Musical ekphrasis: composers responding to poetry and painting 9781576470367

Table of contents :
Frontmatter
Acknowledgments (page xiii)
Introduction (page xv)
PART I MAPPING THE TERRITORIAL BOUNDARIES OF MUSICAL EKPHRASIS
Music and the Sister Arts (page 3)
Variations of Ekphrastic Stance: Once Again, Poems on Paintings (page 55)
Literature and Painting Imitating Music (page 81)
PART II FROM WORD TO SOUND: NON-VOCAL MUSIC RESPONDS TO A LITERARY TEXT
Maeterlinck's Death Drama in Two Musical Depictions (page 107)
Schoenberg's Musical Representations of Fateful Love Triangles (page 141)
Elliott Carter's American Narratives (page 195)
PART III FROM IMAGE TO SOUND: MUSIC ON WORKS OF VISUAL ART
A Twentieth-Century Composer's Quattrocento Triptych (page 223)
Music for Blessings in Stained Glass (page 269)
The Twittering Machine: Sound Symbol of Modernity (page 361)
PART IV THE FAUN AND THE VIRGIN, THE SAINT AND THE REAPER: MULTI-TIERED TRANSMEDIALIZATIONS
Two Pictorial Cycles and Their Mediated Paths Towards Music (page 383)
Two Mallarmé Poems and Their Way through Music to Dance (page 469)
PART V MUSICAL RE-PRESENTATIONS OF VISUAL AND VERBAL WORKS OF ART
Depiction and Reference (page 561)
Means of Musical Transmedialization (page 566)
Variations of Ekphrastic Stance (page 575)
Musical Ekphrasis and the Benefit of the Given Topic (page 583)
APPENDIX
Biographical Sketches I: The Artists (page 589)
Biographical Sketches II: The Poets (page 597)
Biographical Sketches III: The Composers (page 608)
Biographical Sketches IV: The Choreographers (page 626)
Bibliography (page 633)
Lists of Plates, Figures, and Musical Examples (page 651)
Index (page 657)
About the Author (page 669)

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Musical Ekphrasis Composers Responding to Poetry and Painting

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Musical Ekphrasis Composers Responding to Poetry and Painting by Siglind Bruhn

A INTERPLAY No. 2

Yo”

SO HILLSDALE, NY

Penragon Press Musicological Series Aesthetics in Music Annotated Reference Tools in Music Bucina: The Historic Brass Society Series The Complete Organ The Croatian Musicological Society Series Studies in Czech Music Dance & Music Dimension & Diversity: Studies in 20th-Century Music Festschrift Series French Opera in the 17th & 18th Centuries Franz Liszt Studies Harmonologia: Studies in Music Theory The Historical Harpsichord Interplay Lives in Music Musical Life in 19th-Century France The Complete Works of G.B. Pergolesi The Sociology of Music Studies in Central and Eastern European Music Thematic Catalogues Vox Musicae: The Voice, Vocal Pedagogy, and Song

Library of Congress Cataloging-in-Publication Data Bruhm Siglind Musical ekphrasis: composers responding to poetry and painting/ by Siglind Bruhn p. cm.—(Interplay No. 2) Includes bibliographic references (p. ) and index. ISBN 1-57642-036-9

1. Music and literature. 2. Art and music. 3. Program music. I. Title. II. Interplay ; no. 2 (Hillsdale, N.Y.); no. 2. ML3849 .9 2900

780’ .07—dc21 00-023683

copyright 2000 Pendragon Press

In memory of Naomi Cumming, 1960-1999

my dear friend and international colleague, whose thoughts on musical subjectivity and signification inspired my own work in many important ways but who did not live to share the results.

