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A Style Analysis of William Bolcom's Complete Rags for Piano

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A Style Analysis of William Bolcom's Complete Rags for Piano UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ A Style Analysis of William Bolcom’s Complete Rags for Piano A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Studies Division of the College-Conservatory of Music 2007 by Yeung Yu B.M., Central Conservatory of Music, Beijing, China, 1993 M.M., Texas State University, 1999 Advisor: Joel Hoffman, DMA Abstract William Bolcom: Complete Rags for Piano is a collection of twenty-two of Bolcom’s piano rags written between 1967 and 1993. In this research, the rags are examined year by year; the stylistic analysis focuses on the use of form, rhythm, harmony, melody, and musical texture in each rag. In these rags, Bolcom perfectly blended a variety of musical styles and elements, including American traditional ragtime styles such as classic rag and stride styles, the nineteenth-century romanticism of Chopin and Schumann, and modern compositional techniques, such as tone clusters and atonal passages. By means of these varied compositional techniques, the music acquires a distinctive sound and identifies what has become known as Bolcom’s unique ragtime style. iii iv ACKNOWLEDGEMENTS I would like to thank the numerous people who helped make the completion of this research possible. First, I would like to thank the members of my committee, Dr. Joel Hoffman, Mr. James Tocco, and Professor Awadagin Pratt, for the time they spent on guiding my research. I would like to thank Mr. William Bolcom for taking time and offering me an extremely important face to face interview. I would also like to thank all my dear friends who helped me on this research. Finally, I would like to thank my wife, my parents, my parents-in-law, my children, and the rest of my family for their support of my graduate study. v TABLE OF CONTENTS Chapter 1: Introduction……………………………………………………………… 1 Chapter 2: The Evolution of Ragtime………………………………………………. 3 Chapter 3: The Development of William Bolcom’s Musical Style………………… 23 Chapter 4: Bolcom Talks about Ragtime: An Interview with William Bolcom…… 32 Chapter 5: A Style Analysis of William Bolcom’s Complete Rags for Piano……... 45 Three Classic Rags…………………………………………………… 47 1. Glad Rag…………………………………………………………… 47 2. Epitaph for Louis Chauvin…………………………………………. 51 3. Incineratorag………………………………………………………... 55 Three Popular Rags…………………………………………………… 59 4. Seabiscuits………………………………………………………….. 59 5. Tabby Cat Walk……………………………………………………. 63 6. Last Rag……………………………………………………………. 66 7. California Porcupine Rag…………………………………………... 70 8. Eubie’s Luckey Day……………………………………………….. 77 vi The Garden of Eden…………………………………………………. 84 9. Old Adam………………………………………………………….. 85 10. The Eternal Feminine……………………………………………… 89 11. The Serpent’s Kiss………………………………………………… 93 12. Through Eden’s Gates…………………………………………….. 105 13. Lost Lady Rag…………………………………………………….. 109 Three Ghost Rags…………………………………………………… 116 14. Graceful Ghost Rag………………………………………………. 116 15. The Poltergeist……………………………………………………. 120 16. Dream Shadows…………………………………………………... 127 17. The Gardenia…………………………………………………….. 132 18. Rag-Tango……………………………………………………….. 135 19. Knight Hubert…………………………………………………… 144 20. Raggin’ Rudi……………………………………………………. 151 21. Fields of Flowers………………………………………………... 153 22. Epithalamium………………………………………………….... 158 Chapter 6: Conclusion………………………………………………………….. 163 Selected Bibliography………………………………………………………….. 165 vii CHAPTER 1 Introduction William Bolcom (b. 1938) is known as one of the most important contemporary American composers. His large body of musical work covers most of the important types of musical compositions, including symphonies, operas, concertos, sonatas, chamber music pieces and songs, and solo pieces composed for organ and piano. Bolcom is an active composer; his compositions have been consistently performed in recent years, and his new works are commissioned with premieres scheduled. His Seventh Symphony: A Symphonic Concerto premiered at Carnegie Hall in New York on May 19, 2002, conducted by James Levine; his Eighth Symphony for chorus and orchestra will be premiered by the Boston Symphony in 2008. Following the positive reception of his significant operas MC Teague and A View from the Bridge, Bolcom’s most recent opera, A Wedding, premiered at the Lyric Opera of Chicago in December 2004. Among Bolcom’s chamber works, his Eleventh String Quartet was first performed on October 25, 2003. As a well-known pianist and composer, Bolcom has also greatly contributed to piano