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A^ 3U Aio. Z9ar 37? A^ 3U AIO. Z9AR ART SONG BY TURN-OF-THE-CENTURY FEMALE COMPOSERS: LILI BOULANGER AND ALMA MAHLER, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF R. SCHUMANN, J.S. BACH, F. CHOPIN, M. RAVEL, J. BRAHMS, F. SCHUBERT AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Sarah D. Click, B.M., M.M. Denton, Texas December, 1993 37? A^ 3U AIO. Z9AR ART SONG BY TURN-OF-THE-CENTURY FEMALE COMPOSERS: LILI BOULANGER AND ALMA MAHLER, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF R. SCHUMANN, J.S. BACH, F. CHOPIN, M. RAVEL, J. BRAHMS, F. SCHUBERT AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Sarah D. Click, B.M., M.M. Denton, Texas December, 1993 Click, Sarah D., Art Sona by Turn-of-the-Century Female Composers: Lili Boulanaer and Alma Mahler. A Lecture Recital. Together with Three Recitals of Selected Works of R. Schumann, J.S. Bach. F. Chopin. M. Ravel. J, Brahms. F. Schubert and Others. Doctor of Musical Arts (Performance), December, 1993, 96 pp., 13 examples, 2 lists of published songs, 10 poetic translations, bibliography, 43 titles. Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn- of-the-century feminine aesthetic. Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library. 1XX TABLE OF CONTENTS Page Programs First Recital v Second Recital vii Third Recital viii Fourth Recital ix LIST OF MUSICAL EXAMPLES X Chapter I. INTRODUCTION 1 Background on Turn-of-the-Century Music and Musicians Role of Art Song Among Women Composers Lili Boulanger and Alma Mahler Aims of this Research II. THE TEXTS 15 Symbolism III. MUSICAL REPRESENTATION OF SYMBOLIST TEXTS . 24 Impressionism Expressionism Influence of Wagner Role of the Piano Accompaniment IV. ANALYSIS OF WORKS 32 Lili Boulanger Alma Mahler V. CONCLUSION 68 Performance Practice Issues Possible Turn-of-the-Century Feminine Aesthetic Closing Statements APPENDICES 77 A. Lists of Published Songs B. Translations of Song Texts Included in Performance BIBLIOGRAPHY 93 xv /-f/1 i 1*4/* / s U J presents Graduate Recital COLLEEN R. BOLTHOUSE, soprano SARAH D. CLICK, pianist Monday, April 8, 1991 8:15 p.m. Concert Hall PROGRAM George Frideric Handel "Mio caro beneF (Rodelinda) "Care selve" (Atalanta) "Tornami a vagheggiar" (Alcina) Allison Oppedahl, violin George Settlemire, viola David Shaw, violone Johannes Brahms Bird Songs Nachtigall Aufdem Schiffe Lerchengesang Das Madchen spricht In Waldeseinsamkeit Wolfgang Amadeus Mozart Concert Aria, K. 505 "Ch'io mi scordi di te? . Non temer, amato bene" - Intermission m UNIVERSITY OF NORTH V Francis Poulenc Fiangailles pour rire La Dame d'Andri. Dans I'herbe II vole Mon cadavre est doux comme un gant Violon Fleurs Samuel Barber Opus 13 A Nun Takes the Veil The Secrets of the Old Sure on this shining night Nocturne Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts vx l 'ottege, nf'Mw& presents Graduate Recital SARAH CLICK, piano Monday, November 18, 1991 5:00 p.m. Recital Hall PROGRAM Valses nobles et sentimentales Maurice Ravel Sonata, Opus 78 Franz Schubert Molto moderato e cantabile Andante Menuetto Allegretto Prilude, Opus 45 Fr6d£ric Chopin Berceuse, Opus 57 Scherzo, Opus 39 Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts VII University of North Texas 0 presents A Graduate Recital SARAH CLICK, piano Monday, November 16, 1992 8:15 p.m. Concert Hall PROGRAM Toccata in D Major, BWV 912 Johann Sebastian Bach Kreisleriana, Opus 16 Robert Schumann Aufierst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielertd Jeux d'eau Maurice Ravel Dieu fluvial riant de I'eau qui le chatouille .. (River god laughing as the water tickles him ...) Henri de R6gnier Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts vxii University of North Texas fijftye of 'Music presents A Graduate Recital SARAH CLICK, piano assisted by Kelly Kimball, mezzo-soprano • David Sundquist, tenor Monday, October 18, 1993 5:00 pm Recital Hall ART SONG BY