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Petr Eben's Oratorio Apologia Sokratus

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Petr Eben's Oratorio Apologia Sokratus © 2010 Nelly Matova PETR EBEN’S ORATORIO APOLOGIA SOKRATUS (1967) AND BALLET CURSES AND BLESSINGS (1983): AN INTERPRETATIVE ANALYSIS OF THE SYMBOLISM BEHIND THE TEXT SETTINGS AND MUSICAL STYLE BY NELLY MATOVA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Associate Professor Donna Buchanan, Chair Professor Sever Tipei Assistant Professor David Cooper Assistant Professor Ricardo Herrera ABSTRACT The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal- instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. ii The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation. iii ACKNOWLEDGEMENTS Completion of this doctoral project would not been possible without the support of many people. I am eternally grateful to my adviser, Dr. Donna Buchanan, who has shown such faith in me. She taught me so much. She has read, edited, and advised on numerous drafts, and has also offered language advice to me as a non-native English speaker. I also owe deep gratitude to my committee: Dr. Buchanan, Dr. Sever Tipei, Dr. David Cooper, and Prof. Ricardo Herrera. I shall always be indebted to Dr. Chester Alwes, from whom I learned so much. He was with me at the start of this project, guided me through the difficult process of analyzing Eben‘s music, and supported me in times of discouragement. Dr. David Cooper and my dear friend Hana Jochcova patiently helped me with the editing of my Czech translations. Dr. Adriana Helbig gave me practical advice at the beginning of the writing process, and made valuable suggestions regarding the first chapter of this dissertation. My thanks to them, and also to Dr. William Kinderman, who inspired me to explore Eben‘s compositional process; and to Dr. Fred Stoltzfus, for challenging me to become a better musician. I also owe a debt of gratitude to my music professors prior to my time at the University of Illinois: especially Tzvetana Kotzeva, Petar Marinov, Penka Popova, and Krum Maximov, who through the years developed my musical skills and taught me always to look for higher professional standards. I am thankful to Folker Hempfling for teaching me that conducting could be fun. I shall ever be thankful to the late Prof. Vassil Arnaudov, who touched me through his unforgettable performances. He inspired me to love choral music and become a choral conductor, changing the course of my life forever. iv I offer special thanks to the staff of the Czech Music Information Center library in Prague. My gratitude, too, to the music library staff of the National library of the Czech Republic, for supplying much-needed books and articles on Czech music. The incredible, professional staff of the UIUC Music and Performing Arts Library were always there to help in a timely manner. I am especially grateful to the head of the library, Mr. John Wagstaff, for his assistance in copyright permissions matters, and also for his advice on my use of English. Thanks to my parents, who never tried to divert me from my intention to become a musician. I am especially thankful to my sister Diana, whose support has allowed me to concentrate solely on finishing this dissertation. The encouragement of many friends has also been so important to me, from the beginning of this journey to its end. I am deeply and sincerely thankful to Raymond Langewen, a member of the Netherlands Dance Theater, who translated from Dutch the premiere brochure of the ballet Curses and Blessings for me, and was kind enough to send to me a DVD copy of the actual premiere of the ballet. His invaluable help gave impetus to this study. My work would not have reached completion without the important help of Diane Van Hoof, who translated texts from Dutch for me, and Derryl Singley, who prepared the musical examples. My sincere thanks to each of them. I am thankful to Ferrimontana, Bärenreiter Kassel, Bärenreiter Praha and Schott International publishers for their permissions to reprint in my dissertation some music published under their copyrights. Finally, I would like to thank all those other people who, although not listed here individually by name, have offered me support and encouragement as I worked on this dissertation. v TABLE OF CONTENTS PREFACE ………………………………………………………………………………viii CHAPTER 1: HISTORICAL AND POLITICAL INFLUENCES ON EBEN‘S LIFE ……………………………………………………………………………....1 CHAPTER 2: MUSICAL INFLUENCES AND TEXTUAL SOURCES ………………24 CHAPTER 3: FEATURES OF EBEN‘S MUSICAL STYLE ……………………….…49 CHAPTER 4: APOLOGIA SOKRATUS: AN OVERVIEW ………………………….…72 CHAPTER 5: MOVEMENT I: ―ABOUT VIRTUE‖: THE OPPOSITIONS …………..99 CHAPTER 6: MOVEMENT II: ―ABOUT EVIL‖: LINEARITY AND CONTINUITY ………………………………………………………………....136 CHAPTER 7: MOVEMENT III: ―ABOUT DEATH‖: THE NEW BEGINNING ……177 CHAPTER 8: CURSES AND BLESSINGS: THE LIBRETTO AND ITS INFLUENCE ON THE WORK‘S FORMAL DESIGN AND PERFORMING FORCES .............................................................................................................223 CHAPTER 9: CURSES AND BLESSINGS: MUSICAL THEMATICISM—A SYMBOL OF UNITY AND CONTRAST ………………………………………………..254 CHAPTER 10: CURSES AND BLESSINGS: DANCING ―THE EVIL‖— AN ANALYTICAL EXPOSÉ ............................................................................278 CHAPTER 11: CURSES AND BLESSINGS: CHOREOGRAPHIC SYMBOLS OF UNITY AND CONTRAST ……………………………………………………315 CHAPTER 12: SUMMARY AND DISCUSSION …………………………………....328 vi BIBLIOGRAPHY ……………………………………………………………………...339 APPENDIX A: APOLOGIA SOKRATUS: MOTTO MATRICES …………………….348 APPENDIX B: CURSES AND BLESSINGS: MOTTO CELL MATRIX …..................349 MUSICAL EXAMPLES ERRATA …………………………………………………...350 AUTHOR‘S BIOGRAPHY …………………………………………………………...351 vii PREFACE The Czech composer Petr Eben (1928-2007) wrote over one hundred choral works, both a cappella and vocal-instrumental compositions. Together with them, he created music in almost all genres, but preferred vocal and organ works. He taught generations of musicians at Charles University and the Academy of Performing Arts in Prague. His improvisatory talent, which was so rare for a classical musician, earned him admiration from students and colleagues. For Czech musicians his name became a symbol of ethics and high professionalism. While a staple of the European choral scene, his music is just now gaining popularity in the United States. A succession of unusual events made Eben a unique person. Born in Bohemia, the largest region of the Czech Republic, he was half Jewish on his father‘s side, but was raised a Catholic because of his mother‘s influence. Whether he realized it or not, this unity of contrasts marked his whole life, his thoughts and music. As a result of his terrifying experience in the Buchenwald Nazi camp, he obsessively questioned the capacity of human nature for good or evil. Eben was interested in the dual nature of the human soul and its two contrasting sides, the good and the evil, but always hoped that the good would prevail. Despite his experience, he remained an optimist. Purpose of Study The purpose of this study is to identify, through two representative works, the oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983), the stylistic features
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