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The life of Rudolf Mauersberger and an analysis of Wie liegt die Stadt so wüst and Dresdner Requiem

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The life of Rudolf Mauersberger and an analysis of Wie liegt die Stadt so wüst and Dresdner Requiem

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Content THE LIFE OF RUDOLF MAUERSBERGER AND AN ANALYSIS OF WIE LIEGT DIE STADT SO WÜST AND DRESDNER REQUIEM By Karsten Rex Longhurst 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 2020 Copyright 2020 Karsten Rex Longhurst ii Dedication For my parents, Dennis and DyAna. Thank you for always supporting my passion. iii Acknowledgements I would like to especially thank my doctoral advisor, Dr. Jo-Michael Scheibe, for his faith in me, passion for music, and contagious pursuit of excellence. Thank you for the opportunities you provided me to work, grow, and particularly to have been introduced to the music of Rudolf Mauersberger. Additionally, I would like to recognize Drs. Cristian Grases and Tram Sparks for their outstanding support and guidance throughout this process. I would also like to thank Drs. Nick Strimple, Beatriz Ilari, and Professors Donald Brinegar and Kenneth Foster for their encouragement and knowledge during my studies at USC. I was blessed to have had the opportunity to travel to Germany and meet Prof. Dr. Matthias Herrmann from the Institute for Musicology at the Hochschule für Musik Carl Maria von Weber Dresden, and Jan Schumacher. I am deeply grateful for the insight and hand of friendship I received. Thanks to all of my friends and colleagues from USC, particularly Serena Eichhorn, Tatiana Taylor, and Mathew D. Nielsen, who all began this journey with me. I would also like to recognize the support of Dr. Brady Allred at the University of Utah, as well as my professors at Weber State University, in particular, Prof. Erica Daines for encouraging my study of German. I appreciate the permission granted me by Merseburger Verlag and Carus-Verlag to include excerpts from Wie liegt die Stadt so wüst and the Dresdner Requiem. Words can’t express my gratitude to Cameron, Skyler, Sadie, Joshua, and my baby twins Chloe and Caleb, who joined us mid-journey. They have learned from a young age what a dissertation is and will be glad that Dad is finished! Finally, thank you to my wife, Danielle, for her unconditional love and support through this process and for continually pushing me along the way. This would not be complete without you! iv Table of Contents Dedication ii Acknowledgements iii List of Tables vi List of Examples ix List of Figures xiv Abstract xv Introduction 1 Chapter 1: Biography (1889-1930) 5 The Royal Seminary for Teachers 6 Leipzig (1912-1919) 8 Aachen (1919-1925) 10 Eisenach (1925-1930) 12 The Kreuzkirche and Kreuzchor 17 Chapter 2: Biography (1930-1945) 19 Dresden 19 The Dictator 22 Kreuzchorvespers and Before the War 24 World War II 30 Bombing of Dresden 31 Reestablishing the Kreuzchor 33 Chapter 3: Biography (1945-1971) 40 Prolific Compositional Period (1945-1948) 41 Success after the War 47 Heinrich Schütz-Tage 51 Chapter 4: Compositional Influences and Styles 56 Jugendbewegung and Singbewegung 56 Neue Sachlichkeit and Gebrauchsmusik 57 Orgelbewegung (Organ Movement) 59 Erneuerungsbewegung der evangelischen Kirchenmusic 61 Influence from his hometown of Mauersberg 63 Chapter 5: Analysis of Wie liegt die Stadt so wüst 66 v Chapter 6: Dresdner Requiem 83 Analysis of Dresdner Requiem 97 Introitus 98 Kyrie 109 The Transitory, Death, Dies irae and Comfort through the Gospel 119 The Transitory 121 Death 127 Dies irae 132 Sanctus 159 Agnus Dei 173 Summary and Conclusions 185 Bibliography 189 Appendix A: Time Line 194 vi List of Tables Table 1. Wie liegt die Stadt so wüst RMWV 4/1 Text and 67 Translation with Chapter and Verse from the Old Testament Book of Lamentations Table 2. Three main sections of the text from 68 Wie liegt die Stadt so wüst Table 3. Part of the original text used in Brahms motet no. 1, 79 “Warum ist das Licht gegeben dem Mühseligen?” from Op. 74 Table 4. Requiem Mass (Missa pro Defunctis) 92 Table 5. Catholic Requiem Mass before the Second Vatican 94 Council compared to the Protestant Dresdner Requiem Table 6. Summary of general changes made to the 96 Dresdner Requiem Table 7. Introitus, Movements 1-4, 99 Overview with Text and Translation and source Table 8. Movement 1 Overview 99 Table 9 Movement 2 Overview 104 Table 10. Movement 3 Overview 107 Table 11. Movement 4 Overview 109 Table 12. Kyrie, Movements 5-7, 110 Overview with Text and Translation Table 13. Movement 5 Overview 111 Table 14. Movement 6 Overview 113 Table 15. Movement 7 Overview 117 Table 16. The five subsections and movements of 120 “The Transitory, Death, Dies irae and Comfort through the Gospel (Christ’s words at the altar),” Movements 8-22, an Overview. vii Table 17. First of five sections in 121 “The Transitory, Death, Dies irae” Table 18. Movement 8 Overview 121 Table 19. Movement 9 Overview 124 Table 20. Movement 10 Overview 125 Table 21. The second of five sections in 127 “The Transitory, Death, Dies irae” Table 22. Movement 11 Overview 128 Table 23. Movement 12 Overview 130 Table 24. Movement 13 Overview 131 Table 25. The third of five sections in 132 “The Transitory, Death, Dies irae” Table 26. Movement 14 Overview 132 Table 27. Movement 15 Overview 137 Table 28. Movement 16 Overview 139 Table 29. The fourth of five sections in 140 “The Transitory, Death, Dies irae” Table 30. Movement 17 Overview 140 Table 31. Movement 18 Overview 144 Table 32. Movement 19 Overview 146 Table 33. The last of five sections in 147 “The Transitory, Death, Dies irae” Table 34. Movement 20 Overview 147 Table 35. Movement 20 General Form Overview 149 Table 36. Movement 21 Overview 157 Table 37. Movement 22 Overview 158 viii Table 38. Sanctus, Movements 23-32, 160 Overview with Text and Translation Table 39. Movement 23 Overview 161 Table 40. Movement 24 Overview 162 Table 41. Movement 25 Overview 164 Table 42. Movement 26 Overview 166 Table 43. Movement 27 Overview 167 Table 44. Movement 28 Overview 168 Table 45. Movement 29 Overview 169 Table 46. Movement 30 Overview 169 Table 47. Movement 31 Overview 170 Table 48. Movement 32 Overview 173 Table 49. Agnus Dei, Movements 33-37, 174 Overview with Text and Translation Table 50. Movement 33 Overview 175 Table 51. Movement 34 Overview 178 Table 52. Movement 35 Overview 179 Table 53. Movement 36 Overview 181 Table 54. Movement 37 Overview 183 ix List of Examples Example 5.1 Wie liegt die Stadt so wüst, mm. 1-7, 71 Phrygian mode inflection and iii chord. Example 5.2 Wie liegt die Stadt so wüst, mm. 8-21, 73 Phrygian mode, parallel motion, and consecutive major chords. Example 5.3 Wie liegt die Stadt so wüst, mm. 22-27, 74 Parallel motion and subito forte. Example 5.4 Wie liegt die Stadt so wüst, mm. 35-41, 75 elongation of text for emphasis. Example 5.5 Wie liegt die Stadt so wüst, mm. 50-58, 77 Descending line and open fifths. Example 5.6 Wie liegt die Stadt so wüst, mm. 68-74, 78 Reference to Brahms‘ Opus 74. Example 5.7 Wie liegt die Stadt so wüst, mm. 96-109, 80 phrase elongation and Picardy third. Example 5.8 Wie liegt die Stadt so wüst, mm. 110-126, 81 Climax on misery. Example 6.1 Dresdner Requiem, Movement 1. 101 “Vorspiel, ‘Requiem aeternam’” mm. 1-6, instrumental prelude. Example 6.2 Dresdner Requiem, Movement 1. 102 “Vorspiel, ‘Requiem aeternam’” m. 17, beginning of altar choir chant. Example 6.3 Dresdner Requiem, Movement 1. 103 “Vorspiel, ‘Requiem aeternam’” mm. 25-30, major tonality. Example 6.4 Dresdner Requiem, Movement 2. 105 “Antiphon ‘Herr, gib ihnen die ewige Ruhe’” mm. 39-47, antiphonal singing. x Example 6.5 Dresdner Requiem. Movement 2. 106 “Antiphon ‘Herr, gib ihnen die ewige Ruhe’” mm. 79-82, text painting on “light shine upon them.” Example 6.6 Dresdner Requiem, Movement 2. 107 “Antiphon ‘Herr, gib ihnen die ewige Ruhe’” mm. 97-101, succession of chords on “Ruhe.” Example 6.7 Dresdner Requiem, Movement 3. Psalm 108 “Gott, man lobet dich in der Stille” mm. 107-118, melisma on “vows” and open fifths on “prayer.” Example 6.8 Dresdner Requiem, Movement 5. 112 “Kyrie ‘Neige dein Ohr’” mm. 25-29, unified altar choir and tutti choir. Example 6.9 Dresdner Requiem, Movement 6. 115 “Epistel ‘Ich hörte eine Stimme’” mm. 64-87, echo choir as antiphonal seraphim choir. Example 6.10 Dresdner Requiem, Movement 7. 118 “Gebet (Graduale) ‘Herr, gib ihnen die ewige Ruhe’” mm. 140-159, antiphonal singing and “Ruhe“ chord progression. Example 6.11 Dresdner Requiem, Movement 8. 122 “Vergänglichkeit ‘Es ist ein kurz und mühselig Ding’” mm. 1-4, a Phrygian mode inflection and swifter tempo. Example 6.12 Dresdner Requiem, Movement 8. 123 “Vergänglichkeit ‘Es ist ein kurz und mühselig Ding’” mm. 15-19, a Phrygian inflection and text painting. Example 6.13 Dresdner Requiem, Movement 9. 124 “Evangelium ‘In der Welt habt ihr Angst’” mm.48-49 and mm. 56-57, words of Christ and cadence. Example 6.14 Vierstimmiges Deutsches Choralbuch: Die Weisen 126 des Melodienbuches zum Deutschen Evangelischen Gesangbuch. “Christus, der ist mein Leben,” harmonic analysis. Example 6.15 Dresdner Requiem, Movement 10. “Choral ‘Ich hab’ 127 nun überwunden’” harmonic analysis. xi Example 6.16 Dresdner Requiem, Movement 11. 130 “Tod ‘Wer will Gott lehren’” mm. 77, 87-90, depiction of those who die never having tasted happiness. Example 6.17 Dresdner Requiem, Movement 14. 135 “Dies irae I ‘Er tut große Dinge’” mm. 148-151, text painting. Example 6.18 Dresdner Requiem, Movement 15. 138 “Choral, ‘Und ein Buch wird sich entfalten’” mm. 155-158, climax at judgement Example 6.19 Dresdner Requiem, Movement 17. 142 “Dies irae II ‘Und des Herrn Hand kam über mich’” mm. 178-182; mm. 187-92; mm. 196-205, moderate funeral march and contrasting a cappella section. Example 6.20 Dresdner Requiem, Movement 18. 145 “Evangelium ‘Fürchte dich nicht’” mm. 212-224, text melisma on “lebendige.” Example 6.21 Dresdner Requiem, Movement 20. 150 “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 244-246, outburst of terror. Example 6.22 Dresdner Requiem, Movement 20. 152 “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 256-263, contrasting outburst to a cappella section. Example 6.23 Dresdner Requiem, Movement 20. 155 “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 291-293, outburst of “Woe.” Example 6.24 Dresdner Requiem, Movement 20. 157 “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 333-34, contrasting answer to the terror. Example 6.25 Dresdner Requiem, Movement 24. 163 “Sanctus ‘Heilig’” mm. 7-12, antiphonal iterations of “heilig.” Example 6.26 Dresdner Requiem, Movement 24. 164 “Sanctus ‘Heilig’” mm. 28-31, antiphonal iterations of “heilig.” xii Example 6.27 Dresdner Requiem, Movement 25. 165 “Osanna ‘Hosianna in der Höhe’” mm. 7-12, Hosanna continues into next movement. Example 6.28 Dresdner Requiem, Movement 26. 167 “Benedictus ‘Gelobet sei, der da kommt’” mm. 54-57, solo with small solo ensemble then tutti choir. Example 6.29 Dresdner Requiem, Movement 31. 172 “Vorspiel und Choral ‘Mit Jubelklang’” m. 135-139, congregation joins in singing with the countless choirs. Example 6.30 Dresdner Requiem, Movement 32. 173 “Gebet, ‘Jesu, milder Herrscher’” mm. 151-157, concluding prayer of the Sanctus. Example 6.31 Dresdner Requiem, Movement 33. 177 “Choral ‘O du Lamm Gottes’” mm. 16-31, intercession from altar and tutti choir for mercy and peace. Example 6.32 Dresdner Requiem, Movement 34. 179 “Schlußgebet (De profundis) ‘Aus der Tiefe rufe ich zu dir’” mm. 1-6, alto solo with solo choir and tutti choir. Example 6.33 Dresdner Requiem, Movement 35. 180 “Gib ihnen die ewige Ruhe” mm. 110-117. Echo choir sings last phrase followed by “Amen“ by the tutti choir. Example 6.34 Dresdner Requiem, Movement 36. 182 “Vorspiel und Choral ‘Seid getrost und hocherfreut’” mm. 118-126, prelude of Movement 36 that is similar to prelude of Movement 1. Example 6.35 Dresdner Requiem, Movement 37. 184 “Schlußchor ‘Laß sie ruhen in Frieden’” mm. 140-157, similar to Movements 2 and 4. xiii Musical examples of Wie liegt die Stadt so wüst were reproduced by permission of Merseburger Verlag, Kassel. Rudolf Mauersberger: "Wie liegt die Stadt so wüst” (Kassel: Merseburger Verlag) www.merseburger.de Reprinted by permission of Merseburger Verlag. Musical examples of Dresdner Requiem were produced by permission of Carus-Verlag, Stuttgart. CV 7.200 Rudolf Mauersberger: Dresdner Requiem © Carus-Verlag, Stuttgart (Germany) xiv List of Figures Figure 6.1 Title page of manuscript from premiere showing 87 the original titles of the Requiem. Figure 6.1 Title page of manuscript from premiere showing 88 the original titles of the Requiem. Figure 6.3 Dresdner Requiem, Movement 1. “Vorspiel, ‘Requiem 102 aeternam’” Position of altar choir and acolytes in relation to the altar. xv Abstract Conductor and composer Rudolf Mauersberger (1889-1971) served as the twenty- fifth Cantor of the Dresdner Kreuzkirche (Church of the Holy Cross in Dresden) from 1930-1971 and led the Kreuzchor (Church of the Holy Cross Boys’ Choir) to world-wide fame while in the shadow of two dictatorships. Although the Kreuzkirche and most of Dresden, referred to as the “Jewel Box of Europe,” were destroyed during the bombing by the American and British military in 1945, Mauersberger continued the Kreuzchor’s 800-year legacy, establishing their unique sound and leading them to international acclaim. This dissertation begins with a biographical summary of the life of Rudolf Mauersberger. The biography is written in three large phases: first, his early years and preparation to become the Conductor of the Kreuzchor in 1930; second, his work with the Kreuzchor until the Dresden bombings in 1945; and third, his post-war rebuilding of and work with the Kreuzchor until his death in 1971. Also included is an overview of influences on his compositional style, and an analysis of two selected seminal works, the funeral motet, Wie liegt die Stadt so wüst (RMWV 4/1) and large work, Dresdner Requiem (RMWV 10). These works were written in direct response to the Dresden bombings and the destruction of World War II. Many of his works are still performed today and are beginning to gain more notoriety around the world, particularly his motet, Wie liegt die Stadt so wüst. Nearly all that has been written about Mauersberger is in German. English sources are limited to a library website, a section of a dissertation that examines how people mourn through music, and a few recording reviews. The majority of quotes have xvi been translated from the original German language. This dissertation attempts to consolidate and summarize the many German sources to introduce Rudolf Mauersberger and his accomplishments to the English-speaking world. While there are still many of his works to analyze, this research should increase the recognition of Mauersberger as a leading figure of German choral music in the twenty-first century. 1 Introduction Well-known for his service as the twenty-fifth Cantor of the Dresdner Kreuzkirche (Church of the Holy Cross in Dresden) from 1930-1971, Rudolf Mauersberger (1889-1971) led the Kreuzchor (Church of the Holy Cross Boys Choir) to world renown in the shadow of two dictatorships. 1 Although the Kreuzkirche and most of Dresden, referred to as the “Jewel Box of Europe,” 2 were destroyed during the bombing by the American and British military on February 13 and 14, 1945, Mauersberger remained resolute. He continued the Kreuzchor’s legacy, establishing their unique sound and leading them to international acclaim. This dissertation will focus on a biographical summary and an analysis of two seminal works, the funeral motet Wie liegt die Stadt so wüst (How desolate lies the city) RMWV 4/1 and the Dresdner Requiem RMWV 10. Wie liegt die Stadt so wüst was written in response to the bombing of the Kreuzkirche in 1945 and dedicated specifically to the tragic loss of eleven Kreuzchor boy choristers. The Dresdner Requiem was written to commemorate those who died in World War II, and particularly those who died in the Dresden bombings. Mauersberger reestablished Dresden as the honorable city of Heinrich Schütz (1585-1672) by regularly performing his works, ranging from known to unknown and establishing the Heinrich-Schütz-Tage (Heinrich-Schütz-Days Festival). 3 Mauersberger also fostered contemporary sacred choral music by commissioning and conducting the Kreuzchor in any premieres and first 1 Matthias Herrmann, foreword to Christvesper nach Worten der Bibel und des Gasangbuches, trans. by John Coombs (Stuttgart: Carus, 2003) x. The Dresdner Kreuzchor is considered one of the most sought-after church music positions in Germany. 2 Known as the Gem City or the Jewel Box of Germany or Europe since the Medieval Era because of the artists and artisans there, its beautiful architecture, and picturesque setting on the Elbe River. 3 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden (Marburg: Tectum Verlag, 2014) 16. 2 performances of new works. 4 Many of Mauersberger’s own compositions and arrangements were composed specifically for the Kreuzchor and were performed to critical acclaim. He can be regarded as one of the most important German church musicians of the twentieth century. 5 In reviewing Mauersberger’s compositional output, the overwhelming majority of his catalogued works was written during his tenure as Cantor of the Kreuzkirche for the Kreuzchor. Of his over 450 cataloged works, only six are strictly instrumental. 6 During his first two decades as a church musician, Mauersberger was influenced by the Erneurungsbewegung der evangelischen Kirchenmusik (Protestant church music renewal movement) and composers Arnold Mendelssohn (1855-1933), Kurt Thomas (1904-1973), Hugo Distler (1908-1942), Günter Raphael (1903-1960), and Ernst Pepping (1901-1981). His compositional development can best be described in two periods: the early period with his studies at the Royal Conservatory in Leipzig (1912-1919) and church appointments in Aachen (1919-1925) and Eisenach (1925-1930); and later period emerging during his long tenure with the Kreuzchor from 1930 until his passing in 1971. After his studies in Leipzig, Mauersberger composed almost entirely for his choirs and for “Gebrauchswert” (practical value). He wanted his works to sound accessible to audiences and be spiritually and artistically understood. It was with this perspective that he incorporated liturgical elements and symbolism and always composed tonal works. 7 4 Ibid. 5 Matthias Herrmann. Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag 1995), VIII. 6 Matthias Herrmann, Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. (Dresden: Sächsische Landesbibliothek Dresden, 1991), 1-2. 7 Matthias Herrmann, Kreuzkantor zu Dresden, Rudolf Mauersberger (Stoba-Druck GmbH, Lampertswalde), 69. 3 Many books and articles have been written about Mauersberger, but almost all that has been written extensively is in German. 8 This dissertation attempts to consolidate and summarize the many German sources to introduce Rudolf Mauersberger and his 8 Books, dissertations, significant journal articles written about Rudolf Mauersberger, and critical edition musical scores: Dresdner Hefte 22, no. 2 (Feb. 1990): 22-27. https://digital.slub-dresden.de/werkansicht/dlf/72124/1/ on July 15, 2016. Sonja Dussel. “Du hast mich zur Wüste gemacht, dass ich täglich trauern muss – Analyse zu Textkomposition und liturgischem Konzept des Dresdner Requiems von Rudolf Mauersberger (RMWV 10) unter Berücksichtigung der Trauermotette Wie liegt die Stadt so wüst.” https://www.glk.uni-mainz.de/files/2018/08/FB01_Diplomarbeit_Dussel.pdf on June 13, 2019. Vitus Froesch. Die Chormusik von Rudolf Mauersberger: Eine stilkritische Studie (Marburg: Tectum Verlag, 2013). Matthias Grün. “Rudolf Mauersberger Studien zu Leben und Werk” (Regensburg: Gustav Bosse Varlag Regensburg, 1986). John, Hans. Der Dresdner Kreuzchor und seine Kantoren. (Berlin: Evangelische Verlagsanstalt, 1982). Jürgen Helfricht. Dresdner Kreuzchor und Kreuzkirche: Eine Chronik von 1206 bis heute (Husum, Husum Druck- und Verlagsgesellschaft, 2004). Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger (Stoba-Druck GmbH, Lampertswalde, 2004). ———. Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage (Dresden: Sächsische Landesbibliothek Dresden, 1991). ______. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden (Marburg: Tectum Verlag, 2014). Matthias Herrmann, ed. Dresdner Kreuzchor und zeitgenössische Chormusik: Ur- und Erstaufführungen zwischen Richter und Kreile (Marburg: Tectum Verlag, 2017). _______, ed. of Program. Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunschweiger Dom – Altstadtrathaus Braunschweig. (Nov. 24-26, 1989). Erna Hedwig Hofmann and Ingo Zimmermann. ed. Begegnungen mit Rudolf Mauersberger; Dankesgabe eines Freundeskreises (Berlin: Evangelische Verlagsanstalt, 1964). Erna Hedwig Hofmann and Ingo Zimmermann. ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors (Berlin: Evangelische Verlagsanstalt, 1977). Erna Hedwig Hofmann. Kreuzchor Anno 45 (Berlin: Union Verlag, 1967). Marina Lang. “Der Nachlass von Rudolf Mauersberger in der SLUB Dresden” Sächsische Heimatblätter: Zeitschrift für sächsische Geschichte, Denkmalpflege, Natur und Umwelt 1, no. 61 (2015): 53-63. http://katalogbeta.slub-dresden.de/id/0016926585/#detail on Helga Mauersberger, ed. Dresdner Kreuzchor und Thomanerchor Leipzig: zwei Kantoren und ihre Zeit Rudolf und Erhard Mauersberger (Marienberg: Druck- und Verlagsgesellschaft Marienberg, 2007). Rudolf Mauersberger. Dresdner Requiem: nach Worten der Bibel und des Gesangbuches (Stuttgart: Carus- Verlag, 1995). Martin Petzoldt. “Glaubende Rückfrage und Deutung eines Infernos: Rudolf Mauersberger‘s ‘Dresdner Requiem‘” Musik und Kirche 81, no. 2, (2011) 106-111. Martha Sprigge, Berthold Hoeckner, Philip Bohlman, and Lawrence Zbikowski. “Abilities to Mourn: Musical Commemoration in the German Democratic Republic (1945-1989)”. ProQuest Dissertations Publishing (2013). http://search.proquest.com/docview/1446605799/. Christine Stephan-Brosch. Kreuzkantor Rudolf Mauersberger (Berlin: Evangelische Verlagsanstalt, 1988). Ingo Zimmermann. Rudolf Mauersberger: Lob Gottes in der Musik (4th ed. Berlin: Union Verlag, 1987). 4 accomplishments to the English-speaking world. The hope is that this document will encourage others, primarily non-German speakers, to become familiar with Mauersberger and his musical works. Mauersberger freely shared his musical voice and helped others find their own. In his own words, a “[v]oice is a gift from God, singing an expression of joy.” 9 9 “Stimme ist ein Geschenk Gottes, Singen Ausdruck der Freude.” Erna Hedwig Hofmann et al., Begegnungen mit Rudolf Mauersberger; Dankesgabe eines Freundeskreises. (Berlin: Evangelische Verlagsanstalt, 1964), 31. 5 Chapter 1: Biography (1889-1930) The Son of the Ore Mountains Rudolf Mauersberger was born on January 29, 1889, in the small village of Mauersberg, Germany, in the Ore Mountains between Annaberg and Marienberg. Ironically, there are no proven ties between the Mauersberger family and the name of the town where he was born. The Mauersberger lineage has a legacy of multi-generational landowners and craftsmen who can be traced back to the sixteenth century in the neighboring town of Mildenau. 1 Oswald Mauersberger (1856-1930), Rudolf Mauersberger’s father, was the church-school teacher and Cantor of the Protestant congregation in Mauersberg for forty-two years. His mother, Anna Lina, née Schönherr (1860-1948), was from Niederlauterstein, another small town in the Ore Mountains. Her ancestors were mostly farmers, but two of her brothers were also cantors. 2 Given his father’s capacities as Cantor and teacher, Mauersberger’s upbringing included orderliness, musical education, and worship in the Protestant Church. His father taught Rudolf piano and violin lessons beginning at the age of six. At age nine he began organ lessons and began playing for the congregation. 3 He was able to learn and love the mixture of music and culture in the liturgy while still in his youth. The deep sense of piety he developed as a boy laid a spiritual foundation for his artistic development. Rudolf demonstrated a great aptitude for music, having composed works and shown the ability to improvise on the organ at an early age. Music lessons were easy since he was 1 Christine Stephan-Brosch, Kreuzkantor Rudolf Mauersberger (Berlin: Evangelische Verlagsanstalt, 1988), 6. 2 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 5-6. 3 Ibid., 7-8 6 able to play by ear. Many opportunities were presented to him, due to the exposure provided through his father’s musical involvement in the church. At a young age, Rudolf was a member of the Kurrende (youth church choir) and participated in numerous rehearsals and weekly church services. 4 Throughout his life, Mauersberg demonstrated how his upbringing under his father’s tutelage informed his musical style and aesthetic. It became clear early on that he would continue in his father’s footsteps and attend the Königlich Lehrerseminar (Royal Seminary for Teachers) in Annaberg, Germany. Initially, he intended to become a schoolteacher but soon realized his musical preparation and passion were more in line with a career as a church musician. The Royal Seminary for Teachers Between the years 1903 and 1909, between the ages of fourteen and twenty, Mauersberger attended the Königlich Lehrerseminar in Annaberg. The Seminary was very strict and emphasized discipline. However, Mauersberger sought out musical opportunities as a respite and joined the Seminary symphony. He was fourth-chair cellist in the Seminary but eventually became the first chair and later the conductor of the Seminary symphony. He had opportunities to conduct, arrange, and orchestrate while also receiving lessons on piano, violin, organ, and French horn. By the end of his time in the Seminary, he was leading the Seminary Choir in the liturgy every Sunday at the Annenkirche (St. Anne’s Church) and he composed his first known choral works. The strict Seminary experience equipped Mauersberger with traditional Prussian values of 4 Ibid. 7 being responsible, orderly, punctual, and self-reliant. 5 During this time, Mauersberger was also able to visit other musical centers such as Leipzig and Dresden, which helped broaden his horizons. Mauersberger did compose and premiere a few works during his time at the Seminary, but unfortunately all compositions including “Schön-Rothraut” for solo and orchestra were lost. 6 However, Mauersberger’s arrangement of the rousing hymn “A Mighty Fortress Is Our God” was still considered by one of his older classmates as the best rendition in the history of the Annaberg school. 7 Mauersberger passed his final teaching exams and then began a one year compulsory military service in Leipzig. During this time, he attended performances of the Thomanerchor (St. Thomas Church Boys Choir), the Leipzig Gewandhaus Orchestra, and Oper Leipzig (the Leipzig Opera). A year later, he served as an assistant teacher of sport, geometry, religion, natural history, and geography in the town of Mildenau, where his father was born and raised. Mauersberger reflected on the years 1910-12 by stating it was his happiest time, when he had no worry, excessive responsibility, or disruptions. 8 His training as seminary teacher helped him gain valuable experience that would later prove invaluable as a future boys’ choir director and music teacher. 9 At the end of the year in Mildenau, Mauersberger used this time to rejuvenate and prepare himself for the entrance tests to the Königlichen Konservatorium (Royal Conservatory) in Leipzig. His career and life goal remained firm: to be a musician. 5 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 9. 6 Herrmann, Matthias: Rudolf Mauersberger (Werkverzeichnis), Dresden 1978, S. 64. 7 Erna Hedwig Hoffmann, and Ingo Zimmermann’s, ed. Begegnungen mit Rudolf Mauersberger (Berlin, Evangelische Verlagsanstalt, 1964) 22. 8 Ibid, 24-25 9 Ibid, 23 8 Leipzig (1912-1919) From 1912-1914 Mauersberger immersed himself in the local cultural atmosphere and his studies at the Royal Conservatory in Leipzig, founded by Felix Mendelssohn- Bartholdy (1809-1847). Mauersberger studied organ with Thomaskirche (St. Thomas Church) organist, Karl Straube (1873-1950), piano with Robert Teichmüller (1863-1939), conducting and open score playing with Hans Stitt (1850-1922), instrumentation with Richard Hofmann (1844-1918), and theory and composition with Stephan Krehl (1864- 1924), the rector of the Leipzig Conservatory. Mauersberger regularly attended the weekly Motetten concerts by the Thomanerchor 10 in the Thomaskirche, directed by Gustav Schreck (1849-1918), and the dress rehearsals of the Leipzig Gewandhaus Orchestra. Contemporary composer Max Reger (1873-1916) was a visiting member of the faculty at that time, but Mauersberger did not study with him. Nonetheless, Reger’s influence was substantial due to the frequency of performances of his work in Leipzig and in Europe. The Thomanerchor, under the direction of Gustav Schreck, premiered a few of Reger’s “modern” compositions. Like many students at the conservatory, Mauersberger was having difficulty deciding whether to become a Kapelmeister or a Kirchenmusiker. 11 His dedication to excellence seemed to promise success, whichever he chose. One of Mauersberger’s classmates, Eugen Hofmann, described him as a slender young man with a youthful 10 Weekly performances of the Thomanerchor still occur weekly on Fridays, Saturdays, and Sundays as a part of the church service. 11 Kapelmeister nowadays assumes the role of chief conductor of a choir or orchestra and typically oversees all musical activity in a church. Kirchenmusiker refers to an organist, choir director, or cantor. 9 appearance who was known as a tireless worker. 12 Everyone who came in contact with him was in awe of his obsession with music. He woke early to practice the organ before classes, and after classes, he sat at the piano for hours, withdrawn from his surroundings. In school concerts, he was well known for his outstanding piano playing. He often completed his schoolwork and drafts for his compositions on a bench in Leipzig’s South Cemetery. Through his diligence, he composed a string quartet, solo songs, songs with orchestral accompaniment, an organ passacaglia with winds, a piano trio in C minor, and a symphony so exquisitely scored that he was honored after his final exams with the Nikisch-Preis for Composition. 13 Mauersberger interrupted the end of his studies in Leipzig to take his first position as organist in the East Prussian city of Lyck, now Elk, Poland. Four weeks later, he returned to Leipzig because the church where he was working was attacked and burned to the ground as a casualty of the outbreak of World War I (1914-1918). 14 Soon thereafter, he worked as a military music leader in the garrison city of Bad Lausick in the German state of Saxony. He led the military music and concentrated his efforts on recruiting and building a charity orchestra with members of the Gewandhaus Orchestra and native choristers who mainly performed symphonic literature of the nineteenth century. Even his own compositions were performed publicly: the Tragische Sinfonie (Tragic Symphony) and his Spring Oratorio “Maiwärts” (Ode for Spring) with libretto by the then-famous poet Cäsar Flaischlen (1864-1920) of Berlin. After WW I, Mauersberger’s final instrumental compositions were works for solo voice and a string quartet. 12 Erna Hedwig Hofmann, and Ingo Zimmermann, ed. Begegnungen mit Rudolf Mauersberger (Berlin, Evangelische Verlagsanstalt, 1964) 26. 13 Ibid, 26. 14 Ibid, 28 10 Aachen (1919-1925) After WW I, Mauersberger returned to the Leipzig Conservatory to improve his organ playing by taking lessons again from Karl Straube. In a Zeugnis (university grade evaluation) from the 15 th of February 1919, Straube expressed his assessment of Mauersberger: Due to Mr. Mauersberger’s diligence he possesses an excellently honed technique that enables him to completely reproduce the large works of the old and contemporary masters in perfect control of the instrument. He is also supported by the best music through a strong and high level of musicality in his artful voice. This beautiful gift gives him the fortune of portraying beautifully the spiritual, physical, and tonal aspects of music. 15 In October 1919, it was Straube who helped Mauersberger secure the appointment of organist and choirmaster at both the Annakirche (St. Anne’s Church) and Christuskirche (Christ’s Church) and as the conductor of the Bachverein (Bach Society) in Aachen. 16 While in Aachen, Mauersberger displayed his performance and improvisation virtuosity on the organ in church services, choir concerts, and as organist in the Städtisches Konzerthaus (City Concert Hall). Mauersberger played organ, piano, 15 Matthias Herrmann, Zeitgenössische musica sacra in den programmen des Kreuzchores unter Rudolf Mauersberger 1930-1970, in: Die Dresdner Kirchenmusik im 19. Und 20. Jahrhundert, hrsg. Von dems., Laaber 1997, S. 267, 383 (Musik in Dresden, BD. 3). (Originally found in Drezdner Kreuzchor und Thomanerchor Leipzig pg. 26) „Herr Mauersberger ist dank seines Fleißes im Besitz einer ausezeichnet durch gebildeten Technik, die ihn befähigt, die großen Werke der Meister alter und neuer Zeit mit einer vollkommenen Beherrschung des Instruments restlos zur Wiedergabe zu bringen. Dabei wird er auf das Beste unterstützt durch eine stark hervorgehobene Musikalität in seinem künstlerischen Wesen. Diese schöne Begabung bigt ihm das Vermögen, den musikalischen Inhalt geistig lebendig und klanglich schön darzustellen.“ 16 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 24. 11 and harpsichord at the Städtisches Konzerthaus under the direction of Peter Raabe (1872- 1945) until 1921. 17 During his time in Aachen, Mauersberger founded three choirs in addition to the Bachverein: a children’s choir, a motet choir, and lastly, a boys’ choir. Only a few months after arriving in Aachen, Mauersberger founded a children’s choir out of necessity to help enrich the monotony of the liturgy. 18 In February 1920, he founded the motet choir to sing Sunday evening Vespers from 7:00 p.m. to 7:30 p.m. in the Christuskirche. This was a smaller choir of particularly able singers from the Bachverein. Their repertoire focused on Johann Sebastian Bach (1685-1750) and early Baroque masters such as Heinrich Schütz (1585-1672), Michael Praetorius (1571-1621), and Hans Leo Hassler (1564-1612). These Baroque composers were relatively unknown to the people of Aachen in the 1920s. Often during these Sunday evening performances, Mauersberger also played Baroque organ works. 19 Mauersberger had always dreamed of leading a boys’ choir. He would often select young boy singers from the children’s choir to solo. In 1924, he finally established a boy choir in Aachen. 20 From 1922-1925, Mauersberger’s programing changed from partial choral and instrumental works to solely vocal works. His instrumental playing during the first few years at the Städtisches Konzerthaus began to be replaced by his increased attention to the choirs he conducted. This was the beginning of a shift in focus to conducting choirs and only performing rarely on the keyboard. 17 Matthias Grün.“Aachen 1919-1925 Rudolf Mauersbergers erstes reguliertes Kantorat.”Dresdner Hefte 22, no. 2 (Feb. 1990): 22-27. 18 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 35. 19 Matthias Grün.“Aachen 1919-1925 Rudolf Mauersbergers erstes reguliertes Kantorat.”Dresdner Hefte 22, no. 2 (Feb. 1990), 36. 20 Ibid., 26 12 According to the reviewers of his concerts, Mauersberger was a “masterful” organist. 21 Soon he was also recognized for his work as a choral conductor and interpreter of Bach’s music. Additionally, his devotion to the Protestant church led him to become the first Landeskirchenmusikwart (State Church Music Inspector) in the State of Thuringia and Cantor of the Georgenkirche (St. George Church), the main church in Eisenach. 22 While in Aachen, Mauersberger was mildly dissatisfied with the monotony of the spoken liturgy in the reformed services of the Annakirche and Christuskirche. He admired the symbolism and balance of sung and spoken liturgy in the Catholic church. Every Sunday, between his service at the Annakirche and the Christuskirche, he attended high liturgy in the Aachener Dom (Aachen Cathedral) and stayed until the Credo. 23 His later compositional period integrated the liturgy and music into his larger works with detailed performance instructions. His inclusion of a choir in the liturgy and not just congregational singing was less than common and slightly controversial, but it became a characteristic of his style. Eisenach (1925-1930) In August 1925, Mauersberger began working at the Georgenkirche (St. George’s Church) in Eisenach, the church where J. S. Bach was baptized and the city in which Martin Luther lived and translated the New Testament. Eisenach was known for its rich church music tradition, but by 1925 little of the tradition remained. In addition to his 21 Ibid., 23 22 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 38. 23 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Dankesgabe eines Freundeskreises. Berlin: Evangelische Verlagsanstalt, 1964, 33. 13 roles as Landeskirchenmusikwart (State Church Music Inspector) of Thuringia and Cantor at the Georgenkirche, Mauersberger helped return the title of “Bachstadt” (Bach City) to Eisenach, contributing a new hymnbook, and establishing himself as a harbinger of the new church music movement. Although the tradition of high-quality music in church services in Sachsen and Thuringia had been in practice for centuries, recent decades, even before WW I, had seen a dramatic decrease in singers, concerts, and other choirs. 