A Performance Guide to Friendly Persuasions: Homage to Poulenc by Jake Heggie and Gene Scheer D.M.A Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Christopher Stein, B.M., M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Dr. Scott McCoy, Advisor Professor Ed Bak Professor Kristine Kearney Dr. Robin Rice 1 Copyrighted by Daniel Christopher Stein 2019 2 Abstract Jake Heggie’s song cycle Friendly Persuasions: Homage to Poulenc is a set of four songs with texts by Gene Scheer. Co-commissioned by pianist Malcolm Martineau for a Poulenc Festival at Wigmore Hall in London, England and the Pacific Serenades Chamber Music Festival in Los Angeles, California, it was premiered by Martineau and tenor, John Mark Ainsley in May 2008. The American premiere of a chamber version took place at the Pacific Serenades Chamber Music Festival, in Los Angeles, sung by tenor Nicolas Phan in May 2008. An incredibly witty and unique approach to song, this cycle warrants an in-depth look and should be considered as a wonderful addition to the American song catalog. This document will serve as an in-depth look at the cycle and can be used by vocal coaches and singers alike as they prepare to perform the songs. It will also delve into the backgrounds of Heggie and Scheer, giving a broad overview of their work together. The opening chapter provides brief biographical information of Jake Heggie and Gene Scheer and talk briefly about the collaborative efforts. The following chapter is a biographical sketch of Francis Poulenc and a look at the four influential relationships on which this song cycle is based. The third chapter focuses on the circumstances around the premieres of Friendly Persuasions, as well as an exploration of the cycle giving a deeper look at each song. The final chapter discusses performance suggestions that were received from the composer himself; Nicholas Phan, the tenor who premiered the ii chamber version of the cycle in California; and from the author after preparing the song cycle and performing it in recital. The appendices include a complete list of Jake Heggie’s vocal compositions as well as a complete discography to date. iii Dedication To my incredibly supportive wife, Stephenie, without whose support, I could never have accomplished much of what I have done in my career. I am more grateful than words could ever say. ii Acknowledgments I would like to start by thanking my wife and daughters (Madilynn, Eleanor, and Charlotte) for their patience and encouragement through all the good times and the difficult ones. I am nothing without you! Thank you to my extended family for their unwavering support through the entire process of returning to school and working for this degree. I could not have done any of this without them. Thank you to Mr. Jake Heggie and Mr. Gene Scheer for their incredible selflessness in meeting with me and their willingness to go above and beyond in helping me complete this project. Thank you to my voice teacher and former advisor Dr. Robin Rice for all his guidance through the first three years of my study at The Ohio State University. His mentorship was most helpful and greatly appreciated. I would also like to thank my document advisor Dr. Scott McCoy for his guidance through the completion of my degree, as well as his willingness to advise me on various matters in the world of academia. Thank you, also, to committee members Prof. Ed Bak and Prof. Kristine Kearney for all their support through the course of my degree. Their help has been incredible. Thank you to Dr. Woliver, Prof. Robinson, Prof. Parry, Dr.Rohrer, and Dr. Blosser for their support throughout my time at OSU. iii I have immense gratitude for Dr. Ryan Behan for his constant support, both artistically and personally. He has been an incredible collaborator and friend. Thank you to Mr. Steve Aldredge for his theoretical expertise. His help with the analyzation in this project was invaluable. Finally, thank you to all my colleagues and fellow students at OSU for their continued friendship and collegiality. iv Vita 2001………………... Brevard Music Center—Janiec Opera Company Member 2003………………... B.M., Music Performance: Voice Wright State Universtiy 2003-2005………….. Graduate Teaching/Administrative Assistant, The University of North Carolina at Greensboro 2005………………... M.M., Music Performance: Voice The University of North Carolina at Greensboro 2006……………….. Adjunct Faculty, Elon University 2008………………... Adjunct Voice Faculty, Catawba College 2008-2015………….. Adjunct Voice Faculty, Winthrop University 2012-2015………….. Music Instructor/Music Director, Children’s Theatre of Charlotte, School of Theatre Training v 2014-2015………….. Adjunct Voice Faculty, High Point University 2015-2018………….. Graduate Teaching/Administrative Associate, The Ohio State University 2016………………... Outstanding Graduate Achievement, The Ohio State University 2017-present…….….. Adjunct Voice Faculty, Wright State University Fields of Study Major Field: Music vi Table of Contents Abstract ............................................................................................................................... ii Dedication ........................................................................................................................... ii Acknowledgments.............................................................................................................. iii Vita ...................................................................................................................................... v Table of Contents .............................................................................................................. vii List of Tables ..................................................................................................................... ix List of Figures ..................................................................................................................... x Preface............................................................................................................................... xii Chapter 1. The Creators ...................................................................................................... 1 Jake Heggie – A Brief Biography ................................................................................... 1 Compositional Style .................................................................................................... 7 Gene Scheer – A Brief Biography .................................................................................. 9 Collaborative Efforts ..................................................................................................... 12 Chapter 2. The Inspiration: Francis Poulenc ..................................................................... 13 A Brief Biography......................................................................................................... 13 Four Influential Relationships....................................................................................... 22 Wanda Landowska (1879-1959) ............................................................................... 22 Pierre Bernac (1899-1979) ........................................................................................ 24 Raymonde Linossier (1897-1930) ............................................................................ 25 Paul Eluard (1895-1952) ........................................................................................... 27 Chapter 3. The Creation: Friendly Persuasions: Homage to Poulenc ............................... 29 Friendly Persuasions-Commission and reviews .......................................................... 29 Friendly Persuasions – Analysis ................................................................................... 33 “Wanda Landowska” ................................................................................................ 35 “Pierre Bernac” ......................................................................................................... 49 “Raymonde Linossier” .............................................................................................. 58 vii “Paul Eluard” ............................................................................................................ 71 Comparison with the Chamber Setting of Friendly Persuasions ............................. 83 Chapter 4. Performance Notes .......................................................................................... 88 Performance Ideas from a Coaching Session with Jake Heggie ............................... 88 Performance Ideas from Tenor Nicholas Phan ......................................................... 92 Performance Ideas from the Author .......................................................................... 93 Bibliography ..................................................................................................................... 96 Appendix A. Catalog of Jake Heggie’s Vocal Compositions to Date .............................. 99 Songs/Song Cycles........................................................................................................ 99 Opera/Dramatic Works ............................................................................................... 107 Choral Works .............................................................................................................