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The fisherman and his wife : theme and variations for soprano, narrator, and chamber orchestra. Text from Grimm's Fairy tales

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The fisherman and his wife : theme and variations for soprano, narrator, and chamber orchestra. Text from Grimm's Fairy tales

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Content THE PISH RM A~ ' D rs IFE Theme and ariations for Soprano , Narrator, and Cham er Orchestra Text from Grinm's Fair Tales A Thes s Pr sen ed to The Feculty of the Sc ool of Music Univers t of South rn aliforn a In Partial Fulfillment of the R quirements for the De ree !aster of Tu sic by Geor )e V. I y e J·nu ry 1952 C This thesis, written by GEORGE W. HYDE under the guidance of h.J.~ __ Faculty Committee, and approved by all its members, has been presented to and accepted by the Council on Graduate Study and Research in partial fulfill ment of the requirements for the degree of ____________________________ Mb_§.f.'gR ___ Qf. ... M!l.9.!9 ................... . D ' . - . ate ..................................................... . Faculty Committee n Chairman . . ···············-·-· - ..............•....•..•....••..•.. ----- \ . . THE PROBLEM: AND DEFINITION OF TERMS USED A graduate student of music, pursuing an advanced degree, may choose the applied field, the nusicolo .ical, or tl1e compositional-tr1eory field. Since the writer has chosen comnosition a s his ma·or ... field, the mai n body of ttis thesis is an original work . THE PROBLEM Statement of _ the proble. In pre senting an original composition as a thesis, the writer has decided u on the Theme and Variat ions as a form. Importance of the stud1• The principle of varia- tion, one of the oldest forms of nusic in xistence, is certainly one of the nost important and useful devices known in the field of composition. The most familiar form of the variation idea is the Theme and Variations, and he student of com osition ma~ well reap many benefits from practice in this form. DEFI JITIO OF TER~.S uciED Theme and Variations. A musical form based pon the principle of presentin a musical idea (theme) in an arbitrary number of modifica ions, eac 1 of these bein a "variation".1 2 Passacaglia. A class of variations w A ose theme is not a complete tune but is only a four or ei ht-measure scheme of harmonies or a bass line of the same length, whose treat~ent is usually contrapuntal.2 Invention. A t.,rpe of contrapuntal procedure , somewhat freer than the fugue, whose essence lies in the imitation in several voices of a phrase or subject previously anno unced by one voice . 3 bride : 1 Willi A el, Harvard Dictionary of Music (Cam arvar Universitr Press, 1950), p. 78~. 2 Ibid. 3 Howard A. Mur hy, For m in Music for the Listener (Camden, New Jersey : Radio Cor poration of America, 1945), p. 66. 3 A N AL Y SIS 4 ANALYSIS PROLOGUE: To open the work, the flute~ clarinet, bass clarinet and bassoon play a simple eight-measure melody, which serves as a Prologue and a gain at the end as an Epilogue, and 1s intended to transport the listener to and from the land of fairy tales. This Prologue, in a slow six-eight meter, is written in a modal c-major, and none of the - material recurs until the very closing of the piece. I • THE THEME : After the narrator sets the scene, the soprano, taking the part of the Fisherman's wife, sings the theme itself, accompanied by the ensemble. It is set in the tonality of G, is in a slow alla breve meter, and consists - of an eight-measure ph1 1 ase, a four-measure middle phrase, and a return of the first four measures, played by the clarinet. A one-measure extension closes this theme. Used in conjunction with this theme and its varia tions is a seven-measure passacaglia theme (Fig. 6), which now follows, at measure 19 in the bassoon, bass clarinet and piano, and is employed dramatically to point up each of the Fisherman's visits to the sea. This passacaglia theme repeats innnediately in t he clarine t over a re i terated f# in the harp and piano, while the gong i s u sed in a s u tle attempt to portray t h e fi sh as, inreal i ty , an enchant e d prince (measure 28). 