" In his master's steps he trod" Alan Rawsthorne and Frederic Chopin: the piano ballades

231 Pages·2014·14.73 MB·English

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UNIVERSITY*OF*SOUTHAMPTON*
ABSTRACT*
FACULTY*OF*LAW,*ARTS*AND*SOCIAL*SCIENCES
SCHOOL*OF*HUMANITIES*
Department*of*Music*
Thesis*for*the*degree*of*Doctor*of*Philosophy*
*
"In$His$Master's$Steps$He$Trod"$
Alan$Rawsthorne$and$Frederic$Chopin:$
The$Piano$Ballades$
*
Alan*Rawsthorne*is*a*difficult*to*place*as*a*composer.*To*many,*his*work*seems*
conservative,*even*academic.*Yet*in*1937,*Patrick*Hadley*recommended*him*to*Cecil*Gray*
as*one*of*the*most*'modern'*composers*of*his*generation.*This*thesis*examines*the*question*
of*Rawsthorne's*attitude*to*contemporary*composition,*through*the*lens*of*his*engagement*
with*Chopin.*I*examine*both*Rawsthorne's*wellVknown*second*Ballade*(1967)*and*his*
comparatively*unknown*first*Ballade*(1929),*comparing*one*with*the*other*and*analysing*
them*for*traces*of*Chopin's*iconic*works*in*the*ballade*form.*I*also*draw*on*Rawsthorne's*
own*analysis*of*the*Chopin*ballades.*
*
Rawsthorne's*ballades*are*clearly*a*kind*of*homage*to*Chopin,*insofar*as*they*travel*a*
similar*narrative*path.*It*seems,*however,*that*a*deeper*similarity*exists.*Like*Chopin*–*who*
wrote*his*ballades*in*a*time*of*great*political*uncertainty*–*Rawsthorne*turned*to*the*
ballade*during*periods*of*turbulence*and*unrest*in*the*world*around*him*(i.e.,*the*late*
1920s*and*the*late*1960s).*In*Rawsthorne's*case,*he*wrote*music*about*liberation,*which*
seemed*to*take*on*a*special*meaning*for*him.*In*my*reading,*Rawsthorne's*ambivalent*
approach*to*tonality*and*tonal*structure,*for*instance,*indicates*a*kind*of*troubled*search*
for*freedom;*equality*in*a*multiVculturalist*community*and*a*search*for*liberty*of*mankind.*
Thus,*Rawsthorne*appears*to*contribute*to*the*ballade*that*Chopin*created.*Parakilas*
identified*Chopin's*ballade*as*a*European*genre,*but*Rawsthorne's*efforts*broaden*this*
concept;*he*sought*to*create*a*ballade*that*could*represent*a*greater*diversity*of*cultures*
and*people.*Rawsthorne's*reVarticulation*of*Chopin’s*ballade*and*his*attraction*to*its*nonV
nationalist*narrativity*reflects*his*time*and*place.*Unlike*other*musical*modernists,*he*was*
able*to*make*strikingly*new*music*based*firmly*on*past*Romantic*model.$
By$Abdullah$E$M$J$Khalaf$
UNIVERSITY*OF*SOUTHAMPTON**
FACULTY*OF*LAW,*ARTS*AND*SOCIAL*SCIENCES
SCHOOL*OF*HUMANITIES*
DEPARTMENT*OF*MUSIC**
*
*
*
*
*
"In*His*Master's*Steps*He*Trod"*
Alan*Rawsthorne*and*Frederic*Chopin:*
The*Piano*Ballades*
*
*
*
*
*
*
Abdullah*E*M*J*Khalaf*
Student*ID:*23714786*
Thesis*for*the*degree*of*Doctor*of*Philosophy*
[July]*2014**
Contents''
List'of'Examples' ' ' ' ' ' ' ' ' iv'
List'of'Tables' ' ' ' ' ' ' ' ' ' v"
Declaration'of'Authorship' ' ' ' ' ' ' ' vi'''
Acknowledgements' ' ' ' ' ' ' ' ' vii"
Introduction' ' ' ' ' ' ' ' ' ' 1"
'
Chapter'1:'Alan'Rawsthorne:'The'Man'and'the'Musician'
Introduction" " " " " " " " " " 11""
"
1.1" Frederic"Chopin:"Politics"and"the"Byronic"Hero" " " " 12""
"
1.2" Alan"Rawsthorne:""The"Political"Profile" " " " " 17"
"
" 1.2.1" The"Early"Formation"of"Rawsthorne's"Social"Philosophy"
1.2.2" Rawsthorne's"'Juvenilia',"Boyhood"Poems"and"the"Influence"of"
Bernard"Shaw"
" 1.2.3" Rawsthorne"and"Alan"Bush:""The"SocioIPolitical"Contributions"
