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Vivian Fine's Work with Doris Humphrey and Martha Graham Dana Renée Terres

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Vivian Fine's Work with Doris Humphrey and Martha Graham Dana Renée Terres Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Modern Collaborations: Vivian Fine's Work with Doris Humphrey and Martha Graham Dana Renée Terres Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MODERN COLLABORATIONS: VIVIAN FINE’S WORK WITH DORIS HUMPHREY AND MARTHA GRAHAM By DANA RENÉE TERRES A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree Master of Music Degree Awarded: Spring Semester, 2013 Dana Terres defended this thesis on March 25, 2013 The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Tricia Young Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I have received support from many people throughout this process. I would like to recognize a few of them without whom, this thesis would have been impossible to pursue. First and foremost, I wish to thank Peggy Karp for permitting me to photograph copies of her mother’s manuscripts in the Vivian Fine Collection at the Library of Congress. I also am indebted to the librarians at the Library of Congress and the New York Public Library for the Performing Arts for patiently guiding me through my first forays into archival research. The English family, Mary, Kevin, Brendan, Catherine, and Molly were kind enough to host me on two different occasions while I completed my research in Washington D.C. I thank them for their generosity and hospitality. I was fortunate to have Denise Von Glahn as my advisor. She never accepted less than my best work and was quick with words of encouragement at the times I thought this thesis would never come together. I am also grateful for my colleagues who were always there to offer advice and support, especially my fellow members of Les Six: Matt Bishop, Christine Bronson, Sarah Gilbert, Alice Henderson, and Nicole Robinson. I would also like to thank my parents, my sister Kira, and three friends who are like family Yomari Chavez, Helen Ingham, and Hayley Steptoe for always believing in me. iii TABLE OF CONTENTS List of Tables . v List of Figures . vi Abstract . vii CHAPTER ONE: VIVIAN FINE . 1 CHAPTER TWO: DEVELOPMENT OF MODERN DANCE IN AMERICA . 7 CHAPTER THREE: THE RACE OF LIFE . 16 CHAPTER FOUR: ALCESTIS . 36 CONCLUSION . 54 APPENDIX . 58 A. COPYRIGHT PERMISSION LETTER . 58 BIBLIOGRAPHY . 59 BIOGRAPHICAL SKETCH . 64 iv LIST OF TABLES Table 3.1: Subsection of Each Scene in Fine’s and Humphrey’s The Race of Life . 22 Table 4.1: Individual Scenes in Fine’s and Graham’s Alcestis . 43 v LIST OF FIGURES Figure 3.1: The Race of Life, Scene I, mm. 8-12 . 24 Figure 3.2: “Start of the Race,” Scene I, mm. 28-32 . 25 Figure 3.3: Bass Ostinati from “Swinging Along,” “Neck and Neck,” and “Faster” . 25 Figure 3.4: “The Accident,” Scene I, no. 6, mm. 103-105 . 26 Figure 3.5: “The Dive,” Scene I, no. 8, mm. 145-146 . 27 Figure 3.6: “Breathing Spell,” Scene I, no. 10, mm. 156-159 . 28 Figure 3.7: “Faster,” Scene VI, no. 42, mm. 49-51 . 28 Figure 3.8: “Uphill,” Scene VI, no. 43, mm. 55-58 . 29 Figure 3.9: “The Laggard,” Scene VI, no. 44, m. 71 . 30 Figure 3.10: “The Pacemaker,” Scene VI, no. 45, mm. 72-73 . 30 Figure 3.11: “The Beautiful Stranger” theme Scene II, mm. 1-5 . 31 Figure 3.12: Lyrics of “Indianola” written over the melody, Scene III, mm. 38-46 . 33 Figure 3.13: “The Cuckoo” Trills in Scene IV, mm. 1-4 . 34 Figure 3.14: “Menace” and “Escape,” Scene V, nos. 34 and 38, m. 21 and m. 39 . 35 Figure 4.1: Opening of Alcestis, Section I, mm. 1-9 . 42 Figure 4.2: Suspensions in Scene 6, mm. 22-24 . 45 Figure 4.3: Scene 6, mm. 19-23 . 45 Figure 4.4: Fanfare Figure from Part II, mm. 1-2 . 46 Figure 4.5: Scene 12, mm. 162-164 . 47 Figure 4.6: Scene 12, mm. 206-208 . 47 Figure 4.7: Section V, mm. 109-110 . 49 vi ABSTRACT Music regularly accompanies dance performances, but the relationship of sound and movement has been under-investigated in academic circles. This neglect may be a reflection of the opinion that music created for dance is not serious. The lack of communication between music and dance scholars may also be a contributing factor. Neither side speaks the other’s language. This thesis seeks to address that situation by considering two works by Vivian Fine, The Race of Life (1937) and Alcestis (1960). Fine composed these pieces for modern dance choreographers Doris Humphrey and Martha Graham respectively; they represent two different approaches to creating American modern dance. For The Race of Life Fine composed to an existing