5 At measure 38 , the mood of t he first theme returns , as the soprano sing s a phrase deri ved f r om t h i s theme , followed by a modification of the p ssaca lia theme i the clarinet, as t he f isherman rec lls his experience at the seashore. Th e gong again emphasizes the enchantment of the fish (measure 45), as, ov~r two chor ds, the wife expr esses her displeasure of her husband, and the section closes , (measure 50 to 53) as t he clar i net and flute play a mod i f i cation of the opening bars of the first theme. rr. VARIATIO I , THE VINEGAR J U G: This v ari ati on , fe atur i n the En ish horn and harp, present s the firs t t he me aga i n i n tLe soprano in an al ost literal vers i on of t he theme ' s melo i c contours , as the - harp fur nishes t he original har monies and the English horn a free counterpoint. At measure 17 , the passacaglia heme enters · n the bass oon, aide d by the piano , while the bass cl r _net plays an added contrapuntal line . Whe the Fisherman entreats the fis h t o help him , his rhyme is accompanied (measures 25- 27) b y t he percuss i on, i n a rhythm tha recurs a ain each 6 time the situation presents itself. An interlude (measures 28-36) in the mood of the first theme but us i n melodic elements of the passaca _la theme underscores the remainder of the variation, and as the fish grants the Fisherman's wish, a crescendo and a short punctuating chord close the variation. III . VARIATION II, TEE COTTAGE : Aft r a five - measure introduction by he harp, piano and bells, which serves both as a back r ound for narration and as a preview of the openin motive of the v riation, the variat on pr oper beg ns . The first theme (see Fig . 1 and 2), pl ayed by the oboe at mea ure 1 has been chan ed rhythmically into an airy Siciliano , wb le under oin only sli ht interval alterat on, but, on he other hand, a com pletely ner har onic sett ng . At measure 5, the soprano sin . s a new line wh le the flute takes ov r the thematic material and extends it, and tris o eni n g motive is heard in each of the voices as the variation pro resses. At mea~ure 30, serving as a co a, th flute and b ss clarinet exchan e thematic material over harp chor ds , and, moving in c ntrary mot on t o a unison Eat measure 36, su - est a feelin~ of - finalitv to the words, " ow we s all live quite contentedly." After a har bor over w~ cl the wife speaks , the flute em- phasiz sher fl i p ant at itude with a upward run, and the 7 piano and the clar net close the section at measure 39 . The recitative w j_c,. follows immediately, the first of four such recitatives to a pear after the variations of the first theme, is new material, with only occasional ref erence to previous themes. In this recitative , scored for soprano and piano only, the passacaglia, or "fish" the· me is to be found in the lower voice of the piano at measure 44, wh.ile at measure 51 to 54, the right hand play s a phrase reminiscent or tie ori inal firs theme. The passaca ~lia section follows, at measure 59, as the piano plays the thee and the woodw1.n s furnish an har monic acc ompaniment, the field drum meanwhil e providing a dirge-like atnosphere witt the rhythm of the siciliano motive. The Fisherman's rhyme 1s set to percuss on a ain, with the piano plav-in the first five notes of the "rish" theme as a sort of undercurrent . The bassoon, at measure 70, takes over this theme a a.inst a drone-like bass in the piano and the siciliano motive in tho fl ute as the variation ends on the punctuat· chord in measure 74. IV. VARIATIO ~ III, THE STONE MA.JSION : This varie.t on emplo T's the first theme as the subject of an invent on which also uses a stead counter-subject and a cantus fir us, all hree invertible at the octave (see Fi. 7) . The subject, a livel duple meter is es- 8 sentially the same as the or iginal in interval structure (se e Fi g . 