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BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi

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BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. * Hie factors responsible for the formation of the ovc .11 formal profile of the passacaglias (density, range, dynamics and rhythm) are discussed in relation to their contribution to the formal profile. In conclusion it is found that Britten has abandoned the four or (iii.) eight measure ostinato themes, alow triple metre, trochaic rhythmic pattern and tetrachord influence) which characterized Baroque passacaglias. During the course of his passacaglias the ostinato theme lengths, ton® colour, rhythm and octave register are all subjected to variation. The accompaniment generally has thu dominant role and tends to distract from the repetitions of the ostinato theme. The interactions of the parameters of density, dynamics, rhythm and range create the formal profiles of the passacaglias. While in some passacaglias there is a correlation of interaction amongst the parameters, in other instances there are interesting contrasts especially with regard to rhythm. Motion in the accompaniment is of pt Juae importance in order to counteract the monotony of the ostinato repetitions. In most cases, one or mere of the parameters change, usually with each statement of the ostinato. In contrast to the Baroque period when the vast majority of passacaglias were keyboard works, Britten has not confined his passa­ caglias to any particular genre. All the passacaglias in this study form part of mult imovement works. This is contrary to the Baroque preference of composing passacaglias as independent pieces. Within the larger formal framework, Britten has favoured a central or final position for the passacaglia movements. When used in a central position, the passacaglia frequently ha;, a stabilizing influence fund tends to function as a focal point, while when used as a final taovement, it often has a confirming function. Britten has based his approach to the passacaglia form on the text­ book definitions of the early part of the twentieth century. His passacaglias are based on a melodic ostinato which i* adhered to fairly strictly throughout. During the Baroque period, the passacaglia was essentially a mono- thematic form. Britten, however, juxtaposes contrasting thematic material of equal importance against the ostinato. 11113 use of multiple themes represents a radical departure from the mono th^.ria tic practice of earlier passacaglia composers. The importance and variety of the material which he superimposes above the ostiiiatr make any marked variation of the ostinato theme it­ self unnecessary. The tonal and rhythmic stability of the passacaglia theme impart a unity, cohesion and symmetry tc the overall form. (iv) ACKNOWLEDGEMENTS I wish to exprfc^ my gratitude to the following persons and institutions: - My promoter. Prof. C.A. van Wyk, for his constant guidance, perceptive criticism and en;ouragement throughout this project; - Prof. H. Teaamingh, for his many valuable suggestions? - My colleague Dr. P.C, Stroux, for his excellent translation of several French and German texts, as well as for the interest he has shown throughout this research, and his willingness to share his knowledge. - Mr. C.M. Vels of Boosey and Hawkes publishers, for his helpfulness in scores for me; - The Human Sciences Research Council whose financial assistance has made this research possible. (v) CONTENTS Page ABSTRACT (US ACKNOWLEDGEMENTS (iv) CHAi’TER 1 INTRODUCTION 1. THE PASSACACUA IN TH8 TWttWTICTB CENTURY 1 1.1 HISTORICAL PERSPECTIVE ! 