Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 The French songs of Lee Hoiby Scott LaGraff Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at:https://digitalcommons.lsu.edu/gradschool_majorpapers Part of theMusic Commons Recommended Citation LaGraff, Scott, "The French songs of Lee Hoiby" (2006).LSU Major Papers. 25. https://digitalcommons.lsu.edu/gradschool_majorpapers/25 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE FRENCH SONGS OF LEE HOIBY A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Scott LaGraff B.M., University of Cincinnati College-Conservatory of Music, 1991 M.M., State University of New York at Binghamton, 1994 August 2006 ACKNOWLEDGMENTS Grateful acknowledgement is made to those without whose assistance this document would never have been written: To Lee Hoiby, for his graciousness and patience in responding to my ceaseless barrage of e-mails, his interest in my work and for writing these outstanding songs. It has been my deepest honor and sincere pleasure to correspond with him these past few years. To Dr. Claudine Torfs, for her time, effort and willingness to share so much of her family's history, for her commissioning of Chants d'Exil and for her support of music in general. To Dr. Kyle Marrero, my teacher and friend, for the solid vocal instruction that helped me find my way after a few years "in the desert" and for suggesting that I investigate Lee Hoiby's songs. To my committee: Dr. Lori Bade, Dr. David Smyth, Professor Robert Grayson, Professor Patricia O'Neill and Dr. Yvonne Fuentes, for their guidance and encouragement on this project and throughout my doctoral work. My time at Louisiana State University has been a real turning point in my professional development. I could not have been in a better environment to succeed. To my colleagues at Stephen F. Austin State University for being flexible, supportive and encouraging during this long process. To Peyton Hibbitt, Duane Skrabalak, and the late Carmen Savoca, for teaching me more about singing than I thought there was to learn. To my parents, Jan Cibula and Dr. Arnie LaGraff, for their love and support in this venture and for raising me to believe that I could achieve whatever I set my mind to. i i Thanks also to Dr. Larry Cibula and Tami LaGraff, as well as to Tom and Carolyne Hughes, my in-laws, for all the time spent with my family as I was away finishing up my coursework. A special debt of gratitude is owed to my wonderful wife Kimberly, without whose love, patience, hard work and prayers this degree would never have been completed. This has truly been a team effort. To my terrific sons Cameron and Aidan, of whom a father could not be more proud, for taking everything in stride and putting up with their dad when he was a little grumpier than usual. Finally, to the One who sang creation into existence—for life, art and beauty, none of which make sense without Him. ii i TABLE OF CONTENTS Acknowledgments……………………………………….………………………..ii Abstract………………………………………………...………………………….v Introduction………………………………………………………………………..1 Chapter 1: Brief Biography of Lee Hoiby………………………………………...3 Chapter 2: Overview of Hoiby’s Song Output and Style…………………………7 Chapter 3: Three French Songs………………………………………………….17 The Poet……………………………………………………………………...17 The Creation of Three French Songs………………………………………...22 Analyses of Poems and Songs……………………………………………….24 Le coeur vole…………………………………………………………24 L’éternité……………………………………………………………..35 Rêvé pour l’hiver……………………………………………………..41 Conclusions…………………………………………………………………..48 Chapter 4: Chants d’Exil…………………………………………………………50 The Poet……………………………………………………………………...50 The Creation of Chants d'Exil………………………………………………..51 Analyses of Poems and Songs...……………………………………………..51 Lucioles………………………………………………………………51 Anniversaire………………………………………………………….59 Chant du kisandji…………………………………………………….68 Conclusions…………………………………………………………………..82 Chapter 5: General Conclusions…………………………………………………83 Bibliography……………………………………………………………………..86 Appendix: Complete Listing of Lee Hoiby’s Song Compositions.……………...88 Vita……………………………………………………………………………….93 iv ABSTRACT Lee Hoiby has written almost a hundred songs, nearly all of them in English, but an interesting and growing subset of his oeuvre is settings of French texts. This document delves deeply into six of them: the sets Three French Songs (formerly Trois Poèmes de Rimbaud, 1982) and Chants d’Exil (2002). The study begins with brief biographical and stylistic synopses, including an examination of the influence of Schubert’s songs on Hoiby’s own. Subsequent chapters include discussions of the poets Arthur Rimbaud and Marcel Osterrieth, analyses of their poetry, and musical analyses of Hoiby's settings, focusing on the relationship between text and music and the composer's economical use of musical material. Additionally, an appendix provides a complete listing of Hoiby’s song output, including pieces not mentioned in earlier dissertations. KEYWORDS: Trois Poémes de Rimbaud, Chants d’Exil, Arthur Rimbaud, Marcel Osterrieth v INTRODUCTION Lee Hoiby, by his own count, has written almost a hundred songs, nearly all of them in English. And while interest in them continues to grow, especially with tonal compositions again in vogue, there has been little written about them beyond dissertations by John Robin Rice (1993), Lori