THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE HISTORICAL AND MUSICAL COMPARISON OF CELLO WORKS BY DAVID STANLEY SMITH AND THE FOURTH VIOLIN SONATA BY CHARLES IVES A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By JAMES ROBERT McKEEL BRADSHAW Norman, Oklahoma 2014 HISTORICAL AND MUSICAL COMPARISON OF CELLO WORKS BY DAVID STANLEY SMITH AND THE FOURTH VIOLIN SONATA BY CHARLES IVES A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY _________________________________ Dr. Marvin Lamb, Chair _________________________________ Dr. Jonathan Ruck, Co-Chair _________________________________ Dr. Douglas Gaffin _________________________________ Dr. Eugene Enrico _________________________________ Mr. Hal Grossman © Copyright by JAMES R. BRADSHAW 2014 All Rights Reserved. This document is dedicated to my parents David and Dorothy Bradshaw, and my sister, Ginna Bradshaw. Their love, support, sacrifice, and encouragement throughout this process and my development have benefited me beyond all words. ACKNOWLEDGEMENTS I would like to thank the members of my committee for their guidance, mentorship, encouragement and support throughout my studies at the University of Oklahoma, and especially throughout the preparation of this document. I would like to express my gratitude to Dr. Marvin Lamb for his tireless support and dedication while reading numerous draft copies of this document. Dr. Jonathan Ruck has been an excellent mentor, teacher, and friend, and a great role model for working as a professional cellist and educator. I thank Dr. Eugene Enrico, Dr. Douglas Gaffin, and Mr. Hal Grossman for their excellent mentorship, encouragement, and their contributions to my professional development. I would also like to thank Remi Castonguay, personal librarian and Richard Boursy, archivist from the Irving S. Gilmore Library at Yale University for their help in finding resources and additional research ideas concerning David Stanley Smith and his collected papers at Yale. I would like to thank Matthew Stock and the staff of the Fine Arts Library at the University of Oklahoma for their help in finding source material and information about David Stanley Smith and Charles Ives. I thank my fellow graduate music students at OU for their support, advice, and encouragement throughout my time at the university. I want to express my gratitude to my cello teachers, Dolly McRae, Jean Statham, Greg Sauer, Terry King, and Jonathan Ruck, as well as my chamber music coaches, Wayman Chin and Roger Tapping for their support of my development as a scholarly musician. I thank John Jeter, director of the Fort Smith Symphony for giving me my first iv professional orchestral job. His continued support has been invaluable throughout my career thus far. I would also like to thank my colleagues at Mid-America Christian University and the Fort Smith Symphony for their encouragement throughout this challenge. Finally, I cannot fully express the gratitude I feel towards my friends and family; without their love and support, this document and my many years of work towards my career in music would not be possible. Thank you. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS……………………………………………………...iv ABSTRACT……………………………………………………………………...vi LIST OF FIGURES……………………………………………………………..vii I. INTRODUCTION………………………………………………………...1 Statement of Purpose………………………………………………………1 Need for the Study………………………………………………………...2 Scope and Limitations of the Study……………………………………….4 Procedures/Methodology……………………………………………….....5 II. REVIEW OF THE LITERATURE………………...…………..………….6 III. THE STATE OF CONCERT MUSIC COMPOSITION IN AMERICA, 1856-1946………………………………………………………………..15 IV. ANALYSIS OF CELLO WORKS OF DAVID STANLEY SMITH……47 Violoncello Sonata, Op. 59………………………………………………47 Three Poems for Violoncello and Piano, Op. 97bis……………………..95 V. ANALYSIS OF VIOLIN SONATA NO. 4 BY CHARLES IVES……. 124 VI. COMPOSITIONAL COMPARISON OF SMITH AND IVES….……..151 VII. COMPARISON OF SMITH’S AND IVES’S CAREERS……….……174 VIII. CONCLUSION………………………………………………………..196 IX. BIBLIOGRAPHY…………………………………………………..…200 Books……………………………….…………………………………200 Journal and Newspaper Articles………………………………………203 Theses and Dissertations………….………..…….…………………...204 Unpublished Documents..……….……………………………………205 Scores…………………………….……………………………………206 vi ABSTRACT David Stanley Smith is overlooked among American composers of the early twentieth century. Overshadowed by the career and magnetism of his Yale colleague and contemporary, Charles Ives, Smith was an illustrious composer of absolute music of the early twentieth century. The intent of this document is to compare and contrast the compositional styles of both Smith and Ives and present an argument as to why Ives’s music is more frequently performed and researched, while Smith’s music is largely forgotten. This document will compare and contrast Smith and Ives using Smith’s Sonata for Violoncello and Piano, Op. 59 and his Three Poems for Violoncello and Piano, Op. 97bis, and Ives’s Fourth Violin Sonata. This document will also compare their backgrounds and education, their work lives, their compositional styles and choices, and their reception in their lifetime. vii LIST OF MUSICAL FIGURES Figure 4.1 David Stanley Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 1-8……………………….……………….50 Figure 4.2 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 23-24, cello part....……….………………51 Figure 4.3 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 60-66, piano part and 66-70, cello part.….52 Figure 4.4 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 71-71, piano part.......…………………….53 Figure 4.5 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 91-105, cello part……….………………..54 Figure 4.6 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 118-122, cello part……………………….55 Figure 4.7 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 128-134, cello part……………….………56 Figure 4.8 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 128-149, cello part…………………...…..56 Figure 4.9 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 150-167…………………………………..57 Figure 4.10 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 171-179…………………………………..58 Figure 4.11 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 270-272, cello part……………….………61 Figure 4.12 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 273-276……………………………….….61 Figure 4.13 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 300-313…………………………………..62 Figure 4.14 Smith, Sonata for Violoncello and Piano, Op. 59, First Movement, Measures 314-318…………………………………..63 Figure 4.15 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 1-16……………………………………71 Figure 4.16 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 17-19, piano part…………………..…..72 Figure 4.17 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 33-40, cello part…………….................73 Figure 4.18 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 44-46…………………………………..74 Figure 4.19 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 46-59………………………………..…75 viii Figure 4.20 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 71-83 cello part…………………..........76 Figure 4.21 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 90-94, cello part…………………….....77 Figure 4.22 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 128-137, cello part…………….……....78 Figure 4.23 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 137-141, piano part…………………....79 Figure 4.24 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 141-148, cello part…………………….80 Figure 4.25 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 149-152, piano part………………...….81 Figure 4.26 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 156-165, cello part………………...…..81 Figure 4.27 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 164-170………………………………..82 Figure 4.28 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 193-205, cello part………………...…..83 Figure 4.29 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 205-211…………………………….….84 Figure 4.30 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 157-165, cello part and 248-255………85 Figure 4.31 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 256-269………………………………..87 Figure 4.32 Smith, Sonata for Violoncello and Piano, Op. 59, Second Movement, Measures 340-341, cello part………………….…89 Figure 4.33 Smith, Three Poems for Violoncello and Piano, Op. 97bis, “Ballade,” Measure 1, piano part……………………………………....97 Figure 4.34 Smith, Three Poems for Violoncello and Piano, Op. 97bis, “Ballade,” Measures 2-11, cello part…………………………………..98 Figure 4.35 Smith, Three Poems for Violoncello and Piano, Op. 97bis, “Ballade,” Measures 27-28, piano part……………………………..….99 Figure 4.36 Smith, Three Poems for Violoncello and Piano, Op. 97bis, “Ballade,” Measures 28-32……………………...………………...….100 Figure 4.37 Smith, Three Poems for Violoncello and Piano, Op. 97bis, “Ballade,” Measures 29-32,