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The American Stravinsky

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The American Stravinsky 0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. I express gratitude to the library staff at Tu- lane and Yale universities and the University of Arkansas. At the Music Division of the Library of Congress, Wilda Heiss and Lloyd DePinchback made available to me the Aaron Copland Collection, which in the early 1990s was uncataloged. Thanks also go to the attorney for the Copland Estate, the late Ellis Freedman, who granted permission to use the collec- tion, which was not open to the public at the time I conducted my re- search. I also am indebted to the Aaron Copland Foundation and Boosey and Hawkes. The staff at the American Composers’ Alliance and the American Music Center in New York opened their files to me. Any work on Aaron Copland owes much to Vivian Perlis, for her vision in founding the Oral History Project in American Music at Yale, and because she so generously shares her memories of her dear friend. Mrs. Perlis, I hope this study does justice to Copland and all he accomplished. This book could not have been published in its present form without the support of the Earl Johnson Bequest for Book Publication Subvention awarded by the Society for American Music and a Publication Subvention from the Amer- ican Musicological Society. I am immensely grateful to these societies for their support. I have not worked in a vacuum. Many professors have lit my path. I thank Michael Friedmann and Reinhard Strohm. The late Claude V. Palisca provided a sterling scholarly model. I coined the term Paliscare when studying Italian in graduate school; it means to work hard, thor- oughly, and productively. I hope that this present work does justice to the word. I also wish to thank V. Kofi Agawu, Carol Oja, and William Lowe. I also express immense gratitude to Josephine Wright and Kay Kaufmann Shelemay. When I first began work on Copland, I had few colleagues working in this area, unlike today. I acknowledge and thank my Copland colleagues Sally Bick, Elisabeth Crist, Jennifer DeLapp, Howard Pollack, and Marta Robertson. I also wish to thank Gayle Sherwood. Special thanks is due my extraordinarily patient and understanding editors at the University of Michigan Press, Chris Hebert, Marcia LaBrenz, and Ellen Bauerle. So many dear friends have offered support along the way: I wish to thank Dr. Merlyn Hurd and the late Hugh Hurd; Denise Hurd for hous- ing me during the New York stage of the research; and Pam Potter for the many kitchen table conversations. I also apologize for the impositions: to Miriam Jaffe and Karen Robinson in Baltimore; to Pamela Jaffari and Kimberly Williams in Washington, D.C.; to Ned Lochaya, Ellie Murphy, and Kelly Parr in New York; to John Gough in Glasgow and London; to Claire Detels and Lewis Chamness in Arkansas; and to Jacqueline McLendon and Hermine and Don Pinson in Williamsburg. I also thank my Tulane colleagues Felipe Smith and Amy Koritz. Michael Cunning- ham, Pam Franco, Joy V. Fugua, and Rosanne Adderley have been tremendous; you cannot find better. Und auch, veilen Dank, Herr und Frau Herrmann, Karin Herrmann, und Baerli. Joan Capra also opened her home to me, welcoming my many boxes and papers. Violet Fitz- patrick, Hillary, and Buster played a major part in the early stage of this work. Jerise Fogel went above and beyond: without her love and sup- port, my dissertation would not have gotten to Yale on time during that week when my mother died. I thank other friends for their support: C. Evelynn Hawkins, Tammy Kernodle, Georgiary Bledsoe, and Lisé de Lay. Special thanks go to Wayne D. Shirley and the late Catherine Parsons Smith. I cannot express how important it has been to say that you are my friends. Two others are now no longer with us in this life, but their work and memories live on: Mark Tucker and John Blassingame. “Blass” is my Du Bois. Ingrid Mon- son and Okolo Ewunike listened in many telephone conversations, espe- cially during a time when I lost my parents a year apart, and moved halfway across the country—twice. And Angus, feline, who played kitten on the computer keys. I finished this