1.2 TRADITIONAL PASSACACLIAS 2 1.3 FREE PASSACAGLIAS 11 1.4 CONCLUSION 26 CHAPTER 2 PIANO CONCERTO, OP. 13, 1938, revised 1945 1 . BACKGROUND 29 2. THE NATURE OF THE OSTIHATO THEME 29 2.1 STRUCTURE 29 2.2 USE OP THE OSTINATO THEME 33 2.3 INFLUENCE OF THE OSTINATO THEME 35 3• THE ACCOMPANIMENT 36 3.1 TYPE OF ACCOMPANYINC, MATERIAL 36 3.2 THE ACCOMPANIMENT VARIED 37 3.3 ROLE OF THE ACCOMPANIMENT 38 4. MOTION FACTOHS 39 4.1 THE PARAMFTERS 39 4.2 INTERACTION OF PARAMETEkS 42 4.3 SENSE OF FINALITY 42 (Vi) Pag© 5. FORMAL PLAN 42 5.1 LARGER FORM 43 CHAPTER 3 VIOLIN CONCERTO OP. 15, 1939, r a v i u d 1950 i. BACKGROUND 44 2. THE NATURE OF THE OSTINATO THEME 44 2.1 STRUCTURE 44 2.2 USE OT THE OSTINATO THEME 48 2.3 INFLUENCE OF THE OSTINATO THEME 52 3. THE ACCOMPANIMENT 53 3.1 TYPE OF ACCOMPANYING MATERIAL 53 3.2 THE ACCOMPANIMENT VARIED 53 3.3 ROLE OF THE ACCOMPANIMENT 54 4. MOTION FACTORS 55 4.1 THE PARAMETERS 55 4.2 INTERACTION OF PARAMETERS 58 5. FORMAL PLAN 58 5.1 LARGER FORM 59 CHAPTER 4 "DIRGE" from SERENADE, OP. 31, 1943 1.BACKGROUND 60 2. THE NATURE OF THE OSTINATO THEME 60 2.1STRUCTURE 60 2.2 USE OF THE OSTINATO THEME 63 2.3 INFLUENCE OF THE OSTINATO THEME 64 3. THE ACCOMPANIMENT 64 3.1 TYPE OF ACCOMPANYING MATERIAL 64 3.2 THE ACCOMPANIMENT VARIED 65 3.3 ROLE OF THE ACCOMPANIMENT 66 4. MOTION FACTORS ' 67 4.1 THE PARAMETERS 67 4.2 INTERACTION OF PARAMETERS 69 4.3 SENSE OF FINALITY 69 5. FORMAL PLAN 69 5.1 LARGER FORM 70 (vii) Page CHAPTER 5 PETER GRIMES, OP. 33, 1945 1 . BACKGROUND 71 2. THE NATURE OF THE OSTINATO THEME 72 2.1 STRUCTURE 72 2.2 USE OF THE OSTINATO THEME 76 2.3 IN?LUHfCE OF THE OSTINATO THEME 79 3. THE ACCOMPANIMENT SO 3.1 TYPE OF A TMPANYING MATERIAL 80 3.2 THE ACCOMPANIMENT VARIED 80 3.3 ROLE OF THE ACCOMPANIMENT 84 4. MOTION FACTORS 85 4.1 XE PARAMETERS 85 4.2 INTERACTION OF PARAMETERS 89 4.3 SENSE OF FINALITY 89 5. FORMAL PLAN 89 5.1 LARGER FORM 89 CHAPTER 6 THE HOLY SONNETS OF JOHN DONNE, OP. 35, 1945 No. "3FATH, Bf, NOT PROUD IN 1. BACKGROUND 90 2. THE NATURE OF THE OSTINATO THEME 90 2.1 STRUCTURE 90 2.2 USE OF THE OSTINATO THEME 93 2.3 INFLUENCE OF THE OSTINATO THEME 95 3. THE ACCOMPANIMENT 3.1 TYPE OF ACCOMPANYING MATERIAL 95 3.2 THE ACCOMPANIMQJT VARIED 96 3.3 ROLE OF THL ACCOMPANIMENT 97 4. MOTION FACTORS 98 4.1 THE PARAMETERS 98 4.2 INTERACTION OF PARAMETERS 100 4.3 SENSE OF FINALITY 101 5. FORMAL PLAN 101 5.1 LARGER FORM 102 (viii) Page 1 CHAPTER 7 THE RAPE OF LUCRETIA, OP. 37, 1946 BACKGROUND 103 2 '-HE NATURE Ot THE OSTINATO THEME 104 ? STRUCTURE 104 2 2 USE OF THE OSTINATO THEME 107 2 3 INFLUENCE OF THE OSTINATO THEME 110 3 THE ACCOMPANIMENT 110 31 TYPE OF ACCOMPANYING MATERIAL ilO 3 2 THE ACCOMPANIMENT VARIED 111 3 3 ROLE OP THE ACCOMPANIMENT 112 4 MOTION FACTORS 113 4 1 THE PARAMETERS 113 4 2 INTERACTION OF PARAMETERS 115 4 3 SENSE OF FINALITY 115 5 I ORMAL PLAN 116 51LARGER FORM 116 CHAPTER 8 ALBERT HERRING, OP. 39, 1947 BACKGROUND 118 2 NATURE OF THE OSTINATO THEME 120 2 STRUCTURE 120 2 2 USE OF THE OSTINATC THEME 123 2 3 INFLUENCE OF THE OSTINATO THEh_ 124 3 THE ACCOMPANIMENT \2S 3 1 TYPE OF ACCOMPANYING MATERIAL i2S 3 2 THE ACCOMPANIMENT VARIED 125 3 3 ROLE OF TOE ACCOMPANIMENT 127 4 MOTION FACTORS 128 4 I THE PARAMETERS 128 4 2 INTERACTION OF PARAMETERS 130 4 3 SENSE OF FINALITY 131 5 FORMAL PLAN 1.11 S 1 LARGER FORM 131 (ix) Page CHAPTER 9 BILLY BUDD, OP. 50, 1951 revised I960 1. BACKGROUND 132 2. THE NATURE OF THE OSTXNftTO THEME 133 2.1 STRUCTURE 13' 2.2 CSS OP THE OSTINATO THEME 137 2.3 INFLUENCE OF THE OSTINATO THM 141 3. THE ACCOMPANIMENT 142 3.1 TYPE OF ACCOMPANYING MATERIAL 142 3.2 THE ACCOMPANIMENT VARIED 143 3.3 ROLE OF THE ACCQMPANIMeJT 145 4. MOTION FACTORS 146 4.1 THE PARAMETERS 146 4.2 INTERACTION OF PARAMETERS 149 4.3 SENSE OF FINALITY 150 5 * FORMAL PLAN 150 5.1 LARGER FORM 150 CHAPTER 10 THE TURN OF THE SCREW, OP. 54, 1954 1. BACKGROUND 151 2. THE NATURE OF THE OS' .
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