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The Celtic Twilight As Reflected in the Two-Piano Works of Joan Trimble (1915-2000)

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The Celtic Twilight As Reflected in the Two-Piano Works of Joan Trimble (1915-2000) THE CELTIC TWILIGHT AS REFLECTED IN THE TWO-PIANO WORKS OF JOAN TRIMBLE (1915-2000) _______________ A Document Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________ By Lisa McCarroll May, 2013 THE CELTIC TWILIGHT AS REFLECTED IN THE TWO-PIANO WORKS OF JOAN TRIMBLE (1915-2000) _________________________ Lisa McCarroll APPROVED: _________________________ Paul Bertagnolli, Ph.D. Committee Chair _________________________ Nancy Weems, M.M. _________________________ Aaminah Durrani, Ph.D. _________________________ Timothy Hester, M.M. Department of Music _________________________ John W. Roberts, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of English ii THE CELTIC TWILIGHT AS REFLECTED IN THE TWO-PIANO WORKS OF JOAN TRIMBLE (1915-2000) _______________ An Abstract of a Document Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________ By Lisa McCarroll May, 2013 iii ABSTRACT The nineteenth-century Celtic Twilight movement was named after a collection of folklore by W.B. Yeats, a work that was inspired by Ireland’s native folklore and contained themes of twilight, nature, and the supernatural, mainly that of the “fairy faith” from old Pagan Ireland. The movement, which was created by the Anglo-Irish ruling classes as a method of maintaining their elite status in Ireland, initially began as a literary movement, but eventually branched out into other areas of Irish culture and society, such as sport, art, and music. Present generations are indebted to the Anglo-Irish for what is generally considered as Irish nationalistic culture. This ideology is relatively unknown by young Northern-Irish musicians today. The Celtic Twilight movement formed the backdrop to Northern-Irish composer, Joan Trimble’s life, career, and music. Although Trimble’s compositional catalogue is diverse, the composer’s most characteristic works can be found in her two-piano compositions which succeed in capturing the essence and atmosphere and foot-tapping exuberance of the Celtic Twilight. Therefore, this research has resulted in the first D.M.A document to deal with the connection between Ireland’s nineteenth-century cultural history and Trimble’s life and two-piano works. In order to contextualize Trimble’s life and achievements, chapter one presents an investigation of the Anglo-Irish culture and the Celtic Twilight movement. Several undocumented primary sources, including radio interviews and rare recordings, help to provide insight into Trimble’s life in her native town of Enniskillen, and her experiences in London as a student and professional musician. Strong influences of the Celtic Twilight movement in Trimble’s life and career is evident from these extremely valuable sources and hence is the topic of chapter two. An overview of her complete two-piano works (published and unpublished) in the third chapter explores the Celtic characteristics found in each work within the subtext of Goltrai, Suantrai, iv and Geantrai—the three compositional genres found in Irish traditional music. This study therefore attempts to provide a comprehensive, referential document in relation to Trimble and her two-piano works in the hopes of shedding light on one of Ireland’s greatest musical ambassadors. v ACKNOWLEDGMENTS First and foremost, I would like to express my deepest thanks to my piano professor and committee chair Nancy Weems, who was a source of continuous support, inspiration and encouragement throughout my doctoral studies. To the rest of my committee members, Dr. Paul Bertagnolli, Dr. Aaminah Durrani, and Timothy Hester, thank you for your generosity of time, expert guidance, and words of encouragement. I would like to extend a special thanks to Dr. Paul Bertagnolli who dedicated a lot of time and effort during the editing process of my dissertation. I greatly appreciate it. I am extremely indebted to Dr. Frank Heneghan, my piano professor in Ireland, who holds a special place in my heart. He introduced me to Joan Trimble’s two-piano music, and without his guidance, I would not be where I am today—I thank you a hundred times over. Several institutions in Ireland and England aided me in my doctoral dissertation research. Among those, I would like to thank the staff of the National Library of Ireland in Dublin, Ireland’s Contemporary Music Centre, and the Royal Irish Academy of