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Stylistic Influences and Application of Gebrauchsmusik in the Late Choral Cantatas of Daniel Pinkham Item Type text; Electronic Dissertation Authors Brown, Trent R. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 16:57:18 Link to Item http://hdl.handle.net/10150/195332 STYLISTIC INFLUENCES AND APPLICATION OF GEBRAUCHSMUSIK IN THE LATE CHORAL CANTATAS OF DANIEL PINKHAM by Trent R. Brown _________________________ Copyright © Trent R. Brown 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Trent R. Brown entitled Stylistic Influences and Application of Gebrauchsmusik in the Late Choral Cantatas of Daniel Pinkham and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________Date: 11/10/09 Bruce Chamberlain _______________________________________________Date: 11/10/09 Elizabeth Schauer _______________________________________________Date: 11/10/09 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document under my direction and recommend that it be accepted as fulfilling the document requirement. _______________________________________________Date: 11/10/09 Document Director: Bruce Chamberlain 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. Signed: Trent R. Brown 4 ACKNOWLEDGMENTS Thank you to all my instructors at The University of Arizona, especially to my committee: Bruce Chamberlain, Elizabeth Schauer, Robert Bayless, Donald Hamann, and Shelly Cooper. Thank you to the instructors who encouraged me to get to this point: Gary Schwartzhoff, Sharon Hansen, and Christopher Peterson. Thank you to classmates and colleagues. Thank you to David Griggs-Janower, Waverly Rainey, and Andrew Paul Holman for materials used in this study. Thank you to C. F. Peters Corporation for permission to print musical examples. Copyright © by C. F. Peters Corporation. Used by permission. All rights reserved. My greatest thanks go to my family. I thank my children, Elise and Miles. And I owe this degree to my loving wife, Lindsay. Her support, both emotionally and financially, has made this degree possible. 5 DEDICATION To Lindsay, Elise, and Miles. 6 TABLE OF CONTENTS LIST OF MUSICAL FIGURES…………………………………………………… 8 LIST OF TABLES …………………………………………………………………9 ABSTRACT. ………………………………………………………………………. 10 CHAPTER ONE – INTRODUCTION ……………………………………………. 11 Statement of Primary Thesis……………………………………………….. 13 Justification for Study……………………………………………………… 13 Methodology……………………………………………………………….. 15 Serialism………...…………………………………………………………. 15 Gebrauchsmusik …………………………………………………………… 17 CHAPTER TWO – DANIEL PINKHAM BIOGRAPHY………………………… 19 CHAPTER THREE – GEBRAUCHSMUSIK ……………………………………… 27 History………………………………………………………………………29 Pinkham’s interest in Gebrauchsmusik …………………………………….. 34 Summary…………………………………………………………………. 36 CHAPTER FOUR – ADVENT CANTATA ………………………………………… 39 Background………………………………………………………………… 39 Structure……………………………………………………………………. 40 Movement I – O Sapientia ……………………………………………….… 41 Movement II – O Adonai …………………………………………………... 47 Movement III – O Radix Jesse ……………………………………………...51 Movement IV – O Clavis David …………………………………………… 57 Movement V – O Oriens ……………………………………………………61 Movement VI – O Rex Gentium …………………………………………… 63 Movement VII – O Emmanuel ………………………….………………….. 67 Summary…………………………………………………………………… 72 CHAPTER FIVE – THE CREATION OF THE WORLD ……………………….…. 73 Background………………………………………………………………… 73 The Creation of the World Analysis………………………………………. 75 Gebrauchsmusik in the Cantata …………………………………………… 81 Summary…………………………………………………………………… 85 CHAPTER SIX – CONCLUSION……………………………………………….. 86 Considerations for Future Study…………………………………………… 86 Summary…………………………………………………………………… 87 7 TABLE OF CONTENTS - CONTINUED APPENDIX A: LETTER FROM DANIEL PINKHAM TO DAVID GRIGGS- JANOWER THAT CAME WITH THE FIRST DRAFT OF THE ADVENT CANTATA , JULY 15, 1991 ………………………………………………………... 88 APPENDIX B: LETTER FROM DANIEL PINKHAM TO DAVID GRIGGS- JANOWER WITH CORRECTIONS FOR ADVENT CANTATA , OCTOBER 29, 1992 ………………………………………………………………. 89 APPENDIX C: LETTER FROM DANIEL PINKHAM TO DAVID GRIGGS- JANOWER WITH CORRECTIONS FOR ADVENT CANTATA , NOVEMBER 8, 1992 ……………………………………………………………... 90 APPENDIX D: LETTER FROM DANIEL PINKHAM TO DAVID GRIGGS- JANOWER WITH CORRECTIONS FOR ADVENT CANTATA , DATE UNKNOWN ……………………………………………………………….. 91 APPENDIX E: LETTER FROM DANIEL PINKHAM TO DAVID GRIGGS- JANOWER WITH CORRECTIONS FOR ADVENT CANTATA , DATE UNKNOWN ……………………………………………………………….. 92 APPENDIX F: LETTER FROM DANIEL PINKHAM TO DAVID GRIGGS- JANOWER, DATE UNKNOWN …………………………………………………. 93 APPENDIX G: CLARIFICATION OF PINKHAM’S HANDWRITTEN NOTES ON THE LETTERS TO DAVID GRIGGS-JANOWER …………………………. 94 APPENDIX H: CONCERT PROGRAM COVER FROM PREMIERE OF ADVENT CANTATA ………………………………………………………………. 95 APPENDIX I: CONCERT PROGRAM FROM PREMIERE OF ADVENT CANTATA ………………………………………………………………. 96 APPENDIX J: LETTER OF PERMISSION TO COPY AND PRINT MUSIC EXAMPLES ………………………………………………………………………. 97 REFERENCES…………………………………………………………………….. 