A Dramaturgical Approach to the Performance of Selected Choral Works of Samuel Barber by David Edward Holler A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Degree Faculty of Music University of Toronto © Copyright by David Edward Holler 2019 A Dramaturgical Approach to the Performance of Selected Choral Works of Samuel Barber David Edward Holler Doctor of Musical Arts Degree Faculty of Music University of Toronto 2019 Abstract The purpose of the study is to demonstrate how a dramaturgical approach to the interpretation and performance of the choral music of Samuel Barber aids the conductor in developing well- informed performances of his music. Exploration of score markings, contextual information including the composer’s biography, a twentieth century overview and the musical climate of the day, and background about the texts and their writers all contribute to producing well-grounded and knowledgeable performances of Barber’s compositions Reincarnations and The Prayers of Kierkegaard. Various ideologies on what constitutes a well-informed performance and the importance of the performer are explored: Nicholas Cook’s ideas on score vs. script, Peter Kivy’s thoughts on composer intention, Richard Taruskin’s questioning of the importance of authenticity, Gary Tomlinson’s discussion on the virtues of contextual information, Clifford Geertz’s comparison of thick vs. thin descriptions, and Randall Dipert’s three-tiered system of identifying levels of intentions. Studies by Gary E. McPherson on children’s musical development and Philip Brett on sexual identity and its effect on artistic development give reason ii to explore Barber’s personal life. A brief overview of how the conductor’s approach to self- expression and composer intention is also included. Barber’s childhood experiences, education, social circle, studies in Europe, and long-term relationship with Italian composer Gian Carlo Menotti all contribute to the man and composer Samuel Barber became. Thorough exploration of the texts chosen, formal theoretical analyses, reflection on all of the contextual information and application of the conductor’s own imagination and expression then create the basis for making informed decisions on interpretive and vocal matters for the performance of Barber’s choral music. This dramaturgical process is applied to the two choral works chosen and examples of possible interpretations are presented. iii Acknowledgements I am forever grateful to my supervisor, Dr. Hilary Apfelstadt, whose encouragement and guidance have made me a better conductor. Thank you for your mentorship. I thank the rest of my panel as well: Dr. Gillian MacKay and Dr. Jeff Packman for their time and patience in completing this project. Thank you to Dr. Mary Rykov and Dr. Deborah Bradley for editing my work and educating me in the art of academic writing. I want to thank my mother and father for all they have provided for me in my life. Dad, I wish you could be here to celebrate this achievement with me. Mom, thank you for all your love and for being my biggest fan. Christopher Jarrett—I am so glad to have you in my life and I thank you for your love and support throughout this process—I couldn’t have done it without you. I am grateful to all my friends and family for their words of encouragement. In particular I’d like to thank Dr. Dianne Walser-Jebb, Monsignor Leo Clutterbuck, Dr. Mike Brook, Dr. Erika Reiman, Father Paul McNeil, Maria Volante, and Brian Thorne for their efforts in this project. I also want to express my gratitude to my choirs for seeing me through this long process: the St. Julia Church Choir, Chorus Hamilton, and Fanshawe Chorus London. iv Table of Contents Abstract ............................................................................................................................................ ii Acknowledgements ........................................................................................................................ iv Table of Contents ............................................................................................................................ v List of Tables .................................................................................................................................. ix List of Figures .................................................................................................................................. x List of Appendices ......................................................................................................................... xii Chapter 1 ......................................................................................................................................... 1 Introduction and Purpose of the Study ............................................................................................ 1 1.1 The nature of dramaturgy .................................................................................................... 6 1.2 Outline of the study ............................................................................................................. 9 1.3 Context: Composers’ intentions ........................................................................................ 10 1.4 Context: Developmental research ...................................................................................... 18 1.5 Conductors’ and composers’ philosophies on performance preparation ........................... 22 1.6 Existing research on the choral music of Samuel Barber .................................................. 24 1.7 Chapter One conclusion .................................................................................................... 26 Chapter 2 ....................................................................................................................................... 27 The Life of and Influences on Samuel Barber ............................................................................... 27 2.1 Personal details .................................................................................................................. 35 2.2 The letters of Sidney Homer .............................................................................................. 41 2.3 Chapter Two conclusion .................................................................................................... 47 Chapter 3 ....................................................................................................................................... 49 Twentieth-Century Musical and Compositional Climate .............................................................. 49 3.1 An earlier tradition .............................................................................................................. 51 3.1.1 Strauss and Mahler ................................................................................................... 51 v 3.1.2 Debussy and Paris ..................................................................................................... 54 3.1.3 Atonality––the next step ........................................................................................... 55 3.1.4 Schoenberg ............................................................................................................... 56 3.1.5 Stravinsky ................................................................................................................. 57 3.2 The new music .................................................................................................................... 58 3.2.1 The musical climate: The United States ................................................................... 59 3.2.2 The musical climate: Berlin in the 20s ..................................................................... 60 3.3 Music, war, and politics ...................................................................................................... 61 3.3.1 Music in pre-World War II America ........................................................................ 61 3.4 Post-World War II .............................................................................................................. 62 3.5 Samuel Barber’s music in the twentieth century ................................................................ 65 3.6 Chapter Three conclusion ................................................................................................... 66 Chapter 4 ....................................................................................................................................... 68 Reincarnations: A Dramaturgical Analysis ................................................................................... 68 4.1 Introduction to Poetry in Reincarnations ........................................................................... 68 4.2 “Mary Hynes” ..................................................................................................................... 71 4.2.1 Poetry text of “Mary Hynes” .................................................................................... 71 4.2.2 Music analysis of “Mary Hynes” ............................................................................. 73 4.2.3 Implications for interpretation of “Mary Hynes” ..................................................... 77 4.2.4 Vocal and choral implementation for “Mary Hynes” ............................................... 82 4.3 “Anthony O’Daly” .............................................................................................................