Anton Bruckner's Treatment of the Credo Text in His Last

Home , D minor, Magnificat (Bruckner), Mass in D (Smyth), Overture (Bruckner), Psalm 112 (Bruckner), Psalm 114 (Bruckner)

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ANTON BRUCKNER'S TREATMENT OF THE CREDO TEXT

IN HIS LAST THREE MASSES

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Namjai Lee, B.M. Denton, Texas

December, 1985 Lee, Namjai, Anton Bruckner's Treatment of the

Credo Text in His Last Three Masses. Master of Music (Musicology), December, 1985, 75 pp., 22 tables, 4 examples, bibliography, 64 titles. In order to investigate the stylistic transformation that occured before Bruckner abandoned the composition of Masses, this paper analyzes the Credo settings in his last three great Masses, with special attention to the treatment of the text. The relationship between the text and specific musical techniques is also considered. The trends found in these three works, especially in the last setting in F minor, confirm the assumption that Bruckner's Mass composition served as a transition to the composition of his symphonies. TABLE OF CONTENTS

Page LIST OF TABLES ...... * ...... ii

LIST OF EXAMPLES ...... V Chapter

I. INTRODUCTION ...... 1

II. COMPARATIVE ANALYSIS OF FORMAL STRUCTURE IN THREE CREDO SETTINGS ...... 7 The Structure of Part I (Patrem) The Structure of Part II (Et incarnatus) The Structure of Part III (Et resurrexit) The Structure of Part IV (Et in Spiritum Sanctum) Conclusion

III. THE CREDO TEXT AND ITS SPECIFIC .. .e *n.. 48 MUSICAL TREATMENT . . Phrase Structure Repetition of the Text Textual Illustration

IV. CONCLUSIONS ...... 64

APPENDIXA ...... 67 BIBLIOGRAPHY -0 - 1--a-a-0 -- .0.0 .0. .0. . 0. . 0. 70

ii LIST OF TABLES

Table Page 1. The tempo, meter, and key of the first four parts of the three Credo settings . . . 9

2. The number of measures in each part ...... 11

3. The structure of Part I of the D minor and E minor Mass Credos ...... 12

4. The structure of Part I of the F minor Mass Credo ...... *...... 13

5. The expansion of the structure in the first subdivision of Part I in the D minor and E minor settings into Part I of the F minor setting ...... 14

6. The key scheme of the first section of Part I of the D minor and E minor settings and PartI of the F minor setting . . . . .15

7. The structure of Part II of the D minor settingure. Part. I,o. the B mi.nor... 21

8. The structure of Part II of the E minor setting # . 0 . * . . . 0 . . * ...... 22

9. The structure of Part II of the F minor setting . . . # ...... * ...... 23 10. The musical structure of the first section of Part II of the three Credo settings . . . 24

11. The structure of Part III of the three Credo settings ...... 28

12. The division of text in Part III of the three Credo settings ...... 33

iii 13. The structure of Part IV of the three Credo settings0.*0 ...... & . . . 9 . .9 37

14. List of the bar-form phrases . . . . . 9 . 49

15. List of text repetitions ...... 9 50

16. List of word painting . . . . . 9 . . 9 . . 53

17. List of the passages in unison . 9 9 9 * . 9 55

18. List of a cappella passages ...... 9 -9 58

19. List of pedal points ...... 59

20. List of polyphonic passages . . 60

21. List of solo passages ...... 9 9 . . 9 . 61

22. List of passages doubled by trombones . . . . 9 . 62

iv LIST OF EXAMPLES

Example Page l. Deum de Deo and Et expecto parts in the D minor setting ...... #.. 42

2. Patrem omnipotentem and Et expecto parts inthe E minor setting ...... 43 3. Et resurrexit and Et expecto parts in the F minor setting ...... 44 4. The last statement of the fugue subject in the Coda of the F minor Mass Credo . . 52

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CHAPTER I INTRODUCTION

Anton Bruckner (1824-1896) is best known today as a composer of symphonies, but he is also considered by many music historians to be one of the most important composers of Catholic church music in the nineteenth century. The majority of his early works were sacred vocal compositions, and symphonies were composed relatively late in his life. Among his sacred vocal music, there are seven Masses, including a Requiem.

Bruckner's first two Masses, in C for alto solo, two horns, and organ (1842) and in F for a cappella chorus (1844) were composed when he was an assistant teacher at small villages in Upper Austria, and reflect the limited performing forces available at that time. The Requiem in D minor (1848-49) and the Missa Solemnis (1854) were written while he worked at St. Florian as an assistant teacher and organist. These two works are far more

1. The biographical information is based mainly on Hans- Hubert Sch~nzeler, Bruckner (New York: Grossman, 1970), Derek Watson, Bruckner (London: Dent, 1975) and Deryck Cooke, "Bruckner, Anton," The New Grove Dictionary of Music and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), III, 352-71. 2 ambitious in size and structure than the first two. Real maturity, however, is reached only in the three great

Masses: the Mass in D minor (1864), the Mass in E minor

(1866), and the Mass in F minor (1867-68), which were composed after a ten year hiatus.

The three great Masses were composed during the last four years of Bruckner's tenure as organist at the cathedral of Linz (1855-1868); this was the only period he was employed as a full-time church musician. During the thirteen years of the Linz period, he devoted the first eight years to the continuation of his musical study.

He studied traditional harmony and counterpoint with Simon Sechter for nearly seven years (1855-1861). This was followed by the study of the principles of musical form and orchestration (1862-63) with Otto Kitzler. Kitzler's instruction, especially because of his introduction of

Bruckner to Wagner's music, was partly responsible for the composer's change from church music to symphonies. He finally completed all of his musical studies at the age of thirty-nine and embarked upon a series of large-scale works: the Symphony "Nullte" in D minor

(1863-64), the Symphony No. 1 in C minor (1865-66), and the three great Masses. In 1868, the year when he finished the Mass in F minor, he moved to Vienna where his main 3 duty was to teach harmony and counterpoint at the Conservatory. He continued to write sacred music, but most of the later works except for the Te Deum (1881) and the setting of Psalm 150 (1892), are short, concentrated pieces. During this last twenty-eight years of his life,

Bruckner made no attempt to compose another Mass.

Instead, he concentrated his creative energy on composing symphonies; he composed eight symphonies in Vienna.

Commentators tend to treat the three great Masses as a whole. Nonetheless, they are quite different, at least in their outward appearances. The first (D minor) and the third (F minor) employ a full orchestra along with a mixed chorus and soloists, while the second (E minor), reflecting the influence of the Caecilian movement, employs only a wind ensemble and mixed chorus. Other difference can be seen in the retention of the plainchant intonation of the Gloria and Credo in the first and second, while the third includes these intonations in its musical setting. This sort of treatment in the Mass in F minor has much in common with the practices of the second half of the eighteenth century, described by Karl Fellerer:

Composers did not follow the organization and construction of the text, but rather concerned themselves only with the demands of the musical forms. This accounts for the practice of including the intonations of the Gloria and the Credo within the composition . . . . The repetition of words for the sake of emphasis (e.g.,, non, Credo) was a result partly of this individualistic expressiveness and partly of purely musical and metrical considerations (e.g., et in terra pax/pax hominibus). This expressiveness, determined as it was by a rationalistic construction and by sentimentalism, sought for thematic contrast and its elaboration in the closed symphonic form.2

Perhaps a logical conclusion to this practice of superseding textual consideration with musical one was

Bruckner's total abandonment of the text and the assumption of the mantle of symphonist. This is supported a by Schdnzeler who writes:

The fact that within the space of four years, between autumn 1864 and autumn 1868, Bruckner conceived and composed these three great Masses and then never even considered writing another, has often been commented upon. Some writers have seen in it the 'proof' that Bruckner's religious fervour was on the decline, but this is decisively contradicted not only by the evidence of his own life and the reports of his friends and contemporaries, but also by the list of his compositions written during the Vienna period, the last twenty-eight years of his life, which includes a number of very beautiful and deeply moving choral works of a liturgical nature as well as his great Te Deum of 1883-84 and the 150th Psalm of 1892. The answer surely lies in

