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The Male Chorus Part Songs of Josef Rheinberger: a Conductor’S Study

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The Male Chorus Part Songs of Josef Rheinberger: a Conductor’S Study The Male Chorus Part Songs of Josef Rheinberger: A Conductor’s Study by Ryan Person, B.A., M.M. A Dissertation In Choral Conducting Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved John Hollins Co-chair of Committee Richard Bjella Co-chair of Committee Angela Mariani Smith Committee Member Mark Sheridan Dean of the Graduate School May 2018 Copyright 2018, Ryan Person Texas Tech University, Ryan Person, May 2018 i Texas Tech University, Ryan Person, May 2018 ACKNOWLEDGEMENTS To begin, I would like to extend sincere thanks my doctoral dissertation committee: Professor Richard Bjella, Dr. John Hollins, and Dr. Angela Mariani Smith. Each have been instrumental in the successful completion of this document, and I am extremely grateful for their consummate mentorship during my studies at Texas Tech University. I also wish to acknowledge the following music instructors who have richly inspired my academic journey during the past twenty years: John Aboud, Dr. Carolyn Cruse, Dr. Timothy Peter, Weston Noble, Dr. David Rayl, Dr. Jonathan Reed, Ernest Reineke, Dr. Jennaya Robison, Paul Wigley, and Dr. Alan Zabriskie. Each music mentor has been pivotal in my personal and professional growth. The completion of this project would not have been possible without the superb English poetic translations provided of W. S. Merchant, former Professor of German at Texas Tech University. Ms. Merchant’s exceptional work has profoundly enhanced this project, and I am very appreciative for her outstanding collaboration and artistry. Finally, I would to thank my wife Abby and daughters Julia and Lena for their unending support during my graduate studies, as well as my dad Dale, late-mother Melanie, and father and mother in-law, Brian and Sande. ii Texas Tech University, Ryan Person, May 2018 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT vi LIST OF TABLES vii LIST OF FIGURES viii CHAPTER 1: PURPOSES AND PROCEDURES 1 INTRODUCTION 1 THESIS 1 JUSTIFICATION 2 METHODOLOGY 2 DELIMITATIONS 3 REVIEW OF LITERATURE 3 CHAPTER 2: THE COMPOSER AND GERMAN MALE CHORUS SINGING 5 BRIEF BIOGRAPHY, TRAINING, AND EMPLOYMENT 5 RHEINBERGER AND THE GERMAN MALE PART SONG TRADITION 7 RHEINBERGER’S MALE PART SONG REPERTOIRE 8 CHAPTER 3: MALE CHORUS PART SONG ANALYSES 10 “MAILIED,” OP. 48, NO. 4 10 Origin 11 Poet 11 Poetry and Musical Form 12 Melody, Texture, and Rhythm 12 Tonality 13 Harmony, Texture, and Rhythm 14 Summary 15 “DER JONAS KEHRT’ IM WALLFISCH EIN,” OP. 74, NO. 1 16 Origin 17 Poet 17 Poetry and Musical Form 17 Melody, Texture, and Rhythm 18 Tonality 19 iii Texas Tech University, Ryan Person, May 2018 Harmony, Texture, and Rhythm 20 Summary 21 “IM MÄRZEN,” OP. 85, NO. 4 22 Origin 22 Poet 23 Poetry and Musical Form 23 Melody, Texture, and Rhythm 24 Tonality 25 Harmony, Texture, and Rhythm 26 Summary 26 “JAGDMORGEN,” OP. 116, NO. 4 27 Origin 28 Poet 28 Poetry and Musical Form 29 Melody, Texture, and Rhythm 29 Tonality 30 Harmony, Texture, and Rhythm 31 Summary 33 “ABENDRUHE,” OP. 160, NO. 4 33 Origin 34 Poet 35 Poetry and Musical Form 35 Melody, Texture, and Rhythm 35 Tonality 36 Harmony, Texture, and Rhythm 37 