DOCSLIB.ORG

Functions of Quotations in Steven Stucky's Oratorio August 4, 1964

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 FUNCTIONS OF QUOTATIONS IN STEVEN STUCKY‘S ORATORIO AUGUST 4, 1964 AND THEIR PLACEMENTS WITHIN THE CONTEXT OF A QUOTATION CONTINUUM: CULTURAL, COMMENTARY, REMEMBRANCE, AND UNITY Jennifer Tish Davenport, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: David B. Schwarz, Major Professor Stephen Slottow, Committee Member Joseph Klein, Committee Member and Chair of the Division of Composition Studies Lynn Eustis, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Davenport, Jennifer Tish. Functions of Quotations in Steven Stucky’s Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity. Master of Music (Music Theory), May 2011, 104 pp., references, 70 titles. The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960’s in general can be found as well, such as quotations from the well-known song “We Shall Overcome.” Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, “O Vos Omnes.” My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio. Copyright 2011 by Jennifer Tish Davenport ii ACKNOWLEDGEMENTS I would like to thank my major professor, David Schwarz, for his expert guidance over the course of this project and my committee members, Stephen Slottow and Joseph Klein, for their time and suggestions as well. I am grateful to the composer, Steven Stucky, who gave permission for me to purchase the orchestral and vocal scores immediately following the world premiere of August 4, 1964 in 2008 for analysis and study. Steven Stucky and Gene Scheer have also graciously granted me permission to utilize excerpts from the oratorio in this thesis and have both quickly responded to any questions or requests I have submitted. I greatly appreciate the Summer Research Grant awarded to me by the Division of Music History, Theory and Ethnomusicology at the University of North Texas which helped further my research on quotation and the continuum. Many thanks as well to the Estate of Stephen Spender for kindly allowing the reprint of excerpts from ―I Think Continually of Those Who Were Truly Great‖ from New Collected Poems by Stephen Spender (2004) and to the United Methodist Publishing House for granting gratis permission for use of the United Methodist Hymnal version of ―We Shall Overcome.‖ Last, but certainly not least, a special thanks to my entire family for their continuous support and understanding and in particular to Linda Kennedy, my mother, for also selflessly devoting endless hours to proofreading and editing. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF EXAMPLES .....................................................................................................................v PREFACE .................................................................................................................................... viii Chapters 1. "O VOS OMNES": THE MOTIVIC HALF-STEP AND MUSICAL MEANING .1 2. "WE SHALL OVERCOME": "OBVIOUS/LITERAL" QUOTATION AND CULTURAL ASSOCIATIONS ............................................................................22 3. "WE SHALL OVERCOME": TWO TYPES OF "ELUSIVE" QUOTATIONS AS COMMENTARY ...................................................................................................36 4. "WE SHALL OVERCOME": "ELUSIVE" QUOTATIONS AS REMEMBRANCE .................................................................................................60 5. QUOTATIONS FROM "O VOS OMNES" AND "WE SHALL OVERCOME": STRUCTURAL RELATIONSHIPS AND UNITY ..............................................80 BIBLIOGRAPHY ........................................................................................................................100 iv LIST OF EXAMPLES Page 1. Visual Representation of the Quotation Continuum ............................................................3 * (a) Melodic Half-Step Motive ...........................................................................................5 2. *Diminished Tetrachord from Oct 2,3 .................................................................................6 3. * (G♭ – F) Half-Step Motive Embedded into Melodic Line ..............................................7 * (a) (E♭ – D) Half-Step Motive Embedded into Melodic Line ........................................7 4. *Half-Step Motive as Neighbor Tone ..................................................................................8 5. *Half-Step Motive as Voice leading ....................................................................................9 † (a) Example of Parsimonious Voice Leading .................................................................10 † (b) Harmonic Reduction of Example 5 and Parsimony ..................................................11 6. *Cadential Use of Half-Step Motive..................................................................................12 †† (a) Cadential Use of Half-Step Motive, Ending of ―O Vos Omnes‖/‖Elegy‖ ..............14 7. *Polytonality, G minor and A♭ minor .............................................................................16 * (a) Creation of Harmony with Half-Step Motive ............................................................17 8. *Melody from ―We Shall Overcome‖ in August 4, 1964 ..................................................24 ‡ (a) Reprint of ―We Shall Overcome‖ from United Methodist Hymnal ..........................25 * (b) Main Quotation from ―We Shall Overcome,‖ the Brass Statement ..........................28 9. *Musical Setting of Text ―(And) We Shall Overcome‖ ....................................................31 * (a) Melody for ―I don‘t have a price‖ and its Retrograde and Transposition .................33 10. *Harmonic Progression and Interruption by Half-Step