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Ann Aitoor, MI 48106 A SURVEY AND ANALYSIS OF THE PUBLISHED FRENCH AND IRISH SONGS FOR PIANO AND VOICE OF SIR ARNOLD BAX DOCTORAL DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the School of Music in the Graduate School of The Ohio State University by David Matthew Shockey, Diploma, B.S., M.M. ****** The Ohio State University 1991 Dissertation Committee: Approved by Helen Swank Marshall Barnes Lser Jerry Lowder School of Music Robin Rice VITA June 17, 1951 .... Born - Sandy Spring, Maryland 1969 ................. Diploma - Milford Mill Senior High School 1970-1974 ...... Voice Instructor - Dr. Robert Shewan, Roberts Wesleyan College 1974 ................. B.S., M. Ed., Roberts Wesleyan College 1974-1978 ........... Choral Director, E.J. Wilson High School, Spencerport, New York 1976-1977 Voice Instructor - Mr. John Maloy, Eastman School of Music 1978-1989 ........... Assistant Professor of Voice Philadelphia College of Bible, Philadelphia, Pennsylvania 1960 ................. M.M., Eastman School of Music 1980-1985 ........... Voice Instructor - Miss Florence Berggren, Philadelphia, Pennsylvania 1989-1991 ........... Graduate Teaching Associate, School of Music, Voice Area, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music ii TABLE OP CONTENTS VITA ............................................... ii RECITAL PROGRAMS ................. ................ iv LIST OP F I G U R E S ..................» ................ V CHAPTER PAGE I. INTRODUCTION ........... ................. 1 II. BAX, THE M A N ........... ................. 5 III. A CELTIC SONG CYCLE . i .............. 18 IV. ALBUM OF SEVEN SONGS . .[ .............. 35 V. FRENCH SONGS ........... ................. 48 VI. FIVE IRISH SONGS AND THREE IRISH SONGS . 72 VII. THREE MORE IRISH SONGS . ............... 96 APPENDICES S I I. CHRONOLOGICAL LISTING OF SONGS .......... 105 I I LIST OF REFERENCES ............... * ................. 110 BIBLIOGRAPHY ....................... 115 ill Tuesday, October 16, 1991 8:00 p.m. Weigel Hall Auditorium DAVID SHOCKEY, Tenor Eleanor Shockey, Piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Mr. Shockey PROGRAM Harmonia Sacra Purcell We Sing to Him An Evening Hymn Lord, What is Man Winterreise, Op. 89 Schubert Gute Nacht Die Wetterfahne Gefrorne Tranen Erstarrung Fetes Galantes (1) Debussy En Sourdine Clair de lune Fantoches INTERMISSION- A Milking Sian Bax Roundel Shelling Song The White Peace A Christmas Carol To Eire The Enchanted Fiddle iv « Tuesday, February 19, 1991 8:00 p.m. Weigel Hall Auditorium DAVID SHOCKEY, tenor Eleanor Shockey, Piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Mr. Shockey PROGRAM Winterreise, op. 87 ............. Franz Schubert (1797-1828) Gute Nacht Die Wetterfahne Gefrorne Tranen Erstarrung Der Lindenbaum Wasserflut Auf dem Flusse Rilckblick Irrlicht Rast FrQhlingstraum Einsamkeit Die Post Der greise Kopf Die Krahe Lenzte Hoffnung Im Dorfe Der stQrmische Morgen Tauschung Der Wegweiser Das Wirtshaus Mutl Die Nebensonnen Der Leiermann v. Tuesday, May 29, 1991 8:00 p.m. Weigel Hall Auditorium DAVID SHOCKEY, Tenor Eleanor Shockey, Piano This recital is presented in partial fulfillment . for the degree Doctor of Musical Arts for Mr. Shockey PROGRAM Laa bonne chanson, op. 6 1 .......... Faure Une Sainte en son aureole (1845-1924) Puisgue l'aube grand!t La lune blanche luit dans les bois J'allais par des chemins perfides J'ai presgue peur, en verity Avante gue tu ne t'en allies Done, ce sera par un clair jour d'£te N'est-ce pas? L'hiver a cess£ -INTERMISSION- Dichterliebe, op. 48 ................. Schumann Im wunderschbnen Monat Mai (1810-1856) Aus meinen Tr&nen spriessen Die Rose, die Lilie, die Taube Wenn ich in deine Augen seh1 Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wussten's die Blumen Das 1st ein Flbten und Geigen Hbr' ich das Liedchen klingen Ein Jiingling liebt ein Madchen Am leuchtenden Sommermorgen Ich hab1 im Traum geweinet Allnachtlich im traume Aus alten marchen Die alten, b6sen Lieder vi LIST OP FIGURES FIGURES PAGE 1. Eilidh My Fawn, nun. 1 0 - 1 7 ......... 