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Subito Simply Means “Suddenly,” Indicating an Andrei Morelos Abrupt, Striking Shift in Dynamics Or Tempo (It’S Also the “S.” in “V.S.”—Volti

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Subito Simply Means “Suddenly,” Indicating an Andrei Morelos Abrupt, Striking Shift in Dynamics Or Tempo (It’S Also the “S.” in “V.S.”—Volti SPRING 2018 STUDENT VOICES from PORTLAND STATE UNIVERSITY SCHOOL OF MUSIC & THEATER MUSIC JOURNAL ISSUE 1, SPRING 2018 EDITOR-IN-CHIEF Matthew Neil Andrews ART DIRecTOR From the Editor Angelica G. Hesse ASSISTANT EDITORS All of a sudden, Portland State University has a journal of music. Christina Ebersohl Thanks to the combined efforts of the people named on this page, you Bailey Paugh now hold in your hands a collection of writings and conversations by PSU COPY CHIEF students and faculty. Thus have we made an immediate leap from zero Harlie Hendrickson issues to one. COPY EDITOR The musical term subito simply means “suddenly,” indicating an Andrei Morelos abrupt, striking shift in dynamics or tempo (it’s also the “S.” in “V.S.”—volti CONTRIBUTING WRITERS subito—indicating a quick page turn). The Italian word, like the Latin word Adam Brooker from which it descends, emerges from the union of sub- (“under” as in Ricky Chan “submarine”) and -ito (“to go” as in “Romani ite domum”), and carries two Ian Cooper layers of meaning. Alexis Deona In one sense, subito suggests an undertaking, an ordeal which one Christina Ebersohl undergoes, as in Nietzsche’s untergehen or the French subir (cognate with Harlie Hendrickson the English “suffer”). The second layer of meaning evokes immediacy, Angelica G. Hesse Bailey Paugh quickness, and the uncanny sensation of incipient epiphany, a lightning Chris Poulakidas bolt of astonishment sneaking up on you, leaping out from behind a blind Aaron Richardson corner like the proverbial thief in the night. Patrick Rooney All of which brings us back around to the primary musical meaning: Charles Rose a dramatic change which arrives, seemingly, out of nowhere. And yet the Aaron Shingles best subito experiences, in music as in life, are those in which the shock- SHADOW ADVISER ing revelation seems inevitable, even familiar. Jelena Simonovi ´c Schiff In these pages, dear reader, you will find conversations, interviews, Direct inquiries to: Dr Jelena S. Schiff book and album reviews, musical analysis, and varied perspectives on School of Music & Theater Portland State University Schubert’s Winterreise, American composer Lou Harrison, and the impact PO Box 751 Portland, OR 97207 of War on Artists. We are especially pleased by our extensive, exclusive e-mail: [email protected] interview with the newly appointed Dean of the College of the Arts, Dr. The articles printed in Subito represent the viewpoints of the Leroy E. Bynum, Jr., on page 27. authors and do not necessarily represent the opinions of the University. I hope you will enjoy reading our journal as much as we’ve enjoyed All Rights Reserved. No article or part of this publication may creating it. be reproduced or copied in any form without prior written permission of the publisher. Copyright ©2018 Portland State Matthew Neil Andrews University, Portland, OR Editor-In-Chief PRINTED BY B+B Print Source, Tigard, OR SPecIAL THANKS TO Abbey Gaterud Bonnie Miksch Reaz Mahmood Rick Van Sant 1 Contents CENTRAL THEME ART + ARMISTICE OREGON CORNER CELEBRATING LOU HARRISON 3 Introduction 37 Syncretism and Universality in Language and Music: Esperanto in 4 The Bludgeon, Grief, and Pride of War: Lou Harrison’s La Koro Sutro, King Albert's Book, HARLIE HENDRICKSON CHRISTINA EBERSOHL 7 A Reflection of Broken Humanity: 39 Mixing Melodicism with French Composers Respond to Experimentation: Lou Harrison and The Great War, CHRISTINA EBERSOHL the Classical Guitar, ADAM BROOKER 13 Conflict and Folk Music: Britain’s 42 Compositional Practice as Expression Musical Development during of Cultural Hybridity in Lou Harrison’s and after The Great War, PATRICK ROONEY Double Concerto for Violin, Cello, and 15 Expressionism, Hope, and Horror: Javanese Gamelan, MATTHEW NEIL ANDREWS Austro-Germanic Painters and 45 A Tale to Warm the Heart and Stimulate Composers of the Great War, the Mind: Review of Lou Harrison: BaILEY PAUGH American Musical Maverick, 18 From Nationalism to Neoclassicism: ADAM BROOKER & MATTHEW NEIL ANDREWS Igor Stravinsky's Wartime Style Shift, 47 Lou Harrison Recordings: Four Good RICKY CHAN Albums from the Vast Acreage, 20 The US Enters the War. Ives Reacts., MATTHEW NEIL ANDREWS IAN COOPER & AARON SHINGLES 21 Wartime Songs. Concord Sonata., ALBUM REVIEW AARON RICHARDSON 49 The Space Between Us, ALEXIS DEONA CONCERT REFLECTIONS NEW WORK 22 Dying Together in the Snow: 50 David Ludwig’s Pangæa: A Winterreise Conversation, Overview, Listener’s Guide, HARRY BaECHTEL, CHUCK DILLARD, Interview with the Composer, ANGELICA HESSE, CHRIS POULAKIDAS MATTHEW NEIL ANDREWS & CHARLES ROSE FACULTY SPOTLIGHT 27 Where Luck Meets Preparation: An Interview with Dean Bynum, MATTHEW NEIL ANDREWS Subito | SPRING ‘18 3 ART + ARMISTICE Art and Armistice Matthew Neil Andrews omain, https://commons.wikimedia.org/w/index.php?curid=63298854 