sign in sign up
<<
Home , Amour Fou (The Sopranos), Chansons gaillardes, Cheryl Barker, Daniel Okulitch, Figure humaine, Flute Sonata (Poulenc)

A Performance Guide to Friendly Persuasions: Homage to Poulenc by and

Gene Scheer

D.M.A Document

Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts in the

Graduate School of The Ohio State University

By

Daniel Christopher Stein, B.M., M.M.

Graduate Program in Music

The Ohio State University

2019

D.M.A. Document Committee

Dr. Scott McCoy, Advisor

Professor Ed Bak

Professor Kristine Kearney

Dr. Robin Rice

1

Copyrighted by

Daniel Christopher Stein

2019

2

Abstract

Jake Heggie’s Friendly Persuasions: Homage to Poulenc is a set of four songs with texts by . Co-commissioned by pianist for a Poulenc Festival at in London, England and the Pacific Serenades

Chamber Music Festival in Los Angeles, , it was premiered by Martineau and , John Mark Ainsley in May 2008. The American premiere of a chamber version took place at the Pacific Serenades Festival, in Los Angeles, sung by tenor Nicolas Phan in May 2008. An incredibly witty and unique approach to song, this cycle warrants an in-depth look and should be considered as a wonderful addition to the

American song catalog. This document will serve as an in-depth look at the cycle and can be used by vocal coaches and singers alike as they prepare to perform the songs. It will also delve into the backgrounds of Heggie and Scheer, giving a broad overview of their work together.

The opening chapter provides brief biographical information of Jake Heggie and

Gene Scheer and talk briefly about the collaborative efforts. The following chapter is a biographical sketch of and a look at the four influential relationships on which this song cycle is based. The third chapter focuses on the circumstances around the premieres of Friendly Persuasions, as well as an exploration of the cycle giving a deeper look at each song. The final chapter discusses performance suggestions that were received from the composer himself; Nicholas Phan, the tenor who premiered the ii

chamber version of the cycle in California; and from the author after preparing the song cycle and performing it in recital. The appendices include a complete list of Jake

Heggie’s vocal compositions as well as a complete discography to date.

iii

Dedication

To my incredibly supportive wife, Stephenie, without whose support, I could never have

accomplished much of what I have done in my career. I am more grateful than words

could ever say.

ii

Acknowledgments

I would like to start by thanking my wife and daughters (Madilynn, Eleanor, and

Charlotte) for their patience and encouragement through all the good times and the difficult ones. I am nothing without you!

Thank you to my extended family for their unwavering support through the entire process of returning to school and working for this degree. I could not have done any of this without them.

Thank you to Mr. Jake Heggie and Mr. Gene Scheer for their incredible selflessness in meeting with me and their willingness to go above and beyond in helping me complete this project.

Thank you to my voice teacher and former advisor Dr. Robin Rice for all his guidance through the first three years of my study at The Ohio State University. His mentorship was most helpful and greatly appreciated.

I would also like to thank my document advisor Dr. Scott McCoy for his guidance through the completion of my degree, as well as his willingness to advise me on various matters in the world of academia.

Thank you, also, to committee members Prof. Ed Bak and Prof. Kristine Kearney for all their support through the course of my degree. Their help has been incredible.

Thank you to Dr. Woliver, Prof. Robinson, Prof. Parry, Dr.Rohrer, and Dr.

Blosser for their support throughout my time at OSU. iii

I have immense gratitude for Dr. Ryan Behan for his constant support, both artistically and personally. He has been an incredible collaborator and friend.

Thank you to Mr. Steve Aldredge for his theoretical expertise. His help with the analyzation in this project was invaluable.

Finally, thank you to all my colleagues and fellow students at OSU for their continued friendship and collegiality.

iv

Vita

2001………………... Brevard Music Center—Janiec Company Member

2003………………... B.M., Music Performance: Voice

Wright State Universtiy

2003-2005………….. Graduate Teaching/Administrative Assistant,

The University of North Carolina at Greensboro

2005………………... M.M., Music Performance: Voice

The University of North Carolina at Greensboro

2006……………….. Adjunct Faculty,

Elon University

2008………………... Adjunct Voice Faculty,

Catawba

2008-2015………….. Adjunct Voice Faculty,

Winthrop University

2012-2015………….. Music Instructor/Music Director,

Children’s Theatre of Charlotte, School of Theatre Training

v

2014-2015………….. Adjunct Voice Faculty,

High Point University

2015-2018………….. Graduate Teaching/Administrative Associate,

The Ohio State University

2016………………... Outstanding Graduate Achievement,

The Ohio State University

2017-present…….….. Adjunct Voice Faculty,

Wright State University

Fields of Study

Major Field: Music

vi

Table of Contents

Abstract ...... ii Dedication ...... ii Acknowledgments...... iii Vita ...... v Table of Contents ...... vii List of Tables ...... ix List of Figures ...... x Preface...... xii Chapter 1. The Creators ...... 1 Jake Heggie – A Brief Biography ...... 1 Compositional Style ...... 7 Gene Scheer – A Brief Biography ...... 9 Collaborative Efforts ...... 12 Chapter 2. The Inspiration: Francis Poulenc ...... 13 A Brief Biography...... 13 Four Influential Relationships...... 22 (1879-1959) ...... 22 (1899-1979) ...... 24 Raymonde Linossier (1897-1930) ...... 25 Paul Eluard (1895-1952) ...... 27 Chapter 3. : Friendly Persuasions: Homage to Poulenc ...... 29 Friendly Persuasions-Commission and reviews ...... 29 Friendly Persuasions – Analysis ...... 33 “Wanda Landowska” ...... 35 “Pierre Bernac” ...... 49 “Raymonde Linossier” ...... 58

vii

“Paul Eluard” ...... 71 Comparison with the Chamber Setting of Friendly Persuasions ...... 83 Chapter 4. Performance Notes ...... 88 Performance Ideas from a Coaching Session with Jake Heggie ...... 88 Performance Ideas from Tenor Nicholas Phan ...... 92 Performance Ideas from the Author ...... 93 Bibliography ...... 96 Appendix A. Catalog of Jake Heggie’s Vocal Compositions to Date ...... 99 Songs/Song Cycles...... 99 Opera/Dramatic Works ...... 107 Choral Works ...... 110 Appendix B. Audio and Video Recordings of Vocal Works to Date ...... 112 Audio Recordings ...... 112 Video Recordings...... 115 Appendix C. Permission from Jake Heggie ...... 116

viii

List of Tables

Table 1: Structure for "Wanda Landowska" ...... 37 Table 2: Structure for “Pierre Bernac” ...... 50 Table 3: Structure for "Raymonde Linossier" ...... 60 Table 4: Structure of "Paul Eluard" ...... 73

ix

List of Figures

Figure 1: “Wanda Landowska:” measures 1-5 ...... 38 Figure 2: Concert Châmpetre, “Allegro molto,” measures 1-4 ...... 39 Figure 3: “Wanda Landowska” measures 9-11 ...... 39 Figure 4: Concert Châmpetre, “Allegro molto,” measures 27-29 ...... 40 Figure 5: “Wanda Landowska” measures 11-12 ...... 41 Figure 6: Concert Châmpetre, “Allegro molto,” measures 39-41 ...... 42 Figure 7: "Wanda Landowska," measures 27-29 ...... 43 Figure 8: for Two , “Allegro ma non troppo,” measures 26-29 ...... 44 Figure 9: Dialogues of the Carmélites, measure 1-4 ...... 44 Figure 10: Sonata for , “Romanza,” measures 11-18 ...... 45 Figure 11: , "Domine Deus, Agnus Dei," from measures 4-10 ...... 46 Figure 12: "Wanda Landowska," measures 58-65 ...... 47 Figure 13: "Pierre Bernac," measures 1-3 ...... 52 Figure 14: Tel jour telle nuit, “A toutes brides,” measures 17-21 ...... 52 Figure 15: Trio for , , and , "Andante," measures 1-4 ...... 53 Figure 16: Priez pour paix, measures 25-29 ...... 54 Figure 17: "Pierre Bernac," measures 10-17 ...... 55 Figure 18: "Pierre Bernac," measures 36-39 ...... 57 Figure 19: “Raymonde Linossier” opening, measures 1-4 ...... 62 Figure 20: “Raymonde Linossier,” measures 13-17 ...... 62 Figure 21: Les Chemins de l’amour, measures 32-48...... 64 Figure 22: "Raymonde Linossier," measures 18-36 ...... 65 Figure 23: "Raymonde Linossier," Measrues 43-48 ...... 66 Figure 24: "Raymonde Linossier," measures 62-68 ...... 67 Figure 25: "Raymonde Linossier," measures 115-116 ...... 69 Figure 26: Banalités, "Voyage à ," measures 71-72 ...... 70 Figure 27: "Paul Eluard," measures 1-5 ...... 74 Figure 28: "Paul Eluard," measures 6-10 ...... 75 Figure 29: "Paul Eluard," measures 10-14 ...... 76 Figure 30: "Paul Eluard," measures 26-29 ...... 77 Figure 31: "Paul Eluard," measures 34-38 ...... 79 Figure 32: "Paul Eluard," measures 43-49 ...... 80 Figure 33: Sonata for , "1. Allegro malinconico," measures 27-42 ...... 81 Figure 34: "Wanda Landowska," chamber version, measures 53-57 ...... 84 Figure 35: "Paul Eluard," Chamber Version, measures 45-46 ...... 85 Figure 36: for flute, oboe, clarinet, bassoon, horn, and piano, "Allegro vivace," measures 1-2 ...... 86 x

Figure 37: Trio for piano, oboe, and bassoon, "Presto," measures 16-20 ...... 87

xi

Preface

My first experience with the music of composer Jake Heggie was in 2002, when I performed in ’s production of his opera as a member of the company’s ensemble. As a performer who revels in the performance of new and contemporary compositions, I was immediately drawn to Heggie’s music and compositional style.

My first personal interaction with Mr. Heggie came five years later when I had the honor of performing one of his songs, as part of a masterclass for Long Leaf Opera, now a defunct opera company in Chapel Hill, North Carolina, that specialized in the production of contemporary American Opera. On June 30, 2007 the company held a performance that consisted of Heggie’s At the Statue of Venus in the first half, and a masterclass with the composer as the second half. Heggie’s music has been of interest ever since.

In 2016 when I began my search for repertoire for one of my doctoral recitals at

The Ohio State University, I came upon the song cycle Friendly Persuasions: Homage to

Poulenc, composed by Heggie with texts by Gene Scheer. While researching the composition, I became increasingly interested in how Heggie was able to adapt his composition to emulate the style of early 20th-century French composer Francis Poulenc.

That is when the topic for this document was born.

xii

I reached out to Mr. Heggie to ask for his assistance and was surprised at the speed of his response and willingness to work with me. He was more than gracious in every interaction that we have shared. He was willing to schedule a meeting where I could discuss the song cycle with both he and Gene Scheer, gaining invaluable information about its creation. He also was willing to coach me on my preparation of the song cycle for my final degree recital and to answer numerous emails that I have sent since our meeting.

In this document, I aim to enlighten readers to the background of the creators and their work together, along with Francis Poulenc and the four influential friendships that were so important in his life. I will also take a more in-depth look into how each song, while all Heggie’s original material, pays tribute to the compositional genius of Poulenc through analysis of the text and music, presenting examples of how Heggie was able to include Poulenc’s compositional language into his own. I will also present performance ideas for each song as gleaned through coaching with the composer as well as email correspondence with pianist Malcolm Martineau, the original commissioner of the work.

While it is an amazing benefit to have the direct input of the composer, it is also important for the individual performer to create their interpretation of a song or group of songs, making it personal. It is my sincere hope that the information I have gleaned from my study of Heggie’s work will be beneficial to the singers who may want to perform

Friendly Persuasions: Homage to Poulenc in the future.

xiii

Chapter 1. The Creators

Jake Heggie – A Brief Biography

Jake Heggie is a prominent American composer and pianist. While his compositions have been predominately vocal (opera, choral, and ), he also has composed works for , chamber ensemble, and solo instruments. His vocal works have been commissioned and performed by some of the premier opera companies and singers, including , Renée Fleming, , Joyce

DiDonato, , , , Opera,

Dallas Opera, and many others. His acclaimed first opera, Dead Man Walking (2001), based on the book by Sister , CSJ, is now a fixture of the scene. Currently, he has composed over 300 art songs, and in summer 2019 he will premiere his fourteenth opera.

John (Jake) Stephen Heggie was born to John Francis, a physician and amateur saxophonist, and Judith, later a nurse, on March 31, 1961, in Florida. At a young age, they relocated to Bexley, Ohio; a suburb of Columbus. Heggie began his musical training, studying piano with teachers Ann Swesty and Anna Mae Millard.1 Heggie credits these teachers with nurturing his musical study and encouraging his compositional inclinations.

1 Jake Heggie, Interview with the author, Bloomington, November 10, 2017. 1

When Heggie was ten, his father committed suicide. He turned to music for support and solace because it was, “‘where I felt safe and secure, where I could express my emotion.’”2 Not long after his father’s death, Heggie and his family moved to

California, where he began to hone his craft with esteemed composition teacher Ernst

Bacon. Heggie studied with Bacon for about two years until he graduated from high school. According to Heggie, his study with Bacon “introduced me to the poems of Emily

Dickinson and the satisfaction of setting texts. That’s where it all really started for me.”3

Following his high school graduation, Heggie enrolled at American College in

Paris, where he studied for two years. He returned home to California and enrolled at the

University of California Los Angeles (UCLA) as a piano performance student. It was at

UCLA where Heggie began his study with his most influential teacher for both piano and composition, Johana Harris. Heggie also worked with Roger Bourland, Paul Des Marais,

David Raksin and Paul Reale while at UCLA, but Harris was the teacher with whom he connected most.4

The whole time I was at UCLA I was a piano major and I was working with Johana Harris, the widow of [composer] . I had heard about her for years, and she was the reason I had chosen UCLA in the first place. Even though she was officially my piano teacher, she was my most important composition teacher in that she taught me to trust my instincts and to explore all the variety that lay within those instincts. It wasn't that she sat down and showed me the rules of counterpoint and . She taught me to not to be afraid of my instincts and not to feel like I had to stay within the lines. I never felt like she wanted to box me into a particular style. She was a phenomenal musician—

2 Matthew Sigman, “Composing A Life,” , July 2015, 26. 3 David Mermelstein, “He’s Got a Song in His Art,” , November 10, 1996, http://articles.latimes.com/print/1996-11-10/entertainment/ca-63102_1_art-songs. 4 Carolyn Redman, “Songs to the Moon: A Song Cycle by Jake Heggie from the Poems of Vachel Lindsey” (D.M.A. doc., Ohio State University, 2004), 3, ProQuest Dissertations & Theses Global.

2

probably the greatest musician I've ever known. Music was her primary language. She had been a major child prodigy. She had started playing piano when she was two and was teaching in program at Juilliard when she was sixteen. It was an extraordinary experience knowing her and working with her. She was the strongest influence on me.5

As time progressed, their relationship became more than that of professor and student.

Heggie was becoming more aware of his own homosexuality, but was ashamed of it. The proposed marriage and Heggie eventually accepted. When the two married, Heggie was twenty-one and Harris was sixty-nine.6

Heggie went on to complete his bachelor’s degree in piano performance and composition in 1984 and began graduate study in composition. He and Harris toured around the world performing concerts together. In 1988, during their time performing together, Heggie developed focal dystonia, a neurological disorder, in his hand with uncontrollable muscle spasms that caused his hand to have a constant inward curl.7 He stopped playing piano for five years as he went through the rehabilitation process. He then worked with a piano teacher who helped him develop a better technique. This work corrected the muscular issues in his hand.

Due to the disorder and other difficult life events such as Harris’ failing health,

Heggie took a job in public relations working at the UCLA Performing Center for the

Arts.8 He was no longer performing or composing, and says of this time: “I know now

5 Robert Wilder Blue, “Composer’s First Opera Is A Triumph,” US Opera Web: Online magazine devoted to American Opera, July 2001, https://web.archive.org/web/20070210002126/http://www.usoperaweb.com:80/2001/july/heggie.html. 6 Sigman, 26. 7 Ralph Blumenthal, “For an Operatic Life, Check ou the Composer’s,” New York Times, March 13, 2008, https://www.nytimes.com/2008/03/13/arts/music/13jake.html. 8 Mermelstein.

3

that I was suffering from depression. I had stopped writing and stopped playing the piano.

I realized that everything was going the wrong way. And nothing was going to change as long as I remained in Los Angeles.”9 Realizing the inevitable struggle if he stayed, in

1993 Heggie decided to move to the San Francisco Bay Area.10 Harris, whose health was considerably diminished by that time from cancer, had moved in with one of her daughters.11 Although living apart, the two remained married until Harris’ death in 1995 at the age of eighty-two.

Initially, Heggie took a freelance public relations job with the University of

California Berkley. Not long after, however, he secured a full-time job working in public relations with . Soon after his move, Heggie began composing again.

With his position at San Francisco Opera, he had access to some of the world’s most accomplished singers. Heggie decided to be daring and speak to some of the singers and invited them to listen to his songs. One of the singers he approached was the inestimable

Frederica von Stade.12 Heggie gave her three folk song arrangements as an opening night gift for the world premiere of Conrad Sousa’s . Ms. von Stade greatly enjoyed his songs. Heggie invited her to record them as part of his entry for the G.

Schirmer Competition.13 She agreed to do so, and he ended up winning the competition. Before Heggie knew it, well-known and established artists such

9 Ibid. 10 Tom Savage, “High Scorers: Jake Heggie,” Opera News, January 2000, 12. 11 Mermelstein. 12 Sigman, 24. 13 Heggie, Interview with the author, 2017.

4

as Renée Fleming, , and Dawn Upshaw, among others, were looking to sing his compositions.14

The interest that some of these acclaimed singers had taken in Heggie’s compositions got the attention of , General Director of San Francisco

Opera at the time. Mansouri called Heggie into his office for a meeting, inviting him to compose an opera for San Francisco Opera’s 2000-2001 season. He resigned his post in the public relations department for the company and was named their first Chase

Composer-in-Residence.15 Heggie traveled to , in May of 1996 to meet with acclaimed American playwright Terrence McNally, with the hope of convincing him to join the project as the librettist. After eight months, McNally agreed, and in the summer of 1997, they settled on Dead Man Walking as the subject for the collaboration.16

The opera was the first for both Heggie and McNally. It premiered in October of 2000 and was a rousing success. Dead Man Walking launched Heggie into the international spotlight, and at the end of the 2018-2019 season, the opera will have been performed internationally in sixty-eight different productions.17

Heggie has been commissioned by many opera companies and individuals over the course of his career, such as San Francisco Opera, , Houston Grand

Opera, , Opera, and the State Opera of South Australia, to name

14 Sigman, 24. 15 Savage, 13. 16 David F. Wylie, “Jake Heggie: A Singer’s Composer,” Classical Singer, January 1, 2011, https://www.csmusic.net/content/articles/jake-heggie. 17 “DEAD MAN WALKING (2000),” Jake Heggie Composer & Pianist, Bent Pen Music, Inc., accessed July 10, 2018, https://jakeheggie.com/dead-man-walking-2000.

