RETURNING MATERIALS: }V1531;] Place in book drofifito [JBRARJES remove this checkout from —_ your record. FINES will be charged if book is returned after the date stamped below. ‘— THE VOCAL WORKS OF JEAN EICHELBERGER IVEY BY Rose Marie Muennich A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1983 Copyright by ROSE MARI E MUENNI CH 1983 ABSTRACT THE VOCAL WORKS OF JEAN EICHELBERGER IVEY BY Rose Marie Muennich Jean Eichelberger Ivey is among the fast-growing number of women who, during the second half of the twentieth century. have received recognition .as composers of music. Information concerning Ivey's growth and deve10pment as a musician from childhood on is presented first. She has written for virtually every medium, but, particularly since 1976, her interest has focused on the composition of vocal works in combination with various media and/or electronic tape. She has written the text to some of her works as well. A detailed analysis of six of her vocal compositions is provided: Terminus, Hera, Hung from the Sky, ”Night Voyage," "Iliad," Testament of Eve, and Solstice. In addition, an overview of all of Ivey's other vocal works is offered. Her recent activities include completion of a one-act opera, The Birthmark, and two chamber ensemble works. The Rose Marie Muennich Chamber Music Society of Baltimore recently commissioned her to write a chamber work for a performance in their concert series of March 1984. . In 1969, she joined the faculty of Peabody Conservatory in Baltimore, Maryland, where she founded and directed the electronic music studio. In 1982, she was named the coordinator of the composition department at Peabody, where she continues as the director of the studio and also continues as a teacher of composition, electronic music and orchestration. The Appendices include a catalog containing all of Ivey's serious works written since 1948 with pertinent information for each entry. Recordings, publications,_and studies done on Ivey are also provided. To My Parents ii ACKNOWLEDGEMENTS The writer sincerely wishes to thank her major adviser, Professor Russell E. Friedewald, for his continued guidance and helpful suggestions throughout the preparation of the dissertation. She also wishes to thank Professors Theodore Johnson, Jere Hutcheson, and James Niblock for reading the dissertation and making further suggestions for its improvement. She wishes to offer grateful recognition to the composer Jean .Eichelberger Ivey, for her assistance and cooperation. Special appreciation goes to Professor Beulah M. Monaghan from the Department of American Thought and Language, who served as writing adviser. Finally, deep gratitude goes to her family and close friends, especially Ava K. Clark and Mark A. Tuller, for their continuous encouragement, support and help. Musical examples and text are reprinted by kind permission of the c0pyright owners as follows: "Night Voyage" and "Iliad," © C0pyright 1983 by Boosey & Hawkes, Inc. Reprinted by Permission. Terminus, Hera, Hung from the Sky, Testament of Eve, and Solstice, @ Copyright 1972, 1973, 1976, and 1978-79 respectively by arl Fischer, Inc. Reprinted by Permission. "Hera, Hung from the Sky " from MIDNIGHT WAS MY CRY iii by Carolyn Kizer. Copyright 1971 by Carolyn Kizer. Reprinted by permission of Double y & Company, Inc. iv TABLE OF CONTENTS Page ACKNO‘H‘EDGEMENTS O O O O O O O O O O O O O O O O O O O i i i Chapter I. EXAMINATION OF IVEY'S GROWTH AND DEVELOPMENT AS A MUSICIAE‘ O 0 O O O O O I I O O O O O O O O O 1 II. ANALYSES OF SELECTED WORKS . . . . . . . . . . 18 III. AN OVERVIEW OF ALL OF IVEY'S OTHER VOCAL WORKS 152 IV. REVIEW OF CURRENT ACTIVITIES AND FUTURE PROJECTS 159 APPENDICES A. CATALOG . . . . . . . . . . . . . . . . . . . . 162 B. PUBLISHED WRITINGS . . . . . . . . . . . . . . 196 C. RECORDED COMPOSITIONS . . . . . . . . . . . . . 198 D. STUDIES ON JEAN EICHELBERGER IVEY . . . . . . ,, 199 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . 200 EXAMINATION OF IVEY'S GROWTH AND DEVELOPMENT AS A MUSICIAN Jean Eichelberger Ivey1 is among the fast-growing number of women, who, during the second half of the twentieth century, have received recognition as composers of music. Her interests, however, are much broader than composing. From childhood on, she achieved growing success as a pianist, composer, writer, and teacher. Born on 3 July 1923 in Washington, D.C., Ivey was the only child of Joseph Shandelle and Mary Elizabeth (Pfeffer) Eichelberger.2 On the paternal side, the family was Scottish, British, and German, the latter group coming to Pennsylvania in the 1720's and then settling in Baltimore, Maryland. On the maternal side, the family, entirely of 1Prior to 1958, the composer's professional name was Jean Eidhelberger. In 1958 she assumed her husband's name, therefore using Jean Eichelberger Ivey. Her marriage ended in 1974, but she has continued to use Jean Eichelberger Ivey (in full). Throughout this paper, "Ivey” is used for the composer's professional name. 2Information concerning Ivey's life background (personal and professional) was obtained primarily through written correspondence, 27 October 1979, and a personal interview, New York, New York, 23 August 1979. 2 German extraction, arrived in America in the mid-nineteenth century' making' their" home first. in Indiana and later in Champaign County, Illinois. No professional musicians appeared in the Pfeffer- Eichelberger families, although two of Ivey's widowed paternal aunts did give voice lessons to help support themselves. She remembered her father saying that he studied the clarinet as a child, but that he truthfully disliked doing so. She also recalled that during her early years, he occasionally played the piano by ear but eventually gave it up. Ivey's mother, a semi-professional contralto, sang as a soloist in various local churches and amateur musicals. It was evidently through the sharing of her mother's interests that she aspired to the study of music. When Ivey was six, her parents purchased a piano, and her lessons began. She had early memories of her mother singing and accompanying herself on this piano and also of crying sometimes because it sounded so beautiful. During grade-school, Ivey studied with a local teacher who also taught elocution, and whose students participated in programs that included not only music, but recitations, plays, and other activities. As her lessons progressed, she occasionally accompanied her mother and sometimes her mother's friends. From time to time, her mother and friends put on scenes from operas, a probable means of early exposure to operatic literature for the youthful Ivey. 3 Her piano studies continued throughout high school, undergraduate school, graduate school and beyond. For a short time, as a teenager, she also studied voice, and later she minored in voice while in graduate school at the Peabody Conservatory in Baltimore, Maryland. In addition, because of piano skills, she often accompanied singers, beginning in grade-school and thereafter. In all likelihood, these experiences relate to her later emphasis on the composition of vocal music. At times, Ivey received support and encouragement from her parents, recalling that they spent time sharing their life experiences with her. Her father's ability to write well and his interest in astronomy are reflected in Ivey's own concerns. She became the class poet in her senior year of undergraduate school--quite an accomplishment for a non-English major. Some of her own texts for vocal compositions exhibit these concerns (Solstice and Testament of Eve) as do texts by others that employ images of the earth and sky (Hera, Hung from the Sky, Three Songs of Night, "Night Voyage," and ”Iliad”). Wide reading in literature inspired her quest for the right words to set to music and provided a wealth of potential lyrics. Shortly after starting lessons, she began to compose piano pieces, but for some time it was an activity in which she alone took pride. Although both parents were aware of her compositional ability, neither of them encouraged nor discouraged her: they simply let their daughter fulfill her 4 own needs in her own way. At the beginning, Ivey's method of recording musical ideas was to write down the letter names of the notes. At first, she did not know how to notate the corresponding rhythm, so she played that element of her compositions from memory. Once private lessons began, however, she became proficient enough to notate the rhythm as well. Ivey remembered that her first piece was for piano, a composition for both right and left hands. Though it is impossible to give a precise number, the short works that followed were mostly for piano and voice--settings of poems she came across and liked, or ones she wrote herself. Composing was a private preoccupation. As a child, she imagined herself as an adult composer or as a writer, among other possible careers. Only once, when about eleven years old, did she decide to show a piano piece to her music teacher who liked it so well that she had Ivey perform it in a recital. Despite the consequent praise and encouragement, she continued to keep most of her compositions secret until almost fourteen years later when formal studies in composition at the Eastman School of Music began. According to her own account, Ivey was a shy and quiet child reluctant to confide in anyone, not even her parents. Today, she thinks that her decision to keep things to herself may have had a significant effect on entrusting her feelings to compositions and other types of writings. 5 As Ivey reflects now, in recent years she has become much better able to relate to other peOple. She thinks teaching, with its requisite talking and relating to students, may have been one of the things that helped in this regard. Her piano lessons continued as well during high school years. Her piano teachers incorporated theory into the lessons, which she found fascinating. By the time she started in a music program at college, she was well prepared in theory and discovered that she had a naturally good ear for aural harmony. Ivey's native talent as a musician and her general academic ability made learning easy. During her later grade- school years, she played for school productions and special programs as an accompanist and soloist. At the end of the seventh grade, she remembered being asked to play the organ at church when the regular organist was absent. Until this time, she only played piano. As a result of serving as a substitute organist, she began to play for the parish children's service on a regular basis and gradually assumed more responsibility. She advanced musically as an organist and choir director and filled other local church positions. During her early twenties, she returned as head organist and choir director at her home parish. For approximately ten more years, she continued in this capacity, serving various other churches in the Washington, D.C., area. 6 Since she started playing the organ at church toward the end of the academic school year, she had the summer months to become acquainted with a world of music previously unexplored by her. It was a summer which whetted her interest and sharpened her appetite for creating various colors of sound. In short, fascinated by the electronic organ (a Hammond model, one of the first to be manufactured in the mid-1930's), she spent hours at a time practicing and experimenting on the church organ. Her mother, realizing that Ivey had no previous experience playing the organ and had no one to teach her at the time, wrote to the Hammond company asking for literature for the organ and some instructional music books for self-teaching. The only materials that the company sent in reply to her mother's request were various advertisement bulletins and descriptive brochures of the organ which Ivey read through. Much of it offered information about the formation of sounds. Thus, she became deeply involved in exploring what could be produced electronically. Through reading and experimentation, she created various timbres by setting up the drawbars of the organ, a process which she explained as "an early introduction to what is called additive synthesis in electronic music." Consequently, she became interested in the technical descriptions of how the organ produced its sounds. Thus began an interest and involvement in electronic music which deveIOped during her college and professional 7 years of teaching and subsequently contributed to her achievements as a composer of electronic music. She played the organ in various churches and often accompanied her mother's friends. She also began to compose for the organ, writing a considerable amount of music for choir by setting liturgical texts for church services. The services provided Opportunities for her to improvise at the organ and to make use of her own compositions for preludes and interludes. Before entering college, Ivey thought seriously about enrolling in several possible programs including music, writing, and mathematics. (Her mother had a natural gift in mathematics and worked for a time in the 0.8. Treasury department.) Both parents were good students in their youth, and Ivey followed in their footsteps. She remained at the head of her class throughout grade-school, and when ready to attend high school, received a half-scholarship to Notre Dame Academy where she also maintained high honors. During her senior year, she took the College Entrance Examination Board tests and earned a full scholarship to attend Trinity College in Washington, D.C. This resulted from her test scores which were the highest among those who took the test for that institute. She also won a scholarship to another local college but chose Trinity instead. Without the aid of the scholarship, it is quite unlikely that Ivey could have 8 continued her studies at the advanced level. She lived during the depression, and her father was often unemployed, making anything other than necessities a luxury. After her freshman year at Trinity, she, like others, began her formal studies toward a degree in music with piano as her major instrument. Her program emphasized all the important areas of music. Her minor was English, and she often wrote poetry and essays for college publications. In 1944, she was graduated magna cum laude with a Bachelor of Arts degree. A review of Ivey's career from 1943 to the present shows her to have been, at one time or another, a student, church organist, private piano teacher, concert pianist, composer, and college professor, with many of her activities overlapping or occurring simultaneously. Beginning in 1943, while finishing her degree at Trinity College, she served as a church organist and started to give private piano lessons. In 1944, she began a Master of Music degree in piano at the Peabody Conservatory, her major professor being Pasquale Tallarico. She had been playing organ for several years prior to this time as well as studying voice privately, and she minored in these areas as part of her degree requirements. Her harmony teacher told her that she was gifted in composition and ought to study it as well. For her master's degree, her professor required a sonata movement in a traditional style and a fugue in the style of Bach. She actually received little exposure to 9 music of the twentieth century, either before or during her years at Peabody. There seemed to be, moreover, no attempt to introduce it, only the styles and forms of music of previous centuries being presented. Because Ivey's studies at Trinity and Peabody had involved considerable theoretical work, and because of her ability to excel in it, she was hired at Trinity in 1945 before finishing her master's degree. Her duties were to teach theory as well as piano and organ. Over a period of ten years, she continued to teach there, first as a part—time instructor and then as a full-time assistant professor. In 1946, after completing her degree at Peabody, she taught solfege and keyboard harmony at Peabody for the next six years on a part-time basis. During this time she continued on at Trinity. The two positions, of course, required her to commute, an additional burden on an already busy schedule. In 1948, Ivey decided to spend a summer session at the Eastman School of Music at the University of Rochester, New York, where she studied composition privately with Wayne Barlow. It was a time in which Barlow stimulated and encouraged her, introducing her to twentieth century practices. She stated that she would never cease to be grateful to him. After the completion of her degree at Peabody (1946), she discovered that it was necessary for her to discontinue formal studies, including piano lessons. She was heavily burdened with teaching obligations, various church organist 10 positions, and family assistance at home. Her mother's health wasj deteriorating due to cancer, an illness which resulted in her death in 1951. Following her teaching position at Peabody in 1952, she became, for three years, a part-time faculty member at Catholic University in Washington, D.C., teaching organ, piano, and theory. During this time, she resumed piano lessons with Glenn Dillard Gunn. With teaching and wanting to resume her piano playing, she finally decided to give up the organ, which she did in 1955. "One just can't do everything in a 24-hour day and do it well," Ivey once explained, but was happy to admit that she had no regrets in going on to pursue her other talents. At the same time that she started to teach at Catholic University, she decided to go on for a second master's degree at Eastman, this time in composition. In order to maintain her teaching position, she attended Eastman for five consecutive summer sessions. While there, Barlow was her adviser (an official designation), but in keeping with policy at the music school, she also studied with Bernard Rogers, Herbert Elwell, and Kent Kennan. She always considered Barlow as her principal composition teacher, however, and the one who took a continuing interest in her work throughout her stay at Eastman. Ivey summed up the summer sessions by saying that the whole environment at Eastman, where there were so many composition students and so 11 many opportunities to write for orchestra and ensembles and hear one's works played, was tremendously stimulating to her. Toward the end of her graduate work, she again became involved in playing the piano. Her goal was to become a concert pianist, and she thought that now was the time to do it. So with the encouragement of Gunn, who helped with some of the planning stages, she began, in 1955, to give professional piano recitals, all of which included her own compositions. She concertized at various colleges and also gave performances at the National Gallery of Art and the Phillips Gallery in Washington, D.C. From 1955 to 1957, she was also an assistant professor at College Misericordia in Dallas, Pennsylvania, teaching theory, composition, piano, and organ. In 1957, she toured Mexico under the sponsorship of the U.S. Embassy and played a series of piano recitals at the Binational Centers of six Mexican cities (Mexico City, Guadalajara, Monterey, Vera Cruz, San Luis Postosi, and Morelia). The programs consisted of standard classics, American works, including her own compositions, and works by Mexican composers. During the mid—sixties, Ivey resumed her interest and research in Mexican music on which she was invited to give lecture-recitals at Wichita State University in Kansas while she was a resident of that state. She also wrote an article entitled ”Mexico's Music," published in the Inter-American Music Bulletin. 