Close
About
FAQ
Home
Collections
Login
USC Login
Register
0
Selected
Invert selection
Deselect all
Deselect all
Click here to refresh results
Click here to refresh results
USC
/
Digital Library
/
University of Southern California Dissertations and Theses
/
A conductor’s guide to the original organ version of Antonín Dvořák’s Mass in D major, opus 86, including a critical comparison of the published editions
(USC Thesis Other)
A conductor’s guide to the original organ version of Antonín Dvořák’s Mass in D major, opus 86, including a critical comparison of the published editions
PDF
Download
Share
Open document
Flip pages
Contact Us
Contact Us
Copy asset link
Request this asset
Transcript (if available)
Content
A CONDUCTOR’S GUIDE TO THE ORIGINAL ORGAN VERSION OF ANTONÍN
DVOŘÁK’S MASS IN D MAJOR, OPUS 86, INCLUDING A CRITICAL
COMPARISON OF THE PUBLISHED EDITIONS
by
Audrey Siaw Yng Chung
_________________________________________________________
A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(CHORAL MUSIC)
AUGUST 2016
Copyright 2016 Audrey Siaw Yng Chung
ii
DEDICATION
For my parents and family.
iii
ACKNOWLEDGEMENTS
First of all, I would like to express my sincere gratitude to my dissertation
advisor, Professor Dr. Nick Strimple, for his guidance, inspiration and immense
knowledge. Thanks for his encouragement to travel to Prague in Czech Republic to
deepen my research. I would also like to offer my sincere thankfulness to my dissertation
committee, Professor Dr. Cristian Grases and Professor Dr. Tram Sparks, for their
insightful comments, unceasing support and outstanding guidance. My sincere thanks to
all the Professors at USC, especially Dr. Jo Michael Scheibe (Chair of USC Choral and
Sacred Music Department) and Professor Larry Livingston, for their teaching and their
inspiration to be a better musician. Special thanks to my former Professors, Dr. William
Dehning and Dr. Megan Solomon, for their excellent guidance, teaching and
encouragement at the beginning of my journey at USC.
Furthermore, particularly on research in Prague, it would not be possible without
the professional, exceptional and friendly guidance of leading Dvořák scholars. I would
like to express my heartfelt gratitude to PhDr. Markéta Hallová, PhDr. Jan Kachlík and
Dr. David R. Beveridge, who provided me with many insightful and eye-opening
experiences in Prague. Thanks particularly to Dr. David R. Beveridge for sharing his
latest research and his help in translating important documents from Czech to English.
Thanks for his dedication and commitment to music, and particularly to the music of
Antonín Dvořák. A special thanks also to Kateřina Nová and her colleagues from České
Muzeum Hudby-Muzeum Antonína Dvořáka (Antonín Dvořák Museum), who granted
me access to various scores, including the insightful study of the original autograph.
Moreover, I would like to extend my gratitude to Mr. Antonín Dvořák III, Dvořák’s
iv
family, The Hlávka Foundation, conductors Haig Utidjian and Adam Viktora for their
insight, hospitality and tremendous support during my visit in Prague.
In addition, I would like to thank my mentors, teachers in Singapore Bible
College, pastors and church friends in Singapore and Los Angeles for their unwavering
support and unending love. My deepest gratitude goes to my parents and my family
members for supporting me throughout the years. Without my family’s constant’s
support, enduring love, encouragement and understanding, it would not have been
possible for me to achieve my educational goals. You are all my inspiration and
motivation for everything. I love you all from the bottom of my heart.
Last but not least, I would like to thank the Almighty God for all the blessing that
He has given me, including the opportunity to finish this study. I would also like to thank
God for all the special people that surround me. Thank You, Lord, for all You have done
for me. To God Be the Glory!
v
TABLE OF CONTENTS
Dedication ii
Acknowledgements iii
List of Musical Examples vii
List of Tables x
Abstract xi
Chapter 1. Introduction 1
Reasons for the Study 2
Chapter 2: A Brief Background of Dvořák 4
Humble Beginnings 5
From Dance Band to National Theatre 7
Dvořák’s Journey as a Composer 8
Dvořák’s Religious Belief and His Sacred Works 10
Summary 14
Chapter 3: Historical Background of Mass in D 15
The Original Organ Version 15
Dvořák Dedication for Mass in D 15
Josef Hlávka and His Relationship to Dvořák 17
Invitation to Write Mass in D 18
The Lužany Chapel and the Performing Environment 20
The Performance Forces at the Consecration of Lužany Chapel (1887) 21
The First Public Performance in Plzeň (1888) 22
The Orchestra Version and Its First Performance 23
The Rudolfinum Version of Mass in D and Its First Performance 27
Summary 29
Chapter 4: Comparison Between Original Manuscripts and Published Editions 31
The Published Editions of Mass in D 31
Comparison Between the Original Manuscript and the Four
Published Versions 34
Summary 79
Chapter 5: Overall Characteristics and Musical Aspects of Mass in D 84
The Characteristics of the Mass 84
The Structures of the Mass 85
Text as a Key Part of the Mass 90
The Tonality of the Mass and Similarity with Beethoven’s Missa Solemnis 95
vi
A Brief Analysis of the Organ Version of the Mass 97
Movement I – Kyrie 97
Movement II – Gloria 105
Movement III – Credo 109
Movement IV – Sanctus 120
Movement V – Benedictus 124
Movement VI – Agnus Dei 126
Chapter 6: Performance Considerations for Amateur Choir 133
Teaching Non-Native Amateur Singers Singing in Latin 133
Connections Between Movements 141
Dvořák’s Tempo Markings and the Conductor’s Decision 142
The Highest and Lowest Notes of Each Voice in Each Movement 144
Movement I – Kyrie 145
Movement II – Gloria 146
Movement III – Credo 146
Movement IV – Sanctus 147
Movement V – Benedictus 148
Movement VI – Agnus Dei 149
Phrasing and Staggered Breath 150
Conducting Considerations 157
Movement I – Kyrie 158
Movement II – Gloria 159
Movement III – Credo 160
Movement IV – Sanctus 162
Movement V – Benedictus 163
Movement VI – Agnus Dei 163
Other Considerations 163
Recommended Teaching Procedure for Fugal Sections 163
Additional Performance Considerations 164
Choices of Editions 166
Chapter 7: Conclusion 167
Bibliography 169
Appendices 174
Appendix A: Complete List of Choral, Opera and Vocal Works 174
Appendix B: Photos Provided and Taken by the Author 177
vii
LIST OF MUSICAL EXAMPLES
Examples
Example 4.1 Dvořák’s Autograph – “Gloria,” mm. 90-94 35
Example 4.2 1893 Novello First Edition – “Gloria,” mm. 90-94 36
Example 4.3 1893 Novello 2nd Edition – “Gloria,” mm. 90-94 37
Example 4.4 Critical Edition (1970 Suprahon) – “Gloria,” mm. 90-94 38
Example 4.5 1978 Carus Organ Edition – “Gloria,” mm. 90-94 39
Example 4.6 Dvořák’s Autograph – “Gloria,” mm.94-97 40
Example 4.7 1893 Novello First Edition – “Gloria,” mm. 94-97 41
Example 4.8 1893 Novello 2nd Edition – “Gloria,” mm. 94-97 42
Example 4.9 Critical Edition (1970 Suprahon) – “Gloria,” mm. 94-97 43
Example 4.10 1978 Carus Organ Edition – “Gloria,” mm. 94-97 44
Example 4.11 Dvořák’s Autograph – “Credo,” mm. 5-8 45
Example 4.12 1893 Novello First Edition – “Credo,” mm. 5-8 46
Example 4.13 1893 Novello 2nd Edition – “Credo,” mm. 5-8 47
Example 4.14 Critical Edition (1970 Suprahon) – “Credo,” mm. 5-8 48
Example 4.15 1978 Carus Organ Edition – “Credo,” mm. 5-8 49
Example 4.16 Dvořák’s Autograph – “Credo,” mm. 24-30 50
Example 4.17 1893 Novello First Edition – “Credo,” mm. 24-30 51
Example 4.18 1893 Novello 2nd Edition – “Credo,” mm. 24-30 52
Example 4.19 Critical Edition (1970 Suprahon) – “Credo,” mm. 24-30 53
Example 4.20 1978 Carus Organ Edition – “Credo,” mm. 24-30 54
Example 4.21 Dvořák’s Autograph – “Credo,” mm. 98-100 55
viii
Example 4.22 1893 Novello First Edition – “Credo,” mm. 98-100 56
Example 4.23 1893 Novello 2nd Edition – “Credo,” mm. 98-100 57
Example 4.24 Critical Edition (1970 Suprahon) – “Credo,” mm. 98-100 58
Example 4.25 1978 Carus Organ Edition – “Credo,” mm. 98-100 59
Example 4.26 Dvořák’s Autograph – “Credo,” mm. 119-68 60
Example 4.27 1893 Novello First Edition – “Credo,” mm. 119-68 60
Example 4.28 1893 Novello 2nd Edition – “Credo,” mm. 119-68 61
Example 4.29 Critical Edition (1970 Suprahon) – “Credo,” mm. 119-68 61
Example 4.30 1978 Carus Organ Edition – “Credo,” mm. 119-68 62
Example 4.31 Dvořák’s Autograph – “Credo,” mm. 328-35 63
Example 4.32 1893 Novello First Edition – “Credo,” mm. 328-35 64
Example 4.33 1893 Novello 2nd Edition – “Credo,” mm. 328-35 65
Example 4.34 Critical Edition (1970 Suprahon) – “Credo,” mm. 328-35 66
Example 4.35 1978 Carus Organ Edition – “Credo,” mm. 328-35 67
Example 4.36 Dvořák’s Autograph – “Credo,” mm. 412-20 68
Example 4.37 1893 Novello First Edition – “Credo,” mm. 412-20 69
Example 4.38 1893 Novello 2nd Edition – “Credo,” mm. 412-20 70
Example 4.39 Critical Edition (1970 Suprahon) – “Credo,” mm. 412-20 71
Example 4.40 1978 Carus Organ Edition – “Credo,” mm. 412-20 72
Example 4.41 Dvořák’s Autograph – “Sanctus,” mm. 85-92 73
Example 4.42 1893 Novello First Edition – “Sanctus,” mm. 85-92 74
Example 4.43 1893 Novello 2nd Edition – “Sanctus,” mm. 85-92 75
Example 4.44 Critical Edition (1970 Suprahon) – “Sanctus,” mm. 85-92 76
ix
Example 4.45 1978 Carus Organ Edition – “Sanctus,” mm. 85-92 77
Example 5.1 1978 Carus Organ Edition – “Christe eleison,” mm. 59-68 87
Example 5.2 1978 Carus Organ Edition – “Pacem,” mm. 65-68 88
Example 5.3 (a) 1978 Carus Organ Edition – “Tristan Chord,” mm. 219 89
(b) Richard Wagner – “Tristan Chord,” mm. 2 89
Example 5.4 1978 Carus Organ Edition – “Kyrie,” mm. 116-18 91
Example 5.5 Critical Edition (1970 Suprahon) – “Benedictus,” mm. 1-40 92
Example 5.6 1978 Carus Organ Edition – “Kyrie,” mm. 96-107 99
Example 5.7 1978 Carus Organ Edition – “Kyrie,” mm. 3-4 100
Example 5.8 1978 Carus Organ Edition – “Kyrie,” mm. 81-85 102
Example 5.9 1978 Carus Organ Edition – “Kyrie,” mm. 112-14 104
Example 5.10 1978 Carus Organ Edition – “Gloria,” mm. 1-5 106
Example 5.11 1978 Carus Organ Edition – “Gloria,” mm. 63-66 108
Example 5.12 1978 Carus Organ Edition – “Gloria,” mm. 166-69 109
Example 5.13 1978 Carus Organ Edition – “Credo,” mm. 1-16 112
Example 5.14 1978 Carus Organ Edition – “Credo,” mm. 57-64 113
Example 5.15 1978 Carus Organ Edition – “Credo,” mm. 183-202 115
Example 5.16 1978 Carus Organ Edition – “Credo,” mm. 219-24 116
Example 5.17 1978 Carus Organ Edition – “Credo,” mm. 229-41 119
Example 5.18 1978 Carus Organ Edition – “Sanctus,” mm. 1-17 123
Example 5.19 1978 Carus Organ Edition – “Agnus Dei,” mm. 33-39 128
Example 5.20 1978 Carus Organ Edition – “Agnus Dei,” mm. 51-56 130
Example 5.21 1978 Carus Organ Edition – “Agnus Dei,” mm. 57-68 132
x
LIST OF TABLES
Tables
Table 1 Historical Timeline and Premiere Performances of Mass in D 30
Table 2 The Published Editions of Mass in D 31
Table 3 The Four Published Editions of Mass in D Used for Comparison 33
Table 4 The Development of Mass in D 79
Table 5 The Overall Structure of the Mass 85
Table 6 Tonality of Dvořák’s Mass in D and Beethoven’s Missa Solemnis 97
Table 7 Overall Form of Mass in D Movement I – “Kyrie” 98
Table 8 Overall Form of Mass in D Movement II – “Gloria” 105
Table 9 Overall Form of Mass in D Movement III – “Credo” 110
Table 10 Overall Form of Mass in D Movement IV – “Sanctus” 121
Table 11 Overall Form of Mass in D Movement V – “Benedictus” 125
Table 12 Overall Form of Mass in D Movement VI – “Agnus Dei” 126
Table 13 Latin Text with Agogic Accent, IPA and English Translation 134
Table 14 Tempo Markings of Dvořák’s Original Manuscript on the Organ and 143
Orchestra Versions
Table 15 Tempo Suggested by the Inegal Ensemble of Prague and the Author 143
Table 16 Vocal Ranges for Different Singing Parts 145
Table 17 Movement-by-Movement Phrase & Staggered Breath Diagrams 151
xi
ABSTRACT
Antonín Dvořák (1841–1904) is one of the greatest Czech composers in the 19th
century, writing prolifically for symphonies, chamber music, vocal music, opera and
sacred choral works. His Mass in D Major, Opus 86, is the only known mass that exists
in Dvořák's compositions. Today the work is seldom performed, particularly outside of
Europe, and few resources exist to provide reflection or analysis. Thus, this dissertation
examines how Dvořák’s Mass was written for an amateur choir, with specific
consideration given to its technical difficulties and challenges.
The study commences with an introduction on the author’s reason for the study.
The second chapter includes a biographical outline of Dvořák, with special attention to
his scared choral works and his religious faith. The third chapter provides the historical
background of Mass in D including Dvořák relationship with the Josef Hlávka family, the
original performance environment and the reviews of its premiers. The fourth chapter
provides a summary of the eleven published versions and a comparison between some of
the key versions with the original manuscripts as this information may help conductors to
choose the right version and understand its differences. A list of the eleven published
versions of Mass in D with publisher, editor and reference number is included in this
chapter for easy reference. The fifth chapter offers further insight into the Mass with
highlights on its overall characteristics, its tonality and similarity to Beethoven’s Missa
Solemnis, and a brief analysis of the organ version. The sixth chapter addresses
important points around interpretive decisions and conducting considerations for
conductors of amateur choirs on the work. This dissertation provides a basic outline and
analysis for those who wish to perform Mass in D, particularly with an amateur choir.
1
Chapter 1
Introduction
“Dvořák has his roots in the life of the Czech countryside. He has a complete command
of the craft-technique of his time and even goes beyond it (here I am thinking of Brahms),
but he fills the form with the spirit of his country and that is what, in my opinion, made
Antonin Dvořák a world figure in music.”
1
--Václav Talich, Czech conductor
“Brahms upheld a great tradition; Dvořák created one.”
2
Born into a humble family in Bohemia, Antonín Dvořák (1841-1904) rose to fame
as one of greatest composers of the nineteenth century. Among all Czech artists in
history, Dvořák is also the best-known outside of his home country. Dvořák’s musical
style has been described as “the fullest recreation of a national idiom with that of the
symphonic tradition, absorbing folk influences and finding effective ways of using them.”
3
He composed a wide range of music, and his symphonies, chamber music, vocal music,
operas, and choral works are popular locally and internationally. However, the Mass in
D Major, Opus 86 (Dvořák’s only mass) is seldom performed, particularly outside of
Europe, and few resources exist to provide reflection or analysis. Thus, this dissertation
examines how Dvořák’s Mass was written for an amateur choir and gives specific
consideration to its technical difficulties and challenges.
1
Otakar Šourek, Antonin Dvořák: Letters and Reminiscences, trans. Roberta Finlayson Samsour
(New York: Da Capo Press, 1985), 16.
2
David Hurwitz, “Dvořák: Romantic Music’s Versatile Genius,” Opera Journal 39, no. 3
(September 2006), 73.
3
John Clapham, “Dvorřák, Antonín (Leopold),” The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie (London: MacMillan, 1995), v: 765.
2
Reasons for the Study
As part of this research, the author visited Prague in September and October 2015
in order to gain a deeper insight into the historical background and context of Dvořák’s
Mass in D. During this time, the author was given a rare opportunity to visit Dvořák’s
residence at Vysoká, where he composed the piece, and the Lužany chapel where the
piece was first performed and conducted by Dvořák. Furthermore, the author conducted
interviews with leading Dvořák scholars and musicologists, including Dr. David R.
Beveridge, PhDr. Jan Kachlík, and PhDr. Markéta Hallová, as well as conductors Haig
Utidjian and Adam Viktora. The author also interviewed Mr. Antonín Dvořák III
(Dvořák’s grandson and son of Otakar Dvořák) at Rudolfinum Concert Hall. They
provided the author with first-hand information, fresh insights and new discoveries. This
study will incorporate this information and insights in order to provide a comprehensive
background of the Mass in D for the benefit of conductors and musicians studying the
Mass.
More importantly, the author learned of the existence of a third original version of
Mass in D through conversation with Dr. David R. Beveridge. This version was written
in 1887 for organ, cellos and double basses as the accompaniment for a performance at
Rudolfinum in March of 1889. This version of the Mass is only now being prepared for
publication. Based on this, the author further investigated the development of the Mass
in D across the eleven versions that have been published over the past 109 years. A
detailed comparison of these with the original manuscripts shows that each published
edition varies from the original manuscripts in terms of text, tempo, and other details. In
order to draw new insights and provide more understanding of the differences, the author
3
provides a brief analysis of the original manuscripts of the original versions of Mass in D
and four published editions. This comprehensive list and analysis will provide an
important source of information to understand the historical development of this Mass
and the differences among the versions.
Furthermore, this study’s analysis of the Mass in D examines several interesting
similarities to Beethoven’s Missa Solemnis, Opus 123. Finally, since Dvořák’s Mass was
originally composed for, and performed by, an amateur choir—the Hlahol choir of
Plzeň—the author addresses performance considerations of the Mass in D for conductors
of amateur choirs, based on the understandings obtained through this study and actual
experience in conducting the piece with an amateur choir.
In summary, the principal aim of this study is to provide a comprehensive
resource for deeper understanding of the Mass in D, especially for conductors or
musicians outside of the Czech Republic. Ideally, such resource will serve to encourage
conductors to consider performing this neglected gem of Dvořák’s oeuvre—his only
mass.
4
Chapter 2
A Brief Background of Dvořák
“Dvořák was a fascinating figure of Czech culture, a man who despite various obstacles
managed to work his way up from humble origins to world renown composer and yet
retained the humility of a deeply religious individual.”
4
Antonín Dvořák (1841–1904) was one of the most versatile and prolific
composers of the nineteenth century, reaching into almost all genres of music from piano
miniatures to comprehensively conceived vocal-orchestra compositions. His output
encompasses nine symphonies and fifty-five other orchestral pieces, eleven operas,
eleven works for chorus and orchestra, nine small choral works, thirty-five sets of songs
and duets, fifty-five chamber works for various combinations of instruments, and thirty-
two sets of short pieces for piano. In each of these areas he created works that can be
considered masterpieces in their genre. In the empire of symphonic music, his
contemporaries called him a successor to Beethoven.
Dvořák was arguably one of the foremost representatives of Czech culture in an
international context. During his lifetime, he was already well-regarded as an eminent
composer of his era. His music captured the interest and attention of composers
abroad—such as Brahms, Mahler, Sullivan and Tchaikovsky—and it opened the way for
him to conduct and teach abroad in England, Germany, Hungary, Austria, Russia and the
4
Beno Blachut ml., Program note from “Rusalka” (September 30, 2015), trans. Hilda Hearne, The
National Theatre, Prague.
5
United States of America. In particular, he was considered as an innovative composer of
large-scale choral works and chamber music.
Humble Beginnings
Dvořák did not come from a wealthy family, nor did he come from a family of
professional musicians. He was born on September, 8 1841 into the family of butcher
and innkeeper František Dvořák and his wife Anna in Nelahozeves, a small village
located north of Prague on the left bank of the river Vltava in South Bohemia. He was
the oldest of eight children. His father, a music lover, played violin and zither to
entertain his guests, and also played in the village band.
5
Dvořák’s musical journey started when he was six years old. In 1847 he received
his first musical education on entering the village school, where he learned singing and
violin from the teacher and Kantor Joseph Spitz. His musical talent was evident when he
was still a child. During his childhood, he had the opportunity to play in church and with
the village band, which performed the usual repertory such as polkas, mazurkas, marches,
and waltzes.
6
His parents saw his talent in music, and they sent him to live with his uncle at the
nearby small town of Zlonice in 1853 when he was twelve years old, where he could
continue to learn German, essential in Bohemia at that time. There, he could also
continue to learn music. As a consequence, his musical education continued to grow
5
Jarmil Burghauser, Antonín Dvořák: Life and Work, trans. David R. Beveridge (Praha: Koniasch
Latin Press, 2007), 9-10.
6
Klaus Döge, “Dvořák, Antonín,“ Grove Music Online, Oxford Music Online, Oxford University
Press, accessed May 7, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/51222.
6
under the guidance of the church choirmaster Joseph Toman and by the Kantor Antonín
Liehmann, who was the principal of his school. Antonín Liehmann taught him violin,
piano, organ, figured bass, and music theory. Three years later, in 1856, Dvořák
continued the study of organ and music theory with Franz Hanke while he attended the
German municipal school in the northern Bohemian town of Česká Kamenice.
In 1857, when Dvořák was sixteen years old, he began to study at the Prague
Organ School, where he expanded his budding compositional techniques through study of
continuo, harmony, modulation, the playing of chorales, improvisation, counterpoint, and
fugue. His teachers at the Prague Organ School included Karl Pietsch, Josef Krejčí,
František Blažek, Josef Leopold Zvonař, and Josef Foerster.
