Heinrich Schutz's Weihnachtshistorie:Trombones for the Three Kings? Item Type text; Electronic Dissertation Authors Johnson, Leilani 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 01/10/2021 04:15:27 Link to Item http://hdl.handle.net/10150/193573 HEINRICH SCHÜTZ'S WEIHNACHTSHISTORIE TROMBONES FOR THE THREE KINGS? by Leilani Johnson _______________ Copyright © Leilani Johnson 2006 Document Submitted to the Faculty of the 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 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Leilani Johnson Entitled Heinrich Schütz's Weihnachtshistorie: Trombones For The Three Kings and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________ Date: Bruce Chamberlain _______________________________________________________ Date: Elizabeth Schauer _______________________________________________________ Date: John T. Brobeck 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. _______________________________________________________ Date: Document Director: Bruce Chamberlain 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 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: Leilani Johnson 4 ACKNOWLEDGEMENTS A number of people have contributed to the success of this project. I thank Dr. Bruce Chamberlain for encouraging me to follow this idea, Dr. Elizabeth Schauer for human as well as academic input, and Dr. John T. Brobeck and Dr. Jay Rosenblatt for eliciting thoroughness through the kindly rigor of their questions and comments. I am indebted to fellow choral conducting graduate students for countless kindnesses and for their fine intellects, bouncing against which shaped this topic in the small picture and my studies in the larger one. Friends and family have listened to my obsession and have supported me through the years involved in earning two degrees. Emilie Sweet traveled from Minnesota to fulfill the role of an angel – in the dual sense of Weihnachtshistorie and as a friend. Norene Walters answered questions about organ technique and keyboard basso continuo performance. Sherrill Blodget, Chris Bartley, Aaron McDermid, Ken Ryals, skilled instrumentalists, members of small ensembles, and friends in Collegium musicum all helped selflessly to bring this work to life. 5 TABLE OF CONTENTS TABLE OF FIGURES...................................................................................................7 ABSTRACT...................................................................................................................8 INTRODUCTION .........................................................................................................9 Relevant Biographical Information....................................................................9 The Question of Instrumentation Described....................................................12 Focusing the Research .....................................................................................13 Proposed Instrumentation ................................................................................15 Ramifications and Summary of Study .............................................................18 Genesis of Study ..............................................................................................19 CHAPTER 1 BACKGROUND: HEINRICH SCHÜTZ IN CONTEXT ....................21 Influence of Lasso............................................................................................23 Influence of Giovanni Gabrieli (Venice, 1609-1613)......................................24 Accommodation to Shifting Resources Surrounding the Thirty Years’ War .....................................................26 Influence of Monteverdi (Venice, 1628-1629) ...............................................26 Stylistic Synthesis During Schütz’s Last Years...............................................29 a. Resources of the Moritz Court .........................................................29 b. Schütz, Musical Drama, and Weihnachtshistorie ............................31 c. Early Style, to 1619..........................................................................32 d. Middle Style.....................................................................................33 e. Reflective-Composite Style .............................................................36 Conclusion .......................................................................................................37 CHAPTER 2 DEFINING THE SITUATION .............................................................38 Sources: No Complete Manuscript ..................................................................38 Relevant Dramatic and Instrumental Customs ................................................41 a. Music-Dramas..................................................................................41 Schütz and Instruments....................................................................................49 Dramatic and Instrumental Customs of the Seventeenth Century in Northern Germany and Denmark.......................................52 Instrument and Instrumentalist Availability ....................................................54 Melodic Idiom, Intermedium 4 ........................................................................55 a. Section 1...........................................................................................55 b. Section 2...........................................................................................58 c. Section 3...........................................................................................58 Dramatic Flow of the Work as a Whole ..........................................................60 6 TABLE OF CONTENTS – CONTINUED Schütz, Germany-Denmark, and Instruments in the Seventeenth Century ..............................................63 Schütz’s Use of Instruments in Other Music-Dramas .....................................65 Schütz’s Use of Instruments in Other Movements of this Work.....................66 Conclusion .......................................................................................................67 CHAPTER 3 PREPARING AND PERFORMING WEIHNACHTSHISTORIE .........68 Summary of Performing Forces.......................................................................68 a. Ensembles ........................................................................................69 b. Soloists.............................................................................................70 c. Small Ensembles ..............................................................................70 Rehearsal Schedule and Process ......................................................................71 Rehearsal and Concert Logistics......................................................................75 Conclusion .......................................................................................................76 APPENDIX A TEXT TRANSLATION......................................................................78 APPENDIX B SELECTED INSTRUMENTAL ASSIGNMENTS FOR WEIHNACHTSHISTORIE .........................................82 APPENDIX C COMPOSER TIMELINE....................................................................83 APPENDIX D WORKS LIST, DATES, AND STYLES............................................85 REFERENCES ............................................................................................................86 Books ...............................................................................................................86 Journals, Festschriften, Theses, Dissertations..................................................88 Online Sources.................................................................................................98 Scores, Editions................................................................................................99 Discography ...................................................................................................100 REFERENCES BY TOPIC .......................................................................................101 On Schütz and Drama ....................................................................................101 On Schütz’s Weihnachtshistorie....................................................................101