5

a few. Texts have been written by such reputable poets and librettists, including Gene

Scheer, Heather McDonald, Kevin Gregory, Terrence McNally, , Lucy

Miller Murray, Vachel Lindsay, , Sister Helen Prejean, Mark Campbell,

A.E. Housman, and many others (for complete list of vocal compositions and text authors see Appendix A).18

Heggie is currently working with frequent collaborator, Gene Scheer, on an opera commissioned by the Merola Opera Program (San Francisco Opera’s summer young artist training program) titled If I Were You. He is also composing a dramatic song cycle for mezzo-soprano, violin solo, and string quartet, also with text by Scheer, commissioned by Music at Kohl Mansion as part of the Violins of Hope-San Francisco

Bay Area project titled INTONATIONS: Songs from the Violins of Hope19, and a chamber work to celebrate the career of flutist Carol Wincenc.20 He currently resides in San

Francisco with husband Curt Branom, who is a singing actor.21

18 For a more extensive list of collaborators, visit Heggie’s website: https://jakeheggie.com. 19 “Violins of Hope-Music at Kohl Mansion,” Music at Kohl Mansion, accessed May 5, 2019, https://musicatkohl.org/violins-of-hope-2/. The Violins of Hope-San Francisco Bay Area project is to commemorate the 75th anniversary of the liberation of Auschwitz. The violin solo and string quartet will be played on instruments from the collection. 20 Bent Pen Music, Inc., “Biography,” Jake Heggie: Composer & Pianist, accessed January 2018, https://jakeheggie.com/biography/. 21 Ibid. 6

Compositional Style

When asked about his style of composition, Jake Heggie, without hesitation, labels himself a theatre composer.22 He considers the sound of his compositions to be very American, given a wide range of influences from opera, to Broadway, and television.23 In an email to the author, he states, “all my work is deeply influenced by

[Francis] Poulenc, [Claude] Debussy, [Maurice] Ravel, [Benjamin] Britten, [Leonard]

Bernstein, [George] Gershwin, [Stephen] Sondheim, etc.”24 In the foreword of his early book of songs, The Faces of Love, Heggie says, “In these songs, the singer encounters the full gamut of the influences I grew up with: folk music, jazz, pop, opera, rock, art song. I encourage performers to embrace these elements in the songs and not shy away from them. If it feels jazzy, well, it probably is.”25 Heggie also credits performers as influences in his work, which have included artsts such as “[Barbra] Streisand, Shirley Horn and

Ella Fitzgerald, one of the great singers of the century; Dame , Régine

Crespin, Eleanor Steber, Flicka26, [Renée] Fleming, and [Jennifer] Larmore.”27

The text strongly influences the compositional style of Heggie’s work. As previously noted, his compositional output thus far in his career has been primarily vocal, with over 300 songs and approximately 14 stage works. His reasoning for such a sizeable

22 Heggie, Interview with the author, 2017. 23 Ibid. 24 Jake Heggie, Email correspondence with the author, October 28, 2017. 25 Jake Heggie, The Faces of Love: The songs of Jake Heggie Book 1, (New York: Associated Music Publishers, Inc., 1999), Foreword. 26 Flicka is the nickname for mezzo-soprano Frederica von Stade. 27 Savage, 13.

7

vocal output is that “The voice still takes my breath away. It is the most expressive, most magical instrument ever. The inspiration comes from the voice.”28

With the emphasis placed more on dramaticism, Heggie receives accolades and criticism alike for what is considered an eclectic style. Longtime New York Times music critic Anthony Tommasini, comparing Heggie’s music with some of his contemporaries, said:

Yet for all the pleasure Mr. Musto, Mr. Hagen and Mr. Heggie have given singers and audiences, there is an eerie similarity to their work: each writes in some variation of a pungently chromatic, sometimes modal, neo-Romantic harmonic idiom, with varying echoes of pop songs, or outbursts of chunky cluster chords, or even brief fragments of tone rows, depending on how intense the particular song is supposed to be. The significant differences in their work come down to their choices of texts and the degrees to which their vocal lines showcase the specific voices of intended interpreters.29

Internationally renowned tenor Nicholas Phan, in an email to the author, states that “Jake is an amazing storyteller through vocal music,”30 while luminary mezzo-soprano Jennifer

Larmore says, “His songs get right to the point—they're terrific to sing…. Sometimes modern song composers try too hard. Jake doesn’t have to try; he’s a natural.”31

Heggie does not think about musical analysis when composing. He strives for how the music and lyrics make him feel to decide how the finished product will sound. If it feels right, that is what is important.32

28 Savage, 12. 29 Ahthony Tommasisni, “A Sudden, Facile Flowering of American Song,” New York Times, June 11, 2000, https://www.nytimes.com/2000/06/11/arts/music-a-sudden-facile-flowering-of-american- song.html?src=pm&pagewanted=2. 30 Nicholas Phan, Email correspondence with the author, April 11, 2019. 31 Mermelstein. 32 Ibid. 8

Gene Scheer – A Brief Biography

Gene Scheer is an American composer, librettist, and lyricist who has achieved great success in both the writing of music and text. As a composer, he has written songs for such artists as Renée Fleming, , Sylvia McNair, and Nathan Gunn, among others. His song American Anthem premiered at the Smithsonian Institution for

President and Mrs. Clinton. As librettist and lyricist, Scheer has collaborated with renowned composers such as Jake Heggie, , and . His libretti have seen performances all over the world and received high praise. His most recent opera libretto will receive its premiere in the summer of 2019 as part of a commission from the Merola Opera program at the San Francisco Opera.

Born in New York and raised in rural New Jersey, Gene Scheer was born April

28, 1958, to Ray and Beverly Scheer. As Mr. Scheer stated: “No one would imagine that it exists. It was like 25 miles from the Pennsylvania border. The town I grew up in had a general store, a gas station, and a lumber yard, and a freight train that went through it and dairy farms. As time went on, those farms were sold, and they were made into developments.”33

Scheer went on to study voice at the Eastman School of Music in Rochester, New

York. There he earned Bachelor and Master of Music degrees. After graduation, he moved to Europe, where he attempted to make a career of performing.

I was pretty good. Not quite good enough, honestly. I wound up working musicals for years, in Europe. And while I was doing that, I started writing to keep my soul alive. I was just writing songs, and then I wrote a show. And then, as Jake said, I just wrote, wrote, wrote. And after about 10 years of performing, I came back to

33 Gene Scheer, Interview by author, Bloomington, IN, November 10, 2017.

9

the states and luckily, over time, it didn’t happen like that [snaps], some prominent singers started singing songs I wrote and then, over time, the singing was eclipsed by the writing.34

Nathan Gunn, with whom Scheer had developed a friendship, introduced him to

Francesca Zambello, a prominent opera stage director. By this time, his compositions had been performed by several high-profile singers. After hearing recordings of his songs and reading a script he had written, Zambello let Scheer know that composer Tobias Picker, who had been commissioned by Dallas Opera, was in search of a librettist.35 Scheer wrote the libretto for Thérèse Raquin which premiered in November 2001. The success of

Thérèse Raquin launched Scheer into national attention. His next project, also with

Tobias Picker, was a commission from the , An American Tragedy, which premiered in December 2005.

Additionally, in December 2005, the first collaborative effort with composer Jake

Heggie premiered. The University of Kansas at Lawrence commissioned the song cycle

Statuesque, songs about famous statues, for mezzo-soprano Joyce Castle. Soon thereafter, the pair went on to premiere To Hell and Back (2006), the first of many dramatic works together, including Moby-Dick (2010), based on the legendary novel by , and their most recent opera It’s a Wonderful Life (2016), based on the 1946 movie and the novel The Greatest Gift by Philip van Doren Stern. Scheer’s and Heggie’s collaborations have produced eight song cycles and eight dramatic works together, with

34 Ibid. 35 Michael Slade, “Gene Scheer in His Own Words,” Opera News, July 2014, 30.

10

the opera, If I Were You, scheduled for premiere in summer 2019, commissioned by the Merola program, the summer training program of the San Francisco Opera.

Scheer has also written libretti for some up and coming operatic composers. In

January 2015, along with composer , the opera Everest premiered at Dallas

Opera. He also wrote the libretto for Jennifer Higdon’s opera, , based on the novel and movie of the same name, which was co-commissioned by ,

Opera Philadelphia, North Carolina Opera, and Minnesota Opera.36

Gene Scheer has established himself as one of the premier lyricists and librettists in the . His adaptations of literary and cinematic masterpieces and original creations demonstrate his immense skill for crafting a dramatic text that transports the audience and keeps them thoroughly engaged in the story at hand. Scheer currently resides in New York City with his wife Kristina Lechowski.

36 Ibid.

11

Collaborative Efforts

Jake Heggie and Gene Scheer were introduced to one another in 2002 by a mutual friend, the late Kristine Jepson.37 While their initial meeting did not lead to immediate collaboration, Heggie felt a strong connection. The next time a project came up where

Heggie needed original text, Scheer was his first call.

Their first collaboration was a cycle of five songs, titled Statuesque. Heggie, in an email message to the author, remarked about how “easy joyful and very natural” the collaboration was.38 Due to that ease of collaboration, Heggie and Scheer began regularly working together.

As of the publication of this document, Heggie and Scheer have joined forces to create nearly fifty songs, several one-act dramatic works. In the summer of 2019, they will premiere their fifth full-length opera, followed by the world premiere of their song cycle INTONATIONS: Songs from the Violins of Hope in January of 2020.39 Their works have garnered widespread acclaim and continue to receive consistent performance, internationally.

37 Heggie, Email correspondence with the author. 38 Ibid. 39 For a full list of compositional collaboration between Jake Heggie and Gene Scheer, see complete vocal output for Jake Heggie in Appendix A. 12

Chapter 2. The Inspiration: Francis Poulenc

A Brief Biography

French composer and pianist Francis Poulenc is known as one of ’s chief composers of mélodie. With a significant vocal music output, he also wrote many works for solo instruments, chamber ensemble, and full orchestra. Poulenc is revered as one of the most well-known composers of Mélodie since Gabriel Fauré.40 Poulenc was a member of the famed , which included composers , ,

Arthur Honegger, , and .

Francis Poulenc was born January 7, 1899, in Paris, France. His father Emile, from Aveyron, in the Southern region of France, was “director of a family pharmaceutical business which eventually became the giant Rhône-Poulenc,”41 which, following other mergers, became part of pharmaceutical titan now known as Sanofi.42 His mother Jenny, née Royer, was a native Parisian. Poulenc developed different aspects of his life based on his diverse upbringing. He developed his faith through his father's ideals. Having a Catholic upbringing,

40 Myriam Chimènes and Roger Nichols, 2001, “Poulenc, Francis,” Grove Music Online, http://www.oxfordmusiconline.com.proxy.lib.ohio-state.edu/grovemusic/view/10.1093/gmo/ 9781561592630.001.0001/omo-9781561592630-e-0000022202. 41 Chimènes and Nichols, 2001. 42 Kimberly S. Cleaves and Ann M. Thayer, “Warning, merge with care: Sanofi Aventis,” Modern Drug Discovery, August 2004, https://pubsapp.acs.org/subscribe/archive/mdd/v07/i08/pdf/804business2.pdf. Sanofi is one of the largest pharmaceutical companies in the world.

13

Poulenc’s father was devout, but far from dogmatic; indeed, he was a free thinker, and Poulenc’s personal conception of religion can be traced to him. This conception, which was positive and happy, was based upon a profound deism, rather than upon organized religion. Poulenc disliked proselytizing, breast- beating, and mental or spiritual self-criticism.43

Poulenc’s mother helped him develop his artistic ideals. “From his mother the young

Francis absorbed a love of poetry and painting, as well as of literature, drama, ballet, and cinema.”44 Both parents enjoyed music, but Francis' tastes were more influenced by his mother, developing a lifelong love of Mozart. “His mother was an accomplished amateur pianist, and she often played Schubert, Chopin, and Scarlatti, three other composers whom Poulenc would come to admire.”45

Poulenc began to study piano at the age of five and soon after began to work with

Cécile Boutet de Monvel, the niece of composer Caesar Franck. By fifteen, Poulenc was playing works of challenging composers such as Schönberg.46 While he showed obvious skill in music, Poulenc’s father insisted that Francis complete his traditional education before he would be allowed to enter the Conservatory. Unfortunately, Poulenc’s arrangements were completely upended due to the untimely death of his parents (both by

1918, when he was 18 years old) and his service in .47

In 1914 Poulenc began a three-year period of study with Ricardo Viñes, who was his earliest musical mentor. According to Pierre Bernac: “It was the instruction of Viñes

43 Keith W. Daniel, Francis Poulenc: His Artistic Development and Musical Style, (Ann Arbor: UMI Research Press, 1982), 1. 44 Ibid. 45 Ibid., 2. 46 Ibid., 2. 47 Chimènes and Nichols, Grove Music Online.

14

that made of Poulenc the remarkable pianist that he became. But when Poulenc repeated incessantly, ‘I owe him everything!’, he meant also that he owed to him his emergence as a composer.”48 Viñes was instrumental in introducing Poulenc to composers such as Erik

Satie, , and Georges Auric. Further introductions were made with some up and coming composers of the era, while Poulenc’s name was becoming more well- known. The best known and influential in his early development, was , whom he met in 1916 and befriended soon after that. Stravinsky was instrumental in

Poulenc having his first compositions published by J. & W. Chester in London.49

It was also during this time that his childhood friend Raymonde Linossier took him to La Maison des Amis des Livres (The House of Friends of Books), the famed bookshop run by Adrienne Monnier, where Poulenc would spend a great deal of time and establish many friendships and colleagues. Poulenc met poets

(whom he had already come to know through Viñes), Paul Eluard, André Breton, Louis

Aragon, André Gide, Léon-Paul Fargue, Paul Valéry, and Paul Claudel. Of the poets mentioned above, Apollinaire and especially Eluard would come to be the most fruitful relationships developed.

In 1918 Poulenc was drafted into military service during World War I. He continued to compose during his enlistment, which ended in 1921. His most notable

48 Pierre Bernac, Francis Poulenc: The Man and His Songs, trans. Winifred Radford, (New York: W.W. Norton & Company, Inc., 1977), 23. 49 Chimènes and Nichols, Grove Music Online.

15

composition of mélodie during that time would be his first song cycle, Le Bestiaire.50 His relationship with Les six ensured that his music received consistent performance. While this group of composers developed quite a following, they were only together until

Durey, the eldest of them, moved away to live in Saint-Tropez in 1921.51

Poulenc began compositional study with French composer in

1921. Despite his studies, his neo-classical compositions of the 1920s show an evident influence of Stravinsky.52 During this time, he was approached by the renowned leader of

Ballet Russes, Serge Diaghilev, to commission a ballet. In January of 1924, received its first performance in Monte Carlo and was an overwhelming success.53

Through Viñes, Poulenc was introduced to harpsichordist Wanda Landowska in

1923 at the premiere of Manuel de Falla’s El Retablo de Maese Pedro at the home of the

Princesse Edmond de Polignac, who had commissioned the pantomime-ballet.

Landowska was the harpsichordist for this premiere.54 This meeting would lead to the commission of his concerto by Landowska. In 1925 Poulenc returned to a more personal style of composition, evidenced in the song cycle , a cycle of eight songs with for and piano.55 The baritone to premiere this cycle

50 Benjamin Ivry, Francis Poulenc, (London: Phaidon Press Limited, 1996), 28. Le Bestiaire (The Bestiary), in its final published form consists of six songs with poetry by Apollinaire involving different animals, however, was initially a set of twelve songs. 51 Ibid., 39. 52 Daniel, 25. 53 Chimènes and Nichols, Grove Music Online. 54 Daniel, 26-27. This performance took place at the home of Princesse Edmond de Polignac, whose actual name was (heir to the Singer sewing machine fortune), who was a great patron of the arts in Paris. 55 Ibid., 26.

16

with Poulenc at the piano was Pierre Bernac. This encounter would be their first, but their true partnership would not begin until several years later.

In the late 1920s, although Poulenc kept his apartment in Paris, he felt the need to find a more relaxed, private setting, to get away from the fast-paced, big-city lifestyle.

Having acquired a sizeable inheritance from his father, he purchased a new house in

Noizay, which he called Le Grand Coteau.56 It would be during those retreats that his artistic output would flourish.

Also, in the late-1920s, Poulenc began to experience great episodes of depression.

Initially, this stemmed from his developing awareness of his sexual identity. He had proposed marriage to Raymonde Linossier, who declined because she did not agree with the premise of the situation. According to Ivry:

Francis felt abandoned and aware of the destiny his sexual identity had in store for him. He suffered a nervous depression, which coincided with stirrings of love for Richard Chanlaire, a young painter whom he had met in the mid 1920s. Chanlaire, a painter of scarves and screens in his studio on the quai des Grands Augustins, was Poulenc’s first great love (whereas Raymonde was his ‘only deep friendship’). It was he who accompanied Poulenc on his visits to the home of Wanda Landowska outside Paris, at St-Leu-la-Forêt.57

The depression and preoccupation of Poulenc’s situation caused a delay in the completion of the commission of his eventual Concert Châmpetre. Growing impatient,

Landowska was pressuring him to finish the work. Once he confided his problem to her,

Landowska was encouraging, but still demanded the finished concerto. Not until Poulenc

56 Ivry, 28. Noizay is a country town southwest of Paris. Le Grand Coteau translates as The Large Hill. 57 Ibid., 65.

17

visited her country estate outside Paris did he find the inspiration for the concerto and delivered the finished composition, the premiere of which took place in 1929.

In 1930, Poulenc was dealt another tremendous blow. Raymonde Linossier, his closest friend from childhood, died unexpectedly. He would never fully recover from this tragedy. The early-1930s would prove to be a period of predominantly vocal output.