During his time at the Prague Organ School, Dvořák had a chance to play in the
orchestra in concerts with the Cecilia Society. They played various works of Beethoven,
Mendelssohn, Spohr, Schumann, Joachim Raff and Wagner. Dvořák’s time in Prague
also gave him a chance to explore and enrich his musical experience, through events such
as hearing Liszt conduct his own works in 1858 and attending concerts conducted by
Hans von Bülow with Clara Schumann as soloist in 1859. In addition, Dvořák broadened
and deepened his knowledge of music through extensive study of scores borrowed from
his fellow student and friend Karel Bendl. The scores that Dvořák borrowed from Karel
Bendl included Beethoven’s septet and the quartets of George Onslow. By studying
these scores thoroughly while, at the same time, continuing to compose, Dvořák
gradually gained a deeper grasp of orchestration and instrumentation.
7
The musical
experience Dvořák had acquired outside of school gave him a solid foundation for his
7
David R. Beveridge, ed., Rethinking Dvořák: Views from Five Countries (Oxford: Clarendon
Press, 1996), 286.
7
journey into composition.
8
In 1859, he graduated as salutatorian of his class at the
Prague Organ School, and he left as a professionally trained organist.
From Dance Band to National Theatre
Upon graduation, Dvořák applied for the post of organist at the church of St.
Jindřich but was rejected, and so he continued to play viola in Komzák’s dance band.
This ensemble performed mostly for restaurants and private events in Prague.
Fortunately, when the first Czech National Theatre was built in Prague in 1862,
Komzák’s band became the theatre orchestra, with Dvořák as principal violist.
For twelve years after graduation (1859-71), Dvořák played as violist in the dance
band and, later, in the Prague National Theatre Orchestra. The first conductor whom he
worked with was Johann Nepomuk Maýr. Under his direction, Dvořák played many
German and French stage works by Mozart, Weber, Albert Lortzing, Daniel Auber,
Méhul, Halévy, Boieldieu, and Offenbach, as well as Italian operas by Rossini, Donizetti,
Bellini, and Verdi.
9
In 1866, Bedrich Smetana (1824-1884), renowned Bohemian conductor and
composer, took over as the conductor of the Prague National Theatre Orchestra while
Dvořák continued to be the principal violist. Under the baton of Smetana, Dvořák
performed the works of Czech and other Slaviv composers, such as Smetana, Šebor,
Bendl, Blodek, Glinka, and Moniuszko, receiving positive reviews.
10
8
Šourek, Antonín Dvořák: Letters and Reminiscences, 25.
9
Döge, “Dvořák, Antonín,“ Grove Music Online.
10
Jan Smaczny, “Dvořák, Antonín,” The Oxford Companion to Music, Oxford Music Online,
Oxford University Press, accessed May 7, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/opr/t114/e2154.
8
Besides playing at the theatre, sometimes the orchestra was invited to perform at
the concerts given by the Academic Reading Union and the Artistic Society, or for
concerts on Žofín Island. In February and November 1863, Dvořák had the opportunity
to work with Richard Wagner in three concerts played at the Žofin concert hall in which
they performed the Faust overture, the overture to Tannhäuser, the prelude to Lohengrin
and excerpts from Die Meistersinger von Nürnberg, Tristan und Isolde, Die Walku ̈re and
Siegfried.
Through the years, Dvořák was exposed to many kinds of repertories and gained
many new musical experiences and much knowledge. These experiences, especially the
influence of Wagner, enriched Dvořák’s musical understanding and had a strong impact
on his later compositions.
11
Dvořák’s Journey as a Composer
In early1865, Dvořák began to give piano lessons while remaining a member of
the Provisional Theatre orchestra. In the summer of 1871, Dvořák decided to support
himself through teaching while he started to compose in private. During the next two
years he became known in the musical salons of Prague as a composer of chamber music
and songs. In 1873, his patriotic cantata Dědicové bilé hory (‘The Heirs of the White
Mountain’) attracted strong public attention and marked his first success as a composer.
In the same year, he married his piano student Anna Čermáková and became the organist
of the St. Adalbert Church in Prague. In 1874, Dvořák gained a greater degree of
11
Döge, “Dvořák, Antonín,” Grove Music Online.
9
financial independence with his appointment as organist of St Vojtěch (1874–1877).
12
From the early to mid-1860s, Dvořák’s first serious compositions included
chamber music, a song cycle (Cypresses), a cello concerto, and his first two symphonies.
With his first-hand experience with Czech operatic repertory, it was natural for Dvořák to
work also on opera by composing Alfred to a German text (1870) and the comedy Král a
uhlíř (‘The King and the Charcoal-Burner,’ 1871).
13
During this time the influences of Mozart, middle-period Beethoven,
Mendelssohn, Schumann, and Wagner become apparent in Dvořák’s compositions. In
1875, he received the Austrian state stipendium of 400 gulden. Subsequently, Dvořák
received the award for another three years on the basis of fifteen compositions, including
the Third and Fourth Symphonies. Brahms, one of the jury, was enthusiastic about
Dvořák’s submissions. In early December 1877, Brahms wrote to his publisher Fritz
Simrock:
As for the state stipendium, for several years I have enjoyed works sent in by
Antonín Dvořák (pronounced Dvorschak) of Prague. This year he has sent works
. . . that seem to me very pretty . . . Play them through and you will like them as
much as I do. Dvořák has written all manner of things: operas (Czech),
symphonies, quartets, piano pieces. In any case, he is a very talented
man. Moreover, he is poor! I ask you to think about it!
14
Brahms’s letter became a turning point in Dvořák’s career. Obviously, Simrock
was convinced and Dvořák’s music began to be published and performed throughout
Europe in a very short time. By his 40s, his music was being heard both at home and
12
Jan Smaczny, “Dvořák, Antonín,” in The New Oxford Companion to Music, ed. Denis Arnold, 2
vols. (London: Oxford University Press, 1983; reprint 1984), i:593.
13
Ibid.
14
Šourek, Antonín Dvořák: Letters and Reminiscences, 39-40.
10
abroad. In 1882, his tragic grand opera Dimitrij was a success at home in Prague.
Subsequently, he was invited by the Philharmonic Society of London to conduct
performances of his works in England in 1883. The British audience loved his music,
demonstrating special enthusiasm for his Stabat Mater and Symphony No. 6 (which had
been promoted and published as Symphony No. 1). This resulted in commissions for a
choral work from the Birmingham Festival (The Spectre’s Bride) and Symphony No. 7 in
D minor for the Philharmonic Society in 1885 (presented at that time as Symphony No.
2). Additional works for England followed, including the oratorio St. Ludmila (Leeds,
1886) and the Requiem Mass (Birmingham, 1891). In 1887, Dvořák returned to opera
with Jakobín (‘The Jacobin’); at the same time, he also continued to compose
instrumental and orchestral works, particularly the A Major Piano Quintet (1887) and the
Symphony No. 8 (1889).
Dvořák’s Religious Belief and His Sacred Works
Up to this point, Dvořák’s international reputation continued to grow, but he
remained a humble and religious man. In his own words, Dvořák said, “I am just an
ordinary Czech musician, who does not love such exaggerated humbleness, and although
I have moved quite enough in the great musical world, I still remain what I have always
been – a simple Czech musician.”
15
In his manuscripts, he would begin with the date and
“With God” and end with the date and “Thanks be to God!”; “God be praised!” and “God
requite you!” to express his thankfulness to God.
16
In the interview with Dvořák’s
15
Šourek, Antonín Dvořák: Letters and Reminiscences, 13.
16
Peter Herbert, Antonín Dvořák Complete Catalogue of Works (Tadley: The Dvořák Society,
2004), 11.
11
grandson, Mr. Antonín Dvořák III said: “my grandfather was a religious man who loved
his family.”
17
As mentioned by Jamil Burghauser, “the spiritual background of his
creation, which was based on his profound Christian faith, inherited in rudimentary form,
and inspired later by his schooling in liturgical music and his short career as an
organist… was vitally rethought and refelt in the 1880s.”
18
Indeed, it was his faith that kept him moving forward despite losing three infant
children between 1875 and 1877. As his son Otakar mentioned, Stabat Mater helped his
father to overcome his sadness.
19
By 1887 Dvořák enjoyed widespread acclaim for his large-scale works. His
large-scale choral works Stabat Mater and St. Ludmila were famous especially in
England. However, when Josef Hlávka, an architect and a builder, asked Dvořák to
compose a devotional piece for the consecration of his own private chapel at his country
estate in Lužany, Dvořák was happy to accept the invitation and began work on the Mass
in D Major.
The Mass in D Major is very different from Dvořák’s other choral works, as it
was intended for a religious purpose and not as a concert work. Dvořák called Mass in D
Major a work of “faith, hope and love to Almighty God.”
20
Dvořák’s acceptance of such
a challenge is a certain testimony to the reality of both his personal religious belief and
17
Antonín Dvořák III, interview with the author, September 24, 2015.
18
Beveridge, ed., Rethinking Dvořák: Views From Five Countries, 25.
19
Otakar Dvořák, Antonín Dvořák, My Father, ed. Paul J. Polansky, trans. Miroslav Nemec (Iowa:
The Czech Historical Research Center, 1993), 106.
20
Šourek, Antonín Dvořák: Letters and Reminiscences, 110-11.
12
his deep humility.
21
More than any other work, Mass in D Major reflects the relationship
between his art and his faith.
22
The number of sacred works by Dvořák is significantly fewer than any other
genre in which he composed. However, Dvořák’s sacred choral works made a substantial
impact on the musical world, especially in England. For instance, England’s love for
oratorios brought about Dvořák’s invitation to conduct an orchestra of over a hundred
players and a choir numbering almost 900 singers for the performance of Stabat Mater in
1884 in London. Dvořák himself recalled, “I must, however, give you an idea of the size
of the orchestra and choir. Don’t get a shock! 250 sopranos, 160 contraltos, 180 tenors
and 250 basses; the orchestra: 24 first violins, 20 second violins, 16 violas, 16 cellos and
16 double-basses.”
23
The outcome was magnificent and overwhelmingly positive. It was
Dvořák’s first success in London.
Over the next 10 years, choral festivals in England commissioned him repeatedly,
leading to the composition of The Spectre’s Bride, St. Ludmila, and Requiem. Dvořák’s
sacred choral works achieved resounding success that was beyond anyone’s. Mosco
Carner mentioned that:
Despite the fact that some of Dvořák’s religious works were pièces d’occasion,
having been commissioned and written for special events such as the Mass for the
consecration of a chapel at Lužany in Bohemia, the setting of religious music
meant to Dvořák more than a mere convention to which almost every nineteenth
21
David R. Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák: A Friendship of Two
Married Couples and Its Fruits in Czech and International Art (Prague: Prosinec, 2012), 101. (This Book is
written in Czech language and the author obtained an English translation from David Beveridge.)
22
David R. Beveridge has informed the author that an article “Fides, Spe, Caritas: Dvořáks
musikalisches Glaubenbekenntnis in der D-Dur-Messe op. 86.” (‘Faith, Hope, and Love’: Dvořák’s
Musical Declaration of Faith [or Belief] in the Mass in D major, Op. 86.) by Iacopo Cividini, will be
published soon (in German) in the journal Musik-Konzepte.
23
Šourek, Antonín Dvořák: Letters and Reminiscences, 75.
13
century composer of the front rank was expected to pay tribute. In fact, we feel
with most of his religious music that it was the artistic expression of a sincere and
deep-rooted religious devotion. All the same, he succeeded in expressing the
meaning and feeling of certain dramatic sections of the liturgical texts in a very
vivid and effective way. (See, for instance, the allegro section in the final chorus
of his Stabat Mater, and the dramatic outcry of the chorus at the word
“Crucifixus” in the Credo of his Mass, not to speak of the many dramatic places
in the Requiem Mass and the 149th Psalm.) Broadly speaking, the composer may
be said to be at his best when setting those sections of the liturgical text that
express an intense feeling of either pathos, grief and suffering, or of drama and
exultation. It is in such passages that Dvořák’s inspirational powers attain their
full force. This would explain the movingly expressive lyricism of the Stabat
Mater and the Biblical Songs, and the highly dramatic outbursts and the climaxes
of the choral numbers in the Requiem Mass, the Mass in D, and the Te Deum.
24
Dvořák’s fame in England also brought him an invitation to teach in America at
the National Conservatory of Music in New York. In his position in the conservatory, he
not only taught composition, but also conducted the orchestra and chorus. He conducted
Stabat Mater in one of his first concerts upon arrival in the U.S. Immediately prior to his
residency in the USA, he was commissioned to write the cantata The American Flag for
the 1892 Columbus Day celebrations in New York. When the text did not arrive, he
instead composed Te Deum. He then wrote The American Flag, which was not
performed until after he returned to Bohemia. It was also in America that Dvořák
produced his two most popular works: the New World Symphony and Cello Concerto.
25
Dvořák, having grown up in an ordinary family, became an extraordinary
musician and composer. His musical career truly blossomed after age forty, and he
continued to receive awards throughout his life and even after his death. Some of his
awards included honorary doctorates (Cambridge); an award “For Letters and Arts,”
24
Mosco Carner, “Dvořák: The Church Music,” Antonín Dvořák: His Achievement, ed. Viktor
Fischl (London, Lindsay Drummond, 1943), reprint Greenwood Press 1970, 167-75.
25
Burghauser, Anotonín Dvořák: Life and Work, 93-106.
14
given by Emperor of the Austro Hungarian Empire (Dvořák was only the second
musician to receive this honor, Brahms being the first); and an award given by the World
Peace Council in 1953 to celebrate artists whose work brought together all nations.
26
His
son-in-law Josef Suk recalled, “he lived in the confident assurance that he was serving his
Nation and his God.”
27
Dvořák’s son Otakar recalls:
Father worked hard all his life without thinking of honors, but in the end he was
pleased to receive them. Besides honorary doctorates father received one of the
greatest decorations an artist can receive: the gold medal Per Literis et Artibus.
28
Summary
Antonín Dvořák, who was despised by his classmates in youth, evolved as one of
the greatest composers in history, contributing compositions in almost all genres of
classical music. Together with Smetana and Janáček, Dvořák is recognized as one of the
three greatest composers of the Czech Republic. Different from many of the great
Classical and Romantic composers, Dvořák was not a child prodigy, but rather came into
his compositional powers relatively late in life. Despite his success worldwide, he
remained a humble and religious man. Studying Dvořák’s sacred works, particularly
Mass in D, are very important for anyone who wants to comprehend how Dvořák’s
religious faith interacted with his musical oeuvre.
26
Dvořák, Antonín Dvořák, My Father, 110.
27
Sourek, Antonín Dvořák: Letters and Reminiscences, 14.
28
Dvořák, Antonín Dvořák, My Father, 109.
15
Chapter 3
Historical Background of Mass in D
The Original Organ Version
The Mass in D major, Opus 86, for chorus, soloists and organ —also known as
“Lužany Mass”—was originally composed in 1887 for the consecration of the chapel in
the stately home of the prominent architect and philanthropist Josef Hlávka in Lužany.
Hlávka had built a chapel at his residence in the southwest Bohemian village of Lužany,
and he wanted music by Dvořák for its consecration. Hlávka and Dvořák corresponded
personally, and Dvořák was glad to seize upon this opportunity to write to Hlávka about
the role his faith played in the Mass’s composition:
29
I have the honour of informing you that I have successfully completed the work
and that I’m truly happy about it. I think this will be a work that fully satisfies its
purpose. It could be called faith, hope, and love for God on high, and thanks for
such a great gift: that it was granted to me to successfully complete this work for
the praise of the Most High and the honour of our [Czech] art. Don’t be surprised
that I’m so religious: an artist who isn’t can’t accomplish anything of this sort.
Don’t we have examples in Beethoven, Bach, Raphael, and many others? Finally,
I thank also you, for giving me the impulse to write a work in such a form;
otherwise I would probably have never thought of it, because up to now I’ve
written works of this sort only in large dimensions and with large performing
forces. But this time I’ve written only with modest means, and yet I dare say my
work turned out well.
Dvořák Dedication for Mass in D
Dvořák began his work with passion and focus, refusing other commissions. In
May he wrote from Vysoká near Příbram to the choirmaster of the Hlahol choir in Plzeň
29
Šourek, Antonín Dvořák: Letters and Reminiscences, 110-11.
16
Matěj Slezák, who had asked him to write a new vocal work for that ensemble’s twenty-
fifth anniversary:
30
I’ve been at Vysoká for three weeks now and am ignoring the whole world: I’m
working diligently on a new mass and delighting in the natural beauty of God’s
creation. That I would write something for your celebration? I can’t consider it
for lack of time, because I’ve been working my new composition for two months
already and I’ve got my work cut out for me to finish it by the end of June.
Although the Mass was a commissioned work, Dvořák worked above all for his
own enjoyment. He composed the Mass mostly at his summer residence in Vyoká,
surrounded by natural and familiar beauty. The intimacy and authenticity of nature’s
own simplicity and vigor is reflected in the Mass, a work that embodies the composer’s
humble faith, his natural humility in the face of a higher Order, and his true joy of life.
31
Dvořák sacrificed a great deal to complete the Mass. He refused to go to Berlin,
where he was personally invited to deliver the new orchestral score of Slavonic Dances to
Fritz Simrock. After that, he declined to conduct his Symphony in D Minor in Frankfurt
March 18, 1887 and also decided not to attend the music festival in 1888 in Birmingham,
England. These anecdotes serve to illustrate the priority Dvořák gave to the Mass. He
devoted three full months to work on it.
32
The final version of the work is dedicated to Josef Hlávka. In terms of form, the
Mass in D is based on the six-part Catholic Ordinary. According to Jaromír Havlík, “the
most relevant music is situated in the Credo and Agnus Dei movements, which makes
30
Milan Kuna and team, eds., Antonín Dvořák: Correspondence And Documents (Prague: Editio
Supraphon, 1988), ii:242-43.
31
Ondrej Supka, “Mass in D Major-The Luzany Mass,” trans. Karolina Hughes, accessed January
16, 2015, http://www.antonin-dvorak.cz/en/mass.
32
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 84-85.
17
profound sense in terms of structure as well as content.”
33
The duration of Dvořák ’s
Mass is about 37 minutes - slightly longer than most of Mozart’s masses, roughly the
same length as Haydn’s late masses and Beethoven’s Mass in C Major, but shorter than
Beethoven’s Missa Solemnis, Opus 123, (approx. 81 minutes) and Bach’s Mass in B
Minor (approx. 110 minutes); it is also much shorter than Dvořák’s other liturgical
works: Stabat Mater (85 minutes) and Requiem (90 minutes). We know that Dvořák’s
Mass was performed at the consecration of the Lužany chapel as part of worship, so the
whole event had to take significantly longer than Dvořák’s piece itself.
34
Josef Hlávka and His Relationship to Dvořák
Josef Hlávka (1831–1908), a Czech architect, builder, and philanthropist,
designed many imposing edifices, including cultural centers of the former Austro-
Hungarian Empire that are still used, and also erected an immense number of structures
designed by others including the Court Opera in Vienna – today’s Vienna State Opera.
Starting with very modest means, he accumulated a huge fortune that he then used to
further Czech culture and science through donations to innumerable individuals and
institutions. For the last eighteen years of his life he served as president of the Czech
Academy for Sciences, Literature, and Art, one of several public-benefit institutions that
he himself founded.
35
33
Jaromír Havlík, Antonín Dvořák: The “Lužany” Mass in D major. with Ensemble Inegal,
conducted by Adam Viktora, recorded Octorber 1-3, 2001, HHP PDR 1000, CD.
34
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 84.
35
“Hlávka’s Lužany,” (September 10, 2015). The Hlávka Foundation organized a small concert
and social gathering at Josef Hlávka’s Chateau in Lužany on September 10, 2015. The author attended this
special occasion together with Dvořák scholar David R. Beveridge and conductor Haig Utidjian. The
author obtained a special information booklet that provides the background of Hlávka.
18
One member of this Academy was the extraordinarily prolific and versatile Czech
composer Antonín Dvořák, who was considered by many during the final years of his life
to be the greatest living composer in the western world and whose music is still popular
all over the globe today. That Hlávka and Dvořák were friends has long been known.
36
Dvořák and Hlávka enjoyed a long and mutually enriching relationship. Hlávka’s
support in the field of music was influenced by his wife Zdenka (1843–1902), a woman
of wide-ranging artistic interests and a gifted musician herself. As a graduate of Pivoda’s
school for singers, she was also a talented pianist. In their home, the Hlávka family
hosted music salons that became known as a venue for Czech society’s arts and a place,
where great music could be heard—including Dvořák’s own compositions. According to
Jaromír Havlík, “Zdenka was extremely fond of Dvořák’s music (though only two years
his junior, she was also one of his students); she would buy practically all of his music
published or arranged for the piano.”
37
Invitation to Write Mass in D
The only knowledge we have concerning Hlávka’s request for Dvořák to compose
the Mass was inferred from Dvořák’s letters to Červinková of June 23, 1887 and to
Hlávka of June 17, 1887; from the title on both the continuous sketch, begun 26 March,
and the fair copy, begun May 26; and from several contemporary press reports.
However, none of these sources mentions Zdenka, except in one case as having sung in
the first performance. According to the author’s interview with Beveridge, the idea that
36
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 326.
37
Jaromír Havlík, Antonín Dvořák: The “Lužany” Mass in D major. with Ensemble Inegal,
conducted by Adam Viktora, recorded Octorber 1-3, 2001, HHP PDR 1000, CD.
19
Hlávka made the request via Zdenka is probably only Lodr’s supposition. Beveridge
believes that Hlávka may have asked Dvořák directly when Dvořák visited him (in
Prague) on January 9, 1887. It is very likely, however, that it was Zdenka who
introduced Hlávka to Dvořák, and that her friendship with Dvořák influenced Hlávka’s
decision to commission the Mass.
38
In 1886 Hlávka decided to rebuild his late-Baroque rural residence in Lužany into
a luxurious and original small chateau in Neo-Renaissance style surrounded by an
extensive English garden. During Friday evening gatherings at his home in Vienna he
had met Zdenka, the daughter of the imperial court counsel Sir Matěj Havelka. Hlávka
was very impressed by her penetrating intellect and enchanting demeanour, and because
the Havelkas had their summer residence in Letiny, not far from Lužany, events
progressed quickly: several significant visits, betrothal, and in September 1886, a
wedding. Among the close friends of Zdenka in attendance were Antonín Dvořák and his
family.
Originally Hlávka intended to build a church in Lužany dedicated to the memory
of his first wife, but because of opposition from local residents he decided in the end to
erect a new chapel attached to his chateau. He took advantage of his second wife’s
friendship with Dvořák and asked him to write a mass for the chapel’s consecration.
