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Compositional Principles In Lucija Garuta'S Oratorio "God, Thine Earth Is Aflame!"

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Compositional Principles In Lucija Garuta'S Oratorio "God, Thine Earth Is Aflame!"

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COMPOSITIONAL PRINCIPLES IN LUCIJA GARUTA'S ORATORIO
GOD. THINE EARTH IS AFLAME !
by
Laura Rokpelne
A Treatise Presented to the
FACULTY OF THE SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(Choral Music)
May 1996
Copyright 1996 Laura Rokpelne
UMI Number: 9636742
right 1996 by
Rokpelne, Laura
All rights reserved.
UMI Microform 9636742
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UNIVERSITY OF SOUTHERN CALIFORNIA
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Tfiis treatise, written by
LAURA ROKPELNE
under the direction o f her Treatise
Committee, and approved by all its
members, has been presented to
and accepted by The School o f Music,
in partial fulfillm ent o f requirements
fo r the degree o f
DOCTOR OF MUSICAL ARTS
Deem, School of Music
TREATISE COMMITTEE
Chairperson
Title: COMPOSITIONAL PRINCIPLES IN LUCIJA GARUTA’ S ORATORIO
GOD, THINE EARTH IS AFLAME!
Author: Rokpelne, Laura
School: University of Southern California, Degree: DMA, Date: 1996
Advisor: Dehning, William John
Abstract: This treatise is based on the musical analysis of the oratorio
God, Thine Earth is Aflame! by the Latvian composer Lucija
Garuta (1902-1977).
The hfe and work of Garuta reflect the oppressive influence
of communistic ideology which affected aU composers in the
Soviet Union. Garuta began a successful career as a composer
in independent Latvia. After the Soviet invasion Garuta’ s
unique style was accused of formalism. The rest of her life’ s
work was suppressed by the Soviet authorities.
Garuta composed the oratorio God, Thine Earth is Aflame!
during World War II. This work remains a memorial to the
t r ^ c events that took place m the 1940s. For more than forty
years, Garuta’ s oratorio was on the list of forbidden works in
the former Soviet Union due to its patriotic, religious, and
democratic ideas. It is now possible to carry out a in depth and
thorough study of this work.
u
TABLE OF CONTENTS
LIST OF TABLES.............. iii
Chapter
I. INTRODUCTION..................................................................................... 1
Lucija Garuta’ s life anrj work— a mirror of political and social
changes in the twentieth century Europe
The historical background of the oratorio
II. THE STRUCTURE OF THE ORATORIO............................................. 6
Forces, style, text and form
Tonal ralationship
Unifying intervals
III. ANALYSIS: THE FIRST MOVEMENT.................................................. 16
IV. ANALYSIS: THE SECOND MOVEMENT.............................................46
V. ANALYSIS: THE THIRD MOVEMENT................................................ 54
VI. CONCLUSION.........................................................................................58
iu
LIST OF TABLES
Table Page
1. Structure of the oratorio...........................................................................7
2 Structure of the first movement...............................................................7
3. Sections o f the second movement...........................................................9
4. Developing variation form of the third movement.............................. 11
5 Leading forces in the last section of the third movement................12
6. Refrain structure, first movement......................................................... 18
7. Phrasal structure of section B, first m ovem ent.................................22
8. Formal structure of section C, first movement.................................. 26
9. Formal structure of section D, first movem ent.................................28
10. Structure o f section E, first movement............................................... 30
11. Structure o f section A2, first movement..............................................36
12. Structure o f section Di, first movement..............................................41
13. Structure o f the second movement...................................................... 46
14. Organ transition, second movement.................................................... 52
15. Structure o f the third movement............................................................55
CHAPTER I
Lucija Garuta’ s life and work— a mirmr of political and social changes in
twentieth century Europe
The life and work of Lucija Garuta (1902-1977) reflect the
oppressive influence of communistic ideology on artistic expression
which affected all the composers of the Soviet Union.
G aruta began h er career as a composer in the then— independent
Latvia (1918-1940). She was the first woman in Latvia who received de
grees in two majors from the Latvian State Conservatory: composition
and piano. After completing h e r work a t the Conservatory she went to
Paris, and from 1926 to 1928 worked with Paul Dukas and Alfiod Cor
tot. After returning to R ^a she devoted h e r energy to pianoforte and be
came a respected pianist as well as an accomplished accompanist. As a
result of h e r association with the leading soloists of the Latvian National
Opera, she was able to introduce her own compositions into their reper
toire, an association which eventually developed into a series of per
formances consisting primarily of Garuta’ s solo songs. In 1938 Garuta
composed the opera Silvefbird, her one and only opera. Due to the onset
of World W ar II and the subsequent occupation of h er native country by
the Soviet Union in Ju n e of 1940, this m onumental work was never
published and as a result never performed. With the onset of the com
m unist regime and its associated ideology, Garuta’ s own unique com
positional style was classified as being “formalistic,’ ’ which meant th at it
did not have the depth and breath required to express the communistic
thought and ideology. Because of this label, and her “bourgeois* past,
Garuta w as considered persona non grata and denied the status and rec
ognition due a composer and professor, even though she was performing
the latter function at the Latvian State Conservatoiy. Only during the
last years of her hfe did the regime deem it necessary to grant her this
honor. As a result, for most of her Hfe she was forced to abandon her
own creativity and style, and to conform to the regulations of the regime.
During this period Garuta wrote several large-scale works conform
ing to the dictates of the prevailing thought and ideology. These included
her Piano Concerto, the cantata He Flies (a formal work dedicated to the
Soviet astronaut Ju ry G ^aiin), and a few symphonic poems. It is regret
table th a t none of these works reached the expressiveness and ordinal-
ity that were so prevalent in her works prior to 1940.
Lucija Garuta was also author of several theoretical treatises deal
ing with harmony. Her major woik is the textbook Harmony pubhshed
in 1975.
Since Lucija Garuta w as one of the non grata composers of the ex
isting political system, veiy few materials exist documenting her life and
work as a composer. At best, onty a few short chapters are available de
scribing her hfe long work, and even these, in a manner befitting the
style and requirement of the communist propaganda machine. As a n ex
ample, in the book Latviesu MGzika (Latvian Music) published in 1985,
soviet musicologist Olgerts Gravitis writes: “It is striking th a t this sensi
tive m usician has never trusted to put anything on paper about her eve
ryday experiences and thoughts.*’ This sentence sounds mahcious and
ironic because, had Garuta trusted the pen, her destiny would have
been Siberia. A life that started with so much promise and hope ended
in February of 1977 in the depths of depression, humiliation and
neglect. Lucija Garuta, like so many of h er contemporaries, was the
victim of hum ankind’ s greatest crime against itself— the senseless and
brutal destruction of the mind and soul.