Motion ........................................38 ______________________________ * These items are reproduced with permission from Steven Stucky and/or Gene Scheer, copyright holders of August 4, 1964. ‡ These items are reproduced with permission from the United Methodist Publishing House. † These examples are adapted from August 4, 1964 (harmonic reductions ). †† This example is taken from the final four measures of the ―O Vos Omnes‖ piano reduction (copyright held by Theodore Presser Company) and is the exact same harmonic and melodic content as ―Elegy‖ from August 4, 1964. v 11. * ―Elusive Quotation‖ and Commentary ―overcome some – (day)‖ .................................40 ‡ (a) Excerpt of Example 11 from ―We Shall Overcome‖ ................................................42 12. * ―Elusive Quotation‖ and Commentary: ―someday, deep in my heart‖ ...........................43 ‡ (a) Excerpt of Example 12 from ―We Shall Overcome‖ ................................................44 13. * ―Elusive Quotation‖ and Commentary: ―Oh, deep in my heart, I do believe‖ ...............46 * (a) Tertian Harmonies and Open Fifth Stackings in Movement 4 ..................................49 † (b) Harmonic Reduction of Example 13a .......................................................................49 14. ‡ Troped ―We Shall Overcome‖ Melody Fragment ..........................................................51 * (a) Overlay of New Text with Melody from Example 14 ..............................................51 * (b) Troped ―Elusive‖ Quotation: ―(and) we/shall overcome‖ tropes with the text ―I don‘t have a price.‖ ............................................................................................................52 15. *Troped ―Elusive‖ Quotation: ―(and) we/shall overcome‖ tropes with the text ―I don‘t have a price.‖ .....................................................................................................................54 16. *C minor versus C major in ―And we shall overcome‖.....................................................55 * (a) Connection between Johnson‘s ―And we shall overcome‖ melodic line and ―We Shall Overcome‖ melody ............................................................................................. 56-57 17. * (a) Shared Intervallic Content and CSEG between ―I don‘t have a price‖ and ―I think continually‖ ........................................................................................................................61 * (b) Shared Intervallic Content and CSEG between ―I don‘t have a price‖ and ―I think continually‖ ........................................................................................................................61 18. ‡Transposition of ―(and) We shall overcome‖ ..................................................................62 * (a) ―I think continually …‖ as a Slightly Altered Melody from mm. 4-7 of ―We Shall
Load more

Recommended publications
  • Berkeley Symphony 2012-13 Season
    % #!"$ ! % ! ! $ Berkeley Symphony 2012-13 Season 5 Message from the Music Director 7 Message from the Executive Director 9 Board of Directors & Advisory Council 10 Orchestra 13 Program 15 Program Notes 29 Music Director: Joana Carneiro 31 Guest Artists 37 Berkeley Symphony 41 Music in the Schools 43 Under Construction 45 Young People’s Symphony Orchestra 47 Contributed Support 66 Advertiser Index Season Sponsors: Kathleen G. Henschel and Official Wine Sponsor of Berkeley Symphony: Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704 510.841.2800 • Fax: 510.841.5422 E-mail: [email protected] Web site: www.berkeleysymphony.org To advertise: 510.652.3879 March 28, 2013 3 SAVE THE DATE Friday, May 10, 2013 The Claremont Hotel Berkeley Symphony’s Defiantly Original Benefit Gala Held at the historic Claremont Hotel, this year’s Gala promises to be an unforgettable event with new surprises and special guests! The night includes an elegant wine and hors d’oeuvres reception, world class cuisine, live music and entertainment, and exciting silent and live auctions with a bevy of unique items available. Be sure to keep an eye out for the 2013 Auction catalog to be available online soon! For more information, visit www.berkeleysymphony.org/support/ special-events.
    [Show full text]
  • Steven Stucky
    STEVEN STUCKY: AMERICAN MUSE RHAPSODIES | CONCERTO FOR ORCHESTRA STEVEN STUCKY 1949–2016 [1] RHAPSODIES (2008) 8:54 AMERICAN MUSE (1999) RHAPSODIES [2] American Lights, Seen from Off Abroad 6:16 [3] Buffalo Bill’s 3:02 AMERICAN MUSE [4] Delaware Water Gap 6:21 [5] I Hear America Singing 4:17 CONCERTO FOR ORCHESTRA Sanford Sylvan, baritone CONCERTO FOR ORCHESTRA (1987) [6] I. Allegro 7:53 [7] II. Adagio 13:22 [8] III. Comodo 6:27 SANFORD SYLVAN baritone BOSTON MODERN ORCHESTRA PROJECT Gil Rose, conductor TOTAL 56:34 COMMENT I’m no orphan, either. True, in my student days—like most young composers—I worried mostly about whether my music was really original, about whether I really had a voice all my own, or whether at least I might someday achieve one. Over the years, though, I’ve stopped thinking about whether there is anything uniquely mine in the music I write, and By Steven Stucky have begun noticing instead how what I do links me to the music I love most by earlier composers, and by my own contemporaries too. Nowadays I sometimes talk about my From “Coming Home: On Writing a Second Concerto for Orchestra” (October 2003) Household Gods, those founders of the great twentieth-century musical traditions I still One kind of artist is always striving to annihilate the past, to make the world anew in each depend on: Debussy, Stravinsky, Bartók, Sibelius, Ravel, Berg, and many others. Their DNA new work, and so to triumph over the dead weight of routine. I am the other kind.
