Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

2018 Three Song Cycles of Timothy Hoekman Galen Dean Peiskee Jr.

Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

THREE SONG CYCLES OF TIMOTHY HOEKMAN

GALEN DEAN PEISKEE, JR.

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

2018 Galen Dean Peiskee, Jr. defended this treatise on May 4, 2018. The members of the supervisory committee were:

Timothy Hoekman Professor Directing Treatise

Jane Piper Clendinning University Representative

Deborah Bish Committee Member

Valerie M. Trujillo Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

I dedicate this treatise to my wife, Cheryl, and my four children, Rebecca, Jason, Moses, and Aria. My academic and musical achievements pale in comparison with the family that I am honored to have helped create.

iii ACKNOWLEDGMENTS

The creation of this document would not have been possible without the patient guidance and support given to me by my supervisory committee of Professor Valerie Trujillo, Dr. Deborah Bish and Dr. Jane Clendinning. I owe special thanks to my major professor, Dr. Timothy Hoekman, who has guided me through my degrees at Florida State University with wisdom and wit, and without whom this treatise certainly could not exist. I would like to thank my parents, Galen Dean Peiskee, Sr. and Teri Jackson, for their unceasing support of my career and goals from childhood. I have had the immense pleasure of collaborating with McKenna Milici, Emily Howes, Petra Bubanja, and Aleksandra Pereverzeva in performance of the song cycles that are discussed in this document. I also recognize all those with whom I have performed at Florida State as well as my collaborative piano colleagues: your support also has helped a great deal. I thank Curtis Brown, Ltd., Harvard University, Theodore Presser, and Timothy Hoekman for licenses and permissions that have been granted for the reproduction of poetry and music in this document.

iv TABLE OF CONTENTS

List of Tables ...... vii

List of Figures ...... viii

Abstract ...... xiv

INTRODUCTION ...... 1

CHAPTER ONE: TIMOTHY HOEKMAN ...... 2 Biographical Information ...... 2 Compositional Background ...... 4

CHAPTER TWO: TO MAKE A PRAIRIE ...... 5 Background Information ...... 5 To Make a Prairie ...... 5 She Sweeps with Many-Colored Brooms ...... 8 It Sifts from Leaden Sieves ...... 14 Two Butterflies Went Out at Noon ...... 20

CHAPTER THREE: THE NASH MENAGERIE ...... 28 Background Information ...... 28 The Wombat ...... 28 The Turkey ...... 32 The Hippopotamus ...... 34 The Kangaroo ...... 37 The Fly ...... 39 The Caterpillar...... 40 The Germ ...... 44

CHAPTER FOUR: THREE POEMS OF WILLIAM BUTLER YEATS ...... 52 Background Information ...... 52 The Wild Swans at Coole ...... 52 The Lake Isle of Innisfree ...... 66 The Cat and the Moon...... 72

CHAPTER FIVE: CONCLUSIONS REGARDING COMPOSITIONAL STYLE TRAITS ...... 81 Text-Setting ...... 81 Instrumental Mood and Text Painting ...... 84 Contrapuntally-Derived Harmonic Language ...... 86 Usage or Avoidance of Traditional Chord Progressions ...... 88 Tailored Musical Structure ...... 91

APPENDIX A: TABLES OF MUSICAL WORKS OF TIMOTHY HOEKMAN ...... 94

APPENDIX B: TABLES OF WORKS ORGANIZED BY PUBLISHER ...... 97

APPENDIX C: LICENSES AND COPYRIGHT PERMISSIONS ...... 99

BIBLIOGRAPHY ...... 107

BIOGRAPHICAL SKETCH ...... 109

vi LIST OF TABLES

Table 2.1: Timothy Hoekman “Two Butterflies Went Out at Noon” Harmony vs. Bass mm. 1-12 ...... 21

Table 3.1: Timothy Hoekman “The Caterpillar” Form ...... 41

Table 3.2: Timothy Hoekman “The Germ” Form vs. Text...... 44

Table 4.1: Timothy Hoekman “The Wild Swans at Coole” Form ...... 54

Table 4.2: Timothy Hoekman “The Lake Isle of Innisfree” Form ...... 67

Table 4.3: Timothy Hoekman “The Cat and the Moon” Form ...... 73

Table 5.1: Timothy Hoekman “She Sweeps with Many-Colored Brooms” Form ...... 91

Table 5.2: Timothy Hoekman “Two Butterflies Went Out at Noon” Form ...... 91

Table 5.3: Timothy Hoekman “The Wombat” Form ...... 91

Table 5.4: Timothy Hoekman “The Hippopotamus” Form ...... 92

Table 5.5: Timothy Hoekman “The Caterpillar” Form ...... 92

Table 5.6: Timothy Hoekman “The Wild Swans at Coole” Form ...... 93

Table 5.7: Timothy Hoekman “The Cat and the Moon” Form ...... 93

Table A.1: Songs for Voice and Piano...... 94

Table A.2: Vocal Chamber Works ...... 94

Table A.3: Works for Voice and Orchestra ...... 95

Table A.4: Choral Works ...... 95

Table A.5: Other Works ...... 96

Table B.1: Works Organized by Publisher ...... 97

vii LIST OF FIGURES

Fig. 2.1: Timothy Hoekman, “To Make a Prairie” mm. 1-2, piano part ...... 6

Fig. 2.2: Timothy Hoekman “To Make a Prairie” mm. 9-10 ...... 6

Fig. 2.3: Robert Schumann Kinderszenen, Op 15, “Träumerei” mm. 1-2 ...... 7

Fig. 2.4: Timothy Hoekman “To Make a Prairie” mm. 1-4, voice part ...... 7

Fig. 2.5: Timothy Hoekman “To Make a Prairie” mm. 13-17 ...... 8

Fig. 2.6: Timothy Hoekman “She Sweeps with Many-Colored Brooms” m. 1, piano part ...... 9

Fig. 2.7: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 1-3, voice part ....10

Fig. 2.8: Timothy Hoekman “She Sweeps with Many-Colored Brooms” m. 13, voice part ...... 10

Fig. 2.9: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 16-19, voice part ...... 10

Fig. 2.10: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 11-13, voice part and right hand of the piano part ...... 11

Fig. 2.11: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 1-3 ...... 12

Fig. 2.12: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 9-11 ...... 12

Fig. 2.13: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 18-23 ...... 13

Fig. 2.14: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 30-33 ...... 13

Fig. 2.15: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 1-4 piano part ...... 14

Fig. 2.16: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 4-11 ...... 16

Fig. 2.17: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 25-26 ...... 17

Fig. 2.18: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 27-33 ...... 18

Fig. 2.19: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 1-2, 34-35...... 19

Fig. 2.20: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 43-47 ...... 19

viii Fig. 2.21: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 1-4 ...... 20

Fig. 2.22: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 25-34 ...... 21

Fig. 2.23: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 29-44, voice part ...... 22

Fig. 2.24: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 45-48, voice part ...... 23

Fig. 2.25: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 14-17, 49-52 ...... 24

Fig. 2.26: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 11-12 ...... 24

Fig. 2.27: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 23-25 ...... 25

Fig. 2.28: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 46-47 ...... 25

Fig. 2.29: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 58-61 ...... 25

Fig. 2.30: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 9-16 ...... 26

Fig. 2.31: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 21-25 ...... 26

Fig. 2.32: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 57-64 ...... 27

Fig. 3.1: Timothy Hoekman “The Wombat” mm. 1-4, piano part ...... 29

Fig. 3.2: Timothy Hoekman “The Wombat” mm. 2-10, 14-23, voice part (melody only) ...... 29

Fig. 3.3: Timothy Hoekman “The Wombat” mm. 10-14, piano part ...... 30

Fig. 3.4: Timothy Hoekman “The Wombat” mm. 9-10, 22-23 ...... 31

Fig. 3.5: Timothy Hoekman “The Wombat” mm. 22-33 ...... 31

Fig. 3.6: Timothy Hoekman “The Turkey” mm. 1-6 ...... 32

Fig. 3.7: Timothy Hoekman “The Turkey” mm. 7-10, 17-18, voice part ...... 33

Fig. 3.8: Timothy Hoekman “The Turkey” mm. 12-15, voice part ...... 33

Fig. 3.9: Timothy Hoekman “The Turkey” mm. 19-20, voice part ...... 34

Fig. 3.10: Timothy Hoekman “The Hippopotamus” mm. 1-2, piano part ...... 34

Fig. 3.11: Timothy Hoekman “The Hippopotamus” mm. 1-7, 9-15, voice part ...... 35

ix Fig. 3.12: Timothy Hoekman “The Hippopotamus” mm. 7-10, 15-16...... 36

Fig. 3.13: Timothy Hoekman “The Kangaroo” mm. 1-4, piano part...... 37

Fig. 3.14: Timothy Hoekman “The Kangaroo” mm. 6-8, voice part ...... 38

Fig. 3.15: Timothy Hoekman “The Kangaroo” mm. 6-8, voice part; mm. 10-12 ...... 38

Fig. 3.16: Timothy Hoekman “The Kangaroo” mm. 13-16 ...... 38

Fig. 3.17: Timothy Hoekman “The Fly” m. 1, piano part (partial)...... 39

Fig. 3.18: Timothy Hoekman “The Fly” m. 1, voice part ...... 40

Fig. 3.19: Timothy Hoekman “The Fly” mm. 9-10 ...... 40

Fig. 3.20: Timothy Hoekman “The Caterpillar” mm. 26-28 ...... 41

Fig. 3.21: Timothy Hoekman “The Caterpillar” mm. 1-2, 7-8, voice part ...... 42

Fig. 3.22: Timothy Hoekman “The Caterpillar” mm. 1-11 ...... 42

Fig. 3.23: Timothy Hoekman “The Caterpillar” mm. 1-11, condensed reduction of voice part vs. . bass ...... 43

Fig. 3.24: Timothy Hoekman “The Caterpillar” mm. 22-26, voice part ...... 43

Fig. 3.25: Timothy Hoekman “The Germ” mm. 1-2 ...... 45

Fig. 3.26: Timothy Hoekman “The Germ” mm. 3-8 ...... 46

Fig. 3.27: Timothy Hoekman “The Germ” mm. 9, 11-12, 15-16 ...... 47

Fig. 3.28: Timothy Hoekman “The Germ” mm. 17-19 ...... 48

Fig. 3.29: Timothy Hoekman “The Germ” mm. 21-24 ...... 49

Fig. 3.30: Timothy Hoekman “The Germ” mm. 25, 29, voice part ...... 49

Fig. 3.31: Timothy Hoekman “The Germ” mm. 33-37 ...... 50

Fig. 4.1: Timothy Hoekman “The Wild Swans at Coole” mm. 1-2 ...... 55

Fig. 4.2: Timothy Hoekman “The Wild Swans at Coole” mm. 6-8 ...... 55

Fig. 4.3: Timothy Hoekman “The Wild Swans at Coole” mm. 14-16 ...... 55

Fig. 4.4: Timothy Hoekman “The Wild Swans at Coole” m. 27-31 ...... 56

Fig. 4.5: Timothy Hoekman “The Wild Swans at Coole” m. 31 ...... 57

Fig. 4.6: Timothy Hoekman “The Wild Swans at Coole” mm. 34-36 ...... 58

Fig. 4.7: Timothy Hoekman “The Wild Swans at Coole” mm. 41-42 ...... 59

Fig. 4.8: Timothy Hoekman “The Wild Swans at Coole” mm. 44-46 ...... 59

Fig. 4.9: Timothy Hoekman “The Wild Swans at Coole” mm. 47-49 ...... 60

Fig. 4.10: Timothy Hoekman “The Wild Swans at Coole” mm. 53-55 ...... 60

Fig. 4.11: Timothy Hoekman “The Wild Swans at Coole” mm. 59-64 ...... 61

Fig. 4.12: Timothy Hoekman “The Wild Swans at Coole” mm. 68-70 ...... 62

Fig. 4.13: Timothy Hoekman “The Wild Swans at Coole” mm. 31 and 77, voice part ...... 62

Fig. 4.14: Timothy Hoekman “The Wild Swans at Coole” mm. 92-94 ...... 63

Fig. 4.15: Timothy Hoekman “The Wild Swans at Coole” mm. 113-116 ...... 64

Fig. 4.16: Timothy Hoekman “The Wild Swans at Coole” mm. 31-34, 116-119, voice part ...... 65

Fig. 4.17: Timothy Hoekman “The Wild Swans at Coole” mm. 170-176 ...... 65

Fig. 4.18: Timothy Hoekman “The Lake Isle of Innisfree” mm. 1-2 ...... 67

Fig. 4.19: Timothy Hoekman “The Lake Isle of Innisfree” mm. 6-7, voice part ...... 68

Fig. 4.20: Timothy Hoekman “The Lake Isle of Innisfree” mm. 9-15 ...... 68

Fig. 4.21: Timothy Hoekman “The Lake Isle of Innisfree” m. 31 ...... 69

Fig. 4.22: Timothy Hoekman “The Lake Isle of Innisfree” m. 35, violin part ...... 69

Fig. 4.23: Timothy Hoekman “The Lake Isle of Innisfree” mm. 41-43 ...... 70

Fig. 4.24: Timothy Hoekman “The Lake Isle of Innisfree” m. 45-46, voice part ...... 70

Fig. 4.25: Timothy Hoekman “The Lake Isle of Innisfree” mm. 58-60, piano and voice parts ....70

