This four movement cantata is scored for solo mezzo-soprano, chamber chorus, and large chamber ensemble. The text that is set in this piece is an amalgamation of adaptations of three poems by Walt Whitman (Proud Music of the Storm; That Music Always Round Me; Darest Thou Now, O Soul) and a poem by W.B. Yeats (The Everlasting Voices), from which the work derives its name. The piece depicts a journey of the soul from a place of intellectual and spiritual barrenness to a place of enlightenment and fulfillment, aided by musical forces of the universe. These forces, embodied by the chorus and chamber ensemble, seek out a despairing human soul, embodied by the solo mezzo-soprano. The musical forces infuse themselves into the soul, which is then empowered to not only understand the musical art but to explore the depths of humanity and to fully connect with the universe.

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abstract: Redeemed from the Fall is a cantata in five movements for double choir SSAATTBB with Soprano and Baritone soloists and violin, bass clarinet, marimba, and organ. The work’s approximate duration is 19 minutes. The text is derived from ancient and modern scriptures including the Bible, the Book of Mormon and the Book of Moses as contained in the Pearl of Great Price. The textual theme addresses the compelling narrative of the redemption of Adam and Eve after the Fall and expulsion from the Garden of Eden. The work begins with an instrumental overture, In Sorrow, inspired by the fallen state our first parents entered as consequence for partaking of the forbidden fruit. The second movement, The First Angel, is an aria for baritone accompanied by choir a cappella. It sets to music the words of an angel who appeared to Adam proclaiming that animal sacrifice is representative of the future atoning sacrifice of the Son of God. The central movement, The Baptism of Adam, is for soprano solo, choir (SSAA) and the ensemble. It depicts the miraculous events surrounding Adam’s acceptance of the gospel covenant, with the Holy Spirit baptizing Adam by immersion in water. The subsequent a cappella chorus, This Is the Plan of Salvation, further explores the truth that salvation for Adam and Eve and all their posterity was prepared through Christ from the beginning. The full chorus and ensemble perform the finale, Adam Fell, declaring that the very purpose of the Fall was that all humans could know the joy of redemption through Christ. / Dissertation/Thesis / Doctoral Dissertation Music 2017

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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

Of Brahms' choral output, a few works seem to be studied, performed, recorded more or, in general, more popular than others. Brahms' cantata Rinaldo, composed between 1863 and 1868, is a relatively unknown and neglected work worthy of study and performance.For the cantata Rinaldo, Brahms chose a poem by Goethe that is derived from Torquato Tasso's epic poem Gerusalemme Liberata (Jerusalem Delivered), which recounts the mystical tale of the Crusader Knight Rinaldo (a solo tenor) who is persuaded by his crew (the men's chorus) to leave the enchantress Armida and return to war. In this study, I will demonstrate that Brahms' cantata Rinaldo, a work unfamiliar to many American choral conductors, includes two well-crafted choruses that can be extracted from the cantata as independent movements, and used as repertory for men's choirs. In order to accomplish this, I will focus on the origination and comparison of Torquato Tasso's tale and Goethe's own adaptation of the story. I will also examine Brahms' early life, his acquirement of Goethe's text, and provide an in-depth look at two of the choruses from the cantata: "Zuruck nur!" and "Auf dem Meere."Since these movements have not been published as independent choral octavos, an important and primary component of my project will be to create a new edition of these movements. The source material I used to create the editions is Brahms' original manuscript scores of Rinaldo. Additionally, a complete translation of Rinaldo, an IPA pronunciation guide for the edition, and a complete transcription of an interview with Maestro Helmuth Rilling concerning Rinaldo are included in the appendices of this document.

Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

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Une première partie, après l’introduction, est consacrée aux deux passions de Jean-Sébastien Bach, la musique et la théologie-à l’héritage européen du compositeur, tant au point de vue musical que théologique. La seconde partie s’attache à l’analyse d’œuvres de Bach. La cantate Christ lag in Todesbanden a une place essentielle dans la liturgie protestante. Le compositeur reprend les versets du cantique du même nom écrit par Luther. L’attachement du Réformateur est viscéral pour le mystère de la Rédemption et son instrument, la Croix. Jean-Sébastien Bach éprouve la même adoration pour le Christ supplicié, mais il insiste fortement sur l’aspect lumineux de l’autre mystère du Christ, la Résurrection. La cantate Ich hatte viel Bekümmernis introduit le dialogue entre l’âme et Jésus qui laisse pressentir les futures consolations réservées à l’âme qui s’interroge sur l’abandon de Dieu. Une atmosphère de joie débordante en finale de l’œuvre avec jeu de timbales affirme la confiance en Dieu. Matthäus-Passion se termine certes par le repos serein du Christ dans le tombeau, mais la Passacaille, la Messe d’orgue du Klavierübung III soulignent l’hommage au Christ triomphant de la Mort, en accord avec les deux autres personnes de la Trinité. Une troisième partie montre que certaines œuvres dites profanes ont un caractère religieux. On retrouve la symbolique du Christ et du Dieu trine dans des fugues du Clavier bien tempéré. La théologie de la Croix de Luther est suivie par la théologie de la Gloire dans l’œuvre de Bach comme chez les théologiens scolastiques / A first part, after the introduction, is devoted to the two passions of Johann Sebastian Bach, music and theology-to the European heritage of the composer, from a musical as well as a theological. The second part sticks to the analysis of works of Bach. The Cantata BWV4 Christ lag in Todesbanden has an essential place in the Protestant liturgy. The composer takes up again the verses of the canticle of the same name written by Luther. The attachment of the Reformer to the mystery of Redemption and its instrument the Cross is deep-rooted. Johann Sebastian Bach feels the same worship for Christ executed, but he strongly insists on the luminous aspect of the other mystery of Christ, the Resurrection. The Cantata BWV21 Ich hatte viel Bekümmernis introduces the dialogue between the heart and Jesus which gives a feeling of the future divine consolations reserved for the soul wondering about God's abandonment. An atmosphere of overflowing joy in the finale of the work with a play of trumpets asserts confidence in God. Saint Matthew's Passion certainly ends with the serene rest of Christ in the sepulchre, but the Passacaglia in C minor, and the Mass Organ part of Clavierübung III underline homage to Christ triumphing over Death, in harmony with the other two persons of the Holy Trinity. A third part shows that some profane works have a religious character. One finds the symbolism of Christ and the triune God in Fugues from the Well-Tempered Clavier. Luther’s theology of the Cross is followed by the theology of Glory in the work of Bach, as with the Scholastic theologians