Daniel says about Poulenc’s compositions of this time:

He produced thirteen songs (Epitaphe, 1930; Trois poèmes of Louise Lalanne, Quatre poèmes of Apollinaire, and Cinq poèmes of Jacob, all in 1931), and a chamber , Le Bal masqué (1932), based on four poems of Jacob. These “poetry-song” years marked Poulenc’s first setting of contemporary French poetry since his two early collections, Le Bestiaire and Cocardes (both 1919).58

Poulenc launched a performance career in partnership with Bernac in the mid-1930s. The two toured all over the world performing recitals together until Bernac retired from recital performances in 1959.

Chief compositions of the middle and late 1930s were, again, mostly vocal. They include: Litanies à la Vierge Noire (1936), his first sacred work, a choral work for female voices, inspired by the death of composer and friend Pierre-Octave Ferroud and a visit to

Rocamadour;59 Tel jour telle nuit (1936-37), one of his best-known song cycles to poetry by Paul Eluard; Priez pour paix (1938), a poem by Charles d’Orléans found by Poulenc the night before World War II began;60 and another of his best known song cycles

58 Daniel, 29. 59 Rocamadour is located in Southern France. The church of Notre Dame which houses the famed wooden Black Madonna, for which Poulenc’s composition Litanies à la Vierge Noire is based, is one of the primary points of interest. 60 Daniel, 43.

18

Banalités (1939), a set of five songs set to poetry by Guillaume Apollinaire. All of the solo songs listed were composed for recitals to be performed by Bernac and Poulenc. One of the chief instrumental compositions of this period was his Concerto en sol mineur

(1938) for organ, strings, and . This work was commissioned by one of Poulenc biggest supporters, Princesse Edmond de Polignac.61

After the start of World War II, Poulenc spent a great deal of his time at Noizay during the German occupation.62 As this was a great source of inspiration, he spent much of his time composing. A secretive supporter of the Resistance Movement, Poulenc composed many works that artfully displayed his patriotism. Some of the works from that time were the ballet Les Animeaux modèles (1942); a song cycle Chansons villageoises

(1942); and his cantata for double mixed chorus , which was written in a mere six weeks and was a strongly patriotic setting of poems by Eluard that could not be published because of to their extreme patriotism.63 The premiere of the cantata took place in London in 1945 while the French premiere did not take place until 1947.64 He composed his first opera, Les mamelles de Tirésias, in 1944, but the premiere did not take place until three years later, when Poulenc first collaborated with the soprano Denise

Duval, who, according to Grove Music Online, “became his favourite female interpreter.”65

61 Ibid. 62 Chimènes and Nichols, Grove Music Online. 63 Daniel, 44. 64 Ivry, 130. 65 Chimènes and Nichols, Grove Music Online.

19

After the war, Poulenc resumed focus on the composition of song. In the late

1940s, he composed around twenty-seven songs by several different poets, many of which were for recital performances with Bernac.66 Other compositions of the later 1940s included his L’Histoire de Babar (1945), Sinfonetta (1947) and Concerto pour piano et orchestre (1949).

The 1950s brought forth many of Poulenc’s masterpieces. Works included premieres of a choral work, , in 1950 and his Sonate for two pianos in 1952.

In 1953, Poulenc began work on one of his most famous compositions, the opera

Dialogues des Carmélites, for which he wrote both music and libretto. This opera premiered at one of the world’s most prestigious opera houses in , , in

1956. After the opera premiered Poulenc returned to song and wrote Le Travail du peintre (1956), a set of songs based on Eluard’s poetry. The same year saw the premiere of his Sonata for flute and piano. Finally, in 1959, the premiere of Poulenc’s , a monodrama by , was performed by his muse, .

“The forty-minute, one-act ‘tragedie-lyrique’ was composed quickly, between February and June 1958, and it received its première on 6 February 1959 at the Opéra-Comique, with design and production by Cocteau himself; the orchestra was conducted by Georges

Prêtre.”67 The end of the 1950s also saw the conclusion of the recital tours of Pierre

Bernac and Poulenc, as Bernac retired from the recital platform.

Poulenc was commissioned by the Koussevitsky Foundation, in Boston, and the resulting work was his sacred choral masterpiece Gloria for soprano solo, chorus and

66 Daniel, 47. 67 Daniel, 55. 20

orchestra. He completed composition in 1959, however, the work did not receive a premiere until 1961. According to Ivry:

Poulenc said that he had written enough tragedies that made people weep and he hoped to regain the energy expressed in Les Biches and Les Mamelles…. One can see why Gloria became instantly popular in Eisenhower’s America: its sunny air was like the aftermath of a perfect tranquilizer. The sedative quality to this pretty music was a sign that the idea of oblivion was starting to appeal to the composer.68

Poulenc suffered a heart attack and died suddenly, in his Paris apartment, on

January 30, 1963. Keith Daniel stated,

Poulenc’s activities did not diminish in the least during his last year, for he remained a healthy, robust man. He undertook a tiring two-week concert tour of Italy with Duval in February of 1962. He composed and traveled throughout the following summer, though he complained frequently about the heat. In January 1963, he and Duval gave a short concert tour of Belgium and Holland. After returning to Paris, Poulenc died suddenly, of a heart attack, on 30 January 1963.69

Following his death, three of his last compositions received posthumous premieres.

Benny Goodman and performed the premiere of his Sonata for

Clarinet and Piano, Pierre Pierlot and Jacques Février premiered Sonata for Oboe and

Piano, and Sept répons des ténèbres was premiered by conducting the

New York Philharmonic.70

68 Ivry, 204. 69 Daniel, 55. 70 Ibid. 21

Four Influential Relationships

When asked in an interview with Stéphane Audel who the decisive encounters had been in his life, the three names Francis Poulenc gave were that of Wanda

Landowska, Pierre Bernac, and Paul Eluard.71 The fourth relationship worthy of exploring is that of childhood friend and artistic influence, Raymonde Linossier. These four individuals, each in their way, had a profound influence on Poulenc’s life and artistic development and/or output.

Wanda Landowska (1879-1959)

Wanda Landowska was a keyboard virtuoso known for the resurgence of the harpsichord, attempting to bring it back to popularity in the early twentieth century.

Poulenc met Landowska in Paris, in 1923 when he attended a performance in which

Landowska played the harpsichord part.72 Upon their meeting, Landowska invited

Poulenc to compose a modern concerto for harpsichord. According to Pierre Bernac,

Poulenc said, “‘I had as much artistic respect as human fondness for her,’…. ‘It was she who gave me the key to Bach’s harpsichord works. It was she who taught me all that I know of the French composers for harpsichord.’”73 Having agreed to compose a concerto

71 Stéphane Audel, Francis Poulenc: My Friends and Myself, trans. James Harding, (London: Dobson Books, Ltd., 1978), 45. 72 Daniel, 27. 73 Pierre Bernac, Francis Poulenc: The Man and His Songs, trans. Winifred Radford, (New York: W.W. Norton & Company, Inc., 1977), 26.

22

for her, Poulenc had difficulty finding inspiration. In 1926 he visited her country home at

Saint-Leu-la Forêt, the result of which was his Concert Champêtre.

Poulenc went through a personal crisis during the years when he composed the concerto, as he was coming to terms with his sexuality. Homosexuality, at that time, was not something that was openly accepted. In the mid-1920s, Poulenc informed his friends, including Valentine Hugo and Wanda Landowska, about his relationship with Richard

Chanlaire.74 Landowska’s lively personality was a draw for Poulenc, “and he could not have had a more benevolent fairy godmother presiding over his relationship with

Chanlaire.”75 While there is no evidence of Poulenc informing Landowska, it is thought that her letter from May 1929 is, in fact, words of encouragement to him, saying “Soyez heureux et vivez votre bonheur de toutes vos forces.” (“Be happy and live your happiness with all your might.”)76

According to Daniel, “Poulenc and Landowska, though separated by some twenty years and great cultural and national differences, became close, lifelong friends.”77 In his

74 Francis Poulenc and Myriam Chimènes, Correspondance, 1910-1963. (Paris: Libraire Arthème Fayard, 1994), 304. Here we see Poulenc’s letter to Valentine Hugo, in not so obvious words, telling about his love for Richard Chanlaire: “Combien j’ai été heureux de pouvoir vous confier mon gros secret, mon grave secret. Cet amour fou mais si angoissant dont je vous ai entretenu étant maintenant l'unique raison d'être de ma vie vous comprenez combien à cause de son anomalie, il m'est dur de le cacher.” (“How happy I was to be able to confide in you my big secret, my grave secret. This crazy but scary love I have spoken to you now being the only reason to be in my life you understand how much because of its anomaly, it is hard for me to hide it.”). Note: All translations not otherwise attributed were done by the author. 75 Ivry, 68. 76 Poulenc and Chimènes, 305. 77 Daniel, 27.

23

interview with Stéphane Audel, Poulenc goes so far as to say that “since then, I’ve always been a favourite of hers. Nothing makes me prouder than this friendship.”78

Pierre Bernac (1899-1979)

The second relationship explored in Heggie’s song cycle Friendly Persuasions:

Homage to Poulenc is that of baritone, Pierre Bernac. Francis Poulenc met Pierre Bernac in 1927 when the composer asked the baritone to sing the premiere of his song cycle

Chansons gaillardes. Following this, the two men were nothing more than acquaintances until Poulenc was invited to accompany Bernac for a private concert of ’s music, presented in a patron’s home in .79 Following this performance, the men formed a partnership that lasted approximately twenty-five years, until, at the age of sixty, Bernac decided to retire from recital performances.80 Throughout those twenty-five years, Poulenc wrote ninety of his songs specifically for Bernac to perform on their recitals.81 The relationship between Poulenc and Bernac was one of admiration and respect. Poulenc valued so highly Bernac’s opinion that the following story, put forth by

Bernac, is the basis for the song in Friendly Persuasions:

At Christmas in 1936 I was at Noizay for a short stay in order to make the most of this free time to prepare the programmes for our forthcoming tours, and in particular the new songs that Poulenc had written and which we were going to perform at our annual recital in Paris. They were the settings of poems by Jean Cocteau titled 'Plain-Chants'. The evening I arrived Poulenc went to the piano and let me hear them. Frankly I did not feel enthusiastic, and he must have sensed this from my reaction. Suddenly, to my alarm, to my horror, Poulenc took his manuscript and threw it on the big fire that was burning in

78 Audel, 46. 79 Ibid., 47. 80 Bernac, 27. 81 Ibid., 27.

24

the grate. He began to laugh and said, 'Don't worry, you will have something much better for February 3rd!' It was to be Tel Jour telle nuit.82

Being a performer of distinguished reputation, Bernac’s influence over Poulenc’s composition also included the influence of style. Poulenc is said to have stated, “that it was through accompanying me [Bernac] in Schubert, Schumann, Fauré, Debussy, Ravel etc…that he learned his art of song writing.”83

Raymonde Linossier (1897-1930)

Quite possibly the most profound relationship in Poulenc’s life was that of childhood friend, Raymonde Linossier. The Poulenc and Linossier families were friends during their formative years. Linossier, according to Bernac, “was ‘the true intellectual leaven of his adolescence’ and she initiated him into the world of literature.”84 It was because of this friendship that Poulenc frequented the famed bookstore run by Adrienne

Monnier La Maison des Amis des Livres. There he met such French authors and poets as

Paul Valéry, Paul Claudel, Léon-Paul Fargue, , and perhaps most importantly Paul Eluard. He also met Americans such as Gertrude Stein and Sylvia

Beach; as well as the artist, Pablo Picasso. Poulenc presented many of his early published works and some manuscripts to Linossier up until her untimely death on January 30,

1930.85 He usually wrote a heartfelt inscription on these gifts.

82 Ibid., 98. 83 Bernac, 27-28. 84 Ibid., 24. 85 Carl B. Schmidt, Entrancing Muse: A Documented Biography of Francis Poulenc, (Hillsdale, NY: Pendragon Press, 2001), 28. 25

Poulenc, coming to terms with his sexuality, proposed marriage to Linossier, through her sister Alice Ardoin. In a July 1928 letter from Poulenc to Ardoin, Poulenc proposed the idea of an open marriage. Raymonde would be free to maintain her life visiting Japan, where she studied the culture and had a love interest, and he would be able to maintain his life and love interests. He also references in the letter that he purchased his house with the intention of her living in it with him, saying:

Did you think I’d bought that huge house all for myself? ... The longer I live, the more I feel that she is the only person I would like to share my life with…. When I bought my house I immediately thought ‘Tiens [Look], that large cupboard would be useful for Raymonde’s books, tiens, Raymonde would be happy in that spot’. I was in seventh heaven when she told me this autumn that she found my house delightful, and I was about to say to her: ‘your house’, when she slipped away.86

While Linossier declined Poulenc’s proposal, their relationship was not adversely affected.

Linossier’s death was incredibly difficult for Poulenc. One gesture to show how much he truly cared for her, according to Schmidt, “Poulenc paid her the ultimate tribute by placing the original orchestral manuscript of Les Biches between her hands in the coffin in which she is buried in Valence, France. This deeply personal gesture eloquently captures his affection for Raymonde better than anything he ever penned.”87 According to

Robert, “Her passing signified the loss not only of the principal sharer and witness of his

86 Sophie Robert, “Raymonde Linossier: ‘Lovely soul who was my flame,’” in Francis Poulenc: Music, Art and Literature, ed. Sidney Buckland and Myriam Chimènes (Brookfield, VT: Ashgate Publishing Company, 1999), 97-98. 87 Schmidt, 28.

26

youth, but also the loss of his own youth. In his memory those early years were epitomized by one particular event, the creation of Les Biches in Monte Carlo.”88

Poulenc continued to be influenced by his relationship with Raymonde Linossier, dedicating compositions to her even after her death. He also kept her photograph with him in a red leather frame, as well as the cigarette case she carried with her, which he continued to carry, especially during important moments in his life.89 These remembrances show just how significant and influential Linossier was for the remainder of Poulenc’s life.

Paul Eluard (1895-1952)

Francis Poulenc met Paul Eluard in 1916 while at Adrienne Monnier’s famed bookshop at Number 7 Rue de l’Odéon with Raymonde Linossier. When Eluard entered the shop with two other poets, André Breton and Louis Aragon, who at that time had achieved a modicum of success, Poulenc was hesitant to interact with them. In an interview with Stéphane Audel, Poulenc states that when Eluard was by himself, “he spoke this time with gentle eloquence. I lost my shyness, asked him many a question, and, without realizing it, gave him my friendship that day. Later on, I came to love Paul

88 Robert, 93. 89 Poulenc and Chimènes, 548. In a letter from Poulenc to Marie-Blanche de Polignac Poulenc states “J’insiste sur ce dernier point car c’est ce qui m’a rendu si précieux une boîte à cigarettes que Raymonde ne quittait jamais et que je ne quitte jamais. Les soirs importants de ma carrière, j’aime les sentir sous mes doigts.” (“I insist on this last point because that’s what rendered to me so precious a cigarette box that Raymonde never left and I never leave. The important evenings of my career, I like to feel them within my fingers.”) Here, Poulenc was asking for something precious of Polignac’s husband, Count Jean de Polignac, who had recently passed away.

27

and he returned it to me with interest, with a real brotherly love.”90 Poulenc felt a profound connection to the poetry of Eluard and his ability to express feelings about love, both human and nationalistic. He expressed feelings that Poulenc wished he had the confidence to articulate. Speaking with Audel, he said Eluard had “given me the possibility of expressing love in music then offered me, during the Occupation, the means of singing of my hope….”91 It took Poulenc quite some time to unlock the ability to set

Eluard’s poetry, but once he “discovered the secret of Eluard’s prosody I never stopped setting him to music.”92

The relationship of Poulenc and Eluard was one of mutual admiration. Poulenc valued Eluard’s outspoken nature about love and liberty, and Eluard was taken with

Poulenc’s ability to set the texts so beautifully. Bernac goes so far as to acknowledge that

Poulenc refers to Eluard as, “‘one of the most important encounters of my life.’”93

Francis Poulenc kept these four individuals in his highest regard. Their opinions and ideas were given the most consideration as he went through life. Without their influence, it is hard to imagine who Poulenc would have been both personally and artistically.

90 Audel, 99-100. 91 Audel, 50. 92 Ibid., 101. 93 Bernac, 93. 28

Chapter 3. The Creation: Friendly Persuasions: Homage to Poulenc

Friendly Persuasions-Commission and reviews

Friendly Persuasions: Homage to Poulenc is a song cycle commissioned by

Wigmore Hall in London, England, as part of a series exploring the music of Francis

Poulenc. In an interview with the author, Heggie explained that pianist Malcolm

Martineau approached him about the commission asking for something to “complement the exploration of Poulenc’s songs” he was curating.94 Heggie initially considered the use of existing poetry but decided that, if it was truly going to be specific to Poulenc, he wanted to do something original. His next step was to secure a librettist. At the time,

Heggie was working with librettist Gene Scheer on the composition of Moby-Dick, an opera based on the famed novel. He took the idea of writing a song cycle in homage of

Poulenc to Scheer who accepted the proposition, and they began to formulate their idea for the project. The concept the duo settled on was to write songs about “transformative friendships that profoundly influenced Francis Poulenc’s life and work.”95

Heggie was approached by Pacific Serenades, a chamber music organization based in Los Angeles, California, while composing Friendly Persuasions, requesting a chamber version of the cycle to be performed in May of 2008. Accepting their request,

94 Heggie, Interview with the author, 2017. 95 Jake Heggie, here/after: songs of lost voices (book 2), (New York: Bill Holab Music, 2013), preface.

29

Pacific Serenades became a co-commissioning body with Wigmore. Their request for instrumentation was flute, oboe, , and harpsichord. Heggie referred to this initial combination of instruments as seeming like a very “Poulenc-y” ensemble.96

The world premiere of Friendly Persuasions took place at Wigmore Hall, in

London, on April 9, 2008, performed by tenor John Mark Ainsley and pianist Malcolm

Martineau. The duo would later go on to record the cycle as part of their “French

Connection.”97 On May 31, 2008 in Los Angeles, California, Pacific Serenades premiered the chamber adaptation of the cycle featuring: tenor Nicholas Phan; Mark

Carlson, flute; Leslie Reed, oboe; David Speltz, cello; and Patricia Mabee, harpsichord.

Heggie reworked the instrumentation following the premiere of the chamber version in Los Angeles. In speaking with Mr. Heggie, he discussed the challenges a harpsichord can bring to the performance of the cycle. He felt that merely finding a harpsichord is not without complications and, frequently, tuning can create many issues.98

Heggie decided to change from harpsichord to piano for the keyboard instrument. This shift “didn’t feel as full as I wanted,” according to Heggie.99 Therefore, he made a change from oboe to clarinet.100 This ensemble performed the first commercial recording of

Friendly Persuasions as part of the here/after: songs of lost voices album, featuring

Stephen Costello (tenor), Carol Wincenc (flute), Jose González Granero (clarinet), Emil

Miland (cello), and the composer himself at the piano.