Fig. 4.26: Timothy Hoekman “The Lake Isle of Innisfree” mm. 66-68 ...... 71

Fig. 4.27: Timothy Hoekman “The Lake Isle of Innisfree” mm. 73-76 ...... 72

Fig. 4.28: Timothy Hoekman “The Cat and the Moon” mm. 1-3 ...... 74

Fig. 4.29: Timothy Hoekman “The Cat and the Moon” mm. 4-7 ...... 74

Fig. 4.30: Timothy Hoekman “The Cat and the Moon” mm. 12-13 ...... 75

Fig. 4.31: Timothy Hoekman “The Cat and the Moon” mm. 17-18 ...... 75

Fig. 4.32: Timothy Hoekman “The Cat and the Moon” mm. 25-26, 111-112 ...... 76

Fig. 4.33: Timothy Hoekman “The Cat and the Moon” mm. 37-38 (and 123-124) ...... 76

Fig. 4.34: Timothy Hoekman “The Cat and the Moon” mm. 62-64 ...... 77

Fig. 4.35: Timothy Hoekman “The Cat and the Moon” m. 71, voice part ...... 77

Fig. 4.36: Johann Sebastian Bach Minuet in G major, BWV Anh. 114 mm. 1-2 ...... 77

Fig. 4.37: Timothy Hoekman “The Cat and the Moon” mm. 78-80 ...... 78

Fig. 4.38: Timothy Hoekman “The Cat and the Moon” mm. 84-86 ...... 78

Fig. 4.39: Timothy Hoekman “The Cat and the Moon” mm. 105-106 ...... 79

Fig. 4.40: Timothy Hoekman “The Cat and the Moon” mm. 143-144 ...... 79

Fig. 4.41: Timothy Hoekman “The Cat and the Moon” mm. 151-153 ...... 80

Fig. 5.1: Timothy Hoekman “To Make a Prairie” mm. 1-4, voice part ...... 82

Fig. 5.2: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 11-14, voice part ...... 82

Fig. 5.3: Timothy Hoekman “The Turkey” mm. 6-8, voice part ...... 82

Fig. 5.4: Timothy Hoekman “The Wild Swans at Coole” mm. 44-46 ...... 82

Fig. 5.5: Timothy Hoekman “She Sweeps With Many-Colored Brooms” mm. 1-3, voice part ...83

Fig. 5.6: Timothy Hoekman “The Wombat” mm. 9-10, 22-23, voice part ...... 83

Fig. 5.7: Timothy Hoekman “The Kangaroo” mm. 6-8, voice part ...... 83

Fig. 5.8: Timothy Hoekman “The Cat and the Moon” mm. 17-18, voice part ...... 84

xii

Fig. 5.9: Timothy Hoekman “To Make a Prairie” mm. 1-2, piano part...... 84

Fig. 5.10: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 1-4 ...... 85

Fig. 5.11: Timothy Hoekman “The Hippopotamus” mm. 1-2, piano part ...... 85

Fig. 5.12: Timothy Hoekman “The Fly” m. 1...... 85

Fig. 5.13: Timothy Hoekman “The Lake Isle of Innisfree” mm. 24-26, violin part ...... 86

Fig. 5.14: Timothy Hoekman “The Lake Isle of Innisfree” mm. 58-59 ...... 86

Fig. 5.15: Timothy Hoekman “The Lake Isle of Innisfree” mm. 25-26, 111-112 ...... 86

Fig. 5.16: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 27-30 ...... 87

Fig. 5.17: Timothy Hoekman “The Caterpillar” m. 7 ...... 88

Fig. 5.18: Timothy Hoekman “The Wild Swans at Coole” m. 1-2 ...... 88

Fig. 5.19: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 18-23 ...... 89

Fig. 5.20: Timothy Hoekman “The Germ” mm. 51-54 ...... 90

Fig. 5.21: Timothy Hoekman “The Wild Swans at Coole” mm. 44-46 ...... 90

xiii ABSTRACT

The purpose of this treatise is to provide information about and introduce the art songs of American composer Timothy Hoekman (b. 1954) through an analysis and comparison of three song cycles: To Make a Prairie (for soprano and piano) with texts of Emily Dickinson, The Nash Menagerie (for countertenor or mezzo-soprano and piano) with texts of Ogden Nash, and Three Poems of William Butler Yeats (for soprano, violin, cello, and piano). Although well-known as a pianist and vocal coach, Hoekman deserves recognition for his compositions, listed in Appendix A, which includes several song cycles. His combination of idiomatic piano writing and expressive text setting has produced many pieces that stand out as profound examples of American art song. This document attempts to further spread awareness of Hoekman’s music. The first chapter is a biography of Timothy Hoekman with an overview of his musical catalogue. The second through fourth chapters introduce and analyze To Make a Prairie, The Nash Menagerie, and Three Poems of William Butler Yeats, respectively. The fifth chapter concludes the treatise with descriptions of Hoekman’s compositional style traits as determined from the previous song cycle analyses.

xiv INTRODUCTION

Soon after beginning my graduate studies at Florida State University with Dr. Timothy Hoekman, I became aware of his work as a composer. As a pianist enraptured with the genre of art song, my desire to perform his works grew until I eventually coordinated a proposal to perform a program of his music in Weill Recital Hall at Carnegie Hall. Supported by the Florida State University College of Music, I was thrilled to have the opportunity to perform a joint program with several colleagues entitled Home and Abroad that included art songs and vocal chamber works by Timothy Hoekman. Although well-known as a pianist and vocal coach, Hoekman deserves recognition for his compositions. His combination of idiomatic piano writing and expressive text setting has produced pieces that stand out as profound examples of American art song. Hoekman’s penchant for lyrical melody and meaningful word-painting is matched by his talent for devising accompaniments replete with harmonic and rhythmic ingenuity, enlivened by the occasional dash of piquant whimsicality. This treatise explores three of Hoekman’s contrasting song cycles: To Make a Prairie, The Nash Menagerie, and Three Poems of William Butler Yeats. It is my hope that this document will serve to spread awareness of Hoekman’s music and help to secure his reputation as a respected and acknowledged American composer.

1 CHAPTER 1

TIMOTHY HOEKMAN

Biographical Information1

Timothy L. Hoekman was born in Racine, Wisconsin, in 1954 to Steven and Jeannetta Hoekman. Having grown up hearing his mother teach piano privately, including to his two older brothers, he was enthusiastic to begin piano lessons, but had to wait until after kindergarten. The family moved to Kanawha, Iowa, and then to Ripon, California. Hoekman took up the horn in fifth grade band, quit band to take violin lessons in seventh grade, and switched back to horn for high school band. He also sang in the fifth and sixth grade operettas, as well as a madrigal ensemble in high school. Piano would remain his focus, however. The school he attended was affiliated with the Christian Reformed Church and each class would start with the singing of a hymn; as an able pianist, Hoekman would go to a room that lacked a pianist to provide accompaniment. Throughout high school, he taught piano lessons and accompanied the operetta as well as fellow students in music festival competitions. In his junior and senior years, he took organ lessons and played for occasional church services. Aside from an experiment with reharmonizing a rather trite hymn tune that led to polite cease-and-desist requests, composition was not a part of his life. Since Calvin College in Grand Rapids, Michigan, was associated with the Christian Reformed Church, Hoekman’s parents were alumni, and his older brothers were students there, that was the next logical educational step for Hoekman. He attended with the goal of transferring after two years to a music conservatory. While at Calvin College, he realized that he had found a fantastic piano teacher in Ruth Rus and decided to stay to finish his Bachelor of Arts as a Music Major: Piano Concentrate in 1976. His other musical activities included singing in the main choir, called Capella, but only minimal collaborative performance. Applying to the University of Texas at Austin and the Peabody Conservatory at Johns Hopkins University in Baltimore for his master’s degree, Hoekman chose Peabody when he was accepted into Leon Fleisher’s studio. Due to financial considerations, he chose to complete his

1 Much of the information in this chapter is taken from my interview with Timothy Hoekman at Florida State University on February 8, 2018.

2 Master of Music degree in piano performance in one year. While at Peabody, his first attempts at composition were provoked by a series of theory assignments that involved writing a certain number of measures of music in requested styles. He found the exercises challenging but immensely rewarding. After swiftly dispatching his Peabody degree, Hoekman returned to Michigan in 1977 to teach part time at Calvin College while working two church jobs and teaching privately. Finding the schedule strenuous and not financially rewarding, he realized that he would need a doctoral degree. He inquired at Peabody, but he had unfortunately missed the financial aid deadline. However, as he had become a Michigan resident once again, and had enjoyed a trial lesson with Theodore Lettvin at the University of Michigan, he enrolled there for his doctoral degree in 1978. At the University of Michigan, Hoekman collaborated extensively with other music students and even was drafted to teach piano when one of the piano faculty was recovering from back surgery. Although he played for all manner of musicians, vocalists occupied much of his time. After earning his Doctor of Musical Arts degree from the University of Michigan in 1982, Hoekman took a job at East Carolina University in Greenville, North Carolina. He remained there for two years and then in 1984 took a position at Florida State University in Tallahassee, Florida. During his second year at the University of Michigan, the promise of a European tour enticed him to join the chamber choir. In the choir he met Carla Connors, a soprano beginning the first year of her Master’s degree. The tour ended up being postponed for several years until 1983, which was, coincidentally, when Timothy and Carla were married. Carla Connors is the foremost interpreter of Hoekman’s vocal works and has premiered, performed, and recorded many of his songs. Timothy and Carla have two sons, Daniel and Nathan. Currently, Hoekman is Professor of Vocal Coaching and Accompanying at Florida State University. He has performed as soloist and collaborative pianist in the U.S., Canada, Australia, and Europe, and was on the music staff of Glimmerglass Opera in Cooperstown, NY, from 1988 to 2011. Since 2012 he has served as Lieder coach for the American Institute of Musical Studies in Graz, Austria. He was the artistic director of the South Georgia Opera from 1986-1993, and has also served as coach for Florida Grand Opera, Des Moines Metro Opera, Michigan Opera Theater, Opera Grand Rapids, and the Peter Harrower Summer Opera Workshop. While at FSU he has taught collaborative piano, coached graduate voice majors, and taught a variety of

3 language and vocal literature classes for singers and pianists. He has also served as adjudicator for vocal, piano, and composition competitions.

Compositional Background

As a composer, Timothy Hoekman has written in many genres, but most of his works include the voice. His works have been published by Theodore Presser, Colla Voce, Plymouth Music Company, Recital Publications, and Classical Vocal Reprints. He was named the 2002 MTNA-Shepherd Distinguished Composer of the Year for his song cycle To Make a Prairie, commissioned by the South Dakota Music Teachers Association. Other commissions have come from the Rawlins Piano Trio, the Coastal Carolina Chamber Music Festival, Georgia Southern University, and First Presbyterian Church of Tallahassee, among others. His works have been recorded for Albany Records, Azica Records, and Mark Records. As a formidable pianist with performance experience encompassing the breadth of the art song repertoire, Hoekman draws from a variety of compositional influences, including the lieder of Schubert, Schumann, Brahms and Wolf; Baroque composers Bach and Handel; English composers such as Britten, Purcell, and Vaughan Williams; the piano music of Chopin; and the American composers Dominick Argento, Lee Hoiby, and Samuel Barber. Hoekman’s art songs combine an adroit and colorful pianistic language with carefully considered text-setting in an earnest effort to transmit poetic meaning. Assured technical mastery and sensitive musicianship are required to successfully perform his music, in which the communication of the text is paramount. As can be seen in Appendix A, the oeuvre of Timothy Hoekman is dominated by art song, but also includes vocal chamber works, works for voice and orchestra, choral works, a children’s opera, a hymntune, solo piano and organ works, and a work for concert band. At the time of the writing of this treatise a 25-movement oratorio for soloists, choir, and orchestra entitled Prophet Songs is nearing completion.

4 CHAPTER 2

TO MAKE A PRAIRIE

Background Information

Timothy Hoekman was selected as the 2002 MTNA-Shepherd Distinguished Composer of the Year for his song cycle To Make a Prairie, which was composed for a commission from the South Dakota Music Teachers Association. To Make a Prairie consists of four songs on lyric poetry of Emily Dickinson. It is published by Theodore Presser Company, and can be heard on the CD To Make a Prairie on the Mark Records label, performed by soprano Carla Connors and pianist Timothy Hoekman. The four poems in To Make a Prairie were chosen specifically for the nature imagery that reminded Hoekman of South Dakota.

“To Make a Prairie”2

To make a prairie it takes a clover and one bee, One clover, and a bee, And revery. The revery alone will do, If bees are few.

Emily Dickinson is most well-known for her lyric poetry:3 short poems in which a single speaker expresses thought and feeling.4 The four poems set in the Hoekman cycle are all examples of Dickinson’s lyric poetry. “To Make a Prairie” is different from the other poems in the cycle in that it does not follow a particular poetic meter. Revery is defined as “an act or state of absent-minded daydreaming” (Collins English Dictionary). The poem whimsically implies that the necessary ingredient for a prairie is a willingness to ponder, and bees (or other similar natural phenomena) are optional. In the

2 The titles of the songs in the cycle are the first lines of each of the poems, as Emily Dickinson did not explicitly title her poems.

3 Alfred Habegger, “Emily Dickinson,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., February 1, 2018, accessed May 1, 2018, https://www.britannica.com/biography/Emily-Dickinson.

4 The Editors of Encyclopaedia Britannica, “Lyric,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., June 27, 2017, accessed May 1, 2018, https://www.britannica.com/art/lyric.

5 Hoekman setting of this text, revery is represented by an open-voiced E major 9th chord gently passed between the hands of the pianist. In traditional harmony, this chord is unstable; however, in the context of this song it is used as the resting sonority. The alternating of hands is constant throughout the entire song, creating a “rocking” motion that provides a framework for the harmony to develop while maintaining a stillness appropriate to daydreaming (see Fig. 2.1).

1 –

Fig. 2.1: Timothy Hoekman, “To Make a Prairie” mm. 1-2, piano part5

The harmonic progression is coloristic in nature, relying on the bass line to lend both direction and stability to the song. After resting on E for five measures, the bass line descends stepwise to B. After a brief piano interlude in mm. 9-10, in which Robert Schumann’s “Träumerei” (revery) is quoted (see Fig. 2.2-3), the bass line descends a step further to A, before ascending to B and finally resolving with an implied authentic cadence to E.