Dvořák felt a special sense of calling to the invitation as he had great respect for Hlávka,
and at the same time, Hlávka’s wife was his enthusiastic admirer and sincere friend who
was also a great musician.
On June 17, 1887, Dvořák completed the Mass and informed Hlávka
38
Dvořák visits Hlávka on Jan 9, 1887. Perhaps it was on this occasion that Hlavka asked him to
compose the Mass. This information was given by David R. Beveridge in his unpublished research file
“Mass in D”, 7.
20
immediately. Shortly after, Dvořák delivered the score to Hlávka in person in Lužany,
and they agreed on the performance arrangement of the Mass.
The Lužany Chapel and the Performing Environment
The Lužany Chapel was still under construction during the composition of the
Mass. Nobody really knew its actual size. Hlávka, however, had specified to Dvořák
that the Mass would be for the “modest” performing forces at a small-size chapel,
precluding orchestral accompaniment. The whole building measures about ten-by-ten
meters, and would have had difficulty accommodating an orchestra of any size.
39
One of the important elements of the performing environment is its original organ
at the Lužany Chapel, as it was the key accompaniment of the Mass. The original organ,
made in 1887 by the important Prague organ builder Karl Eisenhut, has a sound that is
truly enchanting. Although it is one of the smallest Czech organs from the second half of
the nineteenth century, it boasts an exceptionally glorious past: it was to the
accompaniment of this organ, brand new at the time, that Dvořák’s Lužany Mass was
performed for the first time on September 11, 1887.
40
The author has visited the Lužany
Chapel on September 10, 2015 and the organ still remains unchanged today and
operational.
The organ was apparently constructed around the end of May 1887 or later. The
organ is unique for its small size and lack of a motor, which means it must be pumped
quietly by hand during the performance. It is located at the end of the choir loft with a
39
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 82-83.
40
Ibid., 83.
21
small floor space of about two meters by one meter. To get to the console, the organist
must squeeze through a very narrow passage in order to get to a small hinged bench.
While playing the organ, one may constantly slide downwards towards the pedalboard.
On the other hand, to prevent the sounds of the bellows mechanism from disturbing the
audience, the assistant has to stay in an extremely small enclosed space under the organ.
The oxygen level would decrease and the temperature would rises sharply during the
performance.
41
However, it is a well-built organ with considerable force. It has two manuals and
pedals with seven stops and four hundred pipes, equipped with blinds for crescendo and
decrescendo. There is no evidence to prove that the features of the organ at Lužany had
any influence on Dvořák’s writing of the Mass, but certainly Dvořák as a trained and
experienced organist, considered the possible challenges of a simple organ; and he
certainly had to be aware of the instrument’s specifications: in the Credo, he prescribed
rapid and continuous changing dynamics of pianissimo and fortissimo, which would have
been difficult, if not impossible, with one manual; in many places he prescribed
crescendo and decrescendo; and he wrote for 16’ stops in the pedals.
42
The Performance Forces at the Consecration of Lužany Chapel (1887)
Dvořák was aware of the limitation of the performance environment, available
space and also the caliber of the semi-amateur performers. Therefore, he chose a
relatively simple form to avoid complexity in the vocal parts. Nevertheless, he created a
41
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 87-88.
42
Ibid., 83.
22
charming work, rich in melodic and harmonic invention. As regards to the performing
forces, although the name indicates a mixed choir and organ, Dvořák designated some
places for vocal soloists in his sketch and final score. The solo parts can be heard within
the Kyrie, Gloria, Credo and Agnus Dei. The longest of them is the beginning of Agnus
Dei, where the entire choir does not enter until the forty-sixth measure, about two-thirds
into the movement. The solo parts are not flashy or difficult. The solo parts can
therefore also be assigned to members of the choir. Dvořák, determining these sections
for soloists, had apparently intended to create a contrast in these areas, evoking a sense of
greater intimacy.
43
The first performance on Sunday September 11, 1887 was for invited guests. The
choir of Pilsen Hlaholu was about a dozen singers. Hlávka’s wife Zdenka (soprano) and
Dvořák’s wife Anna (alto) sang the solos. The composer himself conducted, and at the
organ sat the organist and composer Josef Klička, originally from nearby Klatovy and, by
this time a professor at the conservatory in Prague. According to Dalibor, “the work had
been rehearsed with twelve members of the Hlahol choir of Plzeň by that ensemble’s
second choirmaster Jindřich Vieweg.”
44
The First Public Performance in Plzeň (1888)
After the consecration of Lužany Chapel, the first public performance of the Mass
was held on April 15, 1888 in the Municipal Theatre in Plzeň, also under the baton of
Dvořák. However, as there were no suitable concert halls with an organ at Plzeň and
43
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 87-88.
44
Ibid., 109.
23
concerts in churches were banned, the organ was replaced by two harmoniums, plus two
double-basses and one cello, with Dvořák’s permission.
45
According to the review of The Plzeň News (Plzeňské listy) on April 21, 1888, the
concert was very well received in Plzeň. The Plzeň News proclaimed that, “Plzeň […]
will never forget the tribute shown by master Dvořák by himself conducting his work in
its first performance in our Plzeň. Honor to the singers - and glory to the brilliant Czech
artist, a great man of human feeling, master Antonín Dvořák.”
46
In addition, The Plzeň News (Plzeňské listy) especially highlighted the “Credo”:
How inexpressibly and powerfully these passages touch the emotional strings of
our heart with their sacred message. What a fantastic image is placed before our
eyes by the magical concord of lamenting, horrifying sounds of the alternating
individual voices and in the thundering, terrifying fortissimo of all voices
perishing on the background of an equally mounting accompaniment. Everyone
will probably be glad to recall these passages and a sort of sacred fear will seize
his soul––whether fear before the loftiness of God-Christ, whose pain and death
are touched by the music in this section, or the sacred reverence we feel in our
hearts before the great spirits of human beings––this question dies with the
thought on the lips, and we, enchanted, as though carried away to other worlds,
only bow in humility to the noble beauty that grows more and more, then
disappears in the distance until our heart and soul take it into their lap with all
force.
47
The Orchestra Version and Its First Performance
In addition to the original organ version, the orchestra version is another well-
known version of Mass in D. Originally, Dvořák offered the Mass to his frequent
publisher, Simrock. However, Simrock had no interest in the work and turned it down
twice. It was not until several years later that the London firm Novello agreed to publish
45
David R. Beveridge, (Program in ADKD, Vol. 10, p.218). This information was given by Dr.
Beveridge in his unpublished research file “Mass in D”, 50.
46
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 118.
47
Ibid, 119.
24
the Mass, only if Dvořák would arrange it for the symphony orchestra. Dvořák accepted
Novello’s request and completed the composition of the orchestra version promptly by
June 15, 1892. It was then published by Novello on March 6, 1893. However, Novello
did not publish the full score orchestra version, but a piano-vocal reduction of the
orchestra version.
48
The orchestra version is scored for two oboes, two bassoons, three French horns,
two trumpets, three trombones, timpani, organ and strings. In this new accompaniment
the organ is still used extensively; in two movements it has a very prominent part. The
vocal parts, but for a few slight alternations, accord with the original. The composer also
provides the option of the solo parts being performed by sixteen-voice chamber choir.
49
The first public performance of this version was at the Crystal Palace in London
on March 11, 1893. The performance raised the attention of the media. The Athenaeum
mentioned that:
The first performance of a Mass by Dvořák lent distinction of the programme of
the Crystal Palace concert last Saturday. We say advisedly “first performance,”
as, although the work was written for the consecration of the private chapel of the
Bohemian composer’s patron and friend Josef Hlóvka [Hlávka], President of the
Imperial Academy of Art, Science, and Literature at Prague, on September 11th,
1887, it had not in all probability been heard until last week in any public
building, sacred or secular. The accompaniments were originally written for
organ, ‘cellos, and basses only, but previous to publication Dvořák added parts for
most of the other instruments constituting the ordinary full orchestra, omitting for
some inexplicable reason any for flutes and clarinets. Having regard to the
special object for which it was composed, it is not surprising to find the Mass
concise, unpretentious, and far less arduous for the executants than the “Stabat
Mater” or the Requiem; but it is not less characteristic of Dvořák, several of the
simplest passages being remarkable as displaying alike his musical idiosyncrasies
and his religious fervour. Attention may specially be drawn to the “Credo”, in
which the most solemn dogmas of the Roman Catholic faith are illustrated by
48
Jarmil Burghauser, Antonín Dvořák: Thematic Catalogue (Prague: Artia, 1960).
49
“Crystal Palace Concerts,” Musical News 4, no. 107 (Mar 18, 1893): 244, accessed Octorber 19,
2015. http://search.proquest.com.libproxy1.usc.edu/docview/7159426?accountid=14749.
25
music which appeals to the most ordinary listener with startling effect, the
treatment of the clauses commencing “Et incarnatus est,” and ending “Passus, et
sepultus est,” being as graphic as any setting of the sacred text that we can at
present call to mind, though, of course, it is far simpler than those of Bach,
Beethoven, Schubert, and Cherubini. Mention may also be made of the lovely
“Benedictus,” with an important organ accompaniment, and the “Agnus Dei,”
commencing plaintively in B minor, and finally modulating, with delicious effect,
into the relative major, in which key the Mass closes with a cadence marked ppp.
Many other passages might be selected for notice on account of their originality
and beauty, but these must suffice for the present. The performance may be
commended, the tone of the voices and the intonation in unaccompanied passages
being excellent. The solo parts are not remarkably arduous, and they received full
justice from Madame Clara Samuell, Miss Marian McKenzie, Mr. Houghton, and
Mr. Andrew Black.
50
Musical News reported that:
The production of a new work by Dvořák on Saturday last attracted a large
audience to Sydenham, and those present must have enjoyed the performance of a
short, unpretentious but devotional Mass of the distinguished Bohemian composer
that we venture to think will prove popular with our choral societies, and useful
for church purposes […] Although the Mass contains no such powerful and
original writing as we find in the same composer’s “Stabat Mater” and “Requiem
Mass,” there is still a certain characteristic tone about it which betrays its origin.
The contrapuntist may possibly object that its subjects want further development,
and that some of the movements are too short (the work occupies about three-
quarters of an hour), but it was designed to occupy a brief period, and it must be
admitted the music is throughout interesting and religious in tone. Its performance
was satisfactory.
51
The Daily Telegraph revealed that:
There are no serious difficulties for executants to surmount, while the expression
of the music is so plain and direct that it can be felt and appreciated by all. For
the result last named it may be that we have to thank the conditions under which
the work was written. The unfettered Dvořák, as a composer of sacred music,
appears in the Birmingham Requiem, with which simplicity is not even on
speaking terms. Here, on the other hand, comparative simplicity was essential,
and in the result we have that which will rank as an exemplification of high art in
a form generally attractive. . . . We welcome this Mass with peculiar pleasure. It
is a most useful work, and will be everywhere a pleader [sic], eloquent and
50
“The Week,” The Athenaeum no. 3412 (Mar 18, 1893): 354-55, accessed October 19, 2015.
http://search.proquest.com.libproxy1.usc.edu/docview/9604474?accountid=14749.
51
“Crystal Palace Concerts,” 244.
26
intelligible, not only for the solemnities of religion, but for the beauty and
sufficiency of pure art. Naturally, the Mass is not planned on the same extensive
scale as the “Stabat Mater” and the Requiem, being, indeed, studiously non-
pretentious throughout, and occupying less than an hour in performance; but it is
in no sense unworthy of the gifted Bohemian composer. . . . There are many
passages of marked originality and beauty, the composer being invariably at his
best when he is concerned with the most mysterious dogmas of the Catholic
Church.
52
The Globe declared,
The new work was heartily welcomed, and proved worthy of its able composer,
by whom it was last year re-written, so far as concerned the instrumentation. It
cannot be said that the Mass presents any novel features, but the score contains
many passages worthy of praise. The music is always in character with the words
to which it is attached, and the Credo (notably the “Incarnatues” section) and the
Agnus Dei may rank among the best efforts of the gifted composer.
53
The Sunday Times affirmed that:
The Mass, which is its composer’s Opus 86, bears evidence throughout of an
endeavour to avoid technical difficulties such as might place it beyond the reach
of an executive body of limited resources. This is unusual with Dvořák, and it
may explain in a measure the absence of certain features that characterise his
choral writing as a rule. The progressions are comparatively simple; sudden
modulations are rare; the development of the subjects is seldom extended to half
Dvořák’s usual length, and certain portions of the setting are treated with a brevity
which for him is altogether remarkable. Hence a work which a child could follow
with ease on first hearing. But it is not on that account less interesting, nor, we
may add, is it less charged with the individuality of style and the beauty and
appropriateness of sentiment that Dvořák has taught us to look for in all his
religious works, from the “Stabat Mater” downwards. . . . The charm of the whole
is irresistible, and we think that the latest is destined to be among the most
popular of the choral works that have emanated from the pen of the Bohemian
genius.
54
Lastly, The Church Musician declared,
This work, originally scored for organ and double bass, and composed for a
52
“Mass in D,” Musical Times and Singing Class Circular, 1844-1903 34, no. 602 (April, 1893):
243, accessed October 19, 2015.
http://search.proquest.com.libproxy1.usc.edu/docview/7357101?accountid=14749.
53
Ibid.
54
Ibid.
27
private chapel at Luzan, Bohemia, in 1887, has since been re-written and
orchestrated for the usual strings, bassoons, brass and drums, the organ retaining a
prominent part, and flutes and clarinets being strangely enough excluded. Its
production in its new form at the Crystal Palace last March drew many music
lovers to Sydenham, and they were richly rewarded by an excellent performance
of what is undoubtedly a substantial addition to the list of great masses. It is true
that in it the composer does not soar so highly as in his “Requiem,” but we have
an example of high art in a simple form, generally attractive, devotional
throughout, and at times intensely dramatic. The strongest numbers are the
Benedictus, obviously thought out from an organist’s point of view, the Agnus
Dei, where the semi-chorus and chorus effects are beautifully contrasted, the
Credo from Deum de Deo, to Passus et sepultus est. Space will not permit of a
lengthy analysis, but if we can send our readers to the score, they will not regret
it. The work is quite within the means of a well-trained choir, and if Messrs.
Novello would only engage some clever adapter, such as Rev. Jas. Baden Powell
for instance, to produce an edition for the English Church it would soon become
very popular. It would be interesting to hear it as originally written, and still more
to know why certain words, such as “Jesus Christ” in the Credo, are omitted. The
Crystal Palace enterprise in its production and the services of Mr. Manns and Mr.
Eyre are worthy of all praise.
55
The Rudolfinum Version of Mass in D and Its First Performance
During the author’s visit to Prague in September 2015, the author has discovered
that there was actually a ‘third version’ of Mass in D composed between the original
organ version (1887) and the orchestral version (1892). This ‘third version’ has never
been published and therefore is mostly unknown to the public. This version was revised
by Dvořák for the performance in the Prague Rudolfinum in 1889.
As mentioned earlier, due to the lack of organ in the performance hall of the first
public performance on April 15, 1888, Dvořák substituted the organ with two harmonia,
which is the reed organ without pedals, two double-basses and one cello. Unfortunately,
this version is no longer extant. On the other hand, for the performance in the Prague
Rudolfinum in 1889, Dvořák has composed a version with accompaniment by organ,
55
“Dvořák’s Mass in D,” The Church Musician 3, no. 29 (May, 1893): 83, accessed October 19,
2015. http://search.proquest.com.libproxy1.usc.edu/docview/6897406?accountid=14749.
28
cello(s) and double bass(es), and this version was captured in a manuscript copy of the
organ version completed on August 7, 1887. In this version, Dvořák wrote changes
including mainly the addition of the cello and bass part. Originally, Dvořák created this
version for the Prague performances in 1889 with the intention to replace the version with
organ only. Although Dvořák sent this version to Novello, it was never published.
56
This
version was discovered only in 2012 by Dvořák scholar David R. Beveridge, who
obtained the scanned copy of the manuscript with the kind permission of Novello.
57
According to Beveridge, the Rudolfinum version in London contains one
important element not reflected in any edition to this day, specifically, the addition of
cellos and contrabasses to the accompaniment. Additionally, Dvořák reinforced the
organ part, producing effects difficult or impossible for an organist to imitate. For
instance, crescendo and diminuendo, sforzato, pizzicato, and tremolo are added to this
version.
Today, the manuscript of this version is held by the British Library as a long-term
loan from Novello (reference “Music Loan 69.2”).
58
In this study, the author calls this
version the “Rudolfinum version” for easy identification. As mentioned, the Rudolfinum
version was performed on March 25, 1889 at the Rudolfinum Concert Hall in Prague.
The modern premiere of this version was given on July 8, 2014 in Cologne,
Germany by singers and string players of the university there with organist Laura
56
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 50.
57
David R. Beveridge, interview with the author, September 15, 2015. (The author obtained this
information from Dr. David Beveridge during the interview in Prague.)
58
This information was given by David R. Beveridge in his unpublished research file “Dvořák’s
version of the Mass in D with accompaniment by organ, cellos and double basses”, 1.
29
Kalnina, all led by conductor Haig Utidjian. In the interview with Haig Utidjian, he
mentioned that he is planning to publish the Rudolfinum version in 2016.
59
Summary
The Mass in D was orchestrated into four different versions by Dvořák over a
period of five years (1887-1892). (The author has summarized it in Table 1 for a better
understanding of its development over time.)
59
Haig Utidjian, interview with the author, September 28, 2015, Prague.
30
Table 1. Historical Timeline and Premiere Performances of Mass in D.
Date Dvořák’s Work Premiere Performances
1887.03.26 Dvořák started writing Mass in D
1887.06.17 Dvořák completed Mass in D for the
Lužany chapel on Sep. 11 and informed
Hlávka in his letter.
This is known as the original organ
version.
1887.08.01 With Elsnic’s help, Dvořák has revised
Mass in D for the first public performance
in Plzen on April 15, 1888. In this version,
the organ was replaced by two
harmoniums, two double-bases and one
cello as there was no organ in the venue.
1887.08.07 On the other hand, for the performance on
March 25, 1889, Dvořák wrote his later
revisions of the mass by adding a part for
cellos, contrabasses and organ (not two
harmoniums).
This version is discovered by Dr. David
Beveridge in 2012. The author call this
the Rudolfinum Version
1887.09.11 Mass in D was performed for the first time.
Dvořák conducted Mass in D (1887.06.17
version) at consecration of Lužan chapel.
1888.04.15 The first public performance of the Mass
(1887 .08.01 version) at the Municipal
Threatre in Plzen.
1889.03.25 The first public performance of the Mass
(Rudolfinum version) in Prague
Rudolfinum.
1891.04.13 Dvořák accepted the offer of Novello to
compose a version for full and small
orchestra.
1892.03.24 Dvořák began orchestration of Mass in D in
Prague.
1892.06.15 Dvořák completed the orchestration of the
Mass.
This is known as the orchestra version of
Dvořák Mass in D.
1893.03.11
The first performance of Mass in D
(Novello version published on 1893. 03.06)
at Crystal Palace in London, UK.
31
Chapter 4
Comparison Between Original Manuscripts and Published Editions
The Published Editions of Mass in D
As mentioned in Chapter 3, Dvořák has orchestrated four different versions of the
Mass in D over the period of five years (1887–1892). However, not all the versions were
being published in a timely manner, and some of the versions were never published. For
example, the organ version was published only seventy long years after its composition.
According to the author’s research, there are eleven published versions of Mass in
D in the past 109 years (1893–2002) that are being published by different publishers (see
Table 2). There are six published orchestra versions of Mass in D (one in English), four
published organ versions, and one published combined orchestra and organ versions.
Table 2. The Published Editions of Mass in D.
Date Version Remark on the Version Publisher Editor Ref. No
1893.
03.06
Orchestra Piano-vocal reduction
score with original text of
Dvořák.
Novello Littleton 8181
1893 Orchestra Piano-vocal reduction
score with modified text.
Novello Littleton 8181
1894 Orchestra Piano-vocal reduction
score with English text
adapted for church
communion service.
Novello Rev. J. Troutbeck
1964 Organ Adapted for church use. Saarbrücke Alois Marie
Müller
1970 Organ Critical Edition. Editio
Supraphon
Burghauser and
Cŭbr
H-4952
32
Orchestra Critical Edition based on
autograph of full score and
full score of Novello vocal
score
Editio
Supraphon
Burghauser and
Cŭbr
H-4839
1978 Organ Based on the critical
edition (1970).
Carus-Verlag Günter Graulich
and Paul Horn
CV 40.651
1987 Orchestra Carus-Verlag Klaus Döge CV 40.653
1999 Orchestra With reduction piano-
vocal score.
Carus-Verlag CV
40.653/03
2000 Combined Combined 1887 organ and
1892 orchestral versions.
Novello Michael
Pilkington
NOV
072491
2002 Organ Based on critical edition
(1970).
Bärenreiter
Praha
Christoph
Heimbucher
BA 7511
As the different published versions were being developed over more than one
hundred years, it is not a total surprise to find out there are some major differences
between the published versions and the original manuscript of Dvořák (1887) that is held
at the National Museum in Prague (Cat No. VII B 338).
60
For example, in the 1970 critical edition published by Supraphon, Jarmil
Burghauser (the editor) thought Dvořák himself approved the change on the text, as the
editor was using the edition from England, and he thought that was the original version
(1893 by Novello). In fact, Novello published two editions in 1893. The text of the later
edition was modified, as the publisher adjusted the text to fit the Roman Catholic
Liturgical Mass. As a result, the critical edition was actually based on text that is
different from Dvořák’s original manuscript. Finally, in the later part of 1970, Supraphon
60
The author has studied the autograph during her visit to Prague in September 2015.
33
published the critical edition of the orchestral version based on the autograph of the full
score and the Novello vocal score.
61
As a result, none of the published versions today actually follows the original,
autographed version of Dvořák. The author closely studied the autograph and sketch of
Dvořák’s Mass in D in September and October of 2015 at the Prague Museum of Music,
with the permission of the Dvořák Museum. It is obvious that Dvořák has omitted and
changed some of the liturgical texts intentionally in his autograph and even in his sketch.
All the manuscript sources for this work, and also the original print published by Novello,
diverge slightly from the standard liturgy. However, practically all the modern
editions—including Burghauser’s—reproduce a version published later by Novello,
probably without Dvořák’s knowledge, with the text adapted to the liturgical norm.
62
There are significant major and minor changes of the text from the original manuscript.
In the next section, the author will conduct a comparison between four versions of
the Mass and the original manuscripts (1887) in order to understand the differences and
similarities between the different versions. The four versions that will be used for
comparison are:
Table 3. The Four Published Editions of Mass in D Used for Comparison.
