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Information to Users INFORMATION TO USERS This manuscnpt has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI* UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE **THE THREE HERMITS’*: STUDY OF AN OPERA BY STEPHEN H. PAULUS A Document SUBMITTED TO THE GRADUATE FACULTY m partial fulfillment o f the requirements for the degree o f Doctor of Musical Arts By STEPHANIE L. KRUGER Norman, Oklahoma 2003 UMI Number 3077419 UMI* UMI Microform 3077419 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 46106-1346 © Copyright (y STEPHANIE L. KRUGER2003 AU Rights Reserved. “THE THREE HERMITS”: STUDY OF AN OPERA BY STEPHEN H. PAULUS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Mr.S Dr. Steven Curtis Dr. EusKhe Ennco )r. Pamela Genova Q ". Michael Rogers / ACKNOWLEDGEMENTS [ would like to acknowledge with gratitude the assistance of Professor Sean Daniel, without whose help this project would not have been completed. Your gentle guidance and constant support over these past few years has been more meaningful to me than you may ever truly know. Thank you to my doctoral committee. Dr. Michael R. Rogers, Dr. Eugene Enrico, Dr. Steven Curtis, and Dr. Pamela Genova for your assistance while completing this process. Additionally, I would like to thank Dr. Meryl Mantione fer being so generous and kmd during the course o f my studies. I cannot thank my femily enough fer so many years of unwavering support. I appreciate your patience while I pursued my dream. To my parents, Barbara and Paul Kruger Sr., I love you and thank you fer teaching me that an honest day’s woric k the path to your goals. I would like to offer special thanks to my sbter, Kristi Kruger and her fiance, Kim McKinney, fer always supporting my efferts, fer attendmg so many recitals, the countless phone calls, and fer commg down to Oklahoma from Michigan on so many occasions just to help ease my homesickness. I love you both very much. Thank you to Dr. Donald C. Hartmann fer helpmg me to see the importance of staying in school You knew all along it was the right choice fer me and I ^preciate your patience while I figured that out too. Mere words cannot express how much it means to have you m my comer. Thank you fer helping me find my voice. Thank you to Stephen Paulus and Michael Dennis Browne fer all of your time and materials and unbridled enthusiasm fer thfe project. Your love fer your opera was truly inspirational to me and I hope you find that that affection translates well withm the pages o f this study. I gave every effert to doing your magnificent wodc justice. Fmally, I owe an enormous debt of gratitude to my loving partner and 1^-long feiend, Cheryl Bubar. Without your love and devotion I would never be able to accon^lish anything. It is an embarrassment ofriches, sharing our lives and bemg so h^py. Your trust and lovmg support makes my world turn. T’amo etema. IV ABSTRACT Stephen Harrison Paulus us one o ftoday’s leadmg American conqK>sers. A versatile and prolific con^ser of many genres, Paulus finds himself equally at home with works rangmg fiom orchestral music to art songs. His current catalogue contams over two hundred worics. Stephen Paulus’ ability to create unaginative and beautffîil vocal lines has contributed to his reputation as a leadmg composer ofopera as well. His operatic works are in great demand. Paulus has written eight operas, most of which were commissioned by the Opera Theater of St. Louis. Paulus’ latest opera, Heloise and Abelard, was premiered in April, 2002 at the Juilliard Opera Center, which commissioned the work. The Three Hermits is a one-act opera based on a short folk story by Leo Tolstoy and tells the story of a bbhop who receives a lesson m humility when foced with three truly holy men on a remote bland. Recent performances oîThe Three Hermits m Salt Lake City and the wide-rangmg success o f its final chorus, “Pilgrims’ Hymn,” make this work especially noteworthy. This operatic work is discussed with regard to choice o ftext and musical characteristics. An mterview whh the libretti^ reveals vital mformation pertaining to the origmal concept ofthe project and The Z%ree ffgrmAs transhion fiom short story to dramatic setting. Aninterviewwasconducted with the conqmser to gain insight into how he perceives the project o fconqposmg opera and what processes are followed in its completion. TABLE OF CONTENTS CHAPTER ACKNOWLEDGEMENTS....................................................... iv ABSTRACT.............................................................................. v TABLE OF CONTENTS.......................................................... vi LIST OF FIGURES................................................................ viii INTRODUCTION..................................................................... 1 Purpose ofthe Study ............................................................. 6 Importance ofthe Study ........................................................ 7 Limitations and Nature ofthe Study ...................................... 8 Survey of Lfterature ............................................................ 10 Organization ofthe Study. ....................................................11 THE COMPOSER................................................................... 14 Biogn^hical Information ......................................... 14 Musical Characteristics................................... 19 THE LIBRETTIST.................................................................. 24 Biographical Information .................................................... 24 Adaptmg Tolstoy forthe Stage ............................................ 27 THE THREE HERMITS.......................................................... 33 Synopsis ofthe Opera ......................................................... 33 Tolstoy’s Short Story .......................................................... 38 A Conqparison: The Story and the Opera ............................. 42 Cast and Instrumentation ..................................................... 44 Style Characteristics............................................................ 46 WbrW Premiere.................................................................. 60 INTERVIEW WITH STEPHEN PAULUS............................... 64 VI 6 INTERVIEW WITH MICHAEL DENNIS BROWNE ................90 7 A TALK WITH COMPOSER & LIBRETTIST ........................ 104 8 CONCLUSIONS..................................................................... 137 BIBLIOGRAPHY................................................................................... 140 APPENDICES......................................................................................... 144 A Compositions o f Stephen Paulus .........................................144 B Discography ----------------------------------------------------- 168 C Photographs.......................................................................182 vu LIST OF FIGURES Number Page 1. The Three Hermits vocal score excerpt, p. 114 47 2. The Three Hermits vocal score excerpt, p. 61 48 3. The Three Hermits vocal score excerpt, p. 48 50 4. The Three Hermits vocal score excerpt, p. 17 51 5. The Three Hermits vocal score excerpt, p. 5 53 6. The Three Hermits yoceXsKoteexcexpt, p. 64 54 7. 7%e Z%ree flcrmite vocal score excerpt, p. 3 55 8. 7%ree AerwAr vocal score excerpt, p. 44 57 8a. The Three Hermits vocal score excerpt, p. 45 58 9. The Three Hermits vocal scote excerpt, p, 120 59 vm CHAPTER. I INTRODUCTION The Three Hermits first came mto being in. the form of a short story by Leo Tolstoy (1828-1910). Tolstoy k best known for works such as The Cossacks (1863), War and Peace (1869), Anna Karenina (1877), and What is Art? (1897).^ Between 1884 and 1886 Tolstoy also wrote a great number o f short stories based on folk tales. The Three Hermits (1886) was one o f approximately fifteen works intended for a form o f serialized publication in much the same manner as Charles Dickens’Oliver Twist or George Eliot’s Felix Holt} In keeping with the other stories ofthe series. The Three Hermits depicts spectacular events that did not actually happen but leave the reader bound iathe glory o f God. During thb same period Leo Tolstoy suffered a great crisis o f fohh that so troubled him he produced a novel. Confession {li'M ), m which he struggles to find his placent religion, society^, and God’s will. In Confession, Tolstoy discusses that
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