12 During the same year that she toured Mexico, Ivey was invited by the National Catholic Music Educators Association to tour the United States as an accompanist for Carol Hoppe, a singer who had won the honor of a tour. They went on tour during fall-winter of 1957 and 1958, and Ivey was given the opportunity to have some of her own works performed, including some vocal compositions. In 1958, she toured in Germany, visiting Hamburg, Frankfurt, and Manich and then went to ‘Vienna, Austria. Although she planned to stay in these countries for a number of years, she met her future husband in Germany and married him while on tour. They returned to the U.S. and lived in New Orleans from 1959 to 1962. While there, she joined the faculty as an assistant professor at Xavier University, teaching theory, composition, and piano. Between married life and teaching, her dream of becoming a concert pianist was short-lived. However, concertizing enabled her to perform many of her own piano pieces, several of which she wrote for her tours of North America and EurOpe. After these concert performances (about thirty in all), she limited her piano writing for awhile to a few teaching pieces, among them, "Parade," a duet composed for the Wichita (Kansas) Piano Teachers League for its annual multiple-piano festival. During a summer in the early l96fl's, while living and teaching in New Orleans, she went to New York to take piano lessons with Claudio Arrau. She began more and more to favor composing, which gradually lessened her devotion to the 13 piano. For several years, however, she continued to give lecture-demonstrations on contemporary music for piano teacher groups. These took place in the U.S. primarily for state and divisional conventions of the Music Teachers National Association. By this time, her interest in electronic music was growing, and she started listening to recordings. During the spring of 1964, three world-renowned composers visited various institutes in Kansas where she was then living. They were Karlheinz Stockhausen (at Kansas City University), Vladimir Ussachevsky (at Kansas State University), and Milton Babbitt (at ‘Wichita State University), all of"whom.*were involved with the study and composition of electronic music. Ivey had the opportunity to speak with all three composers about electronic music and decided it was time that she herself learned more about this medium. Ussachevsky and Barlow both recommended the University of Toronto in Canada where Barlow himself had gone to study. Indeed, there was a well-equipped studio at Toronto, and Ivey attended two summer graduate level courses there, one in 1964, and the other in 1966. Ivey stated that "The first sessions proved to be an excellent practical introduction to the field."3 3Jean. Eichelberger Ivey, "Electronic: Music in Toronto," "Kansas Music Review (October-November 1964): 6. 14 The seminar at the University of Toronto, in the summer of 1964, was presented by Dr. Myron Schaeffer, the director of the studio. Enrollment was limited to ten composers, eight of whom were from the U.S., Ivey being the only woman in attendance. The seminar ended with a public concert of the works completed by the various composers in attendance. Ivey's own composition was a four-track setting of the opening scene of Macbeth, entitled Enter Three Witches. Using her own voice, she recorded the words of all three witches, speaking or singing in a monotone. "Filtered white noise and a gliding spectrum of sine tones provided a stormy background" ("Electronic Music . . .," p. 7). The composition's first U.S. performance was given in 1964 during the University Composers Exchange Festival which met that year at the University of Southern Illinois, Carbondale. Ivey was now becoming increasingly involved in the composition of electronic music. She also gave demonstrations at Peabody, which at the time was under the direction of Charles S. Kent (1963-68), a former teacher. In an interview with Henry Scarupa about the early stages of electronic music at Peabody, Ivey said: In 1967 Peabody became the first conservatory in the nation to offer a summer workshop in electronic music for school music teachers. Ivey headed the program, using largely borrowed equipment. 'We seem to have pioneered 15 in it,‘ she says of the workshop. 'Now there's quite a bit of interest in electronic music in elementary and secondary schools.‘ Beginning in 1967 and for ten successive years, Ivey organized and lectured at summer workshops held at Peabody. She also presented workshops at the University of Delaware, Catholic University of washington, D.C., and the University of Southern Illinois at Edwardsville. With Ivey's involvement in electronic music and her return to the Baltimore, Maryland, area, she worked at Peabody toward the building of an electronic music studio which became a reality in 1969. At the same time, she joined the Peabody faculty as a major teacher of composition (there are no faculty ranks at Peabody). Electronic music was only a part of her teaching obligations. As founder and director, of the electronic music studio, Ivey took pride in 'her accomplishments, believing that with well-conceived plans for the improvement of the studio (the studio started modestly, but adequately) it would well-serve all who came to take 5 advantage of it. As a member of the faculty at Peabody, she now had ready access to performers as well as to the 4Henry Scarupa, "Composing Music in the Electronic Medium," The Sun Magazine, April 1971, pp. 11-12. 5Ivey, "An Electronic Music Studio in a Conservatory," Proceedings of the Fifth Annual Conference, April, 1970 (New York, N.Y.: The American Society of University Composers, Inc., 1972), pp. 38-46. l6 electronic music studio equipment. Most composers seek invitations to compose for soloists and various ensembles; for Ivey, that is just what happened.6 She points out at the close of her article on "Electronic Music: Where Does It Stand Today?" that Electronic Music, . . . , is not instant, automatic music. . . . It is the composer who must listen, experiment, make judgments and choices. . . . The principles whereby we evaluate any music composition serve no less for electronic music--such as the power to engage attention, to evoke feelings, to call forth anticipation, surprise, and recognition, to delight the mind by coherence of design and the ear by sheer beauty of sound. The most indispensible 'equipment' in composing electronic music is still the composer's imagination, taste, and talent. Ivey's ease in working in an electronic music studio was the result of several factors: her childhood experimentation with the Hammond organ, her interest while in Kansas, and her studies at the University of Toronto, including the summer workshops and the completion of her doctoral studies. Because of her association with the. launching of the summer electronic music workshop in 1967 and founding of the studio at Peabody in 1969, Ivey is often perceived as a composer of only electronic music. As she stated in an interview (with the present writer), the promoting of electronic music came with the job. Certainly, 6Elliott Schwartz et a1. Electronic Music: A Listener's Guide, (New York: Praeger Publishers, 1975; reprint ed., New York: Holt, Rinehart, 1978), p. 231. 7Jean Eichelberger Ivey, "Electronic Music: Where Does It Stand Today?" Pan Pipes (Winter 1982): 16. 17 it opened a new avenue of composition. But she did not wish to be identified only as a composer of electronic music. While it is true that she finds the medium exciting and challenging, particularly when writing for live performers and electronic tape, she also composes for a wide variety of media. Ivey did her doctoral work at the University of Toronto in Canada, and completed her degree in 1972. Her major area of concentration was composition, with an emphasis on electronic music. Having served on the faculty at Peabody for seven years, she received tenure in 1976 and was appointed as the coordinator of the composition department in 1982. ANALYSES OF SELECTED WORKS Ikpersonal interview with Ivey, along with articles written by and about her, leave little doubt that her main interest throughout much of her life, particularly since 1970, has focused on the composition of vocal works. With the exception of the years 1972 and 1974, when the writing of two non-vocal works was in progress, she completed at least one vocal work each year during the 1970-79 period and one in 1982. Most of these received premiere performances within a year's time. Ivey indicated that Writing for the voice has always been particularly dear to me, as is the setting of texts and the use of literary themes in general. . . . In fact, the synthesis of many elements, many diverse influences, in a united, coherent, and expressive whole, strikes me as the prevailing historical task of composers now at the end of this innovative century. I aim at combining tonal and atonal elements, and I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effectivg communication of humanistic ideas and intuitive emotion. A detailed analysis of six of Ivey's vocal works follows. These include: "Terminus," "Hera, Hung from the 8Ivey quoted in program notes to "Testament of Eve" by Sam di Bonaventura, Baltimore Symphony Orchestra, Apr.- May 1976 concerts, p. 9 l8 H O M E N I N M U S I c a conference sponsored by The University of Michigan School of Music SHARON HARRY. mezzo somxuo CHARLENE HARB MCDONALD. PIANO Mday, (arch 12, 1982 Rackhan Auditor-tun 11:35 am LIL: BOULANGER Reflets (1893-1918) he m m m m: DEER 86er m lave Boa (1927- ) People hide their love Wind and Rain By the willows The Mulberry in the lowland JBBN’EICBELBEBGER.IVEY Tlmnunma (1923. ) PEI?! mus-mats mix-teen Why! of looking at a Bladtbird (1912- ) JULIA sum 'mree Love Songs (1911- ) I will sing the song The Door that 1 would open The love I hold 19 Sky, Two Songs for High Voice, Flute or Clarinet, and Piano ("Night Voyage" and "I1iad"), Testament of Eve, and Solstice. These works, which are written for voice and different media, are representative of Ivey's writing since 1970. Hera, Hung from the Sky, Testament of Eve, and Solstice, were especially recommended by Ivey for study because they gained significant recognition through various performances. In 1970, Ivey finished her first composition for voice and electronic tape, namely Terminus for mezzo-soprano and two-Channel tape. She found herself quite intrigued by the sound of the duo and also discovered that performers were asking for such additions to their repertoires. Because the combination presents a challenge to the composer, she began to entertain the idea of writing a series of compositions of this type. Terminus was premiered at Peabody in 1972, and numerous other performances have taken place since then. It was recently given at the first Women in Music Conference held in 1982 at the University of Michigan in Ann Arbor.9 Terminus and three other works by Ivey appear on the Folkways record FTS 33439 produced in 1974, entitled "Music by Jean Eichelberger Ivey for voices, instruments and tape." 9The second Women in Music Conference is scheduled for 5-8 May 1983 at the University of Michigan in Ann Arbor. The Conference may become a biannual event. 26 ‘When looking at a score that involves electronic tape, a viewer might expect to find detailed instructions as to how to produce each of the individual and combined sounds in general use. In Ivey's music, however, this is not the case. When discussing her piece, Terminus, she explained that With live performers you naturally have to have a score of some kind, but you don't have to give them too much detail. You can't begin to indicate what is on a complex tape so you indicate a ready cue and the length of an interlude ("Composing Music. . . , p. 12). Single word and phrase descriptions of sound effects are ways of assisting the mezzo-soprano when she is singing with a tape part. In this way, the composer can provide easy, yet concrete, directions so that the performer knows what to expect, as in the opening section of the composition under discussion. The text Terminus is an abridged and adapted version of Ralph Waldo Emerson's poem by the same title. TERMINUS It is time to be old, To take in sai1:-- The god of bounds, Who sets to seas a shore, Came to me in his fatal rounds, And said, "No more!" Fancy departs: no more invent. No farther shoot Broad ambitious branches. A little while Still Mature the unfallen fruit. As the bird trims her to the gale I trim myself to the storm, Obey at eve the voice obeyed at prime. 21 It is time To take in sai1:-- The god of bounds, Who sets to seas a shore, Came in his fatal rounds And said, "No more!" The tape part includes fragments of Emerson's poem, the words "time" and "no more." It also includes an excerpt from an English poet Andrew Marvell, "Always at my back I hear / Time's winged chariot hurrying . . ., using only the words "Always at my back / hurrying."1g The song begins with a lengthy tape introduction that lasts for two minutes and forty-three seconds; the remainder of the composition is approximately seven minutes in dura- tion. The opening consists of a gong sound in definite pitch notation, that includes a descending perfect octave starting on c. Ivey wrote the octave leap as both a pitch and timing cue for the singer. It is repeated several times throughout the composition, partly to help the performer. Immediately following, there are electronically produced sounds which suggest a rushing sea and blowing winds. A simple indication of an occurrence of these effects results with the phrase description: lgAbridged and adapted from the poem "To his Coy Mistress" Andrew Marvell, Andrew Marvell Complete Poetry, ed. George de F. LordCTNew York: Yale University Random House, 1968). pp. 23-24. 22 Example 1: Terminus. (1'!) 3 40/215) 0 I, Indra 11?: .6. In this particular piece, score indications are in minutes and seconds, e.g., 2'44". The sea and wind effects continue to the next cue, which appears at eighteen seconds. At this time, another descending perfect octave occurs, followed by a second phrase description: "synthesized bird cries added to white noise." Ivey's use of a wavy line Wrefers to sounds on the tape that are undescribed. It may or may not indicate the continuation of sounds that were previously heard. Finally, at two minutes and forty-one seconds, a bar line appears for the first time and serves as a convenient guide for the live performer. Succeeding ”measures" consist of three to five beats with the indication,J = 60. The sound of a perfect octave acts as a cue for the vocalist, who then enters three seconds later. Ivey suggests that during initial rehearsals, a live performer may wish to use a stOpwatch to help maintain the basic pulse. She does point out, however, that . . . the tape part will not adjust. The performer must do all the adjusting. I've allowed for randomness. . . . The ending is not critical. There is a place to take up slack (“Composing Music . . .," p. 11). 23 If the mezzo-soprano discovers that she is not synchronized with a given cue, she must then determine whether she is rushing or delaying the basic pulse and so can make basic adjustments in her own timing until she encounters another cue. Listening to the tape part, one notices many degrees of softness and loudness in the sound of the sea and winds, although no dynamic marks are indicated. Following the initial phrase "Filtered white noise . . .," only a continuous wavy line appears. When the voice enters, the tape part, in contrast to its role in the introduction, becomes accompanimental, and, again, a minute account of what is happening electronically on the tape is not offered. Following the tape introduction that sets the mood of the vocal line, the first of four main vocal sections begins at two minutes and forty-four seconds and lasts until four minutes and two seconds. Each successive major vocal section is set off by tape interludes of varying lengths. Ivey focuses attention on the theme of the approach of old age with excerpts from Emerson's poem. A clear depiction of this theme appears in the opening line of the text (two minutes and forty-four seconds) as sung by the vocalist. The immediate repetition of the word “time" (two minutes and fifty seconds), a graceful descending melodic line with a major seventh leap at the end, and a pause before reaching the PitCh "ab" on "old," all contribute to the effect of old age. "Old," a word that indicates that the 24 vocal sound be "dark" in color, is set at the lowest range of the phrase and also of the composition as a whole. In the first line of text, there is an example ("ti-me") of Ivey's use of unconventional division of one- syllable words. Such a choice draws attention to the word and seems to enhance its meaning. Rhythmic precision of the placement of the various parts of "ti-me” is done through the use of tied values, as opposed to a single note value. Here, too, with the repeat of ”ti-me" (two :minutes and fifty seconds) there is the symbol * to indicate a slow glide, with the notes showing approximate timing of intermediate pitches. Dynamic markings are also approximations because the composer 'wants the 'voice jpart always to be audible in comparison with the tape part, even if the dynamic marking is pianissimo. Throughout the analyses, with an emphasis on pitch, the following terms will be used to identify various non-traditional melodic and harmonic structures: 1. Split interval, to denote a structure that contains the simultaneous inflection of a given note (including enharmonic equivalents) that fits into tertian harmony (split root, split third, et cetera). 25 2. Negation of intervallic quality (quality negation), to denote mixed seconds, sevenths, and ninths, et cetera, that involve the simultaneous inflection of a pitch (including enharmonic equivalents) that do not fit into tertian harmony. 3. Mixed fourths, mixed fifths, et cetera to denote a structure that contains more than one quality of the same interval size. Following the descending chromatic line in Example 2, the it) vocal line outlines a split root sonority of "6:3La (g#)" (see EX. 2, p. 26). 26 Example 2: Terminus. é mic> ni (o/or Vficc A: A cambiata figure is used with the word ”sail," and as the melodic line continues to rise and fall, it conceivably suggests a flowing movement of a "sail in the ‘wind." A sustained note at the end of the phrase may possibly imply a smoothing out. This example demonstrates a - ‘ b split third, "g#(a )-f-a .” There is also the unconventional division of a one-syllable word with a prolongation of the ”L” sound, an effect used by Ivey upon occasion. 27 Example 3: Terminus. Am 3’03 P ) 26.17.97 Voice. 1.. / I “r Throughout the remainder of the first section, key words seem to center on the pitch "f," at the beginning or the ending of phrases. With such words as "bounds," "came to," and "No more, other techniques dramatize the possible tonal center of "f“ as well. A setting of ”bounds" involves an initial tone of ”f#," a grace note. A slanted line to ”f" indicates a "marked portamento" to the principal_tone. The above combination gives an impression of commanding power, especially in conjunction with a strong rhythmic cadence. Such techniques appear as well in the rest of Terminus. As in other such instances, this phrase is strategically set off by rests which highlight the importance of the text. These rests emphasize individual words or fragments of the poetic setting where punctuation otherwise would not occur. Here, there is also a split third ("d-f#,fh"). 28 Example 4: Terminus. 