MICHAEL DAUGHERTY’S MOUNT RUSHMORE:

ANALYSIS AND CONDUCTOR’S GUIDE

Ryan Deignan, B.A., M.A.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2019

APPROVED:

Allen R. Hightower, Major Professor Stephen F. Austin, Committee Member Richard Sparks, Committee Member Jessica Napoles, Chair of the Division of Conducting and Ensembles Felix Olschofka, Interim Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Deignan, Ryan. Michael Daugherty’s “Mount Rushmore”: Analysis and Conductor’s

Guide. Doctor of Musical Arts (Performance), August 2019, 126 pp., 5 tables, 24 musical examples, bibliography, 60 titles.

According to the American League of Orchestras’ most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty’s music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can “hang their hat on.”

Despite widespread success, relatively little scholarly work has been done on

Daugherty’s music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor’s guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty’s Mount

Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty’s Mount Rushmore will find it valuable for their ensemble and community for years to come. Copyright 2019

By

Ryan Deignan

ii TABLE OF CONTENTS

Page

LIST OF TABLES ...... iv

LIST OF MUSICAL EXAMPLES ...... v

CHAPTER 1. INTRODUCTION ...... 1 Purpose ...... 1 Significance and State of Research ...... 2

CHAPTER 2. MAKING MOUNT RUSHMORE: THE MONUMENT AND THE MUSIC ...... 8

CHAPTER 3. MOVEMENT I. GEORGE WASHINGTON...... 18

CHAPTER 4. MOVEMENT II. THOMAS JEFFERSON ...... 32

CHAPTER 5. MOVEMENT III. THEODORE ROOSEVELT ...... 51

CHAPTER 6. MOVEMENT IV. ABRAHAM LINCOLN ...... 74

CHAPTER 7. DAUGHERTY’S MOUNT RUSHMORE: “A MILE WIDE...AND A MILE DEEP.” ...... 102

APPENDIX A. MOUNT RUSHMORE PROGRAM NOTE ...... 104

APPENDIX B. MICHAEL DAUGHERTY INTERVIEW 5/13/19...... 107

BIBLIOGRAPHY ...... 122

iii LIST OF TABLES

Page

Table 3.1: Movement I. George Washington Form ...... 19

Table 4.1: Movement II. Jefferson Form ...... 34

Table 5.1: Roosevelt Form ...... 53

Table 6.1: Lincoln Macro Form ...... 75

Table 6.2: Lincoln "Rising Action" Form ...... 79

iv LIST OF MUSICAL EXAMPLES

Page

Example 3.1: Chester ...... 18

Example 3.2: Chester Sequence D ...... 21

Example 3.3: Marshall Interlude ...... 24

Example 4.1: Ogni Dolce Aura by Maria Cosway ...... 33

Example 4.2: Daugherty Cosway Theme ...... 33

Example 4.3: La Marseilleise ...... 37

Example 4.4: Star-Spangled Banner...... 38

Example 4.5: Return of Cosway Theme ...... 40

Example 4.6: Transition to Coda ...... 41

Example 5.1: Rock of Ages by Robert Hastings ...... 52

Example 5.2: Roosevelt Introduction ...... 55

Example 5.3: Roosevelt Theme...... 58

Example 5.4: Africa Melody ...... 63

Example 5.5: Warning Call ...... 64

Example 6.1: Opening Octatonic Scale ...... 76

Example 6.2: Gettysburg Theme ...... 78

Example 6.3: Stasis (approach to Threnody) ...... 81

Example 6.4: Threnody ...... 83

Example 6.5: Stasis (departure from Threnody) ...... 84

Example 6.6: Descending OTs + Civil War Motive ...... 85

Example 6.7: "Ground" Undulation ...... 86

Example 6.8: Civil War Motive + Octatonic Trichords ...... 87

Example 6.9: Johnny Fragments ...... 90

v Example 6.10: Summit Ascent - Stasis Section ...... 92

vi CHAPTER 1

INTRODUCTION

Purpose

According to the American League of Orchestras’ most recent report, Michael Daugherty

is one of the ten most performed American composers of concert music in modern times.1 He

has received six GRAMMY awards, including awards for Best Contemporary Classical

Composition in 2011 and 2017. Characteristics of Daugherty’s music are diverse: colliding

tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements.

His music can be minimalistic at times and at others, stirringly melodic. Amongst this

eclecticism, a fascination with American iconography remains a consistent hallmark of his

music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has

stated that his goal is to create sophisticated, abstract music that is also catchy or memorable,

with melodies and cultural allusions that audiences can “hang their hat on.”2

Despite his widespread success, relatively little scholarly work has been done on

Daugherty’s music, providing an opportunity for further research. The primary goal of this study

is to add to the literature on Michael Daugherty by providing an analysis and conductor’s guide

of his first choral-orchestral work, Mount Rushmore. In the process, I offer the first scholarly

analysis of this important American composer’s choral writing. Using interviews with the

composer as well as detailed formal, harmonic, and historical-textual analysis, I will provide in-

1 Orchestra Repertoire Report (ORR) 2012-2013, New York: League of American Orchestras, 2013. Accessed January 9, 2019. 2 Mark Clague. “Interview: Michael Daugherty Discusses Lost Vegas with Mark Clague.” YouTube video, 8:57. Posted February 21, 2015. Accessed December 26, 2018, https://www.youtube.com/watch?v=o4VCpOZjEVA; Frank Oteri. “Michael Daugherty: Newmusicbox Interview Part 1 of 2.” Filmed December 11, 2006. YouTube video, 6:43. Posted, June 22, 2010. Accessed December 26, 2018, https://www.youtube.com/watch?v=EaJNeqKO0- 4.

1 depth information and guidance to future conductors who wish to present this appealing choral- orchestral work by a prominent, living American composer.

Significance and State of Research

As one of the most successful living American composers, Michael Daugherty’s music is worthy of scholarly study. Born in 1954 in Cedar Rapids, Iowa, he showed signs of musical proclivity from an early age. He grew up studying classical piano, played percussion in a drum and bugle corps, and formed a long-standing funk band with his five brothers.3 All are all now professional musicians, perhaps due in some part to the influences of their mother, an amateur singer, and their father, a dance-band drummer.4 Michael went on to study music composition at the University of North Texas, the Manhattan School of Music, and computer music at Pierre

Boulez’s IRCAM in Paris before receiving his doctorate from Yale University in the late 1980s.

He also collaborated with jazz arranger and composer Gil Evans and studied with avant-garde composer György Ligeti in Hamburg, Germany. He took his first academic post at Oberlin

Conservatory in 1986 before joining the faculty at University of Michigan in 1991 as Professor of Composition, a position he holds today.

An early compositional success was the Metropolis Symphony, an orchestral work inspired by the myth of the comic book hero Superman. The work gained immense popularity in the 1990s and almost two decades later won the GRAMMY for Best Orchestral Performance by the Nashville Symphony in 2011. His piano concerto Deus ex Machina from the same album won the Grammy for Best Contemporary Composition as well. More recently, Daugherty’s cello

3 Ann McCutchan. The Muse That Sings: Composers Speak About the Creative Process. New York: Oxford University Press, 1999, 84. 4 Chia-Hao Hsieh. "Michael Daugherty's Concerto ‘Raise the Roof’ for Timpani and Symphonic Band (2007): Analysis and Performance Guide." DMA diss, University of Washington, 2011. ProQuest (AAT 3472103).

2 concerto Tales of Hemingway won three GRAMMYS in 2017, including Best Contemporary

Composition. He has been commissioned by many prominent orchestras in the US and abroad,

such as Philadelphia Orchestra, San Francisco Symphony, St. Paul Chamber Orchestra,

Bournemouth Symphony Orchestra, Philharmonia Orchestra London, and RAI Symphony

Orchestra Italy, to name a few. Conductors who have directed world premieres of Daugherty’s

orchestral music include Marin Alsop, Neal Gittleman, Giancarlo Guerrero, David Kawaka,

Mariss Jansons, Neeme Järvi, David Alan Miller, Leonard Slatkin, Carl St.Clair, Markus Stenz,

Michael Tilson Thomas, Hugh Wolff and David Zinman. His wind band works have been premiered at large universities such as University of Michigan, San Diego State University, and

University of Texas Austin, under the baton of such notable conductors as Phillip Clements,

Gary Green, Jerry Junkin, Shannon Kitelinger, Michael Haithcock, H. Robert Reynolds, Emily

Threinen and John Whitwell. His award-winning music can be heard on labels such as Albany,

Argo, Delos, Equilibrium, Klavier, Naxos, and Nonesuch.5 Despite this notoriety, Daugherty’s music has not yet been the subject of extensive scholarly inquiry. As of the date of this proposal, there are six dissertations available on individual orchestral or wind works by Daugherty, but I am aware of no journal publications or monographs.6 Similarly, I have found no research on his choral music, suggesting a study such as this may be of some value.

5 Michael Daugherty, "Long Biography," Accessed June 18, 2019. https://michaeldaughertycomposer.com/long- biography/. 6 Chia-Hao Hsieh. "Daugherty's Concerto ‘Raise the Roof’: Analysis and Performance Guide.” 2011; Spencer A. Jepson. "An Examination and Interpretive Guide to Michael Daugherty's “Niagara Falls”." MM thesis, California State University, Long Beach, 2009; Timothy David McGarvey. "’Desi’, ‘Bizarro’, and ‘Motown Metal’: The Wind and Percussion Music of Michael Daugherty." DMA diss, University of Cincinnati, 1997; Arturo Ortega. "Michael Daugherty's ‘Red Cape Tango’: A Comparative Study of the Original Version for Symphony Orchestra and its Transcription for Wind Orchestra, with Four Recitals of Selected Works by Beethoven, Dvorák, Verdi, Bartók and Daugherty." DMA diss, University of North Texas, 2002; Susan Kaye Powell. "The use of Percussion in Select Chamber Compositions by Michael Daugherty." DMA diss, Northwestern University, 2006; Mark James Spede. "Michael Daugherty's "Red Cape Tango": A Transcription for Band." DMA diss, University of Texas, Austin, 1998.

3 The selection of Mount Rushmore for examination is based on three major factors: First,

the positive public reception of the piece by audiences, critics, and conductors indicates abiding

interest in the work. As such, an in-depth analysis and conductor’s guide should prove useful.

Since its premiere in 2010, the four-movement, 32-minute Mount Rushmore has been performed

by Minnesota’s VocalEssence, Butler Philharmonic Orchestra (Ohio), the Hamilton-Fairfield

Symphony (Ohio), the University of Michigan, University of Texas Arlington, Black Hills

Symphony Orchestra, and Eastern Michigan University. In 2013, Naxos released a recording of

the work as part of its American Classics series, performed by the Pacific Symphony and

Chorale under Carl St. Clair and chorus master John Alexander. In February 2019, Mount

Rushmore will be performed by the Texas All-State Chorus conducted by Dr. Jerry Blackstone and in local Texas communities throughout the 2019-2020 school year by roughly 18,000 auditionees.7 Mount Rushmore has been reviewed positively by Gramophone, American Record

Guide, Minneapolis Star Tribune, and Choir and Organ magazine among many publications:

Daugherty provides a suitably monumental score for his evocation of Gutzon Borglum’s

presidential folly in the Black Hills of North Dakota. The music resonates with the pride and

hope of a much younger nation.8

The piece is spectacularly effective and will delight audiences while at the same time it sends cranky old modernists into paroxysms of outraged hysteria.9

7 Path to All-State Report. Austin, TX: Texas Music Educators Association, 2018-2019. Accessed June 17, 2019. https://www.tmea.org/assets/pdf/2019_All_State_Report.pdf 8 Brian Morton, "MICHAEL DAUGHERTY: MOUNT RUSHMORE; RADIO CITY; THE GOSPEL ACCORDING TO SISTER AIMEE." Choir and Organ, September 2013, 92. 9 Allen Gimbel, “Mount Rushmore; Radio City; Gospel According to Sister Aimee.” American Record Guide 76, no. 5 (2013): 97–98. https://libproxy.library.unt.edu.

4 The net effect of this piece is simply wonderful! This makes an inspiring, grand and only somewhat quirky musical portrait of this monument and the four men themselves.10

The monumental ending movement has the weightiest music and shifts between swaths of sound reminiscent of John Williams’ film scores with contemporary writing that grows out of the great American romantic composers of the 1940s and 1950s and late Barber. These combinations work very well to create a very dramatic and engaging piece.11

Mount Rushmore is a terrific piece, as much a contribution to musical Americana as anything by Copland or Thomson...There are hints of other ages here, but this is no clumsy, derivative pastiche; no, Daugherty speaks with an assured and individual voice that deserves to be more widely heard.12

The second major motivation for a study of Mount Rushmore is its status as Daugherty’s

first choral-orchestral work and his first work for choir. This study is the first to analyze

Daugherty’s choral writing, a significant scholarly opportunity given his compositional pedigree

and his success in writing for string and wind ensembles. As noted in the introduction,

Daugherty has described his musical philosophy in various interviews as one which seeks to

provide listeners with familiarity yet complexity. Choral music offers a new challenge in this

regard since choruses have inherent technical limitations compared to instruments yet the

presence of text presents new expressive opportunities. How does Daugherty handle this new

musical genre in light of his stated compositional goals?

The last important factor influencing my selection of Mount Rushmore is its considerable

musical and semiotic depth. Each movement of the work is titled after one of the four presidents

of the South Dakota monument: Washington, Jefferson, T. Roosevelt, and Lincoln. Daugherty’s

10 Daniel Coombs and John Sunier. "Mount Rushmore." Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos. Audiophile Audition, June 21, 2013. https://www.audaud.com. 11 Kennedy, Steven A. "Review: 3 New Works from Michael Daugherty." Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. Cinemusical, May 16, 2013. http://maestrosteve.xanga.com. 12 Morgan, Dan. "Review: Michael Daugherty Mount Rushmore." Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. MusicWeb International, August 13, 2013. http://www.musicweb-international.com.

5 direct and effective choral writing, motivic development, sequential construction, and vibrant

orchestration combine to form a novel work which continues to pay dividends upon further

study. Furthermore, his thoroughly researched selection of historical texts and quotations of

related melodies interacts with the musical content, creating layers of symbolic meaning to be

explored. In his book on choral conducting Evoking Sound, noted choral pedagogue and author

James Jordan wrote about the importance of exploring the relationship of text to music:

Perhaps one of the most important tasks for any conductor is to have a viewpoint concerning the composer’s intent when the text was set to music…it is our responsibility as conductors to listen to the music and the text as a total artistic unit, and attempt to give meaning to the text – to search for, if you will, the most profound inner meaning.13

Such deep significance may only be revealed with a thorough examination of the

interactions between musical content, text, and in the case of Mount Rushmore, historical

context. The same can be said of the performers themselves who are responsible for relaying this

meaning to the audience. Choral conductor Donald Neuen writes:

While both instrumentalists and singers must be solid technicians with an understanding of the methods required for their respective instruments, and both must be informed musicians with an understanding of theory form, musicology, and so forth, it is the singer who needs to be a dramatic actor, and this is because of words. Acting is the singer’s unique responsibility.14

A thorough comprehension of the musico-historical significance that underlies Mount

Rushmore will assist the conductor in making more effective musical decisions and likewise motivate the singers (and instrumentalists to some extent) to inhabit the work with more pathos

and authenticity. Though Mount Rushmore may prove engaging to many audiences without

knowledge of context, an historically informed approach by the conductor and ensemble can

13 James Jordan. Evoking Sound: Fundamentals of Choral Conducting. Chicago: GIA, 2009. 347. 14 Donald Neuen. Empower the Choir: Concepts for Singers. Waitsfield, VT: Choral Excellence Inc, 2003.

6 elevate it beyond patriotic populism. As such, this analysis and guide will provide valuable information for conductors encountering the work for the first time.

7 CHAPTER 2

MAKING MOUNT RUSHMORE: THE MONUMENT AND THE MUSIC

In the late 2000s, Michael Daugherty was approached by Orange County’s Pacific

Symphony (with support from Minnesota-based VocalEssence) to compose a choral-orchestral

work for their 2010 American Composer’s Festival. On the Pacific Symphony’s web page, they

offer a history of the festival and the 10th ACF at which Mount Rushmore was premiered:

Each year, Pacific Symphony explores a different facet of American music through the ACF. Since 2000, the festival has featured composers from Aaron Copland to Ana Lara to Michael Daugherty to Duke Ellington and artists from Yo-Yo Ma to Stephen Scott's Bowed Piano Ensemble. By examining this diverse musical heritage, the Symphony points a microscope at who we are as a culture, where we've been, and where we are going—some of the most important questions that music can raise…Pacific Symphony’s 10th ACF explored music by and about those who belonged to “The Greatest Generation.” The Great Recession of the 1930's resulted in unprecedented challenges for the nation, giving this ACF greater relevance and meaning as it took a look back at a time that was in large part defined by The Great Depression.15

In keeping with the “Greatest Generation” theme, conductor Carl St. Clair requested a work that

commemorated World War II veterans. Daugherty recalls this conversation and others from the

early planning stages of the commission.

I thought that was a great idea, but I wanted the piece to be broader in its approach, as I thought that was a bit narrow. So, I thought about what was happening around the second World War during the so called “Greatest Generation.” Well, Mount Rushmore was being constructed. I think it started in the early 30s and went right up until Pearl Harbor in 1941. I thought [Mount Rushmore] would be interesting because it was a piece of art or cultural phenomena that sort of coincided with that time period and afterwards has become sort of a beacon for people who are patriotic or…you know, simply “Americana” I guess. And then because it would be a piece for choir and orchestra, with the presidents there would be texts involved…so, I had to sell that idea to the symphony, to the administration. You know this is the idea I have and at first, I really had to talk it through, but eventually they agreed, okay go ahead and move that direction.

15 "American Composers Festival History." Pacific Symphony: History of ACF. Accessed June 17, 2019. https://www.pacificsymphony.org/about_us/ACF/history_of_acf.

8 With the consent of commissioning party in hand, Daugherty immediately sought to familiarize

himself with Mount Rushmore. Cultural, physical, and historical associations are a hallmark of

Daugherty’ ouvre and he welcomes such extra-musical research.

So the first thing I did was I went to Mount Rushmore…you know I had gone on a family trip there as a kid, but I went back again and spent about three days out there. I think it was around October, so there was no one there. It was not tourist season. Just to get a feeling, that’s how I do a lot of my pieces. I take a subject matter…I throw myself into the part so to speak. So with Mount Rushmore, I took it very seriously and I read books, I do my research, I visit if I can … when I wrote the Letters from Lincoln, I went to Gettysburg… …when I wrote Rosa Parks Boulevard, I met Rosa Parks…I went to Detroit, it took me a long time to set it up, to go to Rosa Parks’ church. She was very old, but I set it up through her secretary, and I sat next to her at a service in a small gospel church in Detroit and afterwards talked to her for like 10 minutes. I was sitting next to Rosa Parks during this service in Detroit at a small gospel church – that was kind of a big deal! Anyway, yeah so, I do take it seriously and it’s a lot of fun to write the piece and I learned a lot about American history.

In his original program note (fully reproduced in the Appendix), Daugherty summarizes his

findings, offering historical details most relevant to his musical creation, both about the sculpture

as well as its presidential subjects. Daugherty writes the following about the monument itself.

Created during the Great Depression against seemingly impossible odds, the American sculptor Gutzon Borglum supervised a small crew of men in the carving of these figureheads into the granite mountainside of Mount Rushmore from 1927 until his death in 1941. Drawing from American musical sources and texts, my composition echoes the resonance and dissonance of Mount Rushmore as a complex icon of American history.16

The “impossible odds” of Mount Rushmore’s creation refers to the extended length of construction and the many obstacles overcome in the creation of the world’s largest stone sculpture.17 The crew of roughly 400 miners (30 at any one time) met the incredible physical and

technical demands of constructing the four, 6-story busts set high on the face of the mountain at

16 Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009. 17 Smith, Rex Alan. The Carving of Mount Rushmore. Abbeville Publishing Group, 2011. Kindle Edition. Foreword.

9 an elevation of 40 stories, removing 800 million pounds of stone in the process.18 In a time of meager safety standards, no worker lost his or her life.19 Due to poor granite quality, Jefferson’s

face was blast off, relocated, and carved anew, while Roosevelt’s was set 80 feet back in the

mountain.20 Borglum possessed the technical skill and the artistic vision to supervise and create

the life-like faces “that to an observer viewing them from across the canyon, do not appear

massive or coarse or even heavy. On the contrary, they look as graceful and lifelike as the finest

busts sculpted in a studio.”21

Daugherty’s second sentence about Mount Rushmore cites the “resonance and

dissonance” of the monument as an historical, American icon. Such ‘resonance’ refers to the

symbolic quality of Mount Rushmore - representative of freedom, democracy, grandeur, and strength – often cited by American leaders during the Great Depression and World War II and still evoked in modern times. Counterbalancing this symbol of American pride, Daugherty mentions the presence of ‘dissonance’ reflecting the controversy surrounding Mount Rushmore’s construction and subsequent history. The first source of dissonance is the irony of Theodore

Roosevelt - the great conservationist president - carved into the side of Mount Rushmore’s 1.6 billion-year old granite face.22

When [South Dakota state historian] Robinson first spoke in the 1920s of carving into the Black Hills [to attract tourists], environmentalists were outraged. Why, they thought, did men have to mar the natural beauty of a mountain?23

18 "The Making of Mount Rushmore." Smithsonian.com. October 30, 2011. Accessed June 17, 2019. https://www.smithsonianmag.com/history/the-making-of-mount-rushmore-121886182/?page=4. 19 Ibid. 20 Ibid. 21 Smith, Rex Alan. The Carving of Mount Rushmore. Foreword. 22 "Mount Rushmore: Geologic Activity." National Parks Service. Accessed June 18, 2019. https://www.nps.gov/moru/learn/nature/geologicactivity.htm. 23 "The Making of Mount Rushmore." Smithsonian.com.

10 A second source of dissonance is socio-cultural. The construction of Mount Rushmore

has long been opposed by Native Americans whose lands were taken through expansionist

policies propogated by the presidents whose faces are memorialized on the mountainside.

Specific historical circumstances elicited even stronger passion from the local Lakota people. As

was common for many tribes, Lakota lands were settled during the 19th century by white,

European immigrants moving west. The Lakota attacked the invading settlers, causing various

periods of conflict or small “wars” with the United States government. In 1868, the U.S. and the

Lakota signed the Fort Laramie Treaty, declaring the Black Hills Lakota land and exempt from

white settlement forever. Soon, gold was discovered there and panhandlers invaded the area

seeking fortune. Another war erupted and by 1877, the United States broke the treaty, forcing the

Lakota to surrender their land. Small, mostly non-violent conflicts continue today.

Perhaps the strongest opposition [to Mount Rushmore’s construction] has come from American Indians. Many local Lakota see Mount Rushmore as a desecration of their sacred homeland. To add insult to injury, the carving, of four white men, is a reminder of the affliction the Lakota faced…In the 1930s, Lakota Chief Henry Standing Bear took [a] stance. He hired a sculptor by the name of Korczak Ziolkowski to carve the face of Crazy Horse, the legendary Lakota leader, in a cliff just 15 miles away. Wrapped in its own controversy, the construction of the Crazy Horse Memorial, which eclipses Mount Rushmore in size, continues to this day. The memorial has refused government grants and is funded by visitors and private donors.24

The Crazy Horse Memorial represents one active, non-violent conflict that continues in

modern times. In 1971, about 40 Lakotans occupied Mount Rushmore, camped on its precipice,

and demanded that the United States honor the 1868 treaty.25 The larger Sioux nation - of which

the Lakota tribe is a part – maintains its refusal to accept a 1980 American settlement now worth

24 "The Making of Mount Rushmore." Smithsonian.com. 25 "20 Indians Seized In Treaty Protest At Mt. Rushmore." The New York Times. June 07, 1971. Accessed June 18, 2019. https://www.nytimes.com/1971/06/07/archives/20-indians-seized-in-treaty-protest-at-mr-rushmore.html.

11 over $1.3 billion. Though much of the Sioux population suffer from poverty on reservations in

the Midwest and West, the Sioux leaders argue that the land has never been for sale.

In a recent interview, Daugherty suggests it is both the relationship with ecological conservation and this turbulent history with Native Americans that adds “dissonance” and makes

Mount Rushmore a “complex icon of American history.”

Today the national parks are being challenged, oh you know do we really need all that land…the reservations sometimes are being challenged, well do they really need all that space, we could do oil…so these issues are still very much alive today, issues about who should own the land, issues of public use vs private use, so Roosevelt was the person who spearheaded that movement to try to protect the land from being destroyed. One of the ironies you can say is, in a sense Mount Rushmore is a desecration…first of all, in the area where Mount Rushmore was made it was sacred to the Indians and it was a desecration of a nature area basically to make a tourist attraction. I should mention that there is the Crazy Horse monument which is like a half hour away. Another carving in the mountain. It was done as a reaction to Mount Rushmore. So I wrote a piece shortly after that called Trail of Tears and that was sort of my response to, not my response, but kind of looking at it from another angle, from that of the Native Americans and the Trail of Tears, which had occurred about 100 years earlier…but from another perspective. So there is an irony to Mount Rushmore.

