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Paul Schoenfield's 'Refractory' Method of Composition: A Study of Refractions and Sha’atnez 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 Performance Studies Division of the College-Conservatory of Music by DoYeon Kim B.M., College-Conservatory of Music of The University of Cincinnati, 2011 M.M., Eastman School of Music of The University of Rochester, 2013 Committee Chair: Professor Yehuda Hanani Abstract Paul Schoenfield (b.1947) is a contemporary American composer whose works draw on jazz, folk music, klezmer, and a deep knowledge of classical tradition. This document examines Schoenfield’s characteristic techniques of recasting and redirecting preexisting musical materials through diverse musical styles, genres, and influences as a coherent compositional method. I call this method ‘refraction’, taking the term from the first of the pieces I analyze here: Refractions, a trio for Clarinet, Cello and Piano written in 2006, which centers on melodies from Mozart’s Le nozze di Figaro (The Marriage of Figaro). I will also trace the ‘refraction’ method through Sha’atnez, a trio for Violin, Cello and Piano (2013), which is based on two well-known melodies: “Pria ch’io l’impegno” from Joseph Weigl’s opera L’amor marinaro, ossia il corsaro (also known as the “Weigl tune,” best known for its appearance in the third movement of Beethoven’s Trio for Piano, Clarinet, and Cello in B-flat Major, Op.11 (‘Gassenhauer’)); and the Russian-Ukrainian folk song “Dark Eyes (Очи чёрные).” By tracing the ‘refraction’ method as it is used to generate these two works, this study offers a unified approach to understanding Schoenfield’s compositional process; in doing so, the study both makes his music more accessible for scholarly examination and introduces enjoyable new works to the chamber music repertoire. ii Copyright © 2019 by DoYeon Kim. All rights reserved. iii Acknowledgements Completing this work would not have been possible without the support, generosity, and guidance of my mentors, friends, and family. I would like to express my deep gratitude to Professor Yehuda Hanani, my lecture recital and dissertation advisor and an inspirational teacher. He directed this dissertation with unfailing patience and generosity. I also cannot imagine myself becoming an artistic and mature musician without him. Dr. Won-Bin Yim and Dr. Jonathan Kregor, both committee members of my dissertation, offered their thoughtful advice, guidance, and warm support as well. I’m also appreciative of composer Dr. Paul Schoenfield, who has been my primary resource for this project. Many thanks to Rebekka Gold, who helped proofread my paper. I would also like to express my thanks to friends and pastors, namely Pastor Ahn, who has been praying for me everyday. Thank you to Professor Timothy Caldwell, my Dalcroze Eurythmics teacher and life mentor, and Professor Alan Harris, who gave me the strength to continue pursuing my master’s degree. I would not be able to finish this final part of my education without my family’s unconditional love, prayers, and sacrifice. I’m so thankful to my parents, Shin Won Kim and EunSuk Mun, and I’m incredibly grateful to my grandfather, who passed away last year, but gave me endless encouragement and support. Lastly but not least, I give all my thanks to God who guided me throughout this journey in his plans. iv Copyright Permissions Paul Schoenfield, Refractions (U.S.A: Unpublished, 2006). Used by permission. Paul Schoenfield, Sha’atnez, (U.S.A: Unpublished, 2013). Used by permission. v Table of Contents Abstract……………………………………………………………………………………………ii Acknowledgments………………………………………………………………………………..iii Copyright Permissions……………………………………………………………………............iv List of Musical Examples…………………………………………………………………….