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A Performance Guide to Libby Larsen's Sifting Through the Ruins For Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 A performance guide to Libby Larsen's Sifting Through the Ruins for mezzo-soprano, viola and piano Kori Lea Jennings Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jennings, Kori Lea, "A performance guide to Libby Larsen's Sifting Through the Ruins for mezzo-soprano, viola and piano" (2011). LSU Doctoral Dissertations. 4006. https://digitalcommons.lsu.edu/gradschool_dissertations/4006 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMANCE GUIDE TO LIBBY LARSEN’S SIFTING THROUGH THE RUINS FOR MEZZO-SOPRANO, VIOLA AND PIANO A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Kori Lea Jennings B.M., Baldwin-Wallace College – Conservatory, 1996 M.M., Duquesne University, 2002 December, 2011 ACKNOWLEDGEMENTS I would like to offer many thanks to my wonderful committee. Mr. Robert Grayson, I would not be where I am today without your guidance, knowledge, support, patience, and friendship. Thank you for a life-changing three years. Professor Patricia O‘Neill, the lessons I have learned from you are too numerous to name. Thank you, PON, for being an amazing friend and mentor. Dr. Loraine Sims, you have helped me become a better teacher. I am forever indebted to you for all your advice and for continuously brightening my day with your laugh. Professor Dennis Jesse, your direction and encouragement during Hansel and Gretel is something I will never forget. It was the best time I have ever had in my performance career. It has been my honor and privilege to work with the LSU voice faculty and I would also like to thank Ms. Terry Patrick-Harris and Dr. Lori Bade for their help and guidance. This document would never have been possible without the help of Libby Larsen. I am honored to have been given the opportunity to write about such an important work. Thank you for your time, humor, and inspiring music. In addition, I would like to thank Dr. Larsen‘s associate, Grace Edgar, for answering my endless amounts of emails. To Susanne Mentzer and James Dunham, your love of music, and of this piece, is an inspiration to me and I can‘t thank you enough for all of your help. To Morgan Bartholick and Louis Wendt, I couldn‘t have asked for better musicians to work with on my lecture recital. Thank you for making my last recital at LSU so memorable. I have been very lucky to have many musical mentors throughout my career. Thank you to Brian Garman, Matt Morgan, Mija Novich, Dr. George K. Pearsall, Charlotte Sonne, and Mark Trawka for sharing your love of music with me. A special thank you to my remarkable friends: Debbie Donnelly, Kat Drake, Pam Jimenez, Ed and Tracey Mundorf, and Susan ii Ruggiero. Your support and friendship is invaluable and I thank my lucky stars you are all in my life. I am truly fortunate to have a wonderful family and I would like to thank all of you for your endless love and support. To my parents, Janet and David, thank you for believing in me even when I didn‘t believe in myself. To my sister, Kelly, there are no words to express how much you mean to me. Thank you for always being there! To my brother-in-law, Ryan, you were meant to be a part of our family. Thank you for making my sister so happy and for your humor. I think a doctorate calls for a new choreographed dumb-dance, don‘t you? Finally, this document is dedicated to my two extraordinary nephews, Jack and Nate, who inspire me every day. No matter the obstacles, always follow your dreams because the journey is worth it! iii TABLE OF CONTENTS Acknowledgements..........................................................................................................................ii List of Musical Examples...............................................................................................................vi Abstract...........................................................................................................................................ix Introduction......................................................................................................................................1 Chapter 1. Libby Larsen..................................................................................................................3 Biographical Information...............................................................................................3 Compositional Style.......................................................................................................8 Solo Vocal Works........................................................................................................11 2. Susanne Mentzer..........................................................................................................15 Biographical Information.............................................................................................15 The First Collaboration with Libby Larsen.................................................................19 3. September 11, 2001.....................................................................................................23 The Terror Attacks.......................................................................................................23 The Inspiration and Collection of Texts......................................................................25 The Evolution and Composition of Sifting Through the Ruins....................................27 The Rehearsal Process and Premiere...........................................................................29 4. Performance Guide......................................................................................................32 An Overview: Harmonic Structure, Rhythm, Performance Suggestions....................32 Conclusion.....................................................................................................................................80 Bibliography..................................................................................................................................81 Appendix A. Transcripts of Phone and Email Interviews with Libby Larsen.................................84 B. Transcripts of Phone Interview with Susanne Mentzer..............................................94 C. Transcripts of Email and Phone Interviews with James Dunham............................102 D. Tempo Modifications................................................................................................109 iv E. Program Notes by the Composer..............................................................................110 F. Discography of Vocal Works....................................................................................111 G. List of Vocal Works..................................................................................................115 H. Letter of Permission..................................................................................................119 Vita...............................................................................................................................................120 v LIST OF MUSICAL EXAMPLES Example 4.1 A Listing mm. 1-2.....................................................................................................35 Example 4.2 Don‘t look for me anymore mm. 9-12......................................................................35 Example 4.3 Untitled mm. 1-2......................................................................................................36 Example 4.4 Someone Passes mm. 72-75.....................................................................................36 Example 4.5 A Listing mm. 16-17.................................................................................................37 Example 4.6 A Listing mm. 24-25.................................................................................................38 Example 4.7 Someone Passes mm. 26-29.....................................................................................38 Example 4.8 To the Towers Themselves mm. 46-48.....................................................................39 Example 4.9 Untitled mm. 1-4......................................................................................................40 Example 4.10 A Listing m. 1-5......................................................................................................40 Example 4.11 Untitled mm. 34......................................................................................................41 Example 4.12 A Listing mm. 9-12.................................................................................................43 Example 4.13 To the Towers Themselves mm. 13-18...................................................................43 Example 4.14 A Listing m. 8.........................................................................................................46 Example 4.15 A Listing m. 9.........................................................................................................46
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