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A Performance Guide to Gabriel Fauré's La Chanson D'ève, Op

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A Performance Guide to Gabriel Fauré's La Chanson D'ève, Op University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95 Sarah E. Klopfenstine-Wear University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Klopfenstine-Wear, Sarah E., "A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95" (2014). Theses and Dissertations--Music. 28. https://uknowledge.uky.edu/music_etds/28 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Sarah E. Klopfenstine-Wear, Student Professor Cynthia Lawrence, Major Professor Dr. David Sogin, Director of Graduate Studies A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95 _________________________________________ DMA DOCUMENT _________________________________________ A document submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Sarah E. Klopfenstine-Wear Lexington, Kentucky Directors: Cynthia Lawrence, Professor of Voice Dr. Elizabeth Packard Arnold, Professor of Voice Lexington, Kentucky 2014 Copyright © Sarah E. Klopfenstine-Wear 2014 ABSTRACT OF DOCUMENT A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95 In this study, background information, International Phonetic Alphabet pronunciations, poetic translations, and musical analyses of the ten songs that comprise Gabriel Fauré’s La Chanson d’Ève, Op. 95 are provided. Included is the relationship between his original poetry and Fauré’s resultant song cycle. Additionally, a portion is dedicated to an overview of the registers of the mezzo-soprano voice, and it specifically addresses who is best suited to perform La Chanson d’Ève. This document looks at the vocal challenges presented for the mezzo-soprano voice within each song, particularly the subject of vowel modification as it relates to the IPA pronunciation guide. Finally, by gathering all the pertinent information on Fauré’s La Chanson d’Ève into one document, this performance guide creates a succinct tool for singers and teachers in the vocal studio. KEYWORDS: Gabriel Fauré, La Chanson d’Ève, Mezzo-soprano, Voice, Performance Guide A PERFORMANCE GUIDE TO GABRIEL FAURÉ’S LA CHANSON D’ÈVE, OP. 95 By Sarah E. Klopfenstine-Wear _______________Cynthia Lawrence Director of Document ______Dr. Elizabeth Packard Arnold Director of Document _________________Dr. David Sogin Director of Graduate Studies ______________________________ Date ACKNOWLEDGEMENTS I would like to thank my document directors, Dr. Elizabeth Arnold and Cynthia Lawrence, for their expert supervision throughout this project. A special thanks to Dr. Arnold, who met evenings and weekends, going above and beyond, to help me complete my degree. Thank you to the complete advisory committee and outside reader, respectively: Dr. Diana Hallman, Dr. Harald Hoebusch, and Dr. Ray Garman. Your feedback and guidance were invaluable. I would also like to thank Cristen Pascucci for her editing expertise and many hours spent reading draft after draft. Thank you to my parents, Barron and Helen Klopfenstine for never having a single doubt that I could proceed this far in my academic studies. Thank you to my daughter, Maria, who never let me lose perspective. Lastly, I offer a heartfelt thanks to my husband, Nicholas, without whose support this process would have been near impossible. Thank you for the countless hours you spent with Maria while I researched and wrote in the library on the weekends. Thank you to all who cheered me on locally and from afar! iii TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................................. I LIST OF TABLES AND FIGURES.................................................................................. IV LIST OF EXAMPLES ........................................................................................................ V CHAPTER 1: INTRODUCTION ........................................................................................ 1 DEFINITION OF TOPIC ....................................................................................... 1 NEED FOR THIS STUDY ..................................................................................... 1 SCOPE AND LIMITATIONS ................................................................................ 2 METHODOLOGY .................................................................................................. 2 REVIEW OF LITERATURE ................................................................................. 6 SCORE EDITIONS .............................................................................................. 10 EXPECTED OUTCOMES ................................................................................... 11 CHAPTER 2: HISTORY AND BACKGROUND ............................................................ 12 FAURÉ’S EARLY MUSICAL INFLUENCES ................................................... 12 GENESIS OF LA CHANSON D’ÈVE ................................................................ 16 FAURÉ, IMPRESSIONISM, AND THE STYLES OF LA CHANSON D’ÈVE 22 CHAPTER 3: THE MEZZO-SOPRANO VOICE ............................................................ 24 FAURÉ AND THE MEZZO-SOPRANO ............................................................ 24 THE REGISTRATION OF THE MEZZO-SOPRANO VOICE .......................... 25 CHAPTER 4: PARADIS ................................................................................................... 31 ANALYSIS ........................................................................................................... 33 INTERPRETATION ............................................................................................. 39 VOCAL CONSIDERATIONS ............................................................................. 40 CHAPTER 5: PRIMA VERBA ......................................................................................... 44 ANALYSIS ........................................................................................................... 45 INTERPRETATION ............................................................................................. 47 VOCAL CONSIDERATIONS ............................................................................. 47 CHAPTER 6: ROSES ARDENTES .................................................................................. 49 ANALYSIS ........................................................................................................... 50 INTERPRETATION ............................................................................................. 52 VOCAL CONSIDERATIONS ............................................................................. 53 CHAPTER 7: COMME DIEU RAYONNE ...................................................................... 55 ANALYSIS ........................................................................................................... 56 INTERPRETATION ............................................................................................. 59 VOCAL CONSIDERATIONS ............................................................................. 60 iv CHAPTER 8: L’AUBE BLANCHE .................................................................................. 64 ANALYSIS ........................................................................................................... 65 INTERPRETATION ............................................................................................. 68 VOCAL CONSIDERATIONS ............................................................................. 69 CHAPTER 9: EAU VIVANTE ........................................................................................
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