DOCSLIB.ORG

ERNEST CHAUSSON's POÈME, Op. 25 in CULTURAL CONTEXT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ERNEST CHAUSSON's POÈME, Op. 25 in CULTURAL CONTEXT ERNEST CHAUSSON’S POÈME, Op. 25 IN CULTURAL CONTEXT by Yan Mao A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis May, 2016 For my father ! ii ACKNOWLEDGEMENTS Writing this document has been an arduous journey. I would like to acknowledge the people who have helped me make this possible. I would like to express my deepest appreciation to Robert Riggs, musicologist, violinist, professor of music, and chair of the Music Department at the University of Mississippi. From him I have received valuable insight and advice, on research and writing throughout my work on this document. In addition, his professionalism and openness have been a great influence on me and on this document. Without his generous help and time, this document would not have been completed. I would like to thank Janet K. Page, my advisor and the chair of my committee. She offered great help during the hardest period of my doctoral study. She also has provided essential research and writing assistance. I have benefited very much from her musical and literary knowledge and rigorous scholarship. I also would like to thank the following people for their assistance and support. John Baur, my theory professor and my committee member, who helped me analyze the music of the composition and gave insight from different views to my performance and study. Timothy Shiu, my violin professor, who offered the great help throughout my doctoral study and introduced the conception of the beauty and the spirit of the music to me. I am grateful that I got the opportunity to study with him to pursue this last degree. Pu-Qi Jiang, the conducting professor, from whom I received much generous caring during my doctoral study. I have benefited from his professionalism and musicianship. Lenny Schranze, my viola professor, who helped me establish a new musical career. His teaching and perspective on the music have been a great influence on me. John Leslie, music catalog librarian and associate professor at the University of Mississippi, who offered great help to my research and helped me with the French translation. ! iii Also, without my family’s constant support, I could not have completed this document. Therefore, it is with great appreciation that I dedicate it to my father. ! iv ABSTRACT Mao, Yan. DMA. The University of Memphis. May, 2016. Ernest Chausson’s Poème, Op. 25 in Cultural Context. Major Professor: Janet K. Page, PhD. This document examines Ernest Chausson’s Poème (1896) for violin and orchestra in its cultural context. It provides information about the French cultural environment at the end of the nineteenth century, including literature, art, and music. Ivan S. Turgenev’s story The Song of Triumphant Love, which inspired Chausson’s composition of Poème, is also investigated in detail. Supported by musical analysis, I propose how Poème is related to the story. In addition, nineteenth-century composers’ relationships with program music, symbolism, and impressionism are discussed, using as examples excerpts from Hector Berlioz’s Symphonie Fantastique, Richard Wagner’s Tristan und Isolde, Eugène Ysaÿe’s Poème élégiaque, Op. 12, Claude Debussy’s Prélude à l’après-midi d’un faune, Modest Mussorgsky’s Night on Bald Mountain, and Pyotr Ilyich Tchaikovsky’s Romeo and Juliet. I contend that Poème is more an impressionist than a late Romantic work. It was greatly influenced by painting and literature during the late nineteenth century. ! v TABLE OF CONTENTS Chapter Page List of Examples vii List of Figures ix Copyright Permission Letter x Introduction 1 1 Cultural Context and Background: Paris, 1880-1900 2 Interest in Richard Wagner 2 Symbolism in Literature 6 Impressionism in Painting 8 Ernest Chausson’s Friends and Salon Culture 12 2 The Background of Poème 20 The Commission from Eugène Ysaÿe and Ysaÿe’s Poème élégiaque 20 Chausson’s Interest in Ivan Turgenev 24 Program Music in the Late Romantic Era 27 The Song of Triumphant Love: Synopsis and Sources 29 Ivan Turgenev’s Connection with France and Musicians There 33 Exoticism 35 3 Poème and The Song of Triumphant Love 39 Musical Analysis and the Programmatic Content of Poème 39 4 Poème in Broader Musical Context 72 Poème in Broader Musical Context 72 Poème as an Impressionist Work 80 