2. Karl Fellerer, The History of Catholic Church Music. trans. Francis A. Brunner (~Baltimore: Helicon Press, 1961), 154-5. 5

an entirely different direction. It must have become increasingly obvious to Bruckner that his true vocation was the symphony. Whereas in the days when he was still somewhat unsure of himself in this field he had felt the need for words, the text of the Mass, to express that which filled his entire being, in later years, as his powers of symphonic utterance increased, those very words which had originally served as an inspiration become a hindrance, and he was able to sing his Gloria, his Credo and his Benedictus in the wordless, all-embracing, absolute music of his gigantic symphonic movements.3

Theodore Mathews, however, suggests a different explanation for the change:

The greater flexibility with which Bruckner treated text in these three Masses would have been increasingly difficult to reconcile with the conservative attitudes that were becoming popular in the Church at that time. Bruckner would not wantonly offend the Church; but he was an artist and had obligations to his own instincts as well as to the pronouncements of clergymen. The continuing conflict between his own inclination and those of the Church surely contributed to his abstinence from the composition of Masses after this time. In a very real way, symphonies were Bruckner's only logical creative outlet for praising God if his artistic inclinations and his love of the Church were to be reconciled.4

Although the suggested explanation for the abandonment of the text are different--Schonzeler suggested Bruckner's

3. Schonzeler, op. cit., 48.

4. Theodore Kenneth Mathews, The Masses of Anton Bruckner: A Comparative Analysis (Ph.D. dissertation, University of Michigan, 1974), 209-210. 6 inner necessity as the factor, while Mathews indicated the outside factor of conflict with the Church authority--they both agree that the fixed Mass text became more of a hindrance than a help to the composer. A study of Bruckner's shift of emphasis from a text to a musically oriented setting serves as the purpose

of this study. Bruckner's treatment of the Credo text was selected because this longest text of the Mass Ordinary

can be clearly divided into several sections, yielding many points for comparative discussion. The section

related to the Son is particularly prolonged and contains

many dramatic events, such as the Incarnation, the Passion,

the Resurrection, and the Ascension, which invite a more

dramatic musical setting.

The actual comparison of. the textual treatment in

the three great Masses will be done in two ways. First,

the division of the text and its relationship to the musical structure will be analyzed and compared from the

largest division to the individual phrase level. Secondly,

the relationship between the text and the specific musical

techniques will be discussed, primarily on the individual

word or phrase level. 7

CHAPTER II

COMPARATIVE ANALYSIS OF FORMAL STRUCTURE

IN THREE CREDO SETTINGS

The formal structure of a Credo setting is determined by two factors the textual and the musical.

Since the textual structure is already fixed, it imposes some restriction on the musical settings. For example, the most important subject of the Credo text--the unity and the equality of the three parts of the Godhead--would suggest musical equality in the setting. However, the different lengths of text allotted to each member of the

Godhead prevent a Mass composer from providing a balanced tripartite setting. Therefore, certain adjustments are necessary, and the composer needs to find structural principles other than the textual structure to compose a musically balanced setting. Since Bruckner's Masses belong to the symphonic

Mass tradition, we might assume that the musical structure of the Credo settings in these Masses is related to that of the symphony, and, indeed, the large structure of these

Credo settings clearly shows such a relationship. 8

Following is Bruckner's division of the Credo text. The text is identically distributed in all three of the settings:

Part I : Patrem omnipotentem to descendit de coelis the F minor Mass Credo includes Credo in unum Deum in musical settingT

Part II : Et incarnatus est to etsepultuse.st Part III : Et resurrexit to non erit finis

Part IV : Et in Spiritum Sanctum to et expecto resurrectionem mortuorum

Coda : Et vitam venturi saeculi, Amen.

The symphonic structure is primarily related to the first four parts which can be seen as the four movements of a symphony. The tempo scheme corresponds particularly well to that of the idealized symphony (see Table 1).

In another way, this structure may be viewed as a sonata form movement. This is based on the fact that the first and the fourth parts starts with identical music, and have similar number of measures while two middle parts have a less stable tonal structure like that of a development section.

Since, however, this is neither a symphony nor a movement of one, none of these principles dominates the structure of these Credo settings, but, instead, they are adjusted to the pre-fixed structure of the text. 9

Table 1. The tempo, meter, and key of the first four parts of the three Credo settings.

D minor E minor F minor Mass Credo Mass Credo Mass Credo

tempo meter key tempo meterkey tempo meterkey I Moderato 3/4 DM Allegro ler SModerato 3/4 CM Allegro 2/2 CM II Langsam- 4/4 F Adagio 4/4 FM Moderato Adagio Imisterioso 4/4 EM III Allegro 4/4 dm Allegro 4/4 FM Allegro 4/4 EM

IV Tempo 1 3/4 DM Tempo 1 3/4 CM Tempo I 2/2 CM

Although these divisions do not coincide with the division of the text into the members of the Godhead, the significant characteristics of the text of each part is expressed in its own way. The first part has two topics, the Holy Father and the Holy Son. The text concerning the

Holy Father is very short so that the text concerning the

Holy Son appears early. As a result, these two portions of the Godhead, along with the text of the Holy Spirit, which appears as a recapitulation, can be set to the same music, at least at their initial parts.

The second part concerns the earthly life of the

Holy Son. The main events here are the Incarnation, the Crucifixion, and the Passion. Since these are concrete historical events, unlike the other events or concepts in 10 other divisions, they can be treated more expressively.

The third part continues the events concerning the

Holy Sons the Resurrection, the Ascension, the Second Advent, the Judgement, and the Eternal Kingdom. This text can be divided into two subdivisions by the contents the events already happened (the Resurrection and the

Ascension) and the events which will happen in the future

(the Second Advent, the Judgement, and the Eternal Kingdom).

The fourth part can be divided into two subdivisions, the text concerning the Holy Spirit and the text concerning the remaining beliefs: the Church, the

Baptism, and the Resurrection of the Dead. Textually, the

Coda is part of this section, but musically it is independent.

The tonal relationship between the sections does not differ significantly among the three Credo settings.

In the D minor and F minor settings, the mediant key rather than dominant, is used as a contrasting key to the tonic. In the E minor setting, the subdominant key, which was preferred by Bruckner over the dominant as a means of returning to tonic, is employed as a contrasting key.

The meter scheme is exactly the same in the D minor and E minor settings. The tempo scheme is also similar;

the only difference is found in the first part which is 11

Moderato in the D minor setting and Allegro moderato in

the E minor setting. The designation "Tempo I" is used in

the fourth part of each setting. The F minor setting has

a somewhat different meter and tempo scheme in that it

employs duple meters only. The tempo of the third part is

slower than the outer parts, because the former is in 4/4

meter while the latter is in 2/2 meter and the tempo

marking is the same, Allegro. This differs from the

earlier two settings, which have the fastest tempo in

the third part (see Table 1).

The relationship between the length of each division is also similar in all three settings. The number of measures in each part of the three settings is as

f ollows (Table 2):

Table 2. The number of measures in each part.

IPart I Part II Part III Part IV Coda D minor 68 45 103 66 42 setting E minor 54 39 63 57 16 setting I ______I__

setingr 116 74 137 1i 89

The first and fourth parts in each setting have a similar

number of measures. Since these two parts also have the

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same key, same meter, and same tempo, it may be suggested

that the fourth part is a recapitulation of the first part.

It would appear from the preceding discussion that the idea of the large divisions of the text never varied

in Bruckner's mind. Thus this study will concentrate on

the differences of the smaller structures of each part.

The Structure of Part I (Patrem)

The subdivision and the sections of this part are shown in the following tables. The structure of the D minor and E minor settings is identical in this part (see

Table 3).

Table 3. The structure of Part I of the D minor and E minor Mass Credos. Patrem omnipotentem factorem coeli et terrae visibilium omnium et invisibilium Et in unum Dominum L Jesum Christum Filium Dei unigenitum -Et ex Patre natum ante omnia saecula L Deum de Deo lumen de lumine Deum verum de Deo vero L Genitum non factum consubstantialem Patri per quem omnia facta sunt qui propter nos homines et propter nostram salutem t descendit de coelis

*W---- w- , --*,, 13

The F minor setting employs a different structure (Table 4).

