The late choral works of Heinrich von Herzogenberg and their relationship to the heritage of specific choral genres
Demaree, Robert Kyso
This item is only available for download by members of the University of Illinois community. Students, faculty, and staff at the U of I may log in with your NetID and password to view the item. If you are trying to access an Illinois-restricted dissertation or thesis, you can request a copy through your library's Inter-Library Loan office or purchase a copy directly from ProQuest.
Permalink
https://hdl.handle.net/2142/23092
Description
Title
The late choral works of Heinrich von Herzogenberg and their relationship to the heritage of specific choral genres
Author(s)
Demaree, Robert Kyso
Issue Date
1996
Doctoral Committee Chair(s)
Alwes, Chester L.
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
D.M.A.
Degree Level
Dissertation
Keyword(s)
Biography
Music
Language
eng
Abstract
The late 19th century composer and scholar Heinrich von Herzogenberg, was, along with Philipp Spitta, one of the founders of the Leipzig Bach-Verein. Herzogenberg's interest in the music of the Baroque, most notably that of Bach, carried over into his own compositions. The influence of Johannes Brahms, a friend of Herzogenberg's, is also apparent.
In the last decade of his life, Herzogenberg turned to the composition of major sacred choral works. Five of these works belong to significant choral genres. The first of these, the Requiem, op. 72, was written in 1890. Less than two years later, Herzogenberg's wife Elisabeth, an outstanding musician in her own right, died unexpectedly. This event led Herzogenberg to compose a German requiem, the Todtenfeier, op. 80. In 1894, Herzogenberg composed the Mass in E minor, op. 87. Soon after completion of the mass, and at the urging of Friedrich Spitta, Herzogenberg produced two large Protestant oratorios, a Christmas work entitled Die Geburt Christi, op. 90, and Die Passion, op. 93, based on the Gospel according to St. John.
Each of these works follows compositional traditions related to the genres involved, and works by Bach and Brahms can be seen as primary influences on the works. This thesis examines each of these five late works with particular attention given to compositional procedures which are related to works of the same genre which preceded them. Stylistic features common among these works are detailed and historical information surrounding the genesis of each is given.
Use this login method if you
don't
have an
@illinois.edu
email address.
(Oops, I do have one)
IDEALS migrated to a new platform on June 23, 2022. If you created
your account prior to this date, you will have to reset your password
using the forgot-password link below.
