I 71-22,529 SCHIRMER, William Louis, 1941- SINFONIA LITURGIGA I. [Original Composition.] The Ohio State University, Ph.D., 1971 Music University Microfilms, A XERD\Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED SINFONIA L1TURGIGA 1 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By William Louis Schirmer, B.M.,M.M. The Ohio State University 1970 Approved by Adviser School of Music PLEASE NOTE: Some pages have light and indistinct print. Film as received. UNIVERSITY MICROFILMS. TABLE OF CONTENTS Page ACKNOWLEDGMENTS I i VITA ...................................... H i TABLE OF CONTENTS ......................... iv ABBREVIATIONS ...................... v INTRODUCTION ............. 1 Chapter I. THE ORIGINS OF THE PARTS OF THE ORDINARY OF THE I/ASS........... 3 II. THE DEVELOPMENT OF THE MASS ORDINARY AS A VEHICLE OF LITURGICAL AND ARTISTIC EXPRESSION WITH AN EXAM­ INATION OF SEVERAL LASSES OF DIFFERENT HISTORICAL PERIODS WITH REGARD TO TEXTUAL TREATMENT . 28 III. AN ANALYSIS OF THE SINFONIA LITURGICA 67 APPENDIX .................................. 106 BIBLIOGRAPHY 116 ACKMCWLEDGIENTS Thanks are due those who have assisted me in tho preparation of this dissertation. First to be thanked are my advisor, Dr* Marshall Barnes and Drs. Norman Pholps and Keith Hixter who helped to organize this work and whose helpful suggestions enhanced readability and coherence. Second, thanks are due the authors and composers whom I have cited in the course of this opus. Third aro acknowledged the following publishers: Benziger Bros., New York; B. Herder, St. Louis, Harvard University Press, Cambridge, I-Iass.j University of Notre Dame Press, South Bend, Indiana; Indiana University Press, Bloomington, Ind.; Oxford University Press, London; and Boosey and llawkes, Ltd., Toronto. Fourth, thanks arc due my wife and family— rry wife for typing the final draft and my family for bearing inconvenience during tho final frantic weeks of assemblage. Above all, thanks aro due to Almighty God who gave me tho idea in the first place and who gave everyone concerned with this dissertation the strength and patience to see it through to completion. VITA February 2f>, .... Born - Cleveland, Ohio 1963................... B.M. Theory, The Cleveland Institute of Music, Cleveland, Ohio 19&U................... B.M* Piano, The Cleveland Institute of Music, Cleveland, Ohio 1966................... M.M. The Eastman School of Music, Rochester, II. Y. 1968-1969 ............. Teaching Associate, The Ohio State University, Columbus, Ohio 1969-1970 ............. Title IV 1IDEA Scholar, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Musical Composition Studies in Composition. Professors Marshall Barnes and Herbert Brucn Studies in Theory and Musicology. Professors llorman Phelps, Keith Hixter, Richard Hoppin and B. William Poland iii LIST OF ABBREVIATIONS Apel GC-Willi Apel Gregorian Chant DPL-Documenta Polyphoniae Liturgicae ESW-Eranz Schubert’s Werke IIiYH-Historical Anthology of Music JHW-Joseph Haydn's Werke Jungmann EL-Josef Jungmann, S. J.} The Early Liturgy Jungmann HRR-Josef Jungmann, S. J., Tho Mass of the Roman Rite LV-Liber Usualis Parsch TUI-Pius Parsch, S. J., The Liturgy of The Mass Wagner GdH-Peter Wagner, Geschichte der Messe C.-Composer Ed.-Editor introduction The terra Mass has been the subject of scholarly debate, and no one appears to know for certain what the actual meaning of the word was. The conclusion that a majority of scholars have reached is that of the author of the definition of the term in Webster's New International Dictionary. A pertinent excerpt reads as follows: The eucharistic rite of the Latin church; the sequence of prayers and ceremonies constituting the commemorative sacrifice of the Body and Blood of Christ under the appearances of bread and wine...^ The author of the definition then lists the order of the Mas3 , both Ordinary and Proper. There is a second definition of Hass vihich reads as follows: The setting of certain portions of the Mass con­ sidered as a musical composition which, usually, includes the Kyrie, Gloria (including the Gratias agimus, Qui tollis, Quoniam, Cum Sancto Spiritu), Credo (including the Et incarnatU3, Crucifixus, Et resurrexit), Sanctus (with Hosanna) Bene- dictus (also witli Hosanna), and the Agnus' l)ei...2 The Oxford English Dictionary gives the following data concerning the ecclesiastical meaning and use of the term: 1 Webster's Hew International Dictionary, (Second ed.) Springfield MassachusettsV Hcrriam-Smith, 19$7) p.l^lO. 2 Ibid. 1 2 It is now generally agreed that the L fatinj missa is a verbal substantive...from L{atiriJ mittere (pa, pple.) missus to send, send away, dismiss,... In the early centuries it had the general sense of 'religious service,'...although in an eminent sense, it always denoted the Eucharist. The origin of the liturgical application has been much disputed. Isidore (d. 6 3 6 ) conjectured that the original reference was to the dismissal of the catechumens which was the preliminary to the eucharistic service. This explanation is not favoured by mo d e m scholars who consider the wider sense 'religious service* is more likely than the narrower sense to be the original. Seme think that missa at first denoted the solemn dismissoiy formula at' the end of the service, Ite, missa est, and hence came to be applied to the service-it­ self. Others...have suggested, on confessedly slender and doubtful evidence, that missa in sec­ ular use had some such sense as 'commission,1 * official duty,* and was therefore adopted as the rendering of Greek Leitourgia (See LITURGX), which had primarily a similar meaning, but in ecclesiastical language was used for 'religious service* and specifically for the Eucharist. Several other theories have been proposed, but none of them has gained wide acceptance among scholar s. 3 The definition as applied to music is virtually the same; A musical setting of those parts of the Mass which are usually sung, viz. the Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus.i; This paper will not deal with special Hasses such as that which is performed on Holy Saturday or the Mass for the Dead, but will con­ cern itself with the usual High Mass as done in seasons when all five parts of •the Ordinary are performed. 3 "Mass" in The Oxford English Dictionary VI, (Oxfords Clarendon Press, 1233) p.20'£. 1{ Ibid., p. 206. CmPTER I THE ORIGINS CF THE PARTS OF THE ORDIHftRY OF THE KfcSS There seem to have been two different opinions of tho origin of the Kyrie eleison. The one says that the Kyrie is a vestige of the period when the Mass was celebrated in Rome using the Greek language. The Latin language supplanted it around 300 A. D. This is evidently a viewpoint that Peter Wagner has espoused in his book Geschichte der Hosse^-when he discusses the Kyrie. The other opinion is that the Kyrie is of Eastern origin and cites as an authority the written account of the pilgrim Etheria, or Aetheria, dated about 390. ...The Gallician pilgrim lady Aetheria tells us about 390 how at Jerusalom at the end of Vespers one of the deacons read a list of petitions and as he spoke each c£ the names, a crowd of boys stood and answered each time Kyrie eleison... Aetheria gives us the transcription eleison instead of the eleeson we might have e x p e c t e d . 2 There is further documentation from Antioch: From Antioch at about the very same time there comes to us...the explicit rubric..."At each of these petitions which the deacon pronounces, the people shall say Kyrie eloson (Greek lettering) especially the children73 1 Peter Wagner, Geschichte der Hesse I (Leipzig: Broitkopf & Ilaertel, 1913), 6. 2 Josef Jungmann, The Hass of the Raman Rite, translated by Francis Brunner, 1 (i.ew York: Rcnziger Bros., c195£.), 33lw 3 Ibid. 3 Jungmann rejects the first proposition (See Jungmann, The Early Liturgy pp. 293)* The Kyrie eleison, then originated as a response to petitions to Almighty God. Further elucidation and corroboration is to be found in the following citation: The deacon announced the intention briefly and succinctly, and the congregation expressed the peti­ tion with their Kyrie Eleison. Tlius was built up a popular form of prayer which is still familiar to us under the title of a Litany.... Pope Gelasius I (d. 1*96) introduced the Litany into the Fore-Hass to replace the older prayors of petition inserting it at the beginning of the service of. the Word of God, rather than in the former place of the peti­ tions at the beginning of the Sacrifice...* On only two days of the year was the whole Litany retained: on Holv Saturday and on the Saturday before Whit- Sunday, h Tho Kyrie was also used in the Hozarabic rite. The manner of per­ formance was to have three boys sing Kyrie Eleison and then to havo the choir repeat it.£ An example follows: .-!«-!-son (ii}> Orftft k Pius Parsch, The Liturgy of the Hass, 3rd edition, translated and adapted by H.~E7 Wins tone, (London and St. Louis: Herder, ^1951), P* 79• 5 Higini Angles, "Latin Chant before St. Gregory" in New Oxford History of Wusic, revised edition, edited by* bom Anselm Hughes, '(London: Oxford University Press, 91955), 76. » . « » Ij Ckri- ste fl05f<‘i| GflA4-$te ©e "Am rfe c0&-[ii Hp*u} Note the simplicity and narrow range. It is from post-Gregorlan times if Wagner is correct in this statement. The insertion of the Christe eleison is ono of the changes of Pope Gregory Ij the repeat of the Kyrie eleison after the Christe, then, makes possiblo an aesthetically effective structure as a relation to the Holy Trinity. As were the psalmodic pieces of the Mass, the singing of tho Kyrie eleison was originally adapted in its expansion to the necessity of liturgical practice.