Table 4. The structure of Part I of the F minor Mass Credo. Credo in unum Deum Patrem omnipotentem factorem coeli et terrae visibilium omnium et invisibilium Et in unum Dominum Jesum Christum Filium Dei unigenitum Et ex Patre natum ante omnia saecula Deum de Deo lumen de lumine Deum verum de Deo vero - genitum non factum -El consubstantialem Patri per quem omnia facta sunt per quem omnia facta sunt --- qui propter nos, nos homines et propter nostram salutem descendit descendit de coelis

In the D minor and E minor settings, the first part can be divided into two subdivisions. The first one is in the main key. In the D minor setting, the integrity of this subdivision is more clearly shown because there is a full authentic cadence at the end of this part, but in the E minor setting, the cadence is not as strong as in the D minor setting. Despite the lack of such a strong cadence, the tonal change after the first subdivision is clear enough to separate the two sections. The second subdivision is basically a transition to Part II. This part has similar structure both in the 14

D minor and E minor settings. Here the key is either a subdominant as in the D minor setting which uses a D pedal point, or a parallel key of the subdominant as in the E minor setting. These subdominant-related keys are followed by a Neapolitan Sixth chord, and eventually move to a prolonged diminished seventh chord, which prepares the transition to Part II.

The first subdivision can be divided into four sections. These sections have an A-A'-B-A"' structure.

This structure is expanded in Part I of the F minor setting (see Table 5).

Table 5. The expansion of the structure in the first subdivision of Part I in the D minor and E minor settings into Part I of the F minor setting. mms. D minor; 1 13 23 27 41 55 6 8 E minor; 1 11 18 25 33 41 514

A A' B A"'

A A\ B A" 'I

F minor; 1 31 49 93 It5

Bruckner set the whole Part I of the F minor setting to this A-A'-B-A" structure. The key scheme of this part is also similar to that of the first section of the D minor and E minor settings (see Table 6). 15

Table 6. The key scheme of the first section of Part I of the D minor and E minor settings and Part I of the F minor setting.

D minor setting E minor setting first section first section F minor setting of Part I of Part I Part I

A D major C major C major

A' D major C major C major

B F major C major/ D-flat major E hrgan A" D major C major C major

Each section of the F minor setting is divided into a main part and a transitional part. The transitional part is longer than the main section because a large portion of the former is played by the orchestra only, in order to fulfill the function of a musical transition. Most of the transitional parts are based on scalar motion, except the first, which has sustained D and C-sharp. Though the tonal center of these transitional parts changes frequently, the cadences are usually on the dominant chord of the following section.

The first section of Part I is a good place for comparison because this is the only section where the text is treated identically in all three settings. This section consists of three phrases. 16

Patrem omnipotentem factorem coeli et terrae visibilium omnium et invisibilium

In the D minor and E minor settings, this text is set in a

bar-form structure; the second phrase is a sequence of the first one, and the phrase which is the longest is a con- clusive one.

Although the phrase division is identical in all three settings, the relationship between them is totally different in the F minor setting. Here the first phrase closes with full authentic cadence so that there is defi- nite separation between this phrase and the next, which starts with exactly the same music; the third phrase has no motivic relationship with preceding phrases. Each part of such a phrase structure is more independent than that of the bar-form phrases in the D minor and E minor settings.

The second phrase of the F minor setting is a variation of the first, and ends with half cadence. Its third phrase consists of two sustained notes, D and C-sharp.

The textual division of the second section of the D minor and E minor settings is different from that of the F minor setting:

D minor and E minor settings Et in unum Dominum Jesum Christum Filium Dei unigenitum 17

F minor setting Et in unum Dominum Jesum Christum Filium Dei unigenitum et ex Patre natum ante omnia saecula

In all three settings, however, the relationship between

the phrases is similar to the first section of each setting.

The most notable difference between these settings is the treatment of the text Jesum Christum. In the D minor and E minor settings this text consists of the second phrase, but in the F minor setting this text is the last part of the first phrase. In the D minor and E minor settings,

Jesum receives the stress, while in the F minor setting, the word Christum receives it. These two words are treated as a unit in the F minor setting.

The third section in the D minor and E minor settings consists of one phrase, et ex Patre natum ante omnia saecula (see Table 3). In the D minor setting, the major factor that makes this one-line phrase a section is its tonal base, F, which differs from both the preceding and following sections (see Table 6). In the E minor setting, the motivic and the structural factors are more important than the tonal factor. This simple one-phrase section placed among the three-phrase sections may be seen as an odd interpolation in terms of musical structure. In the F minor setting, this same phrase is a transitional 18

part of the second section, and here, of course, it is

based on a scalar motion which is characteristic of such a part.

Instead of a one-verse third section as in the two earlier settings, Bruckner used the text Deum de Deo, lumen de lumine, Deum verum de Deo vero for the beginning of the third part in the F minor setting. This is an ideal structure for a bar-form setting. Although the phrase structure is the same in all three settings, the function of this section in the F minor setting is different. In the D minor and E minor settings this section returns to the main key and functions as a closing section of the first large structure, A-A'-B-A". But in the F minor setting, it begins the contrasting B section in an A-A'-B-

A" structure and closes on the full cadence of D-flat major, while the main key is C major. This is the only main part of a section which is in bar-form structure.

The main parts of other sections consist of two-part phrases.

In the D minor and E minor settings, the next section, beginning genitum, can be seen in two ways: as the secondary key group of a sonata form, or as the main part of a transitional section. In both settings, this section starts in a new contrasting keys D major to G

-4wW-V"w-, 19 major in the D minor setting, C major to D minor in the E minor setting. The similarity of these two settings is clearly shown in the treatment of the portion of the text around the word omnia, which is set to a Neapolitan Sixth chord. Musically this concludes the first part of this section and the text can therefore be divided as follows:

genitum non factum consubstantialem Patri per quem omnia facta sunt qui propter nos homines et propter nostram salutem descendit de coelis

The second part of this section (gui propter-) can be seen as a transition proper. The first two lines of the first part (genitum-) comprise a bar form, but otherwise there is no organized formal structure in this section.

In the F minor setting, the function of the musical setting associated with the same part of the text is totally different. That which was the first part of the transitional fourth section in the D minor and E minor settings is now a transitional part of the third section.

Since the third section was a contrasting section in the key of the Neapolitan Sixth, this transitional part serves as a very important way of returning to the original key 20 in the next section. This transitional part is also basically in scalar motion. Just before returning to the original key, the dominant of the original C major is greatly prolonged. To emphasize this dominant, the text per puem omnia facta sunt is repeated, and the portion around the word omnia, harmonically emphasized by the

Neapolitan Sixth chord in the D minor and E minor settings, is now emphasized by repetition and rhythmic prolongation in the F minor setting.

The fourth section of the F minor setting returns to the main key and main motive. This section consists of the main part with two phrases and a scalar transitional part on the text descendit de coelis. From a textual point of view, there is no special reason to come back to the first key and motive because there is nothing important enough to be equal to the first two sections, the

Holy Father and the Holy Son, but musically this structure provides a solution to the structural problem left unre- solved in the D minor or E minor settings.

The Structure of Part II(Et incarnatus)

The text of Part II concerns earthly occurrences in the life of the Holy Son, Jesus Christs the Incar- nation and the Passion. These are actual events as 21

opposed to the supernatural or abstract topics presented

in the rest of the Credo text. Even the Incarnation can be interpreted as the natural birth of Jesus Christ. Thus the musical setting of this portion of the text tends to be more personal and expressive. Consequently the content of the text is of more import than its setting, resulting each time in a unique way of expressing these human events.

In the D minor setting, the two events, the Incar- nation and the Passion, are completely separated with full cadences at the end of each section. These cadences, musically contrasted to the preceding portions, are related to the structure of the text, which ends similarly, et homo factus est and et epultus es (see Table 7).

Table 7. The structure of Part II of the D minor setting.

Et incarnatus est de Spiritu Sancto ex Maria, Maria Virgine et incarnatus est et incarnatus est de Spiritu Sancto, de Spiritu Sancto ex Maria Virgine et homo, et homo factus est

Crucifixus etiam pro nobis sub Pontio Pilato Passus, passus et sepultus est 22

In the E minor setting, these two events are more

closely connected. There is no clear cadence at the end

of the first section (et homo factus est), and the motive

of the first section reappears in the middle of the second

section. Further, both sections are centered on F (either major or minor). The sections are differentiated primarily by the texture and rhythm of the orchestral accompaniment. The structure of this part of the E minor setting is as follows (Table 8).