96 Heggie, Interview with the author, 2017. 97 Information about the recording can be found in appendix 2. 98 Heggie, Interview with the author, 2017. 99 Ibid. 100 This instrumentation is what Heggie refers to as the “final ensemble.” 30

Friendly Persuasions received mixed reviews in its various premieres. One blog review of the London premiere stated that it was, “Endearingly retro and unmistakeably

American, it's maybe too much of a Broadway/Poulenc pastiche to carry any real weight, but it was John Mark Ainsley's best performance of the night, measured and just the right side of intense, and the words seemed anything but trite.”101 However, Erica Jeal, in her review for , said that it was “bland words by Gene Scheer that could have been from Poulenc! the Musical…” and “They paled beside Trois Mélodies by the young

Messiaen.”102

Richard Ginell said of the premiere in the United States, that “Heggie deftly and quickly sketches the multiple musical personalities of Poulenc without imitating him per se…” He also goes on to say that “Heggie and Scheer also give their tenor a chance to do some vocal acting as if this were an opera, a freedom that the gifted Nicholas Phan exercised to the hilt."103

Similarly, reviews of the performance of Friendly Persuasions as part of the recording here/after: songs of lost voices garnered favorable reviews. Joseph Newsome of the performing arts review website, Voix des Arts, said of the cycle, “Mr. Heggie’s and

Mr. Scheer’s charismatic study of four individuals’…interactions with the composer

Francis Poulenc crackles with wit and the sort of tongue-in-cheek humor tinged with

101 “Too much Poulenc, not enough pipi,” (blog), April 14, 2008, https://intermezzo.typepad.com/intermezzo/2008/04/lisa-milnejohn.html. 102 Erica Jeal, “Milne/Ainsley/Martineau,” The Guardian, April 12, 2008, https://www.theguardian.com/music/2008/apr/12/classicalmusicandopera.reviews. 103 Richard S. Ginell, “Friendly Persuasions,” Los Angeles Times, June 3, 2008, https://www.latimes.com/entertainment/arts/la-et-pacific3-2008jun03-story.html.

31

melancholy so characteristic of 20th-Century French art.”104 Newsome also went on to say that the songs are “gifts to an intelligent lyric tenor.”105 In the review for the opera periodical Opera News, Judith Malafronte states that Friendly Persuasions is “an attractive work…” that has a “dry, terse wit, sharply focused, that pays real homage to

Poulenc.”106

The American reviews were able to find more positive aspects in Friendly

Persuasions, while the British reviews were not as welcoming to the style, or text in some cases. Overall, the response to the composition is positive, showing that this work deserves a place on the recital stage, in either the vocal/piano or the chamber setting.

104 Joseph Newsome, “CD Review: Jake Heggie & Gene Scheer – HERE/AFTER songs of lost voices,” Voix des Arts, November 23, 2013, https://www.voix-des-arts.com/2013/11/cd-review-jake-heggie-gene- scheer.html. 105 Ibid. 106 Judith Malafronte, “HEGGIE: ‘Here/After: Songs of Lost Voices.’” Opera News, May 1, 2014, https://www.operanews.com/Opera_News_Magazine/2014/5/Recordings/HEGGIE__Here/After.html. 32

Friendly Persuasions – Analysis

Friendly Persuasions: Homage to Poulenc is a song cycle in which Jake Heggie incorporates several of Francis Poulenc’s distinctive compositional motifs and styles into his own unique style. Also unique to the song cycle are the texts crafted by Scheer, which are biographical sketches that give insight into the life of the composer, not just personally, but from the perspective of the four individuals whom he held in such high esteem. Scheer stated that he “had never heard of biographical sketches being turned into a song cycle before,” which was of interest to both he and Heggie.107

In an email to the author, Heggie listed the following specific Poulenc compositions as sources of inspiration when composing Friendly Persuasions:

The specific Poulenc works that have influenced me the most (aside from ALL of them!) would be: Dialogues of the Carmelites La Voix Humaine Gloria Banalités (particularly “Hotel”) [Les] Chemins de l’Amour, Priez pour Paix, Les ange musicians108

This chapter discusses the composition of each song individually, beginning with a broad analysis of Scheer’s text, followed by an overview of the musical structure and musical analysis. Comparisons to Poulenc’s compositions will be presented to illustrate

Heggie’s aptitude for including Poulenc’s style within his own. For the purpose of continuity, all major analysis was done with the piano/vocal arrangement. Similarities to

107 Scheer, Interview with the author, 2017. 108 Heggie, Email correspondence with the author. 33

Poulenc’s style that occur only in the chamber setting are discussed at the conclusion of the chapter.

34

“Wanda Landowska”

“My God! My God” she said, “Whatever shall I do? My concerto! Why are you so late?”

I’ll have it to you very soon.

“Very soon? When is that, Francis? You live your life as if there’s time to waste. There’s no time to waste! But then again, you don’t even realize… Oh, never mind.”

Tell me.

“Mon pauvre enfant (My poor child) There’s so much beautiful music locked away inside. Don’t turn your head, [my dear]109 Say what it is you want!”

Richard! I said. I want Richard!

“You want Richard. Of course you do. My darling boy, stop wasting time! Go and get him. Do it now. And then, for God’s sake, Finish my concerto!”110

The text for the opening song, Wanda Landowska, depicts an interaction between the composer and his friend. Having commissioned Poulenc to compose a in 1923, the process was taking longer than expected. Scheer uses excerpts from communications between the two to create a conversation. Some of Landowska’s text are quotations from letters found in Correspondence: 1910-1963. The opening line is from a

109 Bracketed text was an addition by composer Jake Heggie. When asked, Mr. Heggie said that his addition was merely for musical purposes and was acceptable to the librettist, Gene Scheer. 110 Text by Gene Scheer, used with permission by composer Jake Heggie.

35

letter from Landowska to Poulenc on September 28, 1928, where she writes “Mon Dieu!

Mon Dieu! Que ferai-je? Pourquoi êtees-vous tellement en retard?”111 (“My God! My

God! Whatever shall I do? Why are you so late with it all?”)112

Scheer discussed his writing style as purely trying to “write something that will be musical.”113 He intended to have the texts of all four songs happening “in the moment… finding someone right in the moment of experiencing it [the situation], as opposed to their telling a story that happened in the past.”114

In “Wanda Landowska,” Scheer takes fragments of interactions, most of which happen via letter, not as an actual conversation, allowing the feeling to be more conversational and in the moment. This interaction is one of haste on the part of

Landowska, as she has become quite nervous about Poulenc completing the commissioned harpsichord concerto. Beginning with an excited utterance of “My God!

My God!” seen in the first stanza of the text above, Landowska is urging Poulenc to tell her when the composition will be complete. He responds that he will have it to her “very soon.” Eventually, after applying more pressure, Landowska sees that Poulenc is troubled and in need of a gentler touch. She finally asks him what it is he wants. He responds by exclaiming, “Richard! I want Richard!”115 This moment represents Poulenc revealing his homosexuality to his friend. Landowska responds by encouraging her friend to “stop

111 Poulenc and Chimènes, 293. 112 Francis Poulenc, Selected Correspondence: 1915-1963, trans. and ed. Sidney Buckland, (London: Victor Gollancz Ltd., 1991), 85. 113 Gene Scheer, Interview with the author, 2017. 114 Ibid. 115 Referring to Richard Chanlaire, the object of Poulenc’s affection during the late 1920s. 36

wasting time. Go and get him. Do it now.” She closes by reinforcing the main reason for the conversation by demanding that he then finish her concerto.

Musically, Heggie creates a song that bears a strong resemblance to many of

Poulenc’s compositions, especially his keyboard works. The structure of “Wanda

Landowska” is shown below (Table 1). It begins with a ten-measure introduction, followed by the A section from measure 11-35. There is a six-bar transition into the B section, which lasts from measure 42-65. Measure 66 brings the A′ section which is ten measures, followed by a two-measure coda, bringing the song to a close.

“Wanda Landowska” Measures Form Tempo Key Stately, but not slow! 1-10 Introduction ( = ca. 68) G minor rit. (m. 10) a tempo (m. 11) 11-35 A poco meno mosso (m. 20) G minor a tempo (m. 22) 36-41 Transition* G minor Slower (m. 42) 42-65 B Faster (m. 55) G major Slower again (m. 61) Tempo I (m. 66) 66-75 A′ G minor Faster to the end (m. 74) 76-77 Coda G minor * will be abbreviated Trans. in future tables. Table 1: Structure for "Wanda Landowska"

The composition of “Wanda Landowska” begins with a tempo marking of

“Stately, but not slow! ( = ca. 68).” The stately marking is a good indication of the style for the introduction, which Heggie explains as the French Overture style.116 It bears a

116 Heggie, Interview with the author, 2017. 37

striking resemblance to the style Poulenc tried to achieve with the first movement of his

Concert Châmpetre, composed for his friend and namesake of this song. Beginning in what leans to G minor, Heggie’s harmonic language is such that he makes use of an enharmonically spelled leading tone in the opening chord, a G♭ (F♯) in the right hand. He follows that chord with an enharmonically spelled C♯ (spelled D♭) in the second half of the first measure, implying the leading tone of D, which is the fifth scale degree in the key of G minor (Figure 1). He also uses a dotted rhythm in the right hand of the piano for the first three measures, then transferring to the left for the next six to achieve the idea of the French Overture style (Figure 1).

Figure 1: “Wanda Landowska:” measures 1-5117

Similarities can be noted in the example seen from Poulenc’s Concert Châmpetre (Figure

2). Here the first four measures demonstrate the same dotted rhythmic feel that is depicted in the opening of Heggie’s song.

117 Jake Heggie, “Friendly Persuasions: Homage to Poulenc,” in here/after: songs of lost voices (book 2), (New York: Bill Holab Music, 2013), 1. All excerpts from Friendly Persuasions: Homage to Poulenc are used with permission of the composer, see appendix C. 38

Figure 2: Concert Châmpetre, “Allegro molto,” measures 1-4118

Heggie also uses a motif typical of Poulenc in the introduction in measure 10, when he finishes with a V7 chord, which is followed in the next measure with a very strong G to open the A section (Figure 3).

Figure 3: “Wanda Landowska” measures 9-11119

Poulenc uses a similar tactic, again in the opening movement of his Concert Châmpetre when he places a fermata over the final A major chord, one measure before rehearsal 3.

118 Francis Poulenc, Concert Châmpetre, (Paris: Editions Salabert, 1931), 1. 119 Heggie, here/after, 1. 39

He then follows with a strong D major tonality in the following measures, solidifying the

D major key (Figure 4)

Figure 4: Concert Châmpetre, “Allegro molto,” measures 27-29120

Heggie makes significant use of the A♭ in the A section which gives the sense of

G-Phrygian mode tonal structure. The tonality for the entirety of the song revolves around G, be it G minor, G-Phrygian, or at times, G major.

120 Poulenc, Concert Châmpetre, 5. 40

In the A section, Heggie’s accompaniment uses two ideas that consistently appear in Poulenc’s writing. The opening measures of A (11-13) are what Heggie referred to as

“harpsichordy,” appropriate given the subject of this song. Here he uses repeated groupings of an eighth-note followed by two sixteenth-notes in both hands of the piano moving in contrary motion (Figure 5).

Figure 5: “Wanda Landowska” measures 11-12121

Similar to the figure seen above, again in his Concert Châmpetre, Poulenc uses a slightly modified version of this motif with a dotted eighth-note followed by two thirty-second- notes. His figure, found in measures 39-41 of the first movement, is not moving in contrary motion, as in Heggie’s, but they are doubled in the orchestra, either by the flute or the B♭ clarinet (Figure 6).

121 Heggie, here/after, 1. 41

Figure 6: Concert Châmpetre, “Allegro molto,” measures 39-41122

Another prevalent figure in the opening song of Friendly Persuasions is the use of repeated chords in the right hand with staccato quarter-notes in the left hand. Heggie simultaneously uses yet another of Poulenc’s familiar figures: the seventh. In the left hand of the following example, all but beat two of these measures features an open seventh (Figure 7).

122 Poulenc, Concert Châmpetre, 6.

42

Figure 7: "Wanda Landowska," measures 27-29123

Poulenc used the idea of repeated chords in many of his compositions. The example below (Figure 8), from the first movement of Poulenc’s Concerto for two

Pianos, shows the repeated chords in the left hand in the first piano part and the right hand in the second piano part. The staccato notes happening at the same time are represented by eighth-notes followed by eighth rests in the opposite hand for both piano parts, as well as in the strings accompanying.

123 Heggie, here/after, 3.

43

Figure 8: Concerto for Two Pianos, “Allegro ma non troppo,” measures 26-29124

Additionally, an altered version of this figure can be found in the opening of Poulenc’s opera Dialogues des Carmélites. In Figure 9 which is from the piano/vocal score, the opening four measures of the opera show the repetition of the E4 and G4 with the staccato motif occurring above the repeated triad for measures 1 and 3, then moving to the left hand for measures 2 and 4.

Figure 9: Dialogues of the Carmélites, measure 1-4125

124 Francis Poulenc, Concerto en Ré Mineur pour 2 Pianos et Orchestre, (Paris: Editions Salabert, 1934), 6. 125 Francis Poulenc, Dialogues of the Carmelites: an opera in 3 acts and 12 scenes, ed. Joseph Machlis, (Milano: Ricordi, 1987), 1. 44

One of the clearest statements of what perhaps is Poulenc’s most well-known motif appears in “Wanda Landowska.” This idea begins with a whole step and a half step ascent followed by an upward leap of a major third and finishing with a whole step down.

This statement occurs twice in sequence, then followed by a third statement where, in place of the major third up, there is a major sixth followed by a whole step down, finishing with variations of movement down to the seventh from the uppermost note of the phrase. Several of Poulenc’s compositions use this exact idea. The following examples come from two works which Heggie referenced as very influential in his composition, not only of Friendly Persuasions, but of his compositional style as a whole.126 Figure 10 is the initial statement made in the second movement of Poulenc’s

Sonata for Clarinet. The motif begins at measure eleven and continues through measure eighteen.

Figure 10: Sonata for Clarinet, “Romanza,” measures 11-18127

The fifth movement of Poulenc’s Gloria shows another example of this theme. “Domine

Deus, Agnus Dei” shows this idea beginning in the first clarinet at measure 6 for the first two phrases and the piccolo, oboe, and English horn. Although the rhythm is not the same, the intervals are (Figure 11).

126 Heggie, Interview with the author, 2017. 127 Francis Poulenc, Sonata: For Clarinet in B♭ and Piano, (London: J. & W. Chester, 1963), 12. 45

Figure 11: Gloria, "Domine Deus, Agnus Dei," from measures 4-10128

Heggie makes almost a direct quotation of this theme at the close of the B section of

“Wanda Landowska.” The main difference is that he merely repeats the leap of a third all three times instead of the third statement leaping up a sixth, as in the Poulenc. Here

Heggie, while using a chordal accompaniment, places the theme in the top note of the right hand from measures 59 through 64 (Figure 12).

128 Francis Poulenc, Gloria: pour Soprano solo, Chœur mixte et Orchestre, (Paris: Editions Salabert, 1960), 58. 46

Figure 12: "Wanda Landowska," measures 58-65129

Interestingly, this statement happens at one of the most significant moments within the

song’s story. Poulenc is explaining to Landowska the delay in the composition of the

Concert Châmpetre is caused by his struggle to come to terms with his sexuality. When

asked what he wants, he tells her that he is in love with a man, Richard [Chanlaire].130

This example is one of the more noticeable displays of Poulenc’s style by Heggie who, in

129 Heggie, here/after, 5. 130 Ivry, 65-68. Richard Chanlaire was given a copy of Concert Châmpetre with an inscription that read, “You have changed my life, you are the sunshine of my thirty years, a reason for living and working… May this concerto always remind you of the sweet evenings at St-Leu, the brilliant and so kind Wanda, the orchestra rehearsals at Pleyel’s, in short the real source of our admirable tenderness.” 47

a coaching session with the author, used this motif as an example that was “very

Poulenc.”

Once Landowska gives her support and acceptance of Poulenc’s confession, there is an abrupt return to the A section, as she returns the conversation to that of the completion of the concerto. In this section, Heggie returns to the use of the repeated chords in the right hand with staccato leaping left hand, harpsichord-like accompaniment, and brings the song to a close with a brief return to the dotted rhythms used in the introduction.

48

“Pierre Bernac”

Christmas 1936. Fa la la la la la la! Playing a new setting of Cocteau for my friend, Bernac.

Je n’aime pas dormir quand ta figure habite, La nuit, contre mon cou; Car je pense à la mort laquelle vient si vite Nous endormir beaucoup.131

Not a word from Pierre. Just that worried look that begs: “Please don’t ask me!”

So I take the song and toss it on the fire. As it bursts into flames, he gasps: “Ah! Ah!”

Don’t worry, I say, it’s as it’s meant to be. And I start again to compose: Tel jour. Telle nuit. Fa la la la la la la.132

The story behind “Pierre Bernac” is one of humor. It shows how close Poulenc was with Bernac and just how much he valued the opinion of his chief collaborating partner. Scheer continues his idea of crafting a story that is happening in the moment. A factual interaction between Poulenc and Bernac, he crafts a song text that brings great vitality to the story.

This text is in the first person, with Poulenc narrating the story about playing a composition he was working on at Christmas time in 1936. Sheer even goes so far as to include a couple of festive “fa la las” in the text.

131 I do not like to sleep when your face lives, At night, against my neck; Because I think of death which comes so quickly We fall asleep a lot. 132 Text by Gene Scheer, used with permission by composer Jake Heggie. 49

In the second stanza, Poulenc is demonstrating a song that was to be performed by

Bernac as part of an upcoming concert. The text, by Cocteau, was to be one song in a cycle based on his poetry set titled Plain-chant. The poem Scheer chose, “Je n’aime pas dormir quand ta figure habite…” is, in fact, part of the Plain-chant collection.

Following Poulenc’s performance for Bernac, who did not respond verbally to his friend, his look was enough. The composer takes the composition and throws it into the fireplace. Mortified, Bernac can only gasp in horror. Poulenc responds, rather comedically, “Don’t worry…it’s as it’s meant to be.” Following this, Poulenc then begins to compose Tel jour Telle nuit, one of his best-known song cycles.

Musically, Heggie creates a lively mood for “Pierre Bernac,” the structure of which is found in Table 2 below. The song opens in C minor with the A section from measures 1-8, followed by a one measure transition at measure 9. The B section begins in measure 10 with an ambiguous key, continuing for nineteen measures through measure

28. Another short, two-measure transition on a B♭ major chord from measure 29-30 brings the reprise of A′, with several tonality shifts, from measures 31-45. The song closes with an eight-measure coda from measure 46 through the end of the song.

