matador dissertation - unt digital library/67531/metadc...the following section, mm 36-72 is sung by...

MATADOR

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Julio Patino, B. M., M. M.

Denton, Texas

May, 1998

31f f^SiJ

MO. V 7<

Patino, Julio, Matador. Doctor of Musical Arts (Composition), May, 1998,

essay 30 pp., score 207 pp., 1 table, 18 examples.

Matador is an opera scored for orchestra, mixed chorus and soloists (mezzo-

soprano, 3 tenors, 2 baritones). It is scored for 2 flutes (piccolo), oboe , Bb clarinet,

bassoon, C trumpet, 2 F horns, tenor trombone, tuba, percussion, and strings. The

percussion section requires three performers, timpani, vibraphone, tubular bells, chimes,

suspended cymbal, three tom-toms, snare drums, claves, bass drums, triangle, a large

key ring, shackles, (a chain of approximately 3 feet of length). A whistle is also included

for one of the soloists on the stage.

The work is in one act divided into two main sections. Each of these sections is

divided into subsections. The libretto is aphoristic in nature and dictates the form of each

of these subsections. The division into two parts also serves as a means to evoke a sense

of hopelessness of emotions in the first and a transforming disposition that culminates in

a jubilant song in the second.

MATADOR

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Julio Patino, B. M., M. M.

Denton, Texas

May, 1998

31f f^SiJ

MO. V 7<

Copyright © 1998

Julio Patino

111

TABLE OF CONTENTS

Page

LIST OF TABLES v

LIST OF EXAMPLES vi

ANALYSIS vii

Introduction vii

I. Form ix

II. Melodic material xiii

III. Harmonic material xvi

IV. Timbre xviii

Summary xxi

The libretto xxii

MATADOR 1

IV

LIST OF TABLES

Table Page

I. OVERVIEW OF THE STRUCTURE OF MATADOR xx

LIST OF EXAMPLES

Example No. 1 ix

Example No. 2 x

Example No. 3 x

Example No. 4 xi

Example No. 5 xi

Example No. 6 xii

Example No. 7 xiii

Example No. 8 xiv

Example No. 9 xiv

Example No. 10 xiv

Example No. 11 xv

Example No. 12 xv

Example No. 13 xvi

Example No. 14 xvi

Example No. 15 xvii

Example No. 16 xvii

Example No. 17 xviii

Example No. 18 ixx

VI

ANALYSIS

Introduction

Matador is an opera scored for orchestra, mixed chorus and soloists.

Matador

XI

X2

Guard

Judge

Miss Justice

The jury and other prisoners:

sopranos, altos, tenors and basses

tenor

tenor

baritone

baritone

tenor

mezzo-soprano

The orchestra consists of the following instruments :

Woodwinds:

2 flutes (piccolo)

Oboe

Bb clarinet

Bassoon

Strings:

Violin I

Violin II

Viola

Cello

Contrabass

Brass:

2 F horns

C trumpet

Tenor trombone

Tuba

vn

Percussion: Timpani, vibraphone, tubular bells, chimes, suspended cymbal, three

tomtoms, snare drums, claves, bass drums, triangle, a large keyring, shackles (a chain of

approximately 3 feet of length). A whistle is also included for one of the soloists on the

stage.

The work is in one act divided into two main sections. Each of these sections is

divided into subsections.

The libretto, written by the composer, is aphoristic in nature and dictates the form

of each of these subsections. The division into two parts also serves as a means to evoke

hopelessness of emotions in the first and a transforming disposition that culminates in a

jubilant song in the second.

The libretto is designed with contrast of the characters in mind. Each of the

characters is presented with specific music that identifies them. The techniques employed

for this purpose are conventional and include syllabic and melismatic setting of the text, the

use of sprechstimme with free rhythm, and indistinct toneless mutterings and laughters.

Also melodic as well as harmonic motives are used to differentiate each character.

The instrumental notation techniques are also conventional in nature with the

inclusion of systematic aleatoric sections that provide distinct harmonic-rhythmic contrast.

