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Copyright by Cheryl Ann Christensen 2003 Copyright by Cheryl Ann Christensen 2003 The Dissertation Committee for Cheryl Ann Christensen certifies that this is the approved version of the following dissertation: Music and Text: Interpretation, Melodic Motive, and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67 Committee: ____________________________________ David Neumeyer, Supervisor ____________________________________ John Weinstock, Co-Supervisor ____________________________________ Byron Almén ____________________________________ Stefan Kostka ____________________________________ Edward Pearsall Music and Text: Interpretation, Melodic Motive, and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67 by Cheryl Ann Christensen, B.Mus., M.Mus. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2003 Acknowledgements I would like, first and foremost, to express my gratitude to Dr. David Neumeyer, who has spent countless hours advising me, directing my research and writing, and helping me to bring this project to completion. I express appreciation also to Dr. John Weinstock, who has worked closely with me on this dissertation and provided valuable assistance, particularly with my translations of the Norwegian texts. Thanks also to the other members of my dissertation committee, Dr. Byron Almén, Dr. Stefan Kostka, and Dr. Edward Pearsall, for their input. Many thanks to Karen Falch Johannessen of the Edvard Grieg Archive in Bergen, Norway, who assisted me in my research with professionalism and enthusiasm, and who has become a valued friend. Above all, I want to thank my parents, Darol and Marjorie Christensen for unwavering support. They have encouraged and cheered me at every stage of this long project. My thanks to The American-Scandinavian Foundation for funding my research at the Grieg Archive in Norway. All musical examples are taken from Edvard Grieg Complete Works, vol. 15, copyright 1991, and are used by permission of C.F. Peters Corporation. iv Music and Text: Interpretation, Melodic Motive, and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67 Publication No. ____________ Cheryl Ann Christensen, Ph.D. The University of Texas at Austin, 2003 Supervisor: David Neumeyer Co-Supervisor: John Weinstock Edvard Grieg’s song cycle, Haugtussa, Op. 67, is a late work that contains some of the composer’s best songs and exemplifies his synthesis of nineteenth- century art music style with Norwegian folk-music idioms. Grieg gave high priority to the poetry in his songs, and because of this, his vocal compositions are especially suited to analyses that focus on text-music relationships. I present a motivic analysis of the song cycle with particular reference to the narrative structure of poetic text and musical motive. I also consider Grieg’s reading of the verse novel, Haugtussa by Arne Garborg, from which the composer selected his texts for the songs. v The dissertation includes an English summary of the Norwegian novel and a comparison of the storylines in the verse novel and the song cycle. Grieg’s musical adaptation of Garborg’s novel focuses on a single aspect of the poetic narrative—a love story—and is, therefore, incomplete. The songs, however, capture the moods of Garborg’s individual poems, and the narrative of the song cycle is tightly organized. Grieg’s treatment of motive in the song cycle creates a musical narrative that mirrors the poetic. He employs two motives, an ascending triad and a three- note, descending figure, throughout the song cycle. The first motive, referred to herein as the “Veslemøy motive,” is consistently associated with the protagonist. The second motive, which I call the “love motive,” has different connotations from one song to the next. Initially the love motive connotes joy, but it is gradually transformed into a symbol of sorrow, mirroring the text in which love is tarnished by betrayal. The evolution of the love motive and the interaction of the two motives with one another reflect the poetic narrative of the song cycle. I draw on Joseph Campbell’s model of the hero’s journey and on the writings of Norwegian scholars, including Christian Rynning, Arild Linneberg, and Torstein Volden, in my discussion. I also use the “semiotic square,” adapted from A.J. Greimas’s model, to map the various feelings expressed in the songs and to trace the narrative path of the protagonist’s emotions as represented in the song cycle. vi Table of Contents Chapter 1. Introduction ............................................................................................... 1 Chapter 2. Summary of Arne Garborg’s Haugtussa ................................................ 17 Prologue .......................................................................................................... 18 Section I. “Heime” [At Home]....................................................................... 19 Section II. “Veslemøy synsk” [Veslemøy [is] clairvoyant].......................... 24 Section III. “Jol” [Christmas] ......................................................................... 28 Section IV. “I Gjætlebakken” [On Gjætle hill].............................................. 31 Section V. “I slåtten” [In the hayfield] .......................................................... 35 Section VI. “Dømd [Condemned/Doomed] ................................................ 36 Section VII. “Dei vil ta henne” [They want to take her].............................. 37 Section VIII. “Det vårer” [Spring comes]...................................................... 44 Section IX. “Sùmar i fjellet” [Summer on the mountain] ............................ 45 Section X. “På Skare-kula” [At Skare hollow].............................................. 58 Section XI. “Den store strid” [The great struggle] ....................................... 67 Section XII. “Fri” [Free].................................................................................. 77 Chapter 3. Grieg’s Interpretation of Garborg’s Novel ............................................ 78 On Music and Text ......................................................................................... 81 Principal Themes in Garborg’s Haugtussa .................................................... 90 The Hero’s Journey The Departure ..................................................................................... 94 The Initiation ....................................................................................... 97 The Return ......................................................................................... 102 Grieg’s Reading of Haugtussa ...................................................................... 106 Possible Influences on Grieg’s Song Cycle................................................. 115 Chapter 4. The Motives and the Narrative Path.................................................... 123 The Two Motives.......................................................................................... 125 The Constant Veslemøy Motive .................................................................. 133 The Evolving Love Motive .......................................................................... 153 The Semiotic Square as a Narrative Map ................................................... 153 The Love Motive and the Narrative Path in Haugtussa............................. 161 The Interaction of the Two Motives in Haugtussa Nos. 7 and 8................ 177 Chapter 5. Conclusion ............................................................................................. 192 Appendix. Overview of Garborg Poem Titles....................................................... 201 Bibliography ............................................................................................................. 204 Vita ............................................................................................................................ 210 vii Chapter 1 Introduction The Norwegian composer, Edvard Grieg (1843-1907), is significant as a nationalistic composer who was foremost in introducing Norwegian music to the world and also as a successful, international musician whose influence spread throughout Europe and the United States during his lifetime. Grieg studied at the Leipzig Conservatory (1858-62) and was trained in the German Romantic tradition. His music is rich in musical idioms of the nineteenth century, but because of his distinctive use of folk-like materials, Grieg’s compositions have come to be viewed as quintessential expressions of the Norwegian character. The song cycle, Haugtussa, Op. 67, a relatively late composition, exemplifies this aspect of his music, and in addition, is considered by many scholars to contain several of Grieg’s best songs. Grieg gave high priority to the poetry in his songs, and because of this, his vocal compositions are especially suited to analyses that focus on text-music relationships. In this dissertation, I present a motivic analysis of Edvard Grieg’s song cycle, Haugtussa, Op. 67, with particular reference to the narrative structure of poetic text and musical motive. I have adapted some fundamental methodologies from semiotic analysis in order to trace the narrative path in the song cycle. I have also considered Grieg’s interpretation of the verse novel from which he took his texts, exploring the question of whether the composer gives a 1 true musical portrayal of the author’s work
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