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Macbeth by Lawrance Collingwood, Paul Mcintyre, and Luke Styles

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Macbeth by Lawrance Collingwood, Paul Mcintyre, and Luke Styles ‘Tomorrow, and tomorrow, and tomorrow’: A comparison of three operatic adaptations of Macbeth by Lawrance Collingwood, Paul McIntyre, and Luke Styles Ian Parr Submitted in fulfilment for the degree of MA by Research School of Music, Humanities, and Media University of Huddersfield 4 June 2018 Abstract Giuseppe Verdi’s opera Macbeth (1865), based on Shakespeare’s play of the same name, is considered one of the prime nineteenth century adaptations of a Shakespeare text. With its high degree of fidelity to the source text, as well as the rich and intense score that exemplifies his musical language, Verdi’s Macbeth set a benchmark of what a ‘successful’ operatic adaptation of Macbeth might look like. The degree of success of later adaptations of Macbeth is often compared – fairly or unfairly – retrospectively with Verdi’s Macbeth. This thesis is an investigation into three post-Verdi adaptations of Shakespeare’s Macbeth by Lawrance Collingwood, Paul McIntyre, and Luke Styles, aiming to show how each composer has adapted the story of Macbeth for the musical-dramatic stage, and how they have utilised the twentieth century resources available to them, thus setting them apart from Verdi’s opera. Through analysis of some aspects of the operas, three perspectives on adapting Macbeth into opera will be explored, with further discussion of the composers’ individual approaches to text-setting that show how such approaches give the story new meaning. [- 2 -] I would like to thank the Royal College of Music for pointing me in the right direction for uncovering more of Lawrance Collingwood’s history; The Heritage Quay Archives at the University of Huddersfield for their help with accessing the score for Collingwood’s opera; and The University of Leeds for allowing me to view Richard Leveridge’s music for William Davenant’s Macbeth. Thank you to the University of Huddersfield for providing a top class academic environment in which to study and pursue my goals. Thank you to Professor Rachel Cowgill, without your guidance, patience, and expertise, I would never have been able to complete such a difficult yet rewarding study. A huge thank you to Paul McIntyre, your tremendous help made my analysis possible, and your friendly emails always made my day. Sir! Lady! (You know who you are…) And thank you to Lauren, if it wasn’t for your love and ongoing enthusiastic encouragement to undertake this project, I might just have avoided all of the stress it has given me! [- 3 -] Contents Table of Musical Examples .................................................................................................. - 5 - Table of Figures .................................................................................................................... - 7 - Introduction ........................................................................................................................... - 8 - Chapter One: Lawrance Collingwood’s Opera. ‘The ‘Forgotten’ Macbeth?’ .................... - 31 - Collingwood’s Libretto ................................................................................................... - 37 - Collingwood’s Musical Language .................................................................................. - 45 - Chapter Two: Paul McIntyre’s Opera. ‘Prophecy by Numbers’ ........................................ - 57 - McIntyre’s libretto........................................................................................................... - 58 - McIntyre’s Musical Language ........................................................................................ - 68 - Chapter Three: Luke Styles’ Opera. ‘A Disappearing Act’ ................................................ - 97 - Styles’ Libretto .............................................................................................................. - 101 - Styles’ Musical Language ............................................................................................. - 119 - Conclusion ........................................................................................................................ - 144 - Bibliography ..................................................................................................................... - 147 - Appendix 1 ........................................................................................................................ - 152 - Appendix 2 ........................................................................................................................ - 153 - [- 4 -] Table of Musical Examples Example 1: Collingwood, (1934). Macbeth, Act 3 Scene 3, p.262. Collingwood’s writing for chorus .............. 