Hugo Distler's "Eine deutsche Choralmesse": A conductor's analysis for performance Item Type text; Dissertation-Reproduction (electronic) Authors Place, Robert Keith, 1957- 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 01/10/2021 16:23:23 Link to Item http://hdl.handle.net/10150/282671 INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter face, while others may be from any type of computer printer. The quality of this reprodaction is dependent upon the quality of the copy submitted. 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Contact UME directly to order. UMI A Bell & Howell Infonnation CompaiQr 300 North Zeeb Road, Ann Azbor MI 48106-1346 USA 313/761-4700 800/521-0600 HUGO DISTLER'S EINE DEUTSCHE CHORALMESSE: A CONDUCTOR'S ANALYSIS FOR PERFORMANCE Robert Keith Place A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN CONDUCTING In the Graduate College THE UNIVERSITY OF ARIZONA 1998 TJMI Ntunber: 9831845 UMI Microform 9831845 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Robert Keith Place entitled HUGO DISTLER'S EINE DEUTSCHE CHORALMESSE: A CONDUCTOR'S ANALYSIS FOR PERFORMANCE and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts —•—• itlanylce Sk^es__ Dace S"- AJtieven Zielkei^ Dace s /H/17 Dwayn^ Dunn Dace Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. J? ^ Director Maurice Skones 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 mles of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation 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 judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. 4 ACKNOWLEDGEMENTS r would like to express my heartfelt thanks to the many people who assisted me in the preparation of this dissertation and who offered greatly needed encouragement and emotional support during my doctoral studies. First I would like to thank my friend and colleague. Perry DiGangi for sharing his fine musical knowledge and advice. I would also like to thank Douglas Starkey for his technical support and friendship. I am greatly indebted to Mr. Thomas Woodson and Mrs. Carola Meyers for their help in translating the many German sources, a daunting task that, had it not been for their expertise, would have deterred the progress of this project. I wish to acknowledge the faculty and staff of the University of Arizona School of Music and Dance, particularly my GTA supervisors. Dr. James O'Brien and Dr. Janet Sturman, thanking them for allowing me the opportunity to continue my education and to discover my own love of teaching. Lastly, I wish to thank my committee: Dr. Dwayne Dunn for his valuable advice in structuring this project. Dr. Steven Zielke for his thought-provoking direction that helped to delimit the scope of the dissertation. Most of all, I am forever indebted to Dr. Maurice Skones for his musical ingenuity, knowledge, gracious and caring manner and for single-handedly reinstating my faith in the educational process. His honesty and prowess as a teacher and mentor helped me to take an objective look at myself and inspired me toward greater achievement. I also wish to thank him for allowing me to work with the University of Arizona Chamber Choir, a fine ensemble of my colleagues with whom I greatly enjoyed working. 5 DEDICATION To Mom, Dad, and Joe for your love and support 6 TABLE OF CONTENTS LIST OF EXAMPLES 8 ABSTRACT 10 CHAPTER ONE INTRODUCTION 12 CHAPTER TWO DEUTSCHE MESSE AS A MUSICAL FORM 16 CHAPTER THREE HUGO DISTLER'S EINE DEUTSCHE CHORALMESSE, OPUS 3 A. Purpose and General Characteristics 18 B. Synopsis of Each Movement 20 C. Discussion of Musical Elements 1. Rhythm 36 2. Dynamics, Tempo and Phrasing 42 3. Harmony 46 4. Melodic Style 49 5. Text Setting 55 D. Problem Identification and Resolution 62 1. Notation 63 2. Tuning 65 3. Rhythm 67 4. Tempo 71 CONCLUSION 74 7 TABLE OF CONTENTS — continued APPENDIX A CHARTS OF THE FIVE MOVEMENTS 75 APPENDIX B TRANSLATION OF TEXT 82 APPENDIX C TRANSLATION OF EPILOG 85 APPENDIX D DYNAMICS, TEMPO AND ARTICULATION 89 REFERENCES 91 8 LIST OF EXAJVIPLES Lasso: Quis mihi, quis tete rapuit, mm. 62-68 19 Movement 3: "Der Glaube," m. 34 19 Movement I: "Der Fiirbitte;" mm. 5-7, 11-14 21 Movement 2: "Der Lobgesang," mm. 1-8 23 Movement 3: "Der Glaube," mm. 1-8 25 Movement 3: "Der Glaube," verse 2 26 Movement 3: "Der Glaube;" verse 3, mm. I-IO, 34 27 Movement 4: "Die Stiftungsworte," mm. 1-8 29 Movement 5: "Das Dankgebet," mm. 1-12 31 Movement 5: "Das Dankgebet," mm. 63-88 33 Movement 5: "Das Dankgebet," mm. 114-31 35 Movement 3: "Der Glaube," mm. 20-23 37 Movement 3: "Der Glaube," mm. 17-19 38 Movement 2: "Der Lobgesang," mm. 13-18 Movement 3: "Der Glaube," nam. 20-23 39 Movement 2: "Der Lobgesang," mm. 13-14 40 Movement 5: "Das Dankgebet (Bass I part)," mm. 97-113 40 Movement 3: "Der Glaube," mm. 9-13 41 Movement I: "Die Fiirbitte," mm. 11-17 44 Messa di voce 45 Movement 2: "Der Lobgesang," mm. 19-25 47 9 LIST OF EXAMPLES — continued Movement 2: "Der Lobgesang/' mm. 1-8 48 Movement 4: "Die Stiftungsworte," mm. 36-41 50 Movement I: "Die Fiirbitte," mm. 18-22 51 Movement 3: "Der Glaube," mm. 9-13 52 Movement 3; "Der Glaube (Bass I part)," mm. 11-13 52 Movement 4: "Die Stiftungsworte," mm. 5-8 53 Ambims and Tessitura 54 Movement 3: "Der Glaube," mm. 1-3 56 Movement 3: "Der Glaube," mm. 4-8 57 Movement 2: "Der Lobgesang," mm. 9-12 58 Movement 2: "Der Lobgesang," mm. 13-18 59 Movement 5: "Das Dankgebet," mm. 70-78 60 Movement 3: "Der Glaube," mm. 6-10 60 Movement 2: "Der Lobgesang," mm. 5-8 61 Movement 5: "Das Dankgebet," mm. 1-12 64 Movement 5: "Das Dankgebet," mm. 58-62 66 Movement 1: "Die Fiirbitte," mm. 31-36 67 Movement I: "Die Fiirbitte," mm. 32-37 68 Movement 1: "Die Fiirbitte (SS A parts)," mm. 23-28 69 Movement I: "Die Fiirbitte (SSA parts)," mm. 23-28 70 Movement 1; "Die Fiirbitte," mm. 11-14 72 10 ABSTRACT This study culminated in an analysis of Hugo Distler's Eine deutsche Choralmesse for the following purposes: assisting conductors in achieving a general understanding of the work, determining appropriate conducting gestures, and promoting a greater exposure of this largely-neglected work. The study begins with a summary of historical, biographical and stylistic information pertinent to Distler's work. The political, social and religious climate in Germany during the second quarter of the twentieth century is discussed. Particularly relevant is the National-Socialist attitude toward organized religion, which, among other consequences, involved an attack on the Protestant Church in an attempt at coercive unity under the State. Hugo Distler, possessed of a mild temperament and nervous personality, chose to ignore the unrestrained power and injustice wielded by the Nazi government under which he lived. He was able to continue his life and work because he posed no blatant threat to the regime. Like many notable musicians of the time, Distler's ability to continue his work resulted from his acceptance of the so-called "New Church Music." The author summarizes the tenets of diis musical movement as researched and documented by Charles R.