Bibliography 83 ! vi LIST OF EXAMPLES Example Page 2.1. Chausson, Poème, mm. 176-88 22 2.2a. Ysaÿe, Poème élégiaque, mm. 104-5 22 2.2b. Ysaÿe, Poème élégiaque, mm. 112-19 23 2.3. Chausson, Poème, mm. 335-47 23 2.4. Ysaÿe, Poème élégiaque, mm. 183-93 23 2.5. Debussy, Prélude à l’après-midi d’un faune, mm. 1-4 36 2.6. Rimsky-Korsakov, Scheherazade, mm. 14-15 38 2.7. Debussy, Prélude à l’après-midi d’un faune, mm. 61-64 38 3.1. Chausson, Poème, Theme 1, mm. 31-51 41 3.2. Chausson, Poème, Theme 2, mm. 123-26 41 3.3. Chausson, Poème, Linking motive, mm. 65-68 41 3.4. Chausson, Poème, mm. 1-11 44 3.5. Chausson, Poème, mm. 18-20 45 3.6. Chausson, Poème, mm. 75-83 47 3.7. Camille Saint-Saëns, Bacchanale in Act III of Samson et Dalila, 49 3.8. Chausson, Poème, mm. 99-108 50 3.9a. Chausson, Poème, Theme 2, mm. 123-26 50 3.9b. Chausson, Poème, Transformed version of Theme 2, mm. 138-41 51 3.10. Chausson, Poème, Longing motive, Chausson, Poème, mm. 146-47 51 3.11. Chausson, Poème, mm. 164-67 52 3.12. Mussorgsky, Night on Bald Mountain, mm. 1-3 53 ! vii 3.13. Chausson, Poème, mm. 255-69 55 3.14. Chausson, Poème, mm. 277-81 56 3.15. Chausson, Poème, mm. 290-94 58 3.16a. Tchaikovsky, Romeo and Juliet (overture-fantasia), mm. 121-23 62 3.16b. Tchaikovsky, Romeo and Juliet (overture-fantasia), mm. 127-29 63 3.17. Chausson, Poème, mm. 312-20 65 3.18. Wagner, Tristan und Isolde, mm. 1782-90 66 3.19. Chausson, Poème, mm. 339-47 68 3.20. Chausson, Poème, mm. 113-19 71 4.1. Wagner, Tristan und Isolde, mm. 1-9 74 4.2. Chausson, Poème, mm. 12-20 75 4.3. Wagner, Transfiguration in Tristan und Isolde 77 ! viii LIST OF FIGURES Figure Page 1.1. Maurice Denis, Avril (April), ca. 1894 18 2.1. Opening page of the autograph draft of Poème, Opus 25 27 3.1. Overview of the Structure of Chausson’s Poème 42 3.2. Structure of the Introduction 43 3.3a. Chausson, Poème (manuscript), mm. 185-88 69 3.3b. Chausson, Poème, mm. 184-88 69 3.4a. Chausson, Poème (manuscript), mm. 179-84 69 3.4b. Chausson, Poème, mm. 179-83 70 ! ix COPYRIGHT PERMISSION LETTER Dear%Yan, Thank%you%for%your%email%of%DATE%requesting%permission%to%reproduce%Maurice%Denis%April,'ca.'1894on% the%ProQuest%UMI%Dissertation%Publishing%website%in%conjunction%with%your%forthcoming%dissertation% titled%Ernest%Chausson's%Poeme,%Op.%25%in%Cultural%Context.%% Permission%is%hereby%granted%for%the%print%and%online%uses%as%detailed%in%your%email.%%Specifically,%for%the% use%of%the%work%in%the%context%of%a%dissertation%only,%available%for%download%as%a%locked%digital%file%on% the%UMI%password%protected%website,%http://www.proquest.com.%%No%rights%fees%shall%be%attendant%to% this%usage.%%Please%note%that%in%the%event%that%any%additional%uses%of%the%work%are%planned%such%as% further%print%or%online%publication,%permission%must%be%obtained%in%advance%from%ARS%and%a%permissions% fee%may%apply.% Please%include%the%following%copyright%credit%line: ©"2016"Artists"Rights"Society"(ARS),"New"York The%WWW%Images%may%not%be%transferred%to%or%reproduced%on%any%other%storage/retrieval/% transmission/display%system,%including%but%not%limited%to%CDRROM,%DVD,%CDRI,%whether%now%known%or% hereafter%devised%for%sale,%rental,%public%display,%or%distribution%of%any%kind%without%the%express%written% permission%of%ARS.%The%Licensee%shall%not%grant%a%license%to%print,%download,%copy,%share,%modify,%or% otherwise%extract%the%Images%listed%below%for%commercial%purposes,%and%the%licensee%shall%take%all% necessary%measures%to%impede%the%commercial%exploitation%of%the%Images.%% Permission"is"contingent"upon"the"following:""complete"attribution"of"Images"reproduced;"obligatory" copyright"credit"line"affixed"to"the"reproductions"on"screen"and"on"any"computer"print"outs;" integration"of"copy"protection"mechanisms;"no"alteration"or"manipulation"of"the"Images;"and" resolution"not"to"exceed"1024"x"768"pixels"and"72"dpi"definition. Please%feel%free%to%contact%me%if%you%have%any%questions.% Best,% Hannah Rhadigan Rights Administrator A R S Artists Rights Society . 