The historical background of the oratorio
In 1943, in the middle o f the war th a t was reding all around Lat
via, the Lutheran Church of Kuldi|^ announced a national competition
‘ Olgeits Gravitis. “Poitreti” in Latviesu Muzika ‘K . ed. Augusts Oarkevics and Laima Muniiece (Riga: Liesma,
1985), 149.
for the most original and outstanding poem based on the theme “Our
Prayer.” This was to be a nation’ s prayer for its soul, its people, and its
self determination. The poem chosen was by Andrejs Eglitis (b. 1912), at
that time one of the leading Latvian poets, who went into exile in Sweden
during the closing days of the war. His work was based on two previ
ously written poems: one centering around the Lord’ s prayer, and the
other around the text “God, Thine Earth Is Aflame!”.
Lucija Garuta took the nation’ s prayer as the basis for her oratorio.
On March 15, 1944 the oratorio God, Thine Earth Is A flam e! had its
premiere in Old Gertrude’ s Church in Riga before a solemn and hopeful
audience. The vocal parts were sung by two of the leading soloists of the
Latvian National Opera: Mariss Vetra and Adolfs Kaktins. The choral
parts were performed by The Teodors Reiters’ Chorus, the m ost promi
nent Latvian chorus of that time, and was conducted by Teodors Reiters,
the founder and musical director of this group. The organ part was
played by the composer herself
The oratorio became an instant success and was given a standing
ovation. It became the symbol of the national tragedy w hich was to fol
low. Shortly after this performance the occupation of Latvia began re
sulting in untold hum an suffering and misety. The Gulag Ardxipelago of
the Latvian people had started with m ass deportations and slave labor
cam ps in the fix>zen tundra of the Soviet empire.
Until her last days, Lucija Garuta took an active part in organizing
performances of her oratorio, which was shortened and simplified due to
small performing forces. These performances were held in the churches
of the western province Kurzeme until the “red curtain" covered her be
loved land— May 8th, 1945. It was this short version of her oratorio that
the exiles took with them to fineedom, where it became a sacred work
which was performed again and £^ain by the exiled Latvians.
For forty-three years, Garuta’ s God, Thine Earth is Aflame! was
banished and forbidden in occupied Latvia. In 1988 a revival took place
due to Gorbachov’ s Perestroika reforms, whereby some national cultural
expressions were allowed. In the spring of 1988 the oratorio’ s rebirth
reached a crescendo, with performances in Riga and in the churches of
Kurzeme, where more than forty years earlier, it had last been performed
amid the fiâmes of war.
CHAPTER II
THE STRUCTURE OF THE ORATORIO
Forces, style, text and form
The oratorio God, Thine Earth Is A flam e! is written for tenor and
baritone soloists, mixed chorus and orçan. The oi^an part is very devel
oped and requires a high level of virtuosity from the player. The oratorio
is composed in the traditional style of Latvian choral music which em
ploys clear structure, simple harmonic plan, smooth transitional sec
tions, and homorhythmic choral texture. Some of the melodies bear
close resemblance to Latvian folk songs, as for example, the tenor solo in
m easures 274-274.
Ai, le - mi - te, td - w ze - a e -
Compare this to the first two m easures of the Latvian sum m er solstice
song,
S a iJ U
" H L
The form of Eglitis’ poem is through-composed. Most of the time,
rhyming verses alternate with sections written in fiee, non-rhyming style.
The form of the oratorio is also through-composed, although it can be
divided into three movements connected by transitional passages.
Table 1.— Structure of the oratorio
Movement I II III
Measure 1 ______ 23_____________ 457________ 672___________765
S e c tio n introduction transition transition coda
The first movement is longer than the second and third movements
p u t together, and it is more dramatic and musically more developed than
the other two. Each of the movements is centered around a single mo
tive, or theme. The first movement is written in rondo form, with a re-
fiuin based on a motive with the text "God, Thine earth is aflame / In
fiires of hatred and sin!”
Table 2.— Structure of the first movement
Measure 1 ________ 23 56_____ 84 88___________ 124
Section introducdon-A-— -— —B-——— bridge— Ai— -C
Leading forces organ chorus baritone, chorus chorus tenor,
chorus chorus
Key Bb min. Bb min. C# min. Bb min. D min.
8
(con t.)
Measure
Section
Leading forces
Key
184 220 224 260
D-----------------
baritone,
chorus
C# min -C# maj.-
A maj.-C# min.
-bridge— A l------
chorus chorus
Bb min.
organ,
tenor,
chorus
Eb min.
(cont.)
Measure
Section
Leading forces
Key
337 359
A 2-----
chorus chorus,
organ
Bb min.-C# min.
395 451
-D l-----------transition
baritone, altos
tenor,
chorus
Bb mm.-Bb maj.
The purely choral sections alternate with mixed solo and choral
sections, as for example, the tenor's melody in measures 141-148
y Uiredr a - cis Die - va s
F — 32-1
au - It Spoil, ipoii no - helot.
is repeated by the women’s chorus in harmonized style in m easures
164-171.
’n
^ 'T i-
—
-------F
f Jau - nit
,1 1 % — -X . r n r :
fie - n s. jau - nai ml • tat.
" 1 ^ r
— iH
T 1
Oie - vu mi -
T ~ r -
lùg - sin:
' T T T T -
A six m easures long organ ps^sage leads into the second
movement, which is based on the text of the Lord’ s Prayer. Al
though this movement is only 179 m easures long (by comparison
to the first movement, which is 451 m easures long), it is neverthe
less quite long in terms of duration because it is written in a slow
tempo. It consists of two parts.
Table 3.— Sections of the second movement
Measure
Section
Leading forces
457-----
I
chorus,
baritone,
tenor
-570----------------
II
chorus (a cappella)
-636
In part one, the Lord’s Prayer is divided in five parts and sung by
the chorus in unison.
1) Our fether who a rt in heaven.
Hallowed be Thy Name.
2) Thy kingdom come.
Thy will be done.
On earth as it is in heaven.
10
3) Give u s this day our daily bread,
And foi^ive us our trespasses,
As we forgive those
Who trespass against us.
4) And lead us not into temptation.
But deliver us horn evil
5) For Thine is the kingdom, the power and the gloiy
Forever and ever. Amen.