24 Furthermore, it had been years since the Georgenkirche had a capable choir. 25 Now as Landeskirchenmusikwart, Mauersberger was tasked with rebuilding the church choir at the Georgenkirche and strengthening the surrounding churches in Thuringia. Those who knew the fragmented condition of Eisenach and the Georgenkirche shook their heads in doubt and predicted an early end to Mauersberger’s appointment. 26 Mauersberger went immediately to work. When Mauersberger arrived in the “Bachstadt” as Cantor, the church community had no choir nor an interest in church music. 27 Mauersberger was neither afraid nor discouraged, as he had just established new choirs in Aachen and had previously established choirs elsewhere. In fact, he felt a little more at home in the Lutheran Church region, with its longstanding tradition and emphasis on music in the service, compared with the lesser emphasis in the churches in Aachen. Mauersberger believed that the purity of youth amplifies the message of sacred music. In September 1925 he began recruiting 24 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 38-39. 25 Wolfgang Hanke. “Die evangelische Kirchenmusik des 20. Jahrhunderts und ihre Pflege durch Rudolf Mauersberger.”Dresdner Hefte 22, no. 2 (Feb. 1990): 65. 26 Zehn Jahre Eisenacher Bachchor 1925-1935: Bach- und Georgenkirchenchor zu Eisenach feiern ihr zehnjähriges Bestehen im Bachjahr 1935 vom 17. bis 25. Okt. ; Festbuch. 1935. Eisenach: Hesse, 31. 27 Joachim Bergfeld. “Der neue Kreuz-Kantor. Zur Berufung Rudolf Mauersbergers.” Neue Zeitschrift für Musik. Regensburg, Gustav Bosse Verlag, 1930, Iss. 97, 555. 14 for the choir by visiting the schools in Eisenach during their singing hours, searching for the best boys’ and young men’s voices. 28 He quickly established the Georgenchor (St. George’s Church Choir) with boys’ and young men’s voices similar to the Mottetenchor (Motet Choir) he had formed in Aachen and in humble likeness to the Thomanerchor in Leipzig and the Kreuzchor in Dresden. The Georgenchor sang predominantly for liturgical services on Sundays and holidays. Only a few months after its establishment, the Bachchor (Bach choir) was established with both men’s and women’s voices, mainly to perform large choral works such as oratorios, passions, masses, and the like. They began singing simple arrangements and hymns and quickly advanced to large motets, cantatas, masses, and oratorios of all musical eras. 29 Only a few months after each choir’s inception, the Georgenchor joined the Bachchor’s men and women to perform Bach’s complete Weihnachts-Oratorium (Christmas-Oratorio), BMV 248. On Good Friday in 1926, the Bachchor performed J. S. Bach’s Matthäus-Passion (St. Matthew Passion), BWV 244. 30 J. S. Bach’s Weihnachts-Oratorium, BWV 248, was performed during advent at the Georgenkirche and is still an annual tradition today. Many other masterworks were performed several times in Mauersberger’s time including the Matthäus-Passion, BWV 244; Messe in h-moll (Mass in B minor), BWV 232; and Johannes-Passion (St. John Passion), BWV 245. Rightfully, the new traditions of performing Bach’s music with the work of Mauersberger helped reclaim Eisenach as “Bachstadt.” 28 Ingo Zimmermann. Rudolf Mauersberger: Lob Gottes in der Musik. 4th ed. Berlin: Union Verlag, 1987, 9. 29 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977, 35. 30 Wolfgang Hanke. “Die evangelische Kirchenmusik des 20. Jahrhunderts und ihre Pflege durch Rudolf Mauersberger.”Dresdner Hefte 22, no. 2 (Feb. 1990): 66. 15 Mauersberger’s work with the Georgenchor and Bachchor at the Georgenkirche in Eisenach was fruitful and noteworthy. Despite working without an official contract at the beginning of his first year or having a practical rehearsal space or rehearsal instrument, 31 Mauersberger led a successful first performance of the Georgenchor at the Reformation Festival of 1925, according to church members and the press. 32 In 1928, the Neue Zeitschrift für Musik (New Journal of Music) stated: “Rudolf Mauersberger […] may lay claim to be one of the first German Bach Conductors. What this man accomplished in Eisenach is so significant that the Neue Bachgesellschaft decided to have one of the next big Bach festivals in Eisenach under Mauersberger’s direction.” 33 Mauersberger’s interpretations and performances of Bach’s music helped refocus Eisenach as the hometown of the Baroque master. Upon Mauersberger’s appointment to Cantor of the Kreuzkirche in 1930, Joachim Bergfeld wrote in the Neue Zeitschrift für Musik that all the works of J. S. Bach were conducted from memory since the first performance of the Messe in h-moll, BWV 232, in 1927 at the Georgenkirche: Mauersberger’s high artistic qualities are seen first in his character: never lacking energy and joy of work, immovable sense of duty, sincerity and humility; especially through a thorough knowledge and firmly established ability that pair itself with a strong musician’s lineage and impeccable style […] Mauersberger knows only service to the church and is the Cantor of the old tradition that turns away from everything concert-like. […] The technical work is completely accomplished and the artistic also placed in the service of its ritual purpose. That enables Mauersberger to perform by memory: standing without the separating wall of the music stand – Notably freed from the music, completely devoted to the 31 Erna Hedwig Hofmann, Kreuzchor Anno 45 (Berlin: Union Verlag, 1967), 135. 32 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 41. 33 Neue Zeitschrift für Musik. 95, 1928, Iss 9, 523. https://archive.org/stream/NeueZeitschriftFuerMusik1928Jg95#page/n549/mode/2up February 16, 2017. “Rudolf Mauersberger, der Kirchenmusikwart der Thüringer evang. Landeskirche, darf Anspruch erheben, einer der ersten deutschen Bachdirigenten zu sein. Was dieser Mann in Eisenach geleistet hat, ist so bedeutend, daß die Neue Bachgesellschaft eines der nächsten großen Bachfeste unter seiner Leitung wird in Eisenach abhalten können.” 16 sound – across from his choirs, who have awareness and absolute security under his hand. 34 Although Mauersberger left in 1930, much to the disappointment of the community, J. S. Bach’s music continued to feature prominently in the Georgenkirche. In 1935, a festival was held to celebrate the tenth anniversary of the establishment of the Eisenach Bachchor and Georgenchor. In the companion publication, Siegfried Greis stated that the weekly tradition of performing Bach in the church had been firmly established as part of the city’s cultural life, and it would be unthinkable to excise it from the “Wartburg City.” 35 In addition to Mauersberger’s success as Cantor, he also led a commission to create a new unified hymnbook for all of the churches in Thuringia called the Thuringer Evangelischer Gesangbuch, published by Merseburger Verlag. 36 It was introduced in 1929 in Eisenach as the German Evangelical Hymnbook to replace approximately twenty different hymnbooks being used in and around Thuringia. 37 Mauersberger led the commission and contributed eight new hymn tunes to old and new texts. 34 Joachim Bergfeld. “Der Neue Kreuzkantor; Zur Berufung Rudolf Mauersbergers.” Neue Zeitschrift für Musik. 97, 1930, Iss 7, 554-555. Accessed on February 16, 2017. https://archive.org/details/NeueZeitschriftFuerMusik1928Jg95 “Die hohen künstlischen Qualitäten Mauersbergers sind zunächst durch die menschlichen bestimmt: nimmer erlahmende Arbeitskraft und Arbeitsfreude, unerschütterliches Pflichtbewußtsein, Aufrichtigkeit und Bescheidenheit; im besonderen durch umfassendes Wissen und festgegründetes Können, die sich mit blutvollem Musikertum und unfehlbarem Stilgefühl paaren. Was seinen Aufführungen aber die besondere Note gibt, ist das Gestalten aus dem religiösen Erlebnis der Werke zu ihrem religiösen Erleben für die Gemeinde. Mauersberger kennt nur den Dienst an der Kirche und ist der Kantor alten Schlages, der alles Konzerthafte weit von sich weist. – Das Technische beim Werk wird restlos überwunden und das Künstlerische ebenso restlos in den Dienst des kultischen Zweckes gestellt. Das ermöglicht Mauersberger aber nur sein Gestalten (aller aufzuführenden Werke) aus dem freien Gedächtnis; ohne die trennende Wand des Notenpultes steht er – vom Werke als Notenmasse losgelöst, ihm als Klang aber ganz hingegeben – seinem Chore gegenüber, der das Bewußtsein unbedingter Geborgenheit unter seiner Hand hat.“ 35 Moritz Mitzenheim, ed. Zehn Jahre Eisenacher Bachchor 1925-1935: Bach- und Georgenkirchenchor zu Eisenach feiern ihr zehnjähriges Bestehen im Bachjahr 1935 vom 17. bis 25. Okt.; (Festbuch. 1935. Eisenach: Hesse), 31. 36 Wolfgang Hanke. “Die evangelische Kirchenmusik des 20. Jahrhunderts und ihre Pflege durch Rudolf Mauersberger.”Dresdner Hefte 22, no. 2 (Feb. 1990): 66. 37 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg Gustav Bosse Varlag Regensburg, 1986), 46. 17 In April of 1930, a small group of unexpected visitors from Dresden were present at the Eisenach choir rehearsals and performance of the newly commissioned Passionsmusik nach dem Evangelisten Markus (Passion According to St. Mark), Op. 6, by Kurt Thomas (1904-1973). They were there to consider Mauersberger as a possible successor to Professor Doctor Otto Richter (1856-1936). One of the main requirements of the successor would be to ensure that the Kreuzchor would become a leader of contemporary music, as the other professional music organizations in Dresden saw the Kreuzchor as too reserved for new music. 38 Through a very difficult audition process, on May 8, 1930 Mauersberger was officially offered the position of Kreuzkantor of the Kreuzkirche . He was chosen from among eighty other applicants. 39 The Kreuzkirche and Kreuzchor The Kreuzkirche is the second oldest church in Dresden next to the Frauenkirche (Church of Our Lady). The Kreuzkirche was founded in approximately 1170 as the Nikolaikirche (St. Nicholas Church) in the merchants’ quarter in the old market of the town square. Margrave Heinrich der Erlauchte donated a relic of the cross [Kreuz] in 1234, and the church finally changed its name in 1388. It is assumed that pilgrimages and indulgences increased the liturgical services from which the Kreuzchor and Kreuzschule developed. Today, the Kreuzchor is heralded as one of the oldest boys’ choirs in the world and one of the most well known in Germany, with perhaps the exception of the Thomaner (Boys Choir of St. Thomas Church in Leipzig). Although the date of the establishment of the Kreuzchor is not verifiable, evidence points to sometime between 38 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 50. 39 Erna Hedwig Hofmann. Kreuzchor Anno 45. (Berlin: Union Verlag, 1967) 373-374. 18 1206 and 1216. 40 The more than 800-year history of the Kreuzchor is remarkable and makes it the oldest cultural institution in Dresden. 41 The Kreuzchor consists of approximately 130 Kruzianer (singers in the Kreuzchor) aged nine to eighteen who have weekly vocal and instrumental music lessons. Their daily rehearsals and unique choral sound form the basis of the Dresden Kreuzchor’s success and fame. 42 The Kreuzchor is also recognized as Dresden’s best-known and beloved ambassador for the city. The Kreuzchor continues to provide music for Vespers and services throughout the year. Additionally, the choir tours nationally and internationally, participating in music festivals as well as numerous radio and television recordings. The Mauersberger tradition of offering a wide variety of sacred and secular repertoire from early Baroque to world premieres of contemporary music is still in practice today and is considered unique for most church choirs. The Kreuzchor consistently collaborates with famous orchestras such as the Dresden Philharmonie and the Sächsische Staatskapelle Dresden (The Dresden State Orchestra of Saxony). 40 Wolfram Steude, et al. "Dresden." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 24 Dec. 2016. <http://www.oxfordmusiconline.com.libproxy2.usc.edu/subscriber/article/grove/music/44245>. 41 Kreuzchor. “Kreuzchor.” http://kreuzchor.de/en/ (accessed Dec. 24, 2016) 42 Kreuzchor. “Media.” http://kreuzchor.de/en/ (accessed Dec. 24, 2016) 19 Chapter 2: Biography (1930-1945) Dresden On July 1, 1930, Mauersberger began as the twenty-fifth Cantor of the then 700- year-old Kreuzchor in Dresden. Mauersberger was replacing Kreuzkantor, Professor Doctor Otto Richter, who had led the choir from 1906 to 1930. Richter’s preference for a late romantic sound and his musical taste safeguarded the Kreuzchor through the unrest of World War I. However, the late 1800s into the early 1900s gave rise to an era of new movements in Germany such as the Jugendmusikbewegung (Youth Music Movement), the Orgelbewegung (Organ Movement), die Neue Sachlichkeit (New Objectivity), and the Erneuerungsbewegung der evangelischen Kirchenmusik (renewal of Protestant church music or rebirth of church music). These movements influenced Mauersberger both as a conductor and composer and influenced his vision for the Kreuzchor which are briefly summarized in Chapter Four. Mauersberger continued the tradition of Professor Richter by performing the works of J. S. Bach and repertoire that had become standard for the Kreuzchor, but Mauersberger changed the choir’s sound to its iconic transparent tone and less romantic interpretation. 1 Almost every Saturday evening the Kreuzchor performed a one-hour Vespers service, the only exception being when the Kruzianer were on school break. Performance of the Vespers program dates back hundreds of years. Mauersberger’s Vespers attracted over 2,000 people consisting of regular attendees as well as career musicians, university students, youth, and many visitors who attended 1 Christine Stephan-Brosch. Kreuzkantor Rudolf Mauersberger. (Berlin: Evangelische Verlagsanstalt, 1988.). 9. 20 while visiting Dresden. 2 These performances provided a foundation that required the Kruzianer to quickly learn repertoire. During 1930-1932, the work of only a few contemporary composers was performed during the Vespers and Concerts with the exception of works by Arnold Mendelssohn (1855-1933) and Kurt Thomas. In 1932, Mauersberger performed Bach’s Matthäus-Passion, BWV 244, with men and boys only. 3 The Weihnachts-Oratorium, BWV 248, was also performed that year with an all-male choir. In just two years, Mauersberger had raised the Kreuzchor to a level equal to the Dresdner Staatskapella and the Dresdner Philharmonie. Elevating the Kreuzchor’s quality and repertoire left little time for Mauersberger to compose and collaborate with other organizations as he had done in previous positions. His last collaboration was as a harpsichordist under Otto Richter’s leadership with the Dresdner Philharmonie. 4 Werner Starke, a former Kruzianer who started with Richter and sang through Mauersberger’s first few years, said Mauersberger kept Richter’s traditional repertoire but departed to “new shores” by adding more repertoire to programs. 5 Mauersberger also systematically began changing the sound of the choir. Mauersberger was known for repeatedly telling the young singers from week to week to sing with a more keen sense and increased accuracy. 6 The sound of the Kreuzchor also brightened with a more youthful timbre. Mauersberger did not ascribe to any specific 2 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden (Marburg: Tectum Verlag, 2014), 32. 3 Ibid, 87. 4 Zeitschrift für Musik, 100. Jg. 1933, Heft 3, S. 294 5 Hofmann, Erna Hedwig, ed. Begegnungen mit Rudolf Mauersberger (Berlin, Evangelische Verlagsanstalt, 1977), 41. 6 Ibid. “Die romantische Stimmgebung wurde knabenhaft aufgehellt, ein neues Klangfundament geschaffen, Gehör und Auffassungsbereitschaft jedes einzelnen Sängers von Woche zu Woche geschliffen und intensiviert. „Ihr müßt schärfer singen!” 21 method of voice building, but he described his approach to voice building within the Kreuzchor in this excerpt from the acceptance speech he gave at the conferral ceremony for his honorary doctorate at Humboldt-University in Berlin in 1954: In the case of voice building, we don’t ascribe to a certain method. We latch on to the children’s natural talent and teach them first how to breathe to ensure healthy singing from the beginning. Furthermore, we pay particular attention to the young boys from earliest grades on up to not separate the head from chest voice, but to uphold the use of chest and head as one register as the most important practice, emphasizing a healthy mix of chest and head voice. 7 Mauersberger used the first and second books of choral exercises from Franz Wüllner (1832-1902) and the 36 Singing Exercises for the Soprano Voice from the former Kreuzkantor and Thomaskantor Christian Theodor Weinlig (1780-1842), that he developed working with boys’ choirs. 8 Mauersberger also made the music of Heinrich Schütz central to the work and development of the Kreuzchor sound based on Schütz’s ability to compose for the voice, particularly the boy’s voice. Like no other old master, Schütz provides the best foundation for boy singers. One must only turn to the duets and solo songs, as well as the trios which are found in the Kleine gesitliche Konzerte (Small Sacred Concertos, Op. 8 and 9). With the simplicity of harmony and the musical voice leading, primarily the duets are still regarded as the best teaching material and curriculum because in them the typical boy-like sound becomes clear.” 9 7 Erna Hedwig Hofmann et al., Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977, 145. „Stimmbildnerisch arbeiten wir nicht nach einer bestimmten Methode. Wir knüpfen an das kindlich Gegebene an und bringen die Jungen in erster Linie zu einem richtigen Atmen, das von vornherein ein gesundes Singen gewährleistet. Im übrigen wird besonders darauf gehalten, daß die Junge, namentlich schon vom jüngsten Jahrgang an, nicht Kopf- und Brustlage getrennt anwenden, sondern, wie man es in der Stimmbildung bezeichnet, das Durchhalten des sogenannten Einheitsregisters als oberstes Gesetz üben, also eine Art gesunder Mischung der Brust- und Kopflage.“ 8 Ibid. 9 Erna Hedwig Hofmann. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977, 144. „Wie kaum ein anderer alter Meister gibt Schütz gerade für den Knabengesang die beste Grundlage. Man denke dabei nur an die Duette und Sologesänge, ebenso an die Terzette, die sich in der Hauptsache in den ‚Kleinen geistlichen Konzerten‘ finden. Durch die Einfachheit der Harmonik und der musikalischen Linienführung sind vorzugsweise die Duette unser bestes Unterrichtsmaterial, weil das typisch Knabenhafte im Klang darin klar zutage tritt.“ 22 These practices led the development of the unique sound of the Kreuzchor under Mauersberger’s direction. A Dictator On January 30, 1933, Adolf Hitler (1889-1945) was named Chancellor of Germany. By March, through a series of unusual political events and new laws, including the Reichsbrandverordnung (Reichstag Fire Decree) and the Ermächtigungsgesetz or Gesetz zur Behebung der Not von Volk und Reich (Enabling Act or Law to Remedy the Distress of People and Reich), Hitler’s government was transformed into a legal dictatorship. The combined effect of these two laws stripped citizens of civil liberties they once enjoyed and empowered Hitler’s cabinet to enact laws without the approval of the Reichstag (Parliament). In May 1933, and in the spirit of this great change, the Führer der deutschen Orgelbewegung (leaders of the German Organ Movement) met in Berlin and created a joint declaration entitled “Kirchenmusik im dritten Reich” (Church Music in the Third Reich). The Protestant churches had lacked a common vision, and under the political climate of change and nationalism, there was an opportunity to unify and refocus the purpose and role of church music throughout Germany. The declaration was signed by many prominent musicians, beginning with Mauersberger’s organ professor, now Thomaskirche Cantor, Dr. Karl Straube, and including Richard Gölz, theologian (1887- 1975); Walter Kraft (1905-1977), organist; Hugo Distler (1908-1942) and Günter Ramin (1898-1956), organists; Erhard Mauersberger, younger brother of Rudolf Mauersberger and Landeskirchenmusikwart in Eisenach; and Rudolf Mauersberger. In the statement 23 posted in the Neue Zeitschrift für Musik, these leaders professed the deep-rooted culture of church music and their responsibility to preach, confess, worship, and praise with the chorale as the central medium of all of these responsibilities. They claimed that music in the service should not be for itself but that it should serve the sermon. The other points made in the statement include professing the power of church music within the community, rejecting virtuosity in church music, and the use of the organ purely for concert use. 10 Not coincidentally, the choice of words mimics National Socialist vocabulary. The ideas follow National Socialism as well insofar as they profess that the foundation of all church music comes from the people and that music that is not indigenous or is cosmopolitan should be rejected. 11 The joint declaration of renewal stated by these professional musicians and academics was published with pro-Nazi commentary by Bernhard von Peinen, leader of the Reichsfachamt für Volksmusik (Reich Special Office for Folkmusic) within the Reichsbund und Heimat (Reich Association and Homeland). Von Peinen was also known as a member of the Sturmabteilung (Assault Division) of the Nazi Party’s original paramilitary group. The manifest and accompanying commentary was published in the Protestant magazine Musik und Kirche (Music and Church). Von Peinen stated the need for such a declaration in the name of the “Dritten Reich” (Third Reich). 12 With Adolf Hitler and the Nazi party having consolidated and gained power so 10 Karl Straube, Neue Zeitschrift für Musik.1933, 100, 6: 599-600. https://archive.org/stream/NeueZeitschriftFuerMusik1933Jg100#page/n685/mode/2up on Dec. 30, 2018. 11 Ibid. 12 Berhard von Peinen, „Kirchenmusik im Dritten Reich.“ Musik und Kirche 5, no. 4 (1933): 174. „Ganz allgemein und ungeheuerumfassend heißt es‚ Bekenntnis zum deutschen Volk‘: das ist kein Bekenntnis, das man im Munde führt, sondern das man tun und leben muß. Im dritten Reich wird dieser Maßstab auch für die Kirche und in ihr die Kirchenmusik gelten: sie muss ein Bekenntnis haben.“ 24 quickly, it was inevitable that a musician of von Peinen’s eminence should have done so and that the continuation of his work might have depended on it. Kreuzchorvespers and Before the War Starting in 1934, Mauersberger expanded his programming of new music, while also balancing traditional repertoire including J. S. Bach and Heinrich Schütz. He continued to lead the Kreuzchor to broader acclaim in Germany, Europe, and abroad. Mauersberger premiered pieces by Arnold Mendelssohn, Kurt Thomas, and, for the first time, Hugo Distler, whose works were often be performed by the Kreuzchor. He balanced the programming of contemporary music with performances of newly discovered works by Schütz and works by Josquin de Prez (c. 1455-1521), Jacob Handl (1550-1591), and J. S. Bach. In 1934, Rudolf Decker praised Mauersberger for hailing in a new musical era with the Kreuzchor in an article in the Neue Zeitschrift für Musik entitled “Der ‘Kreuzchor’ zu Dresden (The Church of the Holy Cross Choir at Dresden).” 13 Decker stated that one could hear the entire development of church music in Dresden because of Mauersberger’s focus on performing contemporary church music. As a harbinger of the New Church Music Movement, Mauersberger premiered and performed many contemporary pieces by composers of his time: in addition to those named above, Johann Nepomuk David (1895-1977), Ernst Pepping (1901-1981), Hans Friedrich Micheelsen (1902-1973), Willy Burkhard (1900-1955), Wolfgang Fortner (1907-1987), Kurt 13 Rudolf Decker. „Der ‚Kreuzchor‘ zu Dresden.“ Neue Zeitschrift für Musik vol. 101, 12 (Dec. 1934): 1207-1208. https://archive.org/stream/NeueZeitschriftFuerMusik1934Jg101#page/n155/mode/2up on Aug. 4, 2017. 25 Hessenberg (1908-1994), Siegfried Reda (1916-1968), and others. 14 Mauersberger did not differentiate between composers who were eventually on the Nazis’ banned list due to their race or lifestyle, and he continued to perform works by Felix Mendelssohn- Bartholdy, who was of Jewish descent, and Günter Raphael, who was half-Jewish. In 1935, the Kreuzchorvespers (Church of the Holy Cross Choir Vespers) highlighted the most performances of Bach and Schütz since Mauersberger took over as Music Director in 1930. 15 The Kreuzchor performed all of Bach’s motets, cantatas on holidays, and Schütz’s Geistlichen Chormusik 1648 (Sacred Choral Music 1648), Op. 11, SWV 369-397, and Kleine Geistliche Konzerte (Small Sacred Concerts), Op. 8 and 9, SWV 282-337. Premieres of new compositions decreased overall, but repertoire included works by Mendelssohn-Bartholdy, Brahms, Reger, and other Romantic composers. Jacob Handl seemed to be favored among all other composers programmed, particularly his Pater Noster. Under Mauersberger’s direction, the Kreuzchor performed three concerts to wide acclaim in conjunction with the first Reichs-Schütz-Feier (Reich-Schütz-Festival) in Dresden. Schütz’s music dominated the concerts, and the setting of Psalm 133, SWV 48, was a world premiere, as Mauersberger had access to the autographed Schütz scores in the Sächsische Landesbibliotek (Saxon State Library). 16 The Reichspropagandaministerium (the Reich Ministry of Public Enlightenment and Propaganda) supported the 1935 tour to the United States of America. One of the highlights was performing in New York at the Metropolitan Opera. The Kreuzchor sang 14 Matthias Herrmann. Dresdner Kreuzchor und zeitgenössische Chormusik: Ur- und Erstaufführungen zwischen Richter und Kreile. (Marburg: Tectum Verlag, 2017). 15 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 63. 16 Gerhart Göhler. „Reichs-Schütz-Feier in Dresden.“ Neue Zeitschrift für Musik 102, 1935, Iss 6. 682-683. January 7, 2019 https://archive.org/details/NeueZeitschriftFuerMusik1935Jg102/page/n763 26 the Star-Spangled Banner to open the concert, along with an Italian madrigal by Schütz, Vasto Mar (Vast Sea), SWV 19. At the center of the program was the Bach motet, Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), BWV 225. The program was rounded out by opera choruses from Wagner’s Parsifal, WWV 111, and Rienzi, WWV 49, works by Mendelssohn-Bartholdy, Bruckner, Jacob Handl, Heinrich Isaac, and German folk songs. The encore, which was so popular it had to be sung twice, was Orlando di Lasso’s Echo Song (O la, o che bon eccho!). 17 The choir was relatively obscure to their American audiences, but they were well received performing twenty concerts in four weeks in sixteen venues across New York City, Chicago, Philadelphia, Pittsburgh, Detroit, and Baltimore. 18 In 1936, the Vespers connected with the service included an abundance of new church music with approximately thirty premieres. Contemporary composers with premieres included Heinrich Simon, Kurt Thomas, Ernst Pepping, Joseph Haas (1879- 1960), and Distler. Older masters such as J. S. Bach, Schütz, Brahms, Reger and other Romantic composers rounded out programs with an increasing amount of contemporary works. 19 From the approximately thirty Vespers throughout 1936, there is a noticeable increase of music spanning the centuries in the addition of contemporary, Baroque, and earlier composers to a steadily growing tradition of J. S. Bach and Schütz. The Neue Zeitschrift für Musik published the Vespers program contents of the Thomaskirche as well as at the Kreuzkirche side by side as two of the most important choirs to observe in 17 F. D. P, „Dresden Choir Of Boys Heard At Metropolitan Opera,” New York Herald Tribune, March 27, 1935. 18 Carl Klunger. “Siegeszug der Kruzianer Durch die Vereinigten Staaten.“ Neue Zeitschrift für Musik 102, 1935, no. 6 (June 1935): 690-691. https://archive.org/details/NeueZeitschriftFuerMusik1935Jg102/page/n763 on January 7, 2019. 19 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 50. 27 Germany. One of the Kreuzchor’s programs printed in the Neue Zeitschrift für Musik 20 demonstrated Mauersberger’s programming of Renaissance masters, J. S. Bach, and contemporary sacred choral music. On Saturday, June 20, 1936 the program included: Jan Pieters Sweelinck Varations on “Mein junges Leben hat ein End” (My young life has an end). SwWV 324, for organ. Jacob Handl: “De corpore Christi” (The Body of Christ), for four[-]part soprano choir. Jan Pieters Sweelinck: “Venite, exultemus”, for five[-]voice choir. Johann Sebastian Bach: “Toccata and Fugue in F-major” for organ. Johann Sebastian Bach: “Singet dem Herrn ein neues Lied” for two choirs. Ernst Pepping: the 90 th Psalm “Herr Gott, du bist meine Zuflucht für und für” for six[-]voice choir (first performance). 21 From 1937 to 1939 the performances focused on J. S. Bach (all six motets and numerous cantatas), Handl, Schütz, Brahms, and Reger. Contemporary composers such as Kurt Thomas, Günter Raphael, Heinrich Simon, and others also received renewed focus even though some of these composers were on the banned list of Entartete Musik (degenerate music). As Nazi ideology and propaganda intensified and radicalized, the boys of the Kreuzchor became an official charter of the Hitler-Jugend (Hitler-Youth). The Kreuzchor was asked to perform in uniform at secular concerts sponsored by the Nazis. Mauersberger had to make difficult decisions and showed ambivalence towards the Nazi regime. 22 It was difficult to balance the requests of the Nazi government and foster the support and funding of the Kreuzchor while maintaining the integrity of his post and the historical integrity of the choir. Mauersberger was a member of the Nazi Party, as were 20 Neue Zeitschrift für Musik. 103, 1936, Iss, 5. 999-1000. January 4, 2019, https://archive.org/details/NeueZeitschriftFuerMusik1936Jg103/page/n1099 21 Ibid. „Sonnabend, 20. Juni: Jan Pieters Sweelinck: Variationen über “Mein junges Leben hat ein End” für Orgel. – Jakob Handl: “De corpore Christi”, für vierst. Sopranchor. – Jan Pieters Sweelinck: „Venite, exultemus Domino“, für fünfst. Chor. – Joh. Seb. Bach: Tokkata und Fuge in F-dur für Orgel. – Joh. Seb. Bach: „Singet dem Herrn ein neues Lied“, für zwei Chöre, achtst. – Ernst Pepping: Der 90. Psalm (Herr Gott, du bist meine Zuflucht für und für) für sechst. Chor (EA - Erstaufführung). 22 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 52. 28 many others who worked for churches, particularly those who held very high and visible positions similar to his. In 1936, Mauersberger reinstituted the Kreuzchor’s traditional fifteenth-century German Protestant choir robes with accompanying colored collars for each Vespers and Sunday Gottesdienst (Sacrament Service) 23 according to the church calendar year in order to strengthen the centuries-old connection between the Kreuzchor and the Kreuzkirche. 24 However, the Kruzianer did perform from time to time in their Hitler-Jugend uniforms under his direction. At the opening concert of the Protestant Church Music Festival in 1937, Mauersberger performed Distler’s “Wachet auf, ruft uns die Stimme,” a composition written by a declared banned composer. In contrast, Mauersberger composed a German hymn of thanks by Nazi poet, Will Vesper (1882- 1962), “Das Volk in deutschen Gaun dank dier, großer Gott” RMWV 42. 25 Mausersberger also ascribed to the propaganda that Leipzig was bombed because the city was “a stronghold of Jews that wanted to take revenge.” 26 In 1959, one of his Kruzianer accounted for his performances of “O du Fröhliche” (“O you joyful”) and of works by banned composers like Mendelssohn-Bartholdy, Distler, and Raphael: “It was a risk in 1938 to perform banned composers in your own country since 1933, much less abroad. Mauersberger belongs to the few who possessed the courage.” 27 In 1941, the Nazi area 23 Matthias Herrmann, ed. “Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunschweiger Dom – Altstadtrathaus Braunschweig.” Nov. 24-26, 1989, pg. 42. 24 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004), 75. 25 Herrmann, Matthias, and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dressdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.“ Dresden und die avancierte Musik im 20. Jahrhundert 2, (2002), 341. 26 Ibid. 27 Matthias Herrmann, „Kreuzkantor Rudolf Mauersberger,“ in Dresdner Kreuzchor und Thomanerchor Leipzig: zwei Kantoren und ihre Zeit Rudolf und Erhard Mauersberger, ed. Helga Mauersberger (Marienberg: Druck- und Verlagsgesellschaft Marienberg, 2007), 30. Citation from „Günter Raphael, Rudolf Mauersberger zum 29. Januar 1959, in: Kirchenmusik heute. Gedanken über Aufgaben 29 official (Gauleiter), Martin Mutschmann (1879-1947), informed Mauersberger that there was to be no more sacred music sung by the Kreuzchor, including Bach; however, Mauersberger did not comply. 28 On April 20, 1937, Mauersberger was awarded the title of Professor by Chancellor Adolf Hitler. Mauersberger had increased the profile of the Kreuzchor significantly in Germany and abroad since he began as Kreuzkantor in the summer of 1930. It is thought that the title may have been awarded due to Mauersberger’s willingness to allow the Kreuzchor to be showcased in Nazi propaganda events and/or that the Kreuzchor boys were a registered unit within the Hitler-Jugend. As the war continued, the Nazi regime further limited the choir’s work as young men were drafted, tours were restricted, and by eventually prohibiting evening concerts. Mauersberger had to constantly defend his work and the choir against the grasp of Hitler’s regime until the general concert ban was lifted. 29 In September 1938, the Munich Agreement annexed Sudetenland, the predominantly German populations of Czech Republic. In October, the Kreuzchor embarked on their second international tour to America at an unsettling time when Germany was exerting more pressure to expand its borders into neighboring nations. While on tour in November, Kristallnacht (Crystal Night), the pogrom against Jews throughout Nazi Germany on November 9 and 10, was carried out by SA or Sturmabteilung (Assault Division) paramilitary forces and civilians. In America, the Kreuzchor concerts were canceled, and the American audiences reacted to the German und Probleme der Musica sacra. Festschrift Rudolf Mauersberger zum 70. Geburtstag, hrsg. Von Hans Böhm, Berlin 1959, s. 12. 28 Herrmann, Matthias, and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dressdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.“ Dresden und die avancierte Musik im 20. Jahrhundert 2, (2002), 341. 29 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 14. 30 choir in the face of this Nazi brutality. Mauersberger was even offered an opportunity to stay in the United States, but his unwavering commitment to his calling in life as the Kreuzkantor, the Kruzianer, and his homeland made his return unquestionable. Despite the events happening in Germany, the repertoire of the tour consisted of the German folk songs, Schütz, J. S. Bach, contemporary artists, and music of outlawed composers in Germany, namely Raphael and Mendelssohn-Bartholdy. For Mauersberger, the importance of a composition was based on whether “es klingt,” (it sounded good) or was singable, not if it was banned. 30 World War II On September 3, 1939, WW II began with Britain and France declaring war on Germany due to the German invasion of Poland. As the war went on, the challenges for Mauersberger and the Kruzianer increased. Older Kruzianer nearing graduation were drafted out of school as the war devastated various German cities. The ripple effect of the war impacted every aspect of their lives. In the spring of 1940, Mauersberger’s mother suffered a severe heart attack. Upon his return home to Mauersberg for summer vacation, he felt such deep joy in and gratitude for his mother’s recovery that he composed a folksong to the Kreuzchor’s daily adage, Fangt euer Tagwerk fröhlich an (Begin your day’s work with joy), by sixteenth century theologian, Lutheran minister, and hymnodist, Paul Gerhardt (1607-1676). 31 In 30 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986), 72. 31 Matthias Herrmann, foreward to Fangt euer Tagwerk fröhlich an; Fünf kleine Spruchmotetten für gemischten Chor a cappella, by Rudolf Mauersberger (Wiesbaden: Breitkopf & Härtel, 1994), i. 31 1943, he finished musical settings of a few more poems to create the Tag und Ewigkeit (Day and Eternity), RWV 1, choir cycle. Bombing of Dresden On February 13, 1945, the American and British Allied forces began bombing Dresden, the “Florence on the Elbe” (Das Elbflorenz) or the “The Jewel Box,” 32 and the bombing continued off and on through the night and into the next day. Dresden was one of the last large cities in Germany that had not been bombed until that point. It was generally thought that the city was unlikely to become a target of war because it had no military value and because it was so beautiful. The city was ill-prepared for war, in part because it lacked enough shelters to protect civilians from the firebombs that came that night in two raids. Thousands of refugees fleeing other devastated cities also thronged the streets, creating an even greater problem. At 10:00 p.m., the first raid began on the old city center, including the Kreuzkirche, Kreuzschule, and Mauersberger’s apartment. Mauersberger escaped his burning apartment and was making his way through the Bürgerwiese park to check on the thirty-three young men and Alumnatsinspektor (boarding school inspector) housed in the Kreuzschule only about 200-300 yards away when the second, more devastating, raid hit. Mauersberger passed out in the park and miraculously woke up with only an injured hand, but there was destruction and chaos all around him. In the words of a former Kruzianer, Mauersberger rushed to see the 32 Linda Robertson, “Dresden (2006): Marketing the Bombing of Dresden in Germany, Great Britain, and the United States,” in A Companion to the War Film, ed. Douglas A. Cunningham and John C. Nelson (West Sussex: John Wiley & Sons, 2016) 242. 