536 Broadway . Fifth Floor . New York, NY 10012 tel. 212.420.9160 fax. 212.420.9286 ! x INTRODUCTION Ernest Chausson’s Poème for violin and orchestra was composed in 1896, and it was dedicated to Eugène Ysaÿe. Listening to this piece for the first time made me feel like I was watching a French movie. I was intrigued by its distant beauty. Is it programmatic or impressionistic, and, if so, what are the extra-musical associations? Is there an obscure plot involving fear, hope, and introverted passion? It made me curious about how all of these feelings were conveyed through the music. Poème was inspired by The Song of Triumphant Love, a story by Ivan S. Turgenev. The work’s relationship to the story was unknown until the publication of Jean Gallois’ biography of Chausson in 1967. No documents indicating the reasons that Chausson suppressed this information in the published score have been discovered. Perhaps the ambiguity and vagueness of Chausson’s final title are related to the impressionist aesthetic? If so, how does an impressionist tell a story via music? In order to answer these and other questions, I began this research.
Load more

Recommended publications
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • April 1 & 3, 2021 Walt Disney Theater
    April 1 & 3, 2021 Walt Disney Theater FAIRWINDS GROWS MY MONEY SO I CAN GROW MY BUSINESS. Get the freedom to go further. Insured by NCUA. OPERA-2646-02/092719 Opera Orlando’s Carmen On the MainStage at Dr. Phillips Center | April 2021 Dear friends, Carmen is finally here! Although many plans have changed over the course of the past year, we have always had our sights set on Carmen, not just because of its incredible music and compelling story but more because of the unique setting and concept of this production in particular - 1960s Haiti. So why transport Carmen and her friends from 1820s Seville to 1960s Haiti? Well, it all just seemed to make sense, for Orando, that is. We have a vibrant and growing Haitian-American community in Central Florida, and Creole is actually the third most commonly spoken language in the state of Florida. Given that Creole derives from French, and given the African- Carribean influences already present in Carmen, setting Carmen in Haiti was a natural fit and a great way for us to celebrate Haitian culture and influence in our own community. We were excited to partner with the Greater Haitian American Chamber of Commerce for this production and connect with Haitian-American artists, choreographers, and academics. Since Carmen is a tale of survival against all odds, we wanted to find a particularly tumultuous time in Haiti’s history to make things extra difficult for our heroine, and setting the work in the 1960s under the despotic rule of Francois Duvalier (aka Papa Doc) certainly raised the stakes.
    [Show full text]
  • La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
    SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds.
    [Show full text]
  • Claude Debussy in 2018: a Centenary Celebration Abstracts and Biographies
    19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION ABSTRACTS AND BIOGRAPHIES Claude Debussy in 2018: A Centenary Celebration Abstracts and Biographies I. Debussy Perspectives, 1918-2018 RNCM, Manchester Monday, 19 March Paper session A: Debussy’s Style in History, Conference Room, 2.00-5.00 Chair: Marianne Wheeldon 2.00-2.30 – Mark DeVoto (Tufts University), ‘Debussy’s Evolving Style and Technique in Rodrigue et Chimène’ Claude Debussy’s Rodrigue et Chimène, on which he worked for two years in 1891-92 before abandoning it, is the most extensive of more than a dozen unfinished operatic projects that occupied him during his lifetime. It can also be regarded as a Franco-Wagnerian opera in the same tradition as Lalo’s Le Roi d’Ys (1888), Chabrier’s Gwendoline (1886), d’Indy’s Fervaal (1895), and Chausson’s Le Roi Arthus (1895), representing part of the absorption of the younger generation of French composers in Wagner’s operatic ideals, harmonic idiom, and quasi-medieval myth; yet this kinship, more than the weaknesses of Catulle Mendès’s libretto, may be the real reason that Debussy cast Rodrigue aside, recognising it as a necessary exercise to be discarded before he could find his own operatic voice (as he soon did in Pelléas et Mélisande, beginning in 1893). The sketches for Rodrigue et Chimène shed considerable light on the evolution of Debussy’s technique in dramatic construction as well as his idiosyncratic approach to tonal form. Even in its unfinished state — comprising three out of a projected four acts — the opera represents an impressive transitional stage between the Fantaisie for piano and orchestra (1890) and the full emergence of his genius, beginning with the String Quartet (1893) and the Prélude à l’Après-midi d’un faune (1894).
