Type of Document Dissertation Author Kittredge, Brian J. URN etd-04012011-161536 Title The A Cappella Motets of Reinhard Schwarz-Schilling: A Resource Guide Degree Doctor of Musical Arts (D.M.A.) Department Music Advisory Committee
Advisor Name Title Fulton, W. Kenneth Committee Chair Sims, Loraine Committee Co-Chair Olesen, Brad Committee Member Patrick-Harris, Terry Committee Member Shaw, Brian Committee Member Parker, Margaret Dean's Representative Keywords
- The A Cappella Motets of Reinhard Schwarz-Schillin
Date of Defense 2011-03-01 Availability unrestricted AbstractThis document serves as a resource guide to the sacred a cappella motets of Reinhard Schwarz-Schilling, including background information and a structural analysis of each work. Also included in this document is a guide to the compositional techniques of Reinhard Schwarz-Schilling and background information on the life and works of the composer. Though largely unknown by most choral musicians, Reinhard Schwarz-Schilling’s sacred a cappella motets represent some of the finest and well crafted of all contemporary German composers.
The German composer Reinhard Schwarz-Schilling (1904-1985) began to explore his musical interests in composition and performance at the age of fourteen. The pursuit of his formal musical endeavors, however, began at the Hochschule für Musik in Munich, Germany, where he studied composition with Walter Braunfels. He later held an apprenticeship with renowned composer and musician Heinrich Kaminski, whose work highly influenced and inspired the writing of Schwarz-Schilling throughout the remainder of his lifetime. His most influential posts include an organist and choirmaster position at the Innsbruck Canisianum in 1929, and a full professorship in composition at the Hochschule für Musik in Berlin in 1938, where he taught for the remainder of his career.
Though his works center around three genres, the motet, the cantata, and the symphony, the choral works are at the forefront of his compositional output. Works of significance in this area are Dominabitur (1933), the composer’s first choral motet, Missa in Terra Pax (1955), the composer’s only full setting of the Mass Ordinary, and Die Botschaft (1982), which became the composer’s magnum opus for choir, soloists and orchestra.
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