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Title
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THE VIENNESE CONCERTED MASS OF THE EARLY CLASSIC PERIOD: HISTORY, ANALYSIS, AND THEMATIC CATALOGUE.
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Identifier
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AAI8409408
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identifier
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8409408
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Creator
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MAC INTYRE, BRUCE CAMPBELL.
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Contributor
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Barry S. Brook
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Date
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1984
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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Illuminating a neglected but significant background for the well-known Masses of Haydn and Mozart, this study surveys the styles and traditions of concerted Masses in Vienna between 1741 (Fux's death) and 1783 (Joseph II's cutbacks which negatively affected church music). The initial two chapters discuss the significant role of church music in the musical life of Vienna (with over 40 houses of worship employing musicians), the general economic conditions of church music, the multifaceted duties of a regens chori, the meaning and liturgical requirements of Mass, the church year in Vienna, and the changing concept of "church" style.;A biographical chapter introduces 28 diverse composers (including Albrechtsberger, Bonno, Gsur, Hasse, Holzbauer, Krottendorfer, Mart(')inez, Monn, Predieri, Reutter, F. Schmidt, Tuma, and Wagenseil) who contributed to the Mass repertoire in Vienna.;Two chapters summarize the characteristic instrumentations, performance practices, forms, and styles of 72 datable Masses selected as a representative sample for the 28 composers. The final five chapters present comparative analyses of how each part of the Ordinary was treated. Particular attention is given to common relationships between music and text, harmonic and formal plans, and deployment of the soloists, chorus, and orchestra. Points are illustrated by 115 musical examples from heretofore unpublished Masses and by 69 charts.;Six appendixes include liturgical calendars, a list of local choir directors, a thematic catalogue raisonne for the 72 Masses, and modern scores of two complete Masses: Ferdinand Arbesser's Missa Nubes pluant justum in B-flat (missa brevis) and Florian Gassmann's St. Cecilia Mass in C (missa longa; Kosch no. 4).;Several magnificent Masses (e.g., by Dittersdorf, Gassmann, Hofmann, Sonnleithner, and Vanhal) show the church music of this period to be less in decline than previously thought. Despite sacred music's generally conservative nature, by the 1770's a younger generation of composers was producing Masses with increased tonal unity, fewer movements (along with other brevis traits), greater variety in meter, fewer independent solo movements, more concertante use of the oboe, viola, and 'cello, and the formal characteristics of newly evolving contemporary instrumental genres.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Music