"
1.3" The"1929"SocioIPolitical"Situation"and"Rawsthorne's"Contribution" " 40"
"
1.4" The"1967"SocioIPolitical"Situation"and"Rawsthorne's"Contribution" " 45"
"
" 1.4.1"" MidI1960s"Works:"He#does#not#Die"(1964)"
" 1.4.2"" MidI1960s"Works:"Streets#of#Laredo"(1965)"
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1.4.2.1"The"PopISong"Quality"of"the"Streets#of#Laredo"and"the"1960s"
Protest"Movement"
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1.4.3"" MidI1960s"Works:"The#God#in#the#Cave"(1966)""
1.4.4"" Other"Considerations"that"Influenced"Rawsthorne"
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1.5" The"Return"of"the"Romantic"Hero" " " " " " 62"
"
1.5.1"" Rawsthorne"and"Coleridge's"Kubla#Khan""
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1.6" "The"First"Ballade"of"Rawsthorne" " " " " " 71""
"" "
1.6.1" Rawsthorne’s"Endorsement"to"Victorianism"
1.6.2" The"Significant"of"the"Chosen"Character""
1.6.3" The"Analogy"Between"Rawsthorne’s"Ballade"and"Good#King#
Wenceslas# #
"
1.7" Conclusion" " " " " " " " " 80"
i "
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Chapter'2:'Rawsthorne'as'a'Crucial'Critic'of'the'Ballades'of'Chopin'
Introduction" " " " " " " " " " 83"
2.1"" An"Appraisal"of"the"Chronological"Development"of"Scholarly"Writings"on"
Chopin’s"Ballades,"and"Other"Music" " " " " " 84"
"
2.1.1"" Scholarly"Texts"on"Chopin’s"Departure"from"Traditional"Forms"
" 2.1.2" The"Influence"of"Tovey’s"Analysis"on"Rawsthorne’s"Approach"
"
2.2"" Chopin's"Ballades"under"Rawsthorne's"Lens" " " " " 96"
"
2.2.1"" The"Ballade's"Ambiguity"
2.2.2" Musical"Events"
2.2.3" What"Holds"the"Work"Together?"
2.2.4" The"Coda"and"the"Ending"
"
2.3"" Conclusion" " " " " " " " """"""""""""130"
"
'
Chapter'3:'A'Comparative'Study:'Are'Rawsthorne's'Ballades'Modelled'on'Chopin's'
Ballade'Genre?"
Introduction" " """"""""""""""" " " " " " """"""""""""132"
3.1"" Rawsthorne's"1929"Ballade" " " " " " """"""""""""133"
"
" 3.1.1"" Brahms's"Op."10"and"Rawsthorne's"First"Ballade"
"
3.2"" Rawsthorne's"1967"Ballade" " " " " " """"""""""""139"
"
" 3.2.1" "Ambiguity"
" 3.2.2" "Musical"Events"
" 3.2.3" "What"Holds"the"Work"Together?"
" 3.2.4" "The"Coda"and"the"Ending"
"
3.3"" Conclusion" " " " " " " " """"""""""""153"
'
Chapter'4:'The'Ballade:'A'NonMNationalist'Voice'Searching'for'Universal'Freedom"
Introduction" " " " " " " " " """"""""""""156"
4.1"" The"national"music"of"Chopin:"The"voice"of"the"Poles" " """"""""""""157"
4.2"" Nationalism"as"a"European"entity"""""""""" " " " """"""""""""164"
4.3"" The"ballade"genre:"A"nonInationalist"voice" " " " """"""""""""166"
ii "
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4.3.1" Music"and"narrativity"
4.3.2"" The"inevitability"of"the"piano"ballade"form"
4.3.3"" Chopin's"concept"of"the"ballade:"A"nonInationalist"genre"
"
4.4"" The"voice"in"Chopin's"storyless"ballades" " " " """"""""""""180"
4.5"" Rawsthorne"the"modernist" " " " " " """"""""""""185"
"
" 4.5.1"" Consensus"
" 4.5.2" PostIwar"period"
"
4.6" The"second"Ballade"of"Rawsthorne:"A"conversation"with"Chopin" """"""""""""194"
'
Chapter'5:'Conclusion' ' ' ' ' ' ' """"""""""""202"
Bibliography' ' ' ' ' ' ' ' ' """"""""""""206''
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List'of'Examples''
For"Chopin"Ballades"I"have"used"Ignacy"Paderewski's"edition,"1949."