Summary 39 “CITA MORS RUIT,” OP. 185, NO. 2 40 Origin 41 Poet 41 Poetry and Musical Form 41 Melody, Texture, and Rhythm 42 Tonality 43 Harmony, Texture, and Rhythm 43 Summary 44 iv Texas Tech University, Ryan Person, May 2018 CHAPTER 4: RECOMMENDATIONS, PUBLICATIONS, AND 45 CONCLUSION PUBLICATIONS 45 PERFORMANCE RECOMMENDATIONS 46 CONCLUSION 47 BIBLIOGRAPHY 49 APPENDIX A: MALE CHORUS PART SONG COLLECTIONS LISTED BY 52 NUMBER AND INCLUDING DEDICATIONS APPENDIX B: ALPHABETICAL LISTING OF MALE CHORUS PART 57 SONG POETS v Texas Tech University, Ryan Person, May 2018 ABSTRACT During the past twenty years, Josef Rheinberger’s choral music has emerged in choral communities throughout the world, and the performance of his late-nineteenth century motets and masses have captivated conductors, musicians, and audiences. While the composer’s sacred music is commonly performed, his secular choral works are largely under-researched. Some of his richest writing was for German singing societies, with more than 100 male chorus part songs composed between 1854-1897. The purpose of this document is to introduce choral scholars to Josef Rheinberger’s male chorus part songs and support his position among the finest nineteenth century German composers of the genre. The document provides basic information about his early musical training and involvement in the German male chorus singing tradition. However, the core of the study provides poetic and musical analyses of six representative songs written between 1870-1896. vi Texas Tech University, Ryan Person, May 2018 LIST OF TABLES 3.1 Form and Key Relationships for “Der Jonas kehrt’ im Walfisch ein” 20 3.2 Form and Key Relationships for “Im Märzen” 25 3.3 Opening Modulations with Text for “Jagdmorgen” 31 3.4 Form and Key Relationships for “Abendruhe” 37 vii Texas Tech University, Ryan Person, May 2018 LIST OF FIGURES 3.1 “Mailied,” mm. 1-8 from Rheinberger’s Vier deutsche Gesänge, op. 48 13 3.2 “Mailied,” mm. 21-24 from Rheinberger’s Vier deutsche Gesänge, op. 48 13 3.3 “Mailied,” mm. 1-8 from Rheinberger’s Vier deutsche Gesänge, op. 48 15 3.4 “Mailied,” mm. 24-27 from Rheinberger’s Vier deutsche Gesänge, op. 48 15 3.5 “Der Jonas kehrt’ im Walfisch ein,” mm. 1-4 from Rheinberger’s In der 18 Zauchstube, op. 74 3.6 “Der Jonas kehrt’ im Walfisch ein,” mm. 16-23 from Rheinberger’s In der 19 Zauchstube, op. 74 3.7 “Der Jonas kehrt’ im Walfisch ein,” mm. 89-94 from Rheinberger’s In der 20 Zauchstube, op. 74 3.8 “Der Jonas kehrt’ im Walfisch ein,” mm. 39-46 from Rheinberger’s In der 21 Zauchstube, op. 74 3.9 “Im Märzen,” mm. 1-8 from Rheinberger’s Aus dem Sängerleben, op. 85 24 3.10 “Im Märzen,” mm. 8-14 from Rheinberger’s Aus dem Sängerleben, op. 85 24 3.11 “Im Märzen,” mm. 48-52 from Rheinberger’s Aus dem Sängerleben, op. 85 25 3.12 “Im Märzen,” mm. 27-32 from Rheinberger’s Aus dem Sängerleben, op. 85 26 3.13 “Jagdmorgen,” mm. 17-24 from Rheinberger’s Seebilder, op. 116 30 3.14 “Jagdmorgen,” mm. 6-10 from Rheinberger’s Seebilder, op. 116 30 3.15 “Jagdmorgen,” mm. 17-24 from Rheinberger’s Seebilder, op. 116 32 3.16 “Jagdmorgen,” mm. 30-34 from Rheinberger’s Seebilder, op. 116 33 3.17 “Abendruhe,” mm. 8-16 from Rheinberger’s Auf der Wanderung, op. 160 36 3.18 “Abendruhe,” mm. 13-17 from Rheinberger’s Auf der Wanderung, op. 160 37 3.19 “Abendruhe,” mm. 7-12 from Rheinberger’s Auf der Wanderung, op. 160 38 