3/3 ”1,0 1129010? /I RYC The symbol 1' appears above portions of the text, a symbol which refers to the use of a chest voice by the vocalist. In the example below, the heaviness of the vocal sound adds to the meaning of the text in use. A descending diminished fifth followed by note repetition is yet another way in which intensity of line is brought out. An interval of a diminished fifth or smaller (with an emphasis on half- steps and note repetition) is often found in Terminus: on the other hand, a large leap of an ascending minor tenth approaches an up-coming climax on ”rounds.“ 29 Example 5: Terminus. 3'34 mr++ +——- tiii— a: ‘ioizc Chmeflto rouan he At the penultimate phrase of section one, there is a return to the pitch "f." But a repeat of ”No more" follows, as "f" is supplanted by "f#" at the close of the section. This change in inflection tends to create a sense of ambiguity or tension, and in this instance, even the direction "ominous" changes to "pondering." Approximately eight seconds before the first section concludes, the whispered words ("Time,” "No more," "Always," and ”Hurrying”) emerge from the rushing wind effect in the tape part. These words result from electronic manipulations of the composer's whispering voice. As the first phrase of "No more” in the voice part ends, one hears in the tape part the sound of a muffled gong and repetitions of the word “Time.“ The solo tape part continues as an interlude for twenty-seven seconds. During this time, occasional gong reverberations occur as well as repetitions of the words 30 indicated above but they do so in random order. As a result of the reverberations, the vocal sounds also overlap. The interlude brings to a close the ideas set forth in the first section. Example 6: Terminus. ‘ 3’57 1 Offic'hovJ Jf-J fl 19 ,awwdéehy Vane 1W5 lhdf¢)_______ .46 nmore:., emer in morals on In. 9: Tape. '5 At the same time, with a gradual alternation of the taped words, the tape prepares the vocalist for her entrance to the second section (four minutes and thirty seconds - six minutes and eight seconds). The vocalist uses the fifth statement of the word ”Always" as a cue to begin at four minutes and thirty seconds. Since no pitch cue occurs, she must rely on her memory to enter a minor third higher than the last pitch she sang approximately twenty-eight seconds earlier. In section two, the initial melodic line begins with descending motion followed by a sharp ascent of a minor 31 ninth. As the line continues, there is a prolongation of the "arts" portion of "departs." This results in melismatic treatment of the "Ah" sound which concludes with "ar-ts." The line (four minutes and thirty-four seconds) opens with "f," and closes with a split third ("c#-e, f") as the latter two pitches alternate. Beginning with ”Ah," the melodic contour is angular at the outset, involving large intervallic leaps for the vocalist, but each time, the large leaps are followed in the opposite direction by a "gliding" (“-‘-‘) motion of stepwise pitches. Example 7: Terminus. ’30 In)? ajzlf cé /V.8: f >f (an—Ly J6; - r f5, AA. L 5 1': t4: 13.7% ”fl/waysl’on 1148 IAIDC) 11f: NIEZ’ons/z/er This alt: as art“ of ‘flie waré ”dc nart‘J-" 1+ 3/;5/«25 Info "carts " at 1171!.) end. Eventually, the sound effects of wind stop at approximately four minutes and forty-five seconds, and of the taped words, only "Time" and "No more" continue. Within this 32 section, portions of the text return in the vocal part. Each time they do, however, the melodic content is modified while the rhythmic content remains basically the same. Example 8: Terminus. 043" f )(0 mar: in went. \loue No more. in- V; at . O ”a more a‘n-ven‘t . A gradual descent in the melodic line and a change in dynamics from forte to piano leads to a return of "Fancy departs" that concludes on "b," the lowest tone thus far in this section. Immediately following, there is a phrase extension with the use of Sprechstimme for the ”ts" of ”departs.“ All these techniques tend to contribute to the idea of ”departing.” Example 9: Terminus. 45.2 Voice. I {an—t} J: ~ parts, {’5' f3 33 A tonal center of "f#” is momentarily established at five minutes and twenty-two seconds, as this tone is repeated‘ and prolonged. In this instance, "still" is set only to the pitch ”ft.” A second time, the melodic line begins with a rising chromatic line toward “f#." Immediately following, there is a prolongation of the "L" in melismatic style. Now the melodic line consists of a wavy contour that concludes on "f#." Example 10: Terminus. 22" m >19? ”Vac—:7” \Lte v ftb"//__. Si”: - - H)...— / 4 J Voice L The word "still" is repeated at the conclusion of section two, and the tonal center of "fit" is dissolved. Here, Sprechstimme is used for the opening s" as opposed to its use for an ending sound as in the conclusion to section one (see EX. 9, p. 32, "ts"). At six minutes and eight seconds, the section comes to a close. 34 Example 11: Terminus. 6o¢(17 .) <> 0 mfm I J 't/r l(,..__.._.. The second interlude (six minutes and nine seconds) is shorter than the first, lasting only twenty seconds. This interlude is different from the previous one, in that it consists of "hollow 'plucked' sounds reverberated.” The pitches recorded on the tape part are written in definite pitch notation, but the reverberations cause the pitches and durations to be approximations. At the beginning of the interlude, the tape part consists of a wavy melodic line. After the notation of ten pitches, a second melodic line enters a perfect octave higher than the first, imitating the general melodic contour of the first as well. Both melodic lines continue throughout the interlude and during section three of the composition. The notation of the pitches stOps, however, and is replaced by a wavy line indicating that similar material follows, but not in the form of an ostinato. Although the pitches are approximations, the final notated 35 Example 12: Terminus. ‘lz'izflézi‘fizi'wt l I h I. in! J we ' ”b" (six minutes and twenty-seven seconds) may serve as a pitch cue for the vocal entry just after it. Example 13: Terminus. i Aft In the third section (six minutes and twenty-nine seconds - seven minutes and thirty-three seconds), the vocal part enters, and the tape part once again fades into the background. The opening phrase of this section starts with note repetition succeeded by an ascending minor ninth leap. It is immediately followed by a ”glide" (_____) that contains the intermittent pitches of the same minor ninth, but in descending motion. 36 .Example 14: Terminus. .E___.,,,; bird 7 After a complete "measure" of rest, the second phrase of the section begins up a diminished fifth (twelfth) from the previous pitch. Attention is brought to the word "I" with a "measure" of rest, a dynamic level of forte, and the use of the highest note of the range in this section. In contrast to the beginning of this section, there is a grace note involving a split third. The vocal line then includes pitches that "glide" down a minor tenth followed by a direct leap of the same minor tenth in the Opposite direction. Example 15: Terminus. ti I i.‘ “L I To conclude the vocal part of this section, there is an indication for the singer to improvise in a "humming" faShion. Ina place of the continuous wavy line in the tape 37 part, the actual notation of pitches, as first written in the interlude preceding this section, reappears. When the vocalist is instructed to stop, a brief interlude of four seconds occurs that includes reverberated pitches and the whispering of the word "time“ twice. Example 16: Terminus. 7'24" Voice “i As the fourth section (seven minutes and thirty-seven seconds - nine minutes and forty-five seconds) begins, a combination of the pitches of both the tape and voice parts results in 21 "db" major triad in second inversion. Melodically, the principal note of the voice part involves a chromatic half-step in the form of a grace note (“f-fb“) which immediately changes the major third to a minor triad (split third). The vocalist repeats the pitches in this opening phrase, but the second time, there are rhythmic 38 alterations. An uneasy awareness of the fact that it is ”Time, it is time to take in sail, . . .” comes about through a built-in quivering effect of the “f-fb" and five notes of a rising whole tone scale on "gb" (seven minutes and fifty- three seconds). This is the first use of a scale, and with it, there is an implied effect of a person pulling in a sail toward himself. During this phrase, “filtered white noise” produces sounds of rushing water and wind and continues throughout the rest of the section. Example 17: Terminus. “r . .. 41.1. ::=' J; 1’ ‘ 7::n;; " _y',¢[.. - -'- - hfi’flfio-e——— 39 In comparison to the other sections, timing is crucial during the final section. In Ivey's performance suggestions, she specifies that The most important section to sing in time is the last one, and more cues are provided for this section than any other. Synchronization at the end of the piece is important, but should be easy from the cues provided. The _gong sound on the tape at 8'12” has been notated as an aid: it should fall approximately with the word ”bounds" if the correct beat is being maintained, . . . (Terminus score, unnumbered page). Example 18: Terminus. ’/o ” “1'1” if r——— 1%&.9a1.of; .ADZZE' als, (We As the section continues, an undulating effect in combination with the word ”shore” is obtained by means of a melodic line that moves up and down a third. Here, too, the pitches fluctuate between "bb" and "bH" (split interval). The final pitches are at a dynamic level of pianissimo which provides for a tremendous contrast to the climactic point of the section and the composition as a whole. 40 Example 19: Terminus. I a 8’15 «9 99m”): ‘9»..th J >ff Vokfi. 1 “‘i‘i ' (LC ore / The final climax is achieved with the pitch “ab" at a dynamic level of sforzando. Immediately following, the largest vocal leap of the composition occurs, a descending minor fourteenth (as a ”dead” interval). The rest of the phrase continues with a repetitive ”bb". The repetition of this note drama- tizes the words ”came, came in his fatal rounds, . . .” More attention is brought to the final four words with the inclusion of the symbol of a chest tone for a pitch that is already in a darker register of the vocal range. Once again, as near the beginning of the composition, the sound of bird cries is heard (see EX. 20, p. 41). Once the climactic point occurs at a sforzando level, not only is the dynamic level gradually reduced with the appearance of each successive musical fragment, but also rests, of from three to seven and one-half beats in length, are used to separate each fragment. During approximately the last thirty-seven seconds of the composition, "No more" is repeated three times. With each repetition, the rhythmic values lengthen, emphasizing the intent of the words “No more." Between the first and second setting, the tape part includes actual pitch notation 41 Example 20: Terminus. anU:=-5p (723434452- .. 8'35” 5'! ‘ 19- ‘l‘ Vo' IzaITIAiE” ‘7::_ :fi--a° V . ::: péiir==-£t’2Lg with "g#" serving as a reference for the vocalist's entry. At this time, a descending and ascending bird cry is indicated both in words and through the use of a wavy line. As the bird cry rises, there is the sound of a harmonic perfect octave in the tape part at which time the vocalist is to release her pitch. At the end of the rising bird cry, the singer is instructed to enter for the last time. As the vocal pitch fades away, so, too, do the taped wind sounds-- Terminus comes to an end. 42 Example 21: Terminus. mi Voice [Fave ii /% / Ir J 4'- 1 .4- LZIJLEY‘ Lb FISH DJ Ids/n? bird my on +4Fe.) Uhii’e, noise iiiiereci 43 Hera, Hung, from the Sky, for mezzo-soprano, winds, percussion, and tape, was commissioned by the University of North Dakota's Collegium Musicum. In 1973, the year it was completed, the ensemble gave the world premiere under its conductor, Tamar Read. The composition was programmed for a festival, ”Women in the Arts," and the composer was asked to select a text by a woman writer. Since its premiere, the work has received a large number of live performances, including one at the closing of the national conference of the American Society of University Composers, held at Carnegie Recital Hall in New York City on 23 February 1974. The composition is on Composers Recordings CRI SD 325 entitled "New Vocal Music," Elaine Bonazzi, mezzo— soprano, with the "Notes from Underground" ensemble conducted by Andrew Thomas, and there have been numerous radio broadcasts of it. Since her initial task was to find an apprOpriate text, we find her saying: I searched through a great deal of poetry before I came upon [the following] poem in a volume by Carolyn Kizer. As soon as I saw it, I knew I had found my text. It deals with the goddess, Hera, wife of Zeus, who for her presumption of equality with him was punished by being turned into a constellation, still hanging in the sky. This reinterpretation of myth from the woman's point of view seemed not only apprOpriate to a woman's conferepfe, but full of vividly dramatic possibilities 11Ivey quoted on the record jacket notes to her composition. 44 HERA, HUNG FROM THE SKY I hang by my heels from the sky. The sun, exploded at last, Hammered his wrath to chains Forged for my lightest bones. Once I was warmed to my ears, Kept close: now blind with fire! What a child, taking heat for delight So simply! Scorched within, I still burn as I swing, A pendulum kicking the night, An alarum at dawn, I deflect The passage of birds, ring down The bannering rain. I indict This body, its ruses, games, Its plot to unseat the sun I pitted my feminine weight Against God, his terrible throne. From the great dome of despair, I groan, I swing, I swing In unconstellated air. I had shared a sovereign cloud: The lesser, the shadowy twin To my lord. All woman and weight Of connubial love that sings Within the cabinet's close And embracing intimacy. I threw it all to the skies In an instant of power, poise-- Arrogant, flushed with his love, His condescending praise: From envy of shine and blaze, Mad, but beautifully mad, Hypnotized by the gaze Of self into self, the dream That woman was great as man-- As humid, as blown with fame, So great I seemed to be! I threw myself to the skies And the sky has cast me down. I have lost the war of the air: Half-strangled in my hair, I dangle, drowned in fire. 45 The work is thirteen minutes in duration and is scored for a complete ensemble consisting of: Mezzo-soprano Instruments: Flute, alternating with Piccolo Oboe Clarinet in Bb* Bassoon Horn in F* Trumpet in C Bass Trombone Percussion (3 players, minimum) Membranes: 4 timpani with pedal tuning bass drum snare drum tambourine Metals: Vibraphone tubular bells 2 suspended cymbals, large and medium 2 triangles, large and medium tam-tam Woods: xy10phone 2 wood blocks claves Piano, alternating with Celesta Tape, 2-channel stereo (realized in the Peabody Conservatory Electronic Music Studio) *Notated at concert pitch in the score: part is appropriately transposed. 46 There are two main sections in Hg£a_based on the divisions of the poem. Section one (mm. 1-113) begins with an ”eh" pedal point, which is initially played by the tubular bells and piano together with a double pedal (”eh-f“) in the clarinet, which lasts until the downbeat of measure 4. The predominant pedal point on ”eb' is then taken over by the Example 22: Hera, Hung from the Sky, I. «)k [[1 453‘“ 9:44) is?» g/v ff J? 14. . *C1. in Bb and Horn in F are notated at actual pitch in each example they are in. flute, which provides a pitch reference for the mezzo- soprano's entry on the tone "eb" at measure 4. The use of leaps of an ascending major sixth and a descending minor 47 tenth in the vocal line, along with melodic figurations in the celesta, adds to a sense of "hanging" or "dangling" to the words "I hang." A cross relationship also occurs between the right and left hands of,the celesta. Example 23: Hera, I. / When the vocalist sings “hang" a third time, the melodic line descends a diminished fifth from "d" to "g#." In contrast, the celesta ascends in contrary motion by perfect fourths and augmented fifths. Then it descends an augmented fourth and repeats the same four-note pattern a perfect octave higher. 48 Example 24: Hera, I. New Saf- CYCSC. hang The mezzo-soprano repeats the tone ”g#" as she sings ”by my heels." Shortly after, the timpano begins a partial ascending whole tone scale on ”g.” On the last beat of measure 9 and the beginning of measure 10, as the vocalist ascends a minor sixth to sing the word ”sky," a vertical structure including the quality negation of "e-f,g , occurs and adds to the imagery of the word by creating tension. 49 Example 25: Hera, I. {( Arum13kss) MP I—J—‘i f m” “a 9K] 56 Following the previous material, and after the last two tones have been sung by the mezzo-soprano, these tones are taken up in turn by the clarinet and developed. This melodic material receives further treatment and migrates Example 26: Hera, I. l0 Cl. Ne: 30?. among the woodwinds (oboe, flute, and Oboe), only to return once again in the clarinet to the initial idea, which concludes with the descent of a major seventh (fourteenth). 51 Example 27: Hera, I. Cl. > Meter signatures were not present in Terminus, which is measured in minutes and seconds, (M.M.J= 6B). 1e53, on the other hand, uses various meter signatures, but it changes at several points throughout the composition: it begins in 5/4 and includes 8/8, 5/8, and 9/8, as well as other signatures. The text that was chosen for this work contains words that lend themselves to musical tone ‘painting: "The sun exploded," "hammered," and others. In conjunction with the mezzo-sOprano's line, "The sun exploded," a :musical "explosion" seems to occur in the ensemble. A tremolo begins softly in the bassoon and clarinet, and to it a roll is added in the Vibraphone. In addition, within a measure, there is an increase in the dynamic level from piano to forte. As the vocalist sings the syllable "plo" of "exploded" on the down- beat of measure 20, the rest of the ensemble is included. The vertical structure contains the pitches of a "b" chord with a split third. The upper winds then move in an angular motion to a chord played forte (4') that consists of a high 52 degree of quality negation and leads to a glissandi in five of the seven parts. Example 28: Hera, I. O.“ V35: so it u' 4"! , du- 53 Following this, incorporating the method of Sprechstimme, the voice is left alone to utter in a "breathy' voice "exploded at last, . . ." Example 29: Hera, I. ‘1... pa. lieu Sari art ex~ We *i ZSPoKenJ u treat“); IiKe a'ouci WINS far- In a subtle way, the effect of a ”hammered" sound occurs with the repetition of the pitch "b' in the xy10phone, followed by "e" in the mezzo-soprano as she sings "hammered," and "e" once again in the xy10phone. Example 30: Hera, I. in. mi hammered his wraiix +0 54 During a brief instrumental interlude, an instance of mirroring between some of the instrumental lines takes place. The trumpet and trombone mirror one another simultaneously while rhythmically staying the same. As the two parts continue, the oboe begins a pattern of its own, and four beats later the bassoon imitates in contrary motion as well. Example 31: Hera, I. in. 1,; it. 15 The interlude comes to an end when the ensemble plays a tone cluster that includes half-steps between the pitches e and ”a#.” 55 Example 32: Hera, I. 9;... ok- at 9..., i... 19* 45. 1,1. 56 The use of a repetitive pitch ("a") in the vocal line adds to the sense of ”still burning.” A similar Example 33: Hera, I. 62. Sop. a; I —-3wu5,__:. 1._ PH” __ Lam instance of highlighting the text occurs when the vocalist sings ”1 swing" (see end of previous example). The descending minor tenth of "swing" is taken up by the xy10phone, doubled a major second below, and stated eight times. Example 34: Hera, I. [Elm is ' a le. “P All the active parts cease at measure 78, leaving the vocalist to crescendo to a sforzato as she sings "to unseat the suN." As she reaches a climactic point on ”suN," the ensemble enters playing a "d” chord that involves a split I‘OOt . 