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That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I

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That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I That World of Somewhere In Between: The History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rebecca Mullins Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Dr. Scott McCoy, advisor Dr. Graeme Boone Professor Loretta Robinson Copyright by Rebecca Mullins 2013 Abstract Cabaret songs have become a delightful and popular addition to the art song recital, yet there is no concise definition in the lexicon of classical music to explain precisely what cabaret songs are; indeed, they exist, as composer Richard Pearson Thomas says, “in that world that’s somewhere in between” other genres. So what exactly makes a cabaret song a cabaret song? This document will explore the topic first by tracing historical antecedents to and the evolution of artistic cabaret from its inception in Paris at the end of the 19th century, subsequent flourish throughout Europe, and progression into the United States. This document then aims to provide a stylistic analysis to the first volume of the cabaret songs of American composer Richard Pearson Thomas. ii Dedication This document is dedicated to the person who has been most greatly impacted by its writing, however unknowingly—my son Jack. I hope you grow up to be as proud of your mom as she is of you, and remember that the things in life most worth having are the things for which we must work the hardest. Good things do not come to those who wait; rather, they come to those who seize fate by the throat and make them happen. iii Acknowledgments I must first and foremost acknowledge Richard Pearson Thomas for composing such charming music that it prompted me to undertake this document. I also cannot thank him enough for his time spent with interviews, e-mails, and listening. I must also thank those who have served as members of my doctoral committee (Dr. Scott McCoy, Dr. Karen Peeler, Dr. Graeme Boone, Professor Loretta Robinson, and Dr. Patrick Woliver), who have supported and encouraged my work and given me the opportunity to succeed against all odds. Also, I want to thank my talented collaborator and pianist James Jenkins for making beautiful music with me, and for assisting with stylistic analysis. A great deal of gratitude is owed as well to Emily Coen. When I needed an objective voice, yours was the one I sought most frequently. Thank you for helping me through this document and this degree with my sanity more or less intact. Finally, to my family—Terry, Mary, Ginny, Adam, Faith, Annie, Mike, Robert, and Billy—I can say with certainty that none of this would have been possible without your help and support for me (and Jack) emotionally and scholastically. When I need help, the person on whom I know I can always count especially is you Dad. I hope I can always return the favor. iv Vita August 24, 1981 .............................................Born—Charleston, WV 1999................................................................St. Albans High School 2003................................................................B.A. Music, Radford University 2005................................................................M.M. Vocal Performance, West Virginia University 2008 - Present ...............................................Graduate Student, Department of Music, The Ohio State University Fields of Study Major Field: Music v Table of Contents Abstract .............................................................................................................................. ii Dedication ......................................................................................................................... iii Acknowledgments ............................................................................................................ iv Vita ..................................................................................................................................... v Table of Contents ............................................................................................................. vi List of Musical Examples ................................................................................................ ix PART ONE ........................................................................................................................ 1 Chapter 1: Life May Be a Cabaret, Old Chum, but what is a Cabaret? ......................... 1 Historical Antecedents of the Modern Cabaret ........................................................... 2 Montmartre .................................................................................................................. 5 Chapter 2: Cabaret Goes Abroad ................................................................................... 8 Barcelona ..................................................................................................................... 8 Hungary ..................................................................................................................... 10 Poland ........................................................................................................................ 11 Russia......................................................................................................................... 12 Chapter 3: German Language Cabaret ......................................................................... 15 vi Berlin ......................................................................................................................... 16 Munich ....................................................................................................................... 19 Vienna ........................................................................................................................ 21 Zurich......................................................................................................................... 23 Chapter 4: Between the Wars ....................................................................................... 26 Jazz Dances Across the Pond .................................................................................... 27 From Cabaret to Kabarett .......................................................................................... 30 Spin-offs of the Literary Cabaret ............................................................................... 35 Chapter 5: Nazi Loss is the World’s Gain ................................................................... 37 Chapter 6: Cabaret Across the Pond ............................................................................ 41 The Big Satire Boom ................................................................................................. 43 Cabaret Remnants Today ........................................................................................... 45 PART TWO ..................................................................................................................... 48 Chapter 7: Who is Richard Pearson Thomas? ............................................................... 48 His Music ................................................................................................................... 51 Chapter 8: The Cabaret Songs, Volume One ............................................................... 53 My German Boyfriend............................................................................................... 56 How Many Churches? ............................................................................................... 59 You Do Not Understand ............................................................................................ 63 vii It Doesn’t Matter ....................................................................................................... 69 When I Kiss You ....................................................................................................... 72 I’m Yours! ................................................................................................................. 76 Conclusion ..................................................................................................................... 82 Bibliography .................................................................................................................. 85 APPENDIX A: PHONE INTERVIEW WITH RICHARD PEARSON THOMAS ..... 88 APPENDIX B: CABARET SONGS OF RICHARD PEARSON THOMAS ............ 105 viii List of Musical Examples Example 1. “My German Boyfriend” mm. 1-4………………………………………….54 Example 2. “My German Boyfriend” mm. 25-28……………………………………….55 Example 3. “My German Boyfriend” mm. 5-16………………………………….....56-57 Example 4. “How Many Churches?” mm. 1-3………………………………………….59 Example 5. “How Many Churches?” mm. 17-20……………………………………….59 Example 6. “How Many Churches?” mm. 21-25……………………………………….60 Example 7. “You Do Not Understand” mm. 20-23……………………………………..61 Example 8. “You Do Not Understand” mm. 24-27……………………………………..62 Example 9. “You Do Not Understand” mm. 33-40……………………………………..63 Example 10. “You Do Not Understand” mm. 57-64……………………………………64 Example 11. “You Do Not Understand” mm. 65-74……………………………………65 Example 12. “It Doesn’t Matter” mm. 1-3……………………………………………...66 Example 13. “It Doesn’t Matter” mm. 29-36…………………………………………...68 Example 14. “When I Kiss You” mm. 1-9……………………………………………...70 Example 15. “When I Kiss You” mm. 38-43…………………………………………...72 Example 16.
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