UNIVERSITY of CALIFORNIA Los Angeles Millennial Passions: New

UNIVERSITY OF CALIFORNIA Los Angeles Millennial Passions: New Music and the Ends of History, 1989-2001 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Stephany Andrea Moore 2016 © Copyright by Stephany Andrea Moore 2016 ABSTRACT OF THE DISSERTATION Millennial Passions: New Music and the Ends of History, 1989-2001 by Stephany Andrea Moore Doctor of Philosophy in Musicology University of California, Los Angeles, 2016 Professor Robert W. Fink, Chair This dissertation examines a group of four musical Passion settings, commissioned by the International Bachakademie Stuttgart to mark the 250th anniversary of J.S. Bach’s death in 2000. The terms of the commission, titled “Passion 2000,” called for each composer to choose one of the canonic Gospels and write a setting in his or her own language. They were Wolfgang Rihm, German; Sofia Gubaidulina, Russian; Osvaldo Golijov, Spanish; and Tan Dun, English. I consider these four Passions against the backdrop of two historical turning points: the end of the Cold War and the turn of the millennium. I look at the impact of these turns on the production and reception of new music, considering tensions between the rapid globalization of the post-Cold War period and the simultaneous struggles to renegotiate the terms of local or regional identities. Accordingly, I address issues of nationalism and postnationalism, globalization, and multiculturalism, while also situating the Passions within music-historical lineages and networks of influence. While the end of the Cold War put ideas about the “end of history” into wide circulation, the approach of the millennium also carried eschatological ii implications, as well as hopes for global, historical redemption from the brutalities of the twentieth century. This dissertation is one of the first studies to consider the end of the Cold War as a turning point for musical culture, and to address the millennial turn in new music. It is divided into two parts: Post-Cold War and Pre-Millennium, each part addressing two of the Passions. This dissertation brings necessary attention to the pluralism of 1990s new music, and offers an alternative interpretation to the widespread understanding of late twentieth century concert music as reflecting primarily a “postmodern” condition. Instead, I argue that the historical grandeur of the Cold War’s end and the millennial turn created a unique set of conditions in which music- historical narratives were questioned and the boundaries of new music redrawn. iii The dissertation of Stephany Andrea Moore is approved. William Weber Timothy D. Taylor Elisabeth Covel Le Guin Robert W. Fink, Committee Chair University of California, Los Angeles 2016 iv Table of Contents Introduction Means and Ends: Music and Politics 1 Between Cold War and Millennium Part I—Post-Cold War Chapter 1 Passion as History, History as Passion 26 Chapter 2 New Music’s Multicultural Turn 84 Part II—Pre-Millennium Chapter 3 From Passion to Apocalypse 130 Chapter 4 Art-Religion for a Global New Age 180 Conclusion (Musical) Capital in the Twenty-First Century 226 Bibliography 236 v List of Examples, Tables, Appendices Examples Page numbers 1.1 Das ist mein Leib 73-74 1.2 Siehe, da kam die Schar 75 1.3 Judas verrätst du des Menschen Sohn 76-77 1.4 Eripe me 78-79 1.5 Libera me 80 1.6 Potum Meum 81 1.7 Sind wir geheilt 82-83 2.1 Lúa Descolorida 119 3.1 Im Anfang war das Wort 158 3.2 Sie übernahmen Jesus 161 3.3 Der erste Engel 162 3.4 Choruses’ dispute 164 3.5 Im Anfang war das Wort, II 166 4.1 B-A-C-H reference 195 4.2 Opening of Water Passion 206 4.3 Oscillating fifths 207 4.4 Passion Chorale, 1st entrance 208 4.5 Passion Chorale, movement 3 208 4.6 Resurrection motive 218 Tables 2.1 Allusions to Non-Western Music 114-115 2.2 Allusions to Western Music 117 3.1 Temporal modes 177-178 Appendix A Passion 2000 Sculpture 235 vi Acknowledgements As solitary as it often seems, the production of a dissertation is a collaborative act. For me, it has relied not only on those moments when I’ve clearly been engaged in shaping or writing the thing, but also those countless, marvelous moments along the way that come back a year or five years later to answer a question not yet raised in the moment of their first appearance. With this as the most honest parameter for appreciation, there is scarcely anyone I could omit. And yet there are those who, along the long way of a lifetime, have unequivocally shown up here in one way or another. Most practically, research requires time, space, and often travel. For assistance in such matters, I am profoundly grateful for support from the following: the Andrew Mellon Fellowship of Distinction at UCLA; the UCLA Center for European and Eurasion Studies Pre-Dissertation