Elements of Place in the Choral Works of Malcolm Forsyth by Robert
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Elements of Place in the Choral Works of Malcolm Forsyth by Robert Curtis A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music University of Alberta © Robert Curtis, 2015 Abstract The full thesis for this degree consists of this document as well as two public juried recitals, which were given on December 2, 2011 and June 9, 2013, at Convocation Hall, Edmonton, Alberta. The concept of place is complex and has only recently begun to receive serious study, both on its own and in terms of its relationship to music. Ideas of place rely on geography, culture, history, relationships to other places, and relationships between groups of people, and are subjective constructions. The concept of landscape is useful in examining the relationship between people and their biophysical environments; landscapes can be represented in a variety of forms including painting, photography, poetry, prose and music. Elements of place in music take a variety of forms, from obvious surface elements (such as titles and textual references to specific places) to more abstract, subjective elements wherein the composer tries to capture a personal impression or a sense of a place. A variety of approaches to “place” are examined in detail, and instances of manifestations of place in music are explored through the consideration of a number of examples from the choral music of Malcolm Forsyth. Malcolm Forsyth is a composer for whom elements of place are at the forefront of his compositions. Forsyth was born in South Africa in 1936 and immigrated to Canada in 1968, and his music contains many influences from and unique perspectives on both countries. Four representative choral works are analyzed in detail from the point of view of place in music: Auyuittuq (from Northern Journey), The Sea (from Three Partsongs), Music for Mouths, Marimba, Mbira and Roto-toms, and A Ballad of Canada. These examples span his entire choral output, including both his first and last published choral works, and include shorter, a cappella pieces as well as a major work for choir and orchestra. In each piece, place is a fundamental ii element, and it manifests itself in different ways in each piece. Auyuittuq demonstrates literal depiction of a soundscape, explicit textual references, referenced landscapes and power relationships. The Sea is an example of Forsyth writing within an established tradition of representing place, and serves as a point of entry to a discussion of musical representation of physical environments. Music for Mouths, Marimba, Mbira and Roto-toms is an example of a non-texted piece which must derive its elements of place from musical elements without lyrics to guide the listener. Lastly, the five movements of A Ballad of Canada each deal with a different place using different musical techniques, and depict many different conceptions of Canada as a place. iii Acknowledgements There are a number of people without whom this essay might not have been written, and to whom I wish to express my deepest gratitude. I would like to thank my supervisor Dr. Leonard Ratzlaff for his valued advice and mentorship throughout my studies. Working with Dr. Ratzlaff has been both inspiring and formative. Dr. Ratzlaff introduced me to the works of Malcolm Forsyth with Hesperides when I sang in the University of Alberta Madrigal Singers under his direction in 2006, and he fostered in me a great appreciation for Dr. Forsyth’s challenging and beautiful music. I would also like to thank Dr. Debra Cairns, one of my first conducting teachers and a member of my supervisory committee. It was largely Dr. Cairns’s leadership and musicianship when I sang under her direction in the University of Alberta Concert Choir that led me to pursue graduate studies in choral conducting, and she has continued to be a most valued mentor and role model. I would also like to thank other current and former faculty members at the University of Alberta who have sat on my supervisory committee, candidacy panel, examination committee and recital juries, and who have otherwise contributed their time and energy to help me in the completion of my studies, especially Dr. David Gramit and Dr. Henry Klumpenhouwer. I am very grateful for their advice and feedback as I prepared this essay. I have been fortunate to work with a number of excellent choral ensembles over the course of my studies, and I am profoundly grateful to the choristers who participated in my doctoral recitals, including singers from the University of Alberta Concert Choir, the University of Alberta Madrigal Singers, the University of Alberta Mixed Chorus, the Richard Eaton Singers, Pro Coro Canada, and i Coristi Chamber Choir. Their time and talent have given me the iv opportunity to further explore the choral works of Malcolm Forsyth, among others, in an interpretive context, and have greatly deepened my appreciation of this repertoire. Lastly, I am particularly thankful for my many wonderful colleagues, friends and family members. I have been immeasurably fortunate to work within an extremely supportive community, and their friendship and encouragement has made this process a joy. I would like to especially thank my wife, Connie McLaws, for her unwavering and ever-present support, and without whom this essay could not have been realized. v Table of Contents Chapter 1 – Introduction ................................................................................................................. 1 Chapter 2 – The concept of place What is place? ............................................................................................................................. 5 Constructing place ...................................................................................................................... 8 Relationships between places ................................................................................................... 11 Manifestations of place in music .............................................................................................. 14 Chapter 3 – Malcolm Forsyth Biographical background .......................................................................................................... 19 Forsyth and place ...................................................................................................................... 21 Chapter 4 – The North: Auyuittuq Overview ................................................................................................................................... 24 Literal depiction and textual references .................................................................................... 29 Referenced landscape................................................................................................................ 31 Power relationships and metonymy .......................................................................................... 38 Chapter 5 – Water music: La mer and The Sea Literal depiction vs. subjective representation .......................................................................... 40 Chapter 6 – Place without text: Music for Mouths, Marimba, Mbira and Roto-toms Overview ................................................................................................................................... 48 vi Surface elements of place ......................................................................................................... 52 Referenced landscape................................................................................................................ 55 Chapter 7 – A mari usque ad mare: A Ballad of Canada Overview ................................................................................................................................... 57 In the Yukon .............................................................................................................................. 59 In Flanders Fields ..................................................................................................................... 65 The Toll of the Bells .................................................................................................................. 70 On the Waverley Road Bridge .................................................................................................. 76 Newfoundland ........................................................................................................................... 81 Chapter 8 – Conclusion ................................................................................................................. 88 Bibliography ................................................................................................................................. 91 Appendix – Chronological list of choral music by Malcolm Forsyth .......................................... 95 vii List of Tables Table 1 – Landscape descriptors and corresponding musical elements in Forsyth, Auyuittuq..... 33 Table 2 – Landscape descriptors and corresponding musical elements in Violet Archer, Auyuittuq ............................................................................................................................. 35 Table 3 – Expansion and contraction of tessitura in The Sea ....................................................... 47 Table 4 – Form of “In the Yukon” from A Ballad of Canada, highlighting background and foreground sections ............................................................................................................