57 Example 35: Hera, I. 58 The various vertical structures throughout H353 thus far have contained split intervals and quality negation, or have been tone clusters. Near the close of the first section of H353, the piano and winds play a chord structure that involves mixed fourths (see EX. 36, p. 59). 59 Example 36: Hera, I. In the final portion of the first section of Hera, the tubular bells, timpano, and piano each contain for eleven 60 measures (mm. 95ff) an ostinato pattern that anticipates the closing text of the mezzo-sOprano ". . . dome of despair, I groan, I swing, I swing. I swing in unconstellated air." At measure 99, using the alternation of the two pitches Example 37: Hera, I. 11:. on. The. inc. "d"-"c" first heard in the tubular bells, the words are set syllabically until "unconstellated air," (at which time "c" changes to "b," the concluding note of the voice part. This interval of a descending minor tenth has occurred throughout 61 £253, particularly in conjunction with such words as "hang“ and "1 swing." The use of pitches "d-b" has also remained the same. Example 38: Hera, I. f A ”>4 Mano .50 P' 2' '5‘ I In”)?! In qn-(onor‘fe/o a.’ £81 433’ \_/ The first section closes with a chord cluster outlined in the celesta and a soft roll in the bass drum over a thirty second tape codetta (see EX. 39, p. 62). 62 Example 39: Hera, I. 8. Dr. CE. 10 ?(a.n e CH of. chi 0F? --J - - 15:»; 3.0" Section two of Hgga (mm. 1-95) opens with a canon in inversion at the perfect fifth between the horn and clarinet. The rhythm of the clarinet is in diminution, and as a result, it becomes the leader of the canon by the second half of measure 3. Although not shown in its entirety, the clarinet part is also a palindrome. An ostinato in the piano which 63 Example 46: Hera, II. E! CI. Hn' fr< m? L- 3—4 consists of a repetitive pitch pattern that moves at a note value of somewhere between a quarter and eighth note (that the pianist selects and then maintains), and continues for seventeen measures, is added to the canon. Example 41: Hera, II. I mm— — - - "l an 11w (4nd. Cord a; Although canons are not found throughout the rest of the composition, there are several instances of imitation with accompanying repetitive figurations. Imitation at the perfect unison begins at measure 18 between the oboe and mezzo-soprano and lasts until measure 19. Heterophony is 64 Example 42: Hera, II. 5.9/0 ob. f 35!). 90:0 piu >f gOr. the [es-:29 the _y used between the clarinet and Vibraphone at mm. 33ff where the mezzo-soprano briefly imitates the clarinet at the perfect unison. Imitation at the diminished seventh is also present between the mezzo-soprano and oboe, a few measures later. Example 43: Hera, II. 65 The repetition of a minor second figuration appears in both parts. In measure 41, a split third occurs simultaneously between the mezzo-soprano and oboe, ”d-f, gb(f#)." Example 44: Hera, II. E? V w 0L. .3 .12 CEPe- J espro Ii Sof- Sig: mini-in (he cacti—net; closet: and. return // ob. 50?: v M o , ._ a enr rec—m3 n- n-nu'cy _- Beginning at measure 56, against a roll in the timpano, the winds gradually enter one by one and swell to a climactic point three measures later. The vertical structure on ”9" that follows on beat six (m. 59) in the orchestra involves split intervals within itself as well as with the tones sounding in the vocal line at that particular time. 66 Example 45: Hera, II. 6: Timp. {hm-iii 4"_ {Him rifle:— 67 As in section one of H253, the words of the poem lend themselves to text painting. At measure 65, the claves begin a repetitive rhythmic pattern that lasts for four measures. At the same time, the Vibraphone plays a three-note chord whose make up in combination with the "d" in the mezzo-soprano, possibly suggests a whole tone sonority. The repetitive nature of these parts creates somewhat of a “hypnotic" effect as the voice enters, singing "hypnotized by the gaze of self into self, . . . Example 46: Hera, II. E \/ 50 5M0 it]; .- ‘no - 471.41.... The above section leads to a vertical structure in the piano whose pitches are duplicated in the winds and xy10phone (only the piano part is shown). The arrangement of pitches in the piano reveals a symmetrical pattern of a minor third, augmented fifth, perfect fifth, minor sixth (augmented fifth), and minor third. 68 Example 47: Hera, II. as hu'mid) PM. The exact chordal structure that was heard in measure 59 in the winds returns in measure 74-75. In addition, there is the use of a similar line from the poem in the vocal part, and it too consists of the pitches previously used, the only difference being in the rhythm (see EX. 45, p. 66 and EX. 48, p. 69). 69 Example 48: Hera, II. L, . <7! {if <99“ Cresc—al‘o" Him.) "y - gel; Io ‘Hsc Skies—— 70 A climactic point in the poem comes as the vocalist sings "and the sky has cast me dowN.” After an ascending diminished octave, the melodic line contains a ”downward" outline of a "b" diminished seventh chord. It is echoed at the perfect octave in the tubular bells on the second half of each beat until the Vibraphone takes over at the end of the phrase with another familiar motive, the descending-ascending minor tenth on ”d” and ”b.” This motive lasts until measure 82, at which time the mezzo-soprano re-sounds the motive on Example 49: Hera, II. Inf/L: Se? all] «19 Sr)! 4! cagl' n5 JawW 45> VAL-(Jaufhvauuio) it. be =""f tenoal M). 5.,» “.6“ the same two pitches. As she concludes her line, ”I have lost the 'war of the air. . .,” bursts of ”white noise“ and pitch clusters enter in the tape part. 71 The penultimate phrase of the poem "I dangle, drowned in fire" prefaces a rather "fiery" climax in the ensemble. It is a section of indeterminancy that lasts for one minute and twelve seconds, and that contains various glissandi and a tone cluster in the tape. The chaotic sound effect ceases in all the instruments, and the sound in the tape is reduced to "db" over a period of thirty and one-half seconds which then fades into nothingness (see EX. 56, p. 72). 72 Example 50: Hera, II. Facsimile of MS. 72 (‘heJ "b. e” iac‘t'rueeeet cluster 73 This ”db” is then taken up by prominent instruments as the ensemble sustains a 'bb” triad with a split third. The ”bb“ serves as a cue for the final vocal entrance "I hang from the sky,” a repetition of the Opening line of the poem. As the mezzo-soprano sings, the xy10phone plays a single descending minor tenth, an interval used throughout the composition. Example 51: Hera, 11. Cl. XJ‘ WU . \ / a. i b < up {214' , neflb (an “(((9 Han- S”: I hag from the. six—_— In 1975, Two Songs for High Voice, Flute or Clarinet, and Piano were completed in the flute version. The individual songs are titled "Night Voyage" and "Iliad,” and when programmed together, they are to be performed in the 74 order given above. The first performance of the works was given in New York City on 15 March 1977 in a concert of the Gregg Smith Singers, with Rosalind Rees, soprano, Rebecca Troxler, flute, and Oresta Cybriwsky, piano. Ivey later wrote a clarinet part which does not differ greatly from the flute part, except in some transpositions to accommodate the range. As a result, some melodic contours do change. "Night Voyage" is approximately six minutes in duration, and the text is adapted from Matthew Arnold's poem, "Self-Dependence." NIGHT VOYAGE Weary of myself, and sick of asking what I am, and what I ought to be, At this vessel's prow I stand, which bears me forwards over the starlit sea. You, who from my childhood up have calm'd me, Stars and water, Still let me, as I gaze on you, Feel my soul becoming vast like you. Unaffrighted by the silence round them Undistracted by the sights they see, These demand not that things without them yield them love, amusement, sympathy, And with joy the stars perform their shining, and the sea its long, moon-silvered roll. Self-poised they live, nor pine with noting all the fever of some differing soul. Bounded by themselves, and unregardful in what state God's other works may be. In their own tasks all their powers pouring, These attain the mighty life I see. 0 airborne voice From the star-sown vault of heaven, Over the lit sea's unquiet way: ”Wouldst thou be as these are? Live as they!" 75 The composition is divided into six sections that are nearly equal in length and based on the six stanzas of the poem. Section one (mm. 1-17) begins with a three-measure instru- mental introduction. The flute plays a recurring figuration that ascends and descends a minor ninth. This motive is answered each time in the piano with a minor seventh in the left hand, along with a sustained "bb" and an alternating minor third in the right hand. A split third and seventh is evident in the Opening measure ("c4-eb, eh, bb, Uh"). Example 52: "Night Voyage." (no. W As the flute and piano continue their recurring figuration, the vocalist enters with a motive that ends with a two-note fragment ”eh-c“ initially heard in the piano (see EX. 53, p. 76). This original vocal motive, or a variation of it, returns in the piano and voice not only throughout the 76 remainder of section one, but also in other portions of the composition (see EX. 54, p. 76). Example 53: "Night Voyage.” {EH 73,3an. Voice (622::‘_"’2—‘fy oi In] —' Sekg Example 54: "Night Voyage." 8an out to? acid: a.) 8... b.) \‘o'ue which £84.15 Ms Ior ' wards c.) [E (he 77 A new figuration appears in the piano at measure 18 and continues throughout much of section two (mm. 18-23). Its make up produces a polytonal effect: in a linear fashion, the right hand centers on an "a" major triad, and the left hand, moving in contrary motion, is made up essentially of a c major triad. As this figuration continues, the flute and voice enter with a scalar pattern that suggests Dorian mode (see EX. 55, p. 78). 78 Example 55: "Night Voyage.“ . Vore. (I. (no SI"! He 79 At measure 26, the piano figuration that began in measure 18 appears for the last time, but as it does, the flute begins a new motive on ”ct.” The voice imitates this motive at a perfect unison and expands it to include the pitches of a pentatonic scale. Example 56: ”Night Voyage." Voice (I. é mf his vast ‘ri. PP @193 The composition Opened ‘with a tempo indication of “molto tranquillo,” = c. 104, but section three (mm. 33-48) changes in character as the eighth note increases in tempo to 144. A canon-like effect takes place as the voice initially introduces the main motive of this section in measure 33. In the left hand, the piano imitates the head motive of the 80 voice a perfect octave higher, and in the right hand, yet another perfect octave higher. The flute follows next, but with a chromatic alteration of "c#" to "ch.” The head motive returns once again in the left hand of the piano, and what was originally a second ("a-b") expands to a perfect fourth ("a-d") followed by a perfect fifth ("d-g") before the voice repeats the original phrase (m. 33ff) in measure 37 (see EX. 57, p. 81). 81 Example 57: ”Night Voyage." (LI ';(53L+—2J. b] He 5/ -— lance. 82 The familiar minor third ending closes this section on the original pitches, “eh-c” followed by transposition to ”d-b.” The latter pitches are sung in reverse order by the voice at the start of section four (mm. 49-64). These pitches (”b-d”) undergo develOpment. In this passage, text Example 58: ”Night Voyage." mi 7 7" Anti MIA )3) H12. SIMS painting is conceivably suggested as the vocalist concludes the phrase “And with joy the stars perform their shining, . . ." On the word ”shining," the flute plays a trill that could imply a "glimmering" effect of ”twinkling stars." Example 59: ”Night Voyage." 83 Following this phrase, a new figuration, consisting of an up and down arpeggio of perfect fourths, augmented fourths, and diminished fifths appears in the piano. It is repeated in measure 56, and by measure 58, it changes to one of perfect fifths starting on a.” The material that Example 69: ”Night Voyage.“ [El ,J Pal. c/ concludes the vocal phrase on "roll" is taken over and extended by the flute (see EX. 61, p. 84). 84 Example 61: "Night Voyage." Idea it +)MI‘ {5‘0 amonutn O , =3 J Voice. H. v 7' Next, an arpeggiation of perfect fourths in both hands of the piano provides an ostinato-like pattern underneath the voice and flute which are each moving in seconds (see EX. 62, p. 85). 85 Example 62: ”Night Voyage." f :F Vain no‘t’a'ns all. Th e. H. At the outset of section five (mm. 65-77) the voice sings five tones of a whole tone scale. In contrast to the previously heard arpeggios in the piano, there are now block structures containing a mixture of augmented fourths and perfect fourths (see EX. 63, p. 86). 86 Example 63: "Night Voyage." ini'enso Voice At measure 71, a canon-like passage appears based on the repetition and develOpment of the first five notes begun in the vocal part. The flute, though not strictly imitative, resembles the other parts (see EX. 64, p. 87). 87 Example 64: "Night Voyage." -(s.?.)_ - _ - I... _ .. None of the text is repeated later in the composition. The form is through-composed with only hints of previously heard fragments returning periodically. The final stanza of the poem is conceivably a coda (mm. 78-95) that makes use of several measures of melodic material heard in section two (see EX. 55, p. 78). "Iliad," the second piece of Two Songs, is approximately five minutes in duration with the text based on a poem of the same title by Humbert Wolfe and is scored for the same ensemble as "Night Voyage," high voice, flute or clarinet, and piano. Ivey Offered the following commentary on the poem: 88 Its meaning at first reading may not be Obvious, but it is a poem in praise of poetry, and by extension of art in general. The poet is saying that the only reason we know about the passions of Paris and Helen is because blind old Homer wrote about them: not they, but his words, endure. And because the poet ends by using the word "sung" for "written as poetry”--a common usage (also found in Hovey's poem "I dreamed of Sappho")--the poem seemed especially appropriate to music ending: Only what's sung endures." I emphasized this last line by repetition and by leaving the singer's voice unaccompanied at the end, so that we hear at the end, literally, "only what's sung." ILIAD False dreams, all false, mad heart, were yours. The word, and nought else, in time endures. Not you long after, perished and mute, will last, but the defter viol and lute. Sweetly they'll trouble the listeners with the cold, drOpped pebble of painless verse. Not you will be offered, but the poet's false pain. You have loved and suffered, mad heart, in vain. What love doth Helen Or Paris have where they lie still in a nameless grave? Her beauty's a wraith, and the boy Paris muffles in death his mouth's cold cherries. Yes! these are less, that were love's summer, than one gold phrase of old, blind Homer. Not Helen's wonder not Paris stirs, but the bright, untender hexameters. And thus, all passion is nothing made, but a star to flash in an Iliad. 89 Mad heart, you were wrong! NO love of yours, but only what's sung, When love's over, endures. An instrumental flute solo divides the composition into two sections (mm. 1-48 and 42-167). The work begins with one of several special effects that occurs in the piano part whereby a performer moves his fingertips or fingernails over the strings of the instrument. This special effect consists of a glissando over the lowest strings of the piano register, the performer using the fingertips Of the left hand while holding down the pedal. A dark "ominous" sound results and is held for three and one-half measures. At the end of measure 1, the flute enters with movement involving a minor third, a prominent interval used in ”Night Voyage." In measures 3 and 4, ”ab" alternates with "ah," causing a split third to occur. In a vertical structure at the end of measure 4, a mixed fourth appears ("c#-f,gb'). Example 65: "Iliad." [j ,7:”“—“\ J H. 91 As a new line of text begins at measure 26, the vocal line gradually moves toward a pitch center on ”9” (mm. 28-31). In measure 29, there is pitch agreement of the initial tone ”ft" in the voice and piano, while at the same time a mixed fifth appears with (“b-f,f#)' in the piano, and “ft“ in the voice. On beats 3 and 4 of measure 29, there is quality negation of 'f- #,g' between the piano and voice. Example 68: ”Iliad.” [.321 i ‘ V .1 H414 - 31.45;:31 #WM~_ =--— f—ee efe:t Cesi- dune wle‘t wall e11 veric't , be — _- _‘ *— e/oeI: 0.;‘pa5’ ferfee‘teu, arl When Eve sings about her ”pet monkey," immediate repetition occurs, including a rhythmic alteration on "loves” and a change in articulation by means of an accent. The instrumental accompaniment, however, does not repeat. In measure 209, the violas sound an augmented-major seventh chord, while the harp plays a tone cluster of primarily seconds, whereas in measure 210, the woodwinds play a vertical structure of mixed thirds. The lowest and highest pitches of the melodic line involve a split third. 119 Example 96: Testament of Eve. Slwu-er' Emit my "‘P 120 As in the previous example, much of the text of Testament of Eve is syllabic, in contrast to which a melismatic passage stands out and. displays the ‘virtuosic nature of the performer's voice. Below is an extensive passage on ”God” that exploits a range of a perfect eleventh. Example 91: Testament of Eve. cregc . ‘filL A Jim Eva At the end of measure 221, the tape part finishes, leaving Eve to ponder over the thought that if she eats the fruit of the "forbidden tree," she and Adam will ”know good and evil and be as Gods." Faced with the decision of what to do, she has a discourse with herself that lasts approximately four and one-half minutes. At a climactic point in her discourse, the instability that she seems to be experiencing is supported musically by a "b" diminished triad in the vocal part. Some of the instruments, namely the piccolo, flute, and violin, reinforce the pitches ”d and f" while the timpano creates a split third. The piccolo plays a trill that also produces a split third. -121 Example 92: Testament of Eve. .L‘L’J by {Ab In “no; a ‘Hsis 0 7’73 122 Eve finally realizes that she alone must make a choice. The indecision that she is still faced with is reflected in the unsettledness of not only the melodic line of the voice but also of the strings. Both involve downward and upward glissandi which lead to the end of the voice line that culminates with an alternation of minor and major seconds in measures 399-461. Example 93: Testament of Eve. 377 ELe which‘m’l” L _ Vla. \ch 123 Soon afterward, Eve sings a melodic line that includes a repetition of pitches ”e-d.” The repetition of these pitches tends to add to the effect of decisiveness, especially when they are also duplicated in the strings. Example 94: Testament of Eve. 2" m9 Jan's“: (we. 5w? am new“ is a. lif’fle 1} a-Jat'no VOL 9° At last, she exclaims: "Open the shut gates of Eden!” During an immediate repeat, melodically and rhythmically the contour of the vocal line remains basically the same until interval expansion occurs toward the end. The highest and lowest pitches of the melodic line once again involve a split third. When the phrase returns for a 124 Example 95: Testament of Eve. Eve '49 of E --Jan. Eve 0 - ' - PHI 2 .9 31L+€$ of third time, the contour is similar, but it starts at a higher pitch level. The end of this repetition then leads to the Example 96: Testament of Eve. 5' 9r} A: 3*: TJ-fi _ ‘ I I J I J l I I h.n 1”r I l I I {ve l\lIl [J V? [[11111] K] J] I fllfl' Ill 0—Wa‘ 6' -' -' " " " Pen. ultimate climax beginning at measure 454 involving a crescendo from pianissimo to fortissimo with an orchestral accompaniment of woodwinds, brass and tubular bells as Eve finally declares: "For I will eat of this tree." MUSIC IN AMERICAN LIFE SERIES Sunday, May 6,1979 8:30 9.x. Peabody Concert Hall THE RECENT MUSIC OF PEABODY —PART II Roanr HALL Lens, Commentator Combinazioni Ill for Oboe-English Horn, Percussion and Narrator (1977) . Robert Hall Lewis jams: Osnvmzc, Oboe-English Horn Manx Gounrsm, Percussion RHEDA Becm, Narrator Text by Jun Rusm TehomforThreePianosU974) ...... , .. I .. .. MorrisMoaheCotel Pam. Homnm. Piano I Muse Curse, Piano 1! Mann Mom: Com. Piano 11! Monophony II for Oboe Solo (1968) . . Robert Hall Lewis Juan: Osnmmc, Oboe Prospero for Bass, Horn. Percussion and four channel tape“ (1978) Jean Eichelberger Ivey Rom? Kern, Bass" Anon Poem. Horn Manx Goms'rem, Percussion GEOFFREY WmHT, Tape operamr INTERMISSION Solstice for Soprano. Flute-Piccolo, Percussion and Piano’ (1977) Jean Eichelberger Ivey Scum Venom, Soprano Mammxa Goxum, Flute-Piccolo Man Gauss-rem. Percussion Datum Connor, Plano "August 12. 