In this interview and his program note, Daugherty’s recognizes the multiplicity of narratives conjured by the monument Mount Rushmore - “Drawing from American musical sources and texts, my composition echoes the resonance and dissonance of Mount Rushmore as a complex icon of American history.”26 With a brief but graceful sentence Daugherty acknowledges the

history of the monument. He then proceeds to pivot to the more direct, programmatic content of

his music - “Like Mount Rushmore, my libretto is carved out of the words of each President.”

Though his music may ‘echo’ Mount Rushmore the historical icon, the work is primarily

concerned with the words and lives of Borglum’s presidential subjects, George Washington,

Thomas Jefferson, Theodore Roosevelt, and Abraham Lincoln. Daugherty’s ensuing note -

26 Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009.

12 reproduced and extensively examined throughout this paper - describe the literary and thematic

content of his four movements, set to the words of each respective president.

In addition to engaging historically and symbolically with the monument and its

presidential subjects, Daugherty’s Mount Rushmore offers a depth of musical variety which

gives each movement an individual expressive character apart from their programmatic content.

I wrote these movements in order. After I wrote the first one, I’m thinking okay what do I want to do, well I want a different sound world for the next movement. I think about how have I dealt with the choir…each movement deals with the choir in a different way. The first movement is more like typical chorale writing. Second movement is more like vocalese for the women with the Cosway letter, and then we go into the Declaration section, very dramatic, operatic…then the third movement I was thinking like a Wagnerian drinking song with a bunch of guys, very masculine, testosterone…then the last movement is again more like a vocalese, more dramatic, not chorale writing…lyrical- dramatic. More like lieder…Partly I think the reason Mount Rushmore really works is that when you get to the final movement the sound changes for the choir. Its very fresh sounding. It’s a whole different way of writing…

In this paper, I offer extensive musical analysis that supports Daugherty’s contention as

to the unique sonic identity of each movement. Though each is distinct, a number of broad

musical similarities emerge that tie the work together. These general characteristics align with

the statement given near the beginning of his official biography: “[Daugherty’s] music is rich

with cultural allusions and bears the stamp of classic modernism, with colliding tonalities and

blocks of sound; at the same time, his melodies can be eloquent and stirring.”27 In addition to the

rather direct associative element of the presidents and their texts, the allusive character of Mount

Rushmore can be observed in the many related historical melodies that Daugherty quotes

throughout the four movements.

Its something a lot of other composers wouldn’t do. I tend to use a lot of historical quotes… I use Dixie, When Johnny, Yankee Doodle, the Marselleise…its something I’ve done in lots of my music, where to me, its not an opera, but in a way – we don’t have

27 Michael Daugherty, "Long Biography," Accessed June 18, 2019. https://michaeldaughertycomposer.com/long- biography/.

13 costumes, we don’t have sets – it’s a way to set up an aura of historical reference, to put you in a particular relationship for a time.

The “eloquent and stirring” melodies cited in his biography often consist of these historical quotes or parodies, but are just as often original tunes that typically spring from

Daugherty’s background in jazz, broadway, and rock music. In Mount Rushmore, the original

themes of the Roosevelt and Lincoln movements (examined in chapters four and five

respectively) reflect his affinity for popular genres. Next, the interruptive, “colliding blocks of

sound” of Daugherty’s music comprise another very recognizable quality found in Mount

Rushmore. His original or borrowed thematic materials are often extremely tuneful and accessible, but the manner of presentation adds complexity, challenging the listener. Daugherty

continually and abruptly shifts the aural lens through which the audience hears the motive or

theme, offering the same material in different textures, tempos, meters, and tonalities, alternating

these musical ‘blocks’ in surprising ways. In 2003 Daugherty stated, “The way I compose ‘new’ music is by ‘framing’ and layering musical gestures that are recognizable in unexpected ways with musical gestures that are unrecognizable in expected ways.”28 Another more recent

statement on Mount Rushmore offers a similar self-analysis:

It’s how its framed, to play with expectation. You think you know where you are but you really don’t know. So, I think I’m constantly…not pulling the rug out from under the listener, but constantly moving in a direction that maybe is unexpected. …that is sort of a modernist notion, to do something different, something “new,” to do it in a way that’s not obvious. Its obvious, but it isn’t. You think you know it, but you don’t know it. It seems familiar, but it isn’t familiar.

Finally, in addition to Daugherty’s contrasting blocks of sound, the minimalist passages

of Mount Rushmore “bear the stamp of modernism” noted in his biography. In every movement,

28 Fuller, David, Stephen Clickard, Judson Scott, Raydell Bradley, J. Bradley McDavid, Miho Takekawa, David Waltman, Scott Higbee, Timothy Salzman, and Miriam Krueger. 2003. A composer's insight: thoughts, analysis, and commentary on contemporary masterpieces for wind band, volume 1. Galesville, MD: Meredith Music. 37.

14 Daugherty sets up ostinati or recurring patterns of gestures similar in many ways to the

minimalist music of Steve Reich, Philip Glass, or early John Adams. However, like Adams’ later

work, Daugherty departs from the exclusively minimalist style which in its purest form could be

defined as “the triumph of the ostinato.”29 Instead, Daugherty employs the type of minimalism

referenced by BBC Music Magazine’s Stephen Johnson, where “the interest begins when the unchanging, ‘obstinate’ element rubs up against ideas that do change and develop…”30 In a

recent interview on Mount Rushmore, Daugherty describes his philosophy regarding minimalism, repetition, and development.

To repeat or not to repeat, that is the question. I do tend to repeat things, but when I do it, unlike a stereotypical minimalist composer I always change something. I will frequently change the dynamics, change the tessitura, change the orchestration, I will do something…in other words, I won’t keep all the musical parameters exactly the same for a long period of time, I will then shift something. So, that’s one of the ways at least that I, if you want to use the word accessible, write music you can “hang your hat on.”

Again, going back to that question, how much to repeat something or how much to make something obvious, every composer has their own aesthetic on that. Some composers will have no repetition - they always want to be obscure. Others will never want to be obscure in any sort of way, you know, where everything is totally obvious continually. That works very well, but they are not challenging the audience too much. Its always a balance between how to challenge, how to have something make sense. Composers are grappling with that all the time with their music. How much do I want to reveal and how much do I want to hide.

But also I do something else too and that is the psychological counterpoint for me – its another layer. I set up an expectation and then I shift gears, or I don’t do what you expect. I guess you could say that the only way you can hear development is if you hear what you are developing from. If you are in constant development all the time, you can just be continually lost. So, first I state my idea in a very clear way. And then I will state it enough so I think the person has it in their ear. Then I start to deviate from that. If I don’t state the idea in a clear manner, then you’re not going to hear all the variations and all the development I’m doing, its just going to be totally lost. I think the fact that I grew up as a performer – I played in rock bands, in jazz bands, I played in concert choir – I was always a performer, I was always aware of audiences – I was also aware of what it meant

29 Johnson, Stephen. "What Is An... Ostinato?" Classical-music.com. June 9, 2016. Accessed June 18, 2019. http://www.classical-music.com/article/what-ostinato. 30 Ibid.

15 to learn music and to rehearse it, so I am aware of that psychology and what that’s all about.

The value of Daugherty’s practical performance experience extends beyond his

understanding of audience psychology. His early practical experience with choral music played a

part in his vocal writing for Mount Rushmore, his first work in the choral genre.

For choir, I did play piano and sing with the concert choir in Cedar Rapids, Iowa at Washington H.S. The choir director’s name was Charles Ashford. I actually have his email…you might want to talk to him. He could tell some interesting stories about me. He was a real task-master, Charles Ashford. In high school we sang, since you’re doing your dissertation on choir music, we sang the Peaceable Kingdom, Chichester Psalms, we did Hindemith…I can’t remember which…so, anyway when I began writing Mount Rushmore I did think of the Peaceable Kingdom, that was the first piece I looked at…I guess its popular today its fair to say. The guy had a great compositional technique and really knew how to write for choir. So I went back to the Peaceable Kingdom and other Randall Thompson pieces.

By-in-large the choral parts in Mount Rushmore are simpler than the orchestral parts, as is typical of many choral-orchestral works. The choral parts consist mostly of homophony or

two-part treble/bass counterpoint, often in unison or two-part harmony doubled at the octave, and occasionally in four or eight part divisi. With faster figuration, more complex rhythms, and dense contemporary harmonies, the instrumental writing requires a more accomplished ensemble, though a competent university orchestra could execute the piece well. Daugherty wrote for the ensembles he predicted would most likely perform the music, those comprised of professional or semi-professional orchestras paired with student or amateur choirs. He explained this

overarching compositional choice in a recent interview.

Well, I think if you just look at a person like Xenakis, look at his instrumental music and then look at his vocal music, its totally different, its much simpler. If you look at John Adams the way he writes for choir is much simpler than the way he writes his instrumental music… partly because choirs are often amateur singers, or they’re not professionals, so for those who have works played in the professional arena, that is the case…There are these [larger] specialist choirs but we don’t really have many of those, very few of [professional symphonic choirs] in America, so by in large your work is going to be done by the University choir here at Ann Arbor, the orchestral ensemble, the

16 symphony chorus. The one that Jerry Blackstone conducted for years…an auditioned choir, but they are not paid singers like the LA Master Chorale. That’s normally the situation…you’re going to be writing differently if you’re writing for choirs in America, and probably also in England where there’s a big tradition, and also in certain parts of Europe, in Estonia and so forth where they have these huge amateur choirs. So I knew Mount Rushmore would be a piece that would be done largely by amateur or non- professional groups, big choirs. I remember before I wrote it I went to some of the rehearsals of the Messiah that Jerry [Blackstone] ...was conducting, [to] some of the rehearsals where there was like 200 people singing and just realizing, getting the sound in my ear, looking at the practicality of things.

Despite his pragmatic compositional approach, Daugherty finds a way to maintain a high level of rhythmic and melodic interest in the choral writing of Mount Rushmore, fashioned amongst a vivid, technicolor orchestral backdrop of shifting textures, harmonies, and effects.

I looked at the practicality of things, but at the same time…I’ve always thought of myself as someone pushing the boundaries, and sometimes for some composers that means being extremely avante-garde or experimental and for me pushing the boundaries was to take all those things I’ve learned, including coming out of the avante-garde world and somehow distill that in a way that reflected who I was and my own background and my own likes and dislikes. I suppose you can make the analogy with Aaron Copland doing that…early Copland he wrote a certain way and then he decided to, you know, when he wrote Rodeo and Appalachian Spring he decided to make a conscious effort [to reach out]... Charles Ives, even though his music is experimental in some ways, he wanted his music to, in a transcendental way, to connect with society. I did a lot of research on Charles Ives and Emerson at Yale, so I think that was also an interest of mine, that reaching out wasn’t a bad thing, but a good thing to do. And you can still reach out in a way that is unexpected and challenging, so that is what I try to do with my music.

Just as Mount Rushmore appeals to and challenges those who view it, so too does

Daugherty’s musical work with respect to those who listen. The following chapters present analytical and practical commentary on each movement, offering insight into the musical architecture and associated performance practice that give the work its popular breadth and artistic depth.

17 CHAPTER 3

MOVEMENT I. GEORGE WASHINGTON

For the first movement, I have divided the choir into two sections to reflect two phases in the life of George Washington, first as commander-in-chief during the Revolutionary War and later as the first President of the United States. Choir I performs fragments of Chester, the popular Revolutionary War anthem by William Billings, in the bright straight tones of shape-note singing common to the period. Following orchestral echoes of Yankee Doodle, Choir II sings a fragment from Washington’s letter, written upon retirement from public life: “I will move gently down the stream of life, until I sleep with my Fathers.31

Example 3.1: Chester

Described in the program note, the text for the first movement of Mount Rushmore comes

from two sources: 1) a letter from president Washington to the Marquis de Lafayette, a French

officer who fought alongside Washington in the Revolutionary War, and 2) the Revolutionary

War anthem Chester. Penned by the first well-known American composer, William Billings, the

most popular version of Chester was published in the Singing Master’s Assistant songbook in

1778 (Example 3.1). A conductor preparing the work should be aware that Daugherty uses the

musical content of Chester as the entire formal and motivic basis for this movement. There are

four sections, each corresponding to one 4-bar line of Billings’ tune. Within each section,

Daugherty employs a basic structural formula whereby 1) each 4-bar chorale line is presented a

31 Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009.

18 cappella by a small group of eight singers, followed by 2) a subdued orchestral interlude utilizing fragments of that line’s melody mixed with the melody of Yankee Doodle, concluding with 3) an almost identical repetition of the Chester chorale line sung by the full chorus but utilizing the Washington text instead of the Billings. This form is depicted graphically below in

Table 3.1. Each of these Chester sequences comprises a section of the movement. As one can see, the movement as a whole essentially consists of expansion and repetition of one full presentation and subsequent manipulation of the Chester chorale, lines 1 through 4. This table may be used as a guide for any conductor preparing the movement, as awareness of structure and identification of motivic development is vital for interpretation.

Table 3.1: Movement I. George Washington Form

Primary Label Measures Description Voice “Marshall” accompaniment: harp glissandi, brass 16th Intro 1-8 Orchestra figuration Marshall harp glissandi, brass 16th figuration, 9-18 Orchestra interlude Chester line #1 fragments, septuplets 19-22 Vocal Octet Chester line #1 a cappella chorale quote A 23-26 Orchestra #1 melody layering strings; Yankee Doodle winds/brass 27-30 Choir Wash text on #1 w sus (+ harp, pitched perc, tuba solo) Marshall 31-39 Orchestra Same minus one measure 40-43 Vocal Octet Chester #2 a cappella chorale quote B 44-47 Orchestra #2 melody layering strings; Yankee Doodle winds/brass 48-51 Choir Wash text on #2 w sus (+ harp, pitched perc, tuba solo) Marshall 52-60 Orchestra Same minus one measure 61-64 Vocal Octet Chester #3 a cappella chorale quote C 65-68 Orchestra #3 melody layering strings; Yankee Doodle winds/brass 69-72 Choir Wash text on #3 w sus (+ harp, pitched perc, tuba solo) 73-76 Vocal Octet Chester #4 a cappella chorale quote D 77-80 Orchestra #4 melody layering strings; Yankee Doodle winds/brass 81-84 Choir Wash text on #3 dec cad (+ harp, pitched perc, tuba solo)

19 Primary Label Measures Description Voice Chester #4 fragments winds/brass, Chester #1 fragments Choir and Coda 85-96 strings, Orchestra Choir Wash text “fathers” extended dec cadence

Throughout the movement, Daugherty quotes Billings’ tune almost verbatim, but changes

the key of the movement from the original F Major to E Major and exchanges the soprano and

tenor lines. In early Anglo-American psalmody, the convention was to set the melody in the

tenor voice, but Daugherty revoices Billing’s original such that the melody now resides in the

soprano, as in traditional European hymnody.32 Since the ensuing orchestral music always

borrows melodic fragments of each respective Chester line, perhaps Daugherty makes this

choice to ensure the primary vocal melody of Chester is heard more prominently, increasing the

likelihood audience members notice his motivic writing. A conductor preparing the vocal octet

may wish to explain this to the group so they understand the importance of the melody line and thus ensure that it is presented prominently in performance.

Example 3.2 displays one of the Chester sequences. As indicated by the blue box and

arrows, an studious conductor will notice how Daugherty reuses and manipulates the soprano

Chester melody in the string section, each part entering in exact imitation before deviating to

create cadential motion into the tutti choral entrance at m. 81. Another patriotic anthem sounds

against this Chester counterpoint, as Yankee Doodle enters hazily in the winds and horns

simultaneously, again with imitative treatment (red arrows).

32 Crawford, Richard and David P. McKay. “The Performance of William Billings’ Music.”Journal of Research in Music Education. 21, no. 4 (1973): 319.

20 Example 3.2: Chester Sequence D

21

22 Though they occur simultaneously and are both marked piano, I would argue that Daugherty

intends for Yankee Doodle to take prominence here, since it is a full two bars of quoted material

set against Chester motivic fragments that are commonplace throughout the movement. As a

result, I recommend that a conductor preparing the piece ensure that the strings shown in

Example 3.2 (and other identical instances) do not creates a dual image of our first president. He

paints two contrasting pictures – on the one hand a galvanizing hero and on the other, a tired,

reluctant leader. The heroic Washington is portrayed in the rousing orchestral ritornellos, the

nationalistic text of Chester, and the biting vocal tone of the vocal octet. By contrast, the full

choir offers a more introspective, personal side of Washington, one that wishes for retreat from

the stresses of public life. Exploring this dichotomy provides an aesthetic explanation for the

somewhat stilted, quirky nature of the first movement and provides a conductor with important

interpretive information as he/she prepares the work.

The opening bars begin with “breathtaking power,”33 presenting a double statement of a

bombastic orchestral interlude which returns twice more later in the movement. I have named this recurring section the Marshall interlude; it can be found in Example 3.3. I have not shown

the first eight bars, which introduce the background elements comprised of repetitive brass 16th

note figures (on similar cluster harmonies as in the Chester sequences), harp glissandi, and a

forte pedal I6/4 chord in the organ and bass instruments of each section. At letter ‘A’ these components repeat and act as accompaniment to the strings and high woodwinds who play a variation of Chester’s first line melody in parallel octaves (highlighted in the example by a blue box).

33 Morgan, Dan. "Review: Michael Daugherty Mount Rushmore." Review of Michael Daugherty Mount Rushmore Naxos CD. August 13, 2013. http://www.musicweb-international.com

23 Example 3.3: Marshall Interlude

24 25 This variation presents the melody verbatim but repeats the final la-do-ti-la three times before

arriving at the B♮ dominant in m. 14, creating an effect much like a music-box stuck in a loop.

Indicated by the blue box highlighting a lone B♮, the end of the Chester melody is thus delayed

three bars, creating a sense ofanticipation for its completion. As it becomes more familiar

throughout the movement, this wind-up before the arrival of the final pitch will provide an

energetic, forward momentum to the section if prepared and conducted with this in mind. During

the second half of the interlude (m. 14) the trombones repeat a similar variation using the same

looping effect amidst furious ascending septuplets in the strings and high winds. Simultaneously

the brass figuration drops out and the organ moves to the dominant, which cadences when the

vocal octet enters at m.19. The first five bars of the interlude are thus heard retroactively as a

cadential 6/4 resolving to the dominant at the moment the Chester melody releases from the

“loop” and lands on its final pitch at m. 14. Anyone who conducts or rehearses these Marshall

interludes must be aware of the expressive implications of the harmony and the Chester “wind-

up” or “loop.” Though no crescendo is written in bars 11-13, Daugherty’s harmonic and motivic

construction implies that each subsequent bar should grow in energy and arrive with the most

force at the downbeat of m. 14. \

Each repetition of the Marshall interlude races to its apex and launches the subsequent

line of Chester presented by the vocal octet. In the score above the vocalists, Daugherty writes

“shape-note singing: very bright, forward sounding, straight-tone, as found in Appalachian

choirs.” The aesthetic impact of this direction is twofold: first, the raw, piercing quality of the

shape-note singing has a sonic effect in that it maintains the driving energy generated by the

preceding interlude. Second, the inclusion of the shape-note style has an historical, allusive impact because of its “period” quality. With this stylistic choice, Daugherty cements the

26 symbolic nature of Chester in his opening movement: its musical construction, the shape-note style in which it was sung, and its text are all a reflection of the nationalistic sentiments of the time and by extension, the early American icon, George Washington. Modern-day shape-note singing has its roots in colonial New England and the tune Chester would likely have been sung in this untrained, folksy manner. Billings was an itinerant singing master, a self-taught traveling salesman of music lessons and tune books. He had little grounding in current European practice of voice-leading and counterpoint. However, Billings’ “unrefined” music and the rough-hewn shape-note vocal style dominated congregational singing until the 1830s when musical leaders such as Lowell Mason in Boston began advocating for a more cosmopolitan, Euro-centric elegance. The musical construction and the shape-note vocal style of Chester stand in opposition to European musical tradition; they are distinctly American. The text, shown below, only drives this point home, expressing the negative public sentiment surrounding the rule of England over the colonies prior to the outbreak of the Revolutionary War.

Let tyrants shake their iron rod, And slav’ry clank her galling chains, We’ll fear them not; we trust in God, New England’s God forever reigns. (William Billings, Chester)

The king of England and parliament are “tyrants” and “slav’ry” suggests Billings’ poor opinion of England’s rule. According to Billings, God was New England’s - he was “on our side.”34 Daugherty’s presentation of Chester offers multi-faceted symbolism of the American

Revolutionary War and its hero, George Washington. Understanding the rebellious historical

context behind this text, Billings’ distinctive American compositional style, and the native

34 Armenta, Joshua. 2011. “Colonial Nationalism in the Music of William Billings.” Choral Journal 52 (3): 7–14. https://libproxy.library.unt.edu

27 origins of shape-note singing assists a conductor in preparing the vocal octet to perform with

more authenticity and expression.

As noted previously, the movement also portrays a more introspective, intimate look at

Washington the individual, rather than the public persona. Daugherty comments on the research

he conducted to prepare for the composition:

First of all with George Washington there’s very little because many of his letters were burned by his wife after his death. I don’t know why she did that…maybe he professed that they were personal. So he’s kind of a mysterious guy - we don’t know much about him. He was sort of like Wyatt Earp in that Wyatt Earp was never hit by a bullet. He went through the OK Corral and went through all these fights and never got a scratch. Same thing with George Washington. He was in the French-Indian War and a lot of his fellow officers were killed by the Indians and he was like a Greek God, he was never hit by an arrow, a tomahawk, a bullet…so he was this legendary figure. We only know of him from the pictures when he was an old man, but when he was young he was almost like one of the Greek Gods, who am I thinking of, Ulysses…invincible, you know. That’s why people followed him because if you went with Washington, nothing was going to happen to you. But again, he was a mysterious person, so I decided on…you know, he did long his whole life, he just wanted to be at home, in his famous garden.

Despite a dearth of source material, Daugherty identifies a significant letter from which to pull text for his Washington movement. After nine years of public service and war, Washington’s letter to the Marquis de Lafayette comes just over two months after the last of the British forces

departed America, revealing a man seeking peace and rest, not fame and glory. Daugherty uses

the single sentence: “I will move gently down the stream of life, until I sleep with my Fathers” to

underscore Washington’s exhaustion, his desire for repose. A larger portion of Washington’s

letter provides the full context of Daugherty’s text selection:

At length my Dear Marquis I am become a private citizen on the banks of the Potomac, and under the shadow of my own Vine and my own Fig-tree, free from the bustle of a camp and the busy scenes of public life, I am solacing myself with those tranquil enjoyments, of which the Soldier who is ever in pursuit of fame, the Statesman whose watchful days and sleepless nights are spent in devising schemes to promote the welfare of his own, perhaps the ruin of other countries, as if this globe was insufficient for us all, and the Courtier who is always watching the countenance of his Prince, in hopes of catching a gracious smile, can have very little conception. I am not only retired from all

28 public employments, but I am retiring within myself; and shall be able to view the solitary walk, and tread the paths of private life with heartfelt satisfaction. Envious of none, I am determined to be pleased with all; and this my dear friend, being the order for my march, I will move gently down the stream of life, until I sleep with my Fathers.35

Of course, little did Washington know he would be asked to assume the presidency a year later, a

role he was famously reluctant to play. Daugherty expresses the simple, domestic hopes of

Washington by presenting the final sentence of the preceding quote always at a piano dynamic,

with performance directions “non vibrato, warm tone.” Instead of the snappy 2/4 of the vocal

octet, the Chester chorale is placed in 4/4 in the full choir and given an espressivo marking (see

Example 3.2 for one instance). In preparing the work, it will be useful to offer this historical

context to the full ensemble, further clarifying the choir’s dramatic role in contrast to the vocal

octet.

The orchestra also contributes to the musical-textual narrative that Daugherty constructs.

In addition to the Marshall interludes, the transitions to and away from Washington’s words

(shown in Example 3.2) seem to further allude to the public vs private dichotomy noted thus far.

A slow, soft, melancholy Yankee Doodle directly precedes Washington’s text, a somewhat

unusual parody given the tunes’ typical jaunty, nationalistic underpinnings. Furthermore,

Washington’s piano desire for rest is interrupted immediately by the subito fortissimo of the

Marshall interlude. The contrast is jarring. With a subtle Yankee Doodle on one side and the driving brass and marcato timpani on the other, the choral music expressing Washington’s plan for a restful retreat seems always crowded by musical demands or reminders of his duty. When the choir offers Washington’s hope for rest, the accompanying clusters in the harp and glock/vibes seem to contribute a lingering doubt that his request will be granted.The music – or

35 "George Washington Letter." George Washington to The Marquis De Lafayette. February 1, 1784. In Founders Online. Accessed January 4, 2019.

29 perhaps the American public - refuses to allow Washington his peace. The pacing of the

movement is defined by this back and forth action, portraying a somewhat split personality of

public duty and private fatigue. A particularly striking support for this interpretation occurs at m.