Ellefson Bade (1994), David Knowles (1994)1 and Colleen Gray Neubert (2003). Each document gives an overview of Hoiby’s compositional style and song output before discussing selected works in greater detail, but these writers concentrate on his settings of American poets. An interesting and growing subset of Hoiby’s output, however, is settings of French texts, both poetry and prose. These songs are made more intriguing by the fact that they contain settings of French poet Arthur Rimbaud, whose poems have been set only rarely, and then mostly by non-Frenchmen.2 In addition, he has set unpublished poetry by Marcel Osterrieth, who was a Belgian commercial engineer working in the Congo, and an extended prose passage from Marguerite Duras’ novel L’Amant.3 But aside from a fleeting mention of his Rimbaud settings in Graham Johnson’s and Richard Stokes’ A French Song Companion, which refers to the Rimbaud set as "a useful addition to the baritone repertoire,”4 there has been nothing written about these works. 1 Knowles' document was unavailable to the author. 2 Most notably Britten’s settings of his Illuminations. Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2002), 48. 3 This piece, entitled "Nuits" will receive its first performance on April 11, 2006 on a lecture recital by Bonnie Draina at The University of Colorado. 4 Ibid., 250. 1 Following a look at Hoiby’s life and compositional style, this document will explore the poetry and songs of Three French Songs (formerly Trois Poèmes de Rimbaud, 1982) and Chants d’Exil (2002). This will include a discussion of the poets’ lives, the poetry, and analyses of the songs themselves, focusing on motivic development and the relationship between text and music. An appendix will include the most recent and thorough list of Hoiby’s song compositions to date. 2 CHAPTER 1 BRIEF BIOGRAPHY OF LEE HOIBY1 Born to amateur musicians on February 17, 1926 in Madison, Wisconsin, Lee Hoiby took to music at an early age. His father played the ukulele and yodeled, but he was enraptured by his mother’s playing of popular songs on the piano, leading him to take up the instrument himself.2 He began formal piano study at the age of five and already his predilection for composition was evident, as he would make up tunes for nursery rhymes and improvise on the pieces given to him in his lessons.3 Later childhood efforts revealed a nascent flair for drama. I also made up my own compositions—rather lengthy ones. I had one that I called “The Storm” and I made everyone turn out the lights when I played it. It was full of diminished seventh arpeggios and octave passages and big chords.4 1 For a more thorough discussion of Hoiby’s life, the reader is referred to Richard Crosby, The Piano Music of Lee Hoiby (DMA diss., University of Cincinnati, 1991), John Robin Rice, The Songs of Lee Hoiby (DMA diss., University of Cincinnati, 1993), and Lori Ellefson Bade, Lee Hoiby: The Composer and His Compositional Style, His Role in the History of American Music and His Song Output (DMA diss., University of Texas at Austin, 1994). 2 Robert Wilder Blue, “Romantic/Radical: Lee Hoiby,” U. S. Operaweb (Summer 2002) <http://www.usoperaweb.com/2002/june/hoiby.htm> (accessed 5 December 2003). 3 See David Ewen, American Composers: A Biographical Dictionary (New York: G. P. Putnam’s Sons, 1982), s.v. “Hoiby, Lee,” 336, and Lori Ellefson Bade, Lee Hoiby: The Composer and His Compositional Style, His Role in the History of American Music and His Song Output (DMA diss., University of Texas at Austin, 1994), 5. 4 Cited in Blue, U. S. Operaweb. 3 In high school he began to write his compositions down, but by this time had become somewhat diffident about sharing them publicly.5 His high school years also saw the commencement of his piano studies with Gunnar Johansen, a noted concert pianist and artist-in-residence at the University of Wisconsin. Johansen was impressed with Hoiby’s ability and taught him for six years without charging for lessons. Hoiby remained Johansen’s student throughout his college studies at the University of Wisconsin and credits him with leading him “into the most sacrosanct level of musicmaking (sic) on earth.”6 Johansen also introduced Hoiby to his own teacher, Egon Petri, and after graduating with his Bachelor of Music Degree in 1947, Hoiby left the Midwest for Mills College in Oakland, California to study with Petri and begin work on his Master’s Degree. Although Hoiby’s intention was to become a concert pianist, his furtive composing continued. The relationship with Petri was certainly valuable, but it was Hoiby’s friend Stanley Hollingsworth who set into motion a series of events that would change the course of Hoiby’s life. During a visit, Hollingsworth saw some of Hoiby’s compositions sitting on the piano; impressed, he took them to show to his composition teacher at the Curtis Institute of Music in Philadelphia, the famous opera composer Gian Carlo Menotti.7 Menotti, too, was impressed and in 1948 offered Hoiby a full scholarship to come to Curtis and study with him, which Hoiby initially refused. Menotti was insistent, however, going so far as to send a plane ticket. “I dropped everything,” Hoiby recalls, 5 Ewen, 336. 6 Blue, U. S. Operaweb. 7 John Robin Rice, The Songs of Lee Hoiby (DMA diss., University of Cincinnati, 1993), 4. 4