1952: The Night of the Murdered Poets” (1978) . Morris Moshe Cotel Moons Mona Com, Conductor Rama Bum, Narrator Anon Poem, Hm Manx Goum'zm, Vibraphone Rummo Somme. Bass Rica-um Guantanamo, Percussion Mun-Canmmiuo The Peabody composition department is deeply indebted to the resident Baltimore artists who have made this program possible through the generous gift of their tune, effort and talent. ‘ BaltimosePi-emiere "6an 125 Sigma Alpha Iota commissioned Ivey to write Solstice, a composition of fifteen minutes in duration which is scored for soprano, flute alternating with piccolo, percussion (one player), and piano. The work was completed in 1977 and performed 7 August 1978 at SAI's triennial convention held in Dallas, Texas. It, too, was one of several of Ivey's works performed at Sarah Lawrence College in December 1981. As with Testament of 'Eve, and others, the composer wrote the text. The theme reflects her life-long interest in the symbolism of astronomy (program notes). Ivey indicated that: Solstice deals with the winter solstice, as an astronomical phenomenon, as poetic symbolism, and as a time around which major festivals have been celebrated in many different cultures. The ancient Egyptians . . . the Romans . . . the early church fathers . . . : the Scandinavian festivities of St. Lucy's Day (Dec. 13) probably relate to pagan times, since "Lucy" means "light" and may well not have been a historical person but a symbol of light. All these feasts . . . celebrate, light. . . . What they at bottom celebrate, probably is the reassuring feeling given us by the regular, dependable, recurrence of astronomical phenomena of which the winter solstice is one of the most dramatic. . . . SOLSTICE I At half-past night and half-past winter, the sun stands still out in the Milky Way. The year turns on its axis. We huddle blind in earth's bulky body's black shadow. Flung like a yo-yo out to the end of its string, our planet strains its orbit. Sun! will you slip the leash this time, and let us hurtle headless away toward Hercules, out of your track forever? Ah, we have known you will not, since Egypt and Chaldea. We have known you will not. 126 II There in the desert night, astronomers, Magi of the East, measured the motions on the cloudless sky, learned to foretell the rise and fall of planets, the courses of the moon, your waning and your waxing great, 0 Sun! Then said the wise men of Egypt: Now is the sun reborn. This is the birth of the sun-god, at half-past night, the longest night in the year. And just here was ancient Rome‘s great revel to chronicle the god of time: Cronus-Saturn, father of the gods, with feasting, gifts to friends, pardon to foes, torches, rockets, and all festive f1ames:____ Saturnalia! Saturnalial Then said the holy Church Fathers: Let this date be hallowed: let this rite be consecrate. Now is the birth of the Son of God, at half-past night, the longest night of the year. III We have marked every day each dawn more laggardly and every dusk too soon. Now in northern countries night is a slowly, slowly spreading stain. December's day is sickly, bleak, uncertain. But just here is the Lucy-date, feast of lights! when the eldest virgin daughter, crowned with candles, bringing pine, and pastries scented with coriander. comes carolling a blessing. Carolling, she wakes the sleepers, elucidates the dark. At half-past night and half-past winter, the sun stands still out in the Milky Way. The year turns on its axis. Now is the sun reborn! It is the longest night of the year. The poem Solstice consists of three sections that make up the musical setting: 127 I Introduction and Part A (mm. 1-78). II Introduction, Parts B and C (mm. 1-154). III Introduction, Part D and Coda (mm. 1-97). Section one begins with an introduction of three percussive ”ringing” sounds produced by finger cymbals followed by vertical structures in the piano made up of mixed fourths. A prominent use of fourths, both vertically and linearly, is apparent throughout the piece. Once again, one can see Ivey's predilection for ,quality negation. At measure 3, a vertical sonority made up of mixed fourths, is followed by structures that negate the quality of seconds ("a-b-a#, d-e-d#, f-g-ft"). In Example 98, a split third can be seen in the flute in measure 6 ("e-gt-gh"). Example 97: Solstice, I. Example 98: Solstice, I. El 3 128 Part "A" (m. 5-78) follows _a brief introduction. The vocalist, receiving her cue from the flute, enters on "b." The opening line is repeated (m. 12), but following the repetitive "b ' s , " the conclusion involves intervallic expansion. The ending "c#" then elides with the same pitch in the right hand of the piano and leads into a tremolo of "c#-e." This tremolo is then taken over by the flute at the end of the following measure (not shown). Vertically, the tones in the left and right hands of the piano produce quality negation of "c-d-d#-c#" (see EX. 99, p. 129). 129 Example 99: Solstice, I. «mi half-psi V V Imitation appears frequently and sometimes involves rhythmic changes from part to part as is evident in the following segment: 130 Example 106: Solstice, I. _yeari'ums on ifs ax- - as. A melodic line of mixed fourths occurs in the flute and piano while at the same time the voice outlines an ascending augmented and perfect fourth. The contour that follows in the piano part is then continued in the flute (see EX. 101, p. 131). 131 Example 101: Solstice, I. 3 Jet!” Cf Q‘CI , Cal—Ime— A portion of the lyrics involves text painting with the phrase our planet strains its orbit, . . ." Over a period of three measures, intervallic expansion occurs in the voice while the piano plays an ostinato figure made of mixed fourths (mm. 43-45), as in Example 162. 132 Example 102: Solstice, I. sub/i6 While the Glockenspiel plays an ostinato figure containing intervals of a diminished fifth, a filled-in and open diminished fourth, followed by diminished fifths: the piano provides a sustained structure of mixed fifths and the vocal line has both a filled-in perfect fourth and an ascending inverval of a diminished fifth. 133 Example 193: Solstice, I. :8 exc/vleJ yaodkihdadrfiifiime J> As if suggesting that "our planet" might be hurtled out of its "track"--“f1ung like a yo-yo out to the end of its string"--the piccolo and piano begin a series of triplet figures. The motion of the melodic lines is reinforced by various scalar patterns and mixed fourths and helps to achieve a climactic goal that occurs on the word "track" at measure 62. 134 Example 104: Solstice, I. Pic. Vo ‘ fl... 135 The phrase, "we have known you will not," referring to the planet possibly going out of its orbit, and the contrary lines in the piano between the right and left hands that primarily consist of seconds, together with a descent in register of pitch, all seem to imply a constancy of gravity that holds the planet in place. The section concludes with a Example 105: Solstice, I. repetition of the text as well as a slowing up of the rhythm, further suggesting the stability of the planet (see EX. 196, p. 136). 136 Example 1G6: Solstice, I. RM? (lo/fI'CCO/O) V W Section II of Solstice is 154 measures in length and begins with a twenty-measure introduction played by the piccolo. Instead of a recurring triplet figure found at the end of Section I, the rhythmic movement, as first seen in the piccolo, now tends to highlight sustained tones. When the melodic contour is repeated (m. 4), a modified two-stage sequence occurs. At the conclusion of its solo, the piccolo 137 Example 107: Solstice, II. m 30/0 I sustains "d" for three and one-half measures, during which time part "B" (mm. 21-94) starts in the voice. Immediate repetition of the fragment below occurs with an extension at the end. Example 108: Solstice, II. There in_ ’Hiedeoert “‘5 as - on-- omers, A similar instance of repetition appears in the voice, but this time it includes sustained tones in the other instruments. The vocal line and piano at measure 44, beat two, contain a ”db" seventh chord with a split fifth. 138 Example 109: Solstice, II. 1i 1’? leafldlofore—fdl- “to. rise and. In conjunction with a "quasi parlando" indication, the vocalist sings a repetitive "c” while the piano sustains a vertical structure of "g, a, and a#." This time, quality negation is found in the vertical structure. Three Example 110: Solstice, II. 49, Qua“. par/and; Voice PM 139 measures later, at the conclusion of the phrase begun at measure 64¢ the voice line ascends an augmented fourth. At the same time, a roll in the tam-tam occurs along with a different vertical structure containing mixed fourths in the left and right hands of the piano, the two separated by a minor third. The tOp pitch in the piano is in unison with the pitch in the voice, but simultaneously the bottom pitch in the piano negates both parts. Example 111: Solstice, II. imam, .n Fern. $7” v.: Pm. Although the rhythm changes, a transposition of the vocal line just heard is immediately repeated a major third higher. At the end of this repeated phrase, a different vertical chord in the piano is used consisting of mixed intervals in both size and quality. 140 Example 112: Solstice, II. CYBSC. _ __ __ V . lJlr‘il'l of {he SLIM " The end of part "B" (last nineteen measures) includes the phrases "at half-past night" and "the longest night in the year, two phrases that return at the end of part "C." An emphasis on "long“ occurs as the vocalist sings a descending stepwise melodic line five measures in length. The augmented fourth is highlighted here, when the piccolo begins to double the vocal line. Example 113: Solstice, II. Pic. CollllVOCE Vols: _9“— -——-ee PM. _End Ewen Fm, romeo/gar f lowedl; at ‘t n+2. be. can are - crdfe. P... 144 The example that follows, shows a melodic line consisting .of repetitive tones followed by an ascending tritone heard earlier in part "B" (see EX. 111, p. 139), but this time with minor rhythmic alterations. Example 112 along with Example 117 that follows involves a pun with the use of “suN-god" and "Son of God." Example 117: Solstice, II. /.3 .',, t; \ We: m - - - ) are“. .1 i a l I nub—_— _- I l I l‘ Miw is {he (:Hk'n‘ {he S's»... a‘ffi 6E4, -i-I-q-- U The final fifteen measures of part "C" include a return of the text used at the end of part "B" (see EX. 113, p. 140). In this instance, the vocal line is a major second higher. This results in a doubling of the voice line a perfect fifth higher instead of an augmented fourth. Example 118: Solstice, II. Fl. Vbha 145 Section III begins with an introduction that lasts for approximately seven measures. Throughout the introduction, the vertical structures scored for the piano consist of quality negation. Section three then continues ‘with part "D" (mm. 7-64). Example 119: Solstice, III. E Upper farts le’aio'ssbns fof‘éorlg‘ “‘f m? J "F.. Immediate repetition of ”e-f#-g" and the word "slowly" occur in the voice (mm. 21-22) while sustained tones in the flute and piano help to suggest the movement of "slowness." A two-stage sequence follows in the voice (mm. 22-23) with the piano doubling the final statement in unison, a fourth and a seventh below. Chordal structures of mixed fourths appear in the right hand of the piano, and at the same time, mixed fourths are played in the melodic line of the flute at measure 24 (see EX. 120, p. 146). 146 Example 120: Solstice, III. EH Jfread. - -in3 .5 train. ........ 0 .el 147 After five measures of silence in the flute, a quartal melody returns. Its fourths are perfect until mixed quality occurs involving an augmented fourth followed by a perfect fourth. Example 121: Solstice, III. MP erg“. 0/ch V hf A descending line that includes note repetition appears in the voice followed by a vertical structure in the piano (m. 38), that contains quality negation. In measure 39, the accompaniment and solo lines have a structure that b-db“ ) . contains quality negation ("d—e-e Example 122: Solstice, III. Fl. >"—“‘\\ _ _ _., —Jate7f ms is! 148 Shortly after, there is an extensive passage of thirteen measures that involves repetition of both text and pitch. For ten of these measures, a vertical structure that contains both perfect fourths and mixed fourths is sustained by the piano. Example 123: Solstice, III. to. ‘- rolling] a-rol-(z'nj) A - rolling ca - fol " (I'll: ta. — ~ r914: ca-rol’l/ef 149 Part "D" also includes a pun involving the previous use of "Lucy-date" (see EX. 122, p. 147) and presently the use of "eludicates." A descending line with intervallic expansion, followed by note repetition, has a contour which resembles the contour of the first setting in EX. 122, p. 147. Example 124: Solstice, III. [623] J: Voice a. Jar. e - lu—ci A coda begins at measure 65, the first part of which is based on twenty measures of text and musical material that Opened part "A” of Section I (mm. 5-25). After a twenty- measure segment, there is a one-measure instrumental interlude in the piano. This leads to a partial repetition of the text that concluded both parts ”B" and "C" of Section II. "Longest"I is set melismatically once again, and after an ascending scalar passage, a descending diminished fifth (twelfth) appears. As the phrase continues, the diminished fifth becomes a perfect fifth for the final interval of the piece (see EX. 125, p. 150). 150 Example 125: Solstice, III. lhkfi on! -— - - --— -23£;_ nzgddh__. In conclusion, until now» most. of’ Ivey's serious compositions for voice were written within a span of approximately ten years (1970-1980). These compositions were for voice in combination with a wide variety of media, including live performers and/or electronic tape. Her natural inclination for writing poems and short stories as well as her general interest in literature provided her with a wealth of lyrics to set to music. The form of the text used for each vocal piece often dictates the overall form of the musical composition. Even her non-vocal works are often based on literary themes, such as Sea-Change, a work for orchestra and tape, which relates to Shakespeare's Tempest. An analysis of her selected works suggests that Ivey aims at combining tonal and atonal elements. She tends to repeat pitches, intervals, and short motives for unity. Numerous instances. of linear and vertical dissonances are often achieved. byt split intervals in tertian chords, by quality negation of one or more intervals in non-tertian chords, or by intervals of mixed fourths and fifths. Although traditional major and minor scales per se are not an 151 essential part of her writing technique, fragmentary scalar patterns outlining various modes as well as whole—tone arrangements are found. When she uses electronic tape with her vocal works, the tape part may include the recording of actual sounds, newly derived sounds, or a combination of the two, which Ivey then proceeds to use as background or accompanimental material. The tape part may also be that of an equal partner, or it may take on a prominent role. Although marked by common characteristics, Ivey's music is not limited to one musical style that allows a listener to anticipate what will be heard next. Each composition is unto itself fresh and new in sound. AN OVERVIEW OF ALL OF IVEY'S OTHER VOCAL WORKS A complete collection of her vocal and nonvocal works written since 1948 (published and unpublished) is now to be found at the American Music Center in New York City. She is a member of ASCAP which also has listings of her works. A majority of these have received performances too numerous to mention, so only a reference to premieres and performances of special interest, such as commissioned works, will be highlighted. A brief summary of the vocal pieces written as of 1948 will now follow. Morning Song for medium voice and piano, with the text taken from Conrad Aiken, was written in 1956. In this work, medium voice simply refers to either a male or female singer. Completion of the work pre-dates a concert tour in the United States during the fall-winter season of 1957-58, a tour sponsored by the National Catholic Music Educators Association. With Carol Heppe as vocalist and Ivey as accompanist, the work received several performances at various academies and colleges. In 1960, she composed two choral anthems for unaccompanied SATB entitled Panis Angelicus and Ave Verum. These two works, based on Latin texts, are the only ones 152 153 for mixed chorus in her current list,13 although the composer has contemplated writing other choral pieces. As a result of Vatican II in 1963, the official language of the Roman Catholic Church was changed from Latin to the vernacular. Revisions of both of these anthems were made in 1965. Ivey provided each choral piece with an English text that she wrote containing words that reflected the original Latin text. The titles are now, 0 Come, Bless the Lord and Lord, Hear My Prayer respectively. Both received performances in the Latin version in 1962 and O Come, Bless the Lord in its English version in 1966. Although the McLaughlin 8. Reilly Co. published the English text first, in the late 1960's, Summy-Birchard took over the publications. At present, the anthems are out of print. Another work, Woman's Love» is. a song cycle for mezzo-soprano and piano, with the texts by Sara Teasdale. Ivey completed the composition in 1962 and, during that same year, it received second prize (no first prize was given) in a contest sponsored by the Louisiana Federation of Music Clubs and judged by Ned Rorem. Two of the songs from the cycle, "I Would Live in Your Love" and "To One Away,‘ are in the American Artsong Anthology. Volume 1, for High Voice and Piano, recently published by the Galaxy Music Corporation. 13Numerous choral works were written for church use while Ivey was an organist. 