….viii List of Tables………………………………………………………………………………….….xii Introduction………………………………………………………………………………………..1 Purpose of the Study…………………………………………………………………….…1 Literature Review………………………………………………………………………….2 Methodology……………………………………………………………………………....6 Chapter 1. Paul Schoenfield …………………………………………………………………….….7 Biography of Paul Schoenfield (b.1947) ………………………………………..…7 Career……………………………………………………………………………...8 Compositional style…………………………………………………………….….9 2. Refractions…………………………………………………………………………….12 The commission of Refractions……………………………………………….….12 Formal structure of the four movements……………………………………….…13 Musical material from Le nozze di Figaro, by movement……………………..….14 Klezmer elements in Refractions…………………………………………….…...26 Musical material from Klezmer elements, by movement.………………….…….29 Conclusions on the refractory method in Refractions……………………….……36 3. Sha’atnez……………………...……………………………………………………….38 The commission of Sha’atnez………………………………………………….....38 Diverse musical styles in Sha’atnez ……………………………………………...39 Formal structure of Sha’atnez…………………………………………………….43 Musical material from Weigl tune and “Dark Eyes”, by variation…….…………44 Stylistic components of Sha’atnez, by variation……………………….…………53 Conclusions on the refractory method in Sha’atnez…………………….………61 Conclusion……………………....……………………………………………………………….62 Bibliography……………………………………………………………………………………..64 Appendices………………………………………………………………………………….........71 A. “Dark Eyes” ………………………………………………………….………………71 B. The “Weigl tune”..…………………………………………………………………………..72 vi C. Interview with Paul Schoenfield………………………….…………………………..73 D. Interview with Yehuda Hanani……………………….………………………………82 E. Letter of Permission……………………………………….……………………....…85 vii List of Musical Examples Example 1. Schoenfield, Refractions, Toccata, mm.1-14………………………………………..15 Example 2. Mozart, Le nozze di Figaro, Overture, mm.1-7………………………………………16 Example 3. Schoenfield, Refractions, Toccata, mm.13-17……………………………………….16 Example 4. Mozart, Le nozze di Figaro, Overture, mm. 8-14………………………………….....16 Example 5. Schoenfield, Refractions, Toccata, mm. 19-24 (cello)…………………………….....17 Example 6. Schoenfield, Refractions, Toccata, mm. 297-300……………………………….…17 Example 7a. Mozart, Le nozze di Figaro, “Non piu andrai,” mm. 1-3………………………..…..18 Example 7b. Mozart, Le nozze di Figaro, “Non piu andrai,” mm. 1-5……………………………18 Example 8a. Schoenfield, Refractions, March, mm. 1-9 (clarinet)………………………….……19 Example 8b. Schoenfield, Refractions, March, mm. 15…………………………………………..19 Example 9a. Mozart, Le nozze di Figaro, “Non piu andrai,” mm. 5-9……………………….…...19 Example 9b. Schoenfield, Refractions, March, mm. 129 (cello)………………………………....20 Example 10a. Schoenfield, Refractions, Intermezzo, mm. 42 (piano)…………………………....20 Example 10b. Schoenfield, Refractions, Intermezzo, mm.46 (cello)……………………………..21 Example 10c. Schoenfield, Refractions, Intermezzo, mm.89 (clarinet and cello)………………...21 Example 11. Mozart, Le nozze di Figaro, “Dove sono i bei moment,” mm. 1-5………………….21 Example 12. Schoenfield, Refractions, Intermezzo, mm.13-17………………………………….22 Example 13a. Schoenfield, Refractions, Intermezzo, mm. 2-3…………………………………...22 Example 13b. Schoenfield, Refractions, Intermezzo, mm. 46…………………………………....22 Example 13c. Schoenfield, Refractions, Intermezzo, mm.42…………………………………….22 Example 14. Mozart, Le nozze di Figaro, “Su vuol ballare,” mm. 1-7…………………………....23 Example 15. Mozart, Le nozze di Figaro, “Aprite, presto, aprite” mm.7-10……………………...23 viii Example 16a. Mozart, Le nozze di Figaro, “Tutto è tranquillo e placido” mm.7-11…………….24 Example 16b. Mozart, Le nozze di Figaro, “Tutto è tranquillo e placido” mm. 53-56…………..24 Example 17. Schoenfield, Refractions, Tarantella, mm. 5-9……………………………………..25 Example 18a. Schoenfield, Refractions, Tarantella, mm. 