TURN-OF-THE-CENTURY FEMALE COMPOSERS Lobgesang Alma Mahler (1879-1964) Reflets Lili Boulanger Clairieres dans le del (1893-1918) Elle etait descendue au bas de la prairie Je garde une medaille d'elle Demainfera un an Laue Sommernacht Alma Mahler Waldseligkeit Ansturm Ernteleid Der Erkennende Presented in partial fulfillment of the requirments for the degree of Doctor of Musical Arts IX LIST OF MUSICAL EXAMPLES Example Page 1. Lili Boulanger, Dans 1'immense Tristesse, measures 28-35 34 2. Lili Boulanger, Attente, measures 26-28 35 3. Lili Boulanger, Clairieres dans le Ciel, No. 3, Parfois, je suis triste, measure 8 39 4. Lili Boulanger, Clairieres dans le Ciel, No. 13, Demain fera un an, measures 45-47 40 5. Lili Boulanger, Clairieres dans le Ciel, No. 1, Elle etait descendue au bas de la prairie, measures 1-2 42 6. Lili Boulanger, Clairieres dans le Ciel, No. 6, Si tout ceci n'est qu'un pauvre r§ve, measures 1-2 43 7. Lili Boulanger, Clairieres dans le Ciel, No. 13, Demain fera un an, measures 1-2 44 8. Alma Mahler, Fiinf Lieder, No. 3, Laue Sommernacht, measures 1-2 53 9a. Alma Mahler, Vier Lieder, No. 1, Licht in der Nacht, measures 25-28 56 9b. Alma Mahler, Fiinf Lieder, No.3, Laue Sommernacht, measure 11 57 10. Alma Mahler, Vier Lieder, No. 2, Waldseligkeit, measures 22-34 59 11. Alma Mahler, Vier Lieder, No. 4, Erntelied, measures 55-61 61 12. Alma Mahler, Fiinf Gesange, No. 3, Der Erkennende, measures 1-3 65 13. Alma Mahler, Fiinf Gesange, No. 3, Der Erkennende, measures 43-47 66 x CHAPTER I INTRODUCTION Background on Turn-of-the-Century Music and Musicians Music by European composers around the turn of the 19th century offers rich ground for critical and analytical study in that it resists being clearly defined or categorized. In this period, which exists between Romanticism and Modernism, there was much emphasis on the composer as the creative individualist. This focus led to a great contrast of styles and compositional procedures. Increasingly close ties to literature and other extramusical elements allowed composers new horizons. Expression, whether subtle or direct, had no specific regulations as long as it conveyed the artist's own inner perspective and creativity. Symbolism, Expressionism, and Impressionism all were movements within the arts at this time. They reflect the changing social standards and cultural tensions leading up to the First World War. These conflicts, echoed in all the arts, destroyed old boundaries and attained expressive extremes as people sought a new order in their perception of themselves and the changing culture in which they lived. Musically, this is mirrored most obviously in expanding harmonic vocabulary—an expansion that eventually caused the collapse of a tonal system more than two centuries old. 1 2 Just prior to the turn of the century, the musical scene was dominated by the Germans, and, although other nationalities maintained their own traditions, they were responsive to the German influence yet careful and selective in incorporating it into their own styles. The music of this period in the European tradition manifests varying individual reactions to the expansion and subsequent collapse of the 18th and 19th century tonal system, as well as to the German dominance on the musical front. Some composers embraced the collapse and welcomed a new direction, some held to the older system, but most utilized elements of the new and old, as is typical of a period of transition. Male musicians have always dominated the musical scene, despite the occasional appearance in music history of gifted women such as Francesca Caccini, Barbara Strozzi, and Maria Theresia von Paradis. The 19th century, however, saw a notable increase in numbers of female musicians, brought about in part by certain political and social changes, but also as a result of the ascendancy of the piano with its suitability to a domestic environment.
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