    [Show full text]
  • Steven Stucky
    orchestral works by SINGAPORE SYMPHONY ORCHESTRA · LAN SHUI EVELYN GLENNIE percussion BIS-CD-1622 BIS-CD-1622_f-b.indd 1 10-02-16 11.51.51 STUCKY, Steven (b. 1949) Spirit Voices (2002–03) 23'43 for percussionist and orchestra 1 I. Jiu huang ye. Con forza 2'51 2 II. Bean nighe. Largo notturno 5'17 3 III. Ellyllon. Vivace 1'42 4 IV. Te Mangoroa. Largo 4'19 5 V. Coyote. Energico 2'38 6 VI. Tengu. Allegro di molto 1'50 7 VII. Wah’Kon-Tah. Sereno, luminoso 4'45 Evelyn Glennie percussion Pinturas de Tamayo (Paintings of Tamayo) (1995) 22'43 for orchestra 8 I. Amigas de los pájaros (Friends of the Birds). Vivo 3'16 9 II. Anochecer (Sunset). Calmo 4'41 10 III. Mujeres alcanzando la luna (Women Reaching for the Moon) 4'13 Moderato 11 IV. Músicas dormidas (Sleeping Musicians). Adagio 5'04 12 V. La gran galaxia (The Great Galaxy). Tranquillo 5'20 2 Second Concerto for Orchestra 27'17 (2003) 13 I. Overture (with Friends). Allegramente 4'53 14 II. Variations. Andante calmato 14'58 a. Variation I. Largo rubato b. Variation II. Moderato, giocoso c. Variation III. Comodo d. Variation IV. Lento e. Variation V. Vivace f. Variation VI. Largo assai 15 III. Finale. Allegro energico 7'18 TT: 74'35 Singapore Symphony Orchestra Lan Shui conductor Recorded in the presence of the composer World Première Recordings All works published by Theodore Presser Company 3 Steven Stucky 4 teven Stucky, born in 1949, has an extensive catalogue of compositions ranging from large-scale orchestral works to a cappella miniatures for Schorus, a 70-minute oratorio, solo piano pieces, and music for such en - sembles as piano quartet, string quartet, wind quintet, voice and piano, and saxo phone and piano.
    [Show full text]
  • Alan Gilbert and the New York Philharmonic
    FOR IMMEDIATE RELEASE October 18, 2012 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC ALAN GILBERT TO CONDUCT NEW YORK PREMIERE OF STEVEN STUCKY’S SYMPHONY VIOLINIST GIL SHAHAM TO PERFORM BARBER’S VIOLIN CONCERTO Program To Conclude with Rachmaninoff’s Symphonic Dances November 29–December 1 Music Director Alan Gilbert, The Yoko Nagae Ceschina Chair, will conduct the New York Philharmonic in the New York Premiere of Symphony, a New York Philharmonic Co- Commission with the Los Angeles Philharmonic; Barber’s Violin Concerto, with Gil Shaham as soloist; and Rachmaninoff’s Symphonic Dances Thursday, November 29, 2012, at 7:30 p.m.; Friday, November 30 at 2:00 p.m.; and Saturday, December 1 at 8:00 p.m. “I’ve always thought of Steven Stucky as a quintessentially American composer,” said Alan Gilbert. “He is not only one of the most important living composers — he has been an important person in the Philharmonic family, and I am honored to introduce Symphony to New York audiences.” Steven Stucky was the host of the New York Philharmonic’s Hear & Now series from 2005 to 2009. The Orchestra performed the World Premiere of Mr. Stucky’s Rhapsodies (a Philharmonic Co-Commission), led by then-Music Director Lorin Maazel at London’s Royal Albert Hall on the 2008 Tour of Europe, and the U.S. Premiere less than a month later in Avery Fisher Hall. Selections from Mr. Stucky’s Spirit Voices were heard on a Philharmonic Young People’s Concert in 2008, and Alan Gilbert conducted Son et Lumière in February 2012.