Table 8. The structure of Part II of the E minor setting.

Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est -Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est Crucifixus, Crucifixus etiam pro nobis - sub Pontio Pilato passus, passus, et sepultus est

In the F minor setting (Table 9), the sections are divided by the main key of each section. The Incarnation section is centered on E while the Passion section is on E-flat. Also the Adagio tempo of the latter section is slower than the Moderato misterioso of the former. 23

Table 9. The structure of Part II of the F minor setting.

Et incarnatus est de Spiritu Sancto ex Maria Virgine Et incarnatus est de Spiritu Sancto ex Maria Virgine Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est et homo factus est et homo factus est et homo factus est et homo factus est Crucifixus, Crucifixus Crucifixus, Crucifixus etiam pro nobis sub Pontio Pilato, Passus* passus et sepultus est *The order of text is not kept in this part.

The treatment of the first section is different in all three settings.

1. Et incarnatus est 2. de Spiritu Sancto 3. ex Maria Virgine 4. et homo factus est

Here the four lines of the text are frequently repeated in all three settings, but the patterns of the repetition are different (see Table 10).

In the D minor setting, the first three lines are

repeated and the fourth functions as a codetta. In the first portion the four soloists present the text. The

o4low vrmftvftwmw -, . M, 24

Table 10. The musical structure of the first section of Part II of the three Credo settings.

textual 3 1 2 3 4 D minor --- lil&2' setting musical a b c d'e f structure A B C textual line 1:2 314 l 2,3 4 E minor setting musical a b b' c a b b' c structure A A'

textual 1&2 3 13 line& l&2 3 l&23 44 444 F minor - setting musical a b a b' a' I b" c d' c d'e structure A A$ AllB -A__A A"_B

repetition is sung by the chorus to music which bears no resemblance to the first portion. Unlike the first which has no climax, the second portion has a clear climax at the words ex Maria Virgine. After the climax, the music subsides quickly, and closes with the quiet codetta.

There is no repetition of the musical material in this section.

In the E minor version, this part consists of a twofold setting of both text and music differing only in several note changes at the end of each part. Since these two parts are almost identical, only the first part will 25

be discussed here. Each of the four phrases has its own music. The first three, sung by the whole chorus, con-

stitute the antecedent portion, and the last phrase sung

by the basses functions as the consequent part. The

second and the third phrases are similar, but the third has a cadence in A-flat major at the end.

In the F minor setting, the first three lines are sung three times before the last line appears: the first time by the tenor solo, and the second and third times

supported by the female chorus. Although the actual melodies are slightly varied, the musical structure and texture are almost identical each time. The basic idea of this textual structure is similar to that of the D minor setting: the first three lines of the text are repeated before reaching the final phrase of the fourth line.

Musically, however, the structure of these two settings is different. In the D minor setting, each repetition is set to different music, but in the F minor setting each repetition is set similarly. The last line of the text is set to more independent music, both texturally and structurally, in the F minor setting, and as a result the whole section consists of four well-balanced parts.

The second section of Part II concerns the Passion of Jesus Christ. There are four lines of text in this 26

section:

Crucifixus etiam pro nobis sub Pontio Pilato passus et sepultus est

In the D minor setting the first three lines are set to homogeneous musical material that is sung by the unison chorus while the orchestra plays the same accompanimental pattern. This kind of rather extensive unison passage can be found more often in the D minor setting than in the other two settings. This contrasts with the last line of the text which is set for pianissimo a cappella chorus. This kind of musical treatment is common to all three settings of this line.

In the E minor setting, the word crucifixus is sung twice. Then, suddenly the music from the et incarnates est of the first section reappears. Except for minor adjustments to accommodate the new text, the only difference is a change of key from F major to F minor.

This covers the second and third lines of the text. The musical setting of the last line of the text is similar to the same part of the D minor setting; the word passus is repeated and set to a descending chromatic melody in both settings. Then the rest of the text of this line in both settings is set to an elaborated full authentic 27

cadence in F major. Three trombones and a horn echo this cadence and close this section of both settings, though

in the D minor version the echo is preceded by an organ interjection.

In the F minor setting, the basic structure is

similar to that of the E minor setting. The word

crucifixus is repeated three times and the musical setting

is similar to the same part of the E minor setting. At

the last repetition of crucifixus, the bass solo comes in,

and leads the imitative entrances of etiam pro nobis sub

Pontio Pilato. After this, the mood becomes more emotional

and the order of the text beginning etiam pro nobis is not

followed, but set in a free dialogue between the bass solo

and the chorus, which is climaxed by the final mournful ejaculation of sub Pontio Pilato by the a cappella chorus.

After the last interpolation of passus by the bass solo,

the last phrase is sung. This last phrase is set similarly in the D minor and E minor settings. At the end, the horns and trombones echo the final cadence as they did in the previous settings.

The Structure of Part III (Et resurrexit)

This part concerns the Resurrection and the Second

Advent of Jesus Christ. Unlike the earthly events in 28

Part II, these events are beyond the realm of human experience. As a result, the expression is less personal, although the whole part is filled with the great joy of the Resurrection and the strong expectation for the glorious Second Advent. Such excitement accounts for the numerous repetitions of the text that influence the musical structure. The three settings differ from each other structurally, with little common features between them. The structure of Part III in the three Credo settings is as follows (Table 11).

Table 11. The structure of Part III of the three Credo settings.

The D minor setting Et resurrexit et resurrexit -et resurrexit tertia die secundum scripturas -Et ascendit in coelum -et ascendit in coelum -sedet, sedet ad dexteram Patris -Et iterum venturus est cum gloria judicare - judicare -judicare vivos et mortuos -cujus regni -non erit finis cujus regni non erit finis cujus regni non erit finis 29

The E minor setting

Et resurrexit tertia die secundum scripturas -secundum scripturas et ascendit in coelum sedet ad dexteram sedet ad dexteram Patris et iterum veturus est -cum gloria -cum gloria judicare, judicare -judicare, judicare judicare judicare, judicare vivos -et mortuos cujus regni -non erit finis

The F minor setting -Et resurrexit -et resurrexit -tertia die secundum scripturas -et ascendit in coelum -sedet, sedet sedet ad dexteram Patris et iterum venturus est -et iterum venturus est et iterum venturus est -Eet iterum venturus est cum gloria cum gloria judicare judicare judicare judicare vivos judicare vivos judicare vivos judicare vivos et mortuos 30

-cujus regni non erit finis non, non, non erit finis cujus regni -non erit finis -non erit finis non erit finis

The most conspicuous difference in these three

settings is the large-scale division of the text. The

D minor setting has three sections while the E minor and F minor settings have two sections, but with different

subgroupings. Such diversity of large-scale planning can

not be found in the other parts. The E minor setting is the most faithful to the structure of the text, while the

F minor setting is the most consistent in terms of musical material.

In all versions the orchestral introductions preceding the entrance of the chorus show great differences in length. The D minor introduction has thirty-eight measures while the E minor and the F minor settings have two and eight, respectively.

The rhythmic motive for the text et resurrexit is the same in all three settings. In the D minor setting, it is sung three times, each time with a changed texture in the vocal parts. These repetitions are on the A major 31

chord, the dominant of the next phrase, tertia die, which

is in D minor. This is followed by the next phrase,

secundum scripturas, which descends over an octave through

the harmonic D minor scale.

The phrase structure of the same part in the E minor setting is very different. The first phrase combines the first two lines of the text, Et resurrexit and tertia die. The next line of the text, secundum scripturas, is repeated once, comprising three phrases altogether.

Although this section consists of three phrases in both the D minor and E minor settings, the distribution of the text among the phrases is totally different.

In the F minor setting, the first section includes et ascendit in coelum, one more line than the other two settings. Unlike the D minor or E minor settings, each repetition of its et resurrexit is treated as an independent phrase. Another difference is found in the treatment of the tertia die secundum scripturas. This portion of the text, previously treated as two lines, is an inseparable unit in this setting.