1 and 3) , as are all the variations, but has under gone distinctive rhythmic chan8es . It ap ears at the outset in the bassoon, while the bass clarine t accompanies with the cantus firmus in s t ac c ato eighth- notes . ~hen the oboe enters at me sure 7 with the subject, the cantus firmus disappears and the bassoon continues with the counter - subject . The so prano enters at measure 16, sin Ji ng a sli htly mod i fied ver sion of the counter- subject as the flute t akes the subject (highli ,hted by the _lockenspiel) and the harp plavs the can tus firmus, a ") Ai n staccato. V'lhen the bass clar · · net assumes the fourt ~ entrance o t h subject (meas . 22) the flute car ries the counter-subject and the s o. rano continu es with a bela den ranee of the centus firmus, somewhat edified . As she ex ens t s melody to mea ures 28 and 29 , the clarine en ers an i ita io of the bas s cl rinet and a six- measure e i sode ensues . The piano makes a fortissimo entrance with tl1e sub ject at measure 34, while th bassoon and clarinet are h ear in both the normal and au -mented versj_ons of the first wo motives of the subject . The ut t section at measure L~o con ..1ains the flute and oboe on the sub ect, the piano with h counter-subj ct , the soprano with the can us firmus, full~ sustain d, wh le the bassoon lays a free tation (au mented) and the hArp provides nner ar on es . The va ia ion be 1 ins to lose momentum at 9 measure 46 as the clarinet continues the au mented subject over the cantus firmus in the pi ano . Fragments of the sub ject are heard, some in contrary motion together with th normal vers·on, and as the flute and clarinet climb to the hi gh G major triad, again a f eelin~ of final ity i s suggested - --as the Fisherman expresses his satisfaction--a feel ing only to be broken by the wife's uneasv comment and t he sub sequent clos i ng motive in the bassoon ending on the Bb, - which attempts t o su )est that perhaps all is not well . Precedin the r ecitative, the oboe and harp set the scene as the oboe lays a modif cation of the foe on sub ject and the harp ac companies with a transposition of the introductory chords to Vari ation II. Followin~ this inter lude, whic~ underscore s narration, the soprano sin s a rapid recitative, a ai n free, and ttis t me acc ompanied by wood winds and snare drum i n a fast six-eight m eter. To cclor the dramatic import ance of t he scene, as the wi fe dreams of becoming king , the dr um plays several martial flourishes and the oboe immitates the so nd of a bugle (measures 84- 86) . At measure 108 , the soprano emphasizes her wish for grandeur with a cadenza to the h h Ab, the tympani su ests a fore- - shadowin of doom, lead ~n to the passacaglia sect on . The theme is now in the treble, wit the flute, cl ar_net , and bass clar _net heard in a t hree -voice ca on at the octave for four bar s after which the clarinets di~sipate ·nto an ac- 10 companiment to the oboe, who has taken the remainder of the theme. The percussion a ,ain acc ompanies the rhyme, this time joined by a turbid pattern in the lower re i ~ter of the piano. This pattern is transferred to the harp after the rhyme and the c.mbal and bar combine to produce the closin crescendo and sharp chord, as the Fisherman is a gain ranted his wish. V. VARIATION IV, KING: Introduce d by a s . n le snare drum roll, this v ria tion is i the f or .: of a qui cl all a breve m rch, with the soprano tace • A ain the nt erv .. 