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An Analysis of Pears and Bream's Tenor-Guitar Performances

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An Analysis of Pears and Bream's Tenor-Guitar Performances Peter and Julian: An Analysis of Pears and Bream’s Tenor-Guitar Performances by James Renwick A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Music University of Toronto © Copyright by James Renwick 2020 Peter and Julian: An Analysis of Pears and Bream’s Tenor-Guitar Performances James Renwick Doctor of Musical Arts Graduate Department of Music University of Toronto 2020 Abstract This project seeks to understand the artistic renown of the Peter Pears (1910 – 1986) and Julian Bream (b. 1933) duo by conducting a thorough analysis of their performance output as a tenor-guitar duo. Despite the acclaim they received during their lifetimes, the duo thus far has been unduly neglected in scholarly writings, and their performances, while widely celebrated, have never been analyzed. This problem is addressed primarily through the analysis of the duo’s album Music for Voice and Guitar (1965) and the development of a performance-practice guide to their distinct musical style. The analysis employs a unique methodology that combines empirical and descriptive analytical tools in order to better understand the duo’s performances from a wide array of perspectives. The resulting performance-practice guide covers several interpretive techniques that are found throughout the body of performances. This guide not only reveals the musical depth and creative choices that two of the twentieth century’s most lauded performers employed, but it can also serve as inspiration for future musicians. Indeed, as I demonstrate near the end of my thesis, the duo’s interpretations are based on principles that can be applied to other musical ventures. The overarching goal of this thesis is that the duo’s creative interpretations may help to generate ideas for other musicians to create their own meaningful musical performances. ii iii Acknowledgments I wish to express thanks to the people and organizations that supported me and my research over the course of this degree. First, thank you to the University of Toronto and more specifically the Faculty of Music for providing a program during which research such as this thesis can be conducted. The facilities and funding provided by the school have been invaluable. Second, I wish to thank my committee for helping me through the process of writing this thesis. Their willingness to give advice and to proofread my work is greatly appreciated. Third, I have so much gratitude towards my supervisor and guitar teacher, Jeffrey McFadden. He has been a guide on multiple levels of my life over the past few years. Since initially encouraging me to pursue a DMA, he has supported me unwaveringly over the years and has been a primary reason for my growth as both a guitarist and an academic. Finally, I express my extreme appreciation towards my parents. There is no doubt in my mind that without their constant encouragement and assistance I would not have made it to where I am now. Thanks to them I have been able to pursue my dreams. iv Table of Contents Abstract ...................................................................................................................................... ii Acknowledgments ..................................................................................................................... iv Table of Contents ....................................................................................................................... v List of Tables ............................................................................................................................ ix List of Figures ............................................................................................................................ x Chapter 1 Introduction ................................................................................................................ 1 Introduction ........................................................................................................................... 1 Chapter 2 Literature Review ....................................................................................................... 3 Literature Review .................................................................................................................. 3 2.1 The Pears-Bream Duo ..................................................................................................... 3 2.1.1 Background ......................................................................................................... 3 2.1.2 Performances ...................................................................................................... 6 2.1.3 Recordings .......................................................................................................... 9 2.1.4 Repertoire and Its Significance ...........................................................................10 2.1.5 Performance Style ..............................................................................................11 2.2 Performance Analysis ....................................................................................................13 2.2.1 Overview ...........................................................................................................13 2.2.2 Theoretical Discussions on Performance Analysis ..............................................13 2.2.3 Niche Performance Analysis Studies ..................................................................15 2.2.4 Descriptive Analysis ..........................................................................................16 2.2.5 Quantitative Analysis .........................................................................................18 2.2.6 Performance Analysis and the Classical Guitar ...................................................20 2.2.7 Performance Analysis and the Singer .................................................................21 v 2.2.8 Methodology in Performance Analysis ...............................................................22 Chapter 3 Performance Analysis ................................................................................................25 Performance Analysis ...........................................................................................................25 3.1 Overview .......................................................................................................................25 3.1.1 Introduction ........................................................................................................25 3.1.2 Glossary .............................................................................................................26 3.1.3 Methodology ......................................................................................................27 3.2 Songs from the Chinese .................................................................................................30 3.2.1 Background ........................................................................................................30 3.2.2 The Big Chariot ..................................................................................................30 3.2.3 The Old Lute ......................................................................................................36 3.2.4 The Autumn Wind..............................................................................................39 3.2.5 The Herd-Boy ....................................................................................................42 3.2.6 Depression .........................................................................................................46 3.2.7 Dance Song ........................................................................................................51 3.3 Six Folk Songs ...............................................................................................................54 3.3.1 Background ........................................................................................................54 3.3.2 Master Kilby ......................................................................................................55 3.3.3 The Shooting of His Dear ...................................................................................58 3.3.4 Sailor-Boy ..........................................................................................................61 3.3.5 I Will Give My Love an Apple ...........................................................................65 3.3.6 The Soldier and the Sailor ..................................................................................67 3.4 The Second Lute Song of the Earl of Essex ....................................................................72 3.5 Anon in Love .................................................................................................................74 3.5.1 Background ........................................................................................................74 3.5.2 Fain Would I Change That Note .........................................................................75 vi 3.5.3 O Stay, Sweet Love ............................................................................................83 3.5.4 Lady, When I Behold the Roses .........................................................................88 3.5.5 My Love in Her Attire ........................................................................................92 3.5.6 I Gave Her Cakes and I Gave Her Ale ................................................................94
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