32 Kreuzschule with “the fear of a father for the life and health of his children; for the Kreuzchor was not only Rudolf Mauersberger’s life’s work, but also his life’s purpose.” 33 By the time Mauersberger reached the Kreuzschule, it was empty and deserted, and the building was ablaze. The smoke and heat were so intense as to cause Mauersberger lifelong complications from smoke inhalation. He managed to find the Alumnatsinspektor and the boys at the nearby Garten (park) as they obeyed radio warnings to flee the school. While the crowds were hunched near the Tiergartenstraße, the Alumnatsinspektor and a thirteen-year-old Kruzianer were killed by low-flying aircraft shooting into the crowds. Three died from ruptured lungs in the school cellar, one boy died evacuating the school, and the remainder died with their parents and families in their apartments during the bombings. Altogether, eleven Kruzianer were lost. 34 The number of bombs, frequency, and slight wind created perfect conditions for a firestorm that left the eight square miles of the inner city in utter ruin. The historic Altstadt, or old city center, where the Kreuzkirche and the school were located, suffered the most damage. Also lost to the fires were Mauersberger’s apartment and much of the Kreuzchor music library. Mauersberger returned to Mauersberg, walking fifty miles, to live with his mother. 35 Ten days after the bombings, Mauersberger left his hometown and returned 33 Dieter Sachse, „Der 13 Februar 1945 und seine Bewältigung” in Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors, ed.Erna Hedwig Hofmann (Berlin: Evangelische Verlagsanstalt, 1977) 58. „…zum Alumnat vorzudringen mit der Angst eines Vaters um Leben und Gesundheit seiner Kinder; denn der Kreuzchor war nicht nur Rudolf Mauersbergers Lebenswerk, sondern auch sein Lebensinhalt.“ 34 Kerstin Leiße. “Ein Wochenende für Rudolf Mauersberger: Braunschweig 24.-26. 11. 1989.” Der Kirchenmusiker 41, no. 3 (1990): 98-100. 38. 35 Herrmann, Matthias, and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dressdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.“ Dresden und die avancierte Musik im 20. Jahrhundert 2, (2002), 343. 33 partly by foot and hitch-hiking on a delivery vehicle to the burned out Kreuzschule cellar and gathered what smoky remnants of the choral library were not destroyed by the fire. 36 On Friday, March 30, 1945, in place of the usual performance of the Matthäus- Passion on Karfreitag (Good Friday), a tradition he started in Eisenach, he excerpted texts from Lamentations of Jeremiah 37 for a musical work. 38 On Karsamstag (Holy Saturday), March 31, 1945, he set the text to music, a Trauermotette (motet of lamentation or funeral motet) to convey his anguish for the destruction of the city, lives lost, and plea to God. 39 He titled it, Wie liegt die Stadt so wüst (How desolate lies the city). The motet adapts a “staple of mourning customs in the Judeo-Christian tradition since the text’s inception was a response to the destruction of Jerusalem and the Holy Temple in the sixth century, BCE.” 40 As a Nazi-endorsed composer, Mauersberger’s choice of text is ironic. The scriptures he chose are from the book of Lamentations in the Hebrew Scriptures that is Jewish mourning over the destruction of Jerusalem and ensuing exile. The premiere performance of this motet was not possible until the Kreuzchor could be reunited and reestablished amidst the fallout of war. 36 Erna Hedwig Hofmann. Kreuzchor Anno 45; Ein Roman um den Kantor und seine Kruzianer. (Berlin: Union Verlag, 1967) 15. 37 Chapter and verses from the book of Lamentations: 1:1,4,9,13; 2:15; 4:1; 5:17, 20, 21. Also refer to Table 2. 38 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 77. 39 Matthias Herrmann, Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. Dresden: Sächsische Landesbibliothek Dresden, 1991. 9. 40 Martha Anne Sprigge. "Abilities to Mourn: Musical Commemoration in the German Democratic Republic (1945-1989)." Order No. 3595976, The University of Chicago, 2013. http://libproxy.usc.edu/login?url=https://search-proquest- com.libproxy1.usc.edu/docview/1446605799?accountid=14749. 34 Reestablishing the Kreuzchor May 8, 1945 was Victory in Europe Day, and Mauersberger began working with the Culture Officer of the Soviet Military Administration in Germany (Soviet Militäradministration in Deutschland or SMAD) and the Mayor of Dresden, also a former Kruzianer, hoping to secure a temporary home and reestablish the Kreuzchor, but so many things were uncertain. The Kruzianer had returned home to their families after being displaced due to the bombings. Over the course of the next few months, Mauersberger wrote letters to all of the Kruzianer for which he had addresses in an effort to reestablish the Kreuzchor during the few months after the bombings. He also sought out a place where the Kreuzchor could reasonably continue, considering the war-like conditions. In one of those grief-stricken letters, Mauersberger writes: …I congratulate you, your dear parents and myself included, that you are alive. I would like to write to you, but writing is too difficult for me, since I am still suffering pains and symptoms of paralysis in my hand and fingers. I was injured in the surprise second raid as I was on my way to you in the Kreuzschule. I lay flat on the ground at the Bürgerwiese park 41 not far from the school. It’s a miracle how I escaped…that I bear such heavy sorrow for our dear deceased in the choir, you can perhaps understand already in spite of your youth. It is too horrible…. 42 Having lost his home and the world he knew lying in ruin, Mauersberger began to reestablish the choir, one letter and singer at a time. Many of these letters are kept in the special collections in the SLUB (Sächsische Landesbibliothek – Staats- und 41 The Bürgerwiese Dresden is a public park and garden near the old city center close to the Kreuzkirche. http://www.dresden.de/en/03/07/01/Buergerwiese.php#?searchkey=B%C3%BCrgerwiese 42 Erna Hedwig Hofmann. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977, 58-59. Dieter Sachse. „Der 13 Februar 1945 und seine Bewältigung” „…Ich beglückwünsche Dich, Deine lieben Eltern und mich dazu, daß Du lebst. Ich würde Dir gern mehr schreiben, aber das Schreiben wird mir zu schwer, da ich noch sehr unter den Nachwehen der Lähmungserscheinungen in Hand und Fingern zu leiden habe. Das habe ich von dem zweiten Angriff weggetragen der mich auf dem Weg zu Euch ins Alumnat überrascht hat. Ich lag auf der Bürgerwiese, nicht weit von der Schule entfernt, platt am Boden. Wie durch ein Wunder bin ich davongekommen…Daß ich um unsere lieben Toten im Chor schwer Leid trage, kannst Du trotz Deiner Jugend vielleicht schon gut verstehen. Es ist zu entsetzlich…“ 35 Universitätsbibliothek Dresden), the Kreuzchor Archive, and some have been printed in the recently published book by Matthias Herrmann, Rudolf Mauersberger, Aus der Werkstatt eines Krequzkantors; Briefe, Texte, Reden. 43 In a letter Mauersberger wrote to his friend and colleague, Paul Dittrich, on June 10, 1945, he expressed deep concern about being able to rebuild the Kreuzchor again and where to begin: Daily, I swung back and forth between two worlds: on the one side I went straightway to composing, 24 works were completed, among them a Te deum (large-scale work), on the other side I was paralyzed by the thought whether it all had a purpose, and while up here I found the only solace in nature, and so the thought came to me, if need be I could be a farmer, like all my grand- and great- grandfathers on both my father’s and mother’s sides were. My daily early morning walks between six and eight o’clock and five and seven o’clock in beautiful weather strengthened these thoughts over and over again. Then suddenly came an overwhelming sense of yearning to return to the work of the Kreuzchor, and not least the longing for the boys, their voices, that so often drove away the evil spirit. 44 It appears that from this point on, Mauersberger never again hesitated his commitment to the choir. He would later call this era of renewal for the Kreuzchor his “zweiten Kantorats” (second Cantorate). 45 He responded by preparing and returning to Dresden within a week of making his decision, eager to begin rebuilding the Kreuzchor. 46 43 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 119. 44 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 111.“Ich schwankte mich fast tägl[ich] zwischen zwei Welten: einerseits komponierte ich drauflos, 24 Stück sind entstanden, darunter ein Te deum (abendfüllend), andererseits lähmte mich der Gedanke, ob das alles Zweck hat, und ich fand die Natur hier oben als das einzig Wahre, und so kam ich auf den Gedanken, im Notfalle Bauer zu werden, wie es meine sämtl[ichen] Gross- und Urgrossväter väterlicher- und mütterlicherseits waren. Meine tágl[ichen] Frühspaziergänge zwischen 6 und 8 und 5 und 7 Uhr bei herrl[ichem] Wetter stärkten den Gedanken immer wieder von neuem. Nun aber kam mit aller Macht die Sehnsucht nach der Kreuzchorarbeit wieder, nicht zuletzt auch die Sehnsucht nach den Jungens, nach ihren Stimmen, die mir so oft den bösen Geist ausgetrieben haben.“ 45 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 18. 46 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 111. „….komme ich sofort nach Dr[esden]; denn ich brenne darauf, wieder anfangen zu können.“ 36 Soon thereafter, he received permission from the SMAD and Dresden Mayor, Dr. Friedrichs, to re-establish the Kreuzchor and was offered the cellar of an Oberschule (Secondary School) in Dresden-Plauen as temporary living, working, and rehearsal quarters. 47 On June 25, 1945, the first Kruzianer who arrived and slept the night as the only choir member in the temporary quarters was ten-year-old Peter Schreier (1935- 2019). 48 He was just beginning his first year as a Kruzianer. His homesickness and worries were quickly forgotten the next day as the rest of the singers arrived and the time was filled with choir and individual rehearsals and the capable singers copying new music by hand for the choir. 49 The conditions in the Oberschule were difficult as the Kreuzchor occupied the cellar with other refugees and plenty of rats. 50 Dieter Sachse, a former Kruzianer, recalled this extraordinarily difficult time as a Kruzianer in the book compiled by Erna Hedwig Hofmann, Mauersberger’s secretary. 51 Mauersberger and the Kruzianer lived without heat in their quarters, and he demanded the strictest observance of respectful behavior and discipline from day to day in spite of the cold and uncomfortable living conditions. 47 Ibid, 115. 48 Blyth, Alan. "Schreier, Peter." Grove Music Online. 2001; Accessed 25 Feb. 2020. https://www- oxfordmusiconline-com.libproxy2.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000025078. Peter Schreier was born in Meissen, Germany on July 29, 1935. He was the son of a cantor who began his musical training. At eight years old, he began singing with the Dresdner Kreuzchor, joining the choir the summer after the Dresden bombings of 1945. He had numerous solos with the choir and his experience with the choir helped him decide to become a professional singer. He joined the Dresden Staatsoper school in 1959 and made his opera debut as the First Prisoner in Fidelio in 1961. His opera career included singing at La Scala, the Metropolitan Opera, and leading opera houses in Germany and Austria. He also developed a distinguished career in oratorio and lieder. He also appeared frequently as a conductor. He died December 25, 2019, regarded as one of the leading lyric tenors of the twentieth century. 49 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. (Berlin: Evangelische Verlagsanstalt, 1977) 75. 50 Erna Hedwig Hofmann. Kreuzchor Anno 45; Ein Roman um den Kantor und seine Kruzianer. (Berlin: Union Verlag, 1967) 397. 51 Erna Hedwig Hofmann. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. (Berlin: Evangelische Verlagsanstalt, 1977). 37 Eating enough food and getting enough nutrition was probably the most difficult problem, as food was scarce. When Mauersberger heard a Kruzianer complain about being hungry, demanding the highest amount of discipline, he would say, “I also faint sometimes, but am even more happy when I regain consciousness.” 52 At the end of his career, Mauersberger reflected on another difficult dilemma he and the choir faced during this trying time: At that time, the sheet music issue represented a very difficult problem for the choir. The few saved copies were not enough. From my musical memory, I could recall and write down a part of the most commonly used scores and the Kruzianer would hand write the choir parts. Besides, I composed for the needs of the choir, so much that our repertoire could reasonably stand up to wide-ranging demands. First, we received gifts of sheet music from various sources and then gradually, more and more printed music from the store to fill our library. 53 Amazingly, Mauersberger memorized many of the pieces the Kreuzchor had performed in the previous years and could transcribe the music from memory. The Kruzianer would then copy Mauersberger’s edition and soon there were enough replicated copies for all singers. The days in the new school were spent rehearsing for four to six hours, copying music during spare time, and clearing away the rubble and debris in the Kreuzkirche. During the first part of July, the first concert of the summer at the Christuskirche in Dresden-Strehlen was sold out. The beginning of July 1945 marked the Kreuzchor’s 52 Ibid, 61.“Mir wird auch manchmal schwarz vor den Augen, um so mehr freut man sich, wenn’s wieder heller wird” 53 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 16. „Die Notenfrage bedeutete damals für den Chor ein schweres Problem. Die wenigen geretteten Bestände reichten nicht aus. Einen Teil der gebräuchlichsten Partituren konnte ich nach dem musikalischen Gedächtnis wieder aufschreiben und die Chorstimmen durch die Kruzianer handschriftlich herstellen lassen. Im übrigen komponierte ich für den Gebrauch des Chores soviel, daß unser Repertoire den vielseitigen Anforderungen einigermaßen standhalten konnte. Erst nach und nach konnten wir durch Notengeschenke von verschiedenen Seiten und allmählich im Handel wieder erhältliches Material unsere Notenbibliothek auffüllen.“ 38 first church service at the Dresdner Auferstehungskirche (Dresden Church of Resurrection) in Dresden-Plauen. 54 Mauersberger composed Wie liegt die Stadt so wüst on the Good Friday and Holy Saturday a month and a half after the bombings. The composition was finally premiered by the Kreuzchor on Saturday, August 4, 1945 in the shell of the burned out Kreuzkirche at the first Kreuzchorvesper since the bombing. This service, however, was a Gedenkvespers (memorial Vespers) to commemorate those who had died. It was also the first Vespers for the choir at the Kreuzkirche since the bombings. Eleven candles were lit to represent both the eleven Kruzianer who perished and all those who died in the bombings. 55 The Gedenkvespers reconvened the weekly Vespers that had taken place since the church was consecrated in 1236. 56 Six months had passed since the bombings and this Vespers was the first time any music had been performed since the Kreuzkirche was destroyed. Mauersberger’s program opened and closed with his compositions. The final work performed on the Gedenkvespers was Wie liegt die Stadt so wüst. It has since become one of the most sung German a cappella works of the 20 th century. 57 Despite the miracle that the Kreuzchor had support and was able to have a building to accommodate the singers, a practice space, and perform, there were still many challenges. Transportation was very irregular, and often the Kruzianer would walk – sometimes up to two hours – to a concert; on the way, they performed at a barn or mill in 54 Ibid. 55 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors (Berlin: Evangelische Verlagsanstalt, 1977) 82. 56 (Vees-Gulani “The Politics of New Beginnings,” 29.) from Sprigge pg. 147) 57 Helga Mauersberger, ed. Dresdner Kreuzchor und Thomanerchor Leipzig: zwei Kantoren und ihre Zeit rudolf und Erhard Mauersberger (Marienberg: Druck- und Verlagsgesellschaft Marienberg, 2007), 28. 39 exchange for needed fresh provisions. 58 In a letter written to his mother and sister, Irma, on August 29, 1945, Mauersberger described the overwhelming response the Kreuzchor received from its performances. The hardship and suffering is great, but because we are working so much, we don’t even notice. Daily, one sees the many audiences and the young boys that are always pleased. Many (people) envy me because of my work. […] Yesterday, we had our eighth concert in eight days […..] In August […] we performed in public 25 times including the four church services on Sunday mornings. It’s always full, even overcrowded. The public is obsessed with the choir. We simply have to repeat some concerts. 59 Mauersberger’s strict discipline, energy, iron will and artistic demands led the Kruzianer and its legacy through the most difficult challenges of its existence and through the atrocities of war. He did what he was “called to do.” 60 He and the Kruzianer longed for the day they could return to the Kreuzkirche. 58 Erna Hedwig Hofmann. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977, 62-63. 59 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 18. „Die Not is groß, Aber vor lauter Arbeit merkt man es nicht. Man sieht täglich das viele Publikum und die Jungens, die immer vergnügt sind. […..] Viele beneiden mich deshalb um meine Arbeit. […] Gestern hatten wir das 8. Konzert in 8 Tagen. Im August, […] sind wir 25 mal an die Öffentlichkeit getreten einschließ.[lich] der 4 Gottesdienste an den Sonntagvormittagen. Immer ist es voll, ja überfüllt. Das Publikum ist wie versessen auf den Chor. Wir müssen manche Konzerte einfach wiederholen.” 60 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977, 58-59. 40 Chapter 3: Biography (1945-1971) Wie liegt die Stadt so wüst The Dresden Kreuzchor rose like a phoenix out of the ashes of the Dresden bombings at the end of the war, and with renewed purpose brought even greater worldwide fame to the choir. In 1946, the Kreuzchor performed ninety-eight concerts. 1 They also performed Johann Sebastian Bach’s Messe in h-moll (B Minor Mass) BWV 232 , Matthäus-Passion (St. Matthew Passion) BWV 244, and Weihnachts-Oratorium (Christmas Oratorio) BWV248, and were regularly broadcasted over German radio. 2 Mauersberger’s focus on contemporary church music and works of Heinrich Schütz was unwavering. The first contemporary sacred composition performed by the Kreuzchor since WW II was Günter Raphael’s Aus den Klageliedern Jeremias, Op. 56 No. 2. 3 The Kreuzchor continued to work to rebuild the iconic Kreuzchor sound developed by Mauersberger. To help aid the choir’s tonal development, he reintroduced Schütz’s Kleine geistliche Konzerte I, SWV 282-305. After nearly two years of being located in the Oberschule in Dresden-Süd, the Kreuzchor was able to move into the former Freimauerinstitute (Freemasons Institute), which continues to be the home of the Kreuzschule today. The city council and the SMAD 4 in Dresden supported the choir and was instrumental in helping establish new quarters that could accommodate more singers. The former Freimauerinstitute building was a significant upgrade. The new school accommodated regular classes and rehearsals 1 Erna Hedwig Hofmann. Begegnungen mit Rudolf Mauersberger; Dankesgabe eines Freundeskreises. Berlin: Evangelische Verlagsanstalt, 1963, 91. 2 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Verlag Regensburg, 1986) 95. 3 Ibid, 100. 4 See Chapter 2, pg. 34. 41 in the same building, with additional room for growth. The artistic level increased with the favorable living and rehearsal conditions as well as the number of soprano singers since right after the war. 5 In 1947, the Kreuzchor went on their first German tour to southern Germany in the West Zone. 6 This would be the first of many tours over the next several years. The Kreuzchor toured Germany and continued to focus on choral works from contemporary composers like Raphael, Ernst Pepping, and Mauersberger’s compositions. Even though the Kreuzkirche was located very close to the Freimauererinstitute building, now called the Alumnat, the limited improvements to make it structurally secure rendered it unfit to host services and the Kreuzchor Vespers. As such, they continued to travel around to churches in the area when they were not on tour. Prolific Compositional Period (1945-1948) With the end of WW II, Mauersberger focused much of the Kreuzchor’s repertoire on J. S. Bach, Heinrich Schütz, sacred works by contemporary composers, and his own compositions and arrangements. His own works were a necessity to fill the void of music created by the loss of much of the choral library in the bombings. In a letter Mauersberger wrote to the Verband der Komponisten und Musikwissenschaftler der Deutsche Demokratische Republic (Association of Composers and Musicologists of the German Democratic Republic) on May 7, 1953, he stated that being a composer was inevitable, but that he never felt called to become one and was reluctant to make his 5 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 14-15. 6 Ibid, 15. 42 works available to the public. 7 He never desired to be a famous or an avant-garde composer; rather, he wanted to compose works that would be heard by audiences as being melodious and artistically and spiritually uplifting to enhance the worship experience. He employed mid- to late-nineteenth century harmonic language without abandoning tonality and was strongly influenced by the old Renaissance and Baroque masters, particularly Schütz and J. S. Bach, contemporary composers such as Kurt Thomas, Pepping, and Raphael. Mauersberger’s compositional style may be considered harmonically conservative but possessing his own unmistakable characteristics. 8 While not considering himself to be a composer, he still has a catalogue of 451 compositions. Even though most of them were written for the Kreuzchor, they can be and are sung by mixed choirs as well. The bombings and adversity experienced during and after the war brought about the most creative and important compositional period in Mauersberger’s life from approximately 1945 to 1948. 9 Mauersberger composed numerous works during this time, but those that were foundational to rebuilding the Kreuzchor are his hymn of mourning, Wie liegt die Stadt so wüst, RMWV 4/1, the Turmgesänge der Kruzianer (Tower Songs of the Kruzianer), RMWV 185 10 , Passionsmusik nach dem Lukasevangelium or 7 Ibid. References a quote from a letter „Zitiert nach einem Brief Prof. Mauersbergers an den Verband der Komponisten und Musikwissenschaftler der DDR, Bezirksverband Dresden, vom 7 Mai 1953, im Besitz des VKM, Dresden.“ Quote: „Mauersberger selbst meinte, mit seinem neuerlichen Komponieren lediglich dem Notenmangel des in seiner Existenz bedrohten Kreuzchores abzuhelfen. Aus dem Umstand, ,zwangsläufig zum sogenannten Komponisten geworden zu sein‘ – er fühlte sich nie als ‚berufener Komponist‘ -, leitet sich auch seine Zurückhaltung der Veröffentlichung eigener Werke gegenüber ab.“ 8 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 69-70. Partial paraphrase of excerpt. 9 Matthias Herrmann, Foreword to Passionsmusik nach dem Lukasevangelium (Luk. 22, 39 bis 23, 56); für zwei getrennt aufgestellte gemischte Chöre a cappella, by Rudolf Mauersberger, Munich: Strube Verlag, 1979, i. 10 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 83. Mauersberger (RM) discusses the old and lost tradition of 43 Lukaspassion (The Passion music after the Gospel of Luke), RMWV 9, the Dresdner Requiem (Dresden’s Requiem), RMWV 10, and Geh aus, mein Herz, und suche Freud, eine Geistliche Sommermusik (Go Out, My Heart, and Seek Joy a Sacred Summer Music), RMWV 11. 11 The Lukaspassion RMWV 9, Dresdner Requiem RMWV 10, and Geistliche Sommermusik RMWV 11 are three large sacred choral works composed between 1945 and 1948. The Dresdner Te Deum (Te Deum of Dresden), RMWV 8, is another large sacred choral work begun in 1944 and finished in 1945. In all, Mauersberger composed or finished composing four of his five large sacred works in this significant compositional period in his life. The only large sacred work not begun in this three year span, but that was revised and performed during this time frame, was the Christvesper der Kruzianer (Christ Vesper of the Kruzianer), now published as Christvesper nach Worten der Bibel und des Gesangbuches (Christ Vesper According to the words of the Bible and Hymnal) RMWV 7. The first edition of this work was completed in 1926 in Eisenach with three subsequent revisions while in Dresden. All of the aforementioned large sacred choral works are polychoral and were conceived specifically to be integrated into the liturgy. In 1944, Mauersberger began composing the Dresdner Te Deum (Thee O God We Praise), RMWV 8. The original title was Liturgisches Te Deum nach Worten der Bibel Turmsingen in an interview with Wolfgang Hiller (WH) on January 1, 1963. RM: Auf dem untersten Fach, da drehen sich die Kruzianer, die das Christmettenspiel darstellen. Ganz oben habe ich dargestellt die Turmmusik, die früher eine Rolle spielte in der Kreuzkirche wie auch in anderen Kirchen. Da mussten zum Beispiel die Kruzianer früh um vier Turmsingen. (WH): Diese Tradition gibt es aber heute nicht mehr? (RM): Nein, die ist völlig weg. Turmblasen gab es immer noch mal, aber das ist jetzt auch ganz wenig. In Erinnerung daran habe ich die Turmgesänge – jetzt – für die Kruzianer geschrieben, damit dieser Begriff nicht ganz in Vergessenheit kommt. (WH): Ja, wir haben nun glücklicherweise Aufnahmen von Ihren Kompositionen, Ihren Bearbeitungen, Ihren Turmmusiken – vielleicht können wir jetzt hier an dieser Stelle eine davon anschließen. 11 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 72. 44 und des Gesangbuches (Liturgical Te Deum according to words of the Bible and Hymnal), emphasizing its incorporation in the liturgy. By 1945, he finished the work for alto and baritone soloists, two mixed choirs and boys’ choir, orchestra and organ. The war delayed its premiere until 1948. It was also performed at the 1953 dedication of the Kreuzkapella in Mauersberg, the medieval Wehrkirche church of his youth that was torn down and then rebuilt with the prize money he received from the German National Prize. 12 The Dresdner Te Deum was never published, due to its lack of uniformity of style. 13 Mauersberger continued to work on improving the Te Deum until its last version was complete in 1963. On January 22, 1947, Mauersberger finished composing the Lukaspassion, his first large (abendfüllendes) sacred a cappella work. Die Passionsmusik nach dem Lukasevangelium für zwei getrennt aufgestellte gemischte Chöre (The Passion music after the Gospel of Luke for two separately positioned mixed a cappella choirs) is a through composed motet passion for double choir in the style of Schütz and Mauersberger’s “moderately modern” compositional style. 14 The work is also in three parts with the altar choir singing all the words of Christ and main choir singing the rest of the composition, including fourteen Chorales and the Eingang, Turba, and Beschluß that were customary during the Baroque with both Schütz and J. S. Bach. The entire work is almost entirely choral with only a few short passages requiring soloists. 12 Matthias Herrmann, Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. (Dresden: Sächsische Landesbibliothek Dresden, 1991), 25. 13 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Verlag Regensburg, 1986), 160. 14 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 70. Other researchers have agreed on calling his compositional style “gemäßigt modern” which directly translates to ““moderately modern”.” Alternatively, calling Mauerberger’s style “conservatively harmonic” doesn’t really describe accurately what his style is in terms of how it relates to “modern” styles of the times. 45 In August 1947, Mauersberger began working on a Requiem Mass “for which the Protestant Church does not yet possess.” 15 Shortly after completing the Lukas Passion he completed the Dresdner Requiem.. He premiered the Requiem on St. John’s Day, 1948, as Liturgisches Requiem (Liturgical Requiem) in the Dresdner St. Martin Kirche (Dresden’s St. Martin Church, formerly known as the Garnisonskirche) as a completely a cappella large work. Until 1961, Mauersberger made many revisions and corrections, including the addition of brass, percussion, contrabass, celeste and organ. This work will be introduced in more detail with analysis in Chapter Five. The fifth large sacred work is entitled Geh aus, mein Herz, und suche Freud, Eine geistliche Sommermusik (Go out, My Heart, and Search for Joy; a Sacred Summer Music), RMWV 11. The Geistliche Sommermusik, an abbreviated title of this work, was composed and compiled in 1946, but finished in 1948 while Mauersberger was in Mauersberg, with a new edition released in 1960. 16 Mauersberger included some earlier works and slightly modified others for their inclusion in the Geistlich Sommermusik, originally entitled “Liturgische Sommermusik nach Worten der Bibel und des Gesangbuches für zwei Knabensolostimmen, zwei getrennt aufgestellte gemischte Chöre und Orgel” (Liturgical Summer Music According to Words of the Bible and Hymnbook for Two Boy Soloists, Two separately positioned choirs, and organ). 17 Mauersberger said, “It should be a musical work for the Protestant community that is similar to the Catholic Church’s May Devotions to the Blessed Virgin Mary, but is a cultural 15 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VIII. English Translation by John Coombs. 16 Matthias Herrmann, Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. (Dresden: Sächsische Landesbibliothek Dresden, 1991), 28. 17 Gerhardt Uhle. Foreword to Geistliche Sommermusik; “Geh aus, mein Herz, und suche Freud“ (RMWV 11) für 2 Solostimmen und gemischten Chor a cappella (teilw. mit Orgel) herausgegeben von Gerhardt Uhle. by Rudolf Mauersberger, München: Strube Verlag, 2014, 67. 46 celebration of the spiritual aspect of nature in the summer.” 18 The Geistliche Sommermusik is for boy soloists, two mixed choirs, and small boy choir and organ. The two choirs are a Hauptchor (main choir) of four to eight voice parts and an Altarchor (altar choir) with four to six voice parts. The work has twenty-nine separate movements in seven sections. The first and last movement involve the organ, whereas all other movements include chorale and Lied arrangements and compositions for a cappella choir. It also includes Mauersberger’s setting of Vaterunser or the Lord’s Prayer (no. 27), RMWV 65. The beauty of Mauersberger’s home region in the Ore Mountains during the summertime is reflected in the character of the Geistlich Sommermusik. It is intended to be a sacred work for the portion of the year without any major religious holidays from early summer through fall. The sacred summer folk song, “Geh aus, mein Herz, und suche Freud” by Paul Gerhardt is the first song following the organ prelude. This work follows the pattern of two choirs and included specific directions for the Altarchor in the original manuscript. The Hauptchor sings the chorales and folk songs in the role of observation and worship, whereas the Altarchor appears in liturgical color robes singing passages from the book of Psalms in various formations. 19 Mauersberger regards folk songs as “pure” and attempts to connect the two musical styles of folk song and art song in a way that relates the two interchangeably. Mauersberger firmly believed “only vocal 18 Erna Hedwig Hofmann. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. (Berlin: Evangelische Verlagsanstalt, 1977), 137. „Es sollte für die evangelische Gemeinde eine Musik geschaffen werden, die etwa den Maiandachten der katholischen Kirche an die Seite gesetzt werden kann, eine kultische Feier, die das sommerliche Geschehen in der Natur geistlich ausgelegt.“ 19 Matthias Herrmann, Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. (Dresden: Sächsische Landesbibliothek Dresden, 1991), 28. 47 music that in some way is rooted in the song and sound of its people will be able to endure the test of time.” 20 The large works written at the end of the war represent Mauersberger’s mature style of composition. All of the large choral sacred works are polychoral and were conceived for liturgical settings at the Kreuzkirche. Each work has, to a greater or lesser degree, performance directions for the choir to present themselves in specific groups and locations throughout the church, with specific attire. These works were also specifically intended for the Kreuzchor and incorporated chorales and soloists. The use of the descriptor “liturgical” in the titles of the works indicate their intended conception for application in the church service and include directions to create an experience that will provide vivid imagery and symbolism to enliven the worship service. Success after the War After the war, the Kreuzchor performed at neighboring churches in hopes that one day, the Kreuzkirche would be rebuilt. In 1950, the Annenkirche (St. Anne’s Church) became the Kreuzchor’s temporary home. Now it had a church where it could sing weekly services, and the weekly Vespers concerts reconvened. 21 The Kreuzchor was experiencing more success even though it still did not have the Kreuzkirche as its “home.” 22 In celebration of the 300 th anniversary of J. S. Bach’s death, Mauersberger and 20 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden (Marburg: Tectum Verlag, 2014) 167. „Nur die Vokalkunst, die in eirgendeiner Weise im Lied und im Klangempfinden des Volkes wurzelt, kann auf die Dauer sich gesund weiterentwickeln.“ 21 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Verlag Regensburg, 1986), 98. 22 Ibid. Another time in the history of the Kreuzkirche, in the 1760’s, the church was completely destroyed by Prussian troops and took thirty-two years to rebuild. In the meantime, the Kreuzchor was displaced and performed in surrounding churches. 48 the Kruzianer collaborated with Günter Ramin, conductor of the Thomaner, and the Thomaner to perform the Messe in h-moll in both Dresden and Leipzig. Mauersberger conducted the performance in Dresden to wide acclaim, which involved more than 200 men and boy singers. Over 200 years had passed since the Mass had been performed in Leipzig with the exact choral performing forces in which it was performed during J. S. Bach’s time with all boy sopranos, altos, and soloists. 23 A boy alto soloist from the Kreuzchor, Peter Schreier, astonished the press as the alto soloist during both performances. 24 Both Ramin and Mauersberger received the National Prize in Arts and Literature (in the German Democratic Republic) for their work and were offered a cash prize. Mauersberger donated all the money to help rebuild the old Wehrkirche (fortified church) of his childhood, where he was the last individual to be baptized before it was torn down in 1889, now called the Kreuzkapelle. 25 Mauersberger’s prize money also paid to build an adjacent family Gruftkapelle (Crypt Chapel). 26 Mauersberger hired the same architect who reconstructed the Kreuzkirche in Dresden to build the Kreuzkapelle and his family’s Gruftkapelle. 27 Over the next five years, from 1950 to 1955, the Kreuzchor resumed international touring and reestablished itself as one of the finest choirs in the world. 28 The Kreuzchor 23 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986) 100. 24 Ibid. 25 https://www.mauersberg.net/museum July 31, 2019. The old Wehrkirche also functioned as the old cemetery chapel (Friedhofskapelle). 26 Matthias Herrmann. Kreuzkantor zu Dresden, Rudolf Mauersberger. (Lampertswalde: Stoba- Druck GmbH, 2004) 85. 27 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986)101. 28 Ibid, 102-103. 49 toured Holland and Romania in 1952, Czechoslovakia in 1953, Austria in 1953, Poland in 1954, Sweden, Finland, France, and Luxemburg in 1955. During this same period they also often toured Germany, including twelve times to West Germany. The Kreuzchor was often featured at choir festivals, J. S. Bach celebrations, and organ conventions in major cities in Europe. The Kreuzchor was capable of performing sacred music of the Romantic, Baroque, and Renaissance eras, as well as works of contemporary composers and the folk music of Hungary, Sweden, Russia, and France. Mauersberger believed that one of his most important responsibilities was to build a bridge between folk and classical music and to provide a connection between the two for the inexperienced listener. 