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Songs to the Moon: a Song Cycle by Jake Heggie from Poems by Vachel Lindsay

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Songs to the Moon: a Song Cycle by Jake Heggie from Poems by Vachel Lindsay SONGS TO THE MOON: A SONG CYCLE BY JAKE HEGGIE FROM POEMS BY VACHEL LINDSAY D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Musical Arts in the Graduate School of the Ohio State University By Carolyn E. Redman, B.A., M.M. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Eileen Davis, Adviser Dr. C. Patrick Woliver ______________________________ Adviser Professor Loretta Robinson Graduate Program in Music ABSTRACT The song cycle entitled Songs to the Moon, written by composer Jake Heggie, contains the texts of eight poems by the late American poet, Vachel Lindsay. The piece was composed for American mezzo-soprano Frederica von Stade, who premiered the work with pianist Martin Katz at the Ravinia Festival on August 20, 1998. It is a wonderful piece of music, worthy of in-depth musical study and continued performances. This study is intended to serve as a resource guide for vocal coaches and singers preparing to perform the piece. It should also be a helpful reference for scholars interested in learning more about the life and vocal works of Jake Heggie. Chapter one contains basic biographical information on Jake Heggie, while the second chapter discusses the general style of his art songs and those who have influenced his musical compositions. Chapter three focuses on poet Vachel Lindsay, and provides interesting insight into his life and writings. Chapter Four includes biographical information about the artists who premiered Songs to the Moon, as well as details about the creation of the song cycle, the premiere performance, and the resulting critical reception. The fifth chapter provides an analysis of both the poetry and music, while chapter six includes a discussion of the unifying aspects of the cycle. The final chapter contains performance suggestions gleaned from coaching sessions with Mr. Heggie and Mr. Katz, as well as e-mail correspondences with Ms. von Stade. The appendix includes ii brief biographical information on Heggie’s most influential teachers, a summary of his song style, a list of his vocal compositions, and a discography of his works to date. iii In loving memory of my parents, Nancy Louise Sani and August John (Gus) Sani, Sr. iv ACKNOWLEDGMENTS I wish to thank my adviser and voice teacher, Prof. Eileen Davis, for her guidance, encouragement, and the many practical suggestions she has given to me to help make this project a reality. Her influence has helped shape me into the performer I am today. Thanks to OSU music faculty Dr. Woliver, Prof. Robinson, Dr. Peeler, Dr. Rice, conductor Marshall Haddock, vocal coach/accompanist Barbara Brenton Sahr, and former OSU opera director Noel Koran, who have supported and encouraged my talent over the years. I also wish to thank Dr. Ching chu Hu of Denison University for his expertise and guidance in my theoretical analysis of Songs to the Moon. I am grateful to Martin Katz for coaching the pieces with me, and for providing invaluable insight into performing Songs to the Moon. I also appreciate Frederica von Stade for taking time out of her busy schedule to respond to my questions. I am indebted and extremely grateful to composer Jake Heggie for his wonderful music and his openness to share his life and music with me. Without his input, this project would not have been possible. Thanks to my good friend Jennifer Whitehead for her emotional support and encouraging words throughout this entire process. I am also indebted to my loyal friend v and “kindred spirit” Debbie Merki, who spent countless hours editing my document. Over the years she has been, and continues to be, a true friend in every sense of the word. I am very grateful to my in-laws Earl and Marguerite Redman and my church family at the Newark Nazarene Church, who have supported me constantly through their many prayers and words of encouragement. I would also like to thank my siblings, Mary, Tina, and John, as well as my Uncle Myers for their love and support over the years. I am grateful for the legacy of my parents - my mother, who introduced me to the wonderful world of music, and my father who, through his example, showed me with a little hard work anything is possible. I am also indebted to my Heavenly Father for the ultimate gift of grace and his love and power that sustain me daily. And finally I would like to thank my husband, Brian, for his constant support throughout this entire project. He has brought so much love and joy to me. I can’t imagine my life without him. vi VITA December 29, 1965……………….. Born, Sandusky, Ohio 1989………………………………. B.A., Mount Vernon Nazarene University 1989-95…………………………… Admissions Counselor/Asst. Director of Admissions Mount Vernon Nazarene University 1995-97…………………………… Music Teacher, Good Shepherd Christian Academy 1997……………………………… M.M., The Ohio State University 1997………………………………. Helen Swank Voice Scholarship, The Ohio State University 1997-2002………………………… Graduate Administrative Associate in Academic Advising, The Ohio State University 1998………………………………. 