These sections are interrupted by soloists who sing the text of EgUtis’
poem. The musical material presented by both soloists is identical, with
the exception of the tenor’ s second entrance, which has a différent me
lodic line b u t still employs a s im ilar rhythmical pattern.
Kaut de - - be - tU un ikmens brtktu Un
le . - . me pa - celtos uz a u t- b i: Kaut
T.s.
n u - fU : Visa a u | - - iu IQ -dzot acis
pu tekliem vien lidzigs bi - jU.
11
Part two of the second movement forms the emotional climax of the
oratorio: the Lord’ s Prayer is presented without interruption by four-part
chorus singing a cappella.
The organ transition which follows is based on the m ain motive of
the last movement This motive, presented in several sequential pas
sages, leads into the closing movement of the oratorio, which is filled
with hope and confidence: “We arc new bells— Thou art our ringing, / Let
u s sing Thy name joyfuUyl” The composer uses here the form of develop
ing variation, where each new section is a variation of the previous one.
Table 4 .— Developing variation form of the third movement
Measure 672 676
Section A B
Measure 680 684. 688
Section Ai Bi
Measure 692 696
Section As B2
Measure 700 704 708 711
Section A 3 B 3 extension of Bs
This section is followed by an extensive coda, involving organ, baritone
solos and chorus.
12
Table 5 .— Leading forces in the last section of the third movement
M easure 7 1 1 7 2 5 7 3 3 7 4 5 754 7 6 2
Leading forces organ baritone organ baritone chorus organ
Tonal relationship
The tonal relationship between the three movements of the oratorio
is clearly evident. The main key of the work is Bb minor and its relative
major of Db. The first movement is mostly in Bb minor while the main
key of the concluding movement is Db major.
The Lord’s Prayer in the second part of the second movement is written
in C# major, which is enharmonically equal to Db major.
A “trio” of keys (A major, F# minor and C# minoi) is used in the
first half of the second movement, with A major being the prominent key
of the choral lines while both minors dom inate phrases sung by soloists.
There is s^nificant evidence of tonal and poetic relationships in
the oratorio. For example, in the first movement, the of Bb m inor is
associated with fear, despair and disaster. In the second movement, C#
major, the key of the Lord’ s Prayer, represents reliance upon God. The
last movement, w hich is filled with hope and confidence, is colored with
flat-side keys: Db and Bb majors. Special importance is given to Bb
13
major, a parallel major of Bb minor, which is the key of fear and disas
ter— thus emphasizing the contrast between hope and despair. In the
first movement, a new scale with augmented seconds is presented. This
scale is associated with a “dark" power threatening fix>m the East.
per - Icons g n u - da.
Unifying intervals
Intervals, along with tonalities, form the set of elements which
unify the whole work as well as sections of individual movements. The
intervals of a third and a fourth (with their inversions of a sixth and a
fifth) are the unifying intervals of the oratorio. They are involved me-
lodically and harmonically throughout the piece.
14
De * be - sis
no - pû - tu pu
u - p u -m
' Dievj, ra in ik p» - S U - fi tie - -
Ai. l e - m i-te . te - 'Ai te - me - Nie, D ie-vi - ni. pa - li»os!
S.
jeu Die m l vas. nas tu . vu
A.
The motto-motive of the first section is based on intervals of a mi
nor 6th, a perfect 5th and a m inor 3rd.
boon
Alto
Dievs. _
de*
me,
The last movement is mostly based on the interval of a perfect
fourth.
1 . ^
M b jau - tii xva-ni, Kunga,
15
Speaking of the compositional creativity, the first movement seems
to be the most developed section of the whole oratorio because of its
contrasting them es and its masteify formed structure.
16
CHAPTER III
ANALYSIS: THE FIRST MOVEMENT
The first movement of the oratorio describes the horror of war a s
sociated with cities which “lie scattered in ruins and villages trodden
down.”
The dram atic and tense character of the music is evident at the
very beginning of the piece. The stormy twenty-two measure— long orçan
introduction is based on the m ain theme, here called a “motto” motive.
The main theme is accompanied by virtuosic toccata-like passages.
Û C .
The motto-motive is presented three times, with each time sounding
h%her: the first statement begins with a Bb minor triad and ends on
a minor seventh-chord on C with a raised third. The second statem ent is
a sUghtly changed version of the first one because it begins and ends on
a diminished seventh chord on Cb with lowered third. The third
17
statem ent is a varied repetition of the first one, only now the chords are
fuller and they are placed an octave higher.
At m easure 19, a short transitional section leads into the first movement.
This "bridge” employs the toccata-hke passages from the previous section
and is based on an “Eastern” scale with two augmented seconds. There
18
is only one note which does not belong to this scale, E natural, but it
carries the function of the passing note.
The chorus comes in a t measure 23 by presentiag the motto-theme
of the oratorio. As mentioned above, the first movement employs the
features of rondo form with refrain but is written in ABAi form.
Table 6.— Refrain structure, first movement
Measure
Section
Phrase
Measures per phrase
23 28 31 37 41 49 55
A
a b
3+2 3
B
ai c
3+3 4
Ai
d 32
4+4 3+4
The first phrase [a] consists of two harmonies: Bb triad and a diminished
seventh-chord with raised root:
i clltf7+l
The meaning of the text “Thine earth is a f l a m e !* is emphasized by repeti
tion in measures 26 and 27 The chorus sings in homorhythmic style
and is doubled by the organ. The words Dievs (God) and deg (Aflame)
are accompanied by running organ p a ssé e s.
19
Alto
ievs
B asso
a\tempo
L -1' ’ j , .. • I: .
The alternation of 4 /4 and 3 /4 meters serves to intensify the dram atic
character of the motto phrase.
The next phrase [b], with text “in fires of hatred and sin," is also
three m easures long. The melodic line of this phrase is based on de-
20
scending and ascending intervals of a fifth, which is one of the “core”
intervals of the piece.
|rt
mis! un
lies nai
At m easure 31, the motto motive comes back, this time based on a IV?
chord.
The first part of section B is sung by women’ s chorus in parallel
thirds, in descending motion and in 6 /8 meter. The emphasis of this
part is placed on intervals of a third (vertically) and an augmented fourth
(horizontally) in the choral parts, and an augmented second in the oi^an
part. The pedalpoint on F is another im portant element in this section.
Dc ■ be - sis u - p u - fu
PaflT si’ ytis
21
T his phrase is answered by an ascending line sung by th e choral basses
in measures 41-44. They are joined by the tenors in parallel thirds two
measures later. An interesting compositional feature is the use of
“sighing" seconds on th e words nopUtu (sighs) and vaim anu (laments) in
m easures 3 8 , 40 and 43.