The second section of the D minor and E minor settings includes two lines of text.

et ascendit in coelum sedet ad dexteram Patris 32

In the D minor setting, the first line is repeated sequentially, so that the whole section becomes a three-phrase bar-form structure. The word sedet functions as an independent unit and is used as a simple modulatory phrase when it is repeated; similar treatment can be found in the F minor setting. Similar to the E minor setting, this section ends on an E-flat major chord.

In the E minor setting, the first line is treated symbolically through the use of an ascending D minor scale. At sedet ad dexteram, the accompanimental pattern of et resurrexit, temporarily abandoned at et ascendit in coelum, returns. As a result, the whole section from the text et resurrexit to sedet ad dexteram Patris can be seen as a unit both in terms of its text and consistent accompanimental figure.

In the F minor setting, the three-fold repetition of the word sedet functions as in the D minor setting as an easy way of changing the key. It will be recalled that the text et resurrexit tertia die secundum scriptures in this setting is included in the preceding section, but nonetheless there is another full cadence at the end of sedet ad dexteram Patris. Textually, this is the end of the first section of Part III. But musically, only the E minor setting finishes the first section here. In the 33

D minor setting, the next line of the text, et iterum

venturus est cum gloria, is set to the same musical

material as the first section. In the F minor setting,

however, the homogeneous musical texture is extended to

et mortuos. As a result, the division of the text is

different in each setting. The division of the text in the three Credo settings is shown below in terms of the events expressed in the text, the Resurrection, the

Ascension, the Second Advent, the Judgement, and the Eternal Kingdom (Table 12).

Table 12. The division of text in Part III of the three Credo settings.

D minor E minor F minor Resurrection

Ascension

Second Advent Judgement

Eternal Kingdom

The Second Advent segment of the text is given to a unison chorus in the D minor setting and the text cum gloria is a pivotal point in this section, because after this part the setting changes completely.

I 34

In the E minor setting the' Second Advent part begins with the imitative entrances between the male and female choruses. Such entrances had appeared earlier at et resurrexit and sedet ad dexteram. The words cum gloria are repeated. Unlike the D minor setting, in which this text differs musically from both the preceding and succeeding material, here it contains the musical idea, changing only with the succeeding text.

In the F minor setting the first line of the text, et iterum venturus est, is reiterated so extensively that it almost constitutes its own musical unit. The beginning homophonic four-part chorus gives way to an imitative section, at the end of which the four-part chorus sings the phrase one more time. The dotted rhythm block chords in the woodwinds, which began at the outset of Part III, temporarily cease at the beginning of this section and regain their momentum only little by little. The rhythm is completely restored just before this part ends. The text cum gloria is repeated as in the E minor setting, but here the musical material is not changed after this part, as it was in both the D minor and E minor settings.

The word judicare is treated imitatively in all three settings. In the D minor setting, its unit, led by soprano and alto, and followed by tenor, and finally by

'WMww Plown 35

bass, is sequentially sung three times before vivos is begun. In the E minor setting, judicare is sequentially

repeated four times imitatively, then the unison chorus

sings judicare, judicare vivos. In the F minor setting

judicare first appears imitatively, with alto, tenor, and bass echoing the word once more. This unit is sequen-

tially repeated, and then the whole chorus sings it

together. There follows the imitative section of judicar vivos, which is sung four times.

Et mortuos is set to similar music in all three settings. It is soft, low in range, with simplified orchestration, and the first syllable of mortuos is always set to long notes. This sudden change of the musical texture prepares for the closing section, cujus regni non erit finis.

In the D minor setting, the beginning of this closing section functions as a false recapitulation. The musical material is taken from Deum de Deo in Part I.

After this fanfare, two more repetitions of the text are followed, one by unison chorus with a chromatically descending bass, and the other by four-part chorus with a chromatically ascending bass.

The musical rendering of cujus regni non erit finis is very simple in the E minor setting. The same 36

music is repeated for the text cujus regni and non erit finis, after which the horns and trombones prepare the

return to the Patrem motive in the next section, Part IV.

This returning process is very similar to the transition

that occurs just before the second appearance of the same motive at et in unum Dominum in Part I.

In the F minor version, the setting of the

syncopated rhythm of the initial motive of js regni

is similar to those of the D minor and E minor settings.

But here this section is more of an independent coda

rather than just a series of closing phrases. It has its own rhythmic accompaniment and is divided into two parts.

The second part ends with a repeated statement of non erit finis.

The Structure of Part IV (El in. Spiritum Sanctum)

The textual division of this part is identical in all three settings, but the musical settings are different. In the D minor setting the musical structure is A-B-C-A', while in the E minor setting the structure is A-A'-B-A".

In the F minor setting, the musical structure is expanded

and includes the words et vitam venturi saeculi, Amen. Its musical structure is A-B-C-D-A'. The structure of Part IV in the three Credo settings is as follows (see Table 13). 37

Table 13. The structure of Part IV of the three Credo settings.

The D minor setting Et in Spiritum Sanctum Dominum et vivificantem qui ex Patre Filioque procedir qui cum Patre et Filio simul adoratur -et conglorificatur gui locutus est qui locutus est qui locutus est per Prophetas Et unam sanctam catholicam et apostolicam ecclesiam confiteor unum baptisma in reminissionem peccatorum Et expect resurrectionem mortuorum

vitam venturi saeculi, Amen. (coda)Eretet vitam venturi saeculi, Amen.

The E minor setting Et in Spiritum Sanctum Dominum et vivificantem qui ex Patre Filioque procedit qui cum Patre et Filio simul adoratur et conglorificatur qui locutus est per Prophetas -et unam sanctam catholicam et apostolicam ecclesiam -confiteor unum baptisma -in reminissionem peccatorum et expecto resurrectionem mortuorum

(coda) et vitam venturi saeculi, Amen. 38

The F minor setting

Et in Spiritum Sanctum Dominum et vivificantem qui ex Patre Filioque qui ex Patre Filioque procedit -qui cum Patre, cum Patre et Filio simul adoratur simul adoratur et conglorificatur et conglorificatur qui locutus est per Prophetas qui locutus est qui locutus est qui locutus est per Prophetas -Et unam sanctam catholicam -et apostolicam ecclesiam confiteor unum baptisma unum baptisma in reminissionem peccatorum et expecto resurrectionem mortuorum et vitam venturi saeculi, Amen. Credo, Credo et vitam venturi saeculi, Amen. Credo, Credo et vitam venturi saeculi, Amen. Credo, Credo et vitam venturi saeculi, Amen. Credo, Credo et vitam venturi saeculi, Amen. Credo, Credo -et vitam venturi et vitam venturi et vitam venturi saeculi, Amen. Credo, Credo .. r.. et vitam venturi saeculi Credo, Credo et vitam venturi saecull Credo, Credo -et vitam venturi saeculi et vitam venturi saeculi, Amen. Amen, Amen, Amen, Amen, Amen, Amen, - Credo, Credo, Amen, Amen. 39

The first section recapitulates the first section of Part I in all three settings. In the D minor and F minor settings, this section is musically independent with a full cadence followed by new musical material, but in the E minor setting it is closely related to the second section, just as it was in the analogous sections of Part I.

This way of treating the text is more congenial to the structure of the text than that of the E minor setting; it will be recalled that the first and second sections of

Part I and the first section of Part IV share the same music, because they are the three parts of the Godhead, but the second section of Part IV does not contain any- thing comparable to those three members and continuity is therefore not essential. In the D minor and E minor

settings, the first section is in bar-form structure, while in the F minor setting this is divided into a main

part and a transitional part as in Part I. The main part

consists of two equal phrases and the second part, which

is actually more of a closing than a transitional part

consists of three phrases which form their own bar-form

structure. In order to achieve this structure, the text gui ex Patre Filiogue is repeated.

The musical settings of the second section in the D minor and F minor settings have many things in common. 40

Both are in G major, 3/4 meter, start with soloists, and have a similar motive. In all three settings, there are full authentic cadences at the end of this section, which mark the end of the text concerning the Holy Spirit. The phrase structure in this section is basically the same in all three settings, and although the E minor setting maintains the music of the second section of the Part I, the musical structure is modified to accomodate the different textual structure. In the D minor and F minor settings, totally new music is introduced in this section.

The four lines of the text in this section read

qui cum Patre et Filio simul adoratur et conglorificatur qui locutus est per Prophetas.