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TABLE OF CONTENTS

Acknowledgments X11 Introduction XV PART I MAPPING THE TERRITORIAL BOUNDARIES OF MUSICAL EKPHRASIS

Ekphrasis 5 Representation 9 Narration 20

Music and the Sister Arts 3

Musical Ekphrasis Versus Program Music 27 Poems or Paintings... and Music? in Music? into Music? 35

The Challenge of Verbal Mediation 49 Variations of Ekphrastic Stance:

Transposition 57 Supplementation 64 Association 67 Interpretation 72

Once Again, Poems on Paintings 55

Play 77

Literature and Painting Imitating Music 81 Literature and Painting as Music, or like Music 82 Literature and Painting about Music 94

VII

viii Contents PART II FROM WORD TO SOUND: NON-VOCAL MUSIC RESPONDS TO A LITERARY TEXT

Maeterlinck’s Death Drama in Two Musical Depictions 107

Death in the Works of Maurice Maeterlinck 107

Tintagiles—Tintagel 110 Maurice Maeterlinck, La mort de Tintagiles 113

Symphonic Responses 117

Bohuslav Martini, Smrt Tintagilova:

Music to Maurice Maeterlinck’s Marionette Drama 119 Charles Martin Loeffler, La mort de Tintagiles:

Poeéme dramatique d’apres le drame de M. Maeterlinck 123 Summary: Two Ways of Portraying the Incomprehensible 139 Schoenberg’s Musical Representations of Fateful Love Triangles 141

Arnold Schoenberg and His Poets 141

Maurice Maeterlinck’s Innocent ménage a trois 143 Symbolism and Allusion in Pelléas et Mélisande 146

Dehmel’s Verklarte Nacht: Anxiety, Reassurance, and Symmetry 149

The Woman’s Voice 163 The Man’s Voice 167 Frames and Voices in Schoenberg’s Verklarte Nacht 159

The Third Voice 170

The Unfolding of the Tragedy in Pelleas und Melisande 172

The Protagonists and Their Threefold 3 + 1 Motifs 178

Motifs of Fate, Jealousy, Love and Death 188

Summary: Schoenberg’s Characters and Their Development 193

Elliott Carter’s American Narratives 195 A Composer Exploring Complementary View of America 195 Saint-John Perse’s Vents (Winds) 200 Structure and Texture, Themes and Voices 206

Elliott Carter’s Concerto for Orchestra 212 Summary: Carter’s Modes of Transmedializing Perse 219

Contents ix PART II

FROM IMAGE TO SOUND: MUSIC ON WORKS OF VISUAL ART

A Twentieth-Century Composer’s Quattrocento Triptych 223

Musical Transmedializations of Visual Narratives 223

Respighi’s Affinity to Botticelli 224

Botticelli’s Primavera 226 Respighi’s “Primavera” 231

Botticelli’s Adorazione dei Magi 242 Respighi’s “Adorazione dei Magi” 247 Botticelli’s Nascita di Venere 253 Respighi’s “Nascita di Venere” 256 Summary: Respighi’s 7rittico botticelliano 262

Music for Blessings in Stained Glass 269 Chagall’s Stained-Glass Windows 269

John McCabe, The Chagall Windows 286 Jacob Gilboa, The Twelve Jerusalem Chagall Windows 288 Two Musical Readings of Chagall’s Visual Interpretations 291

Reuben 294 Simeon 300 Levi 306 Judah 309 Zebulun 315 Issachar 319 Dan 324 Gad 329

Prelude: Music about Images in Stained Glass 291

Asher 335 Naphtali 340 Joseph 345

Benjamin 352

Summary: McCabe’s and Gilboa’s Musical Responses to Chagall 358

The Artist-Musician 361 Paul Klee and His Zwitschermaschine 362

The Twittering Machine: Sound Symbol of Modernity 361 Peter Maxwell Davies’s Joyful, Crank-Assisted Bird Concert 366 Gunther Schuller and the Pitfalls of Mechanized Bird Song 372

Giselher Klebe’s Four Twittering Creatures in Distress 376 Summary: Three Ways of Listening to Birds Hooked toa Crank 380

x Contents PART IV THE FAUN AND THE VIRGIN, THE SAINT AND THE REAPER: MULTI-TIERED TRANSMEDIALIZATIONS

Two Pictorial Cycles and Their Mediated Paths Towards Music 383 Claudel in Basel, Hindemith in Florence: How the Stories Began 383

The Dance of Death—The Dance of the Dead 385 The Early Woodcuts after the Dance of Death at Basel 390

Hans Holbein’s Woodcuts 394

Danse des morts 399

The Spirit and Theology of Claudel and Honegger’s

Reframing Ezekiel: Dialogue (I) and God’s Reply (V) 404

The Frolicking of the Dead (ID) 414 Laments and Sobs (III, [V) 421 Hope and Affirmation (VI, VID) 425

