Leonard Bernstein’s Halil: Serialism, Eclecticism, and Antagonism in the American Flute Concerto Item Type text; Electronic Dissertation Authors Nichols, Elsa Kate 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 10:18:47 Link to Item http://hdl.handle.net/10150/630195 LEONARD BERNSTEIN’S HALIL: SERIALISM, ECLECTICISM, AND ANTAGONISM IN THE AMERICAN FLUTE CONCERTO by Elsa Kate Nichols ____________________________________ Copyright © Elsa Kate Nichols 2018 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 2018 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the 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 an accurate acknowledgement of the 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. SIGNED: Elsa Kate Nichols 4 ACKNOWLEDGMENTS The path to this final step in my education has been long and arduous, but it has, above all else, been extremely fulfilling. Brian Luce has been a wonderful teacher and mentor, and he has made me the musician and professional that I am today, providing ample opportunities for development and preparation for the career I am about to enter. For that, I am extremely grateful. My committee members, William Dietz and Daniel Katzen, have also been helpful, providing sage advice and sharing their life experiences with me. I will always appreciate their willingness to see me to the end of my degree, despite having already retired. Carrol McLaughlin served on my committee and went above and beyond to help me finish my degree. She always pushed me to be the best I could be, and she was one of the strongest people I have ever known. She has inspired me so much; I am fortunate to have had her as a role model, and she is greatly missed. I hope I can carry her memory, strength, mentorship, and love for everyone and everything throughout my career and other aspects of life. Throughout my research for this project, so many people have stepped in to help me. Leonard Bernstein’s daughter, Jamie Bernstein, was very helpful and supportive, providing much insight. Hannah Webster from the Bernstein Organization was also a great source of information and guidance. All of the statistical information provided at the end of this document would not have been available had it not been for some extremely generous orchestra librarians: Verena Alves from the Berliner Philharmoniker, Andria Hoy from The Cleveland Orchestra, Karen Schnackenberg from the Dallas 5 Symphony, Katrin Böhnisch from the Sächsische Staatskapelle Dresden, Libby Rice from the London Symphony Orchestra, Selena Chau and Rosa Mazon from the Los Angeles Philharmonic, Krystel Nadeau from the Orchestre Symphonique de Montréal, Elizabeth Schnobrick from the National Symphony Orchestra, and Carolyn Friedrich from the Pittsburgh Symphony Orchestra. Lastly, I could not have done this without the strength and support from my family: my dad, Thomas H. Nichols, Jr., my mom, Kimberly L. Nichols, and my brother, David L. Nichols. You all have been my rock, and you will always be my favorite audience members. 6 DEDICATION This document is dedicated to my parents, Thomas H. Nichols, Jr. and Kimberly L. Nichols. Thank you for your years of unconditional love and support; for the hours of driving to auditions and lessons; for the enormous amount of financial support, including that which has helped me get the beautiful instruments I feel privileged to play; for constantly proofreading every piece of my writing; for being my number one fans and audience members; and for so many other things that I haven’t listed. I love you both more than words can say. 7 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ..................................................................................... 9 TABLES ........................................................................................................................... 10 ABSTRACT ...................................................................................................................... 11 CHAPTER ONE: INTRODUCTION ............................................................................... 13 Review of the Scholarly Literature ............................................................................... 14 CHAPTER TWO: LEONARD BERNSTEIN’S LIFE AND MUSICAL INFLUENCE/OUTPUT ................................................................................................... 19 Biography ...................................................................................................................... 19 Multi-Faceted Career .................................................................................................... 29 Compositional Style ...................................................................................................... 31 Overview of Compositional Output .............................................................................. 35 CHAPTER THREE: HALIL ............................................................................................. 39 Background/Dedication ................................................................................................ 39 Major Performances ...................................................................................................... 40 Critical Reviews ............................................................................................................ 42 CHAPTER FOUR: ANALYSIS ....................................................................................... 46 Serial Employment ........................................................................................................ 46 Quotations ..................................................................................................................... 55 Functional Harmonic Usage ......................................................................................... 60 Form .............................................................................................................................. 63 CHAPTER FIVE: CONCLUSION .................................................................................. 73 APPENDIX A: CORRESPONDENCE SENT TO SURVEYED ORCHESTRAS ......... 75 APPENDIX B: ORCHESTRA SURVEY OF 20TH CENTURY FLUTE CONCERTOS PERFORMED ................................................................................................................... 76 APPENDIX C: ORCHESTRA SURVEY OF 20TH CENTURY FLUTE CONCERTOS PERFORMED (MAY 1981–2018) ................................................................................... 80 APPENDIX D: ORCHESTRA SURVEY OF PERFORMANCES OF BERNSTEIN’S HALIL ............................................................................................................................... 82 APPENDIX E: ORCHESTRA SURVEY OF 20TH CENTURY FLUTE CONCERTOS PERFORMED (OCT. 1990–2018) ................................................................................... 83 8 APPENDIX F: 20TH CENTURY AMERICAN AND EUROPEAN FLUTE CONCERTOS (BY ORIGIN AND DATE) ..................................................................... 84 APPENDIX G: 20TH CENTURY AMERICAN AND EUROPEAN FLUTE CONCERTOS (ALPHABETICAL) ................................................................................. 92 APPENDIX H: PERMISSION TO REPRINT COPYRIGHTED MATERIAL .............. 99 BIBLIOGRAPHY ........................................................................................................... 101 9 LIST OF MUSICAL EXAMPLES Musical Example 4.1. Full 12-tone row in The Age of Anxiety (Part II, “The Dirge,” from the reduction for two pianos). ........................................................................................... 46 Musical Example 4.2. Full 12-tone row at the beginning of Trouble in Tahiti (originally clarinet, excerpt here is from the piano reduction). .......................................................... 47 Musical Example 4.3. Full 12-tone row in the solo flute, mm. 1–8 of Halil. .................. 47 Musical Example 4.4. 12-tone row in retrograde (mm. 9–13). ....................................... 48 Musical Example 4.5. 12-tone row segments. ................................................................. 48 Musical Example 4.6. (025) and (027) in “I Feel Like I’m Not Out of Bed Yet” from On the Town (Act 1, no. 2, mm. 2–6); (025) in brackets, (027) in parentheses. .................... 50 Musical Example 4.7. (027) in “New York, New York” from On the Town (Act 1, no. 2a, mm. 44–47). ................................................................................................................ 50 Musical Example 4.8. (025) from m. 6, Scene 1 in Trouble in Tahiti. ............................ 51 Musical Example 4.9. Overlapping (025) sets (m. 41, solo flute). .................................