44 Example 2: Collingwood, (1934). Macbeth, Act 1 Scene 1, p.1. The opening of Collingwood’s opera .............. 46 Example 3: Collingwood, (1934). Macbeth, Act 1 Scene 1, p.1. The opening recitative ..................................... 47 Example 4: Verdi, (1865). Macbeth, Act 1. Letter reading scene ........................................................................ 48 Example 5: Collingwood, (1934). Macbeth, Act 2 Scene 3, p.207. Collingwood’s use of harmony for the Witches ................................................................................................................................................................. 49 Example 6: Verdi, (1865). Macbeth, Act 1 Scene 1. Triadic writing for the witches ........................................... 50 Example 7: Verdi, (1865). Macbeth, Act 1 Scene 1. Triadic writing for the witches ........................................... 50 Example 8: Collingwood, (1934). Macbeth, Act 2 Scene 3, p.229. Choral writing in the cauldron scene ........... 51 Example 9: McIntyre, (2005). Macbeth, Act 1, bars 1-8. First statement of McIntyre’s tone row ....................... 71 Example 10: McIntyre, (2005). Macbeth, Act 1, bars 1-11. One transformation of the tone row ........................ 71 Example 11: McIntyre, (2005). Macbeth, Act 1, bars 769-785. Recurrence of the semitone at the close of the first act .................................................................................................................................................................. 72 Example 12: McIntyre, (2005). Macbeth, Act 3, bars 404-408. Tone rows hint at palindromic structure ........... 73 Example 13: McIntyre, (2005). Macbeth, Act 1, bars 59-62. Witches’ deviance from the matrix ....................... 74 Example 14: McIntyre, (2005). Macbeth, Act 1, bars 101-107. Connections between tone rows ........................ 75 Example 15: McIntyre, (2005). Macbeth, Act 1, bars 101-107. Manipulations of the tone row .......................... 76 Example 16: McIntyre, (2005). Macbeth, Act 1, bars 130-143. Witches’ creation of aggregates ........................ 78 Example 17: McIntyre, (2005). Macbeth, Act 1, bars 174-179. Aggregates echoed ............................................ 78 Example 18: McIntyre, (2005). Macbeth, Act 2, bars 412-418. Further tone row manipulations ........................ 79 Example 19: McIntyre, (2005). Macbeth, Act 3, bars 39-42. New tone row ........................................................ 80 Example 20: McIntyre, (2005). Macbeth, Act 3, bars 45-46. New tone row layered ........................................... 81 Example 21: McIntyre, (2005). Macbeth, Act 3, bar 47. Layered tone row creating aggregates ......................... 81 Example 22: McIntyre, (2005). Macbeth, Act 3, bars 57-66. Tone rows in the sleepwalking scene .................... 83 [- 5 -] Example 23: McIntyre, (2005). Macbeth, Act 3, bars 90-95. Vocal writing for Lady Macbeth........................... 85 Example 24: McIntyre, (2005). Macbeth, Act 3, bar 136. Transposed version of the layered tone rows ............. 86 Example 25: Berg, (1925). Wozzeck. Act 3, Scene 3 bars 1-11. Pianino polka and performance direction ......... 90 Example 26: McIntyre, (2005). Macbeth, Act 1, bars 24-28. Tempo di Pavana .................................................. 92 Example 27: McIntyre, (2005). Macbeth, Act 1, bars 73-78. Tempo di Galliarda ............................................... 93 Example 28: McIntyre, (2005). Macbeth, Act 2, bars 380-391. Tempo di Sarabanda ......................................... 94 Example 29 McIntyre, (2005). Macbeth, Act 3, bars 343-346. Tempo di Tarantella ........................................... 94 Example 30: Styles, (2015). Macbeth, bars 8-19. Opening dialogue of the opera.............................................. 120 Example 31: Styles, (2015). Macbeth, Bars 1236-1243. Unstemmed note heads .............................................. 122 Example 32: Styles, (2015). Macbeth, Bars 199-210. Section of unconducted music ....................................... 123 Example 33: Britten, (1964). Curlew River. Staggered bar lines and 'curlew signs' .......................................... 126 Example 34: Styles, (2015). Macbeth, Bars 93-96. Melodic line and harmonies ............................................... 128 Example 35: Styles, (2015). Macbeth, Bars 44-47 Large intervallic leaps ......................................................... 129 Example 36: Styles, (2015). Macbeth, Bars 123-126. Large intervallic leaps .................................................... 129 Example 37: Styles, (2015). Macbeth, Bars 1389-1407. Section of tonal harmony ........................................... 130 Example 38: Styles, (2015). Macbeth, Bars 1429-1435. Ending of the opera ...................................................
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