La danse des morts 431

The Symbolic Usage of Instrumentation and Vocal Textures in

Saint Francis of Assisi and the Early Writings about His Life 435

Giotto’s Depictions of Saint Francis 438 Hindemith and Massine’s Design for the Ballet on Saint Francis 446

Hindemith’s Music for the Ballet Nobilissima Visione 452

The Musical Forms and Their Messages 453 The Musical Representation of Characters and Conflicts 456

The Development of Saint Francis’s Motifs 462 Summary: Pictorial Cycles Mediated Into Music 466

The Symbolist Poet 469

Two Mallarmé Poems and Their Way through Music to Dance 469 The “Scéne” from Hérodiade: Fragment of a Lyrical Drama 47]

Hérodiade: The Tale and Its Background 473

The Introduction of the Protagonist 475 Scene (text and prose translation) 476

The Dialogue 482 The Themes 483 The Symbols 488

Heérodiade and L’apres-midi d’un faune: Sister Poems 494

The Background of the Faun Story 494 The Tale, Told One Hot Afternoon 495

L’apres-midi d’un faune (text and prose translation) 498

Form and Language 502

Contents x1 Herodiade and L’apres-midi d'un faune: Parallels and Contrasts 505

Poetic Transformations, Further Transmedialized 509

Debussy and Mallarmé 512 Debussy’s Prélude a l’apres-midi d'un faune 514 Hindemith’s Approach to Mallarmé 523 Where are the Words? 527 Hindemith’s “orchestral recitation,” Hérodiade 529 From Music to Dance: Martha Graham and Vaslav Nijinsky 543

L’apres-midi d’un faune: Mallarmé, Debussy, Nijinsky 548 Summary: Mallarmé’s Poems and Their Transmedializations 557 PART V MUSICAL RE-PRESENTATIONS OF VISUAL AND VERBAL WORKS OF ART

Depiction and Reference 56] Inherent or Acquired Signification in Musical Devices 561 The Listener’s Contribution 563 The Object of Musical Representation: Form and Content 563

Means of Musical Transmedialization 566

Rhythmic Signifiers 566 Pitches, Intervals, and Contours 567 Timbres, Conventional and Circumstantial 569

Structural and Textural Means 571

Allusions and Quotations 572

Transposition 575 Supplementation 576 Association 578 Interpretation 580 Playfulness 582

Variations of Ekphrastic Stance 575

Musical Ekphrasis and the Benefit of the Given Topic 583

xii Contents APPENDIX

Biographical Sketches I: The Artists 589

Giotto, Painter of Saint Francis 589

Sandro Botticelli and Neoplatonic Aesthetics 590 Hans Holbein, Portraitist of Death’s Clients 591

Marc Chagall: Rediscovering the Bible 592

Paul Klee, Artist and Musician 595

Biographical Sketches II: The Poets 597 Stéphane Mallarmé and Symbolist Poetry 597 Maurice Maeterlinck and Symbolist Drama 599

Paul Claudel and the Renewal of Faith 603

Richard Dehmel and Confident Sensuality 605 Saint-John-Perse and Hart Crane: Interpreting America 606

Biographical Sketches III: The Composers 608 C.M.T. Loeffler and B. Martina: Chronicling a Child’s Death 608 Arthur Honegger: Staging the Totentanz 612 Ottorino Respighi: Assembling a Mythological Triptych 614 Elliott Carter: Sonic Quests for America 616 Jacob Gilboa and John McCabe: Translucent Pictures 618 G. Schuller, G. Klebe, and P.M. Davies: Imaging Mechanization 621

Biographical Sketches IV: The Choreographers 626 Vaslav Niyinsky: Sublimated Sexual Ecstasy 626

Léonide Massine: Liturgical Ballets 628

Bibliography 633 Primary Sources 633 Martha Graham: Exploring a Woman’s Feelings 631