154 The collection also contains, among others, works by Miriam Gideon, Judith Zaimont, Barney Childs, Jack Beeson, and Richard Cumming. Tribute: Martin Luther King» for baritone and orchestra (1969) is a three movement work of thirty minutes in duration. The text and portions of the musical material come from four traditional spirituals: 'I Never Felt Such Love in My Soul Before," "I Made My Vow to the Lord," "Go Down Moses,‘ and "There Is a Balm in Gilead.” Ivey indicated in a personal interview about the work that in addition to a mixture of traditional writing based on these spirituals, twelve-tone writing procedures were used to some extent. Ivey's composition, Tribute: Martin Luther King, was her first commissioned work, commissioned by Margaret Lauer of New Orleans. In 1973, a grant was made possible for the copying of the parts from the Martha Baird Rockefeller Fund through the Composers Assistance Program of the American Music Center. A premiere of the work occurred in March of the same year by the Peabody Conservatory Orchestra under the direction of Leo Mueller with Earl Grandison as soloist. Within the same year, three more works by Ivey were performed, Aldebaran, Hera, Hung, from the Sky, and Skaniadaryo. The latter two works were also commissioned. In 1971, Ivey completed Three Songs of Night for soprano, alto flute, clarinet, viola, Violoncello, piano, and tape. This composition consists of three main sections entitled "The Astronomer," (text by Walt Whitman), "I dreamed 155 of Sappho, (text by Richard Hovey), and "Heraclitus," (text by Callimachus, translated by William Cory), all three texts adapted by the composer. During the same year, Ivey's work was performed at the regional conference of the American Society of University Composers by Elizabeth Knozek, soprano, and the Peabody Conservatory Contemporary Music Ensemble under the direction of Leonard Pearlman. In 1972, Catherine Rowe performed the work with the same ensemble and conductor and later recorded it on the Folkways record “Music by Jean Eichelberger Ivey for voices, instruments, and tape." In his article, "From a 'Partly Tamed Medium',‘ Joseph McLellan writes that Particularly impressive (though it borders on self- indulgence, a vice from which Ivey seems otherwise singularly free) is a virtuoso tape cadenii that follows and illustrates the words much applause. However, the use of applause on the tape does lend itself to the actual words of the poem, "When I, sitting, heard the astronomer in the lecture-room where he lectured with much applause, " In her composition, Terminus, the first of her works to include a live performer with tape, Ivey prepared her score so that the tape part plays continuously throughout the piece. In contrast, in Three Songs of Night, she provides the person manipulating the tape recorder wifih cues for the . 14’Joseph McLellan, "From a 'Partly Tamed Medium'," The Washington Post, 10 Nov 1974, F 10. 156 tape part to be turned on and off. As a result of these tape manipulations, the performers can take apprOpriate liberties in their interpretation of the music. A Carol of Animals is a simple, unpretentious Christmas piece, somewhat different in style from. Ivey's "serious works.” The composition, written in 1976, is five minutes in duration and is scored for mezzo-soprano, oboe, and piano or organ. The text is taken from two sources: 9 Magnum Mysterium (Latin), a responsory from the Feast of the Nativity that comes from the Canonical Hours (Matins) of the Roman Catholic liturgy, and "A Christmas Carol" from a poem by Christina Rossetti. The Latin text is used to open and close the work, and certain Latin phrases are found interspersed with verses from the English text. In February 1978, the work received a performance in Washington, D.C., by Rilla Rowe Mervine, mezzo-soprano, Michael Bernard, oboe, and 'Walter' Pate, jpiano. It. was broadcast at a later date on WGMS, Washington, D.C. When Ivey visited Sarah Lawrence College in New York in December 1981, A Carol of Animals was one of several of her works performed. Absent in the Spring, is for medium voice and string trio and is five minutes in duration. It was completed in August 1977 and received a performance the following year by Constance Beavon, mezzo, and the New Repertory Ensemble of Queens College, New York City, under the direction of Leo Kraft. In this work, Ivey set her music to Shakespeare's 157 Sonnet XCVIII. She hopes to add one or two more songs to Absent in the Spring to make it a set, but is unsure at this time if she will employ Shakespearean sonnets or Elizabethean poems. She intends, however, to have a common theme for all of the songs. Boosey & Hawkes has recently accepted Absent in the Spring for publication. Prospero, based on Act V, scene i, from Shakespeare's Tempest, is for bass voice, horn, percussion, and four-channel tape. The work, completed in 1978, is nine minutes in duration and was composed for a concert given that same year at the Eastman School of Music. The concert was in honor of Wayne Barlow, Ivey's former teacher, on his retirement as Director of the Eastman Electronic Music Studio and Professor of Composition. In her composition, Ivey included the opening of the second movement of Barlow's Sonata for Piano. She played the excerpt herself and incorporated it into a portion of the tape part. She also conducted the piece the day of the concert. Commenting on her work, Ivey noted that many critics have perceived in the final scene of Shakespeare's last play, his own farewell to the stage (program notes). In turn, it seemed appropriate to use this scene as the basis for a composition dedicated to Barlow on his retirement. Prospero has been recorded for release on the Grenadilla label. 158 A poem by Walt Whitman, Crossing Brooklyn Ferpy, provided Ivey with the text for her vocal work by the same title. The composition is twelve minutes in duration and is scored for baritone voice and piano. Donald Collup, baritone, and Walter Huff, piano, performed it the year that it was completed (1979) at the Phillips Collection in Washington, D.C. The composer wrote the piece at the request of the soloist. The performance was taped for a local broadcast and then distributed nationally by Parkway Productions along with a taped interview with the composer. It, too, is a composition soon to be published by Boosey & Hawkes. In 1982, Ivey began work on a version for baritone and chamber orchestra, a work that is still in progress. REVIEW OF CURRENT ACTIVITIES AND FUTURE PROJECTS Ivey took a leave of absence from the Peabody Conservatory during the 1980—81 academic year to begin work on her first one-act opera, The Birthmark. It is for three characters, a baritone, soprano, and tenor, plus a full orchestra with woodwinds in pairs. The opera, completed in 1982, is approximately one hour in duration, and the libretto by the composer, is based on a tale of the same title by Nathaniel Hawthorne. Ivey has completed a voice-piano score as well as the orchestral score. In order to help in the completion of the opera, she was given fellowships from Yaddo and the MacDowell Colony. At the Colony, she was also named a Norlin Fellow. During the past year, several of Ivey's compositions have been performed. In addition to those mentioned in the previous chapter, a premiere of Sea-Change (1979), for large orchestra and tape, was given on the third and fourth of March 1982, by the Baltimore Symphony Orchestra under the direction of Joseph Silverstein (guest conductor). The premiere performance was taped and broadcast nationally on NPR stations. The work was funded by the National Endowment for the Arts and parts copied with aid from the American Music Center. 159 160 In 1982, Enid Kathan, pianist, performed another earlier work, Skaniadaryo (1973), for piano and tape and will also perform it during 1983. Her schedule has included performances in New York, London, Brussels, and at the 1982 International Electronic Music Plus Festival in Knoxville. Andrea Cohen also programmed the composition for a recital in Paris. During a tour of his native Indonesia in 1983, pianist Yazeed Djamin performed certain works of Ivey's. A complete concert of her chamber music will be scheduled at Trinity College in Washington, D.C., in October 1983 in honor of her 60th birthday which is the third of July. There will also be one at Peabody during the 1983-84 season. In 1982, Ivey added two more works to her list of compositions. The first, Pantomime, is for clarinet and xy10phone. The premiere of the second, Triton's Horn, for tenor saxophone and piano, was given on 29 March 1983, at the Carnegie Recital Hall, by James Cunningham and Li-ly Chang. In addition to her activities as composer and teacher, Ivey, in the fall of 1982, was named coordinator of the composition department of the Peabody Conservatory (Peabody has coordinators instead of chairmen). In October of the same year, at the national convention of the College Music Society, held in Boston, Massachusetts, she presented a paper entitled "Performance Problems in WOrks for Live Performers and Tape." 161 The Chamber Music Society of Baltimore recently commissioned her to write a chamber work for a performance in their concert series of March 1984. Ivey will be writing for the Jubal Trio (mezzo-soprano, flute and harp). For the texts, she has chosen the poetry of a Baltimore poet, Josephine Jacobsen, whom Ivey met at the MacDowell Colony, and again at Yaddo. The title for the work, Notes Toward 2122' is taken from the title of a group of Jacobsen's poems by the same name. After her leave of absence in 1981, Ivey returned to the faculty at Peabody and resumed her teaching of composition, electronic music, and orchestration. She continues as the coordinator of the composition department and the director of the electronic music studio. She also participates with other major teachers of composition in conducting composition seminars. In addition, she supervises doctoral dissertations and works with students who are enrolled in B.M., M.M., and D.M.A. degree programs. APPENDICES APPENDIX A CATALOG Following is a catalog of the music composed by Jean Eichelberger Ivey that has received the most recognition since the year 1948. It falls under seven main headings, CHAMBER MUSIC, p. 165 ELECTRONIC MUSIC (TAPE ONLY), p. 170 LIVE PERFORMERS PLUS TAPE, p. 173 MUSIC FOR THEATER, FILMS, AND TELEVISION, p. 175 ORCHESTRA MUSIC, p. 177 PIANO MUSIC, p. 180 VOCAL AND CHORAL MUSIC, p. 184 Within each section, the titles are alphabetized. A chronological listing of the complete catalog is included on page 190, as well as a separate alphabetical listing serving as an index on page 192. The maximum amount of information provided for each composition (when applicable) is as follows: Title. Instrumentation (for clarity when necessary) Number of movements (shown in Roman numerals, e.g., III mvts.) 162 163 Names of Movements Duration (shown, e.g., 5' 30") Year of composition (completion year) Commissions or grants (if applicable) or other pertinent information Concert performances (performers, places, conductors, dates, radio broadcasts of premieres and performances of special interest. Others are too numerous to cite in this catalog.) Publication (facsimile edition; publishing company or retainer of published and unpublished scores, number of pages, indication of parts and/or tape, and price of score--subject to change) Recording (title of record, record company, code number) Review of comments The following abbreviations are in use: C. Fischer Carl Fisher, Inc. CRI = Composers Recordings, Inc. FE = Facsimile edition MS = Manuscript mvts. = movements NNAMC = American Music Center, New York, New York The following is a model example: Dinsmoor Suite. Two clarinets, trombone, percussion (three players) including a xy10phone. VI mvts.: Prairie artist, The Garden of Eden, Cain and Abel, Labor crucified, Modern civilization, Tomb with angel, Codetta. 10'. 1963. Practically identical with score of film Montage IV: The Garden of Eden, (see p. 167). Concert performances: University of Alabama Composers' Forum, 24 Apr 1964; University Composers Exchange Festival, Southern Illinois 15Address listing of publishers, retainers, and recording houses is on page 195. 164 University, Carbondale, 14 Nov 1964: Temple University Collegium Musicum, Clifford Taylor conducting, 22 Apr 1970. Facsimile of M8 at NNAMC, 1963. 24 p. score. CHAMBER MUSIC Androcles and the Lion Dinsmoor Suite Music for Viola and Piano Ode for Violin and Piano Pantomime Scherzo for Wind Septet Six Inventions for Two Violins Sonatina for Unaccompanied Clarinet Song of Pan String Quartet Suite for Cello and Piano Tonado Triton's Horn Chamber music including voices, see VOCAL AND CHORAL, p. 184. Chamber musi$3for tape, see LIVE PERFORMERS PLUS TAPE, p. . FOR WOODWINDS: Androcles and the Lion Pantomime Scherzo for Wind Septet Sonatina for Unaccompanied Clarinet Song of Pan Triton's Horn 165 166 CHAM. MUS. (Cont'd.) FOR STRINGS: Music for Viola and Piano Ode for Violin and Piano Six Inventions for Two Violins String Quartet Suite for Cello and Piano Tonado FOR MIXED ENSEMBLES: Dinsmoor Suite (cl., trb., and perc.) 167 CHAM. MUS. (Cont'd.) Androcles and the Lion, a suite for woodwind quintet. VI mvts. Overture, Waltz, March, Hymn, Trio, Caper. 10'. 1963. Adapted from the incidental music for a play by the same title, (see p. 176). Concert performance: Peabody Woodwind Quintet, Peabody Conservatory Wednesday Noon Series, 4 Apr 1973: and shown in rehearsal on TV documentary on Ivey, A Woman Is . . . a Composer. Facsimile of MS at NNAMC, 1963. 23 p. score. Dinsmoor Suite. Two clarinets, trombone, percussion (three players) including a xy10phone. VI mvts.: Prairie artist, The Garden of Eden, Cain and Abel, Labor crucified, Modern civilization, Tomb with angel, Codetta. 10'. 1963. Practically identical with score of film, Montage IV: The Garden of Eden, (see p. 176). Concert performances: University of Alabama Composers' Forum, 24 Apr 1964; University Composers Exchange Festival, Southern Illinois University, Carbondale, 14 Nov 1964; Temple University Collegium Musicum, Clifford Taylor conducting, 22 Apr 1970. Facsimile of MS at NNAMC, 1963. 24 p. score. Music for Viola and Piano. 10'. 1974. Commissioned by the Composers' Forum of Albany, New York with the aid of a grant from "Meet the Composer" for Jacob Glick, viola, and Vivian Fine, piano. Concert performance: Albany, New York, 20 Nov 1974. FE 87, C. Fischer, 1975. 12 p. score, $5.50; parts, $11.00. Ode for Violin and Piano. 7'. 1965. Original version of Ode for Orchestra, (see p. 178). Concert performances: Joanne and Charles Bath, violin and piano respectively, installation concert of the Wichita Sigma Iota Chapter, Nov. 1965: Markwood Holmes, violin, with the composer at the piano, at the Division convention of the Music Teachers National Association, Des Moines, Iowa, Mar. 1966; Rogeri Trio, First Festival of Women's Music, CUNY Graduate Center, 8 May 1978: et a1. Facsimile of MS at NNAMC, 8 p. score, parts. Pantomime. Clarinet and xy10phone. c. 7'. 1982. Scherzo for Wind Septet. Flute, oboe, clarinet, bassoon, horn, trumpet, trombone. 3'. 1953. Concert performance: U. S. Air Force Symphonette members, Corcoran Art Gallery, Washington, D.C., spring 1958. New York premiere by Queens Symphony Chamber Ensemble, 12 Aug 1979. Facsimile of MS at NNAMC, 1953. 7 p. score. 168 CHAM. MUS. (Cont'd.) Six Inventions for Two Violins. 10'. 1959. Concert performances: Angelo and Lilajane Frascarelli, Mississippi Southern College, 12 and 18 Mar 1960: Xavier University program of Ivey works, 15 Apr 1962: and four of the set performed by John Celentano and James Lerch, Eastman American Music Festival, 27 Apr 1964. Facsimile of MS at NNAMC, 1959. 14 p. score, parts. Sonatina for Unaccompanied Clarinet. III mvts. 10'. 1963. Concert performance: Jerome Bunke, National Association for American Composers and Conductors concert, Library of Performing Arts, Lincoln Center, New York City, 11 Apr 1970 (concurrently broadcast on WNYC): et a1. FE 10, C. Fischer, 1972. 6 p. score, $2.50. Song of Pan. Alto recorder or flute and piano or harpsichord. 5'. 1953. Concert performances: James Westbrook, flute with the composer at the piano, Mississippi Southern College Composers' Forum, 12 Mar 1960; Carolyn Wilhoyte, recorder, Berkshire Recorder School, Massachusetts, Aug. 1961: Richard Harrison, flute, with the composer at the piano, on an Xavier University (New Orleans) program of Ivey works, 15 Apr 1962: at a regional conference of American guild of Organists, Oklahoma City University, 22 June 1971: Betty Hensley, flute, on Kansas Bicentennial state-wide radio programs, 1976; et a1. Facsimile of MS at NNAMC, 1954. 6 p. score, parts. String Quartet. IV mvts. 20'. 1960. Some informal readings but no performances. Facsimile of M8 at NNAMC, 1960. 53 p. score. Suite for Cello and Piano. V mvts.: Aria, Divisions on a ground, Bourreé, Barcarolle, Finale. Can be played separately and in varying orders. 25'. 1960. Concert performances: Katherine Eide Longyear, cello with the composer, University of Alabama Composers' Forum, 29 Apr 1961: repeated at an Xavier University program of Ivey's music, 15 Apr 1962: two or more mvts. only--Elizabeth Martin, cello, and Eloise Stanhope, piano, Louisiana Music Teachers Association convention, 28 Oct 1960; Zoe Levenson, cello, with the composer, Kansas Music Teachers Association convention, 13 Feb 1964, et a1. Facsimile of MS at NNAMC, 1960. 36 p. score, parts. Tonado. Violin and cello. 5'. 1966. Concert performance: Rogeri Trio, First Festival of Women's Music, CUNY Graduate Center, New York City, 8 May 1978. Facsimile of MS at NNAMC, 1966. 5 p. score, parts. 169 CHAM. MUS. (Cont'd.) Triton's Horn. Tenor saxophone and piano. 1982. Concert performance: James Cunningham and Li-ly Chang, Carnegie Recital Hall, 29 Mar 1983. Review comments: "The best piece on the bill was Triton's Horn by Jean Eichelberger Ivey, a first performance." John Rockwell, New York Times. ELECTRONIC MUSIC (TAPE ONLY) Continuous Form Cortege--for Charles Kent Enter Three Witches Pinball Theater Piece 170 171 ELEC. MUS. (Cont'd.) Continuous Form. Indeterminate length. 1967. Realized at SUNY/Albany Electronic Music Studio. Composed for station break material (with film by Wayne Sourbeer) for WNET-TV, New York, where, with WGBH-TV, Boston, it had thousands of performances in credited station breaks, with daily credit, over several years. Accompanies film in randomly selected, non-synchronized excerpts, in such a way that no two station breaks can be alike. These station breaks (film and music) have been the subject of articles in TV Guide, 19 Apr 1969, and Film Comment, fall 1969, and have been presented at several conferences on educational TV: Philadelphia, 1969; Budapest, Hungary, 1972, et a1. Cortege--for Charles Kent. 5'20". 1969. The first piece to be composed in the Peabody Conservatory Electronic Music Studio. Concert performances: League of Composers-—ISCM concert, Carnegie Recital Hall, New York City, 15 Mar 1970; University of Wisconsin: Peabody Conservatory: Catholic University; Oberlin Conservatory: Smith College; et a1. Included in Ivey "Composers Forum" on National Public Radio, 1972. Available from composer, 1973, tape. Recording: "Music by Jean Eichelberger Ivey for voices, instruments, and tape," Folkways, FTS 33439. Enter Three Witches. Four channels, to be played from two tapes on two stereo tape recorders: also exists in two-channel version for one tape recorder. Realized in the University of Toronto (Canada) Electronic Music Studio. 5'30". 1964. A setting of the opening scene of Shakespeare's Macbeth, using manipulations of speech (the composer's voice) with other concr te and electronic sounds. Concert performances: University of Toronto, summer 1964; (U. S.) University Composers Exchange Festival, Southern Illinois University, Carbondale, 14 Nov 1964: Bradley University, Peoria, Illinois: Kansas Music Teachers Association, 1965: Oklahoma City Festival of 20th Century Music, Oklahoma City University, 1965: University of Alabama Composers Forum, 1965: Birmingham, Alabama, Connoissert Concerts, 22 Feb 1967; Peabody Conservatory several times, et a1. Included in Ivey "Composers Forum" on National Public Radio series, 1972. Pinball, Musique concrbte, entirely derived from pinball machine sounds. Realized in the Brandeis University Electronic Music Studio, Waltham, Massachusetts. 6'. 