    [Show full text]
  • The Songs for Voice and Piano by Ernest Chausson Thesis
    Al Oft "Waft THE SONGS FOR VOICE AND PIANO BY ERNEST CHAUSSON THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC By Virginia Garrett Seelig, B. S. Denton, Texas August, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS................ ........... iv Chapter I. ERNEST CHAUSSON -- HIS LIFE AND MUSICAL DEVELOPMENT.....a. .. ......... 1 II. THE SONGS OF ERNEST CHAUSSON. ...... .. ....... 8 "Sept melodies, " Opus 2 "Quatre melodies, " Opus 8 "Quatre melodies, " Opus 13 "La caravane, " Opus 14 "Serres chaudes, " Opus 24 "Trois Lieder," Opus 27 "Chansons de Shakespeare, " Opus 28 "Deux poemes, " Opus 34 "Deux melodies, " Opus 36 III. CONCLUSION..-.-............ ....... ..... 55 BIBLIOGRAPHY......................-.. .... .......... 61 LIST OF ILLUSTRATIONS Figure Page 1. "Nanny,"Op. 2, No. 1, measure1... ... .... ... 9 2. "Nanny," Op. 2, No. 1, measures 3 - 6 . 10 3. "Les papillons, " Op. 2, No. 3, measures 44 - 47. 11 4. "La derniere feuille," Op. 2, No. 4, measures 37 - 338. .12 5. "SErenade Italienne," Op. 2, No. 5, measures 8 - 9.0 . 13 6. "Nocturne, " Op. 8, No. 1, measures 1 - 3 . .. 15 7. "Printemps triste, " Op. 8, No. 3, measures 26 - 2;7. .17 8. "Printemps triste, " Op. 8, No. 3, measures 34 - 3E . 19 9. "Apaisement, " Op. 13, No. 1, measures 80 - 88 . 22 10. "Serenade, " Op. 13, No. 2, measures 13 - 14 . 23 11. "La caravane, " Op. 14, measures 1 - 4 . 26 12. "Serre chaude, " Op. 24, No. 1, measures 62 -63 . .28 13. "Serre chaude, " Op. 24, No. 1, measures 21 -22 .29 14. "Serre d'ennui, " Op.
    [Show full text]
  • Album Booklet
    Fauré, Chausson & Satie Piano Trios Ernest Chausson (1855–1899) Piano Trio in G minor, Op. 3 1. Pas trop lent [10:03] 2. Vite [4:00] Fidelio Trio 3. Assez lent [7:15] 4. Animé [8:42] Darragh Morgan violin Adi Tal cello Gabriel Fauré (1845–1924) Mary Dullea piano Piano Trio in D minor, Op. 120 5. Allegro, ma non troppo [6:08] 6. Andanno [8:45] 7. Allegro vivo [4:46] Erik Sae (1866–1925) arr. John White 8. Prière pour le salut de mon âme from Messe des Pauvres [3:29] Le Piège de Méduse 9. Quadrille [0:44] 10. Valse [0:46] 11. Pas vite [0:38] About the Fidelio Trio: 12. Mazurka [0:26] 13. Un peu vif [0:16] ‘[...] their interpretative touch is secure, their rapport instinctive. Together 14. Polka [0:27] with their eloquence and passion, this all adds up to something special’ 15. Quadrille [0:25] Gramophone ‘[...] the Fidelio Trio plays it with such delicacy of touch and suavity of tone Total playing me [57:01] that its Frenchness and its closeness to the Ravel coupling are never in doubt’ The Strad Fauré, Chausson & Sae: Piano Trios Chausson’s file that ‘aer failing to gain admission to the Prix de Rome compeon, Ernest Chausson (1855–1899) came from he wanted to have nothing more to do with an affluent family and following the wishes the Conservatoire. Very intelligent and of his parents, he inially studied law and independent.’ Disappointed by the result qualified as a barrister in 1877. But this was but even more resolved to create his first not the career he wanted: Chausson’s major work, Chausson le Paris to spend inclinaons were arsc rather than legal the summer in Switzerland.