dance text, while for Alcestis, she provided music to which the dance would be set. The influence of the order of composition and choreography in inspiring these very different scores is impossible to determine without clear documentation from Fine, which does not exist. Nevertheless, the two scores provide the opportunity to evaluate her musical thinking as it relates to dance in works separated by more than twenty years. vii CHAPTER ONE VIVIAN FINE Describing the connection between music and dance for the 1963 issue of Dance Perspectives, Vivian Fine (1913-2000) quoted her former teacher Roger Sessions as saying “Music is a gesture.” She went on to explain that “…one must have a willingness to absorb from the dancer his basic gesture and to inflect the musical gesture with the imagery of dance and theatre.”1 Because she possessed such willingness, Fine was sought after as a dance composer and accompanist for modern dancers including Doris Humphrey, Martha Graham, Hanya Holm, and José Limón. Fine viewed the compositional process of writing music for dance as a collaborative one, and no two processes were alike. In this thesis, I will investigate the collaborative process for two of Fine’s dance compositions: Doris Humphrey’s The Race of Life (1937) and Martha Graham’s Alcestis (1960). Even though Fine was a prolific American composer, she is little known beyond a small group of scholars and aficionados. Therefore, a brief explanation of her background is in order. A musical prodigy from a poor Jewish family in Chicago, Fine began taking piano lessons with a neighborhood teacher at three years old. When she was five, Fine auditioned for and won a scholarship to the Chicago Musical College. After four years of lessons there, Fine needed more advanced instruction. Her father used his connections at the Jewish Theater to have Vivian play for Djane Lavoie-Herz,2 a former pupil of Alexander Scriabin, a teacher at the American Conservatory, and one of the most prominent pianists in the Chicago area. Herz took Fine on as a student in her private studio in 1924. Through Herz, Fine met Ruth Crawford who was attending 1 Vivian Fine and Lucia Dlugoszewski, “Composer/choreographer. Choreographer/composer,” Dance Perspectives 16 (1963): 63. 2 The wife of one of David Fine’s co-workers at the theater was a student of Lavoie-Herz. 1 the conservatory and studying composition and theory with John Palmer and Adolf Weidig. At the suggestion of Lavoie-Herz, Crawford taught Fine theory and composition beginning in the fall of 1924; Lavoie-Herz offered Crawford piano lessons as an exchange for her training Fine. Crawford fostered Fine’s propensity toward ultra-modern composition as well as introduced her eleven-year old protégé to other composers including Henry Cowell, Dane Rudhyar, Imre Weisshaus, and Aaron Copland. Despite Vivian’s extreme youth, her parents were supportive of their daughter’s musical endeavors. In the fall of 1927 with her parent’s approval, Vivian dropped out of high to allow more time for composing and piano practice.3 Henry Cowell also encouraged Fine’s musical career. She recalled corresponding with him beginning in 1929.4 The fifteen year-old Fine sent him her compositions upon which he would offer comments. In 1930, he arranged for her Solo for Oboe to be programmed at the Pan American Association of Composers Concert. He also submitted Fine’s Four Pieces for Two Flutes to the Women in Music Festival in Hamburg, Germany where it was performed in 1931. After Ruth Crawford left Chicago in 1930, Fine became increasingly frustrated with opportunities in her hometown. Although Crawford arranged for Vivian to study with Adolf Weidig, Fine did not find his style compatible with her ultra-modern stylistic preferences.5 In 1931 at the age of 18, Fine moved to New York City as Crawford had a year earlier. Once there, she sought out the company of other ultra-modernist composers. She found a sympathetic professional network in Aaron Copland’s Young Composers Group where she was the only woman. She remembered that her skills as a pianist and as a sight-reader were seen as invaluable. 3 Judy Cody, Vivian Fine: Bio-Bibliography (Westport, CT: Greenwood, 2002), 5-6. In interviews, Fine often told of how her mother hid her in the closet when the truant officer came to their apartment. 4 Ibid., 8. 5 Cody, 8. 2 Henry Brant, fellow member of the YCG and later colleague at Bennington, recalled that “From time to time someone would bring in a piece perhaps unknown to all of us – something by Eisler, Ives, or Webern that we’d never seen before.
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