9 –

Fig. 2.2: Timothy Hoekman “To Make a Prairie” mm. 9-10

5 All musical excerpts from To Make a Prairie are reprinted by permission of Carl Fischer, LLC on behalf of the Theodore Presser Company: ©2006 by Theodore Presser Company, King of Prussia, PA. All Rights Reserved. Printed in U.S.A. International Copyright Secured

1 –

Fig. 2.3: Robert Schumann Kinderszenen, Op 15, “Träumerei” mm. 1-2

The text is set in a deliberate fashion, stressing important words melodically, rhythmically, or metrically. Strong syllables are frequently set with neigbor tones, as seen in mm. 2-3 with the words “prairie” and “clover.” The first syllables of these words are also placed on the first beat of the measure, emphasizing them metrically as well (see Fig. 2.4).

Neighbor Tones Tritone

Fig. 2.4: Timothy Hoekman “To Make a Prairie” mm. 1-4, voice part

In m. 4, the words “one” and “bee” are stressed both melodically and rhythmically. A leap of an octave from the preceding word emphasizes the word “one,” and the duration of a dotted quarter note lengthens “one” while rhythmically marking the “bee” that follows. The melodic interval of a tritone also highlights “bee.” Thus, it is easily communicated that a singular bee is what is required. However, when it is admitted that “revery alone will do, if bees are few,” the word “bees” is set with a dotted half-note C-natural over the bass B-natural, stressing it with

7 both length and mildly plaintive dissonance before resolving and settling back into peaceful rumination with “are few” set as B and G-sharp (see Fig. 2.5).

Fig. 2.5: Timothy Hoekman “To Make a Prairie” mm. 13-17

“She Sweeps with Many-Colored Brooms”

She sweeps with many-colored Brooms – And leaves the Shreds behind – Oh, Housewife in the Evening West, Come back, and dust the Pond!

You dropped a Purple Ravelling in – You dropped an Amber thread – And now you've littered all the East With Duds of Emerald!

And still she plies her spotted Brooms, And still the Aprons fly, Till Brooms fade softly into stars – And then I come away –

Like much of Emily Dickinson’s poetry, this poem is in ballad meter, which is a variant of common meter. Common meter is a poetic meter consisting of four lines that alternate between iambic tetrameter (four metrical feet per line) and iambic trimeter (three metrical feet

8 per line).6 An iambic foot is an unstressed syllable followed by a stressed syllable.7 Common meter typically rhymes first and third lines as well as second and fourth lines; ballad meter rhymes only the second and fourth lines. The type of rhyming used in this poem is slant rhyme,8 another Dickinsonian trait, in which the rhymes are formed by words with similar but not identical sounds: “behind” and “pond,” “thread” and “emerald,” and “fly” and “away.” This poem depicts a sunset, likening it to a “house-wife in the evening west” sweeping the day into night, leaving glorious colors in the sky until the arrival of night. The “sweeping” idea is presented immediately in the piano (see Fig. 2.6). The soprano entrance commences immediately with “sweeping” two-note slurs for each syllable, first ascending a sixth and descending step-wise. The alternating unstressed and stressed syllables are metrically placed in a logical fashion, with a quarter or eighth pickup note delivering the stressed second syllable of each line to the downbeat of the following measure (see Fig. 2.7).

1 –

Fig. 2.6: Timothy Hoekman “She Sweeps with Many-Colored Brooms” m. 1, piano part

6 The Editors of Encyclopaedia Britannica, “Common metre,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., May 17, 1999, accessed May 1, 2018, https://www.britannica.com/art/common-metre.

7 The Editors of Encyclopaedia Britannica, “Iamb,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., June 21, 2017, accessed May 1, 2018, https://www.britannica.com/art/iamb.

8 The Editors of Encyclopaedia Britannica, “Half rhyme,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., March 1, 2016, accessed May 1, 2018, https://www.britannica.com/art/half-rhyme.

9 Two-note slurs

1 –

Fig. 2.7: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 1-3, voice part

The placement of stressed syllables on metrically strong beats (the first or third beat of a 4/4 bar) is constant in the first and third stanzas, but subverted in the second stanza. In m. 13, the word “Ravelling” (set as “Rav’lling” in order to keep the implied iambic stress) is set with eighth notes, leading to the word “in” being placed on the second rather than third beat. In m. 16, “littered all the” is set with eighth notes, accelerating the pace of the text delivery, preparing the listener for the wonderful prolongation of “Emerald.” (see Fig. 2.9)

13 –

Fig. 2.8: Timothy Hoekman “She Sweeps with Many-Colored Brooms” m. 13, voice part

Eighth notes 16 –

Prolongation

Fig. 2.9: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 16-19, voice part

10 The piano texture is characterized by eighth-note triplets rising from a single bass note in the left hand frequently placed on the first beat of each bar. The right hand often continues the triplet figures started in the left hand, but also harmonizes or elaborates on the soprano’s line. In mm. 11-13, examples of both interactions can be seen.

Elaboration Harmonization 12 –

Fig. 2.10: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 11-13, voice part and right hand of the piano part

While the pianist is playing triplets much of the time, the soprano sings mainly eighth notes and does not ever have triplets. When executed in a legato fashion with judicious use of rubato, this two against three rhythmic setting allows freedom in the soprano’s delivery of the text supported by “sweeping” pianistic gestures (see Fig. 2.11). The musical form of Hoekman’s setting is ternary (ABA), with D-flat major A sections consisting of the first and third stanzas, while the B section sets the second stanza in F-sharp minor. This song makes more use of traditional cadences than “To Make a Prairie,” with cadences occurring in mm. 9, 20, and 31. These cadences terminate each stanza and lead directly into the two interludes and the postlude. The interludes allow the piano a melodic role, and the addition of a harmonizing second voice in the right hand adds depth and color to these moments. In mm. 9-11, the interlude modulates from the A section’s key of D-flat major (though having deceptively cadenced with a B-flat minor chord) to the B section’s key of F-sharp minor (see Fig. 2.12).

11 2

Fig. 2.11: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 1-3

Fig. 2.12: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 9-11

The climax of this song is in mm. 18-20, supported by a clearly delineated root position imperfect authentic cadence complete with a second inversion tonic chord preceding the dominant seventh chord. The soprano’s elongation of “Emerald” on the dominant scale degree prepares the cadence that catupults the piano into a rapturous interlude, leading to a restatement of the “sweeping” gesture from the opening of the song, thus beginning the second iteration of the A section (see Fig. 2.13). In mm. 30-33 (see Fig. 2.14) the song terminates with a plagal cadence, in which the soprano’s expected final note is displaced upwards by an octave and the piano gracefully ascends

12 to land on a D-flat major chord that is voiced to emphasize the third scale degree for a shimmering “star-like” sonority.

Fig. 2.13: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 18-23

Plagal Cadence 30

Fig. 2.14: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 30-33

13 “It Sifts from Leaden Sieves”

It sifts from Leaden Sieves – It powders all the Wood. It fills with Alabaster Wool The Wrinkles of the Road – To Stump, and Stack - and Stem – A Summer’s empty Room – It makes an Even Face Acres of Joints, where Harvests were, Of Mountain, and of Plain – Recordless, but for them – Unbroken Forehead from the East Unto the East again – It Ruffles Wrists of Posts As Ankles of a Queen – It reaches to the Fence – Then stills its Artisans – like Ghosts – It wraps it Rail by Rail Denying they have been – Till it is lost in Fleeces – It deals Celestial Vail

“It Sifts from Leaden Sieves” is an example of short meter, in which only the third line of each stanza has four iambic feet.9 The poem employs the use of visual rhyme in which words are spelled similarly but pronounced differently; examples in this poem include “Plain” and “again,” as well as “Queen” and “been.”10 Slant rhyme is also used with the words “Wood” and “Road,” and “Room” and “them.” Snowfall is depicted throughout this song by alternating staccato eighth notes that are meant to be “delicately blurred” through use of the sustain pedal as indicated in m. 1 (see Fig. 2.15).

Fig. 2.15: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 1-4, piano part

9 The Editors of Encyclopaedia Britannica, “Short metre,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., June 23, 1999, accessed May 1, 2018, https://www.britannica.com/art/short-metre.

10 Frances Stillman and Jane Shaw Whitfield. The Poet's Manual and Rhyming Dictionary. Based on The Improved Rhyming Dictionary. New York: Crowell, 1965.

14 The piano introduction sets the mood of the song, while also allowing a preview of the harmonic language that will be used. The harmonic rhythm in the introduction is one chord change per half note, with the right hand lagging behind the left such that both hands are never playing the same chord. The left hand plays root position minor chords arpeggiated upwards. The harmonic progression starts with a B minor chord and begins alternatively descending a fourth and rising a half step until reaching B minor an octave lower. The right hand (with exception of the first chord, which does not follow the pattern) plays alternating root position and first inversion chords that mirror the chord played in the previous half note by the left hand. The result of this harmonic blurring is a crystalline ambience that evokes the snow so effectively as to leave no doubt of the antecedent of the “it” sung by the soprano. The form of the song is AA′A′′BA′′′, in which each A section is set in a different key. The first A section is in F-sharp minor, the second is in F minor, and the third is in E minor. The final A section is set in G minor, which means that the now expected semitone descent to F-sharp minor serves as a return to the tonality of the beginning of the song. The continuous downward trend of the harmonic progression may not be consciously discernible to the average listener, but the subtle effect is appropriate for implying the nature of snowfall. The harmonic progression of the prelude is repeated to set the first two lines of each stanza, with an added tonic pedalpoint in the bass. The third and fourth line of the first, second, and last stanzas are each set with coloristic harmonies that are anchored by the implication of a minor plagal cadence through the bass movement and melody (see Fig. 2.16). The third stanza is unique in that it contains an example of enjambment, which is defined as the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza.11 The final line of the third stanza and the first line of the fourth stanza are respectively “It deals Celestial Vail” and “To Stump, and Stack - and Stem –.” To address this asymmetric text distribution, the third A section of Hoekman’s setting uses only the first three lines of the third stanza. The third line of the third stanza, “Till it is lost in Fleeces –,” is set over a span of two measures rather than one, lingering on the words “lost” and “Fleeces.” After a shorter piano interlude than the ones connecting the previous A sections (only one measure), the fourth line of the third stanza, “It deals Celestial Vail,” begins the B section, which consists of the fourth

11 Oxford Dictionaries, s.v. “enjambment,” accessed May 1, 2018, https://en.oxforddictionaries.com/definition/us/enjambment.

15 stanza as well for a total of five lines. This section contrasts with the A sections in both melody and piano texture; the change of music logically follows the grammar of the poem, with the lengthening of the words “lost” and “Fleeces” accommodating both the poetic and musical structure while also facilitating a shift in mood and color (see Fig. 2.17).

Implied Plagal Cadence

Fig. 2.16: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 4-11

16 25

Fig. 2.17: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 25-26

The harmony of the B section shifts in a kaleidoscopic fashion, guided by the melodic line as well as the overall downward motion of the piano part (see Fig. 2.18). Eventually, the piano lands upon a chord with C as its root that includes a D instead of a major or minor third scale degree, climbs up briefly and chromatically alternates between ascending right and descending left hands to end up at a restatement of the prelude that is a semitone higher than before. However, this time the prelude compresses the first two measures into one, using only the first half note’s worth of material from each measure (see Fig. 2.19). The constantly descending harmonic progression is arrested by the soprano’s line diverging in mm. 43-45 from the melody previously used at the end of each A section. Once reaching the C-sharp of the last syllable of “Artisans” on the downbeat of m. 43, the soprano alternates between D and C-sharp until ultimately resting on the tonic F-sharp on the final word “been.” The finality of the F-sharp is melodically certain, although the piano has already reached F-sharp minor in m. 44. The brief postlude echoes the soprano’s shifting of a semitone up and down with the bitter mingling of F-sharp minor and G minor harmonies as the snowfall gently ceases (see Fig. 2.20).

17 27

Fig. 2.18: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 27-33

18 G minor / C minor G minor / A flat minor = = F sharp minor / B minor F sharp minor / G minor

Fig. 2.19: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 1-2, 34-35

Fig. 2.20: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 43-47

19 “Two Butterflies Went Out at Noon”

Two Butterflies went out at Noon – And waltzed above a Farm – Then stepped straight through the Firmament If spoken by the distant Bird – And rested, on a Beam – If met in Ether Sea By Frigate, or by Merchantman – And then – together bore away No notice – was – to me – Upon a shining Sea – Though never yet, in any Port – Their coming mentioned – be –

The final song of this cycle is a setting of “Two Butterflies Went Out at Noon,” another common meter lyric poem. This poem describes the ascent of two butterflies barely imaginable from the viewpoint of the narrator. This song is in ternary form (ABA′) with an introduction that is a slightly truncated statement of A from the piano without the voice. As in “She Sweeps With Many-Colored Brooms,” each section corresponds to a stanza of the poem. In the piano introduction, pleasantly meandering high-register triplets depict the butterflies in their atmospheric trajectory, while the left hand provides a waltz-like accompaniment (see Fig. 2.21).

Fig. 2.21: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 1-4

The harmonic progression used in the prelude and A sections is derived from the bass line, which is constantly rising to evoke the butterflies’ vertically inspired voyage (see Table 2.1).