    [Show full text]
  • Arthur Fin-De-Siècle: ''Les Temps Sont Accomplis Des Grandes Aventures''
    Arthur fin-de-siècle : ”Les temps sont accomplis des grandes aventures” Julien Schuh To cite this version: Julien Schuh. Arthur fin-de-siècle : ”Les temps sont accomplis des grandes aventures”. Colloque international ” Mémoires arthuriennes ”, Mar 2011, Troyes, France. pp.325-347. hal-00987684 HAL Id: hal-00987684 https://hal.archives-ouvertes.fr/hal-00987684 Submitted on 6 May 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Arthur fin-de-siècle : « Les temps sont accomplis des grandes aventures » Julien Schuh Dans la première moitié du XIXe siècle, les artistes français, contrairement à leurs homologues anglo-saxons, s’intéressent peu à la matière de Bretagne ; malgré leur attrait pour le Moyen Âge et l’art gothique1, les chevaliers de la Table Ronde ne font pas battre leur cœur. Il faut attendre les années 1860 pour voir la figure de Merlin reprendre de l’importance dans la littérature française, et les années 1890 pour que des auteurs, dans la lignée wagnérienne, tentent de présenter à travers Arthur et ses chevaliers l’exemple d’une communauté idéale. Plusieurs éléments permettent d’expliquer ce retour au mythe arthurien ; la fin de siècle, qui voit l’ébranlement des structures traditionnelles, la montée de l’irréligion, l’avancée du capitalisme et l’expansion du démocratisme, génère un sentiment de crise qui peut se résumer ainsi : l’Occident est devenu la Terre Gaste des légendes arthuriennes.
    [Show full text]
  • Scholarly Program Notes on the Graduate Voice Recital of Emily Davis Emily Davis Southern Illinois University Carbondale, [email protected]
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 4-17-2015 Scholarly Program Notes on the Graduate Voice Recital of Emily Davis Emily Davis Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Davis, Emily. "Scholarly Program Notes on the Graduate Voice Recital of Emily Davis." (Apr 2015). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOICE RECITAL OF EMILY DAVIS by Emily Davis B.A. Music, Luther College, 2013 B.A. History, Luther College, 2013 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music. Department of Music in the Graduate School Southern Illinois University Carbondale May 2015 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOICE RECITAL OF EMILY DAVIS By Emily Davis A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Vocal Performance Approved by: Dr. David Dillard, Chair Dr. Diane Coloton Tim Fink Graduate School Southern Illinois University Carbondale April 17, 2015 AN ABSTRACT OF THE RESEARCH PAPER OF EMILY DAVIS, for the Master of Music degree in VOCAL PERFORMANCE, presented on March 22, 2015, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOICE RECITAL OF EMILY DAVIS MAJOR PROFESSOR: Dr.
    [Show full text]
  • 77Th Season Of
    77TH SEASON OF CONCERTSnational gallery of art | september 16, 2018 PROGRAM Living Art Collective Ensemble ( LACE ) With Elisa Monte Dance Carla Dirlikov Canales, mezzo-soprano Michele Cober, soprano Danielle DeSwert Hahn, piano Rosalind Leavell, cello Jacqueline Saed Wolborsky, violin Tiffany Rea-Fisher, choreography Ashley LaRosa, JoVonna Parks, Daniela Funicello, and Thomas Varvaro, dancers InterLACEd: Music in Corot’s World Presented in celebration of Corot: Women September 16, 2018 | 3:30 West Building, West Garden Court Maria Malibran (1808 – 1836) Rataplan Christoph Willibald Gluck (1714 – 1787) Arr. Hector Berlioz (1803 – 1869) “J’ai perdu mon Eurydice,” from Orphée et Eurydice Gluck Arr. Fritz Kreisler (1875 – 1962) Mélodie Louise Farrenc (1804 – 1875) Piano Trio no. 1, op. 33 Allegro Adagio sostenuto Minuetto; Allegro Finale; Vivace 2 Frédéric Chopin (1810 – 1849) Arr. Pauline Viardot (1821 – 1910) From Douze Mazurkas “Seize ans” (Mazurka no. 31, op. 50, no. 2) “L’oiselet” (Mazurka no. 47, op. 68, no. 2) “La fête” (Mazurka no. 4, op. 6, no. 4) Intermission Clara Schumann (1819 – 1896) Three Romances for Violin and Piano, op. 22 Andante molto Allegretto Leidenschaftlich schnell Viardot “Havanaise” Camille Saint-Saëns (1835 – 1921) Piano Trio no. 1 in F Major, op. 18 Allegro vivace Andante Scherzo: Presto Allegro 3 THE MUSICIANS The Living Art Collective Ensemble ( LACE ) is a versatile group of musicians, com- mitted to contextualizing the human journey through vivid and engaging performances of classical music. Curated by Jacqueline Saed Wolborsky and Danielle DeSwert Hahn, each performance incorporates multiple facets of the arts and culture, including poetry, politics, fashion, and food, and tells the stories of individuals who broke through gender, social, and cultural barriers that continue to challenge us today.