The instrumental sections are of three different types. They are employed as introductions

to the singing melodies, as interludes between vocal sections and as echoing the vocal

sections.

The chorus is used as the voice of the prisoners and the voice of the jury. They

serve as the foundation for the soloists as well as reflecting on what the soloist has sung.

The melodies and harmonies are for the most part organized around pitch centers

but almost never employ functional progressions. The use of melodic and harmonic

tensions help evoke restlessness and discontent. The pitch environment varies. The

vm

pitches are employed tonally in an obscure way at the beginning and in a bright, clear

texture at the end of the work.

Form

The work is in one act divided into sections. Most of the sections are embraced by

the structural timbre at the beginning and at the end. This device consists of the percussion

improvising on given materials enclosed in a boxon the score that is repeated continuously

for approximately 45 to 60 seconds. These aleatoric portions of the work are employed

for other instruments as well. Almost every time it is designed to provide, aside from the

organizational device, a certain mood of serenity except for one time towards the middle of

the composition during "Count time" (measure 435). In this case, it is intended to enhance

the uneasiness and nervousness of the situation. The interpretation of these improvisational

sections requires from the performer a sensitivity to the drama in order to evoke the mood

intended.

The forms of the lyrical melodies are simple one- or two-part forms reflecting the

structure of the text. The first section is divided into seven main subsections. Each of

these sections is of a different form. The first section begins with the aleatoric section

common to each section. (Ex. 1).

Ex. 1

Repeal continuously, free tempo

Snare Drum alternate instiumei

mp

Tubular bells

IX

This is followed by a series of downward sextuplets (MM. 2-8) (Ex. 2)

Ex. 2

This forceful drive culminates in measure 9 where Matador shouts: "Damned". His lament

begins on measure 13. The form of his lament is unisectional. It escalates from

the tonal regions of d minor in measure 13; eb minor in measure 17; e minor in measure 22;

Gb in measure 26; and finally it ends with a variation of his initial motive in F. The initial

Matador motive of MM 13-16 is shown in the next example. (Ex.: 3)

Ex. 3

Sus. Cymbal

The following section, MM 36-72 is sung by the male chorus. After the improvisatory

interlude, the chorus sings a very simple melody "You will get used to it" in two-part form

(Ex: 4).

Ex.4

iltfl liJ""" J J L J J J -mp

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you will get used to it

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you will g« wed to it

mp

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you will get

mp

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The first part begins in measure 36 and the second in measure 64. The end of the melody

of the second part of this section dissolves into muttering.

A prolonged clarinet solo begins the next section which is in ABA form. (MM 80-

201) It is similar to the first lament in form but orchestrated with strings mainly suggesting

a change of Matador's emotions "God, I don't want to pray anymore". (Ex.:5 MM 89-94).

Ex. 5

X I

The form is ABA; measure 89 begins A, measure 114 B, and measure 150 A.

Following the return of the clarinet solo is a transition to the next section beginning at

measure 201.

The climax of the first part of this work is a long section that culminates with the

appearance of Miss Justice with a simple song ABA (MM 513-526; 555- 578). This

entire section of the work (MM 436-513 is designed to accumulate tension beginning

with the trial, right after the Guard shouts "Clear!" in measure 436. The increasing

tension begins with the monotone declamation of the Judge. His authoritarian

declamation is emphasized by the use of the whole orchestra on the word "court" and

the same motive to the word "God". (Ex.: 6)

Ex.6 I -1? 'm

i m

m I

m i

m ;

m

The interaction between the Judge, Matador, XI, and the mixed chorus of the jury begins

in measure 485. This confusion escalates until the appearance of Miss Justice on measure

513.

The second part of the opera utilizes the materials previously used, with new lyrics

and the inclusion, at the end, of a jubilant song (MM. 855-959).

Melodic Material.