29 In a report written in 1954 by Mauersberger at the bidding of Minister President of Saxony (Ministerpräsidenten des Landes Sachsen) from 1947-1952 and General Director of the State Art Collections of Dresden (Generaldirektor der Staatlichen Kunstsammlungen Dresden) from 1955-1968, Mauersberger stated, “With all of the travels, we saw that the main mission of our concerts was to work on the preservation of peace and to convince with all our strength that only in peace can the cultural rebuilding of our nation thrive.” 30 He went on to quote four separate newspaper reviews from four different major cities on their national and international tours which had taken place after 1947: As in former times, the Kruzianer go again on tour, and more than ever they work now as childlike ambassadors of reconciliation. (Frankfurt on Main, Germany) 29 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden (Marburg: Tectum Verlag, 2014) 168. 30 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 116. “Wir haben es bei allen unseren Reisen als unsere Hauptaufgabe angesehen, durch unsere Konzerte für die Erhaltung des Friedens zu wirken und überall mit unseren Kräften zu überzeugen, daß nur im Frieden der kulturelle Aufbau unserer Nation gedeihen kann.“ 50 And that is the irony and yet deeply exhilarating: that out of affliction and death again such magnificence rises from young lives. (Remscheid) The Choir proved that at the center of Europe, the musicality has such deep roots, that even bombings are not able to destroy them. (from a Swedish critic in 1951) Two unforgettable evenings of German art, full of comforting hope in these youth who sang of faith and promise. The former Dresden sends out such a choir. There is no need for words. (Bremen, Germany, spring 1948) 31 On February 13, 1955, exactly ten years after the bombings destroyed the Kreuzkirche, the Kreuzchor returned to its restored church. The magnificent Jugendstil (Youth Style) architecture that had ornately decorated the interior of the church was largely ruined in the bombings. Although what remained was kept, the rest was filled in with light grey plaster. The church’s unfinished restoration is a stark reminder of the bombings, and Mauersberger said it looked more like an enormous crypt. 32 Nevertheless, the church was restored to function, and the Dresdner Requiem was performed twice to audiences of almost five thousand people each. 33 At the rededication of the Kreuzkirche, the Trauermotette, Wie liegt die Stadt so wüst, served as a prelude to the Dresdner Requiem, and establishing what has become a normal pairing of these two works. The Requiem was performed on every 13th day of February until shortly before Mauersberger’s death in 1971. 31 Ibid. “Die Kruzianer gehen wie ehedem wieder auf Reisen, und mehr als jemals wirken sie nun als kindliche Sendboten der Versöhnung.” (Frankfurt am Main) “Und das ist das Ergreifende und zugleich tief Beglückende: daß aus Not und Tod wieder solcher Glanz des jungen Lebens aufsteigt.“ (Remscheid) „Der Chor beweist, daß im Zentrum Europas die Musikalität so tiefe Wurzeln hat, daß auch Bombenangriffe sie nicht zu zerstören vermochten.“ (Aus einer schwedischen Kritik vom Jahre 1951) „Zwei unvergeßliche Abende deutscher Kunst, voll tröstlicher Hoffnung auf diese Jugend, die von Glauben und Verheißung sang. Das gewesene Dresden entsendet einen solchen Chor. Da bedarf es keiner Worte.“ (Bremen, im Frühjahr 1948) 32 Herrmann, Matthias, and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dressdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.“ Dresden und die avancierte Musik im 20. Jahrhundert 2, (2002), 348. 33 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986) 114. 51 Heinrich Schütz-Tage As the quality and fame of the Kreuzchor rose after the war, Mauersberger’s focus in promoting Dresden’s Heinrich Schütz became more overt. His works stood central to the choir’s development, and Mauersberger saw an opportunity to present more of his works, including his larger works, to an increasingly growing audience. In 1955, the same year of the Kreuzchor’s return to the Kreuzkirche, Mauersberger established the Heinrich-Schütz-Tage des Dresdner Kreuzchors (Heinrich-Schütz-Days of the Kreuzchor). The annual summer festival continued until summer 1970 with the objective to feature both choral works by Heinrich Schütz and contemporary composers’ church works. The programs were designed to juxtapose the early baroque master’s works with those of contemporary church music. Surprisingly, the works of Schütz had not been performed in the Kreuzkirche during the past 200 years until the arrival of Otto Richter who programmed Schütz in a Vespers on February 8, 1930. 34 Many performances of Schütz’s works that had not been published took place for the first time in the GDR and many composers were commissioned and received premiere performances of their compositions by the Kreuzchor in the Kreuzkirche. On June 3, 1955, the premiere of Willy Burkhard’s Die Sintflut was only a few days before he died on June 18. 35 Other premiere performances were works by composers Kurt Hessenberg (1908-1994), Johannes Dreißler (1921-1998), Heinrich Kaminski (1886-1946), Siegfried Reda (1916- 34 Ibid, 56. 35 Matthias Herrmann, Dresdner Kreuzchor und zeitgenössische Chormusik: Ur- und Erstaufführungen zwischen Richter und Kreile (Marburg: Tectum Verlag, 2017), 311. 52 1968), Johann Nepomuk David (1895-1977), Dietrich Manicke (1923-2013), Ernst Pepping (1901-1981), Heinz Werner Zimmermann (b. 1930), and others. 36 Over the course of the next decade, a normal church year for the Kreuzchor in the Kreuzkirche under the direction of Mauersberger began with advent and the singing of J. S. Bach’s Weihnachtsoratorio, BWV 248. Mauersberger’s Christvesper, RMWV 7, and Christmettenspiel, RMWV 73, were performed to celebrate and observe the Christmas season. On February 13, the Dresdner Requiem RMWV 10 was performed with Wie liegt die Stadt so wüst, RMWV 4/1, as prelude. In the following passiontide, J. S. Bach’s Johannes-Passion, BWV 245, and on Karfreitag, J. S. Bach’s Matthäus-Passion, BWV 244, were performed. On Easter, the Kreuzchor sang liturgical works, motets, and the J. S. Bach Cantata, Christ lag in Todes Banden, BWV 4. On Easter morning, they sang Ostermettenspiel, RMWV 74. On the day of Pentecost, the J. S. Bach cantata Erschallet, ihr Lieder BWV 172, was sung. In the ordinary time of the church year, the Vespers provided an opportunity to celebrate the other church feasts. The Messe in h-moll by J. S. Bach rounded out the remainder of the church year with the Musikalischen Exequien by Heinrich Schütz, SWV 279-281, the Johannes Brahms’ Ein deutsches Requiem (Op. 45), weekly Vespers concerts, and whatever secular works the choir learned that year. Even at the age of sixty-six, Mauersberger continued a rigorous schedule. In addition to the church-related concerts and services, the Kreuzchor continued to tour West Germany and other countries, hosting the Schütz-Tage, and recording for the Deutschen Demokratischen Rundfunk (German Democratic Radio). 36 More details about the programming for the Schutz-Tage are in both the books, Dresdner Kreuzchor und zeitgenössische Chormusik and Rudolf Mauersberger Aus der Werkstatt eines Kreuzkantors, by Matthias Herrmann. 53 In 1959, Mauersberger celebrated his seventieth birthday and received an honorary doctorate in Theology from Philipps University for his leadership within the church and the support he had provided the Kreuzchor. 37 In 1961, the borders of East Germany closed, and Mauersberger turned to recording. In that same year, his brother, Erhard Mauersberger, was appointed the new conductor of the Thomaner. He was also a student of Karl Straube and had followed Rudolf, filling in his vacancies in Aachen, Eisenstadt, and now in Leipzig. In 1962, both brothers and their choirs performed the J. S. Bach Messe in h-moll in Dresden. 38 In 1963, Mauersberger suffered a heart attack, and although he could not continue his rigorous schedule, he would not consider retirement. In 1965, The Kreuzchor celebrated its 750 th year anniversary with the Kreuzkirche and the twentieth anniversary of the bombings in Dresden. In 1966, Hans Werner Henze (1926-2012) desired to collaborate with the Kreuzchor with his composition, Musen Sizilien (Muses of Sicily), written for choir, two pianos, brass and percussion. Mauersberger agreed, and through the success of the collaboration, they pursued a recording of the work. The Kreuzchor typically did not make recordings of contemporary works. Conversely, Mauersberger made it a point to record all of Heinrich Schütz’s entire works, and he nearly completed recording all 500. Between 1966 and 1968, the Kreuzchor was granted permission to tour Sweden, Finland, Austria, and Poland, and the Czechoslovak Socialist Republic. At the age of eighty, Mauersberger was fragile and unable to conduct an entire concert. In 1969 and 1970 he would often not conduct longer passages to conserve energy. Despite this, he 37 Matthias Grün, “Rudolf Mauersberger Studien zu Leben und Werk.” (Regensburg: Gustav Bosse Varlag Regensburg, 1986) 116. 38 It is worth noting that Benjamin Britten’s War Requiem was premiered on May 30, 1962, and there are similarities between the two iconic works. 54 conducted the Heinrich Schütz-Tage concert, and even premiered the contemporary work Das unsre Liebe eine Heimat hat by Siegfried Köhler (1923-2017). In 1970, Mauersberger and the Kreuzchor returned to Mauersberg one final time. Later that year, the choir recorded the Konzerte and motets of Heinrich Schütz. During this same period, Mauersberger began contemplating a successor who would be able to assist him with a season which included J. S. Bach passions, motets, and the Easter Oratorio (Historia der fröhlichen und siegreichen Aufferstehung unsers einigen Erlösers und Seligmachers Jesu Christi), SWV 50. At Easter, Mauersberger hoped to offer his farewell from the choir; however, on February 6, 1971, he was to conduct his Dresdner Requiem. Even though at 82 years of age he looked much too weak, Rudolf Decker described the experience as follows: The bells fell silent. The Cantor was missing. After the choir waited impeccably quiet twenty minutes, the master appeared…(Later we found out that he labored with difficulty and took intermittent breaks to get to the choir loft.) He took his place at the conductor’s podium, raised his hands for the first down beat. And it happened, like it was a miracle: He looked pale as death, but somehow had indescribable excitement and power to raise to give form to his own work. Admittedly, he would leave his arms hanging, like he had often done recently, for long stretches and let the music making run itself. But, in time for all climaxes, you would see the Cantor rise and lead the singers and instrumentalists with large gestures.” 39 39 Erna Hedwig Hofmann et al., Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. (Berlin: Evangelische Verlagsanstalt, 1977), 107.“Das Geläut war verstummt. Der Kantor fehlte. Nachdem der Chor in tadelloser Haltung zwanzig Minuten verharrt hatte, erschien der Meister…(Später erfuhr man, daß er nur mühsam, mit Ruhepausen zur Chorempore gelangt war.) Er nahm seinen Platz am Dirigentenpult ein, erhob die Hände zum ersten Einsatz. Und es geschah, was wie ein Wunder war: Dem schon vom Tode Gezeichneten wuchs noch einmal die Kraft zu, das von ihm selbst geschaffene Werk in unsagbarer Spannung zu gestalten. Zwar ließ er – wie schon oft in letzter Zeit – für lange Strecken die Arme sinken und überließ das Musizieren gleichsam dem Selbstlauf. Rechtzeitig vor allen Höhepunkten aber sah man den Kantor sich erheben und mit großen Dirigierbewegungen die Sänger und Instrumentalisten leiten.“ 55 Directly after the performance, Mauersberger was taken to the hospital. He died two weeks later on February 22, 1971, and was buried on February 28 in the Mauersberger family Gruftkapelle in Mauersberg, serenaded by the Dresdner Kreuzchor. 40 In September of 1973, a Mauersberger Museum was created with his and his brother Erhard’s private belongings and property. In January 1989, less than one year before the reunification of Germany, a research conference and in conjunction with commemorative concerts were held in the Cathedral in Braunschweig, Germany, to celebrate 100 years since Mauersberger was born. A collection of research papers were compiled to share at this conference. 41 In addition, concerts strictly of his works representing his entire ouvre were performed including Wie liegt die Stadt so wüst and the Dresdner Requiem. 42 Mauersberger’s continues to be performed and his contributions celebrated as the Kreuzkantor who steered the Kreuzchor through some of the most difficult challenges the choir has faced in its approximate 800-year legacy. 40 Matthias Herrmann, Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden (Marburg: Tectum Verlag, 2014) 18. 41 Dresdner Hefte 22, no. 2 (Feb. 1990): 22-27. https://digital.slub- dresden.de/werkansicht/dlf/72124/1/ on July 15, 2016. 42 Matthias Herrmann, ed. of Program. “Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunschweiger Dom – Altstadtrathaus Braunschweig.” Nov. 24-26, 1989. 56 Chapter 4: Compositional Influences and Styles Cultural Movement Influences Cultural movements from the late nineteenth and early twentieth centuries influenced Mauersberger throughout his musical development, career, and manifested themselves in his compositions. Influences from the Jugendbewegung (The German Youth Movement) and Singbewegung (Singing Movement), the Neue Sachlichkeit (New Objectivity) movement, the Orgelbewegung (Organ Reform Movement), and the Erneuerungsbewegung (The Renewal Movement) can be traced in his compositions, especially in the works he composed for the Kreuzchor. Jugendbewegung and Singbewegung (German Youth Movement and Singing Movement) The Jugendbewegung (German Youth Movement) began around 1901 in Steglitz, a suburb of Berlin. It was led by “protestant male adolescents who were reacting against the materialism and bourgeois complacency that characterized the new German Empire’s rapid industrialization in the late nineteenth century.” 1 The youth called themselves Wandervögel (hiking birds). They turned to roaming the countryside, following their “own rules of simplicity and honesty, dressed in makeshift garb, singing rediscovered folksongs, eating simple food by the campfire and espousing a sexually clean life.” 2 This was in opposition to an older generation which showed a lack of vitality, sensitivity, emotion, and ideals. 3 1 Michael H. Kater. Hitler Youth. Cambridge, Mass. u.a: (Harvard Univ. Press, 2004), 7. 2 Ibid. 3 Ibid. 57 The Jugendmusikbewegung (Youth Music Movement) grew out of the Jugendbewegung (Youth Movement). It fostered lay musicians who rediscovered and learned traditional German folksongs. This movement contributed to the revival of older, and somewhat forgotten, instruments including the recorder, forest zither, and mandolin. The Singbewegung (Singing Movement) also grew out of the Jugendbewegung as a singing and music-making community which sought to return to medieval and German folk music. Mauersberger treasured the folk songs of his youth and believed that the simplicity of folk music had been refined to withstand the test of time, thus becoming classical. He desired to build a bridge between folk songs and “art” music. His arrangements of his Geistliche Sommermusik, Jahreskreis, and his many other folk arrangements are examples of well-developed arrangements of folk songs. Heinrich Schütz’s music was also at the center of many of these movements and was important in Dresden, as it was thought to oppose the “false and invalid” aspects of German musical life. 4 Neue Sachlichkeit and Gebrauchsmusik (New Objectivity and Music for Use) The Neue Sachlichkeit (New Objectivity) movement arose in the 1920s in response to the modernist movement of Expressionism, which developed before, during, and after WW I. Expressionism can denote music from most any era that has intense self- expression that appears to override clear coherence and disregard convention. 5 4 Todd J. Harper. „Hugo Distler and the Renewal Movement in Nazi Germany”. University of Southern California Digital Library (USC.DL), November 30, 2014. 21. 5 David Fanning "Expressionism." Grove Music Online. 2001; Accessed 6 Jan. 2020. https://www- oxfordmusiconline-com.li.bproxy2.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000009141. 58 Expressionism portrays “…a violent storm of emotion beating up from the unconscious mind…” and is “…only a distorted hint of the deep and mysterious sea of the unconscious.” 6 In contrast, the Neue Sachlichkeit style depicts objective reality rather than subjective emotions. Music from this movement is focused on reality, the factual, or that which is “matter-of-fact.” 7 It could be neo-classical, but represents “anti- Romanticism or anti-Expressionism without eliminating all expressiveness but to refine and control it.” 8 As other composers leaned toward less exaggeration and the formlessness of late Romanticism 9 , they turned to the influence of neo-classicism, a trend of the return to the aesthetics of “classicism.” Mauersberger and many other composers turned even further back towards the middle Baroque period and the music of Heinrich Schütz. They also wanted their music to be used for a specific purpose and include active participation or involvement. 10 The 1920s also saw the rise of the term Gebrauchsmusik, or “utility music”, which was used not for its own sake but for a specific purpose and requiring active participation or involvement. Paul Hindemith (1895-1963), Wolfgang Fortner, and Ernst Pepping were at the forefront of composing works that were defined as Gebrauchsmusik. In 1921, Musicologist Paul Nettl (1889-1972) identified two types of music: 6 Macgowan, Kenneth, and Robert Edmond Jones. Continental Stagecraft. (Harcourt, Brace and Company, 1922), 31. Accessed February 25, 2020. http://hdl.handle.net/2027/mdp.39015008912381. 7 Dennis Crockett. German Post-Expressionism: The Art of the Great Disorder, 1918-1924 (University Park, Pa: Pennsylvania State University Press, 1999), xix. 8 Arnold Whittall. "Neo-classicism." Grove Music Online. 2001; Accessed 7 Jan. 2020. https://www-oxfordmusiconline- com.libproxy1.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000019723. 9 Ibid. 10 Stephen Hinton. "Gebrauchsmusik." Grove Music Online. 2001; Accessed 5 Jan. 2020. https://www-oxfordmusiconline- com.libproxy2.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000010804 59 Gebrauchsmusik, music that can be danced to, and Vortragsmusik, other music which has no other secondary purpose. 11 Another musicologist, Heinrich Besseler (1900-1969), described Gebrauchsmusik in a 1925 lecture as music being “inseparable from everyday life…without having to adopt an aesthetic attitude.” All other music in contrast to Gebrauchsmusik would be considered “self-sufficient, as autonomous.” 12 Gebrauchsmusik was an outgrowth of the Singbewegung and Erneuerungsbewegung. Mauersberger used this term to describe most of his compositions and specifically those he wrote for the Kreuzchor. Orgelbewegung (Organ Movement) Theologian, philosopher, musical scholar, and organist Albert Schweitzer (1875- 1965) was the leader of the Orgelbewegung. In 1896, his interest in organ building peaked when he heard a new organ installation in Stuttgart. Though it received excellent reviews in the papers, Schweitzer considered the sound to be astonishingly harsh and could not aurally separate the different voices of a Bach fugue due to the sound of the organ. Over the next few years he studied organ building and wrote a study of authentic performance techniques and interpretation of Bach in 1905. His book Deutsche und Französische Orgelbaukunst und Orgelkunst (The Art of Organ Building and Organ Playing in Germany and France), published by Breitkopf & Härtel in 1906 13 , set the new standard for organ building. He concluded that French organ builders excelled over German builders in that they remained true to old building practices. The French organs 11 Ibid, 1. 12 Ibid, 2. 13 Schweitzer, Albert. 1962. Deutsche und französische Orgelbaukunst und Orgelkunst. Wiesbaden: Breitkopf & Härtel. 60 were built for polyphonic music because of the mechanic manuals and slider chests. In contrast, the German Romantic-era organ building strayed from years of development and added higher pressures and more orchestral tones to create a larger and more impressive instrument, but at the expense of clarity of sound. “The Orgelbewegung (Organ Movement) rediscovered and idealized the Baroque organ (as compared to the Romantic ‘orchestral’ organ then throughout Germany in newer installations).” 14 Many of the larger and more romantic organs were beginning to be retrofitted to sound like organs from Bach’s time. 15 Mauersberger studied organ performance under Karl Straube, an advocate for performing Bach’s works, notably as the director of the Thomaner. Mauersberger was greatly influenced by Straube and his dedication to this particular movement. Mauersberger was intimately acquainted with Bach’s music and also ascribed to this reawakening of neo-Baroque organ mechanics and timbre. The newer built organs returned to a more Baroque sound that influenced Mauersberger’s tonal concept of his choirs, particularly the Kreuzchor. The iconic sound of the Kreuzchor remained consistently unique throughout the Mauersberger years. In 1969, an acoustical study showed obvious comparisons between the recordings of the Kreuzchor and the signature timbre of Silbermann organs of the French Baroque. The Kreuzchor was widely known 14 Anthony Ruff. Sacred Music and Liturgical Reform: Treasures and Transformations. (Hillenbrand Chicago, Mundelein, Illinois, 2007), 132. 15 Lawrence I. Phelps: ‘A Short History of the Organ Revival’, Lawrence Phelps & Associates ed. Steven Thomas (Accessed 6 January 2020), http://www.lawrencephelps.com/Documents/Articles/Phelps/ashorthistory.shtml 61 for their clarity and transparency when performing polyphonic music, which embodied the sound ideals of the Orgelbewegung. 16 Erneuerungsbewegung der evangelischen Kirchenmusik (The German Lutheran Rebirth of Church Music or Renewal Movement) The multi-faceted movements of the early twentieth century indirectly or directly created a revival of liturgical worship and music also known as the “rebirth” of German Lutheran church music, a term coined by the theologist and philosopher Gottlieb Söhngen (1892-1971) in 1953. 17 At the turn of the century, there was a renewed interest in Martin Luther’s life and theology that began a revival of liturgical worship and its music called the deutsche evengelische liturgische Bewegung (German Lutheran Liturgical Movement) . The Jugendbewegung, Singbewegung, Laienspielbewegung (amateur music-making movement), the Orgelbewegung, the emphasis on J. S. Bach’s music, and the deutsche evengelische liturgische Bewegung all contributed to the rebirth, called the Erneuerungsbewegung. The recollection of old styles and master composers, while at the same time collectively searching for the new, created the Erneuerungsbewegung der evangelischen Kirchenmusik (The German Lutheran Rebirth of Church Music). 16 "Mauersberger, Rudolf." Grove Music Online. 2001; Accessed 9 Jan. 2020. https://www- oxfordmusiconline-com.libproxy2.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000018118. 17 Robin A. Leaver. "Lutheran church music." Grove Music Online. 2001, 16; Accessed 9 Jan. 2020. https://www-oxfordmusiconline- com.libproxy1.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000046760. 62 Reviewing Martin Luther’s writings renewed an emphasis on music as a means of proclaiming the Gospel and the liturgy as the center of church life. 18 “Luther’s understanding of music as a means of proclaiming the Gospel was recovered and gave renewed purpose to worship music. The deutsche evangelische liturgische Bewegung picked up the renewed interest in the Church, and the liturgy was discovered as the center of the Church’s life. Worship music was increasingly seen as an integral part of worship rather than an ornament or decoration. 19 The relationship between ritual and music became interconnected. Newly published collected works of Samuel Scheidt (1923), Dietrich Buxtehude (1925), Michael Praetorius (1928), and Johann Walter (1941) gave rise to more interest in these Lutheran composers. 20 The music of the Renaissance and Baroque composers, especially J. S. Bach and Schütz, was revived and became an inspiration for modern compositions. 21 J. S. Bach’s music had been performed in concerts in the nineteenth century, but it was not until after WW I that Schütz’s music was performed more regularly, thanks to the Singbewegung. At that time, Schütz became regarded as a master and not simply as a predecessor to Bach. 22 Contemporary composers were writing works reflecting the music of the past while exploring twentieth century techniques and setting biblical, liturgical and chorale texts. 23 In a 1935 article on the 18 Anthony Ruff. Sacred Music and Liturgical Reform: Treasures and Transformations. (Hillenbrand Chicago, Mundelein, Illinois, 2007), 131-132. 19 Ibid. 20 Robin A. Leaver. "Lutheran church music." Grove Music Online. 2001, 16; Accessed 9 Jan. 2020. https://www-oxfordmusiconline- com.libproxy1.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000046760. 21 Anthony Ruff. Sacred Music and Liturgical Reform: Treasures and Transformations. (Hillenbrand Chicago, Mundelein, Illinois, 2007), 130. 22 Anthony Ruff. Sacred Music and Liturgical Reform: Treasures and Transformations. (Hillenbrand Chicago, Mundelein, Illinois, 2007), 134. 23 Robin A. Leaver. "Lutheran church music." Grove Music Online. 2001, 16; Accessed 9 Jan. 2020. https://www-oxfordmusiconline- 63 creative impulse that music of the past gave composers in his day, Hugo Distler stated, “We feel that we are the founders of a new church music.” 24 As Mauersberger helped compile and create the new Thüringer Evangelisches Gesangbuchs (Evangelical Hymnbook of Thuringia), he displayed an orientation towards pre-Baroque melodies and a reduction of songs influenced by Romanticism. Like many composers of the early twentieth century, he used older melodies in his sacred compositions and in polyphonic settings for choir. In addition, Mauersberger and his brother, Erhard, Director of Thomanerchor in Leipzig, influenced the repertoire of churches in other cities and towns during their lifetime. 25 Influence from his hometown of Mauersberg While Mauersberger was in his twenties, he and his brother began to build a model of Mauersberg, their hometown, in the winter around 1900. Rudolf brought this model with him to Dresden and set it up in his apartment to display and continued to work on it. Fortunately, it was taken to storage before the bombing of Dresden in February 1945, and was not damaged. 26 Mauersberger invited the Kruzianer and friends to see this model in his apartment and also the collection of handcrafts from the Ore Mountains. Today, these and his brother’s belongings are displayed in the Museum in com.libproxy1.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000046760. 24 Hugo Distler. „Vom Geiste der neuen Evangelischen Kirchenmusik.“ Neue Zeitschrift für Musik. 102, 1935, Iss 12, 1326-1327. 25 Robin A. Leaver. "Lutheran church music." Grove Music Online. 2001; Accessed 9 Jan. 2020. https://www-oxfordmusiconline- com.libproxy1.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 0000046760. 26 Ingo Zimmermann. “Die Herkunft als Element der Persönlichkeit Rudolf Mauersbergers.“ Dresdner Hefte 22, no. 2 (Feb. 1990): 18. 64 Mauersberg. Mauersberger’s vivid childhood impressions of advent, Christmas, and Easter in his hometown influenced the traditions he began in the Kreuzchor, in particular the Christmas traditions. The Advent and Christmas season in the Ore Mountain region continues to be known internationally for its Christmas crafts and tradition which are deeply connected to Christianity. These childhood memories influence his compositions and can be manifested in the chorales, folk songs arrangements and in the inclusion of quempas 27 singing (caroling groups) and Turmgesänge 28 (Tower songs). These musical additions had specific performance instruction that involved singers in the liturgy. 29 The memories and feeling of his hometown enabled Mauersberger to essentially share a recreation of his Christmas musical memories with Dresden. In 1926 he wrote a new melody for a hymn called “Jauchzet, ihr Himmel”, which portrays the angels celebrating Christ’s birth. In 1936 he combined this with another traditional hymn, “Ehre 27 Grove Music Online. 10 Jan. 2019. http://www.oxfordmusiconline.com.libproxy2.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001 .0001/omo-9781561592630-e-0000022680. Quempas (from Latin Quem pastores laudavere: ‘He whom the shepherds praised’) is the abbreviated title of a Christmas song popular in Germany in the 16 th c., used as a generic term for Christmas songs. The custom, performed by the students of Lateinschulen, of earning alms by singing carols from house to house was known as Quempas singen. 2001 "Quempas." 28 Matthias Herrmann. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. (Marburg: Tectum Verlag, 2014), 83. Mauersberger (RM) discusses the old and lost tradition of Turmsingen in an interview with Wolfgang Hiller (WH) on January 1, 1963. “RM: Auf dem untersten Fach, da drehen sich die Kruzianer, die das Christmettenspiel darstellen. Ganz oben habe ich dargestellt die Turmmusik, die früher eine Rolle spielte in der Kreuzkirche wie auch in anderen Kirchen. Da mussten zum Beispiel die Kruzianer früh um vier Turmsingen. (WH): Diese Tradition gibt es aber heute nicht mehr? (RM): Nein, die ist völlig weg. Turmblasen gab es immer noch mal, aber das ist jetzt auch ganz wenig. In Erinnerung daran habe ich die Turmgesänge – jetzt – für die Kruzianer geschrieben, damit dieser Begriff nicht ganz in Vergessenheit kommt. (WH): Ja, wir haben nun glücklicherweise Aufnahmen von Ihren Kompositionen, Ihren Bearbeitungen, Ihren Turmmusiken – vielleicht können wir jetzt hier an dieser Stelle eine davon anschließen.“ In summary, Turmgesänge (Tower singing) or Turmmusik (Tower music)is a tradition from the Kreuzkirche and the other churches in the region that would sing and play advent and Christmas carols on instruments, particularly brass instruments, at four in the morning from the church towers. Mauersgberger acknowledged this tradition is no longer kept, he has incorporated these songs and elements of it into his large Christmas works by having instrumentalists and singers perform anywhere in the church. 29 Matthias Herrmann, foreword to Christvesper nach Worten der Bibel und des Gasangbuches, trans. by John Coombs (Stuttgart: Carus, 2003) x. 65 sei Gott”, a hymn for the chorus to join in praising God. Together these two hymns became the centerpiece of the Christvesper, RMWV 7, inspired by the sacred Christmas celebrations of his childhood in the Ore Mountains. 30 Throughout the next four decades, this seminal work underwent revisions almost annually until 1963. The work is in three parts and at the center is the Christmas gospel story, sung by the altar choir. The Christvesper was specifically composed as part of the liturgy and quickly established itself as an annual Christmas Eve tradition. The Christvesper continues to be performed today. It is a polychoral work in which a large choir sings with instruments and an organ, while four smaller groups of quempas 31 singers are in each corner of the church and a small altar choir sings the Christmas story. The city of Mauersberger’s youth became an even more important artistic refuge after the Dresden bombing. It was there that he experienced outpourings of inspiration for his greatest compositions, such as Weihnachtszyklus der Kruzianer, RMWV 2, now published as Christvesper nach Worten der Bibel und des Gesangbuches, RMWV 7, the Turmgesänge der Kruzianer (Tower Songs of the Kruzianer), RMWV 185, and Ostermette des Dresdner Kreuzchores (Easter Mass of the Dresden Kreuzchor), RMWV 74. The Ore Mountains were also the inspiration for his Tag und Ewigkeit (Day and Eternity), RMWV 1, and Zyklus Erzgebirge (Ore Mountains Choir Cycle), RMWV 5, choir cycles. During Mauersberger’s forty-one-year tenure at the Kreuzkirche, he frequently journeyed home to Mauersberg for the summer for renewal, and he often composed and arranged new works during these respites. 30 Matthias Herrmann, foreword to Christvesper nach Worten der Bibel und des Gasangbuches, (Stuttgart: Carus, 2003) IV. 31 Refer to reference 25 in Chapter 4. 66 Chapter 5: Analysis of Wie liegt die Stadt so wüst On February 13, 1955, the Kreuzkirche was rebuilt and rededicated, exactly ten years after the Dresden bombings. It featured the funeral motet, Wie liegt die Stadt so wüst (How desolate lies the city) RMWV 4/1, which was performed before the Dresdner Requiem. The funeral motet had premiered in August of 1945 at the Memorial Vespers in the bombed out and roofless shell of the Kreuzkirche, and may have been the last performance at the church until the rededication. The performance of the funeral motet and the Dresdner Requiem at the rededication solemnized the Kreuzkirche back into service. Wie liegt die Stadt so wüst is Mauersberger’s most recognized and frequently performed work in Europe and is becoming increasingly performed throughout the world. On Karsamstag (Holy Saturday), March 31, 1945, Mauersberger selected verses from Chapters 1, 2, 4, and 5 from the book of Lamentations in the Hebrew Scriptures. He selected the verses to be arranged in a way that he felt would best describe personal feelings and the experience of having survived the bombings. 1 The Prophet Jeremiah lamented his beloved Jerusalem in these poems of mourning about the complete destruction of Jerusalem and the temple in 586 BCE and the subsequent Babylonian exile. In ancient Israel, it was customary to compose and sing lamentations associated with the death of departed friends or relatives. 2 Mauersberger responded likewise by composing his own motet of lamentation. Table 1 indicates the text with the associated chapter and verse for each line, including English translation. 1 Vitus Froesch, Die Chormusik von Rudolf Mauersberger: Eine stillkritische Studie. (Marburg: Tectum Verlag, 2013) 129. 2 J. A. Smith,"The Ancient Synagogue, the Early Church and Singing," Music & Letters 65, no. 1 (1984): 1-16. Accessed March 12, 2020. www.jstor.org/stable/736333. 67 Table 1. Wie liegt die Stadt so wüst RMWV 4/1 Text and Translation with Chapter and Verse from the Hebrew Scriptures’ Book of Lamentations Ch.:Vs. Text 3 Translation 4 1:1 1:4 4:1 1:13 2:15 1:9 5:17 5:20 5:21 1:9 Wie liegt die Stadt so wüst, die voll Volks war. Alle ihre Tore stehen öde. Wie liegen die Steine des Heiligtums vorn auf allen Gassen zerstreut. Er hat ein Feuer aus der Höhe in meine Gebeine gesandt und es lassen walten. Ist das die Stadt, von der man sagt, sie sei die allerschönste, der sich das ganze Land freuet. Sie hätte nicht gedacht, daß es ihr zuletzt so gehen würde; sie ist ja zu greulich herunter gestoßen und hat dazu niemand, der sie tröstet. Darum ist unser Herz betrübt und unsre Augen sind finster geworden. Warum, warum, warum, warum willst du unser sogar vergessen und uns lebenslang gar verlassen! Bringe uns, Herr, wieder zu dir, daß wir wieder heimkommen, daß wir wieder heimkommen! Erneue unsre Tage wie vor alters. Ach Herr, siehe an mein Elend, ach Herr, siehe an mein Elend, mein Elend! Sieh an mein Elend! How desolate lies the city, that was full of people! All her gates stand barren. How all of the stones of the sanctuary lie scattered in front of all of the streets. He sent a fire from on high into my bones and it subdued me. Is that the city of which man said, she is the most beautiful, that makes the entire land rejoice. She had not thought, that this would be her final end; she has been thrust down too horrifyingly and has nobody to comfort her. Therefore our heart is sorrowful and our eyes have become dim. Why, why, why, why do you forget us altogether and abandon us! Bring us, Lord, back to thee, so we may return home, that we may return home! Renew our days as of old. O Lord, behold my misery, o Lord, behold my misery, my misery! Behold my misery! The selected verses are out of order from how they appear in the Bible because Mauersberger reorganized them to better fit the narrative he wanted to create. The verses can be analyzed in three large sections. Table 2 explains these three major sections. 3 Rudolf Mauersberger, Wie liegt die Stadt so wüst: Klagelieder Jeremiae. Kassel: Merseburger, 1949. 4 Translation by Karsten Longhurst. 68 Table 2. Three main sections of the text from Wie liegt die Stadt so wüst 5 Ch.:Vs Text (Translated) Sections 1:1 1:4 4:1 1:13 2:15 1:9 5:17 5:20 5:21 1:9 How desolate lies the city, that was full of people! All her gates stand barren. How all of the stones of the sanctuary lie scattered in front of all of the streets. He sent a fire from on high into my bones and it subdued me. Is that the city of which man said, she is the most beautiful, that makes the entire land rejoice. She had not thought, that this would be her final end; she has been thrust down too horrifyingly and has nobody to comfort her. Therefore our heart is sorrowful and our eyes have become dim. Why, why, why, why do you forget us altogether and abandon us! Bring us, Lord, back to thee, so we may return home, that we may return home! Renew our days as of old. O Lord, behold my misery, o Lord, behold my misery, my misery! Behold my misery! Section A (m. 1-58) addresses the scene of the destruction, recollection of how the city once stood, and disbelief at such a tragic outcome. The verses depict a completely destroyed Jerusalem and the temple, void of people, and in ruin. Mauersberger relates the destruction he experienced with the Kreuzkirche and surrounding buildings destroyed with stones and mortar scattered in the streets. The “fire from on high” is imagery directly relatable to the allied forces’ firebombs that destroyed the buildings and created the fire storm that annihilated the city in the aftermath of the bombings. Towards the end of the war, the “Gem City” or the “Jewel Box” of Europe, was not expected to be a target because of its beauty and lack of military significance. 