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The Messe De Requiem Op. 54 of Camille Saint-Saëns: an Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth-Century Paris

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The Messe De Requiem Op. 54 of Camille Saint-Saëns: an Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth-Century Paris The Messe de Requiem op. 54 of Camille Saint-Saëns: An Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth-Century Paris Item Type text; Electronic Dissertation Authors Rogers, Brent 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 06/10/2021 13:07:36 Link to Item http://hdl.handle.net/10150/581253 THE MESSE DE REQUIEM OP. 54 OF CAMILLE SAINT-SAËNS: AN AMALGAMATION OF CONTRASTING STYLISTIC TRENDS IN REQUIEM COMPOSITION IN NINETEENTH-CENTURY PARIS by Brent Rogers __________________________ Copyright © Brent Rogers 2015 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brent Rogers, titled The Messe de Requiem op. 54 of Camille Saint-Saëns: An Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth- Century Paris and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________________ 5/15/15 Bruce Chamberlain _____________________________________________________ 5/15/15 Elizabeth Schauer _____________________________________________________ 5/15/15 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies 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 document requirement. _____________________________________________________ 5/15/15 Document Director: Bruce Chamberlain 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the 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 that an accurate acknowledgement of the 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 copyright holder. SIGNED: Brent Rogers 4 ACKNOWLEDGEMENTS There are numerous individuals whose support has been crucial in the successful completion of this document, and I hope most of them will forgive me for omitting them from this page. Space, sense, and the limitations of my already-too-feeble mind dictate that only a few be acknowledged here. First and foremost, Drs. Bruce Chamberlain, Elizabeth Schauer, and Ronald Staheli, whose mentorship during my graduate studies at the University of Arizona and Brigham Young University has been transformative. It is not hyperbole to say that I could not have done this without each of you, and that your influence has formed and shaped me as a musician in ways that I have yet to understand. I am most fortunate to have been trained by some of the finest choral musicians in this country. Secondly, Drs. John Brobeck and Jay Rosenblatt, whose training of my musicological mind has been just as vital to the success of this and future research. Any future success I achieve as a musicologist I will owe largely to you. Thirdly—but only for the purposes of this document, since each of you know that I value you more than my work—my family. From my parents who supported my musical endeavors from the time I was young, to my siblings who have consistently provided a remarkable support structure for my personal and professional life, to my wife Kelsey, who has loved and supported me through far more than we had ever imagined. Each of you has formed my life in critical ways that have allowed me to become the person I am—including my ability to complete this document and this degree. My deepest, heartfelt thanks to each of you. 5 DEDICATION To my wife Kelsey, devoted companion in music as in life And to Tyler, our first son 6 TABLE OF CONTENTS FIGURES ............................................................................................................................ 9 MUSICAL EXAMPLES .................................................................................................. 10 ABSTRACT ...................................................................................................................... 11 CHAPTER 1: INTRODUCTION ..................................................................................... 12 Intent and Scope of Study ......................................................................................13 Statement of Primary Thesis ..................................................................................14 Review of the Scholarly Literature ........................................................................15 Historical Background ...........................................................................................18 Performance Options for Saint-Saëns’s Requiem ..................................................20 Analysis of Saint-Saëns’s Requiem .......................................................................21 Form ...........................................................................................................21 Text Setting ................................................................................................26 Dynamics, Articulation, and Orchestration ...............................................28 Harmonic Practice ......................................................................................33 Choral Voice Leading ................................................................................39 CHAPTER 2: THE DRAMATIC TRADITION IN NINETEENTH-CENTURY FRENCH REQUIEM COMPOSITION ........................................................................... 41 The Development of the Dramatic Requiem .........................................................43 Dramatic Style Features of Berlioz’s Requiem .....................................................49 Overall Scale ..............................................................................................50 Use of Dynamics ........................................................................................51 Texture .......................................................................................................52 7 TABLE OF CONTENTS - Continued Harmonic Practice ......................................................................................52 CHAPTER 3: THE CONSERVATIVE TRADITION ..................................................... 58 The Catholic Church’s Calls for Restraint .............................................................58 Cecilianism: The German Response ......................................................................64 The French Response .............................................................................................65 The Strict Approach ...................................................................................66 The Moderate Approach ............................................................................67 Conservative Style Features of Saint-Saëns’s Latin Motets and Gounod’s Messe breve pour les morts (1873) and Messe funèbre (1883) ........................................68 Overall Scale ..............................................................................................71 Use of Dynamics ........................................................................................72 Texture .......................................................................................................72 Harmonic Practice ......................................................................................72 CHAPTER 4: ELEMENTS OF THE DRAMATIC AND CONSERVATIVE TRADITIONS IN SAINT-SAËNS’S REQUIEM ............................................................ 74 Overall Scale ..........................................................................................................74 Use of Dynamics ....................................................................................................75 Texture ...................................................................................................................78 Harmonic Practice ..................................................................................................79 Text Painting ..........................................................................................................81 Use of Solo Voices.................................................................................................81 CHAPTER 5: CONCLUSIONS ....................................................................................... 83 APPENDIX A: TEXTS AND TRANSLATIONS, AS USED IN SAINT-SAËNS’S REQUIEM AND ILLUSTRATING SAINT-SAËNS’S OMISSIONS ............................ 86 8 TABLE OF CONTENTS - Continued APPENDIX B: REVIEWS, ARTICLES AND ANNOUNCEMENTS ON REQUIEM MASS PERFORMANCES PUBLISHED IN THE REVUE ET GAZETTE MUSICALE 90 APPENDIX C: PARTS USED FOR LECTURE RECITAL PERFORMANCE ............. 91 REFERENCES
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