“Pierre Bernac” Measures Form Tempo Key Brightly 1-8 A C minor (♩ = ca. 120) 9 Trans. Poco rit. Ambiguous a tempo (m. 10) 10-28 B Ambiguous freely (m. 24) Table 2: Structure for “Pierre Bernac”

50

Table 2 continued 29-30 Trans. free (recit.) B♭ major a tempo (m. 31) C minor (m. 31-37) 31-45 A′ meno mosso (m. 34) C♯ minor (m. 38-44) a tempo (m. 35) C minor (m. 45) 46-53 Coda senza rit. (m. 53) C minor

An opening tempo marking of “Brightly (♩ = ca. 120)” and moving 16th notes in the right hand that dominates the accompaniment to create a light mood. The key of C minor is set with the use of a C minor triad in the first half of the opening measure and use of the dominant (G minor in this case) and sevenths and in both G and D (the dominant of G). Unlike the previous song, Heggie remains in the C minor and G minor structure for the opening four measures firmly setting the tonal structure. In the fifth measure, he moves to D major, with the use of F♯ and E♮ which give a more traditional feel of G major, further solidifying C minor as our tonal center. The structure continues for the remainder of the A section.

The idea of the busy right hand, in this case, of the piano with a less involved left hand, as seen demonstrated in much of the A section (Figure 13), bears a strong rhythmic resemblance to many of Poulenc’s works.

51

Figure 13: "Pierre Bernac," measures 1-3133

One example in Poulenc’s compositions is the piano accompaniment in the song

“A toutes brides”, from Tel jour telle nuit, FP 86. Much of the accompaniment of this song involves sixteenth-notes. Beginning in measure 17, both hands of the piano feature a similar, busy sixteenth-note sequence while the alternate hand is playing a less involved accompaniment of, primarily, eighth-notes (Figure 14).

134 Figure 14: Tel jour telle nuit, “A toutes brides,” measures 17-21

133 Heggie, here/after, 7. 134 Francis Poulenc, Tel jour telle nuit: neuf mélodies, (Paris: C. Durand, 1937), 11. . 52

Poulenc’s Trio for Oboe, Bassoon, and Piano, FP 43 displays another example of the rhythmic theme demonstrated above. At the beginning of the second movement,

“Andante,” the right hand of the piano features a steady sixteenth-note pattern, while the left hand has eighth-notes and pedal half-notes (Figure 15). While the tempo is slower than the previous examples, the rhythmic structure is similar.

Figure 15: Trio for Oboe, Bassoon, and Piano, "Andante," measures 1-4135

There is also a work that shares a similar harmonic motif as that of the Heggie displayed in Figure 12. The top of the right hand in the accompaniment at the end of

Poulenc’s song Priez pour paix is nearly identical to that of the first note of each beat in the right hand of the accompaniment in “Pierre Bernac.” As seen in Figure 13, the pattern of Heggie’s theme is E♭-D- E♭-F♯. The theme seen in Poulenc’s Priez pour paix is A♭-G-

135 Francis Poulenc, Trio: pour piano, hautbois et bassoon, (Copenhagen: W. Hansen, 1954), 16. 53

A♭-C (Figure 16). Thinking of the enharmonic spelling of the F♯ as G♭, it is easier to see the final interval is that of a minor third in Heggie’s song, whereas the Priez pour paix has a major third.

Figure 16: Priez pour paix, measures 25-29136

In measure 5, Scheer references the Christmas timeframe by using the traditional

“Fa la la” that so many Carols feature for the holiday. Poulenc also used nontextual utterances in several songs from his early song cycle, Chansons Gaillardes, FP 42, which was premiered in 1926 by none other than Pierre Bernac, who was a young, essentially unknown singer at the time. In Heggie’s setting, this utterance has a jollier feel, being set in D major, with a B♭ to maintain the feeling of the G minor tonality.

Moving into the B section, there is a one measure transition at measure 9.

Beginning in measure 10, there is what Jake Heggie described as something that sounded like Poulenc’s style but was “something that did not resonate.”137 Heggie maintains the same key signature but uses many accidentals creating ambiguity to the tonal center for

136 Francis Poulenc, Priez pour paix: pour chant et piano, (Paris, Editions Salabert, 1938), 3. 137 Heggie, Interview with the author, 2017. 54

this section. For measures 10 through 20, the same notes alternate as pedal tones in both hands of the piano (Figure 17). The left hand uses a minor seventh while the right hand uses a major third. There is also a moving line above the third in the right hand. Heggie makes a slight variance in measure 16 with the addition of an added note, an A♭, which is a major sixth above the lowest right hand note for that measure only.

Figure 17: "Pierre Bernac," measures 10-17138

In measure 21 Heggie changes the harmonic pattern but maintains the structure of the accompaniment continuing with sevenths in the bass and thirds in the treble, adding a third note in the right hand, a sixth above the lowest note of the triad.

138 Heggie, here/after, 8. 55

Adding to Heggie’s idea for the B section to be something that “doesn’t resonate” like Poulenc’s music, the vocal line never stretches further than the span of a perfect fifth.

The first section sits between A♭ and E♭, while in the second section between B♭♭ (A♮) and F♭ (E♮). This narrow vocal range creates a limited scope for the voice to create any excitement, adding to the overall dreary feeling of the section. This dreariness is, of course, what Heggie was attempting to achieve for the story of the song’s text.

The tonality remains unclear for all the B section until he resolves in measure 28, the transition to the A′ section where the piano settles into an obvious B♭ major chord.

Here, Heggie labels the transition as “free (recit.).” Heggie remains within an F major triad for the vocal line. The F major stacked on the B♭ major in the piano combine to create a ninth chord on the seventh scale degree of the C minor, to which the A′ section returns.

The A′ section reprises the opening theme of the song with the busy right hand of the piano and less active left hand. As the excitement of the story develops at measure 35,

Heggie shifts the tonal structure up by a half step from C minor to C♯ minor (Figure 18).

56

Figure 18: "Pierre Bernac," measures 36-39139

As the drama reaches its climax, the key transitions back to C minor with an E♭ major chord in the left hand and F major in the right. This bitonality begins the coda, as

Poulenc references beginning the composition of one of his best-known song cycles, Tel jour telle nuit. The opening theme returns at measure 49, and the song comes to a close with a final statement of the festive “Fa la la” statement in D major, as seen in the A section, with octave Ds for the final pitch in both the piano and voice.

139 Heggie, here/after, 9-10. 57

“Raymonde Linossier”

A green leaf falls to the ground Pulled from the branch too soon No chance to bleed yellow, burgundy or gold, Dissolves away like dew.

Raymonde Linossier. All of my youth departed with you. Part of my life will always belong to you.

In my pocket I carry your cigarette case On my dresser is your photograph Even now, every melody I write Cast into the distance to discover something new, Yearns for something lost And leads me back to you.

Raymonde Linossier. All of my youth departed with you. Raymonde! Part of my youth… Part of my life will always belong to you.140

The third song of the cycle, “Raymonde Linossier,” is a reflection on the relationship between Poulenc and his childhood friend. Linossier was responsible for

Poulenc meeting many of the poets and artists who inspired him. She died suddenly in

1930 at the age of thirty-two, rocking Poulenc to his core and affecting him for the remainder of his life.

Scheer takes a different approach to the story with this song. Although Poulenc is again the narrator, this is not an interaction between the two, as has been seen in the previous two songs. Here, Scheer opens with a metaphor for the early, unexpected death of Linossier: a leaf, still green and vibrant, falling off a tree before its time. He further

140 Text by Gene Scheer, used with permission by composer Jake Heggie. 58

expounds on this metaphor, stating that it has “No chance to bleed yellow, burgundy, or gold,” referring to the leaf not having the chance to go through its life cycle.

The second stanza shows Poulenc speaking to Linossier as though she is present with him and part of his conversation. The text Scheer uses comes from a letter that

Poulenc wrote to Alice Ardoin on January 31, 1930, the day after Raymonde had passed away. In that letter, while asking Ardoin, Linossier’s sister, to place the original manuscript for his Les Biches in Raymonde’s hand in the casket, Poulenc writes “it is all my youth that goes with her, that whole part of my life which belongs only to her.”141

While this is not a direct quote on Scheer’s part, the sentiment is very much the same.

In the third stanza, Poulenc talks about how he carries her cigarette case in his pocket for important life events, as well as her picture that he keeps on his dresser,. He also talks about how while composing new music, it makes him “yearn for something lost,” as he would show new compositions to Linossier for approval, again demonstrating just how highly Poulenc held the feedback of his close friends.

The final stanza brings a reprise of the second stanza. Here the text shows just how fraught Poulenc is after the loss of his closest friend. Scheer, with this repetition of such a powerful sentiment, clearly illustrates the feelings that overcome Poulenc, thus creating a character worthy of great sympathy.

Heggie has composed a song full of emotion. The structure, seen in Table 3, is a modified strophic form. The song opens with a tempo marking of “Valse Triste142 (♩ = ca.

141 Robert, 94. 142 Sad Waltz. 59

108)” in the key of B♭ minor. The A section begins the song and continues for twenty- two measures maintaining the key of B♭ minor. There is no transition as it moves into the

B section, beginning in measure 23. However, the final two measures of the A section begin with a B♭ minor chord that ends in a chord spelled B♭2-G♮4- B♭4-F♮5, a G minor seven chord. This chord nicely sets up the key-change to C major in the B section, which continues for twenty measures. Following the B section is a six measure transition back to A′ which continues for twenty-five measures. Again, with no transition, Heggie launches right into the B′ section, this time in E♭ major, for seventeen measures, immediately followed by the B″ section, returning to C major for twenty-two measures.

The song is brought to a close with a short four measure coda continuing in C major, including an F♯4 which gives the leading tone of the dominant G. There is also the inclusion of a B♭4, the minor seventh, in the final chord of the song, adding a hint of sadness, appropriate for the subject of the song.

“Raymonde Linossier” Measures Form Tempo Key Valse Triste ( ♩ = ca. 108) 1-22 A B♭ minor rit. (m. 17) a tempo (m. 18) 23-42 B C major 43-48 Transition* rit. (m. 48) B♭ minor a tempo (m. 49) poco meno mosso (m. 61) 49-73 A′ a tempo (m. 62) B♭ minor rit. (m. 64) a tempo (m. 65) Table 3: Structure for "Raymonde Linossier"

60

Table 3 continued 74-90 B′ E♭ major rit. (m. 105) 91-112 B″ C major poco meno mosso (m. 107) 113-116 Coda C major

“Raymonde Linossier” is one of the songs that bear such a striking resemblance to the composition of Francis Poulenc. The structure and style resemble that of Poulenc’s song Les chemins de l’amour. In terms of form, Poulenc’s is in a true strophic form repeating the same minor A section and major B section harmonically, whereas Heggie’s is modified, using different keys for the B section as well as different rhythmic figures and melody for the voice. Similar to Poulenc, Heggie’s A section is also set in a minor key, while the B section is major. Both songs are waltzes, Poulenc’s being subtitled valse chantée (sung waltz), and Heggie’s a valse triste (sad waltz).

The opening key of B♭ minor brings a great feeling of sadness as the song begins, apropos for the subject matter. Adding to the emotional weight, Heggie includes an F♭

(E♮), which resolves to the D♭, in the right hand as well as an A♭, the minor seventh in the left hand. This idea repeats twice at the onset of the song (Figure 19), quickly setting the mood for how Poulenc feels about the loss of his childhood friend.

61

Figure 19: “Raymonde Linossier” opening, measures 1-4143

Heggie maintains a strong B♭ minor through the A section, alternating B♭ and F♮ on the downbeats of measures in the left hand. He deviates from this pattern from measures 13 through 17, alternating a G♭ and G♮ but not changing key. The right hand, through the same four measures, plays an ascending passage, initially beginning on the tonic B♭4 in measure 13, followed by a scale beginning on C5 in measure 14. These passages create a feeling of energy and momentum, while also creating a nice counterpoint to the vocal line

(see Figure 20).

Figure 20: “Raymonde Linossier,” measures 13-17144

143 Heggie, here/after, 12. 144 Ibid. 62

Heggie makes the transition to the B section by closing the A section with a G minor seven chord in measure 22. The chord perfectly sets up the key change for the B section in C major in measure 23. The key of C major is established using a C major triad in measure 23 in the piano. A pedal of octave Cs plays for six measures, further working to establish the tonality. Heggie’s move to a major key brings a sense of nostalgia, remembering the moments shared between the two friends, with a happier sense. He makes quick shifts between major and minor, creating a feeling of uneasiness in this recollection. The use of minor chords creates a tinge of sadness as Poulenc is expressing his loss, while also remembering happy memories from his youth.

Heggie uses a very similar structure to the B section of Poulenc’s Les Chemins de l’amour. The main melody of the vocal line in both songs uses a descending phrase, which is almost identical in sequence. In the Poulenc, the sequence begins in the pick-up to measure 37 with a leap from A♭, the fifth scale-degree of the new key, to F, which is the third scale degree. He then continues with two descending whole steps followed by a leap of a perfect fourth. Poulenc, in D♭ major, uses F-E♭-D♭. The E♭ repeats before moving to the D♭, which also repeats before leaping down to A♭ in bar 43 (Figure 21).

63

Figure 21: Les Chemins de l’amour, measures 32-48145

Heggie does not use the exact structure or rhythm; however, he achieves the same idea. In C major, the vocal line begins with ascending leap from the fifth scale-degree (G) to the third scale-degree (E). The descending line moves in a completely stepwise motion, from E-D-C-B (see figure 22). This pattern is not limited to the sustained notes,

145 Francis Poulenc, Les Chemins de l’amour: valse chantée, (Paris: Editions , 1945), 2-3. 64

but each note that changes pitch. There is one exception, the final eighth-note in measure

24 where Heggie includes a return to D before proceeding down to the B. Heggie then continues with a delayed step to A, in measure 29. The line then moves up to D, as opposed to resolving down to G. He chooses to use the secondary dominant (v/V rather than the actual dominant, as Poulenc does.

Figure 22: "Raymonde Linossier," measures 18-36146

146 Heggie, here/after, 13. 65

Figure 22 continued

Heggie delays getting to the final destination G in “Raymonde Linossier,” until settling there with the final note of the B section. He sets up the key change back to the opening B♭ minor by incorporating accidentals in the final measure of the B section.

Heggie uses a six-bar transition in B♭ minor as the song returns to the A′ section.

In this transition, he develops on the theme of the opening measures of the song seen in

Figure 18. Heggie settles in B♭ minor, using a B♭3 as a pedal for the entirety of the transition. He uses the same chords while adding a medial moving line (Figure 23).

Figure 23: "Raymonde Linossier," Measrues 43-48147

147 Heggie, here/after, 14. 66

The first two measures of the transition (measures 43-44) have an ascending line beginning on A♭4 through C6. The final four bars begin with the same ascending line, however, Heggie only goes to F♭5 before descending back down. The use of the tritone

(diminished fifth scale degree) creates a most uneasy feeling as Poulenc prepares to explain how he memorializes and remembers Linossier in his daily life.

The A′ section, beginning with the pickup to measure 49, starts with an identical accompaniment to the opening of the song beginning in measure 5. The vocal line is not the same but does follow a similar trajectory. Heggie begins to develop this section in measure 57. While he does use the moving line in the accompaniment, he begins in a lower octave and makes much more of the movement, continuing for a total of seven measures as opposed to four in the A section. Heggie also creates a somber moment at measure 63, when he places an F♭ on top of F♮ in the right hand of the accompaniment as well as the vocal line (Figure 24).

Figure 24: "Raymonde Linossier," measures 62-68148

148 Heggie, here/after, 15. 67

This addition of the tritone (diminished fifth scale-degree) creates a great dissonance, which helps to communicate the sadness felt by Poulenc in his thoughts of Linossier.

Following the F♭ is a descending line of F♭-E♭-D♭-C♭-B♭♭ in the vocal line which repeats in the accompaniment, before settling on an F major chord with an added G♭. The F major chord, enharmonically spelled F-B♭♭ (A♮)-C, being the dominant of B♭ minor makes for a clear return to the home key for the close of the section.

Again, there is no transition between the A′ section and the B′ section, which begins with the pickup to measure 74. This iteration of the B section is in E♭ major. The first six measures clearly define the key. The accompaniment plays an E♭ major chord in the left hand of the piano. The chord is achieved by a pedal of E♭1 and E♭2 with major sixths of G3-E♭4 and B♭3-G4 following in the left hand. Heggie begins the B′ section with a pianissimo dynamic marking allowing for a more introspective feeling, before a crescendo in measure 81 moves to forte in measure 82. The statement of “Raymonde,” in measures 82-83, which descends through the passagio of the tenor voice shows a much more passionate feeling as Poulenc, again, becomes distraught in his recollection of

Linossier. After the impassioned “Raymonde,” Heggie starts the final phrase of the stanza but leaves it unfinished. He sustains a G major chord in the right hand, which supports the shift from E♭ major to C major for the B″ section.

Heggie immediately goes back to the original C major for the B″ section, which begins with the pickup to measure 91. With this version, he begins by using only the piano to give the most introspective moment of the song. The right hand plays the melody

68

beginning with the pickup to measure 91 and continuing with the melodic theme through measure 98. The accompaniment continues for four measures, as it did in the A section, before the voice returns in measure 103 to complete the final stanza of the song.

Heggie closes the song with a four-measure coda beginning at measure 113. The

7 first measure begins with a dissonance of F4 and F♭5, which resolves to a minor B♭ chord with an added E♭5. Measure 115 has an open chord with no defined tonality, spelled G2-

E3-G3-F♯4, which sustains through to the last measure where it resolves to a C major chord with an added F♯ and B♭, which closes the song with yet another moment of dissonance showing Poulenc’s continued sorrow.

The final chord uses another of Poulenc’s frequently used compositional idioms, in that Heggie uses a sizeable distance between the highest and lowest notes (Figure 25).

Figure 25: "Raymonde Linossier," measures 115-116149

149 Heggie, here/after, 17. 69

The excerpt shown in Figure 26, shows the final two measures of “Voyage a

Paris” from Poulenc’s song cycle Banalités (Banalities). Poulenc begins in the penultimate measure with an octave E♭ pedal (E♭1 and E♭2) in the left hand, with the right hand completing an E♭ major chord. He then in the final measure further solidifies the key with the addition of a first inversion E♭ major chord with the left hand and an open

E♭ chord with the right hand, stretching up to E♭6 (Figure 26).

