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The Choral Works of Hamish Maccunn

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The Choral Works of Hamish Maccunn https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The Choral Works of Hamish MacCunn Jane Wilson Mallinson Submitted for the Degree of PhD University of Glasgow Department of Music April 2007 © Jane Wilson Mallinson 2007 ProQuest Number: 10754050 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10754050 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW J u n iv e r s it y LIBRARY; Abstract The Choral Works of Hamish MacCunn Abstract Hamish MacCunn, bom in Greenock in 1868, began composing at an early age and continued to do so until his premature death in 1916. Although the greater part of his oeuvre was written for voices - solo with piano accompaniment, part-songs, cantatas, choral ballads, and operas - today his fame depends largely on one work, the concert overture The Land o f the Mountain and the Flood (1887). Since MacCunn’s engagement with choral music spanned his entire compositional life, it is this genre which offers the best opportunity to survey his music and to observe his creative development. The purpose of this study is to examine MacCunn’s choral works, and to consider what they reveal about MacCunn as a composer, as a person, and as a Scot. The opening chapter provides a brief biography of MacCunn, much of it constructed from primary sources, followed by an overview of the background to choral music in mid- to late-nineteenth-century England and Scotland. Succeeding chapters deal with MacCunn’s choral works using a genre-based approach, and examine the genesis of each work, the choice of text, first performance and reception and give a detailed commentary on the techniques employed by MacCunn to illustrate and elaborate his text. The final chapter addresses the issue of MacCunn’s identity as a composer within the context of the late nineteenth and early twentieth centuries. 1 Abstract Appendix 1 gives the full texts of the choral works. Appendix 2 lists all traced performances to date of MacCunn’s choral works and thus offers an indication of their uptake and performance. Two versions of a selective worklist are provided in Appendix 3, the first arranged by genre, the second in a chronological listing. 2 Contents Contents Abstract Illustrations 5 Tables 6 Acknowledgements 8 Abbreviations 10 Introduction 12 Chapter 1 Hamish MacCunn: a Short Biography 18 Chapter 2 Choral Music in Nineteenth Century Britain 53 Chapter 3 The Cantatas - 1 74 The Moss Rose (Version 1) 76 The Changing Year 76 The Moss Rose (Version 2) 78 Bonny Kilmeny 80 Chapter 4 The Cantatas - II 103 The Lay o f the Last Minstrel 103 Queen Hynde o f Caledon 151 Chapter 5 Choral Ballads 179 Lord Ullin’s Daughter 181 The Cameronian ’s Dream 197 The Wreck o f the Hesperus 223 Chapter 6 Four Scottish Traditional Border Ballads 246 - Kinmont Willie 252 The Jolly Goshawk 262 Lamkin 279 The Death o f Parcy Reed 291 Chapter 7 Occasional Music 305 Psalm VIII 308 Livingstone the Pilgrim 317 Chapter 8 Expressions of Identity 329 Conclusion 347 3 Contents Contents (continued) Appendix 1 Texts of Choral Works (in the order discussed) The Changing Year 353 The Moss Rose (Version 1) 354 The Moss Rose (Version 2) 355 Bonny Kilmeny 356 The Lay o f the Last Minstrel 358 Queen Hynde o f Caledon 362 Lord Ullin's Daughter 366 The Cameronian ’s Dream 367 The Wreck o f the Hesperus 368 Kinmont Willie 369 The Jolly Goshawk 371 Lamkin 373 The Death o f Parcy Reed 375 Psalm VIII 377 Livingstone the Pilgrim 378 Appendix 2 List of Performances of MacCunn’s Choral 380 Works Appendix 3 Selective Work Lists by genre 386 chronological 387 Bibliography Manuscript sources 390 Newspapers and periodicals 391 MacCunn’s published choral works 392 Books and articles 393 4 Illustrations Illustrations Illustration 1 Hamish MacCunn 19 (Source: Lebrecht Music Archive) Illustration 2 Hamish MacCunn 1914 19 (Source: Dunedin Magazine 2, 1914, 64) Illustration 3 Hamish MacCunn - portrait by John Pettie, 1886 20 (Source: Hamish MacCunn