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Newly-Commissioned Works for Flute and Organ by Five Prominent American Composers: an Analysis and Performance Guide

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Newly-Commissioned Works for Flute and Organ by Five Prominent American Composers: an Analysis and Performance Guide NEWLY-COMMISSIONED WORKS FOR FLUTE AND ORGAN BY FIVE PROMINENT AMERICAN COMPOSERS: AN ANALYSIS AND PERFORMANCE GUIDE A Monograph Submitted to The Temple University Graduate Board In Partial Fulfillment Of the Requirements of the Degree of DOCTOR OF MUSICAL ARTS by Anna Meyer May 2020 Examining Committee Members Dr. Cynthia Folio, Advisory Chair, Department of Music Studies Dr. Ted Latham, Department of Music Studies Andreas Delfs, Department of Instrumental Studies Dr. Michael Klein, External Member, Department of Music Studies ABSTRACT In an effort to proliferate the awareness of and interest in flute and organ chamber music, I have commissioned five new works for flute and organ. An analysis and performance guide of these works will provide the basis for the discussion in this monograph. Through a survey of various sources, I hope to prove the need for more flute and organ chamber works as well as introduce the five new pieces into the mainstream repertoire. I begin with a discussion of the organ/flute duo and briefly touch on the small number of existing works widely recognized in both the flute and organ communities. I use several instrument-specific catalogues of repertoire to compare which pieces are common in both the flute and the organ communities as well as how they are catalogued. Using modern scholarship surrounding the rapidly growing performance-studies discipline, I hope to show that a performance guide of these new works can be of great significance to the performers. Once I have established a need for more repertoire for this unique paring, I introduce and discuss at length each individual piece, providing a formal analysis and suggestions to the performer on how best to approach these pieces based on this analysis. I provide an abridged version of the performance guide for each piece as an appendix. Finally, I compare the five new compositions to the existing handful briefly mentioned in the introduction and strive to use the opinions of other professionals in the field to prove not only the validity of the works in themselves, but their viability as upstanding compositions in the mainstream repertoire. ii Dedicated to my husband, Erik, without whom life would be boring and music stale; and to Lydia and Lukas, who sacrificed so much to see this to completion. iii ACKNOWLEDGEMENTS It is with great admiration that I acknowledge first and foremost the five composers who have given me such wonderful material with which to work. To Carson Cooman for following my request for a concert piece and a piece suitable for worship so completely that the piece will be at home anywhere; to Parker Kitterman for incorporating his jazzy and rhythmic voice into an incredibly challenging and rewarding piece better than I could have imagined; to Erik Meyer, whose quirky sense of musical style and humor nudged me to think outside the box of what is acceptable and doable in flute and organ chamber music; to Till Meyn for his brilliant writing for the flute and a triumphant and showy work that flutists will love to play; to Kile Smith, whose first foray into the composition-for-flute world is with a bang, and whose composition is equally as fun to play as it is to hear. Secondly, with extreme gratitude I recognize the Chestnut Hill Independent Philanthropic Society, whose generous grant made the whole commissioning process possible, and whose support, upon first mention of this project, never wavered. David Cramer, my musical mentor throughout this process, taught me that finesse goes hand in hand with boldness and that one without the other makes an incomplete musician; his patience and his subtle, but firm, guiding hand will affect my musical choices and personality for the rest of my life. To him I am forever indebted. To Dr. Cynthia Folio, who, despite tremendous personal trials during my writing refused to give up on me and my progress, offering invaluable advice and suggestions to make this monograph stronger. To Dr. Ted Latham, Dr. Michael Klein, and Maestro Andreas Delfs, who as members of my committee offered their expertise and guidance. And finally, to my family. To Erik, together with whom I experienced one of the highlights of our concert iv career performing these pieces, and who listened, encouraged, and debated for the sake of a better paper, as I bounced my ideas for each piece off him. And to Lydia and Lukas who lovingly endured as I spent four years reading or practicing late into the night