Date Version Remark on the Version Publisher Editor Ref. No
1893.
03.06
Orchestra Piano-vocal reduction score
with original text of Dvořák
Novello Littleton 8181
61
Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quarterly Vol 62, no.1
(January 1976): 149.
62
The author obtained this information from David R. Beveridge during her interview with him in
September 2015, in Prague.
34
1893 Orchestra Piano-vocal reduction score
with modified text
Novello Littleton 8181
1970 Organ Critical Edition Editio
Supraphon
Burghauser and
Cŭbr
H-4952
1978 Organ Based on the critical edition
(1970)
Carus-Verlag Günter Graulich
and Paul Horn
CV 40.651
Comparison Between the Original Manuscript and the Four Published Versions
Firstly, in the Gloria, Dvořák changed the text of “Domine Deus” to “Domine
Jesu” in measures 90-94 in his autograph. However, when compared with the four
published versions, none of them use the original text as specified by Dvořák. This can
be appreciated in the scanned images of the scores presented below (Examples 4.1–4.5).
35
Example 4.1. Dvořák’s Autograph — “Gloria,” mm. 90-94
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.12.
36
Example 4.2. 1893 Novello First Edition — “Gloria,” mm. 90-94.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.19.
37
Example 4.3. 1893 Novello 2nd Edition — “Gloria,” mm. 90-94.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.19.
38
Example 4.4. Critical Edition (1970 Suprahon) — “Gloria,” mm. 90-94.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.23.
39
Example 4.5. 1978 Carus Organ Edition — “Gloria,” mm. 90-94.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.23.
40
Secondly, the text in the alto section of the Gloria, between measures 94 and 95,
is different. In the autograph it is “Pater omnipotentem”, but the publishers changed it to
“Deus Pater…” instead. Besides, in measures 95-97, Dvořák autograph was written as
“pater omnipotentem” but the publishers changed it to “Pater omnipotens.” See below
the scanned images of the scores (Examples 4.6–4.10).
Example 4.6. Dvořák’s Autograph — “Gloria,” mm. 94-97.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.12.
41
Example 4.7. 1893 Novello First Edition — “Gloria,” mm. 94-97.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.19.
42
Example 4.8. 1893 Novello 2nd Edition — “Gloria,” mm. 94-97.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.19.
43
Example 4.9. Critical Edition (1970 Suprahon) — “Gloria,” mm. 94-97.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.23-24.
44
Example 4.10. 1978 Carus Organ Edition — “Gloria,” mm. 94-97.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.23.
Thirdly, in measures 5-8 of the Credo, Dvořák omitted the text “Patrem
omnipotentem.” Instead of “Credo in unum Deum, Patrem omnipotentem” in the
liturgical text, Dvořák begins the Credo with altos singing “Credo in unum Deum,
factorem coeli et terra.” This whole text is repeated by the other three sections of the
choir to create the antiphon. However, the publishers changed it back to the original
liturgical practice of “Credo in unum Deum, Patrem omnipotentem.” See below the
scanned images of the scores (Examples 4.11–4.15).
45
Example 4.11. Dvořák’s Autograph — “Credo,” mm. 5-8.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.18.
46
Example 4.12. 1893 Novello First Edition — “Credo,” mm. 5-8.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.28.
47
Example 4.13. 1893 Novello 2nd Edition — “Credo,” mm. 5-8.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.28.
48
Example 4.14. Critical Edition (1970 Suprahon) — “Credo,” mm. 5-8.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.35.
49
Example 4.15. 1978 Carus Organ Edition — “Credo,” mm. 5-8.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.34.
50
Fourthly, in “Credo,” measures 24-30, the liturgical text should be “Et in unum
Dominum Jesum Christum,” but the autograph has the altos singing “Credo in unum
Dominum filium” instead. The “Jesum Christum” is omitted, and this is the only point in
the liturgical text of the Credo where either of these two names appears. Dvořák wrote
his Credo without either of them in his autograph. However, the publisher changed the
text according to the liturgical text. Moreover, they also added the musical notes on
measure 24 in order to fit the “new text.” See below the scanned images of the scores
(Examples 4.16 – 4.20).
Example 4.16. Dvořák’s Autograph — “Credo,” mm. 24-30.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.19.
51
Example 4.17. 1893 Novello First Edition — “Credo,” mm. 24-30.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.29.
52
Example 4.18. 1893 Novello 2nd Edition — “Credo,” mm. 24-30.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.29.
53
Example 4.19. Critical Edition (1970 Suprahon) — “Credo,” mm. 24-30.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.36.
54
Example 4.20. 1978 Carus Organ Edition — “Credo,” mm. 24-30.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.35.
Fifthly, in measures 98-100 of the Credo, there is a minor word change in
Dvořák’s autograph. It was originally written as “qui propter nostrum salutem…” and
the publishers substituted the words to “et propter nostrum salutem…” See below the
scanned images of the scores (Examples 4.21–4.25).
55
Example 4.21. Dvořák’s Autograph — “Credo,” mm. 98-100.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.22.
56
Example 4.22. 1893 Novello First Edition — “Credo,” mm. 98-100.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.33.
57
Example 4.23. 1893 Novello 2nd Edition — “Credo,” mm. 98-100.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.33.
58
Example 4.24. Critical Edition (1970 Suprahon) — “Credo,” mm. 98-100.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.41.
59
Example 4.25. 1978 Carus Organ Edition — “Credo,” mm. 98-100.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.39-40.
60
Sixthly, in measures 119-68 of the Credo, Dvořák used the word “Sanctus”
instead of “Sancto” in the liturgical text. However, the publishers have changed it back
to “Sancto” for this entire section reading: “Et incarnatus est de Spiritu Sancto.” See
below the scanned images of the scores (Examples 4.26–4.30).
Example 4.26. Dvořák’s Autograph — “Credo,” mm. 119-68.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.23.
Example 4.27. 1893 Novello First Edition — “Credo,” mm. 119-68.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.34.
61
Example 4.28. 1893 Novello 2nd Edition — “Credo,” mm. 119-68.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.34.
Example 4.29. Critical Edition (1970 Suprahon) — “Credo,” mm. 119-68.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.43.
62
Example 4.30. 1978 Carus Organ Edition — “Credo,” mm. 119-68.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.41.
Seventhly, in measures 328-35 of the Credo, instead of liturgical text “Et in
spiritu Sanctum Dominum,” Dvořák’s autograph has written as “Credo in Spiritu
Sanctum;” and instead of “Et in Unam Sanctam catholicam…,” Dvořák’s wrote “Credo
in unam Sanctam catholicam…”. See below the scanned images of the scores
(Examples 4.31–4.35).
63
Example 4.31. Dvořák’s Autograph — “Credo,” mm. 328-35.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.30.
64
Example 4.32. 1893 Novello First Edition — “Credo,” mm. 328-35.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.45.
65
Example 4.33. 1893 Novello 2nd Edition — “Credo,” mm. 328-35.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.45.
66
Example 4.34. Critical Edition (1970 Suprahon) — “Credo,” mm. 328-35.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.54.
67
Example 4.35. 1978 Carus Organ Edition — “Credo,” mm. 328-35.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.52.
Eighthly, in measures 412-20 of the Credo, the section of “Confiteor unum
baptisma in remissionem peccatorum,” Dvořák omitted the text “Et expecto
resurrectionem mortuorum.” The publishers, on the other hand, have modified the text to
conform to the liturgical text “Et expecto resurrectionem mortuorum.” Additionally, the
publishers have changed the musical notes in order to fit the “new text.” See below the
scanned images of the scores (Examples 4.36–4.40).
68
Example 4.36. Dvořák’s Autograph — “Credo,” mm. 412-20.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.33.
69
Example 4.37. 1893 Novello First Edition — “Credo,” mm. 412-20.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.49.
70
Example 4.38. 1893 Novello 2nd Edition — “Credo,” mm. 412-20.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.49.
71
Example 4.39. Critical Edition (1970 Suprahon) — “Credo,” mm. 412-20.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.58.
72
Example 4.40. 1978 Carus Organ Edition — “Credo,” mm. 412-20.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.57.
73
Lastly, in measures 85-92 of the Sanctus, there appears another minor change of
text. In Dvořák’s autograph, the tenor part was “Hosanna, Hosanna in excelsis.”
However, the publishers modified it to “Hosanna, Hosanna, Hosanna in excelsis.” See
below the scanned images of the scores (Examples 4.41 – 4.45).
Example 4.41. Dvořák’s Autograph — “Sanctus,” mm. 85-92.
Source: Antonín Dvořák, Organ Version Autograph (The author obtained the permission to use this
autograph from National Museum of Prague), 1887, p.38.
74
Example 4.42. 1893 Novello First Edition — “Sanctus,” mm. 85-92.
Source: Antonín Dvořák, Mass in D, First Edition. The Piano-Vocal Score arranged from the Full Score
by Berthold Tours. London: Novello, Ewer and Co., 1893, p.57.
75
Example 4.43. 1893 Novello 2nd Edition — “Sanctus,” mm. 85-92.
Source: Antonín Dvořák, Mass in D, 2nd Edition. The Piano-Vocal Score arranged from the Full Score by
Berthold Tours. London: Novello, Ewer and Co., 1893, p.57.
76
Example 4.44. Critical Edition (1970 Suprahon) — “Sanctus,” mm. 85-92.
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.66-67.
77
Example 4.45. 1978 Carus Organ Edition — “Sanctus,” mm. 85-92.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.65.
From today’s perspective, minor modifications of text seem acceptable, within
reason. However, in the past, opinions on any alteration of text varied, and changes
could be seen negatively as it deviated from the original liturgical texts. This raises the
question of whether these amendments in the text were done intentionally or were merely
a mistake. Dvořák was a deeply religious person, and he attended church regularly. We
can assume that he would have been very familiar with the liturgical text. The author has
investigated the sketch and the autograph of the score with organ accompaniment of
1887, as well as the orchestra autograph score of 1892. The texts in all these scores are
the same and have remained unchanged. It was copied again in the same way from the
78
1887 version into the 1892 version. Therefore, the author has strong reason to believe
that Dvořák’s modification to the text of the Mass in D was done with a purpose and a
reason, and that it was not a mistake.
Interestingly, none of these deviations from the liturgical text were brought to the
attention of Dvořák during the premiere in 1887 in Lužany Chapel. Even in the first
public performance in Plzen in 1888, the Bishop of Czech Budejovice, who led the
ceremony, did not complain about these changes. Furthermore, in 1889, when the Mass
was performed in the Olomouc Cathedral as part of the worship, there were no reports of
objection to the text variation.
63
In summary, the audience and the religious community
at that time did not have any objection to the adjustments on the text made by Dvořák.
On the other hand, the responses of the publishers were rather different from the
audience and the religious community. Starting from the early versions by Novello in
1893 to the first organ version by Saarbrücke in 1964, the publishers adjusted the text to
fit with the Roman Catholic Liturgical Mass and edited the music score based on their
own preference. According to Beveridge during a personal interview with the author,
these changes were made without the approval of Dvořák. Furthermore, even the Critical
Edition was not based totally on the original autograph of Dvořák because the editor
published the score based on Novello 1893, the second version, and mistook this as the
original autograph version of Dvořák. Subsequently, all the versions that were published
by Saarbrücke, Editio Supraphon, and Carus-Verlag from 1978 until 2002 were edited
based on the Critical Edition, and therefore, are all different from the original autograph
version of Dvořák Mass in D.
63
Beveridge, Zdenka and Josef Hlavka-Anna and Antonin Dvořák, 94-95.
79
Summary
In conclusion, the author infers that, over the past hundred years, the different
versions increasingly depart from the original composition of Dvořák. Arguably, it
would be a significant contribution to bring the composition back to its original form, if
only out of respect to Dvořák and his original work. The author hopes there is a
publisher who would be willing to put in the effort to do this in the near future.
To provide a full picture of the development of Mass in D from 1887 until 2002,
the author has incorporated the timeline of the historical development and the published
editions in the following table.
Table 4. The Development of Mass in D.
Date Dvořák’s Work Publisher Remark
1887.03.26 Dvořák started writing Mass
in D.
1887.06.17 Dvořák completed Mass in
D for the Lužan chapel on
September 11 and informed
Hlávka in his letter.
This is known as the
original organ version.
1887.08.01
With Elsnic’s help, Dvořák
has revised Mass in D for
the first public performance
in Plzen on April 15, 1888.
In this version, the organ
was replaced by two
harmoniums, two double-
basses and one cello as there
was no organ in the venue.
80
1887. 08. 07
On the other hand, for the
performance on March 25,
1889, Dvořák wrote his later
revisions of the mass by
adding a part for cellos,
contrabasses and organ (not
two harmoniums). The
author calls this version the
Rudolfinum version.
Today, Novello still
keeps the original
autograph of this version
in London. This version
has never been
published and is
unknown to most
people. Conductor Haig
Utijian is planning to
publish it on 2016.
1887.09.11 Dvořák conducted Mass in
D (1887.06.17 version) at
consecration of Lužan
chapel.
1888.04.15 The first public performance
of the Mass (1887 .08.01
version) in Plzen.
After the performance,
Dvořák approached Simrock
to publish this particular
version and was declined
twice by the publisher.
1889.03.25 The first public performance
of the Mass (the 1887
Rudolfinum version) in
Rudolfinum Prague.
1889.06.10 Performance in Olomouc.
During Dvořák’s life time,
this was the last
performance in Czech.
1889.09 Simrock offered the Mass to
Novello (p.60).
1891.04.13 Dvořák accepted the offer of
Novello to compose a
version for full and small
orchestra.
1892. 03.24 Dvořák begins orchestration
of Mass in D in Prague.
1892 06.15 Dvořák completed the
orchestration of the Mass.
This is known as the
orchestra version of the
Dvořák Mass in D.
81
1893.03.06 First publication of Mass in
D orchestra version was
finally published by Novello.
However, this was a piano
vocal-reduction score of
Dvořák’s orchestra version.
Two versions were
published in 1893 by
Novello - 8181. First version
is based on the original text
of Dvořák. Same as the
original manuscript at the
Czech Museum of Music.
Second version was a
modified text version in
which the publishers adjusted
the text with the Roman
Catholic Liturgical Mass.
In Chapter 4 of this
dissertation, these 2
versions would be used
for comparison.
1893.03.11 The first performance of the
Mass in D (Novello version
published on 1893. 03.06) at
Crystal Palace in London,
UK.
1894
Another Orchestra Piano-
vocal reduction score with
English text published by
Novello edited by Rev. J.
Troutbeck. It was adapted
for church communion
service.
1964 First publication of the
Mass with just organ
accompaniment (though in
freely edited form) were
being published by
Saarbrücke, Robert Carl,
adapted by Alois Marie
Müller for church usage.
1970 Critical Edition — The
original form of the Mass
with organ accompaniment
was published by Editio
Supraphon Praha and edited
by Burghauser and Čubr –
H4952.
According to Burghauser,
this version was edited with
reference to the Novello
version published on (p.233)
This version was reprinted in
In Chapter 4 of this
dissertation, this version
would be used for
comparison.
82
1988, and 2000 under
Bärenreiter Praha.
1970 Critical Edition –
Orchestra version. This
was based on autograph of
full score and full score of
Novello vocal score
published by Editio
Supraphon Praha and edited
by Burghauser and Čubr –
H4839.
1978 Another organ version of
Mass in D was published by
Carus-Verlag, Stuggart,
Germany – CV 40.651. This
was edited by Günter
Graulich and Paul Horn.
This version again is edited
based on the Critical Edition
published on 1970 by Editio
Suprahon Praha.
In Chapter 4 of this
dissertation, this version
would be used for
comparison.
1987 Another orchestra version
of Mass in D was being
published by Carus-Verlag –
CV40.653. This was edited
by Klaus Döge.
1999 Another orchestra version
with reduction vocal-piano
score was being published by
Carus-Verlag –
CV40.653/03.
2000 A combined orchestra and
organ versions are being
published by Novello, edited
by Michael Pilkington –
NOV 072491. This new
vocal score is designed to be
used for performance with
the 1887 organ version or the
1892 orchestral version,
showing both sets of
dynamics, and the differences
between the two versions.
Nevertheless, in
comparison with the
original organ autograph
at the Prague Museum
of Music, the author has
discovered that in Gloria
(P. 19) measure 90-94,
the text is different from
the original.
83
2002 Another organ version was
published by Bärenreiter
Praha and edited by
Christoph Heimbucher based
on the critical edition.
84
Chapter 5
Overall Characteristics and Musical Aspects of Mass in D
The Characteristics of the Mass
Dvořák’s musical style has been described as:
An abundant flow of fresh and characteristic tune; remarkable facility in varying
and developing motives; an almost excessive freedom in the employment of
modulations and transitions without reference to key relationship; a luxuriant
fancy, for the manifestation of which novel and striking rhythmic devices are
largely employed; picturesque use of orchestral colour; strong contrast of
moods.
64
We can find these characteristics in his Mass in D, although the composition is of
modest scale compared to his other large choral works. Jarmil Burghauser, in his notes
for the Critical Edition of the organ version, sees in the Mass in D the “spirit of smiling,
pleasant regions of hills and woods and little Baroque churches, with folk-art decoration,
the expression of the wisdom and security of the native land.”
65
According to Walter
Hilse, “the childlike, simply lilting nature of the principal themes of most sections, the
straightforward, predominantly syllabic word-setting, and a peculiarly Slavic admixture
of modal harmony and advanced chromaticism seem to account for this impression.”
66
Dvořák was aware that the Mass would be performed by amateur singers, so he
wrote this Mass in simple form and clearly arranged choral parts. According to Ondrej
Supka, Dvořák was also aware that the Lŭzany chapel was quite small. Consequently,
64
Joseph Bennett, “Antonín Dvořák,” The Musical Times (April 1884): 190-91.
65
Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition, ed. Jarmil
Burghauser (Prague: Artia, 1970), viii.
66
Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quarterly Vol 62, no.1
(January 1976): 150-151.
85
Dvořák restricted the instrumentation and wrote an accompaniment only for organ.
Although simple in form compared to his other large choral works, it is nevertheless rich
in melodic and harmonic imagery. Its exceptional quality destined it for far greater
things than its simplicity would seem to command.
67
Overall, the Mass shows a full range of techniques and emotions; its fugal
sections are intricate; it has an easy integration of soloists and chorus, no lengthy solo
passages, no elaborate melismas; and it has simple melodies. With some exceptions, the
Latin text from the Ordinary of the Mass is more or less preserved in its traditional
version.
The Structures of the Mass
The structures of Mass in D are mainly polyphonic except for the middle
movements, set in homophony, which results in a kind of arch form. Please refer to the
chart below:
Table 5. The Overall Structure of the Mass.
Movement I – Kyrie
Movement II – Gloria
Movement III – Credo
Movement IV – Sanctus
Movement V – Benedictus
Movement VI – Agnus Dei
Polyphonic
Polyphonic
Homophonic
Homophonic
Polyphonic
Polyphonic
67
Ondrej Supka, “Mass in D Major-The Luzany Mass,” trans. Karolina Hughes, accessed January
16, 2015, http://www.antonin-dvorak.cz/en/mass.
86
The themes and motives are straightforward and yet effectively composed. The
melodies are lyrical and somewhat evocative of Slavonic music. Old and new elements
can be found in Dvořák’s Mass in D. Dvořák created an interesting tonal language by
combining the old church modes with the most up-to-date approaches in harmony at that
time. This combination is especially appealing as Dvořák has uniquely brings together
both with natural confidence. For example, Dvořák evokes the atmosphere of the old
church modes while inserting fugal passages at certain places: “Christe eleison” is
initially in pure Aeolian mode; the Phrygian mode appears in “Christe eleison,” measures
59-63 (see example 5.1); the Mixolydian mode used at the “pacem” passage evokes the
eternal stability of faith (see Example 5.2). Dvořák also uses modern harmony: the
‘Tristan chord’ can be heard in the Credo’s “passus et so pultus est” in measures 219-24
(see Example 5.3).
68
68
Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition, ed. Jarmil
Burghauser (Prague: Artia, 1970).
87
Example 5.1. 1978 Carus Organ Edition — “Christe eleison,” mm. 59-68.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.9.
88
Example 5.2. 1978 Carus Organ Edition — “Pacem,” mm. 65-68.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.83.
89
Example 5.3. Tristan Chord.
(a) 1978 Carus Organ Edition — “Tristan Chord,” mm. 219.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.45.
(b) Richard Wagner — “Tristan Chord,” mm. 2.
Source: Richard Wagner, Tristan und Isolde: Vocal and Piano Score. Edited by Otto Singer and Carl
Waack. Germany: Breitkopf & Härtel, 1983, p.1.
90
Text as a Key Part of the Mass
Text also plays an important role in the Mass. Indeed, it offers the simplest
explanation for many of the basic features of Dvořák’s Mass. Effective text painting is
another key device that Dvořák brings to this work. From a liturgical point of view, Mass
in D comprises all parts of the mass Ordinary. However, Dvořák seems to have been
unconcerned about being strictly liturgical. For example, in the “Kyrie II” there is a coda
recalling the “Christe” section which is unusual. In fact, Dvořák deviated from the
liturgical text significantly by changing or omitting words or even whole sentences.
Mostly distinctively, “Et expecto resurrectionem mortuorum” is omitted.
The organ is mostly independent, interacting with the voices in terms of melody,
register, and rhythm. For instance, alongside the words “propter magnam gloriam tuam”
in the “Gloria,” the organ part plays an entirely different line in octaves while the tenors
and basses sing four-part harmony.
In terms of harmony, there are no long plagal extensions. Instead, Dvořák seems
to spend more time on tonicizing related minor keys. Those minor keys often come to
rest in the home key with a single, concise cadential formula (see Example 5.4).
91
Example 5.4. 1978 Carus Organ Edition — “Kyrie,” mm. 116-18.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.14.
Furthermore, one of Dvořák’s fascinating composition techniques is that there are
no instrumental introductions for any movement except the “Benedictus” (later, in the
orchestral version, Dvořák added another two measures of introduction for the “Kyrie”).
According to Walter Hilse, “the twenty-measure organ interlude linking it with the
foregoing Sanctus actually serves as the theme upon which are built two ensuing choral
variations, the first in the tonic, the second in the subdominant.”
69
(see Example 5.5).
69
Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quarterly Vol 62, no.1
(January 1976): 150-151.
92
Example 5.5. Critical Edition (1970 Suprahon) — “Benedictus,” mm. 1-40.
93
94
Source: Antonín Dvořák, Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by Jarmil
Burghauser. Prague: Artia, 1970, p.68-70.