20 Table 2.1: Timothy Hoekman “Two Butterflies Went Out at Noon” Harmony vs. Bass mm. 1-12 6 6 6 6 6 6 6 6 5 5 I I5 ii iii IV V I ♭II ♭III ♭VI iv 5 ♭ii I

G B C D E F♯ G A♭ B♭ G E♭ C G

In m. 25, the piano begins an interlude that appears to be a continuation of the A section material but, prompted by a G-sharp in the right hand in m. 26, suddenly modulates to G-flat major and ascends with a sequence of scales to arrive at an arpeggiation that is delicately passed between hands over the soprano entrance. The piano texture becomes triplet arpeggios shooting up from a pedal G-flat/F-sharp to support a single note melody in the right hand that follows the soprano line with occasional harmonization (see Fig. 2.22).

Modulation

Single-note Melody Supported by Piano

Fig. 2.22: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 26-34

21 The B section’s harmonic progression is centered on the use of the subdominant minor over a tonic pedal, allowing the soprano’s line to subtly explore the aural difference between a whole and half-step above the fifth scale degree. This half-step motion recalls the opening of the soprano line with its shift from C to B-natural. In addition, the first note of the B section is a C- flat, linking it to the previous A section, as the soprano line ends on an enharmonically identical B-natural (see Fig. 2.23). In mm. 43-46, the modulation back to G-major is accomplished with an accelerated version of the harmonic progression used at the end of the introduction and A sections in mm. 8-11, 19-23, and 54-61 (see Fig. 2.24).

G♭: V6 I - IV iv D♭M G♭M - C♭M Bm 34

4 G♭: I i ♭II2 I G♭M F♯m GM7 G♭M

G♭: I - IV iv G♭M - C♭M Bm i ♭vi iv I I6 42 G♭M A♭M B♭M CM Gm E♭M Cm GM -

G♭: I II III ♯IV G♭M A♭M B♭M CM

Fig. 2.23: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 29-44, voice part

22 45

G: i ♭VI iv I I6 Gm E♭M Cm GM -

Fig. 2.24: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 45-48, voice part

Half cadences are found in mm. 17 and 52 at the ends of the second lines of the first and third stanzas. They are clearly implied in the soprano line but are weakened by the inversion of the dominant chord as well as the unceasing triplets in the right hand of the piano part (see Fig. 2.25). Authentic cadences are avoided in this song in favor of minor plagal cadences that appear in mm. 11-12, 23-25, 46-47, and 58-61 (see Fig. 2.26-29). In “Two Butterflies Went Out at Noon,” hemiola is used often to avoid the singsong quality of setting iambic text in a triple meter that comes from placing the weak syllable on the third beat and the strong syllable on the first beat of each measure. The soprano’s line begins with an immediate hemiola prepared by the piano in mm. 10-11 and continued through the words “Two Butterflies went out at Noon.” The piano returns in m. 12 to the waltz-like left hand accompaniment (see Fig. 2.30). This makes the simultaneous hemiola in the soprano part have the feeling of rubato, as the first line of poetry rushes ahead to then relax at “And waltzed upon a Farm.” Hemiola is used for a different effect in the soprano line in mm. 23-24: the piano in mm. 21-23 has an elongated version of mm. 10-11 and then ceases in m. 24, which deemphasizes the downbeat in line with the soprano hemiola’s implied stress and allows the music to “rest” as the butterflies “rested,” (see Fig. 2.31). In the final phrase of the song, the soprano hemiola briefly hiccups in m. 60, halting forward motion and emphasizing “to” before arriving at “me” while the piano climbs with a chromatic scale accompanied by quarter note G major arpeggios to the final G – B dyad for an appropriately airy ending (see Fig. 2.32).

23 14

Half Cadences (ending on V6) 49

Fig. 2.25: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 14-17, 49-52

11 Minor Plagal Cadences (iv-I) (Figures 2.26-29)

Fig. 2.26: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 11-12

24 23

Fig. 2.27: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 23-25

Fig. 2.28: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 46-47

Fig. 2.29: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 58-61

25 Hemiola

Fig. 2.30: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 9-16

Hemiola 21

“Restful” Measure Fig. 2.31: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 21-25

26 “Hiccup” 57

“Airy” Ending

Fig. 2.32: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 57-64

27 CHAPTER 3

THE NASH MENAGERIE

Background Information

The Nash Menagerie was written in 1996 and premiered at Glimmerglass Opera by countertenor David Walker with Timothy Hoekman at the piano. It consists of settings of seven poems by Ogden Nash. The Nash Menagerie was composed to provide a bit of humorous repertoire for countertenor, though it is also well-suited to the mezzo-soprano voice. It was originally published by Recital Publications, and though it is currently out-of-print, renegotiation of the license for the poetry is ongoing with the eventual goal of republication. It has not been professionally recorded.

“The Wombat”

The wombat lives across the seas, Among the far Antipodes. He may exist on nuts and berries, Or then again, on missionaries;

His distant habitat precludes Conclusive knowledge of his moods, But I would not engage the wombat In any form of mortal combat.

Ogden Nash is most well-known for his light verse:12 poetry on trivial or playful themes that is written primarily to amuse and entertain and that often involves the use of nonsense and wordplay.13 His poetry relies heavily on the use of surprising and clever rhyming and a dry sense of humor. In “The Wombat,” the humor lies with the implication that wombats may very well eat missionaries and the rhyming of “wombat” with “combat.” The “combat” punchline is set up

12 The Editors of Encyclopaedia Britannica, “Ogden Nash,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., August 21, 2017, accessed May 1, 2018, https://www.britannica.com/biography/Ogden-Nash.

13 The Editors of Encyclopaedia Britannica, “Light verse,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., March 17, 2016, accessed May 1, 2018, https://www.britannica.com/art/light-verse.

28 from the beginning of the song, with a march-like bass line descending in a stepwise fashion, supporting fanfare-laden treble gestures (see Fig. 3.1). The main attitude expressed in “The Wombat” is best described as “uncertainty as to the nature of the Wombat.” This is experienced through the mildly jarring juxtaposition of G major and A-flat major, which is the harmonic basis for the entire song. The two stanzas of the song are extremely similar, though the second is varied by the aforementioned harmonic clash as the voice part is transposed up a half-step for the first three lines (see Fig. 3.2). This is prompted by the brash piano interlude in mm. 10-14 (see Fig. 3.3).

Fig. 3.1: Timothy Hoekman “The Wombat” mm. 1-4, piano part

First Stanza Melody 3

Second Stanza Melody 15

Fig. 3.2: Timothy Hoekman “The Wombat” mm. 2-10, 14-23, voice part (melody only)

Fig. 3.3: Timothy Hoekman “The Wombat” mm. 10-14, piano part

The song’s form is best described as modified strophic, in which the first strophe ends with an implied half cadence (m. 10) leading into a demonstrative piano interlude, which is followed by a second strophe that ends with an implied authentic cadence (m. 22-23). The oblivious marching left hand of the piano part leaves all delineation of structure to the voice part. At these cadences, the words “missionaries” and “combat” are stressed with crescendi and portamenti, allowing the singer an opportunity to indulge in some delightfully ridiculous declamation (see Fig. 3.4). The piano postlude brusquely suggests the wombat’s possibly threatening nature with the addition of grace notes to the right hand’s fanfare. Gradually, the danger recedes as the piano diminuendos until ending with cessation of the bass line. In the distance, an A-flat major chord in the stratosphere serves as a final “wink” from the piano (see Fig. 3.5).

Implied Half Cadence 9

Implied Authentic Cadence 22

Portamenti

Fig. 3.4: Timothy Hoekman “The Wombat” mm. 9-10, 22-23

Grace Notes

“Wink”

Fig. 3.5: Timothy Hoekman “The Wombat” mm. 22-33

31 “The Turkey”

There is nothing more perky Than a masculine turkey. When he struts he struts With no ifs or buts. When his face is apoplectic His harem grows hectic, And when he gobbles Their universe wobbles

The proud, virile turkey is depicted perfectly in the piano introduction. The rolled A- minor chord suggests his majesty, followed by a set of 32nd-note triplets to imitate his characteristic “gobble,” and a snappy dotted rhythm provides the stately “strut.” (see Fig. 3.6)

“Gobble”

“Strut”

Fig. 3.6: Timothy Hoekman “The Turkey” mm. 1-6

The singer is allowed the opportunity to “gobble” on several occasions. The grace notes on “perky” and “turkey” in mm. 7 and 8 color the words with the intended aural suggestion of “gobbling,” and in mm. 9, 10, and 18, rapid alternations with the pitch a third below serve the same purpose (see Fig. 3.7). “Apoplectic” and “hectic” are set appropriately with 32nd-note roulades (see Fig. 3.8). The word “universe” in m. 19 descends chromatically from E-flat to what

32 is expected to be an A-natural for the first syllable of “wobble,” but instead an F-natural appears that is dissonant with the underlying A minor chord. The upwards skip of a perfect fifth followed by a downwards skip of a minor sixth lets the singer portray “wobbling” instability (see Fig. 3.9). “The Turkey” resumes strutting in mm. 20-25 with a restatement of the introduction, punctuated by a crisp A minor chord in the treble register.

“Gobble” 7

Fig. 3.7: Timothy Hoekman “The Turkey” mm. 7-10, 17-18, voice part

Roulades

Fig. 3.8: Timothy Hoekman “The Turkey” mm. 12-15, voice part

33 “Wobbling Instability”

Fig. 3.9: Timothy Hoekman “The Turkey” mm. 19-20, voice part

“The Hippopotamus”

Behold the hippopotamus! We laugh at how he looks to us, And yet in moments dank and grim, I wonder how we look to him.

Peace, peace, thou hippopotamus! We really look all right to us, As you no doubt delight the eye Of other hippopotami.

The piano portrays a murky, aquatic environment, while the singer evokes the image of the hippopotamus gliding gracefully through the water. The piano texture consists of a single bass note that anchors undulating triplets that alternate between two chords that have little to do with each other. The blurring of harmony through use of the sustain pedal is a crucial aspect of the song’s atmosphere (see Fig. 3.10).

“Murky” Harmony

Fig. 3.10: Timothy Hoekman “The Hippopotamus” mm. 1-2, piano part

34 The voice part exhibits a pleasing symmetry in that the first two lines of the first stanza are set with large upward leaps that fall chromatically, while the last two lines invert this shape, climbing upward from a lower pitch. The second stanza is similar until the final line, which is unique in that it initially leaps upward, briefly arpeggiates downward, and then rises in a stepwise fashion to the final pitch (see Fig. 3.11). Like “The Wombat,” “The Hippopotamus” can be described as modified strophic, in which the first stanza ends nebulously, the piano delivers the hippopotamus’s reply in an interlude, and the second stanza finishes ambiguously, resolving on an F-sharp chord that can’t decide whether it is minor or major and ends up just settling for both in the same way that the listener is not quite sure that “hippopotami” is a word but is happy to have encountered it anyway (see Fig. 3.12).

Fig. 3.11: Timothy Hoekman “The Hippopotamus” mm. 1-7, 9-15, voice part

35 “Nebulous Ending” with Answering Interlude 7

Ambiguous Cadence 15

Fig. 3.12: Timothy Hoekman “The Hippopotamus” mm. 7-10, 15-16

36 “The Kangaroo”

O kangaroo, O kangaroo Be grateful that you're in the zoo, And not transmuted by a boomerang To zestful tasty kangaroo meringue.

The genius of this poem is clearly the rhyming of “boomerang” with “kangaroo meringue.” In the Hoekman setting, the first two lines are repeated, as well as a final “O kangaroo, O kangaroo” for good measure. The piano introduction shows the expected “bounciness” that is left unmentioned in the poem. Octaves in the left hand propel hopping fourths in the right hand. An element of unpredictability is provided by the alternating division of the 4/4 meter into 3+3+2 and 3+2+3 (see Fig. 3.13). One can’t help but be exasperated at this hyperactive kangaroo that doesn’t realize what doom it has escaped.

3 + 3 + 2 3 + 2 + 3 Etc.

Fig. 3.13: Timothy Hoekman “The Kangaroo” mm. 1-4, piano part

“The Kangaroo” is convincingly in E-flat minor, with occasional chromatic alterations that give the text subtle inflection. In the “bouncy” voice part, that traverses a range of nearly and octave and a half in the space of three eighth notes, the words “Be,” “you’re,” and “in” are on altered tones that convey the reproachful stance of the singer (see Fig. 3.14). In the case of “boomerang” and “’roo meringue,” the difficulty of communicating the rhyme is addressed by setting the syllables with the same sixteenth-note rhythm but melodically coloring the first syllable of the words rather than the first syllable of each grouping (“boo” of “boomerang” and “mer” of “meringue) (see Fig. 3.15). The song finishes with another rangy castigation from the singer after a rapid, accelerating scale plunges from the high end of the piano (see Fig. 3.16).

37 Chromatic Inflection

(Figures 3.14-15) 7

Fig. 3.14: Timothy Hoekman “The Kangaroo” mm. 6-8, voice part

Fig. 3.15: Timothy Hoekman “The Kangaroo” mm. 6-8, voice part; mm. 10-12

Fig. 3.16: Timothy Hoekman “The Kangaroo” mm. 13-16

38 “The Fly”

God in his wisdom made the fly And then forgot to tell us why.

This gem of brevity is perfectly succinct, but in the Hoekman setting the implied uselessness of flies is represented by the piano’s inconvenient zipping around in the treble register constantly interrupting the singer’s train of thought. As set by Hoekman, the poem reads:

God in His wisdom made the fly, God in His wisdom made the fly, And then And then And then forgot Forgot Forgot to tell us Forgot to tell us Forgot to tell us why.

The song consists of the chromatic figuration in the piano (see Fig. 3.17) inspiring ever more acrobatic melismas from the singer (see Fig. 3.18) until finally “why” is sung with a low G-sharp as the fly wanders away to a less distracting location (see Fig. 3.19). Harmonically, the song is completely coloristic, although the final bass motion is down a perfect 4th for a slight plagal implication.