music: two sets of Twelve Etudes for Piano continues the tradition of Chopin and Liszt in which the Twelve New Etudes won the Pulitzer Prize for music in 1988, Nine Bagatelles for Piano was written for the 10th Van Cliburn International Piano Competition in 1997, and his Nine New Bagatelles for Piano premiered in early July 2006. Among Bolcom’s great achievements in piano literature, his Complete Rags for Piano is considered to be a major work, comprising twenty-two piano rags written from the late 1960s to the early 1990s. These rags descend from the tradition of early 1 twentieth-century American ragtime, blending classic ragtime style with nineteenth- century romanticism and modern compositional techniques. In order to gain a detailed understanding of Bolcom’s ragtime style, this paper will be divided into several chapters: a summary of traditional ragtime styles, an investigation of the development of Bolcom’s musical style, an interview with Bolcom, and the musical analysis of twenty-two of Bolcom’s rags. This research will begin with a discussion of a variety of traditional ragtime musical styles and musical dance forms related to ragtime music from the late 1890s to the 1920s. For example, classic ragtime style developed mainly in Missouri, absorbing many cakewalk and march music features, whereas stride style was a popular East Coast ragtime style related to the development of animal dances, blues, and jazz styles. Both classic ragtime style and stride style are reflected in Bolcom’s rags. The next chapter will discuss the development of Bolcom’s musical style, starting during his years as a student and continuing through the 1980s and 1990s. Following that is a transcript of an interview with Mr. Bolcom, discussing how he came to be interested in rags and revealing his explanation of how to play his rags. Since Bolcom absorbed various forms of traditional rag styles and infused them into his new rags, a complete analysis of the forms, rhythms, harmonies, melodies, musical textures, and styles of Bolcom’s rags will be discussed in the last chapter of this research. The goal of this research is to enable performers to gain complete understanding of Bolcom’s ragtime style and to allow them to interpret his rags authentically. 2 CHAPTER 2 The Evolution of Ragtime Ragtime is regarded as the first truly American musical genre, and flourished from the late 1890s to the late 1910s until it was replaced by jazz in the 1920s. The first research book about ragtime was not published until the 1950s: They All Played Ragtime, written by the earliest influential ragtime/jazz scholars Rudi Blesh and Janet Harris. Beginning in the 1970s, more research was done studying ragtime, focusing on definitions and more detailed discussions of the genre. One history of ragtime states: Ragtime is a musical composition for the piano comprising three or four sections containing sixteen measures each which combines a syncopated melody accompanied by an even, steady duple rhythm.1 As ragtime features special forms and rhythms, its style is regarded as very unique: Ragtime is unique in that it represents the first formal blending of European and West African musical elements. The form and harmony came from Europe; the rhythmic concept came from West Africa.2 Several different sources and styles constitute what is known as ragtime. The term “ragtime” came from two separate words: “rag” and “time.” “Time” refers to rhythm. A “ragged time” means that the rhythms are uneven. Thus, “the term ‘ragtime’ stems from the music’s most characteristic trait, its syncopated rhythm.”3 The term ragtime was commonly used after the 1890s, when the two separate words virtually became one. The syncopated rhythm in ragtime has its origins in African-American music. Before the term ragtime was applied to this particular kind of syncopated music 1 David A. Jasen and Trebor Jay Tichenor, Rags and Ragtime: A Musical History (New York: The Seabury Press, 1978), 1. 2 John Valerio, Stride & Swing Piano (Milwaukee: Hal Leonard Corporation, 2003), 4. 3 Edward A. Berlin. “Ragtime and Improvised Piano; another view,” Journal of Jazz Studies v.4 (spring/summer 1977): 4-5. 3 in the 1890s, people had already heard similar syncopations in some other African- American musical forms, such as plantation spirituals, work songs, and minstrel shows. During the evolution of ragtime, other rhythmic features such as the habanera or tango- like syncopations also merged into ragtime, which indicates that ragtime could absorb elements from Latin-American musical styles as well.4 Louis Moreau Gottschalk (1829- 1869), one
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