The tragic content of this section is reinforced by repetition o f the
second phrase, and by combination of the above-m entioned ascending
a n d descending lines sung by m ens’ and womens’ choruses in measures
45-48. The last measure of section B forms a cadence on a diminished
seventh-chord which leads into the reprise. The reprise is only seven
measures long and is based on the first part o f section A.
The next section,— ”God, can this be the Judgment Day?”— is writ
ten in C# m inor and begins without any modulating transition. A com
bination of fear, doubt a n d insecurity is expressed in this question.
To strengthen the dramatic content o f this section, the composer uses
several compositional devices, such as slow tempo (“slowly, fetally” as
a j
m arked by th e composer), an ostinato figure J J , an em
phasis on the pitch of low C#, the u se of the lowered second degree of C#
minor, and a falling m arcato figure in the organ part.
22
Smagi, liktenTgj
— I g T
The bantone voice is chosen by the composer to describe the tr^ e d y of
war and to express power and commitment to overcome all obstacles. In
this section, the baritone is a narrator who describes the horror of war:
Cities lie scattered in ruins, vill^es trodden down.
Deep into dust of destruction oak-trees must lower their
crown.
God, can this be the Judgm ent Day?
In hatred
Body and soul vanish away!
The question “God, can this be the Judgm ent Day?" in measures 60-63
is used as a refiain in the section B.
Table 7 .— Phrasal structure of section B, first movement
56__ 60 64 68 72 80
Measure
Phrase in trod, a-refrain b ai c a+ai
Measures per phrase 4 2+2 2+2 2+2 4+2+2 2+2
83
23
The refrain is based on intervals of two rising fifths. The following
phrase “In hatred / Body and soul vanish awayl" (measures 64-67), em
ploys intervals of two falling fourths, one of which is based on the Nea
politan
and two fifths, one diminished and the
_______
d f rv i.
After the refinin comes back at measure 68, it differs finm the first
statem ent by not having the word Dievs (God) and with a lengthened first
syllable of the word tie-sa (Judgment).
(^
Dievs, J v ii n ik pa . sta . r i
vai nâk p a . , sta - t i
The motion of the melodic line in section c is descending for m ost
of the time, with the exception of m easures 76-77, where the word vir-
sotnes (summits) is depicted with a melodic line raising up through the
steps of a Neapolitan 6-chord. Measure 76 is s i m i l a r to measure 66 in
its use of the tritone P#-B#.
2 4
At measure 80 the refiain returns again. This time it repeats the
material of the first statement with the exception of a lengthened first
syllable of the word tie-sa (Judgment) in measure 83, which is similar to
measure 71 of the second statement.
The transition to the next section consists of three modulating
chords sung by the chorus. The last chord is enharmonically equal to
the diminished seventh-chord in Bb minor. The following motto-refiain
is identical to its first statement, with a different concluding part in
m easures 117-123, which is three m easures longer than the first one,
and harmonically recalls the organ introduction f r o m the beginning of
the oratorio.
t-F
25
deg.
The first strong dominant-tonic cadence appears in measures 121-122.
*
The following section C (see Table 2) is a tyrical digression in the
development of the oratorio. Slow tempo (“Slowfy, sincercfy* are the
composer’ s tempo markings), soft p ianissim o dynamics, light texture of
organ and choral parts, D minor, and a gentle folk-hke melody sung by
the tenor— all these elements help to create a peaceful and n o s ta ^ c at
mosphere. The folk-like flavor is achieved by use of natural m inor and
plagal harmonies, which are common features of Latvian folk song.
Ten,
Lëni, sirsnigi om
40
------------ T
)4tr^-----------------------
y
-------------- 1 -
— ? — P --------
^ .....
i 1 J
-e-
-------1 -------1--------
pp
— 1 --------1 -------
3 -
T T
26
The form of the section C is presented in Table 8.
Table 8.--Formal structure of section C, first movement
124_______ 128_________________141
Measure
Section
Phrase
Measures per phrase
Leading forces
150
introduction A B
a + b + bi + c d + e + ci
4 4 + 4 + 3 +2 4 + 4 + 2
organ tenor organ chorus tenor chorus
(cont.)
Measure
Section
Phrase
Measures per phrase
Leading forces
151 164 172 186
Ai
a + b + bi+c2
4 + 4 + 3 + 2
tenor
Bi A 2
di + ei at + ba + C 3
4 + 4 4 + 4 + 4
womens’ chorus
The accompaniment of the tenor solo is light and supporting, most
o f the time it doubles the solo line and fills it with light harmonies. The
text of this section tends toward prayer. It is first expounded by the
tenor to “grayheaded fathers and mothers,” then by the womens’ chorus
to “all young mothers and wives.” The intervals of a sixth and a fourth
are prominent in sections [a] and [b].
( 3 5 ) *
r f - ^ ■ ■ iV j
H
Die - vu mi - [i lùg • simies —
Sir - mie té - V I, sir - mis mi • (M.
V i - su m û - tu
vé - ji pù • ta.
L a» silj mû-la va - ka - ri.
27
These intervals are joined by a perfect fifth in sections [c], [d] and [e].
Section [dj: ^
Lairtdz a - c is D ie « va sa u • U S^oti, tpoti n o - rietot.
The tenor's melody is repeated by four-part a cxtppella w om ens’
chorus in inversion, sections [d] and [e] are presented before sections [a]
and [b]. The choral part is simple and hamorhythmic. The organ joins
the chorus only in measure 171. Obviously, it is done for performance
purposes; to tune the chorus. Section [cj employs choral recitation in
one voice p a rt (baritones in sections c, C 2, c3 and tenors in ci) while the
others hum a sustained chord.
There is no motto-refiain between sections C a n d D, although
section D c a m e s the fimction of the secondary motto since it is based on
m usical material fiom the motive “God, can this be the Judgm ent Day?”
in section B:
D k v s vai n ilc p a sta - rl lie - - , sa?
Barit,
solo
' 'l' ' 1 ' ? -- -------- rr--------- ;----p—
- f - ------------------
K la u - », O iev s, lü( - la - n u m ai - (u:
Also, the ostinato figure J | in the organ accompaniment
■ 3
is presented again, but th is time in a transformed version I I ] I
28
5S
Section D is written in simple ABAi form (see Table 9).
