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University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 THE IMITATION OF ROMAN CATHOLIC AND BYZANTINE CHANT IN ĒRIKS EŠENVALDS’S PASSION AND RESURRECTION Patrick J. J. Callaghan University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Callaghan, Patrick J. J., "THE IMITATION OF ROMAN CATHOLIC AND BYZANTINE CHANT IN ĒRIKS EŠENVALDS’S PASSION AND RESURRECTION" (2015). Theses and Dissertations--Music. 46. https://uknowledge.uky.edu/music_etds/46 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Patrick J. J. Callaghan, Student Dr. Jefferson Johnson, Major Professor Dr. David Sogin, Director of Graduate Studies THE IMITATION OF ROMAN CATHOLIC AND BYZANTINE CHANT IN ĒRIKS EŠENVALDS’S PASSION AND RESURRECTION ________________________________________________________________________ DOCTOR OF MUSICAL ARTS PROJECT ________________________________________________________________________ A project submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Patrick J. J. Callaghan Committee Chair: Dr. Jefferson Johnson, Professor of Music Lexington, Kentucky 2015 Copyright © Patrick J. J. Callaghan 2015 ABSTRACT OF DOCTOR OF MUSICAL ARTS PROJECT THE IMITATION OF ROMAN CATHOLIC AND BYZANTINE CHANT IN ĒRIKS EŠENVALDS’S PASSION AND RESURRECTION Ēriks Ešenvalds is an early twenty-first century composer who has been commissioned to compose works for some of the most noteworthy ensembles in the world. Having written over 100 compositions to date, 72 of which are choral pieces, Ešenvalds is quickly becoming one of the most prolific and significant composers of his time. He currently works as a full-time composer out of Riga, Latvia. Ešenvalds’s choral works are primarily unaccompanied, while some include brass band, saxophone quartet, percussion, or orchestral accompaniment. Textures vary from three to twelve voice parts. His oratorio Passion and Resurrection (2005), written for soprano solo, SATB quartet, SATB chorus, SS soli, and strings, is an amalgamation of compositional techniques drawn from all eras of music history. This project identifies characteristics of Roman Catholic and Byzantine chant that are imitated throughout Passion and Resurrection. A succinct history of both styles is presented along with a detailing of Ešenvalds’s compositional technique and an overview of his oratorio. Aspects of form, melody, text, rhythm, harmony, and texture present in each movement are also discussed. This study provides conductors with insight into the chant-like aspects of Ešenvalds’s work and any influences on performance. Listings of notable Passion settings and Ešenvalds’s choral output are also included. Keywords: Ēriks Ešenvalds, Roman Catholic Chant, Byzantine Chant, Passion Settings, Passion and Resurrection Patrick J. J. Callaghan Student Signature August 3, 2015 Date THE IMITATION OF ROMAN CATHOLIC AND BYZANTINE CHANT IN ĒRIKS EŠENVALDS’S PASSION AND RESURRECTION By Patrick J. J. Callaghan Dr. Jefferson Johnson Director of Doctor of Musical Arts Project Dr. David Sogin Director of Graduate Studies August 5, 2015 Date To my wife, Kaci ACKNOWLEDGEMENTS It would not have been possible to complete this project without the support, generosity, and insight given by a great many influences in my life. My deepest thanks to all of the following individuals: Ēriks Ešenvalds for being so gracious and helpful throughout this process. Your cooperation and genius have given us such wonderful music. Dr. Jefferson Johnson for being an incredibly encouraging mentor and inspiring musician. I am forever grateful that you believe in me. Dr. Lori Hetzel for your tremendous guidance and courage. Your advocacy and strength is an example for us all. The other members of my committee and my outside examiner—Dr. Karen Bottge, Dr. Karen Petrone, and Dr. David Hunter—for all the time, effort, and intellect you put into getting me through this process. All my previous professors and advisers, namely Dr. Jong-Won Park, Dr. Edith Copley, and Dr. Robert Saunders. Mom, for your unconditional love and kindness. Dad, for pushing me to be better and greater. Eric, for being an amazing friend and sharing this goal with me. My colleagues Josh, Julian, Kristina, Adam, Maggie, and Ryan, as well as the wonderful friends I have had the pleasure of getting to know from the University of Wisconsin – River Falls, Northern Arizona University, and the University of Kentucky. My amazing and beautiful wife, Kaci, for everything that you have done for me, and for your patience and constancy throughout this long and challenging journey. I would not have made it without you. iii TABLE OF CONTENTS Acknowledgements ............................................................................................................ iii List of Tables .................................................................................................................... vii List of Figures .................................................................................................................. viii List of Examples ................................................................................................................ ix CHAPTER ONE – INTRODUCTION ................................................................................1 Purpose of Study ......................................................................................................... 1 Research Concerns ...................................................................................................... 1 Methodology ............................................................................................................... 3 Review of Literature ................................................................................................... 4 Biography .................................................................................................................... 5 Overview of Document ............................................................................................... 7 CHAPTER TWO – ROMAN CATHOLIC AND BYZANTINE CHANT .........................8 Roman Catholic Chant .................................................................................................... 8 Organization and Standardization ............................................................................... 9 Development of a Notation System .......................................................................... 10 Modes and Hexachords ............................................................................................. 11 Performance Practice ................................................................................................ 15 Developments – Sixteenth Century Onward ............................................................. 16 Byzantine Chant ............................................................................................................ 17 Organization and Standardization ............................................................................. 18 Modes and Genera .................................................................................................... 19 Subgenres of Troparia .............................................................................................. 21 CHAPTER THREE – OVERVIEW OF ĒRIKS EŠENVALDS’S STYLE AND PASSION AND RESURRECTION .......................................................23 Compositional Style .................................................................................................. 23 Form .........................................................................................................................

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