manuscript in New Orleans in August 2004 and ed- ited it over the next year. In August 2005 Hurricane Katrina devastated New Orleans and the Gulf Coast. Fortunately, I had left the city several days earlier, but many of my relatives and friends suffered through the hurricane and its aftermath. Work on the final edits was interrupted as I watched events unfold and I tried to wrap my mind around what was happening in the Crescent City. Key people in New Orleans welcomed and accepted me when others did not. They have touched my life for- ever. Though dispersed, the Millennium Band lives on: Charles Baker, Richard Fultz, Ed Wills, Rial Diles, Brian Alexander, and Alvin “Apple” viii Acknowledgments Battise. I give a nod to trombonist Doc Lewis and the Hot Sauce Band, Zion Trinity, and the other musicians I had an opportunity to perform with or just sit in with. Thanks for keeping it real. The members of Cor- nerstone United Methodist Church buoyed me during my years there, especially the mothers of the church, Mrs. Marian Roussel, Mrs. Cora Charles, Mrs. Janet Jackson, and the late Mrs. Laura Good. I am a fourth-generation educator. Mrs. Roussel taught generations of school- children in New Orleans. Miss Cora and Miss Laura taught generations of nursing students at Dillard University. Thank you for reminding me how far we have come. Work could not have been pursued without my family and teachers, who first encouraged my interest in music. Never forget the bridge that carries you over. Thanks to my first piano teachers, Mrs. Brown and Carol Sykes. Special praise goes to my high school piano teacher, the late Mrs. Judith Aycock, who first said I could be a(n) (ethno)musicologist. My late godparents, Mr. Isaiah and Mrs. Mildred Jones, told me, “Take God with you.” I also thank my aunt, Gay A. Killens—blood is thicker than water. My late father, Theodore W. Murchison, set an example of how to live life. Most importantly, this book is dedicated to the memory of my moth- ers: Beulah McQueen Murchison, who both made numerous sacrifices (now I understand what you were teaching me—you were my rock) and prescribed the simple edict of excellence in all endeavors; and to master musician Earnestine Arnette—pianist, choral conductor, church musi- cian—who saw that I gravitated to the piano when I was three and who gave me my first musicology test when I was eight (you were my inspira- tion). Teen, your indomitable spirit, tenacity and perseverance will forever be unmatched. “Smile in the face of adversity . and never give up.” —Ama, New Orleans, August 2004/Williamsburg, December 2011 Acknowledgments ix Contents List of Tables xiii List of Musical Examples xv Introduction 1 CHAPTER ONE Scherzo humoristique (Cat and Mouse): Copland’s American Petrushka and His Debt to Stravinsky 9 CHAPTER TWO Boulanger and Compositional Maturity 35 CHAPTER THREE Popular Music and Jazz: Authentic or Ersatz? 55 CHAPTER FOUR Paris and Jazz: French Neoclassicism and the New Modern American Music 72 CHAPTER FIVE Back in the United States: Popular Music, Jazz, and the New American Music 95 CHAPTER SIX European Influence beyond Stravinsky and Les Six: Hába and Schoenberg 124 CHAPTER SEVEN Toward a New National Music during the 1930s: Copland’s Populism, Accessible Style, and Folk and Popular Music 148 CHAPTER EIGHT Copland’s Journey Left 160 CHAPTER NINE “Folk” Music and the Popular Front: El Salón México 190 CHAPTER TEN Billy the Kid 208 CONCLUSION A Vision for American Music . 230 Notes 235 Bibliography 259 Index 277 Tables Table Introduction 1 Cowell’s Categories of American Composers According to Style and Aesthetic 5 Table 1.1 Copland’s Diagram of Rounded Binary Form 19 Table 1.2 Copland’s Diagram of Sonata Form 19 Table 1.3 Scherzo humoristique (The Cat and the Mouse), Overall Form 24 Table 1.4 Scherzo humoristique, Introduction 26 Table 1.5 Scherzo humoristique, Section A 26 Table 1.6 Scherzo humoristique, Section AЈ 27 Table 1.7 Scherzo humoristique, Section B 27 Table 2.1 Two Pieces for String Quartet, “Rondino,” Soggetto cavato, Fauré 41 Table 2.2 Two Pieces for String Quartet, “Rondino,” Scale Types Derived from Subject 42 Table 2.3 Two Pieces for String Quartet, II.
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