Table 9 .--Formal structure of section D, first movement
184_______ 188 194_______ 210 Measure
Section
Phrase
220
introduction A B Al transit,
a + b c + d a+b+a
Measures per phrase 4 2 + 4 (4+4)+(4+4) 2+4+4 4
Leading forces organ baritone chorus
It is hard to identify the key of section [a] because the key signa
ture-seven sharps— indicates C# major, while the ostinato figure in or
gan part employs the third of both C# major and C# minor. Neverthe
less, C# major becomes more clear a t the end of section [b] in m easure
193.
Section [c] and the first four m easures (194-205) of section [d] are
written in A major. Section [c] consists of two rising sequences: each
unit is four m easures long and each contains two phrases. The first
phrase ends on a perfect fourth, the second on a perfect fifth.
29
Section [d] is made up of two pairs of two identical measures:
m easures 202-203 are equal to measures 204-205, and m easures 206-
207 to measures 208-209. The two pairs differ only in the rhythmical
pattern a t the end of each phrase.
Measures: 203 J. J l , 205 J J i ; 207 J. P J i , 209 J J J
The reprise differs from section A in poetic meaning: section A calls
for a prayer of sorrow, section Ai— for a prayer of love. The reprise is ex
tended by repetition of the phrase “God, accept our prayer,” sung twice
by the chorus: the first time by all voices in unison, the second time by
only womens’ voices in unison. The composer has created an echo effect
by reducing forces and dynamics.
Section D is connected to the motto-refiain by a transitional, fo u r-
m easure passage (measures 220-223) identical to the same passage in
m easures 84-87.
The third statement of the motto-refiain (measures 224-259) is
similar to the second one (measures 88-123) with its extended last
phrase.
The ensuing section E is filled with hopelessness and uncertainty:
Oh, my land, land of my Others,
How to keep you, how protect?
30
Table 10.— Structure of section E, first movement
Measure
Section
Phrase
Measures per phrase
Leading forces
Notes
260
introduction
14
organ
‘enemy*
motive
274 290 304
a + b + a + bi
4 + 5 + 4 + 5
tenor
B
c + d + Cl
4 + 4 + 5
womens’ chorus
(cont.)
Measure
Section
Phrase
Measures per phrase
Leading forces
Notes
305 309 325 329
interlude Al
a + b + a + bi
4 4 + 4 + 4 + 4
organ mens’ chorus
in te rlu d e
organ
based on b “enemy*
motive
(cont.)
Measure
Section
Phrase
Measures per phrase
Leading forces
Notes
330 332 333 335 336
Coda
a--fîrst part a— second part a— last measure
2 1 2 1 1
tenor organ tenor organ
‘enemy* ‘enemy*
motive motive
As seen finom the table, the oi^an has an important role in this section,
especially w ith its “enemy" motive played in the lowest register. This
motive is based on the Eastern scale with a lowered second degree.
31
PP * Y -
The insertion of the "enemy" motive breaks down the regularity of the
tenor’ s solo line, which is written in simple folk-like style, thus
emphasizing the contrast between two opposite forces. An interesting
feature of this section is the thematic connection between these two
forces, because the “enemy” motive is also used in the tenor part in
natural Eb minor.
Pér - kons grau Ada
Ai
Al
Pér - kons gnu * da.
The principle of pitch priorities is employed within the tenor’ s solo
phrase. Here is the comparison of pitches used in the first phrase:
3 2
Measures 274-281: Bb (v) used 10 times
Eb(i) 7
Ab (iv) 6
F (Ü ) 5
Gb (iü) 3
Db (vii) 2
Several times the melodic line falls to the pitch of Eb, which
emphasizes the dark and heavy character of the melody:
J 7
solo
Ai, ze * mi - te, lé - vu ze - me —
The choral presence in the last measure of each phrase (in m easures 281
and 290-291) recalls section C with its similar use of chorus a t the end
of each phrase in measures 139-140, 149-150, 162-163, 180-183,
where one voice p art sings the text while the others color the chord,
either o n one vowel (section E) or with closed mouth (section C).
The next part is one of the most sophisticated sections in the
whole w ork because of its melodic beauty, almost transparent texture,
and its use of a dropping octave ostinato and pedalpoint in the organ
accompaniment. The composer has indicated that this section m ust be
performed “faster, lightly, rocking." The first two words of the text
Sûpojiei, süpuli (Rock, cradle) sets the rocking character of this section.
3 3
which also is emphasized by use of the rhythmic patfcm J J ~ J J
and by “playing” around the pitches.
j!'
È Ù ■ p o jie t, iû * p uli,
' r • ^
L at - *iju m i - lo
^ ----
The combination of womens’ chorus and light oigan
accompaniment with ostinato octaves in the high regbter creates an
atmosphere fUled with gentleness and peace. Harmonies built on a Bb
pedalpoint alternate with a set of parallel sixth-chords which recall the
sweetness of English fauxbourdon style.
The form of this section is regular, with the exception of a
rhythmic augmentation at the end:
tt - Uk uz iu ( - iu!
m
V v ' r
II • • Ilk uz
g
aus - ' *w !
' 7
The choral part ends with a bright Bb major chord on the word
augsu (heights), thus forming an optimistic ending to this phrase. In the
next measure, the joyful atmosphere is suddenly interrupted by the
34
orçan, which plays the “enemy* motive. For one more measure, the Bb
major chord appears in pianissim o dynamic like evaporating hope. The
section closes with two statements of the threatening “enemy* motive:
■elte f i t .
At measure 309, a m ens’ chorus brings back the text and melody
of the tenor solo from the beginning of section E in four-part harmoniza
tion. The somber character of this section is emphasized by the return of
Eb m inor and by the dark timbre of a cappella mens’ chorus, which
m arks a strong contrast with the brightness of the previous sound of
womens’ voices. This section is written in homorhythmic style.
I.
B .
ÿ * ' 1 ' 1 ;• f -
A i, te - m i - ».
J 1 J I —
\ / < \
I * . te - m e —
J J j ----
The last phrase has a four-measure extension pkgred by the organ.
35
The coda begins with the ‘enemy* motive in the organ part. Then
the tenor repeats the first two measures of his solo phrase, again inter
rupted by the “enemy* motive. The last tenor phrase, with its abrupt
ending a t measure 334, emphasizes the uncertainty and hopelessness.
This is followed by a short organ posthide which presents the last state
m ent of the ‘enemy* motive pianissim o, and the last measure of the
tenor solo piano pianissim o, thus creating an echo effect similar to the
one at the end of section [ci] in measures 305-308.
