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Original Song Settings of Irish Texts by Irish Composers, 1900-1930

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Original Song Settings of Irish Texts by Irish Composers, 1900-1930 Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song. This was a move away from the typical ‘Irish ballad,’ towards original art song settings of Irish poetry. Can this collection be said in any way to have contributed to or inspired a distinctive tradition of Irish art song? This thesis examines the original Irish song collections that Stanford composed between 1901 and his death in 1924 alongside similar works by his most prominent Irish contemporary in England, Hamilton Harty. It contrasts these with the emerging group of composers in early twentieth-century Ireland, such as Ina Boyle and John Larchet, placing them within the broader context of song composition in Ireland. As well as highlighting key songs, the thesis will consider the social, political and economic factors which affected both their reception and their afterlife in England and Ireland. Finally, the thesis will evaluate which songs would be particularly suitable for revival on the concert platform today. ii I certify that this thesis which I now submit for examination for the award of M.Phil. is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for graduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution. The work reported on in this thesis conforms to the principles and requirements of the DIT's guidelines for ethics in research. DIT has permission to keep, lend or copy this thesis in whole or in part, on condition that any such use of the material of the thesis be duly acknowledged. Signature Date David Scott iii ACKNOWLEDGMENTS I would first like to express my sincere gratitude to my supervisor Dr Mark Fitzgerald for his insight, guidance and for the feedback he provided throughout this study. I would like to thank the staff of the libraries of the DIT Conservatory of Music and Drama, Trinity College Dublin, and the National Library of Ireland for their assistance in sourcing several musical scores. I would particularly like to thank the staff of the Manuscripts and Archive Research Library of Trinity College Dublin for granting me permission to reproduce examples from the manuscripts of Ina Boyle, Rhoda Coghill and Frederick May. I am also grateful to Dr Maria McHale and Sinéad Lalor (M.Sc.) for helping me to acquire scores for this study, and to Dr Kerry Houston for his encouragement. I am very thankful to Dr Ita Beausang for isolating Ina Boyle’s Irish art songs from the period examined in the work, and to Dr Axel Klein for highlighting composers who proved to be very relevant for this study. I am extremely grateful to Brendan Finan (M.A.) for his assistance with type-setting Rhoda Coghill and Ina Boyle’s songs into Sibelius Software. His expertise in notation and advice with corrections aided the analysis of their songs hugely. I am also grateful to Patrick Joseph Kehoe (B.Mus.) for supplying a performance history of the Radio Éireann Symphony Orchestra, and to Dr Declan Plummer for his guidance in cataloguing Hamilton Harty’s songs. I would like to thank my friend Dr Sean O’ Dubhghaill for his help with formatting, editing and proof-reading in the final few months. I would also like to thank my parents, who let me use their home as a late-night study hall on many occasions. I would also like to take this opportunity to thank Niamh Keating for her endless patience and support. Finally, I would like to thank my colleagues Robbie Carroll (B.Mus.) and Anne Conaghan (M.A.) who played some of the more challenging piano parts for me. iv ABBREVIATIONS LIST BBC British Broadcasting Corporation CEO Chief Executive Officer DIT Dublin Institute of Technology DOS Dublin Orchestral Society IRB Irish Republican Brotherhood LSO London Symphony Orchestra MP Member of Parliament NUI National University of Ireland RAM Royal Academy of Music RCM Royal College of Music RIAM Royal Irish Academy of Music RMS Royal Mail Steamer RTÉ Raidió Teilifís Éireann TCD Trinity College Dublin v TABLE OF CONTENTS ABSTRACT .............................................................................................................................. ii ACKNOWLEDGMENTS ........................................................................................................ iv ABBREVIATIONS LIST .......................................................................................................... v TABLE OF FIGURES ............................................................................................................... 3 INTRODUCTION ..................................................................................................................... 5 CHAPTER ONE: HISTORICAL BACKGROUND ............................................................... 16 i. Music and Politics in the Nineteenth Century ........................................................... 16 ii. Ireland’s Nineteenth-Century Emigrant Composers.................................................. 18 iii. Drawing Room Ballad ............................................................................................... 20 iv. Push for Home Rule and Rise of Gaelic Culture ....................................................... 22 v. Annie Patterson and the Foundation of Feis Ceoil .................................................... 25 CHAPTER TWO: Charles Villiers Stanford ........................................................................... 28 i. Upbringing in Dublin ................................................................................................. 28 ii. Stanford’s Irish Songs ................................................................................................ 29 iii. Collections ................................................................................................................. 34 iv. Choice of Poet ............................................................................................................ 38 v. Predominant Themes ................................................................................................. 39 vi. Style of Songs ............................................................................................................ 42 CHAPTER THREE: HAMILTON HARTY ........................................................................... 47 i. Background ................................................................................................................ 47 ii. Move to London ........................................................................................................ 49 iii. Poets ........................................................................................................................... 54 iv. Themes ....................................................................................................................... 56 v. Early Songs ................................................................................................................ 58 vi. Advanced writing ....................................................................................................... 61 CHAPTER FOUR: DECLINE OF THE STANFORD / HARTY IRISH ART SONG .......... 68 PART ONE: ISSUES IN BRITAIN ........................................................................................ 68 i. Decline of Stanford and Harty ................................................................................... 68 ii. The Folk Song ............................................................................................................ 69 iii. Technology ...............................................................................................................
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