Secondary Sources 635 On Ekphrasis, Representation, and Program Music 635

On the Painters 638 On the Poets 641 Some Collections of Ekphrastic Poetry 637

On the Composers 644 On the Choreographers 649

Index 657

On Saint Francis of Assisi 650

Lists of Plates, Figures, and Musical Examples 651

About the Author 669

ACKNOWLEDGMENTS Unlike many other topics, which may dwell in a researcher’s mind for a while before they gradually and gingerly germinate into “a project,” this one was incited on a particular day in a particular place, by people whom I can name and to whom I owe a major debt of gratitude for the eye-opening experience they offered me. In May 1995, the University of Lund, Sweden, invited interdisciplinary scholars from all over the world for what has since become known as

the great interarts conference. This was a week-long, multi-track event that, under the heading, “Interart Studies: New Perspectives,” provided a gathering and idea-swopping place for researchers and practicians who combine any two or more of the following fields: the visual arts, music, literature, theater, film studies, video art, performance art, and dance. For a dozen years, I had tenaciously and in an expanding range of related projects pursued the question whether music can “speak about” things extra-musical, and if so, how it may achieve this end. One aspect of this query concerns music’s ability to express psychological features and spiritual truths or quests. However, as a musicologist with a graduate degree in literature and a fervent love also for painting and sculpture, I found myself returning again and again to works that combine music with one or the other sister art, intrigued by my impression that what goes on in many of these marriages 1s much more than a simple togetherness.

The prospectus of the Lund conference announced that one of its keynote lectures, as well as one long session, would deal with ekphrasis. I had never heard the word, could not find it in any of the encyclopedias I quickly consulted, and boarded my plane rather perplexed about what I might discover. The keynote address, delivered by Claus Cliiver, and the session, which combined about half of whom I now know to be the world’s leading scholars in ekphrasis, proved true eye-openers; my view of the interrelationship between the arts will never be the same. I wish to credit these scholars, many of whom have since become good friends, and especially the visionary initiator of that focus of the conference, Hans Lund, as silent co-authors of this study, which grew from a seed planted at Lund. Xill

xiv Acknowledgments Since my project touches on various fields, I was very fortunate to find generous assistance from a number of researchers better versed than I

in these adjacent areas. Gerhard Goebel and Albert Gier, professors of Romance literature at the Universities of Frankfurt and Bamberg respectively, gave my chapter on Mallarmé a very thorough reading and offered extremely valuable comments. Robert Dupree, professor of English literature at the University of Dallas at Irving, helped me through his bilingual expertise to improve my prose translation of Mallarmé’s poems. Ralph Williams, director of the program for Studies in Religion at the University of Michigan, and Herbert Marks, professor of comparative literature and Bible scholar at Indiana University, assisted patiently with the identification of the biblical texts Claudel compiled for Honegger’s oratorio. Anna Ercoli Schnitzer, librarian at the University of Michigan’s Taubman Medical Library, managed to locate early representations of the Dance of Death, which are shelved—since death 1s apparently considered the realm

of medical doctors—in places not too familiar to humanities scholars. David Bloch, musicologist at Tel Aviv University, kindly read my chapter on the Chagall Windows and his friend Jacob Gilboa’s musical response to them. I am particularly grateful to John McCabe who generously gave his time to peruse and comment in detail on his own work, discussed in the same chapter. AleS Brezina, director of the Bohuslav Martini Foundation in Prague, provided copies of unpublished scores as well as every possible help with and information about the composer.

Gottfried Scholz, director of the Institute for Music Analysis at the University of Music in Vienna, and Hans Lund, professor of comparative literature at the University of Lund, both kindly read the first part of this study and made myriad very helpful suggestions. In addition, Hans Lund has kept me in an ongoing (mostly electronic) dialogue about the topic of ekphrasis, sharpening as well as broadening my understanding, last but not least by inviting me as an active participant in the day-long session on the genre that he organized for the Fifth Conference of the International Association on Word and Images Studies (Claremont, CA, March 1999).

My international colleague, co-editor, and friend, Magnar Breivik, professor of musicology at the university in Trondheim, Norway, gave the entire manuscript an exceedingly thorough reading and proposed important emendations. Finally, my husband and best friend, Gerhold Becker, philosopher and art lover, untiringly read most chapters at various stages

of the draft and is responsible for more insights and details than I can decently afford to admit. Many, many thanks to you all!

