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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ August 19, 2004 I, _________________________________________________________,Janice Louise Minor hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Clarinet Performance It is entitled: "WERE THEY TRULY NEOCLASSIC?" A STUDY OF FRENCH NEOCLASSICISM THROUGH SELECTED CLARINET SONATAS BY "LES SIX" COMPOSERS: ARTHUR HONEGGER, GERMAINE TAILLEFERRE, DARIUS MILHAUD, AND FRANCIS POULENC This work and its defense approved by: Chair: _______________________________Ronald de Kant _______________________________Sandra Rivers _______________________________Robert Zierolf _______________________________ _______________________________ “WERE THEY TRULY NEOCLASSIC?” A STUDY OF FRENCH NEOCLASSISM THROUGH SELECTED CLARINET SONATAS BY “LES SIX” COMPOSERS: ARTHUR HONEGGER, GERMAINE TAILLEFERRE, DARIUS MILHAUD, AND FRANCIS POULENC A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2004 By Janice L. Minor B.F.A., State University of New York-College at Purchase, 1986 M.M., Northwestern University, 1988 Artist Diploma, DePaul University, 1995 Committee Chair: Professor Ronald de Kant Abstract The devastation of World War I had a great effect on the arts. Socio-economic collapse following this war played a major role in the musical transition from nineteenth-century romanticism to twentieth-century “isms. As many artists, particularly in France, sought a return to simplicity, the drama and emotions of romanticism, as well as the luxuriousness of impressionism was rejected. This “new simplicity” emphasized clarity, objectivity, reality, refinement, and concision. This new period of restraint and balance resulted in the neoclassic movement of the 1920s and remained strong until after 1945. Neoclassicism rejected the programmatic music characteristic of the nineteenth century and looked back to the order and precision in the absolute music of the eighteenth century. As stylistic changes occurred after the war in many European countries, non-western countries and the United States, Paris became an important center for music, art and literature. In an effort to withdraw from Germanic influences, French composers sought alternative styles that did not refer to the great masters of the Medieval, Renaissance, Baroque, and Classical periods. In 1917, Jean Cocteau launched composer Erik Satie into prominence after the success of his post-war ballet Parade. Satie’s music rejected the formal designs of the past and infused the sounds of popular music from the Parisian cabaret, circus and music-halls. A group of six young composers working in France after World War I, commonly referred to as Les Six, were influenced by Satie. In general, their music represents a strong reaction against the German romanticism of Richard Wagner and ii Richard Strauss, as well as the impressionism of Claude Debussy. Although they succeeded in breaking away from the romantic aesthetic of the nineteenth century with lightness, humor, simplicity, and clarity, does this make them truly neoclassic in style? This thesis will begin with a discussion about French neoclassicism and examine the stylistic traits of this musical movement through selected clarinet solo and chamber music by Arthur Honegger, Germaine Tailleferre, Darius Milhaud, and Francis Poulenc. A formal analysis of sonatas by each of these composers will demonstrate how they interpreted French neoclassicism in their own unique ways. iii COPYRIGHT NOTICES AND PERMISSION SONATINE POUR CLARINET EN LA ET PIANO By Arthur Honegger Copyright © 1925 by Éditions Salabert, Paris International Copyright Secured. All Rights Reserved. Used by Permission. SONATA FOR CLARINET SOLO By Germaine Tailleferre Copyright © 1959 by Rongwen Music, Inc. New York; 1987 by Rongwen Music a division of Broude International Editions, Inc. International Copyright Secured. All Rights Reserved. Used by Permission. SONATINE POUR CLARINETTE ET PIANO OP.100 By Darius Milhaud © 1957 by Durand Éditions Musicales, Paris International Copyright Secured. All Rights Reserved. Used by Permission. SONATA FOR CLARINET AND PIANO By Francis Poulenc © 1963 Chester Music Limited, London Revised Edition © Copyright 2000 Chester Music Limited International Copyright Secured. All Rights Reserved. Used by Permission. iv ACKNOWLEDGMENTS I wish to express my sincere gratitude to my committee members, Professor Sandra Rivers and Dr. Robert Zierolf, for their commitment to the quality on this project, and my mentor and advisor, Professor Ronald de Kant, for his guidance, musical expertise and support throughout my clarinet career. I would like to thank my colleagues from James Madison University, Dr. George