Fellowship; the Mellon Pre-Dissertation Fellowship; the Roter Research Travel Grant from the UCLA Center for Jewish Studies; the UCLA Dissertation Year Fellowship; the Mickey Katz Endowed Chair in Jewish Music; the Herb Alpert School of Music; and the German Academic Exchange Service. In 2014, I took a first research trip to Germany, uncertain of how to go about it, how well my German would hold up, or what I would find. I received a great deal of help from the following: Jutta Schneider, the wonderful archivist at the International Bachakademie Stuttgart, who maintains a lovely library, was generous with documents, copies, and coffee, and made Stuttgart an excellent first stop. In Leipzig, Dr. Thekla Kluttig provided a preliminary list of possible resources at the Sächsisches Staatsarchiv there; the whole staff was enormously helpful and the documents I looked at there changed the direction of my first chapter. At the Bach- Archiv in Leipzig, Frau Marion Söhnel, a musicologist there since 1979, gave me a gripping vii personal account of the institution’s Cold War-era history. Dr. Christiane Hausmann offered additional institutional insights, made introductions, provided concert tickets, and continues to be a resource. I am also grateful to Professor Dr. Helmut Loos for the conversations, and to William Weber for making that introduction. In Berlin, I thank the archivists of the Akademie der Künste, which is as close to perfect an archive as I can imagine. Additional help came from the music librarian of the Deutsch Nationalbibliothek, Sigrid Berr, who was completely unfazed by my lack of an appointment and shared the library’s remarkable card catalogue containing information on much of East Germany’s new music culture. On a personal note, I thank friends in Germany for providing much-needed company, meals, and in some cases, English-language conversation: Traudi and Eberhardt Zappe; Heidi Kirsch; Nicole Zeisig and Jeremy Stahl; Eva- Maria Schneider-Reutter; Peter D’Elia; Marion and Manfred Janoschka; and Beate Kutschke. Some people deserve a mention for reasons too varied and complex to enumerate, and so I will simply name them here: Will McClintock and the late Amy van Meter; Donna Jean Liss; Adrian Spence; Brad Tyer; Kaaren Fleisher; Tereza Stanislav; Laurie Alper; Christina Carroll; Yuri Inoo; Joanne Brigham; Nicholette Kasman; and Andrea McCullough. Particular thanks to Gabriela Frank for conversation, inspiration, humor, and friendship. Thanks also to Renée and Michael Dernburg, wonderful neighbors, who have provided me the ideal home during this undertaking. Without the expertise, patience, support, and good humor of Barbara van Nostrand, my time at UCLA would have been much more difficult, and much less enjoyable. That it has been a good experience has also had a lot to do with my colleagues in musicology and ethnomusicology, who are wonderful and have contributed so much to this process. Special viii thanks to Mindy O’Brien for our ongoing conversation. Thanks also to UCLA alumna, Marianna Ritchey, longtime sounding board and now collaborator as well. The UCLA faculty are a brilliant lot, who model as much as they profess. I extend my thanks to Mitchell Morris for his service on my M.A. committee and his open door. Also on my M.A. committee was Ray Knapp, who has been a friend, mentor, and supporter ever since. Mark Kligman has been an invaluable intellectual resource and supporter. Jessica Schwartz was a great help as I entered the job market. Nina Eidsheim has been a friend, and a model of professionalism; there is no better mentor for thinking through questions about who one wants to be as a scholar, and how one wants to get there. Olivia Bloechl’s core seminar, which I had heard about for years, has been crucial to my work. Outside of the classroom, she has also been a model for thinking about how to teach, how to mentor and guide students, how to approach historical complexities, and how to think about the political in music. Of my dissertation committee, not enough good can be said, and I will not try to say all that I could. I was influenced by William Weber’s work for years before I met him or thought of asking him to join this group. He has brought energy, clarity, rigor, and a historian’s cool eye (and imperviousness to graduate student grandiosity). I am immensely grateful and honored to have worked with him. I have learned an enormous amount from taking classes with, and reading, Timothy Taylor. He has been indispensable to my education for many reasons, but one of the most important is his deep conviction that theory, at its best, builds bridges and reaches across disciplines and specialties to create both personal and scholarly connections.

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