5 Sonja Dussel. “Du hast mich zur Wüste gemacht, dass ich täglich trauern muss – Analyse zu Textkomposition und liturgischem Konzept des Dresdner Requiems von Rudolf Mauersberger (RMWV 10) unter Berücksichtigung der Trauermotette Wie liegt die Stadt so wüst, 20-21.“ https://www.glk.uni- mainz.de/files/2018/08/FB01_Diplomarbeit_Dussel.pdf on June 13, 2019. A – Present description, recollection, and disbelief B – “We” lament & lament to God C – Prayer & Plea to God 69 The disbelief that a place so beautiful, like ancient Jerusalem with Solomon’s temple, could be subject to such horrible decimation created the “desolate state” concluding the text. Section B (m. 59-85) is comprised of two perspectives on lament. The first expresses the sorrow in heart and the eyes blurred with tears of those who experienced the horrific destruction, in the first-person plural or “we” perspective. The next sentence powerfully changes speaking perspectives to second person by addressing God directly, using “you,” and asking four times for added emphasis, “why” God has forgotten and abandoned us. Finally, section C (86-126) is a prayer asking God in first person collectively to come back and rescue “us” so that “we” may return home. In this case, Dresden represents home, and “we” ask Him to renew the city as in the days of old. The last statement is one of desperation and grief, “O Lord, behold my misery!” Wie liegt die Stadt so wüst is a “word for word” through-composed work that is indicative of Mauersberger’s text-driven compositional style. 6 The largely homophonic texture, the melismas on poignant words, and early music techniques from the Renaissance and Baroque like parallel motion, omission of the third, use of church modes, and antiphonal choirs, are common compositional techniques of Mauersberger. Because Mauersberger’s compositional style was influenced by Renaissance, Baroque, Romantic, and twentieth century composers, particularly J.S. Bach, Schütz, and contemporary composers, it presents a unique challenge to analyze his music. 7 A 6 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 132. 7 Vitus Froesch, Die Chormusik von Rudolf Mauersberger: Eine stillkritische Studie. (Marburg: Tectum Verlag, 2013) 64. 70 functional harmonic analysis is often not compatible. The use of church modes and an emphasis on voice leading leads to unconventional harmonic progressions. An investigation of the key signatures, accidentals, and chords help to analyze the tonal centers Mauersberger used. In addition, focusing on certain passages can shed light on his text painting. Vitus Froesch’s book, Die Chormusik von Rudolf Mauersberger: Eine stilkritische Studie (The Choral Music of Rudolf Mauersberger: a Critical Study of Style), discusses the complexity of Mauersberger’s works. Froesch states that Mauersberger’s style demonstrates a reliance on proportion and symmetry (Reihungsform) of loosely but meaningfully connected sections. 8 This style is reflected in Wie liegt die Stadt so wüst as well as the Dresdner Requiem. All of the sections in both of these works demonstrate continuity and contrast. 9 Wie liegt die Stadt so wüst begins with the bass and alto voices singing octave divided unisons on F as a pedal tone and dominant in the key of B-flat minor. Even though the work appears to be in F minor, Mauersberger does not adhere strictly to key signatures, but rather allows the text and melody to work within the tonalities of f minor and relative A-flat Major and B-flat minor and relative Db-Major. Starting in measure 3, the Phrygian mode is inflected in a tonicization of F minor with G-flat accidentals often 8 Ibid, 29. 9 Ibid, 39-40. „Seine Chorwerke zeichnen sich vorwiegend durch Reihungen, nicht durch Entwicklungsformen aus. Das lockere Aneinanderfügen verschiedener sinnhafter Abschnitte kennzeichnet seine motettischen Werke im kleineren Maßstab ebenso wie die abendfüllenden Chorkompositionen. Dieses Reihungsprinzip führt bei letztere Werkgruppe beispielsweise dazu, dass ein etwa einstündiges Chorwerk aus rund 30 Einzelsätzen bestehen kann. Satzübergreifende motivische Wiederaufnahmen, wie beispielsweise im Dresdner Requiem, sind zwar möglich (Movt.‘s 2, 4, 7, 35), die entsprechenden Motive bilden aber keinen kompositorischen Entwicklungskern. Dabei sind all Teilabschnitte so aufeinander bezogen, dass sie eine sinnvolle und unmittelbar sich mitteilende Dramaturgie mit wellenförmigen, stark kontrastierenden oder kontinuierlich gesteigerten bzw. abegeschwächten Verläufen ergeben.“ 71 throughout the work symbolizing death and suffering. 10 The pedal tones create an eerie drone and empty sounding backdrop for the tenor and soprano voices to introduce the melody. The first full chord is in m. 4 on the word “Stadt” (city), an F minor chord or dominant of B-flat minor. The inclusion of a lowered second in a melodic fashion invokes the Phrygian mode with G-flats, the subject of the work is mournful in nature (see Example 5.1). The word “wüst” (desolate) is approached by G-flat moving to a theoretically distant A-flat minor (iii) chord, according to functional harmony, where one would expect a major third-degree chord in F minor. This altered chord created by C-flat resolves back to F minor on the down beat of m. 6. Example 5.1 Wie liegt die Stadt so wüst, mm. 1-7, Phrygian mode inflection and iii chord. Rudolf Mauersberger: "Wie liegt die Stadt so wüst” (Kassel: Merseburger Verlag), 11 www.merseburger.de 10 William Kimmel. "The Phrygian Inflection and the Appearances of Death in Music." College Music Symposium 20, no. 2 (1980): 44. Accessed February 1, 2020. www.jstor.org/stable/40374079. Vitus Froesch, Die Chormusik von Rudolf Mauersberger: Eine stillkritische Studie. (Marburg: Tectum Verlag, 2013) 141. 11 Reprinted by permission of Merseburger Verlag. Fm GbM7 Am (iii) Fm F minor Phrygian: F-pedal tone 72 In mm. 9-15, Mauersberger continues to depict desolation with the continued use of G-flat invoking the Phrygian mode (see Example 5.2). This phrase ends in mm. 13-15 with parallel motion in all voices. The soprano and tenor parts have the melody and the accompanying voices are a perfect fifth above or perfect fourth below. The phrase “Tore stehen öde” (barren gates of the city) ends in parallel motion of open fifths above and below F minor, the minor dominant. Again, the G-flat accidentals inflect the Phrygian mode tonicizing the dominant. The phrase ultimately cadences on B-flat minor, a key that includes G-flat. 73 Example 5.2 Wie liegt die Stadt so wüst, mm. 8-21, Phrygian mode, parallel motion, and consecutive major chords. The antithesis of this opening is starkly contrasted by the text painting of the holiness of the “Heiligtums” (sanctuary). This is the first occurrence of successive Major chords (D-flat, G-flat, and A-flat Major) in m. 19 (see Example 5.2), but they quickly return to F minor and then again to hollow-sounding motion in parallel fifths, mm. 21-24 on B-flat (see Example 5.3). Until this point, the dynamic is still pianissimo, as stated at the beginning, but it juxtaposes directly with the implied “subito” forte dynamic on the 74 phrase “He sent a fire” that “came from above” in m. 25, again ending in parallel motion on B-flat minor as the fire subdued its subjects. Example 5.3 Wie liegt die Stadt so wüst, mm. 22-27. Parallel motion and subito forte. Mauersberger notates the use of a separate small ensemble three times throughout the work; this is analogous to the polychoral technique used by Schütz and others. The first episode of solo ensemble is in m. 31 indicated as “EINZELNE” (individuals) in m. 31. This small ensemble sings the statement of disbelief about whether this is the city others described as the “most beautiful”, on a pianissimo dynamic. Measure 25 cues “Alle,” everyone or all singers of the choir, rejoining to inquire if it is the “allerschönste” (most beautiful) city in the land over which everyone rejoiced on a pianississimo dynamic, the softest of the entire work. This creates an even greater contrast to the previous forte phrase about “fire.” Measures 35-41 of Example 5.4 is a prime example of Mauersberger’s style to elongate a phrase with melisma in order to emphasize the text. The prolongation of the melisma on the word “allerschönste” is sustained by a stable D- Parallel Motion (subito) forte 75 flat pedal while the remaining voices harmonize with other chords beginning with D-flat Major, and continuing on to G-flat Major, A-flat Major, D-flat Major, A-flat Major, D- flat Major, D-flat Major dominant seventh, G-flat Major, and D-flat Major. Measure 42 continues on D-flat Major, B-flat minor minor seventh, and D-flat Major on a D-flat pedal tone until F minor in m. 43. The F minor and B-flat minor chord on the word “Land” is where the D-flat pedal tone stops and the phrase ends on Ab Major, the dominant of the tonicized key of D-flat Major, on the word “freuet” or “rejoice.” Example 5.4 Wie liegt die Stadt so wüst, mm. 35-47, melisma of text for emphasis. Db – pedal ------------------------------------------------------ ------------- ---- Db-Gb-Ab - Db - Ab - Db - Db dom7 - Gb - Db _____________________ 76 The second entrance of the soloists (“EINZELNE”) occurs in mm. 46-49 of Example 5.4 for another moment of introspection that “this would be her final end.” The soprano soloists are singing the melody in a recitative-like texture while supported by the other voices. Measure 46 begins on F minor (functioning as the minor dominant) and the melody on F and then progresses to the B-flat Major (I) chord with the naturalized D on the word gedacht (thought) of “sie hätte nicht gedacht, daß es ihr zuletzt so gehen würde” (She had not thought, that this would be her final end.) The phrase is sung by the soprano voice in somewhat recitative style while all other voices accompany in harmony, “Sie ist gräulich” (She is horrible), referring to condition, and “heruntergestoßen” (thrust down) (see Example 5.5). The end of the phrase in m. 49 has a plagal function ending on E-flat minor (iv) of B-flat minor, noting a G-flat of the Phrygian inflection of the key of F minor altering the chord to minor. All voices reenter at m. 50 in B-flat minor and sing, “She has been thrust down too horrifyingly and has nobody to comfort her.” Db - Bbm7 - Db - Fm - Bbm - Ab Db pedal tone continued. 77 Example 5.5 Wie liegt die Stadt so wüst, mm. 50-58, Descending line and open fifths. Mauersberger appears to have referenced Johannes Brahms’ (1833-1897) motet “Warum ist das Licht gegeben” Op. 74, No. 1 by stating, “Warum” four times (F minor – A-flat minor – C minor – F minor) in the context of having “forgotten and abandoning us.” Mauersberger shifts to F minor through this section, omits the previous frequent use of G-flat, and allows the dominant chord of C to remain minor to give the imploring more weight. The persecution of Job and the verses from the Book of Job which Brahms used 78 to set the beginning of his motet greater enables one to understand that Mauersberger turns to God, his “eternal partner,” from whom he hopes to have a relief of suffering (see Example 5.6). 12 Example 5.6 Wie liegt die Stadt so wüst, mm. 68-74, reference to Brahms‘ Opus 74. 12 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 132. Fm - Abm - Cm - Fm 79 Table 3. Part of the original text used in Brahms‘ motet no. 1, “Warum ist das Licht gegeben dem Mühseligen?” from Op. 74 Job 3:20-23 Brahms’ text from Op. 74, No. 1 20. Wherefore is light given to him that is in misery, and life unto the bitter in soul; 21. Which long for death, but it cometh not; and dig for it more than for hid treasures; 22. Which rejoice exceedingly, and are glad, when they can find the grave? 23. Why is light given to a man whose way is hid, and whom God hath hedged in? Why has light been given to the weary of soul, And life to the troubled hearts? Why? They who wait for death, and it doesn’t come; They who dig for it even out of secret places; Those who almost rejoice and are happy That they achieve the grave. Why? And to the man whose way is hidden, And from whom God himself has been concealed? Why? The next section is a prayer from two perspectives that contrast and end the motet in dramatic fashion. First, all upper voices sing in four-part harmony on piano dynamic the petition to God, “Bring us, Lord, back to thee, so we may return home, that we may return home!” This is sung by all treble voices as if the angels or the deceased were asking God to bring them home, and repeated twice. Mauersberger uses antiphonal choirs, as in his Requiem, to represent the deceased and this seems to follow that convention. There is an A-flat Major tonal centrism during this section even though it begins with an F minor chord and ends on C Major in m. 97. The end of this phrase, “come home,” is the first cadence on C Major and only the second time the dominant chord appears; including the minor dominant. All other voices join to finish the first part of this prayer as if to symbolize those who survived the bombings to say, “Renew our days as of old.” This phrase is extended by melisma (mm. 102-107), a mostly major tonality and ends the phrase on a Picardy third in F Major in m. 107 (see Example 5.7). 80 Example 5.7 Wie liegt die Stadt so wüst, mm. 96-109, phrase melisma and Picardy third. The final petition within the motet states, “O Lord, behold my misery,” also reasserting the key of B-flat minor. This begins softly but almost immediately crescendos to the strongest dynamic of fortissimo on the second and third statement. On the second statement of “Elend” (misery) in m. 114, it is pronounced even more with an E-flat minor and E-flat diminished seventh chord resolving to B-flat minor. The third and fourth statement shift to the dominant of F minor, C Major, instead of remaining in B-flat minor to cadence on the very clear F pedal tone. On the last word, “Elend,” the basses move to 81 the dominant before ending with finality in F minor and plagal function of C Major to F minor, bringing us full circle within the same range as the opening phrase and in similar ranges and pianissimo dynamic (see Example 5.8). Example 5.8 Wie liegt die Stadt so wüst, mm. 110-126, climax on misery. The lament expressed by Mauersberger with the funeral motet, Wie liegt die Stadt so wüst, communicates a visceral “condition of emotional depression” that Mauersberger Ebm-Ebº7-Bbm CM - Fm - B♭m - Fm. - CM (4-♮3) - Fm 82 expresses with solemnity. 13 At the rededication of the Kreuzkirche and continuing today, Wie liegt die Stadt so wüst is immediately followed by the ringing of the Kreuzglocke, the largest of the bells also known as the Totenglocke, that rings to honor those who died as well as signifies the beginning of the Protestant Requiem service. 14 Of all of Mauersberger’s compositions, he said, “And even if none of all my attempts at composing withstand the test of time – ‘Desolate City’ will be mentioned in connection with Dresden and the Kreuzchor and perhaps even sung…” 15 13 Matthias Herrmann, Kreuzkantor zu Dresden, Rudolf Mauersberger (Stoba-Druck GmbH, Lampertswalde), 17. 14 https://www.kreuzkirche-dresden.de/kirche/turm.html) 6-28-2019 15 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 132. “Und wenn von allen meinen kompositorischen Versuchen nichts erhalten bleibt – die ,Wüste Stadt‘ wird auch später noch in Verbindung mit Dresden und dem Kreuzchor genannt und vielleicht sogar gesungen werden…“ 83 Chapter 6: Dresdner Requiem “Liturgisches Requiem” (Liturgical Requiem) After World War II, Mauersberger composed a number of larger multi-movement works and many that were Dresden-themed. 1 Of these large works, the Dresdner Requiem has become the most recognized. The Requiem was performed annually on or around February 13 since its premiere in 1948 until Mauersberger’s death in 1971. It is still performed in the Kreuzkirche by the Kreuzchor nearly every year. The Requiem commemorates those who died during the Second World War, particularly those who died in the Dresden bombings, including eleven of the boys of the Kruzianer. 2 Mauersberger desired to compose a Requiem Mass that would be an “evangelical mass for the dead” which the “Protestant church does not possess.” 3 The Dresden Requiem is a Requiem that combines the structure and content of a Catholic Requiem Mass in the German language with the biblical passages and chorales of the Protestant church. 4 Mauersberger’s Dresdner Requiem is unique to the Protestant church in that it includes many elements from the Catholic liturgy, and includes singers as part of the liturgy. Mauersberger followed the flow of the movements of the Catholic Requiem Mass, omits only four of the ten movements (Tract, Offertory, Benedictus, and Communion) and expanded the Introit, Sequence, and Sanctus with German liturgical 1 Other Dresden-themed works include Dresdner Te Deum (RMWV 8), Zyklus Dresden (RMWV 4), Der dreizehnte Februar (RMWV 4/3), Weihnachtzyklus der Kruzianer (RMWV 2), Der dreizehnte Februar RMWV 4/3, Dresden im Frühling 1945 (RMWV 4/4), Die Kreuzkirche (RMWV 4/6) and Schola crucis (RMWV 4/8, 67). 2 Ibid., VIII 3 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 134. 4 Matthias Herrmann, ed. of Program. Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunscheiger Dom – Altstadtrathaus Braunschweig. Nov. 24-26, 1989, pg. 41. 84 texts from an old Bohemian Catholic prayer book in German. 5 The Catholic Requiem text is balanced by the inclusion of many Protestant chorales and biblical passages of destruction hope, comfort, and resurrection through Christ totaling thirty-seven movements in all. In 1542, Martin Luther (1483-1586) quoted the Apostle Paul in the preface to a small collection of funeral music commenting on the focus of burial rites: St. Paul exhorts the Thessalonians [4:13-18] not to sorrow over the dead as others who have no hope, but to comfort each other with God’s word [i.e. Scripture] as having a certain hope of life and of the resurrection of the dead… [N]or do we sing dirges of doleful songs over our dead and at the grave, but comforting hymns of forgiveness of sins of rest, sleep, life, and the resurrections of departed Christians so that our faith may be strengthened, and the people moved to true devotion. 6 The Dresdner Requiem was composed for the Kreuzchor during one of Mauersberger’s most productive compositional periods of his life, 1945-1948. During this time his compositional style became more uniquely his own, his ability to craft a statement grew, and his capacity to synthesize musical and liturgical form reached its high point. 7 He was known to say, however, “It was inevitable for me to become a so- called composer, because almost all of our music was destroyed…” 8 In a letter to the Association for German Composers in Berlin in 1952, he wrote: Since 1945, my compositions were created out of necessity to create new material for the Kreuzchor after the destruction of our choir library because almost nothing was printed in the years right after 1945. These choir compositions were written 5 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VIII. 6 Martin Luther. Christliche Geseng Lateinische und Deudsch zum Begrebnis (Latin and German Chrstian Songs for Burials) (Wittenburg: Klug, 1542) 200-201. Accessed on January 30, 2020. https://www.yumpu.com/en/document/read/51651747/luther-works-of-martin-luther-vol-6-righteousness- is-love 7 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 132. 8 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 132. „Ich bin zwangsläufig zum sogenannten Komponisten geworden, weil fast unser ganzes Notenmaterial vernichtet war…“ 85 specifically for the Kreuzchor, not only considering the technical difficulty but also the large numbers of musicians. The works are in large part for two to three antiphonal choirs. 9 In January 1947, Mauersberger had recently finished the Passionsmusik nach dem Lukasevangelium or Lukaspassion (The Passion music after the Gospel of Luke), RMWV 9 for two choirs and began composing the Dresdner Requiem for three antiphonal choirs. In 1953, addressing the same group of composers, he acknowledged his reticence to consider himself a composer: I have never actually considered myself to be called a composer. I have become a composer out of necessity… I have always seen the Kreuzkantorat (Cantorate at the Church of the Holy Cross) position as first priority, whereas the other things had to come second. 10 Although Mauersberger may never considered himself to be a serious composer, the Dresdner Requiem and many of his other compositions are published. The Kreuzchor premiered the Dresdner Requiem on St. John’s Day, June 24, 1948, under the original title, Liturgisches Requiem – Evangelische Totenmesse oder Musikalisches Seelenamt nach Worten der Bibel und des Gesangbuches (Liturgical Requiem – Protestant Mass or Musical Requiem Mass after texts from the Bible and from the German Protestant Hymnbook), in the Dresdner St. Martin Kirche (Dresden’s St. Martin Church), formerly known as the Garnisonskirche (Garrison Church). Figure 6.1 is 9 Matthias Herrmann, ed. of Program. Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunscheiger Dom – Altstadtrathaus Braunschweig. Nov. 24-26, 1989, pg. 15. „Meine seit 1945 geschaffenen Kompositionen sind aus dem Bedürfnis heraus entstanden, dem Kreuzchor nach der Zerstörung unserer Notenbibliothek neues Material zu verschaffen, da in den Jahren nach 1945 zunächst nichts gedruckt wurde. Diese Chorkompositionen sind sozusagen dem Kreuzchor auf den Leib geschrieben, nicht nur in Bezug auf die technischen Schwierigkeiten, sondern auch bezüglich der zahlenmäßigen Besetzung. Die Stücke sind nämlich zum großen Teil für zwei bzw. drei Chöre in getrennter Aufstellung.“ 10 Ibid. „Ich habe mich eigentlich nie als Komponist berufen gefühlt. Ich bin vielmehr zwangsläufig zum sogenannten Komponisten geworden…. Das Kreuzkantorat habe ich immer als Amt erster Ordnung angesehen, wogegen die anderen Dinge zurücktreten mußten.“ 86 the title page of the first edition manuscript. Figure 6.2 is the first page of the score that has a slightly different title. 11 The title page included “after[-]texts from the bible and from the hymnbook,” whereas the first notated page of the work excludes this descriptor. In 1950, the official title of the Requiem changed to Dresdner Requiem 12 to commemorate those who died in WW II. 13 The original title, Liturgisches Requiem – Evangelische Totenmesse (Liturgical Requiem – Protestant Requiem Mass), states very clearly Mauersberger’s intention for the work to function in the liturgy, even though it could also function outside of the liturgy as a concert work. 11 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), IV-V. The digital manuscript of the entire first edition of the work is available online at https://digital.slub-dresden.de/werkansicht/dlf/88840/1/ and in person at the Sächsiche Landesbibliothek- Staats- und Universitätsbibliothek Dresden in special collections along with most of his other works. 12 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VIII. 13 Ibid, V. 87 Figure 6.1 Title page of manuscript from premiere showing the original titles of the Requiem. 88 Figure 6.2 First page of manuscript from premiere showing the original titles of the Requiem. 89 Music reviewer Gottfried Schmiedel (1920-1980) wrote of the Requiem’s premiere in the Sächsisches Tageblatt: A work which with the shattering actuality of its words […] becomes a profoundly moving Requiem for Dresden. Mauersberger writes in a tonal and strongly homophonic idiom, yet nevertheless we hear ‘new music’, whose effect goes far beyond that of purely formal art music and celebration of holy mass. The achievement of the choir was admirable. Unforgettable was the clear floating voice of Peter Schreier. 14 Mauersberger strived to create a Requiem that would be fully integrated into the worship. He also made sure to include the gifted boy alto soloist, Peter Schreier (1935-2019). After almost every summer vacation, Mauersberger would return with a composition written for alto solo and choir accompaniment, specifically written with Peter Schreier as soloist in mind. Movement no. 34, the “De profundis”, of the Requiem was written specifically for Peter Schreier to sing. 15 Other large works composed during this extremely productive period used “liturgical” in either their original title or their title before publication as well. Mauersberger was composing for worship and included the choir with specific 14 Ibid, VIII. (A reference within a reference) “Ein Werk, das mit seinen erschütternd zeitnahen Texten […] zu einem ergreifenden Dresdner Requiem wird. Mauersberger schreibt tonal und stark homophon, und dennoch hören wir, Neue Musik‘, die allerdings weit über das rein musikalisch-formale Kunstwerk hinausgeht und zum wahren Gottesdienst wird. Die Leistung des Chores war bewundernswert. Unvergeßlich die klare, schwingende Stimme Peter Schreiers.“ Gottfried Schmiedel („el.“), „Aus Dresdner Konzertsälen“. In: Sächsiches Tageblatt Dresden vom 3. Juli 1948. 15 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 76. In the chapter written by Peter Schreier. „Die schönste Anerkennung bedeute es jedoch, daß Professor Mauersberger einige seiner Kompositionen – wie das „Nocturno“, das „Vater unser“ aus der „Geistliche Sommermusik“, das „De profundis“ aus dem „Dresdner Requiem“ und mehrere Volksliedbearbeitungen – geradezu für meine Stimme entworfen hat. Fast aus jedem Urlaub brachte er damals ein neues Werk für Alt-solo und Chorbegleitung mit. Kaum einstudiert, erschien es auf unseren Programmen. Da unser „Chef genau wußte, welche Anforderungen er an den Chor und an seinen Altsolisten stellen konnte.“ 90 performance instructions, including them into the liturgy, called Dramaturgy. 16 Quoted in the foreword of the published score, a writer from the Sächsische Zeitung wrote: The terrible experiences of recent years have inspired the Kreuzkantor to create a work which points the way for new Protestant church music […] It would be a mistake to consider this work only from the musical viewpoint. It is a sacred celebration in its own right, a fact emphasized by the entry of liturgically dressed choirboys before the altar. […] Deep inwardness and masterly craftsmanship make Mauersberger an inspired servant of the word, which he presents with the utmost impressiveness. He does not experiment in sound, but spreads over the whole a transforming spirit of solemnity, although he also creates moments of startling excitement. 17 Mauersberger composed the Dresdner Requiem to be performed as part of a Gottesdienst (church service), although it can also be performed in a concert setting. 18 Under the East German Communist Party (SED), which took over from the Soviet occupying forces in 1949, the Dresdner Requiem also, importantly, offered the community an opportunity to annually commemorate the bombings in a state where there was not always a choice in what to say about the bombings or how to express it. 19 16 Dramaturgy is the art or technique of dramatic composition and theatrical representation. Mauersberger was influenced by the Catholic liturgy and the traditions of the liturgy in the Erzgebirge in his youth to use uniforms, antiphonal choirs, and small groups symbolizing things he wished to emphasize in the liturgy. 17 Ibid, VIII. Translated by John Coombs in 1994 „Das schwere Erleben der letzten Jahre hat den Kreuzkantor zu einem für die neue protestantische Kirchenmusik richtungweisenden Werk inspiriert. […] Man würde dieser Schöpfung nicht gerecht, wollte man sie nur vom Musikalischen her betrachten. Sie ist vielmehr eine in sich geschlossene sakrale Feier, was durch das Auftreten von Knaben in liturgischer Kleidung am Altar besonders sinnfällig gemacht wird. […] Tiefe Innerlichkeit und meisterhafte Handschrift machen Mauersberger zum berufenen Diener am Wort, dem er höchste Eindringlichkeit verleiht. Er experimentiert nicht im Klanglichen, sondern gießt über das Ganze eine verklärende Feierlichkeit aus, die er jedoch an einigen Stellen von aufrüttelnder Erregtheit durchbricht.“ Unknown author (“Ma.”), “Eine deutsche Totenmesse,” in: Sächsische Zeitung (Dresden) 29th June 1948. 18 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), IX. Previous larger works that also combined music and liturgy include the Christvesper der Kruzianer RMWV 7, the Passionsmusik nach dem Lukasevangelium RMWV 9, and the Geistliche Sommermusik RMWV 11. 19 Martha Anne Sprigge. Abilities to mourn: Musical commemoration in the german democratic republic (1945-1989) (Order No. 3595976). (Available from ProQuest Dissertations & Theses Full Text; ProQuest Dissertations & Theses Global, 2013) 121. (1446605799). Retrieved from http://libproxy.usc.edu/login?url=http://search.proquest.com.libproxy1.usc.edu/docview/1446605799?acco untid=14749 91 The main choir (Hauptchor) is placed aloft in the organ gallery and is occasionally accompanied by instruments. The second choir, the altar choir (Altarchor), is sung by a smaller ensemble that processes into the church at the beginning of the composition after the ringing of the church bell. They are dressed in liturgical colors and consist of acolytes carrying candles. The altar choir functions similar to a Cantor and symbolizes Jesus Christ when singing His words from the Bible in the “Dies irae.” The third choir, or echo choir (Fernchor), is placed in a distant location, or ideally in the back of the top balcony of the church, and represents the “world of the departed.” 20 These choirs exemplify Mauersberger’s application of the Venetian influence of the polychoral style Schütz acquired in Italy while studying with Giovanni Gabrieli (1557-1612). Mauersberger also included the congregation in two movements as participants along with the three choruses stationed in different locations throughout the church singing antiphonally. The musical form of the Dresdner Requiem is patterned after the Catholic Requiem Mass. Table 4 indicates the similarities to the order of the Missa pro Defunctis. The six sections in bold indicate which part of the Requiem Mauersberger included in the Dresdner Requiem. He chose to combine the Gradual with the Kyrie, thereby reducing the number of major sections to five; no other movements are combined. The sections not in boldface in table 4 were omitted from the Dresdner Requiem. The English Translations of the Latin titles are included for convenience, as is the function of the Burial Rite. Mauersberger chose not to include the Burial Rite, but it is not uncommon for composers from the nineteenth and twentieth century to include it in a Requiem. Composers who 20 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), XI. 92 have included the Burial Rite include Maurice Duruflé (1902-1986), Gabriel Fauré (1845-1924), Günter Raphael (1903-1960), Gioachino Rossini (1792-1868) and Giuseppe Verdi (1813-1901) (only the Responsory), and Benjamin Britten (1913-1976). Table 4. Requiem Mass (Missa pro Defunctis, Mass for the Dead) The Dresdner Requiem was premiered almost entirely a cappella with the exception of the two congregational hymns that included brass instruments and organ in the Sanctus and Agnus Dei. 23 In August 1947, Mauersberger wrote the Introitus, part I (Kyrie), and part III (Sanctus) of the Dresdner Requiem in Mauersberg. In January 1948, he completed part II (Vergänglichkeit, Tod, Dies Irae, Trost durch das Evangelium), and 21 Ron Jeffers, comp., Translations and Annotations of Choral Repertoire, Vol.1: Sacred Latin Texts (Corvallis: Earthsongs, 1989), 62-63. 22 Ibid. “…but two additional texts have been frequently set by composers as part of the Requiem which liturgically belong to the Exequiarum Ordo or Burial Rite: the first is the Libera me (“Deliver me, O Lord”), a responsory which is sung after the Mass, before the “absolution” of the corpse: and the second, the antiphon In paradisum (“May the Angels lead you into Paradise”) which is sung while the coffin is being carried to the grave.” 23 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VIII. Requiem Mass (Missa pro Defunctis, Mass for the Dead) 21 Introit – Requiem aeternam (“Rest eternal grant unto them”) Kyrie – Kyrie eleison (“Lord, have mercy”) Gradual – Requiem aeternam (“Rest eternal grant unto them”) Tract – Absolve, Domine (“Absolve, O Lord, the souls of the faithful departed”) Sequence – Dies irae (“Day of wrath”) Offertory – Domine Jesu Christe (“Lord Jesus Christ”) Sanctus – Sanctus, Sanctus, Sanctus (“Holy, Holy, Holy”) Benedictus – Benedictus qui venit (“Blessed is he who comes”) Agnus Dei – Agnus Dei (“Lamb of God“) Communion – Lux aeterna (“May light eternal shine on them”) Exequiarum Ordo or Burial Rite: 22 Responsory – Libera me, Domine (“Deliver me, O Lord”) Antiphon – In paradisum (“May the Angels lead you into paradise”) 93 the final section, part IV (Sanctus), also in Mauersberg. 24 Even though Mauersberger was not able to premiere the Dresdner Requiem in the Kreuzkirche, it is apparent that he conceived the work with it in mind. The Requiem intentionally starts in the key of E minor and ends on E Major - the same pitch as the main Kreuzglocke bell (Totenglocke), which begins the composition. 25 The five major sections of the Dresdner Requiem are: I. Introit, II. Kyrie (and Gradual), III. The Transitory, Death and Dies irae (day of wrath) and Comfort through the Gospel (Christ’s words at the altar), IV. Sanctus, and V. Agnus Dei. 26 The five sections of the Requiem contain a total of thirty-seven movements in the final published edition. 27 Table 5 compares the movements and large sections of the Catholic Requiem Mass with the Dresdner Requiem. The five larger sections of the Dresdner Requiem are indicated in the middle column, and every movement that is equivalent to the Catholic mass is shown side by side. Where there are no equivalents, the movements stand alone on the line, but section three does not follow this pattern because it contains a disproportionate number of movements. Mauersberger expanded the Sequence and Gospel section of the Requiem, making it easily the largest section by creating five sets of three movements within the “The Transitory, Death, Dies irae and Comfort through the Gospel.” Within each set of three movements there are two “Gospels” or Biblical sources, one with Hebrew Scriptures text and one with New Testament text, followed by 24 Matthias Herrmann. Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. (Dresden: Sächsische Landesbibliothek Dresden, 1991), 25-27. 25 Matthias Herrmann, Kreuzkantor zu Dresden, Rudolf Mauersberger (Stoba-Druck GmbH, Lampertswalde), 56. Vitus Froesch, Die Chormusik von Rudolf Mauersberger: Eine stillkritische Studie. (Marburg: Tectum Verlag, 2013) 172. 26 Ibid, IX. 27 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995). 94 a Chorale. Table 5 shows how Mauersberger chose to omit, repeat, and or increase the size of some movements. The Introit, Sequence, and Sanctus sections were all expanded, with the Sequence being disproportionately the largest with fifteen movements. The Sequence or “Dies irae” is more than a third of the entire Requiem. He chose to begin with Movement 1, “Prelude” of the “Introitus”, in Latin, even though the rest of the Requiem is in the vernacular. Mauersberger includes Chorales, Scriptures from the Old and New Testaments from the Luther 1912 edition, and the Apocrypha. The Catholic liturgical text comes from an old Bohemian Catholic prayer book in German that has the liturgical Requiem text in free translation and paraphrase of the Kyrie, Sanctus, and Agnus Dei. 28 Mauersberger chose the texts and conceived their order. In the following analysis, the source of the texts will be given in tables for each of the movements in each section. Table 5. Catholic Requiem Mass before the Second Vatican Council compared to the Protestant Dresdner Requiem 29 Catholic Requiem Mass - Before the Second Vatican Council Section Dresdner Requiem (movement number and title) Introit - Requiem aeternam 1 1. Introit - Prelude and “Requiem aeternam” 2. Antiphon (Introit in German) 3. Psalm (Introit – psalm in German) 4. Antiphon (Repeat of Introit in German) Kyrie (Prayer - Kirchengebet) Epistle Gradual Tract 2 5. Kyrie --- 6. Epistle 7. Gradual (Prayer) --- 28 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VIII. 29 Translated and adapted from the table created by Sonja Dussel in “Du hast mich zur Wüste gemacht, dass ich täglich trauern muss – Analyse zu Textkomposition und liturgischem Konzept des Dresdner Requiems von Rudolf Mauersberger (RMWV 10) unter Berücksichtigung der Trauermotette Wie liegt die Stadt so wüst.“ (pg. 31) https://www.glk.uni- mainz.de/files/2018/08/FB01_Diplomarbeit_Dussel.pdf on June 13, 2019. 