73, when instead of following his typical structure, Daugherty offers a small surprise by skipping

his Marshall interlude and placing the final shape-note Chester line directly following

Washington’s words. The American people represented by the folksy shape-note singers offer an immediate reply to Washington’s plea for rest. His work is not done – he will be needed again.

The final statement of Washington’s text ends on a deceptive cadence at m. 84 (see green box in

Example 3.2), evading a sense of conclusion and again providing narrative support for this “dual image” interpretation. The coda expands the cadence, continuing with repeated 9-8 suspensions as the choir sings “sleep with my fathers” amidst fragments of Chester floating in the strings and woodwinds. Washington’s sleep does not seem particularly conclusive or restful. The movement ends in this C♯ minor deceptive tonality, never returning to the home key of E major as expected.

Whether or not a conductor reaches a similar interpretation, the process of connecting the historical context of these texts with Daugherty’s music offers important implications for performance. A conductor preparing the first movement of Mount Rushmore may want to offer this information to the chorus to further motivate text inflection and visual presentation of the movement. Understanding the historical context of Chester set against Washington’s words, combined with Daugherty’s evocative orchestral accompaniment allows the vocalists - and even the instrumentalists to some extent - to fashion a dramatic subtext which informs their visual and musical performance. Daugherty’s choice to highlight Washington’s desire for respite is important, since it is Washington’s disinterest in personal glory that likely first informed his decision to give up military power and then to step down from the presidency after two terms,

30 choices which George III of England famously pronounced made Washington the “greatest character of the age.”36 According to Ron Chernow, in his Pulitzer Prize winning biography, one of Washington’s greatest accomplishments was showing a “disbelieving world that republican government could prosper without being spineless or disorderly or reverting to authoritarian rule.

In surrendering the presidency after two terms and overseeing a smooth transition of power,

Washington had demonstrated that the president was merely the servant of the people.”37 The marriage of text and music in Daugherty’s movement highlights this important aspect of our first president. An ensemble performing without this historical context might be successful based on the musical novelty of Daugherty’s writing, the unique timbre of shape-note singing, and his quoted material, but with a fuller understanding of the contrast between Chester and

Washington’s letter, the conductor can interpret the music to highlight this struggle that

Washington experienced, and the singers can enter into the dramatic character of the work with more authenticity.

36 Ron Chernow. Washington: A Life. New York: Penguin Books, 2010, 757. 37 Ibid., 770.

31 CHAPTER 4

MOVEMENT II. THOMAS JEFFERSON

Thomas Jefferson, the third President of America, was a brilliant political writer and also an accomplished violinist, who wrote that “Music is the passion of my soul.” As the American Minister to France (1785-89), the recently widowed Jefferson met Maria Cosway in Paris, and fell in love with this young, charismatic, Anglo-Italian society hostess, musician, and composer of salon music. The second movement of my composition intertwines a love song composed by Cosway for Jefferson (Ogni Dolce Aura) together with a love letter composed by Jefferson for Cosway (“Dialogue of the Head vs. the Heart”) and key fragments from Jefferson’s “Declaration of Independence.”38

Daugherty assembles the text of the second movement from four different sources. A natural selection is the Declaration of Independence, for which Jefferson is well-known as the

principal author. Daugherty includes key words and phrases from the Declaration as well as from

two of Jefferson’s personal letters. The musical and textual centerpiece of the movement is an

Italian art song written for Jefferson by Italian-British artist and socialite, Maria Cosway. Similar to Chester in the opening, a conductor should seek to highlight Cosway’s Ogni Dolce Aura

melody and the motives contained therein as Daugherty scatters them throughout the movement.

Studying the original art song and the Mount Rushmore parody, shown in Examples 4.1 and 4.2

respectively, reveals how Daugherty constructs this Cosway theme from selected portions of the

original art song (highlighted by blue boxes) and alters the harmonies to fit the relative G

minor.39 The result is a dissonant, darker quality which to some modern listeners may match the

text more closely than Cosway’s sentimental, classical-era original:

Ogni dolce Aura che spira Each sweet breeze that blows par che dica ecco il mio ben Seems to say, “Behold my beloved.” l’alma in sen d’amor sospira The soul in the breast of love sighs. qua l’attendo e mai non vien Here I await but my love never comes

38 Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009. 39 Note: Example 4.2 from the Boosey and Hawkes choral score contains an error on the downbeat in the soprano; the pitch should be D5, not C5.

32 Example 4.1: Ogni Dolce Aura by Maria Cosway

Example 4.2: Daugherty Cosway Theme

33 The first large section of the movement– labelled ‘A’ in Table 4.1 – contains a number of

partial statements of Daugherty’s Cosway theme. This table may be used as a formal guide for

any conductor preparing the work, as awareness of structure and identification of motivic

development is essential for interpretation. It is important to note that throughout the entire movement, a full statement of Cosway melody as shown in Example 4.2 never occurs, imbuing the theme with a perpetually inconclusive quality.

Table 4.1: Movement II. Jefferson Form Key, Primary Label Tempo, Measures Description Voice Dynamic Cosway theme solo violin/strings, bowed perc 1-8 Strings interruption x1 Cosway theme on text, bowed perc interruption x2, 9-19 SA G min, Slow, violin countermelody A p  mp TB ‘Head-Heart-Music’ motives interrupt Treble 20-36 Choir Cosway with echo in winds/violins All on repeating HHM motives, 37-44 Choir words change to “Declaration” Driving string arpeggiations over pulsing pedal; mixed 45-64 Orchestra meter fragments of La Marseilleise and Star-Spangled Banner A min, Fast, Almost exact repeat in orch; B 65-80 Choir f  ff add choral interjections of Declaration text Stretto in orch with SS Banner fragments and 81-106 Tutti choral pedal on Fmaj7 , first sustained “Declaration” then marcato outbursts Tempo & dynamic reduced, HHM motives/text in A 107-112 TB A min to min A’ B min, Slow, SA & Return of Cosway theme in B min, pp  mp 113-120 Violins violins echo treble voices Open G sonority dirge + La Marseilleise fragments + G min, Slow, Cosway fragments + intonations on Declaration text + Coda 121-137 Tutti p  pp HHM motives; concludes al niente with repeating HHM motives Beginning immediately with the opening statement in the solo violin, static, half-step

tone clusters consistently disrupt the melody, creating a somewhat stilted opening impression

enhanced by various ominous effects, such as tremolo and sul ponticello in the strings, flutter

34 tongue in the winds, and bowed vibraphone and cymbals. These interruptive tone clusters consist of D and Eb at various octaves throughout the orchestra and always with D in the bass, the dominant of this section’s G minor (sometimes aeolian) tonality. The static interruptions pose an expressive challenge for the chorus, as melodic movement ceases seemingly at random and begins anew with the next phrase of the Cosway theme. Aided by assured conducting gesture and rehearsal preparation, the ensemble must reenter into the Cosway melody just as though it had never stopped. At m. 20, the tenors and basses then offer a similarly static, tri-tone motive on the text fragment “my Head, my Heart” from Jefferson’s love-letter to Cosway known by historians as a “Dialogue between the Head and Heart.” This chromatic Head-Heart motive oscillates between the same pitches, Eb and D, and alternates rhythmically with the same instrumental tone clusters, though now with an added 16th note flourish in the viola lifted from the Cosway melody.

Daugherty follows with a second dissonant motive in the bass clef voices, centered around Eb and D but set on a text fragment from a different letter, the simple phrase “Music is the passion of my soul.” The messa di voce marking over this motive, a stepwise ascent to F4 in the tenor, requires refined breath control and a lyrical approach. As such, it may require extra rehearsal attention from the conductor. At first these static instrumental tone clusters and Head-Heart-

Music (HHM) motives cause only fleeting disruptions to the lyrical Cosway theme and the poignant countermelody in the violins. However, eventually the more haunting HHM motives and the instrumental tone-clusters take over completely (m. 37) and the single word

“Declaration” appears homophonically in the choir. Daugherty adds further dissonance to the pitch content of the aforementioned ‘Music’ motive, repeating “Declaration” three times as the tessitura rises, launching the listener into the more extroverted ‘B’ section at m. 45. In this

35 dramatic transition, choristers must be careful not to obscure the pitch with unneeded vibrato so

that the unique tone colors of each cluster may be heard clearly.

The ‘B’ section possesses a driving, minimalist orchestral texture characterized by

ostinato 16th-note arpeggiations in the violins and high woodwinds, pedal 8th notes in all bass

instruments, and mixed-meter fragments of the French and American national anthems scattered

throughout the rest of the orchestra, most noticeably in the brass. The harmony shifts to A minor,

though Daugherty also hints at phrygian and dorian with occasional Bb and F♯ accidentals

respectively. At m. 65, the orchestral texture maintains an almost identical chord repetition

scheme as the previous twenty bars, while the chorus offers single words from the Declaration of

Independence in a homophonic, declamatory style: Tyranny, Liberty, Slavery, Necessity, and

Justice. At m. 81 the choir then assimilates into the minimalist texture with its own long pedal on

the titular phrase “Declaration of Independence,” followed by short, piercing articulations on

same words, repeated three times over. The motorythms surge forward, crescendoing to

fortissimo; a single violin emerges with a half-step trill between E & F♮. These two pitches

represent the fifth and sixth scale degrees of A minor, forming the same intervallic relationship between the tonic and the tone clusters of the opening ‘A’ section, which sets up a return to the

HHM motives. The chorus’ role in the ‘B’ section is dramatic, but rather straightforward, while the orchestra performs the heavy lifting. The rapid ostinato patterns must maintain consistent tempo, particularly considering the perpetual voice exchange Daugherty writes between the two violin parts and the piccolo and flute respectively. A perceptive conductor will be aware of the harmonic stasis from m. 81-106 that contains only an F Major7 chord and will thus treat the

pacing with care to ensure that monotony does not set in. The ensemble as a whole should strive

to maintain and increase energy near the conclusion of the section.

36 Example 4.3: La Marseilleise

37 Example 4.4: Star-Spangled Banner

38 As the return of the ‘A’ section begins at m. 107, we hear the opening HHM motives

stated verbatim in the tenor and bass, but up a full step to align with the established A minor

(Examples 4.5 and 4.6 display a reduction of mm. 107-123 for reference). The orchestral texture is more spare, with the lower strings tacit, but the harmony underlying the HHM motives remains consistent. The expected ‘recapitulation’ of the Cosway theme follows at m. 113, though with an harmonic alteration. In the opening ‘exposition,’ the harmonic relationship between the interruptive HHM motives and the Cosway theme can be described as an v-i in G aeolian.

Having experienced this harmonic progression previously, a listener might expect the return of

the Cosway theme to follow the same pattern in the new key of A, with the E chord at m. 112

interpreted as dominant, moving to a tonic A minor in m. 113. Daugherty instead shifts the key

up another step to B min, which in retrospect can be heard as having a Plagal iv-i relationship

(highlighted with blue boxes in Example 4.3). This surprising harmonic variation, the spare

texture of treble voices and strings, the echoing countermelody in the violins, and the high,

ethereal tessitura makes the return of the Cosway theme particularly compelling. Furthermore, it

is the most complete statement of the theme since the first measure of the movement. Yet, again

towards the end of the phrase we see that Daugherty avoids the traditional authentic cadence

indicated by Cosway in her original art song. He does not interrupt the theme or move to the

deceptive VI as in the opening section (see Example 4.2 on the word ‘ben’) and neither does he

repeat the melody in a final, more dramatic rendering – perhaps with fuller orchestration,

dynamic, or added harmonies – as many recapitulations might. Instead he shifts to a distant key

area in a hallow, low tessitura, by way of an altered common-chord modulation (shown in the orange boxes in Example 4.6), moving straight into the coda. Rather than F♯ major dominant to a

39 B minor tonic, Daugherty reinterprets the F♯ chord as VII, turning back to the original G tonality for the concluding section of the movement.

Example 4.5: Return of Cosway Theme

40 Example 4.6: Transition to Coda

In the coda, Daugherty comingles characteristics of both the ‘A’ and ‘B’ sections. From the opening, we hear the Head-Heart motive in both the treble voices and woodwinds, bowed percussion, and the the triplet figure excerpted from the Cosway theme in the bass clarinet and cello. This triplet motive may need the most attention from the conductor to ensure it is heard.

From the ‘B’ section, ostinatos return in the strings, harp, and timpani with some variation, the

41 Marseilleise fragments reoccur in the horns and viola, and the text fragments from the

Declaration of Independence return in the voices, doubled by the bassoon. The music fades to nothing on sul ponticello tremolos in the strings, alternating with the disconcerting HHM motives in the voices. From the solo violinist and harp, a unison pizzicato stroke concludes the movement.

In this second movement of Mount Rushmore, the music, text, and related historical context interact to create various layers of semiotic meaning. Understanding this interaction may allow a conductor to make more informed, effective musical decisions and could help motivate a more authentic performance from both orchestra and chorus. Thus, an examination of the historical context implied by the use of Maria Cosway’s art song, Jefferson’s “Head and Heart” letter to her, and the Declaration text allows one to recognize the expressive significance of their treatment in the movement, both in isolation and as a group.

Jefferson’s historical legacy rests on his leadership at the Continental Congress of 1776 during which he penned the original draft of the Declaration of Independence. His fame lies not only in his brilliance as a political writer and the creation of the Declaration amidst the drama of

American Revolution, but on the philosophy of the memorable sentence “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable rights, that among these are life, liberty and the pursuit of happiness.” With this iconic statement, Jefferson coined an American conception of freedom which would become a social and political touchstone for generations to come.

Even though the content of the idea has changed in several expensive ways since Jefferson’s time, what has not changed, and what remains a truly powerful Jeffersonian legacy, is the format within which all considerations of personal freedom are framed. Alone among the influential political thinkers of the revolutionary generation, Jefferson

42 began with the assumption of individual sovereignty, then attempted to develop prescriptions for government ...40

Since their inception, Jefferson’s words have been interpreted and adopted by Americans from

most every social, religious, and political persuasion. The meaning of this iconic phrase from the

Declaration thus contains personal significance for every individual. However, when placed in

historical context, the original meaning is somewhat more clear. Jefferson framed his notion of

freedom in terms of the individual, offering Americans a vision of themselves that privileges

personal agency before communal responsibility.

Jefferson’s own conception of individual freedom was more restricted than modern-day notions. His vision was essentially negative: freedom from encroachments by either church or state. It was all a piece with his antigovernment ethos and therefore incompatible with our contemporary conviction about personal entitlements, whether it be for a decent standard of living, a comfortable retirement or adequate health care, all of which depend on precisely the kind of government sponsorship he would have found intrusive. His was the freedom to be left alone, which has more in common with twentieth-century claims to privacy rights than more aggressive claims to political or economic power. He really had little to say about the positive ways that Americans should use their individual freedom, though the nineteenth-century scramble for wealth, then the twentieth-century pursuit of unprecedented levels of consumption, would surely have left him disappointed in his fellowman.41

The Bill of Rights, the First Amendment, an emphasis on state over federal power, and limited

government are important outgrowths of Jeffersonian thought.

The ‘B’ section of the movement pays homage to the pivotal role Jefferson played in the

formation of the early United States as the author of the Declaration of Independence. The

driving minimalist texture emphasizes the struggle of the Revolution, the sense of energy and

action which the moment required of Jefferson. Daugherty’s selection of words such as Tyranny,

Liberty, Slavery, Necessity, and Justice similarly imply the strong desires of the time, the

40 Ellis, Joseph J. 1998. American Sphinx: The Character of Thomas Jefferson. Knopf Doubleday Publishing Group. Kindle Edition. Epilogue. 41 Ibid., Epilogue.

43 patriotic feelings, the stimuli that drove Jefferson and the founding fathers. Daugherty’s use of

La Marseilleise in alternation with the Star-Spangled Banner represents Jefferson’s time in

France and the Gallic affection he held throughout his life, contrasted by his consistent hostility towards all things British.

However, the majority of the movement paints a more mysterious image. Daugherty explains, “Thomas Jefferson was difficult [to write about]… he’s the most controversial of all the presidents because of his personal life…He’s a complicated guy.” Some historical context is helpful. The Declaration of Independence was ratified in 1776 when Jefferson was still a young man of 34. Over the course of the next forty years he would serve as Governor of Virginia,

Minister to France, Secretary of State, and two terms as President. Modern review of his accomplishments is mixed; after the Declaration, Jefferson’s legacy is seen as more problematic.

One complication was his personal indiscretions. In early fall of 1786 while in Paris as Minister to France, Jefferson’s friend, John Trumbull - artist of the famous canvas Declaration of

Independence - introduced him to the painter and socialite Mrs. Maria Hadfield Cosway. They

became enamored of each other immediately. Jefferson’s wife had passed four years earlier so

biographers observe that Jefferson may have been open to female companionship at this time.

However, Maria was a married woman, so the risk to Jefferson’s reputation was significant. The authoritative Jefferson biographer Dumas Malone offers a vivid description of their relationship:

…Then began an adventure such as Jefferson had certainly not expected, in a late summer which was amazingly like spring. To put it somewhat differently, [Jefferson]…still a vigorous man at forty-three…a generally philosophical gentleman, hungrier for beauty and a woman than he realized, was quite swept off his supposedly well-planted feet…Then twenty-seven years old, she had a slim figure and graceful carriage, and her small head was crowned with a mass of curly golden hair. Though of an English family she had been born in Italy, where she had studied art and music. She spoke a melange of languages and liked Italian best…Maria sang, played the harp and pianoforte, composed music for songs…Such a battery of charms Jefferson was peculiarly unfitted to withstand. Feeling deliciously at home in such company, this

44 normally punctilious man conspired with the others so that they might spend the rest of the day together, even though this involved the shattering of engagements on all hands…In the month that followed he saw or heard something beautiful with her almost every day.42

Surviving records do not offer conclusive proof of physical intimacy, though as Malone points out and Jefferson himself noted, the norms of Parisian society would have condoned such behavior.43 Being so far from home and a recent widower, it seems likely that the relationship extended beyond friendship, but ultimately the details are unclear.

Yet we can be certain about Jefferson’s feelings, which he offered in various letters more openly than ever before – he was clearly in love with Maria, a feeling she reciprocated. Being a married woman, her trip to Paris soon came to an end when her husband’s business concluded; she was compelled to return home to London in early October. The same day as their parting,

Jefferson composed his famous “Dialogue of the Head and Heart,” an elaborate, highly sentimental letter to Cosway in which Jefferson personifies the two conflicting sides of his nature, his love for Maria, but his reasoned conclusion as to the folly of their relationship.

Malone offers a lengthy but important insight regarding the significance of Jefferson’s letter:

… this dialogue was his explanation of his conduct, his apologia. The dichotomy of nature which he now revealed and so elaborately described, the struggle which had been going on within his breast during these delightful and disturbing days, was not so simple as that between virtue and vice, between chastity and amorous temptation…He weighed the balance between intelligence and the emotions, between reasoned conduct and spontaneity. Himself a man of deeply serious purposes who generally pursued the even tenor of his way, he had been spontaneous to the point of rashness. He was aware of his deep infatuation, and well knew that no permanent satisfaction could ever come out of it. His conduct had been thoroughly irrational and the experience had been profoundly disturbing. He had let himself go, and later actions showed that he did not intend to do so again. Yet he gave no sign of regretting his delicious adventure in irrationality…The experience had been costly, but he did not blame Maria for his psychological upheaval. The joy had been worth the price, and his "folly" had revealed to him anew the limitations of sheer intelligence. His very arguing of the case made him sound cold-

42 Malone, Dumas. 1948. Jefferson and his time, vol. 2, The Rights of Man. Boston: Little, Brown. 70-71. 43 Ibid., 72.

45 blooded, but the most significant conclusion that emerges from the dialogue is that this highly intellectual man recognized in human life the superior claims of sentiment over reason.

Despite his contention that the brief relationship had been worth the pain of parting, Jefferson

understood it could not continue. He never saw Cosway again. He continued to write her, but his

letters took on a restrained, decidedly middle-aged tone. ‘Reason’ had regained control.

The Cosway episode is just one example of the contradictions - the conflicts between

‘head’ and ‘heart,’ between intellect and emotion - which were ever-present throughout

Jefferson’s life, both public and private. The subject of finance is another example. Perhaps

Jefferson’s highest priority as president was the retirement of national debt through austerity measures, while ironically he had amassed so much debt over his life that he eventually went bankrupt and was forced to sell off much of his estate. The case of the purchase of the Louisiana

Territory in 1803 reveals other contradictory impulses. Despite Jefferson’s long-standing commitment to limitations on executive power and representative government, he acted as a sort of “monarchical chief magistrate”44 in purchasing the land without Constitutional authority and appointed an aristocratic, nonrepresentative government in the region. Regarding his public personality, he was known to have a “paradoxical reputation as an extremely cool and serenely civil man of considerable grace who periodically unleased sudden torrents of anger and hostility on his enemies.”45

The issue of slavery was a particularly troubling example of Jefferson’s psychological

inconsistencies. It is well-known that the author of the phrase “We hold these truths to be self

evident, that all men are created equal…” lived most of his life surrounded by roughly 200

44 Ellis, Joseph J. 1998. American Sphinx: The Character of Thomas Jefferson. Knopf Doubleday Publishing Group. Kindle Edition. Ch. 4. 45 Ibid., Ch. 4.

46 slaves. He very publicly condemned and called for the abolishment of slavery, but procrastinated

whenever specific emancipation strategies were suggested. “If his position on slavery as a young

man merits a salute for its forthright and progressive character, his position as a mature man

invites skepticism for its self-serving paralysis and questionable integrity.”46 Furthermore, DNA

evidence uncovered in 1998 supports the long-rumoured sexual relations between Jefferson and

one of his slaves, Sally Hemings. This despite Jefferson’s written “suspicion” that people of

African descent were inferior to whites in mental aptitude and that racial integration was against

“the real distinctions that nature has made.”47 His dealings with Native-Americans were similar.

On the one hand, Jefferson wrote with poignant admiration about the Native American culture

and language and showed visible respect to their leaders in the public arena. However, as

President, he also began the American practice of Western deportation which would lead to the

Trail of Tears under Andrew Jackson and eventually the decimation of Native American

populations. Jefferson wrote:

In this way our settlements will gradually circumscribe and approach the Indians and they will in time either incorporate with us as citizens of the United States or remove beyond the Mississippi. The former is certainly the termination of their history most happy for themselves, but, in the whole course of this, it is essential to cultivate their love. As to their fear, we presume that our strength and their weakness is now so visible that they must see we have only to shut our hand to crush them, and that all our liberalities to them proceed from motives of pure humanity only.48

These examples illustrate Jefferson’s “dichotomy of nature” (see Malone above), a

paradoxical quality that stands at the crux of Daugherty’s second movement. Use of Cosway’s

melody seems in some ways to represent the honest affection between Maria and Jefferson, yet

46 Ellis, Joseph J. 1998. American Sphinx: The Character of Thomas Jefferson. Knopf Doubleday Publishing Group. Kindle Edition. Ch. 3 47 Ibid., Ch. 3. 48 Jefferson to Governor William Henry Harrison, February 27, 1803, in The Writings of Thomas Jefferson, Andrew A. Lipscomb and Albert Ellery Bergh, eds., 20 vols. (Washington, D.C., 1905)

47 Daugherty abandons its classical simplicity and major key. Instead he adds contemporary triadic

extensions and uses the minor mode. Throughout the ‘A’ section the melody is constantly

disrupted by foreboding tone clusters, extended instrumental techniques, absent or deceptive

cadences, and the more explicit “My Head, My Heart” motives, perhaps representative of

Jefferson’s inner struggle between propriety and passion, between philosophical ideals and the practical realities of the moment as he saw them. In a recent interview Daugherty offered insight into his musical-historical thinking.

Deignan: You mentioned Jefferson’s contradictions. This must be related to the little motive you dwell on…the “my Head, my Heart.” It seems to refer to his relationship with Cosway, but does it…

Daugherty: Right, yes, but also his relationship with Sally Hemings too. Always grappling between the intellectual and the emotional, between what he thought was right morally and what he thought was right politically. He was constantly going back and forth on that. And he never really could reconcile those things, so that’s why…you know he had this complicated relationship with this woman in France and he had a complicated relationship with his slaves, you know. Like I said, today he is seen as the most complicated of all the presidents as far as his personal life.

Daugherty’s musical representation of this psychological complexity subsides somewhat

during the driving ‘B section, dwelling as it does on more laudable aspects of Jefferson’s legacy

such as the Declaration of Independence and his role as a leader of the Revolution. Noted

previously, the words Tyranny, Liberty, Slavery, Necessity, and Justice all seem to describe the

vitality, the activitist spirit of the period. However, Daugherty once again hints at Jefferson’s

complexity by selecting the word “slavery.” This word is not found in the Declaration approved

by the Continental Congress on July 4, 1776. Jefferson’s colleagues deleted a paragraph on the

subject from his initial draft. In the omitted passage, Jefferson had blamed King George III for:

1) establishing the “cruel” slave-trade in North America, 2) forbidding its abolition, and even 3)

encouraging slaves to rise up against their American owners. The paragraph was excluded for

48 various practical and political reasons, not the least of which was the obvious moral fiction

implied by absolving colonial Americans of complicity in the slave trade. Furthermore, Jefferson

had stopped short of proposing emancipation, suggesting only abolition of the trade, a proposal

popular with many Virginian plantation owners who did not want new arrivals to reduce the

value of their already substantial slave population.