and pouring over scores and books to bring this to fruition. v TABLE OF CONTENTS Page ABSTRACT ii DEDICATION iii ACKNOWLEDGEMENTS iv LIST OF TABLES ix LIST OF MUSICAL EXAMPLES x CHAPTER 1 INTRODUCTION 1 2 ANALYSIS AND PERFORMANCE GUIDE OF EPISTLE SONATA BY CARSON COOMAN 12 Performing Cooman’s Epistle Sonata 19 3 ANALYSIS AND PERFORMANCE GUIDE OF PASSACAGLIA FOR FLUTE AND ORGAN BY PARKER KITTERMAN 23 Introduction (mm. 1–20) 24 The Passacaglia Theme 25 Passacaglia Organization 29 Variation Group 1 – Variations 1-3, mm. 37-84 30 Variation Group 2 – Variations (3) 4-5, mm. (69-84) 85-116 32 Variation Group 3 – Variations 6-8, m. 117-164 34 Variation Group 4 – Variations 9-10, mm. 165-196 37 Variation Group 5 – Variations 11-12, mm. 197-228 39 Epilogue – mm. 229-240 41 vi 4 ANALYSIS AND PERFORMANCE GUIDE OF FANTASMAGORIA BY ERIK MEYER 43 I. Fantasy and Hallucination 44 II. Oneironautics 49 III. Déjà Vu 51 5 ANALYSIS AND PERFORMANCE GUIDE OF WITH PIPES OF TIN AND WOOD BY TILL MEYN 56 Performing With Pipes of Tin and Wood 63 6 ANALYSIS AND PERFORMANCE GUIDE OF A CHILD’S AFTERNOON BY KILE SMITH 68 Movement 1. No one to play with 69 Movement 2. Someone to play with 77 7 COMPARISON OF NEW WORKS TO CURRENT FLUTE/ORGAN REPERTOIRE AND A PROJECTION OF HOW THE NEW WORKS WILL FIT INTO THE GREATER REPERTOIRE. 83 Synopsis of Selected Existing Concert Works 84 Jehan Alain (1911 – 1940): Trois Mouvements 85 Jehan Alain Aria: 85 Johann Ludwig Krebs (1713 – 1780): Sämtliche Werke Für Orgel und Obligates Instrument 86 Daniel Locklair (b. 1949): Sonata da Chiesa 86 Frank Martin (1890 – 1974): Sonata da Chiesa 87 Erik Meyer (b. 1980): Lydian Suite 88 vii Aaron David Miller (b. 1949): Estampie 88 Gerald Near (b. 1942): Suite in a Classic Style 89 Daniel Pinkham (1923-2006): Miracles 89 John Weaver (b. 1937): Rhapsody 89 Popularity of Programming Flute and Organ Pieces 90 Reception of The Five New Works into The Current Repertoire 93 Thoughts on The Fantasmagoria Collection from World-Renowned Artists 96 BIBLIOGRAPHY 99 APPENDICES A. ABRIDGED PERFORMANCE GUIDE FOR EACH OF THE FIVE NEW PIECES 103 B. LIST OF WEBSITE REFERENCES FOR FLUTE AND ORGAN PROGRAM SEARCH 108 viii LIST OF TABLES Table Page 2.1 – Organizational table of formal structure, description, and topics in Epistle Sonata 14 3.1 – Organizational table of themes in Kitterman’s Passacaglia 28 3.2 – Organizational table of variation groupings in Kitterman’s Passacaglia 30 4.1 – Use of the dream idea in Meyer’s Fantasmagoria 44 5.1 – Formal sections in Meyn’s With Pipes of Tin and Wood 57 6.1 – Table of formal construct in Kile Smith’s A Child’s Afternoon, mvt. 1 75 6.2 – Organizational table of thematic ideas in Kile Smith’s A Child’s Afternoon, 2. Someone to play with by rehearsal letter 79 7.1 – Popularity of standard concert flute and organ works in recent programs 91 7.2 – YouTube hits of singular pieces for flute and organ 92 ix LIST OF MUSICAL EXAMPLES Example Page 2.1 – Cooman Epistle Sonata, mm. 15-17, recitative in “exposition” section 15 2.2 – Cooman Epistle Sonata, mm. 98-99, recitative in “recapitulation” section 16 2.3 – Cooman Epistle Sonata, mm. 28-37, primary idea in “exposition” section 17 2.4 – Cooman Epistle Sonata, mm. 104-111, primary idea in “recapitulation” section 17 2.5 – Cooman Epistle Sonata, m. 59 20 2.6 – Cooman Epistle Sonata, mm. 43-44 20 2.7 – Cooman Epistle Sonata, mm. 57-61 21 3.1 – Kitterman Passacaglia, mm. 1-5 24 3.2 – Kitterman Best of Rooms mm. 1-10 26 3.3 – Kitterman Passacaglia mm. 21-23 26 3.4 – Passacaglia Theme, as presented in m. 21 27 3.5 – Kitterman Passacaglia, offbeat sixteenth-note rhythmic figure, m. 21 27 3.6 – Kitterman Passacaglia, dotted motif, as presented in mm. 37 27 3.7 – Kitterman Passacaglia, the “new material,” occurs first in m. 165 27 3.8 – Kitterman Passacaglia, mm. 53-55 31 3.9 – Passacaglia theme in eighth-note variation and one beat canon at the octave, m. 85 32 3.10 – Kitterman Passacaglia m. 116 34 3.11 – Kitterman Passacaglia, m.117 35 3.12 – Caesar Frank’s Prelude Fugue and Variation, mm. 11-15 36 x 3.13 – Kitterman Passacaglia, mm. 133-136, Franckian melody 36 3.14 – Kitterman Passacaglia, mm. 165-176 38 3.15 – Kitterman Passacaglia, mm. 197-199 40 3.16 – Kitterman Passacaglia, m. 229 – the lonely B at start of the Epilogue 41 4.1 – Meyer Fantasmagoria, I, mm 1-12: tonal ambiguity and floating melody 45 4.2 – Meyer Fantasmagoria, I, mm. 42-43 organ part: theme that Meyer dreamt 46 4.3 – Meyer Fantasmagoria, I, m. 60: nightmare lyrical theme 46 4.4 – Meyer Fantasmagoria, I, mm. 92-95: climax and parallel tritones 47 4.5 – Meyer Fantasmagoria, I, m. 94: the dreamer wakes up 48 4.6 – Meyer Fantasmagoria, I, mm. 95-100: breathing strategy for the flutist 49 4.7 – Meyer Fantasmagoria, II, m.
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