95
The overall impression the Mass conveys is the calm, comfort, security and
reassurance that comes from Christian faith, whether it is the ultimate feeling of victory
and joy at the end of the “Credo” or divine peace at the end of the whole Mass.
The Tonality of the Mass and Similarity with Beethoven’s Missa Solemnis
The tonality of the Mass is very colorful. For instance, the “Kyrie” is in D major,
and the “Christe eleison” is in G minor; unexpectedly, the “Credo” is in B-flat major.
The tonal plan of the entire Mass is that Dvořák begins and ends the work in D major,
which is also the main key of the framework of “Kyrie,” “Gloria,” and “Sanctus.”
Finally, of note is the “Agnus Dei,” which begins in B minor but ends in the home key, D
major.
Dvořák put great effort into the composition of this Mass, which he called a work
of “faith, hope and love to Almighty God.”
70
Moreover, he seems to have utilized the
common, but effective, practice of alternating major and minor tonalities to express the
meaning of certain texts.
71
For instance, in “qui tollis peccata mundi, miserere nobis,”
Dvořák uses the minor key to emphasize “who takes away the sins of the world, have
mercy on us.” In “Laudamus te, Benedictus te, Adoramus te, Glorificamus te,” Dvořák
uses the major key to express praise to God “we praise You, we bless You, we worship
You, we glorify You.”
70
Otakar Šourek, Antonín Dvořák: His Life and Works (New York: The Greystone Press, 1941),
276.
71
Beveridge, Zdenka and Josef Hlavka-Anna and Antonín Dvořák, 99-100.
96
Dvořák’s composition techniques were deeply influenced not only by Wagner,
Liszt, and Brahms, but also influenced by the earlier composers such as Bach, Haydn and
Beethoven. His son-in-law Josef Suk said,
Dvořák’s knowledge of musical works was truly astounding. Bach, Handel,
Gluck, Haydn, Mozart, Beethoven, Schubert, Berlioz, Wagner, Liszt – he knew
the works of all these masters in detail. And, in general, there was no movement
of which he did not take notice; he studied Bruckner, was interested in Richard
Strauss and was pleased when he saw among his students a striving after new and
independent expression.
72
In an interview printed in The Sunday Times in 1885, Dvořák mentioned, “now it was
that I first heard of Mozart, Beethoven and Mendelssohn as instrumental composers;
previously, indeed, I had hardly known that the two last-named had existed.” Dvořák
certainly had the knowledge of early music, and he admired Beethoven in his later
years.
73
In this case, the unusual tonal plan of Dvořák’s Mass in D is virtually identical to
Beethoven’s Missa Solemnis (see Table 5). In terms of melody, the musical
characteristics are completely different, but the key relations are the same. And the
meditative instrumental interlude between the “Sanctus” and the “Benedictus,” gently
moving its way from D major to G major serves the same modulatory function as
Beethoven’s.
74
72
Šourek, Antonín Dvořák: Letters and Reminiscences, 138-39.
73
Jan Smaczny, The Work of Antonin Dvořák (1841-1904): Dvořák and Early Music, ed. Jarmila
Gabrielova, and Jan Kachlik (Prague: Institute of Ethnology, 2007), 311-12.
74
Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quartetly Vol 62, no.1
(January 1976): 150.
97
Table 6. Tonality of Dvořák’s Mass in D and Beethoven’s Missa Solemnis.
Dvořák Mass in D Major Beethoven Missa Solemnis
Kyrie D D
Gloria D D
Credo Bb Bb
Sanctus D D
Benedictus G G
Agnus dei b - D b - D
Besides sharing the same tonalities, both compositions combine traditional and
new elements. For example, both works use church modes, juxtaposed with modern
harmony. Beethoven used extra liturgical text for dramatic and emotional purposes,
adding “o” before miserere; Dvořák omitted and changed some of the liturgical texts
instead.
A Brief Analysis of the Organ Version of the Mass
Movement I – “Kyrie”
The “Kyrie” is comprised of three sections (ABA’). The first and the last section
share the same thematic materials and the same tonality. Although there are certain
modulations throughout the movement, the tonal language is mainly centered in D major.
The middle section is centered in G minor to create the contrast with the other two
sections. The overall form of “Kyrie” is as follows:
98
Table 7. Overall Form of Mass in D Movement I — “Kyrie.”
Section Measures Tonal
Center
Text Tempo Voicing Characteristic
s
A
(Motif 1)
1-58 D
1-18
(D)
19-43
(f#)
44-58
(A - D)
“Kyrie
eleison”
Andante
con
moto,
dotted
half =
40
Choir Predominately
6/4;
dynamic shift
on mm29;
stepwise
descending
sequence on
mm29-33;
hemiola.
B
(Motif 2)
59-95 g
59-77
(g)
78-90
(Bb min-
Gb-C#..)
91-95
(F#-A)
“Christe
eleison”
(Ritard
in
mm95)
Soloists
and
Choir
Rhythmic
change;
dynamic shift
in mm. 55-58;
turning point
for the
modulation
back to D
major;
a cappella
passage on
mm. 85-90
(climax).
A
(Motif 1)
Coda
(Motif 1
& 2)
96-118 D
96-111
(D)
112-118
(D)
“Kyrie
eleison”
Tempo
I
Choir Non-liturgical
text at coda;
plagal cadence.
The piece begins with sopranos without organ introduction (only later Dvořák
added two bars of introduction in the orchestra version). The musical structure is mainly
polyphonic, in which every voice at one time or another presents the theme and no voice
is limited to the role of mere accompaniment. Dvořák set the word “kyrie” syllabically
and the word “eleison” melismatically (see Example 5.6), the result it a layering in which
99
each voice enters, one after another, creating a sense of urgency and intensifying the
prayer’s petitions for mercy.
Example 5.6. 1978 Carus Organ Edition — “Kyrie,” mm. 96-107.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.13.
100
One can easily notice that Dvořák always worked to discover possibilities for
alternative word settings while keeping the musical motive the same. Dvořák tended to
set a basic mood for a major section, and he emphasized mostly the musical expression of
the particular mood instead of its word painting. He handled the overlapping of textual
flow similarly to how he handled the musical flow.
Dvořák’s musical style is seen in how he enriched and enhanced harmonies by
using the cumulative effect between the conservative functional harmonic progressions
and the chromatic melodic. He also used non-harmonic tones (especially suspensions,
anticipation, and appoggiaturas) as he colored the basic chord progression. This is one of
the significant characteristics of his harmonic vocabulary. For instance, the basic
progression of “Kyrie” is I-I6-ii7-V(7) (see example 5.7).
Example 5.7. 1978 Carus Organ Edition — “Kyrie,” mm. 3-4.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.3.
101
On the other hand, the richer harmonic vocabulary in “Christe eleision”
establishes an obvious contrast between the two sections. The rhythm of this section also
lends a sense of sincerity and anxiety to the words “Christ, have mercy,” while the
ascending entrances (tenor, bass, alto, soprano) in measures 73-77 intensify the emotional
impact.
“Christe eleison” begins in the key of G minor, the subdominant minor of the
principal key of the work (D major), but moves through B-flat and B minor before ending
on the dominant of D major. The first fourteen measures are assigned for soloists.
In measures 78-80, Dvořák appears to be preparing to end the section, but when
the soprano comes in with the ascending sequences in measures 81-85, the mood is
brought to the climax of the movement (see Example 5.8). The impact of this passage is
especially strong when the four parts come in an a cappella, homophonic structure in
measures 85-90. The dynamic shifts from ff to pp, ending calmly in section B, having set
the mood effectively.
102
Example 5.8. 1978 Carus Organ Edition — “Kyrie,” mm. 81-85.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.11.
103
In the last section, the coda in the last phrase of the “Kyrie II” repeats “Christe”
three times by the alto, tenor and soprano parts to fit the musical phrase. Liturgically,
“Christe” should not appear again in the last section. However, in the author’s opinion,
Dvořák might have done that intentionally to emphasize and express his faith to God and
his belief in the Holy Trinity. Furthermore, while altos, tenors and sopranos were singing
“Christe,” the basses and the organ pedal are keeping a steady note in D major. In the
author’s opinion, this note represents the foundation of the religious faith (see Example
5.9).
104
Example 5.9. 1978 Carus Organ Edition — “Kyrie” mm. 112-14.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.14.
105
Movement II – “Gloria”
The “Gloria” is in five sections. The “Adoramus te” fugato is repeated in the last
section with the text “Cum Sancto Spiritu.” The overall form of the “Gloria” is as
follows:
Table 8. Overall Form of Mass in D Movement II — “Gloria.”
Section Measures Tonal
Center
Text Tempo Voicing Characteristics
A 1-18 D
1-18
(D-A)
“Gloria in
excelsis
Deo”
Allegro
vivo,
quarter
note =
138
Choir Predominately
4/4 common
time;
stretto entrance;
word painting
in mm. 15-16.
B 19-72 D
19-46
(D-f# -
F#)
47-72
(D)
“Et in
terra pax”
Choir Dynamic shift;
uplifting
fugatto in mm
47-72;
stepwise
descending
sequence in
mm. 55-59;
a cappella in
mm. 19-29 and
mm. 67-69.
C 73-118 G
73-98
(G)
99-118
(b-c-c#
- G)
“Gratias
agimus
tibi”
Andante
con moto
quarter
note = 84
Solo &
Choir
Tempo shift;
center of the
movement;
contrast.
D 119-148 b
119-132
(b)
133-148
(G-b)
“Qui tollis
peccata
mundi”
Un poco
lento
quarter
note = 72
Solo &
Choir
Dynamic shift;
tempo shift;
a cappella in
mm. 141-47.
106
E 149-192 D
149-162
(D-b)
163-178
(D)
179-192
(e-C-D)
“Quoniam
tu solus
Sanctus”
Tempo I
Maestoso
Choir Tempo &
dynamic shift;
*fugatto in mm.
163-192; word
painting;
a cappella in
mm. 183-184;
plagal cadence.
The opening four measures function as an introduction with a grand opening. The
four voices come in one after another within two measures that consist of stretto-like
entrances (see Example 5.10). It creates the sonority of celebration and triumph. The
motive is based on the D major triad. Besides, there is a series of harmonic and rhythmic
ostinatos in measures 30-46. Harmonically, this consists basically of only three chords:
F#-B and E minor.
Example 5.10. 1978 Carus Organ Edition — “Gloria,” mm. 1-5.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.15.
107
The section C “Gratias agimus tibi” is a contrast to the first two sections. The
tempo is somewhat slower and the phrases are much longer. Dvořák shifts the dynamic
from forte to pianissimo probably to effectively create a calmness and peacefulness of the
movement.
The final section returns to D major. In the first section, the Mass constantly
returns to D major, while the inner section centers around B minor, but also features
chromatic motion through other areas. As we arrive at the final section, we encounter
again a similar harmonic rhythm, key areas, tempo, character and repetition of material as
in the opening section. This concludes the second movement.
Dvořák’s score strongly evokes the feeling of joy in correspondence to the
meaning of the words “Gloria in excelsis Deo” (‘Glory to God in the highest’) even when
the music moves from bright D Major to the darker B minor. Furthermore, Dvořák’s
word painting is effective in this movement. For example, in measures 63-66 “adoramus
te” and “glorificamus te,” the melodic material ascends from low notes to high, possibly
representing the people’s adoration of the Lord (see Example 5.11).
108
Example 5.11. 1978 Carus Organ Edition — “Gloria,” mm. 63-66.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.21.
Moreover, in measures 163-69 “cum Sancto Spiritus,” the musical elements are
descending from a higher note to a lower note possibly in an effort to depict the holy
spirit of God coming down from heaven (see Example 5.12).
109
Example 5.12. 1978 Carus Organ Edition — “Gloria,” mm. 166-69.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.30-31.
Movement III – “Credo”
Movement III has five principal sections: measures 1-118 (“Credo in unum
Deum”), measures 119-182 (“Et incarnatus”), measures 183-241 (“Crucifixus”),
measures 242-327 (“Et resurrexit”), and measures 328-447 (“Credo in Spiritum
Sanctum”). The overall form of Credo is as follows:
110
Table 9. Overall Form of Mass in D Movement III — “Credo.”
Section Measures Tonal
Center
Text Tempo Voicing Characteristics
A 1-118
Bb
1-56
(Bb)
57-118
(Bb-c-
Bb)
“Credo in
unum Deum”
Allegro
moderato,
quarter =
132
Choir
Predominantly 3/4;
antiphonal (call
and response);
homophony;
dynamic contrast;
a cappella in mm.
102-104.
B 119-182 g
119-160
(g)
161-182
(g)
“Et
incarnatus”
Solo
(Alto,
Bass &
Soprano)
& Choir
8 measures per
phrase set the
mood beautifully;
soft dynamics.
C 183-241 d
183-224
225-241
“Crucifixus” Piu
mosso
Choir
Dynamic shift;
homophony;
organ antiphony
with choir;
harmonic change;
a cappella
sections-striking
in mm. 219-224
and 238-241;
funeral drum in
mm. 207-224;
Tristan chord.
D 242-327 Bb
242-275
g-Bb
276-327
(Bb)
“Et resurrexit” Tempo I
Choir
Tempo change;
tenor and choir
antiphonal
(richness in
harmonic writing);
polyphony in mm.
280 onwards;
a cappella in mm.
313-316
A 328-447 Bb
328-402
(Bb)
recap
“Credo in
Spiritum
Sanctum”
Tempo I
Choir
Recap of section A
(same thematic
material but
different in texts);
in mm. 385-402
111
403-447
(Bb)
beautiful layering
form each part
creates the
climax/tension of
the mood;
expression
emotional;
plagal cadence.
Dvořák begins this movement with the stile galant technique, a simple form of
music with decreased use of polyphony and increased use of melody. While showing
extreme contrast with the previous two movements, it also expresses the affirmation of
the faith. In this movement, there are several significant passages to be mentioned:
Firstly, the primary thematic material is presented antiphonally, quietly stated by
the altos and repeated loudly, in affirmation, by the other voices. Each phrase of text, up
to “Et incarnatus est,” is presented in this manner. The roots of this call-and-response
style are very old, proceeding not only from the Venetian polychoral style of the early
Baroque, but also from the responsorial psalmody of the ancient Hebrews. The antique
quality is enhanced by the music’s modality, an element that serves to intensify the
contrast between this section and the modern harmonies introduced later at “Crucifixus”
(see Example 5.13).
112
Example 5.13. 1978 Carus Organ Edition — “Credo,” mm. 1-16.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.34.
113
Secondly, in measures 57-64, at the word “Deum de Deo, lumen de Lumine”
(‘God from God, Light from Light’), the choir is singing a single note B, while the organ
accompaniment with unusual, shocking sequences evokes a strong feeling of awe (see
Example 5.14).
Example 5.14. 1978 Carus Organ Edition — “Credo,” mm. 57-64.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.37.
114
Thirdly, the four hammer-strokes of the “Crucifixus” are dramatic. It brings the
emotional aspect to a climax. In this section, Dvořák again suspends tonality with the
frequent use of the diminished seventh chord as the primary harmonic tool. This
represents the darkest part of the moment that Christ was crucified and effectively
expresses sorrow and pain (see Example 5.15).
115
Example 5.15. 1978 Carus Organ Edition — “Credo,” mm. 183-202.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.45.
116
Fourthly, The Wagner ‘Tristan Chord’ can be heard in the “Credo” movement,
measures 219-224. In measure 219, at the words “passus et sepultus est” the famous
chord appears, but spelled in a different way: Ab-Eb-Cb-F (see Example 5.16).
Example 5.16. 1978 Carus Organ Edition — “Credo,” mm. 219-24.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.45-46.
117
Example 5.16 (cont.). 1978 Carus Organ Edition — “Credo,” mm. 219-24.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.45-46.
Clearly, Dvořák was strongly influenced by the music of Richard Wagner, a
composer advanced for his time, particularly with regard to harmony. In Dvořák’s
“Credo” appear the words “passus sepultus et est” (‘was martyred and buried,’ at m.
219). Here we can hear the opening chords in the overture of Wagner’s opera Tristan
und Isolde. The same layout with the same tone of Wagner was used in the Mass. The
chord itself, however, shows nothing special in terms of how it is distributed. Dvořák
expanded the chord differently than Wagner but with the same harmony, which is one of
the elements that creates a perfect musical image of the suffering Christ. Dvořák’s
blending of chromatic and modern styles is a particularly courageous approach.
118
Fifthly, the a cappella section in measures 219-224, framed in brief silence, is
exceptionally effective, as is the ensuing passage utilizing divisi treble parts in measures
229-233, which also conjures the image of hesitant footsteps approaching the tomb (see
Example 5.17).
75
75
Beveridge, Zdenka and Josef Hlavka-Anna and Antonin Dvořák, 101.
119
Example 5.17. 1978 Carus Organ Edition — “Credo,” mm. 229-41.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.46.
120
The “Et incarnatus” consists of a basic 14-measure unit that repeats three times
(measures 133-146, measures 147-160, and measures 161-174). Each of these entries
contains the same contour and rhythm, but Dvořák made slight alterations in each of
them. Furthermore, in the Et resurrexit, the music returns to tempo I (Allegro Moderato).
For the sake of musical flow and musical emotion, Dvořák repeats the word “resurrexit”
(measures 254-255). This textual repetition extends the phrase so that the tenor’s initial
eight-measure solo is followed by a ten-measure response. The final section contains a
recapitulation and a closing statement. The use of non-fugal contrapuntal forms at the
end is somewhat reminiscent of Haydn’s Nelsonmesse. The recapitulation spans
measures 328 to 384. Dvořák substitutes the word “credo” for the word “et” in the “Et in
Spiritum Sanctum” text, which then makes the effect of recapitulation even stronger. The
closing statement can be interpreted as a stronger affirmation of faith.
Movement IV – “Sanctus”
Dvořák sets the first three textual units of this hymn of praises in three sections:
“Sanctus” (measures 1-44), “Pleni sunt coeli” (measures 45-62), and “Hosanna”
(measures 63-99). The overall form of the “Sanctus” is as follows:
121
Table 10. Overall Form of Mass in D Movement IV — “Sanctus.”
Section Measures Tonal
Center
Text Tempo Voicing Characteristics
A 1-44 D
1-26
(D-A-
F#)
27-44
(F#)
Sanctus
Allegro
maestoso,
half note =
72
Choir Predominantly
cut-common
time;
“Sanctus” x3
big phrases
(mm. 1-27) =
expression of
Trinity;
dynamic shift;
homophony;
a cappella in
mm. 18-27;
rhythmic
change in mm
28 onwards;
rhythmic
language.
B 45-62 F#-D
45-62
Pleni
sunt
Piu mosso Choir homophony;
antiphony;
short.
C 63-99 D
63-70
(D)
71-83
(D)
84-99
(G-D)
Hosanna
Molto
Maestoso
Choir Tempo shift;
plagal cadence.
This movement is particularly direct in the presentation of its thematic ideas. The
opening interval of a descending fourth reappears several times during the movement. At
the change of tempo from “Sanctus” (Allegro Maestoso) into “Pleni sunt coeli” (Piu
Mosso), Dvořák again shows his preference for the median major F-sharp over the
relative minor as a secondary tonal area (measures 14-16, 25-26, and 42-44).
122
There are dynamic contrasts within this passage. The opening of eight measures
in forte ring out like the angelus bells and resonate by eight measures in pianissimo. The
second group of eight bars, sung by only the upper three voices, begins on the pitch E
instead of D and shifts to the median major F-sharp (see Example 5.18).
Example 5.18. 1978 Carus Organ Edition — “Sanctus,” mm. 1-17.
123
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.60.
In the last section, Dvořák moves to the subdominant. It begins fugally with the
altos tonally imitating the soprano and bass in augmentation. However, this soon
124
changes to free counterpoint by adding the tenor on measure 66. The last seven measures
(measures 93-99) are marked as Molto Maestoso. This is probably to emphasize the
majestic quality of the section. Besides, this last section is a prolonged plagal cadence
followed by a one and a half measure transition to the “Benedictus.”
Movement V – “Benedictus”
The “Benedictus” moves into the key of G major. The text is divided into two
sections: “Benedictus” (measures 1-76, marked Lento), and Hosanna (measures 77-112,
marked Vivace). The overall form of the “Benedictus” is as follows:
125
Table 11. Overall Form of Mass in D Movement V — “Benedictus.”
Section Measures Tonal
Center
Text Tempo Voicing Characteristics
A 1-76 G
1-20
(Intro)
21-32
(G)
33-40
(G)
41-52
(G)
53-60
61-76
(G)
Benedictus Lento,
quarter
note =
66
Choir Organ prelude;
voices repeating
the idea of the
prelude;
uplifting;
5 big phrases.
B 77-112 G
77-85
(G)
86-97
(D
pedal)
98-106
C
107-112
(G)
Hosanna Vivace Choir Tempo shift;
plagal cadence.
Among all the movements of the Mass in D, the “Benedictus” perhaps best
exemplifies Dvořák’s chromatic art and his ability to transform the texture of the musical
material. The introduction for organ solo contains the basic material for the entire
section. It shows a constant chromatic flow with many non-harmonic tones embellishing
the basic progression. The most significant mark of Dvořák’s composition technique is
to avoid reinforcing the tonic by keeping the musical flow, without obvious rest, from
126
measure 1 through measure 20. The second group of twenty measures (measures 21-40),
repeats the opening, with the chorus now adding text to the contrapuntal fabric.
In the first section, the slow tempo creates the momentum for the expression of
the text “Blessed is He who comes in the name of the Lord.” Immediately, there is a
tempo change in the second section, “Hosanna,” to bring out the contrast. In this section,
the predominance of stepwise motion in the bass contributes to the harmonic flow.
Dvořák used a variety of rhythmic patterns to create various textures. This can be
illustrated as follows: Text Statement I, measures 21-33; Text Statement II, measures 33-
41; Text Statement III, measures 41-53; Text Statement IV, measures 53-61; Text
Statement V, measures 61-76 (closing section).
Movement VI – “Agnus Dei”
The final movement of the Mass in D is organized into three sections: measures 1-
33 (“Agnus Dei”), measures 34-51 (“Miserere nobis”), and measures 52-68 (“Dona nobis
pacem”). The key is B minor. The overall form of the “Agnus Dei” is as follows:
Table 12. Overall Form of Mass in D Movement VI — “Agnus Dei.”
Section Measures Tonal
Center
Text Tempo Voicing Characteristics
A 1-33 b
1-8
9-16
17-24
25-33
“Agnus
Dei”
Andante,
quartet
note = 69
Solo
(SATB)
8 measures per
phrase;
Mezza voce;
Fugal
exposition in
mm. 1-33.
