Death and Transformation in Romantic Song Cycles: Journeys in Interpretation Author Court, Sarah Kathleen Mary Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3782 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365450 Griffith Research Online https://research-repository.griffith.edu.au Queensland Conservatorium Death and Transformation in Romantic Song Cycles Journeys in Interpretation Sarah Kathleen Mary Court BMus (Hons), MMus, MBA Queensland Conservatorium Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Musical Arts June, 2014 ACKNOWLEDGEMENTS For my wife, Sue Court, and my classmate, Gary Holley – my constant companions throughout this journey – and my dear friend, Leanne Swanson, who came to my aid when I was in need. Also, with thanks to staff at the Queensland Conservatorium Griffith University: Professor Scott Harrison, Professor Lisa Gasteen AO, Dr. Stephen Emmerson, Professor Paul Draper, Dr. Dan Bendrups, and Ms. Olga Lipsky. Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. The referencing and citing system used in this dissertation follows the procedures as per the Publication Manual of the American Psychological Association (APA) Fifth Edition. I give permission for this copy, after being deposited in the Queensland Conservatorium library, to be available for photocopy and loan. Signed.......................................................... Date.............................................................. Table of Contents JUNE 2014 - ABSTRACT 1 INTRODUCTION 2 Apologia 4 Method 6 Methods of Artistic Practice 7 Relational-Cultural Theory 9 Autoethnography 12 Other Methodological Approaches 14 Literature and Resource Review 15 Musicological Literature 17 Thematic Literature 18 Vocal Literature 21 Performance Literature 22 Audio-visual Resources /Inspirational Performers 24 Gender Literature 27 Chapter Structure 27 Context 28 The Thematic Landscape 28 Perspectives on Death/Perspectives on Transformation 28 The Performance Landscape 28 Performance Inspiration 29 Concluding Remarks 29 CHAPTER 1: THE SHADOW OF DEATH 31 Context 31 The Thematic Landscape 34 Longing for death 37 A Transformational Journey 41 The Performance Landscape 43 Performance Inspiration 53 CHAPTER 2: BRINGING DEATH TO LIFE 58 Context 58 The Thematic Landscape 62 Characterising Death & Grief 67 A Transformational Moment 72 The Performance Landscape 78 Performance Inspiration 82 CHAPTER 3: THE GLORIOUS DEAD 88 Context 89 Thematic Landscape 93 Living with Death 98 Transformational Growth 103 Performance Landscape 109 Performance Inspiration 112 CONCLUSION 118 Inspiration 121 Classical Recitalists 121 Literature and Poetry 122 Complementary Disciplines 123 Life Experience 124 Vulnerability and Authenticity 125 Connection 126 Wholeheartedness 127 Resilience 129 Courage and Passion 130 Relationship 132 General Application to Classical Music 133 Singer and Pianist 135 Performers and Audience 137 Performers and Creators 139 Future Research Directions 140 Implications 141 APPENDIX I – COMPLEMENTARY PERFORMERS 145 APPENDIX II – RECITAL CARDS 146 APPENDIX III – RECITAL DVDS 149 REFERENCES 150 June 2014 - ABSTRACT The Romantic period gave rise to the genre of the song cycle – a collection of songs grouped by poetic theme or narrative arc - through which composers align their musical inspiration with the works of poets and delve into the human experience. Profound themes, such as death and transformation, appear often in song cycle works as the genre provides a vehicle within which they are carefully examined and expanded upon. The form of the song cycle gives performers an opportunity to explore a long narrative, a particular set of emotions, a philosophical perspective, or a defining set of circumstances in more depth than is possible in individual songs. The question of how a performer approaches this absorbing process, lives and grows within the musical and poetic world each cycle offers, and prepares to perform the resulting interpretation is not often documented, and is the focus of this research. I have chosen three case study programs of Romantic song cycles through which to examine my process as a singer preparing and performing works that focus on the themes of death and transformation – Schubert’s Winterreise; Mahler’s Kindertotenlieder and Mussorgsky’s Songs and Dances of Death; Butterworth’s Bredon Hill and A Shropshire Lad and Vaughan-Williams’ Songs of Travel. I draw on a number of methodologies to do justice to the dynamic and evolving nature of the art of performance. I employ my own artistic method in the practical application of this research and draw on fields such as relational-cultural theory and autoethnography in the written exegesis to support my performances. The process, performances, and exegesis not only help me to discover the intrinsic value of my own motivations and inspirations but also provide the performance and research community with an in-depth and honest exploration of the genesis of interpretation from my unique perspective, thus encouraging others to take similar journeys to explore their own internal worlds as they relate to their repertoire. 1 INTRODUCTION Writing is a long process of introspection; it is a voyage towards the darkest caverns of consciousness, a long, slow meditation. Isabel Allende “Paula” (1995, p.9) In my experience, one of classical art song's greatest gifts is its ability to bring together composer and poet in a final product that enhances our understanding of what it is to be human, and to illuminate parts of life about which it is difficult (if not sometimes impossible) to talk. Nowhere is this more apparent to me than in the song cycles of the Romantic period. In the case of death and other transformative human experiences, the song cycle genre contains a number of works through which audiences and performers might explore and, in some small way, come to terms with our own mortality, the loss of our loved ones, and the changing relationship we have with the nature of our existence. Song cycles such as those selected for this study offer us all a meaningful and, often times, cathartic way in which to confront some of the deeper truths of our humanity. Literary and musical images of death and transformation form a significant thread in the fabric of these western art song works. These works, focusing on themes of death and processes of change, require the performer to lead an audience on a complex and challenging journey through the evolution or deterioration of a character, narrator, or set of circumstances. The transformational experiences contained in our contact with and contemplation of death are communicated in a variety of ways by the composers and poets of these song cyles. The performer's challenge is to rise to the fundamental importance of these themes and the gravitas of the music to allow the audience a transformational experience of their own. This topic might appear to be unusual and (to some) even distasteful. However, it is my belief that the exploration of these two fundamental themes and the associated works of art that this study considers is in fact a great gift to me as an artist seeking, as I do, to create meaningful and lasting connections with my collaborators and audiences. Elisabeth Kübler-Ross, herself a pioneering researcher on death and dying, observes: “For those who seek to understand it, death is a highly creative force. The highest spiritual values of life can originate from the thought and study of death.” (1975, p.1) In discussing her own work, she notes that it is not “morbid and depressing but can be one of the most gratifying 2 experiences possible, and I feel now that I have lived life more fully in the last few years than some people do in a whole lifetime” (1975, p. xxii). Writing this document as I approach the end of this research journey I can only whole- heartedly agree. As a performer (and throughout my life), I find myself drawn to works like these as I pursue a life (both professional and private) that is filled with authenticity, genuine human connection, depth of self-exploration, meaningful engagement for the intellect, and true nourishment for the soul. This research project provides the opportunity for me to examine my motivations and inspirations as I prepare and perform each of the cycles above, and to provide others with an example of the inner world of one performer's journey through these themes and works, and its outer manifestation in performance. This research is significant in its exploration of the interpretive processes a singer goes through in preparing major song cycle works around these challenging and sometimes harrowing themes that have not often been explored from the performer’s perspective. While much literature exists to assist and inspire singers as they make their technical preparations for performance, the actual journey of interpretation and communication is often left to the singer to intuit on their own. A recitalist's journey has unique challenges that do not apply to operatic or oratorio singers who have the mediation of conductors, directors,