Fig. 3.17: Timothy Hoekman “The Fly” m. 1, piano part (partial)

39 1

Fig. 3.18: Timothy Hoekman “The Fly” m. 1, voice part

Comically Low Note 9 “The Fly” Departs

Plagal Implication via Bass Motion

Fig. 3.19: Timothy Hoekman “The Fly” mm. 9-10

“The Caterpillar”

I find among the poems of Schiller No mention of the caterpillar, Nor can I find one anywhere In Petrarch or in Baudelaire, So here I sit in extra session To give my personal impression. The caterpillar, as it’s called, Is often hairy, seldom bald; It looks as if it never shaves; When as it walks, it walks in waves; And from the cradle to the chrysalis It’s utterly speechless, songless, whistleless.

40 The humor in “The Caterpillar” comes from imagining the narrator scouring the literature of the world for passages referencing the insect only to discover that no one has penned any. Eagerly accepting responsibility for giving the caterpillar its moment in the sun, the speaker proceeds to squander the opportunity with a generic physical description. The rhyming of “chrysalis” with “whistleless” is also ingenious. “The Caterpillar” resembles “The Wombat” and “The Hippopotamus” in that it is a song in modified strophic form, although it is different from the other two songs in that there are twelve lines rather than two stanzas of four; in this setting each strophe uses six lines. Whereas the singer delivers each strophe completely in “The Wombat” and “The Hippopotamus,” in “The Caterpillar” there are brief piano interludes after the first, second, and fourth lines in each strophe, with the strophes separated by a longer transitionary piano interlude (see Table 3.1). This interlude, with a conclusive ending cadence, reappears after the second strophe to serve as the postlude (see Fig. 3.20).

Table 3.1: Timothy Hoekman “The Caterpillar” Form First Strophe: Lines: 1st Interlude 2nd Interlude 3rd –4th Interlude 5th –6th Interlude Measures: 1-2 2-3 3-5 5-6 7-8 9 9-11 12-13 Second Strophe: Lines: 7th Interlude 8th Interlude 9th –10th Interlude 11th –12th Postlude Measures: 13-15 15-16 16-18 18-19 20-21 22 22-26 26-28

Fig. 3.20: Timothy Hoekman “The Caterpillar” mm. 26-28

41 Although it takes until the tenth line to hear about the caterpillar’s undulating locomotion, the piano and voice both depict it from the beginning of the song. After two declamatory statements with mild arpeggiation, the voice part launches into winding, near-constant sixteenth- note figuration. As the tempo is marked “Gracefully,” the effect is ideally a sense of inexorable “inching forward” rather than frenetic writhing (see Fig. 3.21). The piano also “crawls” about, with multiple voices shifting chromatically to coalesce regularly into recognizable chords (see Fig. 3.22).

Fig. 3.21: Timothy Hoekman “The Caterpillar” mm. 1-2, 7-8, voice part

Fig. 3.22: Timothy Hoekman “The Caterpillar” mm. 1-2, piano part

The harmonic backbone of the entire song is reliant on this voice-leading; although B-flat major is clearly tonicized by the imperfect authentic cadences in both the piano interlude after the first strophe and the postlude, the song dispenses with functional harmony otherwise. A sense

42 of harmonic direction is given by the gradually ascending bass line, which is matched in overall contour by the voice line (see Fig. 3.23).

Gradually Ascending Voice Part Range and Bass Line

Fig. 3.23: Timothy Hoekman “The Caterpillar” mm. 1-11, condensed reduction of voice part range vs. bass

In most cases, each syllable of the song lasts an eighth note, frequently in the form of two sixteenth notes of different pitch. The pace that is set rarely wavers, helping to simplify the singer’s job of communicating the text while matching its subject matter. In mm. 23-26, however, this expectation of one syllable per eighth note is broken to prepare for the delivery of the fantastic “chrysalis”-“whistleless” rhyme. The words “utterly speechless, songless whistleless” are each set with an increased duration per syllable, for better clarity as well as comedic timing (see Fig. 3.24).

Fig. 3.24: Timothy Hoekman “The Caterpillar” mm. 22-26, voice part

43 “The Germ”

A mighty creature is the germ, Though smaller than the pachyderm. His customary dwelling place Is deep within the human race. His childish pride he often pleases By giving people strange diseases. Do you, my poppet, feel infirm? You probably contain a germ.

“The Germ,” as described in the poem, is characterized as formidable, tiny, and gleefully arrogant. Unlike “The Fly,” which is irritating due to its buzzing and general uselessness, “The Germ” is purposefully harmful, if not downright malevolent. The rhyming of “germ” and “pachyderm” is amusing because of the understatement involved when comparing elephants to microbes in terms of size. This setting of “The Germ” is a Baroque-inspired da capo aria, with the customarily ample repetition of text that could be expected in such a piece. However, it is important to note that the texts of the A sections do not match. Hoekman sets the poem in this fashion:

Table 3.2: Timothy Hoekman “The Germ” Form vs. Text Introduction (no text) A mighty creature is the germ, Though smaller than the pachyderm. (x2) A His customary dwelling place Is deep within the human race. (x2) His childish pride he often pleases (x2) B By giving people strange diseases. (x2) Giving people strange diseases Cadenza Strange diseases. Do you, my poppet, feel infirm? A′ You probably contain a germ. (x3)

44 The second A section appears to be shorter, with six lines of text rather than eight. This is not entirely true: after the cadenza, the piano discards the opening introduction to employ a four- measure retransition consisting of music from the first five measures of the first A section. As there are only two lines of the poem left, the voice part’s melody appears in the piano’s retransition and only needs to repeat those two lines twice. This division of text throughout the piece is logical: the first A section introduces “The Germ,” the B section and cadenza expose its nature, and the second A section addresses the listener to point out the likelihood of germ- induced unwellness. The introduction immediately evokes the Baroque manner of the song with its bass line that begins with a pickup note doubled at the octave ascending a 4th from A to D, and descending a 3rd to B. This climbing motion is repeated twice in an obvious sequence that is shared by the right hand’s scalar figure in sixteenth notes. The alternating lower-neighbor figure found in the right-hand part on the second beat of the first measure also helps to demonstrate the song’s Baroque homage (see Fig. 3.25).

Lower-neighbor Figure

Sequence

Fig. 3.25: Timothy Hoekman “The Germ” mm. 1-2

The voice part enters in the third measure with a pickup eighth note leading into a measure-long diatonic melisma on the word “mighty” that stresses the “mightiness” of this creature that is the “germ.” The word “germ” itself is given emphasis by a sudden shift of harmony to F-sharp major, with the voice part ascending unsubtly from the previous A-natural to A-sharp. The humorous reflection regarding the juxtaposition of elephants and microbes is set in mm. 6-7 with a descending diminished arpeggio in the voice. This proclamation sends the piano

45 part skittering away afterwards with an interlude consisting of two lines of constant sixteenth notes interacting in a non-Baroque fashion (see Fig. 3.26).

“Mighty” Melisma

Harmonic Emphasis

“Skittering” Interlude

Fig. 3.26: Timothy Hoekman “The Germ” mm. 3-8

46 The first two lines are repeated, with the voice part matching the ponderous bass line in a grander demonstration of mightiness, then darting about with twisting melismas on “smaller than the pachyderm.” Since “pachyderm” is no longer a surprise, the next lines are set immediately following, with sixteenth-note runs that depict the “deepness” of the germ’s inhabitance by falling to an F-sharp that is low for any mezzo-soprano or countertenor (see Fig. 3.27).

9 Voice and Bass Match

“Twisting” Melismas

15 “Deep” F sharp

Fig. 3.27: Timothy Hoekman “The Germ” mm. 9, 11-12, 15-16

47 After a thorny passage in eighth notes involving several tritone leaps, the voice part once again has a low F-sharp on the word “deep.” The final cadence of the A section is derived from the voice part ascending while the bass line descends, both with whole tone scales, while harmonized with major and minor chords that arrive finally at A major (see Fig. 3.28).

“Thorny” Passage Whole Tone Scales

Fig. 3.28: Timothy Hoekman “The Germ” mm. 17-19

A piano interlude, which is a transposition of the opening of the song, begins on the resolution of the cadence. In the second measure of the interlude, the piano part begins to modulate to B-flat minor, which is solidified in mm. 21-22 with alternation of dominant and tonic arpeggiated figures in the left hand while the right hand plays winding B-flat natural minor scales that gradually descend to the B section’s constant repeated eighth-note chord accompaniment figure (see Fig. 3.29). Although the key signature identifies this section as being in B-flat minor, the harmonic progression is coloristic, derived from voice-leading in the voice part as well as the addition of minor-second dissonances that match the “childish pride” of the germ. The voice part insinuates the nastiness of the germ with melismas that ascend chromatically and sequentially, as well as dotted note minor-second figures.

48 21

Constant Repeated Eighth -note Chords

Fig. 3.29: Timothy Hoekman “The Germ” mm. 21-24

“Nasty” Melismas 25

29 Dotted-note Minor-second Figures

Fig. 3.30: Timothy Hoekman “The Germ” mm. 25, 29, voice part

After groping about harmonically, the piano part approximates a dominant seventh fermata with an A major minor-seventh chord with an added F natural for emphasis. This sets up a cadenza that is a fantastic musical representation of what “strange diseases” might sound like.

49 The voice part slides about with two-note slurs to embark on an adventurous arpeggiation of augmented and major chords for the word “strange.” “Diseases” is set with queasily alternating triplet eighth notes on intervals that gradually widen, falling to then rise on a diminished arpeggio on “strange” to a cadential trill on “diseases” that ushers in the piano interlude with its resolution (see Fig. 3.31).

Two-note Slurs Augmented and Major Arpeggios 33

Widening Intervals Diminished Arpeggio Cadential Trill

Fig. 3.31: Timothy Hoekman “The Germ” mm. 33-37

After the piano interlude, which is a compressed version of mm. 4-8, the second A section proceeds as the first one did. There is, however, an indication that the expected da capo aria ornamentation is acceptable. The whole-tone cadence that ended the first A section is

50 repeated, with the piano extending the resolution by providing a more official perfect authentic cadence while the voice sustains the final note.

51 CHAPTER 4

THREE POEMS OF WILLIAM BUTLER YEATS

Background Information

Three Poems of William Butler Yeats is a three-movement song cycle for soprano, violin, cello, and piano. It was commissioned by the Rawlins Piano Trio, which is based at the University of South Dakota. The work was premiered by Carla Connors and the Rawlins Trio in 2010 and subsequently recorded by them on the CD entitled Attracting Opposites: New Music for Piano Trio, published by Azica Records. It is published by Timothy Hoekman Music and distributed by Graphite Publishing. Hoekman selected the three poems based on personal preference.

“The Wild Swans at Coole”

The trees are in their autumn beauty, The woodland paths are dry, Under the October twilight the water Mirrors a still sky; Upon the brimming water among the stones Are nine-and-fifty swans.

The nineteenth autumn has come upon me Since I first made my count; I saw, before I had well finished, All suddenly mount And scatter wheeling in great broken rings Upon their clamorous wings.

I have looked upon those brilliant creatures, And now my heart is sore. All’s changed since I, hearing at twilight, The first time on this shore, The bell-beat of their wings above my head, Trod with a lighter tread.

Unwearied still, lover by lover, They paddle in the cold Companionable streams or climb the air;

Their hearts have not grown old; Passion or conquest, wander where they will, Attend upon them still.

But now they drift on the still water, Mysterious, beautiful; Among what rushes will they build, By what lake’s edge or pool Delight men’s eyes when I awake some day To find they have flown away?

Coole Park is a nature reserve in Ireland that was formerly the estate of the Gregory family.14 Lady Augusta Gregory, like William Butler Yeats, was an important figure in the Irish Literary Revival of the late 19th and early 20th centuries.15 She helped found the Irish Literary Theatre and the Abbey Theatre, and Coole House served as a meeting place for Yeats and other literary personalities.16 “The Wild Swans at Coole” is inspired by Yeats’s time at Coole Park. Pensive and melancholic, this poem has Yeats pondering the beauty of the swans and the contrast of their seeming timelessness with his own advancing age and burdened heart. In the last stanza, he considers what new locale the swans might enrich with their presence when they leave. Though it is not explicitly implied, the soreness of his heart has a specific context: his infatuation with Maud Gonne, the Irish actress and revolutionary who inspired much of his poetry, led him to fruitlessly propose marriage to her numerous times.17 The poem comprises five stanzas with six lines in each. The metrical pattern is regular but unusual: the first and third lines are tetrameter, the second, fourth, and sixth lines are trimeter, and the fifth line is pentameter. The rhyme scheme is ABCBDD. A remarkable feature of Three Poems of William Butler Yeats is its melding of art song and piano trio. Appropriately

14 The Editors of Encyclopaedia Britannica, “Augusta, Lady Gregory,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., March 8, 2018, accessed May 1, 2018, https://www.britannica.com/biography/Augusta-Lady- Gregory.

15 Melissa Schirmer, “The Irish Literary Revival,” The Irish Literature Collection, accessed May 1, 2018, http://libapps.libraries.uc.edu/exhibits/irish-lit/sample-page/.

16 The Editors of Encyclopaedia Britannica, “William Butler Yeats,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., August 17, 2017, accessed May 1, 2018, https://www.britannica.com/biography/William-Butler- Yeats.

17 The Editors of Encyclopaedia Britannica, “Maud Gonne,” Encyclopædia Britannica. Encyclopædia Britannica, Inc., April 20, 2018, accessed May 1, 2018, https://www.britannica.com/biography/Maud-Gonne.

for the first movement of a piano trio, “The Wild Swans at Coole” is in sonata-allegro form, crafted in such a way that the setting of the text is enhanced by this stereotypically instrumental treatment (see Table 4.1). The exposition, which is repeated, contrasts a tumultuous theme group in A minor with a placid second theme in D major. The development reworks elements of the first theme group, eventually leading into an E major variation of the second theme. The recapitulation restates both the first theme group and the second theme in their original keys, forgoing the expectation of a tonic-keyed second theme. The placement of the five poetic stanzas in the movement satisfies both a sense of dramatic timing as well as logical musical organization.