Figure 26: Banalités, "Voyage à Paris," measures 71-72150

150 Francis Poulenc, Banalités: cinq melodies sur des poèmes de Guillaume Apollinaire, (Paris: Editions Max Eschig, 1941), 13. 70

“Paul Eluard”

The war is raging in Europe and in his poetry. The Germans have taken Paris. I sit at the piano and play my songs.

Eluard sits on the sofa and listens as my notes, Like iron filings, are pushed and pulled By the magnetic force151 of his words.

I have been so afraid. I am still so afraid. Locked in the dark, dirty shadows. Waiting Waiting.

But each phrase born from Resistance, The Queen of Unrest, Touches—finally touches— The clean, clear north of me.152

The final song of Friendly Persuasions, “Paul Eluard,” is similar to the previous song in that it is a reflection on the relationship between Poulenc and the famed poet.

Again, not a direct interaction, he is ruminating on how Eluard, a vocal anti-war poet, was not afraid to express his opinions, while Poulenc was shy and reserved in expressing his own.

The opening stanzas give the setting for the song, with Poulenc at the piano, theoretically in Monnier’s book shop. World War II is well underway, and the Germans have already occupied Paris. Eluard sits and listens as a song, with his own poetry, is performed by Poulenc. Scheer uses wonderful imagery here to describe the weight of

151 Heggie replaces the word force with the word power. 152 Text by Gene Scheer, used with permission by composer Jake Heggie. 71

Eluard’s words and Poulenc’s music. The subject was, no doubt, that of opposition to the war.

In the third stanza, Poulenc references his fear of expressing his own opinions about the war openly. Scheer’s text, “Locked in the dark, dirty shadows. Waiting,” show just how much fear Poulenc had. He admired Eluard for that very reason, envious of the poet’s indefatigable stance in opposition.

The final stanza brings a sense of courage and triumph as Poulenc finds inspiration in Eluard’s words. Poulenc allows the text to bring his own resistance to the fore by following the poet’s lead.

Heggie composes a song that shows both emotional weight and timidity. As is shown in Table 4 below, the structure is again that of modified strophic form. The entire song is in C minor. The A section, with a “Stark” tempo marking and the quarter-note at

84 beats per minute, is twenty-two measures long. The first of the two themes in the A section depicts the more outward feelings of Paul Eluard as well as the war happening around them. The second theme is that of the timidity shown by Poulenc in his fear to show his true feelings both about the war and his personal life. The four-measure transition begins at the second beat of measure 22. It uses many accidentals and bitonality which obscures the key. The B section, which returns to C minor, begins at measure 26 and continues for ten measures. Heggie uses a similar theme to that of the first theme of

A, but with a more subdued feeling demonstrated with the pianissimo dynamic and longer, more sustained accompaniment. A modified version of the A section, or A′, returns in measure 36 as is noted with the Tempo I marking. Heggie uses the same themes as the A section, but with added high octaves in the right hand. He makes several shifts of 72

tonality between C major and C minor to display Poulenc’s contemplation of whether or not to be more outspoken with his private feelings.

“Paul Eluard” Measures Form Tempo Key Stark ( ♩ = ca. 84) 1-22 A poco. rit. (m. 18) C-minor a tempo (m. 19) poco. rit. (m. 20) a tempo (m. 21) 23-25 Trans. rit. (m. 25) poco meno mosso (m. 26) 26-35 B C-minor accel. poco a poco (m. 33) Tempo I (m. 36) poco rit. (m. 41) 36-49 a tempo (m. 42) A′ C-minor meno mosso (m. 43) a tempo (m. 45) rit. (m. 48) Table 4: Structure of "Paul Eluard"

In the final song of Friendly Persuasions: Homage to Poulenc, “Paul Eluard,”

Jake Heggie creates a sense of foreboding with a C minor key and a powerful opening.

Marked forte with an initial tempo marking of “Stark,” each beat of the initial measures is accented, giving a weighty feeling. Set during World War II, this heaviness is apropos given the fact that Germany had occupied Paris and Poulenc was anti-war. Heggie sets up the stark feeling with an open pattern. The piano begins with C1 in the left hand, which seems to signify the explosions in the war. The subsequent beats bring augmented intervals, adding to the uneasy feeling Poulenc has. The first is an augmented sixth of

E♭4-C5, followed by an augmented fourth of A♭3-D4, and finally an augmented sixth of

B♭4-G5. This firmly sets the key of C minor by using the tonic and dominant in broken 73

chords. Again, Heggie uses one of Poulenc’s idea of considerable distance between the lowest and highest notes, which also adds to the sense of starkness (Figure 27).

Figure 27: "Paul Eluard," measures 1-5153

When the voice enters in measure 3, the same pattern continues, but he raises the C1 to

C2, and the dynamics are brought down to a subito mezzo-forte so the voice can be heard easily. Following the first phrase of the vocal line, Heggie brings the piano’s dynamic back up with a subito forte dynamic marking in measure 7. With accents on the downbeat and third beat of measure seven, Heggie uses a strong dotted rhythm while also continuing the large distance between notes, with the left hand playing C2 and the right,

C6. The dotted theme moves C-D-A♭ in parallel motion bringing the dotted rhythm even more prominence. The dotted figure is accompanied by parallel moving augmented fourths in both the right and left hands of A♭-D and A♮-E♭ before the tonality settles with

153 Heggie, here/after, 18. 74

a G major chord with the A♭ in measure 8. These figures together continue the feeling of power and anxiety present from the beginning of the song (Figure 28)

Figure 28: "Paul Eluard," measures 6-10154

This two-measure figure is repeated in measures 9 and 10 (also seen in Figure 29), with one small change of the A♭ ascending in measure 10 as opposed to descending in measure 8. The G major chord is used in measure 10 as well, however with a different spelling.

154 Heggie, here/after, 18. 75

In measure 11, the mood of the song changes as it begins to refer to Poulenc as opposed to the surroundings or Eluard. The dynamic is brought down to piano, and the accompaniment is much more subdued from the opening theme. The accompaniment from measures 11 through 14 are, again, two-measure phrases in repetition. These have no real tie to any tonality. Both hands of the piano play major triads for the first two measures, while the left hand plays a minor triad for the second half of measures 13 and

14 (Figure 29).

Figure 29: "Paul Eluard," measures 10-14155

155 Heggie, here/after, 18-19. 76

The opening theme returns in measure 15, as the story turns back to Eluard and the war, and continues through measure 22.

The four-bar transition begins in beat two of measure 22. The tonality is obscured, with a similar feel to the second theme of the A section and leads directly to the B section, which maintains the key of C minor.

The B section begins at measure 26 and continues for ten measures. Here, Heggie brings the tempo and dynamic down to demonstrate Poulenc’s vulnerable, secretive personality. The accompaniment bears a resemblance to the opening theme of the A section, however, the second beat of measures 26-29 contains a chord of A♭3-D4 in the left hand and E♭4-G4 in the right (Figure 30).

Figure 30: "Paul Eluard," measures 26-29156

This compound chord adds dissonance further demonstrating Poulenc’s secretive personality. The third beat of these measures shows ascending sixths while the left hand

156 Heggie, here/after, 20. 77

has a stepwise ascent. Measures 30 and 31 continue the idea with a B♭2 in the left hand and a C6 in the right in measure 30 and G2 and C6 in measure 31. Here Poulenc is referring to how he is “Locked in the dark, dirty shadows. Waiting.”157 Heggie again uses the idea of the repeated chord to add even further dissonance, with a D♭ major chord in second inversion, from the second beat to the end of each measure. As Heggie comes to the repetition of the word waiting, in measure 32, he maintains the same theme; however, he uses a B♭ minor chord for the repeated chord in measures 32 and 33. In measure 33, he uses an octave E♮ in the right hand to build on the dissonance, but resolves down to D♭ bringing a bit more stability to the measure. Heggie comes back to the idea of repeated chords again in measures 34 and 35, this time using a secondary dominant of sorts. In those measures, he uses a pedal G2 in the left hand followed by a D♭ major chord in second inversion, which would be the ♭V/v in the key of C minor. The right hand of the piano adds further dissonance showing Poulenc’s increasing confidence with octave G to

E♮ in measure 34 and B♭ to A♭ in measure 35. The growing confidence is also demonstrated by a crescendo beginning in the second half of measure 33 through the end of measure 35.

Heggie comes back to A′ in measure 36. Given a Tempo I marking and forte dynamic, the piano returns to the opening theme of the A section, with an added octave G down to F in the right hand (Figure 31).

157 Heggie, here/after, 20. 78

Figure 31: "Paul Eluard," measures 34-38158

As Poulenc contemplates being more outspoken like Eluard, the pattern of the initial theme changes to a C major chord in measure 41, with an E♮4 in the second beat of the measure. Measures 43 and 44 bring back the dotted rhythm of the A section, returning to the more dissonant feel with the E♭5 in the right hand of the piano with A♮ in both right and left hands in beat four of measure 43. Heggie hints at Poulenc’s confidence again in measures 45 and 46, with the shift to C major, before concluding the song with a final shift back to minor in measure 47 through the conclusion of the song (Figure 32).

158 Heggie, here/after, 20. 79

Figure 32: "Paul Eluard," measures 43-49159

Heggie is demonstrating Poulenc’s timidity and wavering in his decision to commit to showing his feelings to the public with these sudden shifts from major to minor, which is something Poulenc does as well, demonstrated by Figure 33, an excerpt from the first movement of his Concerto for Flute, FP 146. Poulenc is in a minor key for every measure in rehearsal 3, but in rehearsal 4, abruptly shifts to major, and then immediately back to minor at rehearsal 5, similar to Heggie’s sudden shifts seen in Figure 32 above.

159 Heggie, here/after, 21. 80

Figure 33: Sonata for Flute, "1. Allegro malinconico," measures 27-42160

160 Francis Poulenc, Sonata: for flute and piano, (London: J. & W. Chester, 1958), 3. 81

Heggie brings this song to a close, shown in Figure 32 above, with the final chord being one of great distance similar to that of “Raymonde Linossier,” shown in the previous Figure 26 (page 62).

82

Comparison with the Chamber Setting of Friendly Persuasions

Overall, Heggie’s chamber setting of Friendly Persuasions: Homage to Poulenc displays the same similarities as shown in the discussion of the songs in this chapter. The chief addition for this version is the use of flourishes in the accompaniment, as demonstrated in “Wanda Landowska,” and “Paul Eluard.” The clearest example in

“Wanda Landowska” is found when Poulenc is revealing his sexual preference to

Landowska. The following example (Figure 34) features the cello with an upward ascending flourish, while the flute has a descending flourish in measure 55. The flute has an ascending flourish in measure 56, and then they have contrary motion flourishes again in measure 57.

83

Figure 34: "Wanda Landowska," chamber version, measures 53-57161

161 Jake Heggie, Friendly Persuasions: Homage to Poulenc: Four Songs for Tenor, Flute, Clarinet, Violoncello and Piano, (San Francisco: Bent Pen Music, Inc., 2008), 8. 84

Measure 58, not shown, completes the pattern with an ascending flourish of the flute.

In “Paul Eluard,” the prime example comes in measures 45-47 when Heggie writes a continuous flourish passing from one instrument to the next in each measure — beginning with the cello on beat two, the clarinet in beat three, and finally the flute in beat four (Figure 35).

Figure 35: "Paul Eluard," Chamber Version, measures 45-46162

Figure 35 is similar in style to several of Poulenc’s compositions. The following example from his Sextet for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano, FP 100, shows a similar figure to that of Figure 35 above. Figure 36 shows at the very opening of

162 Heggie, Friendly Persuasions, 37. 85

the sextet, there is a flourish passed from the bassoon in measure 1 beat two, to clarinet in beat three, and oboe in beat four (Figure 36).

Figure 36: Sextet for flute, oboe, clarinet, bassoon, horn, and piano, "Allegro vivace," measures 1-2163

While Poulenc didn’t always compose the flourishes in sequence as shown in

Figure 36, his compositions, especially the faster movements, often contained flourishes, whether solo or with the instruments moving in sync, as can be seen in Figure 37 below an excerpt from the first movement of Poulenc’s Trio for Piano, Oboe and Bassoon, FP

43.

163 Francis Poulenc, Sextour: pour piano, flûte, hautbois, clarinette, bassoon, et cor, (Copenhagen: W. Hansen, 1998), 1. 86

Figure 37: Trio for piano, oboe, and bassoon, "Presto," measures 16-20164

Overall, Heggie takes away from the piano in the original tenor and piano setting and shares these notes with the instruments. Some of the instrumental lines help to fill out the texture of the accompaniment, but there is not a vast difference from the one setting to the other.

164 Poulenc, Trio, 4. 87

Chapter 4. Performance Notes

As we have seen, Friendly Persuasions: Homage to Poulenc is a cycle of four songs that explores how four of the most influential relationships affected the life and work of French composer Francis Poulenc. Scheer’s texts bring a sense of drama, allowing the performer to embody Poulenc’s character within each encounter. Heggie’s music pays homage to Poulenc by using a number of Poulenc’s well-known musical ideas and incorporating them into his more American compositional style. In this chapter, we will explore the exceptionality of each song; what the composer and one of the debuting find to be important aspects of this song cycle, and what unique insight they give to the performance of Friendly Persuasions. Furthermore, the author will present personal ideas formulated from preparation and performance of the chamber setting of the song cycle in recital. The following sections discuss the various ideas gleaned from the previously mentioned interactions.

Performance Ideas from a Coaching Session with Jake Heggie

The author was fortunate to have had the chance to coach Friendly Persuasions with Jake Heggie himself, who finds communication to be of utmost importance.165 As a theatre composer, he strives to convey the dramatism of the text within his musical

165 Jake Heggie, Musical coaching session with the author, Bloomington, IN, November 11, 2017. 88

composition. In the coaching session, Heggie articulated the important moments and explained the motivation behind each song. He also gave suggestions for potential performance ideas as it pertains to several of those important moments.

In “Wanda Landowska,” one of his chief performance suggestions is making sure the performer is clear in his delineation between when the text is spoken by Landowska and when it comes from Poulenc.166 While the score is very clear, by labeling the change in “character,” the singer must work to noticeably convey the differentiation. In a coaching session, Heggie gave suggestions of either angling the focus one way for

Landowska and another way for Poulenc, or shifting position to indicate one or the other.167 He says that the A section, with its busy, harpsichord-like accompaniment needs a greater sense of urgency, to make a more distinct variation with the more subdued B section where Landowska changes tactics to comfort her friend, who is clearly distraught.

He also suggests a clear change in vocal color to go with this shift.168 All of Heggie’s suggestions help to create a clearer, more fully fleshed out performance of the song.

In “Pierre Bernac,” Heggie made sure to mention that this song involves both storytelling and conversation between Poulenc and Bernac.169 The text in the A section sets the story’s time and situation. His explanation of the B section is that Poulenc is trying to “sell” a new song to Bernac, intensifying his delivery as it progresses.170 As the

166 Heggie, Musical coaching session with the author, 2017. 167 Ibid. 168 Ibid. 169 Ibid. 170 Ibid.

89

performance of the Cocteau segment finishes, the measure of rest shows Bernac’s silence in response. The song launches back into the feverish tempo as it returns to the A′ section. Heggie said that when Poulenc presents “Tel jour. telle nuit,” that the singer does not need to “sell it” as the cycle is one of Poulenc’s most well-known.171 The last bit of advice Heggie gave in the coaching session was to make sure that the final “Fa la las” be that of fun and festivity, and not slow at all, following the score’s senza rit marking.172

“Raymonde Linossier” is a very personal song, set in a manner that closely resembles Poulenc’s Les Chemins de l’amour. He sets the song up in a way that allows

Poulenc’s intimate thoughts about the loss of his friend speak through the A and A′ sections while his more personal expression about his feelings for Linossier occur in the

B and B′ sections. Heggie mentioned that the B sections be new thoughts and not a continuation of the thought in the A sections.173 He indicates that the B sections are marked pianissimo and they should have a more intimate feel.174 What Heggie was most insistent about was that the statement of “Part of my life…,” seen at the end of the A′ in measures 86-89, be a sobbing statement that cannot be finished due to the growing emotion being too much to handle.175 He suggests maintaining the focus through the

171 Heggie, Musical coaching session with the author, 2017. 172 Ibid. 173 Ibid. 174 Ibid. 175 Ibid.

90

following interlude. Prior to the next vocal entrance there needs to be a thought and change of feeling to one of the most intimate and personal sentiment.176

The final song, “Paul Eluard,” is one of great power. Heggie says it is one that shows Poulenc’s insecurity and hesitation pertaining to World War II.177 Additionally, he stated in the coaching session that when Poulenc speaks of his fear in the B section, it refers not only to war, but also dealing with the affects of his sexuality and how it influenced the many facets of his life.178 Going further, he stated this is a very private moment that has to have a significantly different color than the rest of the song. That focus and feeling of the final “waiting” needs to continue through the following rests until the next entrance.179

One of the chief ideas Heggie was adamant about when performing these songs, is the singer should take the time to speak through each song without musical structure. He feels that, as a theatre composer, the dramatic impetus of the text be the strongest source of influence throughout the musical presentation.180 This allows the text to be front and center. He stated in the coaching session that, while the texts could be viable without it, the addition of the music enhances them.181 Heggie was also insistent that the singer’s thoughts stay active, allowing them to seemingly happen “in the moment.”182

176 Heggie, Musical coaching session with the author, 2017. 177 Ibid. 178 Ibid. 179 Ibid. 180 Ibid. 181 Ibid. 182 Ibid. 91

Performance Ideas from Tenor Nicholas Phan

Nicholas Phan is an American tenor of great renown. He has performed with many of the world’s leading and opera companies. Mr. Pahn was generous enough to respond to an email from the author with his personal opinions about Heggie’s

Friendly Persuasions: Homage to Poulenc. He is the tenor who was invited personally, by the composer, to premiere the chamber setting of the cycle in California.183 The author had email correspondence with the tenor, which gives a unique insight into what he considers important aspects in the performance of the song cycle.

While Phan did not give any specific recommendations for any specific songs, he was very clear in suggesting that the singer performing these songs have a clear idea of who each person was, especially how they fit into Poulenc’s life as, “Each one had a distinct temperament and relationship with Poulenc.”184 When asked what he thought were important aspects and keys to a successful performance, his response was:

The most important aspects in the performance of the cycle are delivering the emotional content of the text, as well as delivering the beauty of the sweeping vocal lines Jake has composed…. keys to a successful performance of these songs (as well as any of his music) are beautiful singing combined with total commitment to the drama and emotion of the text.185

183 Nicholas Phan, email correspondence with the author, April 11, 2019. 184 Ibid. 185 Ibid. 92

Performance Ideas from the Author

The suggestions from Mr. Heggie were most advantageous in my development and performance of Friendly Persuasions. Heggie’s personal input gives the insight not possible when preparing the songs of Mozart, Schubert, Poulenc, or any song composers of previous generations. It allowed me to have a much more grounded, connected presentation, given the knowledge of the specific intent within the composition. Heggie’s recommendations were incorporated into my performance of his song cycle and served to make it a more complete presentation.