INTRODUCTION “il y a de bizarre, et méme d’inquiétant, dans le fait d’une inspiration de seconde main, cherchée dans les ceuvres d’autrui, et cherchée dans un art dont les buts et les moyens sont trés différents de ceux qui characterisent l’art poetique. Est-ce vraiment légitime? Est-ce vraiment utile et fécond?” [Etienne Souriau, La poésie francaise et la peinture (London 1966), p. 6]

“there is something odd, and even disturbing, in second-hand inspiration, sought in the works of someone else, and sought in an art form of which the aims and the means are very different from those which characterize poetry. Is this really legitimate? Is this truly useful and fruitful?”

There are various ways in which one art form can fruitfully relate to another. Coexistence is much more frequent—and apparently much less disturbing for an audience—than the declared attempt at a “transformation” or new representation in another sign system. Does this “secondhand inspiration,” as Souriau called it, constitute a genuine creative act? To overemphasize what seems to be his question: is there a risk that the “representation of a representation” might suck the blood and life force

from the first work, or come out as a merely derivative, bloodless response? What do artists mean when they say that the new work can be cherished alone, but fully understood and appreciated only in light of the earlier work on which it reflects? When composing his piano cycle Gaspard de la nuit, Ravel not only chose for his three pieces the titles of three of Aloysius Bertrand’s poems from the cycle by that name, but actually reprinted each poem on the page facing the beginning of the musical piece that refers to it. While Ravel’s music is no doubt beautiful and self-sufficient when appreciated without knowledge of the literary source (as is usually the case in today’s concert

practice), the listeners’ insight into the depth of the musical message increases dramatically once the music is comprehended in light of the poem.

XV

xvi Introduction Let me briefly recall the central piece, Gibet. Bertrand, in asking us to witness the death of a hanged man, draws our attention to two facets of a transitional space. On the one hand, there is the very moment between life

and death; the two framing verses clearly stake out this ground. The question that pervades all six stanzas of his poem asks after the origin and

nature of a sound—a sound that, after having been suspected to come from the man himself or from the insects that surround his head, turns out to be the tolling of the death-knell. At the beginning, the lyrical “TI’’ is wondering whether the sound may be the sigh of the hanged man; there may still be life. But the end speaks unequivocally of a carcass, a corpse. The entire poem can thus be read as an unfolding of the moment between almost-no-life and definite death. On the other hand, Bertrand elicits, in the four central stanzas, the interaction between the living and the notquite-dead. Significantly, the creatures proposed as possible sources of the puzzling sound are not animals whom a man could look in the eye, but insects—trepresentatives of transition. Cricket, fly, beetle, and spider all

relate to the hanged man in ways that evolve from the innocuously insensitive to the downright morose. Ravel captures many of the nuances expressed through Bertrand’s poem in his piano piece. As in the poem, the tolling of the bell is the unifying feature. The tolling never pauses and never changes its pitch. Its rhythm, however, makes it clear that all is not in order here. Against this incessant sounding of the death-knell, Ravel

proceeds to lay out his melodic material which, in four ever more emotionally loaded steps, moves further and further away from any meaningful relationship to the central scene and the dignity we expect in the context of a death-knell. In the image drawn by Bertrand, this musical

development corresponds with the increasingly disrespectful way in which the creatures of transitional space relate to the hanged man. There are many further connections to an extra-musical stimulus in Ravel’s

piano piece; the listener gains access to its full depth only when appreciating it as a transmedialization of Bertrand’s poem.’

This, then, is by no means a matter of a vaguely impressionistic “program,” but a case of a transformation of a message—in content and form, imagery and suggested symbolic signification—from one medium into another. For this phenomenon we seem to lack a specific term; I will make a case for calling it musical ekphrasis. Not surprisingly, given the 'For a full discussion of this piece, see my study Jmages and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Ravel, Debussy, and Messiaen (Stuyvesant, NY: Pendragon Press, 1997), pp. 192-203.

Introduction xvii lack of a distinctive term, no methodology seems to have been developed that would allow us to differentiate within what I will argue is a unified and highly sophisticated genre, or to define the genre within the larger fields in which it is situated. These fields can be imagined as surrounding musical ekphrasis, linked to it at various points of interaction or by way of the questions asked in aesthetic theory about assumptions underlying all of them. (In the graphic overview given below I single out two of music’s sister arts—painting

and literature—to stand for what is of course a much richer texture of interactions, including not only other forms of visual art but also dance and mime as well as many hybrid forms of artistic expression. )’

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