1965. Described by Peter S. Hansen in his book, An Introduction to 20th Centurprusic, 3rd edition, 1971, pp. 375-76. Identical with score for film, Montage V: How to Plaprinball, (see p. 176). Concert performances: University of Alabama Composers Forum, 30 Apr 1965: at a Division convention of Music Teachers National Association, Des Moines, Iowa, 1966: at Oak 172 ELEC. MUS. (Cont'd.) Ridge (Tennessee) Coffee Concerts: et a1. Included in Ivey ”Composers Forum" on National Public Radio, 1972; and on two radio series distributed nationally by the National Federation of Music Clubs, 1972-73. Tape available from the composer. Recording: "Electronic Music," Folkways FMS 3/3436, released in 1967. Also excerpted on Columbia Special Products educational record P 11597 in Silver Burdett album. Theater Piece. Realized in the Peabody Conservatory Electronic Music Studio. 4'. 1970. Partly derived from pre-recorded piano material, played by the composer, taken from incidental music for the play, The Exception and the Rule, (see p. 176), to which are added purely electronic sounds. Concert performances: Peabody Conservatory, 13 May 1970: also on WBAL-TV, Baltimore, et a1. LIVE PERFORMERS PLUS TAPE (Tapes all done at Peabody Conservatory Electronic Music Studio unless otherwise noted.) Aldebaran Hera, Hung from the Sky Prospero Sea-Change Skaniadaryo Terminus Testament of Eve Three Songs of Night 173 174 LIVE PERF. PLUS TAPE (Cont'd.) Aldebaran. Viola and tape. 10'. 1972. Concert performances: Composed for and performed by Jacob Glick, American Society of University Composers regional festival, Manhattan School of Music, 12 Jan 1973: numerous other performances by this artist, including one at the International Viola Congress, Eastman School of Music, 5 June 1977: Louise Schulman, League of Composers-~ISCM concert, Carnegie Recital Hall, New York City, 11 Mar 1976 and at Cornell University, 11 Mar 1977: Marna Street, Eastman School of Music, 19 Apr 1977. FE 56, C. Fischer, 1973. 9 p. score, $3.50: score and tape, $10.50. Recording: "Music by Jean Eichelberger Ivey for voices, instruments, and tape," Folkways, FTS 33439, Jacob Glick, viola. Record review: " Aldebaran is, in effect, a small poem for viola and tape, creating. . . a sense of contemplation, the mind wandering among the vast spaces of a nocturnal sky." Joseph McLellan, "From a 'Partly Tamed Medium'," The Washington Post, 10 Nov 1974, F 10. Hera, Hung from the Sky. Mezzo-soprano, winds, perc., piano and tape. 13'. 1973. (see p. 185). Prospero, Scena for bass voice, with horn, perc., and four-channel tape. 9'. 1978. (see p. 187). Sea-Change. Orchestra with four-channel tape, part. Realized at the Eastman Electronic Music Studio. 15'-20'. 1979. (see p. 179). Skaniadaryo. Piano and tape. 11'. 1973. (see p. 181). Terminus. Mezzo-soprano and tape. 10'. 1979. (see p. 188). Testament of Eve. Monodrama for mezzo-soprano, orchestra and tape. Tape part begun at the University of Toronto studio, completed at Peabody Conservatory. 20'. 1976. (see p. 179). Three Songs of Night. Song cycle for soprano, five instruments, and tape. 14'43". 1971. (see p. 188). MUSIC FOR THEATER, FILMS, AND TELEVISION Androcles and the Lion Continuous Form The Exception and the Rule Montage IV: The Garden of Eden Montage V: How to Play Pinball Documentary film on Jean Eichelberger Ivey 175 176 MUS. FOR THEATER, FILMS, AND TV (Cont'd.) Androcles and the Lion. Shaw play. Incidental music for brass, woodwinds, and piano, for a Wichita Community Theatre production, spring 1963. Adapted into concert suite for woodwind quintet, (see p. 167). Continuous Form. 1967. TV station break material for WNET-TV, (see p. 171). The Exception and the Rule. Brecht play. Songs with piano accompaniment and incidental piano music for the University of Wichita TV production on a Kansas State Network. (Ivey was the pianist and musical director), Feb. 1963, repeated Dec. 1963. Kinescope is in library of Audio-Visual Department, Wichita State University. Portions used later in Theater Piece, (see p. 172). Montage IV: The Garden of Eden. Incidental music for a film by Wayne Sourbeer (Ivey as conductor). 10'. 1963. Showings: Lucas, Kansas, fall 1963: Wichita State University: Peabody Conservatory, at various film festivals, et a1. Cf. Dinsmoor Suite, adapted from this score, (see p. 167). Montage V: How to Play Pinball. Art film by Wayne Sourbeer. 6'. 1965. A tape score entirely derived from recordings Of pinball machine sounds, manipulated at the Brandeis University electronic music studio. The score is identical with Pinball, (see p. 171). Showings: Wichita State University, 26 May 1965: Vision '65 International Conference on Communications, Southern Illinois University, Carbondale, 23 Oct 1965: Oklahoma City Festival of 20th Century Music, Oct. 1965: Peabody Conservatory several times: on WNET-TV in New York, WJZ-TV in Baltimore, et a1. Documentary film: A half-hour documentary on Jean Eichelberger Ivey, filmed at Peabody Conservatory for the series A Woman Is . . . entitled A Woman Is . . . A Composer, originally produced by Louise Tiranoff Productions, for WRC-TV (NBC) Washington, D.C.: now distributed by Louise Tiranoff Productions, 53 w. 87th Street, New York, N. Y. 11024,(212) 580-7861. Several showings in Baltimore and Wash., D.C., also in Houston, and at the joint conference of College Music Society and American Society of University Composers, University of Iowa, Feb. 1975, et a1. It includes the following Ivey works: Androcles and the Lion, suite for woodwind quintet, shown in rehearsal with the composer: Aldebaran for viola and tape, performed by Jacob Glick (not shown): Skaniadapyo for piano and tape, performed by Barbara English Maris. The film shows Ivey as a composer and as a teacher of composition and electronic music. ORCHESTRA MUSIC Festive Symphony Forms in Motion Little Symphony Ode for Orchestra Overture for Small Orchestra Passacaglia for Chamber Orchestra Sea-Change Testament of Eve Tribute: Martin Luther King 177 178 ORCH. MUS. (Cont'd.) Festive Symphony. III mvts. 10'. 1955. M.M. in Composition, Thesis, Eastman School of Music. Reading by Eastman-Rochester Orchestra, Howard Hanson conducting, Eastman Spring Symposium, Apr. 1955. Facsimile of MS at NNAMC. Forms in Motion, a symphony for large orchestra. III mvts. 30'. 1972. Mus. Doc. in Composition, Dissertation, University of Toronto, Canada. C. Fischer, rental library. 107 p. score. Little Symphony, for large orchestra. IV mvts. 15'. 1948. Reading at Brevard Music Center Composers' Forum, John Boda conducting, 6 Aug 1962. Facsimile of MS at NNAMC. Ode for Orchestra. 7'. 1965. An orchestral version of Ode for Violin and Piano, (see p. 167). Concert performance: Eastman-Rochester Orchestra, Howard Hanson conducting, Eastman American Music Festival, 2 May 1967. Readings by Houston Symphony, A. Clyde Roller conducting, Rockefeller Symposium, Apr. 1967: and University of Alabama Composers, Forum Orchestra, Franklin Choset conducting, May 1967. Included in a one-hour radio broadcast of Ivey's works on the series "Composers Forum" distibuted by National Public Radio, 1972 (heard in New York on WKCR, 4 Apr 1972). C. Fischer, rental library. 26 p. score, parts. Overture for Small Orchestra. 5'. 1955. Concert performances: U.S. Air Force Symphonette, John Yesulaitis conducting, Corcoran Art Gallery, Washington, D.C., 1956: Mississippi Southern College Composers' Forum, Walter Moeck conducting, Mar. 1961: Edmonton Symphony Orchestra (Canada), Eve Queler conducting, 5 Oct 1979, the 50th anniversary commemorative concert celebrating the ”Persons Case," the declaration of Canadian women as "persons": reading by Eastman Chamber Orchestra, Frederick Fennell conducting, Eastman Summer Symposium, 1955. C. Fischer, rental library. Passacaglia for Chamber Orchestra. 5'. 1954. Concert performances: Brevard Music Center Composers' Forum (public concert), John Boda conducting, 6 Aug 1962: U.S. Air Force Symphony, Arnold Gabriel conducting, 31 May 1965 (concurrently broadcast on WGMS, Washington): Greenwich House Orchestra, Michael Bartos conducting, Donnell Library, New York City, in WNYC annual Festival of American Music, 19 Feb 1970 (concurrently broadcast on WNYC): reading by Eastman Chamber Orchestra, Frederick Fennell conducting, Eastman Summer Symposium, 1954. C. Fischer, rental library. 19 p. score, parts. 179 ORCH. MUS. (Cont'd.) Sea-Change. Large orchestra and four—channel tape. c. 20'. 1979. Composed on a grant from the National Endowment for the Arts awarded 1978. Parts copied with the aid of a grant from the American Music Center. Concert performances: Baltimore Symphony, Joseph Silverstein conducting, 3-4 Mar 1982. Taped for broadcast distributed nationally on National Public Radio stations. Oakland (CA) Symphony, Andrew Schenck, conducting, l, 2, and 3 Nov 1983. C. Fischer, rental library. Score, parts, and tape. Review comments: ". . . a skillful combination of electronic music sources with standard symphonic instrumentation, . . . The results? Strange and, for the most part, lovely." Alfred C. Haynes, "Strange and Lovely Mix," The Baltimore Evening Sun, 3 Mar 1982, B 1. Testament of Eve. A monodrama for mezzo-soprano, orchestra, and tape. 25'. 1976. Text by composer. Parts copied with the aid of a grant from the American Music Center. Concert performances: Elaine Bonazzi, soloist, Baltimore Symphony Orchestra, Leon Fleisher conducting, 21-22 Apr 1976: E. Bonazzi, soloist, Columbia University Orchestra, Victoria Bond conducting, New York, 7 Nov 1976. C. Fischer, rental library. 71 p. score, part, and tape. Review comments: "It is a fascinating composition in terms of effect and amalgamation of traditional and innovative materials." Elliott W. Galkin, High Fidelity/Musical America, Aug., 1976. Tribute: Martin Luther King. Baritone and large orchestra. III mvts. 30'. 1969. Texts from four traditional spirituals: "I never felt such love in my soul before," "I made my vow to the Lord," "Go down, Moses," and "There is a balm in Gilead." Commissioned by Margaret Lauer. Parts COpied with the aid of a grant from the Martha Baird Rockefeller Fund awarded in 1973 through the Composers Assistance Program of the American Music Center. Concert performance: Earl Grandison, soloist, Peabody Conservatory Orchestra at Johns Hopkins University, Leo Mueller conducting, 3 Mar 1973 (also broadcast later on WBJC, Baltimore). C. Fischer, rental library. 81 p. score, parts. Artist level pieces: Prelude and Passacaglia Skaniadaryo (Pno. & Tape) Sonata for Piano Theme and Variations PIANO MUSIC 180 Teachinggpieces: Magic Circles Modal Melodies (7) Parade (Duet) Pentatonic Sketches (5) Sleepy Time Tiny Twelve-Tone Tunes (5) Water Wheel 181 PNO. MUS. (Cont'd.) Artist level pieces: Prelude and Passacaglia. 6'. 1955. Concert performances: Ivey, a composition for the Beta Phi Chapter, Sigma Alpha Iota, at Catholic University, spring 1955: Ivey, the National Gallery of Art, Washington, D.C., June 1956: during Ivey's concert tour of Mexico (Mexico City, Guadalajara, Monterey, Vera Cruz, San Luis PotOSI, and Morelia) sponsored by the U.S. Embassy, summer 1957: et a1. Performances also by Frances Villaret, Madrid, Spain, 9 Aug 1965, et a1.: Marian Buck-Lew, faculty recitals at the University of Maryland, Baltimore County: Bowie, (Md.) State College, et al., 1974-75 season, et a1. Facsimile of MS at NNAMC. 10 p. score. Review comments: "Miss Eichelberger displayed her solid talents as a composer in a classical Prelude and Passacaglia. Well conceived, the music builds with a steady and knowing hand [composer as performer], . . . fully alert to the resonant potentialities of her instrument, and filled with touches of fresh figuration and harmony." Paul Hume, "Eichelberger Recital Distinguished," The Washington Post, June 1956. Skaniadaryo. Piano and Tape. 11'. 1973. Commissioned by the New York State Music Teachers Association (NYSMTA), in conjunction with the Music Teachers National Association (first piece ever commissioned by NYSMTA). 1973. Concert performances: Barbara English Maris, pianist NYSMTA annual convention, Buffalo, 3 Nov 1973: others by Maris--American Society of University Composers regional conference, Baltimore, 19 Oct 1974: on WNYC, 3 May 1975: at the Friday Morning Music Club (Wash., D.C.) 90th anniversary Gala, 16 May 1975: at Peabody Conservatory, 5 Dec 1975: "Electronic Music Plus Festival," University of North Carolina, Chapel Hill, 28-29 Oct 1977: also on TV documentary Ivey, A Woman Is . . . a Composer, (see p. 176): Enid Katahn, at the “Electronic Music Plus Festival," George Peabody College, Nashville, Tennesee, 16 Mar 1974, New York, London, Brussels, and at the 1982 International Electronic Music Plus Festival in Knoxville: and by various other pianists throughout the country. FE 102, C. Fischer, 14 p. score, $7.00: score and tape, $14.50. Review comments: "The two works for piano and tape on the festival agenda were powerful statements. . . . Jean Eichelberger Ivey's SkaniadarLo (1973), an ode to a Seneca Indian and New York State's heroic past, blends a range of synthesized environmental sounds, as well as more abstract ones, with a challenging piano part. Enid Katahn of Vanderbilt University gave the work a strong reading." Lance W. Brunner, "Electronic Music Plus," Musical America, Apr. 1983, p. 30. 182 PNO. MUS. (Cont'd.) Sonata for Piano. IV mvts. 20'. 1957. Concert performances: Ivey at Phillips Gallery, Washington, D.C., Feb. 1958 and on a concert tour of Europe (Hamburg, Frankfurt, Manich, and Vienna) spring 1958: Xavier University faculty recital, New Orleans, Oct. 1960: on the radio series "Music Now" distributed by Southeastern Composers League 1962-63: on WNYC Festival of American Music, 21 Feb 1961, et a1.: by Enid Katahn at Alice Tully Hall, New York, 19 Oct 1980, at the wyoming Music Teachers Association convention at Central Wyoming College, 15 July 1982, et a1. Facsimile of MS at NNAMC, 1958. 26 p. score. Review comments: "Her four-movement sonata, sharply delineated, rich in ideas, very colorful, revealed such a strong gift and personal note, that one should follow ‘her further compositions attentively." Excerpt from reviews, EurOpe, the Vienna Austria Monatschrift. Theme and Variations . 10 ' . 1952 . Concert performances : Ivey at Eastman Summer Symposium, 1952: at Catholic University faculty recital, 1955: on Xavier University (New Orleans) program of all-Ivey chamber music, 15 Apr 1962: et a1. Facsimile of MS at NNAMC, 1952. 10 p. score. Teaching pieces: Magic Circles. 1961. In Contemporary Collection 2, pp. 44-45. Summy-Birchard, 1965. Out of print as of 1971. Facsimile of M8 at NNAMC. Modal Melodies. Seven pieces. 1961. Facsimile of MS at NNAMC. Parade. Duet. 1963. Composed for the Wichita (Kansas) Piano Teachers League for its annual multiple-piano festival, Nov. 1963. A 12-tone composition. 131 the ‘Robert. Pace Recital Series, Lee Roberts, Inc., 1965. 10 p. score (both parts together). Pentatonic Sketches. Five pieces. 1948, revised 1963. Published by McLaughlin & Reilly and later assigned to Summy-Birchard. Out of print as of 1971. Facsimile of MS at NNAMC. Sleepy Time. 1966. An easy piano teaching piece published together with "Water Wheel" in the Robert Pace Recital Series, Lee Roberts, Inc. Tiny Twelve-Tone Tunes. Five pieces. 1966. Facsimile of M8 at NNAMC. 183 PNO. MUS. (Cont'd.) Water Wheel. 1966. An easy piano teaching piece published together with "Sleepy Time" in the Robert Pace Recital Series, Lee Roberts, Inc. VOCAL AND CHORAL MUSIC Absent in the Spring Ave Verum, see Lord, Hear My Prayer The Birthmark A Carol of Animals Crossing Brooklyn Ferry Hera, Hung from the Sky Iliad, see Two Songs for High Voice, Flute or Clarinet, and Piano Lord, Hear My Prayer Morning Song Night Voyage, see Two Songs for High Voice, Flute or Clarinet, and Piano Notes Toward Time 0 Come, Bless the Lord Panis Angelicus, see 0 Come, Bless the Lord Prospero Solstice Terminus Testatment of Eve Three Songs of Night Tribute: Martin Luther King Two Songs for High Voice, Flute or Clarinet, and Piano Woman's Love 184 185 VOC. AND CHOR. MUS. (Cont'd.) Absent in the Spring. Medium voice and string trio. 5'. 1977. Setting of Shakespeare's Sonnet XCVIII. Concert performance: Constance Beavon (mezzoI with the New Repertory Ensemble, Leo Kraft conducting, at Queens College, New York City, 3 Dec 1978. Boosey & Hawkes, Inc. 6 p. score. Ave Verum. See Lord, Hear My Prayer. p. 186. The Birthmark. A one-act Opera. Three characters, baritone, soprano, and tenor. Accompaniment is for full orchestra (with ww. in pairs). 1982. Libretto by the composer, based on a Nathaniel Hawthorne tale of the same title. c.60". Vocal-piano score also available. A Carol of Animals. Mezzo-soprano, oboe, and piano (or organ). 5'. 1976. Texts from traditional Latin Liturgy (Matins) O Magnum Mysterium and the poem "A Christmas Carol" by Christina Rossetti intermingled. Concert performances: Rilla Rowe Mervine, mezzo: Michael Bernard, oboe: and Walter Pate, piano, at the Friday Morning Music Club, Washington, D.C., 17 Feb 1978. Later broadcast on WGMS, Washington, D.C. Susan Wright, soprano, Sherwood Hawkins, Oboe, and Geoffrey Wright, piano, Baltimore, Md., Dec. 1978. Facsimile at NNAMC. 7 p. score. Crossing Brooklyn Ferry. Baritone and piano. 12'. 1979. Text by Walt Whitman. Concert performance: Donald Collup, bar. and Walter Huff, piano, at Phillips Collection, Washington, D.C., 9 Sept 1979. Asked by soloist to compose the work: taped for broadcast on WETA-FM, Washington, and distributed nationally, with a taped interview with the composer, by Parkway Productions. Published by Boosey & Hawkes, Inc. 17 p. score. (As of 1982, version for baritone and chamber orchestra in progress.) Review comments: "In varying moods, this proved a lyrical framework in which the natural rhythms of Whitman's lines led into some touching passages." Paul Hume, The Washington Post, 10 Sept 1979. Hera, Hung from the Sky. Mezzo-soprano, seven winds-—f1ute alternating with piccolo, Oboe, Bb clarinet, bassoon, horn in F, C trumpet and bass trombone, percussion--(three players or more) four timpani, bass and snare drum, tambourine, Vibraphone, tubular bells, suspended cymbals, triangles, tam-tam, xy10phone, two wood blocks and claves, piano alternating with celesta, and two-channel tape (stereo). 13'.‘ 1973. Text by Carolyn Kizer (in the collection :22 Ungrateful Garden). Margaret Gunderson, mezzo, with Tamar Read conducting the commissioned work by the Collegium Musicum of the University of North Dakota, at a festival on Women and the Arts, 12 Apr 1973: Elaine Bonazzi, mezzo, with the Notes from Underground ensemble, Andrew Thomas 186 VOC. AND CHOR. MUS. (Cont'd.) conducting, at the closing of the national conference of American Society of University Composers, Carnegie Recital Hall, New York City, 23 Feb 1974: Phyllis Kubey, mezzo, and the Pittsburgh New Music Ensemble, David Stock, conducting, 17 May 1981, Elaine Bonazzi as soloist, Peabody Contemporary Music Ensemble conducted by Frederik Prausnitz, Peabody Conservatory, 12 May 1983: numerous radio broadcasts of the recording, including a radio program distributed nationally by the American Society of University Composers, beginning 1977: other live performances. C. Fischer, rental library. 38 p. score, parts, and tape. Recording: CRI (SD325) "New Vocal Music," Elaine Bonazzi, mezzo-soprano, with the "Notes from Underground" ensemble and tape conducted by Andrew Thomas. Review comments: Hera, . . . is a sensitive handling of a difficult poem. . . . It allows the text to be always under-stood and illuminates its abrupt contrasts Of mood.” Gregory Levin, The Musical Quarterly LX no. 4 (1974): 628. Iliad, see Two Songs, p. 189. Lord, Hear My Prayer (originally Ave Verum), a choral anthem, SATB, unaccompanied. 5'. 1960 (Latin). 1965 (English adaptation from traditional sources by composer). Concert performances: Loyola University Chorale, Elise Cambon conducting, New Orleans, 22 July 1962: et al. Published by McLaughlin & Reilly, 1966 (English version), later assigned to Summy-Birchard. 