1 structure of the theme remains the same except for a few added notes and a chan e of direction to the G a meaqure 9 (see i • 4 ) : however, - the rb.ythm and harmonies are new, and the orchest1~ation at- tempts to er a e the icture o 1 a esty with a martial air, e •• the c omb;nat · on of botr oboe and clar jnet in unison to imi ate the sound of a trumpet . At me sure 12, as the bas s oon and bass cl r .ne carr ~ the niddle phrase of the theme, the flute r eiterates the aforementioned "bugle cal l" of the oboe 1 the preceding recitative. And at measure 22, as an extens _on of the last p ra s e of the theme, a short quotation of a well - know theme ap ears for humorous pur oses . Tl1e piccolo pla a fre rhy h~ical solo (measures 2b-J6) over st cc to c ~ or s, an when he heme returns at m asure 36, 11 it is alternated between the treble and bass instruments until at measure 47 a susta _ ned crescendo works up to a climactic cymbal crash, and the section ends witl a thematic motive in the oboe and a short ans~Jer in he snare drurn. A six-measure int rlude under narrat on prefaces the follow : n recitative and opens witl the bass clarinet imita ting the clos n two notes in the oboe fro , the prec9d J..ng section. The recitative wtich follows is a ain sung by the soprano with onl p ano acc o ~paniment, and is once ore new material, 1 adin p; directl · to the passaca .,lia. A new coun- terpo ~nt is prov i ded the woo winds over the theme in the piano, and as the theme is repe ted, tis counterpoint, in triplet figures, is combined witt another counterpoint in ~roups of f our sixteent~-notes, wh·le the harp an percus sion provide dramatic interest. Shakes in the bassoon and bass clarinet underl ne the rhyme as the perc ss on accom paniment is a )ai n stron er, and the b ssoon and har 1 d to the g ng and piano chord whic h closes the v riation. VI. VA IATIOi, V, POPE: V tl1 an ecclesiastical note of the chime, the bassoon and bass cl r _ne be . J n the theme in a.n or _ ., num-like sett in wl1ic • reveals the t eme n the bass oon until measure 5, when the c l arine t takes it over (see Fi. 5 ), as the parallel fifths cont nue int e lo~er instruments. The theme, in this ...... .., .. 12 last metamor hosis, is a ain altered bot ~ rhyth 1icall and harmonically, but is almost literal in its shape. {hen the soprano enters, at measure 9 , shes ngs the cantus fir~us of variation III (sli htly modified), wl le the clar nets play the theme and the flute the ·n ersion. As these v oice e solve to the E major triad in measure 13, the tvmpani be ins - a reiterated E which is to carr,. the succeedin twelve mea- - sures to a lon crescendo and a climax at measure 26, where the cantus fir us is presented in canon for h followin four measures. At the end of m easure 30, the bassoon and bass clar i net play the openin mot ve, fo lowed b the flute and clarinet, and the s o rano finishes her el ody witt a mod ified version of the theme . The variation shades down with successive i r ations of the theme over a lon Fin the - p ano and set 1 s to aclose on the E tonalit , as the ch me - re - enters to rin the section to an end . ----._/ The follow n section, measures 47 to 123, certainly muc . more dramatic then thematic, serves only as underscor in for the stor, ~~dis rneRnt to hei Jhten the intensity of tre situ tio n . A rhythmic ost nato is set up by the snare drum w ~ i ch carries throu h, thou h in different instruments, to the final rhyme at meas re 139; and witb it is c omb ned another os i na t o in the piano, and la er i other instru ments, w ich ap esrs ind f f erent tonal cen ers from time to time . A sh rp d s onant c or pu ctuat s he wife's thou ht 13 at m asure 59 , and her final recitative beg ns i~mediately, as the rhythr1ic ostinato , though in a different meter , car ries on incessantly . A stron tutt chord at measure 95 emphasizes the wife's kick, and she carries on, witri little but tom-tom acc om animent unt ·1 her long high A at measure - 114, and the rull ensemble brin 1 s to a climax this section at measure 118 . A short tympani note su _~ests another k i ck, and the Fisherman runs outside as the Passacaglia section be . ins . The passaca lia theme is t bis t i me heard entirely in r1e u per V'")ices, as the piano 1·.