    [Show full text]
  • Chausson and Fauré
    ERNEST CHAUSSON (1855–1899) Concert for Violin, Piano, and String Quartet Recodring dates: January 8-10, 2016 Recorded at Emerson Concert Hall, 1 I. Décidé .............................................. 14:53 Emory University, Atlanta, Georgia 2 II. Sicilienne ........................................ 04:08 3 III. Grave ............................................. 10:06 Producer: Claude Hobson MUSIC OF 4 IV. Finale, Très animé .......................... 11:33 Recording and Mastering Engineer: Tom Stephenson CHAUSSON AND FAURÉ Th is recording was made possible by Elizabeth Pridgen • Vega String Quartet a grant from the Berkman Fund, GABRIEL FAURÉ (1845–1924) Carnegie Mellon University. Andrès Cárdenes Sonata in A Major, Opus 13 for violin and piano 5 I. Allegro molto ................................... 10:35 ARTEK 6 II. Andante .......................................... 07:55 [email protected] 7 III. Allegro vivo .................................. 04:13 www.artekrecordings.com 8 IV. Allegro quasi presto 05:39 ....................... ℗ © 2019 ARTEK All rights reserved. Unauthorized duplication is a violation of applicable laws. Total Time: 63:27 12 1 GABRIEL FAURÉ (1845–1924) Sonata No. 1 in A Major, Op. 13 for violin and piano (1875–76) he young Fauré showed a keen musical talent, and after much encouragement and Treflection, Fauré’s father permitted the young boy to enter École Niedermeyer, where he would remain for eleven years to gain the necessary skills for a musical future in the church. Yet life as a church musician would prove insufficient for Fauré. Though he did spend years as an assistant and principal organist in provincial and Parisian churches, his greatest legacy is his oeuvre and his leadership in French music during the late nineteenth and early twentieth centuries. In 1892, he became inspector of the national conservatories in the provinces; in 1896, he took over from Massenet teaching composition at the Paris Conservatoire, where he taught the next generation of French stars, including Ravel and Nadia Boulanger.
    [Show full text]
  • Short Operas for Educational Settings: a Production Guide
    SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years.
    [Show full text]
  • D'indysymphonie Sur Un Chant Montagnard Français Saint
    MARTIN HELMCHEN – PIANO ORCHESTRE DE LA SUISSE ROMANDE MAREK JANOWSKI D’INDY SYMPHONIE SUR UN CHANT MONTAGNARD FRANÇAIS SAINT-SAËNS SYMPHONIE NO.2 CHAUSSON SOIR DE FÊTE VINCENT D’INDY (1851-1931) Symphonie sur un chant montagnard français Not a single millionaire among the many in Paris is even thinking about learned from Franck – bases all the movements of a composition on the “Symphonie cévenole” Op. 25 (1886) doing something for classical music. No, any composer outside of theatri- same thematic material. Of course, Franck did not invent this technology: (Symphony on a French Mountain Air) cal scene attempting to write a substantial work in Paris is left completely rather, he distilled it from compositions written by Beethoven, among 1 Assez lent – Modérément animé 10. 46 to his own resources.” others. Perhaps this explains why d’Indy began his Symphonie sur un 2 Assez modéré, mais sans lenteur 6. 33 3 Animé 7. 32 chant Montagnard français with a quote from the first bar of Beethoven’s Martin Helmchen, piano hus wrote a bitter Hector Berlioz in 1854. About 30 years later, the Hammerklavier Sonata, transposed into major. Tmusic world in France had a completely different appearance. The The name Camille Saint-Saëns has already been mentioned. How CAMILLE SAINT-SAËNS (1835-1921) defeat suffered in the French-Prussian war in 1870 had resulted in an could it not be? Saint-Saëns was undoubtedly one of the most influential Symphony No. 2 in A minor Op. 55 (1859) 4 Allegro marcato – upsurge of nationalism, of which music had reaped the benefits.
    [Show full text]