Johnson and Dr. Charles Dotas, for their scholarship, time, and assistance towards the completion of this document. Thank you also to my parents, Josephine and Theodore Minor, and my sister, Joyce Cannon, for always believing in me and for their constant support, understanding, and encouragement of my musical career. Lastly my dearest friends, Carol Antonino and Peter Lograsso, whose loving support, eternal optimism, rallying spirits, and senses of humor I could not have done without. v TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES……………………………………………………...2 Chapter I. FRENCH NEOCLASSICAL MOVEMENT IN THE EARLY TWENTIETH CENTURY………………………………………………...5 II. NEOCLASSICAL/NON-NEOCLASSICAL COMPOSITIONAL STYLES OF ARTHUR HONEGGER, GERMAINE TAILLEFERRE, DARIUS MILHAUD, AND FRANCIS POULENC...…………………..13 Arthur Honegger…………………………………………………………13 Germaine Tailleferre……………………………………………………..18 Darius Milhaud………………………………………………………..…23 Francis Poulenc………………………………………………………......33 III. COMPARATIVE STUDY OF THE NEOCLASSIC/ NON-NEOCLASSIC TRAITS IN SELECTED CLARINET SONATAS BY ARTHUR HONEGGER, GERMAINE TAILLEFERRE, DARIUS MILHAUD, AND FRANCIS POULENC…...……………………….………………………49 Sonatina for Clarinet and Piano by Arthur Honegger…….…..….49 Sonata for Clarinet Solo by Germaine Tailleferre……………….61 Sonatina for Clarinet and Piano op. 100 by Darius Milhaud…….68 Sonata for Clarinet and Piano by Francis Poulenc…………….…80 IV. CONCLUSIONS…………………………………………………….…...99 SELECTED BIBLIOGRAPHY……………………………………………………....106 1 MUSICAL EXAMPLES Example Page Sonatina for Clarinet and Piano by Arthur Honegger Ex. 1. Movement I, mm. 1-4……………………………………………50 Ex. 2. Movement I, mm. 9-11…………………………………………..50 Ex. 3. Movement I, mm. 30-33……………………………………..…..51 Ex. 4. Movement I, mm. 38-41…………………………………………51 Ex. 5. Movement I, mm. 44-49……………………………………..…..52 Ex. 6. Movement I, mm. 26-29………………………………………....53 Ex. 7. Movement I, mm. 33-36…………………………………..……..53 Ex. 8. Movement II, mm. 1-2; m. 15……….…………………….……..54 Ex. 9. Movement II, mm. 26-29…………………………….………......54 Ex. 10. Movement II, mm. 1-9……………………………………….......55 Ex. 11. Movement II, m. 1 and m. 33……………………………….…...56 Ex. 12. Movement III, mm. 1-4…………………………………….…....57 Ex. 13. Movement III, mm. 14-16………………………………….…....58 Ex. 14. Movement III, mm. 17-19………………………………….…....59 Ex. 15. Movement III, mm. 28-33………………………………….…....60 Sonata for Clarinet Solo by Germaine Tailleferre Ex. 1. Movement I, mm. 1-10………………………………………..…62 Ex. 2. Movement I, mm. 11-15………………………………………....63 Ex. 3a. Movement I, mm. 3-4……………………………………….…...64 2 Ex. 3b. Movement I, mm. 37-44………………………………..……..…64 Ex. 4. Movement I, mm. 50-52………………………………….....…...64 Ex. 5. Movement II, mm. 1-9……………………………..………….....65 Ex. 6. Movement II, mm. 31-35………………………..…………….....65 Ex. 7a. Movement III, mm. 1-4; mm. 12-15………..…………………....66 Ex. 7b. Movement III, mm. 5-7…………..……………………….……...66 Ex. 7c. Movement III, mm. 16-19…..…………………………………....66 Ex. 8. Movement III, cadenza..…………………………………..……..67 Sonatina for Clarinet and Piano op. 100 by Darius Milhaud Ex. 1a. Movement I, mm. 1-2…….…………………………………...…69 Ex. 1b. Movement I, mm. 11-22……...……………………………….…69 Ex. 2. Movement I, mm. 57-58…...…………………………………….70 Ex. 3. Movement I, mm. 59-63…...………………………………….…71 Ex. 4. Movement I, mm. 1-3………...……………………………….…72 Ex. 5. Movement I, mm. 28-30…………...………………………….…72 Ex. 6. Movement I, mm. 53-56……...…………………………….……73 Ex. 7. Movement I, mm. 72-75...………………………………….……74 Ex. 8. Movement II, mm. 1-7…...……………………………………....75 Ex. 9. Movement II, mm. 16-23……………………………………..….76 Ex. 10a. Movement III, mm. 1-2…………………………………..……....77 Ex. 10b. Movement I, m. 1………………………………………………...77 Ex. 11. Movement III, mm. 51-61……………………………..…….…...78 3 Sonata for Clarinet and Piano by Francis Poulenc Ex. 1. Movement I, mm. 9-18………………………………..…………81 Ex. 2. Movement I, mm. 19-28……………………………………..…..82 Ex. 3. Movement I, mm. 59-66…………………………………………83 Ex. 4a. Movement I, mm. 78-83………………..…………………..……84 Ex. 4b. Movement I, mm. 86-92……………………………..…………..85 Ex. 5. Movement I, mm. 123-133………………………………………86 Ex. 6. Movement II, mm. 1-4..……………………………….….……...87 Ex. 7. Movement II, mm. 11-24…………………..……………..……...88 Ex. 8. Movement II, mm. 31-36………………………………………...89 Ex. 9. Movement II, mm. 71-76………………………………………...90 Ex. 10. Movement III, mm. 1-7…………………………………………..91 Ex. 11a. Movement III, mm. 13-17………………………………………..92 Ex. 11b. Movement I, mm. 40-44………………….………………...……92 Ex. 12a. Movement III, mm. 18-25…………………………….……..…...93 Ex. 12b. Movement II, mm. 1-4…………………………………..…..…...94 Ex. 13. Movement III, mm. 44-59………………………………………..95 Ex. 14. Movement III, mm. 79-86………………………………………..96 Ex. 15. Movement III, mm. 125-128……………………………………..97 4
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