7 p. score. Out of print as of 1971. Facsimile of M8 at NNAMC. Morning Song. Medium voice and piano. 5'. 1956. Text by Conrad Aiken. Concert performances: Carol Hoppe, mezzo, with the composer at the piano, during a tour of U.S. academies and colleges, sponsored by the National Catholic Music Educators Association, fall-winter 1957-58: Nita Kirkpatrick, mezzo, and Carl Alette, piano, Mississippi Southern College Composers' Forum, 12 Mar 1960: et a1. Facsimile of MS at NNAMC. Night Voyage, see Two Songs, p. 189. Notes Toward Time. Mezzo, flute, and harp. In progress. Text by Josephine Jacobsen, commissioned by the Chamber Music Society of Baltimore, Md. Concert performance: Jubal Trio, Baltimore, 11 Mar 1984. O Come, Bless the Lord (originally Panis Angglicus), a choral anthem, SATB, unaccompanied. 5'. 1960 (Latin). (English adaptation from traditional sources by composer). Concert performances: Xavier University Concert Choir, Alex McDonald conducting, New Orleans, 30 Mar 1962: English 187 VOC. AND CHOR. MUS. (Cont'd.) version, Madison Madrigal Singers, Don Haines Guidotti conducting, Pan—American Union, Washington, D.C., 16 Mar 1966 (also broadcast on WGMS): Wichita State University Madrigal Singers, Harrison Boughton conducting, 19 Apr 1966: et al. Published by McLaughlin & Reilly, 1966 (English version), later assigned to Summy-Birchard, Inc. Out of print as of 1971. Facsimile of MS at NNAMC. 4 p. score. Panis Angelicus. See previous entry. Prospero. Scena for bass voice, horn, percussion, and four-channel tape. 9‘. 1978. Text from a scene in Shakespeare's Tempest. Concert performances: Lee Strawn, bass-baritone, Verne Reynolds, horn, Richard Albagli, perc., and the composer conducting, 4 Apr 1978, dedicated to Wayne Barlow, performed in honor of his retirement from the Eastman faculty. (Includes quotation from Barlow's Sonata for Piano in tape part, performed by Ivey.) RObert Keefe, bass, Melissa Coren, horn, and Daniel Druckman, perc., Carnegie Recital Hall, New York City, Concert of the League of Composer/ISCM, 25 Jan 1979. C. Fischer, rental library, 1978. 14 p. score, parts, and tape. Recording: Recorded for release on a Grenadilla label. Review comments: "Miss Ivey's Choice of bass-baritone, horn, percussion, and tape gives a deliberately austere, rugged, and unsentimental quality to her musical interpretation of this powerful speech. It was all not only appropriate, but added a distinctly original musical dimension to the words, and one with considerable expressive impact." Peter G. Davis, ”Concert of Contemporary Music." The New YOrk Times, 24 Feb 1979, p. 14. Solstice. SOprano, flute alternating with piccolo, percussion (one player)--finger cymbals, small tam-tam, glockenspiel, claves, triangle, tambourine, and piano. 15'. 1977. Text by composer. Concert performance: Florence Vachon, sop., Jackie Poe Aiken, fl./picc., Linda McDavitt, perc., and Elizabeth Bailey Geyer, piano. A commissioned work by Sigma Alpha Iota for their triennial convention, Dallas, Texas, 7 Aug 1978: Susan Wright, sop., Magdalena Gonzales, fl./picc., Mark Goldstein, perc., and Donald Collup, piano, at the "Recent Music of Peabody—~Part II" Music in American Life Series, Baltimore, Md., 6 May 1979. PE, 186, C. Fischer, 1978. 20 p. score, $9.00. Review Comments: "The high point of the evening was a vocal work by Jean- Eichelberger Ivey, . . . Using a text by the composer, this is wintry music dedicated to 'half-past night and half-past winter . . . the longest night of the year.' It is vividly expressive with very subtle use of percussion and flute as well as the high notes of piano to hint at bleak winter atmosphere. SOprano Pamela Jordan sang expressively." 188 VOC . AND CHOR. MUS . (Cont ' d . ) Joseph McLellan, "Music Forum at NIH.” The Washington Post. 15 February 1982, C2: "The most striking, binding quality that [Ivey's work] exhibited was warmth and an overriding sense of calm humanity. . . . Solstice, within its crystalline images of the night sky and pristine melding of many voices, seemed a far more coherent, focused piece than [Hamar's] Open Hand, . . . ." Pamela Sommers, “Contemporary Music Forum." The Washington Post. 19 January 1983, B 10. Terminus. Mezzo-soprano and tape. 10'. 1970. Text by Ralph Waldo Emerson. Concert performances: Marie Anderson, mezzo, Peabody Conservatory Wednesday Noon Concerts, 24 Feb 1971: repeated performances thereafter including several radio broadcasts of Ivey's music on "Composers Forum," National Public Radio, 1972: on WNYC 17 Feb 1972: on Amherst College radio station WAMH, spring 1973, et a1: Isabelle Lipschutz, SOp., at the American Society of University Composers national conference, Houston, Texas, 16 Apr 1971: at Ball State University's Festival of New Music, 1973: Lee Dougherty, sop., at the Wingspread Conference on Women and the Arts, the University of Wisconsin, Sept. 1973 and on numerous other programs: Elaine Bonazzi, mezzo, at the Kennedy Center, Washington, D.C., 21 July 1975, on a program of Bicentennial Parade Of American Music by Maryland composers: et a1. FE 22, C. Fisher, 1972. Sharon Mabry, mezzo, at the Conference Of Women in Music, the University of Michigan, 12 Mar 1982. 7 p. score, $3.00: score and tape, $7.75. Recording: "Music by Jean Eichelberger Ivey for voices, instruments, and tape." E. Bonazzi, soloist, Folkways, FTS 33439. Record review comments: ". . . a thoughtful, evocative meditation on time, maturing and human limitations for mezzo-soprano and tape, almost a perfect statement of its large, slightly disquieting theme." Joseph McLellan, "From a 'Partly Tamed Medium',“ The Washington Post, 10 Nov 1974, F 10. Testament of Eve. A monodrama for mezzo-soprano, orchestra, and tape, see p. 179. Three Songs of Night. Soprano, alto flute, clarinet, viola, Violoncello, piano, and tape. 14'43". 1971. I. The Astronomer, text by Walt Whitman II. I dreamed of Sappho, text by Richard Hovey III. Heraclitus, text by Callimachus, translated by William Cory. Concert performances: Elizabeth Knozek, sep., with the Peabody Conservatory Contemporary Music Ensemble, Leonard Pearlman conducting, at the regional conference of American Society of University Composers (ASUC), Baltimore, 6 Mar 1971: Catherine Rowe with the same ensemble and conductor at the national conference of ASUC, Peabody Conservatory, 8 Apr 1972: also with Notes from Underground ensemble, Andrew 189 VOC. AND CHOR. MUS. (Cont'd.) Thomas conducting, on the Composers Theatre Spring Festival, 14 Mar 1974: and included on numerous broadcasts Of Ivey works. FE 57, C. Fischer, 1973. 29 p. score, $8.50: parts and tape in rental library. Recording: "Music by Jean Eichelberger Ivey for voices, instruments, and tape,“ C. Rowe, soloist, Folkways, FTS 33439. Record review comments: "The witty, pensive first song, . . . is a fine example of the kinds of nuance that can be achieved in compositions which combine tape with live performers." Joseph McLellan, "From a 'Partly Tamed Medium'," The Washington Post, 10 Nov 1974, F 10. Tribute: Martin Luther King. Baritone and large orchestra, see p. 179. Two Songs for High Voice, Flute or Clarinet, and Piano. c.6' and 5'15". 1975. I. Night Voyage, text by Matthew Arnold II. Iliad, text by Humbert Wolfe The two may be sung separately. If sung as a pair, the above order should be used. Concert performance: Rosalind Rees, sop., Rebecca Troxler, f1., and Oresta Cybriwsky, piano, on a concert of the Gregg Smith Singers, New York City, 15 Mar 1977. Published by Boosey & Hawkes, Inc. 9 p. (full) score for each song, clarinet part separate. Woman's Love, a song cycle. Mezzo-soprano and piano. 10'. 1962. Texts by Sara Teasdale. Concert performance: Winner of the second prize (no first prize awarded) in a contest sponsored by the Louisiana Federation of Music Clubs, judged by Ned Rorem, 1962. Two songs from this cycle, "I Would Live in Your Love," and "To One Away," are in the American Artsong Anthology, Volume 1, for High Voice and Piano, $8175. Volume number 1.2900, Galaxy Music Corporation, 1982. 2 p. each. Order c/o E. C. Schirmer Music Co., 112 South Street, Boston, MA 02111. CHRONOLOGICAL LIST OF PRINCIPAL COMPOSITIONS 1948 Pentatonic Sketches, revised 1963 Little Symphony 1952 Theme and Variations 1953 Scherzo for Wind Septet Song of Pan 1954 Passacaglia for Chamber Orchestra 1955 Festive Symphony Prelude and Passacaglia Overture for Small Orchestra 1956 Morning Song 1957 Sonata for Piano 1959 Six Inventions for Two Violins 1960 String Quartet Suite for Cello and Piano 0 Come, Bless the Lord (originally Panis Angelicus) Lord, Hear My Prayer (originally Ave Verum) 1961 Modal Melodies Magic Circles 1962 Woman's Love 1963 Parade The Exception and the Rule Androcles and the Lion (Incidental music for a play by Shaw) Androcles and the Lion (A suite for woodwind quintet: an adaptation of the above entry) Montage IV: The Garden of Eden (Incidental music for a film by Wayne Sourbeer) Dinsmoor Suite (An adaptation of the above entry with almost no changes) Sonatina for Unaccompanied Clarinet 1964 Enter Three Witches 1965 _Montage V: How to Play Pinball (Incidental music for an art film by Wayne Sourbeer) Pinball (Tape piece identical with film score to above entry) Ode for Violin and Piano Ode for Orchestra 190 191 Chronological List (Cont'd.) 1966 1967 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1982 In progress: Sleepy Time Water Wheel Tonada Tiny Twelve-Tone Tunes Continuous Form Tribute: Martin Luther King Cortege--for Charles Kent Theater Piece Terminus Three Songs of Night Aldebaran Forms in Motion Hera, Hung from the Sky Skaniadaryo Music for Viola and Piano Two Songs for High Voice, 1. Night Voyage II. Iliad Testament of Eve A Carol of Animals Solstice Absent in the Spring Prospero Crossing Brooklyn Ferry Sea-Change The Birthmark Pantomime Triton's Horn Notes Toward Time Flute or Clarinet, and Piano ALPHABETICAL LIST OF PRINCIPAL COMPOSITIONS Section abbreviations are as follows: =Chamber Music: E=E1ectronic Music: L=Live Performers plus Tape: M=Music for Theater, Films, and Television: O=Orchestra Music: P=Piano Music: V=Vocal and Choral Music. Section Page Absent in the Spring V 185 Aldebaran L 174 Androcles and the Lion C,M 167, 176 A Carol of Animals V 185 Ave Verum, see Lord, Hear My Prayer V 185 The Birthmark V 185 Continuous Form E,M 171, 176 Cortege--For Charles Kent E 171 Crossing Brooklyn Ferry V 185 Dinsmoor Suite C 167 Enter Three Witches E 171 The Exception and the Rule M,E 176, 172 Festive Symphony O 178 Forms in Motion 0 178 Hera, Hung from the Sky V,L 185, 174 Iliad, see Two Songs V 189 Little Symphony O 178 Lord, Hear My Prayer V 186 Magic Circles P 182 Modal Melodies P 182 Montage IV: The Garden of Eden M 176 Montage V: How to Play Pinball M,E 176, 171 192 193 Alphabetical List (Cont'd.) Section Page Morning Song V 186 Music for Viola and Piano C 167 Night Voyage, see Two Songs V 189 Notes Toward Time V 186 O Come, Bless the Lord V 186 Ode for Orchestra 0 178 Ode for Violin and Piano C 167 Overture for Small Orchestra 0 178 Panis Angelicus, see 0 Come, Bless V 187 the Lord Pantomime C 167 Parade P 182 Passacaglia for Chamber Orchestra 0 178 Pentatonic Sketches P 182 Pinball E 171 Prelude and Passacaglia P 181 Prospero V,L 187, 174 Scherzo for Wind Septet C 167 Sea-Change L,O 179, 174 Six Inventions for Two Violins C 168 Skaniadaryo P,L 181, 174 Sleepy Time P 182 Solstice V 187 Sonata for Piano P 182 Sonatina for Unaccompanied Clarinet C 168 Song of Pan C 168 String Quartet C 168 Alphabetical List (Cont'd.) Suite for Cello and Piano Terminus Testament of Eve Theater Piece Theme and Variations Three Songs of Night Tiny Twelve-Tone Tunes Tonada Tribute: Martin Luther King Triton's Horn Two Songs for High Voice Water Wheel Woman's Love 194 Section <0 < O t" 111 Page 168 188, 179, 188 172 182 188, 182 168 179, 169 189 183 189 174 174, 174 189 ADDRESSES OF PUBLISHER AND RECORDING HOUSES Publishers: NNAMC= American Music Center 250 W. 54 Street New York, N.Y. 10019 (Complete collection of published and unpublished scores by Ivey) BOOSEY & HAWKES, Inc. 24 W. 57th Street New York, N.Y. 10019 CARL FISCHER, Inc. 62 COOper Square New York, N.Y. 10003 GALAXY MUSIC CORPORATION 131 West 86th Street New York, N.Y. 10023 Recording houses: COLUMBIA SPECIAL PRODUCTS 51 W. 52nd Street New York, N.Y. 10019 CRI= COMPOSERS RECORDINGS, Inc. 170 West 74th Street New York, N.Y. 10023 FOLKWAYS RECORDS 43 W. 61 Street New York, N.Y. 10023 GRENADILLA New York, N.Y. 10010 LEE ROBERTS MUSIC PUBLICATIONS, Inc. Katonah, N.Y. 10022 MC LAUGHLIN and REILLY, a subsidiary of SUMMY-BIRCHARD Box 2072 Princeton, N.J. 08540 Nancy Shear 180 West End Avenue New York, N. Y. 10023 (212) 595-0793 (Personal representative of Ivey's who knows where her works, etc., are to be found. Ivey is a member of ASCAP. 195 APPENDIX B PUBLISHED WRITINGS Magazine articles: "Electronic Music: Where Does It Stand Today?" Lead article in annual American music issue, which uses pages from Ivey's score Sea-Change on the magazine cover. Pan Pipes, lxxiv, 2 (Winter 1982): 2-3, 16. '—_— "Pioneering in Electronic Music." Peabody News, January/ February 1982, pp. 3, 5-6. "An A-B-A Form." Peabody Alumni Assn. Bulletin, xv, 1 (Fall- Winter 1975): 8-9. (Address given on receiving the Peabody Distinguished Alumni Award.) "The Composer As Teacher." Peabody Alumni Assn. Bulletin, xiv, 1 (Fall-Winter 19747: 446. "An Electronic Music Studio in a Conservatory." Proceedin s of the American Society of University Composers, 197 , vol. 5., pp. 38-46. “(Paper given at ASUC annual conference, Dartmouth College.) "Electronic Music--Magica1 Medium." Peabody Notes, xxiii, 7 (April 1970): 3-4. "An Electronic Music Bookshelf." College Music Symposium, ix (1969): 127-129. "Current Chronicle: Ann Arbor." Music Quarterly, 1v, 1 (January 1969): 87-91. "The Contemporary Performing Ensemble." College Music Symposium, viii (1968): 120-128. "Electronic Music Workshop for Teachers." Music Educators Journal, 1v, 3 (November 1968): 91-93. Special electronic music issue, later issued as a softcover book under title: Electronic Music. Ivey also served as advisor for its reading list and is so credited on page 174. 196 197 PUB. WRIT. (Cont'd.) "Atlanta: New Music for Brass." The Brass World, iii, 3 (Fall 1967): 289-290, 293. "Mexico's Music." Inter-American Music Bulletin, 1v (September 1966): 4-10. "Electronic Music in Toronto." Kansas Music Review, xxvi, 5 (Oct.-Nov. 1964): 6-7. "American Music for the MTNA Piano Auditions." Kansas Music Review, xxvi, 5 (Oct.-Nov. 1964): 12-15. "Two Stockhausen Concerts." Kansas Music Review, xxvi, 3 (Mar.-Apr. 1964): 26-28. "Piano Students Can Interpret." Musart, xiii, 2 (Nov.-Dec. 1960): 7, 44-47. First editor (and author of most of the unsigned material): Americgn Society of University Composers Newsletter, 1968-70. Contribution to book: Schwartz, Elliott. Electronic Music, a Listener's Guide, (New York: Praeger, 1973: reprinted., Holt Rinehart. Part IV: "Observations by Composers," pp. 230-234. APPENDIX C RECORDED COMPOSITIONS (date given is of record release) Pinball. Musique concrbte based on pinball machine sounds, done as film score. 6'. On Folkways record, "Electronic Music," FMS 3/3436. 1967. Also excerpted on Columbia Special Products educational record P 11597 in Silver Burdett album. "Music by Jean Eichelberger Ivey for voices, instruments, and Hera, tape." Title of record Folkways FTS 33439. 1974. Includes: Terminus, mezzo and tape, recorded by Elaine Bonazzi, mezzo. Aldebaran, viola and tape, recorded by Jacob Glick, viola. Three Songs of Night, for soprano, 5 inst., and tape. Includes: The Astronomer I dreamed of Sappho Heraclitus Recorded by Catherine Rowe, soprano, and the Peabody Conservatory Contemporary Music Ensemble conducted by Leonard Pearlman. Cortege--for Charles Kent, purely electronic piece. Hung from the Sky. On CRI (Composers Recordings, Inc.) record "New Vocal Music," CRI SD 325, 1974. Work for mezzo, 7 winds, 3 perc., piano, and tape on text by Carolyn Kizer. Recorded by Elaine Bonazzi, mezzo, and the "Notes from Underground" ensemble conducted by Andrew Thomas. Prospero. Recorded for release on a Grenadilla label. Work for bass voice, horn, l perc., and tape, setting text from Shakespeare's Tempest. Recorded by Robert Keefe, bass: Melissa Coren, horn: and Daniel Druckman, percussion. 198 APPENDIX D STUDIES ON JEAN EICHELBERGER IVEY Subject of‘ a half-hour TV documentary filmed 1973 by WRC-TV (NBC) in Washington, D.C. (filming done at Peabody Conservatory, Baltimore) for their series A Woman Is. Numerous showings in the U.S. See entry "Documentary film," p. 176. One of three subjects studied in detail in a Master's thesis on American women composers by Ellen Lerner, done at University of Massachusetts at Amherst, 1976. Ivey's Terminus is analyzed in detail. Ivey work Skaniadaryo analyzed in detail in doctoral dissertation by Barbara Maris, "American Compositions for Piano and Tape-Recorded Sound," done at Peabody Conservatory, 1976. Interviewed for the Yale University Oral History Project. Subject of chapter in book by Jane Weiner LePage, Women Composers, Conductors, and Musicians of the 20th Century, Scarecrow Press 1980. Detailed bibliographical information in book Women in American Music, edited and compiled by Adrienne Block and Carol Neuls-Bates, published by Greenwood Press. Listed in numerous reference works, including Grove VI: International Who's Who in Music: Harvard Concise Dictionary of Music: Machlis Introduction to Contemporary Music (2nd edition): Ammer Unsung: A History of Women in American Music: Dictionary of International Biography: World Who's Who of Women: Who's Who of American Women: and Who's Who in the East. Subject of numerous magazine and newspaper articles: also of ‘ numerous radio and television interviews including Voice of America, Robert Sherman's Listening Room (WQXR, New York), National Public Radio series entitled Composers Forum, etc. 199 B I BLIOGRAPHY BIBLIOGRAPHY Books Kennan, Kent Wheeler. The Technique of Orchestration. 2nd ed. New Jersey: Prentice-Hall, 1970. Marvell, Andrew. Andrew Marvell Complete Poetry, pp. 23-24. Edited by George de F. Lord. New York: Yale University Random House, 1968. Read, Gardner. Music Notation A Manual of Modern Practice. 2nd ed. New York: Taplinger Publishing Company, 1979. Schwartz, Elliott. Electronic Music: A Listener's Guide. Rev. ed. New York: Praeger Publishers, 1975, reprint ed., Holt, Rinehart, 1978. Ivey a contributor, discusses compositions for live performers plus tape, pp. 230-234. Articles Ivey, Jean Eichelberger. "An Electronic Music Studio in a Conservatory." Proceedings of the American Society of University Composers. Dartmouth, N.H.: 1970. . "Electronic Music in Toronto." Kansas Music Review xxvi, 5 (Oct.-Nov. 1964): 6-7. "Electronic Music: Where Does It Stand Today?" Pan Pipes lxxiv, 2 (Winter 1982): 2-3, 16. McLellan, Joseph. "From a 'Partly Tamed Medium'." The Washington Post, 10 November 1974, F 10. Scarupa, Henry. "Composing Music in the Electronic Medium." The Sun Magazine, April 1971, pp. 11-12. Correspondence and Interview New YOrk, New York. Jean Eichelberger Ivey letters 1979- 1983. Ivey, Jean Eichelberger. Composer, New York, New York. Interview 23 August 1979. 200 Ivey, Jean Eichelberger. 201 Recordings, Tgpes, and Scores Hera, Hung from the Sky. With Elaine Bonazzi, mezzo, and the “Notes from Underground" ensemble conducted by Andrew Thomas. CRI SD 235 New Vocal Music. (score) . Terminus. With Elaine Bonazzi, mezzo and tape. Folkways FTS 33439 "Music by Jean Eichelberger Ivey for voices, instruments, and tape." (score) . "Night Voyage," "Iliad," Testament of Eve, and Solstice. Personal tapes. (scores)