- 1 tates it in the bass , and the b ssoon and bass cl :: r net carr _r on the preceding triple t ost nato fi ure . At meacure 131, the repetitio of the theme is a l .ost ent·rel ~ lost n the Englis _ horn and u~per voice of the pi ano, as the flute and clar :net continue the ostinato, the lower woodwjn sand harp carr ~ the har onies , and t _ e piano and p rcuss·on c omb · ne to keep the otion con stant and the storrn scene evident. As the rhyme occurs for the last time at m asure 139, ever~ instr, .ent is playin in its forti ssimo re ister- - tbe up er winds carryin . the per cussive rhythn1 with the tympani, and the loi er winds and piano repeatin the pass ca)lia theme in its f nal appearance. After the cl max at e sure 143, when the f ish a ain come s fort , the cl rinets, over a sustained chord i n the piano , )radually pro uce a di nuendo and de out ent relv as the 14 fisb learns of the wife's final wish. And the fish speaks his last words alone as the variation closes . The ori inal theme appears a ain as in the begin ning, now that the Fisherman and his wife are once more back in the vine ar jug, and a condensed version of the opening Prologue brin s the wor ~ to a quiet end . The writer is well Viare that anv for s of the variation procedure are not used int . is work; however, it was decided at the ou set, in la n·ng the eneral scheme of the variations, that the most desirable tJpe for the story would be the free "character" variation, wit:t the linear theme tself bein rhyt ic lly modified to suit each s·bseque1t si uo i , v1~1e the intervalic shape of th theme remain constant. This treatment was used (see Fig . 1 throu h 5) for the first theme each time, and the Passaca lia thene was trea ed contrapun ally, the theme it self rema nin tru, buts rround d by fresh pol phonic material . Th har . 1 on.:.c st le, little-ment .oned i the fore on analysis, is one of very tonal ori n, ri t modal cadences occurin quite co , .only , and wit -, as a r le, qu te dia onic voice 1 nes redo rn nat n ~• On he fol ow n - pare will be found a break own o~ tVio ex erpts fro m tle conpos tion, the f irst dem ns r tin r, a hornophon c sec on wherein ma ·or triads and seen h-c ors ar used to so ex ent ; he second slow- 1 5 ~ r , . • 16 in a more linear sec t ion ~n whic chords of the fourth are more prom nen . SUMMARY AND C ONCLUSIONS - - This composition, result i ng fro tle study of, and practice in writing in the Theme and Variations form , repre sents the writer's essay in the field of ori inal composition . Inasmuch as the writer c ose a fair ~ tale as ave- • hicle for the composition, the mus ic falls into the category of "program music," and thus must be treated wi tl1 the drama tic situation held fore most in mind , with the resultant problems of creatin integrated music--rrusic pert·nent t o the story, yet iM ortant in its own ri ht. Fortuna tel v, the t ~ pe of stor .. cbosen ,emanded the Theme and !ariat ~ons for, and, althou h certain difficulties arose in the moldin of the fo r m to the story , the resulting effect afforded some slight gratification. The decision to use woodwinds, piano, harp and percussion ,,~ s an arbitrary one, and presented certain quest ons as o the most desirable method of comb nation wi ch the soprano, narrator, and so on . Needless to saj, the benefits accrued fro the practice in orchestrating for this combination are many end varied . - 18 FIGURES Fig. 1. J:80~----------- r , _____ 19 ~ ~ • •• .. J' = 1/6 r £i C) 0 0j C - , r . 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Asset Metadata

Creator Hyde, George W. (author)

Core Title The fisherman and his wife : theme and variations for soprano, narrator, and chamber orchestra. Text from Grimm's Fairy tales

School School of Music

Degree Master of Music

Degree Program Music

Degree Conferral Date 1952-01

Publication Date 01/25/1952

Defense Date 01/25/1952

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,Variations (Chamber orchestra)

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC112724849

Unique identifier UC112724849

Identifier Mu '52 H993 (call number),etd-HydeGeorge-1952.pdf (filename)

Legacy Identifier etd-HydeGeorge-1952

Document Type Thesis

Format theses (aat)

Rights Hyde, George W.

Internet Media Type application/pdf

Type texts

Source 20230207-usctheses-microfilm-box7 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu