An Analytical, Rehearsal, and Performance Guide to Ad majorem Dei gloriam by Benjamin Britten A document submitted to the CCM Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in Choral Conducting, Division of Ensembles and Conducting of the College-Conservatory of Music July 2013 by Kenneth G. Tice B.M., East Carolina University, 2003 M.M., University of Houston, 2010 Committee Chair: L. Brett Scott, D.M.A. ABSTRACT This document is a study of Ad majorem Dei gloriam (A.M.D.G.) by Benjamin Britten. It includes a motivic analysis, rehearsal preparation guide, and performance suggestions. Published posthumously in 1989, A.M.D.G. is still relatively new to many conductors, singers, and audiences. This document will serve to give a more complete picture of the work than exists in published scholarship. As more of Benjamin Britten’s previously unpublished music is catalogued and published, this rehearsal guide will not only highlight A.M.D.G., but also add to the general understanding and scholarship of the choral music output of Benjamin Britten. iii Copyright © 2013 Kenneth G. Tice All rights reserved iv To my wife, Jessica, for her constant love and support. v ACKNOWLEDGEMENTS I would like to thank Dr. Brett Scott, Dr. Earl Rivers, and Dr. Elmer Thomas for their guidance and instruction during my time at the University of Cincinnati College- Conservatory of Music. Each has given me a different perspective from which to consider choral music, from its creation, to preparation, to performance. Their insights helped me to realize what a gem Ad majorem Dei Gloriam is in the choral repertoire, and gave me the desire to promote it through this document. I would like to thank Dr. Charles Hausmann and Dr. Betsey Cook Weber at the University of Houston for their influence of score study, rehearsal technique, and concert programming. I wish to express my appreciation to Dr. Daniel Bara who inspired so many of us during his tenure at East Carolina University by showing us how diverse and wonderful the choral art really is, and his influence on the conducting technique of so many of his students. I would also like to thank Kevin Riehle and Cantare Houston for exposing me to this wonderful work. I wish to express my heartfelt love and appreciation to my parents, Timothy and Jackie Tice, for their encouragement of music in my life growing up, and supporting me in my career and education. I wish to express thanks and appreciation to the rest of my family and friends who where there for me with support over the years in pursuit of my career in music and conducting. Finally, to my wonderful wife Jessica, without whose encouragement this would not have been possible, I give my deepest love and devotion. Her love and support for me made it possible for me to pursue my graduate education, and for that I am forever grateful. These last few years have provided wonders and challenges that we will remember and cherish for the rest of our lives. vi CONTENTS ABSTRACT ...................................................................................................................... iii ACKNOWLEDGEMENTS .............................................................................................. vi LIST OF TABLES ............................................................................................................ ix LIST OF FIGURES ............................................................................................................x CHAPTERS 1 INTRODUCTION .......................................................................................................1 Why A.M.D.G. .............................................................................................................2 2 BENJAMIN BRITTEN ...............................................................................................4 The Early Years ...........................................................................................................4 Royal College of Music ...............................................................................................6 After the Royal College ...............................................................................................7 America ..................................................................................................................... 10 A.M.D.G. .................................................................................................................... 13 The Loss of the Manuscript ....................................................................................... 15 Leaving America ....................................................................................................... 16 3 GERARD MANLEY HOPKINS: BIOGRAPHY AND RELATION TO BRITTEN The Early Years ......................................................................................................... 18 The Jesuit Order ........................................................................................................ 19 The Priesthood ........................................................................................................... 21 With Consideration to Britten ................................................................................... 22 4 AD MAJOREM DEI GLORIAM ............................................................................. 24 Premiere of the Withdrawn Work ............................................................................. 25 5 MOTIVIC ANALYSIS AND REHEARSAL GUIDE .............................................. 26 “Prayer I” ................................................................................................................... 28 Preparation ......................................................................................................... 30 “Rosa Mystica” .......................................................................................................... 34 Preparation ......................................................................................................... 44 “God’s Grandeur” ...................................................................................................... 47 Preparation ......................................................................................................... 56 “Prayer II” ................................................................................................................. 58 vii Preparation ......................................................................................................... 66 “O Deus, ego amo te” ................................................................................................ 67 Preparation ......................................................................................................... 71 “The Soldier” ............................................................................................................. 74 Preparation ......................................................................................................... 80 “Heaven-Haven” ........................................................................................................ 81 Preparation ......................................................................................................... 84 6 Conclusion ................................................................................................................. 87 Preferred Performance Order .................................................................................... 90 APPENDICES A DISCOGRAPHY ....................................................................................................... 92 BIBLIOGRAPHY ............................................................................................................. 93 viii LIST OF TABLES Table 2-1 Form of “Rosa Mystica” ....................................................................... 44 Table 3-1 Form/Starting Motives of “God’s Grandeur” ........................................ 51 Table 8-1 A.M.D.G. Folio Order ............................................................................ 87 Table 8-2 A.M.D.G. Premiere Order ...................................................................... 89 Table 8-3 A.M.D.G. Tonal Centers ........................................................................ 90 ix LIST OF FIGURES Figure 1-1 “Prayer I” mm. 1-4, soprano line .......................................................... 29 Figure 1-2 “Prayer I” mm. 16-17 ............................................................................ 30 Figure 1-3 Fourths Exercise .................................................................................... 31 Figure 1-4 Modal Scales Exercise .......................................................................... 32 Figure 1-5 Triadic Progressions Exercise ............................................................... 33 Figure 2-1 “Rosa Mystica” mm. 1-4 ....................................................................... 36 Figure 2-2 “Rosa Mystica” mm. 9-14 ..................................................................... 36 Figure 2-3 “Rosa Mystica” mm. 18-28 ................................................................... 37 Figure 2-4 “Rosa Mystica” mm. 56-65 ................................................................... 38 Figure 2-5 “Rosa Mystica” mm. 82-89 ................................................................... 39 Figure 2-6 “Rosa Mystica”