While Daugherty’s use of the famous Declaration text seems inevitable for a movement

about its author, the composer’s more explicit reference to Jefferson’s troubled relationship with

slavery is significant. Scholars agree that Jefferson’s core belief against slavery was earnest

despite his passive embrace of plantation life at Monticello. As one author put it, Jefferson

seemed to possess a “psychological agility, a capacity to play hide-and-seek within himself” 49

that allowed him to hold a deep intellectual conviction while living in contradiction with its

principles. Daugherty again alludes to Jefferson’s human complexity, tempering any simplistic

perception of our third president as an archetypal national hero. To a casual listener the word

‘slavery’ might seem consistent with Daugherty’s selection of revolutionary action-words, but to

informed performers and alert audience members, this detail of text selection offers some insight

into his artistic intent.

I think with Jefferson too, I mean I couldn’t put my head in the sand, his personal life was the most controversial of all the presidents, for various issues of race and so forth…he never freed his slaves, Washington did, though Jefferson comes later…so, yes, he’s a complicated guy. The contradictions…you know, America is a country of many contradictions and certainly he in a sense personifies the contradictions that we see today about issues of race and how we look at them. He was unable to reconcile those in his personal life vs public life, he was unable to reconcile those and I think were still seeing lots of those issues today in our society.

49 Ellis, Joseph J. 1998. American Sphinx: The Character of Thomas Jefferson. Knopf Doubleday Publishing Group. Kindle Edition. Ch. 4.

49 Daugherty’s musical emphasis on Jefferson’s psychological turmoil continues with the

return of ‘A.’ The climax of the previous “Declaration” section is suspended quite suddenly by

the single violin tremolo leading into the Head-Heart-Music motives. This interruption is the most startling of the movement. The phrase “Declaration of Independence,” though repeated many times by the chorus, does not arrive with conclusive rhythmic or harmonic power. It is cut short by the HHM motives - Jefferson’s internal struggle between ideals and reality, intellect and emotion - followed by the previously described ethereal final statement of the Cosway

theme. The coda provides the final musical analogue to Jefferson’s - and perhaps as Daugherty suggests, America’s - contradictions. All motivic and thematic components are juxtaposed in a slow plod, some simultaneous and others in alternation: Cosway fragments, HHM motives, the

La Marseille fragment, the Declaration text, and motoristic arpeggiations in the strings. The hero on the nickel is no longer just a father of the Revolution or the symbol of American freedom.

Jefferson is a complex, flawed individual, as human as the rest of us.

50 CHAPTER 5

MOVEMENT III. THEODORE ROOSEVELT

The third movement is based on the words of America’s 26th President, Theodore Roosevelt, who was a great explorer of the uncharted wilderness. While President, Roosevelt created the National Park Service and successfully protected, against great opposition from commercial developers, over 234 million acres of natural plains, forests, rivers and mountain ranges of the American West. It was during his retreats into the barren Badlands of North Dakota (not far from Mount Rushmore) that Roosevelt, as a young man, realized that the “majestic beauty” of the American wilderness needed to be left “as it is” for future generations. I have composed music to suggest the robust and mystical sense of Roosevelt’s “delight in the hardy life of the open” and “the hidden spirit of the wilderness.”50

The text for the third movement comes from four sources: two monographs and a speech, all written by Theodore Roosevelt, and the hymn Rock of Ages, words by Augustus Toplady.

Selected quotes from Roosevelt’s book African Game Trails (1910) comprises the majority of

the text, followed by his speech given at the Grand Canyon on May 6, 1903. Daugherty rounds

out the assemblage of quotes with one fragment from Roosevelt’s Outdoor Pastimes of an

American Hunter (1905) and the first two lines of the popular Rock of Ages hymn. The complete text is reproduced below with indicators of origin.

50 Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009.

51

Example 5.1: Rock of Ages by Robert Hastings

Similar to the other movements of Mount Rushmore, Daugherty selects a pre-existing melody which he manipulates and fragments throughout, in this case the hymn, Rock of Ages.

The text was written by the Anglican minister, Augustus Toplady in 1763, and the tune was written in 1831 by Thomas Hastings, a singing teacher, church musician, and composer living in

52 New York City. Hastings’ Rock of Ages setting was released in Spiritual Songs for Social

Worship, a book of hymns compiled by Hastings and notable early-American music educator,

Lowell Mason. The original publication of the ABA hymn is included in Example 5.1. The Rock

of Ages tune appears immediately in the Roosevelt introduction and returns often throughout the

rest of the movement, as displayed in the formal analysis of Table 5.1. Daugherty always varies

the manner in which he presents the melody, so a conductor preparing the score may want to

mark its appearance to ensure the melody receives gestural attention. Two basic characteristics

remain consistent among Daugherty’s Rock of Ages quotes: first, he alters the dotted eighth-

sixteenth figure of the original, writing straight eighth notes instead, and second, he only selects

the ‘A’ melody, never the “Let the water…” ‘B’ portion shown in Example 5.1.

Table 5.1: Roosevelt Form

Primary Label Measures Meter Harmony Tempo Dynamic Description Voice

Start in timpani, additive voices  3 Rock of Ages fragments/full Intro 1-15 F maj Fast pp  f Orchestra 4 melody; ostinati; anvil strikes, horn glissandi

Alternating blocks: a cappella Mixed TB and A 16-47 F maj Fast f Roosevelt theme in TB / Rock of simple Orch Ages “fill” in Orch

Mixed Bb maj  Fast  Africa melody in SA/winds  4th B 48-69 f  ff Choir simple E phry Faster ascent in tutti choir/winds

B phry Same  Alternating blocks: a cappella Mixed ff  pp Choir and C 70-86 (VII7/A Slow  Choir “mystery” / Rock of Ages simple  f Orch trans) Faster variation in Orch

‘Melancholy charm’ clusters in 2 D 87-101 A lyd Slow p Choir Choir, Orch Amajadd9 chord (warm 2 brass)

G♯ min / Alternating sections: ‘Leave it’ 4 3 Choir E 102-139 Extensions- Fast f / ff passages in choir / Warning Calls 4 4 then Orch Polychords in Orch

53 Primary Label Measures Meter Harmony Tempo Dynamic Description Voice

4 ‘Ages at Work’ passage in choir F 140-151 Polychords Slower ff Choir 4 with short Warning Calls in Orch

Alternating blocks: SA Rock of Ages over TB Roosevelt theme / Mixed Choir and A’ 152-169 G maj Maestoso ff Rock of Ages in Orch + simple Orch a cappella Roosevelt tag, dec cadence

‘Children’ clusters in Choir, same 2 D’ 170-186 A dor Slow p Choir clusters in Orch over faint D pedal 2 (no brass)

Rock of Ages quotes throughout C♯ min/ 4 single alternation: ‘Leave it’ E’ 187-203 Extensions- Fast f  ff Choir 4 passage + a cappella tag / Warning Polychords Call in Orch

The movement opens in the timpani on an ostinato of the first subphrase “Rock of Ages

cleft for me” that repeats five times (shown in Example 5.2). The low voices of each section join

this ostinato in its third and fourth repetition, after which Daugherty introduces a sort of stutter in

the pattern, repeating the last Do-La-Sol motive once at bar 9 into 10 (highlighted with the blue

boxes) before returning to a final ostinato repetition of the full subphrase in all the

aforementioned voices. The rest of the strings and harp enter at measure 7 on the unison hymn

melody but offer a shorter ostinato comprised of the four-note “Rock of Ages” motive (orange

boxes). This repeats twice in ascending octaves before launching into the full statement of the

‘A’ melody at bar 10. The rest of the orchestra enters here with the high brass and high winds

joining the full melody and the low brass and low woodwinds joining the subphrase ostinato. Bar

10 is the precise moment where Daugherty had inserted the stutter in the ostinato, thereby

avoiding a momentary unison between those instruments on the full statement and those on the

repeating pattern. Throughout the first 12 bars, the anvil complements the various Rock of Ages

ostinati, struck first at two bar intervals and then every bar as the full orchestra enters.

54 Example 5.2: Roosevelt Introduction

55

56 A conductor’s gestural focus will likely reside with each subsequent ostinato entrance and stay with the main Rock of Ages melody in the high voices. A skilled musical leader may give a quick nod to the horns and viola as they offer the melody in rhythmic augmentation (green boxes), hidden in the background at m. 10.

The harmonic content of the introduction is formed by the repetition of the hymn’s first subphrase (“Rock of Ages, cleft for me”), which outlines tonic and dwells largely on the fifth scale degree, C. As a result, the introduction can be analyzed as a I6/4 chord that extends from the opening through bar 13. In this measure the full Rock of Ages melody concludes on the downbeat with the given leading tone motion from the original quote. However, the I6/4 chord persists. The authentic cadence is negated by the absence of a dominant sonority. Instead, Daugherty concludes the introduction in bars 13-15 with three consecutive half-cadences comprised of I6/4 - vi6/4 - V progressions (purple box). Each cadential progression repeats an octave lower, creating some loss of energy in the phrase; a perceptive conductor will avoid this pitfall with rehearsal and gestural intensity. Offering visual affirmation to the horn and harp glissandi will also provide bold reinforcement to each cadential arrival. Overall, the introduction is characterized by the disjointed layering of Rock motives, a novel use of the anvil and timpani, and an unstable 6/4 harmonic underpinning, all of which lend the opening a rough and somewhat wild affect.

At measure 16, the tenor and bass sections continue in this rowdy vein. They present

Daugherty’s Roosevelt theme, a catchy tune given the text “There is delight in the hardy life of the open” from Roosevelt’s memoir, African Game Trails. The theme’s aaba form is most commonly found in American popular song of the late 20s-60s, likely reflecting Daugherty’s background in jazz, funk, and rock. The driving syncopation of the rhythm reinforces this observation, while the mostly triadic harmonies have as much in common with a hymn such as

57 Rock of Ages (see the reduction in Example 5.3) as any rock anthem. Daugherty’s emphasis on

6/4 voicing continues in the vocal parts, which move in parallel triadic inversions almost

exclusively. Though written with the B1 and T2 parts doubled, University of Michigan Professor

emeritus and 2019-2020 Texas All-State conductor Dr. Jerry Blackstone suggests simple three

part divisi to balance the chords, particularly considering they are voiced rather low in the male

tessitura.51 Younger choirs will likely need some reminder of vocal technique (with an emphasis

on healthy resonance) to achieve the forte dynamic needed to maintain energy in the theme after the bombastic orchestral introduction.

Example 5.3: Roosevelt Theme

51 Blackstone, Jerry. “Texas All-State Repertoire Notes” Texas Music Educator’s Association. https://www.tmea.org/divisions-regions/vocal/audition-material

58 Daugherty employs Rock of Ages more explicitly throughout this ‘A’ section as well. He

inserts the Rock of Ages melody in between a cappella choral lines of the Roosevelt theme in lieu

of the traditional instrumental “fill” - a term used in jazz or rock to describe the brief

instrumental content that links a line of a tune to the next. After the first iteration of ‘a’ this Rock of Ages passage at bar 19 consists of a direct cut and paste of bars 9-13 with the melody in the high instruments of each family and the ostinato in the low. The same passage follows each iteration of ‘a’, though with the one at m. 27, Daugherty transposes the texture down a fourth to match the harmonic progression of the Roosevelt theme. The ‘b’ line, commonly referred to as the bridge in popular music, consists of two a cappella TB outbursts on the phraselets “forest and rivers” and “mountains and plains.” Each of these is answered by short “fills,” again containing a fragment of Rock, but with a new driving eighth-note figure in the low instruments, foreshadowing the texture of the upcoming ‘B’ section. From a performance perspective, the relative dynamics, tempo, and articulations between the bass clef voices and the orchestra must remain equal during this section. Most orchestras will produce significantly more volume than a choir; consequently, a conductor may want to emphasize articulation with the instruments, rather than the forte dynamic. The final repetition of the ‘a’ hook hesitates on a pensive deceptive harmony before the men snap out of the momentary reverie with a final, curt authentic cadence.

The orchestra bounds away on a final Rock of Ages passage, transitioning to the next section. The last repetition of the hook offers two challenges, one to the performers and one to the conductor.

First, the bass clef voices must be flexible enough to offer the rhythmic 6/4 chords with virility,

while approaching the deceptive cadence at m. 38 with significant breath control and impeccable

intonation to successfully perform the decrescendo and cluster sonority. Second, the subsequent

reignition of the tempo after the deceptive fermata poses a challenge from the conductor’s

59 perspective. Daugherty writes two beats of rest a tempo before the men move on, yet in the seminal recording of the work with Pacific Symphony, Carl St. Clair takes only one beat before continuing on with the decisive authentic cadence and subsequent ritornello. The answer for each conductor is likely context specific, but an awareness of this interpretive challenge beforehand seems helpful.

The novel relationship between the Roosevelt theme and the Rock of Ages “fills” requires some commentary. Simple alternating blocks might be just as suitable a description for

Daugherty’s procedure here, if it were not for the direct repetition and catchy “hook” quality of each ‘a’ line. Because each ‘a’ melody is essentially identical save for the final chord of the word “open,” they remain quite audibly connected despite the rambling, somewhat musically unrelated Rock of Ages fills. Furthermore, the Roosevelt theme - when pulled out of context, sung in direct succession and in a traditional 4/4 meter - functions as an appealing light rock or broadway tune on its own merit. On the other hand, there are significant differences between

Daugherty’s instrumental passages and a typical pop or rock fill. Normally, a fill would stay in the same meter as the tune, but in this instance the meter shifts from 4/4 in the vocal passage to

3/4 and 5/4 in the instrumental passage. Fills would typically create symmetry between the phrases based on multiples of 4 beats. In this case, the mixed meter plus the extra length of the

Rock of Ages passages creates phrase lengths of 26 beats for each ‘a,’ instead of the typical 16 or

32 beats. Lastly, the musical content of fills in jazz or rock generally either echoes the tune itself, or answers it conversationally, in some musically related fashion. In this case, the melodies of

Daugherty’s Roosevelt theme and the Rock of Ages tune differ considerably in that the former emphasizes square rhythms (on the beat), scale degree five, and leaps while the latter emphasizes syncopations, scale degree three, and mostly stepwise motion. Perhaps another somewhat

60 applicable categorization for Daugherty’s alternating blocks might be the improvisatory jazz

form of “trading fours,” but in a written-out, classical context. In the end, Daugherty’s structural conceit defies easy description. With this catchy, pop-influenced theme set in an unusual manner

he again strikes the delicate balance of the familiar and the surprising.

The next three sections (B, C, & D) together offer the another pithy statement from

African Game Trails: “There are no words that can tell the hidden spirit of the wilderness, | that

can reveal its mystery, | its melancholy, and its charm.” The ‘B’ section begins with a melody in

the treble voices and high winds, again comprised of harmonic planing but on first inversion

voicings in Bb major. I have labelled this melody Africa for its text source. Though the winds

play an accompanying role in doubling the texted voices, the presence of written-in crescendos in their parts (not in the voices) implies that the winds should rise above the texture at times. A new development is the pulsing, unison B♭ pedal in the string section and the low winds which had been introduced in passing in the ‘A’ section previously. The pedal and the parallel planing persist from mm. 48-60, causing an interesting harmonic interaction where the B♭ in the bass constantly colors the first inversion chords on top. The interplay between the eighth-note groupings in the accompaniment and the mixed meter lends a rhythmic vitality to the section, further reinforced by a bright clave and timpani pattern. All the accompanimental instruments should be careful to mind the highly specific expression markings present in their parts to avoid any sense of monotony. The Africa melody repeats as the tenors and basses enter in an echo at m.

52. Daugherty emphasizes the “hidden spirit” motive with 6-voice, parallel homophony and multiple repetitions. At bar 58, the entire texture ceases on a 5-beat rest, perhaps to underscore the unpredictability - the “hidden spirit” - of nature cited in the text. Though vocal vitality is

61 paramount in this section, intonation must be a priority as well, particularly between the tenors

and sopranos who move in parallel sevenths for six consecutive bars.

An unruly quality continues at m. 61 with a sudden tritone shift from B♭ major to E phrygian on the phrase “of the wilderness.” Daugherty presents an entirely unrelated texture that extends through m. 69, one with very different minimalist elements. On layered parallel seventh chords, the singers and horns repeat syncopated patterns punctuated by hits in the trumpets and xylophone. The rest of the orchestra (sans high winds) repeat incongruous, stepwise patterns of

E-F-G. These short ascending runs sometimes ascend to A and are often out of sync with the horns/voices. From an interprative perspective, emphasizing each return to the home pitch E in these accompanying voices may pay interesting polyrhythmic dividends. However, by m. 66, this metrical confusion subsides and the patterns unify on a common-time E-F-G-A ascent, with the voices and horns again in parallel seventh chords. Sung on the word “wilderness,” this tutti fourth ascent repeats three times, each at a louder dynamic, arriving at m. 70 with a terse but brash B minor chord in the orchestra.

Section ‘C’ opens with two of these short B minor strikes, in between which the choir begins the next clause of the sentence homophonically: “that can reveal its mystery…” They sing a cappella, in an undulating counterpoint between B minor and A minor triads. Daugherty follows with a new orchestral parody of Rock of Ages, varying the original hymn by setting it in

B phrygian, changing rhythms, and placing it on the downbeat instead of the original anacrusis.

He returns to a previous structural conceit by alternating the choir’s a cappella “mystery” figure with this Rock of Ages ‘block’ three times in succession. At m. 81, the choir shortens and quiets their repetition of “mystery” after which the final Rock iteration begins pianissimo and at roughly half the tempo. This ritornello poses a conducting and ensemble challenge as it slowly

62 accelerates back to the previous tempo. Built on a single G♯maj7 sonority, the orchestra pulses

forward with voice exchanges in the woodwinds/strings and a three hallow chords in the choir.

The passage accelerates and crescendos to a screeching halt, setting up the most significant shift

in texture encountered thus far.

Example 5.4: Africa Melody

In section ‘D,’ Daugherty presents a meditation on the phrase “…melancholy and its

charm.” He chooses an extremely slow tempo at 40 bpm and deliberately unravels the word

“melancholy” with one syllable per beat on a descending A lydian scale. The descent begins in

the first soprano starting on C♯, followed by the seven other voice parts in succession, doubled

by the harp. They each sustain a single scale degree, creating a pandiatonic cluster by the time

the bass two enters. Intonation is paramount in this section, necessitating a vocalism that

priveleges the fundamental over any coloristic vibrato. The scale occurs twice in a row, stating

the word “melancholy” four times. The first violin introduces an ascending version soon after the

choir begins, but instead of a direct repeat, the counter-scale simply continues upwards, arriving poignantly at bar 98 on a B6 to C♯6 appoggiatura overtop a warm, enveloping A major sonority in the orchestra. The choir repeats the pandiatonic cluster homophonically to finish the text

“…and its charm” as the A major chords repeat, settling on a fermata as the violin concludes the

63 ascent to E6. A skilled chorus will insert a gentle, yet decisive glottal stroke on the beginning of

the word “its” to ensure the text is understood.

This ethereal, transcendental moment is cut short by a minor third motive that emerges in the strings, introducing section ‘E.’ Due to its motoristic repetition, the eighth-note figure possesses a grating quality that matches the ensuing text from Roosevelt’s Grand Canyon

Speech: “Leave it as it is.” Daugherty passes the “Leave it” motive between the treble voices, bass clef voices, and strings such that the minor third repetition never ceases. The harmonies are consistent with this minimalist approach as well, alternating exclusively between G♯min5/3 and

E4/2 at the bass interval of a tritone. The pitch content of the motive shifts in the strings according

to the chord, but the choir part underscores the common tones between the sonorities, singing

mostly B and G♯. At m. 108, Daugherty deviates for the first time from the simple third motive

as the treble voices outline an E7 chord on the full sentence “Leave it as it is.” The bass clef voices maintain the previously established contrapuntal pattern, echoing the treble figure, but

Daugherty omits a beat from their measure. This causes a sort of metrical lurch into the next texture, an alarming passage that I have termed Warning Call.

Example 5.5: Warning Call

Here Daugherty takes his tendency for writing contrasting blocks of sound to an extreme.

The entire orchestra enters fortissimo, first in the bass instruments of each family on a long tone,

followed quickly by a menacing sonority heard most audibly in the upper range of the brass,

64 strings, and high woodwinds. All but the bass voices play a surging triplet figure that stands in

stark contrast with the robotic eighth notes of the “Leave it” motive. The harmonies of the

Warning Call do not fit cleanly within an analytical paradigm, but instead reflect Daugherty’s diverse background in jazz and modern classical music. Chord extensions, an essential jazz element, fuse with the related modernist technique of polychordal writing in which unrelated triads are superimposed. Displayed in Example 5.3, the most salient aspect of this particular

Warning Call passage is the ♯9 extension in the bass. For the first two bars of the passage,

Daugherty writes a B♭ major sonority in the aforementioned high voices overtop a C♯ in the bass, the raised 9th. He adds further dissonant color by underlaying a B major sonority in the

horns, bassoons, and clarinets. The second two bars repeat the texture but in 3/4 instead of 4/4,

transposed up a perfect fourth, and with the placement of the respective triads exchanged (i.e. the

♯9 chord is now voiced below, in the horns, etc., and the superimposed triad is in the high

voices). This shocking combination of harmonic, rhythmic, and metrical elements creates a

particularly threatening passage that distracts from the linear motion in the bass instruments.

Amongst all the sound and fury, a listener might fail to notice the Rock of Ages melody present

below.

The first Warning Call is only four bars in length, leading immediately into another

“Leave it” section at m. 114. Daugherty repeats previous material verbatim before developing

the “Leave it as it is” E7 outline into a contrapuntal, motoristic tapestry, under which the

contrabassoon, organ, and low strings descend by way of an ominous octatonic scale. The

orchestra drops out at m. 125 and the interwoven ostinatos reduce to pianissimo before building

to fortissimo as the octatonic scale returns. Another, longer Warning Call bursts forth at m.132,

this time built on a ♭13 extension in the bass and another superimposed triad. A long, gradual

65 ritardando drags the triplets to a forceful halt, punctuated by an eighth-note, accented strike in all

instruments at m. 140. With this brief sonority Daugherty introduces a new polychord that

supplies the source material for the final approach to the recapitulation. Here in section ‘F,’ he

7 7 juxtaposes Cmaj with Cmin , exploiting the half-step relationship between E♭ and E in the linear melodic content, while the B♭ and B dissonance colors the vertical accompaniment. The choir boldly proclaims “The ages at work,” arpeggiating down the polychord from G5 in the soprano, to alto, to tenor, to bass, alternating between Eb and E as they descend. Meanwhile, the horns, violas, and celli play Rock of Ages in augmentation. Two short Warning Calls from the orchestra interrupt this Ages at Work passage before the choir triumphs, crescendoing to the exuberant return of the Roosevelt theme. A practical performance note before continuing: the many

Warning Call ritornelli of this movement will likely require significant rehearsal attention to ensure accurate intonation in the orchestra and to balance the dense chord structures such that the complex sonorities sound with the most vivid harmonic colors possible.

Structurally, the recapitulation of ‘A’ unfolds in an almost identical fashion to its exposition in that the instrumental passages (fills) interrupt each line of the refrain while the

Roosevelt theme appears in the bass clef voices. However, Daugherty offers further embellishment by 1) setting the theme in a maestoso tempo and in a new key of G major, 2) doubling the men in the low winds and low strings, 3) adding a pedal D, and 4) expanding the ‘b’ line. For this ‘b’ bridge he now writes full 8-part voicing, three phraselets instead of the previous two, and new text: “Wonderful grandeur,” “Majestic beauty,” & “Natural wonder.” Furthermore,

Daugherty weaves the various elements of the movement together more completely than before.

He places a Rock of Ages descant in the high strings, high winds, and treble voices, fully texted for the first time. The augmented Rock quote from the introduction reappears in the horns.

66 7 Daugherty harmonizes the first interruptive Rock of Ages passage in a surprising B♭maj , which when compared with the home key of G major reveals another common-tone harmonic juxtaposition similar to previous sections, artfully emphasized by the pedal. Lastly, the Rock of

Ages passages contain the pulsing triplet figures derived from the Warning Calls. It is the challenge of a skilled conductor to balance the diversity of elements in this recapitulation, ensuring all can be heard by the audience.

Daugherty’s most significant departure occurs near the end of the Roosevelt theme.

Instead of concluding with the last repetition of ‘a’ as in the exposition, he moves the fermata earlier, onto the last phraselet “Natural wonder,” sustaining a IV7 of G. The final hook returns in the top three voices, a cappella, gently, and in a slow tempo. The bass voice returns on the same deceptive cadence sustained on a fermata at the end of the phrase. Instead of moving quickly back into tempo with a perfunctory authentic cadence as in the exposition, Daugherty repeats the descending, layered cluster previously labelled the ‘D’ section. This time he writes a falling scale on the words “Keep it for your children.” The ascending violin countersubject remains, but no deep tonic triad appears at the end of the scale to stabilize the key as in the first ‘D’ section.

