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A Performer's Analysis of Leonard Bernstein's Serenade

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A Performer's Analysis of Leonard Bernstein's Serenade A Performer’s Analysis of Leonard Bernstein’s Serenade Stefanos Melas Bachelor of Music, Master of Music A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Music Abstract Serenade (after Plato’s Symposium) for Solo Violin, String Orchestra, Harp and Percussion is a five-movement violin concerto composed in 1954 by legendary American composer and conductor Leonard Bernstein (1918-1990). It is approximately thirty minutes in length and inspired by Plato’s dialogue on love, the Symposium (c. 385-370 BC). The mixed reception of the Serenade has only been extended by its enigmatic character, compounded by a high degree of technical difficulty for both the violin soloist and orchestra. There has previously been no published research on the subject of the solo violin part. This thesis is comprised of a written exegesis and a video recorded performance with orchestra. Having approached conceptual and practical issues concurrently, the primary research aim of this PhD in Music Performance was to develop and document an original interpretation of the Serenade that would contribute to a fuller understanding of the work and enhance its potential presence in contemporary performance culture. My research employed methods formulated from artistic research, autoethnography, and practice-led research. I explored historical, performance-related, and score-based topics that arose from my individual study in conjunction with data acquired from interviews, lessons, and a comparative examination of Bernstein’s holograph orchestral manuscript with the Boosey & Hawkes edition. Since 2018 marked the centennial of Leonard Bernstein’s birth, the preparation of this thesis occurred during a distinctive period in his posthumous history. Renewed interest in Bernstein’s compositional output generated by the centenary increases the relevance of my research for violinists in the twenty-first century who are studying and performing the concerto. This thesis provides new insights into the Serenade derived from the construction of a musical interpretation that involved the absorption of multiple firsthand perspectives and collated score analysis. The exegesis provides the scholarly context and framework in which to situate the associated performance as a research outcome. ii Declaration by Author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. iii Publications included in this thesis No publications included. Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature No other publications. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree No works submitted towards another degree have been included in this thesis. Research Involving Human or Animal Subjects I was approved by The University of Queensland School of Music’s Ethical Review Panel to conduct research with human subjects in June 2016 (SOM-ETH16-06/SM). A copy of my ethics approval letter can be viewed in Appendix B. iv Acknowledgements I extend my gratitude to my advisors Dr. Liam Viney, Prof. Adam Chalabi, and Dr. Denis Collins. I offer my sincere appreciation to Jamie Bernstein, Glenn Dicterow, Gary Levinson, and Midori for participating in my research. Dr. Margaret Farrell was consulted on the preparation of the exegesis for submission. I wish to express my love to my parents, George and Elizabeth Melas, who were sources of great strength for me during my studies in Australia. This thesis is dedicated to my late grandfather, Frank D. Murphy, whose passion for music and outstanding character continually inspires me. Financial Support This research was supported by an Australian Government Research Training Program Scholarship and The University of Queensland Centennial Scholarship. Keywords Artistic Research, Leonard Bernstein, Music Performance, Practice-led Research, Violin Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190407, Music Performance, 100% Fields of Research (FoR) Classification FoR code: 1904, Performing Arts and Creative Writing v Table of Contents Abstract ......................................................................................................................................... ii Declaration by Author ................................................................................................................. iii List of Examples & Tables............................................................................................................ x List of Abbreviations Used in the Thesis..................................................................................... xi Introduction .................................................................................................................................. 1 Chapter 1: Context Review .......................................................................................................... 4 1.1 Leonard Bernstein ..................................................................................................................... 4 1.1.1 Training in Composition ..................................................................................................... 5 1.1.2 Compositional Influences ................................................................................................... 5 1.1.3 Compositional Style ........................................................................................................... 6 1.1.4 Compositional Output ........................................................................................................ 7 1.1.5 Reception as a Composer ................................................................................................... 8 1.1.6 Compositional Conflicts ................................................................................................... 10 1.2 The Serenade .......................................................................................................................... 11 1.2.1 Conception and Inspiration ............................................................................................... 11 1.2.2 Content and Structure ....................................................................................................... 12 1.2.3 Compositional Style and Material ..................................................................................... 13 1.2.4 Relationship with Plato’s Symposium ............................................................................... 14 1.2.5 Homosexuality ................................................................................................................. 15 1.2.6 Critical Reception............................................................................................................. 16 1.2.7 Role in the Standard Violin Repertoire ............................................................................. 17 1.2.8 Research on the Serenade ................................................................................................. 18 1.3 Recordings .............................................................................................................................. 18 1.3.1 Audio Recordings............................................................................................................. 18 1.3.2 Video Recordings ............................................................................................................. 20 1.3.3 Range of Interpretation ..................................................................................................... 21 vi 1.4 Concluding Remarks ............................................................................................................... 23 Chapter 2: Methodology ............................................................................................................. 24 2.1 Artistic Research ....................................................................................................................
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