A performer's analysis of Hans Werner Henze's "Royal Winter Music", Sonata I Item Type text; Dissertation-Reproduction (electronic) Authors Harding, Michael David, 1960- 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 28/09/2021 12:36:59 Link to Item http://hdl.handle.net/10150/288945 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the t^ directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter &ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zeeb Road, Ann Aibor ML 48106-1346 USA 313/761-4700 800/521-0600 A PERFORMER'S ANALYSIS OF HANS WERNER HENZE'S ROYAL WINTER MUSIC, SONATA I ty Michael David Harding Copyright © Michael David Harding 1997 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirement For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1997 UMI Number: 9729468 Copyright 1997 by Harding, Michael David All rights reserved. UMI Microform 9729468 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 document prepared by Michael David Harding entitled A PERFORMER'S ANALYSIS OF HANS WERNER HENZE'S ROYAL WINTER MUSIC, SONATA I and recommend that it be accepted as fulfilling the requirements for the Degree of ^-BQctor oi^ Musical Arts ProfT Jhoihas Patterson Date Prof. Patrick Neher Date X • ktuJxyyhM^j q£I Janet Sturman 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 reauirement. Director Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of reqioirements 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. SIGNED: 4 ACKNOWLEDGMENTS I would like to thank Thomas Patterson, Patrick Neher, and Janet Sturmgin for their encouragement and guidance in the genesis of the document. I am especially grateful to David Tanenbaum for his generous shsiring of information and his inspired performances of Henze's music. This project would not have been possible without his support. Musical excerpts used by permission from: European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Soehne, Mainz. Hans Werner Henze, Royal Winter Music © B. Schott's Soehne, Mainz, 1976. All Rights Reserved. 5 TABLE OF CONTENTS LIST OF FIGURES 6 ABSTRACT 8 I. INTRODUCTION 9 Inspiration for Roval Winter Music 10 Henze's Interest in the Guitar 12 Biographical Influences: A Sympathy for the "Underdog" 15 A Performer's Analysis: A Focus On Musical Characterization 18 II. AN ANALYSIS OF THE INDIVIDUAL MOVEMENTS FROM SONATA 1 19 "Gloucester" 19 "Romeo and Juliet" 33 "Ariel" 43 "Ophelia" 51 "Touchstone, Audrey and William" 64 "Oberon" 79 III. EPILOGUE 89 rv. Appendix 1 90 Appendix 2 91 V. WORKS CITED 93 6 LIST OF FIGURES FIGURE 1. "Gloucester" mm. 1-11 21 FIGURE 2, "Gloucester" mm. 12-13 22 FIGURE 3. "Gloucester" mm. 28-30 23 FIGURE 4, "Gloucester" mm. 30-37 25 FIGURE 5, "Gloucester" mm. 55-59 27 FIGURE 6, "Gloucester" mm. 91-94 28 FIGURE 7, "Gloucester" mm. 98-99 29 FIGURE 8. "Gloucester" mm. 123-126 31 FIGURE 9, "Romeo and Juliet" systems 1-3 34 FIGURE 10, "Romeo and Juliet" systems 6-7 36 FIGURE 11, "Romeo and Juliet" system 9 39 FIGURE 12, "Romeo and Juliet" system 10 40 FIGURE 13, "Romeo and Juliet" systems 13-14 41 FIGURE 14, "Ariel" m. 20 44 FIGURE 15, "Ariel" m. 1 45 FIGURE 16, "Ariel" mm. 2-10 46 FIGURE 17, "Ariel" mm. 33-38 47 FIGURE 18, "Ariel" mm. 42-51 49 FIGURE 19, "Ophelia" systems 1-2 56 FIGURE 20, "Ophelia" systems 1-2, annotated 57 FIGURE 21, "The Groves of Bleimey" mm. 1-4 59 FIGURE 22, "Ophelia" system 3 59 FIGURE 23, "Ophelia" systems 3-5 60 FIGURE 24, "Ophelia" systems 7-8 61 FIGURE 25, "Ophelia" systems 12-13 63 FIGURE 26, "Touchstone, Audrey and William" mm. 1-9 66 FIGURE 27, "Touchstone, Audrey and William" mm. 10-11 67 FIGURE 28, "Touchstone, Audrey and William" m. 15 68 7 LIST OF FIGURES - Continued FIGURE 29, Touchstone, Audrey and William" mm.20-27 69 FIGURE 30, Touchstone, Audrey and William" mm. 36-44 71 FIGURE 31, Touchstone. Audrey and William" mm. 45-46 72 FIGURE 32, Touchstone, Audrey and William" mm. 53-54 73 FIGURE 33, Touchstone, Audrey and William" mm. 57-59 74 FIGURE 34, Touchstone, Audrey and William" mm. 62-66 7 5 FIGURE 35, Touchstone, Audrey and William" mm. 74-77 77 FIGURE 36, Touchstone, Audrey and William" m. 81 78 FIGURE 37, Touchstone, Audrey and William" m. 86 78 FIGURE 38, Touchstone, Audrey and William" m. 95 79 FIGURE 39, "Oberon" system 1 81 FIGURE 40, "Oberon" system 2 8 I FIGURE 41, "Oberon" system 9 83 FIGURE 42, "Oberon" system 19 83 FIGURE 43, "Oberon" systems 24-25 84 FIGURE 44, "Oberon" systems 39-40 85 FIGURE 45, "Oberon" systems 41-42 87 FIGURE 46,"Oberon" system 42 88 8 ABSTRACT Royal Winter Music (First and Second Sonatas on Shakespearesui Characters) by Hans Werner Henze is the largest composition for solo classical guitar written to date. It is comprised of nine movements, each movement a musical portrait of a character from Shakespeare's plays. My discussion focuses on the first sonata, comparing a detciiled examination of the Shakespearean characters, and any applicable dialogue, with Henze's musical portraits. The musical einalysis is from a performer's viewpoint and does not offer a strict theoretical ancdysis. Instead, my intention is to find key components of form, harmony, and other musical elements that illuminate the inner workings of Henze's music and its relationship to the Shakespearean character. 9 INTRODUCTION Hans Werner Henze's Royal Winter Music contains two sonatas with a total duration of about fifty minutes cind is the largest solo guitar composition written to date. The first sonata, composed in 1975/76 and dedicated to Julian Bream, was originally conceived as a complete work in six movements. In 1980 Henze extended the cycle with a second sonata in three movements. Although conceptualized as a set, these sonatas are published separately and can be successfully performed individually. In this paper I will focus on the first sonata. I will refer to the second sonata only to illuminate the overall cycle. Julian Bream's comments regarding Royal Winter Music in his book A Life on the Road are an important source for this document. In addition to Bream's insights, I include information from an interview I conducted with guitarist David Tanenbaum, a strong proponent of Henze's music.' In March of 1986, Tanenbaum performed both sonatas of Royal Winter Music at a small private recital in New York City. Henze attended this performance and spoke at length about each individual movement. During my interview with Tanenbaum, he recounts Henze's remarks from this performance. ' In 1986 Henze wrote a guitar concerto for Tanenbaum entitled An Eine Aolsharfe. 10 Inspiration for Royal Winter Music The nine movements of Royal Winter Music, all based on characters from the plays of Shakespeare, are an excellent example of Henze's compositionsil style. He frequently finds inspiration for his compositions in prose or poetry^. Of Henze's music Brecmi says "... he has written a lot of instnmiental music inspired by the drama of words. The words not only give the musical shape, but very much inhabit the spirit of the music."^ The title.