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In all cases we have filmed the best available copy. University Microfilms International 300 N. ZEEB RD.. ANN ARBOR. Ml 4B106 8129017 H o e h n , W il u a m T o d d THE BALLET MUSIC OF CONSTANT LAMBERT: A STUDY OF COLLABORATION IN MUSIC AND DANCE The Ohio State University PH.D. 1981 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1981 by Hoehn, William Todd All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V . 1. Glossy photographs or p a g e s _______ 2. Colored illustrations, paper or print ______ 3. Photographs with dark background ______ 4. Illustrations are poor copy _______ 5. Pages with black marks, not original copy __ 6 . Print shows through as there Is text on both sides of page _______ 7. Indistinct, broken or small print on several pages _______ 8. 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Other___________'__________________________________________________________________ University Microfilms International THE BALLET MUSIC OF CONSTANT LAMBERT: A STUDY OF COLLABORATION IN MUSIC AND DANCE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University SY V illi am Todd Hoehn, B.M., M.A. The Ohio State University 1981 Reading Committee: Approved By Dr. Herbert Livingston Dr. P e te r Gano Dr. Keith Mixter ACKNOWLEDGEMENTS Many people vere of assistance in providing research information for this study. I should like to thank Sir Frederick Ashton, Dame Ninette de Valois, Ivor Guest, Jean Bedells, Cyril Beaumont, Angus Morrison, Michael Somes, Joan Lavson, Isabel Ravsthorne, Dmnanuel Young, Belinda Qulerey, Mary Clarke, and Richard Shead for granting inter­ views. For making scores available, thankB are given to Alan Franks of .Oxford University Press, Boris Skedelsky, archivist of the Royal Opera Rouse, London, and Sir Michael Wood, Royal Ballet School, London. At the BBC Written Archives Center, Reading, England, Dorothy M iller was extremely helpful in providing information and source material. For additional research assistance and for making his extensive private collection open to me, my thanks to George Verdak, Indianapolis, Indiana. Dr. Richard Koppin functioned as my advisor for the in itial stages of this study. Dr. Herbert Livingston served as my advisor for its com­ pletion. I extend my gratitude to both professors for their patience and wisdom. Thanks are also given to Norma F. 0. Stefanclosa for hours of copying examples. Throughout the course of preparing this work, my wife, Carol, has endured both my presence and absence. She has guided, supported, chided, and loved me. Her compaBBlon and understanding have been boundless and her faith in me unswerving. She provides the foundation of my life and its gre&teBt joys. It is to Carol and our life together that I dedicate thiB work. * .. VITA December If, 19^7 .... Born - Madison, Wisconsin 1970 . B.M., magna cum laude, Butler University, Indianapolis, Indiana 1970 - 1971 Fellov of the Ohio State University, Columbus, Ohio 1971 - 197*f ................. Teaching Associate, School of Music The Ohio State University, Columbus, Ohio 1973 ............................... M.A., The Ohio State University, ColumbUB, Ohio 1975 - 1976 ............. Teaching Associate, School of Mub I c The Ohio State University, Columbus, Ohio PUBLICATIONS ”ln Memoriiun: Constant Lambert!' The Dancing Times. London, 1976. FIELDS OF STUDY Major Field: Music History Minor Fieli: Music Theory Undergraduate Field: Music Education - Choral Emphasis, Piano Major i i i TABLE OP CONTENTS Page ACKNOWLEDGEMENTS.............................................................................................. i i VITA.............................................................................................................................. i i i CHAPTER I . INTRODUCTION ................................................................................... 1 I I . SURVEY OF ATTITUDES AND PRACTICES OF COMPOSERS AND CHOREOGRAPHERS IN THE COLLABORATIVE PRODUCTION OF BALLETS .............................. 7 Noverre and the Beginnings of Modern Ballet ................................................................................. 7 Romantic CompoBerB and Choreographers .............................. 1? Tchaikovsky and P e tip a ............................................................ 31 Diaghllev's Composers and Choreographers of the Ballets Russes ............................................................ 1*2 Tventieth-century English Composers and Choreographers ............................................................................. 78 I I I . CONSTANT LAMBERT: A BIOGRAPHY................................................ 100 IV. AN ANALYSIS OF THE ORIGINAL BALLET MUSIC OF CONSTANT LAMBERT.............................. 125 Romeo and Juliet (1925) ............................................................ 125 Pomona (1927) 168 Horoscope (1 9 3 8 ) ........................................................... 195 Tiresias (1951) ............................................................................. 217 V. CONCLUSIONS....................................................................................... 252 iv I Page APPENDIXES A. G lossary o f Dance T erm inology ........................................... 2 6 l B. Early Version of Tiresias L ibretto .............................. 262 BIBLIOGRAPHY.............................................................................................. 265 v CHAPTER I INTRODUCTION Constant Lambert vas a twentieth-century musician of unparalleled importance in the development of English ballet. He vas a collaborator in the production of ballets, an accomplished conductor, composer, arranger, editor, author, and critic. As an author and critic, Lambert expressed his opinions in books, in newspapers, and in such prestigious periodicals as Apollo and The New Statesman and Nation. His literary efforts were frequently polemic in nature and withering in tone. For instance, in his widely read book, Music Ho!1, he penned a corrosive attack on those composers whose music appealed to coterie audiences. However, his writing could be constructive as well as destructive. He gave vigorous support to those composers who he felt responded to dictates of form rather than mode., In all his writings, he wrote with an encyclopedic knowledge about then-current musical developments. As a conductor, Lambert served as a Professor of Conducting at the Royal College of Music, held the post of principal conductor and Music Director of the Sadler's Wells Ballet, and appeared as guest conductor with orchestras throughout Eh gland and Europe. Over fifty recordings of his performances with five orchestras have been produced. Lambert ^■Constant Lambert, Music Hoi A Study of Mub I c in Decline (London: Faber, 1931*: 2nd ed., 1937, (Penguin, 19^): 3rd ed., F ab er, 1966 ). 1 also gained international stature as the composer of such vorks as The Rio Grande (1927)* Summer *b Last Will and Testament (193?)* and as the editor and arranger