£
m
p a - li - (0« I.
m o T iirc
fiP
- r e
section As centers around the themes of the motto-refiain
and section B. The only new theme is presented by the chorus in
measures 337-340 an d 348-351.
36
Table 11.— Structure of section A 2, first movement
Measure 337 348 359 378
Phrase a b ai bi c d e di ei d2 e2
Measures per phrase 4 4+3 4 4+3 4 2 2 2 2 4 4
Leading forces chorus organ chorus
Theme based on new Aa (new) Aa --------- -Ab--------------
(cont.)
Measure 379 387 391
Phrase f g transition
Measures per phrase 4+4 4 4
Leading forces chorus + organ
Theme based on Be Ba
The new theme (a] expresses a feeling of hope and fighting spirit: “Let
eyes of men be bright!" It is accentuated with unison voices, dotted
rhythms, repetition, and the ascending interval of a perfect fifth.
ru a - cis
4W 1
a
r
Lai V i
n
k
spotums deg
B = J ^
t e n £
r
dvis • - les ukùst
_ J -----------------Ù------P - Ü -
viend iic* * La*
S U U ------------ a J l
4 ; f j—
V
1 i 1 »
37
Section [b] is based on the second and third measures of the
m otto-refiain “God, Thine earth is aflame!”, especially on its interval o f a
m inor third. The keyword of section [bj is briesm as (dange^, which is
repeated several times throughout the section. It is accompanied by
toccata-like organ passages from the motto-refiain.
f f
^bries _ _ . m4s,T
m k ! mes
bries mis
w
p*
3 8
In a later development section, sections [a] and [b] are repeated a m in o r
third h igher Bb m inor— C# minor. The following organ interlude m arks
one of the most powerful episodes in the whole work because of its
stormy passages, rich texture, changing meter, and fortissim o dynamics.
It is based on sections [a] and [b] of the motto-refiain, with all themes
being either diminished, broken up, or melodically transformed in a
continuous developing process.
' )
------- -—
p f e ^ i i b o m — p,—
f "
y »f-
— /
- - - - - - - - - 1 - - - - - - p -----------
- f =
---------- i - i - ------- - f T
k
■. f j ’
----------- :------------------
r 1 ' ^
"T-------------- ( ■ ■ T
...............,- j
— j ---------------------------
In m easures 371-374 only the first five notes of the motive are
developed by using repetition and sequence.
39
Z 3 < <
I . u
S -
The toccatic motto-theme is rhythmically diminished and
transformed into powerful homorhythmic chords on forte fortissim o.
40
In m easures 375-378 the energetic oi^an passage along with the chorus
culm inates duiing the last statem ent of the motto-theme “God, Thine
earth is aflame!” as a call of despair and disaster.
Thus section passes w ithout interruption into the next one, the
text of w hich repeats the lines sung by the baritone in section B;
Cities lie scattered in ruins, villages trodden down.
Deep into dust o f destruction oak trees m ust lower their
crown.
God, can this be the Judgm ent Day?
In hatred
Body and soul vanish away!
The melodic material also is th e same, except now it is sung by the
chorus. The fearful question about the Judgment Day is repeated again,
first by m ens' chorus, then by the entire chorus. The section ends with
four diminished seventh with raised root chords on the word God.
In the same way as in section E, the texture and dynamics are
gradually reduced, w ith the la s t repetition of the word God ending with a
question mark on piano pianissim o dynamics.
The staccato organ accompaniment in measures 391-394 is based
on the pitches of the diminished seventh chord with raised root played in
octaves in the low register, w hich adds a new mystical color to this fear
ful atmosphere.
41
m
4-
The following section, Di brings back the spirit and musical ideas
of section D. It also develops into the climax of the first movement,
which involves all the performing forces of the oratorio. This summarizes
the poetic and musical ideas the first movement of the piece.
Table 12.— Structure of section Di, first movement
Measure
Phrase
Measures per phrase
Leading forces
Theme based on
395 399 403 407 411 415
a b c ai bi
2+2 2+2 2+2 2+2 2+2
baritone chorus tenor,
baritone,
chorus
Da new Da Db
d
2
(cont.)
Measure
Phrase
Measures per phrase
Leading forces
Theme based on
417 425 433 436
e f 32
4 + 4 4 + 4 2 + 2
baritone, tenor, tenor, tenor, chorus
chorus chorus baritone, baritone
chorus
Dc Dd Da
42
(cont.)
Measure
Phrase
Measures per phrase
Leading forces
Theme based on
437
b2
2 + 2
tenor,
baritone,
chorus
Db------
441 445
di
2 + 2
tenor, tenor,
baritone baritone,
chorus
d2
6
organ
This section opens with baritone solo “God accept our prayer:
fieedom fijreveii" It is based on the musical material of [aj and [b] in
section D, with its intervals of an ascending fifth, sequential
development, and an ostinato triplet figure which alternates with minor-
major thirds in the organ part.
Barit
solo
J .» ' f-;3
K liu ii, Oievs, I0 { * ia n u
J -----------------> f
et - - lu ; K la u s i, Dievs. U g - knu
L J : ^ - 1 . r, -1,1
-1 --------- -------------f/
' L 4 , 1
•>. Irv — 1 ----
0 .....- ■ ■
3 )
b al---------4 M ----------
-e----------------------------
n *------------# ------------1
The next statement of this theme is divided between the baritone
solo and chorus. The word brîvibu (fieedom) is repeated four times in
ascending sequential movement by duet of the soloists and the chorus.
An interesting feature of this section is its upward movement.
43
which increases tension. For example, measure 395 begins on Bb,
396 on Cb, 407 on D, 408 on D#. Measures 411-412 are in B major,
while m easures 413-414 are in C major. The whole section ends on a
bright D major chord.
The next section begins in Bb major, which is the parallel tonal
ity of Bb minor. It is based on the musical material of section Dc. A new
feature of this section, however is the short choral insertions at the end
of each solo phrase, as seen in measures 423-424.
. m f ^
------
\f.-----------------1 - 7,
-i------------------- *-------- ^ -----------
ml • let mums te - vi ua bi - - ties.
,
Miltl, Dievi!
The running triplets in oigan accompaniment help to preserve the
smooth and continuous flow of the music.
H i
4 3 -
44
At measure 425, both soloists sing together in parallel thirds, while
choral insertions become longer.
At measure 433, the first theme “God accept our prayer' returns in
D major and is sung by the both soloists in unison. It is answered by
unison chorus in alternation, gradually moving fix>m B major to Bb ma
jor with G# major and C major in between. The optimistic conclusion
of the movement is accentuated by all voices singing in u n is on with the
accompaniment of supporting organ chords, as well as by the presence
of Bb major, the main key of the motto-refinin.
