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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. ProQuest Information and teaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI' THE ART SWGS OF ANDRÉ PREVIN WITH LYRICS BY TONI MORRISON: HONEY AND RUE AND FOUR SOSGS FOR SOPRANO, CELLO AND PIANO A PERFORMER'S PERSPECTIVE D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Misical Arts in the Graduate School of the School of The Ohio State University By Stephanie McClure Adrian, B.M., M M ***** The Ohio State University 2001 D.M.A. Dissertation Comuoittee: Dr. Robin Rice, Adviser Professor Loretta Robinson Dr. Graeme Boone UMI Number 3031162 UMI UMt MiCFOform3031^t62 Copyright 2002 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by Stephanie McClure Adrian 2001 ABSTRACT In 1991 the song cycle H o n e y a n d R u e was commissioned by the Carnegie Hall Corporation in New York City as part of its centennial celebration. That commission paired composer André Previn, and writer Toni Morrison, for a collaboration that led to another work. F o u r S o n g s f o r S o p r a n o , C e l l o a n d Pi a n o . This document is designed to be a resource for sopranos striving to produce a thoughtful interpretation of these two works. The six chapters include biographical information on both Previn and Morrison, a discussion of Previn's musical style, information about the premieres of both song sets, and an analysis of text and music for H o n e y AND Rue and Fo u r So n g s . The appendix contains a summary of Previn's song style, lists of Previn's compositions, and a discography of his art songs. ACKNOWLEDGMENTS I wish to acknowledge the encouragement and insight of all those who assisted me with this document and throughout my degree. Many thanks to my outstanding teacher and adviser. Dr. Robin Rice. I also greatly appreciate the guidance of the other members of my D.M.A. Document committee; Dr. Graeme Boone and Professor Loretta Robinson. Special thanks to both André Previn and Toni Morrison for taking the time to speak with me about their collaboration on these art songs. Many thanks to Ellyn Kusmin, Martin Katz and Barbara Rigney. Special thanks to G. Schirmer, Inc. for permission to reprint musical excerpts from both H o n e y a n d R o e and Fo u r S o n g s and to Toni Morrison for allowing me to reprint her lyrics. Many thanks to my sisters, Jennifer McClure Gutierrez and Shannon McClure. I must acknowledge my parents whose love and guidance have given me the character to achieve. Infinite esteem to my first voice teacher and mentor. Dr. Judith Auer. Great love to my husband. Matt, who intensifies and enhances my life. iii VITA 1973................ Born-Jefferson City, Missouri 199 5 ................ Young Artist Light Opera of Oklahoma Tulsa, Oklahoma 199 6 ................ B.M., University of Tulsa Tulsa, Oklahoma 1998............... M.M., Southern Methodist University Dallas, Texas 1996-1998........... Voice Instructor Berkner High School Richardson, Texas 1998............... Young Artist Opera North Hanover, New Hampshire 1998-200 0 ........... Graduate Teaching Associate The Ohio State University Columbus, Ohio 1999-200 0 ........... Adjunct Voice Instructor Kenyon College Gambler, Ohio 2000-200 1........... Adjunct Voice Instructor & Lecturer Otterbein College Westerville, Ohio FIELDS OF STUDY Major Field: Music Studies in Voice, Vocal Pedagogy, Vocal Literature, Music History, Performance Techniques, Diction tv TABLE OF CONTENTS Abstract ii Acknowledgments iii Vita iv List of Figures vii Chapters : 1. Introduction 1 2. Chapter 1 - André Previn 7 3. Chapter 2 - Previn's Musical Language 16 4. Chapter 3 - Toni Morrison 22 5. Chapter 4 - Commissions, Premieres and Reviews 30 6. Chapter 5 - Text and Music in H o n e y a n d Ru e 44 5.1 First I'll try love 44 5.2 Whose house is this? 48 5.3 The town is lit 53 5.4 Do you know him? 59 5.5 I am not seaworthy 62 5.6 Take my mother home 66 7. Chapter 6 - Text and Music in Fo u r S o n g s Fo r S o p r a n o , C e l l o a n d P i a n o 71 6.1 Mercy 71 6.2 Stones 76 6.3 Shelter 82 6.4 The Lacemaker 86 List of References 91 Appendix A - Style Sheet__________ _____ 37 Appendix B - Previn's Classical Vocal Works 100 Appendix C - Selected list of Previn's music 102 Appendix D - Discography 104 Degree Performances 105 Copyright Permission vt LIST OF FIGORZS Figure 1: First I'll try love m. 21-23 44 Figure 2: First I'll try love m. 1-5 45 Figure 3: First I'll try love m. 63-65 46 Figure 4 : First I'll try love m. 11-12 47 Figure 5: Whose house is this m. 2 50 Figure 6: Whose house is this m. 15-16 50 Figure 7: Whose house is this m. 8-13 51 Figure 8: Whose house is this m. 30-33 51 Figure 9: Whose house is this m. 51-54 52 Figure 10; Whose house is this m. 17-22 52 Figure 11: The town is lit: m. 175-177 55 Figure 12: The town is lit: m. 114-117 57 Figure 13: The town is lit: m. 32-35 57 Figure 14: The town ie lit: rtt. 131-133 5S Figure 15: Do you know him m. 2-3 60 Figure 16: Do you know him m. 12-13 61 Figure 17: Do you know him m. 20-21 61 Figure 18: Do you know him m. 7-9 61 Figure 19: I am not seaworthy m. 1--7 63 Figure 20: I am not seaworthy m. 24-27 64 vu Figure 21; I am not seaworthy m., 31-32 64 Figure 22: I am not seaworthy m. 41-42 64 Figure 23: I am not seaworthy m. 43-45 65 Figure 24: Take my mother home m. 29-37 69 Figure 25: Take my mother home m. 10 69 Figure 26: Take my mother home m. 115-118 70 Figure 27: Mercy m. 33-36 73 Figure 28: Mercy m. 30-31 73 Figure 29: Mercy m. 42-45 74 Figure 30: Stones m. 52-55 77 Figure 31: Stones m. 34-36 78 Figure 32: Stones m. 20-24 79 Figure 33: Stones m. 23-25 80 Figure 34: Stones m. 94-97 81 Figure 35: Shelter m. 9-12 83 Figure 36: Shelter m. 40-42 84 Figure 37: Shelter m. 61-67 85 Figure 38: The Lacemaker m. 1-4 87 Figure 39: The Lacemaker m. 44-45 88 Figure 40: The Lacemaker m. 5-6 88 Figure 41: The Lacemaker m. 7-9 89 Figure 42: The Lacemaker m. 40-44 90 VIU INTRODUCTION Today young American singers study and perform songs rooted in the art song tradition of the nineteenth and early twentieth centuries. They study the songs of composers such as Franz Schubert, Robert Schumann, Gabriel Fauré, and Claude Debussy. They learn the grammar and diction of European languages in order to express the poetic sentiment of each song. Arguably, American song is not the focus of most developing singers. It is ironic that many American singers are oblivious of their own native music, for one might think that these singers would be most effective communicating music in their own language and from their own country. This will not happen, however, unless the music of American art song composers such as André- Previn is promoted in music schools and on the concert stage. Art song is a type of stylized song intended for one singer in which music and poetry have equal importance and are dependent upon one another. Typically, art song is sung by classically trained singers and performed within the context of a recital. Although American song stems 1 from a variety of sourcesincluding, niaeteenth ceatury German lieder and French mélodie, it would be difficult to define in simple terms the qualities that characterize American art song as a genre.