Table 4.1: Timothy Hoekman “The Wild Swans at Coole” Form Exposition Exposition Development Recapitulation (repeated) Theme Theme II Theme Theme II Theme Variation Theme Theme Group I Group I Group I of Theme Group I II Material II A minor D major A minor D major Unstable E major A minor D major

Stanza 1 Stanza 2 Stanza 3 Stanza 4 Stanza 5

The exposition of this piece begins with a turbulent introduction in A minor played by the piano trio (see Fig 4.1). In m. 6, the cello begins a severe and beautiful theme, supported by answering figures in the piano part (see Fig. 4.2). In m. 13, the violin enters quietly to then usurp the cello’s melodic role with a theme of its own (see Fig. 4.3). The violin introduces a theme in m. 23 that begins with alternating leaps of a sixth; the cello enters in canon and then in m. 27 the two strings join in a restatement of that theme. In m. 30, a ritardando and diminuendo usher in the peaceful D major second theme (see Fig. 4.4).

Fig. 4.1: Timothy Hoekman “The Wild Swans at Coole” mm. 1-2

Cello Theme 6

Fig. 4.2: Timothy Hoekman “The Wild Swans at Coole” mm. 6-8

Violin Theme 14

Fig. 4.3: Timothy Hoekman “The Wild Swans at Coole” mm. 14-16

“Sixths” Theme 27

Beginning of Second Theme

Fig. 4.4: Timothy Hoekman “The Wild Swans at Coole” m. 27-31

The musical texture of the first theme group is vigorously contrapuntal, depicting the beautiful chaos of the swans. The harmonic language is modal, often avoiding typical progressions in favor of allowing the instrumental counterpoint ample freedom. Subtle melodic inflection is granted by the decision to often lower the second (B) or raise the sixth (F) scale degrees. Occurring less frequently are E flats, C sharps, and A flats; these pitches often are the result of coloristic considerations. The second theme is much more diatonic in both the vocal melody as well as the instrumental accompanimental figures. The second theme is songlike, with a soprano melody

supported by a violin countermelody, an alternating chordal triplet texture in the treble of the piano, and a steady bass line played by the cello and the left hand of the piano (see Fig. 4.5). In m. 34, the piano begins to assume a typical song-accompaniment style, eventually presenting a countermelody in the right hand with arpeggiation in the left hand (see Fig. 4.6). The strings adopt a duple vs. triple alternating interval texture that unobtrusively supports the soprano and piano melodies.

31 Songlike Melody

Countermelody

Bass Line

Chordal Triplets

Bass Line

Fig. 4.5: Timothy Hoekman “The Wild Swans at Coole” m. 31

Duple vs. Triple Texture

Countermelody and Arpeggiation

Fig. 4.6: Timothy Hoekman “The Wild Swans at Coole” mm. 34-36

The instruments briefly swell in m. 41; from this point until the end of the second theme the texture consists of contrapuntal lines for each player, though still with the goal of supporting the soprano’s melody (Fig. 4.7). Measure 45 is in 3/2, allowing the elongation of the two syllables of the word “fifty” into half notes. This underlines the text while providing a sense of retardation without slowing the tempo. Harmonically, the chord progression is iii to I in D major, making this an unusual cadence in which the leading tone tendency to resolve to tonic is subverted. This cadence is clearly the end of the section, but a true feeling of resolution is avoided in a manner that appropriately suits the context of the poem (see Fig. 4.8). The latter half of measure 46 has the piano trio begin the transition to the repetition of the exposition, with a slightly altered version of mm. 1-2 reappearing to accelerate into the introductory material (see Fig. 4.9). This iteration of the exposition is unique in that the voice enters in m. 55 with the second stanza of the poem. Each line of the poem is set in such a way as not to conflict with the appearance of the themes in the first theme group. This is ingenious and practical, as it manages to do justice to the formal structure as well as the text, allowing clear transmission of both to the

audience. The entrance of each theme precedes the soprano line, which joins after the theme has had a chance to attract the listener’s ear (see Fig. 4.10-12).

Fig. 4.7: Timothy Hoekman “The Wild Swans at Coole” mm. 41-42

iii-I Cadence 44

Fig. 4.8: Timothy Hoekman “The Wild Swans at Coole” mm. 44-46

Fig. 4.9: Timothy Hoekman “The Wild Swans at Coole” mm. 47-49

Cello Theme Delayed Vocal Entrance

Fig. 4.10: Timothy Hoekman “The Wild Swans at Coole” mm. 53-55

Violin Theme

Delayed Vocal Entrance

Fig. 4.11: Timothy Hoekman “The Wild Swans at Coole” mm. 59-64

“Sixths” Theme Delayed Vocal Entrance

Fig. 4.12: Timothy Hoekman “The Wild Swans at Coole” mm. 68-70

The second theme in the repetition of the exposition contains the third stanza of poetry. Musically it is almost identical to its earlier appearance; slight variations in the melody account for the slightly irregular metrical patterns of the poem (see Fig. 4.13).

Slight Variation 77

Fig. 4.13: Timothy Hoekman “The Wild Swans at Coole” mm. 31 and 77, voice part

In m. 92, the violin briskly whisks the movement into the development section, in which the contrapuntal possibilities of motives from the first theme group are explored in a harmonically adventurous fashion. Immediately, in mm. 93-94, the cello theme is pronounced in

the violin part, with the cello and piano entering rapidly in canon. This sort of imitative presentation of the motives is used throughout the first part of the development, in which motives from the cello and violin themes are stated and then expounded upon or answered by the other instruments.

Cello Theme Canon

Fig. 4.14: Timothy Hoekman “The Wild Swans at Coole” mm. 92-94

Eventually a clangorous proclamation from the piano in mm. 113-114 heralds the abatement of the previous fervent motivic manipulation; an E major variation of the second theme appears with the violin playing a countermelody derived from the “sixths” violin/cello theme while the cello matches the voice at octaves and then tenths. The piano presents the bass line in octaves as the cello is now otherwise occupied, while playing the previously utilized alternating chordal triplet texture in the right hand (see Fig. 4.15). The contour of the soprano melody closely matches the second theme, but begins a whole step down rather than being transposed up to match the key change from D to E major. This subtle difference lends a particularly poignant feeling to this description of the swans’ unfettered activities (see Fig. 4.16). At the end of the development section, a one-measure retransition brings the piece to the recapitulation, in which the exposition is restated and the final stanza is set with the final appearance of the second theme. As previously stated, the second theme remains in D major rather than being transposed to A minor or major. This lack of a transformation, while in practical terms avoiding the impracticality of transposing the voice part a fourth down or a fifth

up, also mirrors the aspect of the swans’ apparent unchanging nature. In m. 171, the violin plays a motive that appears in “The Lake Isle of Innisfree,” leading into a five-measure coda that finishes the movement in A minor. In mm. 175-176, the piano restates the motive just introduced by the violin, ending the song with a dark and beautiful cadence of a second-inversion ♭vii to I (see Fig. 4.17).

“Clangorous” Proclamation

113

E-major Variation of Second Theme

Fig. 4.15: Timothy Hoekman “The Wild Swans at Coole” mm. 113-116

116

Fig. 4.16: Timothy Hoekman “The Wild Swans at Coole” mm. 31-34, 116-119, voice part

170 “The Lake Isle of Innisfree” Motive

Second-Inversion ♭vii – I Cadence

Fig. 4.17: Timothy Hoekman “The Wild Swans at Coole” mm. 170-176

“The Lake Isle of Innisfree”

I will arise and go now, and go to Innisfree, And a small cabin build there, of clay and wattles made: Nine bean-rows will I have there, a hive for the honey-bee, And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow, Dropping from the veils of the morning to where the cricket sings; There midnight’s all a glimmer, and noon a purple glow, And evening full of the linnet’s wings.

I will arise and go now, for always night and day I hear lake water lapping with low sounds by the shore; While I stand on the roadway, or on the pavements grey, I hear it in the deep heart’s core.

The Isle of Innisfree is an uninhabited island within Lough Gill in County Sligo, Ireland. Innisfree is a transliteration of Inis Fraoigh, which in Gaelic means “Island of Heather.”18 Yeats named this lake isle on which he spent time as a child; it is different from Inis Fraoigh off the coast of Donegal. His sudden remembrance of his time there while homesick in London inspired the work.19 This early poem encapsulates the longing to retreat from the hustle and bustle of metropolitan life (and possibly frustrations of a romantic fashion) to enjoy peaceful nature. This longing is ever present for those who feel it “in the deep heart’s core.” The rhyme scheme of this poem is simply ABAB, with loose metric rhythm. The form of this song is ternary, ABA′, with a coda (see Table 4.2). It also serves as an appropriately slower, lyrical movement for the purposes of a piano trio. Each of the three stanzas has a section of its own, and the coda is purely instrumental. The movement begins and ends in E major, though the use of C major is prominent; these keys are appropriate as they are closely related (dominant and relative major) to the A minor of “The Wild Swans at Coole.” The introduction of the A section consists of meandering arpeggiated figures in the piano weaving about the violin’s lyrical melody, while the cello sustains a slow bass line. The

18 Timothy Hoekman, “Composer’s Notes,” GraphitePublishing.com. accessed May 1, 2018, https://www.graphitepublishing.com/product/three-poems-william-butler-yeats/.

19 William Butler Yeats, Autobiographies. London: Macmillan, 1955, 153.

atmosphere portrayed by the introduction immediately evokes the attractive qualities of Innisfree (see Fig. 4.18).

Table 4.2: Timothy Hoekman “The Lake Isle of Innisfree” Form Ternary form

A B A′ Coda

Stanza 1 Stanza 2 Stanza 3

Lyrical Melody

Sustained Bass Line

Meandering Arpeggios

Fig. 4.18: Timothy Hoekman “The Lake Isle of Innisfree” mm. 1-2

In m. 6, the soprano enters with the motive foreshadowed by the violin and piano at the end of “The Wild Swans at Coole,” (see Fig. 4.19). As the words “go to Innisfree” are sung, the piece modulates to C major, painting the text with a literal aural shift. The piano has a short interlude and is momentarily joined by the cello and then violin in canon with an inviting

melody. Each player shares in the melodic interest, with “bee-loud” trills scattered about in the violin and cello (see Fig. 4.20).

6 Motive

Fig. 4.19: Timothy Hoekman “The Lake Isle of Innisfree” mm. 6-7, voice part

9 Modulation

Interlude

“Bee-loud” Trills

Fig. 4.20: Timothy Hoekman “The Lake Isle of Innisfree” mm. 9-15

In mm. 26-30, there is an interlude that modulates back to E major for the B section. Low piano sonorities support melodies in the other instruments, and violin pizzicati demonstrate peace “dropping slow.” A modulation to C major and a swell in dynamics depict the “purple glow” of noon. “Linnet’s wings” hearken back to the “sixths” theme in “The Wild Swans at Coole,” (see Fig. 4.21-24). Ending the B section is another modulation back to E major, where the introductory material reappears as a transition to the second A section. The third stanza begins identically to the first stanza, as the words are the same. However, this time the soprano enters earlier in the C major section, identifying the interlude in the piano as “lake water lapping.” (see Fig. 4.25)

Low Piano Sonorities

Fig. 4.21: Timothy Hoekman “The Lake Isle of Innisfree” m. 31

35 “Peace Dropping Slow”

Fig. 4.22: Timothy Hoekman “The Lake Isle of Innisfree” m. 35, violin part

“Purple Glow” Swell

Fig. 4.23: Timothy Hoekman “The Lake Isle of Innisfree” mm. 41-43

45 “Sixths”

Fig. 4.24: Timothy Hoekman “The Lake Isle of Innisfree” m. 45-46, voice part

“Lake Water Lapping” 58

Fig. 4.25: Timothy Hoekman “The Lake Isle of Innisfree” mm. 58-60, piano and voice parts

The second A section ends with a modulation to E major in preparation for the coda’s restatement of the introductory music. A sudden and thrilling D major minor 7th harmony allows for a ♭VII7 to I cadence in which the cello’s suspended F sharp avoids resolving as expected to E

in favor of arpeggiating downwards to invite the piano’s meandering gestures from the opening to return (see Fig. 4.26). In mm. 73-76, the cello and violin revisit the opening melodic motive from the soprano part while the piano briefly tastes C major one final time (see Fig. 4.27).

♭VII7 to I cadence

Fig. 4.26: Timothy Hoekman “The Lake Isle of Innisfree” mm. 66-68

Motive

Fig. 4.27: Timothy Hoekman “The Lake Isle of Innisfree” mm. 73-76

“The Cat and the Moon”

The cat went here and there And the moon spun round like a top, And the nearest kin of the moon, The creeping cat, looked up. Black Minnaloushe stared at the moon, For, wander and wail as he would, The pure cold light in the sky Troubled his animal blood. Minnaloushe runs in the grass Lifting his delicate feet. Do you dance, Minnaloushe, do you dance? When two close kindred meet, What better than call a dance? Maybe the moon may learn, Tired of that courtly fashion, A new dance turn. Minnaloushe creeps through the grass From moonlit place to place, The sacred moon overhead Has taken a new phase. Does Minnaloushe know that his pupils Will pass from change to change, And that from round to crescent, From crescent to round they range? Minnaloushe creeps through the grass Alone, important and wise, And lifts to the changing moon His changing eyes.

