THE CATHOLIC UNIVERSITY of AMERICA Context and Commission
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THE CATHOLIC UNIVERSITY OF AMERICA Context and Commission in Large-Scale Texted Works of Libby Larsen A DISSERTATION Submitted to the Faculty of The Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Deborah B. Crall Washington, D.C. 2013 Context and Commission in Large-Scale Texted Works of Libby Larsen Deborah B. Crall, Ph.D. Director: Grayson Wagstaff, Ph.D. Libby Larsen (b. 1950) is recognized as one of the foremost composers of her generation, as well as one of the most performed. A prolific composer, she produces at least one large-scale piece a year. In an era when classically trained composers conventionally earn their living in an academic environment, Larsen makes her livelihood as a composer in the “classical” or concert field. In this way she exemplifies a shift in composer economics, as many composers have abandoned the academic life in favor of self-promotion. This dissertation examines musical patronage in the United States in the late twentieth and early twenty-first centuries by exploring the ways Larsen has developed commissions as an independent artist, incorporating the complex relationships that exist among composer and commissioner in the process of composing large works. Thus patronage, politics, audience, and composition are all intertwined in compelling ways. These relationships are shown by examining six specific works: three operas, Frankenstein, the Modern Prometheus , Eric Hermannson’s Soul , Barnum’s Bird , one choral symphony, Coming Forth Into Day , one cantata, Eleanor Roosevelt (1996), and one oratorio, The Triptych . As a group these six works illustrate consistent ideas, such as the power a composer wields in the creative act when commenting on the nature of society, the role of composer in research and development, and favoring topics resonating within American culture: war and peace, consequences of technological advancement, music as a redemptive force, and art versus entertainment. Larsen uses the commission contract negotiation process to help focus her composition by establishing parameters for performing forces, duration, and text choices. These works demonstrate various models in her approach towards composition. They are tailored to each circumstance, such as using a workshop approach to working in near isolation. Larsen uses quotation as a unifying device in these larger works, creating a gloss on the action in order to deepen the meaning of the narrative. Larsen’s music is frequently modal, with harmonies generated from overlapping vocal lines and utilizing contrasting styles to augment the underlying nature of her characters. The overall results are compelling music dramas that deserve to be heard again. This dissertation by Deborah B. Crall fulfills the dissertation requirement for the doctoral degree in Musicology approved by Grayson Wagstaff, Ph.D., as Director, and by Andrew H. Weaver, Ph.D., and Paul Taylor, Ph.D. as Readers. _____________________________ Grayson Wagstaff, Ph.D., Director _____________________________ Andrew H. Weaver, Ph.D., Reader _____________________________ Paul Taylor, Ph.D., Reader ii Dedication This dissertation is dedicated to my father, Dr. Albert M. Crall, who shared with me his tremendous love of opera, for which I am eternally grateful. iii Table of Contents Signature Page ii Dedication iii Table of Contents iv List of Examples vi List of Tables ix Acknowledgements xii Introduction 1 Chapter 1: The Art of Composing: Influences, Education, and Style 12 Chapter 2: The Business of Composing: Funding, Commissions, and Repertoire Challenges 43 Chapter 3: Frankenstein — Consequences of Technological Achievements 82 Chapter 4: Eric Hermannson’s Soul (1998) 144 Chapter 5: Barnum’s Bird (2000) 179 Chapter 6: Coming Forth Into Day (1986) 214 Chapter 7: Conclusion 239 Appendix A: Financial Tables 245 Appendix B: Contracts 248 Appendix C: Comparison between Libby Larsen’s Two-Act version of Eric Hermannson’s Soul and the Chamber version. 255 Appendix D: Libby Larsen’s Research Bibliography and Tables for Barnum’s Bird 259 iv Appendix E: List of the Executive and Honorary Committees for the One World Benefit Premiere of Coming Forth Into Day 270 Appendix F: Libby Larsen Interview by Deborah Crall on 19 November 2005 271 Appendix G: Libby Larsen Interview by Deborah Crall on 20 November 2005 294 Appendix H: Libby Larsen Interview by Deborah Crall on 21 November 2005 304 Bibliography 359 v List of Examples 3.1: The beginning of the excerpt of WMS from Scene 2. The four measures preceding rehearsal number 26 mark the beginning of the excerpt and of the tone poem itself. These pages are from the orchestral score and show how Larsen copied the manuscript from WMS, and inserted the vocal parts. 