The elusive cabaret song: The marriage of classical and popular styles in the Cabaret Songs of William Bolcom and Arnold Weinstein Item Type text; Dissertation-Reproduction (electronic) Authors Grumet, Amanda Jocelyn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 14:48:01 Link to Item http://hdl.handle.net/10150/290696 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the t^ 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE ELUSIVE CABARET SONG: THE MARIUAGE OF CLASSICAL AND POPULAR STYLES IN THE CABARET SONGS OF WILLL\M BOLCOM AND ARNOLD WEINSTEIN by Amanda Jocelyn Grumet Copyright © Amanda Jocelyn Grumet 1996 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1996 UMI Ntunber: 9720675 Copyright 1996 by Gnuaet, Amanda Jocelyn All rights reserved. UMI Microform 972067S Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the docximent prepared by Amanda JoceTyn Grumet entitled Elusive Cabaret Song: The Marriage of Classical and Popular Styles in the Cabaret Songs of William Bolcom and Arnold Weinstein and recommend that it be accepted as fulfilling the requirements for the Degree of Robinson Date Date, //. Charles Roe Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Faye Robinson Director Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNE: 4 ACKNOWLEDGEMENTS I wish to express my sincere appreciation to the many people who assisted me in the creation and preparation of this document. First, I would like to thank William Bolcom, Arnold Weinstein, and Joan Morris for their accessibility and generosity to me. Second, I wish to thank my committee: Professor Faye Robinson (my dissertation director), Dr. Paula Fan and Professor Charles Roe for their time and guidance in the preparation of this document. My sincere thanks to Professor Jeff Haskell for serving as an additional committee member and for advising me on the "popular" sections of this paper. Thanks to Lisa Lemay for her invaluable advice on jazz idiom, and to Luis Torres for teaching me the meaning of a "pachanga". I am grateful to Dr. David Chisholm from the German Department for providing guidance and valuable reference materials which were essential to my understanding of cabaret. There are no words to express how much gratitude I owe to Dave Pulver, the computer genius, who scanned and formatted the music into this document. I will always be grateful to my fnend, the late composer/librettist Jonathan Larson, who advised and supported me in this work. Jonathan passed away unexpectedly during my work on this project, and for a while I faltered, but the memory of his vitality and determination and his love for music inspired me to finish what I had started. I would like to thank librarian Bob Follet for his guidance at the onset of this project and librarian Charles King for assisting me with my research and encouraging me throughout the degree process. I am indebted to Alexander Tentser, my pianist and friend for the last 5 years, whose musicianship gave me tremendous insight into these Cabaret Songs. Sincere thanks to Doug and Anna Fulton for their kindness and enthusiasm and for loaning me many much-needed Bolcom/Morris recordings. Emotional support is a requirement of the doctoral process, thus I would like to thank my parents, Madeleine and Gerald Grumet, and my brother and sister, Jason and Jessica Grumet for their understanding and continuous belief in me. 1 owe a special thanks to my grandparents, Frances and Norman Rotter, who always keep me in their hearts and minds and who had complete faith that I would finish this work. Last, but not by any means least, I need to thank my fnend. Dr. Debra Wilkie, with whom I shared each and every joy and stress of the doctoral process. To the memory of my dear friend, Jonathan Larson 6 TABLE OF CONTENTS I. LIST OF ILLUSTRATIONS 7 IL ABSTRACT 9 in. THE ORIGINS AND HISTORY OF EUROPEAN CABARET 10 Cabaret in France 10 Cabaret in Germany 26 Dadaism 41 The Roaring Twenties in France 44 The Roaring Twenties in Germany 46 The Nazi Travesty 62 IV. CROSS POLLINATION BETWEEN POPULAR AND CLASSICAL MUSICAL STYLES 68 Classical Composers of Cabaret 69 Popular Music for Purchase 75 From Classical to Popular 78 V. MASS EXODUS AND THE MELTING POT 81 European Musicians in a New Land 82 The American Musical Scene 83 The Evolution of the American Musical 85 VI. WILLIAM BOLCOM 89 Bolcom's Participation in American Popular Music 90 Bolcom and Morris: A Personal Interview 94 Vn. THE BOLCOM / WEINSTEIN CABARET SONGS 100 Over the Piano 102 Fur (Murray the Furrier) 107 He Tipped the Waiter 110 Waitin' 113 The Song of Black Max (As Told by the de Kooning Boys) 113 Amor 120 Places to Live 122 Toothbrush Time 124 Surprise! 134 The Actor 137 Oh, Close the Curtain 139 George 143 VII. MUSIC IN AMERICA AT THE END OF THE MILLENIUM 150 The Musical Mosaic 150 The Path to Popular 151 Rent: An Encore for Cabaret and the Avant-Garde 152 American Cabaret i la Bolcom and Weinstein 156 Performance Versatility 157 William Bolcom's Eclectic Musical Expression 158 IX. REFERENCES 160 7 LIST OF ILLUSTRATIONS Figure 1, Over the Piano: measures 27-41 104 Figure 2, Over the Piano: measures 45-46 106 Figure 3, Over the Piano: measures 55-57 106 Figure 4, Fur {Murray the Furrier): measures 62-65 and 114-116 109 Figure 5, He Tipped the Waiter: measures 46-49 Ill Figure 6, He Tipped the Waiter: measures 28-33 111 Figure 7, He Tipped the Waiter: measures 9-11 112 Figure 8, Black Max: measures 12,21, & 29 116 Figure 9,5/flcA^ Mxc: measures 38-42 116 Figure 10, Black Max: measures 57-59 117 Figure 11, Black Max: measures 67-72 118 Figure 12, Black Max: measures 83-87 118 Figure \3,Amor: measures 11-14 120 Figure H,Amor: measures 45-46 122 ?\guK \5, Places to Live: measures 1-4 123 Figure 16, Toothbrush Time: measures 1-3 126 Figure 17, Toothbrush Time: measures 4-8 127 Figure 18, Toothbrush Time: measures 8-9 128 V'\g\ixQ\9, Toothbrush Time: measures 31-33 129 Figure 20, Toothbrush Time: measure 6 130 VxguxQll, Toothbrush Time: measures 28-30 130 8 LIST OF ILLUSTRATIONS - Continued Figure 22, Toothbrush Time: measure 37 131 Figure 23, Toothbrush Time: measures 40-44 131 Figure 24, Toothbrmh Time: measures 58-62 132 Figure 25, Toothbrush Time: measures 63-66 133 Figure 26, Toothbrush Time: measure 68 133 21, Surprise!: measures 11-12 135 Figure 28, iSur/7me.': measures 14-16 135 Figure 29, measures 17-20 136 Figure 30, Surpme/; measures 24-28 136 Figure 31, The Actor: measures 1-3 138 Figure 32, The Actor: measure 4 138 Figure 33, The Actor: measure 8 139 Figure 34, Oh, Close the Curtain: measures 20-24 141 Figure 35, Oh, Close the Curtain: measures 28-31 142 Figure 36, Oh, Close the Curtain: measures 57-60 142 Figure 37, an excerpt of Un Bel di Vedremo from Puccini's Madame Butterfly 145 Figure 38, George: measures 17-23 146 Figure 39, George: measures 44-53 147 Figure 40, George: measures 25-26 148 Figure 41, George: measures 53-58 148 9 ABSTRACT The Cabaret Son^s of William Bolcom and Arnold Weinstein merge characteristics of European cabaret song and art song with characteristics of American popular song to create a modem American form of cabaret song which generates a complete theatrical characterization in each piece.