Bradley Ellingboe’s Requiem: Influences and Analysis for Performance Item Type text; Electronic Dissertation Authors Robison, Brett Patrick 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 11:48:40 Link to Item http://hdl.handle.net/10150/631900 BRADLEY ELLINGBOE’S REQUIEM: INFLUENCES AND ANALYSIS FOR PERFORMANCE by Brett Patrick Robison ____________________________________ Copyright © Brett Patrick Robison 2019 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 2019 2 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 the rules of the Library. Brief quotations from this document are allowable without special permission, provided that 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 of the major department of the Dean of the Graduate College when in his or her judgment the proposed us of the material is in the interests of scholarship. In all other instances, however, permission must be obtained by the author. SIGNED: Brett Patrick Robison 4 ACKNOWLEDGEMENTS Bradley Ellingboe: Thank you for your patience during this long process. I am honored to write about your music. I am also honored to call you a mentor and friend. Dr. Bruce Chamberlain, Director of Choral Activities: Thank you for your support throughout this long and difficult journey. Your musicianship and work ethic is an inspiration. Dr. Elizabeth Schauer: Thank you for your support and guidance throughout this degree and document. Dr. John Brobeck: Thank you for your kindness and willingness to join my committee and see me through these final steps. Jennaya Robison: Thank you for not allowing me to give up and pushing me to finally getting this finished. You are the formatting master. I love you. Elise, Grace, and Ben: Thank you for allowing me to take the time needed to finish this document and degree. Without your support and patience this wouldn’t be possible. Lucik Aprahamian: Thank you for edits and advice in the proposal and document writing process. You are a true friend. 5 TABLE OF CONTENTS LIST OF FIGURES .........................................................................................................................6 LIST OF MUSICAL EXAMPLES ..................................................................................................7 LIST OF TABLES ...........................................................................................................................9 ABSTRACT ...................................................................................................................................10 CHAPTER 1. INTRODUCTION ..................................................................................................11 CHAPTER 2. CONTEXT ..............................................................................................................13 Biography of Bradley Ellingboe ........................................................................................13 Requiem Mass History and Content ..................................................................................15 CHAPTER 3. NORWEGIAN FOLK MUSIC INFLUENCES .....................................................20 Use of Folk Melody and Leitmotif .....................................................................................20 Thematic Development—Lord’s Prayer Motive ...............................................................27 CHAPTER 4. INFLUENCE OF THE MUSIC OF EDVARD GRIEG.........................................38 Drone Pedal Use ................................................................................................................38 Motivic Development ........................................................................................................46 CHAPTER 5. INFLUENCE OF LUTHERANISM .......................................................................55 Architecture........................................................................................................................55 Emotional Progression of Grief .........................................................................................59 Texts ...................................................................................................................................70 CHAPTER 6. REHEARSAL AND PERFORMANCE SUGGESTIONS .....................................78 Accompaniment Options ...................................................................................................78 Performance Venues ..........................................................................................................79 Rehearsal Suggestions .......................................................................................................79 Trouble Spots .....................................................................................................................81 CHAPTER 7. CONCLUSION.......................................................................................................85 APPENDIX A. PUBLISHED CHORAL MUSIC OF BRADLEY ELLINGBOE .......................86 APPENDIX B. PERMISSION LETTER ......................................................................................95 REFERENCES ..............................................................................................................................96 6 LIST OF FIGURES Figure 5.1 Ellingboe’s Requiem. Ten Movements and Architecture ......................................56 Figure 5.2 Ellingboe’s Requiem. Chiastic Structure ...............................................................57 Figure 5.3 Emotional Progression in Requiem ........................................................................59 7 LIST OF MUSICAL EXAMPLES Musical Example 3.1 Norwegian Folk Tune, Jeg lagde mig saa silde .............................21 Musical Example 3.2 Cello Leitmotif. Graduale, mm. 1-9...............................................23 Musical Example 3.3 Norwegian Folk Tune. Graduale, mm. 10-30 ...............................24 Musical Example 3.4 Norwegian Folk Tune with Voices. Agnus Dei, mm. 10-29 ..........26 Musical Example 3.5 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. The Lord’s Prayer, mm. 2-4 ..........................................................27 Musical Example 3.6 Extended Lord’s Prayer Motive. Introit, mm. 1-7 .........................28 Musical Example 3.7 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Introit, mm. 20-23 and mm. 110-113 ............................................29 Musical Example 3.8 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Elegy, mm. 40-51 ...........................................................................30 Musical Example 3.9 Comparison of Endings in Elegy mm. 82-85 and The Lord’s Prayer, mm. 46-48 ......................................................31 Musical Example 3.10 Extended Lord’s Prayer Motive. Kyrie, mm. 6-8 ..........................32 Musical Example 3.11 Lord’s Prayer Motive and Extended Lord’s Prayer Motive. Kyrie, m. 37-40 .........................32 Musical Example 3.12 Lord’s Prayer Motive. Psalm, mm. 1-5 .........................................33 Musical Example 3.13 Lord’s Prayer Motive. Psalm, mm. 58-61 .....................................34 Musical Example 3.14 Lord’s Prayer Motive. Sanctus et Benedictus, mm. 11-12 and 15-16 .....................................................................35 Musical Example 3.15 Lord’s Prayer Motive. Sanctus et Benedictus, mm. 68-72 .....................................................................................35 Musical Example 3.16 Lord’s Prayer Motive as a Norwegian Folk Motive, Motive B .....36 Musical Example 4.1 Norwegian Folk Melodies and Dances, Op. 17 .............................39 Musical Example 4.2 Drone Pedal. Introit, mm. 24-31 ....................................................40 Musical Example 4.3 Drone Pedal. Graduale, mm. 1-19 .................................................41 8 Musical Example 4.4 Drone Pedal. Sanctus et Benedictus, mm. 35-42 ...........................42 Musical Example 4.5 Drone Pedal. Agnus Dei, mm. 45-54 .............................................43 Musical Example 4.6 Drone Pedal. Evensong, mm. 1-8...................................................44 Musical Example 4.7 Drone Pedal. Evensong, mm. 27-41...............................................45 Musical Example 4.8 Grieg Motive. Piano Concerto in A minor, Op. 16, movt. I. .........46 Musical Example 4.9 Grieg Formula. Introit, mm. 63-73 ................................................48 Musical Example 4.10 Grieg Formula Variation. Introit, mm. 74-77 ................................49 Musical Example 4.11 Grieg Motive. Kyrie, mm. 14-18 ...................................................50 Musical Example 4.12 Grieg Motive Variation. Kyrie, mm. 41-45 ...................................51