103-104 3.2: Innocence Theme, mm. 509-532, from Scene 3: Arrogance. 107 3.3: Scene 5 “Insomnia,” mm. 1114-1127, from the piano/vocal score published by Schirmer. Ship Victor is singing until m. 1124, when Stage Victor begins. 110 3.4: Scene 14 “Pursuit to Death and Life,” mm. 2471-2482. 111 3.5: Innocence Theme from Scene 6: “Tragedy,” mm. 1358-1366. 115 3.6: Anger motive. 120 3.7: Scene 3 at rehearsal no. 41, where the “Unpredictable” motive occurs. 121 3.8: In Scene 10 at rehearsal no. 145, where the “unpredictable” motive is quoted. Note that the rehearsal number is printed as “143.” This example is taken from the piano/vocal score published by E. C. Schirmer, which is an imprint of the score Larsen sent to the publisher for review before the first performance, when significant changes were made to the score, and are found in the orchestral score. 122 3.9: Innocence Theme fragment as first found in Scene 13: “Resolve,” mm. 2121-2125. 125 3.10: Innocence Theme fragment as Victor Frankenstein packs in Scene 13: “Resolve,” mm. 2131-2133. 125 3.11: The Innocence Theme played with the Theramin setting by the keyboard, which leads into Henry’s calming words, mm. 2211-2231. 126-127 4.1: The opening measures of both the Chamber Version, Scene 1 and the Full-Length opera, Act 1, Prologue, mm. 1-19, showing Springleik , which becomes an important fiddle tune in the longer opera. 151 vi 4.2: An excerpt from Act 1, Scene 2 (mm. 593-600) where ostensibly Asa Skinner is preaching to his congregation about the evils of fiddle music, when in reality, his sermon is directed towards Eric. 164 4.3: An excerpt towards the end of Act 2, Scene 4, mm. 1111-1113. The chorus, at the top of the score, claps on the higher notes and stomps on the lower notes, as indicated by a “C” or “S” in the score. The part for the Quartet is located in the third system, vocalizing a section of “Going Home.” 166 4.4: From Act I, Scene 2, the Springleik concludes in mm. 688-689 while the Intermezzo emerges in measure 689. Margaret hums along, then tries to begin her letter. 168 4.5: Act 1, Scene 2, mm. 763-774, where Margaret has been flirting with Eric about dancing, while Eric remains transfixed by the “Intermezzo” from Cavallieri Rusticano . Eric begins talking about the music in m. 774. 169 4.6: Act II, Scene 2, mm. 259-266, where Margaret asks Eric to dance with her, over the chorus singing “All the Way My Savior Leads Me.” 171-172 5.1: Act I, Scene 1, mm. 252-254, where Mendelssohn’s “Hear Ye Israel” ends and “The Bonja Song” begins. 194 5.2: Act I, Scene 2, mm. 459-463. Barnum is singing about the different shows that he has put together for American audiences. 196 5.3: In this fragment from Act I, Scene 2, a solo bass from the chorus is singing the lyrics to the “Moustache Man,” while the Minstrel Chorus provides the accompaniment. The “g” in the score in m. 513 is a misprint, and is corrected to show “f-sharp.” 197 5.4: Beginning of Act II, Scene 7: The America Tour. Revelation Motto. 199 5.5: Excerpt from Act II, Scene 7, mm. 866-873, showing “Casta Diva,” Camptown Races , Merchants Refrain, and Revelation Motto. 204-205 6.1: The opening measures of the first movement from Coming Forth Into Day from the piano/vocal score, showing the fanfare in its entirety before the first reading. 225 6.2: The return of the A section in Movement III, mm. 665-669, which is identical to the opening of the movement, with the exception of the drum, shown in the bass clef of the piano reduction. 228 vii 6.3: An excerpt from the coda to Movement III, mm. 722-725, where the children’s choir is singing, ending “Innocence” with a nursery rhyme about shooting. 229 6.4: Measures 753-769 is a section from near the beginning of the fourth movement, which starts on m. 741. 231 6.5: Movement IV, mm. 861-865, one measure after the return of the A section. The vamp derived from the war fanfare is in the piano part, but played by the brass and bells in the orchestral score. 232 viii List of Tables 2.1: A list of works in this study and the approximate number of second performances by organizations other than the commissioning party, in the order of performances. 57 2.2: A comparison of specific items mentioned in the contracts of Libby Larsen with commissioning organizations for each work in this study. 64 2.3: Original deadlines and modified deadlines of materials due to Opera Omaha for Eric Hermannson’s Soul . 70 3.1: A comparison of the sensibilities depicted in Scene 9 with the book chapters from which each is derived.