95 Sequence Gospel Offertory (Prayer – Stillgebet) 3 The Transitory, Death, Dies irae and Comfort through the Gospel 8. The Transitory, 9. The Gospel, 10. Chorale 11. Death, 12. The Gospel, 13. Chorale 14. Dies irae I, 15. Chorale, 16. The Gospel 17. Dies irae II, 18. The Gospel, 19. Chorale 20. Dies irae III, 21. The Gospel, 22. Chorale --- --- Sanctus Prefatio Sanctus/Benedictus 4 Sanctus 23. Prefatio 24. Sanctus, 25. Osanna, 26. Benedictus 27. Osanna 28. Chorale 29. Osanna 30. Chorale 31. Prelude and Chorale 32. Prayer Agnus Dei Communion Closing prayer (Schlussgebet) Closing prayer (De profundis) Libera me Requiem aeternam dona eis domine Psalm 129 Prayer Requiem aeternam dona eis domine 5 Agnus Dei 33. Chorale --- 34. Closing prayer (with alto solo) 35. “Grant unto them eternal rest” 36. Prelude and Chorale 37. Final Chorus From its premiere until its last revision shortly before Mauersberger’s death, the Dresdner Requiem underwent many changes. He greatly modified it by expanding and omitting some of the movements as he continued to struggle to find a balance with the text and the musical structure. Mauersberger said, “Sometimes while I was working on it I felt that I had gone too far. When dealing with the last things one has to ask oneself daily: are your few notes sufficient to give musical expression to matters of such 96 immensity?” 30 Table 6 represents a summary of the major edits Mauersberger made up until the final version in 1961. Professor Matthias Herrmann, music historian and former Kruzianer under Mauersberger, edited the only published and scholarly edition of the Dresdner Requiem by Carus-Verlag. He included a detailed Foreword, including performance instructions and critical edition report in the back of the score with specifics about each revision of the Requiem. Matthias Herrmann said that even though it went through many revisions and additions throughout the years, Mauersberger’s expertise could always preserve the inner unity of the Requiem. 31 Table 6. Summary of general changes made to the Dresdner Requiem 30 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), IV. „In der Tat kam ich mir manchmal vor bei der Arbeit, als hätte ich mich zu weit verstiegen. Wenn man bis an die letzten Dinge herangeht, muß man sich täglich fragen: genügen deine paar Töne, um solche unerhört großen Dinge musikalisch ausdrücken zu wollen? Nun, es ist ja vielleicht noch nicht endgültig. Ich habs erst einmal so weit, daß es ausprobiert werden kann, und dann werde ich ja sehen, ob es iergendwie bestehen kann neben Größerem. Ich muß mich nun mit Gewalt surückfinden zur Wirklichkeit…“ 31 Erna Hedwig Hofmann, ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Matthias Herrmann, „Es bleibt das Werk.“ (Berlin: Evangelische Verlagsanstalt, 1977), 135. „Von großem Fachverstand zeugt, dass das Requiem trotz der Überarbeitungen und Ergänzungen immer seine innere Geschlossenheit bewahren konnte.“ Until 1961, the year of the final version, numerous additions and amendments were made to the work, of which the following were the most important: • About 1949 until about 1957: additions to the words and a cappella settings of Nos. 14 and 20; shortening of some existing passages in No. 20 • 1957-58: instrumentation of Nos. 14, 15, 17 and 20; changes to the instrumentation (1958-61) • 1959-61: instrumentation of No. 19; new version of No. 23 • 1959-61: addition of the first bars and revision of the instrumentation, with the inclusion of other instruments (glockenspiel, chime bars) in Nos. 31 and 36 • 1961: composition of No. 1 in two phases: at first only as instrumental prelude to No. 2, then the addition of the altar chorus “Requiem aeternam…” • First half of the 1960’s: completion of the instrumentation by the addition of further percussion instruments and double basses (Nos. 1, 14, 17, 20, 31). 97 Analysis of Dresdner Requiem The Dresdner Requiem RMWV 10 performing forces include an alto vocal soloist and three SATB choirs up to eight part divisi (Hauptchor, Altarchor, and Fernchor); three trumpets, three trombones, tuba, contra bass, celeste, organ, and percussion; timpani, bass drum, snare drum, tamtam, cymbals, xylophone, chimes, and glockenspiel. The congregation is also instructed to join in singing Movements 31 and 36 of the thirty- seven movement work. The approximate performance time without including the Trauermotette, Wie liegt die Stadt so wüst, and the ringing of the church bells is fifty-five minutes. The liturgical dimension of the work is not necessary for a performance, but the placing of the three choirs is crucial to achieving the “inward and outward” effect of the Requiem. 32 Even though the Dresdner Requiem would not be performed in the restored Kreuzkirche until ten years after the premiere, Mauersberger had conceived the work with the Kreuzkirche in mind with the unique E-pitched Kreuzglocke (Cross bell), spacing for the three antiphonal choirs, and as a part of the church service. 33 The Hauptchor should be located in a choir loft or organ gallery with as many singers as possible along with the instrumentalists. The Fernchor (echo choir), a small choir that sings a cappella with a secondary conductor, independent of the primary conductor, must be in an area away from the large choir or gallery; they may be in the choir stalls of a cathedral. The Altarchor (altar choir) is also a small a cappella choir, but they are directed by the principal conductor. Details in the foreword of the score provide descriptions for production and liturgical realization of both Wie liegt die Stadt so wüst and the Dresdner Requiem. 32 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), IX. English Translation by Robert Scandrett 33 Herrmann, Matthias, and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dressdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.“ Dresden und die avancierte Musik im 20. Jahrhundert 2, (2002), 347. 98 Introitus After the ringing of the Totenglocke church bell, Movement 1 (see table 8) of the Vorspiel (Prelude) begins with the only Latin text in the entire Requiem and is one of the few movements that is accompanied by instruments. The use of Latin is an indication that the overall structure of the work is informed by the Requiem Mass or Missa pro Defunctis of the Catholic liturgy. The rest of the Requiem is in German. In table 7, the language of Movements 1-4 are given with English translations. The Latin text is repeated in German in both the Antiphons of Movements 2 and 4, in slightly varied setting for both the tutti and echo choirs. Movement 3 is the psalm offering praise to God, collective vows, and prays that all may come to God. The repetition of German is emphasized by more repetition, longer sung phrases, and up to six-part divisi in parts. The Psalm is preceded and concluded by Antiphons of similar settings of the same text that also reappears later in the work. 99 1. Vorspiel, Requiem aeternam Table 7. Introitus, Movements 1-4, Overview with Text and Translation and source 34 Table 8. Movement 1 Overview 1. Vorspiel und “Requiem aeternam” 1. Prelude and “Requiem aeternam” Scored for SATB altar choir including acolytes, chimes F-Ab-Bb, contra-bass, celeste, and organ Tonal Areas E minor Tempo Not indicated Time Signatures Cut time Dynamic Range pp - mp 34 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), XIV. English Translation by Robert Scandrett 35 Liturgy means the text is from the Bohemian Catholic prayer book. 1. Vorspiel und “Requiem aeternam” (Altarchor): Requiem aeternam dona eis Domine, et lux perpetua luceat eis. Liturgie 2. Antiphon (Hauptchor, Fernchor): Herr, gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Liturgie 3. Psalm (Hauptchor): Gott, man lobet dich in der Stille zu Zion, und dir bezahlet man Gelübde. Du erhörest Gebet. Darum kommt alles Fleisch zu dir. Psalm 65:2-3 4. Antiphon (Hauptchor, Fernchor): Herr, gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Liturgie 1. Prelude and “Requiem aeternam” (altar choir): Eternal restgive to them, O Lord, and let perpetual light shine upon them. Liturgy 35 2. Antiphon (tutti choir, echo choir): Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Liturgy 3. Psalm (tutti choir): God, we give you praise in the stillness of Zion, and unto you, we pay our vows. You who hear our prayer, to you then shall all flesh come. Psalms 65:2-3 4. Antiphon (tutti choir, echo choir): Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Liturgy 100 Length 38 measures Text: Requiem aeternam dona eis Domine, et lux perpetua luceat eis. Translation: Eternal rest Give to them, O Lord, And let perpetual light shine upon them. Origin of Text: Liturgy (Catholic Latin Mass) This prelude movement was added during Mauersberger’s last revision in 1961. It is one of the few movements that utilizes instrumental accompaniment and is unique in texture. The use of the contrabass with pizzicato articulation is a more modern orchestration choice. The celeste and chimes add an ethereal texture, and the organ draws the tone of these instrument groups together. Mauersberger begins the work in E minor with the organ laying the harmonic foundation with half notes. The left hand plays open fifths or fourths, the pedal doubles the lowest note in the left hand, and the right hand omits the third in m. 1 but includes it in the following three measures. The celeste echoes the organ in mostly quintal and quartal harmonies mostly void of thirds, with the contrabass doubling the lowest notes played by the celeste. The chimes strike on the downbeats of every other measure for the first six measures by doubling either the bass note or the upper fifth note of the organ. The accompaniment creates imagery of a slow rise from the depth’s desolation. Mauersberger keeps the rhythmic ostinato the same but slightly varies the harmonies enough to avoid longer statements of repeated patterns of pitches (see Example 6.1). 101 Example 6.1 Dresdner Requiem, Movement 1. “Vorspiel, Requiem aeternam” mm. 1-6, instrumental prelude. The altar choir and acolytes in robes with black clerical collars process from the vestry to the altar and take the following position at the altar, in the formation indicated in Figure 6.3, and begin processing in at the start of the instrumental prelude wearing choir robes and liturgical colors. In m. 17, the altar choir sings in unison, reminiscent of chant, while facing the altar (see Example 6.2). After the completion of Movement 1, the altar choir processes back to the vestry from which they came, but the acolytes remain standing. 36 36 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), X. English Translation by Robert Scandrett 102 Example 6.2 Dresdner Requiem, Movement 1. “Vorspiel, ‘Requiem aeternam’” m. 17, beginning of altar choir chant. Figure 6.3 Dresdner Requiem, Movement 1. “Vorspiel, ‘Requiem aeternam’” Position of altar choir and acolytes in relation to the altar. 37 The altar choir’s chant leads to major tonality beginning with the second iteration of “Requiem aeternam” and ending on “eis” on F-sharp of the B Major chord in the 37 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), X. English Translation by Robert Scandrett 103 accompaniment. The end of the movement fades from G minor into the a cappella beginning of Movement 2 in E minor. Example 6.3 Dresdner Requiem, Movement 1. “Vorspiel, ‘Requiem aeternam’” mm. 25- 30, major tonality. 104 2. Antiphon “Herr, gib ihnen die ewige Ruhe” Table 9. Movement 2 Overview 2. Antiphon (Hauptchor, Fernchor): 2. Antiphon (tutti choir, echo choir): Scored for tutti choir, echo choir Tonal Areas E minor, F-sharp minor, A Major, E minor, E Major Tempo Langsam (slow) Time Signatures Cut time, 3/2 Dynamic Range pp-mf Length 63 measures Text: Herr, gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Translation: Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Movement 2 is a direct German quotation of the Latin from an old Bohemian Catholic Prayer Book Mauersberger acquired when living in the Ore Mountain region of his hometown. The tutti choir sings antiphonally back with the echo choir, as if those present are speaking with those who have departed this life and petitioning three times each for “ewige Ruhe” (eternal peace) in Example 6.4. The echo choir answers in numerous variations throughout this movement. 105 Example 6.4 Dresdner Requiem, Movement 2. “Antiphon ‘Herr, gib ihnen die ewige Ruhe’” mm. 39-47, antiphonal singing. Example 6.5 shows the apex of Movement 2 in mm. 79-83 as it depicts the height of the phrase with text painting on the word “Licht” (light) and in the resolution of the end of the phrase “leuchte ihnen” (shine on them). Measure 79 begins the phrase on an A Major chord and the highest point of the phrase is the down beat of m. 80 on the G Major 106 chord. Measures 81-82 mostly obscure the major tonality that returns again at the end of the phrase in m. 83 on B Major with a 4-3 suspension and Picardy third. Example 6.5 Dresdner Requiem. Movement 2. “Antiphon ‘Herr, gib ihnen die ewige Ruhe’” mm. 79-82, text painting on “light shine upon them.” Movement 2 concludes on the word “Ruhe” (peace) in mm. 97-101 with the root progression in the succeeding chords emphasizing the tritone interval of E to B-flat and returning to E as the focal point of the five-chord progression. The chords are outlined below in Example 6.6, E-flat Major - E minor – B-flat Major - E Major (4-3 susp.). This sequence reappears in subsequent movements and is a foreshadowing of the entire work in that it begins in E minor and ends in E Major. AM GM DM BM 107 Example 6.6 Dresdner Requiem, Movement 2. “Antiphon ‘Herr, gib ihnen die ewige Ruhe’” mm. 97-101, Succession of chords on “Ruhe.” 3. Psalm “Gott, man lobet dich in der Stille” Table 10. Movement 3 Overview 3. Psalm 3. Psalm Scored for Tutti choir Tonal Areas E Major, D minor Tempo not given Time Signatures 3/4 Dynamic Range p-mf Length 17 measures Text: Gott, man lobet dich in der Stille zu Zion, und dir bezahlet man Gelübde. Du erhörest Gebet. Darum kommt alles Fleisch zu dir. Translation: God, we give you praise in the stillness of Zion, and unto you, we pay our vows. You who hear our prayer, to you then shall all flesh come. Origin of Text: Psalm 65:2-3 Movement 3 is a Psalm that encapsulates the faith in God for the entire work, beginning by praising God in the “stillness of Zion.” The praise for “Zion” is harmonized with an A minor chord on the first syllable of Zion representing a sorrowful state of existence. The minor chord contrasts even more as it emulates praise to God, surrounded Eb Em Bb E (4 - #3) 108 by major chords. In m. 108, the “Gelübde” (vows) are given significance, sustaining the word over three measures with a four-part melisma in the soprano and alto voices on mostly major chords. The prayer concludes in A minor. There is a descending line in all voices from mm. 113-118, and open fifths on last chord of m. 118, “prayer, to you then shall all flesh come to God.” Example 6.7 Dresdner Requiem, Movement 3. Psalm “Gott, man lobet dich in der Stille” mm. 107-118, melisma on “vows” and open fifths on “prayer.” 109 4. Antiphon „Herr, gib ihnen die ewige Ruhe” Table 11. Movement 4 Overview 4. Antiphon (Hauptchor, Fernchor) 4. Antiphon (tutti choir, echo choir) Scored for Tutti choir, echo choir Tonal Areas E minor, F Major, E Major Tempo Not indicated Time Signatures 3/2 Dynamic Range pp-mf Length 17 measures Text: Herr, gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Translation: Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Movement 4, Antiphon, is another iteration of “Lord, grant unto them rest” and is similar to Movement 2, but it is abbreviated, and the echo choir begins the plea. The tutti choir finishes the echo choir’s plea without repeats and with occasional variation, as in Movement 2. Again, Mauersberger obfuscates the key of E minor by starting the phrase on F Major and uses melismas of primarily major chords on the words “ewig” (eternal), “Licht” (light), and “leuchte” (shine). The last word, “ihnen” (them), has a harmonic progression that sets up a resolution with a Picardy third indicative of the cadence on “Ruhe” (peace), which will end the work (D minor - F Major - G Major - D minor – E minor - E Major). Kyrie The altar choir reenters at the beginning of Movement 5 wearing purple-violet clerical collars representing penance and supplication for mercy and forgiveness. They 110 sing facing the altar and may kneel, but they exit during Movement 6, during the Epistle at m. 87. The liturgical text in the German vernacular is used in Movements 5 and 7. In Movement 6, Mauersberger may have been inspired by Schütz to set this text in antiphonal style. 38 Table 12. Kyrie, Movements 5-7, Overview with Text and Translation 39 5. Kyrie (Hauptchor, Altarchor): Neige dein Ohr zu unserm Flehen, o Herr, und lass unser Rufen zu dir kommen! Gott, himmlischer Vater, der du die Seelen der Entschlafenen nach deinem Bilde erschaffen und zur ewigen Gemeinschaft mit dir berufen hast, erbarme dich ihrer! Gott, Sohn, Erlöser der Welt, der du für sie den Thron deiner Herrlichkeit verlassen und den schmachvollen Tod am Kreuze erlitten hast, erbarme dich ihrer! Gott, Heiliger Geist, der du sie durch deine Gnade geheiligt und zu Tempeln des lebendigen Gottes geweiht hast, erbarme dich ihrer! Liturgie 6. Epistel (Hauptchor, Fernchor): Ich hörte eine Stimme vom Himmel, die sprach zu mir: Schreibe: Selig sind die Toten, die in dem Herrn sterben. Von nun an, spricht der Geist, sollen sie ruhen von ihrer Mühsal, und ihre Werke folgen ihnen nach. Offen 14,13 5. Kyrie (tutti choir, altar choir): Incline your ear to our supplication, O Lord, and let our cry come unto you! God, heavenly Father, you who the souls of the departed have in your own image created, and have called them to eternal fellowship with you, have mercy upon them! God, Son, the redeemer of the world, you who for them forsook the splendor of your throne and endured shameful death on the cross for our salvation: have mercy upon them! God, the Holy Ghost, who has blessed them with your grace and consecrated them to the temple of the living God: have mercy upon them! Liturgy 6. Epistle (tutti choir, echo choir): I heard a loud voice from heaven that said to me: Write this: Blessed are the dead that in the Lord have died. From henceforth they shall (said the Spirit) they shall rest from their earthly labors, and their deeds shall follow after them. Revelations 14:13 38 Martin Petzoldt. “Glaubende Rückfrage und Deutung eines Infernos: Rudolf Mauersbergers „Dresdner Requiem“,“ Musik und Kirche 81, no. 2 (2011): 107. 39 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), XIV. English Translations by Robert Scandrett. 111 7. Gebet (Graduale) (Hauptchor, Fern- chor): Herr! Gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Liturgie 7. Prayer (Graduale) (tutti choir, echo choir): Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Liturgy 5. Kyrie “Neige dein Ohr” Table 13. Movement 5 Overview 5. Kyrie (Hauptchor, Altarchor): 5. Kyrie (tutti choir, altar choir): Scored for Tutti choir, altar choir Tonal Areas A minor, A Phrygian, D Major, D minor, C minor, F Major, A minor Tempo Not indicated Time Signatures 4/4 Dynamic Range pp-ff Length 63 measures Text: Neige dein Ohr zu unserm Flehen, O Herr, und lass unser Rufen zu dir kommen! Gott, himmlischer Vater, der du die Seelen der Entschlafenen nach deinem Bilde erschaffen und zur ewigen Gemeinschaft mit dir berufen hast, erbarme dich ihrer! Gott, Sohn, Erlöser der Welt, der du für sie den Thron deiner Herrlichkeit verlassen und den schmachvollen Tod am Kreuze erlitten hast, erbarme dich ihrer! Gott, Heiliger Geist, der du sie durch deine Gnade geheiligt und zu Tempeln des lebendigen Gottes geweiht hast, erbarme dich ihrer! Translation: Incline your ear to our supplication, O Lord, and let our cry come unto you! God, heavenly Father, you who the souls of the departed have in your own image created, and have called them to eternal fellowship with you, have mercy upon them! God, Son, the redeemer of the world, you who for them forsook the splendor of your throne, and endured shameful death on the cross for our salvation: have mercy upon them! God, the Holy Ghost, who has blessed them with your grace and consecrated them to the temple of the living God: have mercy upon them! Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Movement 5 begins with the tenors and basses in four-part harmony softly asking God to listen to our supplications, beginning in A minor. The main choir and altar choir sing a duet in m. 25 supplicating God to “have mercy upon them.” This phrase is in D 112 minor and on a D pedal tone. Addressing God with the familiar “dich” (you) both times are the only major triads in the phrase, although the choirs complete the major chords from their respective locations in the church. The tutti choir (Hauptchor) sings “dich” first, and even though the altar choir (Altarchor) is singing a different word, Mauersberger cleverly allows the tutti choir to fill in the missing major third in the E-flat chord of the altar choir (see Example 6.8). Mauersberger continues to address God, hope, and spiritual ideas with major triads reflecting optimism and hope. Example 6.8 Dresdner Requiem, Movement 5. “Kyrie ‘Neige dein Ohr’” mm. 25-29, unified altar choir and tutti choir. 113 6. Epistle “Ich hörte eine Stimme” Table 14. Movement 6 Overview 6. Epistel (Hauptchor, Fernchor) 6. Epistle (tutti choir, echo choir) Scored for Tutti choir, echo choir Tonal Areas A minor, F Major, C Major, A Major Tempo Not indicated Time Signatures 4/4 Dynamic Range ppp-mp Length 60 measures Text: Ich hörte eine Stimme vom Himmel, die sprach zu mir: Schreibe: Selig sind die Toten, die in dem Herrn sterben. Von nun an, spricht der Geist, sollen sie ruhen von ihrer Mühsal, und ihre Werke folgen ihnen nach. Translation: I heard a loud voice from heaven that said to me: Write this: Blessed are the dead that in the Lord have died. From henceforth they shall (said the Spirit) they shall rest from their earthly labors, and their deeds shall follow after them. Origin of Text: Revelations 14:13 Mauersberger includes as text in this movement a traditional Protestant reading for a funeral, Revelations 14:13, just as Schütz did in his polychoral setting of the third movement of his Musikalische Exequien part III, “Canticum B Simeonis - Herr, nun lässest du deinen Diener,” Op. 7 SWV 281. Schütz used this scripture along with the Song of Simeon (nunc dimittis), a three-voice Choir II to sing like a “Beata anima cum Seraphinis” (Blessed spirit with the Seraphim). Schütz instructed Choir II to sing completely out of sight of the congregation and separated from the choir, preferably in the balcony. These disembodied voices signify seraphim and the hope of resurrection. 40 This idea entirely matches the requirements of the echo choir Schütz envisioned for the 40 Martin Petzoldt. “Glaubende Rückfrage und Deutung eines Infernos: Rudolf Mauersbergers „Dresdner Requiem“,“ Musik und Kirche 81, no. 2 (2011): 120. 114 Dresdner Requiem and furthermore demonstrates the interplay between these two choirs (see Example 6.9). 115 Example 6.9 Dresdner Requiem, Movement 6. “Epistel ‘Ich hörte eine Stimme’” mm. 64- 90, echo choir as antiphonal seraphim choir. 116 117 7. Gebet (Graduale) “Herr, gib ihnen die ewige Ruhe” Table 15. Movement 7 Overview 7. Gebet (Graduale) 7. Prayer (Graduale) Scored for Tutti choir, echo choir Tonal Areas A Major, F-sharp minor, A Major, E Major Tempo Not indicated Time Signatures 3/2 Dynamic Range p-mf Length 46 measures Text: Herr! Gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Translation: Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) The tutti choir and echo choir continue to dialogue back and forth in Movement 7 repeating similar antiphonal phrases such as was introduced in Movement 2 except now beginning in the key of A Major. In m. 142 and m. 148, both the tutti choir and the echo choir sing an A-augmented chord in first inversion on “Licht” (light). In m. 152, the tutti choir returns to E minor to repeat the “Ruhe” (peace) chord progression from Movements 2 and 4, invoking the tritone in the root movement. This time the the progression is analyzed in a functional progression as i-V-iv -I. Measure 156 begins the progression from E minor to B-flat Major to an allusion of A minor because A is the non-chord tone in a chord with E and finally E Major in the four-chord phrase (see Example 6.10). 118 Example 6.10 Dresdner Requiem, Movement 7. “Gebet (Graduale) ‘Herr, gib ihnen die ewige Ruhe’” mm. 140-159, antiphonal singing and “Ruhe“ chord progression. E minor: i - V - (iv ) - I 119 The Transitory, Death, Dies irae; and Comfort through the Gospel (Christ’s words at the altar) Of the five major sections of the Dresdner Requiem, this is the largest and most dramatic section. It attempts to convey the “fear, suffering, death and horrors of war, specifically referring to the Dresden bombings and to work through our own inner struggles.” 41 The intensity of this section is emphasized by the brass, percussion, organ, and contrabass. The lamentation of the deceased and the transitory nature of earth and the “Dies irae” (Day of wrath) are presented by the tutti choir. Mauersberger replaces the Sequence (Dies irae) and Offertorium (Domine Jesu Christe Hostias et preces tibi) of the Latin Catholic Requiem Mass with five sections of three movements each. All three choirs are involved in this section. Table 6.13 indicates the alternation of movements between the tutti, altar and echo choirs in the five sections comprising the triptychs of each section. 42 in the third section is the order of the triptych interrupted. Section three begins with a passage from the Hebrew Scriptures, skips to the Chorale, and then to the Gospel or words of Christ. The tutti choir sings selected verses from the Bible and Apocrypha in each of the first movements of the five sections in Movements 8, 11, 14, 17, and 20. These movements cite Mauersberger’s choice of texts to depict God’s wrath, destruction, and justice, analogous to the horrible conditions of war. Mauersberger purposely juxtaposes these images with the altar choir singing the comforting words of Christ from the Gospel 41 Marc Hartwiger. “Das ‘Dresdner Requiem’ von Rudolf Mauersberger.” Musik in der Schule 14.2 (2001): 24. “Angst, Leid, Tod und Schrecken des Krieges, speziell der Bombenangriffe auf Dresden in all ihren Ausmaßen gebührend darstellen zu können, andererseits das eigene Erlebte innerlich zu verarbeiten“ 42 Martin Petzoldt. “Glaubende Rückfrage und Deutung eines Infernos: Rudolf Mauersbergers „Dresdner Requiem“,“ Musik und Kirche 81, no. 2 (2011): 118. 120 of John and the resurrected Christ from Revelations, in Movements 9, 12, 16, 18, and 21. The echo choir symbolically represents those disconnected with life through death as spirits and sings Chorales focused on the hope and refuge found in Christ in Movements 10, 13, 16, and 22. However, the Chorale in section four, Movement 19, is sung by the tutti choir with timpani, all brass, and organ. 43 Table 16. The five subsections and movements of “The Transitory, Death Die irae and Comfort through the Gospel (Christ’s words at the altar),” Movements 8-22, an Overview Vergänglichkeit 8. Vergänglichkeit (Hauptchor) 9. Evangelium (Altarchor) 10. Choral (Fernchor) (Section) 1 The Transitory 8. The Transitory (tutti choir) 9. The Gospel (altar choir) 10. Chorale (echo choir) Tod 11. Tod (Hauptchor) 12. Evangelium (Altarchor) 13. Choral (Fernchor) 2 Death 11. Death (tutti choir) 12. The Gospel (altar choir) 13. Chorale (echo choir) Dies irae 14. Dies irae I (Hauptchor) 15. Choral (Hauptchor) 16. Evangelium (Altarchor) 3 Dies irae 14. Dies irae I (tutti choir) 15. Chorale (tutti choir) 16. The Gospel (altar choir) 17. Dies irae II (Hauptchor) 18. Evangelium (Altarchor) 19. Choral (Deutsches “Dies irae”) (Hauptchor) 4 17. Dies irae II (tutti choir) 18. The Gospel (altar choir) 19. Chorale (Deutsches “Dies irae”) (tutti choir) 20. Dies irae III (Hauptchor) 21. Evangelium (Altarchor) 22. Choral (Fernchor) 5 20. Dies irae III (tutti choir) 21. The Gospel (altar choir) 22. Chorale (echo choir) 43 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VIII. 121 The Transitory Table 17. First of five sections in “The Transitory, Death, Dies irae” Vergänglichkeit 8. Vergänglichkeit (Hauptchor) 9. Evangelium (Altarchor) 10. Choral (Fernchor) The Transitory 8. The Transitory (tutti choir) 9. The Gospel (altar choir) 10. Chorale (echo choir) 8. Vergänglichkeit “Es ist ein kurz und mühselig Ding” Table 18. Movement 8 Overview 8. Vergänglichkeit 8. The Transitory Scored for Tutti choir Tonal Areas a Phrygian Tempo Bewegt (animated manner with motion) Bewegter (even in a more animated manner with emotion) Ruhiger (Calmly, peacefully) Time Signatures 4/4, 3/2, 5/4, 3/4 Dynamic Range pp-ff Length 43 measures Text: Es ist ein kurz und mühselig Ding um unser Leben. Unsers Namens wird mit der Zeit vergessen, dass niemand unsers Tuns gedenken wird. Unser Leben fährt dahin, als wäre eine Wolke dagewesen, und zergeht wie ein Nebel. Also, wer in die Grube hinunterfährt, kommt nicht wieder herauf und kommt nicht wieder in sein Haus, und sein Ort kennt ihn nicht mehr. Darum will auch ich meinem Mund nicht wehren. Ich will reden von der Angst meines Herzens und will heraussagen von der Betrübnis meiner Seele. Denn nun werde ich mich in die Erde legen, und wenn man mich morgen suchen wird, werde ich nicht da sein. Translation: A very short and troublesome thing is our life. Our names will be forgotten, as time passes by, and now one will remember what we did. And our life will blow away like the last fleeting vestige of a cloud and dissolve like a mist. Thus, who goes to his grave comes back not again, comes not ever again. And comes no more to his house, and his dwelling is known no more. I will therefore not restrain my mouth from speaking. I will speak in the anguish of my spirit, and I will complain in the bitterness of my grieving soul. For now shall I lie in the quiet earth and one may come and seek me there, but I shall not be. Origin of Text: The Wisdom of Solomon 2:1,4; Job 7:9-11; 9:21 (the Apocrypha) 122 Movement 8 begins in a Phrygian mode as the B-flat accidentals create the lowered second scale degree. The Phrygian mode depicts suffering and darkness (see Examples 6.11 and 6.12). 44 The swifter tempo with motion (Bewegt) depicts the transitory nature and perspective of life being over and easily forgotten or “blown away.” Mauersberger builds tension through repetition of text, increasing range in the voices, and harmonic elongation of text. The apex of the first section is in m. 17 and the vocal lines descent in pitch and dynamics, is a text painting depiction of “blowing away” (see Example 6.12). The second half of this movement changes tempo and mood from animated and brisker to morose and soft as one contemplates the bitter end of death. Example 6.11 Dresdner Requiem, Movement 8. “Vergänglichkeit ‘Es ist ein kurz und mühselig Ding’” m. 1-4, a Phrygian mode inflection and swifter tempo. 44 William Kimmel. "The Phrygian Inflection and the Appearances of Death in Music." College Music Symposium 20, no. 2 (1980): 44. Accessed February 1, 2020. www.jstor.org/stable/40374079. Vitus Froesch, Die Chormusik von Rudolf Mauersberger: Eine stillkritische Studie. (Marburg: Tectum Verlag, 2013) 141. 123 Example 6.12 Dresdner Requiem, Movement 8. “Vergänglichkeit ‘Es ist ein kurz und mühselig Ding’” mm. 15-19, a Phrygian inflection and text painting. 9. Evangelium “In der Welt habt ihr Angst” Table 19. Movement 9 Overview 9. Evangelium 9. The Gospel Scored for Echo choir Tonal Areas A Phrygian, B Major Tempo Not indicated Time Signatures 4/4 Dynamic Range pp-f Length 14 measures Text: In der Welt habt ihr Angst. Aber seid getrost, ich habe die Welt überwunden. Translation: In the world you have fear. But be of good cheer, the world have I overcome. Origin of Text: John 16:33 The Gospel of John 16:33 is sung by the altar choir, representing the words of Christ and juxtaposing the fear of death in the previous movement. The movement begins in A Phrygian, and the mood changes swiftly in m. 48 with the admonition to “Be of good cheer the world have I overcome.” The ending of this movement is a literal example 124 of overcoming, as the cadential movement features F-sharp Major to B Major and resolves with the tenor and bass parts leaping upward reflecting the text that Christ has overcome the world (see Example 6.13). Example 6.13 Dresdner Requiem, Movement 9. “Evangelium ‘In der Welt habt ihr Angst’” mm.47-57, words of Christ and cadence. B Major 125 10. Choral “Ich hab’nun überwunden” Table 20. Movement 10 Overview 10. Choral 10. Chorale Scored for Echo choir Tonal Areas G Major Tempo Etwas bewegter (a bit more animated with emotions) Time Signatures 4/4 Dynamic Range pp Length 8 measures Text: Ich hab nun über- wunden Kreuz, Leiden, Angst und Not. Durch seine heil'gen Wunden bin ich versöhnt mit Gott. Translation: I have now overcome, cross, suff’ring, fear, distress; through Christ’s redeeming ransom, God’s love I now confess. Origin of Text: Christus, der ist mein Leben (Evangelisches Gesangbuch 516, 3) Text and melody in Melchior Vulpius 1609 The echo choir, representing the departed, responds to Christ’s words of overcoming the world in Movement 9 with conviction that they have overcome through Christ. Movement 10 is a Chorale entitled, “Ich hab’ nun überwunden.” Mauersberger uses a pre-existing Chorale tune he harmonized in a hymnbook entitled the Vierstimmiges Deutsches Choralbuch: Die Weisen des Melodienbuches zum Deutschen Evangelischen Gesangbuch (Four-voice German Book of Chorales: the Songs from the Melody Book to the German Protestant Hymnbook). Example 6.14 shows this harmonization that Mauersberger wrote in the hymnbook that uses the subdominant, dominant, and tonic frequently in the harmonies. Example 6.15 is a harmonic analysis to compare to the chord progressions he used that are more adventurous and fit for choir of advanced singers such as the Kreuzchor. Mauersberger makes more frequent use of iii, (the borrowed III chord 126 in a minor key), seventh chords, and Major VII chords, but still resolves conventionally with a progression of vi-IV-V-I. Example 6.14 Vierstimmiges Deutsches Choralbuch: Die Weisen des Melodienbuches zum Deutschen Evangelischen Gesangbuch. “Christus, der ist mein Leben,” harmonic analysis. EbM: I I V I vi V 4-3 I IV V ii I V I I IV viiº I V V4- 3/V V I V vi IV V I 127 Example 6.15 Dresdner Requiem, Movement 10. “Choral ‘Ich hab’ nun überwunden’” harmonic analysis. Death Table 21. The second of five sections in “The Transitory, Death, Dies irae” Tod 11. Tod (Hauptchor) 12. Evangelium (Altarchor) 13. Choral (Fernchor) Death 11. Death (tutti choir) 12. The Gospel (altar choir) 13. Chorale (echo choir) GM: IV I ii vi ii iii v7 I IV v IV 6 I ii 6 III I vi V IV V vi VII iii I ii vi IV V I 128 11. Tod “Wer will Gott lehren” Table 22. Movement 11 Overview 11. Tod 11. Death Scored for Tutti choir Tonal Areas A Major, C-sharp minor, A Major, F- sharp minor Tempo Etwas bewegter (somewhat more pressing forward) Time Signatures 4/4 Dynamic Range pp-ff Length 25 measures Text: Wer will Gott lehren, der auch die Hohen richtet! Dieser stirbt frisch und gesund, in allem Reichtum und voller Genüge. Jener aber stirbt mit betrübter Seele und hat nie mit Freuden gegessen. Und liegen gleich miteinander in der Erde. Translation: Who would God instruct, who on the mighty brings judgement! This one dies sound, in full health, in all his wealth, and full of his worldly things. Yet another dies with a troubled spirit and has never happiness tasted; and yet lies each with the other in the cold earth. Origin of Text: Job 21:22-23, 25-26 Movement 11 states the bleakness of death from the book of Job in the Bible, “Yet another dies with a troubled spirit and has never happiness tasted; and yet lies each with the other in the cold earth.” The tutti choir begins in E minor and emphatically proclaims that God instructs and brings mighty judgment. Mauersberger sets this beginning text at a forte dynamic and ends the phrase on open fifths portraying a firm “judgment.” The sopranos and altos sing in C-sharp minor at a mezzo forte dynamic about the first person described in the text as being “full of health”, “wealth”, and “worldly things.” Comparingly, the tenors and basses sing at a pianissimo dynamic about the other person described in the text who never experienced happiness, then died “…with a troubled spirit” and “never tasted happiness” (see Example 6.16 for mm. 77- 129 84). Both begin their phrases on C-sharp minor, but Mauersberger intentionally obscures the keys and ends the second half of the phrase, “and has never happiness tasted,” on D and A in open fifths, again creating a sense of despair and unfulfillment in m. 84. From mm. 87-90, Mauersberger moves all lower voices except for the soprano to ascend to m. 88, only to descend in parallel motion in all voices symbolically being buried “in the cold earth.” The last chord is an F-sharp minor chord with a special instruction to fade away (“verklingend!”). Mauersberger used the soprano and alto voices and lower voices to represent separate individuals commenting on their own circumstances. This was Mauersberger’s first of three more poignant settings to come about death which he will reiterate in each “Dies irae.” 130 Example 6.16 Dresdner Requiem, Movement 11. “Tod ‘Wer will Gott lehren’” mm. 77- 90, depiction of those who die never having tasted happiness. 