Minnaloushe, the cat referenced in “The Cat and the Moon,” belonged to either Maud Gonne, her daughter Iseult, or Lady Gregory. No matter who the cat belonged to, “The Cat and the Moon” can be interpreted to reference Yeats and Gonne’s complicated relationship. The poem was published as 28 lines undivided into stanzas, and an example of enjambment (as demonstrated earlier in “It Sifts from Leaden Sieves”) can be seen between lines 12 and 13. Divided into seven stanzas of four lines each, however, the poem reveals a rhyme scheme of ABCB. The form of “The Cat and the Moon” concludes this hybrid piano trio/art song cycle with a seven-part rondo: ABA′CA′′B′A′′′. Each A section save the last is in A major and G major, each B section is in G minor, and the C section is in D major. The last A section remains in A major, and is followed by a coda that restates the primary musical material of the A section in the piano trio alone (see Table 4.3).

Table 4.3: Timothy Hoekman “The Cat and the Moon” Form Rondo Form

A B A′ C A′′ B′ A′′′

Stanza 1 Stanza 2 Stanza 3 Stanza 4 Stanza 5 Stanza 6 Stanza 7

A major- G minor A major- D major A major- G minor A major G major G major G major

As the poem references dancing and the poet is Irish, Hoekman has appropriately set this text as an Irish jig. Each A section has an instrumental break in which the jig tune returns. The almost constant eighth-note movement in the tune frequently employs a characteristic slurring of the first two notes of each triplet (see Fig. 4.28). As the instruments busily commence jigging, the soprano line soars over the top. Patter is avoided in favor of setting no more than one syllable per beat, with frequent melismas extending words for several beats (see Fig. 4.29).

Characteristic Slurring 1

Fig. 4.28: Timothy Hoekman “The Cat and the Moon” mm. 1-3

One or More Beats Per Syllable

Fig. 4.29: Timothy Hoekman “The Cat and the Moon” mm. 4-7

In all but the last A section, there is a modulation to G major in between the first two and the second two lines of the poem. While colorful, this key change also prepares the listener for the intervening B and C sections (in G minor and D major) (see Fig. 4.30). Any mention of the

cat “creeping” is shown in the voice as well as the instruments with minor second upper neighbor notes (see Fig. 4.31).

Modulation 12

Fig. 4.30: Timothy Hoekman “The Cat and the Moon” mm. 12-13

“Creeping” Minor-second Upper-neighbor Notes

Fig. 4.31: Timothy Hoekman “The Cat and the Moon” mm. 17-18

In the B sections, the spritely jig disappears to be replaced with a saturnine common time harmonic progression that moves about aimlessly. As Minnaloushe’s “animal blood” is troubled by the “pure, cold light in the sky,” so is the listener’s blood troubled by harmonics first in the violin and then both strings in the second B section (see Fig. 4.32). Each morose B section ends with a transition that modulates to A major while resuming the jig (see Fig. 4.33).

“Troubling” Harmonics

25 111

Fig. 4.32: Timothy Hoekman “The Cat and the Moon” mm. 25-26, 111-112

Transition 37

Fig. 4.33: Timothy Hoekman “The Cat and the Moon” mm. 37-38 (and 123-124)

The enjambment of the poem is handled by keeping the 13th line (“What better than call a dance?”) with the previous stanza to finish the sentence before continuing to the next section of the song. Responding to the soprano’s suggestion to “call a dance,” in mm. 62-63 the piano trio modulates to D major for a delightful minuet that evokes the sound of the lute with string pizzicati and a delicate piano part with staccato articulation (see Fig. 4.34). The voice entrance pays homage to the ubiquitous Bach Minuet in G in m. 71 (see Fig. 4.35-36). After the clever use of a musical turn to set the words “new dance turn,” the violin plays a lyrical melody that answers the piano’s minuet-like tune (see Fig. 4.37). In mm. 84-86, however, the urge to jig becomes too strong and the piano trio transitions back to the A section (see Fig. 4.38).

Minuet 62

Fig. 4.34: Timothy Hoekman “The Cat and the Moon” mm. 62-64

Fig. 4.35: Timothy Hoekman “The Cat and the Moon” m. 71, voice part

Fig. 4.36: Johann Sebastian Bach Minuet in G major, BWV Anh. 114 mm. 1-2

Turn Lyrical Melody 78

Minuet-like Tune

Fig. 4.37: Timothy Hoekman “The Cat and the Moon” mm. 78-80

Resuming the Jig 84

Fig. 4.38: Timothy Hoekman “The Cat and the Moon” mm. 84-86

The third A section is much like the previous two A sections. However, an interesting portrayal of the moon entering “a new phase” happens in mm. 105-106 (see Fig. 4.39). There is a brief harmonic shift to E-flat major that quickly shifts back to G major in time to modulate to G minor. After the second B section, the final A section appears and remains in A major.

Sixteenth-note runs sporadically appear in the instruments with increasing frequency as the jig begins to become more exuberant. With the final word of the soprano line, the piano trio launches into the most bombastic version of the jig. Starting with the piano (see Fig. 4.40), each instrument has a chance at the jig tune, and with sixteenth-note runs passed from player to player the entire work ends with a perfect authentic cadence in A major. The final note is prolonged by a tremolo in the bass of the piano while the strings crescendo on single tonic notes; a rolled chord flourish in the piano punctuates the completion of the piece (see Fig. 4.41).

105 “New Phase” Harmonic Shift

Fig. 4.39: Timothy Hoekman “The Cat and the Moon” mm. 105-106

143

Jig Tune

Fig. 4.40: Timothy Hoekman “The Cat and the Moon” mm. 143-144

Tremolo and Rolled Chord Flourish

151

Fig. 4.41: Timothy Hoekman “The Cat and the Moon” mm. 151-153

CHAPTER 5

CONCLUSIONS REGARDING COMPOSITIONAL STYLE TRAITS

After analysis of three contrasting song cycles by Timothy Hoekman, several aspects of his compositional style become apparent. These include thoughtful text setting that uses rhythm, meter, and melody to underline proper word stress; use of the piano or other instruments to depict imagery in the text; a harmonic language heavily invested in the use of counterpoint and voice leading; judicious use or avoidance of traditional chord progressions; and musical structure that is crafted to fit the poem.

Text-setting

When setting text, Hoekman’s careful attention to word stress and meaning produce melodies that communicate text clearly and expressively. He employs both rhythm and meter to accomplish this. Taking advantage of metric stress expectations can be simple and effective, especially when they are subverted. In “To Make a Prairie,” placing the stressed syllables of the words “prairie” and “clover” on the strong first beat of the measure makes the syncopation of “one” and “bee” all the more delightful (see Fig. 5.1). Blatant avoidance of stereotypical stress patterns implied by certain meters can lead to a satisfying result: in “Two Butterflies Went Out at Noon,” the use of hemiola prevents a sing-song quality from taking hold of this iambic text set in a triple meter (see Fig. 5.2). As seen frequently in The Nash Menagerie, the use of quirky or unexpected rhythms can add to the punch of a humorous text. In “The Turkey,” the singer’s gobbling is preceded by quarter note triplets that clarify the words while preparing the listener for vocal acrobatics (see Fig. 5.3). Changing the meter can also be effective: the insertion of a 3/2 measure in the second theme of “The Wild Swans at Coole” serves to prepare the end of that section. In each instance, the final words of the stanza are deliberately underlined and unmistakable. The listener is sure to hear the crucial words “nine-and-fifty swans” (see Fig. 5.4).

Strong Beats Syncopation 1

Fig. 5.1: Timothy Hoekman “To Make a Prairie” mm. 1-4, voice part

Hemiola

Fig. 5.2: Timothy Hoekman “Two Butterflies Went Out at Noon” mm. 11-14, voice part

Quarter-note Triplets

Fig. 5.3: Timothy Hoekman “The Turkey” mm. 6-8, voice part

Meter Change for Text Stress 44

Fig. 5.4: Timothy Hoekman “The Wild Swans at Coole” mm. 44-46

Hoekman has a gift for melodic inflection of text as well. In “She Sweeps with Many- Colored Brooms,” the soprano melody is expressive and gorgeous. It also is designed in a way that allows the singer to clearly enunciate the text (see Fig. 5.5). In “The Wombat,” portamenti serve to punctuate the humorous moments in the text (see Fig. 5.6). Though rather difficult to execute, the effect of the rangy vocal setting of “The Kangaroo” is worth the effort, as the character of the titular animal is portrayed perfectly (see Fig. 5.7). In “The Cat and the Moon”, whenever Minnaloushe comes creeping, the soprano is sure to show that with minor second upper neighbor notes (see Fig. 5.8).

Expressive Melody 2

Fig. 5.5: Timothy Hoekman “She Sweeps With Many-Colored Brooms” mm. 1-3, voice part

Portamenti 22

Fig. 5.6: Timothy Hoekman “The Wombat” mm. 9-10, 22-23, voice part

Wide Range 7

Fig. 5.7: Timothy Hoekman “The Kangaroo” mm. 6-8, voice part

Minor-second Upper-neighbor Note

Fig. 5.8: Timothy Hoekman “The Cat and the Moon” mm. 17-18, voice part

Instrumental Mood Setting and Text Painting

Hoekman’s idiomatic and imaginative use of the piano to depict the poem he is setting is remarkable. Mood, atmosphere, and attitude are delivered with creative figuration and colorful harmony. In “To Make a Prairie”, the difficulty of describing “revery” is deftly handled in two beats, as the piano subtly invites the audience to daydream (see Fig. 5.9). A frigid tableau is evoked in the hazily beautiful opening to “It Sifts from Leaden Sieves.” Harmonic invention and creative melding of dry articulation and pedal-blurring yield a breath-taking result (see Fig. 5.10). The image of a muddy river is conjured perfectly by the texture and harmony of the piano in “The Hippopotamus,” (see Fig. 5.11). “The Fly” is impossible to mistake in the piano’s dizzying runs (see Fig. 5.12). Bees and burbling lake water, among other things, are shown in the violin and piano parts in “The Lake Isle of Innisfree,” (see Fig. 5.13-14). The use of strings to portray Yeats’ poetic imagery also includes string harmonics that represent the “pure, cold light of the moon” that vexes Minnaloushe in “The Cat and the Moon,” (see Fig. 5.15)

“Revery” Depicted Harmonically 1

Fig. 5.9: Timothy Hoekman “To Make a Prairie” mm. 1-2, piano part

Pedal Blurring of Staccato Notes for Atmosphere

Fig. 5.10: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 1-4

“Murky” Harmonies

Fig. 5.11: Timothy Hoekman “The Hippopotamus” mm. 1-2, piano part

“Dizzying Fly-like” Runs

Fig. 5.12: Timothy Hoekman “The Fly” m. 1, piano part

“Bees”

Fig. 5.13: Timothy Hoekman “The Lake Isle of Innisfree” mm. 24-26, violin part

“Burbling Lake Water” 58

Fig. 5.14: Timothy Hoekman “The Lake Isle of Innisfree” mm. 58-59

“Troubling” Harmonics

25 111

Fig. 5.15: Timothy Hoekman “The Lake Isle of Innisfree” mm. 25-26, 111-112

Contrapuntally-Derived Harmonic Language

Hoekman’s use of harmony is frequently coloristic, but he also uses harmony that is inspired by a singular contrapuntal line or derived from the interaction of several contrapuntal

lines. The B section from “It Sifts from Leaden Sieves” allows a variegated arpeggiated accompaniment to spin out from the voice melody (see Fig. 5.16). The harmonic motion in “The Caterpillar” is derived from a constant inclination to gradually climb. Although a traditional dominant tonic progression bookends the song, simultaneities resulting from stepwise voice leading are the rule in this piece (see Fig. 5.17). The chaotic beauty of the swans in “The Wild Swans at Coole” is rendered in multiple independent musical lines; the freedom of these contrapuntal voices also serves as a metaphor for the swans, whose “hearts have not grown old,” (see Fig. 5.18).

Accompaniment “Spun Out” from Melody 27

Fig. 5.16: Timothy Hoekman “It Sifts from Leaden Sieves” mm. 27-30

Harmony Derived from Stepwise Voice-leading

Fig. 5.17: Timothy Hoekman “The Caterpillar” m. 7

Multiple Independent Contrapuntal Lines

Fig. 5.18: Timothy Hoekman “The Wild Swans at Coole” m. 1-2

Usage or Avoidance of Traditional Chord Progressions

Since traditional cadences are relatively sparse in Hoekman’s music, the occasions they are utilized are particularly notable. This imperfect authentic cadence that begins the piano interlude in “She Sweeps with Many-Colored Brooms” is an exceptionally grand moment in the song cycle (see Fig. 5.19). “The Germ” ends The Nash Menagerie with a rare perfect authentic cadence, which is nevertheless approached in a quirky way (see Fig. 5.20). Contrasting with

these instances of traditional functional harmony, “The Wild Swans at Coole” avoids the use of a strong cadence at the end of the second theme in favor of a iii - I progression that conveys the wistfulness of the text (see Fig. 5.21).

“Grand” Imperfect Authentic Cadence 18

Fig. 5.19: Timothy Hoekman “She Sweeps with Many-Colored Brooms” mm. 18-23

“Quirky” Perfect Authentic Cadence 51

Fig. 5.20: Timothy Hoekman “The Germ” mm. 51-54

44 iii-I Cadence

Fig. 5.21: Timothy Hoekman “The Wild Swans at Coole” mm. 44-46

Tailored Musical Structure

The musical form of Hoekman’s songs serves the poetry in most instances. “She Sweeps with Many-Colored Brooms” and “Two Butterflies Went Out at Noon” are both ternary form songs that simply and beautifully set those three-stanza poems (see Tables 5.1-2). “The Wombat,” “The Hippopotamus,” and “The Caterpillar” all use a modified strophic form that perfectly acknowledges and communicates the joke-like nature of the poems (see Tables 5.3-5).

