David Friddle - Choral Treatises and Singing Societies in the Romantic Age

Choral Treatises and Singing Societies in the Romantic Age

Published by Lexington Books

An imprint of The Rowman & Littlefield Publishing Group, Inc.

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Copyright 2022 by The Rowman & Littlefield Publishing Group, Inc.

All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review.

British Library Cataloguing in Publication Information Available

Library of Congress Cataloging-in-Publication Data

Names: Friddle, David, author. | Quist, Amanda, writer of foreword.

Title: Choral treatises and singing societies in the romantic age / David Friddle; [foreword by Amanda Quist].

Description: Lanham : Lexington Books, 2022. | Includes bibliographical references and index.

Identifiers: LCCN 2022019711 (print) | LCCN 2022019712 (ebook) | ISBN 9781666911114 (cloth) | ISBN 9781666911121 (ebook)

Subjects: LCSH: Choral singing--Instruction and study--History--19th century. | Choral societies--History--19th century.

Classification: LCC ML1505 .F73 2022 (print) | LCC ML1505 (ebook) | DDC 782.509/034--dc23/eng/20220511

LC record available at https://lccn.loc.gov/2022019711

LC ebook record available at https://lccn.loc.gov/2022019712

The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

DEDICATED TO PROFESSORS

TIMOTHY NEWTON JO-MICHAEL SCHEIBE NICK STRIMPLE

whose considerableand ongoingcontributions helped make this volume possible, and whose expert navigation kept my ship on its course: please accept my heartfelt gratitude.

PLUS, A THOUSAND THANKS TO

Stuart, Ryan, Jon, Frank, & Bill

for reading, commenting, rereadingand encouraging me to keep goingespecially when the going got tough

T here are several folks who helped translate the many sources contained herein. Because they are of the nineteenth century and contain specialized music terms, the sources required someone who could not only make sense of antiquated language; these individuals also needed musical knowledge. Anthony Krupp, PhD, as he did with Christus, ensured that my translations of the convoluted German textsprinted in Fraktur font, no lesswere accurate and intelligible; Professor Mari Siiroinen, of the Helsinki Institute for Social Sciences and Humanities, translated the Finnish texts without even being asked; Monica Faust Figueroa, PhD, UGrow Fellow, ASPIRE at the University of Miami helped me with Spanish and Portuguese; Lucia Marchi, Ph. D., of the Department of Modern Languages/School of MusicDePaul University, translated several pages of antiquated Italian into comprehensible English; Maria Lyon graciously verified my Swedish translations; Costijn Sommeling and the staff of De Juiste Vertaler translated the Dutch, Danish, and Norwegian.

Jo-Michael Scheibe, USC Thornton School of Musics Professor of Choral and Sacred Music, read and critiqued this book, much to myand every readersbenefit; USC Professor and author Nick Strimple offered me his sagacious advice about how to make this tome more useful to our profession. My dear, longtime friend Dr. Ryan Holder, Professor at Northern Arizona University, agreed to the thanklessand laborioustask of making sure all the tables, figures, and musical examples were sequential, without repetition or omission.

Dr. Stuart Dunkel, my Juilliard classmate and longstanding and benevolent friend, made possible the recordings that accompany this book. Thank you, Stuart.

Dr. Timothy Newton, Professor of Music at SUNY Oneonta, helped tremendously as this book took shape. Originally, this volume was combined with its companion book, Sing Romantic Music Romantically, to form an unworkably large book; it was Tim who first suggested that the material that ultimately became this volume was a separate book and should be a stand-alone work. His editorial and publishing expertise to this project undoubtedly makes it a more useful work that otherwise would have been the case. And to Courtney Morales, Emma Ebert, and Linda Kessler of Lexington Books/Rowman & Littlefield, I send my sincere appreciation and gratitude for helping see this extremely complicated project to fruition.

My relationship with Dr. Amanda Quist, director of choral activities for the Frost School of Music at the University of Miami, was initially limited to producing graphic materials for the annual choral studies holiday dinner fundraising event, which Ive gladly done for three years. Quite unexpectedly, our professional relationship has developed into such that she graciously agreed to write the Foreword for this volumeno small feat given its page count and complexity. Amanda also connected me with New York Citybased conductor and choral scholar Dr. Ryan James Brandau, who read this volume carefully and made many helpful suggestions, all of which I gladly incorporate. I am especially indebted to her, both professionally and personally, for these significant contributions, which has made this book better on any number of fronts.

I am also grateful to the Minnesota State Arts Board: This activity is made possible by the voters of Minnesota through grants from MSAB thanks to a legislative appropriation from the arts & cultural heritage fund.

And, finally, to the dozens of person who kindly replied to my emails, provided me with information and helped me locate sources and images, I borrow from the German and Italian languages the phrase that best shows my gratitude: Tausend dank and Mille grazie. There are 123,017 words in this book. Even though I have been as careful, and thorough as anyone could possibly be, the chance that there are zero misspelled, mistranslated, or incorrect words is zero; if I omitted a citation, believe me when I say it was an oversightit is not my habit to steal intellectual property and many hours of research, writing, editing, correcting and so forth from colleagues. I hope readers will give me the benefit of the doubt and trust that the many months and significant personal financial expenses I have invested in this project motivate me to create the highest-quality book I can create.