B 34-51 b
34-38
“Miserere
nobis”
Choir Intimate prayer
127
39-45
46-51
C 52-68 b-D
52-54
55-68
“Dona
nobis
pacem”
Solo
(Tenor)
& Choir
Trio-heavenly
voice;
dynamic shift;
a cappella in
mm. 65-66;
unusual modal
cadence.
The first section consists of a four-voice fugal exposition. Each entry overlaps the
succeeding one. The order of entries is tenor, alto, soprano and bass. The alto and bass
enter at the dominant minor level (F-sharp minor). The entrances are virtually identical,
the differences lying only in the final two bars of the bass and alto solos. The counter-
subject in the organ is the basis from which the vocal counterpoint is derived.
Harmonically conservative, the section stays well within the bounds of B minor
and closely related keys. The contrast between the flowing organ accompaniment and
tenor soloist is particularly beautiful, especially in measure 3 where the voice and organ
seem to move together before going separate ways.
The second section has strong contrasts to the peace and calm character of the
preceding section. Before moving back to B minor in measure 38, the diminished
seventh chords, the tutti altos, make a solemn statement for mercy (see Example 5.19).
128
Example 5.19. 1978 Carus Organ Edition — “Agnus Dei,” mm. 33-39.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.80.
129
In the last section is one of the most beautiful moments in the entire Mass. Out of
the prevailing despair, suddenly the organ, in measure 51, restates the opening counter-
subject, conveying peace and calm as the tenor section asks for peace in measures 52-68
(see Example 5.20).
130
Example 5.20. 1978 Carus Organ Edition — “Agnus Dei,” mm. 51-56.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.82.
131
From measure 65 to the end, the music moves outwards as if peace were moving
outwards across the whole world (see Example 5.21). These measures are extremely
effective in presenting the simple but rich expression of Dvořák’s faith in God and the
final, unexpected modal cadence is superb and unique.
76
76
Walter Hilse, “Dvořák: Mass in D Major, Opus 86,” The Musical Quarterly 62, no.1 (1976):
150-51.
132
Example 5.21. 1978 Carus Organ Edition — “Agnus Dei,” mm. 57-68.
Source: Antonín Dvořák, Mass in D, op. 86, Original Version. Edited by Gunter Graulich and Paul Horn.
Stuttgart: Carus-Verlag, 1978, p.83.
133
Chapter 6
Performance Considerations for Amateur Choir
Unlike other works of Dvořák, he wrote the Mass in D particularly for amateur
performers in a small church setting. Therefore, the Mass in D is a piece of music that is
suitable for a church choir or amateur choir to perform in a church setting or concert hall.
The author herself has conducted and performed Dvořák’s Mass in D with a combined
amateur choir of the Chinese Baptist Church of Los Angeles on April 5, 2015.
Throughout the rehearsal process, the author wishes to share some of the solutions to the
many challenges that she encountered throughout the process of studying, teaching, and
performing this work. A summary of this is presented in this chapter as performance
considerations for conductors working with amateur choirs on this piece.
A clear and solid rehearsal plan is particularly important for conductors
conducting an amateur choir. The author recommends conductors to first consider the
following elements and details in preparing the rehearsal plan for the Mass in D.
Teaching Non-Native Amateur Singers Singing in Latin
First of all, teaching diction is one of the most important performance
considerations for a non-native amateur choir singing in Latin. As Latin is not the first
language and, moreover, is rarely taught in Asia, teaching and written notation of the IPA
(International Phonetic Alphabet) is helpful for singers unfamiliar with the language.
During the rehearsal of Mass in D with an amateur choir, the author suggests to
the conductors to review correct diction during each rehearsal. In addition to the teaching
134
of IPA, the author also suggests teaching the pronunciation by showing the proper agogic
accents on each word or phrase. Please refer to the table below:
77
Table 13. Latin Text with Agogic Accent, IPA and English Translation.
Movement I – “Kyrie.”
Kýrie eléison
kiɾiɛ ɛlɛizɔn
Lord, have-mercy
Chríste eléison
kɾistɛ ɛlɛizɔn
Christ, have-mercy
Kýrie eléison
kiɾiɛ ɛlɛizɔn
Lord, have-mercy
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
Movement II – “Gloria”
Glória in excélsis Déo
glɔɾia in ɛksʃɛlsis dɛɔ
Glory in the-highest to-God
Et in térra pax homínibus bónæ
voluntátis
ɛt in tɛɾɾa paks ɔminibus bɔnɛ vɔluntatis
And on earth peace to-men of-good will
Laudámus te. Benedícimus te
laudamus tɛ. bɛnɛditʃimus tɛ
We-praise You. We-bless You.
Adorámus te. Glorificámus te
adɔɾamus tɛ glɔɾifikamus tɛ
We-worship You. We-glorify You.
Glory to God in the highest.
And on earth peace to men of good will.
We praise Thee. We bless Thee.
We worship Thee. We glorify Thee.
We give Thee thanks for Thy great glory,
O Lord God, heavenly King,
God the Father almighty.
Lord Jesus Christ, the Only-begotten Son.
Lord God, Lamb of God, Son of the
Father,
Who takes away the sins of the world,
have mercy on us.
Who takes away the sins of the world,
receive our prayer.
Who sits at the right hand of the Father,
have mercy on us.
77
Bard Suverkrop, “IPA Source The Ordinary of the Mass - Complete Text,” IPA Source Online,
accessed December 29, 2015. http://www.ipasource.com/the-ordinary-of-the-mass-complete-text.html.
135
Grátias ágimus tíbi própter mágnam
glóriam túam
gɾatsias adʒimus tibi pɾɔptɛɾ maɲam
glɔɾiam tuam
Thanks we-give to-You because-of great
glory Yours
Dómine Deus, Rex cœléstis, Déus Páter
omnípotens
dɔminɛ dɛus ɾɛks tʃɛlɛstis, dɛus patɛɾ
ɔmnipɔtɛns
Lord God, King heavenly, God the-Father
all-powerful
Dómine Fíli unigénite, Jésu Chríste
dɔminɛ fili unidʒɛnitɛ jɛzu kɾistɛ
Lord Son only- begotten, Jesus Christ
Dómine Déus, Ágnus Déi, Fílius Pátris
dɔminɛ dɛus, aɲus dɛi, filius patɾis
Lord God, Lamb of-God, Son of-the-
Father
Qui tóllis peccáta múndi, miserére
nóbis
kwi tɔllis pɛkkata mundi, mizɛɾɛɾɛ nɔbis
Who takes-away the-sins of-the-world,
have-mercy on-us
Qui tóllis peccáta múndi
kwi tɔllis pɛkkata mundi
Who takes-away the-sins of-the-world
súscipe deprecatiónem nóstram
suʃipɛ dɛpɾɛkatsiɔnɛm nɔstɾam
Receive prayers our
Qui sédes ad déxteram Pátris, miserére
nóbis
kwi sɛdɛs ad dɛkstɛɾam patɾis, mizɛɾɛɾɛ
nɔbis
Who sits at-the right-hand of-the-Father,
have-mercy on-us
For Thou alone art holy;
Thou alone art Lord;
Thou alone, O Jesus Christ,
together with the Holy Ghost,
art most high in the Glory of God the
Father. Amen.
136
Quóniam tu sólus sánctus
kwɔniam tu sɔlus saŋktus
For You alone are-holy
Tu sólus Dóminus
tu sɔlus dɔminus
You alone are-Lord
Tu sólus Altíssimus, Jésu Chríste
tu sɔlus altissimus jɛzu kɾistɛ
You alone are-most-high, Jesus Christ
Cum Sáncto Spíritu
kum saŋktɔ spiɾitu
With-the Holy Spirit,
in Glória Déi Pátris. Ámen
in glɔɾia dɛi patɾis. amɛn
in-the glory of-God the-Father. Amen
Movement III – “Credo”
Crédo in únum Déum, Pátrem
omnipoténtem
kɾɛdɔ in unum dɛum patɾɛm ɔmnipɔtɛntɛm
I-believe in one God, Father all-powerful
factórem cœli et térra
faktɔɾɛm tʃɛli ɛt tɛɾɾɛ
maker of-heaven and of-earth
visibílium ómnium, et invisibílium
vizibilium ɔmnium ɛt invizibilium
visible of-all-things and invisible
Et in únum Dóminum Jésum Chrístum
kɾɛdɔ in unum dɔminum jɛzum kɾistum
And in one Lord, Jesus Christ
Fílium Déi unigénitum
filium dɛi unidʒɛnitum
Son of God only-begotten
I believe in one God, the Father Almighty,
Maker of heaven and earth,
and of all things visible and invisible.
And in one Lord, Jesus Christ,
the Only-begotten Son of God, born of the
Father before all ages;
God of God, Light of Light,
true God of true God;
begotten, not made;
of one substance with the Father,
by whom all things were made.
Who for us men, and for our salvation,
came down from heaven.
And was incarnate by the Holy Ghost of
the Virgin Mary, and was made man.
He was also crucified for us,
suffered under Pontius Pilate,
and was buried.
And on the third day
He rose again according to the Scriptures,
and ascended into heaven.
137
Et ex Pátre nátum ánte ómnia sæcula
ɛt ɛks patɾɛ natum antɛ ɔmnia sɛkula
And of-the Father born before all ages
Déum de Déo, lúmen de lúmine
dɛum dɛ dɛɔ lumɛn dɛ luminɛ
God of God, Light of Light
Déum vérum de Déo véro
dɛum vɛɾum dɛ dɛɔ vɛɾɔ
God true of God true
Génitum, non fáctum,
consubstantiálem Pátri
dʒɛnitum nɔn faktum kɔnsubstantsialɛm
patɾi
Begotten, not made, of-one-substance
with-the-Father
per quem ómnia fácta sunt
pɛɾ kwɛm ɔmnia fakta sunt
by Whom all-things made were
Qui própter nos hómines
kwi pɾɔptɛɾ nɔs ɔminɛs
Who for us men
et própter nóstram salútem descéndit
de cœlis.
ɛt pɾɔptɛɾ nɔstɾam salutɛm dɛʃɛndit dɛ
tʃɛlis
and for our salvation descended from the-
heavens
Et incarnátus est de Spíritu Sáncto
ɛt iŋkaɾnatus ɛst dɛ spiɾitu saŋktɔ
And made-flesh was by-the Holy Spirit
ex María Vérgine Et hómo fáctus est
ɛks maɾia viɾdʒinɛ ɛt ɔmɔ faktus ɛst
of-the Mary Virgin And man made was
Crucifíxus étiam pro nóbis
kɾutʃifiksus ɛtsiam pɾɔ nɔbis
Crucified also for us
He sits at the right hand of the Father:
and He shall come again with glory,
to judge the living and the dead:
and His kingdom shall have no end.
And in the Holy Ghost,
the Lord and Giver of life,
Who proceeds from the Father and the
Son,
Who, together with the Father and the
Son,
is adored and glorified:
who spoke through the prophets.
And one, holy, Catholic, and Apostolic
Church.
I confess one baptism
for the remissions of sins.
I await the resurrection of the dead,
and the life of the world to come. Amen.
138
sub Póntio Piláto pássus, et sepúltus est
sub pɔntsiɔ pilatɔ passus, ɛt sɛpultus ɛst
under Pontius Pilate suffered, and buried
was
Et resurréxit tértia díe, secúndum
Scriptúras
ɛt ɾɛzuɾɾɛksit tɛɾtsia diɛ sɛkundum
skɾiptuɾas
And He-rose-again on-the-third day,
according-to-the Scriptures
Et ascéndit in cœlum: sédet ad
déxteram Pátris
ɛt aʃɛndit in tʃɛlum: sɛdɛt ad dɛkstɛɾam
patɾis
And He-ascended into heaven: he-sits at-
the right-hand of Father
Et íterum ventúrus est cum glória
ɛt itɛɾum vɛntuɾus ɛst kum glɔɾia
And again will-come he-is in glory
judicáre vívos et mórtuos
judikaɾɛ vivɔs ɛt mɔɾtuɔs
to-judge the-living and the-dead
cújus régni non érit fínis
kujus ɾɛɲi nɔn ɛɾit finis
of-whose kingdom not will-be end
Et in Spíritum Sánctum Dóminum, et
vivificántem
ɛt in spiɾitum saŋktum dɔminum, ɛt
vivifikantɛm
And in-the Spirit Holy Lord, and giver-of-
life
qui ex Pátre Filióque procédit
kwi ɛks patɾɛ filiɔkwɛ pɾɔtʃɛdit
Who from the-Father and-Son proceeds
Qui cum Pátre et Fílio símul adorátur
kwi kum patɾɛ ɛt filiɔ simul adɔɾatuɾ
Who with the-Father and the-Son together
139
is-adored
et conglorificátur: qui locútus est per
Prophétas
ɛt kɔŋglɔɾifikatuɾ kwi lɔkutus ɛst pɛɾ
pɾɔfɛtas
and glorified: Who spoke has through-the
prophets
Et únam sánctam cathólicam
ɛt unam saŋktam katɔlikam
And one holy, Catholic
et apostólicam Ecclésiam
ɛt apɔstɔlikam ɛkklɛziam
and Apostolic Church
Confíteor únum baptísma in
remissiónem peccatórum
kɔnfitɛɔɾ unum baptisma in ɾɛmissiɔnɛm
pɛkkatɔɾum
I-confess one baptism for remission of-
sins
Et expécto resurrectiónem mortuórum
ɛt ɛkspɛktɔ ɾɛzuɾɾɛktsiɔnɛm mɔɾtuɔɾum
And I-expect resurrection from-the-dead
Et vítam ventúri sæculi. Ámen
ɛt vitam vɛntuɾi sɛkuli. amɛn
And life to-come of age. Amen
Movement IV – Sanctus
Sánctus, sánctus, sánctus, Dóminus
Déus Sábaoth
saŋktus saŋktus saŋktus dɔminus dɛus
sabaɔt
Holy, holy, holy, Lord God of-Hosts
Pléni sunt cœli et térra glória túa
plɛni sunt tʃɛli ɛt tɛɾɾa glɔɾia tua
Full are heaven and earth of-glory Yours
Holy, holy, holy, Lord God of Hosts.
Heaven and earth are full of Thy glory.
Hosanna in the highest.
140
Hosánna in excélsis
ɔzanna in ɛksʃɛlsis
Hosanna in-the highest
Movement V – Benedictus
Benedíctus qui vénit in nómine Dómini
bɛnɛdiktus kwi vɛnit in nɔminɛ dɔmini
Blessed-is who comes in-the name of-
Lord
Hosánna in excélsis
ɔzanna in ɛksʃɛlsis
Hosanna in-the highest
Blessed is He Who comes in the Name of
the Lord.
Hosanna in the highest.
Movement VI – Agnus Dei
Ágnus Déi qui tóllis peccáta múndi
aɲus dɛi kwi tɔllis pɛkkata mundi
Lamb of-God, who takes-away the-sins
of-the-world
miserére nóbis
mizɛɾɛɾɛ nɔbis
have-mercy on-us
Ágnus Déi qui tóllis peccáta múndi
aɲus dɛi kwi tɔllis pɛkkata mundi
Lamb of-God, who takes-away the-sins
of-the-world
dóna nóbis pácem
dɔna nɔbis patʃɛm
grant us peace
Lamb of God who takes away the sins of
the world, Have mercy upon us.
Lamb of God who takes away the sins of
the world, Grant us peace.
141
Connections Between Movements
In Mass in D, there are no introductions at the beginning of movements, except in
the case of “Benedictus” (Dvořák added two measures of introduction in the orchestra
version). Since amateur choirs often have a limited background in reading music,
teaching intervals during rehearsal is another important key to success. The author found
it important to teach amateur singers how to obtain the first note in every movement. In
the first movement, “Kyrie,” the last chord ends in D major. Sopranos hold the tonic,
altos hold the third, tenors hold the fifth, and basses hold the tonic. As tenors are taking
the lead on the second movement, “Gloria,” the first note of their part is the tonic of D. It
is important to teach the amateur singers to ‘think’ of the tonic of D when they are
holding the fifth of D at the last chord of first movement. They could get the tonic from
sopranos and basses as well. The rest of the choir could then come in alternately with the
same pitch as tenors, so it is not hard for them to achieve the right pitch.
In the second movement, “Gloria,” the last chord also ends in D major. Altos
hold the third of D major and are leading on the next movement, “Credo.” The first note
of “Credo” is the fifth of B-flat major. In this situation, we must teach the altos to get
their first note by going down a half step from the pitch of F-sharp. Altos are singing for
the first eight measures at the beginning, so it is not hard for the rest of the voices to get
their first note. The first note of the sopranos is the tonic, the first note of tenors is the
third, and the first note of basses is the tonic.
In the third movement, “Credo,” the last chord ends in B-flat major. Sopranos are
holding the fifth, altos and basses are holding the tonic, and tenors are holding the third.
Altos take the lead again on the fourth movement, “Sanctus,” and their first note is the
142
tonic of D major. Altos could get their first note by ‘thinking’ of the major third of B-
flat. Sopranos can get their first note from altos as they are singing the same pitch. As
for tenors, the third of B-flat major is their last note in Credo; the conductor can teach the
tenors to get their first note by ‘thinking’ of the perfect 4th of D major. As Basses come
in after the three voices, they can get their first note by ‘thinking’ of the fifth of D major.
For the fifth movement, “Benedictus,” the organ plays a lengthy introduction for
twenty measures. The tonality is in G major; therefore, it is not hard for the singers to get
their first note. The first note of basses and tenors is the fifth of G, and the first note of
sopranos and altos is tonic.
In the last movement, the tenor solo is taking the lead, followed by the rest of the
three soloists. The tenor solo can get the first note by thinking of the third of G major
from the previous last chord of the “Benedictus.”
Dvořák’s Tempo Markings and the Conductor’s Decision
Originally, there are no metronome markings on Dvořák’s organ version
autograph. In the orchestra version, he added the metronome markings at the beginnings
of all the movements. There are not many changes in terms of verbal instruction between
these two versions except at the beginning of the “Credo” movement. In the “Credo,”
Dvořák changed it to Allegro Moderato in the orchestral version instead of Allegro ma
non troppo. Besides that, there are several instructions within the movements that
indicate to proceed either slightly slower or quicker. The chart below summarizes the
tempo markings of Dvořák’s original manuscript of the organ and orchestra version:
143
Table 14. Tempo Markings of Dvořák’s Original Manuscript on the Organ and Orchestra
Versions.
Movement Organ Version Orchestra Version
I. Kyrie
Andante con moto Andante con moto
dotted half = 40
II. Gloria Allegro vivo Allegro vivo
quarter note = 138
III. Credo Allegro ma non troppo Allegro moderato
quarter note = 132
IV. Sanctus Allegro maestoso Allegro maestoso
half note = 72
V. Benedictus Lento Lento
quarter note = 66
VI. Agnus Dei Andante Andante
quarter note = 69
The author interviewed with Adam Viktora on October 7, 2015 in Prague. He is
the conductor of the Ensemble Inegal in Prague; they performed and recorded the Mass in
D at Lŭzany chapel in 2005. They also performed the Mass at Rudolfinum in Prague on
October 13, 2014 with three cellos, three double basses, and an organ.
According to the recording of the Inegal Ensemble, the tempo of the Inegal
Ensemble used is listed in the table below. In addition, the author has given her
recommendation for the tempo based on her interpretation. See the table below for
details:
Table 15. Tempo Suggested by the Inegal Ensemble of Prague and the Author.
Movement Inegal Ensemble Author’s Suggestion
I. Kyrie
Andante con moto
dotted half = 50
Andante con moto
dotted half = 40
144
II. Gloria Allegro vivo
quarter note = 130
Allegro vivo
quarter note = 130
III. Credo Allegro moderato
quarter note = 149
Allegro moderato
quarter note = 132
IV. Sanctus Allegro maestoso
half note = 127
Allegro maestoso
half note = 78
V. Benedictus Lento
quarter note = 60
Lento
quarter note = 60
VI. Agnus Dei Andante
quarter note = 64
Andante
quarter note = 69
The author has suggested following most of Dvorak’s tempo marking. However,
based on her experience in teaching non-Latin speaking amateur choir, the author would
suggest using a slower tempo on the “Gloria” (130 instead of 138) and the “Benedictus”
(60 instead of 66). On the “Sanctus,” the author suggests a slightly faster tempo (78
instead of 70) to make it easier for amateur choirs to sustain the long phrases.
The Highest and Lowest Notes of Each Voice in Each Movement
Additionally, it is important for the conductors to know the vocal range of each
movement in teaching the amateur choirs. Most of them are not professionally trained
singers and they may not understand how to adapt their vocal technique to sing notes
above or below their respective range limits. If the conductor is aware of the general
vocal range in each of the movements, it would be easier for him or her to identify ways
to improve the vocal performances by making adjustments to the choir when necessary.
According to James McKinney, the vocal ranges for the different parts are as follows:
78
78
James McKinney, The Diagnosis and Correction of Vocal Faults (TN: Genovex Music Group,
1994), 107-15.
145
Table 16. Vocal Ranges for Different Singing Parts.
Part Lower Range Upper Range
Soprano C4 (middle C) C6 (high C).
Mezzo-
Soprano
A3 (the A below middle C) A5 (two octaves higher).
Alto F3 (the F below middle C) F5 (the second F above middle C).
Tenor C3 (one octave below middle C) C5 (one octave above middle C)
Baritone A2 (the second A below middle C)
or down to F2
A4 (the A above middle C)
Bass E2 (the second E below middle C) E4 (the E above middle C)
In Mass in D, there are certain places that the range is probably too high or too
low for some amateur singers. In this case, the author would suggest the conductor to
assign a few singers from other voices to join in to the other parts.
Movement I – “Kyrie”
In the “Kyrie,” the highest and lowest notes for each voice are as follows:
In general, the pitch is not difficult to reach for each voice. However, the high
notes in the tenor part on measures 113-114, singing an octave from G3 to G4, could be
challenging for amateur singers as this is a high pitch that requires a soft dynamic. The
author suggests that the conductor use a falsetto voice or simply assign only the Tenor I
Created on www.scorio.com
Title
yng harmony
4
6
Soprano
!
!
"
#
#
Created on www.scorio.com
Title
yng harmony
4
6
Alto
!
!
"
#
#
Created by yng harmony on www.scorio.com
Title
yng harmony
4
6
Tenor
!
!
"
#
#
Created on www.scorio.com
Title
yng harmony
4
6
Bass
!
!
"
#
#
146
to sing. For soprano, the highest note is G5 in this movement. The most challenging
section would be measure 83, singing the repeating G5 and then moving down by a half
step to F-sharp5. This could create intonation problems for amateur singers. In this
section, the basses are holding the D4 for three beats, which could be a challenge for
amateur singers as well. The author would suggest the conductor not to sing this part too
heavily although it is marked as forte in the score.
