Date of Award

1999

Document Type

Dissertation

Degree Name

Doctor of Musical Arts (DMA)

Department

Music

First Advisor

William Kenneth Fulton

Abstract

Heinrich Herzogenberg was born into nobility in Graz, Austria, on June 10, 1843. He began studying music at the University of Vienna in 1862, and at the home of one of his teachers, Herzogenberg was often in the company of Brahms. In the years that followed, Herzogenberg and his wife Elisabet became close friends of Brahms and actively promoted his music. Through this close association with Brahms, Herzogenberg's compositional style was greatly influenced. Herzogenberg studied harmony and counterpoint with Simon Sechter, and in 1875, along with others, founded the Leipzig Bachverein (Leipzig Bach Society). This association with the Bach Society and the studies with Sechter encouraged Herzogenberg's interest in contrapuntal music. After the death of Herzogenberg's wife in 1892, his music was influenced by the theologian and church musician Friedrich Spitta. Among the suggestions Friedrich Spitta gave to Herzogenberg were ideas for ten "biblical scenes." Herzogenberg completed settings of two of the ten scenes, entitled Zwei biblische Scenen. This work was published posthumously in 1903 as opus 109 after Friedrich Spitta brought the work to the attention of publisher J. Rieter-Biedermann. The first biblical scene, entitled "Der Seesturm" (The Sea Storm), is scored for tenor and baritone soloists, mixed chorus, violins, cellos, basses, and organ. The second, "Das kananaische Weib" (The Canaanite Woman), is written for soprano and baritone soloists, men's chorus, and organ. This document consists of four chapters. The first considers the life of Herzogenberg, including the relationship and influence of Johannes Brahms and Friedrich Spitta. Chapter two surveys the historical context of Zwei biblische Scenen, including discussions concerning the church music reformation movements of the Prussian Revival of the Lutheran Church and the Cecilian Movement of the Catholic Church. The third chapter includes an examination of the texts of Zwei biblische Scenen. Chapter four discusses observations on the music and performance considerations of Zwei biblische Scenen. A score of the music, edited and transcribed from a microfilm of the autograph score and the first published score, is provided with this document.

ISBN

9780599548572

Pages

217

DOI

10.31390/gradschool_disstheses.7036

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