CHURCH and THEATER on a COLOSSAL SCALE The
Total Page：16
File Type：pdf, Size：1020Kb
CHURCH AND THEATER ON A COLOSSAL SCALE The juxtaposition of ancient and modern elements in Franz Liszt’s Oratorio Christus by Maria C. Hagan Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Kyle Adams, Research Director __________________________________________ Betsy Burleigh, Chair __________________________________________ Carolann Buff __________________________________________ Walter Huff December 7, 2018 ii Copyright © 2018 Maria C. Hagan iii Acknowledgements This document would not have been possible without the support of many. I would like to express my sincere gratitude to the members of my committee, Dr. Kyle Adams, Dr. Dominick DiOrio, Dr. Betsy Burleigh, Mr. Walter Huff, and Dr. Carolann Buff. I am most grateful of your support of this project and of my studies throughout my years at Indiana University. I would especially like to thank my research director, Dr. Kyle Adams, for his guidance during this project. I would also like to acknowledge the various professors and mentors that I have had the privilege to work with during my time at the Jacobs School of Music. Although there are too many to list here, I would particularly like to recognize Dr. Halina Goldberg and Ms. Jane Dutton, my minor field advisors. I would also like to thank Fr. Raymond-Marie Bryce, O.P. and Fr. Patrick Hyde, O.P., both of whom provided consultation on theological topics and Latin translations. Lastly, I would like to thank my family for their unending support of my musical and academic pursuits. I would like to specifically acknowledge my mother, Claire, who helped to care for my son, Benjamin, during both the exam preparation process and while writing this document. And of course, I would like to acknowledge my husband, Chris, my proofreading and formatting guru. Thank you for your support during this project and always – you are my greatest inspiration. iv Table of Contents Acknowledgements ...................................................................................................................................... iv Table of Contents .......................................................................................................................................... v List of Examples .......................................................................................................................................... vi List of Tables ............................................................................................................................................... xi List of Appendices ...................................................................................................................................... xii Introduction ................................................................................................................................................... 1 Chapter 1: Manifestations of Liszt’s Compositional Style in Christus ......................................................... 9 Chapter 2: Liszt’s Use of Pre-existing Materials in Christus ..................................................................... 32 Chapter 3: Christus – Church and Theater on a Colossal Scale ................................................................. 69 Conclusion .................................................................................................................................................. 84 Appendices .................................................................................................................................................. 89 Bibliography ............................................................................................................................................... 98 v List of Examples Example 1.1. Movement 11, mm. 1-10; 6-8, violin 1 ........................................................................... 14, 15 Example 1.2. Movement 11, mm. 41-50, baritone................................................................................ 14, 16 Example 1.3.Movement 11, mm. 58-60, cellos and basses ........................................................................ 15 Example 1.4. Movement 11, mm. 144-160, baritone, variation ................................................................. 17 Example 1.5. Movement 11, mm. 187-192, baritone.................................................................................. 17 Example 1.6. Movement 9, mm. 3-6, cellos and basses ............................................................................. 22 Example 1.7. Movement 9, mm. 8-12, flutes .............................................................................................. 22 Example 1.8. Movement 9, mm. 16-21, flute 1 .......................................................................................... 23 Example 1.9. Movement 9, mm. 33-36, bassoons and cellos ..................................................................... 23 Example 1.10. Movement 9, mm. 42-45, strings ........................................................................................ 24 Example 1.11. Movement 9, mm. 58-60, winds ......................................................................................... 24 Example 1.12. Movement 9, mm. 82-83, violin 1 ...................................................................................... 25 Example 1.13. Movement 9, mm. 87-89, flute ........................................................................................... 25 Example 1.14. Movement 9, mm. 102-103 ................................................................................................. 25 Example 1.15. Movement 9, mm. 126-131, violin 1 .................................................................................. 26 Example 1.16. Movement 9, mm. 141-143, violin 1 .................................................................................. 26 Example 1.17. Movement 9, mm. 133-140, oboe ....................................................................................... 26 Example 1.18. Movement 9, mm. 141-142, oboe ....................................................................................... 26 Example 1.19. Movement 2, mm. 355-357………………………………………………………………..28 Example 1.20. Movement 2, mm. 118-120, english horn ........................................................................... 29 Example 1.21. Movement 8, mm. 45-52, full chorus ................................................................................. 30 Example 1.22. Movement 8, mm. 81-85, full chorus ................................................................................. 30 Example 2.1. Rorate caeli, original ............................................................................................................ 33 vi Example 2.2. Movement 1, mm. 1-5, violin 2 ............................................................................................ 33 Example 2.3. Movement 1, mm. 52-53, flute ............................................................................................. 34 Example 2.4. Movement 1, mm. 71-75, flute ............................................................................................. 34 Example 2.5. Ave Maria, original ............................................................................................................... 35 Example 2.6. Movement 1, Rorate caeli fragment, mm. 1-2 ...................................................................... 36 Example 2.7. Movement 6, mm. 1-4, organ ............................................................................................... 37 Example 2.8. Fragment sequence, Movement 6, organ mm. 5-9 ................................................................ 37 Example 2.9. Original fragment, Movement 1, mm. 1-5 ............................................................................ 37 Example 2.10. Movement 14, mm. 3-18, clarinet, bassoon, lower strings ................................................. 38 Example 2.11. Movement 14, mm. 366-379, oboe, clarinet, bassoon ........................................................ 38 Example 2.12. Movement 1, m. 56, flute .................................................................................................... 39 Example 2.13. Movement 1, m. 58, flute .................................................................................................... 39 Example 2.14. Movement 1, m. 60, flute .................................................................................................... 39 Example 2.15. Movement 1, mm. 85-87, violin 1 ...................................................................................... 39 Example 2.16. Angelus ad pastores ait, original ........................................................................................ 41 Example 2.17. Movement 2, mm. 118-120, English horn .......................................................................... 42 Example 2.18. Movement 2, m. 355, solo soprano ..................................................................................... 42 Example 2.19. Movement 2, mm. 155-156, clarinet, violin ....................................................................... 42 Example 2.20. Movement 2, mm. 361-362, soprano .................................................................................