Analytically, possible key areas are G major, A dorian, or D mixolydian; none seem conclusive.

The instrumental accompaniment mirrors the voices with floating pandiatonic clusters over a blinking D pedal. Impeccable diction, intonation, and ensemble balance are essential to the success of this poignant, transcendent passage.

A rapid timpani ostinato emerges from the stillness, hearkening to the opening bars.

However, the pitch material is not Rock of Ages, but the “Leave it” motive in a new C♯ minor.

Other bass instruments soon join the repeating minor third and the horns offer the Rock melody, again in augmentation. The voices enter and the entire ensemble surges forward on the strident,

67 tedious motive. Suddenly the instruments drop out and the voices finish the full Roosevelt quote

on weighty, marked quarter notes: “Leave it as it is.” Daugherty fills out the voicing and

introduces a piccardy third on the climactic C♯ chord, sung a cappella. The Warning Call suddenly resurfaces in a new form, a D major sonority in high voices, its 11th in the bass,

accompanied by an added Eb minor chord. Once again, this pungent sonority and pulsing triplets

obscure the C major Rock of Ages melody in the bass voices, a cacophonous effect made even

more bewildering by the bitonality of a simultaneous D major Rock melody placed in the strings.

This new addition to the Warning Call should be a focus of the conductor at this pivotal moment.

All sound ceases; the voices cry “Leave it!” Two accented eighth notes reiterate the final charge

in an open C-G sonority, accompanied by decisive strikes of the anvil.

Compared to the more convoluted musico-historical symbolism of Daugherty’s Jefferson

movement, the semiotics of the third movement are relatively more distinct. Without knowing

much about Theodore Roosevelt, the straight-forward yet consequential text offers a clear

message to the listener regarding admiration and respect for the natural world. The persuasive

intent of the Daugherty’s text grouping is quite evident and the accompanying musical

symbolism rather easily perceived. The overall rugged angularity of the movement pairs well

with imagery of untamed landscape and aligns with the core refrain “There is delight in the hardy

life of the open.” Musical examples abound – the wild quality of colliding ostinatos in the

introduction, the elemental earthiness of the timpani and anvil, the pop-rock simplicity of the

hook, the driving ‘B’ section, the pounding quality of the phrygian Rock section ‘C,’ the

numerous, somewhat inelegant transitions to unrelated key areas, use of dissonance to conjure

roughness, and the cacophonous Warning Calls are a few examples that may be offered to the

chorus and orchestra to help motive passionate performance outcomes. Daugherty communicates

68 text affect with specificity as well. At bar 58 he writes an abrupt measure of rest amongst driving

homophonic repetitions of “hidden spirit” of the wilderness. This startling silence pulls the listener in as if to suggest there may be something more to hear in nature if one listens closely.

Roosevelt’s blunt instruction to “Leave it” receives correspondingly direct treatment with the simple but insistent minor third motive. Daugherty paints the word “mystery” at m. 81 on a mystifying B tonality, omitting the third, but including the hallow fifth, the 7th, and an 11th. In

another strong rhetorical example, the phrase “…[its] melancholy and its charm” appears on an

ethereal A aydian cluster in section ‘D’ while the poignant sentiment “keep it for your children” hovers on an ineffable sonority at the return of ‘D,’ perhaps to reflect nature’s timeless significance. A studious conductor will identify more musico-rhetorical instances than these to share with the ensemble, further enhancing performance possibilities.

Examining Theodore Roosevelt’s life and legacy adds meaning to the music as well.

Roosevelt was known as a masculine figure, a man of action, a soldier, a hunter, and cowboy – a reputation that endures in the imagination of America to this day. His was not a cold, detached masculinity, however. According to Edmund Morris, Pulitzer Prize-winning biographer,

Roosevelt took an exuberant, masculine joy in life, riding his horse through Central Park “as though born in the saddle,” exercising with the energy of a teenager, waltzing all night long at society balls. Driving his four-in-hand [carriage] back home in the small hours of the morning, he rattled through the streets at such a rate that his grooms allegedly “fell out at the corners.” Such a combination of physical vitality and genuine love of humanity was rare indeed. His son called Theodore Senior “the best man I ever knew,” adding, “… but he was the only man of whom I was ever really afraid.”52

In a recent interview, Daugherty describes his manner of evoking Roosevelt’s vigorous spirit in

the third movement.

Daugherty: … [in] the third movement I was thinking like a Wagnerian drinking song with a bunch of guys, very masculine, testosterone…

52 Morris, Edmund. The Rise of Theodore Roosevelt. Random House Publishing Group. Kindle Edition. 5.

69 Deignan: Yes, which really goes with Teddy Roosevelt’s persona.

Daugherty: Yes! and also to feature the men…You know kind of like rugby, a bunch of guys, like a big drinking song, there is a campfire, cowboys, you know.

Daugherty chooses to depict the merriment, the camradarie of Roosevelt’s robust personality

paired with his outlook on conservation now celebrated in American popular imagination. These

are commendable attributes of Roosevelt’s legacy. However, a more fully human, 360 degree

examination of our 26th president reveals that Daugherty neglects to address some of Roosevelt’s

less desirable traits. For instance, many historians indict Roosevelt for warmongering tendencies

that undoubtedly arose from his penchant for machismo. He had a strong imperialist record

throughout his Presidency and believed in ‘might makes right.’ He once favored a war to seize

Canada from Britain, significantly expanded the United States navy, and annexed Hawaii, the

Phillipines, and Puerto Rico.53 “He believed that nature was read in tooth and claw, and political

nature as well. Only the sentimental flinched from that fact. It gave him an unpleasant

dimension, which, after the century of war the 1900s became, should cause us to look back on

Theodore Roosevelt with dry eyes.”54

In some ways, Roosevelt’s connection with the outdoors reflected the (recently

established at the time) Darwinian philosophy of ‘survival of the fittest.’ For instance, he was

known to have indiscriminately killed big game on his many trips out West during his youth, a

conventional coming-of-age pastime for aristocratic young men in the late 19th century.

However, additional detail offers more nuance, revealing a genuine reverence for the natural

world.

53 The Roosevelts: An Intimate History. Directed by Ken Burns. Public Broadcasting Company: 2014. www.thirteen.org. 54 Ibid.

70 [Roosevelt] always hunted for constructive reasons: as a boy, to fill the glass cases of his “Roosevelt Museum of Natural History,” and teach himself the minutest details of anatomy and coloration; in youth, to fight his way out of invalidism, choosing always to make the chase as difficult as possible; and in early middle age, to promulgate, as founder-president of the Boone & Crockett Club, the paradox that hunters are practical conservationists, needing to preserve what they pursue—not only birds and animals and fish, but the wilderness too.55

Roosevelt had a profound, almost Indian veneration for trees, particularly the giant conifers he had encountered in the Rockies. Walking on silent, moccasined feet down a luminous nave of pines, listening to invisible choirs of birds, he came close to religious rapture, as many passages in his books and letters attest.56

Thus, Roosevelt decried the devastation wrought by “swinish game-butchers” who drove the buffalo close to extinction - though his own hunting habits made him in some ways complicit

– and protested the general environmental ravages of unregulated agriculture and industry. In the late 1880s he began to pursue conservation at the federal level, harnessing his notoriously combative energies domestically. Even before he was president, the lobbying efforts of his

Boone and Crockett club won passage of the Park Protection Act of 1894 which saved

Yellowstone from ecological exploitation. As President he convened the first national governors conference in 1908 on the topic “Conservation as a National Duty.” In attendence were his entire cabinet, all nine supreme court justices, 45 state governors or executives, numerous members of congress, and representatives from 68 professional societies.57 Despite a concluding declaration urging the implementation of Roosevelt’s conservationist policies, his initiatives continued to encounter fierce resistance from various politicians aligned with industrial interests, including most notably his own Republican party establishment. Roosevelt invoked the 1906 Antiquities

Act to circumvent any impediments to his conservationist goals, declaring important habitats

55 Morris, Edmund. The Rise of Theodore Roosevelt. Random House Publishing Group. Kindle Edition. 8. 56 Ibid. 389-90. 57 Morris, Edmund. Theodore Rex. Random House Publishing Group. Kindle Edition. 515.

71 national monuments instead of national parks. The resulting protections were essentially

identical; the Grand Canyon was preserved in this manner. Despite significant opposition,

throughout his presidency Roosevelt was able to double the number of national parks from 5 to

10, establish 150 national forests, 51 federal bird reserves, 4 national game preserves, and 18

national monuments. In all, Roosevelt protected over 230 million acres of public land as

president.58

Though on the surface Daugherty’s third movement may not probe Roosevelt’s

complexities as fully as the Jefferson movement, in a recent interview Daugherty offered

additional insight, arguing that the political battle to conserve America’s natural resources –

waged largely against Roosevelt’s own party - illustrates the Roosevelt’s multifaceted, composite nature:

I should say about Roosevelt…Did you know his wife was one of the leaders of the suffrage movement? and Roosevelt’s party was against it. And he supported suffrage…so two things he supported, one was the woman’s right to vote which his party was adamantly against, and he also supported the creation of the national parks which his party was also against. He had a lot of resistance with the national parks - I don’t think people realize that was very unpopular with his party. He took a lot of heat for the national parks and for supporting the suffrage movement at the time. On the other hand, he was a real….not a war-monger, but guts and glory guy, you know, very provocative militarily but when it came to certain subjects he just didn’t toe the line with the party. That’s why he was more of an independent in some ways. The national parks was not a foregone conclusion, he had to fight for that. Even back then. Its hard to imagine. If he hadn’t established the Grand Canyon and so forth, I guarantee you there’d be motels all along that, on both sides of the canyon.

Daugherty’s use of the popular traditional hymn Rock of Ages is more concrete than details of

Roosevelt’s biography and similarly symbolic. On a superficial level, the hymn’s title pairs well

with the driving rock style used throughout the movement. In connection with Roosevelt’s life,

58 National Park Service. Theodore Roosevelt and Conservation. 2017. Accessed 5/30/19. www.nps.gov.

72 one anecdote found in his book Rough Riders has the hymn sung at a burial of his comrades after

the Battle of Las Guasimas, the first land conflict in the Spanish-American War.59 However, for the most part the use of the hymn seems less related to Roosevelt the individual than to the content of his words as assembled by Daugherty. The allusion is contained in the word “rock” which, in its original context as a popular Protestant hymn symbolizes Jesus Christ. In this case,

Daugherty seems to suggest that we think of the “rock” as literally that upon which we stand, the natural world so poignantly described and defended by Roosevelt. Other metaphorical implications arise from further comparison with Christian theology. The end of the iconic first line “Rock of Ages cleft for me” refers to the Christian belief in Jesus’crucifixion as a sacrificial gift for the salvation of humanity. Though not a tidy metaphor, one interpretation of Daugherty’s semiotics might have us ask: are we responsible for “cleaving the rock” by killing or destroying the natural world around us? An interesting musical detail seems to support this interpretation.

At first glance, considering the interwoven quality of the movement’s constituent parts, the minor third “leave it” motive appears comparably disconnected to the Roosevelt movement as a whole. However, closer examination reveals that the Rock of Ages melody contains one minor third, significantly located on the clause “cleft for.” Perhaps Daugherty derives his “Leave it” motive from this source. More metaphorically, this repetitious descending minor third motive could be seen to physically emulate a striking action, as a miner smashes rock. The pairing of such a severe musical gesture with “Leave it” adds further vehemence to Roosevelt’s plea for ecological stewardship. Whether or not Daugherty deliberately intended these associations, it is clear that the popular charisma of the Roosevelt movement ultimately belies its symbolic depth.

59 Roosevelt, Theodore. 1904. The Rough Riders. New York: Review of Reviews Co. 107.

73 CHAPTER 6

MOVEMENT IV. ABRAHAM LINCOLN

The fourth and final movement of Mount Rushmore is dedicated to Abraham Lincoln, who successfully reconciled a divided United States and initiated the end of slavery. I have set the rhythmic cadences and powerful words of his “Gettysburg Address” (1863) to music that resonates with echoes of period music from the Civil War. I create a musical portrait of the 16th President of the United States, who expressed his vision with eloquence, and with hope that the human spirit could overcome prejudice and differences of opinion in order to create a better world.60

Daugherty concludes Mount Rushmore with a movement on Abraham Lincoln set to the

words of the Gettysburg Address. He employs no other text sources, though as in other

movements Daugherty quotes and parodies various melodies to create a listening context, to

evoke associations. In this case, he quotes Dixie and When Johnny Comes Marching Home, Hail to the Chief and Battle Hymn of the Republic. For this movement Daugherty repurposes the final portion of his Letters from Lincoln, expanding the original baritone vocal movement to create a full choral-orchestral setting. The sung text consists solely of the Gettsyburg Address in its entirety.

The Lincoln movement is the longest and least repetitive movement of Mount Rushmore.

A unifying refrain returns only once in full, creating a continuous, almost through-composed impression. As such, before embarking on a more detailed analysis, a brief introductory summary of the movement’s broad structure will prove useful to conductors encountering the work for the first time. Shown in Table 6.1, the macro structure of the movement revolves around a melody that Daugherty names the Gettysburg theme.

60 Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009.

74 Table 6.1: Lincoln Macro Form

Primary Label Measures Harmony Tempo Dynamic Text – Key Phrases Description Voice

Lyrical Gettysburg theme in Gettysburg Fourscore…proposition that all 1-23 D maj Slow mf  f Choir choir between two octatonic Theme men are created equal. episodes in orchestra

Mix of …engaged in Civil At least eight distinct sections Mix of Rising slow and War…battlefield…dedicate offering Gettysburg text in 24-105 Varied p and f Tutti Action fast these grounds…brave men variety of vocal and sections sections struggled… instrumental textures

Partial return of choral The world will little note what Gettysburg Gettysburg theme in 106-113 D maj Slow mf / f Tutti we say…but never forget what Theme alternation with Dixie fills in they did here. orchestra

It is for us the Four distinct sections leading Summit Mostly living…unfinished work…from 114-162 Varied Mostly f Tutti to final recapitulation of Ascent Fast these honored dead we take Gettysburg theme devotion to the cause…

highly resolve…they shall not have died in vain… this nation 1) ½ theme, p in men Gettysburg C maj / shall have a new birth of 2) full theme ff tutti 163-190 Slow p / ff Choir Theme E maj freedom…that government of, in new key for, by the people shall not 3) Orchestral outro. perish from the earth.

fff tutti hits alternated with Mix of trumpet ‘bugler’ calls and Coda 191-199 Bb dor Slow contrasted p Orchestra -- percussion effects; choral and f humming

75 This refrain appears almost immediately, reappears once in truncated form midway through, and then returns fully as the dramatic climax of the movement. Amongst a wide variety of dissonant, harsh, and foreboding textures, the Gettysburg theme anchors the movement with its clear tonality, warmth, and lyricism. The most memorable portions of the Gettysburg text are assigned this melody. After the first statement of the theme, at m. 24 Daugherty embarks on a long series of contrasting, often unrelated sections that I have labelled “Rising Action” after the literary term. The Gettysburg theme briefly reappears and is cut short at m. 114 by another succession of musical episodes I name “Summit Ascent.” Articulations, rhythms, tempo, and dynamics surge in intensity before the dramatic return of the full Gettysburg theme at m. 163. In the coda, the tutti orchestra offers unison strikes every two measures as trumpet ‘bugle’ calls dissolve away, concluding the work.

Example 6.1: Opening Octatonic Scale

For conductors seeking a more comprehensive score study resource, it is necessary to return to the beginning of the movement to offer a more thorough discussion. Daugherty opens with a short agitato introduction (Example 6.1 in keyboard reduction) before the first Gettysburg theme commences at m. 5. In this short opening episode, Daugherty establishes many of the musical building blocks that will make up the movement: mixed meter, extreme dynamic contrasts, use of fermatas, and octatonic harmonies. Brass, strings, and chimes are heard most audibly at the downbeat on a marked, unison Bb. Though not shown in the reduction, the highest instruments sustain and each subsequent instrument (in descending pitch order) strikes and

76 sustains the next lower tone of the octatonic scale, gradually forming the menacing cluster chords shown in the second and fourth bars of Example 6.1. Fermatas such as these pervade the fourth movement, necessitating thorough conducting preparation in order to achieve the various effects that Daugherty seeks. This particular section contains a portion of the octatonic scale referred to by music theorists as Oct 0,1, the arabic numerals specifying the presence of pitch classes 0 (C) and 1 (C#) respectively. With this brief opening, Daugherty presents the harmonic and motivic concept that defines the work’s construction. Compared with the other movements, the musical portrait of Lincoln offers less musical familiarity through traditional means such as recognizable melodic or textural repetition. Instead, Daugherty deftly employs this step-wise, octatonic motion as a central, unifying structural element. Octatonic materials appear in virtually every section of the Lincoln movement, so these opening bars could be a useful rehearsal tool for ensuring accurate intonation, particularly in young or inexperienced orchestras and choirs.

The most prominent feature of the Lincoln movement is Daugherty’s Gettysburg theme, the initial statement of which commences at m. 5 in D major with the first horn. I recommend conductors subdivide the asymmetrical as 3+2 in order to emphasize the long tone and 5 4 Daugherty’s thoughtful text setting. Though not shown in the keyboard reduction of Example

6.2, an ominous bowed cymbal at m. 6 joins the quartal harmony in the winds. Daugherty inserts this effect throughout the opening theme in between statements of the Gettysburg melody, hearkening back to the stilted interruptions of the Jefferson movement. The tenors and basses subsequently take the melody on the storied opening text of the Gettysburg Address at m. 7.

Connective orchestral material between vocal lines contains seemingly innocuous passing tones whose octatonic identity Daugherty disguises by placing them seemlessly within diatonic D major (blue box).

77 Example 6.2: Gettysburg Theme

The men repeat the same Gettysburg melodic pattern on the next bit of text, dwelling on a G major harmony IV. Moving back to I, the women then take up the theme from mm. 12-16, an identical melody and progression as in the tenors/basses passage of mm. 7-11. In all, the

Gettysburg motive appears five times before bar fifteen, etching the melodic pattern in the mind of the listener. In a recent interview, referring to the Gettysburg text, Daugherty stated he was

“amazed I was able to come up with a tune out of that!” To his credit, the melody’s hummable lyricism bears repeating. Daugherty moves to conclude the section, introducing a B min vi at m.

17 at the words “are created equal” and repeating the text on a two-bar dominent pedal under repeated 4-3 suspensions and parallel inversions of IV, V, and I. In this first authentic cadence, the choir bursts forth on a sustained D triad at the top of their tessitura while the orchestra surges forward in a cinematic rendering of the Gettysburg melody.

Suddenly the texture shifts. Without warning the brass and strings leave the Gettysburg D major and descend on an alarming, marked octatonic scale from B♮, this time the Oct1,2. An observant conductor will note the convenient double-time tempo change in relation to the

78 Gettysburg theme. Daugherty cycles through the complete octatonic scale, descending lower

while gradually slowing, and exits from the octatonic scale at Bb to the D major melody once

again, most voices moving seamlessly by half step to the fifth scale degree A. The dramatic full

scoring of the Gettysburg theme then proceeds as though this disturbance had not occurred. At

m. 24, another jolting octatonic scale interrupts the melody. The “Rising Action” begins here, a

series of continuous, loosely related sections (shown in Table 6.2) through which Daugherty

endeavors to express the complexity, urgency, and agelessness of Lincoln’s words. The first

section is defined by a stepwise repeating octatonic tetrachord (henceforth labelled OT) derived

from the Oct 2,3 scale (Eb-D-C-B). Daugherty uses the descending scalar technique found in the

opening bars of the movement in which instruments “peel off” from the scale, sustaining

subsequent pitches to form octatonic cluster chords (in this instance, grounded by an A as the

lowest pitch). When the muddy harmony clears, the tenors and basses emerge quietly on a unison

intonation, “Now we are engaged in a great civil war.”

Table 6.2: Lincoln "Rising Action" Form

Defining Measures Meter Harmony Tempo Dynamic Text Description Feature

Orch: desc OT x2 into Now we are OT 4 cluster. 24-29 Oct 2,3 Medium ff  p engaged in a great repeat 4 Choir: TB intonation on civil war… G#.

…testing whether Orch: 1) asc OT ostinato that nation, or any 2) high strings and OT 4 nation so 30-41 Oct 0,1 Faster f woodwinds syncopated repeat 4 conceived and so Gettysburg theme dedicated, can long Choir: choral peel-off endure.

Orch: ff hits on G center We are met on a G pitch clusters Stasis 42-47 Mixed Slow ff / pp great battlefield of center Choir: treble voices that war. rubato G cluster sustain

79 Defining Measures Meter Harmony Tempo Dynamic Text Description Feature

We have come to dedicate a portion Orch: parallel fifths, of that field, as a Dixie melody, chromatic Dixie Asym final resting place clusters 48-79 B dor Slow p  mf Threnody 2+2+3 for those who here Choir: Threnody unison gave their lives that melody, splits to 2 pt, that nation might doubled; some echo live.

It is altogether Orch: harp glissando and fitting and proper string tremolo Stasis 80-81 Free G lyd Slow p that we should do Choir: treble voices this. rubato melody

Orch: desc OT into Civil But in a larger War motive clusters sense, we cannot Choir: desc OT, Civil dedicate, we War motive echo OT 4 82-95 Oct 2,3 Fast ff  p cannot consecrate, End: a cappella repeat 4 we cannot hallow undulation in Ab mix this ground. b6, “ground,” resolves iv4/2 – I, orch floating Gettysburg fragments

Orch: Strings Civil War motive in unison The brave men, Mix of all octatonic trichords Civil 4 living and dead, 96-101 three Fast f ascending G to G Choir: War 4 who struggled Octatonics alternates with orch, here, strident unison intervals on each text phrase

Orch: ff hits G-A, bowed have consecrated it cymbal, high A-E pedal far above our Stasis 102-105 Free A mix 6 Slow ff / p Choir: free unison ♭ power to add or melodies, treble then TB detract. descent do-te-le-sol

A new ascending OT springs forward, A-Bb-C-Db, repeating at a faster tempo.

Daugherty uses the pitch A as a pivot, where in the previous section it had formed the end of the

descending Oct2,3 material, now A initiates the new ascending Oct0,1 tetrachords. Brass, harp,

viola, and cello maintain the repeating motive over an intermittent A pedal in the low

instruments, with voices again peeling off the scale creating dissonant clusters as the section

80 progresses. High woodwinds and high strings offer a strident, syncopated parody of the

Gettysburg melody which Daugherty subverts by selecting a diminished fifth from the octatonic

collection instead of the perfect fifth as in the original. The chorus joins the repeating tetrachord

motive in homophony, again sustaining subsequent pitches to form clusters. In m. 41 shown in

Example 6.3, the singers halt on the fermata at the word “endure,” swelling the pungent cluster

until the orchestra interrupts with two dissonant tutti strikes, formed from a different Oct0,1 tetrachord E-F#-G-A. The treble voices offer a repeated, static cluster chord on the words “We

are met on a great battlefield of that war” on yet a different tetrachord. Their pitch content is G-

A-B-C, a deviation from the octatonic scale with the substitution of B♮ instead of Bb.

Example 6.3: Stasis (approach to Threnody)

Though never sounding simultaneously, together the harmony of the orchestra and choir

form a diatonic scale. This particular diatonic collection implies a G or E tonic, but Daugherty

obscures the pitch center by repeatedly writing E-F# in the bass instruments over F#-G in the

high instruments. Perhaps the lowest alto pitch provides rationale to name G as tonal center, but

81 with no harmonic motion to speak of, observing the essential lack of harmonic clarity in the

section seems more important than defining a weak tonality. On a practical level, the passage’s slow tempo combined with the highly contrastive orchestral and choral elements poses a conducting challenge that requires deliberate forethought. Conducting fully in-tempo, utilizing

the indicated patterns may suffice, but alternatively, dictating some of the section may prove

effective.

As is typical of Daugherty, the texture and tonality shift quickly once more. Beginning at

m. 48, the next portion constitutes the longest and most melodic section before the second

Gettysburg theme. Set in a consistent, trudging assymetrical meter and B dorian, Daugherty

labels the section Threnody (Example 6.4). This portion of the movement is characterized by a

repeating pattern of parallel fifths revolving around tonic in the low instruments of each family,

including timpani. The snare and chimes take the foreground initially before a solo violin offers a plaintive rendition of Dixie at m. 51, doubled at the octave below by the first violins while the second violins present a countermelody. The choir enters on the unison Threnody theme, a flowing dorian melody containing frequent syncopations and triplets at the eighth and quarter note levels. The interaction between these disjointed rhythms, the asymmetrical meter, and the dorian tonality creates a sense of unease heightened further by intermittent ffp clusters in the winds and brass.

Daugherty departs from the Threnody section in much the same manner as the approach, with static, nebulous harmonies in the orchestra supporting a short rubato passage in the treble voices (Example 6.5). The transition from the Threnody into this passage could be problematic for the conductor. Though no ritardando is indicated leading up to it, a conductor may want to stretch the final parallel fifths in the orchestra and dwell on the orchestral fermata at the

82 downbeat of m. 80, allowing the harp glissando and string tremolo to set an aura for the new texture. Regarding the harmonies - just as the section at m. 42 contains both octatonic and diatonic characteristics, this gesture departing from the Threnody at m. 80 befuddles the ear with features that imply both diatonic and modal tonalities (Example 6.5).