In the D minor and F minor settings, the first line is set imitatively. The second line is set to soft, homorhythmic music. The rhythm is similar in both settings. The third line is loud, and the fourth line, constructed as a bar form, functions as a codetta. Simul adoratur is treated as a static choral interjection with no characteristic melody or structure. In the E minor setting, the structure and the function of these phrases resembles those of the

D minor and F minor settings, and in spite of the difference of the function of this section in the larger 41 structure the second and the fourth phrases are especially similar to their counterparts in the other settings.

The third section includes two beliefs, the Church and the Baptism. This section is treated mostly in unison chorus, which symbolizes "one" Church and "one" Baptism.

Musically the function of this section is transitional in all three settings. This section consists of four lines of the text.

Et unam sanctam catholicam et apostolicam ecclesiam confiteor unum baptisma in reminissionem peccatorum

In the D minor setting, the entire section is sung by unison chorus to the same accompanimental pattern. In the

E minor and F minor settings, this section is subdivided into two parts. This division is more faithful to the text, whose first part concerns the Church and the second the Baptism. In the F minor setting, the unum baptisma is sequentially repeated, and forms a bar-form structure. The text of the fourth section is short, but the contents of this short text require much musical attention.

The word resurrectionem calls for the "resurrection" of the previously presented musical materials. In the D minor setting, this material is from Deum de Deo, which also appeared at the closing phrase of Part III, 42 cujus re ni non erit finis. Deum de Deo and Et expecto parts are shown in the Example I.

Example 1. Deum .de Deo and Et expecto parts in the D minor setting.

a. Deum de Deo part (m.27-)

9 9- 1 1 mI t, Nt\a 0 .-- A iffolm I AP3- k l4w

f f DpuRi e ol

L A w dI I

I.A11011

A I A sempre ff s emPre, A lkmk 0 vv" I I I I I a N 1- ftl I ml 19 ma A I mr

b, Et expecto part (m.271-)

ff e e pe rto r

A-I

_T I- I 1 1 9w

%Wl Iff L A, % AOL AL-luisom

.411 7 43

In the E minor setting, the head motive returns and com- pletes the A-A'-B-A' structure which was also the structure of the first part of this setting (see Example 2).

Example 2. Patrem omnipotentem and Et expecto parts in the E minor setting.

a. Patrem omnipotentem part (m.l-)

WW.&

dim. AtChorus ontse aceo tt

Patrem omni~potentem facrem coe 1i et terra

b. Et expecto part (m.l99-)

thorus6Wian & bras,;

et -- ex-specto resurrec- ti - o-nem

In the F minor setting, the musical material of the Et resu'rexit returns (see Example 3), but since this is in E major, we must wait for the real return to the original key, C major, which occurs at et vitam venturi saeculi, Amen. 44

Example 3. Et resurrexit and Et expecto parts in the F minor setting.

a. Et resurrexit part (m.199--)

ib A& I I I

I. f fw - - - r -

lo- S C re- x t-o

M-. lo

t n.-- ,.. . XIN- .2d . 19Eir 14--.He .Tilifr. ffEili:1Bail [email protected] 45

Mortuorum is set to similar music in all three settings. It is also related to the et mortuos part of

Part III, which, as here, is also just before the closing phrase. This parallel structure of the text is well reflected in the music of all three settings. The Coda of the D minor setting consists of twofold repetition of the text. The first part consists of imitative entries on et vitam venturi, followed by Amen.

The Amen is repeated many times before the introduction of a deceptive cadence, after which only the chorus and strings play the soft and slow-moving Amen twice. Finally, one more fortissimo Amen is succeeded by the final et vitam venturi saeculi, venturi saeculi, Amen, also sung fortessimo with the full orchestra.

In the E minor setting, the Coda starts in G major, with the head motive. This is set in a bar-form phrase with the prolonged Amen, Amen as its Abgesang. In the F minor setting, the Coda is a complete fugue. The fugue subject, based on the opening of the movement, is set to the text et vitam venturi saeculi,

Amen. It is introduced by each of the four parts before it reaches the final statement which ends the Exposition of this fugue. Each statement is followed by the words

Credo, Credo. In the middle part, the fugue subject is 46

truncated, but the Credo, Credo interpolations still

follow each fugal statement. After the fermata at the end of the middle section, the soprano, alto, and tenor parts

softly sing the subject which is answered by the soprano

solo who is then joined by a solo bass. At the end, only

Credo, Credo, Amen, Amen is sung by the unison chorus with

full orchestra on the augmented fugue subject. The return

of the head motive as the fugue subject interspersed with

the words Credo, Credo seems to unite the movement into one solid statement of belief.

Conclusion

The relationship between the formal structure of the three Credo settings varies at different hierarchical

levels. At the highest level, each Credo setting has four

parts and the division of the text is the same.

In Part I, the D minor and E minor settings have

almost identical structures, while the F minor setting has totally different structure.

In the first subdivision (the Incarnation) of Part II, the D minor and F minor settings share a similar structural principle. In the second subdivision (the Passion) the three settings have different structures.

The D minor setting consists of unison chorus with a 47

consistent orchestral accompaniment. In the E minor

setting, the music of the first subdivision returns in the

middle of this section. In the F minor setting, the

beginning and ending are similar to those of the E minor

setting; repeated crucifixus, the full authentic cadence

of passus et sepultus est, however, in the middle the F minor setting is much freer.

Part III also shows diversity of structure in spite of the many points of similar musical treatment.

The F minor setting is musically more consistent than the other settings.

In Part IV, the D minor and F minor settings introduce new musical material at the second section, while the E minor setting follows the structure of Part I as a recapitulation. The F minor setting includes the Coda in the musical structure of Part IV.

In all three settings, the Coda utilizes the musical material from other places. In the F minor setting, the return of the text Credo, Credo gives unity to the whole setting. 48

CHAPTER III

THE CREDO TEXT AND ITS SPECIFIC MUSICAL TREATMENT

The hierarchical structure of the division of text and its musical treatment was discussed in the preceding

chapter. The purpose of this chapter is to examine the details of the treatment of individual words and phrases.

Of the two aspects of word treatment discussed here, the first, mainly phrase structure and to some extent repetition of the text, concerns musical structure, while the other is primarily related to text illustration in a broad sense. In terms of text illustration several of its aspects such as word painting, unison, a cappella chorus, pedal point, polyphonic texture, soloists, and orchestration are examined.

Phrase Structure

One of the most conspicuous differences among the three Credo settings is the phrase structure, especially the use of bar form. In the F minor setting, there are far fewer bar-form phrases than in the first two settings. Some of the bar-form phrases result from the repetition 49 of the text. Such phrases are marked with (R) in the list (see Table 14).

Table 14. List of the bar-form phrases.

D minor E minor F minor

Patrem- Patrem- Et in unum- Et in unum- Deum de Deo- Deum de Deo- Deum de Deo- genitum- genitum- consubstantialem Patri- (R)

II passus- (R) passus- (R)

III et ascendit- (R) Et in Spiritum- Et in Spiritum- qui ex Patre- (R) qui cum Patre- vui locutus est- (R) confiteor- unum baptisma- (R)

et vitam venturi et vitam venturi- coda saeculi, Amen. (mm. 475-)(R)

Bar-form phrases are found primarily in Part I and

Part IV. In Part I, the D minor and E minor settings are structurally identical. In Part IV, the E minor setting contains more bar-form phrases because it parallels more 50 closely the structure of Part I. In the F minor setting, bar-form phrases are not only scarce but all of them also result from repetition of the text, all, that is, except for the Deum de Deo where the text itself is in perfect bar-form structure. In the D minor and E minor settings, however, most of the bar-form phrases occur without the aid of textual repetition. In the F minor setting, the phrases tend to be more independent than those of the D minor and E minor settings. The rest of the phrases are mostly two-part structures.

Repetition of the text

Textual repetition is used for two purposes: first, to accentuate particular words or portions of the text, and second, to use the repeated text as a means of generating musical structure. The following table identifies the text repetitions in the three Credo settings

(Table 15).

Table 15. List of text repetitions.

