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The Piano Music of Jean Coulthard: an Historical Perspective

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The Piano Music of Jean Coulthard: an Historical Perspective INFORMATION TO USERS This manuscript 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 o f 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 wiU indicate the deletion. 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UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 The Piano Music of Jean Couithard By Glenn David Colton B.Mus., Memorial University of Newfoundland, 1990 M.A. (Music Criticism), McMaster University, 1992 A dissertation submitted in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Musicology) in the Department of Music We accept this dissertation as conforming to the required standard fl$r. Gordana LazarevichC Supervisor (School of Music) Backus (School of Music) _______________ Dr. David D oTMt&d^ancouver Community College) (Department of English) Dr. Erich Schwandt (School of Music) Dr. William Bruneau (Dept of Educational Studies, University of British Columbia) © GLENN DAVID COLTON, 1996 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. Supervisor Dr. Gordana Lazarevich ABSTRACT ‘The Piano Music of Jean Couithard" provides a musicologicaJ assessment of keyboard literature by one of the leading composers in the history of Canadian music. Couithard's piano works are discussed from aesthetic, historical, and analytical perspectives. Discussion of specific piano works is prefaced by a more general overview of aesthetic principles pertaining to Coulthard's compositional style (including a comparative study between Coulthard's music and the art of Emily Carr) and the question of a Canadian musical identity. The histoncal focus of the study relates to three main fields of inquiry: the development of Coulthard’s distinctive style of piano writing from the early mature works of the 1940s to the more recent compositions of the 1980s and 1990s; the composer's historical position in twentieth-cenmiy music; and her lasting influence upon Canadian culture. Analytical issues addressed include Coulthard’s innovative reworking of traditional musical forms and the characteristic features of her musical vocabulary and pianistic style. This study will demonstrate Coulthard’s vital role in the development of piano music in Canada as well as her overall significance in twentieth- century music. iiî Examiners: Drvtjprdana Lazarevich, SiJ^rvisor (School of Music) Dr. Joan/Bàckus, ental Member (School of Music) Dr. Erich Schwandt, Departmental Member ( School of Music) Brvan JN. •utside T^ember (Department of English) Dr. David Duke, Outside Member (Department of Music, Vancouver Community College) Dr. William Bruneau, External Examiner (Department of Educational Studies, University of British Columbia) IV THE PIANO VIL SIC OF JEAN COULTHAHD Abstract li Table of Contents iv List of Tables v List of Plates vi List of Musical Examples vii Acknowledgements xi INTRODUCTION I PART I: ISSUES OF AESTHETICS AND IDENTITY CHAPTER ONE Toward A Canadian Musical Identit>- 10 CHAPTER TWO Jean Couithard, Emily Carr, and Metaphors of Motion and Spatiality 52 PART H: THE PLANO MUSIC OF JEAN COULTHARD CHAPTER THREE The Piano Music of Jean Couithard; An Historical Perspective 96 CHAPTER FOUR The Preludes 141 CHAPTER FIVE The Sonatas 205 CHAPTER SIX Image Astrale and Image Terrestre 229 CHAPTER SEVEN Conclusions 252 BIBLIOGRAPHY 267 V List of Tables Table I; Inaugural Directorv' of Composers, Canadian League of Composers (1952) “ 20 Table 2; The Pines o f Emily Carr ( formal outline) 62 Table 3: Chronology of the Solo Piano Music of Jean Couithard 97 Table 4: Sketches From the Western Woods, corrections to the manuscript edition 129 Table 5: General characteristics in the preludes of Jean Couithard 193 Table 6; Jean Couithard Early Preludes 202 Table 7; Jean Couithard Present Set of Preludes 202 Table 8; Sonata Ad 2, third movement (formal outline) 223 Table 9; Image