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Early Twentieth Century Vocal Performance Practice and the French School: an Exploration of the Lectures and Selected Songs by Reynaldo Hahn

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Early Twentieth Century Vocal Performance Practice and the French School: an Exploration of the Lectures and Selected Songs by Reynaldo Hahn City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn Mary P. Hubbell The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3236 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EARLY TWENTIETH CENTURY VOCAL PERFORMANCE PRACTICE AND THE FRENCH SCHOOL: AN EXPLORATION OF THE LECTURES AND SELECTED SONGS BY REYNALDO HAHN by MARY HUBBELL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 ©2019 Mary Hubbell All rights reserved ii Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn by Mary Hubbell This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Janette Tilley Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Sylvia Kahan Paul Sperry Karen Henson THE CITY UNIVERSITY OF NEW YORK iii Abstract Early Twentieth Century Vocal Performance Practice and the French School: An Exploration of the Lectures and Selected Songs by Reynaldo Hahn by Mary Hubbell Advisor: Sylvia Kahan Composer, conductor, singer, and critic Reynaldo Hahn (1874–1947) was a highly influential figure in Paris’s artistic circles during the first half of the twentieth century. Today he is primarily remembered as a composer of art song. However, during his lifetime he was also admired as a sophisticated composer of operetta and chamber music, and his keen intellect and attention to detail also made him a discerning music critic and arbiter of taste. In 1913, he was invited to present a series of five lectures on the art of singing to the “Université des Annales.” This organization produced presentations by prominent figures on cultural topics and subsequently disseminated these lectures in its own publication, the Journal de l’Université des Annales. This dissertation analyzes these five lectures and related recordings of several of Hahn’s songs. Each chapter explores one of his lectures in depth and seeks to put Hahn’s remarks in their context and to elucidate any references to treatises, performances, or musical figures that Hahn mentions. After analyzing each lecture, I apply Hahn’s remarks to performances of his songs in both historical and modern recordings by prominent performers. Specifically, I examine aspects of performance practice such as use of rubato, tempo, diction, and dynamic and color contrasts. I compare Hahn’s lectures with historical and modern recordings in order to determine the extent to which the performance practice of his songs—both in his own time and in ours— iv falls in line with his stated theories on the art of singing. The songs examined are: “Cimetière de campagne,” “Offrande,” L’Heure exquise,” “Tyndaris,” “La barcheta,” “Che pecà!,” and “L’Énamourée.” v Acknowledgments My first and deepest thanks go to my advisor, Professor Sylvia Kahan, whose patient and diligent editing was indispensable throughout this process. I am also grateful to my first reader, Paul Sperry, whose comments were always insightful. Their steadfast support and encouragement was vital to the completion of this work. I have been lucky throughout my career to encounter many outstanding voice teachers, but my love for mélodie is primarily a result of studying with Meinard Kraak during my years at the Royal Conservatory in The Hague. I am grateful to him for opening the door to this beautiful world and encouraging me to explore it. My teachers Gerda van Zelm, Lenie van den Heuvel, and Joke Boon provided further essential instruction and appreciation of this music. When I undertook this research, many professional singers kindly took time to speak with me about Hahn’s music, particularly François Le Roux, Amy Burton, Claude Corbeil, and Maureen O’Flynn. I also owe a debt of gratitude to Denise Rochat, Professor Emerita of French Studies at Smith College, for helping me with translations from French sources. Finally, I am profoundly thankful for the steady support of my family. My parents, Doug and Marilyn Hubbell, and my sister, Erin Hubbell, are sources of constant encouragement and kindness. I am also deeply grateful to my husband, Gregory Brown, whose gentle presence and unwavering reassurance made it possible for me to finish this dissertation. vi Table of Contents Abstract ..................................................................................................................................... iv Acknowledgements ....................................................................................................................vi List of Examples ......................................................................................................................v iii List of Figures ............................................................................................................................. x List of Tables .............................................................................................................................xi Chapter 1: Introduction ............................................................................................................... 1 Chapter 2: Lecture: “Pourquoi chante-t-on?” (“Why Do We Sing?”) Song: “Cimetière de campagne” ......................................................................................... 12 Chapter 3: Lecture : “Comment chante-t-on?” (“How Do We Sing?”) Songs: “Le parfum impérissable” (Fauré) and “Offrande” (Hahn) ....................................... 46 Chapter 4: Lecture: “Comment dire en chantant” (“How to Enunciate in Singing”) Songs: “L’Heure exquise” and “Tyndaris” .......................................................................... 86 Chapter 5: Lecture: “Qu’appelle-t-on avoir du style?” (“What Do We Mean by Having Style?”) Songs: “La Barcheta” and “Che pecà!” from Venezia ........................................................ 135 Chapter 6: Lecture: “Comment émouvoir” (“How to Move an Audience”) Song: “L’énamourée” ........................................................................................................ 176 Chapter 7: Conclusion ............................................................................................................. 217 Bibliography ........................................................................................................................... 223 Discography ............................................................................................................................ 229 vii List of Examples Example 2.1: Reynaldo Hahn, “Cimetière de campagne,” mm. 1–12 ........................... 27 Example 2.2: Reynaldo Hahn, “Cimetière de campagne,” mm. 25–37 ......................... 29 Example 2.3: Reynaldo Hahn, “Cimetière de campagne,” mm. 61–67 ......................... 29 Example 2.4: Reynaldo Hahn, “Cimetière de campagne,” mm. 80–96 ......................... 31 Example 2.5: Reynaldo Hahn, “Cimetière de campagne,” mm. 43–52 ......................... 32 Example 3.1: Gabriel Fauré, “Le Parfum impérissable,” mm. 1–13 ............................. 63 Example 3.2: Gabriel Fauré, “Le Parfum impérissable,” mm. 20–24 ........................... 70 Example 3.3: Reynaldo Hahn, “Offrande,” mm. 1–11 ................................................. 77 Example 4.1: Charles Gounod, excerpt from Faust ...................................................... 94 Example 4.2: Jean-Baptiste Lully, excerpt from Amadis .............................................111 Example 4.3: Reynaldo Hahn, “L’Heure exquise,” mm. 1–7 ......................................114 Example 4.4: Reynaldo Hahn, “L’Heure exquise,” mm. 31–44 ...................................116 Example 4.5: Reynaldo Hahn, “Tyndaris,” mm. 8-–12 ...............................................129 Example 4.6: Reynaldo Hahn, “Tyndaris,” mm. 20–23 ...............................................132 Example 5.1: Reynaldo Hahn, “La Barcheta,” mm. 1–27 ................................... 150–151 Example 5.2: Reynaldo Hahn, “La Barcheta” vocal line, mm. 10–11 ..........................160 Example 5.3: Gabriel Fauré, “La parfum impérissable,” mm. 17–18 ...........................162 Example 5.4: Translation of Reynaldo Hahn’s petite lexique ......................................164 Example 5.5: Reynaldo Hahn, “Che pecà!” mm. 1–18 ................................................168 Example 5.6: Reynaldo Hahn, “Che pecà!” mm. 68–71 ..............................................170 Example 6.1: Antonio Lotti, “Pur dicesti,” mm. 1–10 as it appears in Journal de l’Université des Annales .............................................................................................................189 viii Example 6.2: Jean-Philippe Rameau, excerpt from “Ma voix, puissant maître du monde” from Castor et Pollux ..........................................................................................................191 Example 6.3:
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