ORATORIO DE NOËL, OP. 12 BY CAMILLE SAINT-SAËNS: CONSERVATIVE ECLECTICISM by Eunji Lee ______________________________ Copyright © Eunji Lee 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 7/25/2019 7/25/2019 7/25/2019 7/25/2019 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements of 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 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 copyright holder. SIGNED: Eunji Lee ACKNOWLEDGEMENTS I would like to acknowledge and express my sincere gratitude to all of those that have supported and assisted along this journey, especially my committee members: Dr. Bruce Chamberlain, Dr. Elizabeth Schauer and Dr. Jay M. Rosenblatt. First, I would like to give my deepest thanks to Dr. Chamberlain for motivating me to continue the journey in music and broaden my musical scope. I am forever indebted to you for setting an example of how a conductor should approach music. Also I am greatly thankful to Dr. Schauer who has always encouraged me. Your affirmation made me believe in myself and helped finish what I thought was not possible. Lastly, I would like to thank Dr. Rosenblatt for helping me open my “scholarly eyes” and providing valuable advice during the research of this work. A big thank you to my editor, Judith Billings, who has helped to lead my writing in the right direction, also thanks to my colleagues and church family for giving me support with prayers, encouragements and for cheering me on. To my parents, without whom I would not be where I am today, I am forever grateful for your support and unconditional love. Lastly, I give all of my thanks to God who has always been with me throughout this journey, who has led me, and who is unfailing in His love and grace. TABLE OF CONTENTS LIST OF FIGURES ......................................................................................................................... 7 LIST OF MUSICAL EXAMPLES ................................................................................................. 8 ABSTRACT .................................................................................................................................. 11 CHAPTER 1: INTRODUCTION .................................................................................................. 12 Statement of Primary Thesis ............................................................................................. 13 Review of Scholarly Literature ......................................................................................... 13 CHAPTER 2: BACKGROUND OF CAMILLE SAINT-SAËNS ................................................ 17 Biography .......................................................................................................................... 17 Musical Characteristics ..................................................................................................... 18 Austro-Germanic Tradition ................................................................................... 18 Art for Art’s Sake .................................................................................................. 20 French Style ........................................................................................................... 22 CHAPTER 3: ANALYSIS OF THE SELECTED WORKS ......................................................... 25 Mendelssohn: chorale cantata “Vom Himmel hoch” ........................................................ 25 Overview ............................................................................................................... 25 Baroque Influences ................................................................................................ 26 Viennese Classical Influences ............................................................................... 32 Romantic Influences .............................................................................................. 35 Saint-Saëns: Oratorio de Noël, op. 12 ............................................................................... 39 Overview ............................................................................................................... 39 Baroque Influences ................................................................................................ 42 Viennese Classical Influences ............................................................................... 55 Romantic Influences .............................................................................................. 58 French Characteristics ........................................................................................... 65 Comparison and Contrast .................................................................................................. 72 CHAPTER 4: CONCLUSION ...................................................................................................... 74 APPENDIX: TEXT AND TRANSLATION ................................................................................ 75 REFERENCES .............................................................................................................................. 79 LIST OF FIGURES Figure 3.1. Overview of chorale cantata “Vom Himmel hoch” .................................................... 25 Figure 3.2. Symmetrical Structure of chorale cantata “Vom Himmel hoch” ................................ 28 Figure 3.3. Analysis of Movement 1 from chorale cantata “Vom Himmel hoch” ........................ 33 Figure 3.4. Formal Analysis of Movement 4 from chorale cantata “Vom Himmel hoch” ........... 35 Figure 3.5. Key Scheme of the Overall Structure of chorale cantata “Vom Himmel hoch” ......... 36 Figure 3.6. Overview of Oratorio de Noël, op. 12 ........................................................................ 41 Figure 3.7. Harmonic Analysis of Movement 7, mm. 20-34 from Oratorio de Noël, op. 12 ....... 62 LIST OF MUSICAL EXAMPLES Musical Example 3.1. J. S. Bach, Variation I from Einige canonische Veränderungen über das Weihnachtslied: Vom Himmel hoch da komm’ ich her, BWV 769, mm. 1-2....................26 Musical Example 3.2. Mendelssohn, Movement 1 from “Vom Himmel hoch,” mm. 1-4............26 Musical Example 3.3. Mendelssohn, Movement 1 from “Vom Himmel hoch,” mm. 205-214......................................................................................................................27 Musical Example 3.4. Mendelssohn, Movement 6 from “Vom Himmel hoch,” mm. 1-2............29 Musical Example 3.5. G. F. Handel, Zadok the Priest, HWV 258 in Coronation Anthems, mm. 1-3..............................................................................................................................30 Musical Example 3.6. Mendelssohn, Movement 2 from “Vom Himmel hoch,” mm. 43-49........32 Musical Example 3.7.1. Mendelssohn, Movement 4 from “Vom Himmel hoch,”mm. 1-4 in clarinet I and mm. 13-16 in soprano solo; Original Theme...........................................34 Musical Example 3.7.2. Mendelssohn, Movement 4 from “Vom Himmel hoch,” mm. 33-36 in soprano solo; Variation I................................................................................................34 Musical Example 3.7.3. Mendelssohn, Movement 4 from “Vom Himmel hoch,” mm. 32-35 in violin I; Variation II.......................................................................................................34 Musical Example 3.8. Mendelssohn, Movement 5, mm. 16-20 and Movement 6, mm. 1-2 from “Vom Himmel hoch”................................................................................................37 Musical Example 3.9. J. S. Bach, Sinfonia from Part II of Weihnachts-Oratorium, BWV 248, mm. 1-3..............................................................................................................................42 Musical Example 3.10. Saint-Saëns, Movement 1 from Oratorio de Noël, op. 12, mm. 1-7.......43 Musical Example 3.11. Saint-Saëns, Movement 9 from Oratorio de Noël, op. 12, mm. 21-24..........................................................................................................................44 Musical Example 3.12. Saint-Saëns, Movement 9 from Oratorio de Noël, op. 12, mm. 29-33..........................................................................................................................44 Musical Example 3.13.1. Saint-Saëns, Movement 3 from Oratorio de Noël, op. 12, mm. 1-29............................................................................................................................46 Musical Example 3.13.2. Saint-Saëns, Movement 3 from Oratorio de Noël, op. 12, mm. 62-80..........................................................................................................................47 Musical Example 3.14. Saint-Saëns, Movement 9 from Oratorio de Noël, op. 12, mm. 42-46..........................................................................................................................48 Musical Example 3.15.1. Saint-Saëns, Movement 8 from Oratorio de Noël,