2nd Place, Regional NATS Competition 1998……………………………… 2nd Place, Women in Music Competition 1998………………………………. Margaret Speaks Graduate Voice Scholarship, The Ohio State University 1999………………………………. Young Artist, Des Moines Metro Opera 1999………………………………. 1st Place, Regional NATS Competition 2000………………………………. Opera/Columbus Vocal Competition, 1st Place 2000-2002………………………… Graduate Teaching Associate, Music, The Ohio State University 2001………………………………. Young Artist, Cincinnati Opera vii 2002………………………………. Graduate Outstanding Achievement Award, The Ohio State University 2002-present……………………… Adjunct Voice Instructor, Kenyon College FIELD OF STUDY Music: Vocal Performance viii TABLE OF CONTENTS Abstract…………………………………………………………………………………… ii Dedication………………………………………………………………………………... iv Acknowledgments…………………………………………………………………………v Vita……………………………………………………………………………………… vii List of Figures…………………………………………………………………………..... xi Preface………………………………………………………………………………….. xiii Chapters: 1. Biography of Jake Heggie…………………………………………………………….. 1 2. Musical Influences and General Style………………………………………………. 10 3. Biography of Vachel Lindsay……………………………………………………….. 18 4. Songs to the Moon: Commission, Premiere, and Reviews………………………….. 45 5. Poetical and Musical Analysis………………………………………………………. 52 Song 1: Prologue: Once More—to Gloriana………………………………….. 56 Song 2: Euclid…………………………………………………………………. 66 Song 3: The Haughty Snail-King………………………………………………. 77 Song 4: What the Rattlesnake Said…………………………………………….. 86 Song 5: The Moon’s the North Wind’s Cooky…………………………………. 93 Song 6: What the Scarecrow Said……………………………………………… 97 Song 7: What the Gray-Winged Fairy Said…………………………………... 104 Song 8: Yet Gentle Will the Griffin Be……………………………………….. 110 6. Cycle Structure and Song Similarities……………………………………………... 122 ix 7. Performance Notes…………………………………………………………………. 129 Song 1: Prologue: Once More – to Gloriana……………………………….... 131 Song 2: Euclid………………………………………………………………… 133 Song 3: The Haughty Snail-King……………………………………………... 134 Song 4: What the Rattlesnake Said…………………………………………… 136 Song 5: The Moon’s the North Wind’s Cooky………………………………... 138 Song 6: What the Scarecrow Said…………………………………………….. 139 Song 7: What the Gray-Winged Fairy Said…………………………………... 142 Song 8: Yet Gentle Will the Griffin Be...……………………………………… 143 Bibliography…………………………………………………………………………… 147 Appendix A: Teachers and Composers who Influenced Heggie……………………… 150 Ernst Bacon……………………………………………………….. 150 Johana Harris………………………………………………………150 Raymond Scott……………………………………………………. 151 Appendix B: Song Style Sheet………………………………………………………… 153 Appendix C: Heggie’s Classical Vocal Works………………………………………... 155 Appendix D: Discography…………………………………………………………….. 159 x LIST OF FIGURES Figure 1. Gloriana, m.1-4…………………………………………………………………. 59 2. Gloriana, m.49-51………………………………………………………………. 60 3. Gloriana, m.5-8…………………………………………………………………. 61 4. Gloriana, m.54-55………………………………………………………………. 63 5. Gloriana, m.30-33………………………………………………………………. 64 6. Powerhouse, m.105-112………………………………………………………….69 7. Euclid, m.23-30………………………………………………………………….. 69 8. Euclid, m.1-4…………………………………………………………………….. 70 9. Euclid, m.5-8…………………………………………………………………….. 71 10. Euclid, m.11-14………………………………………………………………….. 75 11. Snail-King, m.1-4………………………………………………………………... 81 12. Snail-King, m.12-14……………………………………………………………... 82 13. Snail-King, m.18………………………………………………………………… 82 14. Snail-King, m.27………………………………………………………………… 84 15. Rattlesnake, m.1-2………………………………………………………………. 90 16. Rattlesnake, m.37-39……………………………………………………………. 91 17. Cooky, m.12……………………………………………………………………... 96 18. Scarecrow, m.4-6………………………………………………………………... 99 19. Scarecrow, m.36-45……………………………………………………………. 100 20. Fairy, m.1-2……………………………………………………………………. 107 21. Fairy, m.14-17…………………………………………………………………. 108 22. Fairy, m.10-13…………………………………………………………………. 109 23. Griffin, m.8-12…………………………………………………………………. 113 24. Griffin, m.29-35………………………………………………………………... 114 25. Griffin, m.70-75………………………………………………………………... 115 xi 26. Griffin, m.86-98………………………………………………………………... 116 27. Griffin, m.18-25…………………………………………………………………117 28. Griffin, m.3-4…………………………………………………………………... 118 29. Griffin, m.52-55………………………………………………………………... 118 30. Griffin, m.1……………………………………………………………………...119 31. Griffin, m.49-50………………………………………………………………... 120 32. Griffin, m.76-84………………………………………………………………... 121 xii PREFACE I was first introduced to the music of Jake Heggie while listening to a recording of mezzo-soprano Jennifer Larmore in 1998. Her compact disc recording, entitled My Native
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