114-116……………………………....25 Example 18b. Schoenfiled, Refractions, Tarantella, mm. 40-44 (clarinet)……………………....25 Example 19. Schoenfield, Refractions, Toccata, mm 1-8 (cello)…………………………………29 Example 20. Schoenfield, Refractions, Toccata, mm.13-17……………………………………...29 Example 21. Schoenfield, Refractions, Toccata, mm. 19-24 (cello)………………………….. ...30 Example 22. Asher Bara (klezmer wedding song)………………………………………………..30 Example 23. Schoenfield, Refractions, Toccata, mm. 123-129 (clarinet)………………………..31 Example 24. Schoenfield, Refractions, Toccata, mm. 1-2 (cello)………………………………..31 Example 25a. Schoenfield, Refractions, Toccata, mm. 33 (clarinet)…………………………….31 Example 25b. Schoenfield, Refractions, Toccata, mm. 252-253 (clarinet)……………………....31 Example 26. Schoenfield, Refractions, March, mm. 52-57 (cello)……………………………....32 Example 27a. Schoenfield, Refractions, March, mm. 66 (clarinet)……………………………....32 Example 27b. Schoenfield, Refractions, March, mm. 67 (clarinet)……………………………...33 Example 27c. Schoenfield, Refractions, March, mm. 77 (cello)………………………………....33 Example.28. Schonfield. Refractions, Intermezzo, mm.1-11………………………………….…33 Example 29a. Schoenfield, Refractions, Intermezzo, mm. 110-117 (cello)………………………34 Example 29b. Schoenfield, Refractions, Intermezzo, mm. 121 (clarinet and cello).…………...…34 Example 30a. E minor blue scale………………………………………………………………....34 Example 30b. Schoenfield, Refractions, Intermezzo, mm. 20-22 (piano)…………………….….35 Example 31. Schoenfield, Refractions, Tarantella, mm.1-8………………………………….…..35 ix Example 32a. Schoenfield, Refractions, Tarantella, mm. 165-170………………………….…...36 Example 32b. Schoenfield, Refractions, Tarantella, mm. 345-346………………………….…...36 Example 33a. Weigl, “Pria che l'impegno”………………………………………………….…...44 Example 33b. “Dark Eyes”………………………………………………………………….……44 Example 34. Schoenfield, Sha’atnez, T7I cell, mm. 2-3…………………………………….…...45 Example 35a. Schoenfield, Sha’atnez, Introduction,
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  • German Writers on German Opera, 1798–1830

    German Writers on German Opera, 1798–1830

    ! "# $ % & % ' % !"# $!%$! &#' !' "(&(&()(( *+*,(-!*,(."(/0 ' "# ' '% $$(' $(#1$2/ 3((&/ 14(/ Propagating a National Genre: German Writers on German Opera, 1798–1830 A Dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Kevin Robert Burke BM Appalachian State University, 2002 MM University of Cincinnati, 2004 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Standard histories of Western music have settled on the phrase “German Romantic opera” to characterize German operatic developments in the early part of the nineteenth century. A consideration of over 1500 opera reviews from close to thirty periodicals, however, paints a more complex picture. In addition to a fascination with the supernatural, composers were drawn to a variety of libretti, including Biblical and Classical topics, and considered the application of recitative and other conventions most historians have overlooked because of their un-German heritage. Despite the variety of approaches and conceptions of what a German opera might look like, writers from Vienna to Kassel shared a common aspiration to develop a true German opera. The new language of concert criticism found from specialized music journals like the Allgemeine musikalische Zeitung to the entertainment inserts of feuilletons like the Zeitung für die elegante Welt made the operatic endeavor of the early nineteenth century a national one rather than a regional one as it was in the eighteenth century. ii Copyright 2010, Kevin Robert Burke iii ACKNOWLEDGEMENTS First, I would like to offer gratitude to all my colleagues, friends, and family who supported me with encouraging words, a listening ear, and moments of celebration at the end of each stage.