The dramatic organ postlude is based on the last phrase “Latvia’s
sons desire to be fire!" with its falling thirds, and it is repeated five
times. The first three times it moves upward for an octave from forte to
fo rte fortissim o. Then, after a measure of silence, it is presented for the
last time on piano.
If
l A
------
( r
45
The transition between the first and second movements (measures
451-456) is chanted by altos around the pitch o f D.
JT
• Têv - - - - zemes své • li • tais
p n r
jaunekju pu Ik:.
The la s t call for a prayer LUchzat, ak lüdzaties! (Pray, oh pray!) is based
on the interval of a minor third.
Lù - - - « - daict, ak ludzieties!
A simple melody in plainsong style leads into the solemn character of the
next m ovem ent
4 6
CHAPTER IV
ANALYSIS: THE SECOND MOVEMENT
As mentioned above, the second movement is based on the Lord’s
Prayer sung by the chorus interrupted by poetic insertions sung by both
soloists.
Table 13.— Structure of the second movement
Measme 457 464 473 483 492
Theme Lpl* Pvl** Lp2 Pv2 Lp3
Phrase a al
Leading forces chorus baritone chorus tenor chorus
Key A maj. C# min A maj. C# min A maj.
F# min. A maj.
(cont.)
Measure 506 515 527 535 556
Theme Pv3 Lp4 Pv4 Lp5
(Lp)
Phrase b a2
bridge
Leading forces tenor chorus baritone chorus organ
Key F# min. F# min. F# min. A maj.
A maj.
(cont.)
Measure
Theme
Phrase
Leading forces
Key
570
Lp-whole
chorus a cappella
C# maj.
* Lord’s Prayer, phrase 1
** Poetic verse 1
636
(Lp + new)
transition
organ
F maj.-O maj.-F# maj.-Eb maj.-C# maj.
47
The first three phrases of the Lord’ s Prayer are carried by the altos
and the tenors in unison with a light chordal organ accompaniment. The
harmonic language is simple, based on I, V, ii and vi chords of A major.
-
Alti
Ten.
Mû T in de -
I T -
. sis.
TFP
40,
ê
Sv6 - tits lai top T»v$ vlrds.
I I
(«) "
"6
The first phrase gets interrupted in the middle, after the cadence
on the dominant This chord becomes the m ediant choid for the C#
minor, the key of the first poetic insertion sung by the baritone;
48
If heaven and stone should scream,
And earth should quiver and burst.
And darkness hide no beam,
I would still worship my God.
The musical line of the baritone solo centers around the “core”
intervals of the oratorio: a third, a foiuth and a fifth.
f
« 1
A
KauC de - - be - sU un ik aen s b rtk tu Un
4 . . .
me pa - cellos uz
aug- lu: Kaut a u - - le (um
ne - uzlek« tu. Es a - vam Oievam sla - - - vu sauk — - lu.
The bantone solo modulates to A major through its dominant chord,
while the Lord’ s Prayer is continued by the chorus.
The second poetic verse is presented by the tenor
He will not forget a sm all nation
And He alone will know the day.
When having banished darkness.
He wiU lead u s a sunlit way.
In terms of compositional features, the second poetic insertion is
alm ost an exact repetition of the first one, with only a few notes being
different.
49
The third choral entrance begins quietfy ,but with sopranos joining
the theme a new emotional string is b eii^ touched: a desperate cry
for help. The tension is emphasized with a n ascending melodic motion,
“sighing” seconds on the word piedodi (for^ve), while the melody is
centering around the pitches of E# and G#.
Un pie - d o - di. pic - do - di
The next verse is sung by the tenor
Our eyes in prayer look to heaven;
Beneath us aU h as shrunk to dust;
But in His mercy. He shall purge us,
Our God, in whom we trust.
Musically it differs from the other phrases— poetic insertions— by the de
scending motion of the melody and by its use of the tritone d-gtt in the
middle and the end of the phrase.
.. u. VIW -, g b iM ( S S >
• K--VC-------------- K - ; --------r r f c T --i-4.Jrr
Uz au| - - lu Ib-dzot acti " * * * ’ ■ plr - - baudrjb.
The fourth part of the Lord's Prayer m arks the climax of the choral
theme with a repeated phrase Un neievedi m û s kârdinâscatâ (And lead us
not into temptation). It is sung by the women’s chorus in F# m inor on
the repeated marcaio pitch of C#.
50
Un ne
< f I * -
Kir.- di-nl-U|-ni,
- - ie - I ve - di
The dramatic character of this sectrôn dissolves in descending fifths and
a gradual dim inuendo.
r r ^ —
f ' — T — > —
at • pa - tl. m l - pa - tl
- —
The last poetic insertion is based on the m usical material of the
first verse with its trium phant ending on the E m ajor chord with the
baritone singing a high B.
Oh, does the star o f peace still hide,
No % htness weary warriors guide?
Oh, Latvian nation, you m ust raise
Your sufiferii^, turning it to praise.
Beginning w ith the concluding section of the Lord’ s Prayer, the
chorus becomes the leading force in the following musical development
of the oratorio.
A short organ interlude repeats th e first m usical phrase of the
Lord’ s Prayer and a t the end modulates finm A m ajor to C# major by
using the pitch of G# as a common tone for both chords.
51
The complete Lord’ s Prayer is presented by the chorus a cappella.
This is the most diffîciüt section of the oratorio in terms of performance
because its 65 measure section is sung a cappella in a slow tempo. To
m aintain correct pitch throughout this section is a difficult task. The
m usical material for this section is taken fiem the broken sections of the
Lord’s Prayer which were sung previously but now they are harmonized
for a four-part chorus.
f f l . .
i
r T
Mû • • su
-J 4 -
L
d t • • be • « S ,
L
r
Speaking of the musical phrasing, the irregularity of the lines of
the Lord’s prayer has been maintained.
Phrase_______ Measures
1
2
3
4
5
6
7
8
7
9
5
9
8
4
11
9
52
The last oi^an transition, which connects the second and the third
movements, is based on two themes, the Lords Prayer and a new theme.
