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NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ANGST DER HOLLEN UND FR1EDE DER SEELEN: A COMPARATIVE ANALYSIS OF SIXTEEN SETTINGS OF PSALM 116 BY MARGOT VIOLETTE REJSKIND B.F.A., Concordia University, 1995 M.Mus., University of Illinois at Urbana-Champaign, 2001 DISSERTATION Submitted in partial Mfillment of the requirements for the degree of Doctor of Musical Arts in Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2005 Urbana, Illinois Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3199123 INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. ® UMI UMI Microform 3199123 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Certificate of Committee A p p ro val University of Illinois at Urbana-Champaign Graduate College September 15, 2004 !:'i We hereby recommend that the thesis by: MARGOT V. REJSK1ND Entitled: ANGST DER HOLLEN UND FR1EDE DER SEELEN: A COMPARATIVE ANALYSIS OF SIXTEEN SETTINGS OF PSALM 116 Be accepted in partial fulfillment o f the requirements for the degree of: Doctor of Musical Arts Direc tor of Research - Chester Alwiis I le a d o f D ep a rtm en t - Karl Kram Committee on Final Examination* S V 5 5 * Llmfrperson- Chester Alwcs CotnmitLeQwIember - Guv Garnet Committee Member - Tom Ward \ ommittee Member - Ronadld Hcdlund Committee Member Committee Member - * Required for doctoral degree but not for master’s degree Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. For my mother Hi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I must first of all thank the members of my committee, Dr. Guy Garnett, Dr. Tom Ward, Professor Ronald Hedlund, and, most especially, my dissertation advisor Dr. Chester Alwes, who provided advice, encouragement, and much-needed editing throughout the project. I must also thank my parents, and friends who lent their support over the years. Special thanks to my husband Michael, who read cadential pitches to me as I entered them into the computer, put up with weeks on end of single-topic conversations, and did housework when I was too obsessed to help. This dissertation is dedicated to my mother Gill, who once told me she would withdraw her financial support for my studies if I were to leave the field of music. Thank you. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS CHAPTER 1 Introduction .................................................................................................. 1 CHAPTER 2 The Individual Motets .................................................................................. 7 Rogier Michael ........................................................................................................8 Tobias Michael.......................................................................................................10 Christian Michael...................................................................................................14 Daniel Michael...................................................................................................... 16 Johann Groh...........................................................................................................19 Johann Hermann Schein ........................................................................................22 Christoph Demantius.............................................................................................26 Abraham Gensreff.................................................................................................28 Melchior Franck.................................................................................................... 34 Michael Praetorius................................................................................................ 37 Heinrich Schiitz.....................................................................................................41 Nicolaus Erich.......................................................................................................46 Caspar Trost ..........................................................................................................49 Michael Altenburg.................................................................................................51 Johann Krause ....................................................................................................... 54 Andreas Finold ......................................................................................................56 CHAPTER 3 Commonalities Between The Motets ......................................................... 58 Text.......................................................................................................................58 Texture..................................................................................................................72 Mode ..................................................................................................................... 81 Structure................................................................................................................90 The Concerted Style ..............................................................................................96 Conclusions ...........................................................................................................99 CHAPTER 4 A Comparison Of The Motets Of Rogier Michael And Michael Praetorius .................................................................................................. 101 CHAPTER 5 Conclusion .............................................................................................. 123 BIBLIOGRAPHY..........................................................................................................131 VITA.............................................................................................................................. 134 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 Introduction In the year 1616, Burckhardt GroBmann, a court official at Jena, Germany, and a man of wealth and musical inclination, suffered an unspecified, life-threatening calamity. Upon his recovery, he vowed to thank God for his good fortune by dedicating to Him a collection of settings of Psalm 116. GroBmann’s choice of texts was far from random. Psalm 116 is a song of thanksgiving for deliverance from death, and two verses in particular, 17 and 18 “I will offer thee the sacrifice of thanksgiving, and will call upon the name of the Lord. I will pay my vow unto the Lord in the presence of all his people” had unquestionably taken on new meaning for GroBmann. In order to fulfill his vow, GroBmann contacted 16 composers, mostly friends and personal acquaintances, requesting from them a setting of the complete text of Psalm 116. The exact details of GroBmann’s charge to his chosen contributors are not known, since no letter of commission has survived. What is known is that he tendered the request around 16181, and that the collection was ready for publication by 1621, though it was delayed for two years by the paper shortage resulting from the beginning of the Thirty Years’ War. The commission appears to have been for a setting of Psalm 116, in five voices (which must have been specified, since he would have already decided to print only 5 part-books in Cantus, Altus, Tenor, Bass, and Quinta, this last being employed as a second Cantus part in the majority of the settings). 1 In his Preface, dated “Easter 1623”, GroBmann states that “nearly four years have passed” (Plate 4 of the original manuscript, Tenor partbook) since the commission of the settings. However, given that Rogier Michael died in January 1619, and must thus have completed his composition by the end of 1618, a slightly earlier date seems more likely. GroBmann also comments in his preface that the publication of the collection was delayed “at least two years” (Plate 4), indicating that it would have been ready for publication by 1621. It seems likely, then, that the majority of the settings must have been completed and in GroBmann’s hands by late 1620 or early 1621, therefore making a 1618 commission date more likely. 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. While it can be safely assumed that GroBmann simply