FRANCES STARK’S THE MAGIC FLUTE (ORCHESTRATED BY DANKO DRUSKO) A PEDAGOGICAL OPERA - CONDUCTOR AS COLLABORATOR by Danko Drusko Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Arthur Fagen, Research Director & Chair ______________________________________ Gary Arvin ______________________________________ Betsy Burleigh ______________________________________ Walter Huff November 30, 2018 ii Copyright © 2018 Danko Drusko iii To my mother, who has always been my greatest role model, supporter, and inspiration in mastering life. To my father, who died 22 years ago, and with whom I wish I had just spent a little more time. I will always remember you. To Ameena, who supported me throughout this process. iv Acknowledgements I would like to express the deepest appreciation to my committee research director, Professor and Maestro Arthur Fagen, who has given me the opportunity to study under him and learn his craft. He continually supported my endeavors and spirit of adventure in regard to repertoire and future projects, as well as inspired in me an excitement for teaching. Without his guidance throughout the years this dissertation would not have been possible. I would like to thank my committee members, Professor Betsy Burleigh and Professor Walter Huff, whose professional and human approach to music-making demonstrated to me that working in this field is more than merely fixing notes and also involves our spirit. They showed me this combination transcends academia and provides a thriving environment in our quest to touch the hearts of the people. In addition, a thank you to Professor Gary Arvin, who I look up to in the way he works with and communicates with his students. His knowledge, demeanor and composure have taught me a great deal and I will always measure my own standards against his tireless quest for excellence. This dissertation would not have been possible without the vision, commission and financial support of Frances Stark. Her persistence to create a successful pedagogical opera made the project a standout example for future endeavors with The Magic Flute. v Frances Stark’s The Magic Flute (orchestrated by Danko Drusko) A Pedagogical Opera – Conductor as Collaborator The goal of this dissertation is to share a significant collaborative project which may be considered a forerunner for similar undertakings in the future. In it, the visual artist, Frances Stark, envisions a film version of the The Magic Flute. Due to her determination to cross boundaries, she collaborates with a conductor/arranger, popular music producer, orchestra manager, and young musicians in order to create a “pedagogical opera.” From a conductor’s point of view, it will be interesting to discover the precise role of conductor as collaborator, as well as learn how one establishes connections in the contemporary art scene. In addition to the collaborative aspect, the musical process shall be examined with as much detail as the visual artist’s. Because of the belief in the project’s role as a forerunner, its potential for future projects will also be discussed. vi Table of Contents Acknowledgements ........................................................................................................... v Frances Stark’s The Magic Flute (orchestrated by Danko Drusko) A Pedagogical Opera – Conductor as Collaborator .............................................................................. vi Table of Contents ............................................................................................................ vii List of Examples ................................................................................................................................................. x List of Figures ..................................................................................................................................................... xi List of Tables ..................................................................................................................................................... xii Introduction ....................................................................................................................... 1 Chapter 1: Music Meets Contemporary Art .................................................................. 3 The Artist: Frances Stark .................................................................................................................... 4 Brief Artistic Background ................................................................................................................................ 5 Connecting Art to Music .................................................................................................................................. 6 Mozart ..................................................................................................................................................................... 8 Commission ........................................................................................................................................... 10 Making Connections in a Contemporary Scene .................................................................................... 11 Absolut Art Award .......................................................................................................................................... 14 Breaking Down the Project .......................................................................................................................... 15 A Pedagogical Opera .......................................................................................................................... 27 Definition ............................................................................................................................................................ 27 Who is Involved? ............................................................................................................................................. 31 Alternative Possibilities ................................................................................................................................. 35 vii Chapter 2: The Musical Process .................................................................................... 38 Reorchestration .................................................................................................................................... 38 Why Reorchestrate? ........................................................................................................................................ 40 From Commission to Musical Idea............................................................................................................ 41 Tamino.................................................................................................................................................................................. 43 The Three Ladies .............................................................................................................................................................. 46 Papageno.............................................................................................................................................................................. 48 The Queen of the Night.................................................................................................................................................. 50 Quintets ................................................................................................................................................................................ 54 Pamina & Monostatos .................................................................................................................................................... 57 The Three Spirits .............................................................................................................................................................. 61 The Priest ............................................................................................................................................................................. 64 Sarastro ................................................................................................................................................................................. 65 Papagena & Two Armored Men ................................................................................................................................. 69 Omitted numbers .............................................................................................................................................................. 71 Creation & Resources..................................................................................................................................... 71 Project: A Pedagogical Opera .......................................................................................................... 73 Young Musicians ............................................................................................................................................. 74 Rehearsal Process ...........................................................................................................................................