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A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield's Concerto, Klezmer Rondos for Flute, Male Vocalist, and Orchestra

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A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield's Concerto, Klezmer Rondos for Flute, Male Vocalist, and Orchestra Tradition Revisited: A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield's Concerto, Klezmer Rondos for Flute, Male Vocalist, and Orchestra Item Type Electronic Dissertation; text Authors Kaplan, Rachel Lynn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 17:33:25 Link to Item http://hdl.handle.net/10150/144609 TRADITION REVISITED: A BLEND OF OLD-WORLD ENTERTAINMENT AND THE FORMAL SETTING OF CLASSICAL MUSIC IN PAUL SCHOENFIELD’S CONCERTO, KLEZMER RONDOS FOR FLUTE, MALE VOCALIST, AND ORCHESTRA by Rachel Kaplan _______________________ Copyright © Rachel Kaplan 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Rachel Kaplan entitled Tradition Revisited: A Blend of Old-World Entertainment and the Formal Setting of Classical Music in Paul Schoenfield’s Concerto, Klezmer Rondos For Flute, Male Vocalist, and Orchestra and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___________________________________________________ Date: 04/11/2011 Brian A. Luce ___________________________________________________ Date: 04/11/2011 Jerry Kirkbride ___________________________________________________ Date: 04/11/2011 Neil Tatman Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ___________________________________________________ Date: 04/11/2011 Document Director: Brian A. Luce 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: ____Rachel Kaplan______________________ 4 ACKNOWLEDGEMENTS I would like to express my gratitude to Paul Schoenfield for providing me with the score to Klezmer Rondos, as well as his personal insight to the compositional process. Also, I deeply appreciate Carol Wincenc’s enthusiastic support and encouragement in the completion of this project. I would like to thank the members of my advisory committee: Professor Brian Luce for his tireless efforts at guiding me through the long process of completing my degree. Professors Jerry Kirkbride and Neil Tatman for their endless moral support and assistance. My thanks to Terry and Jeff Tauzin for allowing me to borrow their internet for endless hours at a time, as well as keeping me motivated and energized with food. 5 DEDICATION To my mom, Karen, for loving me unconditionally. To Marisa Martinez, Lucik Aprahamian, Terry Tauzin, Ana Laura Gonzalez and Connie Nokes-Roberts for reminding me who I am and what I can accomplish, no matter what obstacles occur along the way. 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES................................................................................8 LIST OF FIGURES .......................................................................................................9 LIST OF TABLES.......................................................................................................10 ABSTRACT.................................................................................................................11 CHAPTER ONE: PAUL SCHOENFIELD .................................................................12 Early Life and Collegiate Studies ....................................................................12 Work as a Composer........................................................................................13 Compositional Style.........................................................................................14 CHAPTER TWO: HISTORY OF KLEZMER MUSIC ..............................................17 Destruction of the Jerusalem Temple ..............................................................17 Music During the Second Temple Period........................................................18 Destruction of the Second Temple...................................................................19 Middle Ages.....................................................................................................22 Jewish Music in Renaissance Italy ..................................................................24 Development of Yiddish Theatre.....................................................................27 Jewish Music in 20th Century America............................................................30 CHAPTER THREE: KLEZMER MUSIC STYLE .....................................................32 Modes...............................................................................................................32 Forms ...............................................................................................................35 CHAPTER FOUR: KLEZMER RONDOS BY PAUL SCHOENFIELD.....................40 Place in Schoenfield’s Repertoire....................................................................40 The Commission ..............................................................................................42 Klezmer Influences ..........................................................................................43 Orchestration........................................................................................43 Analysis................................................................................................45 Ornamentation......................................................................................67 CHAPTER FIVE: CONCLUSION: SIGNIFICANCE WITHIN A CULTURAL REPERTOIRE .................................................................................................70 7 TABLE OF CONTENTS – Continued APPENDIX A: POEM TEXT AND TRANSLATION...............................................73 APPENDIX B: INSTRUMENTATION......................................................................75 APPENDIX C: PERFORMANCES OF KLEZMER RONDOS ..................................76 APPENDIX D: COMPLETE LIST OF WORKS........................................................78 APPENDIX E: PERMISSION FOR USE OF MUSICAL EXAMPLES....................81 APPENDIX F: PERMISSION FOR PUBLICATION OF TRANSCRIPTION OF PHONE INTERVIEW WITH CAROL WINCENC .......................................82 APPENDIX G: TRANSCRIPTION OF PHONE INTERVIEW WITH CAROL WINCENC.............................................................................83 REFERENCES ............................................................................................................87 8 LIST OF MUSICAL EXAMPLES Musical Example 3.1 Klezmer Rondos, measures 1-9................................................46 Musical Example 3.2 Klezmer Rondos, measures 9-11..............................................47 Musical Example 3.3 Klezmer Rondos, measures 21-24............................................47 Musical Example 3.4 Klezmer Rondos, measures 21-37............................................48 Musical Example 3.5 Klezmer Rondos, measures 83-93............................................49 Musical Example 3.6 Klezmer Rondos, measures 111-115........................................49 Musical Example 3.7 Klezmer Rondos, measures 116-121........................................50 Musical Example 3.8 Klezmer Rondos, measures 179-197........................................51 Musical Example 3.9 Klezmer Rondos, measures 272-276........................................52 Musical Example 3.10 Klezmer Rondos, measures 292-301......................................52 Musical Example 3.11 Klezmer Rondos, measures 308-338......................................53 Musical Example 3.12 Klezmer Rondos, measures 308-340......................................54 Musical Example 3.13 Klezmer Rondos, measures 361-363......................................55 Musical Example 3.14 Klezmer Rondos, measures 365-372......................................56 Musical Example 3.15 Klezmer Rondos, measures 381-385......................................57 Musical Example 3.16 Klezmer Rondos, measures 417-423......................................58 Musical Example 3.17 Klezmer Rondos, measures 450-462......................................58 Musical Example 3.18 Klezmer Rondos, measures 507-508......................................59 Musical Example 3.19 Klezmer Rondos, measures 510-514......................................59 Musical Example 3.20 Klezmer Rondos, measures 518-520......................................60 Musical Example 3.21 Klezmer Rondos, measures 521-529......................................61
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