The melodic material in this work is based on serving the characterization of each

of the soloists. The instrumental melodies that accompany each of the scenes are designed

to support the individuality of each of the characters. The lyrical melodies include the use

of sprechtimme. That is, the use of the voice midway between speech and song with only

approximate reproduction of the written pitches and the avoidance of the sustaining of any

pitch. Syllabic and melismatic setting of the text and emphatic and rhythmically abrupt

melodies. Examples 7 through 12 include the initial motive of each of the characters.

Throughout the opera, the melodic material is diversified in various ways. Matador

sings, for the most part, melodies that are set syllabically, at times dwelling on nonchordal

tones. (Ex. 7, m. 13)

XI sings emphatic syllabic melodies with abrupt rhythms but using fewer pitches than that

of Matador or X2. (MM. 40-44 Ex. 8)

XIll

Ex. 8

X2 is characterized by wide leaps in a syllabic text setting. The diversified orchestration

helps individualize this character. MM. 247- 250 Ex.9

Ex. 9

The Guard is set in sprechstimme with aleatoric accompaniment beginning in

measure 435. This section is in free rhythm which begins with the blow of the whistle.

(Ex. 10)

Ex. 10

XIV

The Guard has the command of the situation in the opera with his authoritarian attitude. He

will dismiss the prisoners with the word "Clear" which in turn cues the instruments to

stop playing, (m. 436. Ex.11)

Ex. 11

(As (he guard stouts clear, muttering begins.)

(Hft likrt h i urn* to cal

The judge begins his declamatory singing in a monotone manner suggesting the

psalm singing by the father of the church of God. (MM 443-512 Ex. 12)

Ex. 12

Miss Justice is characterized by the clear melodies that flow with grace and solemnity,

suggesting the divine truth. (MM. 513-592. Ex.13)

Ex. 13

Harmonic Material

The harmonic language of this work ranges from a dense and dark harmony to a clear and

simple triadic one. For example at the entrance of Matador, in the beginning of the work,

a characteristic harmonic pattern is used, where two consecutive tritones enhance the word

"damned" (m. 9. Ex. 14).

Ex. 14

xvi

The contrast of this sound is found at the end of the work, with the use of triadic and

simple harmonies of Miss Justice. Another type of harmony is the vertical sonorities of

melodic materials (m.275 Ex.: 15)

Ex. 15

quite diff-reat (rain

m

p JTd-r

p i m i p l

m

Other devices include free rhythm in the accompaniment of the Guard, who uses

sprechstimme , which renders a sharp contrast to the rest of the section.

The harmonic pattern used at the beginning of this work with the use of two

consecutive tritones, is used again for the interlude in the middle of the opera, suggesting

the confrontation between the imaginary beast and the matador (Ex: 16).

Ex. 16

Measures 940 to the end of the opera exemplify the use of tertial harmony. This section

ends in the key of Bb.

xvii

Timbre

The use of unusual timbres, inside the improvisational boxes, is an important factor in

achieving contrasting sound. Specific instruments, such as the shackles and the key ring,

provide a soft and tenuous effect. As a contrast to these, the use of the brake drum creates

a more impetuous effect. Conventional instruments are also used in certain combinations

or as soloists to help clarify the individuality of each of the characters. The low registers

of the tuba and the bassoon in the interlude are intended to enhance the darkness of this

section.

The beginning of the opera uses improvisational techniques that provide

contrasting sounds to the measured sections. The muttering that is used first with the

aleatoric percussion provides a peculiar timbre that later is reused in a different way. This

time it is a tonal bifurcation from the unison to the minor second. This in turn dissolves

into muttering. (MM 96-100. Ex 17).

Ex. 17

into mutteenng and some

es into mutteenng and some scornful laughter

dissolves into mutteenng and some scornful laughter

Another sound that is peculiar to this work is given in measure 434 (Ex.: 18), which is the

entire orchestra playing all the twelve tones vertically while the percussion sounds the brake

drum. (Ex. 18)

xvm

Ex. 18

limp.