Example 6.4: Threnody

83 Example 6.5: Stasis (departure from Threnody)

On a surface level, the consistent presence of F# and C# supports a diatonic interpretation. B min seems most likely due to the top and bottom pitch B and F# indicated in the harp glissando, the strong presence of the same pitches in the string tremolo, and a melodic emphasis on D, B, and F# in the treble voices. However, the prevalence of G♮ in the strings as well as the melody supports a G lydian interpretation. B and D are common to both scales, further confusing the issue. Daugherty again conjures an almost mystical quality by deliberately exploiting the grey areas hidden in the established norms of Western tonality.

At m. 82, Daugherty constructs a bridge to the next section by dwelling on the common tone D, paired appropriately with a long, suspenseful “but” in the choir, sung a cappella high in the vocal tessitura. Shown in Example 6.6, here again we return to octatonic materials with the pattern Eb-D-C-B, the same Oct2,3 tetrachord first repeated in the opening section of this Rising

Action. Daugherty wields the same peel-off technique to create cluster chords in both the instruments and voices. Syncopated, staggered attacks in some instruments constitute a new feature, adding tension and confusion. Suddently a short burst of 16th notes erupts forth on the

84 octatonic cluster at m. 85, a rhythmic pattern I label the Civil War motive. The choir takes up this

rhythmic motive in a minor third B-G# motion, echoing the word “dedicate” four times in

descending voice parts. The larger pattern repeats twice more: 1) descending tetrachord peel-off,

2) Civil War cluster burst in the orchestra, and 3) Civil War m3 echo in the choir but on new

words - “consecrate” and “hallow.” One practical consideration: the relationships between the

orchestral Civil War strike and the first soprano echo may require rehearsal attention to ensure

the first consonant is not obscured by the power of the orchestra.

Example 6.6: Descending OTs + Civil War Motive

For the last repetition at m. 89, Daugherty increases interest by inserting a rest amongst

the vocal echoes and adding extra Civil War bursts. With the same minor third motion in most voices, the choir slackens from a unison B into a long a cappella undulation on parallel triads over a pedal G# on the word “ground,” resolving to a radiant Ab major at m. 93. When viewed enharmonically with this destination in mind, the shifting sonorities at m. 92 can be analyzed as

85 iv4/2 in the jazz mode mixolydian b6. The passing chords, added tones, and movement between voicings of minor iv create a dreamy quality further enhanced by the resolution of the b6 scale degree E♮ to the fifth of the tonic triad Eb at m. 93. Heeding Daugherty’s non vib marking will assist the treble voices in tuning the dense harmonies, though extra rehearsal attention will likely be needed for balance. Dictating the quarter triplets may also be an effective conducting strategy at the cadence.

Example 6.7: "Ground" Undulation

A brief orchestral flourish concludes the section, floating away with fragments of the

Gettysburg melody, though a sudden sfz brass cluster quickly banishes the possibility of the theme’s return. The next six bars proceed in typical Daugherty fashion with alternating musical gestures. The orchestral component consists of the aforementioned sfz brass hit followed by a

86 flurry of Civil War rhythmic motives in the strings. The choir then enters in unison offering a clause of the sentence “The brave men, living and dead, who struggled here.” The two-bar pattern repeats three times with different pitches in the orchestra followed by the next portion of text on a different unison melody (1½ patterns are shown in Example 6.8). Each brass hit consists of a different octatonic cluster - Oct1,2 is shown at m. 96, followed by Oct0,1 two bars later, and Oct2,3 two bars after that. The ensuing Civil War motives in the strings traverse an octave over the course of the six bars, ascending from G to F# via jagged trichords derived from a different octatonic collection on each beat. The angular vocal gestures consist of pitch classes common to multiple octatonic scales as well. The metrical relationship between vocal and orchestral gestures poses a conducting challenge. Each orchestral portion must push forward at

♩ = 120 while the choir more freely recites their gestures col canto. Rehearsal repetition and thorough conductor preparation will be necessary to ensure these stark metrical transitions remain cohesive.

Example 6.8: Civil War Motive + Octatonic Trichords

87 At m. 102, the orchestra reaches the summit of the octave they had begun at m. 96

Daugherty recycles the texture first presented in the leadup to the Threnody with two eighth note

strikes (this time a unison G-A), followed by static, rubato scalar motion in the treble voices. To

match familiarity with variety Daugherty places a pianissimo open fifth pedal in the high strings,

A and E. The treble voices confirm an A major tonality as they descend from E-D-C# on “have consecrated it.” A bowed cymbal provides nagging doubt in the periphery of this otherwise comforting, ethereal moment. The tenors and basses complete the sentence “far beyond our power to add or detract” taking the C# from the treble voices and also concluding another long octave descent that had begun with the treble voices. Daugherty offers further harmonic interest in the vocal line by altering the major scale previously implied by the treble voices. G♮ and F♮ reveal mixolydian b6 once again, with A as the tonal center.

The treble voices join the tenors and basses at the bottom of the octave on an a cappella unison E (V of A). From here, the harmonic possibilities are plentiful. Daugherty chooses D major, inserting a novel glissando in all vocal parts, sliding from the unison E to a D major triad

in traditional ascending voicing 1-5-1-3. The choir will likely require rehearsal attention on this

and other glissandi throughout the Lincoln movement to ensure that the pitch movement is as

deliberate and even as possible to maximize the effect. When the choir arrives on the D major

sonority, the orchestra returns to the full voiced, dramatic rendering of the Gettysburg theme, this

time mixed with Dixie in the high voices of the winds and strings. After so much rhythmic and

harmonic unrest during the Rising Action, the ensuing warmth of the Gettysburg melody in the

choir at. m. 108 provides much needed relief. Orchestral fills between repetitions of the melody

offer Dixie while bowed cymbals again qualify the listener’s sense of musical security. Lingering

on a G major IV, the choir offers Lincoln’s immortal words over the course of six bars “The

88 world will little note, nor long remember what we say here, but it can never forget what they did

here.” A interpretation consideration for every Gettysburg iteration: on the IV chord, the melody

often repeats a double neighbor figure around the primary chord tones, scale degrees 4 and 6. In

most amateur choirs, this particular moment will require additional attention and breath from the

vocalists to ensure the sostenuto quality of the melody does not lose energy.

As the Gettysburg theme progresses a sudden brass lick cuts it short with a fragment of

When Johnny Comes Marching Home. The truncated Gettysburg theme had only been a fleeting

taste of a full recapitulation – the music surges ahead on the final “Summit Ascent,” so named in

Table 6.1. Daugherty again balances familiarity with variety by placing previously established

textures in a new light. Just as in the Civil War section, he offers a similar alternating pattern of

orchestral and vocal episodes based on multiple octatonic scales. The Johnny motive opens each

episode (indicated by the colors in Example 6.9) accompanied by the snare drum and choir then

follows in the tenors and basses with simple unison intonation which the treble voices and a

portion of the orchestra join in conclusion. The harmonic motion also progresses in a perceptible

pattern. Having left the Gettysburg theme on a G major sonority, Daugherty begins the first

Johnny motive on G#, moving up the Oct1,2 trichord to A♯, and B♮. The vocal intonation that

follows always uses the same material with reference to the previous orchestral pitch content. He

continues upwards step-wise, employing the Oct 2,3 scale from C-D-Eb on the next episode at m.

119.

Starting at m. 124, the gestural components begin to deteriorate but the pattern of octatonic harmonies remains intact. Here Daugherty essentially omits the opening bar of the episode, instead simply mimicking the final hit that had concluded the preceding Johnny motives

while the tenors and basses proceed with the same intonation, all on the next trichord from Oct0,1.

89 Example 6.9: Johnny Fragments

90

91 Daugherty then completely deviates from both the established gestural and harmonic patterns,

landing on an ffp sustained unison F♮ at m. 127, maintaining a macro phrase distance that goes

no further than the octave (remember: we had started on G). The choir also simplifies,

deliberately intoning “which they who fought here” on slow quarter notes. A D6 tutti strike in the

orchestra creates the leading tone F#, resolved in the choir to G by the tenors and altos at the last

word of the phrase “have thus far so nobly advanced.” A C min flurry of Civil War motives

billows forth in the orchestra, swelling to ff before a grand pause at m. 133.

Example 6.10: Summit Ascent - Stasis Section

Before the decisive push to the recapitulation, Daugherty offers one final introspective

section. He combines textures from the Rising Action (Example 6.10), reusing the repeating parallel fifths concept from the Threnody but set in the woodwinds over a placid treble voice recitative on the words “It is rather for us to be here dedicated to the great task remaining before us.” Just as in the Threnody, Daugherty infuses the vocal line with rhythmic complexity, but he retains simple pitch repetition as in other static sections of the Rising Action. Furthermore, in addition to retaining a type of asymmetrical meter as in the Threnody, Daugherty displaces the barline by writing every other repetition of parallel fifths in syncopation. Despite this rhythmic

92 intricacy, a conductor should strive to develop ease of execution in both the winds and treble

voices such that the syncopations are accurate but not accented. Beyond rhythmic interest,

Daugherty adds timbrel color to the section by alternating each parallel fifth sequence between

two different sets of woodwind instruments in a voice exchange. Lastly, he again exploits the

harmonic ‘in-between,’ evoking both A dorian (F# in the high winds) and A aeolian (F♮ in the

bass) while concurrently employing OTs from both Oct0,1 and Oct2,3 in the parallel fifths.

The final approach to the climactic recapitulation then begins at m. 141 with the by-now-

familiar unison, repeating OT conceit, in this instance descending, comprised of Ab-G-F-E derived from Oct1,2. Split into two subsections the choir presents the text “that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion.” Each subsection contains a number of components. First, a buildup of repeated

OTs occurs, placed high in the vocal register alongside peel-off cluster chords in the brass and a

rhythmically augmented ascending OT in the bass instruments. Then, a septuplet flourish in the

winds leads to a tutti cluster hit in the full orchestra. After each strike, the choir arrives at the

word “devotion,” presented a cappella and in unison. At the conclusion of the second subsection

in m. 152 on the word “devotion,” Daugherty places an analogous undulating a cappella gesture

in the choir just as in the “Rising Action” at m. 92. This one contains less harmonic complexity,

perhaps a nod to the impending arrival of the tonally stable Gettysburg theme. The choir begins

on a unison D that fans out step-wise into D major and moves to G major before sliding to C

major in a straightforward II-V-I authentic cadence at m. 153.

The orchestra breaks forth in an expansive C major combination of the Gettysburg theme

and Johnny over a C pedal. In order to hear both melodies, balance is a paramount consideration

for conductors in this section. A prominent C major scale descends in the horns and chimes as

93 the tutti orchestra swells in tandem with the rolling suspended cymbal. All arrive at m. 155 with

the chimes pealing ad libitum on G-Ab-Bb-B, an OT derived from Oct1,2. Hail to the Chief appears in the trombones, alternated back and forth twice with Dixie in the winds and strings.

Following the same pattern, the bass instruments alternate between the pitches G and Bb from the OT, settling eventually on G in a long, swelling pedal tone while the bells continue to ring and the brass offer repeated, brash glissandi.

From the cacophony, a spare, inverted C major emerges in the high strings – the

Gettysburg tune resurfaces in the tenors and basses with hushed purpose on the text “that we here highly resolve that these dead shall not have died in vain – that this nation, under God…” The descending C major scale from the recent orchestral interlude returns in the strings and winds as

a snare drum propels the ensemble forward. An exhilarating, unprepared fp modulation to E

major expresses appropriately the text “shall have a new birth of freedom.” In the new key

Daugherty builds to the final climax with repeating diatonic tetrachords in the strings and woodwinds along with dramatic eighth note hits in the bass instruments and brass as the chorus sings “of the people, by the people, for the people.” Just as in the opening Gettysburg exposition,

the theme moves to deceptive vi before a long pedal sequence on V. Daugherty repeats the same

chord progression, but creates significantly more drama by clearing sonic space for the raw

emotional quality of the chorus in an a cappella bellow, high in their tessitura, supported only by

forte strikes in the orchestra on every other beat. As the chorus concludes the extraordinary text

“shall not perish from the earth” the final cadence offers a final surprise. Daugherty defies

expectation when, instead of moving back to E major I, he shifts from B major to a Db major

triad. This harmonic motion reinterprets B major as bVII, utilizing an extremely effective,

dramatic cadential progression common to rock and 20th century pop music.

94 As the chorus sustains the triumphant final Db chord at the top of their range, the timpani accompanies with a solo Gettysburg motive underneath. At the choral release, the full orchestra roars forth with a raucous Db major combination of ostinato fragments from the Gettysburg theme, Hail to the Chief, and a new melody in Battle Hymn to the Republic, all over a Db triad maintained in the organ and chimes. Daugherty’s writing naturally maintains forward momentum, as fragments shift to quicker note values and shorter repetitions. However, the conductor must be cognizant of the need to conserve some energy through the conclusion of this final orchestral interlude at m. 191. There, the commotion suddenly ceases with two unison tutti strikes Ab-Bb, analogous to various moments of the “Rising Action.” The hits continue, in between which the chimes and chorus sound open Bb-F fifths while the trumpets play ‘bugle’ calls amidst bass and snare drum rhythms. A cymbal rolled on a timpano gives off a low, dark rumble. The pattern repeats a number of times. Similar to the conclusion of the Jefferson movement, the metric interval of repetition shortens while the music dissipates. A final tri-tone in the trumpets resolves to its perfect fourth counterpart. The choir and chimes sustain the same hallow interval, ebbing away to nothing.

The musical semiotics of Daugherty’s Lincoln movement resemble those of the

Roosevelt movement insofar as both texts exude a single, pronounced persuasive intent which assists the listener in making referential connections between music and text. Though Daugherty assembled fragments from disparate sources for the third movement, they made a cohesive argument for conservation, just as the Gettysburg Address makes a cogent argument for honoring fallen soldiers and continuing their “unfinished work” of fighting to win the Civil War. Thus, armed only with a simplified historical context of the Gettysburg address, many listeners and performers will perceive the rhetorical intent of Daugherty’s setting on a surface level.

95 For instance, in the first bars Daugherty quickly reveals his intent to capture the

immediate context of the Gettysburg address amongst the ravages of the Civil War, a pattern

which continues throughout the movement. First placed directly before and after the Gettysburg theme, the menacing octatonic scale and clusters instantly evoke a sense of struggle and pain reflective of the battle still being waged, as well as the resulting contemporary urgency of

Lincoln’s words. In contrast, the noble Gettysburg theme placed throughout the movement reflects the eventual triumphant outcome – the North wins the Civil War, preserves the Union, and slavery is abolished. Yet, as the “most-quoted, most-memorized piece of oratory in

American history,”61 Lincoln’s words signify more to most American audience members than

their immediate historical context implies. The expansive beauty of the Daugherty’s theme

evokes the unavoidable 21st century, modern patriotism symbolized by the Gettysburg address,

the legacy of which was so eloquently predicted by Massachussetts Senator Charles Sumner after

Lincoln’s assassination in 1865,

That speech, uttered at the field of Gettysburg…and now sanctified by the martyrdom of its author, is a monumental act. In the modesty of his nature he said ‘the world will little note, nor long remember what we say here; but it can never forget what they did here.’ He was mistaken. The world at once noted what he said, and will never cease to remember it.”62

Throughout the movement, Daugherty’s Gettysburg theme supports words and phrases synonymous with stereotypical American patriotic self-image: “Four score and seven years…Liberty…all men are created equal…this nation under God…freedom…government of the people, by the people, for the people, shall not perish from the earth.” With its lyrical

61 History.com Editors. Gettysburg Address. History. A&E Television Networks. https://www.history.com/topics/american-civil-war/gettysburg-address. Accessed 6/8/19. 62 Sumner, Charles. 1865. The promises of the Declaration of Independence: eulogy on Abraham Lincoln, delivered before the municipal authorities of the city of Boston, June 1, 1865. Boston: Ticknor & Fields. https://archive.org/details/promisesofdeclar7994sumn. 40.

96 accessibility and ageless text, the Gettysburg theme can be seen to symbolize not only the

outcome of the war, but a more general patriotic trope invoked by ordinary Americans in the

decades and centuries since. Following in this line of the thought, the turbulence of the Rising

Action and Summit Ascent seem to temper the American Dream earnestly depicted in the

Gettysburg theme, portraying the realistic struggle that took place during the Civil War, one that

continues today in various forms.

In addition to the large-scale symbolism of the Lincoln movement, Daugherty attracts the

listener’s attention by imbuing individual lines of the Gettysburg address with rhetorical

specificity. In particular, the subdivisions of the Rising Action and the Summit Ascent each offer

a unique musical perspective on Lincoln’s words. A number of examples come to mind, among

many. The mention of the “great civil war” receives grave treatment amongst menacing scalar

OTs and octatonic cluster strikes. Daugherty sets the long clause containing the verbs “testing” and “endure” to driving OTs and syncopated rhythms to reflect a sense of urgency or action.

Murky tonality and rubato vocal clusters express the horrors of war conjured by Lincoln’s statement “We are met on a great battlefield…” Contemporary jazz harmonies exude a certain mystical quality as they portray the “hallowed ground” of the Gettysburg battlefield.

More thorough historical context offers further insight. In a recent interview, Daugherty relates the research findings which may have motivated his composing.

Lincoln actually micromanaged the civil war, very involved in the battles in very strategic planning, what was to happen. He was a war-room president, he was not just sitting back, very involved, not a militaristic person, but very involved in these battles where thousands and thousands of soldiers on both sides were killed. But he never had any revenge, that’s the interesting contradiction. Everyone else around him wanted Robert E. Lee and all these people to be tried as traitors and hung. Except for Lincoln. But he was not like someone who was naïve, he actually went to the battles, to hospitals, he saw all the terrible things that were happening, all the terrible effects of war, but he never had any vengeance.

97 Daugherty’s focus on Lincoln’s war efforts offers rationale for the turbulent and morose

impression given by the “Rising Action” and “Summit Ascent.” Managing the Civil War took a

heavy toll on Lincoln.

Around [the time of the Gettysburg address], a White House caller thought Lincoln was so weary that he resembled “a New York omnibus beast at night who had been driven all day” during an August heat spell. Journalists reported that he was “not looking well,” that he was “careworn,” that he appeared “thin and feeble,” and that “his eyes have lost their humorous expression.” Lincoln refused to heed the advice of friends who urged him to leave the capital to recruit his health.63

Daugherty chooses to emphasize the burdened condition of Lincoln at Gettysburg, not merely the historical grandeur of his words there. “Lincoln as a man was very depressed…you know, so the music I wrote is very dramatic, and has more dissonance, it is maybe the most dissonant movement and the most tumultuous, it has many moods, shifting, almost like a mini-opera in a

way.”

Another historical nuance not always considered when examining the Gettysburg address

is Lincoln’s reference to slavery and its central role in the Civil War. A month before the

address, Lincoln wrote “We are in civil war. In such cases there always is a main question; but in

this case that question is a perplexing compound – Union and Slavery.”64 Though not stated

directly, Lincoln’s opening quote from the Declaration of Independance alludes to this fact:

“Fourscore and seven years ago, our forefathers brought forth on this continent, a new nation,

conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are

engaged in a great civil war...” Daugherty sets these words with dignity and grandeur in the

63 Sam Wood to Bradford R. Wood, n.p., n.d., quoted in Bradford Wood to George G. Fogg, Copenhagen, Denmark, 20 October 1863, Fogg Papers, New Hampshire Historical Society; Washington correspondence, 15 August, 13 October, New York Evening Post, 17 August, 14 October 1863. As quoted in Michael Burlingame’s Abraham Lincoln: A Life. Johns Hopkins University Press, 2008. 3,480. 64 Lincoln, Abraham. Lincoln to Drake et al., Washington, 5 October 1863, In Roy P. Basler et al., eds. The Collected Works of Abraham Lincoln (8 vols. plus index; New Brunswick, N.J.: Rutgers University Press, 1953-55), 6:499- 504.

98 opening bars, but offers two musical insinuations as to the underlying implications of Lincoln’s words. First, Daugherty’s interruptive bowed cymbals placed amongst the first iteration of the

Gettysburg theme seem intended to hearken to the second movement and Jefferson’s conceptual struggle with slavery, one that finally came to a head 100 years later in the Civil War. Second, and more striking is Daugherty’s choice to so harshly interrupt the soaring outro of the

Gettysburg cadence at m. 21 with the descending octatonic scale. The strident cymbal vibrations disturb the warm, lyrical aura of the Gettysburg theme while the negation of the ensuing symphonic ritornello seems designed to bring any sense of elation to a halt. In this opening

Gettsyburg theme, Daugherty affirms American pride while suggesting caution to a listener who may hear the beautiful theme and its iconic text with patriotic naiveté.

The use of Dixie throughout the movement presents a complicated set of allusions made even moreso by the origin of the song itself. The minstrel song became the de facto Confederate national anthem during the Civil War and has remained widespread in the south long after.

Initially it was more popular in the North (having been written by an Ohio man in 1859) and

Abraham Lincoln thought highly of the song, instructing the Marine Band to play it on multiple occasions.65 The most well-known of such performances was at the surrender of Robert E. Lee, the Confederate general. Lincoln later quipped,

I have always thought ‘Dixie’ one of the best tunes I have ever heard. Our adversaries over the way attempted to appropriate it, but I insisted that we fairly captured it. I presented the question to the Attorney General, and he gave it as his legal opinion that it is our lawful prize. I now request the band to favor me with its performance….66

In a recent interview, Daugherty suggests that his use of Dixie reflects this moment in time, referring to Lincoln’s musical taste and his reappropriation of the song for the Union. However,

65 Lincoln, Abraham. Washington correspondence, 6 October, Philadelphia Inquirer, 7 October 1861. 66 Lincoln, Abraham. In Roy P. Basler et al., eds. The Collected Works of Abraham Lincoln, 8:393.

99 for many modern Americans, Dixie continues to represent the Confederacy and signifies a

tradition of racism, adding significant contemporary allusion to its musical use in the Lincoln

movement.

Modern reservations about Dixie do not constitute hypberbole; there is twentieth-century

evidence of the tune’s racist undertones. For instance, Dixie was part of the 1915 film “Birth of a

Nation” that helped revive the Ku Klux Klan. “It was embraced by the segregationist Dixiecrats

in the 1940s. And in the 1950s, it was sung by white women protesting the integration of

schools.”67 Dixie was the official fight-song of the University of Mississippi, sung and played up

to 20 times every football game until 2016 when it was discontinued. In 2017 white nationalist protestors in Charlottesville, Virginia were heard singing it while holding torches.68 From

reconstruction through the Civil Rights era to the late 20th century, Dixie has been present at

official functions and gatherings across the South. “Despite [Lincoln’s] efforts…Dixie remained

wedded to its Confederate identity. Although a simple minstrel ditty, 150 years of history have

loaded the song with indelible political, racial, military and social connotations.”69

Daugherty is undoubtedly well aware of the modern connotations of his Dixie quotes.

After the choir hopefully proclaims “shall not perish from the earth” at the conclusion of the

Gettysburg theme, he introduces the Union national anthem, Battle Hymn to the Republic for the

first time. The musical rhetorical implication: the North has won and slavery will be abolished.

As Daugherty writes in his program note, he wanted to represent Abraham Lincoln, a man who

“successfully led the United States through the Civil War and initiated the end of slavery.”

67 Bilal Qureshi, Ed Ayers, Bryant Henderson, Tony Horwitz, Chris Presley, Rene Marie. “How 'Dixie' Became And Endured As An Anthem.” Weekend Edition Sunday. National Public Radio. Jan 6, 2019. Online transcript. 68 Michael Edison Hayden “‘Neo-Nazi Cowards’ return to Charlottesville with Torches to Stage White Nationalist Protest.” Newsweek. October 8, 2017. www.newsweek.com. 69 Christian McWhirter. The Birth of Dixie. New York Times. March 31, 2012. www.blogs.nytimes.com

100 Ultimately, says Daugherty, “I create a musical portrait of the 16th President of the United States

who expressed his vision with eloquence, and with hope that the human spirit could overcome

prejudice and differences of opinion in order to create a better world.” The galvanizing, uplifting

spirit of his Gettysburg theme certainly hits the mark, particularly in its glorious final iteration on the words “…shall have a new birth of freedom and that government of the people, by the people, and for the people, shall not perish from the earth.” Yet not one for cliche, Daugherty moves away from the triumphant Db of the final Gettysburg theme and closes the movement in

Bb aeolian with spare orchestral hits alternated with distant chimes, snare, and trumpet calls.

Daugherty’s ending implies the challenge of the future, moving past the triumph of the Civil War and the Emancipation Proclamation through Reconstruction, the Jim Crow era, and the Civil

Rights movement to the present day. The struggle for racial equality in America remains. A

lingering tri-tone resolves to its corresponding perfect interval, though still hallow. Lincoln’s

words fade with the music “testing whether that nation so conceived and so dedicated can long

endure…”

101 CHAPTER 7

DAUGHERTY’S MOUNT RUSHMORE: “A MILE WIDE...AND A MILE DEEP.”