D minor E minor F minor

Credo omnium I omnia per quem omnia facta sunt nos, descendit 51

I Maria I I Virgine, Maria Virgine et incarnatus incarnatus de Spiritu Sancto II et homo homo et incarnatus- et incarnatus- et incarnatus- Maria Virgine et homo factus Maria Virgine est (x2) Crucifixus Crucifixus passus passus passus etiam pro nobis J * et resurrexit et resurrexit secundum scripturas sedet sedet ad sedet dexteram et iterum III venturus est cum gloria cum gloria judicare judicare judicare non cujus regni cujus regni non erit finis non erit finis

qui ex Patre Filioque cum Patre et Filio IV simul adoratur qui locutus est qui locutus est unum baptisma

Et vitam venturi et vitam venturi Coda saeculi, Amen Amen saeculi Amen Credo 52

The F minor setting has the most examples of text

repetition. In this setting such repetitions are also inclined to form their own structures, in addition to the bar-form structure mentioned above. The word judicare

is repeated and constitutes its own structure in all three

settings. Et iterum venturus est in the F minor setting

exhibits a unique structure with the repetition of the

segments of the phrase combined with restatements of the entire phrase. The most ingenious series of repetitions

are the recurrences of the word Credo at the Coda, which

are interpolated between the statements of the fugue

subject. The word Credo is coupled to the Amen to close

this setting on the expanded fugue subject (Example 4).

Example 4. The last statement of the fugue subject in the Coda of the F minor Mass Credo.

Alleqro

Cre- doCrelo, A mi-re

Several repeated texts are used as the antecedent phrases of the bar-form structures. Such places occur in the D minor and E minor settings with the word passus, at et ascendit in the D minor setting, gui locutus est in the D minor setting, and unum baptisma in the F minor setting. 53

Textual Illustration

Word Paitin Word painting in the three Credo settings usually occurs at similar places. The words in question are listed in Table 16.

Table 16. List of word painting.

D minor E minor F minor unum (unison) omnipotentem omnipotentem omnipotentem (unison) omnium (unison) omnia unigenitum (unison) coeli et terrae coeli et terrae (octave apart) (octave apart, dynamic contrast) visibilium, visibilium, visibilium, invisibilium invisibilium invisibilium I (ascending vs. (CM vs. A-flat M, (D vs. C-sharp, descending) white vs. black) white vs. black) omnium(repeated, leaping around) unigenitum (trb. dynamic contrast) omnia (repeated, omnia (Neap. 6th) omnia (prolonged) Neap. 6th) descendit de descendit de descendit de coelis (descend. coelis (descend. coelis (descend. motion) motion) motion) 54

Et incarnatus (F-sharp M from FM) Maria Virgine (enharmonic) II et homo factus et homo factus et homo factus est (enharmonic) est (enharmonic) est (AM to CM) passus (chromatic, passus(chromatic, passus descending) descending) (descending) et sepultus est et sepultus est et sepultus est (FM, soft, slow) (FM, soft, slow) (slow, soft) et resurrexit et resurrexit et resurrexit et ascendit et ascendit et ascendit et iterum cum gloria cum gloria cum gloria (basses) (repeated) (repeated) vivos, mortuos vivos, mortuos vivos, mortuos non erit finis non erit finis et unam sanctam- et unam sanctam- et unam sanctam- et expecto et expecto et expecto IV resurrectionem resurrectionem resurrectionem (from "Deum de ("from "Patre") (from Deo") "et resurrexit")

_ mortuorum mortuorum mortuorum

Since most of these are traditional places of decoration, there are only few places where the treatment of the text is significantly different. At visibilium omnium et invisibilium, the three settings treat these contrasting words in various ways. In the D minor setting, it is expressed by ascending and descending motion. In the E minor setting, these two words are set to contrasting 55 keys, C major and A-flat major, while in the F minor

setting the two words are set to a sustained D and C-sharp, which possibly represent the white keys and the black keys, respectively, that is, the white keys represent the visible and the black, the invisible. This is a simpler but definitely much stronger way of expressing such contrast.

At et.expecto resurrectionem, the idea of the resurrection is realized by the return of the previously heard musical materials, but the text differs in the three settings (see Examples 1-3, pp. 42-44).

Unison

Table 17. List of passages in unison.

D minor E minor F minor unum Deum Patrem Patrem omnipotentem omnipotentem omnipotentem factorem coeli omnium et visibilium omnium invisibilium et invisibilium et in unum et in unum I Dominum Dominum Jesum Christum Jesum Christum Jesum Christum Filium Dei Filium Dei unigenitum omnia saecula omnia saecula Deum de Deo lumen de lumine genitum non genitum non genitum non factum consub- factum consub- factum consubstantialem Patri stantialem Patri stantialem Patri 56

per quem omnia per quem omnia facta sunt qui propter nos I homines et propter nostram descendit de descendit de coelis coelis et incarnatus est de Spiritu Sancto et homo factus II est Crucifixus etiam pro nobis sub

_ Pontio Pilato scripturas et ascendit et ascendit in coelum sedet ad dexteram et iterum et iterum venturus est cum gloria judicare vivos cujus regni non erit finis non erit finis Et in Spiritum Et in Spiritum Sanctum Sanctum Sanctum Dominum et vivificantem_ qui cum Patre Filio Et unam Sanctam- Et unam Sanctam Et unam Sanctam, IV et apostolicam catholicam et apostolicam ecclesiam ecclesiam confiteor- confiteor peccatorum et expecto et expecto et expecto resurrectionem mortuorum mortuorum Coda Amen, Amen. 5?

The D minor setting has the most unison passages, and they are concentrated in Part I. The second and third parts tend to have fewer unison passages, especially in the E minor and F minor settings. Although Parts I and IV have a similar number of unison passages in all three settings, the lengthy unison passages in the D minor setting, such as at jui propter nos homines et propter nostram, crucifixus etiam pro nobis sub Pontio Pilato, and et unam sanctam catholicam et apostolicam ecclesiam confiteor unum baptisma in reminissionem peccatorum, cannot be found in the other two settings. These long unison passages are accompanied by mono-motivic patterns or pedal points or scalar motion.

A Cappella Chorus

The first sections of Part I, Part II, and Part IV of the E minor setting are basically for unaccompanied chorus with instrumental echoes. In the D minor and F minor settings, a cappella passages, although rare, usually occur at the corresponding places in both settings.

There is no g cappella passage in Part I of either the D minor or the F minor settings. Since such passages are rare, their effect becomes noticeable (see Table 18). 58

Table 18. List of a cappella passages.

D minor E minor F minor (primarily a cappella until "genitum")

(a cappella until "crucifixus") factus est

sub Pontio Pilato passus et et sepultus est passus et sepultus est sepultus est

cujus regni cujus regni non erit finis non erit finis

(primarily a cappella until "unam Sanctam") simul adoratur Iv-per Prophetas qui locutus est per Prophetas in reminissionem

(re)surrectionem

mortuorum

Pedal Point

Pedal point is used extensively in the D minor setting. Except for the two common places at et resur-

rexit and in the Coda, pedal points do not occur in the

F minor setting (see Table 19). The use of pedal point is generally associated with transitional or cadential passages. 59

Table 19. List of pedal points.

D minor E minor F minor

Et ex Patre natum ante omnia saecula genitum non factum consubstantialem Patri

et resurrexit et resurrexit et resurrexit judicare qui cum Patre IV" et expecto resurrectionem

et vitam venturi et vitam venturi Credo, Credo Coda saeculi, Amen. saeculi, Amen. Amen, Amen.

Polyphonic Texture

Three kinds of polyphonic texture occur in the three Credo settings. The first is a simple imitative entrance, in which one group of parts is usually followed by another group. This kind of passage is found in most cases in the D minor setting, and in two instances in the D minor setting (visibilium and et conglorificatur ).The second type of counterpoint involves imitative entrances of each part. The rest of the cases in the D minor setting and the most of the instances in the F minor setting are included in this category. The third kind is the genuine 60 fugue, which is employed only at the Coda in the F minor setting. A list of polyphonic passages is given in Table 20.

Table 20. List of polyphonic passages.