While I did not have Mr. Phan’s comments prior to my performance of Friendly

Persuasions, his responses were wonderful additions to my understanding of the songs.

His reputation as one of the foremost interpreters of art song in the country gives even more weight to his responses.

Heggie is truly gifted in the art of setting text in a way that is both singable and communicative. These four songs, while they present challenges musically, are very melodic. This makes for less challenge when learning the music for the first time.

In “Wanda Landowska,” overall, the vocal line matches with the tonality of the accompaniment. There are moments when the vocalist must sing in dissonance with the accompaniment. For example, in measure 27 the tenor sings an F♮4 while the piano is playing an F♯. These extremely close dissonances can present a challenge when learning the music, if the singer is not careful to learn the notes accurately. Mr. Heggie did offer ideas of how to differentiate when it is Poulenc speaking and when it is Landowska. I chose a hybrid of his suggestions, that I feel was equally effective. I performed the cycle

93

with chamber ensemble. As such, there was a music stand in front of me, which hindered my ability to move on stage. In this case, I chose to adjust the direction of my glance from one side of the recital hall to the other, depending on who was singing.

Heggie’s composition of “Pierre Bernac” offers little difficulty vocally. The pitches are easily accessible, with no real moments of dissonance. In my opinion, the main obstacle is that Heggie’s writing, through much of his vocal output, spends a great deal of time in the singer’s passaggio (passage). The passaggio is the portion of the singer’s range when they begin to navigate from one register to the next, in the case of a tenor, usually somewhere between E4 and G4. This can be a complicated area of the voice creating trouble, especially for a less developed singer. In an interview, Heggie’s explanation for using this area of the voice is that it has a sense of vulnerability, which he likes.186 The one moment I find particularly challenging is the final “Fa la las” at the end of the song. The voice begins in the passaggio on F♯4 and descends to D3, the lower end of the tenor voice, which can be a vocally uncomfortable area for some.

I find “Raymonde Linossier” to be the most beautiful and emotionally engaging song in Friendly Persuasions. Heggie’s alternation from minor to major keys gives the singer a wide palate of vocal color to explore as they develop their performance of the song. This melody, again, offers little challenge as it follows the structure of the accompaniment. The dissonant moments are there for the additional emotional color within the phrases. Heggie writes some longer phrases in this song, as well, which can present problems for singers who lack the proper breath control.

186 Heggie, Musical coaching session with the author, 2017. 94

The last song, “Paul Eluard,” gives the singer the opportunity for their most heroic singing. A song of minimal difficulty, Heggie gives the singer the chance to explore a wider range of dynamic color. The major challenge I found in this song was communicating the text. I feel Scheer, in this text, was less deliberate in his language, writing in a way that the singer must dig deeper to find the true meaning behind his words.

In preparation for my recital, one of the main difficulties that came about was getting the all the musicians in sync. Looking at the instrumental parts, the vocal line is not present. This can pose challenges, as the instrumentalists may not be sure of what to listen for in order to keep time for their next entrance. While this issue is not unique to this song cycle, it can take a fair amount of rehearsal, however, the inclusion of the vocal line in those segments, or even just the text, would help to simplify those difficulties.

This, of course, should not be a problem for the piano only setting as the vocal line is part of the pianist's score and the pianist should have in-depth knowledge of what the vocalist is going to do.

Overall, the chief difficulty of the cycle lies in the interpretation of the songs.

Musically, they are not overly challenging and should be attainable for an advanced undergraduate level student and beyond. The nuance of the interpretation, however, is something that an older, more experienced performer would be better suited. Some of the situations within the songs are quite deep and require someone with more life experience to appropriately and completely interpret the complete cycle.

95 Bibliography

Audel, Stéphane. Francis Poulenc: My Friends and Myself. Translated by James Harding. London: Dennis Dobson, 1978. Bent Pen Music, Inc. "Biography." Jake Heggie: Composer & Pianist. 2018. https://jakeheggie.com/biography/ (accessed January 2018). —. "Compositions Archives." Jake Heggie: Composer & Pianist. n.d. https://jakeheggie.com/works/ (accessed June 2018). —. "Dead Man Walking (2000)." Jake Heggie: Composer & Pianist. n.d. https://jakeheggie.com/dead-man-walking-2000 (accessed January 2018). Bernac, Pierre. Francis Poulenc: The Man and His Songs. Translated by Winifred Radford. New York: W.W. Norton & Company, Inc., 1977. Blue, Robert Wilder. "Composer's First Opera a Triumph." US Opera Web: Online magazine devoted to American Opera. July 2001. https://web.archive.org/web/20070210002126/http://www.usoperaweb.com:80/2001/july/ heggie.html (accessed July 2018). Blumenthal, Ralph. "For an Operatic Life, Check out the Composer's." New York Times, March 13, 2008. Chimènes, Myriam, and Roger Nichols. "Poulenc, Francis." Grove Music Online. January 20, 2001. http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000022202 (accessed December 2018). Daniel, Keith W. Francis Poulenc: His Artistic Development and Musical Style. Ann Arbor: UMI Research Press, 1982. Ginell, Richard S. "'Friendly Persuasions' at Pacific Serenades." Los Angeles Times. June 3, 2008. https://www.latimes.com/entertainment/arts/la-et-pacific3-2008jun03-story.html (accessed December 2018). Heggie, Jake. Friendly Persuasions: Homage to Poulenc: Four Songs for Tenor, Flute, Clarinet, Viloncello and Piano. San Francisco: Bent Pen Music, Inc., 2008. —. here/after: Songs of Lost Voices (book 2). San Francisco: Bent Pen Music, Inc., 2013. Ivry, Benjamin. Francis Poulenc. London: Phaidon Press Limited, 1996.

96

Jeal, Erica. "Milne/Ainsley/Martineau." The Guardian. April 14, 2008. https://www.theguardian.com/music/2008/apr/12/classicalmusicandopera.reviews (accessed December 2018). Malafronte, Judith. "HEGGIE: "Here/After: Songs of Lost Voices"." Opera News. May 1, 2014. https://www.operanews.com/Opera_News_Magazine/2014/5/Recordings/HEGGIE__Her e/After.html (accessed January 2019). Mermelstein, David. "He's Got a Song in His Art." Los Angeles Times. November 10, 1996. http://articles.latimes.com/print/1996-11-10/entertainment/ca-63102_1_art-songs (accessed January 2018). Music at Kohl Mansion. "Violins of Hope-Music at Kohl Mansion." Music at Kohl Mansion. n.d. https://musicatkohl.org/violins-of-hope-2/ (accessed May 5, 2019). Newsome, Joseph. "CD REVIEW: Jake Heggie & Gene Scheer – HERE/AFTER, Songs of Lost Voices." Voix des Arts. November 23, 2013. https://www.voix-des-arts.com/2013/11/cd- review-jake-heggie-gene-scheer.html (accessed January 2019). Phan, Nicholas. Email Correspondence with the Author. April 11, 2019. Poulenc, Francis. Banalités: cinq mélodies sur des poèmes de Guillaume Apollinaire. Paris: Editions Max Eschig, 1941. —. Concert Châmpetre. Paris: Editions Salabert, 1931. —. Concert Châmpetre. Paris: Editions Salabert, 1931. —. Concerto en Ré Mineur: pour 2 Pianos et Orchestre. Paris: Editions Salabert, 1934. —. Dialogues of the Carmelites: an opera in 3 acts and 12 scenes. Edited by Joseph Machlis. Milano: Ricordi, 1987. —. Gloria: pour Soprano solo, Chœur mixte et Orchestre. Paris: Editions Salabert, 1960. —. Les Chemins de l'amour: valse chantée. Paris: Editions Max Esching, 1945. —. Priez pour paix: pour chant et piano. Paris: Editions Salabert, 1938. —. Sextour: pour piano, flûte, hautbois, clarinette, bassoon, et cor. Copenhagen: W. Hansen, 1998.

—. Sonata: for Clarinet in B♭ and Piano. London: J. & W. Chester, 1963.

—. Sonata: for flute and piano. London: J. & W. Chester, 1958. —. Tel jour telle nuit: neuf mélodies. Paris: C. Durand, 1937. —. Trio: pour piano, hautbois, et bassoon. Copenhagen: W. Hansen, 1954. Poulenc, Francis, and Myriam Chimènes. Correspondance 1910-1963. Paris: Librairie Arthème Fayard, 1994.

97

Redman, Carolyn. "Songs to the Moon: A Song Cycle by Jake Heggie from Poems of Vachel Lindsey." D.M.A. Document, The Ohio State University, 2004. ProQuest Dissertations & Theses Global. Robert, Sophie. "Raymonde Linossier: 'Lovely soul who was my flame'." In Francis Poulenc: Music, Art and Literature, edited by Sidney Buckland, & Myriam Chimènes, translated by Sidney Buckland, 87-137. Brookfield, VT: Ashgate Publishing Company, 1999. Savage, Tom. "High Scorers: Jake Heggie." Opera News, January 2000: 10-13. Schmidt, Carl B. Entrancing Muse: A Documented Biography of Francis Poulenc. Hillsdale, NY: Pendragon Press, 2001. Sigman, Matthew. "Composing a Life." Opera News, July 2015: 24-29. Slade, Michael. "Gene Scheer in His Own Words." Opera News, July 2014: 28-31. "Too much Poulenc, not enough pipi." Intermezzo (Blog). April 14, 2008. https://intermezzo.typepad.com/intermezzo/2008/04/lisa-milnejohn.html (accessed December 2018). Wylie, David F. "Jake Heggie: A Singer's Composer." Classical Singer. January 1, 2011. https://www.csmusic.net/content/articles/jake-heggie/ (accessed January 2018).

98 Appendix A. Catalog of Jake Heggie’s Vocal Compositions to Date187

Songs/Song Cycles

Sophie’s Song (Text by Frederica von Stade) —This is a song for mezzo-soprano and piano with unknown publication date.

To Say Before Going to Sleep (1988) [Poetry by ] —This is a song for mezzo-soprano and piano.

White in the Moon (1990) [Poetry by A.E. Housman] —This is a song for mezzo-soprano and piano.

Folk Songs (1995) — This is a set of songs for mezzo-soprano and piano. 1. Dixie 2. He’s Gone Away 3. Barb’ry Allen 4. The Leather-Winged Bat 5. Danny Boy Encountertenor (1995) [Lyrics by John Hall] —This is a song cycle for countertenor and piano. 1. countertenor’s Conundrum 2. The trouble with trebles in trousers…(Pitch can be a bitch!) 3. A Gift to Share Thoughts Unspoken (1996) [Lyrics by John Hall] —This is a song cycle for baritone and piano. 1. A learning experience over coffee… 2. You enter my thoughts 3. To speak of love 4. Unspoken thoughts at bedtime

187 The following information comes from Jake Heggie’s website and is current as of the publication of this document. 99

My True Love Hath My Heart (1996) [Poetry by Sir Philip Sidney] —This is a song for soprano, cello and piano. Also arranged as duet for soprano, mezzo, cello and piano. On the Road to Christmas (1996) —This is a song cycle for mezzo-soprano and string orchestra. 1. The Night is Freezing Fast (A.E. Housman) 2. The Car Ride to Christmas (Frederica von Stade) 3. Good King Merrily on High (traditional) 4. I wonder as I wander (John Jacob Niles) 5. The Road to Bethlehem (Emily Dickinson) 6. And then the Setting Sun (Frederica von Stade) 7. Christmas Time of Year (Jake Heggie) Natural Selection (1997) [Poetry by Gini Savage] —This is a song cycle for soprano and piano. 1. Creation 2. Animal Passion 3. Alas! Alack! 4. Indian Summer – Blue 5. Connection Songs to the Moon (1998) [Poetry by Vachel Lindsay] —This is a song cycle for mezzo-soprano and piano. Part 1: “Fairy-Tales for the Children” 1. Prologue: Once More – To Gloriana 2. Euclid 3. The Haughty Snail-King 4. What the Rattlesnake Said 5. The Moon’s the North Wind’s Cooky (What the little girl said) 6. What the Scarecrow Said 7. What the Gray-Winged Fairy Said 8. Yet Gentle Will the Griffin Be (What Grandpa told the children) Before the Storm (1998) —This is a song cycle for mezzo-soprano, cello and piano. 1. Before the Storm (Judyth Walker) 2. It sounded as if the streets were running (Emily Dickinson) 3. What lips my lips have kissed (Edna St. Vincent Millay) 4. The Thin Edge (Dorothy Parker)

100

Songs and Sonnets to Ophelia (1999) —This is a song cycle for soprano and piano. 1. The Spring is Arisen; Ophelia’s Song (Jake Heggie) 2. Women have loved before as I love now (Edna St. Vincent Millay) 3. Not in a silver casket cool with pearls (Edna St. Vincent Millay) 4. Spring (Edna St. Vincent Millay) Paper Wings (1997-piano, 2000-orchestra) [Lyrics by Fredrica von Stade] —This is a song cycle for mezzo-soprano and piano or orchestra. 1. Bedtime Story 2. Paper Wings 3. Mitten Smitten 4. A Route to the Sky Eve-Song (2000) [Poetry by Philip Littell] —This is a song cycle for Soprano and piano. 1. My name 2. Even 3. Good 4. Listen 5. Snake 6. Woe to Man 7. The Wound 8. The Farm How Well I Knew the Light (2000) [Poetry by Emily Dickinson] —This is a song cycle for soprano and piano. 1. Ample Make This Bed 2. The Sun Kept Setting Of Gods and Cats (2000) [Poetry by Gavin Dillard] —This is a song cycle or mezzo-soprano and piano. 1. In the beginning… 2. Once upon a universe

101

The Starry Night (2001) —This is a song cycle for mezzo-soprano and piano. 1. The Starry Night (Anne Sexton) 2. Celestial Locomotion (Vincent Van Gogh) 3. Go Thy Great Way (Emily Dickinson) 4. Reflection (Vincent Van Gogh) 5. The sun kept setting (Emily Dickinson) 6. Touch (Vincent van Gogh) 7. I would not paint a picture (Emily Dickinson) Grow Old Along With Me! (2004) [Poetry by Robert Browning] —This is a song for baritone and piano. Vanity (Blah Blah Me) (2004) [Text by Jake Heggie] —This is a song for soprano, clarinet, cello, bass, piano and percussion (also available for piano only accompaniment). Part of a song cycle “The Seven Deadly Sins” (also featuring compositions contributed by Michael John La Chisua, , , and others).188 Winter Roses (2004) —This is a song cycle for mezzo-soprano, string quintet, and piano. Prologue: Winter Roses (Charlene Baldridge) I. Two Birds 1. The Wren (Charlene Baldridge) 2. The Robin (Emily Dickinson) II. Three Shades (in memoriam C.v.S.) 3. A Hero (Frederica von Stade) 4. Sleeping (Raymond Carver) 5. To My Dad (Frederica von Stade) III. Looking West 6. Sweet Light (Raymond Carver) Epilogue: Late Fragement (Raymond Carver) Some Times of Day (2004) [Texts by Raymond Carver] —This is a set of songs for mezzo-soprano, violin, cello and piano. 1. The Minuet 2. Simple 3. The Best Time of the Day

188 Bent Penn Press, Inc., “Compositions Archives,” Jake Heggie Composer & Pianist, https://jakeheggie.com/works/page/6/, accessed June 2018. 102

The Deepest Desire (2002, 2005) [Texts by Sister Helen Prejean] —This is a song cycle originally for mezzo-soprano, flute and piano. In 2002 orchestrated for mezzo-soprano and chamber orchestra. 1. The Call; More is required; Love 2. I catch on fire 3. The deepest desire 4. Primary Colors The Other Woman (2005) [Lyrics by Mark Campbell] —This is a song from “SONGS FROM AN UNMADE BED, a stage work that features 18 songs with lyrics by Mark Campbell. Music by 18 composers, including Jake’s setting of The Other Other Woman.”189 Here and Gone (2005) [Poetry by A.E. Housman and Vachel Lindsay] —This is a song cycle for tenor and baritone with violin, viola, cello and piano. 1. The Farms of Home (Housman) 2. In Praise of Songs That Die (Lindsay) 3. Stars (Housman) 4. The Factory Window Song (Lindsay) 5. In the Morning (Housman) 6. Because I Liked You Better (Housman) 7. The Half-Moon Westers Low (Housman) Statuesque (2005) [Texts by Gene Scheer] —This is a song cycle for mezzo-soprano and piano. There is also a version with chamber accompaniment. 1. Henry Moore: Reclining Figure of Elmwood 2. Pablo Picasso: Head of a Woman, 1932 3. Hapshetsut: The Divine Potter 4. Alberto Giacommetti: Standing Woman #2 5. Winged Victory: We’re Through Rise and Fall (2007) [Poetry by Gene Scheer] —This is a song cycle for soprano and piano. 1. Water Stone (Noguchi) 2. Incantation Bowl 3. Angels Wings 4. The Shaman Final Monologue from Master Class (2007) [Text by Terrence McNally] —This is an aria/song for mezzo-soprano and piano. There is a revised version in higher key for soprano.