Songs and Ballads o f Scotland) Illustration 4 Hamish MacCunn - bust by D. W. Stevenson, 1889 20 (Courtesy of Alexander McCall Smith) Illustration 5 MacCunn’s birthplace, 11 (formerly 15) Forsyth Street, Greenock 23 (Source: Daily Record) Illustration 6 ‘Thornhill’ the MacCunn family home in Greenock 23 (Source: the author) Illustration 7 Abbey Court, MacCunn’s London home 48 (Source: the author) Illustration 8 MacCunn’s grave in Hampstead Cemetery 48 (Courtesy of Alasdair Chisholm) Illustration 9 Bonny Kilmeny - front cover of piano-vocal score 101 Illustration 10 The Cameronian ’s Dream - front cover of piano-vocal score 201 Illustration 11 The Wreck o f the Hesperus - painting by Sir William 225 McTaggart (Courtesy of Dr James Holloway) Illustration 12 William Allingham The Ballad Book - title page 249 Illustration 13 Greenock Looking Towards Helensburgh 331 (© University of Aberdeen, Henry Washington Wood Archive) Illustration 14 Map of Greenock and the Firth of Clyde 331 (Source: Wikipedia (public domain), adapted by the author) 5 Tables Tables 1.1 Compositions by MacCunn 1881-April 1883 27 1.2.1 Opera conducting engagements by MacCunn 1894-1906 43 1.2.2 Opera conducting engagements by MacCunn 1907-1915 44 2.1 Note names used by Mainzer and Wilhem 55 2.2 Early choral societies in England 58 2.3 Early choral societies in Scotland 61 2.4 Hamish MacCunn’s choral works 69 3.1 Cantatas by Hamish MacCunn 75 3.2 Alterations to Hogg’s text made by James MacCunn 83 3.3 Schematic outline of Bonny Kilmeny 86 4.1 Settings of Scott’s The Lay o f the Last Minstrel 106 4.2 Canto Second XVII compared with MacCunn’s libretto 109 [The Lay o f the Last Minstrel] 4.3 Canto Second XXXIV compared with MacCunn’s libretto 109 [The Lay o f the Last Minstrel] 4.4 Comparison of MacCunn’s text with that of Scott 110 [The Lay o f the Last Minstrel] 4.5 , Overview of structure of The Lay o f the Last Minstrel 113 4.6 Schematic outline of Part 1 Number 7 128 [The Lay o f the Last Minstrel] 4.7 Comparison between the libretti of The Spectre’s Bride and 149 The Lay o f the Last Minstrel 4.8 Comparison of Hogg’s lines with MacCunn’s libretto 154 [Queen Hynde o f Caledon] 5.1 MacCunn’s choral ballads 180 5.2 Settings o f‘Lord Ullin’s Daughter’ 183 5.3 Tonalities of stanzas 1 and 2 [Lord Ullin's Daughter] 188 6 Tables Tables (continued) 5.4 Schematic outline of Section 2 - Pastoral Scene 206 [The Cameroniaris Dream] 5.5 Schematic outline of Section 3 210 [The Cameronian’s Dream] 5.6 Schematic outline of Section 4 - The Ascension 215 [The Cameronian's Dream] 5.7 Settings of Longfellow’s ‘The Wreck of the Hesperus’ 226 6.1 Manuscript sources of the Four Scottish Traditional 248 Border Ballads 6.2 Tonal framework of the Four Scottish Traditional Border 250 Ballads 6.3 Dedicatees of the Four Scottish Traditional Border Ballads 251 6.4 Repetition of melody in Kinmont Willie 253 6.5 Textual repetition in verse 43 [Kinmont Willie] 259 6.6 Comparison of verse 1 in Allingham and MacCunn 280 [Lamkin] 6.7 Comparison of verse 20 in Allingham and MacCunn 280 [Lamkin] 6.8 Comparison of verses 10 and 11 in Allingham and 281 MacCunn [Lamkin] 6.9 Scenes and structure of Lamkin 282 6.10 Scenes in The Death o f Parcy Reed 291 6.11 Distribution of melody and keys in the Hunting scene 295 [The Death o f Parcy Reed] 6.12 Dialogue between Parcy Reed and the Hall brothers 297 8.1 Performances of MacCunn’s choral works by country 340 7 A cknowledgements Acknowledgements I should like to acknowledge the support and encouragement received from the Music Department of the University of Glasgow. Particular thanks are owed to Dr Stuart Campbell for his outstandingly generous, supportive and patient supervision, and to Professor Graham Hair for advice and encouragement. Many people have helped in me in various ways. Lack of space prevents a full listing, but I should like to mention the staff of Glasgow University Library, especially staff of Special Collections, Inter-Library Loans, Lending Services, and Collection Services and the staff of Glasgow’s Mitchell Library.
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