Movement II – “Gloria”
In Gloria, the highest and lowest notes for each voice are as follows:
The sopranos and tenors on measure 17 are holding A5 (A4 for tenors) for three
and a half beats with the dynamic of fortissimo. It could be a challenge for the amateur
singers. Therefore, care must be taken. The conductor could ask the singers not to sing
too heavily so as to avoid vocal fault, but to “think” of support. One of the most effective
tools in teaching amateur singers to sing on a high pitch correctly is to “think” opposite
when singing the high note, and also to bend their knees when singing the high note
during the rehearsal.
Movement III – “Credo”
In the “Credo,” the highest and lowest notes for each voice are as follows:
Created by yng harmony on www.scorio.com
Title
yng harmony
Soprano
!
"
#
#
$
!
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Alto
"
"
#
$
$
Created on www.scorio.com
Title
yng harmony
Tenor
!
!
"
#
$
#
%
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Bass
"
"
#
$
$
147
In the “Credo,” there are many chromatic passages at the “Crucifixus” section.
Care must be taken on this section, although the vocal range is not considered high for
the singers. The entrance of the “Crucifixus” (a diminished 7th chord) could be a
challenge for amateur singers. A potential solution might be teaching the singers to get
their first note from the previous chord, on measure 182. For instance, the soprano’s last
note on measure 182 is G4, the singers could ‘think’ of major 3rd of G4 to get their first
note of B4 on measure 183; altos can get their first note by listening to organ pedal G on
measure 182 and ‘think’ of a half step up to A-flat4 (G-sharp4) on measure 183; tenor is
holding B4 on measure 182, the singers could get the D5 on measure 183 by thinking of
minor 3rd of B; For basses, the singers could get their F3 by thinking of major 2nd of G.
Furthermore, the tenors may have pitch problems on measure 202 in singing the
pitch of A4, and measure 410 with the interval of perfect 5th from C4 to G4. It is helpful
for the conductor to remind the singers not to “push” when singing the high note. The
basses on measure 423 are singing E4, which is rather high for some amateur singers.
When necessary, the author suggests that the conductor assign a few tenors to join at this
passage. Alternately, it is also possible to drop Bass II on measure 423.
Movement IV – “Sanctus”
In Sanctus, the highest and lowest notes for each voice is as follows:
Created by yng harmony on www.scorio.com
Title
yng harmony
4
3 !
!
Soprano
"
#
!#
Created by yng harmony on www.scorio.com
Title
yng harmony
Alto
!
4
3 "
"
#
!
Created by yng harmony on www.scorio.com
Title
yng harmony
!
"
"
4
3
#
"#
Tenor
Created by yng harmony on www.scorio.com
Title
yng harmony
4
3
Bass !
!
"
#
#
148
Basically, the vocal range for basses is considerably high at Section B “Pleni Sunt
Coeli,” measures 45-99. For instance, the basses’ highest note is E4 on measures 7, 52,
and 72-74; besides, the basses are singing D4 with a long phrase for four measures and
holding the C4 for eight beats on measures 77-78. The author would suggest that the
conductor drop Bass II and add Tenor II at these passages. As tenors are not singing on
measures 63-66, the conductor can assign tenors to join the basses if necessary. Sopranos
and tenors on measures 75-77 are holding the A5 and A4 (respectively) for nine beats,
which could be a challenge for the singers. A staggered breath is a must for the singers.
The pitch for sopranos on measures 58-59 could be too high; the conductor may have to
remind the singers not to “push” excessively when they come in with forte. As for
tenors, another challenge would be singing the high pitch with pianissimo on measures
11-14. The conductor has to pay attention to these passages.
Movement V – “Benedictus”
In Benedictus, the highest and lowest notes for each voice are as follows:
Created by yng harmony on www.scorio.com
Title
yng harmony
!
"
"
#
Soprano
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Alto
"
"
#
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
Tenor
!
!
"
#
#
$
Created by yng harmony on www.scorio.com
Title
yng harmony
Bass
!
"
#
"
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Soprano
"
#
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
Alto
!
"
!
#
$
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Tenor
"
#
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
Bass
!
"
#
#
$
149
In the “Hosanna” section, the pitch for sopranos, tenors and basses is significantly
high. Singers are in high range with long phrases throughout the section. For instance,
basses are singing the repeating C4 for an entire eight measures (77-84), followed by
singing the D4 for another six measures (85-90). This may create pitch and intonation
problems for amateur choirs. Another challenge for basses can be on the a cappella
section in measures 99-105. The author suggests again assigning Tenor II to join the
basses at these passages. As for tenors, the entrance of the “Hosanna” section has to be
handled with particular attention as well. The tenors are taking the lead during this
passage; they come in with a high pitch (G4) and fast tempo. In this movement, there are
dissonant chords and chromaticism throughout. Therefore, it is harder for an amateur
choir to keep the intonation, making the movement particularly challenging for the
conductor. Pitch challenges occur at measure 53, when basses come in with C4 in
pianissimo (pp). If necessary, some tenors may assist in this passage.
Movement VI – “Agnus Dei”
In “Agnus Dei,” the highest and lowest notes for each voice are as follows:
In this movement, the author suggests assigning tenors to join the basses’ unison
passage on measures 38-45 because the D4 and D-sharp4 could be a challenge for basses.
Basses are singing B3 and A-sharp3 repeatedly on measures 48-51, so there could be a
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Soprano
"
"
#
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Alto
"
#
#
$
"
%
Created by yng harmony on www.scorio.com
Title
yng harmony
!
Tenor
"
"
#
$
$
Created by yng harmony on www.scorio.com
Title
yng harmony
!
"
" Bass
#
"$
$
150
pitch problem for some singers as well. Singing lightly without pushing the vocal cords
can help the singers maintain a steady pitch.
As for sopranos, it is always a challenge for amateur singers to sing softly with
high pitch. For instance, on measures 54-56, the three-part female voices representing
“peace” coming from the heaven, are to be sung in pianississimo (ppp). The author’s
suggestion is to assign Soprano I to sing on the top notes, Soprano II to sing on the
middle notes, and Alto I to sing on the lower voice. Alternately, the conductor can assign
a small group to sing this passage.
Phrasing and Staggered Breath
In the Mass in D, there are many long phrases throughout the piece. As conductor
Haig Utidjian said in his description of voices as “the river of honey,”
79
the singers have
to “think” and sing legato smoothly. Therefore, staggered breath is a must for singers in
each vocal part.
In reference to the last three movements in particular, it is not easy for amateur
choirs to sing in terms of the intonation. There are no introductions or interludes in
movements, except for in the “Benedictus;” singers do not have a second to take a vocal
rest. The singers must sustain long phrases throughout the entire piece, and intonation
could be a challenge. One of the most effective solutions, in this case, would be
staggered breath. It is almost a must for amateur singers singing this piece.
The author has analyzed the phrasing of the Mass in the tables below, and
provided conductors with the recommended staggered breath phrases for reference in
teaching amateur choirs.
79
Haid Utidgian, interview with the author, September 28, 2015.
151
Table 17. Movement-by-Movement Phrase & Staggered Breath Diagrams.
Movement I – “Kyrie”
Section Phrases Sub-Phrases Staggered Breath
Phrases
A
1-58
1-18
19-43
44-58
2 (intro)
8 (2+2+2+2)
8 (2+3+3)
2 (intro)
8 (2+2+2+2) + 6
9 (2+2+5)
6 (2+4)
9 (2+3+4)
S: mm. 10-13
A: mm. 9-12
T: mm. 16-19 (a)
B: mm. 15-19(a)
S: mm. 29-32; 32-35; 37-40a
A: mm. 29-33; 33-37; 37-41
T: mm. 29-33; 24-26; 40-42
B: mm. 29-33; 32-35
T: mm. 44-48
B: mm. 44-48
B
59-95
59-77
78-90
91-95
14 (2+2+2+2) + 6
5 (2+3)
7 (3+4)
6 (3+3)
5 (2+3) interlude
T: mm. 74b-77
B: mm. 73-77
S: mm. 85a-88
A: mm. 78-81a; 81b-85a;
85a-88
T: mm. 82b-85a; 85a-88
B: mm. 85a-88
A’
96-118
96-111
112-118
8 (2+2+2+2)
5 (2+3)
3
7 (4+3)
S: mm. 103-106a
A: mm. 102b-105a
T: mm. 109-112
B: mm.108b-112a
A: mm. 112b-116
T: mm. 113b-116
B: mm. 112b-116a
152
Movement II – “Gloria”
Section Phrases Sub-Phrases Staggered Breath
Phrases
A
1-18
1-18
6 (4+2)
7 (2+4)
5
B
19-72
19-46
47-72
11 (5+6)
11 (2+2+2+2+3)
6
12
8 (4+4)
6
S: mm. 24-29
B: mm. 19-23
C
73-118
73-98
99-118
9 (4 (1+3) +5)
8 (3+5)
9 (4+4+1(intro))
8 (2+2+2+2)
6 (2+2+2)
6
S: mm. 77-81
A: mm. 77-81
T: mm. 85-89
B: mm. 85-89
S: mm. 113-119a
A: mm. 113-119a
T: mm. 113-119a
B: mm. 113-119a
D
119-148
119-132
133-148
14 (3+5+3+3)
8 (4+4)
3
5 (1+4)
T: mm. 129-133a
B: mm. 129-133a
153
E
149-192
149-162
163-178
179-192
8 (2+2+2+2)
6 (2+2+2)
20 (8+4+8)
8 (6 (4+2) +2)
6 (3+3)
S: mm. 169-175a;
175b-178
A: mm. 167-170;
170b-175a;
175b-178
T: mm. 165-169a;
170b-175
B: mm. 163-167a;
171-175
S: mm. 186b-189
A: mm. 186b-189
T: mm. 186b-189
B: mm. 186b-189
Movement III – “Credo”
Section Phrases Sub-Phrases Staggered Breath
Phrases
A
1-118
1-56
57-118
16 (8+8)
16 (8+8)+9
15 (7+8)
4 (2+2)+4(2+2)
4 (2+2)+4(2+2)
2 (1+1)+4(2+2)+8
(4+4)+8(4+4)
10 (4 +6(2+4))
14 (8(4+4)+6)
B
119-182
119-160
161-182
14 (4+4+6)
14 (4+4+6)
14 (4+4+6)
8 (4+4)
14 (6+8)
SATB: mm. 169-174
SATB: mm. 175-182
154
C
183-241
183-224
225-241
16 (8 (4+4) +8 (4+4))
12 (4+4+4)
8 (4+4)
6
4
9 (5+4)
4
SATB: mm. 219-224
SATB: mm. 229-233
D
242-327
242-275
276-327
18 (8+10)
16 (8+8)
4 (Interlude)
16 (4+4+4+4)
7 (4+3)
10 (4+6)
10 +5
S: mm. 291-297;
304-309
A: mm. 287-292a;
292b-296;
304-309
T: mm. 283-293a;
292b-296;
299b-303
B: mm. 279-284;
284b-293;
299-303a
SATB: mm. 313-322
A’
328-447
328-402
403-447
16 (8+8)
8 (4+4)
16 (8+8)
18 (8+9) +1
17 (8(4+4)+9(6+3)+1)
17 (1+8+8)
8 (4+4)
8 (4+4)+6(4+2)
6 (5+1)
S: mm. 394-402
A: mm. 396-402
T: mm. 404-411
SAB: mm. 412-420
Movement IV – “Sanctus”
Section Phrases Sub-Phrases Staggered Breath
Phrases
A
1-44
1-26
27-44
8
9 (8+1)
10 (4+5)
2 (Interlude)
8 (4+4)
8 (4+4)
S: mm. 2-8; 9-16
A: mm. 1-8; 10-16
T: mm. 2-8; 11-16
B: mm. 3-7
155
B
45-62
45-62
11 (5+6)
7
S: mm. 50-55
A: mm. 45-49
T: mm. 50-55
B: mm. 50-55
C
63-99
63-70
71-83
84-99
8 (4+4)
13 (8 (4+4) + 5)
16 (9+7 (6+1))
S: mm. 74-79
T: mm. 74b-79
S: mm. 83-88; 88b-92;
93-98
A: mm. 84-88a; 88b-92;
93-98
T: mm. 85-92; 93-98
B: mm. 93-98
156
Movement V – “Benedictus”
Section Phrases Sub-Phrases Staggered Breath
Phrases
A
1-76
1-20
21-32
33-40
41-52
53-60
61-76
20 (intro)
12
8
12
8
12+4 (extension)
S: mm. 28-33
A: mm. 26-29a; 29b-33
T: mm. 26b-30; 30b-33
B: mm. 25-30a; 30b-33
S: mm. 35b-41a
A: mm. 35b-41
T: mm. 34-36; 36b-41
B: mm. 37-41
S: mm. 46-48a; 48b-53
A: mm. 47b-50a; 50b-53
T: mm. 45b-53
B: mm. 44-48a; 48b-50a;
50b-53a
S: mm. 54-58a; 58b-61
A: mm. 55b-57; 58-61
T: mm. 54-58; 58b-61
B: mm. 53b-56a; 56b-61
S: mm. 69-73a; 73b-76
A: mm. 68-71; 73-76
T: mm. 69-73; 73b-76
B: mm. 65-59; 71-76
B
77-112
77-85
86-97
98-106
107-112
9
12 (5+7)
9 (5+4)
6
SATB: mm. 92b-97
A: mm. 102b-106
T: mm. 101b-106
B: mm. 99-106
SATB: mm. 107-112
157
Movement VI – “Agnus Dei”
Section Phrases Sub-Phrases Staggered Breath
Phrases
A
1-33
1-8
9-16
17-24
25-33
8 (4+4)
8 (4+4)
8 (4+4)
9 (4+5)
B
34-51
34-38
39-45
46-51
5 (2+3)
7 (2+2+3)
5 (2+3)
A: mm. 36-38
B: mm. 43-45
S: mm. 48-51
C
52-68
52-54
55-68
3
10 (4(2+2)+6(4+2))
4
SATB: mm. 65-68
Conducting Considerations
In terms of conducting delivery, work for the Mass in D is relatively
straightforward. The time signature is simple time and there is no complex meter or
mixed meter. However, there are several places in the piece that require a conductor’s
special attention. These include places where there is a tempo shift in between the
movements. The author highlights, below, the key conducting consideration by
movement.
158
Movement I – “Kyrie”
First of all, in “Kyrie,” the author would recommend conducting in the pattern of
two as it would be the best way to shape the phrases while keeping the legato line
“moving forward.” Therefore, the melted gesture is also necessary throughout the
section. However, one needs to keep in mind not to ‘rush’ when conducting the pattern
of two in slow tempo. The conductor could ‘think’ of six while conducting in two. To
create the ‘swing-like’ feel, the author suggests that the conductor stop the ictus on top of
the rebound so as to show the singers the agogic accents according to the texts.
However, the conductor has to keep the pulse moving right after the ‘stop’ gesture.
Secondly, it is recommended to conduct the pattern of six on measure 57 to show
the ritardando clearly before the fermata on measure 58. However, there may be a
tendency to slow down on the second section, “Christe eleison.” The conductor has to
keep this in mind and to shift back to tempo 1 after the big fermata on measure 58.
Besides, it is marked as Sotto Voce at the solo section and, therefore, a small gesture is
also necessary.
Thirdly, on measures 72-74, the choir comes in as a stretto with entries of the
“Christe, Christe” motive after fourteen measures of the solo passage. To create the
urgency of these two phrases, conduct the pattern in two with less rebound and with the
ictus stop on top until measure 75.
Fourthly, on measure 85, the a cappella section can be conducted entirely in two,
but the conductor should stop the ictus at the bottom on measures 86-87, as it is an
effective way to bring out sonority and fullness of voice before the descending of the next
measure on 88. Fifthly, conducting the pattern of six on measure 95 as this is a
159
ritardando before we hear the Motive 1 again on measure 96 of “Kyrie II.”
Concurrently, the conductor must remain aware that the tempo shifts back to Tempo 1 as
well.
Lastly, it is necessary to conduct the pattern in six at the very end of the
movement on measure 117, and hold the fermata slightly longer at the last measure on
118. Be prepared to give the preparatory beat of the next movement Gloria after cutting
off the fermata. The author would suggest keeping the cut-off gesture down below the
chest, so it is easy to give the preparatory three and four beats for the next movement.
Movement II – “Gloria”
There is a stretto-like entrance at the beginning of the Gloria movement.
Conducting the pattern in four with a marcato gesture is helpful for the singers.
However, it would be too heavy to conduct with the pattern of four equally. The author
would suggest showing the ictus only on the first and third beat.
Secondly, the singers may have the tendency to slow down the tempo at “Et in
terra pax hominibus” as there is a dynamic contrast from fortissimo to pianissimo. The
author would suggest conducting the pattern in two on measure 18, which is one measure
before the section, so as to prepare the singers for the rhythmic changes. Besides the
dynamic and rhythmic shifting, it is a cappella at the beginning of the section and it is
also a legato passage. The ‘melted’ gesture is necessary. The conductor could shift the
pattern back to four from measure 29 onwards.
Thirdly, at the fugue section, measure 47 and onwards, the conductor could
conduct the pattern in two and also in four when necessary. The conductor could use a
160
four pattern when it comes to the ritardando on measures 70-71. Be prepared to set the
new tempo after the fermata on measure 72. The author would suggest to stop on top of
the cut-off beat, and follow by giving the preparatory four beat to the organist for
entering the next section, “Gratias agimus tibi.” Conducting with a four pattern is
appropriate.
Fourthly, before the passage of “Qui tollis peccata mundi,” the author would
suggest to cut off the ‘s’ on the downbeat of measure 119. There is also a tempo change
in this section; the conductor could set the new tempo by showing the ritardando before
measure 119.
Fifthly, one of the key characteristics of Dvořák’s composition is the use of
fermata. There is usually a tempo change following the measure in which the conductor
needs to set up the new tempo with a preparatory beat off for the fermata. In the case of
the tempo change from Un poco lento to Allegro vivo (Tempo 1) at measure 149,
“Quoniam tu Solus Sanctus,” the conductor should give the preparatory three beat to the
organist right after cutting off the fermata and follow by giving the clear preparatory four
beat to the tenors and basses with new tempo of Allegro vivo.
Lastly, at the fugue section “Cum Sancto Spiritus” on measure 163, the conductor
could conduct the pattern in two. However, as the “Amen” section begins, the conductor
must shift the pattern back into four until the end of the movement.
Movement III – “Credo”
The Mass in D moves from movement to movement without instrumental
introduction. When it comes to “Credo,” the conductor could give two clicks of
161
preparatory beat at the beginning, although one preparatory beat is also possible.
However, giving two preparatory beats will help the amateur singers gain more
confidence to enter.
Secondly, although the time signature is marked as 3/4, the author suggests
conducting the pattern in one. Alternately, the conductor could change the conducting
pattern to “macro four” in between the passage. However, it is perhaps necessary to
conduct the pattern in three on measures 69-118 where the rhythmic pattern may be too
complicated for amateur singers. At some point, the conductor might use a three pattern
without emphasizing the second beat. At the same time, it is important to show the
dynamic contrast at the antiphon passage.
Thirdly, in “Et incarnatus est,” there is no tempo change in any of the three
versions that Dvořák wrote (1887, 1889, and 1892). However, in some of the recordings,
there is a tendency to slow down. The conductor must keep this in mind and remember
not to slow down the tempo at this section. Additionally, the author would suggest using
a three pattern on measures 172-182. And again, there is a fermata on measure 182
before the tempo shifts from Allegro moderato to piu mosso. The conductor could
remain on the upbeat gesture after cutting off the fermata, and give a strong preparatory
beat with the new tempo of piu mosso at the start of this section. The marcato gesture is
required at the opening of the “Crucifixus” passage. It is a dramatic and climactic
moment when it comes to the passage of “Crucifixus,” and an energetic and sonorous
voice is required. But when it comes to the staccato passage on measures 211-218, the
conductor should use a three pattern with smaller and lighter gestures. At the a cappella
section on measures 219-224, the melted or legato gesture is necessary.
162
Fourthly, the tempo returns to Tempo 1 (Allegro moderato) at “Et resurrexit.”
The author would suggest conducting the pattern in one as well. However, for the
entrance, the conductor could give the preparatory one and two after the fermata on
measure 241. The conductor could let go the pattern of three and shift back to using a
one pattern.
Fifthly, the passage at measure 279 could be a challenge; the conductor must
‘think’ of three when conducting in one. Alternately, the conductor could also shift back
and forth from a three and a one pattern as needed. However, the second beat of the three
pattern should not be emphasized. The tempo should shift back to Tempo 1 when it
comes to “Credo in Spiritum Sanctum.”
Lastly, there is no ritardando or fermata marked at the end of the movement.
However, there are two extra measures with silence at the very end of the piece. Hence,
in preparing the singers for the next movement, the conductor should give the preparatory
two beats sharply with the new tempo of Allegro Maestoso.
Movement IV – “Sanctus”
The conducting considerations are rather straightforward in this movement. The
conductor could use a two pattern throughout. However, when it comes to Molto
Maestoso on measures 93-98, the author suggests conducting the pattern in four.
Additionally, the conductor should be aware that the organ is playing the ‘pedal D’ to
carry forward to the next movement, “Benedictus.” As the organ is holding the ‘pedal
D,’ the conductor could give the preparatory four beat with the new tempo Lento.
163
Movement V – “Benedictus”
In “Benedictus,” the conductor could use a two pattern at the first section.
However, the conductor must show the legato gesture throughout. At some point, the
melted gesture or tenuto gesture is also appropriate. Dynamic shifting within the
movement must also be addressed.
Moreover, there is a tempo shift at “Hosanna in excelsis” on measure 77. And
again, there is a fermata before the new tempo. As tenors come in at the fourth beat of
measure 76, the author would suggest that the conductor keep the gesture unchanged after
cutting off the fermata, and show a preparatory three beat after cutting off the fermata.
The passage of “Hosanna” should be conducted in a pattern of two on measure 106. The
conductor could shift to conducting in four at the end of the piece on measures 107-112.
Movement VI – “Agnus Dei”
The Agnus Dei could be conducted in a slow four throughout. The legato gesture
is appropriate, especially when it comes to “Dona Nobis Pacem.” Conducting with the
legato or melted gesture without emphasizing the ictus is a good way to show the
“quietness” and “calmness” of the piece.
Other Considerations
Recommended Teaching Procedure for Fugal Sections
In the Mass in D, there are fugal sections in the “Gloria,” “Sanctus” and “Agnus
Dei” (Solo Section). The author would suggest the teaching procedure, as follows:
1) Sing through the first fugal statement.