189 Bent Penn Press, Inc., “Compositions Archives.” 103

Facing Forward/Looking Back (2007) —These are duets for soprano and mezzo-soprano with piano. 1. Motherwit (Charlene Baldridge) 2. Grounded (Egenia Zukerman) 3. Hummingbird (Raymond Clevie) 4. Mother in the Mirror (Armistead Jones Maupin, jr.) 5. Facing Forward (Jake Heggie) Friendly Persuasions: Homage to Poulenc (2008) [Poetry by Gene Scheer] —This is a song cycle for tenor and piano or tenor, flute, clarinet, cello and piano. 1. Wanda Landowska 2. Pierre Bernac 3. Raymonde Linossier 4. Paul Eluard In Our House (2009) [Lyrics by Mark Campbell] —This is a song for soprano, baritone, flute, piano, percussion, and string quintet. The Breaking Waves (2011) [Lyics by Sister Helen Prejean] —This is a song cycle for mezzo-soprano and Piano 1. Advent 2. Darkness 3. Music 4. Return The Years Roll By (2011) [Text by ] —This is a duet for soprano and mezzo-soprano with piano. A Question of Light (2011) [Texts by Gene Scheer] —This is a song cycle for baritone and piano. 1. The Light of Coincidences (Magritte) 2. Eccentric Flint (Maya c. AD 600-900) 3. Yellow Flowers in a Vase (Caillebotte) 4. Place de la Concorde (Mondrian) 5. El Hombre (Tamayo) 6. Watch (Murphy)

104

Pieces of 9/11: Memories from Houston (2011) [Texts by Gene Scheer] —This is a song cycle for soprano, baritone, girl soprano (age 14-18) with flute, guitar, violin, and cello. 1. Prelude; Lauren 2. Lessons 3. Phone Calls 4. That Moment On 5. Beyond 6. An Open Book Camille Claudel: Into the Fire (2012) [Texts by Gene Scheer] —This is a song cycle for mezzo-soprano and string quartet. There is also a piano reduction available. Prelude: Awakening 1. Rodin 2. 3. Shakuntala 4. La petite chatelaine 5. The Gossips 6. L’age mûr 7. Epilogue: Jessie Lipscomb visits Camille Claudel, Montdevergues Asylum, 1929 Farewell, Auschwitz (2013) [Texts by Krystyna Zywulska with free translation by Gene Scheer] —This is a song cycle for soprano, mezzo-soprano, baritone, and piano. There is also a setting of this cycle for the same voices with clarinet, violin, cello, bass, and piano. Prologue: For Maria 1. Soldiers 2. Diamonds 3. In the cards 4. Irenka 5. Miss Ziutka 6. The Sun and the Skylark 7. Farewell, Auschwitz For a Look or a Touch (2013) [Texts by Gene Scheer] —This is the song cycle version for baritone and piano, or baritone and chamber ensemble (flute, clarinet, violin, cello, and piano).

105

From ‘The Book of Nightmares’ (2013) [Poetry by Galway Kinnell] —These are songs for soprano, cello and piano. 1. You Scream 2. In A Restaurant 3. My Father’s Eyes 4. Back You Go Of Laughter and Farewell (2012, 2013) [Poetry by Vachel Lindsay] —Songs for tenor or baritone and piano. 1. By The Spring, At Sunset (2013) 2. Under the Blessing of Your Psyche Wings (2012) Newer Every Day: Songs for Kiri (2014) [Poetry by Emily Dickinson] —These are songs for soprano and piano. 1. Silence 2. I’m Nobody! Who are You? 3. Fame 4. That I did always love 5. Goodnight Edna St Vincent Millay (2014) [Poetry by Lucy Miller Murray] —This is a song for soprano and piano. The Work at Hand (2015) [Poetry by Laura Morefield] —Three symphonic songs for mezzo-soprano, cello and piano, or mezzo-soprano, cello, and orchestra (2 , 2 , 2 , 2 , 2 horns, 2 , 2 , 2 percussion, harp, and strings).190 Iconic Legacies: First Ladies at the Smithsonian (2015) [Texts by Gene Scheer] —This is a set of songs for mezzo-soprano and piano. 1. Eleanor Roosevelt: Marian Anderson’s Mink Coat 2. Mary Todd Lincoln: Abraham Lincoln’s Hat 3. Jacqueline Kennedy Onassis: Christmas Card, 1963 4. Barbara Bush: The Muppets de Bilitis by Claude Debussy (Arr. 2017) [Poetry by Pierre Louÿs] —This is Heggie’s arrangement of Claude Debussy’s famed song cycle for voice and string quartet. 1. La flûte de Pan 2. La chevelure 3. Le tombeau des naïades

190 Bent Penn Press, Inc., “Compositions Archives.” 106

These Strangers (2018) —This is a song cycle for soprano and piano. 1. These Strangers, in a foreign World (Emily Dickinson) 2. In the Midst of Thousands (Frederick Douglass) 3. I did not speak out (Martin Niemöller) 4. To a Stranger, #52 from Leaves of Grass ()

Opera/Dramatic Works

Dead Man Walking (2000) [Libretto by Terrence McNally] —Full-length opera with optional full or reduced orchestration. It is based on the book of the same name by Sister Helen Prejean, CSJ. Principal Cast Requirements Sister Helen Prejean – mezzo-soprano Joseph de Rocher – baritone Joseph’s Mother – mezzo-soprano Sister Rose – Soprano Father Grenville – tenor Howard Boucher – tenor Jade Boucher – mezzo-soprano Owen Hart – baritone Kitty Hart – Soprano Warden George Benton – baritone First Guard/A Motor Cop – baritone Again (2000) [Libretto by Kevin Gregory] —Operatic scene in 10 minutes with chamber orchestra Principal Cast Requirements Lucy – Soprano Ethel – mezzo-soprano Ricky – tenor Fred – baritone At the Statue of Venus (2005) [Terrence McNally] —A musical scene for soprano and piano

107

The End of the Affair (2003; rev. 2004-05) [Libretto by Heather McDonald] —Two-act opera based on the novel by Graham Green. Principal Cast Requirements Sarah – Soprano Maurice Bendrix – baritone Henry – baritone Mrs. Bertram – mezzo-soprano Smythe – tenor Parkis – baritone To Hell and Back (2006) [Libretto by Gene Scheer] —Opera in One Act for Soprano, Broadway Soprano and period instrument orchestra (2-2-0-1, 2-0-0-0, 1perc, 1 harpsichord, 5-5-3-3-1).191 Based on The Rape of Persephone (2008) [Libretto by Gene Scheer] —One-Act opera based on Terrence McNally’s original script Some Christmas Letters. For three singers and chamber ensemble of 11 instruments Principal Cast Requirements Madeline – mezzo-soprano Bea – Soprano Charlie – baritone Moby-Dick (2010) [Libretto by Gene Scheer] —Opera in two acts based on the great novel of the same name by Herman Melville. Principal Cast Requirements Ahab – tenor Greenhorn – tenor Starbuck – baritone Queequeg – bass-baritone Pip – Soprano Stubb – baritone Flask – tenor Gardiner – baritone Another Sunrise (2012) [Libretto by Gene Scheer] —Based on the life and work of Krystyna Zywulska, a Holocaust survivor, it is a thirty-minute scene for Soprano and chamber orchestra (clarinet, violin, cello, bass, and piano).

191 Bent Penn Press, Inc., “Compositions Archives.” 108

For a Look and a Touch (2013) [Stage Version] [Libretto by Gene Scheer] —For baritone, Actor, Men’s Chorus (TTBB), flute, clarinet, violin, cello, percussion, and piano. This is a stage work that can be performed either with or without chorus, and also exists as a song cycle or as a choral work.

Out of Darkness: Two Remain (2016 rev. 2018) [Libretto by Gene Scheer] —This is an opera in two acts based on the stories previously set by Heggie and Scheer (Another Sunrise; Farewell, Auschwitz; and For a Look or a Touch), combined for a single production. Principal Cast Requirements Krystyna Zywulska – Soprano Krysia – Soprano Zosha – mezzo-soprano Manfred – baritone Gad Beck – baritone The Radio Hour (2014) [Libretto by Gene Scheer] —This is a one act chamber opera for chamber and silent actress with flute, clarinet, alto saxophone, percussion, piano, violin, cello, and bass. (2015) [Libretto by Terrence McNally] —This is an opera in two acts. First collaboration between Heggie and McNally since their hugely successful Dead Man Walking. Principal Cast Requirments Arden Scott – mezzo-soprano Tatyana Bakst – Soprano Winnie Flato – mezzo-soprano Sid Taylor – baritone Roane Heckle – countertenor Eric Gold – baritone Ghost of Vittorio Bazzetti – baritone Anthony Candelino – tenor Wendell Swann – baritone Tommy Taylor – Child Actor

109

It’s A Wonderful Life (2016) [Libretto by Gene Scheer] —This is an opera in two acts based on the 1946 movie of the same name and the novel “The Greatest Gift” by Philip Van Doren Stern. Principal Cast Requirments George Bailey – tenor Clara, Angel Second Class – Soprano Mary Bailey – Soprano Mr. Gower / Mr. Potter – baritone Uncle Billy – tenor Harry Bailey – baritone Ernie –baritone Mother Bailey – mezzo-soprano Quartet of Angels First Class Soprano mezzo-soprano tenor baritone Young George – Male Child Young Mary, Janie – Female Child Zuzu – Female Child Young Sam, Tommy – Male Child Young Harry – Male Child

Choral Works

Faith Disquiet (1987) [Poetry by Emily Dickinson] —Songs for chorus (SATB), . 1. “Why do I love” You, Sir? 2. What if I say I shall not wait! 3. If you were coming in the fall I shall not live in vain (1995, Rev. 1998) [Poetry by Emily Dickinson] —Initially a solo song, expanded in 1998 for mezzo-soprano solo with girls chorus (SA), hand bells and piano. Patterns (1999) [Poetry by ] —Song for mezzo-soprano solo with female chorus (SSAA) with piano. My Grandmother’s Love Letters (2001) [Poetry by Hart Crane] —For full chorus (SATB) and Orchestra He Will Gather Us Around (2003) [Text by Terrence McNally] —For full chorus (SATB) a cappella. Based on original hymn tune from Dead Man Walking. 110

John Adams’ Prayer (2004) [Text by President John Adams] —For chamber chorus (SATB) a cappella. A short canon, it is part of “Mr. President,” a choral cycle based on presidential speeches (also with compositions by Samuel Adler, Milton Babbitt, Jason Robert Brown, Daron Hagen, , and others).192 Seeking Higher Ground: Bruce Springsteen Rocks New Orleans, April 30, 2006 (2006) [Text by Sister Helen Prejean, CSJ] —With text by Sister Helen Prejean. For double SATB chorus with full orchestral accompaniment (2-2-2-2, 2-3-3-0, 2 perc, 1 harp, strings). For a Look and a Touch (2011) [Choral Version] [Libretto by Gene Scheer] —For baritone, Actor, Men’s Chorus (TTBB), flute, clarinet, violin, cello, percussion, and piano. This was can also be performed as a stage work, either with or without chorus, and exists as a song cycle. A Hundred Thousand Stars from: For a Look and a Touch (2011) [Text by Gene Scheer] —For male chorus and piano. There is also a setting for flute, clarinet, violin, cello, and piano. Six Christmas Traditions (2013) [Texts by Mark Campbell] —Six song set for SATB chorus with piano and oboe. 1. Santa 2. Christmas Sweaters 3. Fruitcake (“Unjust Desserts”) 4. Presents 5. Loneliness (or “A Midnight Drear”) 6. Families Ahab Symphony (2013) [Texts by Herman Melville, from Moby-Dick and W.H. Auden, from his poem titled “Herman Melville”] —For tenor and SATB chorus with full orchestra (2-2-2-2, 4-3-3, harp, 3 percussion, strings). The Narrow Bridge (2014) [Text by Pamela Stewart] —Final movement of Tyler’s Suite, a large choral work with other compositions by Nolan Glasser, Stephen Schwartz, Ann Hampton Calloway, John Corgliano, John Bucchino, and Lance Horne. For Men’s Chorus (TTBB), piano, and violin.

Stop This Day and Night With Me (2015) [poetry by Walt Whitman] —This is a work for SATBBB chorus, a cappella. It was The Raymond W. Brock Commission for the American Choral Directors Association.

192 Bent Penn Press, Inc., “Compositions Archives - Page 6 of 8.” 111

Appendix B. Audio and Video Recordings of Vocal Works to Date

Audio Recordings

My Native Land (WEA/Atlantic/Teldec) —This recording features mezzo-soprano Jennifer Larmore. Songs composed by Heggie featured are He’s Gone Away, To Say Before Going to Sleep, White in the Moon, The Leather-Winged Bat, and Barb’ry Allen. It was released in November 1997.

The Faces of Love-The Songs of Jake Heggie (BMG/RCA Victor) —This recording contains many of Heggie’s early songs featuring Renée Fleming, Frederica von Stade, Sylvia McNair, , Nicolle Foland, Kristin Clayton, , and . Songs included are from The Faces of Love, Eve-Song, Of Gods and Cats, Paper Wings, Natural Selection, Before the Storm, Encountertenor, Songs to the Moon, and the duet version of My True Love Hath My Heart. It was released in September 1999.

Dead Man Walking (Erato) —This recording is the complete live recording of the world premiere at San Francisco Opera. It features , John Packard, and Frederica von Stade. It was released in January 2002.

Artist Portrait — Susan Graham (Alliance) —This recording features mezzo-soprano Susan Graham. It contains a few scenes from Heggie’s opera Dead Man Walking. It was released in August 2004.

The Deepest Desire (Eloquentia France) —This recording features mezzo-soprano Joyce DiDonato. It contains Heggie’s song cycle The Deepest Desire: Four Meditations on Love. It was released in Europe in November 2005.

Flesh & Stone: The Songs of Jake Heggie (Americus Records) —This recording featured mezzo-sopranos Frederica von Stade, Joyce Castle, Zheng Cao, and Mary Phillips. It contains selections from Winter Roses and The Starry Night, as well as the entirety of Statuesque and The Deepest Desire. It was released in October 2007 and is no longer being produced.

112

For a Look or a Touch (Naxos) —This recording features Morgan Smith and Julian Patrick. It contains Heggie and Scheer’s opera with other works. It was released in April 2008.

Three Decembers (Albany) —This is a live recording of Houston Grand Opera’s production of the opera by Heggie and Scheer. It features Frederica von Stade, Kristin Clayton, and Keith Phares. It was released in December 2008.

Cheryl Barker: Great Operatic Arias (Chandos) —This recording features soprano . She performs a scene from Heggie’s opera The End of the Affair. It was released in September 2009.

Passing By: Songs by Jake Heggie (Avie) —This is a recording of songs and duets featuring: , Zheng Cao, Joyce DiDonato, Susan Graham, Frederica von Stade, , and Keith Phares. Works featured on this recording are A Lucky Child (from At the Statue of Venus), Some Times of Day, Facing Forward/Looking Back, Here and Gone, To Say Before Going to Sleep, Songs and Sonnets to Ophelia, and Final Monologue (from Master Class). It was released in September 2010.

Dead Man Walking (Virgin Classics) —This is a live recording of Houston Grand Opera’s production of Heggie’s opera. Featured artists are Joyce DiDonato, Philip Cutlip, and Frederica von Stade. It was released in April 2012.

Talise Trevigne: At the Statue of Venus (GPR) —This recording features soprano Talise Trevigne. It contains Heggie’s cycle Natural Selection and the first complete recording of his musical scene At the Statue of Venus. It was released in January 2013.

Daniel Okulitch: The New American Art Song (GPR) —This recording features bass-baritone . It contains Heggie’s cycle Of Gods and Cats, as well as his song Grow Old Along With Me!. It was released in March 2013.

Here/After: Songs of Lost Voices (PentaTone Classics) —This is a recording of songs by Heggie and Scheer featuring Talise Trevigne, Joyce DiDonato, Stephen Costello, and Nathan Gunn. Vocal works included on this recording are Camille Claudel: Into the Fire, Pieces of 9/11: Memories from Houston, Friendly Persuasions: Homage to Poulenc, Rise and Fall, and A Question of Light. It was released in March 2013.

113

Lisa Delan: The Hours Begin to Sing (PentaTone Classics) —This recording features soprano Lisa Delan. Featured on this recording is Heggie’s song cycle From the Book of Nightmares. It was released in April 2013.

ReJoyce! (EMI Classics) —This recording features mezzo-soprano Joyce DiDonato. It includes two scenes from her recording of Heggie’s Dead Man Walking. It was released in August 2013.

Ahab Symphony (UNT School of Music) —This recording is a live performance featuring tenor Richard Croft and the University of North Texas Grand Chorus. They perform Heggie’s Ahab Symphony. It was released in May 2014.

Out of Darkness (Naxos) —This recording features Caitlin Lynch, Sarah Larsen, and Morgan Smith. This is three one-act by Heggie and Scheer. It was released in May 2014.

Connection: Three Song Cycles (Naxos) —This recording features soprano Regina Zona. She performs Heggie’s song cycles Eve-Song, Natural Selection, and Songs and Sonnets to Ophelia. It was released in June 2014.

Angel Blue: Joy Alone (Opus Arte) —This recording features soprano Angel Blue. She performs selections from Heggie’s Natural Selections and Paper Wings. It was released in November 2014.

The Moon’s a Gong, Hung in the Wild (Avie) —This recording features mezzo-soprano Angelika Kirchschlager performing songs by Heggie. Songs performed are selections from Statuesque, Winter Roses, Folk Songs, the entirety of Songs to the Moon, and White in the Moon. It was released in September 2015.

The Radio Hour (Delos) —This is a recording featuring the John Alexander Singers and mezzo-soprano Susan Graham. Works featured are Heggie and Scheer’s choral opera The Radio Hour, as well as other choral works including the hymn from Heggie’s first opera Dead Man Walking. It was released in October 2015.

French Connections (Linn) —This recording features tenor John Mark Ainsley. He performs Heggie’s Friendly Persuasions: Homage to Poulenc. It was released in February 2016.

114

Leah Partridge: Finding Home (CD Baby) —This recording features soprano Leah Partridge. She performs Heggie’s cycle Rise and Fall as well as his songs I Shall Not Live in Vain. It was released in July 2016.

Love Life (CD Baby) —This recording features soprano Ann Moss. She is performing works including Heggie’s The Book of Nightmares and Newer Every Day: Songs for Kiri. It was released in September 2016.

It’s a Wonderful Life (PentaTone) —This is a live performance recording of Houston Grand Opera’s production of It’s a Wonderful Life featuring: William Burden, Talise Trevigne, and Andrea Carroll. It was released in September 2017.

Great Scott (Rhino Warner Classics) —This is a live performance recording of Dallas Opera’s production of Great Scott featuring: Joyce DiDonato, Frederica von Stade, Ailyn Pérez, , Nathan Gunn, Michael Mayes, Rodell Rosell, and . It was released in January 2018.

Lisa Delan: A Certain Slant of Light (PentaTone) —This is a recording by soprano Lisa Delan featuring Heggie’s Newer Every Day: Songs for Kiri. It was released in April 2018.

Joyce DiDonato: Into the Fire (Erato) —This recording features mezzo-soprano Joyce DiDonato. Works of Mr. Heggie featured on this recording are Camille Claudel: Into the Fire and his arrangement of Debussy’s Trois Chansons de Bilitis. It was released in September 2018.

Video Recordings

Moby-Dick (EuroArts) —This video recording of Heggie and Scheer’s opera is from a production performed at San Francisco Opera. It features , Stephen Costello, Morgan Smith, Talise Trevigne, Jonathan Lemalu, Robert Orth, and Matthew O’Neill. It was released in October 2013.

115

Appendix C. Permission from Jake Heggie

116