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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. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 The Sacred Cantatas of Johann Friedrich Fasch (1688-1758) by Barbara Margaretha Reul B. Mus., University of Victoria, 1990 M.A., University of Victoria, 1992 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard Dr. Erich Schwandt, Supervisor (School of Music) Dr. Hamid Krebs, Dj^partmentai Member (School of Music) Dr/ (Èordana Lazareviqh, Departmental Member (School of Music) Dr. Angelika Aren^CJptSide Member (Dep^ment of Germanic Studies) Dr. Mich ember (Department of Germanic Studies) Dr. Grego mal Examiner (School of Music, University of British Columbia) ® BARBARA MARGARETHA REUL, 1996 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. u Supervisor: Dr. Erich Schwandt ABSTRACT J.F. Fasch, the Kapellmeister at the Court of Anhait-Zerbst from 1722 to 1758 and one of the most neglected contemporaries of J.S. Bach, composed approximately 1400 sacred cantatas during his life time. Seven cycles comprising 1000 cantatas were listed by Fasch in a music inventory, the Concert=Stube des Zerbster Schlofies. Using data recorded in volumes 352-369 of the Konsistorium Zerhst Rep 15 HCa chronicle, this dissertation sheds light on the musical-liturgical activities at the Court Chapel during the years of Fasch's tenure. This primary source was hitherto thought to be lost but it is indeed held at the Laridesarchiv Oranienbaum, Germany, and has provided a wealth of illuminating information for this study. It allows us to solve a number of enigmas which have long puzzled scholars. First, we can gain insight into the music and worship traditions at the Court Chapel and examine Fasch's role as Kapellmeister in a contemporary mid-eighteenth century context. In addition to performing his own cantata cycles and premiering cycles by other composers such as Telemann and G.F. Stolzel, Fasch repeated these cycles between two and six times. Secondly, we can date the largest collection of sacred cantatas by Fasch preserved at the Staatsbibliothek zu Berlin—Preufiischer Kulturbesitz. The majority of cantatas form part of a cycle from 1735/36, Das in Bitte, Gebeth, Fiirbitte and Dancksagung bestehende Opjfer. The extant copies were prepared by Fasch in the early 1750s, probably upon the request of a fellow composer who participated in the Musikalientausch Ill which Fasch had begun organizing in 1728. Finally, an examination of Fasch's compositional procedures as evident in the sacred cantatas preserved at the Staatsbibliothek shows tliat while his musical style was firmly rooted in the mid-eighteenth century, Fasch also employed forward-oriented techniques and developed an Individualstil. This investigation, having brought to light important source materials and offered significant insights, provides a useful basis for, and stimulus to any future research into the sacred music of J.F. Fasch as well as the musical-liturgical activities at German Courts during the first half of the eighteenth century. Examiners: Dr. Erich Schwandt (School of Music) Dr. Harald Krebs (School of Music) Gordana Lazarevic|ii (School of Music) Dr. Angelika ^ e ^ (pepartment of Germanic Studies) Dr MirAa^ (i>pai^rnent^£XjermMf(ic Studies) Dr. Gregg^\G/^ Butler (Exî^mal Examiner, School of Music, University of British Columbia) IV TABLE OF CONTENTS A b stra c t....................................................................................................................................ü Table of Contents ..................................................................................................................iv List of Tables ............................................................................................................................vii List of Figures .......................................................................................................................... viii List of Overviews .......................................................................................................................ix List of Examples ........................................................................................................................... x Acknowledgements ....................................................................................................................xi INTRODUCTION...................................................................................................................1 CHAPTER 1: JOHANN FRIEDRICH FASCH (1688-1758): THEN AND NOW . 9 1. J.F. Fasch and the "minor master" syndrome of the early eighteenth century . 9 2. The revitalization of J.F. Fasch's image in the twentieth century..........................14 CHAPTER 2: THE LIFE AND WORKS OF JOHANN FRIEDRICH FASCH (1688-1758) ....................................................................................................... 19 1. Fasch's life and musical career before Zerbst (1697-1722) ..................................... 20 2. Fasch at Zerbst (1722-1758) .............................................................................................. 31 2.1. Fasch's duties as Kapellmeister .................................................................. 31 2.2. The "Dresden experience" in 1727: Pietism and Zinzendorf .....................37 2.3. The Musikalientausch and the Zerbst Concert=Stube ..............................40 2.4. "An Island of Pietism in a Sea of Orthodoxy": Fasch's spiritual and professional struggles in Z e rb st ...........................................................44 2.5. The final years ....................................................................................................50 3. Summary ...............................................................................................................................54 CHAPTER 3: THE SACRED CANTATA IN THE FIRST HALF OF THE EIGHTEENTH CENTURY IN GERMANY ........................................................56 1. The older church cantata ("àltere Kirchenkantate") before 1700 ............................ 57 2. An examination of the types of sacred cantatas prevalent at the beginning of the eighteenth century ........................................................................................... 61 3. Erdmann Neumeister and the Madrigalian or Reform Cantata ....................................68 4. Summary ...............................................................................................................................71 V CHAPTER 4: JOHANN FRIEDRICH FASCH AS COMPOSER OF SACRED CANTATA CYCLES: A COMPENDIUM ................................................ 73 1. Introduction ........................................................................................................................... 73 2. Gottgeheiligtes Singen und Spielen, 1722/23 ............................................................... 78 3. Gottgeheiligtes Beth-und Lob-Opfer der Christen, 1723/1724 ................................. 80 4. Geistliche Andachten Uber die Apostolischen Texte, 1724/25 ................................. 81 5. Evangelische Kirclienandachten, 1730/31 ..................................................................... 83 6. Nahmen-Buch Christi und der Christen, 1732/1733 .................................................. 86 7. Das in Bitte, Gebeth, Fiirbitte und Dancksagung bestehende Opffer, 1735/36 . 87 8. Das Lob Gottes in der Gemeinde des Herm, 1741/42 ............................................. 88 9. Von der Nachfolge Christi, 1751/52 ............................................................................... 91 10. Cantata cycles performed at the Zerbst Court Chapel composed by someone other than Fasch ....................................................................................... 94 11. Summary........................................................................................................96 CHAPTER 5: THE KONSISTORIUM