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(J·M·! University Microfilms International a Bell & Howell Inforrt'atlon Company 300 North Zeeb Road Richard Wagner's ''Occasional Works'' for male chorus (1843-1844): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-1849). Item Type text; Dissertation-Reproduction (electronic) Authors Jahn, Jeffry Allen. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 17:22:22 Link to Item http://hdl.handle.net/10150/185334 INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 UMI 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. Oversize materials (e.g., maps, drawings, charts) are repruduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. (J·M·! University Microfilms International A Bell & Howell InforrT'atlon Company 300 North Zeeb Road. Ann Arbor. MI 48106-1346 USA 313 761-4700 800521-0600 Order Number 9117460 Richard Wagner's "Occasional Works" for male chorus (1843-44): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-49) Jahn, Jeffry Allen, A.Mus.D. The University of Arizona, 1990 D·M·I 300 N. Zecb Rd. Ann Arbor, MI 48106 NOTE TO USERS THE ORIGINAL DOCUMENT RECEIVED BY U.M.I. CONTAINED PAGES WITH POOR PRINT. PAGES WERE FiLMED AS RECEIVED. THIS REPRODUCTION IS THE BEST AVAILABLE COPY. RICHARD WAGNER'S "OCCASIONAL 'WORKS" FOR MALE CHORUS (1843·44): ASPECTS AND INFLUENCES ON WAGNER'S EMERGING COMPOSITIONAL STYLE DURING THE DRESDEN YEARS (1843·49) by Jeffry Allen Jabn A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College TIlE UNIVERSITY OF ARIZONA 1990 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Jeffry Allen Jahn entitled Richard Wagner's "Occasional Works" For Hale Chorus (1843-44): Aspects and Influences on Wagner's Emerging Compositional Style During the Dresden Years (1843-49) and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of A. Mus. D. ------~~~~~------------------------------------------ 1/ /J:5 ) 90 Date' , (~d36/h /J //3/10 Date ) Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation CJ)fement . jjljt1/£/U:U /~ /) / I ,;-/ f? 0 Dissertation Director Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission. provided Lhat accurate acknowledgement of source is made. Requests for permission for extended quotations from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgement the proposed use of the material is in Lhe interests of scholarship. In all other instances. however. permission must be obtained from the author. 4 T ABLE OF CONTENTS PAGE LIST OF ILLUSTRATIONS ...........................................•........................................................... 5 ABSTR.ACf .............•.•...........................••.....••........................................................................ 6 STATEMENT OF THE PROBLEM ............................................................................................. 7 NEED FOR THE STUDy .......................................................................................................... 8 LIMITATIONS OF THE STUDy ................................................................................................ 9 PURPOSE OF THE STUDY .................................................................................................... 10 CHAPTER I. A BRIEF mSTORY OF THE HOFKAPEUMEISTER POSITION OF THE DRESDEN COURT .............................................................................................. 11 II. SPONTINI AND THE DOWNFALL OF THE ITALIAN OPERA ................................. 18 m. WAGNER'S PSYCHOLOGICAL REACTION TO FAMILIAL INFLUENCES: GERMAN VS. ITALIAN IDEALS .......................................................................... 20 IV. EARL Y INFLUENCES ON THE COMPOSITIONAL STYLE OF WAGNER ................ 23 V. THE INFLUENCES OF WAGNER'S RIENZI ANDDER FUEGENDE HOLLANDER ON DAS LIEBESMAHL DER APOSTEL, AND THE RESULTING INFLUENCE UPON TANNHAUSER ................................ 29 VI. "THE BAPTISM OF FIRE" - DAS LIEBESMAHL DER APOSTEL ................... .43 VII. THE SMALL "OCCASIONAL WORKS": WAGNER'S RESPONSE AS SERV ANT AND DISCIPLE .................................................................................. 55 vm. CONCLUSION .................................................................................................... 64 5 LIST OF ILLUSTRATIONS Figures Page 1a. D3S Liebesverbot, Act I, Nr. 3: "Salve Regina coelj>' ........................................................ 25 1b. TannMuser, Act m (introduction), meastr.'CS 47-49 ............................................................ 26 2a. Rienzi, Act m: "Ewiger Too sei Jenes Los", measures 50-57 .............................................. 29 2b. Rienzi, Act IV, Nr. 12, Finale: "Intonation of Monks", measures 228-240............................ 30 2c. Das Liebesmahl der Apostel, measures 166-168 ................................................................ 30 3. Das Liebesmahl der Apostel, measures 219-232 ................................................................ 31 4 Der fliegende Hlillander, Act II: "Steumann! Lass die Wacht!" ............................................ 33 5. Das Liebesmahl der Apostel, measures 125-129 ................................................................ 36 6a. Tannhl1user, Act III, sc. 1: "Begliickt darf nun dich" - (pilgrim's Chorus) ............................. .40 6b. Das Liebesmahl der Apostel, measures 174-181 ............................................................... .41 7. Das Liebesmahl der Apostel, measures 1-42 ..................................................................... 49 8a. Gruss seiner Treuen, measures 17-22 ......................................... " .................................... 59 8b. Das Liebesmahl der Apostel, measures 210-218 .................: ............................................... 60 9a. Weihegruss, measures 25-35 .......................................................................................... 64 9b. Gruss seiner Treuen, measures 17-41 ............................................................................... 65 9c. Das Liebesmahl der Aposlel, measures 210-218 ................................................................ 66 6 ABSTRACT Richard Wagner was appointed Hofkapellmeister to the Dresden Court in 1841. In conjunction with the duties of his office, he composed four works for male chorus, categorized by him as "occasional works". These works written during the fi.r.;t year-and-a-half of his Dresden tenure demonstrate Wagner's early assimilation of his artistic and philosophical ideals that would culminate in the composition of the opera-cycle, Der Ring des Nibelungen. Wagner's association with the male-voice choral unions of Dresden allowed him opportunity to express and derme his compositional goals in his constant quest for a true and pure Gennan art fonn. The "occasional works" influenced and affected his use of male chorus in the operas Lohengrin, Tannhiiuser and Die Meistersinger. Wagner, forced to flee Dresden after the May 1849 uprising, no longer had access to the Dresden male-voice choral unions. Consequently, the frequency of male choruses in his operas composed after this time diminishes assuming a different position, both musically and dramatically than in those operas composed
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