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Negotiating Virtuosity, Agency, and Authenticity in Karlheinz Stockhausen's Kathinkas Gesang Als Lu

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Negotiating Virtuosity, Agency, and Authenticity in Karlheinz Stockhausen's Kathinkas Gesang Als Lu THE DEVIL AND THE DETAILS: NEGOTIATING VIRTUOSITY, AGENCY, AND AUTHENTICITY IN KARLHEINZ STOCKHAUSEN’S KATHINKAS GESANG ALS LUZIFERS REQUIEM FOR SOLO FLUTE Wayla Joy Ewart Chambo, B.M., M.F.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Terri Sundberg, Major Professor Elizabeth McNutt, Committee Member David Bard-Schwarz, Committee Member John Holt, Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies of the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis,Interim Dean of Toulouse Graduate School Chambo, Wayla Joy Ewart. The Devil and the Details: Negotiating Virtuosity, Agency, and Authenticity in Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem for Solo Flute. Doctor of Musical Arts (Performance), May 2015, 210 pp., 2 figures, 13 musical examples, bibliography, 95 titles. Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem presents mental, physical, and musical challenges that go beyond the usual expectations of an instrumentalist, extending and redefining the traditional idea of virtuosity. Using firsthand performance experience, score and recording study, and flutist interviews, this document explores the effects of some of these heightened demands and argues that the particular performance situation presented by Kathinkas Gesang brings up critical questions about the performer’s role, the nature of performance and of the musical work, and the existence of an authoritatively “authentic” interpretation. Employing an expanded definition of virtuosity that includes interpretation and encompasses both choices and actions, the document discusses the extensions of virtuosity into two main areas: first, memory; and second, staging and movement, covering both practical suggestions and larger implications. Finally, it examines how the performer’s negotiation of these challenges relates to questions about authenticity and agency. Performance is defined here as a creative and collaborative act, not attempting to duplicate previous performances or recordings, but rather to give the best realization of the piece possible in the given circumstances, according to the individual’s interpretation of the score’s directions. There is no single “authentic” interpretation, but rather a rich multiplicity of possibilities, and the performer’s creative agency and personal authenticity are necessary for the full realization of the work. Copyright 2015 by Wayla Joy Ewart Chambo ii ACKNOWLEDGEMENTS Grateful appreciation is extended to the Stockhausen Foundation for Music, Kürten, Germany (www.karlheinzstockhausen.org). All examples in this dissertation are excerpts from the score of Kathinkas Gesang als Luzifers Requiem by Karlheinz Stockhausen, and are used with their permission. I would like to thank my teachers and committee members, Prof. Terri Sundberg, Dr. Elizabeth McNutt, and Dr. David Bard-Schwarz, for their help and encouragement throughout my doctoral studies. Due to our close work together and her area of expertise in contemporary music, Dr. McNutt has made especially significant contributions to the development of many of the ideas expressed in this document. I am grateful to Kathinka Pasveer for graciously answering questions and supplying research materials, and to all of the flutists interviewed: Lise Daoust, Patricia Spencer, Mary Stolper, Claire Genewein, Karin de Fleyt, Ellen Waterman, Carlton Vickers, and Zara Lawler. Thank you to all who assisted with my production of Kathinkas Gesang: Dr. Andrew May, Ben Johansen, Patrick Peringer, L. Scott Price, and Mark Oliveiro (director and staff of UNT’s Center for Experimental Music and Intermedia); Lily Sloan (choreography and makeup assistance); Heidi Klein (vocal coaching); and Laurie Chambo (costume). Grateful acknowledgement is also made to Leslie Ewart for generous assistance with French translations, and to Catherine Maguire and Penny Chang for encouraging my work with flute and dance. Finally, thank you to the friends and family who have supported me throughout this project, especially James and Laurie Chambo, Ariel Vanderpool, Lisa Bost-Sandberg, and David Stephenson. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF FIGURES ......................................................................................................... vii LIST OF MUSICAL EXAMPLES .................................................................................... viii CHAPTER 1 INTRODUCTION ....................................................................................... 1 Significance and State of Research ............................................................................. 2 Method ....................................................................................................................... 10 What is Virtuosity? : Towards a Working (Re)definition .............................................. 12 Virtuosity, Perfection, and Effort(lessness) ................................................................ 18 Contextual and Dramatic Background ....................................................................... 24 Structure of Kathinkas Gesang .................................................................................. 28 “Extensions of Instrumental Practice” ........................................................................ 34 Goals and Scope of Study ......................................................................................... 37 CHAPTER 2 MEMORY ................................................................................................ 41 Memory and Virtuosity ............................................................................................... 43 The Experience of Memory ........................................................................................ 47 Initial Strategies for Memorization.............................................................................. 50 Recommended Resources for Memorization Strategies ............................................ 53 Special Considerations in Kathinkas Gesang ............................................................ 56 Sections that Challenge Memory ............................................................................... 58 iv Additional Memorization Strategies for Kathinkas Gesang ........................................ 71 Memory in Performance ............................................................................................ 75 CHAPTER 3 STAGING, DRAMA, AND MOVEMENT .................................................. 81 Interpretation of Staging Instructions ......................................................................... 84 Composer’s Intentions ............................................................................................... 86 Interpretive Decisions ................................................................................................ 92 Stockhausen’s Staging Instructions ........................................................................... 93 Dramatic Context ....................................................................................................... 97 Elements of Staging: Character and Costume ......................................................... 100 Character and Individuality ................................................................................... 102 Elements of Staging: Set ......................................................................................... 107 Elements of Staging: Movement .............................................................................. 113 Moving While Playing the Flute: How to Begin? ................................................... 114 Movement Exercises ............................................................................................ 117 Movement Directions in “Kathinkas Gesang” ....................................................... 119 Movement Characteristics .................................................................................... 124 Movement Notation .............................................................................................. 125 Comparison of Movement Choices/Realizations .................................................. 127 Why Movement? Reasons, Influences, and Effects ............................................. 134 Risks and Sacrifices ............................................................................................. 137 v Effects of Movement in Performance ................................................................... 139 Benefits of Interdisciplinary Practice .................................................................... 140 Chapter Conclusion ................................................................................................. 140 CHAPTER 4 CONCLUSION: AGENCY AND AUTHENTICITY .................................. 143 What is Performance? ............................................................................................. 144 Control of the Musical Work ..................................................................................... 153 Authenticity .............................................................................................................. 161 Performer’s Role, Agency, and Interpretation .......................................................... 170 Collaboration ..........................................................................................................
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