In the final analysis, Mount Rushmore the musical work may be best defined by that same

complexity with which Daugherty approaches his presidential subjects, each of whom defy easy

categorization. The work contains a number of dualities; instead of choosing between predefined,

black and white musical characteristics, Daugherty seeks the gray, forging a cohesive,

unmistakeable style of his own. Popular genres are interwoven with classical “isms” such as

modernism and minimalism. Traditional tonality mixes with 20th century classical and jazz

harmonies. Hymns and rock licks are juxtaposed. Recognizable melodies and textures are turned

sideways, upside down, and around before returning to equilibrium in a new light. From a

programmatic perspective, Mount Rushmore affirms the popular, grade-school conception of the

four presidents that many Americans hold dear, but offers an historian’s insight and modern-day relevance.

Daugherty: Its not just…it could be a very superficial, shallow piece, kind of a one- dimensional patriotic kind of piece. Like, give me a piece, ummm…I’m thinking of this one…it goes [singing] “truth is marching.”

Deignan: Battle Hymn of the Republic.

Daugherty: Yes! but there is this arrangement that everyone always does. It has [humming] “in the beauty of the lilies…”

Deignan: Is it the Wilhousky?

Daugherty: I don’t know, it’s the one that all the high… we did it in high school.

Deignan: [Laughter] Yes, you did it in high school in Iowa All-State during the early 70s and so did I in the early 2000s.

Daugherty: So, that’s, yes, that’s it! That’s what I’m talking about. That kind of thing, right? Mount Rushmore is not that. But it has elements…the work is exciting like that is. Its an exciting piece when you hear it. Psychologically Battle Hymn doesn’t delve into anything, its pretty straightforward.

102 Probably from the 50s, when things were that way, historically it fits into the time. But it is an exciting piece in its own way. Mount Rushmore is exciting too, but it does also have those other elements.

Mount Rushmore is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and enjoyed by individuals of diverse musical backgrounds. Yet the work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who desire to engage more deeply. It possesses immediate appeal and offers excellent return on investment. Conductors who program Daugherty’s Mount Rushmore will find it valuable for their ensemble and community for years to come.

103 APPENDIX A

MOUNT RUSHMORE PROGRAM NOTE

104 Mount Rushmore (2010) for chorus and orchestra is inspired by the monumental sculpture, located in the Black Hills of South Dakota, of four American presidents: George

Washington (1732-1799), Thomas Jefferson (1743-1826), Theodore Roosevelt (1858-1919) and

Abraham Lincoln (1809-1865). The American sculptor Gutzon Borglum supervised the carving of these figureheads into the granite mountainside of Mount Rushmore, from 1927 until his death in 1941. Created during the Great Depression (1927-1941) against seemingly impossible odds with a small crew of men. Mount Rushmore came to symbolize an attitude of hope against adversity. Borglum described the monument as “American, drawn from American sources, memorializing American achievement.” Drawing from American musical sources and texts, my composition echoes the resonance and dissonance of Mount Rushmore as a complex icon of

American history. Like Mount Rushmore, my libretto is carved out of the words of each

President.

For the first movement, I have selected a fragment of George Washington’s final letter, upon his retirement from military and public life to Mount Vernon, to the French General

Marquis de Lafayette, his Revolutionary War comrade in arms: “I will move gently down the stream of life, until 1 sleep with my Fathers.” Perhaps Washington predicted his future place at

Mount Rushmore where, as America’s first President, he “sleeps” with other important “fathers” of American history. Musical echoes of popular Revolutionary War anthems (Chester by

William Billings, and Yankee Doodle) are a reminder of Washington’s role as commander-in- chief of the Continental Army during the American Revolutionary War.

Thomas Jefferson, the third President of America, was a brilliant political writer and also an accomplished violinist, who wrote that “Music is the passion of my soul.” As the American

Minister to France (1785-89), the recently widowed Jefferson met Maria Cosway in Paris, and

105 fell in love with this young, charismatic, Anglo-Italian society hostess, musician, and composer of salon music. The second movement of my composition intertwines a love song composed by

Cosway for Jefferson (Ogni DolceAura) together with a love letter composed by Jefferson for

Cosway (“Dialogue of the Head vs. the Heart”) and key fragments from Jefferson’s Declaration of Independence.

The third movement is based on the words of America’s 26th President, Theodore

Roosevelt, who was a great explorer of the uncharted wilderness. As President, Roosevelt created the National Park Service and successfully saved, against great opposition from commercial developers, over 234 million acres of plains, forests, rivers and mountain ranges of the American West. It was during his retreats into the barren Badlands of North Dakota (not far from Mount Rushmore) that Roosevelt, as a young man, realized that the “majestic beauty” of the American wilderness needed to be left “as it is” for future generations. I have composed music to suggest the robust and mystical sense of Roosevelt’s “delight in the hardy life of the open” and “the hidden spirit of the wilderness.”

The fourth and final movement of Mount Rushmore is dedicated to Abraham Lincoln, who successfully led the United States through the Civil War and initiated the end of slavery. I have set the rhythmic cadences and powerful words of his Gettysburg Address (1863) to music that resonates with echoes of period music from the Civil War. I create a musical portrait of the

16th President of the United States, who expressed his vision with eloquence, and with hope that the human spirit could overcome prejudice and differences of opinion in order to create a better world.

106 APPENDIX B

MICHAEL DAUGHERTY INTERVIEW 5/13/19

107 Ryan: Looking at your educational experiences, if there was one aspect that came from each of those experiences – because they’re so diverse and that sort of defines you, the diversity of your music - what would it be? at UNT were you already studying composition or jazz?

Daugherty: So, in 1972 when I knew I wanted to study music, at the time I was primarily interested in jazz, so there were only three places to study jazz in the United States at that time, a place called North Texas State, Indiana University, and Berklee School of Music had just started a program but it wasn’t accredited yet, so there were very limited choices at the time, so I decided to go to NTS and during my first year of college I went to hear the Dallas symphony play.

Ryan: I remember you mentioning this [in other interviews]…

Daugherty: I got a student ticket, I was sitting in the front row. They were doing the Barber Piano Concerto, so that had been composed in 1968, so ‘72, it was still a rather new piece…the second time was Mahler and Hindemith…anyways so, I just got really excited about it, I had never really heard a great professional orchestra play.

Ryan: Orchestra Iowa wasn’t exactly a big thing back then, huh?

Daugherty: Well at the time it was called the Cedar Rapids Symphony. They didn’t really play contemporary music, which was pretty common back then, I mean, at that time they just would play standard repertoire. So I had never really heard a major orchestra play contemporary music before. And I was just was awestruck by the sound and the whole, that whole world and didn’t know anything about it, so that got me really excited. Remember I was basically self-taught. I spent hours and hours and hours at the NTS library listening to scores, I mean listening and studying scores. I would ask the music librarian what should I listen to and they’d give me advice…I mean I did have some composition teachers there, of course, but I basically did a lot of it on my own, listening and going to concerts and that’s how I started being interested in composing….actually, for choir, I did play piano and sing with the concert choir in Cedar Rapids, Iowa at Washington H.S.

Ryan: Oh, did you? I taught at Washington for a year. I am from Cedar Rapids originally. When I told my parents I was writing on your music, they said “I think we saw him at Brucemore sometime in the last few years with all his brothers.”

Daugherty: Yea, that was the last time we were all together….well, so I played piano for the concert choir. The choir director’s name was Charles Ashford. I actually have his email…you might want to talk to him. He could tell some interesting stories about me. He was a real task- master, Charles Ashford. In high school we sang, since you’re doing your thing on choir music, we sang the Peaceable Kingdom, Chichester Psalms, we did Hindemith…I can’t remember which…

Ryan: Maybe some of the madrigals? They’re more accessible…

108 Daugherty: We did do some Hindemith. I’m trying to think…anyway, those pieces stick out to me.

Ryan: That’s great, great that you remember those. That’s awesome.

Daugherty: Yea, so, when I began writing Mount Rushmore I did think of the Peaceable Kingdom, that was the first piece I looked at…I guess its popular today its fair to say. The guy had a great compositional technique and really knew how to write for choir. So I went back to the Peaceable Kingdom and other Randall Thompson…

Ryan: It’s interesting that you’ve had such a successful career with wind and string writing and its not been until 2010 that you made your first foray into choral writing. Why do you think that is?

Daugherty: Well I was never asked…

Ryan: Haha, simple as that, huh?

Daugherty: It is a bit specialized…I mean if you think of most composers, they don’t have that many works for orchestra and choir. Actually, I don’t know if you want to also talk about in the dissertation…I just wrote this 40 minute piece for…

Ryan: For Jerry right?

Daugherty: Have you heard that one?

Ryan: Yes, Writ in Water? Yes, I watched the video, its great.

Daugherty: Yes, it might be interesting just to refer to that to because there is a great video of that and…are you going to be involved in the Texas performance of Mount Rushmore?

Ryan: No I don’t think so, not specifically, because that is more the broader music education association here. It was just sort of happenstance that I am writing on it and it got programmed.

Daugherty: By the way he sent me this errata…remind me to send you an email, I will forward you some of the suggestions he gave about how to split up the choir in certain spots…I will send that to you and you can incorporate that. It would be interesting to look at, taking what I wrote and then how he decided to change it and why, that might be interesting.

Ryan: Absolutely. Because he performed it with Michigan forces in 2013, maybe 5-6 years ago, right? that was after Pacific Symphony and Vocal Essence premiered it…you’re saying you shifted some things?

Daugherty: He did. Just how to split up the voices…you might want to look at that and see why he did. Also…is there a video of Vocal Essence doing it on YouTube?

109 Ryan: I’m not sure…

Daugherty: Are you by a computer? Why don’t you check that out right now?

Ryan: Yes, I chatted with Phillip about it last week, so that gave some good insights into the work…Ha, this is funny, there are already playlists from Texas choir directors to learn the music. So people are linking the Pacific Symphony recording…I don’t see it.

Daugherty: Hmmm, I thought for sure there was a video…I remember it being up.

Ryan: Writ in Water is on here…under your name…

Daugherty: Ok…could you email Phillip to ask if there is a video on YouTube of the piece? I thought for there was, but maybe he took it down.

Ryan: Sure, I will do that, absolutely.

Daugherty: Because there was a great performance in Minneapolis and I thought there was a video…okay, let’s do some questions now, yes?

Ryan: We talked about your diverse background…you’ve stated in your interviews that a part of your compositional philosophy is to create abstract music that people can really “hang their hat on” that people can grab on to and really understand even if they are not trained classical musicians. Can you explain this a little further? How do you define abstract music and how do you define accessibility? I know that is a broad question…

Daugherty: Well, concert music is by definition abstract. Its not like opera where you have talking, costumes, sets, and so forth. Its pretty much people on the stage performing without any [contextual] aspects. Vocal music is different because you have a text, so in a sense I think vocal music is less abstract because of the text. That in a sense makes it a little more inviting, a little easier for a listener in some ways. Usually the text is published in the program or sometimes they use subtitles..

Ryan: Right, yea, it gives it a programmatic aspect straight off the bat.

Daugherty: I think so, yea. So vocal music is totally different. When you’re writing instrumental music I think that is particularly challenging just because we don’t have much of that tradition here in America, especially these days, just listening to music without doing something else, listening only to the music. Most people are listening to music while they are doing something else, most people are multitasking these days as they are listening to music. Yea, so one of the ways a composer can make a point is to repeat something, so the question is how often are you going to repeat. Certain composers like Philip Glass and Steve Reich or David Lang will repeat more when other composers like Pierre Boulez or Elliott Carter or…Harrison Birwistle. So, I think that’s a challenge…in popular music, repetition is very common and this device is used to make a point and…make your piece stand out in a particular way. Repetition can be seen as, to a modernist aesthetic, it can be seen as simplistic, too easy, not challenging enough. So, one of the

110 reasons I always liked Gyorgi Ligeti music is because it is abstract, but there is something that draws you towards the music at the same time, part of it is that, you know it is highly intellectual music, but it is also very musical music.

Ryan: I’m sorry, who did you mention? Ligeti?

Daugherty: Yes, Gyorgi Ligeti, the person I studied with. Can you hear me alright?

Ryan: Yes, I thought that’s who you said, I just wanted to make sure.

Daugherty: Yea, so to repeat or not to repeat, that is the question. So, I do tend to repeat things, but when I do it, unlike a stereotypical minimalist composer I always change something. I will frequently change the dynamics, change the tessitura, change the orchestration, I will do something…in other words, I won’t keep all the musical parameters exactly the same for a long period of time, I will then shift something. So, that’s one of the ways at least that I, if you want to use the word accessible, write music you can “hang your hat on.” But also I do something else too and that is the psychological it’s a layer, the counterpoint for me. So when you have text, that adds another layer of complexity to the musical experience. Like in the second movement of the Thomas Jefferson, after doing a lot of research on Thomas Jefferson, I discovered that he had this woman he was in love with and they exchanged letters in Paris. Sorry I don’t have the score in front of me but you know what I’m talking about…

Ryan: Yes, yes…

Daugherty: So I discovered she was a composer, I discovered a tune that she wrote, so I used this tune but of course I re-orchestrated it and changed the harmonies etc and then incorporated it into the Declaration of Independence. So a lot of is how things are framed, I guess, and that’s where you get into the psychology or the unexpected…often I will set a text against how you think it would be, the music I am using is that which you wouldn’t necessarily think I would put with that text.

Ryan: Yes, I think you shifted the mode of her Ogni tune, changed it from major to minor. Was there a particular reason you did this?

Daugherty: Yea, like I said, to do the unexpected. So I’m constantly…that is sort of a modernist notion, to do something different something “new,” to do it in a way that’s not obvious. Its obvious, but it isn’t. You think you know it, but you don’t know it. It seems familiar, but it isn’t familiar.

Ryan: Okay, so you’ve pinned down the idea of accessibility, or maybe some of the ways that it might make it easier for a non-classical…or non-connoisseur to learn about your music. So what gives your music complexity?

Daugherty: It’s how its framed, to play with expectation. You think you know where you are but you really don’t know. So, I think I’m constantly…not pulling the rug out under the listener, but constantly moving in a direction that maybe is unexpected. I think, for instances, let’s take…in

111 typical genres like musical theatre, you find musical theatre that is very stereotypical and everything goes exactly where you think its gonna go or you can be a Stephen Sondheim and not do that. Yes, so I think that the way that so many modernist contemporary music composers have been trained and have thought…at least the generation I was coming through and grew up in was that you wanted to be as unobvious as possible all the time. I think though, that, in vocal music though…

Ryan: Yes, so how do we take this conversation and pivot to Mount Rushmore?

Daugherty: Well, I think if you just look at a person like Xenakis. look at his instrumental music and then look at his vocal music, its totally different, its much simpler. If you look at John Adams the way he writes for choir is much simpler than the way he writes his instrumental music… partly because choirs are often amateur singers, or they’re not professionals, so for those who have works played in the professional arena, that is the case. Now, I should say it depends on where you are living and the country you are living in. Now when I was studying with Ligeti there was a festival down in Freiburg, that was probably 1984, there was a festival that Pierre Boulez was the head of and they were doing a bunch of Ligeti’s music and the Freiburg Radio Choir sang some of his choir pieces, ones he wrote towards the end of his life. There were these specialist choirs and we don’t really have many of those, very few of those in America, so by in large your work is going to be done by the University choir here at Ann Arbor, the orchestral ensemble, the symphony chorus. The one that Jerry Blackstone conducted for years…an auditioned choir, but they are not paid singers like the LA Chorale. That’s normally the situation…you’re going to be writing differently if you’re writing for choirs in America, and probably also in England where there’s a big tradition, and also in certain parts of Europe, in Estonia and so forth where they have these huge amateur choirs.

Ryan: And yet especially in Estonia and northern Europe, there are quite a few highly specialized groups as well.

Daugherty: Though, if you look at Arvo Part’s choir music, I wouldn’t say its simple, but its pretty straightforward choir music and that is because they have these festivals where they have like 5,000 people singing. In a way, that culture dictates a certain way of composing and I knew when I wrote Mount Rushmore I would be writing not for professional choirs, which are almost nonexistent in America, is that a fair assessment?

Ryan: Yes, I think that it is growing. I think there is more and more entrepreneurship in terms of seeking fundraising dollars and building pro groups, but of course there is nothing compared to London, there are just so many pro groups in London that perform at incredibly high levels, as well as northern Europe especially…

Daugherty: But all for 16 singers, right? Mount Rushmore is a grand piece, its made for a huge choir, its not made for 24 singers.

Ryan: I see what you mean, like an entirely pro group that is symphonic size, yes that’s very difficult to come across.

112 Daugherty: Now Writ in Water is different, it does have some numbers where you have to be pretty good singers. Your average high school choir may have trouble singing some of the numbers…I don’t know, maybe I’m wrong…

Ryan: No, I agree, I recognized that from when I listened to it. There are some challenging harmonic and rhythmic…

Daugherty: Yes, so I knew Mount Rushmore would be a piece that would done largely by amateur or non-professional groups, big choirs. I remember before I wrote it I went to some of the rehearsals of the Messiah that Jerry…University Musical Society…he was conducting some of the rehearsals where there was like 200 people singing and just realizing, getting the sound in my ear. Looking at the practicality of things and then at the same time… but I’ve always thought of myself as someone pushing the boundaries, and sometimes for some composers being extremely avante-garde or experimental and for me pushing the boundaries was to take all those things I’ve learned, including coming out of the avante-garde world and somehow distill that in a way that reflected who I was and my own background and my own likes and dislikes. I suppose you can make the analogy with Aaron Copland doing that…early Copland he wrote a certain way and then he decided to, you know, when he wrote Rodeo and Appalachian Spring he decided to make a conscious effort…Charles Ives, even though his music is experimental in some ways, he wanted his music to, in a transcendental way, to connect with society. I did do a lot of research on Charles Ives and Emerson at Yale, so I think that was also an interest of mine, that reaching out wasn’t a bad thing, but a good thing to do. And you can still reach out in a way that is unexpected and challenging, so that is what I try to do with my music.

Ryan: Thank you, I appreciate it.

Daugherty: Alright!

Ryan: Okay, so I think I am going to go through each of the movements and ask a few specific questions if that’s okay.

Daugherty: Yea, sure.

Ryan: Oh! But first I’m wondering about the commissioning process. How did it occur? Were you approached by Pacific Symphony and they came up with the Mount Rushmore idea or did it percolate in your head first, or how did that happen?

Daugherty: Carl St. Claire wanted to do a piece to commemorate an anniversary of the second world war, commemorate world war II veterans. I thought that was a great idea, but I wanted the piece to be broader in its approach, as I thought that was a bit narrow. So, as I thought about what was happening around the second world war during the so called greatest generation. Well, Mount Rushmore was being constructed, I think it started in the early 30s and went right up until Pearl Harbor in 1941.

Ryan: Yes, you included that in the notes, I have that right here.

113 Daugherty: Yea, I thought that would be interesting because it was a piece of art or cultural phenomena that sort of coincided with that time period and afterwards has become sort of a beacon for people who are patriotic or you know, simply “Americana” I guess. And then because it would be a piece for choir and orchestra, with the presidents there would be texts involved…so, I had to sell that idea to the symphony, to the administration. You know this the idea I have and at first, I really had to talk it through, but eventually they agreed, okay go ahead and move that direction. So the first thing I did was I went to Mount Rushmore immediately after that, you know I had gone on a family trip there as a kid, but I went back again and spent about three days out there. I think it was around October, so there was no one there. It was not tourist season. Just to get a feeling, that’s how I do a lot of my pieces. I take a subject matter…for when I wrote the Letters from Lincoln, I went to Gettysburg. Yea, so that’s how it came to be.

Ryan: So, as you are going through each of these presidents…you said there are these texts, lots of content you can draw from there. Can you talk me through how you ended up settling on each of these texts? I know you assembled them from a variety of sources and I love it, I think it captures each president in an interesting light…

Daugherty: Yea, well first of all with George Washington there’s very little because many of his letters were burned by his wife after his death. I don’t know why she did that…maybe he professed that they were personal. He’s kind of a mysterious guy. There are very few speeches, very few letters. He was probably the most difficult I thought of all the presidents. I mean with Lincoln I decided on the Gettysburg address, with Roosevelt the national parks, and so I looked at various speeches he had given on the national parks, Thomas Jefferson was difficult as far as, he’s the most controversial of the presidents because of his personal life. George Washington, though, is sort of a mystery, we don’t know much about him. He was sort of like Wyatt Earp in that Wyatt Earp was never hit by a bullet. He went through the OK Corral and went through all these fights and never got a scratch. Same thing with George Washington. He was in the French- Indian War and a lot of his fellow officers were killed by the Indians and he was like a Greek God, he was never hit by an arrow, a tomahawk, a bullet…so he was this legendary figure. We only know of him from the pictures when he was an old man, but when he was young he was almost like one of the Greek Gods, who am I thinking of, Ulysses…invincible, you know. That’s why people followed him because if you went with Washington, nothing was going to happen to you. But again, he was a mysterious person, so I decided on…he did long his whole life, he just wanted to be in his, at home, in his famous garden.

Ryan: Yes, I was struck by that, how you set the juxtaposition of the Chester war-anthem. Its sort of like the American people demanding that he keep coming back.

Daugherty: That’s a good way to interpret it, yes. Also, when I’m writing I’m thinking about…I wrote these movements in order, after I wrote the first one, I’m thinking okay what do I want to do, well I want a different sound world for the next movement. I think about how have I dealt with the choir…each movement deals with the choir in a different way. The first movement is more like typical chorale writing. Second movement is more like vocalese for the women with the Cosway letter, and then we go into the Declaration section, very dramatic, operatic…then the third movement I was thinking like a Wagnerian drinking song with a bunch of guys, very masculine, testosterone…

114 Ryan: Yes which really goes with Teddy Roosevelt’s persona, yeah -

Daugherty: Yes, and also to feature the men. In the second movement there is a lot of female and then in the third movement, boom, the men, very raucous -

Ryan: Virile, yeah –

Daugherty: - you know kind of rugby, a bunch of guys, like a big drinking song, there is a campfire, cowboys, you know…then the last movement is again more like a vocalese, more dramatic, not chorale writing…

Ryan: Lyrical?

Daugherty: Yes, lyrical-dramatic. More like lieder. Texturally…each movement, the textures are different. That keeps your interest partly. Each movement has a different sound world, also the orchestration too.

Ryan: Yes, thanks. So it sounds like for the Jefferson movement…did you sort of come upon the art song and the story with Maria Cosway initially…?

Daugherty: I didn’t write a note of music before I did my research, so part of it was deciding what angle I was going to take and what texts I was going to use. If you are writing a 20-25 minute piece there is only so much text you can use, right? It takes twice as long to sing something as to say it.

Ryan: So, it seems there were so many different options with Jefferson. The more obvious one was the Declaration of Independence and you probably needed to include that. But then you have the relationship with Sally Hemmings, he was one of the first to…the Virginia Statute of Religious Freedom was the precursor to the amendment to the constitution with the separation of church and state, he was the forefront of that…then on his gravestone, his relationship with education, he was the founder of the University of Virginia…so all these things, what sort of drew you to his passion for music and his relationship with Cosway? Was it the song, the melody was great source material and therefore you sort of went with the relationship aspect?

Daugherty: Well I knew I wanted to go with the relationship and then it just so happened that I went through her songs and…I can’t even remember what the original song was, maybe you can find it.

Ryan: Yes, I have it…it is exactly the Italian you have quoted.

Daugherty: But is it the same harmonies?

Ryan: No, you took the exact same melody but you shifted the mode and gave it different harmonies underneath.

115 Daugherty: When you do your presentation, I assume you will do a PowerPoint, I would play an excerpt from the original song and then an excerpt of exactly the same melody but then how I set it, to show that…and I think with Jefferson too, I mean I couldn’t put my head in the sand, his personal life was the most controversial of all the presidents, for various issues of race and so forth…Jefferson never freed his slaves, Washington did, though better yet I think after he died his wife freed his slaves, but I’m not exactly sure…but I think that Jefferson is much later and he didn’t, you know he was Virginia, right? right on the Mason-Dixon line there, but he didn’t free his slaves, but…he’s a complicated guy. The contradictions…you know, America is a country of many contradictions and certainly he in a sense personifies the contradictions that we see today about issues of race and how we look at them. He was unable to reconcile those in his personal life vs public life, he was unable to reconcile those and I think were still seeing lots of those issues today in our society.

