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Understanding Viktor Ullmann Through His Liederbuch Des Hafis

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Understanding Viktor Ullmann Through His Liederbuch Des Hafis Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-18-2020 11:15 AM Understanding Viktor Ullmann Through His Liederbuch des Hafis Chad G. Louwerse, The University of Western Ontario Supervisor: Nolan, Catherine, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Musical Arts degree in Music © Chad G. Louwerse 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation Louwerse, Chad G., "Understanding Viktor Ullmann Through His Liederbuch des Hafis" (2020). Electronic Thesis and Dissertation Repository. 7050. https://ir.lib.uwo.ca/etd/7050 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The Liederbuch des Hafis is an enjoyable, complex, well-thought-out set of songs that feature a variety of musical styles, which are composed with a variety of compositional methods. The songs provide interesting and rewarding challenges to singer and pianist alike and are enjoyable to hear as an audience member. They are important because they are great examples of Viktor Ullmann’s skill as a song composer, and they also have great potential for concert programming as each song is distinct, and the set contrasts well with other repertoire. This is also an excellent set of songs for bass-baritones, who lack a large volume of repertoire written especially for their voice type. The primary goals of this monograph are to set Ullmann’s life and music into a historical context, to discover the characteristics of Ullmann’s musical style as represented in his Liederbuch des Hafis, and to identify the challenges this music presents to performers. This monograph traces Ullmann’s life, his connection to Schoenberg at the beginnings of the development of post-tonal music and his death in Auschwitz; explores his interest in and commitment to Rudolf Steiner’s Anthroposophy, and how the philosophy influenced his life and compositions; studies Ullmann’s musical style and the challenges his music presents to performers; examines Hafez and his influence on German Romantic poets; provides a musical and textual analysis of each song from the perspective of a performer; and offers suggestions to singers and pianists about performing each song. The music analysis is from a post-tonal and, where applicable, functional theory perspective. These findings are then interpreted to offer practical suggestions and observations for performers. Further, the structures that Ullmann creates are complex. Poetic structures, like meter and the number of syllables, are translated into musical artifacts, like pitch and rhythm. These structures guide his skilled text-setting and provide unity to the songs as a set. Keywords: Viktor Ullmann, Hafez, Hafis, Liederbuch des Hafis, Bethge, Schoenberg, Zemlinsky, Hammer-Purgstall, Anthroposophy, Rudolf Steiner, Terezín, Theresienstadt, Auschwitz, Jewish Composer, Songs for Bass, Songs for Bass-Baritone, Lieder. ii Summary for Lay Audience The Liederbuch des Hafis is an enjoyable, complex, well-thought-out set of songs that feature a variety of musical styles, which are composed with a variety of compositional methods. The songs provide interesting and rewarding challenges to singer and pianist alike, and they are as enjoyable to sing as they are to hear. They are important because they are compelling examples of Ullmann’s skill as a song composer. They also have great potential for concert programming as each song is distinct, and the set contrasts well with other recital repertoire. This is an excellent set of songs for bass-baritones, who lack a large volume of repertoire written especially for their voice type. iii Acknowledgments I’m so thankful for so many who helped bring this monograph and song study to completion. Profound thanks to my supervisor Dr. Catherine Nolan and to Dr. John Hess, who retired before the completion of the document, and to my second reader Torin Chiles. I appreciate and value your encouragement, support, feedback, and insight through the whole research and writing process. My thanks also to Dr. Todd Wieczorek and Carmen Specht for proofreading my IPA and translations. My thanks to my voice teacher Theodore Baerg for great lessons, guidance, and consistent support throughout the DMA. My thanks to Marj Drury for her editorial skills. My heartfelt thanks to pianists Melanie Cancade and Brian Cho who have helped me to prepare and perform these songs, as well as several operatic roles, oratorios, and recitals. Your collaboration on the Liederbuch des Hafis and our music making have enriched my life. My appreciation and thanks to my past and present colleagues in the DMA and MMus programs for your commiseration, encouragement, help, jokes, tea, and camaraderie. Working and going through our coursework, comps, performance milestones, and thesis work together have been a real balm, boon, and benefit. I wish you all well as you continue in your journeys. Finally, I could not have completed this journey without the love and support of my beloved wife Anita, and our awesome sons Joshua and Benjamin. This degree is as much yours as it is mine. You have been a solid foundation and consistent encouragement for me throughout this journey, and I’m so thankful for your love, patience, and support. SDG iv Contents Abstract .......................................................................................................................................... ii Summary for Lay Audience ........................................................................................................ iii Acknowledgments ......................................................................................................................... iv Table of Contents ........................................................................................................................... v List of Tables ................................................................................................................................ vii List of Figures ............................................................................................................................. viii List of Appendices ........................................................................................................................ ix Preface ............................................................................................................................................ x 1 Introduction and Literature Review ...................................................................................... 1 1.1 Literature Review ................................................................................................................ 3 1.2 Methodology of Analysis for Liederbuch des Hafis ........................................................... 7 2 Viktor Ullmann, Hafez, and the German Poets Hafez inspired ........................................ 11 2.1 Viktor Ullmann’s Life ....................................................................................................... 11 2.2 The Liederbuch des Hafis and Hafez ................................................................................ 19 2.3 The German Poets Hafez Inspired ..................................................................................... 23 3 Liederbuch des Hafis Analysis and Performer’s Perspective ........................................... 26 3.1 Introduction ....................................................................................................................... 26 3.2 “Vorausbestimmung” ........................................................................................................ 28 3.3 “Betrunken” ....................................................................................................................... 38 3.4 “Unwiederstehliche Schönheit” ......................................................................................... 45 3.5 “Lob des Weines” .............................................................................................................. 56 3.6 Conclusion ......................................................................................................................... 63 4 Discussion and Conclusion .................................................................................................... 65 v Bibliography ................................................................................................................................. 72 Appendix 1 – Biographical Timeline ......................................................................................... 78 Appendix 2 – Translation, IPA Transcriptions, Text and Chart Analyses ............................ 81 2a – “Vorausbestimmung” ............................................................................................................ 81 2b – “Betrunken” ........................................................................................................................... 88 2c – “Unwiederstehliche Schönheit” ............................................................................................. 97 2d – “Lob des Weines” ...............................................................................................................
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