Table 14. -Organ transition, second movement
Measure 636 650 652 662_______________ 671
T hem e Lpl new theme Lp2 new theme
Measures per phrase 8+6 2 9 2 + 2 + 1 + 1+ 1 + 1+1
Key C#-E# » F D-b F#-E b~C — D------- E— F#-G#
V
The new motive becomes the main theme of the third movement
Then, for the last time, the theme of the Lord’ s Prayer comes back, first
in D major, and then modulating to the dominant chord of B minor. The
&)llowiug transitional section employs onty the motives of the new theme
in gradual fiagmentation by moving upward through the steps of
continuous sequences beginning with Eb major, then continuing through
C, D, E, and F# majors to G# major.
D * » « i
I
y
•+■
Tl I
poco ere seen
à
do
53
The majestic sound of this oi^an interlude is emphasized by a thick
texture o f powerful chords above the moving pedal bass, pooo a poco
crescendo and an ascending line which finally ends on a triumphant G#
major chord. ( ^ J )
5 4
CHAPTER V
ANALYSIS: THE THIRD MOVEMENT
The concluding movement is the least interesting movement of the
oratorio in terms of compositional principles. First of all, it is almost
entirely monothematic, and secondly, the static rhythmic structure of the
main theme does not provide many opportunities for the thematic
development
(g zD
j. . y J| p- j r j -
The choral texture remains homorhythmic throughout the movement,
but the orçan, with the exception of a few m easures o f running eighth-
notes, is mostly doubling the choral parts.
jiuni zvani, K unp Tu
rjl - ^ .ie
J .W J.__
M - r f'
Table 15.— Structure of the third movement
55
Measure 672
Phrase
Measures per phrase
Key
Leading forces chorus
680 688 691
a h ai bi b2
4 4 4 4 4
Db-F Bb min.-Ab Db-F Bb min.-Ab-F Bb min.-Ab-F
V V V V
womens
chorus
mens
chorus
(cont.)
Measure 692_______ 696_______
Phrase aa ba
M easures per phrase 4 4
Key Bb-D G min.-F-Ab
Leading forces chorus
700
33
4
Db-F
V
704 710
b4
4 + 4
Bb min.-Ab
(cont.)
Measure
Phrase
Measures per phrase
Key
Leading forces
Notes
711 725
interlude ffl C
4+2 + 8 8
Db-Eb-F-D-E-F#-G#-Bb-F-Bb Bb-G
organ baritone
based on *a*
fragmentation
(cont)
Measure
Phrase
Measures per phrase
Key
Leading forces
Notes
733 745 754 762 765
interlude #2 Cl a+b postlude
4 + 8 9 5+3
G-E-F#-C-D-E-F#-G#-F# B-G#-Ab Db-F-Db Db
organ baritone chorus organ
fragmentation
5 6
There are three interesting compositional features in the last move
ment. First of all, sections [bij and [b2) are more colorful because of the
change in texture and timbre: womens’ voices against the m ens’ voices.
Secondly, the two oi^an interludes with sequences of powerful chords
are employed. Finally, the last two phrases [c] and [cij sung by the bari
tone, m ark the last lyrical d^ression in the development of the oratorio—
a simple vocal line supported by a l%ht organ accompaniment in the
high register with a rhythmic ostinato figure J J J J J J •
J25
— 1 -------
Jau tu -
- - VU I I
! ' ■
die — • “ n i —
1
J.
r # —
-A
. i f C i ^
- = H
-1--------------- '------ '—
^ ^ ----------------------------*—
# -
-----f
O '
Also the minor and major interval of the third, one of the “core” intervals
of the oratorio, plays a prominent role in these solo sections-
g
t e
1
Lai to — - - pim
k l iü - - - r»
un vil - 9 ° Ir”
57
The last section of the oratorio is filled with hope and optdmism:
To a new day.
Towards Godl
From new earth to new heaven!
The musical material of this section is based on the first two
m easures of section [a], with its second measure being transferred an
octave higher, and on the last two m easures of section [b]. The last
phrase is repeated and expanded on a strong dominant-tonic cadence in
m easures 761-762. The oratorio concludes with a majestic four-measure
organ postlude based on the main theme of the last movement.
58
CHAPTER VI
CONCLUSION
The oratorio's conclusion, one that is fUled with hope and optimism,
with sorrow and pain brings to mind the stark reality that was to follow,
and which was to dash the hopes and dream s that elated Garuta’s spirit
in 1944. The carnage of war and the ravaged land left scars on the com
poser that she was never able to overcome, and created a destiny of
helplessness and tragedy. Lucija Garuta never witnessed the rebirth of
her oratorio. Thus, it is important that this composition be performed
again and again so that future generations may experience this gift— a gift
of a nation’ s prayer for its people; a gift belonging not only to the Latvian
people, but also to the whole world.
Even though the Soviet regime has collapsed, its consequences will
be felt for some time to come, not only in Russia itself but also in the
lands that had to cany its oppressive yolk for decades. The rape of the
mind and creative so u l-a legacy left behind by this system— will take
time to heal, will take time to become whole.
Through her music, Lucija Garuta hves again. She is being re
membered as a great composer, and as a person who was able to look
into the depths of a person’s heart and find love and compassion; who
59
throughout her tragic life never abandoned her ideals— ideals about
which she wrote a s a young woman of twenty-one:
Many paths h a s humanity walked arid many times has found only
bitterness while looking for fulfillment. Truthfully, I think, there should
only be a single path: evexy moment realizing th a t we have a soul, and
never forgetting th a t all living things also possess this same soul. If we
would let this be o u r guiding vision, then the world would be fiee of evil
and pain.^
' Olgeits OmviiK ''Poitieti.” in Lavield Mflzika *tS. ed. Augusts Dadcevics and Laima Mumiece (Riga: Liesma,
1985). 147.
60
BIBLIOGRAPHY
Endkïopêdiskd. Vârdnïca. R%a: Latvijas Enciklopêdiju Redakcija, 1991.
Giavitis, Olgerts. “ Portreti. " In Latviesu M ûzika ‘ 85, ed. Augusts
Darkevics and Laima Mxuniece, 146-61. R%a: Liesma, 1985.
Gravitis, Olgerts. MOzikas Publidstika. Riga: Liesma, 1976.
Sdava, Silvija. Lîgo D ziesm as. Riga: Liesma, 1991.

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Asset Metadata

Creator Rokpelne, Laura (author)

Core Title Compositional Principles In Lucija Garuta'S Oratorio "God, Thine Earth Is Aflame!"

Degree Doctor of Musical Arts

Degree Program Choral Music

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag music,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Dehning, William John (committee chair), [illegible] (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c17-101636

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Legacy Identifier 9636742.pdf

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Document Type Dissertation

Rights Rokpelne, Laura

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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 au...

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