Ryan: Which that sort of goes with the little motive you dwell on…the “my Head, my Heart.” Yes, it applies to his relationship with Cosway…

Daugherty: Right, also her, but also his relationship to Sally Hemings too. Constantly grappling between…evidently…its been awhile since I’ve done my research on it…he was always grappling between the intellectual and the emotional, between what he thought was right morally and what he thought was right politically. He was constantly going back and forth on that. And he never really could reconcile those things, so that’s why…you know he had this complicated relationship with this woman in France and he had a complicated relationship with his slaves, you know. Like I said, today [he is seen] as the most complicated of all the presidents as far as his personal life. I should say about Roosevelt, you should look at his wife, because his wife is kind of like Conway the advisor to Trump, her husband is very anti-Trump, so Theodore Roosevelt’s wife was one of the leaders of the suffrage movement and Roosevelt’s party was against it. So he supported suffrage…so the two things he supported, one was the woman’s right to vote which his party was adamantly against, and he also supported the creation of the national parks which his party was also against. He had a lot of resistance with the national parks, I don’t think people realize that was very unpopular with his party. You should just read a little about the national parks, and the heat he took for them and for supporting the suffrage movement at the time. On the other hand, he was a real….not a war-monger, but guts and glory guy, you know, very provocative militarily but when it came to certain subjects he just didn’t toe the line with the party. That’s why he was more of an independent in some ways. The national parks was not a foregone conclusion, he had to fight for that. Even back then. Its hard to imagine. If he hadn’t established the Grand Canyon and so forth, I guarantee you there’d be motels all along that, on both sides of the canyon.

Ryan: Absolutely.

Daugherty: Even today the national parks are being challenged, oh you know do we really need all that land, you know it’s a federal overreach to protect land, and even the reservations sometimes are being challenged, well do they really need all that space, we could do oil…so these issues are still very much alive today, issues about who should own the land, issues of public use vs private use, so Roosevelt was the person who spearheaded that movement to try to protect the land from being destroyed. One of the ironies you can say is, in a sense Mount

116 Rushmore is a desecration…first of all, in the area where Mount Rushmore was made it was sacred to the Indians and it was a desecration of a nature area basically to make a tourist attraction. I should mention that there is the Crazy Horse monument…you know you should go to Mount Rushmore!

Ryan: Absolutely, yeah, I did the same thing you mentioned, I went with my family when I was 12 or 14, but I should go back, yes…

Daugherty: Yes, you should definitely go back. Some of the things will kind of make sense. And you should also go to Crazy Horse which is like a half hour away. Another carving in the mountain. That was done as reaction to Mount Rushmore. So I wrote a piece shortly after that called Trail of Tears and that was sort of my response to, not my response, but kind of looking at it from another angle, from that of the Native Americans and the Trail of Tears, which had occurred about 100 years earlier…but from another perspective. So there is an irony to Mount Rushmore.

Ryan: Yes, for sure. And I think there is an irony to Roosevelt’s general love of the wilderness in that he wanted to preserve it, but wanted to preserve it so that he could hunt and mount these large game and throw them on his wall at home – he went to Africa to do that – its similar to Mount Rushmore contradiction with the Native Americans. People who are conservationists today are not necessarily big game hunters.

Daugherty: Yea, well he was sort of part of that whole male coming of age, wealthy privilege, white upper class right of passage with the hunting…you know Hemingway did the same thing, like Roosevelt, masculinity was to be a hunter, a fisher…there was a certain kind of masculinity around that same time, the 20s and 30s, a different time.

Ryan: Interesting. Okay, and then with the Gettysburg text [with Lincoln]…Its sort of hard to avoid that, right? I’m sure he had a lot of other amazing speeches…

Daugherty: You know, it takes a lot of guts to set the Gettysburg address.

Ryan: And you did it first with the baritone solo concerto, right? and then shifted it over into this choral work…

Daugherty: Yea, you know, why I did that…you know the Letters from Lincoln, the last movement was the Gettysburg Address. So, first of all I was amazed I was able to come up with a tune out of that.

Ryan: [Laughter] Haha, it’s a great little motive, congrats.

Daugherty: You know, well the way I did that, so when I wrote Writ in Water and also Mount Rushmore, I worked with singers so I had…I wish I knew who the guy was…he was a graduate student of Jerry Blackstone who put together an 8 piece choir and they would meet in my studio at the University and we would try…I remember how I did that movement is I would actually have just the vocal part, the baritone part, and then I wrote it kind of in real time with

117 them…okay, lets try just the women singing this, just the men singing this…so I did it by ear, go to the harmony…keeping the notes, but working with textures. So I actually wrote that with the singers.

Ryan: Which, referring to your other interviews, that’s a real important aspect to your writing in general that you oftentimes bring in live instruments to make sure…

Daugherty: Yes, and I brought in live singers. I think it goes back to my time in high school playing in concert choir, I was always in rehearsals with singers. Partly I think the reason Mount Rushmore really works is that when you get to the final movement the sound movement changes for the choir. Its very fresh sounding. It’s a whole different way of writing. The piece really moves between these different sound worlds. I think that’s what makes it fresh.

Ryan: Well I love…and just how it moves between the Gettysburg theme and the conflict, the unsettling sections…you are just drawn to the moments when it returns to that theme, its really wonderful.

Daugherty: I think what’s important is that the composer did his research, #1, and #2, is aware of the cuts. Because somebody might say, “Don’t you think its kind of ironic that Mount Rushmore was created but in a sense desecrated Indian lands.” “Yes the composer is quite aware of it. And he even mentioned that to me, those ironies, Crazy horse…” In other words, I am aware…and someone could bring that up about Jefferson…“Are you aware the Jefferson was sleeping with…” “Well yes, the composer is well aware of that and that is why we hear those contradictions in the music and he keeps saying my head my heart because he is grappling between these impulses, these contradictions that tortured him his entire life.” Its important that I am aware of the historical and societal contradictions among all these people, probably, you know, Lincoln actually micromanaged the civil war, very involved in the battles in very strategic planning, what was to happen. He was a war-room president, he was not just sitting back, very involved, not a militaristic person, but very involved in these battles where thousands and thousands of soldiers on both sides were killed, but he never had any revenge, that’s the interesting contradiction, everyone else around him wanted Robert E. Lee and all these people to be tried as traitors and hung. Except for Lincoln. But he was not like someone who was naïve, he actually went to the battles, to hospitals, he saw all the terrible things that were happening, all the terrible effects of war, but he never had any vengeance…now, when he died, his vice president was different from Lincoln, he did seek vengeance…lots of things Lincoln laid out he did not follow. Lincoln wanted the south to be treated equal to the north but then Andrew Johnson became president…

Ryan: Well and you wonder if there were fewer northerners down in the south telling them what to do afterwards, would there have been a more natural progression for black people. You hear about how some of the reason the south held on to racist traditions, a part of it was they wanted to show they were different than the northerners who were put in place as leaders artificially…

Daugherty: I just warn you though, if you are going to get into these areas, you really need to read up on your history. If you decide to wade into these waters, you need to have read a few

118 books, footnote historically well, there a few great books on Lincoln, Pulitzer prize winning books.

Ryan: Yes, have you heard of the book “Team of Rivals”?

Daugherty: Yes, I did read that book. The thing that is interesting…I don’t know about Andrew Johnson, I’m not on top of it as well as I was at the time…I believe Lincoln was able to get through the amendment where slavery was abolished. Andrew Johnson was not an advocate of that and he did not grant equal rights to African-Americans like Lincoln wanted to, he restricted those rights.

Ryan: Wow, interesting.

Daugherty: Yes, he actually went after the south. They punished the south. That punishment has led, even today, there’s still animosity. I think it goes back to Andrew Johnson and the attitude he took towards the south, which was not in keeping…you know interestingly when Kennedy was assassinated, LBJ… one of the things Kennedy wanted to do was get the Civil Rights Act passed. LBJ carried that through as Kennedy wanted. But I don’t think Andrew Johnson carried out what Lincoln necessarily wanted, and that caused a lot of the problems we have even today.

Ryan: That is a very interesting insight.

Daugherty: And Lincoln as a man was very depressed, he was…you know, so the music I wrote is very dramatic, and has more dissonance, it is maybe the most dissonant movement and the most tumultuous, it has many moods, shift, almost like a mini-opera in a way. The second movement is more vocalese, the first movement is more chorale, early Americana Billings kind of thing, and the third movement is more like Glee Club singing and the last movement is very dramatic, very full of pathos and emotion and so forth. Each movement is different in its sound world and I think that is one of the reasons the piece really works because you go from one movement, to the second movement and you’re like totally like “Wow!” that’s totally different, you go to the third movement “Wow!” that’s totally different, to the fourth movement, “Oh wow!” and I have always been a big fan of Mahler and Mahler does that in some symphonies where each movement will be a different kind of sound world. Mahler has always been a big influence on me and my thinking.

Ryan: Wonderful. I just have a few more questions on small, specific items. In the first movement, there’s this pattern that you create between the orchestral interludes which use a fragment of Chester with the bombastic brass and ascending septuplets, but then at the end of it, I think a good example of how you said you use the same musical materials but you always try to put it in a different light. At the end, m. 73, the octet enters immediately after the choir without that little interlude. That moment strikes me as similar to what we talked about …

Daugherty: Yes! Right, a moment where I set up an expectation and then I shift gears, or I don’t do what you expect. I guess you could say that the only way you can hear development is if you hear what you are developing from. If you are in constant development all the time, you can just be continually lost. So, first I state my idea in a very clear way. And then I will state it enough so

119 I think the person has it in their ear. Then I start to deviate from that. If I don’t state the idea in a clear manner, then you’re not going to hear all the variations and all the development I’m doing, its just going to be totally lost. Again, going back to that question, how much to repeat something or how much to make something obvious, every composer has their own aesthetic on that. Some composers will have no repetition, they always want to be obscure. Others will never want to be obscure in any sort of way, you know, where everything is totally obviously continually. That works very well, but they are not challenging the audience too much. Its always a balance between how to challenge, how to have something make sense. Composers are grappling with that all the time with their music. How much do I want to reveal and how much do I want to hide. I think the fact that I grew up as a performer – I played in rock bands, in jazz bands, I played in concert choir – I was always a performer, I was always aware of audiences – I was also aware of what it meant to learn music and to rehearse it, so I am aware of that psychology and what that’s all about it.

Ryan: Wow, that’s helpful. Okay just a few other tidbits. For the Jefferson movement, for the La Marselliese quote is simply to sort of place him in France, right?

Daugherty: Yes, simple as that. Its something a lot of other composers wouldn’t do. I tend to use a lot of historical quotes. I do that in Gettysburg, I use Dixie, When Johnny, Yankee Doodle, the Marselleise.

Ryan: I think its interesting that you label everything…

Daugherty: Well, believe it or not, a lot of people don’t know what those things are. I think its also just putting it out there, being straightforward. But not a lot of composers would do that, but again its how its framed. It’s a matter of aesthetic, some composers would never do those quotations, but its something I’ve done in lots of my music, where to me, its not an opera, but in a way – we don’t have costumes, we don’t have sets – it’s a way to set up an aura of historical reference, to put you in a particular relationship for a time. So when you hear the Marseilleise you think France, okay, well why France? Well he want to Paris. Okay, so you hear Dixie – which was ironically Lincoln’s favorite song – why? who knows. But he liked Dixie, so you hear Dixie and then also Johnny. Well I don’t actually set the words, the actual song, but you hear a little fragment in the orchestra so…it’s the way its used, unexpected. Some people may say its too straightforward. But that’s really an aesthetic decision. And that goes back to Charles Ives who quoted things. Sometimes very obscure…you’ll be listening to one of his pieces and its very obvious, but other times its put so far back in the texture you can barely hear it. I’m not a transcendentalist like Ives, but I do share a lot of the same optimism.

Ryan: Another thing that strikes me as I reflect on our conversation…its abundantly obvious how seriously you take the subject matter – the work displays this as well. I know that goes for all of your pieces, but the I think the fact that there is text here makes it even more specific and just the fact that you’re very obviously extremely interested in history as it relates to your music, which makes sense, it connects with why you enjoy the iconography of America, and why you include that in your music so often.

120 Daugherty: Right, I throw myself into the part so to speak. With Mount Rushmore, I took it very seriously and I read books, I do my research, I visit if I can…When I wrote Rosa Parks Boulevard, I met Rosa Parks…I went to Detroit, it took me a long time to set it up, to go to Rosa Parks’ church. She was very old, but I set it up through her secretary, and I sat next to her at a service in a small gospel church in Detroit and afterwards talked to her for like 10 minutes. I was sitting next to Rosa Parks during this service in Detroit at a small gospel church – that was kind of a big deal! Anyway, yeah so, I do take it seriously and it’s a lot of fun to write the piece and I learned a lot about American history. I’m sure some people will ask and you can say yes, I did talk to the composer and he’s very aware of these issues. Its not just…it could be a very superficial, shallow piece, kind of a one-dimensional patriotic kind of piece. Like, give me a piece, ummm…

Ryan: Roy Harris. He has this Folk Song Symphony that is sort of one dimensional.

Daugherty: I’m thinking of this one…it goes [singing] “truth is marching.”

Ryan: Battle Hymn of the Republic.

Daugherty: Yes! but there is this arrangement that everyone always does. It has [humming] “in the beauty of the lilies…”

Ryan: Yes, the Iowa All-State does it every year.

Daugherty: Yea, who wrote that?

Ryan: Is it the Wilhousky?

Daugherty: I don’t know, it’s the one that all the high… we did it in high school.

Ryan: [Laughter] Haha, you did it in high school and so did I, in Iowa!

Daugherty: So, that’s, yes, that’s what I’m talking about. That kind of thing, right? Its not that. (Mount Rushmore)

Ryan: Right.

Daugherty: But it has elements…the work is exciting like that is. Its an exciting piece when you hear it. Psychologically Battle Hymn doesn’t delve into anything, its pretty straightforward. Probably from the 50s, when things were that way, historically it fits into the time. But it is an exciting piece in its own way. Mount Rushmore is exciting too, but it does also have those other elements

121 BIBLIOGRAPHY

"20 Indians Seized In Treaty Protest At Mt. Rushmore." The New York Times. June 07, 1971. Accessed June 18, 2019. https://www.nytimes.com/1971/06/07/archives/20-indians- seized-in-treaty-protest-at-mr-rushmore.html.

"American Composers Festival History." Pacific Symphony: History of ACF. Accessed June 17, 2019. https://www.pacificsymphony.org/about_us/ACF/history_of_acf.

Armenta, Joshua. “Colonial Nationalism in the Music of William Billings.” Choral Journal 52, no. 3 (2011): 7–14, accessed December 3, 2019, https://libproxy.library.unt.edu.

Beard, William Randall. “New works fire VocalEssence season opener.” Review of Mount Rushmore by Michael Daugherty, October 8, 2011, VocalEssence concert in Minneapolis, MN. Minneapolis Star Tribune, October 10, 2011. http://www.startribune.com/new-works-fire-vocalessence-season-opener/131471613/.

Bergman, Steve. “Mount Rushmore.” Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. Edge Media Network, May 7, 2013. https://www.edgemedianetwork.com/entertainment/music//144065.

Billings, William. “Chester,” Singing Master’s Assistant, pg. 39 (Boston: Draper and Folsom, 1778), accessed January 2, 2019, https://imslp.org/wiki/The_Singing_Master's_Assistant_(Billings%2C_William).

Blackstone, Jerry. “Texas All-State Repertoire Notes” Texas Music Educator’s Association. https://www.tmea.org/divisions-regions/vocal/audition-material

Clague, Mark. “Interview: Michael Daugherty Discusses Lost Vegas with Mark Clague.” YouTube video, 8:57. Posted February 21, 2015. accessed December 26, 2018, https://www.youtube.com/watch?v=o4VCpOZjEVA.

Chernow, Ron. Washington: A Life. New York: Penguin Books, 2010.

Coombs, Daniel, and Sunier, John. "Mount Rushmore." Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. Audiophile Audition, June 21, 2013. https://www.audaud.com.

Crawford, Richard and David P. McKay. “The Performance of William Billings’ Music.”Journal of Research in Music Education. 21, no. 4 (1973): 319.

Dart, William. “Classic CD Review: Daugherty's music a letdown this time.” Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. New Zealand Herald, June 8, 2013. https://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=10 108890.

122 Daugherty, Michael. "Long Biography." Accessed June 18, 2019. https://michaeldaughertycomposer.com/long-biography/.

Daugherty, Michael. “Program Note.” Mount Rushmore. London: Hendon Music, Inc., Boosey and Hawkes, 2009.

Ellis, Joseph J. American sphinx: the character of Thomas Jefferson. Knopf Doubleday Publishing Group, 1998. Kindle Edition.

Fuller, David, Stephen Clickard, Judson Scott, Raydell Bradley, J. Bradley McDavid, Miho Takekawa, David Waltman, Scott Higbee, Timothy Salzman, and Miriam Krueger. 2003. A composer's insight: thoughts, analysis, and commentary on contemporary masterpieces for wind band, volume 1. Galesville, MD: Meredith Music.

Gimbel, Allen. “Mount Rushmore; Radio City; Gospel According to Sister Aimee.” American Record Guide 76, no. 5 (2013): 97–98. https://libproxy.library.unt.edu.

Graves, Ralph. “Michael Daugherty Mount Rushmore – monumental music.” Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. WTJU 91.1FM, University of Virginia, June 28, 2013. https://www.wtju.net/michael-daugherty- mount-rushmore-monumental-music/.

Hathaway, Chris. “Music Library Reviews: Daugherty, Beethoven and Cherubini.” Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. Houston Public Media, June 1, 2013. https://www.houstonpublicmedia.org/articles/arts- culture/2013/06/01/43976/music-library-reviews-daugherty-beethoven-and-cherubini/.

Hayden, Michael Edison. “‘Neo-Nazi Cowards’ return to Charlottesville with Torches to Stage White Nationalist Protest.” Newsweek. October 8, 2017. www.newsweek.com.

History.com Editors. Gettysburg Address. History. A&E Television Networks. https://www.history.com/topics/american-civil-war/gettysburg-address. Accessed 6/8/19.

Hsieh, Chia-Hao. "Michael Daugherty's Concerto ‘Raise the Roof’ for Timpani and Symphonic Band (2007): Analysis and Performance Guide." DMA diss, University of Washington, 2011. ProQuest (AAT 3472103).

Hubbard, Rob. “Concert review: VocalEssence program goes big, then bigger.” Review of Mount Rushmore by Michael Daugherty, October 8, 2011, VocalEssence concert in Minneapolis, MN. St. Paul Pioneer Press, October 8, 2011. www.pioneerpress.com.

Hurwitz, David. “Three Daugherty Recording Premieres.” Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. Classics Today. https://www.classicstoday.com/review/three-daugherty-recording-premiers/.

Hutton, Mary Ellyn. “Daugherty's Music Taps American Spirit.” Review of Mount Rushmore by Michael Daugherty, February 23, 2013, Hamilton-Fairfield Symphony concert in Hamilton, OH. Music in Cincinatti, February 25, 2013.

123 http://www.musicincincinnati.com/site/reviews_2013/Daugherty_s_Music_Taps_Americ an_Spirit.html.

Jefferson to Governor William Henry Harrison, February 27, 1803, in The Writings of Thomas Jefferson, Andrew A. Lipscomb and Albert Ellery Bergh, eds., 20 vols. (Washington, D.C., 1905)

Jepson, Spencer A. "An Examination and Interpretive Guide to Michael Daugherty's “Niagara Falls”." MM thesis, California State University, Long Beach, 2009. ProQuest (AAT 1466168).

Jordan, James. Evoking Sound: Fundamentals of Choral Conducting. Chicago: GIA Publications, 2009.

Kennedy, Steven A. "Review: 3 New Works from Michael Daugherty." Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. Cinemusical, May 16, 2013. http://maestrosteve.xanga.com.

Lincoln, Abraham. Lincoln to Drake et al., Washington, 5 October 1863, Basler, ed., Collected Works of Lincoln, 6:499- 504.

Lincoln, Abraham. Washington correspondence, 6 October, Philadelphia Inquirer, 7 October 1861.

Lochhead, Judith. 2009. “Naming: Music and the Postmodern.” New Formations: A Journal of Culture/Theory/Politics, no. 66 (Spring): 158–72.

"The Making of Mount Rushmore." Smithsonian.com. October 30, 2011. Accessed June 17, 2019. https://www.smithsonianmag.com/history/the-making-of-mount-rushmore- 121886182/?page=4.

McCutchan, Ann. The Muse That Sings: Composers Speak About the Creative Process. New York: Oxford University Press, 1999.

McGarvey, Timothy David. ""Desi", "Bizarro", and "Motown Metal": The Wind and Percussion Music of Michael Daugherty." DMA diss, University of Cincinnati, 1997. ProQuest (AAT 9818585).

Christian McWhirter. The Birth of Dixie. New York Times. March 31, 2012. www.blogs.nytimes.com.

Morgan, Dan. "Review: Michael Daugherty Mount Rushmore." Review of Mount Rushmore album by Paul Jacobs, Org./Pacific Sym./ Carl St. Clair – Naxos, 2013. MusicWeb International, August 13, 2013. http://www.musicweb-international.com.

Morris, Edmund. The Rise of Theodore Roosevelt. Random House Publishing Group, 1979. Kindle Edition.

124 Morris, Edmund. Theodore Rex. Random House Publishing Group, 2001. Kindle Edition.

Morton, Brian. "MICHAEL DAUGHERTY: MOUNT RUSHMORE; RADIO CITY; THE GOSPEL ACCORDING TO SISTER AIMEE." Choir and Organ, September 2013, 92.

"Mount Rushmore: Geologic Activity." National Parks Service. Accessed June 18, 2019. https://www.nps.gov/moru/learn/nature/geologicactivity.htm.

National Park Service. Theodore Roosevelt and Conservation. 2017. Accessed May 30, 2019. www.nps.gov.

Neuen, Don. Empower the Choir: Concepts for Singers. Waitsfield, VT: Choral Excellence Inc, 2003.

Orchestra Repertoire Report (ORR) 2012-2013. New York: League of American Orchestras, 2013. Accessed January 9, 2019.

Ortega, Arturo. "Michael Daugherty's “Red Cape Tango”: A Comparative Study of the Original Version for Symphony Orchestra and its Transcription for Wind Orchestra, with Four Recitals of Selected Works by Beethoven, Dvorák, Verdi, Bartók and Daugherty." DMA diss, University of North Texas, 2002. ProQuest (AAT 3127051).

Oteri, Frank. “Michael Daugherty: Newmusicbox Interview Part 1 of 2.” Filmed December 11, 2006. YouTube video, 6:43. Posted, June 22, 2010. Accessed December 26, 2018, https://www.youtube.com/watch?v=EaJNeqKO0-4.

Path to All-State Report. Austin, TX: Texas Music Educators Association, 2018-2019. Accessed June 17, 2019. https://www.tmea.org/assets/pdf/2019_All_State_Report.pdf

Powell, Susan Kaye. "The use of Percussion in Select Chamber Compositions by Michael Daugherty." DMA diss, Northwestern University, 2006. ProQuest (AAT 10060618).

Bilal Qureshi, Ed Ayers, Bryant Henderson, Tony Horwitz, Chris Presley, Rene Marie. “How 'Dixie' Became And Endured As An Anthem.” Weekend Edition Sunday. National Public Radio. Jan 6, 2019. Online transcript.

Raines, Robert. Composition in a Digital World: Conversations with 21st Century American Composers. New York City : Oxford University Press, 2015.

The Roosevelts: An Intimate History. Directed by Ken Burns. Public Broadcasting Company: 2014. www.thirteen.org.

Roosevelt, Theodore. 1904. The Rough Riders. New York: Review of Reviews Co.

Sam Wood to Bradford R. Wood, n.p., n.d., quoted in Bradford Wood to George G. Fogg, Copenhagen, Denmark, 20 October 1863, Fogg Papers, New Hampshire Historical Society; Washington correspondence, 15 August, 13 October, New York Evening Post,

125 17 August, 14 October 1863. As quoted in Michael Burlingame’s Abraham Lincoln: A Life. Johns Hopkins University Press, 2008.

Salzman, Timothy. A Composer's Insight Thoughts, Analysis and Commentary on Contemporary Masterpieces for Wind/Band. Meredith Music Publishers, 2012.

Smith, Rex Alan. The Carving of Mount Rushmore. Abbeville Publishing Group, 2011. Kindle Edition. Foreword.

Smith, Ken. “Review of Naxos recording of Michael Daugherty's 'Mount Rushmore' performed by Carl St. Claire and Pacific Symphony.” The Gramophone, vol. 90 (September 2013).

Spede, Mark James. "Michael Daugherty's "Red Cape Tango": A Transcription for Band." DMA diss, University of Texas, Austin, 1998. ProQuest (AAT 9838183).

Sumner, Charles. 1865. The promises of the Declaration of Independence: eulogy on Abraham Lincoln, delivered before the municipal authorities of the city of Boston, June 1, 1865. Boston: Ticknor & Fields. https://archive.org/details/promisesofdeclar7994sumn.

Swed, Mark. “Music review: 'The Greatest Generation' by Pacific Symphony.” Review of Mount Rushmore by Michael Daugherty, Feb. 4, 2010, Pacific Symphony concert in Costa Mesa, CA. Los Angeles Times, February 5, 2010. https://latimesblogs.latimes.com/culturemonster/2010/02/the-greatest-generation-by- pacific-symphony.html.

Washington, George. George Washington to The Marquis De Lafayette. February 1, 1784. Letter. From Founders Online, National Archives, Washington Papers, accessed January 4, 2019, https://founders.archives.gov/documents/Washington/04-01-02-0064.

126