Ex."1.1""" Bush's"Prison"Cycle"I,"bars"1I6"
Ex."1.2""" Rawsthorne's"Prison"Cycle"III,"bars"1I6"
Ex."1.3""" Rawsthorne's"He"does"not"Die,"bars"143I177"
Ex."1.4""" Rawsthorne's"second"Ballade,"bars"294I300"
Ex."1.5""" Rawsthorne's"The"God"in"the"Cave,"bars"115I119""
Ex."1.6""" Rawsthorne's"The"God"in"the"Cave,"bars"120I123"
Ex."1.7"" Rawsthorne's"The"God"in"the"Cave,"bars"39I41"
Ex."1.8""" Rawsthorne's"Kubla"Khan,"bars"17I20"
Ex."1.9""" Rawsthorne's"Kubla"Khan,"bars"48I59"
Ex."1.10" Rawsthorne's"Kubla"Khan,"bars"298I307"
Ex."1.11" Good"King"Wenceslas,"bars"1I4"
Ex."1.12" Rawsthorne's"first"Ballade,"bars"1I7"
Ex."1.13" Rawsthorne's"first"Ballade,"bars"34I37"
Ex."1.14" Rawsthorne's"first"Ballade,"bars"38I47"
Ex."1.15" Rawsthorne's"first"Ballade,"bars"63I70"
Ex."1.16" Rawsthorne's"first"Ballade,"bars"108I114"
"
Ex."2.1"" Chopin's"first"Ballade,"bars"1I10"
Ex."2.2"" Chopin's"first"Ballade,"bars"94I108"
Ex."2.3"" Chopin's"first"Ballade,"bars"194I210"
Ex."2.4"" Chopin's"first"Ballade,"(i)"bars"8I9,"(ii)"bars"82I83"
Samson"(1992,"50)"
Ex."2.5"" Chopin's"first"Ballade,"bars"92I94"
Ex."2.6"" Chopin's"first"Ballade,"(i)"bars"253I254,"(ii)"bar"257""
Ex."2.7"" Chopin's"first"Ballade,"(i)"bars"36I37,"(ii)"bars"138I140"
Ex."2.8"" The"rhythm"of"the"main"theme"of"Chopin's"second"Ballade"
Ex."2.9" Chopin's"second"Ballade,"bars"63I64,"(i)"Rawsthorne's"illustration,"(ii)"
original"
Ex."2.10" Chopin's"second"Ballade,"bars"108I115"
Ex."2.11" Chopin's"second"Ballade,"bars"159I164"
Ex."2.12" Chopin's"second"Ballade,"bars"197I204"
Ex."2.13" Chopin's"third"Ballade,"bars"1I4"
Ex."2.14" Chopin's"third"Ballade,"bars"30I33"
Ex."2.15" Chopin's"third"Ballade,"bars"55I59"
Ex."2.16" Chopin's"fourth"Ballade,"bars"1I2"
Ex."2.17" Rawsthorne's"demonstration"of"Chopin's"fourth"Ballade's"
introduction"
Ex."2.18" Chopin's"fourth"Ballade,"bars"13I16"
Ex."2.19" Chopin's"fourth"Ballade,"bars"45I47"
Ex."2.20" Chopin's"fourth"Ballade,"bars"125I127"
Ex."2.21" Chopin's"fourth"Ballade,"bars"129I133"
Ex."2.22" Chopin's"fourth"Ballade,"(a)"bars"7I12"(b)"bars"134I139"
"
iv "
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Ex."3.1"" Rawsthorne's"first"Ballade,"an"illustration"of"its"rhythmic"pattern"
Ex."3.2"" Rawsthorne's"first"Ballade,"an"illustration"of"its"harmonic"progression"
Ex."3.3"" Brahms,"Ballade,"Op."10,"No."1,"bars"1I13"
Ex."3.4"" Rawsthorne's"second"Ballade,"bars"1I6"
Ex""3.5"" Rawsthorne's"second"Ballade,"bars"1I9"
Ex."3.6"" Rawsthorne's"second"Ballade,"bars"9I18"
Ex."3.7"" Rawsthorne's"second"Ballade,"bars"18I20"
Ex."3.8"" Rawsthorne's"second"Ballade,"bars"202I204"
Ex."3.9"" Rawsthorne's"second"Ballade,"bars"213I217"
Ex."3.10" Chopin's"second"Ballade,"bars"136I143"
Ex."3.11" Rawsthorne's"second"Ballade,"bars"1I2"
Ex."3.12" Rawsthorne's"second"Ballade,"bars"24I25"
Ex."3.13" Rawsthorne's"second"Ballade,"bars"43I44"
Ex."3.14" Rawsthorne's"Second"Ballade,"bars"142I147"
Ex."3.15" Rawsthorne's"Second"Ballade,"bars"148I151"
Ex."3.16" Rawsthorne's"Second"Ballade,"bars"160I164"
Ex."3.17" Rawsthorne's"Second"Ballade,"bar"171"
Ex."3.18" Rawsthorne's"Second"Ballade,"bars"194I196"
Ex."3.19" Chopin's"First"Ballade,"bars"250I264""
Ex."3.20" Rawsthorne's"Second"Ballade,"bars"267I274""