D minor E minor F minor

I visibilium omnium et incarnatus est et incarnatus est de Spiritu Sancto II ex Maria Virgine etiam pro nobis etiam pro nobis sub Pontio Pilato

Et resurrexit tertia die sedet ad dexteram III et iterum et iterum venturus venturus judicare judicare judicare vivos et mortuos

qui ex Patre qui cum Patre qui cum Patre et Filio simul adoratur IV et et conglorificatur conglorif'icatur qui locutus est per Prophetas confiteor unum baptisma

venturi et vitam venturi et vitam venturi Coda et vitam saeculi, Amen. 61

Soloists Table 21. List of solo passages.

D minor F minor Deum de Deo lumen de lumine (SATB)

Et incarnatus est de Et- incarnatus est de Spiritu Sancto (SAT) Spiritu Sancto ex ex Maria Virgine Maria Virgine (Tenor) (SATB) II Crucifixus etiam pro nobis sub Pontio _Pilato, passus (Bass) et sepultus est (SATB)

qui cum Patre et qui cum Patre et Filio (SATB) Filio (SATB) et conglorificatur Iv (SATB) qui locutus est per qui locutus est per Prophetas (SATB) Prophetas (SATB)

Coda Amen (Soprano, Bass)

Only the D minor and F minor settings employ soloists, and most of the solo passages are found in the same places in both settings. Exceptions occur once in the D minor setting and four times in the F minor setting.

Among the four exceptions in the F minor setting, two (Deum de Deo lumen de lumine and et conglorificatur) are solo ensembles employed to echo the chorus, while the others 62

are for bass alone and bass and soprano. All four solo passages in the D minor setting are for solo ensembles.

Yet, even in the ensemble passages, each soloist in the F minor setting is treated more independently. Half of the solo passages in the D minor setting and those in the

Part IV of the F minor setting are imitative passages.

There are no virtuosic solo passages in these two settings.

Orchestration

The D minor and F minor settings employ the full orchestra while the E minor setting uses only a wind ensemble for accompaniment. Among the various aspects of orchestration, trombone doubling is the most prominent way of expressing the importance of the contents of individual words or phrases (see Table 22). The use of trombone is

similar in all three settings. Part II has little or no

trombone doubling while Part III employs trombones for most of its text. Other details of orchestration usually

follows the larger aspects of the musical structure instead of individual words or phrases.

Table 22. List of passages doubled by trombones. D minor E minor F minor Credo Patrem omnium 63

Jesum

(I) unigenitum Deum de Deo, Deum de Deo lumine lumine lumen de lumine Deum verum de Deum verum de Deum verum de Deo vero Deo vero Deo vero omnia facta sunt omnia f acta sunt et homo cactus est crucifixus etiam pro nobis sub Pontio Pilato Et resurrexit Et resurrexit tertia die secundum secundum scripturas scripturas et ascendit et ascendit in coelum in coelum III sedet ad sedet ad sedet ad dexteram Patris dexteram Patris dexteram Patris Et iterum et iterum venturus est venturus est cum gloria cum gloria cum gloria judicare judicare vivos judicare cujus regni non erit finis conglorificatur et unam sanctam apostolicam ecclesiam confiteor

peccatorum_ et expecto et expecto et expecto resurrectionem resurrectionem resurrectionem Coda Amen Amen Credo, Amen 64

CHAPTER IV CONCLUSIONS

The Credo settings of Bruckner's last three great

Masses show a certain aspect of his compositional

development before he abandoned Mass composition

altogether and concentrated his creative energy on the

composition of symphonies. The most prominent change in

the four years between the D minor setting and the F minor

setting is the treatment of the structure. Compared with

the D minor and E minor settings, the F minor Mass Credo

setting has a more unified musical structure. Indeed the

F minor setting is more logical and consistent at all levels of its structure. This musical consistency

sometimes contradicts the demands of the text. It seems

that Bruckner paid more and more attention to the

well-balanced musical structure rather than to the

expression of peripheral aspects of particular textual

passages. This, of course, does not mean that he ignored

the text or that his faith to God had been changed, but rather that his compositional scope had developed to the point that he could handle such large-scale musical

structures without relying on the agency of the text. It 65

is interesting to note that during this period of time the composer suffered a nervous breakdown (1867). Perhaps this event affected his approach to composition. In any case, the change in style between the first two and the last of the three Credo settings is very significant.

Aside from the structure, there are many similarities and differences in the treatment of the text.

The phrase structure and repetition of the text, which are closely related to the structural aspects, show a clear difference between the first two settings and the last setting. Musical techniques, such as unisons and pedal points, which emphasize specifics rather than the larger structure, are less prevalent in the F minor setting than the previous two settings. Since the flexibility of texture increased as the composer gained experience, more polyphonic textures and solo passages are to be found in the F minor setting. The traditional places for word-painting are faithfully observed in all three settings, although in some cases the musical expression is less in evidence in the F minor setting because of the need to maintain a consistent musical structure.

The following is a summary of the trends that occurred between composition of the Credo setting of the

Mass No. 1, D minor and that of the Mass No. 3, F minor. 66

1. The musical structure became longer and more consistent.

2. The employment of bar-form phrases decreased while that of two-part phrases increased.

3. Musical structures generated by textual repetition increased.

4. The traditional places of word painting were faithfully observed in all three settings.

Bruckner's three great Masses represent the apex of his development as a Mass composer and the changes among these Masses as exhibited by textual treatment demonstrate such development. Unlike Haydn or Beethoven, whose greatest Masses were written only after they established their individual musical vocabulary in the symphony,

Bruckner first developed his musical language through the composition of Masses. Nevertheless it was purely musical matters that appear to have interested him most. Symptoms of this were already seen in 1865 when he studied Tristan und Isolde from a piano score without text. A natural consequence, then, of his compositional development, was the elimination of text and concentration on the purely instrumental idioms of the symphony after 1868.

I. Hans-Hubert Schonzeler, Bruckner (New York: Grossman, 1970), 46. 67

APPENDIX

CHRONOLOGICAL LIST OF BRUCKNER'S LARGE SACRED

VOCAL MUSIC AND ORCHESTRAL WORKS 1

Large Sacred Vocal Music Orchestral Music

c1842 Mass in C major for Alto solo, 2 hns, organ (WAB 25) 1844 Chorale Mass in F major for Maundy Thursday, without Kyrie and Gloria, a cappella (WAB 9)

1848/ Requiem in D minor for 1849 soli, chorus, orchestra, organ (WAB 39)

1852 Magnificat in B-flat major for soli, chorus, orchestra, organ (WAB 24)

Psalm 114 for 5 part chorus , 3 trombones (WAB 36) c1852 Psalm 22 for chorus and piano ~TWAB 34) 1854 Missa Solemnis in B-flat major for solid, chorus, orchestra, organ (WAB 29) 1860 Psalm 146 for soli, double chorus, orchestra (WAB 37)

1. Based on Renate Grasberger, Werkverzeichnis Anton Bruckner (W_AB) (Tutzing: Hans Schneider, 1977).

ILI Ili9k Ims&hl. -" - 1, -7 , - - --- Wwwwl.. - - - I- -- I------68

1862 March (WAB 96)

3 Orchestral pieces (WAB 97)

1862/ Overture (WAB 98) 1863

1863 Psalm 112 for double Symphony in F minor chorus, orch. (WAB 35) (WAB 99) 1863/ Symphon "Nullte" in D 1864 minor (WABW100)

1864 Mass No.1 in D minor for soli, chorus, orch., organ (WAB 26)

1865/ Symphon No.1 in C minor 1866 (WAB 101)

1866 Mass No.2 in E minor for chorus, wind ensemble (WAB 27)

1867/ Mass No.3 in F minor 1868 for soli, chorus, orch., organ (WAB 28)

1871/ Symphony No.'2 in c minor 1872 (WAB 102)

1872/ Smphon .inDminor 1873 (WAB 103)

1874 Symphony No.4 in E-flat major "Romantic" _(WAB 104) 1875/ Symphony No.5 in B-flat 1876 majorg(WAB 105T 1879- Symphony No.6 in A major 1881 (WAB 106)

1881- Sym-hon No.7 in E major 1883 (WAB 107) 69

1881- Te Deum for solid, chorus 1884 orch., organ (WAB 45) 1884- Symp N 8 in C minor 1887 (WAB 108) 1892 Psalm _ for soil, chorus, orch. (WAB 38)

1887- S ho No.9 in D minor 1896 (WAB 109) 70

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