D cotland, Public cotland, S ibrary of of ibrary L his year (2018) we celebrate the cen- unique perspectives. Each one focuses on a ational N tennial of Armistice—the moment, different country impacted by the war. Subito symbolic and political, when the Copy Chief Harlie Hendrickson opens the sec- Tleaders of the nations involved in The Great War tion with her overview of King Albert’s Book, of 1914-18 decided the fighting would official- surveying its contents and placing them in ly end. During those four years, the world had their socio-historical context. Assistant Editors been utterly transformed by the deaths and inju- Christina Ebersohl and Bailey Paugh consider, his image is available from the from is available his image T ries suffered by millions of soldiers and civilians; respectively, the responses of artists in France by the concurrent revolutions, civil wars, geno- and the German-speaking countries. Patrick ROOKS. B cides, famines, and epidemics which spread all Rooney examines musical shifts in Great Britain RNEST RNEST across Europe; by the astonishing horrors of during and after the Great War, and Ricky Chan E modern mechanized warfare, war profiteering, analyzes Stravinsky’s shift from nationalist to OTO: OTO: H P and war crimes; and by the uneasy imbalances neoclassicist during the composer’s wartime of global power which tilted and shifted along years in Switzerland. Finally, Aaron Shingles and fault lines created by centuries of tension, con- Ian Cooper join Aaron Richardson in discussing flict, and mistrust. the works of U.S. composer Charles Ives. Swept up in all of this, along with everyone Ebersohl’s article contains a remarkable else, were musicians whose names are famil- phrase: “throughout the chaos, humanity fought iar to us all. Debussy and Ravel. Schoenberg to understand and overcome the devastation and Webern. Holst and Vaughan Williams. with weapons of art.” As we hold on to hope in Stravinsky. this strange, troubled year (2018), let us remem- Eight Portland State music students tack- ber to always keep such spiritual armaments led six subtopics, approaching the subject from near to hand. Subito | SPRING ‘18 4 ART + ARMISTICE The Bludgeon, Grief, and Pride of War KING ALBERT'S BOOK Harlie Hendrickson elgium was thrown into the first gift of reverence from allied European coun- World War on August 5, 1914, de- tries to an unfairly devastated nation. Europe spite taking a neutral position in the was greatly shaken by the war, and from its Bbrewing conflict, with no revenge to seek and people came a huge crop of rich, patriotic art no benefit in taking up arms. The first alterca- born from the bludgeon, grief, and pride of tion came when Germany forced entry through war. For our little plucky Belgium, peoples from to France. Germany had delivered an ultima- far-reaching places contributed their poems, tum to Belgian King Albert I: allow Germany to art, music, and other supportive sentiments pass safely or be subject to its sword. Belgium, as a way to raise money for Belgian refugees jealous of its independence and neutrality, as- and the ravaged land where they once peace- sumed in honorable defiance the burden of fully lived. The Daily Telegraph published the war—to devastating effects. The country did book four months after Germany’s invasion, on not wish to be the battleground for France and Christmas Day 1914. Germany, yet the result was a pillage through Belgian artists contributed poetic accounts Belgium, the loss of many of its capitals of cul- of national pride—pride of persistent morality ture, and the deaths of many Belgian civilians. and brave defeat. Particularly notable is Belgian As morbid as the thought may be, great and writer Emile Cammaerts’ poem “Carillon” profound art can emerge from such gruesome (English translation by Cammaerts' wife, Tita extremes as the tremors of war. Brand): As a formal ally of Belgium, Britain was compelled to declare war on Germany the day Sing, Belgians, Sing! the invasion started. British writer Hall Caine, Although our wounds may bleed, moved to pity and admiration, compiled and Although our voices break, edited King Albert’s Book: A Tribute to the Louder than the storm, louder than the guns, Belgian King and People from Representative Sing of the pride of our defeats Men and Women Throughout the World—a 'Neath this bright Autumn sun, Subito | SPRING ‘18 5 ART + ARMISTICE mangled bodies in trenches, famine, and And sing of the joy of honour When cowardice might be so sweet. ultimate folly. He believes he can stop the war by poisoning his master and preventing British composer Edward Elgar composed “the ultimatum”—the fateful meeting with an orchestral accompaniment for the reci- tation of “Carillon,” with ringing bells me- the Belgian king demanding safe passage morializing Belgian bell towers destroyed for the German military. Just as the chirop- by German raids. Elgar captures the rap- odist is about to poison the king’s drink and turous pride of the poet’s words with ener- save millions of lives, a royal duke enters getic march sections, weaving in somber and offers him a prominent post.
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