    [Show full text]
  • 2012•13 SEASON Contents Welcome 2 World Premieres & Composers Zellerbach Hall Concerts
    DEFIANTLY ORIGINAL 2012•13 SEASON contents WELCOME 2 World Premieres & Composers Zellerbach Hall Concerts When Berkeley Symphony approached Joana 4 The Innovators Carneiro about becoming our new Music Director, 5 The Rebels her mentor, Esa-Pekka Salonen, who had advised 6 The Illuminators her to focus on securing a European post instead, 7 The Idealists told her: “Berkeley is a different story; I encourage you to wholeheartedly pursue this possibility.” 8 Under Construction New Music Series And this is precisely what Joana has done. She has put her heart and soul 9 Family Concerts into Berkeley Symphony, our musicians and our community. Her passion, warmth and energy have transformed our sound and programs in ways 10 Community & Education that have caught the attention of all who experience our concerts. 12 Support the Symphony I invite you to join us and experience this magical transformation. You will 13 Subscribe & Save find new meaning in some of your favorite works and discover exciting artists 14 Ticket Information and sounds you have never heard before. You will be moved by the fervor with which our orchestra musicians and conductor perform together on 15 Order Form stage, and you will hear why Berkeley Symphony is a truly special gem. 17 Season Calendar Come be a member of our community of subscribers today. I promise you will be delightfully surprised. RENÉ MANDEL EXECUTIVE DIRECTOR W OR This season offers Berkeley Symphony’s original programming Andreia Pinto-Correia at its best. Four one-of-a-kind world premieres by four musically Born: Lisbon, Portugal LD P diverse composers, each new work uniquely paired with great Current residence: Boston, MA masterpieces.
    [Show full text]
  • Steven Stucky, Composer
    Steven Stucky, Composer Pretty Prairie native is well-known composer The following article was excerpted and slightly edited from the May 7, 2004 article in the Hutchinson News written by Joyce Hall. ! Steven Stucky is recognized as one of the leading composers of his generation His music is praised for its beauty of sound, imaginative use of color and clarity of large-scale form. Stucky was born in Hutchinson in 1949, and spend many childhood days on his grandfather's farm near Pretty Prairie. On his last visit to Kansas in 2001, he attended the 125th anniversary celebration of the Swiss Mennonites in Moundridge, and wrote "A Hymn of Heritage" for that celebration. Stucky now lives in Ithaca, NY, and said his fascination with music began at a young age. After his family moved to Salina, he began playing the viola at age 10. "I picked up music on my own," he said, "before I could play an instrument or read music or really do much about it." He went on to music at Baylor and Cornell Universities and credits the generosity and encouragement of his high school and college teachers for inspiring him. Stucky, a conductor, writer, lecturer and teacher, has contributed to many major musical publications in America and Britain. He says his music follows in the symphonic tradition, like Beethoven and Mozart, but closer to modern classical idioms. His biggest influences are early 20th century composers, such as Stravinsky, Debussy or Ravel. He has taught at Cornell University since 1980, where he serves as Given Foundation Professor of Composition and artistic director of the music group Ensemble X.
    [Show full text]
  • Concert: Ithaca College Symphony Orchestra Jeffery Meyer
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-2-2012 Concert: Ithaca College Symphony Orchestra Jeffery Meyer Ithaca College Symphony Orchestra Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Meyer, Jeffery and Ithaca College Symphony Orchestra, "Concert: Ithaca College Symphony Orchestra" (2012). All Concert & Recital Programs. 3554. https://digitalcommons.ithaca.edu/music_programs/3554 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Symphony Orchestra Jeffery Meyer, conductor Jennifer Hayghe, piano Ford Hall Sunday December 2nd, 2012 4:00 pm Program Rhapsodies for Orchestra (2008) Steven Stucky (b. 1949) Piano Concerto No. 2, Op. 18 in C minor Sergei Rachmaninoff I. Moderato (1873-1943) II. Adagio sostenuto – Più animato – Tempo I III. Allegro scherzando Movement Jennifer Hayghe, piano Intermission Symphony No. 1, Op. 39 in E minor Jean Sibelius I. Andante, ma non troppo - Allegro energico (1865-1957) II. Andante (ma non troppo lento) III. Scherzo: Allegro IV. Finale (Quasi una Fantasia): Andante - Allegro molto The Ithaca College Symphony Orchestra would like to thank Steven Stucky for working with the orchestra on Rhapsodies in rehearsal, sectional coaches Emily DiAngelo, Nicholas DiEugenio, Richard Faria, Heidi Hoffman, Alexander Shuhan, and Aaron Tindall, Susan Waterbury and finally, all the performance faculty that work every week with the students in the ICSO. This concert is being webstreamed live at http://www.ithaca.edu/music/live/ Biographies Jennifer Hayghe, piano Jennifer Hayghe has performed in solo recitals and made orchestral appearances throughout the world, including the United States, Europe and Asia.
    [Show full text]