12. Evangelium “Ich bin die Auferstehung Table 23. Movement 12 Overview 12. Evangelium 12. The Gospel Scored for Altar choir Tonal Areas A Major, D Major Tempo Not indicated Time Signatures 4/4, 3/2 Dynamic Range mf Length 12 measures 131 Text: Ich bin die Auferstehung und das Leben. Wer an mich glaubet, der wird leben, ob er gleich stürbe. Translation: I am the resurrection and the life. He who believes in me, shall live, even though he die. Origin of Text: John 11:25 Movement 12 contains the words of Jesus Christ from the Gospel of John and is sung by the altar choir. This is the first mention of the resurrection as the only power to overcome death. Mauersberger extends the duration of key hopeful words using melisma and successive major chords on the words “Resurrection,” “believe,” “Life.” Even the last phrase, “even though he die”, finishes strongly in D Major. 13. Choral “Gern will ich folgen, lieber Herr” Table 24. Movement 13 Overview 13. Choral 13. Chorale Scored for Echo choir Tonal Areas D Major Tempo Not indicated Time Signatures 3/2+2/2 Dynamic Range pp Length 9 measures Text: Gern will ich folgen, lieber Herr, du wirst mir's nicht verderben, denn du bist ja von mir nicht fern, ob ich gleich hier muss sterben und lassen meine lieben Freund', die’s mit mir herzlich gut gemeint. Translation: Then let us follow Christ, our Lord, and take the cross appointed, and firmly clinging to his Word, in suffr’ing be undaunted. For those who bear the battle’s strain the crown of heav’nly life obtain. Origin of Text: Machs mit mir, Gott, nach deiner Gut (Evangelisches Gesangbuch 525, 2) Text: J.H. Schein 1628 Melody: Gesius 1605, Schein 1628 English Translation by Charles Schaeffer, 1813-1896 132 The Chorale “Gern will ich folgen, lieber Herr” is sung by the echo choir and is the last song of the second three-movement subset within the “Transitory, Death, Dies irae.” The Chorale ties together both the Hebrew Scripture setting of Movement 11 and the Gospel setting of Movement 12. This specific Chorale is a hymn Mauersberger had previously arranged for the Protestant Hymnal. 45 He included this hymn in the Requiem and added one more soprano voice part as well as altered some of the harmonies for its inclusion in the Requiem. Dies irae Table 25. The third of five sections in “The Transitory, Death, Dies irae” Dies irae 14. Dies irae I (Hauptchor) 15. Choral (Hauptchor) 16. Evangelium (Altarchor) Dies irae 14. Dies irae I (tutti choir) 15. Chorale (tutti choir) 16. The Gospel (altar choir) 14. Dies irae I “Er tut große Dinge” Table 26. Movement 14 Overview 14. Dies irae I 14. Dies irae I Scored for Tutti choir; Trumpets I, II, and III; Trombones I, II, and II; Tuba, Timpani, Bass drum, Cymbals, and Contrabass Tonal Areas B minor, E minor, G minor, A Phrygian, C Phrygian, D minor, E minor, B minor Tempo Not indicated 45 Mauersberger, Rudolf. “Vierstimmiges Deutches Choralbuch : Die Weisen des Melodienbuches zum Deutschen Evangelischen Gesangbuch ” Leipzig: C. Merseburger, n.d., 100a. 133 Time Signatures 3/4 Dynamic Range mp-ff Length 40 measures Text: Er tut große Dinge, die nicht zu erforschen sind. Er macht etliche zum großen Volk und bringet sie wieder um. Er breitet ein Volk aus und treibet es wieder weg. Die Völker werden sich vor ihm entsetzen. Alle Angesichter werden bleich, vor ihm erzittert das Land und bebt der Himmel, Sonne und Mond werden finster, und die Sterne verhalten ihren Schein. Er beweget ein Land aus seinem Ort, dass seine Pfeiler zittern. Translation: Surely, he does great things which are beyond our knowing He makes some of the people into a great nation, a great nation, and then, in his wrath destroys them. He expands another people and then he disperses them. The nations fear and tremble before him. All their countenances became pale. Before him trembled the earth, the heavens shook. Sun and moon were darkened and the starlight no longer could be seen. He shook the earth out of its place, and its pillars trembled. Origin of Text: Job 9:10, 12, 23; Joel 2:6: 18; Job 9:6 Movement 14, “Dies irae I” (Day or Wrath I) is the first of two versions of “Dies irae” movements. Mauersberger describes the horrors of war and specifically the Dresden bombings through the texts he chose. This is the first Movement in which all instruments, brass, timpani, bass drum, cymbals, and contrabass, are used in the Requiem. In Mauersberger’s hometown in the Ore Mountains, the use of the trombones originated from the Erzgebirge tradition of funerals, Mauersberger then used this tradition in his Requiem. It is only fit he include them in the Requiem. The brass provides additional support increasing the dynamics, color, and pathos of the three “Dies irae”, and it also enhances the grandeur and support to Movements 31 and 36, the two that require the congregational singing. The contour of the vocal lines and brass parts descends in parallel octaves and fifths in the upper voices and by thirds in the bass voice to D minor in mm. 123-125 to portray the text how God can “destroy” in his wrath. In contrast, the tutti choir begins the 134 next phrase a cappella in response to the destruction. In mm. 126-135, Mauersberger creates an a cappella section and uses harmonic elongation of text to emphasize certain words and length the vocal lines. In this case it is with “breitet” (expands) and “Volk” (people). In the next phrase, “Treibet es” (disperses it) is composed with descending vocal lines into the “trembling and fear” section m. 136 on fortissimo dynamic and bass. The timpani begins to play a tremolo in m. 135 and the brass returns in the same measure, but entering on off beats. In m. 142, the symbolism of bombings “Before him trembled the earth, the heavens shook. Sun and moon were darkened and the starlight no longer could be seen. He shook the earth out of its place, he shook the earth out of its place, and its pillars trembled.” From mm. 145 -151 the timpani begins to roll and the sixteenth-note rhythms, largely in the choir, depict the shaking of the earth and pillars (see Example 6.17). The bass drum played from m. 147 to the end and the small drum and timpani play in the last verse. The sixteenth-note rhythms end with accented eighth notes punctuating the end of this movement and suddenly lead into the dramatic Chorale of Movement 15. 135 Example 6.17 Dresdner Requiem, Movement 14. “Dies irae I ‘Er tut große Dinge’” mm. 148-151, text painting. 136 137 15. Choral “Und ein Buch wird sich entfalten” Table 27. Movement 15 Overview 15. Choral 15. Chorale Scored for Tutti choir Tonal Areas B minor Tempo Sehr bewegt (with much movement and agitation) Time Signatures 4/4 Dynamic Range pp-ff Length 9 measures Text: Und ein Buch wird sich entfalten, drin die Schuld der Welt enthalten, über dir Gericht zu halten. Sieh, nach dir streck' ich die Hände, zum Zerknirschten, Herr, dich wende, o, gib mir ein selig Ende! Translation: Lo! The book, exactly worded, wherein all has been recorded: Thence shall judgment be awarded. Low I kneel with heart submission: See like ashes, my contrition: help me in my last condition! Origin of Text: Tag des Zorns, o Tag voll Grauen (verses 5 and 17) Text: C.K.J. v. Bunsen, from a text by Th. V. Celano. Melody: Anon. Movement 15 dramatically and seamlessly connects into the Chorale of Movement 16. The dynamic increases to fortissimo, and the organ replaces the contrabass and the bass drum and cymbals. The tune entitled “Day of wrath” reaches its apex at the judgment in m. 156 (see Example 6.18). Immediately after the first verse, the accompanying instruments stop, and the choir sings the second verse a cappella at a pianissimo dynamic, “Low I kneel with heart submission: See, like ashes, my contrition: help me in my last condition!” 138 Example 6.18 Dresdner Requiem, Movement 15. “Choral, ‘Und ein Buch wird sich entfalten’” mm. 155-158, climax at judgement. 139 16. Evangelium “Den Frieden lasse ich euch” Table 28. Movement 16 Overview 16. Evangelium 16. The Gospel Scored for Altar choir Tonal Areas G Major, E minor Tempo Sehr ruhig (very peaceful) Time Signatures 4/4 Dynamic Range pp-ff Length 12 measures Text: Den Frieden lasse ich euch, meinen Frieden gebe ich euch. Nicht gebe ich euch, wie die Welt gibt. Euer Herz erschrecke nicht und fürchte sich nicht! Translation: My peace I leave now with you, my peace I give unto you. Not as the world gives, give I unto you. Let your hearts be not troubled, neither let them be afraid! Origin of Text: John 14:27 The words of Christ from the Gospel are typically sung following the Hebrew Scriptures, but Mauersberger switched the order so that the Chorale in this set of three in “Dies irae I.” Movement 15 ends in B minor. The submediant shift to the key of G Major for Movement 16 delivers the words of comfort, “My peace I leave now with you, my peace,” while the relative minor of E minor begins with “give I unto you.” The only major chords for the rest of the song are on “you” (A Major), “heart” (A Major), and “not” (E Major). There is a molto crescendo to fortissimo up through the last line, “Let your hearts be not troubled, neither let them be afraid.” The final chord is E Major, which has larger significance in relationship to the entire work in that it started on E minor and is foreshadowing the E Major final cadence in the last movement. 140 Table 29. The fourth of five sections in “The Transitory, Death, Dies irae” 17. Dies irae II (Hauptchor) 18. Evangelium (Altarchor) 19. Choral (Deutsches “Dies irae”) (Hauptchor) 17. Dies irae II (tutti choir) 18. The Gospel (altar choir) 19. Chorale (Deutsches “Dies irae”) (tutti choir) 17. Dies irae II “Und des Herrn Hand kam über mich” Table 30. Movement 17 Overview 17. Dies irae II (Hauptchor) 17. Dies irae II (tutti choir) Scored for Tutti choir, trumpet I, II, and III in Bb; Trombone I, II, III; Tuba, Timpani, snare, large bass drum, tamtam, xylophone, celeste, and contrabass Tonal Areas A minor, D minor, D Major Tempo Marschmäßig (moderate march) Time Signatures 4/4, 6/4, 3/2 Dynamic Range pp-mf Length 28 measures Text: Und des Herrn Hand kam über mich, und er führte mich hinaus im Geist des Herrn und stellte mich auf ein weit’ Feld, das voller Totengebeine lag, und siehe, des Gebeins lag sehr viel auf dem Felde, und sie waren sehr verdorret. Und er sprach zu mir: Du Menschenkind, meinest du auch, dass diese Gebeine lebendig werden? Und ich sprach: Herr, das weißt du wohl! Translation: And the Lord’s hand was over me and he brought me, by the Spirit of the Lord and there in the midst of the valley that was filled with bones, filled with dry bones. And behold, there were very many bones in the valley and the bones were very dry. And he said to me: Oh Son of man can you believe, that this field of bones can be brought back to life? And I said: all is in your hands! Origin of Text: Ezekiel 37:1-3 “Dies irae II” is the second of the three “Day of wrath” triptychs within “The Transitory, Death, and Dies irae.” This movement is based on the text of Ezekiel’s prophecy of the dry bones. Mauersberger likens Ezekiel’s vision to the horrific death and 141 destruction in Dresden and suggests that it would take a miracle for Dresden to recover and, in the case of the prophecy, bring the “field of bones brought back to life.” The movement begins with the full complement of percussion at a Marschmäßig (march-like) tempo. An exact marching tempo is not indicated, but a slower funeral-like march can be deduced since the text is about seeing Ezekiel’s vision of “dry bones.” The contrabass plays sempre pizzicato quarter notes and the celeste accented quarter notes simultaneously in the opening two measures, mm. 178-179. Beginning on beat two, the celeste rings like death bells to the marching tempo in the same key. 46 Such accented and detached articulations accompanied with drum rolls on timpani, bass drum, and snare, support a military march-like texture that would encourage the vocal parts to sing with a slightly more detached articulation like poco marcato (see Example 6.19). In m. 198, the texture changes suddenly to a cappella. The tenors and basses sing in four-part as God is talking to man, “And he said to me: Oh Son of man, can you believe, that this field of bones can be brought back to life? And I said: Lord, all is in your hands!” and then man answered reverently “Lord, all is in your hands!” The consonant D Major with a Picardy third ending reverently exemplifies the reassuring faith of man in God. 46 Marc Hartwiger. “Das ‘Dresdner Requiem’ von Rudolf Mauersberger.” Musik in der Schule 14.2 (2001): 27. 142 Example 6.19 Dresdner Requiem, Movement 17. “Dies irae II ‘Und des Herrn Hand kam über mich’” mm. 178-182; mm. 196-205, moderate funeral march and contrasting a cappella section. 143 D Major – Picardyt hird3rd# 144 18. Evangelium “Fürchte dich nicht” Table 31. Movement 18 Overview 18. Evangelium 18. The Gospel Scored for Altar choir, organ ad lib. Tonal Areas D Major, G Major Tempo Not indicated Time Signatures 4/4, 3/2 Dynamic Range f Length 19 measures Text: Fürchte dich nicht! Ich bin der Erste und der Letzte und der Lebendige. Ich war tot, und siehe, ich bin lebendig von Ewigkeit zu Ewigkeit und habe die Schlüssel der Hölle und des Todes! Translation: Be not afraid! I am the first, the first and last, and he who is living still. I was dead, but surely, I am living, from eternity to eternity and have the keys of death, the keys of Hades! Origin of Text: Revelations 1:17-18 The words of this movement are from the resurrected Jesus Christ found in the book of Revelations in the New Testament and are sung by the altar choir with the organ playing ad libitum. The dynamic is forte and declamatory. Christ states he is living, and this is an answer to the last line of Movement 17 when God asked Ezekiel, “Can you believe, that this field of bones can be brought back to life?” Mauersberger emphasizes Christ’s answer in mm. 212-214 by treating “living still” with a melisma and succession of almost all major triads (D Major - G Major – F Major – C Major – G Major – E minor 7– A minor – E Major) (see Example 6.20). Mauersberger continues the declaration that Christ has the “keys to death” and proclaims this in six to eight part voice parts. The final cadence is punctuated by accents on the word “Todes” (of death) in mm. 223-224. 145 Example 6.20 Dresdner Requiem, Movement 18. “Evangelium ‘Fürchte dich nicht’” mm. 212-224, melisma on “lebendige.” DM-GM-FM - CM - GM - Em - Am - EM 146 19. Choral “Es ist gewißlich an der Zeit” (Deutsches “Dies irae”) Table 32. Movement 19 Overview 19. Choral (Deutsches “Dies irae”) 19. Chorale (German „Dies irae“) Scored for Tutti choir; trumpet I, II, III in Bb, Trombone I, II, III; Tuba, Timpani E, A; Tonal Areas C Major Tempo Sehr bewegt (with much movement and agitation) Time Signatures 2/2 then 3/2 Dynamic Range ff Length 15 measures Text: Es ist gewisslich an der Zeit, dass Gottes Sohn wird kommen in seiner großen Herrlichkeit, zu richten Bös' und Frommen. Dann wird das Lachen werden teu'r, wenn alles wird vergehn im Feu’r, wie Petrus davon schreibet. Translation: The day is surely drawing near when Jesus, God’s anointed, in all his power shall appear as judge whom God appointed. Then fright shall banish idle mirth, and hungry flames shall ravage earth, as scripture long has warned us. Origin of Text: Evangelisches Gesangbuch 149 Text: B. Ringwaldt (1582) 1586, from the Latin Dies irae of Th.v. Celano and from a German Lied (ca. 1565) Melody: 15 th century/Wittenberg 1529 Movement 19 is the Chorale for the fourth section of the “Transitory, Death, and “Dies irae” and is also known as “Deutsches ‘Dies irae.’” This Chorale is declaring with full brass, organ, and timpani that Jesus is God’s anointed one to appear as judge over all the earth. The text speaks of fright and ravaging flames appearing to foreshadow the following movement, which fulfills the fright, terror, and ravaging flames of the bombings. 147 Table 33. The last of five sections in “The Transitory, Death, Dies irae” 20. Dies irae III (Hauptchor) 21. Evangelium (Altarchor) 22. Choral (Fernchor) 20. Dies irae III (tutti choir) 21. The Gospel (altar choir) 22. Chorale (echo choir) 20. Dies irae III, “Der Herr hat seine Hand gewendet” Table 34. Movement 20 Overview 20. Dies irae III (Hauptchor) 20. Dies irae III (tutti choir) Scored for Tutti choir, solo voice ensemble, trumpet I, II, and III in Bb; Trombone I, II, III; tuba; timpani; snare drum, bass drum, cymbals, tamtam, celeste, contrabass Tonal Areas A-flat Major, F minor, C Major Tempo Langsam, ruhige Viertel (slow and calm quarter note); Allegro furioso; Ruhig (calmly) Time Signatures 4/4, 3/4, 5/4, 5/8, 4/8, 3/2 Dynamic Range pp-ff Length 104 measures Text: Der Herr hat seine Hand gewendet wider mich. Schrekken hat sich wider mich gekehret. Er hat seinen grimmigen Zorn ausgeschüttet, er hat ein Feuer angesteckt, das auch die Grundfeste verzehret hat. Herr, du hast Menschen lassen über unser Haupt fahren. Dampf ging auf und verzehrend' Feuer, und die Erde bebte und ward bewegt. Ihre Leichname werden liegen auf den Gassen der großen Stadt. Und ich sah ein fahles Pferd, und der darauf saß, dess' Name hieß Tod, und die Hölle folgte ihm nach. Und es ward ein Hagel und Feuer mit Blut gemengt und fiel auf die Erde, und der dritte Teil der Bäume verbrannte und alles grüne Gras. Und ich sah und hörte einen Engel fliegen mitten durch den Himmel und sagen mit großer Stimme: Weh, weh, weh denen, die auf Erden wohnen. Es lagen in den Translation: The Lord has raised his hand against me in his wrath. Terror loosed against me, his terrible anger is poured out against me. A fire he kindled, a raging fire he kindled, which consumed the city’s foundations. Lord, you have loosed these nations which have trod over us. Smoke went forth and an all-consuming fire. The earth did tremble and shake. And their corpses lay in the streets and byways of the fallen city. And I saw a pale horse, and one who rode thereon whose name was death. Then I saw death, and saw Hades following after him. And there followed hail and fire, and fire with blood was mingled, and which fell on the earth. And a third part of the trees were burnt and all green grass. And I saw and heard a bright angel flying in midheaven and crying aloud and saying: Woe, woe be to you who now on 148 Gassen Knaben und Alte. Du hast gewürget am Tag deines Zorns. Du hast mich zur Wüste gemacht, dass ich täglich trauern muss. Die Zwinger stehen kläglich, und die Mauern liegen jämmerlich Ihre Tore liegen tief in der Erde. Alles Volk seufzt und geht nach Brot. Sie geben ihre Kleinodien für Speise. Ach, dass ich dazu geboren bin, dass ich meines Volks und der heiligen Stadt Zerstörung sehen muss! Ich suchte Hilfe bei den Menschen und fand keine. Da gedachte ich, Herr, an deine Barmher- zigkeit und wie du allezeit geholfen hast. the earth are living. Now lie in the streets of the city children and old ones. Each day have you choked on the bitterness of your wrath My spirit you have made desolate, that I daily, sorely must weep. The towers now have fallen, and the builders grieve with bitterness, for their gates lie hidden deep in the earth. All her people groan as they search for bread. They give their dearest treasures for food. Ah, why was I born to see this thing, and that I should see the destruction of this holey place, the crushing of my people. I sought for aid, for help from mankind, and found nothing. Then my thoughts turned to you, and I remembered your love, and how in all things you have been our help. Origin of Text: Lamentations of Jeremiah 3:3, Job 30:15; Lamentations of Jeremiah 4:11; Psalms 66:12; 18:8-9; Revelations 11:8; 6:8; 8:7, 13; Lamentations of Jeremiah 2:21, 13, 8- 9; 1:1; 1 Maccabees 2:7 (Apocrypha); Sirach 51:10-11 (Apocrypha) The text and composition of this movement are an allusion to the bombings. Mauersberger combined the verses in such a way as to create a narrative. This is the longest and most texturally and dynamically diverse movement of the entire work. The contrasts between the a cappella and accompanied sections are drastic. Table 35 shows a brief description of the through-composed work divided into seven sections. This is the final “Dies irae” of the three and is visceral, but also reflective. 149 Table 35. Movement 20 General Form Overview Measures Section Text Performing forces Characteristics 237-240 (3) 1 n/a Inst. intro similar to Mvt. 1, langsam 240-244 (4) 2 "Der Herr...mich." solo vocal ensemble a cappella, reflective 244-259 (15) 3 "Shrekken,..feuer..” all Allegro furioso; brass, percussion, contrabass 259-269 (110) 4 "Ihre Leichname." a cappella calm 271-296 (25) 5 "Tod die Hölle.." all Allegro furioso; brass, percussion, contrabass 296-333 (37) 6 "Es lagen..." a cappella lament of destruction 333-340 (7) 7 "Da gedachte.." a cappella turn to God The introduction begins with a pianissimo roll on the bass drum and cymbal while the trombones and celeste play a variation of the melodic motif from Movement 1. Solo ensemble singers begin singing on pianissimo at the pickup to m. 241. They are singing in C Phrygian, “The Lord has raised his hand against me in his wrath.” In m. 243, the tamtam is struck and the cymbal player is instructed to be play a tremolo with mallets while the timpani accelerate from eighth notes to sixteenth notes on a crescendo all the way to fortissimo in one measure. The tutti choir erupts into a fortissimo dynamic (see Example 6.21). The third section begins with an outburst of terror and all voices singing “Schrekken” (terror) and the trombones. 150 Example 6.21 Dresdner Requiem, Movement 20. “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 244-246, outburst of terror. 151 In m. 250, the wrath of God comes down like fire from heaven, and in m. 252 the choir sings fortississimo dynamic, exclaiming, “Lord, you have loosed these nations which have trod over us.” Smoke and fire begin consuming all, and the earth trembles with earthquakes while the timpani tremolos into a continual sixteenth-note ostinato and playing a sixteenth-note ostinato. This eruption fades more gradually than it begins into a highly contrasting slow a cappella section in F Phrygian mode (m. 259) featuring a soprano solo and choir accompaniment commenting on all of the corpses that lay in the streets (see Example 6.22). 152 Example 6.22 Dresdner Requiem, Movement 20. “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 256-264, contrasting outburst to a cappella section. 153 154 The tutti choir singing a cappella describes a horse whose rider is named death, with “Hades following close behind.” At m. 271, “Tod” (death) instantaneously is another fortissimo eruption from the choir and timpani and brass. This eruption begins section 5 (refer to table 5) and another storm of hail, fire, and blood at the lines: “A third part of the trees were burnt and all green grass.” “A bright angel was flying above and said with a loud voice, “Woe, woe, woe be unto you who now on the earth are living.” The three “Woes” erupt like the previous two in [m. 245 and m. 271], but in this final call, the choir responds with dissonance. As they descend in pitch and dynamic, the choir warns all inhabitants of earth, until it rests on a F minor and open fifth pedal tone for the transition into the a cappella section 6. The pedal tone is the same sound of desolation Mauersberger used at the beginning of Wie liegt die Stadt so wüst (see Example 6.23). 155 Example 6.23 Dresdner Requiem, Movement 20. “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 291-293, outburst of “Woe.” 156 Section 6 is an a cappella lament in F Phrygian that is filled with stark imagery. The climax occurs at m. 325 in awe that the destruction of “Jerusalem” has just been witnessed. Section 7 turns all fear, anger, deep sorrow and “thoughts” to God because of His mercy and love. This section stands out as the one hope amidst all that has been lost. Mauersberger’s harmonic language is using primarily major chords, and the last chord of the work is voiced precisely like the last chord in Movement 9, where this exact chord and voicing was used to portray “overcoming the world.” In section 7 (refer to table 35) of “Dies irae III,” Example 6.24 offers a contrasting answer to the terror and destruction. 157 Example 6.24 Dresdner Requiem, Movement 20. “Dies irae III ‘Der Herr hat seine Hand gewendet’” mm. 333-34, contrasting answer to the terror. 21. Evangelium “Gott wird abwischen alle Tränen” Table 36. Movement 21 Overview 21. Evangelium 21. The Gospel Scored for Altar choir Tonal Areas C minor, F Major, C Major Tempo Not indicated Time Signatures 4/4, 3/2 Dynamic Range p-f Length 25 measures 158 Text: Gott wird abwischen alle Tränen von ihren Augen, und der Tod wird nicht mehr sein, noch Leid, noch Geschrei, noch Schmerzen wird mehr sein, denn das Erste ist vergangen. Siehe, ich mache alles neu! Translation: God shall wipe away all tears from their eyes, and now death shall be no more, neither mourning nor pain, nor crying shall there be. For the former things have passed away. See now, I make all things new! Origin of Text: Revelations 21:4-5 Movement 21 is The altar choir sings the comforting text of Movement 21. Ironically, the words of Christ are sung in the C Phrygian mode and promise that God will wash all tears away. Measure 349 introduces the new key area of E Major. The last statement is in the key of C, “See now, I make all things new!”, on a half cadence. 22. Choral “Du Herberg in der Wanderzeit” Table 37. Movement 22 Overview 22. Choral 22. Chorale Scored for Echo choir Tonal Areas C minor, C Major Tempo Not indicated Time Signatures 3/2, 4/4 Dynamic Range pp Length 11 measures Text: Du Herberg in der Wanderzeit, gehab dich wohl und lass dein Leid! Schließ nur getrost die Pforte zu: Was trauerst du? Dein Gast geht hin zur ew'gen Ruh. Translation: You refuge on this journey long, no more will weep, your heart be strong! Lock now the door and peaceful rest: Why do you mourn? Your guest pursues his joyful quest. Origin of Text: Wohlauf, wohlan, zum letzten Gang, verse 2; Text: Christian Friedrich Heinrich Sachse; Melody: sixteenth century, Frankfurt am Main, 1589 159 The Chorale, “You refuge on this journey long,” is sung by the echo choir. The text is set in the key of C minor and ends with a Picardy third. The words of this Chorale are clear and encapsulate the ideas Mauersberger may have been hoping to achieve within the Requiem. The altar choir retires to the vestry during or at the end of this movement. 47 Sanctus Sanctus and Agnus Dei, the last two major sections of the Dresdner Requiem, represent the spiritual and musical climax of the Requiem Mass. 48 The Sanctus, including Benedictus, are the congregation’s answers of praise to the priest’s previous invitations to express gratitude. Many of the movements begin to flow into each other without stopping. The tutti, altar, and echo choirs alternate singing in Movements 24, 25, 27, and 29, and they involve the congregation in Movement 30 in the singing of the Chorale, “Jerusalem, du hochgebaute Stadt” (“Jerusalem, Thou City Fair and High”). The Venetian style of cori spezzati or antiphonal singing has its origins in Italy with the teacher of Schütz, Giovanni Gabrieli. Antiphonal choirs can create a surround sound effect of numberless concourses of angels praising God. Unlike the third major section, “Transitory, Death, and Dies irae,” the Sanctus and last major section, Agnus Dei, are comprised mainly of the Latin liturgical texts in the vernacular German from the Bohemian prayer book. The only exceptions to the Latin texts in the Sanctus are the three Chorales, Movements 28, 30, 31. Each Chorale 47 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), X. English Translations by Robert Scandrett. 48 Martin Petzoldt. “Glaubende Rückfrage und Deutung eines Infernos: Rudolf Mauersbergers „Dresdner Requiem“,“ Musik und Kirche 81, no. 2 (2011): 111. 160 movement presents a different verse of the same Chorale, Jerusalem, du hochgebaute Stadt (Jerusalem, Thou City Fair and High). Movement 31 involves all instruments except the timpani, the tutti choir, and the congregation in singing praise to God. The Sanctus section closes with a movement that is a prayer sung by the tutti choir, “Jesu, Jesu, gentle Savior, grant to the dead eternal rest!” This prayer connects to the final section of the Dresdner Requiem, Agnus Dei (Lamb of God). Table 38. Sanctus, Movements 23-32, Overview with Text and Translation 49 23. Praefatio (Hauptchor) In der Gewissheit der göttlichen Verheißung durch Christus erheben wir voll Freude und Dank unsre Herzen zu dir und singen mit dem Chor der Seligen: Liturgie 24. Sanctus (Hauptchor, Altarchor, Fern- chor): Heilig, heilig, heilig ist der Herr Zebaoth! Alle Lande sind seiner Ehre voll. Liturgie 25. Osanna (Hauptchor, Altarchor, Fern- chor): Hosianna in der Höhe! Liturgie 26. Benedictus (Hauptchor): Gelobet sei, der da kommt im Namen des Herrn. Liturgie 27. Osanna (Hauptchor, Fernchor): Hosianna in der Höhe! Liturgie 23. Praefatio (tutti choir) In firm conviction of God’s holy promise through Christ, we raise our hearts to you, full of joy, and with thanks, and sing with the choir of the blessed: Liturgy 24. Sanctus (tutti choir, altar choir, echo choir): Holy, holy, holy is the Lord, God of Sabaoth! All the world is full of your glory. Liturgy 25. Osanna (tutti choir, altar choir, echo choir): Hosanna in the highest! Liturgy 26. Benedictus (tutti choir): Oh, blessed is he, he that comes in the name of the Lord. Liturgy 27. Osanna (tutti choir, echo choir): Osanna (tutti choir, echo choir) Hosanna in the highest! Liturgy 49 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), XVII-XVIII. English Translations by Robert Scandrett. 161 28. Choral (Hauptchor): Was für ein Volk, welch eine edle Schar kommt dort gezogen schon? Was in der Welt von Auserwählten war, seh ich, die beste Kron, die Jesus mir, der Herre, entgegen hat gesandt, da ich noch war von ferne in meinem Tränenland. 29. Osanna (Altarchoir, Fernchor): Hosianna in der Höhe! Liturgie 30. Choral (Altarchor): Wenn dann zuletzt ich angelanget bin im schönen Paradeis, von höchster Freud erfüllet wird der Sinn, der Mund von Lob und Preis. Das Halleluja reine man singt in Heiligkeit, das Hosianna feine ohn’ End‘ in Ewigkeit. 31. Vorspiel und Choral (Hauptchor und Gemeinde): Mit Jubelklang, mit Instrumenten schön, auf Chören ohne Zahl, dass von dem Schall und von dem süßen Ton sich regt der Freudensaal, mit hunderttausend Zungen, mit Stimmen noch viel mehr, wie von Anfang gesungen die Himmel und ihr Heer. 28. Chorale (tutti choir): What throng is this, what noble troop, that pours, arrayed in beauteous guise, Out through the city’s open doors to greet my wondering eyes? The host of Christ’s elected, the jewels that he bears, in his own crown selected to wipe away my tears. 29. Osanna (altar choir, echo choir): Hosanna in the highest! Liturgy 30. Chorale (altar choir): One more at last arrived they welcome there to beauteous Paradise; where sense can scarce its full fruition bear or tongue for praise suffice. Glad hallelujas ringing with rapturous rebound, and rich hosannas singing eternity’s long round. 31. Prelude and Chorale (tutti choir and congregation): Unnumbered choirs before the Lamb’s high throne there shout the jubilee, with loud resounding peal and sweetest tone, in blissful ecstasy: A hundred thousand voices take up the wondrous song; Eternity rejoices God’s praises to prolong. 23. Praefatio “In der Gewißheit der göttlichen Verheißung” Table 39. Movement 23 Overview 23. Praefatio 23. Praefatio (preface) Scored for Tutti choir Tonal Areas F Major Tempo Not indicated 162 Time Signatures 4/4 Dynamic Range f Length 6 measures Text: In der Gewiss- heit der göttlichen Verheißung durch Christus erheben wir voll Freude und Dank unsre Herzen zu dir und singen mit dem Chor der Seligen: Translation: In firm conviction of God’s holy promise through Christ, we raise our hearts to you, full of joy, and with thanks, and sing with the choir of the blessed: Origin of Text: Liturgy (Bohemian Catholic Prayer Book) The Praefatio (Preface) begins the Sanctus with the tutti choir praising and offering thanks to God. The end of this short, seven-verse homophonic setting in F Major and subsequent movements flow seamlessly into each other. The end of this movement is instructed to begin Movement 24, “Sanctus ‘Heilig’” with “attacca subito” or suddenly. 24. Sanctus “Heilig” Table 40. Movement 24 Overview 24. Sanctus 24. Sanctus Scored for Tutti choir, altar choir, echo choir Tonal Areas F Major, G Major, D Major Tempo Not indicated Time Signatures 4/4 Dynamic Range p-ff Length 38 measures Text: Heilig, heilig, heilig ist der Herr Zebaoth! Alle Lande sind seiner Ehre voll. Translation: Holy, holy, holy is the Lord God of Sabaoth! All the world is full of your glory. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) This movement begins with the tutti choir on fortissimo dynamic singing the first “Holy, holy, holy is the Lord God of Sabaoth!” Mauersberger composes each Heilig as a melisma at least a measure long (see Example 6.25 and 6.26). These are joyful outbursts 163 led by the tutti choir in three long phrases and are reiterated in shorter phrases four times by the echo choir and three times by the altar choir. The outbursts lead directly into Movement 25, see Example 6.27. The tutti choir sings a “Hosianna” four times while the echo choir reiterates four times, and the altar choir three times. The many echo-like phrases present motivic repetition as a principle of formal development. 50 Example 6.25 Dresdner Requiem, Movement 24. “Sanctus ‘Heilig’” mm. 7-12, antiphonal iterations of “heilig.” 50 Vitus Froesch, Die Chormusik von Rudolf Mauersberger: Eine stillkritische Studie. (Marburg: Tectum Verlag, 2013) 40. 164 Example 6.26 Dresdner Requiem, Movement 24. “Sanctus ‘Heilig’” mm. 28-31, antiphonal iterations of “heilig.” 25. Osanna “Hosianna in der Höhe” Table 41. Movement 25 Overview 25. Osanna 25. Osanna Scored for tutti choir, altar choir, echo choir Tonal Areas D Major Tempo Not indicated Time Signatures 4/4 Dynamic Range f Length 11 measures Text: Hosianna in der Höhe! Translation: Hosanna in the highest! Origin of Text: Liturgy (Bohemian Catholic Prayer Book) 165 Example 6.27 Dresdner Requiem, Movement 25. “Osanna ‘Hosianna in der Höhe’” mm. 43-48. Hosanna continues into next movement. 166 26. Benedictus “Gelobet sei, der da kommt” Table 42. Movement 26 Overview 26. Benedictus 26. Benedictus Scored for Tutti choir Tonal Areas D Major, G Major, C Major Tempo Not indicated Time Signatures 4/4 Dynamic Range ppp-ff Length 22 measures Text: Gelobet sei, der da kommt im Namen des Herrn. Translation: Oh, blessed is he, he that comes in the name of the Lord. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Movement 26 is a contrast in dynamic and texture. It begins with solo soprano, alto, tenor, and bass voices on pianissimo dynamic and solo on mezzo forte dynamic in contrast to the tutti choir ending the previous section on forte dynamic. This movement sings “Oh, blessed is he that comes in the name of the Lord.” alternating between solo and small ensemble and only solo ensemble. At the end of this movement, the tutti choir sings the final exclamation, “Oh, blessed is he, he that comes in the name, in the name of the Lord.” The ending of this movement leads immediately to the echo choir singing Movement 27, “Osanna ‘Hosianna in der Höhe’”, antiphonally with the tutti choir (see Example 6.28). 167 Example 6.28 Dresdner Requiem, Movement 26. “Benedictus ‘Gelobet sei, der da kommt’” mm. 54-57, solo with small solo ensemble then tutti choir. 27. Osanna “Hosianna in der Höhe” Table 43. Movement 27 Overview 27. Osanna 27. Osanna Scored for tutti choir, echo choir Tonal Areas D minor, F Major Tempo Not indicated Time Signatures 4/4 Dynamic Range f-ff Length 10 Text: Hosianna in der Höhe! Translation: Hosanna in the highest! Origin of Text: Liturgy (Bohemian Catholic Prayer Book) 168 28. Choral “Was für ein Volk” Table 44. Movement 28 Overview 28. Choral 28. Chorale Scored for Tutti choir Tonal Areas F Major Tempo Ruhiger (more peaceful) Time Signatures 4/4 Dynamic Range p Length 20 measures Text: Was für ein Volk, welch eine edle Schar kommt dort gezogen schon? Was in der Welt von Auserwählten war, seh ich, die beste Kron, die Jesus mir, der Herre, entgegen hat gesandt, da ich noch war von ferne in meinem Tränenland. Translation: What throng is this, what noble troop, that pours, arrayed in beauteous guise, Out through the city’s open doors to greet my wondering eyes? The host of Christ’s elected, the jewels that he bears, in his own crown selected to wipe away my tears. Origin of Text:: Jerusalem, du hochgebaute Stadt (Evangelisches Gesangbuch 150:4, 6-7) Text: Johann Matthäus Meyfart (1590- 1642), 1626 Melody: Melchior Franck (1580-1639), 1663 Movement 28 is one verse of the Chorale, Jerusalem, du hochgebaute Stadt (“Jerusalem Thou City Fair and High”), sung in six-part harmony by the tutti choir. This Chorale tune will be sung again in two more subsequent Movements, 30 and 31, in which the latter involves the congregation. 169 29. Osanna “Hosianna in der Höhe” Table 45. Movement 29 Overview 29. Osanna 29. Osanna Scored for tutti choir, altar choir, echo choir Tonal Areas F Major Tempo Not indicated Time Signatures 4/4 Dynamic Range p-f Length 8 measures Text: Hosianna in der Höhe! Translation: Hosanna in the highest! Origin of Text:: Liturgy (Bohemian Catholic Prayer Book) The previous movement leads continuously into eight measures of “Hosianna” sung antiphonally between the altar and echo choir two times. The altar choir sing a forte dynamic, and the echo choir’s first iteration is forte but changes suddenly to a piano dynamic for the last iteration. This end leads immediately into the second a cappella presentation of Movement 30, ‘Chorale ‘Wenn dann zuletzt”, the next verse of Jerusalem, du hochgebaute Stadt (“Jerusalem Thou City Fair and High”), sung entirely by the altar choir on a mezzo piano dynamic. 