD 4)...................................................................... Seite/page 95 Dorothee Mields, Soprano · Anja Zügner, Soprano · Marie Luise Werneburg, Soprano Alexander Schneider, Alto · Jan Kobow, Tenore · Tobias Mäthger, Tenore Harry van der Kamp, Basso · Matthias Lutze, Basso Matthias Müller, Violone · Ludger Rémy, Organo Dresdner Kammerchor · Hans-Christoph Rademann Printed music: Carus 20.279 (SWV 279–281) · Carus 20.464 (SWV 464) · Carus 20.277 (SWV 277) Vol. 4 Zwölf geistliche Gesänge (CD 5) ............................................................... Seite/page 108 Irene Klein, Viola da Gamba · Sebastian Knebel, Organo Dresdner Kammerchor · Hans-Christoph Rademann DIGITAL BOOKLET Printed music: Carus 20.915 C Vol. 5 Cantiones Sacrae (CD 6–7) ..........................................................................Seite/page 122 Carus Frauke Hess, Violone · Ludger Rémy, -
Vocal Performance and Affective Delivery in the Music of Heinrich Schütz
Vocal Performance and Affective Delivery in the Music of Heinrich Schütz Stephen J. Grant Melbourne Conservatorium of Music University of Melbourne September 2019 A thesis submitted in partial fulfillment of the requirements of the degree of PhD in Music Performance ã Stephen Grant 2019 i Table of Contents Table of Contents ii List of Musical Examples v List of Tables vii Works List for the Performance Portfolio Recordings viii Abstract ix Acknowledgements x Introduction 1 Thesis 3 Research Aims 3 Structure of the Thesis 4 The Performance Portfolio 5 Aim 5 Repertoire 5 The Vocal Ensemble e21 7 Other Outputs Generated from the Project 8 Chapter 1: Reviewing Schütz Scholarship 9 Introduction 10 Early History, Schütz Editions and Documents 11 Schütz Studies 11 Performance Practice 13 Recent Performance Practice Literature 13 Vocal Performance 14 Vocal Treatises 15 ii Elements of Vocal Performance 16 Vibrato 17 Vocal Timbre 17 Declamation 19 The Primacy of Text over Music? 19 The New Italian Style in Germany 21 The History of Emotions 22 Summary and Conclusions 24 Chapter 2: Schütz in Historical Context 25 Introduction 26 The Italian Influence 26 Schütz in Focus 27 SWV 282 Eile mich, Gott, zu erretten 29 SWV 37 An den Wassern zu Babel sassen wir 32 SWV 50 Auferstehungshistorie 35 SWV 478 Die Sieben Worte Jesus am Kreuz 41 Summary and Conclusion 44 Chapter 3: Discourse and Rhetoric 45 Introduction 46 Quintilian and Cicero 46 Moving the Affections through Music 47 German Sources 48 Germany, Luther and Music 50 Italian and Lutheran Ideas Coalescing -
Heinrich Schütz's Weihnachtshistorie Trombones for the Three Kings?
Heinrich Schutz's Weihnachtshistorie:Trombones for the Three Kings? Item Type text; Electronic Dissertation Authors Johnson, Leilani Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 08:40:42 Link to Item http://hdl.handle.net/10150/193573 HEINRICH SCHÜTZ'S WEIHNACHTSHISTORIE TROMBONES FOR THE THREE KINGS? by Leilani Johnson _______________ Copyright © Leilani Johnson 2006 Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Leilani Johnson Entitled Heinrich Schütz's Weihnachtshistorie: Trombones For The Three Kings and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________ Date: Bruce Chamberlain _______________________________________________________ Date: Elizabeth Schauer _______________________________________________________ Date: John T. Brobeck Final approval and acceptance of this document is contingent upon the candidate's submission -
The Role of the Trombone and Its Affekt in the Lutheran Church Music of Seventeenth-Century Saxony and Thuringia: the Early Seventeenth Century
LEONARD 57 THE ROLE OF THE TROMBONE AND ITS AFFEKT IN THE LUTHERAN CHURCH MUSIC OF SEVENTEENTH-CENTURY SAXONY AND THURINGIA: THE EARLY SEVENTEENTH CENTURY Charlotte A. Leonard Preamble This article is a summary of a portion of a larger study about the role of the trombone in Lutheran sacred music in central Germany.1 My research began with a curiosity about the historical antecedents to Johann Sebastian Bach’s use of the trombone. To narrow the scope and reduce the quantity of pieces to a manageable number, I limited my study to compositions by Saxon and Thuringian composers that named the trombone, and whose works were most directly relevant to Bach’s. The other purpose of this study was to es- tablish associations between trombones and Affekt. This could be done only through the investigation of a repertoire where text setting was involved, so that the words could clarify the emotions of the work. My premise was that composers did not intend the sound of trombones to represent only death and otherworldliness. I also believed that trombones probably had a more independent role in church music, and were not used solely to double the choir. Only those pieces in which the trombone is designated on the title page, score, parts, or composer’s preface were included in this study. Introduction Although the trombone played a signifi cant part in seventeenth-century Lutheran church music in central Germany, its use, purpose, and character have not been adequately ex- amined. It is named in the score or parts of at least 319 pieces by thirty-six composers, including nine anonymous works. -
Heinrich Schütz
Heinrich Schütz "...Christian singer of Psalms..." The year was 1598. The little town of Weissenfels in Saxony, Germany, was buzzing with excitement ... the Landgrave was coming to town! He was scheduled to stay overnight at the local inn, Zum Schützen. Needless to say, Christoph Schütz, the innkeeper, and his entire family did all they could to make the stay a pleasant one. As part of the after-dinner entertainment, one of the children was allowed to sing. Heinrich, a courageous thirteen-year-old, got up and performed some of the songs he had learned at the church choir. The Landgrave Moritz of Hessen-Kassel was duly impressed and begged the parents to allow him to take young Heinrich to the noble court where he would be reared in "all good arts and commendable virtues." The parents refused. Father Christoph considered himself quite capable of giving his children a thorough religious and liberal education. The school, town church, Kantor, and organist were more than adequate for the development of Heinrich's abilities. However, the Landgrave chose to disagree. He wrote a series of letters in which he repeated the invitation. It would be a pity to see the "singular inclination to noble music and the ability to sing securely and with particular grace" go to waste. Finally, the parents gave in. Heinrich Schütz left home. In 1599, Father Christoph brought his son to the court at Kassel. At the court of the Landgrave, Heinrich served as a choirboy. This allowed him to attend the academy along with the children of Hesse nobility.