Ex."3.21" Rawsthorne's"Second"Ballade,"bars"275I290""
'
List'of'Tables'
'
Table"2.1" Chopin's"third"Ballade"formal"design"(Samson,"1992,"62)"
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Table"3.1" Brahms"Ballade,"Op."10,"No."1,"musical"section"and"the"corresponding"
poetic"idea"
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Table"3.2" Rawsthorne's"second"ballade's"sections"
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v "
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Declaration'of'Authorship''
I,"Abdullah'E'M'J'Khalaf,"declare"that"the"thesis"entitled"
"
"In'His'Master's'Steps'He'Trod",'Alan'Rawsthorne'and'Frederic'Chopin:'The'Piano'
Ballades'
"
and"the"work"presented"in"the"thesis"are"both"my"own,"and"have"been"generated"by"
me"as"the"result"of"my"own"original"research."I"confirm"that:"
"
• this"work"was"done"wholly"or"mainly"while"in"candidature"for"a"research"
degree"at"this"University;"
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• where"any"part"of"this"thesis"has"previously"been"submitted"for"a"degree"or"
any"other"qualification"at"this"University"or"any"other"institution,"this"has"
been"clearly"stated;"
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• where"I"have"consulted"the"published"work"of"others,"this"is"always"clearly"
attributed;"
"
• where"I"have"quoted"from"the"work"of"others,"the"source"is"always"given."
With"the"exception"of"such"quotations,"this"thesis"is"entirely"my"own"work;"
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• I"have"acknowledged"all"main"sources"of"help;"
"
• where"the"thesis"is"based"on"work"done"by"myself"jointly"with"others,"I"have"
made"clear"exactly"what"was"done"by"others"and"what"I"have"contributed"
myself;"
"
• none"of"this"work"has"been"published"before"submission'
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Signed:"
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Date:'"
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vi "
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Acknowledgements'
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I"would"like"to"express"my"thanks"to:""
My"supervisory"team,"Dr."Thomas"Irvine"and"Professor"David"Owen"Norris;"
Also"to"Dr."Timothy"Ewers"who"helped"me"to"refine"the"focus"of"my"research"
proposal;""
To"The"Rawsthorne"Trust"for"providing"me"with"important"materials,"and"especially"
Andrew"Knowles"
For,"the"Deputy"Librarian,"Geoff"Thomason"and,"archivist,"Maryann"Davison"at"the"
Royal"Northern"College"of"Manchester"(Rawsthorne"archive)"for"facilitating"my"visit"
and"providing"me"with"access"to"extremely"important"research"materials;""
With"the"oversight"of"my"main"supervisor,"editorial"advice"has"been"sought."No"
changes"of"intellectual"content"were"made"as"a"result"of"this"advice."
Dr."Jane"Masters,"Dr."Carol"Gartrell"and"Dr."Will"Lingard"for"proofreading"the"thesis;""
To"Austin"Glatthorn"for"setting"the"musical"examples;"
To"my"family"for"their"support"and"love;""
To"the"late"Mohammad"Abdulsalam"who"taught"me"more"than"music;"""
To"my"friends"Ahmad"Alderaiwaish,"Sanaa"AlSaif,"Neil"Martin,"Bartek"Rybak"and"
Mishari"Althuwaini"for"always"being"supportive"and"helpful."
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