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XIX

OVERVIEW OF THE STRUCTURE OF MATADOR

M.l Aleatoricbox M.2 intro M.9. "Damned..." Matador M. 13-34 Nothing I can do... Matador M.35 Aleatoric box M.36-72 "You will get used to it" Male-Chorus and XI M.73 Aleatoric box M. 74-80 transition M.80-88 clarinet solo. Prelude to following song M.89-186 "God, I don't want to pray anymore" Matador M. 186-200 clarinet solo. Postlude to "God,... M.201-231 orchestra interlude M.232 Aleatoric box M.233-285 "All human affairs..." X2 M.286-297 "No, we ought to kill them" XI M.298-325 "I know" X2 M.326 Aleatoric box M.327-387 "Night..." Matador M.388 Aleatoric box M.389-434 "Another day of nothingness" Male chorus M.435 "Count" Guard M.436 "Clear" M.437-512 Trial Judge, Matador, XI M.513-592 "Everything is vanity" Ms Justice M.593 Aleatoric box M.594-654 The dream Matador dance M.656-691 Orchestra interlude M.692 Aleatoric box M.693-745 "Freedom is not worth having" X2 M.646-757 "No, you got to do your time" XI M.758-785 "I know" X2 M.786 Aleatoric box M.787-853 "Two years" Matador M.854 Aleatoric box M.855-994 Victory song Ms Justice, Matodor and visitors.

xx

Summary

This opera is composed using conventional instruments and conventional notation. The use

of aleatoric open form, as found in the opening, is considered a common language in the

present time, and serves to provide accompaniment to a simple libretto written by the

composer. The invention of the two allegorical figures, Matador and Miss Justice, provides

a tool to exemplify the indomitable spirit. At first the libretto and the music conveys an

adverse situation and a sense of hopelessness. This is transformed into a victorious ending.

The goal of the composer is to evoke the feelings and emotions that are expressed in the

text, and the significance of spiritual awakening is the focal point of the opera. It is

intended that this be communicated through this work.

xxi

MATADOR

Inside a prison at the present time.

Matador: (In his cell, on right side of the stage)

Damned, I'm damned

Nothing I can do could take away this pain

Nothing I can do would fill the void in my soul

Nothing I can do would alleviate my sense of loss

Nothing I can do can make me feel complete again

Only time would do that, a long time-

Chorus and XI: (Middle of the stage. XI in the foreground)

You will get used to it, you will get used to it

you will get used to it, you will get used to it

no, no difference, no there's no difference, no, no difference

there's no difference, no, no difference, there's no difference.

There is no difference from the outside world

there's no difference

XI :

Here too, everybody hates everybody

There is also sorrow and grief here

we live in a world of perpetual darkness

Matador: (separated, by himself)

God I don't want to pray anymore

I feel anguish, anger, and despair

xxii

Why have you abandoned me?

Sometimes I think that you don't exist and that is better to be a criminal

If you would exist there would not be so much injustice

I am suffering the worst of situations as if I were the worst of criminals

God I don't want to pray anymore, I don't want to be good

I want to die and never, never be part of this corrupted world

I want to destroy everything around me and shout to the world

that everything is a lie, is a farce - even God!

X 2: (Middle of the stage, surrounded by other inmates)

All human affairs have two aspects, each quite different from the other. What at first seems

to be death, may prove to be life. What at first seems to be beautiful, may actually be ugly.

Ultimate freedom comes only from inside each of us. But how can we break this cycle of

wretchedness?

XI: (Angrily antagonizing X2)

No! First thing we ought to do is kill all the lawyers and politicians. Congress is full of

crooks and hypocrites. We ought to kill them, kill them all..

X2: (Emphatically opposing, looking at XI)

I know, I know who you are, and what evil spirit inhabits you. We all experience pain,

and fear, injustice, confusion. We can only struggle to stay whole while we last.

(Muttering, gradually subsiding as the lights soften).

XXlll

Matador: (In his cell, by himself at night. Soft lighting. In meditation)

Night, everyone sleeps. I wonder... I wonder...

What is life, what is death, time space, creation, destruction. Something is definitely

wrong. Where are we going?

How could I recover my destiny ?