30. Choral “Wenn dann zuletzt” Table 46. Movement 30 Overview Choral 30. Chorale Scored for Altar choir Tonal Areas F Major Tempo Ruhiger (more peaceful) Time Signatures 4/4 Dynamic Range mp 170 Length 20 measures Text: Wenn dann zuletzt ich angelanget bin im schönen Paradeis, von höchster Freud erfüllet wird der Sinn, der Mund von Lob und Preis. Das Halleluja reine man singt in Heiligkeit, das Hosianna feine ohn’ End‘ in Ewigkeit. Translation: One more at last arrived they welcome there to beauteous Paradise; where sense can scarce its full fruition bear or tongue for praise suffice. Glad hallelujas ringing with rapturous rebound, and rich hosannas singing eternity’s long round. Origin of Text:: Jerusalem, du hochgebaute Stadt (Evangelisches Gesangbuch 150:4, 6-7) Text: Johann Matthäus Meyfart (1590- 1642), 1626 Melody: Melchior Franck (1580-1639), 1663 31. Vorspiel und Choral “Mit Jubelklang” Table 47. Movement 31 Overview 31. Vorspiel und Choral 31. Prelude and Chorale Scored for tutti choir and congregation Tonal Areas F Major, D-flat Major Tempo Not indicated Time Signatures 4/4 Dynamic Range pp-ff Length 33 measures Text: Mit Jubelklang, mit Instrumenten schön, auf Chören ohne Zahl, dass von dem Schall und von dem süßen Ton sich regt der Freudensaal, mit hunderttausend Zungen, mit Stimmen noch viel mehr, wie von Anfang gesungen die Himmel und ihr Heer. Translation: Unnumbered choirs before the Lamb’s high throne there shout the jubilee, with loud resounding peal and sweetest tone, in blissful ecstasy: A hundred thousand voices take up the wondrous song; Eternity rejoices God’s praises to prolong. Origin of Text: Jerusalem, du hochgebaute Stadt (Evangelisches Gesangbuch 150:4, 6-7) Text: Johann Matthäus Meyfart (1590- 1642), 1626 Melody: Melchior Franck (1580-1639), 1663 171 Movement 31 has a twelve-measure introduction that adds each section in layers one measure at a time, starting with organ and then adding celeste, trombone section, trumpet section with contrabass, and then chimes and glockenspiel as the congregation joins the tutti choir in unison at m. 135 (see Example 6.29). The intro bears a small resemblance to the introduction in Movement 1, but through upward sequences and a molto crescendo, D-flat Major is established in m. 135. The congregation singing with the tutti choir and most of the instruments in grand fashion represents the “Chören ohne Zahl” (“unnumbered choirs”) singing and a “hunderttausend Zungen, mit Stimmen noch viel mehr, wie von Anfang gesungen die Himmel und ihr Heer (“hundred thousand voices take up the wondrous song; eternity rejoices God’s praises to prolong”). Example 6.30 the concludes the Sanctus with a brief a cappella prayer, mm. 151-157. 172 Example 6.29 Dresdner Requiem, Movement 31. “Vorspiel und Choral ‘Mit Jubelklang’” mm. 135-139, congregation joins in singing with the countless choirs. 173 32. Gebet Table 48. Movement 32 Overview 32. Vorspiel und Choral 32. Prayer Scored for Tutti choir Tonal Areas E-flat Major Tempo Not indicated Time Signatures 4/4 Dynamic Range p Length 7 measures Text: Jesu, milder Herrscher, du, gib den Toten ew’ge Ruh‘! Translation: Jesu, Jesu, gentle Savior, grant to the dead eternal rest! Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Example 6.30 Dresdner Requiem, Movement 32. “Gebet, ‘Jesu, milder Herrscher’” mm. 151-157, concluding prayer of the Sanctus. Agnus Dei The final section of the Dresdner Requiem is the “Agnus Dei” (“Lamb of God”). It comprises four Movements, numbers 33-37. Movement 33 asks the Lamb of God to have mercy on us and grant us peace and is a dialogue between the tutti choir and altar 174 choir. Movement 34 was written specifically with the boy alto, Peter Schreier, in mind, calling out in a time of “deepest need.” Movement 35 is the fourth incarnation of the Latin Requiem aeternam text in German, a dialogue with the tutti choir and the echo choir. Movement 36 is the singing of the last Chorale joined by the congregation, all asking to be comforted and to rejoice in Christ, for he overcame the grave. Movement 37 asks for peace as the altar and echo choir process out of the church and the tutti choir sings “Amen.” Table 49. Agnus Dei, Movements 33-37, Overview with Text and Translation 51 33. Choral (Hauptchor, Altarchor): O du Lamm Gottes, der du trägst die Sünde der Welt, erbarme dich unser! O du Lamm Gottes, der du trägst die Sünde der Welt, erbarme dich unser! O du Lamm Gottes, der du trägst die Sünde der Welt, verleih‘ uns deinen Frieden. 34. Schlußgebet (De profundis) (Hauptchor): Aus der Tiefe rufe ich zu dir, o Herr! Herr, erhöre meine Stimme! Lass deine Ohren merken auf die Stimme eines Flehens! Wir bitten dich, o Herr, erlöse die Seelen der Entschlafenen von allen ihren Sünden, damit sie in der Herrlichkeit der Auferstehung getröstet werden durch Christum, unsern Herrn. Amen. Liturgie 35. “Gib ihnen die ewige Ruhe“ (Hauptchor, Fernchor): Gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Herr, gib ihnen die ewige Ruhe, und das Liturgie 33. Chorale (tutti choir, altar choir): O Lamb of God, you who carries the sins of the world, have mercy on us! O Lamb of God, you who carries the sins of the world, have mercy on us! O Lamb of God, you who carries the sins of the world, grant us your peace. 34. Closing prayer (De profundis) (tutti choir): In my deepest need, I cry to you, O Lord! O hear my supplication! Let your ears be attentive to the voice of my entreaty! We pray to you, O Lord, deliver the souls of the departed from all their sins, by the hope which is ours through your word and through the glorious resurrection of Jesus Christ, our Lord. Amen. Liturgy 35. “Grant unto them eternal rest” (tutti choir, echo choir): Grant unto them rest everlasting, and may everlasting light shine upon them. Lord, grant unto them rest everlasting, and may everlasting light shine upon them. 51 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), XIV. English Translations by Robert Scandrett. 175 36. Vorspiel und Choral (Hauptchor mit Gemeinde): Seid getrost und hocherfreut! Jesus trägt euch, seine Glieder. Gebt nicht statt der Traurigkeit! Sterbt ihr, Christus ruft euch wieder, wann die letzt’ Posaun’ erklingt, die auch durch die Gräber dringt. 37. Schußchor (Hauptchor, Altarchor) Laß sie ruhen in Frieden. Amen. Liturgie Liturgy 36. Prelude and Chorale (tutti choir and congregation): Then take comfort and rejoice, for his members Christ will cherish. Fear not, they will hear his voice; dying, they will never perish: for the very grave is stirred when the trumpet’s blast is heard. 37. Final Chorus (tutti choir, altar choir) Let them slumber in peace. Amen. Liturgy 33. Choral “O du Lamm Gottes” Table 50. Movement 33 Overview 33. Choral 33. Chorale Scored for tutti choir, altar choir Tonal Areas A-flat Major Tempo Not indicated Time Signatures 4/4 Dynamic Range pp Length 31 measures Text: O du Lamm Gottes, der du trägst die Sünde der Welt, erbarme dich unser! O du Lamm Gottes, der du trägst die Sünde der Welt, erbarme dich unser! O du Lamm Gottes, der du trägst die Sünde der Welt, verleih‘ uns deinen Frieden. Translation: O Lamb of God, you who carries the sins of the world, have mercy on us! O Lamb of God, you who carries the sins of the world, have mercy on us! O Lamb of God, you who carries the sins of the world, grant us your peace. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Melody from Spangenbergs Kirchengesänge 1545 Mauersberger sets the Latin text, Agnus Dei, from his Bohemian Catholic prayer book (all in the vernacular, German) to a Chorale melody from the 1545 hymnbook, 176 Sprangenbergs Kirchengesänge. In m. 16, the altar choir asks for mercy and from mm. 21-31, the tutti choir responds by asking God for peace (see Example 6.31). 177 Example 6.31 Dresdner Requiem, Movement 33. “Choral ‘O du Lamm Gottes’” mm. 16- 31, intercession from altar and tutti choir for mercy and peace. 178 34. Schlußgebet (De profundis) “Aus der Tiefe rufe ich zu dir” Table 51. Movement 34 Overview 34. Schlußgebet (De profundis) 34. Closing prayer (De profundis) Scored for tutti choir Tonal Areas F minor, C minor, F minor Tempo Not indicated Time Signatures 4/4 Dynamic Range pp-mf Length 30 measures Text: Aus der Tiefe rufe ich zu dir, O Herr! Herr, erhöre meine Stimme! Lass deine Ohren merken auf die Stimme eines Flehens! Wir bitten dich, O Herr, erlöse die Seelen der Entschlafenen von allen ihren Sünden, damit sie in der Herrlichkeit der Auferstehung getröstet werden durch Christum, unsern Herrn. Amen. Translation: In my deepest need, I cry to you, O Lord! O hear my supplication! Let your ears be attentive to the voice of my entreaty! We pray to you, O Lord, deliver the souls of the departed from all their sins, by the hope which is ours through your word and through the glorious resurrection of Jesus Christ, our Lord. Amen. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) Movement 35 is the closing prayer or “Libera me” (“Deliver Me, O Lord”) of the Burial Rite from the Catholic Requiem Mass (Refer to Table 6.1). Mauersberger composed this movement specifically for alto solo, the twelve-year-old boy alto, Peter Schreier (see Example 6.32). A newspaper review of the premiere performance of the Dresdner Requiem in 1948 wrote about Peter Schreier: Particularly noteworthy was the outstanding performance of the twelve-year-old alto soloist Kruzianer Peter Schreier, whose unblemished, sacred voice, illuminated the work again and again, with a luster, that appeared to shine with sincere testimony of the eternal. 52 52 Erna Hewig Hofmann. „Klangerlebnis des Sakralen.“ Die Union, 1948, no. 53, June 6, 1948. „Besonders gedacht sei der überragenden Listung des zwölfjährigen Altsolisten Kruzianer Peter Schreier, dessen makellose, sakrale Stimme wieder und wieder das Werk überstrahlte, mit einem Schmelz, der von wahrhafter Begegnung mit dem Ewigen Zeugnis abzulegen schien.“ 179 Example 6.32 Dresdner Requiem, Movement 34. “Schlußgebet (De profundis) ‘Aus der Tiefe rufe ich zu dir’” mm. 1-6, alto solo with solo choir and tutti choir. 35. “Gib ihnen die ewige Ruhe” Table 52. Movement 35 Overview 35. “Gib ihnen die ewige Ruhe” 35. “Grant unto them eternal rest” Scored for tutti choir, echo choir Tonal Areas F minor, A-flat Major, F minor, F Major Tempo Not indicated Time Signatures 3/2 Dynamic Range pp-mp Length 56 measures Text: Gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Herr, gib ihnen die ewige Ruhe, und das ewige Licht leuchte ihnen. Amen. Translation: Grant unto them rest everlasting, and may everlasting light shine upon them. Lord, grant unto them rest everlasting, and may everlasting light shine upon them. Amen. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) The texts of Movements 2, 4, and 7 are the same, but each are variations in setting by length, treatment of echo choir, and subtle melodic and harmonic changes in some phrases although the character of the Movements stay the same. Movement 35 is the 180 fourth and final iteration of this text. This variation of previous musical material is seven measures shorter than the longest setting found in Movement 2 (63 measures). This movement is an antiphonal dialogue between the tutti choir and the echo choir petitioning for everlasting peace and light to rest upon the deceased, but it also might be considered a petition for everlasting peace among the living. In mm. 110-117, the echo choir has the closing phrase for the first time in all four variations. The echo phrase is the same phrase present in Movement 4 but concludes with the tutti choir offering their approval with “Amen.” The echo choir, representing those who have departed this world, pleads for the “eternal light to shine upon them.” 53 The ending phrase is in the following Example 6.33. Example 6.33 Dresdner Requiem, Movement 35. “Gib ihnen die ewige Ruhe” mm. 110- 117, echo choir sings last phrase followed by “Amen” by the tutti choir. 53 Rudolf Mauersberger, Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. (Stuttgart: Carus-Verlag, 1995), VII. English Translations by Robert Scandrett. 181 36. Vorspiel und Choral “Seid getrost und hocherfreut” Table 53. Movement 36 Overview 36. Vorspiel und Choral (Hauptchor mit Gemeinde) 36. Prelude and Chorale (tutti choir with congregation) Scored for Tutti choir and congregation Tonal Areas B-flat minor, D-flat Major Tempo Vorspiel; Die Viertel wie die Halben vorher (Prelude; the quarter note equal to the half note from previous movement) Time Signatures 4/4 Dynamic Range pp-ff Length 26 measures Text: Seid getrost und hocherfreut! Jesus trägt euch, seine Glieder. Gebt nicht statt der Traurigkeit! Sterbt ihr, Christus ruft euch wieder, wann die letzt’ Posaun’ erklingt, die auch durch die Gräber dringt. Translation: Then take comfort and rejoice, for his members Christ will cherish. Fear not, they will hear his voice; dying, they will never perish: for the very grave is stirred when the trumpet’s blast is heard. Origin of Text: Jesus, meine Zuversicht (Evangelisches Gesangbuches 526, 7) Text: Otto von Schwerin 1644. Melody: Berlin 1653 English Translation by Catherine Winkworth (1829-1878) Movement 36 is the final Chorale of the Dresdner Requiem. It begins in in the key of B-flat minor. The melodic ideas are similar to the beginning of the Requiem except it is in diminution and trombones are included in m. 120. The introduction changes keys to D-flat Major by m. 10, and this remains the key through to the end of the Chorale. The text offers a final admonition to Seid getrost und hocherfreut! [und] Gebt nicht statt der Traurigkeit! (“take comfort and rejoice [and] Fear not”), for die letzt’ Posaun’ erklingt, die auch durch die Gräber dringt. (“grave is stirred when the trumpet’s blast is heard” and brings forth all in the resurrection.) 182 Example 6.34 Dresdner Requiem, Movement 36. “Vorspiel und Choral ‘Seid getrost und hocherfreut’” mm. 118-126, Prelude of Movement 36 that is similar to prelude of Movement 1. 183 37. Schlußchor “Laß sie ruhen in Frieden” Table 54. Movement 37 Overview 37. Schlußchor 37. Final Chorus Scored for Tutti choir, altar choir, echo choir Tonal Areas D-flat Major, E Major Tempo Not indicated Time Signatures 3/2 Dynamic Range pp Length 18 measures Text: Laß sie ruhen in Frieden. Amen. Translation: Let them slumber in peace. Amen. Origin of Text: Liturgy (Bohemian Catholic Prayer Book) This final movement is another variation of the “Herr, gib ihnen die ewige Ruhe” musical setting from Movements 2, 4, and 7 (see Example 6.35). Because the text is different, the rhythms are slightly modified to fit the new text, “Let them slumber in peace.” The 3/2 time signature is the same as the previous three similar movements. The harmonic language is very similar to the previous sections except it starts in the key of D- flat Major. The tutti choir begins this final petition to God on a pianissimo dynamic. At m. 149, there is a dotted line for the tutti choir to end their phrase on “Frieden” and for the altar choir and echo choir to begin singing on beat three of m. 149 on the word “in.” This is also a cue for these two choirs to begin processing out of the church and for the Totenglocke (or Kreuzglocke) to ring again, marking the end of the service. This time, the bell is resonating with the choir singing an E Major chord (m. 157), having come full circle from the beginning of Movement 1 in E minor. 184 Example 6.35 Dresdner Requiem, Movement 37. “Schlußchor ‘Laß sie ruhen in Frieden’” mm. 140-157, similar to Movements 2 and 4. 185 Summary and Conclusions The Berlin Wall fell on November 9, 1989. A couple of weeks later, the West German city of Braunschweig and other church organizations in Braunschweig hosted Ein Wochenende für Rudolf Mauersberger (A Weekend for Rudolf Mauersberger), celebrating what would have been his one hundredth birthday. 1 The weekend of November 24 through 26 celebrated Rudolf Mauersberger with seven events, including concerts, in three days. The events featured his works from 1914 through 1966, including his folk song arrangements, his Konzert für Streicher (Concert for Strings), Tragische Sinfonie e-moll (Tragic Symphony in E minor), selected organ works, piano, lieder, a Gottesdienst (church service), and the final concert, an “Oratorio Concert” featuring a performance of Wie liegt die Stadt so wüst, and Dresdner Requiem. In the welcome address printed in the program, Matthias Hermann wrote that many believed that after Mauersberger’s death, his works would never be heard beyond the walls of the Dresden Kreuzkirche again. 2 After this conference, Herrmann and other knowledgeable individuals with originals and copies of Mauersberger’s works were able to consolidate them at the Sächsische Landesbibliothek Dresden (Saxon State and University Library Dresden, or SLUB). The new second edition of the Rudolf Mauersberger 1 Matthias Herrmann, ed. Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunschweiger Dom – Altstadtrathaus Braunschweig. Nov. 24-26, 1989. Printed program booklet, front page. Organizations that helped sponsor the weekend were the Braunschweiger Dom (Brunswick Cathedral), the city of Braunschweig, the Braunschweigischen Landeskirche (Braunschweig Land Church) under the direction of the Niedersächsischen (Lower Saxony) Minister of Science and Art, Dr. Johann-Tönjes Cassens. Performances of his works were performed over three days in the Braunschweiger Dom and Altstadtrathaus (old city town hall). 2 Matthias Herrmann, ed. Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunschweiger Dom – Altstadtrathaus Braunschweig. Nov. 24-26, 1989, 7. “Nach Mauersbergers Tod glaubten nur ganz wenige daran, daß sein Schaffen in irgendeiner Weise auch außerhalb der „schützenden“ Mauern der Kreuzkirche Fuß fassen könnte, zumal die Mauersberger-Pflege dort nun stark rückläufig war.“ 186 Werkverzeichnis (RMWV, or Rudolf Mauersberger Work Index) was completed in 1991. 3 Although a number of Mauersberger’s works had already been published, this new edition created renewed interest in and accessibility to his works. In 1995, Herrmann published the final 1961 version of the Dresdner Requiem with Carus-Verlag, along with an extensive foreword in German, English, and French that shares background on Mauersberger, the composition, detailed performance instructions with diagrams, texts and translations in English and French, facsimiles of a few pages from the original, the entire work, and detailed critical reports of the sources and edits. This is the edition sourced for this analysis. Although the Requiem is regional to German State of Sachsen and the city of Dresden, it may also be recognized internationally as a symbol against hatred and glorification of violence amongst nations. 4 In 1965, Mauersberger sought to perform the Dresdner Requiem with the Kreuzchor in the German-bombed but newly rebuilt Coventry Cathedral, where Benjamin Britten premiered the War Requiem for the consecration of the new Coventry Cathedral. Unfortunately, an international tour to England failed due to governmental restrictions in the GDR (German Democratic Republic), which would not allow a choir tour to the West. A performance of the Dresdner Requiem in the Coventry Cathedral in the 1960s would have symbolized a 3 Matthias Herrmann. Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. Dresden: Sächsische Landesbibliothek Dresden, 1991. https://digital.slub-dresden.de/werkansicht/dlf/95866/1/ Accessed on June 21, 2016. 4 Marc Hartwiger. “Das ‘Dresdner Requiem’ von Rudolf Mauersberger.” Musik in der Schule 14.2 (2001): 22. 187 bridge of reconciliation and peace between two cities annihilated by the ravages of war and where thousands of civilians lost their lives. 5 Rudolf Mauersberger impacted generations of singers and influenced both those who heard his choirs, but more importantly the Kreuzchor. The former alto singer and late professional tenor, Peter Schreier, said, “Rudolf Mauersberger led me to music and influenced my entire artistic life. He was our father. All my former choir comrades venerate him to this day.” 6 Friedrich Högner, former Landeskirchenmusikdirektor (State Church Music Director) of Bayern wrote, “In the opinion of many, next to Karl Straube, Rudolf Mauersberger was the most important Protestant Church musician of our century.” 7 In 1974, on a local radio interview, Austrian conductor Karl Böhm, a student of Straube and Mauersberger who later became one of the most important conductors of the twentieth century, said: A Wagner, a Weber, where did they develop and where did they create? In Dresden. And one can continue down the line until Schütz. I recall the phenomenal Kreuzchor. There was my friend, Mauersberger (who unfortunately has passed away), who I considered one of the greatest and brilliant directors and one sees this when one meets singers like Peter Schreier or Theo Adam today and knows what they are like. They received their musical foundation through the Kreuzchor. 8 5 Matthias Herrmann and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dresdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.“ Dresden und die avancierte Musik im 20. Jahrhundert. Part II: 1933-1966, edited by Matthias Herrmann and Hanns-Werner Heister, Musik in Dresden, Vol. 5. (Laaber, 2002), 345. 6 Klempnow, Bernd. “Seine Musik berührt noch immer tief.” Sächsische Zeitung, January 16, 2014. 7 Friedrich Högner, „Rudolf Mauersberger.“ Der Kirchenmusiker 30, 1979, Vol. 2, p. 84 8 Matthias Herrmann. „Kreuzkantor Rudolf Mauersberger,“ in Dresdner Kreuzchor und Thomanerchor Leipzig: zwei Kantoren und ihre Zeit Rudolf und Erhard Mauersberger, ed. Helga Mauersberger (Marienberg: Druck- und Verlagsgesellschaft Marienberg, 2007), 27. “Ein Wagner, ein Weber, wo haben sie sich entwickelt bzw. Wo haben sie geschafft? In Dresden. Und da könnte man die Reihe bis Schütz usw. fortsetzen. Ich erinnere nur an den phänomenalen Kreuzchor. Da war mein Freund Mauersberger (der leider gestorben ist), den ich für einen der größten und genialsten Dirigenten gehalten habe und man sieht ja, wenn man heute Sängern wie Peter Schreier oder Theo Adam begegnet, was da los ist. Die musikalische Grundlage haben sie durch den Kreuzchor.“ 188 Still today, the Kreuzchor honors the service and legacy of Rudolf Mauersberger by performing his works and remembering his contributions. He guided the Kreuzchor through one of the most challenging eras in the history of the eight century-old choir, but his music is still just beginning to be shared and understood outside of Europe. 189 Bibliography Allihn, Ingeborg. “Besprechungen: Bücher - Denkmal Für einen Kreuzkantor: “Rudolf Mauersberger. Kreuzkantor Zu Dresden,” von Matthias Herrmann.” Musik und Kirche 76, no. 6 (Nov, 2006): 438. http://libproxy.usc.edu/login?url=http://search.proquest.com.libproxy1.usc.edu/do cview/1130988?accountid=14749. Bayreuther, Rainer. “Die Situation Der Deutschen Kirchenmusik Um 1933 Zwischen Singbewegung Und Musikwissenschaft.” Archiv Für Musikwissenschaft 67, no. 1 (2010): 1-35. http://www.jstor.org.libproxy2.usc.edu/stable/25702864. (12/31/18) Blyth, Alan. "Schreier, Peter." Grove Music Online. 2001; Accessed 25 Feb. 2020. https://www-oxfordmusiconline- com.libproxy2.usc.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/ omo-9781561592630-e-0000025078. Christliche Geseng Lateinische und Deudsch zum Begrebnis (Latin and German Christian Songs for Burials) Wittenburg: Klug, 1542. Clayton, Anthony. “War and Faith in Dresden.” History Today 47, no. 4 (April 1997): 6- 9, http://libproxy.usc.edu/login?url=https://search-proquest- com.libproxy1.usc.edu/docview/202813108?accountid=14749. Decker, Rudolf. „Der ‚Kreuzchor‘ zu Dresden.” Neue Zeitschrift für Musik vol. 101, 12 (Dec. 1934): 1207-1208. https://archive.org/stream/NeueZeitschriftFuerMusik1934Jg101#page/n155/mode /2up on Aug. 4, 2017. “Dresden Choir of Boys Heard at Metropolitan,” New York Herald Tribune, March 27, 1935, Accessed on Aug. 4, 2017 http://libproxy.usc.edu/login?url=http://search.proquest.com.libproxy1.usc.edu/do cview/1221577603?accountid=14749. Dubins, Jerry. “MAUERSBERGER: Dresdner Requiem. Wie Liegt Die Stadt so Wüst. Tiefe Glocke Der Dresdner Kreuzkirche.” Fanfare - the Magazine for Serious Record Collectors 37, no. 4 (Mar, 2014): 311-313. http://libproxy.usc.edu/login?url=http://search.proquest.com.libproxy1.usc.edu/do cview/1519828879?accountid=14749. Dussel, Sonja. “Du hast mich zur Wüste gemacht, dass ich täglich trauern muss – Analyse zu Textkomposition und liturgischem Konzept des Dresdner Requiems von Rudolf Mauersberger (RMWV 10) unter Berücksichtigung der Trauermotette Wie liegt die Stadt so wüst.” https://www.glk.uni- mainz.de/files/2018/08/FB01_Diplomarbeit_Dussel.pdf on June 13, 2019. 190 Fogel, Henry. “Classical Recordings: Mauersberger - “Dresdner Requiem; Wie Liegt Die Stadt so Wüst”.” Fanfare - the Magazine for Serious Record Collectors 27, no. 5 (May, 2004): 154-155. http://libproxy.usc.edu/login?url=http://search.proquest.com.libproxy1.usc.edu/do cview/1263145?accountid=14749. Froesch, Vitus. Die Chormusik von Rudolf Mauersberger: Eine stilkritische Studie. Marburg: Tectum Verlag, 2013. Grün, Matthias. “Rudolf Mauersberger Studien zu Leben und Werk.” Regensburg: Gustav Bosse Varlag Regensburg, 1986. Grün, Matthias. “Aachen 1919-1925 Rudolf Mauersbergers erstes reguliertes Kantorat.” Dresdner Hefte 22, no. 2 (Feb. 1990): 22-27. Hanke, Wolfgang. “Die evangelische Kirchenmusik des 20. Jahrhunderts und ihre Pflege durch Rudolf Mauersberger.” Dresdner Hefte 22, no. 2 (Feb. 1990): 65. Hartwiger, Marc. “Das ‘Dresdner Requiem’ von Rudolf Mauersberger.” Musik in der Schule 14.2 (2001): 22-28. Haunerland, Winfried (2002): Nicht nur “Auferstehungsgottesdienst”. Zur Eucharistiefeier als Teil der Begräbnisliturgie. In: Gerhards, Albert; Kranemann, Benedikt (eds.): Christliche Begräbnisliturgie und säkulare Gesellschaft. Erfurter theologische Schriften, Vol. 30. Leipzig: Benno-Verlag. pp. 100-119 Heister, Hanns-Werner. “Rudolf Mauersberger: Dresdner Requiem nach Worten der Bibel und des Gesangbuches RMWV 10.” Die Musikforschung 52 (1999): 157- 158. http://search.proquest.com.libproxy1.usc.edu/docview/1554049233?accountid=14 749. Helfricht, Jürgen. Dresdner Kreuzchor und Kreuzkirche: Eine Chronik von 1206 bis heute. Husum, Husum Druck- und Verlagsgesellschaft, 2004. Herrmann, Matthias. Dresdner Kreuzchor und zeitgenössische Chormusik: Ur- und Erstaufführungen zwischen Richter und Kreile. Marburg: Tectum Verlag, 2017. ———. Rudolf Mauersberger; Aus der Werkstatt eines Kreuzkantors: Briefe, Texte, Reden. Marburg: Tectum Verlag, 2014. ———. Kreuzkantor zu Dresden, Rudolf Mauersberger: Stoba-Druck GmbH, Lampertswalde, 2004. 191 ———. Foreword to Christvesper nach Worten der Bibel und des Gasangbuches. Translated, by Rudolf Mauersberger, Translated by John Coombs, x-xi. Stuttgart: Carus, 2003, x. ———, ed. of Program. Ein Wochenende für Rudolf Mauersberger (1889-1971) mit Kompositionen des langjährigen Dresdner Kreuzkantors Braunscheiger Dom – Altstadtrathaus Braunschweig. Nov. 24-26, 1989. ———. Foreword to Fangt euer Tagwerk fröhlich an; Fünf kleine Spruchmotetten für gemischten Chor a cappella, by Rudolf Mauersberger, i. Wiesbaden: Breitkopf & Härtel, 1994. ———. “Experience-inspired experience; The Composer Rudolf Mauersberger.” Liner notes for Komponisten-Portrait Rudolf Mauersberger 1889-1971, Translated by Kari Gattwinkel. Thorofon LC01958, 2014, 3 compact discs. ———. “Der Moderne verpflichtet.” Musik und Kirche 84.1 (2014): 42-43. ———. Rudolf Mauersberger (1889-1971) Werkverzeichnis (RMWV): Zweite gänzlich neu bearbeitete Auflage. Dresden: Sächsische Landesbibliothek Dresden, 1991. Herrmann, Matthias and Heinrich Magirius. „Totenklage und Auferstehung. Rudolf Mauersbergers Dresdner Requiem und seine Initiativen zum Wiederaufbau der Dresdner Kreuzkirche in den Jahren 1945 bis 1955.” Dresden und die avancierte Musik im 20. Jahrhundert. Part II: 1933-1966, edited by Matthias Herrmann and Hanns-Werner Heister, Musik in Dresden, Vol. 5. Laaber, 2002, 337-350. Hofmann, Erna Hedwig. „Klangerlebnis des Sakralen.” Die Union 53 (1948): June 29, 1948. ———. Kreuzchor Anno 45. Berlin: Union Verlag, 1967. ———. ed. Begegnungen mit Rudolf Mauersberger; Dankesgabe eines Freundeskreises. Berlin: Evangelische Verlagsanstalt, 1964. ———. ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors. Berlin: Evangelische Verlagsanstalt, 1977. Jeffers, Ron, compiler. Translations and Annotations of Choral Repertoire: Volume 1: Sacred Latin Texts, Corvallis: Earthsongs, 1988. John, Hans. Der Dresdner Kreuzchor und seine Kantoren. Berlin: Evangelische Verlagsanstalt, 1982. 192 Koob, Lindsay. “Mauersberger: Dresden Requiem; Wie liegt Die Stadt so Wüst.” American Record Guide 66, no. 5 (Sep, 2003): 137-138. http://libproxy.usc.edu/login? url=http://search.proquest.com.libproxy2.usc.edu/docview/947462?accountid=14 749. Klempnow, Bernd. “Seine Musik berührt noch immer tief.” Sächsische Zeitung, January 16, 2014. “Kunst und Wissenschaft. Bachverein-Aachen,” Echo der Gegenwart, Mar 30, 1920, no. 75: February 19, 2017, http://digitale-sammlungen.ulb.unibonn.de/ulbbnz/periodical/zoom/4057441. Lang, Marina. “Der Nachlass von Rudolf Mauersberger in der SLUB Dresden.” Sächsische Heimatblätter: Zeitschrift für sächsische Geschichte, Denkmalpflege, Natur und Umwelt 1, no. 61 (2015): 53-63. http://katalogbeta.slub-dresden.de/id/0016926585/#detail Lawrence, Arthur. “Reviews: Large Choral Works—‘Dresdner Requiem, RMWW 10,’ by Rudolf Mauersberger, Edited by Matthias Herrmann.” The American Organist 32, no. 3 (Mar, 1998); 80. Leiße, Kerstin. “Ein Wochenende für Rudolf Mauersberger: Braunschweig 24.-26. 11. 1989.” Der Kirchenmusiker 41, no. 3 (1990): 98-100. Macgowan, Kenneth, and Robert Edmond Jones. Continental Stagecraft. Harcourt, Brace and Company, 1922. http://hdl.handle.net/2027/mdp.39015008912381. Mauersberger, Helga, ed. Dresdner Kreuzchor und Thomanerchor Leipzig: zwei Kantoren und ihre Zeit Rudolf und Erhard Mauersberger. Marienberg: Druck- und Verlagsgesellschaft Marienberg, 2007. Mauersberger, Rudolf. Vierstimmiges Deutsches Choralbuch: Die Weisen des Melodienbuches zum Deutschen Evangelischen Gesangbuch. Leipzig: C. Merseburger, n.d., 100a. ———. Passioinsmusik nach dem Lukasevangelium: (Luk. 22, 39 bis 23, 56). Munich: Strube Verlag, 1979. ———. Dresdner Requiem: nach Worten der Bibel und des Gesangbuches. Stuttgart: Carus-Verlag, 1995. Neue Zeitschrift für Musik. 95, 1928, Iss 9, 523. February 16, 2017, https://archive.org/stream/NeueZeitschriftFuerMusik1928Jg95#page/n549 /mode/2up. 193 ———. 103, 1936, Iss, 5. 999-1000. January 4, 2019, https://archive.org/details/NeueZeitschriftFuerMusik1936Jg103/page/n1099 ———. 97, no. 7 (1930): 554-555. February 16, 2017, https://archive.org/stream/NeueZeitschriftFuerMusik1928Jg95#page/n549 /mode/2up. Petzoldt, Martin. “Glaubende Rückfrage und Deutung eines Infernos: Rudolf Mauersbergers „Dresdner Requiem”.” Musik und Kirche 81, no. 2 (2011): 106- 111. Phelps, Lawrence I. ‘A Short History of the Organ Revival’ Lawrence & Phelps & Associates ed. Steven Thomas (Accessed 26 June 2018), http://www.lawrencephelps.com> Schweitzer, Albert. 1962. Deutsche und französische Orgelbaukunst und Orgelkunst. Wiesbaden: Breitkopf & Härtel. Silcock, Graham. “Rudolf Mauersberger – German Musician of Five Eras.” Classical Recordings Quarterly 4 (2013): 36-41. Smith, J. A. "The Ancient Synagogue, the Early Church and Singing." Music & Letters 65, no. 1 (1984): 1-16. Accessed March 12, 2020. www.jstor.org/stable/736333. Sprigge, Martha, Berthold Hoeckner, Philip Bohlman, and Lawrence Zbikowski. “Abilities to Mourn: Musical Commemoration in the German Democratic Republic (1945-1989)”. ProQuest Dissertations Publishing, 2013. http://search.proquest.com/docview/1446605799/. Stephan-Brosch, Christine. Kreuzkantor Rudolf Mauersberger. Berlin: Evangelische Verlagsanstalt, 1988. Steude, Wolfram, et al. ”Dresden.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 24, 2016, http://www.oxfordmusiconline.com.libproxy2.usc.edu/subscriber/article/ grove/music/44245. Straube, Karl (many others). Neue Zeitschrift für Musik.1933, 100, 6: 599-600. https://archive.org/stream/NeueZeitschriftFuerMusik1933Jg100#page/n685/mode /2up on Dec. 30, 2018. Zimmermann, Ingo. Rudolf Mauersberger: Lob Gottes in der Musik. 4th ed. Berlin: Union Verlag, 1987. 194 Appendix A: Time Line 1 1889 Born January 29 in Mauersberg, Ore Mountains 1903-1909 Studied at the Royal Teaching-seminary in Annaberg, Ore Mountains 1909-1912 Military service in Leipzig, Assistant Teacher in Mildenau, Ore Mountains 1912-1914 Student at the Royal Conservatory in Leipzig under Karl Straube (organ), Stephan Krehl (composition), Robert Teichmüller (piano) 1914 Awarded Nikischprize for Composition/scholarship in Leipzig Organist in Lyck, Masuren (Now called Ełk, Poland.) Drafted to military after the outbreak of World War I. 1915-1918 Military bandmaster in Bad Lausick in Leipzig. 1918/19 Continuation of music studies in Leipzig 1919-1925 Organist and choir director in Aachen (Annakirche, Christuskirche) Keyboardist at Aachen City Concert Hall Concerts in Rhineland and Holland 1925-1930 Protestant Landeskirchenmusik-Director in Thuringia. Cantor at St. Georg Church in Eisenach Founded the Bach Choir and Georgen Choir 1930 July 1 – Became the 25 th Protestant Kreuzkantor to Dresden 1931 Appointment to Church Music Director 1932 Kreuzchor tour to Holland 1933 First performance of J.S. Bach’s Matthäus-Passion with only boys choir since his death 1934 First record recording of the Kreuzchor 1935 German Reichs-Schütz-Fest in Dresden First USA tour with the Kreuzchor 1936 Introduction of the liturgical Kreuzchor habits Kreuzchor tour to Finland and the Baltic States 1937 Appointed to Professor by Adolf Hitler Participation at Festival of German Church Music in Berlin Kreuzchor tour to Scandinavia 1938 Kreuzchor tour to the U.S.A. 1939 Beginning of World War II 1940-1943 Kreuzchor tour to Holland, Poland, Romania, and Hungary 1941 Adoption of own Bach-Days in Dresden 1944 Concert ban (except Vesper and worship service music) 1945 February 10, Kreuzchor vesper in St. Sophia´s Church February 13-14, RAF Bombing and destruction of Dresden Resided in Mauersberg until summer July 1, Kreuzchor work officially resumes “cellar-alumni-house” August 4, first Kreuzchor vesper in the ruins of the Kreuzkirche 1947 Move into the Alumni building on Eisenacher Street 21 1 Erna Hedwig Hofmann and Ingo Zimmermann. ed. Begegnungen mit Rudolf Mauersberger; Lebensweg und Lebensleistung eines Dresdner Kreuzkantors (Berlin: Evangelische Verlagsanstalt, 1977) 155-156. 195 1948 Kreuzchor’s first tour into West Germany 1949 Beginning of regular radio broadcasts and recordings Kreuzchor tour to West Germany 1950 Dedication of St. Anne’s Church in Dresden’s city center Received GDR’s National Prize for Art and Literature 1951-1953 Kreuzchor tour to Holland, Austria, Romania, Sweden, West Germany, Switzerland, and Czechoslovakia 1953 Dedication of the Kreuzkapelle in Mauersberg 1954 Honorary doctorate from Humboldt University in Berlin Establishment of the international school in the Kreuzchor Kreuzchor tour to Poland and West Germany 1955 February 13, Rededication of the Kreuzkirche Establishment of Kreuzchor’s Heinrich-Schütz-Days Endowment oft he Heinrich-Schütz-Chapel in the Kreuzkirche Kreuzchor tour to Finland, France, Luxemburg, Scandinavia, and West Germany 1956 750th Anniversary of Dresden and International Heinrich-Schütz-Festival Produced a movie about the Kreuzchor 1956-1957 Kreuzchor tour to France, West Germany and Switzerland 1959 Honorary Doctorate of Theology from Philipps University Marburg/Lahn 1961 First television broadcast of the Christmas Oratorio from the Kreuzkirche 1963 Recording for a Kreuzchor movie Dedication of the large Jehmlich-Organ in the Kreuzkirche 1964 Martin Andersen Nexö-Art Prize from the City of Dresden Honorary member of the International Heinrich-Schütz-Society, in Kassel 1964-1965 Kreuzchor tour to Finland, Sweden and Czechoslovakia 1966 First Schütz recordings with time-period instruments 1966-67 Collaboration of Kreuzchor with Hans Werner Henze 1968 Kreuzchor tour to Austria, Poland, and Switzerland 1969 Recording of a Kreuzchor movie Honorary member of the New Bach Society, based in Leipzig Order of Merit of the Fatherland from the GDP in Gold 1970 Honorary member of the Dresden Philharmonic 1971 February 6, last conducted February 22, passed away in Dresden-Oberloschwitz February 28, laid to rest in burial vault in Mauersberg

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Creator Longhurst, Karsten Rex (author)

Core Title The life of Rudolf Mauersberger and an analysis of Wie liegt die Stadt so wüst and Dresdner Requiem

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Publication Date 06/09/2020

Defense Date 04/07/2020

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

Tag Church of the Holy Cross,Dresdner Requiem,German Requiem,Kreuzchor,Kreuzkirche,Mauersberger,OAI-PMH Harvest,Rudolf,Rudolf Mauersberger,Wie liegt die Stadt

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Scheibe, Jo-Michael (committee chair), Grases, Cristian (committee member), Sparks, Tram (committee member)

Creator Email karstenlonghurst@icloud.com,krlonghurst@nwosu.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-317063

Unique identifier UC11665839

Identifier etd-LonghurstK-8579.pdf (filename),usctheses-c89-317063 (legacy record id)

Legacy Identifier etd-LonghurstK-8579.pdf

Dmrecord 317063

Document Type Dissertation

Rights Longhurst, Karsten Rex

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