Table 5.1: Timothy Hoekman “She Sweeps with Many-Colored Brooms” Form Ternary Form

Form: Introduction A Interlude B Interlude A

Poem: Stanza 1 Stanza 2 Stanza 3

Measure: 1 1-9 9-11 11-19 20-23 23-34

Table 5.2: Timothy Hoekman “Two Butterflies Went Out at Noon” Form Ternary Form

Form: Introduction A Interlude B Interlude A

Poem: Stanza 1 Stanza 2 Stanza 3

Measure: 1-10 11-25 26-30 30-44 45-46 46-64

Table 5.3: Timothy Hoekman “The Wombat” Form Modified Strophic Form First Strophe: Lines: Introduction 1st – 4th Interlude Measures: 1-2 2-10 11-14 Second Strophe: Lines: 5th-8th Postlude Measures: 14-23 23-33

Table 5.4: Timothy Hoekman “The Hippopotamus” Form Modified Strophic Form First Strophe: Lines: Introduction 1st – 4th Measures: 1 1-7 Second Strophe: Lines: Interlude 5th-8th Measures: 8-9 9-16

Table 5.5: Timothy Hoekman “The Caterpillar” Form Modified Strophic Form First Strophe: Lines: 1st Interlude 2nd Interlude 3rd –4th Interlude 5th –6th Interlude Measures: 1-2 2-3 3-5 5-6 7-8 9 9-11 12-13 Second Strophe: Lines: 7th Interlude 8th Interlude 9th –10th Interlude 11th –12th Postlude Measures: 13-15 15-16 16-18 18-19 20-21 22 22-26 26-28

Three Poems of William Butler Yeats uses two different instrumental forms for the first and third songs. The first, “The Wild Swans at Coole,” is a fantastic example of Hoekman’s craftsmanship, as the movement fuses a sonata-allegro piano trio movement with a five-stanza song and the result is greater than the sum of its parts (see Table 5.6). The third song, “The Cat and the Moon” sets a 28-line poem in a seven-part rondo form, creating a fascinating journey out of this peculiar text (see Table 5.7). In these songs, the instruments are equal partners to the voice rather than mere accompaniment, fulfilling an important role in capturing the imagery of the text. The sonata-allegro and rondo forms allow the pieces time to develop musical material without obscuring the poetry.

Table 5.6: Timothy Hoekman “The Wild Swans at Coole” Form Sonata-allegro Form Exposition Exposition Development Recapitulation (repeated)

Theme Theme II Theme Theme II Theme Variation Theme Theme Group I Group I Group I of Theme Group I II Material II A minor D major A minor D major Unstable E major A minor D major

Stanza 1 Stanza 2 Stanza 3 Stanza 4 Stanza 5

Table 5.7: Timothy Hoekman “The Cat and the Moon” Form Rondo Form

A B A′ C A′′ B′ A′′′

Stanza 1 Stanza 2 Stanza 3 Stanza 4 Stanza 5 Stanza 6 Stanza 7

A major- G minor A major- D major A major- G minor A major G major G major G major

Final Remarks

The works of American composer Timothy Hoekman showcase his talent for expressive text-setting, with carefully crafted melodies supported by vivid accompaniments that display colorful and inventive harmonies. Every facet of his music, including rhythm, meter, harmony, and form, is shaped with the goal of serving the depiction of the text. As I have learned and performed his works, I have become convinced that wider appreciation of his music is deserved. I hope that this exploration of his song cycles To Make a Prairie, The Nash Menagerie, and Three Poems of William Butler Yeats will serve as an enticing introduction to Hoekman’s works for any who seek art song that is a pleasure to learn, perform, and hear.

APPENDIX A

TABLES OF MUSICAL WORKS OF TIMOTHY HOEKMAN

Table A.1: Songs for Voice and Piano

Title Instrumentation Description The Song that I Came to Sing voice, piano A song using a poem by Rabindranath Tagore She Loves Me, She Loves Me baritone, piano A cycle of four songs using Not texts by Shaemus O'Sheel Five Poems of Edna St. soprano, piano A cycle of five songs Vincent Millay Serenade tenor, piano A cycle of six songs using texts by various poets Suite italiana baritone, harpsichord A song cycle in Italian using texts from Italian Renaissance madrigals To Make a Prairie soprano, piano A set of four songs with texts by Emily Dickinson The Nash Menagerie countertenor or mezzo- A set of seven songs using soprano, piano texts by Ogden Nash The Last Invocation voice, piano A song using a poem by Walt Whitman American Lyrics soprano, piano A set of five songs using texts by American poets Bless This New Marriage: voice, organ; Three wedding songs Three Wedding Songs 2 voices, organ; voice, piano available in high and medium or organ keys

Table A.2: Vocal Chamber Works

Title Instrumentation Description A Frog Went A-Courtin' voice, clarinet, piano An American folksong arrangement It Was a Lover and Her Lad soprano, baritone, piano A duet using words by Shakespeare (mostly) Three Irish Folksongs voice, clarinet, piano A set of three folksong arrangements Three Poems of William voice, violin, cello, piano A chamber work using poems Butler Yeats of William Butler Yeats North Carolina Songs voice, violin, viola, cello, A chamber work with texts harp by A. R. Ammons for high or medium voice

Table A.2 - continued

Then Swims Up the Great soprano, mezzo-soprano, A cycle of eight songs using Round Moon tenor, baritone, piano poems by Walter de la Mare Margarets soprano, mezzo-soprano, Two duets with texts by piano Gerard Manley Hopkins and John Skelton

Table A.3: Works for Voice and Orchestra

Title Instrumentation Description God Rest You Merry, voice, orchestra An arrangement of the carol Gentlemen for voice and orchestra Infant Holy, Infant Lowly voice, orchestra An arrangement of the carol for voice and orchestra Il est né, le divin enfant voice, orchestra An arrangement of the carol for voice and orchestra The Nativity voice, orchestra Three songs for soprano and orchestra, texts by Henry

Vaughan and Richard Crashaw

Table A.4: Choral Works

Title Instrumentation Description Nature Walks for Gentlemen male chorus A set of five songs for a capella men's chorus using texts by Ogden Nash Nature Walks for Ladies female chorus A set of four songs for a capella women's chorus using texts by Ogden Nash Harlem Night Songs chorus, piano A set of four songs with texts by Langston Hughes Four Songs from Volks- children’s chorus, piano Four songs by Johannes Kinderlieder Brahms, edited and translated into English by Timothy Hoekman Sing to the Lord a New Song chorus, organ An anthem based on Biblical Psalms 84, 90, and 98 Let the Children Come to Me chorus, organ A baptism anthem based on Biblical texts Mark 10:14 and Psalm 121 Hymntune "Tebben" hymntune A hymntune What Love Is This chorus, organ An anthem with text by Edward Taylor

Table A.5: Other Works

Title Instrumentation Description Suite for Piano piano A suite of four pieces for piano Shule Agra concert band A folksong arrangement for concert band Fantasia on "Lauda anima" organ Princess Gray Goose 2 sopranos, mezzo-soprano or A one-act fairy-tale opera contralto, tenor, baritone, with libretto by Grant bass-baritone, piano Preisser, revised from a libretto by Erin McClain and Carla Connors Partita on "Praise to the Lord" organ Five variations on the chorale “Lobe den Herren”

APPENDIX B

TABLES OF WORKS ORGANIZED BY PUBLISHER

Table B.1: Works Organized by Publisher

Publisher Title Composition Date Classical Vocal Reprints A Frog Went A-Courtin’ 2013 It Was a Lover and Her Lad 2011 Three Irish Folksongs 2011 Five Poems of Edna St. Vincent Millay 2009 Suite italiana 2003 Margarets 1994 Colla Voce Music Harlem Night Songs 2002 Four Songs from Volks-Kinderlieder 1997 Faith Alive Christian Hymntune “Tebben” 1987 Resources Recital Publications The Nash Menagerie 1996 American Lyrics 1990 Bless This New Marriage 1983, 1985, 1986 Theodore Presser To Make a Prairie 2002 Timothy Hoekman Music, God Rest You Merry, Gentlemen 2016 Distributed by Infant Holy, Infant Lowly 2015 Graphite Publishing She Loves Me, She Love Me Not 2013 Three Poems of William Butler Yeats 2010 Il est né, le divin enfant 2004 Sing to the Lord a New Song 1996 The Last Invocation 1995 Let the Children Come to Me 1992 Seven Housman Songs 1982 What Love Is This 1978 Available through Suite for Piano 2015 www.timothyhoekman.com Nature Walks for Gentlemen 2014 The Song that I Came to Sing 2014 Nature Walks for Ladies 2013 Shule Agra 2012 North Carolina Songs 2004 Serenade 2003 Daniel’s March 2003 Nathan’s Jig 2003 The Nativity 2001, revised 2015 Then Swims Up the Great Round Moon 1999

Table B.1 – continued

Available through Fantasia on “Lauda anima” 1998 www.timothyhoekman.com Princess Gray Goose 1996 Rondo 1991 Partita on “Praise to the Lord” 1985 Trumpet Tune 1983 Three hymn preludes for organ 1982

APPENDIX C

LICENSES AND COPYRIGHT PERMISSIONS

100

101

102

103

104

105

106

BIBLIOGRAPHY

Books

Stillman, Frances and Jane Shaw Whitfield. The Poet's Manual and Rhyming Dictionary. Based on The Improved Rhyming Dictionary. New York: Crowell, 1965.

Yeats, William Butler. Autobiographies. London: Macmillan, 1955.

Interview

Hoekman, Timothy. Interview by author, February 8, 2018, Tallahassee, FL.

Online Sources

Habegger, Alfred. “Emily Dickinson.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. February 1, 2018. Accessed May 1, 2018. https://www.britannica.com/biography/Emily- Dickinson.

Hoekman, Timothy. “Composer’s Notes.” GraphitePublishing.com. Accessed May 1, 2018. https://www.graphitepublishing.com/product/three-poems-william-butler-yeats/.

Oxford Dictionaries, s.v. “enjambment.” Accessed May 1, 2018. https://en.oxforddictionaries.com/definition/us/enjambment.

Schirmer, Melissa. “The Irish Literary Revival.” The Irish Literature Collection. Accessed May 1, 2018. http://libapps.libraries.uc.edu/exhibits/irish-lit/sample-page/.

The Editors of Encyclopaedia Britannica. “Augusta, Lady Gregory.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. March 8, 2018. Accessed May 1, 2018. https://www.britannica.com/biography/Augusta-Lady-Gregory.

The Editors of Encyclopaedia Britannica. “Common metre.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. May 17, 1999. Accessed May 1, 2018. https://www.britannica.com/art/common-metre.

The Editors of Encyclopaedia Britannica. “Half rhyme.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. March 1, 2016. Accessed May 1, 2018. https://www.britannica.com/art/half-rhyme.

The Editors of Encyclopaedia Britannica. “Iamb.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. June 21, 2017. Accessed May 1, 2018. https://www.britannica.com/art/iamb.

107

The Editors of Encyclopaedia Britannica. “Light verse.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. March 17, 2016. Accessed May 1, 2018. https://www.britannica.com/art/light-verse.

The Editors of Encyclopaedia Britannica. “Lyric.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. June 27, 2017. Accessed May 1, 2018. https://www.britannica.com/art/lyric.

The Editors of Encyclopaedia Britannica. “Maud Gonne.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. April 20, 2018. Accessed May 1, 2018. https://www.britannica.com/biography/Maud-Gonne.

The Editors of Encyclopaedia Britannica. “Ogden Nash.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. August 21, 2017. Accessed May 1, 2018. https://www.britannica.com/biography/Ogden-Nash.

The Editors of Encyclopaedia Britannica. “Short metre.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. June 23, 1999. Accessed May 1, 2018. https://www.britannica.com/art/short-metre.

The Editors of Encyclopaedia Britannica. “William Butler Yeats.” Encyclopædia Britannica. Encyclopædia Britannica, Inc. August 17, 2017. Accessed May 1, 2018. https://www.britannica.com/biography/William-Butler-Yeats.

Recordings

Hoekman, Timothy. Hymntune “Tebben.” On We Come, O Christ, to You. CRC Publications M- 1002, 1985. LP.

Hoekman, Timothy. “It Was a Lover and Her Lad.” On From the Heartland. Albany Records, Troy 1349, 2012. CD.

Hoekman, Timothy. Margarets. On To Sun, To Feast, and To Converse: American Vocal Duet Music. Albany Records, Troy 172, 1995. CD.

Hoekman, Timothy. Three Poems of William Butler Yeats. On Attracting Opposites: New Music for Piano Trio. Azica Records, ACD-71282, 2013. CD.

Hoekman, Timothy. To Make a Prairie. On To Make a Prairie. Mark Records 7890-MCD, 2011. CD.

108

BIOGRAPHICAL SKETCH

Galen Dean Peiskee has established a multifaceted career as an accomplished chamber musician, soloist, orchestral pianist, accompanist, and vocal coach. He has performed all over the United States as well as throughout the world in Poland, Italy, Austria, Greece, Cuba and Bolivia. He is a member of the Emerald Trio, Trio Vivo, Young-Peiskee Flute-Piano Duo, the Bold City Contemporary Ensemble, and the Cerulean Trio, finalists in the 2016 Chesapeake Chamber Music Competition. Dean has performed as a soloist with the Brazos Chamber Orchestra multiple times, and was the pianist for the Singing Girls of Texas for 5 years. He made his Carnegie Hall debut in May 2017, performing music of Timothy Hoekman in Weill Recital Hall. Dean has a Doctor of Music degree in collaborative piano from Florida State University, where he earned his Master of Music degree in accompanying. He has also acquired an Artist Diploma from Texas Christian University, where he earned his Bachelor of Music degree in piano performance, and an Associate of Music degree from Kilgore College. His teachers have included Timothy Hoekman, Read Gainsford, José Feghali, John Owings, and Sandra Siler.

109