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CONITZ-DOCUMENT-2019.Pdf i Abstract (Re)Examining narratives: Personal style and the viola works of Quincy Porter (1897–1966) By Aaron Daniel Conitz The American composer Quincy Porter (1897–1966) is primarily remembered for his achievements and contributions as a member of the academy and, as a result, his music has largely been cast in the shadows. His compositional style is frequently described as “personal” or “highly individual,” particularly in reference to his works of chamber music, specifically those for string instruments. Porter was a fine violist who performed throughout his professional career in solo recitals and chamber ensembles; these experiences directly influenced his composition. Reexamining Porter’s narrative through the lens of his works for viola reveals a more nuanced perspective of the individual, one that more effectively conveys his personal style through the instrument he played. This body of repertoire forms a unique sector of his oeuvre: the works are valuable for the violist in their idiomatic qualities and compositional appeal, yet also display the composer’s voice at its finest. This document will present the works Porter originally wrote for viola (no transcriptions) as a valuable contribution to the repertory of 20th century American viola music. The works will be presented in chronological fashion and explore analytical aspects, stylistic concerns, historical context, and performance practice. The document begins with a biography to provide context for these works. ii Acknowledgements It is said that it takes a small village to raise a child. The essence and wisdom of this statement has certainly held true throughout the creation of this document; I would like to thank and recognize the small village of individuals that have helped me along this long, but rewarding journey. The inspiration for this project was twofold, beginning at the Cleveland Institute of Music during my undergraduate studies. Thanks to Sergein Yap’s brilliant idea of creating an American themed studio recital, I investigated the extant viola repertoire by American composers. Through this process, I discovered Quincy Porter and began exploring his viola repertoire. The idea of a research project associated with Porter and his viola music emerged from a discussion with David Bynog during his bibliography course at Rice University. I thank David for inspiring me to pursue the subject, providing me with materials from his own research on Porter, and his meticulous editorial eye. I thank Richard Boursy, archivist at the Irving S. Gilmore Music Library, and the staff at the Beinecke Rare Book and Manuscript Library at Yale University. The Quincy Porter Papers, MSS 15 were an invaluable resource in producing this document. In addition to the library staff support, I thank Bethany Hargreaves for remotely providing scans of original documents. Thanks to Chris Irvine for hosting me while I conducted research at Yale. I thank my advisor Richard Lavenda for his perspective, critical feedback, and strategic advice throughout this dissertation process. In challenging times, I appreciated his sober advice in organizing and presenting my research concisely and effectively. iii I thank the following people for their support, encouragement, and guidance: my viola teachers, James Dunham, Robert Vernon, Lynne Ramsey, and Jeffrey Irvine; collaborative pianist, Eliza Ching; my committee members, Peter Loewen, and Genevera Allen; Shane Monds for creating the prolongation graphs; the InterLibrary Loan staff at Fondren Library; the staff and facilities at the University of Washington Music Library; and Bonnie Wolkenstein. I thank my family for their love and support, encouraging me in my musical pursuits, both professional and academic. I thank them for providing me the opportunity to learn the violin and viola, and persistent reminder of the value of music education and learning. Lastly, I thank my partner Valerie Khanh for her ever-present support, love, and understanding; without her organizational wisdom, constant encouragement, and unwavering belief in me, this dissertation document would never have reached its current state. Aaron Conitz April 18, 2019 Seattle, Washington iv Table of Contents Abstract ........................................................................................................................................... i Acknowledgements ....................................................................................................................... ii Table of Figures............................................................................................................................. v List of Tables ................................................................................................................................ vi Introduction ................................................................................................................................... 1 Chapter One: A (Brief) Biography of Quincy Porter (1897–1966) .......................................... 5 Schola Cantorum, Vincent d’Indy, and Lucien Capet (1920-21) ........................................................ 10 Mon maître, Ernest Bloch ..................................................................................................................... 12 Return to Paris, 1928–31 ....................................................................................................................... 15 Salle Chopin: February 18, 1931 .......................................................................................................... 25 Return to the Academy .......................................................................................................................... 28 Vassar College, 1932–38 ....................................................................................................................... 31 New England Conservatory, 1938–46 ................................................................................................... 32 Yale School of Music, 1946–65 ............................................................................................................. 38 Chapter Two: The Duo for violin and viola (1917) .................................................................. 49 Chapter Three: Establishing the Idiom –– Suite for viola alone (1930) ................................. 62 Performance and recording history ...................................................................................................... 62 The personal style of Porter .................................................................................................................. 66 Chapter Four: Concerto for viola and orchestra (1948) .......................................................... 77 The Concerto .......................................................................................................................................... 79 Reputation and Recording History...................................................................................................... 100 Chapter Five: Speed Etude (1948) ........................................................................................... 106 Chapter Six: Duo for violin and viola (1954) ......................................................................... 122 Chapter Seven: Duo for viola and harp or harpsichord (1957) ............................................ 138 Considering the options: harp or harpsichord? ................................................................................. 151 Conclusion ................................................................................................................................. 154 Bibliography .............................................................................................................................. 158 Archive collections ............................................................................................................................... 158 Books and Articles ............................................................................................................................... 158 Music .................................................................................................................................................... 162 v Table of Figures Figure 1. Duo for violin and viola (1917), I. Allegro non troppo, mm. 1–10 ............................... 50 Figure 2. Duo for violin and viola (1917), I. Allegro non troppo, mm. 11–24. ............................ 51 Figure 3. Duo for violin and viola (1917), I. Allegro non troppo, mm. 25–33. ............................ 52 Figure 4. Duo (1917), I. Allegro non troppo, mm. 30–33. ........................................................... 53 Figure 5. Duo (1917) I. Allegro non troppo, mm. 37–41. ............................................................ 55 Figure 6. Duo (1917), II. Andante, mm. 1–5. ............................................................................... 56 Figure 7. Duo (1917), II. Andante, mm. 11–15. ........................................................................... 57 Figure 8. Suite for viola alone, I. Lento, mm. 1–5. ....................................................................... 67 Figure 9. Suite for viola alone, I. Lento, mm. 6–13. ..................................................................... 68 Figure 10. Suite for viola alone, II. Allegro furioso, mm. 24–29. ................................................ 69 Figure 11. Suite for viola
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