Music library, for making their Joan Trimble Collections readily available to me. To Maira Canzonieri, the Assistant Librarian of the Royal College of Music archival library in London, who supplied me with primary sources related to Joan Trimble, such as the composer’s school records. It has been an honor and a privilege to meet, talk, and correspond with Joan Trimble’s daughter, Joanna McVey. My visit with her in the original Trimble family home in Enniskillen, was an unique occasion, where I listened to her account of her mother’s life story. A nice way for the Trimble and McCarroll families to reconnect. Finally I would like to thank my wonderful family. A special thanks to my brother Paul, my piano partner-in-crime. We have had a lot of fun playing piano-duo works together—Joan vi Trimble’s compositions included. To my parents, no words can convey how indebted I am to you for your constant love and support, and providing me with the opportunities that have led me to this point. vii TABLE OF CONTENTS Introduction 1 Chapter One: The Celtic Twilight. 5 Chapter Two: Joan Trimble and her Anglo-Irish Background. 20 Chapter Three: The Celtic Twilight Reflected in Joan Trimble’s Two-Piano Works. 48 Conclusion 130 Appendix A 135 Appendix B 137 List of Piano-Duo Works 140 Bibliography 142 viii LIST OF FIGURES Figure 1.1. My Grief on the Sea, literal and verse translation. 13 2.1. Program of Joan and Valerie Trimble’s two-piano debut recital at the Royal College of Music, September 28, 1938. 37 2.2. Joan and Valerie Trimble in family picture taken at Buttermilk Point, Co. Fermanagh, in 1933. 38 2.3. Poster (front and back) of Joan and Valerie Trimble’s two-piano recital at Wigmore Hall with Robert Irwin in 1949. 43 3.1. The Bard of Lisgoole, piano I, harp glissando, m.18. 52 3.2. The Bard of Lisgoole, ascending septuplet glissandos, mm. 20- 21. 52 3.3. Edward Bunting, glas. 53 3.4. The Bard of Lisgoole, piano II, harp-like introduction, mm. 1-4. 54 3.5. The Bard of Lisgoole, orchestrated version, mm.1-5. 54 3.6. The Bard of Lisgoole, piano I, harp idiom, mm. 16-17. 55 3.7. Phantasy Trio, rhapsodic elements, mm. 9-17. 56 3.8. The Bard of Lisgoole, piano I, triplet upbeat, mm. 1-3. 57 3.9. The Bard of Lisgoole, piano I, triplet decorative filler, m. 17. 57 3.10. The Bard of Lisgoole, piano II, triplet accompaniment, mm. 29-31. 58 3.11. The Bard of Lisgoole, piano I, “slide” ornament, mm. 1-8. 59 3.12. The Bard of Lisgoole, piano I, modal turns, mm. 1-9. 60 3.13. The Bard of Lisgoole, piano I, intensified modal turn, mm. 32-34. 60 3.14. Seán Ó Riada, Our Musical Heritage, sean-nós ornamentations. 62 3.15. The Bard of Lisgoole, cadential fill, mm. 12-15. 62 ix 3.16. The Green Bough, piano I, mm. 1-5. 63 3.17. The Green Bough, cadential harp-like flourish, m. 5. 64 3.18. The Green Bough, piano II, Scotch snap, mm. 21-29. 65 3.19. Edward Bunting, The Ancient Music of Ireland, Scott’s Lamentation for the Baron of Loughmore, mm. 11-27. 66 3.20. The Green Bough, harp idiom, mm. 56-65. 67 3.21a. Edward Bunting, Sruith-mor . 67 3.21b. The Green Bough, harp glissando, mm. 66-67. 68 3.21c. Edward Bunting, Sruith-beg. 68 3.21d. The Green Bough, harp idiom, mm. 66- 67. 68 3.22a. Edward Bunting, The Ancient Music of Ireland, Emon Dodwell, Reel 70 3.22b. Edward Bunting, The Ancient Music of Ireland, The Miners of Wicklow, Jig 70 3.23a. The Humours of Carrick (Hop-jig), piano I, mm.1-4. 70 3.23b. Buttermilk Point (Reel), piano I, mm.1-4. 70 3.24a. Buttermilk Point, “turn”, piano I, mm. 17-20. 71 3.24b. The Humours of Carrick, “Turn”, piano II, mm. 25-31. 71 3.25. The Form of Buttermilk Point. 72 3.26. The Form of The Humours of Carrick. 72 3.27a. The Humours of Carrick, orchestrated version, mm.96-101. 74 3.27b. The Humours of Carrick, original two-piano version, mm. 97-101. 74 3.28a. Herbert Hughes, Irish Country Songs Vol. I, “The Gartan Mother’s Lullaby,” mm.1-5. 76 3.28b. Joan Trimble, The Gartan Mother’s Lullaby, mm. 1-4. 76 3.29. The Gartan Mother’s Lullaby, text painting, mm. 20-23. 77 x 3.30a. The Gartan Mother’s Lullaby, text painting, mm. 25-28. 78 3.30b. The Gartan Mother’s Lullaby, text painting, mm. 29-31. 78 3.30c. The Gartan Mother’s Lullaby, text painting, mm. 33-39. 78 3.30d. The Gartan Mother’s Lullaby, haunting key change, mm. 38-42. 79 3.31. The Gartan Mother’s Lullaby, harp idiom, mm. 43-45. 79 3.32. The Gartan Mother’s Lullaby, text painting, mm. 49-51. 80 3.33. The Gartan Mother’s Lullaby, joyous unison, mm. 52-54. 80 3.34. The Gartan Mother’s Lullaby, mm. 59-63. 80 3.35.
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