20 2. Closing Doors, mm. 1 4 - 1 6 ......... 24 3. A Celtic Lullaby, mm. 1- 4 ............. 30 4. A Celtic Lullaby, mm. 5 - 1 1 ........... 30 5. The Shieling Song, mm. '5-11....... 42 6. Jean, P'tit Jean, mm. 1- 5 ............. 50 7. Jean, P'tit Jean, mm. 62-65 ........... 51 8 . Berceuse, mm. 20-23 ................... 53 9. Me Suis Mise En Danse, mm. 21-24 . 60 10. Langueo d'Amours, mm. 1- 1 1 ........... 67 11. Langueo d'Amours, mm. 58-59 ........... 69 12. As I Came Over the Grey, Grey Hills, mm. 24-26 82 13. The Pigeons, mm. 3-4 ......... 84 14. Cradle Song, mm. 1 - 7 ............. 88 15. Rann of Exile, mm. 1 - 3 ........... 91 16. Rann of Wanderings, mm. 1 - 4 ....... 93 17. Watching the Needleboats, mm. 1-4 . 102 vii CHAPTER I INTRODUCTION Edward Elgar, Gustav Holst, William Walton and Ralph Vaughan Williams are but four of the reasons that Sir Arnold Bax is a virtually unknown composer in so many musical circles today. For now I will cite two other reasons. First, in spite of his appointment as Master of the King's Musick in 1941, Arnold Bax was a very shy, retiring gentleman who did little to promote himself or his music. Second, he often composed in a very complex manner, whether for orchestra, for piano, or for voice and piano, and in so doing he no doubt frightened away many would- be performers. This is unfortunate, for his work is that of a skilled craftsman, as will be seen in the following pages. Why look at Bax's songs? After all, he is noted primarily as a symphonist and as a pianist, when he is noticed at all. In addition, however, Sir Arnold Bax composed approximately 100 songs for voice and 2 piano, of which about two-thirds were published. Those t are not inconsequential figures when one considers that neither Debussy, Duparc, Hahn or any number of other composers approached that figure in their songwriting. It has been my privilege to perform nearly half of the pieces discussed in this document and I can say unequivocally that they are quality works. Bax is particularly creative harmonically and is also blessed with a gift for melody. It is also my feeling that by considering his published songs, some benefit may be gained by future performers of them. Anyone who has read much about Arnold Bax has become aware of his love affair with Ireland, including the people, the place and the land. It seems only fitting, then, to look closely at his Irish songs. An Irish poet, or a poet using an Irish pseudonym, is probably one of the principal elements of an Irish song. Bax himself is one example of such a person. Using the name "Dermot O'Byrne," he produced a considerable amount of first rate writing of both prose and poetry, in an Irish manner. William Sharp, alias "Fiona Macleod," is another example of one who regularly used a pseudonym. The poem itself may make plain the nationalistic bent of the work, its title serving to qualify the poem as being Irish. Finally, although Bax claims to have borrowed no folk-tunes in his compositions, the very nature of the tune, e.g. thevthrice-repeated notes, the modal inflections, and the pentatonic cell, could render a song Irish. These considerations have guided me in the identification of Irish songs. By virtue of their use of French texts, the French songs are easily identified. My own interests in French song, as well as that of the composer in question, have prompted me to look carefully at those pieces. Unfortunately, Bax's song "Le chant d'Isabeau" was not available for this study. The selections will be discussed in this document according to the chronology of their composition, even when dealing with collections such as the "Five Irish Songs." Most of the 28 selections to be discussed fall readily into groups, with the exception of "When we are lost," "Parting," and "Watching the Needleboats." These three will be assessed in the last chapter. Eric Sams, Richard Capell, Gerald Moore and others have done brilliant work in analyzing the songs of Schumann, Schubert and the other well-known writers 4 the quality of their efforts, it is nonetheless, with their models in view that this project has been undertaken.