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Bohuslav Martin Chamber Works for Six Or More Players Featuring

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Bohuslav Martin Chamber Works for Six Or More Players Featuring Bohuslav Martinů’s Chamber Works for Six or More Players Featuring Winds: A Survey and Conductor’s Analytical Study of La revue de cuisine and Jazz Suite A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music March 26, 2012 by Lauren B. Heller B.M., University of Delaware, 2004 M.M, University of Delaware, 2006 Committee Chair: Glenn D. Price ABSTRACT This document explores the body of Bohuslav Martinů’s chamber repertoire for six or more players featuring wind instruments in a prominent role, with an emphasis on two jazz inspired works from the group, La revue de cuisine and Jazz Suite. Martinů’s larger works, symphonies, operas, ballets, and smaller chamber works are the subject of large amounts of research and scholarly writing. However, his larger chamber works featuring winds have been studied less frequently. Closing this gap in scholarly study and analysis will allow those in the wind conducting profession to embrace this valuable literature. The annotated guide and selected analysis serve to inform conductors and performers— wind and otherwise—about the history, content, and compositional makeup of these works, with the ultimate goal of increasing their accessibility. ii iii ACKNOWLEDGEMENTS I thank all who have assisted me in my journey toward the completion of this document and this degree. Thank you to Dr. Glenn D. Price for stepping in at the last minute in a time of great transition and agreeing to serve as chair of this committee. I also wish to express sincere thanks to Dr. Stefan Fiol for serving as a reader and offering his valuable scholarly advice. My deepest gratitude goes to Dr. Terence Milligan, who has stuck with me through the transition of advisors and has contributed immeasurable amounts to the cleanliness of this document and to my success in general. I have heartfelt gratitude for Rodney Winther, without whom I would have never had the courage to begin a degree at this institution, and whose musical and personal guidance has been inspiring. My colleagues in the wind conducting studio, Jared Chase, Simon Tillier, Keith Phillips, Danielle Gaudry, Angela Holt, Boon Hua Lien, and Thanapol Setabrahmana, have given me a home in Cincinnati and have helped shape me as a musician and a person. For this I am tremendously grateful. Finally, I wish to thank my family, particularly the unnamed fourth reader of this document, Joan Heller, for their constant support of my academic and musical pursuits. It takes a village. This document, though humbly undeserving, is dedicated to my eternal mentor and friend, George N. Parks. With pride. iv CONTENTS List of Figures ......................................................................................................................2 1. Introduction ......................................................................................................................3 Purpose of Study ......................................................................................................3 Development of Bohuslav Martinů’s Compositional Style .....................................5 2. Annotated Guide to Martinů’s Larger Chamber Works Featuring Winds ....................15 Concertino for Cello (1924) ...................................................................................15 Nonet (1925, fragment) ..........................................................................................17 La revue de cuisine (1927) .....................................................................................19 Jazz Suite (1928) ....................................................................................................21 Sextet (1929) ..........................................................................................................23 Les Rondes (1930) ..................................................................................................25 Stowe Pastorals (1951) ..........................................................................................27 Nonet (1959) ..........................................................................................................29 3. Analytical Study of La revue de cuisine ........................................................................31 Background and Circumstances of Composition ...................................................31 Movement I, Prologue ...........................................................................................34 Movement II, Tango ..............................................................................................42 Movement III, Charleston .....................................................................................48 Movement IV, Final ..............................................................................................56 Conducting Considerations ....................................................................................62 4. Analytical Study of Jazz Suite .......................................................................................64 Background and Circumstances of Composition ...................................................64 Movement I, Prelude .............................................................................................66 Movement II, Blues ................................................................................................76 Movement III, Boston ............................................................................................82 Movement IV, Finale .............................................................................................89 Conducting Considerations ....................................................................................95 5. Conclusion .....................................................................................................................97 Bibliography ......................................................................................................................98 Appendix A: Complete List of Bohuslav Martinů’s Works for Winds ...........................100 Appendix B: Select Discography of Martinů’s Larger Wind Chamber Works ...............104 1 LIST OF FIGURES Fig. 1 (Formal construction, La revue de cuisine, Prologue) ............................................34 Fig. 2 (Martinů, La revue de cuisine, Prologue, mm. 149-155) ........................................35 Fig. 3 (Martinů, La revue de cuisine, Prologue, mm. 214-219) ........................................37 Fig. 4 (Martinů, La revue de cuisine, Prologue, trumpet, mm. 1-2) ..................................38 Fig. 5 (Martinů, La revue de cuisine, Prologue, piano, mm. 127-133) .............................38 Fig. 6 (Martinů, La revue de cuisine, Prologue, mm. 58-60) ............................................39 Fig. 7 (Formal construction, La revue de cuisine, Tango) .................................................43 Fig. 8 (Martinů, La revue de cuisine, Tango, cello, mm. 4-11) .........................................45 Fig. 9 (Two tango accompaniment patterns, Grove Music Online) ..................................46 Fig. 10 (C. Mack and J.P. Johnson, Charleston, from Oxford Dictionary of Music) ........49 Fig. 11 (Formal construction, La revue de cuisine, Charleston) .......................................49 Fig. 12 (Martinů, La revue de cuisine, Charleston, mm. 83-85) .......................................52 Fig. 13 (Martinů, La revue de cuisine, Charleston, mm. 49-50) .......................................53 Fig. 14 (Martinů, La revue de cuisine, Charleston, mm. 43-48) .......................................54 Fig. 15 (Martinů, La revue de cuisine, Charleston, mm. 59-62) .......................................54 Fig. 16 (Formal construction, La revue de cuisine, Final) ................................................57 Fig. 17 (Martinů, La revue de cuisine, Final, mm. 86-92) ................................................59 Fig. 18 (Martinů, La revue de cuisine, Final, piano, mm. 63-66) .....................................60 Fig. 19 (Formal construction, Jazz Suite, Prelude) ............................................................66 Fig. 20 (Martinů, Jazz Suite, Prelude, mm. 1-4) ................................................................68 Fig. 21 (Martinů, Jazz Suite, Prelude, m. 2, woodwinds) ..................................................70 Fig. 22 (Martinů, Jazz Suite, Prelude, m. 31, strings) .......................................................70 Fig. 23 (Martinů, Jazz Suite, Prelude, mm. 98-99, trumpets) ............................................70 Fig. 24 (Martinů, Jazz Suite, Prelude, mm. 64-65, strings) ...............................................71 Fig. 25 (Martinů, Jazz Suite, Prelude, mm. 59-61, strings) ...............................................72 Fig. 26 (Martinů, Jazz Suite, Prelude, mm. 19-21, piano and strings) ..............................73 Fig. 27 (Martinů, Jazz Suite, Prelude, mm. 46-47, piano) .................................................75 Fig. 28 (Formal construction, Jazz Suite, Blues) ...............................................................76 Fig. 29 (Martinů, Jazz Suite, Blues, mm. 40-41, piano) ....................................................78 Fig. 30 (Martinů, Jazz Suite, Blues, mm. 45-48, piano) ....................................................78 Fig. 31 (Martinů, Jazz Suite, Blues,
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