164
2) Learn each part together. The choir should be able to hear the other parts,
the musical shape, and understand where the phrase is going and how to
sing it. Do this for every single part in the fugal.
3) Learn each combination of voices. Once the choir has learned the
individual parts, the conductor can then put the different parts together in
every possible subset of voices. For example, for a 4-voices fugue (with
soprano, alto, tenor, and bass parts), the conductor can combine the voices
in different ways, such as SA, ST, SB, AT, AB, TB, SAT, SAB, and ATB.
This will help the choir members to fully understand the piece.
4) Put the entire fugal together again. Usually, when the conductor puts all
the voices back again after the choir has spent time learning the voices
individually and in combination, the choir’s experience of singing the
fugal is completely changed. They are able to comprehend the piece much
better than before. With this foundation, the conductor could then do
more technical and musical work based on their own interpretation.
Additional Performance Considerations
In Kyrie, amateur singers may have pitch problems with the interval of the minor
2nd at the opening motif on measures 7-9 and 21-28. The conductor could choose to give
more attention to this and teach the whole step and half step of interval during the
rehearsal.
165
Additionally, the conductor should attend to the pitch on measures 81-87. This is
where the sopranos are singing the ascending sequences by moving up a minor 3rd to
create the tension and urgency before the climax on the a cappella passage.
In “Gloria,” the singers are requested to sing with an energetic voice like a
trumpet fanfare to proclaim the glory of the Lord at the opening section. The conductor
should remind the amateur singers not to sing too heavily or to push too much with their
vocal cords.
In the “Credo,” dynamic shifts pervade throughout the movement. It is important
to be able to show the contrast in between passages. The conductor needs to be able to
show a clear gesture for the amateur singers and to be aware of the possible pitch
problems at measures 49-53. The conductor could teach the whole step and half step
interval while tuning to help the singers to improve on their intonation. Furthermore, the
running-notes on measures 289-294 need also be heeded carefully, especially for the
tenors’ and altos’ parts.
In “Sanctus,” the two sections show significant contrast in terms of dynamic,
tempo, and rhythmic shifts. The conductor should be aware of all those changes in this
movement.
In “Benedictus,” the intonation could be a problem for some singers as they are
requested to sing long phrases within the passage. Besides, the singers might get lost
easily as the phrases are continuous without any stop from statement one to statement
five. Hence, the conductor must show clear and sharp gestures so as to guide them
through it.
166
Choices of Editions
As mentioned in Chapter 5, there are eleven published editions of Mass in D that
have been produced over the past 109 years. It is particularly difficult for a conductor to
decide which version would be most appropriate to use. The author would recommend
using the Critical Edition (organ or orchestra version) published by Editio Supraphon
Praha – H4952 / H4839 (this version was reprinted in 1988, and in 2000 under
Bärenreiter Praha). In the critical edition, there is a clear explanation on the difference
between the organ and the orchestra versions, both on the score itself and in the appendix.
Furthermore, the score is bigger in terms of bigger in size and the layout is clearer. It
would be easier for the choirs to read the score. If this edition is not accessible, the
author recommends the organ or orchestra versions published by Carus-Verlag in 1978
(CV 40.651 / CV 40.653), which also explain the difference between the organ and the
orchestra versions, but are not as clear or as detailed as the Critical Edition. Lastly, the
author would recommend the organ version published by Bärenreiter Praha in 2002. The
score marks the difference between the organ and orchestra version but has nothing in the
appendix. Also the size of the score is smaller (smaller than A4 size), and therefore, it is
harder for the choir to read during a performance.
On the other hand, for score study, the author would recommend the use of the
latest Novello version published in 2000. This version combines both organ and
orchestra full scores, and it also includes the text of Dvořák’s autograph (1887) and the
text of the Critical Edition in the score. However, the author found that there are two
discrepancies in the “Gloria,” measures 90-94, and “Credo,” measures 98-100, that are
different from Dvořák’s autograph.
167
Chapter 7
Conclusion
Mass in D is a unique piece in that it is Dvořák’s only mass. Today, the work is
seldom performed outside of Europe, and there are not many resources to consult that
might shed light on this piece. The previous chapters provide in-depth analysis of the
composition, some useful background for scholars and musicians, and a deeper
investigation of the piece in its historical and aesthetic context.
Furthermore, the study summarizes the historical development of the Mass over
the years 1887 to 1893, and the eleven published organ and orchestra versions over the
last 109 years. This document also serves as a guide for conductors preparing to study or
perform the repertoire, including useful references and background, and may help with
selecting the appropriate version of the Mass based on choir formation and performance
venue.
Finally, practical technical instructions and recommendations for coaching
amateur choirs in performing the piece have been provided as a guideline for overcoming
challenges in conducting these choirs.
Antonín Dvořák was a genius composer with vast array of compositional gifts.
He is one of the most frequently-performed composers worldwide and the first to
establish the concept of ‘Czech music’ in broad global associations. Following his
popularity, today there is an increasing interest among musicians and music lovers who
are interested in his less often-performed works. Mass in D is the only mass in Dvořák’s
compositional output and is a piece that has great importance to Dvořák himself. This
168
study provides a comprehensive study on the Mass for the benefit of scholars, musicians
and conductors interested in exploring this hidden gem.
169
Bibliography
Books
Bazant, Jan, ed. The Czech Reader. Durham and London: Duke University Press, 2010.
Beckerman, Michael, ed. Dvořák and His World. New Jersey: Princeton
University Press, 1993.
Beveridge, David, ed. Rethinking Dvořák: Views from Five Countries. Oxford:
Clarendon Press, 1996.
Beveridge, David. Zdenka and Josef Hlavka-Anna and Antonín Dvořák: A Friendship of
Two Married Couples and Its Fruits in Czech and International Art. Prague:
Prosinec, 2012.
Burghauser, Jarmil. Antonín Dvořák: Life and Work. Translated by David R. Beveridge.
Prague: Koniasch Latin Press, 2007.
Burghauser, Jarmil. Antonín Dvořák: Thematic Catalogue. Praha: Artia, 1960.
Burghauser, Jarmil. Antonín Dvořák: Thematische Verzeichnis mit Bibliographie und
Übersicht des Lebens, und des Werkes. Kassel: Alkor-Edition, 1960.
Burton, Richard. Prague: A Cultural History. Massachusetts: Interlink Books, 2015.
Butterworth, Neil. Dvořák: His Life and Times. London: Midas Books, 1980.
Clapham, John. Dvořák. New York: W.W. Norton & Company, Inc., 1979.
Clampham, John. Antonín Dvořák: Musician and Craftsman. New York: St. Martin’s
Press, 1966.
Drabkin, William. Beethoven: Missa Solemnis. Cambridge: Cambridge University
Press, 1991.
Dvořák, Otakar. Antonín Dvořák, My Father. Edited by Paul J. Polansky. Translated by
Miroslav Nemec. Iowa: The Czech Historical Research Center, 1993.
Fischl, Viktor, ed. Antonín Dvořák: His Achievement. Connecticut: Greenwood Press,
1970.
Gabrielova, Jarmila, and Jan Kachlik, eds. The Work of Antonín Dvořák (1841-1904):
Aspect of Composition-Problems of Editing-Reception. Prague: Institute of
Ethnology, 2007. Herbert, Peter. Antonín Dvořák Complete Catalogue of
Works. Tadley: The Dvořák Society, 2004.
Honolka, Kurt. Dvořák. Translated by Anne Wyburd. London: Haus Publishing, 2004.
Hughes, Gervase. Dvořák: His Life and Music. New York: Dodd, Mead & Company,
170
1967.
Hurwitz, David. Dvořák: Romantic Music’s Most Versatile Genius. New Jersey:
Amadeus Press, 2005.
Kuna, Milan and team, eds. Antonín Dvořák: Correspondence and Documents. Vols. 2.
Prague: Editio Supraphon and Editio Barenteiter Praha, 1988.
McKinney, James. The Diagnosis and Correction of Vocal Faults. TN: Genovex Music
Group, 1994.
Robertson, Alec. Dvořák. New York: Collier Books, 1962.
Schonzeler, Hans-Hubert. Dvořák. London & New York: Marion Boyars, 1984.
Šíp, Ladislav. An Outline Of Czech and Slovak Music: Part II Slovak Music. Translated
by Margaret Milner. Prague: Orbis, 1960.
Smaczny Jan. The Work of Antonín Dvořák (1841-1904): Dvořák and Early Music.
Edited by Jarmila Gabrielova, and Jan Kachlik. Prague: Institute of Ethnology,
2007.
Sourek, Otakar. Antonín Dvořák: His Life and Works. New York: The Greystone Press,
1941.
Sourek, Otakar. Antonín Dvořák: Letters and Reminiscences. Translated by Roberta
Finlayson Samsour. New York: Da Capo Press, 1985.
Stefan, Paul. Anton Dvořák. Translated by Y. W. Vance. New York: The Greystone
Press, 1941.
Štĕpánek, Vladimír, and Bohumil Karásek. An Outline of Czech And Slovak Music –
Part I Czech Music. Translated by Iva Drapalova and Margot Leigh-Milner.
Prague: Orbis, 1964.
Strimple, Nick. Choral Music in The Nineteenth Century. New York: Amadeus Press,
2008.
Articles and Shorter Works
Bennett, Joseph. “Antonín Dvořák.” The Musical Times 25, no. 494 (1884): 190-91.
Beveridge, David R. “Dvořák, Novello, Alfred Littleton, and the British Music Festival:
Newly-Discovered Correspondence, New Observations.” Musicalia 3 (2011): 27-
46.
Beveridge, David. “Correspondence of Antonín Dvořák Not Contained in the Collected
171
Critical Edition.” Musicalia 3 (2011): 49-55.
Beveridge, David R. “Appendix: Dvořák’s Interviews with British Newspapers.” In
Rethinking Dvořák: Views from Five Countries, edited by David R. Beveridge,
281-93. Oxford: Clarendon Press, 1996.
Carner, Mosco. “Dvořák: The Church Music.” In Antonín Dvořák: His Achievement,
edited by Victor Fischl 167-75. Reprint, Westport: Greenwood Press, 1970.
Clapman, John. “Dvořák’s Relations With Brahms And Hanslick.” The Musical
Quarterly 57, no. 2 (1971): 241-54.
Clapham, John. “Dvořák, Antonín (Leopold).” The New Grove Dictionary of Music and
Musicians. Edited by Stanley Sadie. London: MacMillan, 1995. [Volume v], 765.
Gerald, Abraham. “Dvořák’s Musical Personality.” In Antonin Dvořák: His
Achievement, ed. Victor Fischl. Westport: Greenwood Press, 1970.
Hilse, Walter. “Dvořák: Mass in D Major, Opus 86.” The Musical Quarterly 62, no.1
(1976): 149-52.
Hurwitz, David. “Dvořák: Romantic Music’s Versatile Genius.” Opera Journal 39, no. 3
(2006), 73-75.
Nettl, Paul. “Mozart And The Czechs.” The Musical Quarterly 27, no. 3 (1941): 329-42.
Strimple, Nick. “The Choral Works of Antonín Dvořák: An Annotated Discography.”
Choral Journal 37, no. 9 (April 1997): 45-52.
Thoms, W.M., ed. “Church Choral Society Concert – Dvořák’s Mass in D.” American
Art Journal 63, no. 2 (1894): 24-25.
“Crystal Palace Concerts.” Musical Opinion 16, no. 187 (1893): 414-15.
“Crystal Palace Concerts.” The Musical Times 34, no. 602 (1893): 216-17.
“Occasional Notes.” The Musical Times 34, no. 601 (1893): 144-47.
The Scores
Dvořák, Antonín. Mass in D Major. Edited by Michael Pilkington. London: Novello
Publishing Limited, 2000.
Dvořák, Antonín. Mass in D Major for Soloists, Choir and Organ. Edited by Jarmil
Burghauser and Antonin Cubr. Germany: Barenreiter Kassel, 2002.
Dvořák, Antonín. Mass in D, op. 86, Original Version. Edited by Gunter Graulich and
172
Paul Horn. Stuttgart: Carus-Verlag, 1978.
Dvořák, Antonín. Mass in D, op. 86, Orchestra Version. Edited by Klaus Doge.
Stuttgart: Carus-Verlag, 1987.
Dvořák, Antonín. Mass in D Major, op. 86, Organ Version-Critical Edition. Edited by
Jarmil Burghauser. Prague: Artia, 1970.
Dvořák, Antonín. Mass in D Major, op. 86, Orchestra Version-Critical Edition. Edited
by Jarmil Burghauser. Prague: Artia, 1970.
Dvořák, Antonín. Mass in D, op. 86. New York: Edwin F. Kalmus, (n.d.).
Wagner, Richard. Tristan und Isolde: Vocal and Piano Score. Edited by Otto Singer and
Carl Waack. Germany: Breitkopf & Härtel, 1983.
CD Recordings
Antonín Dvořák, The “Lužany” Mass in D Major. Ensemble Inegal, conducted by Adam
Viktora. HHP PDR 1000, CD. Recorded October 1–3, 2001.
Online Resources
Supka, Ondrej. “Mass in D Major-The Luzany Mass.” Translated by Karolina Hughes.
Accessed January 16, 2015. http://www.antonin-dvorak.cz/en/mass.
“Mass in D.” Musical Times and Singing Class Circular, 1844-1903 34, no. 602 (April,
1893): 243. Accessed October 19, 2015.
http://search.proquest.com.libproxy1.usc.edu/docview/7357101?accountid=14749
.
Smaczny, Jan. “Dvořák, Antonín.” In The Oxford Companion to Music. Oxford Music
Online. Oxford University Press. Accessed May 7, 2015.
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/opr/t114/
e2154.
“Crystal Palace Concerts.” Musical News 4, no. 107 (1893): 244. Accessed October 19,
2015.
http://search.proquest.com.libproxy1.usc.edu/docview/7159426?accountid=14749
.
“Dvořák’s Mass in D.” The Church Musician 3, no. 29 (May 15, 1893): 83. Accessed
October 19, 2015.
http://search.proquest.com.libproxy1.usc.edu/docview/6897406?accountid=14749
173
Bard Suverkrop. "IPA Source The Ordinary of the Mass - Complete Text." IPA Source.
Accessed December 29, 2015. http://www.ipasource.com/the-ordinary-of-the-
mass-complete-text.html.
Klaus Döge. “Dvořák, Antonín.” Grove Music Online. Oxford Music Online. Oxford
University Press. Accessed May 7, 2015.
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/m
usic/51222.
“The Week.” The Athenaeum, no. 3412 (18, 1893): 354-55. Accessed October 19, 2015.
http://search.proquest.com.libproxy1.usc.edu/docview/9604474?accountid=14749
.
174
Appendix A:
Complete List of Choral, Opera and Vocal Works
Complied by the author and arranged by genre, listed alphabetically with each section.
Cantata, Mass and Oratorio
Hymnus, The Heirs of the White Mountain (Version 1, 2 & 3)
Mass in B-flat Major (lost)
Mass in D Major (Version 1, 2, & 3)
Ode or Festive Song
Requiem Mass
Stabat Mater
St. Ludmila (Version 1)
Te Deum
The American Flag
The Spectre’s Bride
149
th
Psalm (Version 1 & 2)
Small Choral Works
a. For Female Voices
Moravian Duets (from B 60 & B 62)
b. For Male Voices
Bouquet of Czech Folk Songs, 4-part unaccompanied male chorus
Choral Songs for unaccompanied 4-part male chorus
Five Songs for Male Voices (Lithuanian Folk Poems), 4-part unaccompanied
From a Bouquet of Slavonic Folk Songs for male chorus and piano
The Song of a Czech, 4-part unaccompanied
c. For Mixed Voices
Halek (In Nature’s Realm), 4-6-part unaccompanied
Heyduk (Four Songs for Mixed Choir), 4-part unaccompanied
Pippich (Hymn of the Czech Peasants), 4-5-part with orchestra accompaniment
d. Arrangements
Hungarian Dances (17-21 from Brahms)
Russian Songs
Two Irish Songs
175
Operas
Alfred
Armida
Dimitrij (Version 1 & 2)
King and Charcoal Burner (Version 1, 2 & 3)
Rusalka
St. Ludmila (Version 2)
The Devil and Kate
The Stubborn Lovers (The Pig-Headed Peasants)
The Scheming Farmer (The Cunning Peasant/The Peasant a Rogue)
The Jacobin (Version 1 & 2)
Vanda
Vocal Works
a. Songs with Piano Accompaniment
Biblical Songs
Cypresses
Evening Songs (Halek)
Four Songs for 4-part unaccompanied choir
Four Songs on Serbian Folk Poems
Four Songs (Malybrok-Stieler)
Gypsy Songs
In Folk Tone
Love Songs (Cypresses)
Lullaby (Jelinek)
Rosemary (Erben)
Songs (Cypresses)
Songs from The Dvur Kralove Manuscript
Song from The Smith of Lesetin (Cech)
Songs to Words by Eliska Kranihorska
Two Songs for Baritone (Heyduk)
The Orphan (Erben)
Three Modern Greek Poems
The Wild Duck
Two Songs on Folk Poems
b. Duets with Piano Accompaniment
Four Moravian Duets (No. 50)
Four Moravian Duets (No. 69)
Five Moravian Duets (No. 60)
Moravian Duets (No. 107)
Nine Moravian Duets (No. 62)
There on Our Roof
176
c. Songs and Duets with Organ Accompaniment
Ave Maria, for contralto or baritone
Ave Maris Stella, for alto or baritone and organ
Hymnus Ad Laudes In Festo Sanctae (Trinitatis for voice and organ)
O Sanctissima Dulcis Virgo Maria, for contralto and baritone
O Sanctissima Dulcis Virgo Maria, for soprano and contralto
d. Songs with Orchestra Accompaniment
Three Modern Greek Poems (lost)
Two Evening Songs
Biblical Songs (No. 189)
e. Unaccompaniment Duet
Children’s Song (Backora)
177
Appendix B:
Photos Provided and Taken by the Author
Image 1. The author met Mr. Antonín Dvořák III and Dvořák Scholar Dr. David R.
Beveridge at Dvořák Festival 2015 in Prague Rudolfinum.
178
Image 2. The author met Mr. Antonín Dvořák III and the Dvořák family at Dvořák
Festival 2015.
179
Image 3. The Organ at Josef Hlávka’s Stately Home Chapel in Lužany.
180
Image 4. The Chapel at Lužany.
181
Image 5. The author met Dvořák Scholar Dr. David R. Beveridge and Conductor Haig
Utidjian at Josef Hlávka’s Stately Home at Lužany.
182
Image 6. The author was invited to attend the Prize Award at 2015 Dvořák Festival.
From Left: The President of The Hlávka Foundation Mr. Václav Pavlíček, Mr. Antonín
Dvořák III, Dvořák Scholar Dr. David R. Beveridge and the President of Dvořák Society
PhDr. Markéta Hallová.
183
Image 7. The author visited Dvořák’s birthplace Nelahozeves with the President of
Dvořák Society PhDr. Markéta Hallová.
184
Image 8. The author visited Dvořák’s summer house at Vysoká with the President of
Dvořák Society PhDr. Markéta Hallová and the Dvořák family.
185
Image 9. Photo taken by author at Dvořák’s summer house at Vysoká where he
composed Mass in D Major.
Abstract (if available)
Linked assets
University of Southern California Dissertations and Theses
Conceptually similar
PDF
In the shadow of Te Deum: An analytical response to the history of disregard surrounding Antonín Dvořák's patriotic cantata, The American flag
PDF
The romantic loner: a conductor’s guide to the choral-orchestral works of Sir William Walton
PDF
A study of Nick Strimple’s compositional life with an emphasis on his work Pentecost
PDF
A companion guide to Nick Strimple’s Choral Music in the Nineteenth Century: a research and repertoire guide for nineteenth century small form choral works for mixed voices
PDF
Moorland Elegies / Lageda Laulud for choir and strings by Tõnu Kõrvits: a conductor's guide
PDF
A choral conductor's guide to the Messe de requiem by Alfred Désenclos
PDF
Sing on: The life, pedagogy, and contributions to choral music of Dr. Jo-Michael Scheibe
PDF
The influence of the Australian landscape and indigenous Aboriginal music and traditions on Australian choral music: a study of choral works by nine Australian composers
PDF
A conductor’s guide to select choral works composed by Hyo-Won Woo between 2012 and 2018
PDF
Music in worship in the Churches of Christ and choral music performance in Church of Christ affiliated colleges and universities
PDF
The Antiochian Orthodox Church of North America: vocal music and choral practice
PDF
Musical landscape in Northern Germany in the early seventeenth century: musica poetica and its application in the settings of Komm, Heiliger Geist, Herre Gott by Heinrich Schütz, Johann Hermann S...
PDF
Harnessing range and tessitura: a conductor's guide to the identification and management of vocal demand in mixed-voice choral repertoire
PDF
In search for a deeper understanding of Emma Lou Diemer’s compositional style through the analysis of her shorter choral works for mixed chorus since 1987
PDF
The influence of African-American harmonizing on the 'American' choral works of Frederick Delius
PDF
Three periods in Frank Martin's compositional evolution as exemplified in Messe pour double choeur, In Terra Pax and Requiem
PDF
Using music to heal Catholic-Jewish relations: an analysis of Stephen Paulus' post-Holocaust oratorio, To Be Certain of the Dawn
PDF
Leon Levitch's Song of Dreams: the testimony of a survivor
PDF
A survey of the unaccompanied choral music of Wolfram Buchenberg
PDF
A history of choral literature: canons and peripheries in the development of an American discipline
Asset Metadata
Creator
Chung, Audrey Siaw Yng
(author)
Core Title
A conductor’s guide to the original organ version of Antonín Dvořák’s Mass in D major, opus 86, including a critical comparison of the published editions
School
Thornton School of Music
Degree
Doctor of Musical Arts
Degree Program
Choral Music
Publication Date
07/28/2016
Defense Date
05/11/2016
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Antonín Dvořák’s Mass in D major,OAI-PMH Harvest
Format
application/pdf
(imt)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Strimple, Nick (
committee chair
), Grases, Cristian (
committee member
), Sparks, Tram (
committee member
)
Creator Email
audreysc@usc.edu,yngharmony@gmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c40-283313
Unique identifier
UC11281065
Identifier
etd-ChungAudre-4653.pdf (filename),usctheses-c40-283313 (legacy record id)
Legacy Identifier
etd-ChungAudre-4653.pdf
Dmrecord
283313
Document Type
Dissertation
Format
application/pdf (imt)
Rights
Chung, Audrey Siaw Yng
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Tags
Antonín Dvořák’s Mass in D major