Astrale, corrections to the manuscript edition 231 Table 10; Image Astrale, “star points” figure ( 12-tone matrix) 238 Table 11 : Discrepancies between the manuscript and published edition of Image Astrale 239 VI List of Plates Plate I : Emily Carr. Grey ( 1931-32, oil on canvas, private collection i 67 Plate 2; Emily Carr, Swirl ( 1937. oil on canvas, private collection) 72 Plate 3: Emily Carr. R ed Cedar (c. 1931-33, oil on canvas. Vancouver Art Gallery) 77 Plate 4; Emily Carr. Tree ( 1932-33, oil on paper, Vancouver Art Galler\ ) 83 v i l List of Musical Examples Example 1 : The Pines o f Emily Carr, mm. 77-79 70 Example 2; The Pines o f Emily Carr, mm. 11-18 74 Example 3; The Pines o f Emily Carr. vora. 184-86 81 Example 4; The Pines o fEmily Carr, mm. 88-89 87 Example 5: The Pines o f Emily Carr. mm. 73-74 91 Example 6; The Pines o f Emily Carr, vnm. 171-74 93 Example 7: Etude No. 2, mm. 1-4 117 Example 8: Variations on BACH, BACH motive 120 Example 9; .Aegean Sketches, first movement mm. 7-8 124 Example 10: Aegean Sketches, second movement mm. 1-2 125 Example 1 la: Aegean Sketches, third movement mm 1-3 127 Example 1 lb: .Aegean Sketches, third movement mm. 29-30 127 Example 12: Sketches trom the Western Woods, first movement m. 1 130 Example 13: Sketches from the Western Woods, second movement mm. 1-2 131 Example 14a: Sketches from the Western Woods, third movement mm. 1-2 132 Example 14b: Sketches from the Western Woods, third movement mm. 18-19 133 Example 14c: Sketches from the Western Woods, third movement mm. 33-34 133 Example 15: Requiem Piece, mm. 35-37 136 Example 16: Requiem Piece, mm. 59-68 139 Example 17a: Prelude No. I, ram. 1-2 143 Example 17b: Prelude No. I, mm. 8-9 144 Example 18: Prelude No. 2, mm. 1-4 145 Example 19: Prelude No. 3, mm. 3-6 147 Example 20: Prelude No. 3, mm. 9-12 148 Example 2\. Prelude No. 3, mm. 13-16 149 Example 22: Prelude No. 4, mm. 1-3 152 Example 23: Prelude No. 4. mm. 11-12 154 Example 24a: Prelude No. i, mm. 1-3 155 Example 24b: Sonata No. 2, second movement, mm. 1-2 155 Example 25: Prelude No. 6, mm. 1-2 157 Example 26: Prelude No. 6, mm. 3-1 158 11: Prelude No. 7 mm. 1-2 160 ExztcvçAq I^-. Prelude No. 7, mm. 13-16 163 Example 29: Prelude No. 7 original ending 164 Example 30: Prelude No. 8, mm. 1-6 165 Example 31: Prelude No. 9, mm. 1-4 167 Example 32: Prelude No. 9, mm. 5-12 168 Example 33a: Prelude No. 9, original ending 171 Example 33b: Prelude No. 9, revised ending 172 Example 34: Prelude No. 10. mm. 1-3 174 IX Example 35; Prelude No. 10, mm. 4-6 174 Example 36: Pre/uc/e ID, mm. 10-12 176 Example 37a; Prelude No. 10. original ending 178 Example 37b; Prelude No. 10. revised ending 178 Example 38; Prelude No. II. mm. 7-8 180 Example 39a; Prelude No. II. mm. 5-6 181 Example 39b; Pre/zzc/e/Vo. II. mm. 13-14 181 Example 40a; Prelude No. 11, mm. 17-18 182 Example 40b; Prelude No. 11, mm. 21 -24 183 Example 41a: Prelude No. 12. mm. 1-5 186 Example 41b; Prelude No. 12. mm. 12-17 187 Example 42; Pre/zzc/e Vo. 13. mm. 1-9 190 Example 43; Prelude No. 13, mm. 20-24 191 Example 44; Sonata No. I, first movement, mm. 1-3 210 Example 45a; Sonata .No. I, first movement mm. 140-43 211 Example 45b; Sonata No. I. second movement mm. 1-4 211 Example 46; Sonata No. I. tfiird movement mm. 26-31 214 Example 47; Sonata No. /, tfiird movement mm. 107-111 216 Example 48; Sonata No. 2, first movement mm. 93-100 221 Example 49a; Sonata No. 2, first movement mm. 3-4 222 Example 49b; Sonata No. 2. first movement mm. 63-64 222 Example 50a: Sonata No. 2, first movement mm. 1-2 225 Example 50b; Sonata No. 2, tfiird movement mm. 14-15 226 X Example 51a; Sonata No. 2. first movement, mm. 31-34 226 Example 51 b: Sonata No. 2. third movement, mm. 61 -62 227 Example 52: Image Astrale, mm. 1-3 236 Example 53: Image .Astrale, mm. 124 238 Example 54: Image .Astrale, mm. 23-29 242 Example 55: Image .Astrale, mm. 63-64 244 Example 56: Image Terrestre, mm. 1-2 246 Example 57: Image Terrestre, mm., 9-10 247 Example 58: Image Terrestre, mm.
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