3.20 “Abendruhe,” mm. 22-26 from Rheinberger’s Auf der Wanderung, op. 160 39 viii Texas Tech University, Ryan Person, May 2018 3.21 “Cita mors ruit,” mm. 1-4 from Rheinberger’s Sieben Gesänge, op. 185 42 3.22 “Cita mors ruit,” mm. 11-20 from Rheinberger’s Sieben Gesänge, op. 185 43 3.23 “Cita mors ruit,” mm. 4-9 from Rheinberger’s Sieben Gesänge, op. 185 44 ix THE MALE CHORUS PART SONGS OF JOSEF RHEINBERGER: A CONDUCTOR’S STUDY RYAN PERSON, M.M., B.A. SCHOOL OF MUSIC TEXAS TECH UNIVERSITY A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE DOCTOR OF MUSICAL ARTS DEGREE IN CHORAL CONDUCTING APPROVED DR. JOHN HOLLINS COMMITTEE CO-CHAIR PROFESSOR RICHARD BJELLA COMMITTEE CO-CHAIR DR. ANGELA MARIANI SMITH MAY 2018 COPYRIGHT 2018, RYAN ARTHUR PERSON Texas Tech University, Ryan Person, May 2018 ACKNOWLEDGEMENTS To begin, I would like to extend sincere thanks my doctoral dissertation committee: Professor Richard Bjella, Dr. John Hollins, and Dr. Angela Mariani Smith. Each have been instrumental in the successful completion of this document, and I am extremely grateful for their consummate mentorship during my studies at Texas Tech University. I also wish to acknowledge the following music instructors who have richly inspired my academic journey during the past twenty years: John Aboud, Dr. Carolyn Cruse, Dr. Timothy Peter, Weston Noble, Dr. David Rayl, Dr. Jonathan Reed, Ernest Reineke, Dr. Jennaya Robison, Paul Wigley, and Dr. Alan Zabriskie. Each music mentor has been pivotal in my personal and professional growth. The completion of this project would not have been possible without the superb English poetic translations provided of W. S. Merchant, former Professor of German at Texas Tech University. Ms. Merchant’s exceptional work has profoundly enhanced this project, and I am very appreciative for her outstanding collaboration and artistry. Finally, I would to thank my wife Abby and daughters Julia and Lena for their unending support during my graduate studies, as well as my dad Dale, late-mother Melanie, and father and mother in-law, Brian and Sande. ii Texas Tech University, Ryan Person, May 2018 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii TABLE OF CONTENTS iii ABSTRACT iv LIST OF TABLES v LIST OF FIGURES vi CHAPTER 1: PURPOSES AND PROCEDURES 1 Introduction Thesis Justification Methodology Delimitations Review of Literature CHAPTER 2: THE COMPOSER AND GERMAN MALE CHORUS SINGING 5 Brief Biography, Training, and Employment Rheinberger and the German Male Part Song Tradition Rheinberger’s Male Part Song Repertoire CHAPTER 3: MALE CHORUS PART SONG ANALYSES 10 Mailied, op. 48, no. 4 Der Jonas kehrt’ im Walfisch ein, op. 74, no. 1 Im Märzen, op. 85, no. 4 Jagdmorgen, op. 116, no. 4 Abendruhe, op. 160, no. 4 Cita mors ruit, op. 185, no. 2 CHAPTER 4: RECOMMENDATIONS, PUBLICATIONS, AND 45 CONCLUSION BIBLIOGRAPHY 49 APPENDIX A: MALE CHORUS PART SONG COLLECTIONS LISTED BY 52 NUMBER AND INCLUDING DEDICATIONS APPENDIX B: ALPHABETICAL LISTING OF MALE CHORUS PART SONG 57 POETS iii Texas Tech University, Ryan Person, May 2018 ABSTRACT During the past twenty years, Josef Rheinberger’s choral music has emerged in choral communities throughout the world, and the performance of his late-nineteenth century motets and masses have captivated conductors, musicians, and audiences.
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