98 8 LIST OF MUSICAL FIGURES Figure 4.1, Advent Cantata , m. 1-2………………………………………………… 43 Figure 4.2, Advent Cantata , m. 3-6………………………………………………… 44 Figure 4.3, Advent Cantata , m. 3-6………………………………………………… 44 Figure 4.4, Advent Cantata , m. 14-15……………………………………………… 45 Figure 4.5, Advent Cantata , m. 17-18……………………………………………… 45 Figure 4.6, Advent Cantata , m. 32…………………………………………………. 46 Figure 4.7, Advent Cantata , m. 47-49……………………………………………… 47 Figure 4.8, Advent Cantata , m. 50-52……………………………………………… 49 Figure 4.9, Advent Cantata , m. 67…………………………………………………. 50 Figure 4.10, Advent Cantata , m. 72-75……………………………………………. 51 Figure 4.11, Advent Cantata , m. 83-99…………………………………………….. 52 Figure 4.12, Advent Cantata , m. 96………………………………………………... 52 Figure 4.13, Advent Cantata , hexachord rows, Movement III…………………….. 53 Figure 4.14, Advent Cantata , m. 130-135………………………………………….. 54 Figure 4.15, Advent Cantata , m. 127-129………………………………………….. 56 Figure 4.16, Advent Cantata , m. 144-150………………………………………….. 58 Figure 4.17, Advent Cantata , m. 165-168………………………………………….. 59 Figure 4.18, Advent Cantata , m. 127-129………………………………………….. 60 Figure 4.19, Advent Cantata , m. 205-208………………………………………….. 61 Figure 4.20, Advent Cantata , m. 224-226………………………………………….. 62 Figure 4.21, Advent Cantata , m. 231-234………………………………………….. 63 Figure 4.22, Advent Cantata , m. 263-266………………………………………….. 65 Figure 4.23, Advent Cantata , m. 282-286………………………………………….. 66 Figure 4.24, Advent Cantata , m. 287-289………………………………………….. 67 Figure 4.25, Advent Cantata , m. 293-294………………………………………….. 68 Figure 4.26, Advent Cantata , m. 307-308………………………………………….. 69 Figure 4.27, Advent Cantata , m. 21-24…………………………………………….. 70 Figure 4.28, Advent Cantata , m. 309-314………………………………………….. 71 Figure 5.1, The Creation of the World , m. 6-9……………………………………...75 Figure 5.2, The Creation of the World , m. 15-19………………………………….. 76 Figure 5.3, The Creation of the World , m. 21-25………………………………….. 77 Figure 5.4, The Creation of the World , m. 128-129……………………………….. 78 Figure 5.5, The Creation of the World , m. 45-49………………………………….. 78 Figure 5.6, The Creation of the World , m. 85-90………………………………….. 80 Figure 5.7, The Creation of the World , m. 105-108………………………………. 82 Figure 5.8, The Creation of the World , m. 99-101………………………………… 83 Figure 5.9, The Creation of the World , m. 31-33………………………………….. 85 9 LIST OF TABLES Table 4.1, Advent Cantata , translation of O Sapientia ……………………………. 41 Table 4.2, Advent Cantata , translation of O Adonai ………………………………. 47 Table 4.3, Advent Cantata , translation of O Radix Jesse …………………………..51 Table 4.4, Advent Cantata , translation of O Clavis David ………………………... 57 Table 4.5, Advent Cantata , translation of O Oriens ………………………………. 61 Table 4.6, Advent Cantata , translation of O Rex gentium ………………………… 63 Table 4.7, Advent Cantata , translation of O Emmanuel …………………………... 67 10 ABSTRACT Daniel Pinkham (1923-2006) composed numerous works for chorus, orchestra, organ, and combinations of these forces. This body of repertoire comprises a broad and eclectic collection of styles and levels of complexity. Pinkham’s compositional career was driven by the commissions he received, and the diversity of his oeuvre is a reflection of the varying size, make-up, and ability of the commissioning ensembles. Pinkham’s compositions show influences of his mentors, and are colored
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  • The Bulletin

    The Bulletin

    I will speed up my story by following the philosophy that “brevity is godliness.” Citizens and cultural organizations in the state of New Jersey turned out by the thousands in 1976 to participate in the year-long Bicentennial Celebration of the Declaration of Independence. The Bulletin One of my contributions to the cele- bration took place on the evening of June 11, 1976, when I sang Francis OF THE S OCIETY FOR A MERICAN M USIC Hopkinson’s Seven Songs for Harpsichord or FOUNDED IN HONOR OF O SCAR G. T. SONNECK Forte Piano in the parlor of his house, which is still standing and in use a few miles south of Trenton, in Bordentown, Vol. XXVIII, No. 1 Spring 2002 New Jersey. I made my own edition of Mr. Hopkinson’s seven songs and arranged for three excellent musicians to accompany It’s a Long, Long Way from me on a harpsichord, recorders and a viola Bordentown to Japan! da gamba. An excellent tape recording was made Francis Hopkinson (1737-1791) that evening, and I had several hundred LP records pressed up and made available—at —Gordon Myers cost—to historical groups and interested individuals in the area. My singing teacher at Cornell At a New York Pro Musica concert given Some fourteen years later, on July 30, College, Mt. Vernon, Iowa, Mr. Francis at Dumbarton Oaks in the Washington, 1990, I received a letter from CBS Special German—a fellow in singing from the D.C. area, Noah introduced me to his long- Products. They were making CD record- Juilliard Graduate School in New York time friend, Irving Lowens.