I need to feel loved and needed. And to feel useful again, to have a mission, a purpose in

life! I wonder...I wonder ...(fading into darkness)

(Beginning of a new day. Bright. Middle of the stage.)

Chorus:

Another day of nothingness, another day of nothingness, nothing is changed and there

never will, there is no difference, another day of nothingness, another day of nothingness,

another day of nothingness, nothing is changed and there never will, there is no difference,

another day of nothingness, nothing is changed and there never will, there is no difference,

another day of nothingness, another day of nothingness, nothing is changed and there

never will, there is no difference, perpetual nothingness, confusion, deception.

XI:

Prosecutors want to win and win and win at any cost.

X2:

The inquisition, the prohibition, the war on drugs. It's all the same!

Matador:

Everything is vanity!

Nothing matters!

xxiv

The whole world is a big prison.

XI:

Prosecutors want to win and win and win at any cost!

X2:

The inquisition, the prohibition, the war on drugs!

Matador:

Everything is vanity. Nothing matters...

This whole world is a big prison.

(Suddenly the Guard comes out shouting angrily.)

Guard: (Blows the whistle to count)

Count! Count time! Everybody in their cells right now!

This is not a place for rehabilitation! We're here to break you! Both physically and

spiritually!

Even mentally! Interesting things can happen to the human mind in subjugation.

(Counts to himself as he points with his finger at each prisoner)

Clear! (As the guard shouts clear, muttering begins.)

(Muttering continues. Brass announces a trial in the court of law. Left side of the stage. A

memory-like situation is combined with the present)

Judge:

This is my court. You will have a fair trial in my court! And a chance to defend yourself in

my court!

xxv

You will be convicted in my court! Only if proven guilty beyond a reasonable doubt I have

the power to execute the law in my court according to my discretion and the benevolent

guidance of God! Do you swear to tell the truth, the whole truth and nothing but the truth,

so help you God ?

Matador: (standing before the judge)

Yes, I do!

Judge:

Tell your story to the court.

The jury; (In the background, the jury comments)

Let there be justice, let there be justice-

Matador :

I was enticed by an undercover agent. For three months, the agent called me at work until I

finally agreed...he did just what I did - why am I accused and not him ?

Judge:

That is the law - he acted in the name of the law,

XI; (angrily shouts as he crosses over to the judge's side of the stage, pointing his finger

at the judge)

Who's going to judge him now ?

xxvi

Judge:

You are out of order! Out of order! You're in contempt in the court of law,

(the chorus repeats: Let there be justice, let there be justice....) (Increasing commotion)

Matador:

He fabricated the crime! That was entrapment, like in the inquisition!

Judge:

Order! You are in contempt in the court of law!

Miss Justice: (appears solemnly dressed in a long white dress at the climax of confusion

cutting through the commotion from the back in the middle of the stage)

Everything is vanity. When are you going to learn ? When is it going to end ? Unless you

change your ways, everyone will perish, oh no, the purpose of creation was to impart

boundless goodness to all, to all, was to impart boundless goodness to all, to all. When

you lose track of God's purpose in life, you succumb to evil, you have created your own

prison.

Matador:

He fabricated the crime that was an entrapment like in the inquisition, unless there is a

change all is one sided - no! Nobody wins in this court, I'm down to rot in prison, how is

it, I want to know...

XXVll

Chorus :

Is it all lost ? Is it too late ? Is it too late ? Is it too late ?

Miss Justice:

No! It's not too late, you can find your way out, God's gift of love is for everyone. Reach

within yourself, receive the truth. No, it's not too late !

Chorus : The purpose of creation, boundless goodness to all.

SECTION II

Interlude.

Dream scene. As Matador sleeps in his cell, he has a vision of a real bullfighter doing his

dance and defeating the beast. A male dancer dressed in a matador suit performs a stylized

bullfighting event. The spot light fades out from Matador and increases on the appearing

bullfighter. When he finishes triumphantly killing the beast, the light fades out).

X2:

Freedom is not worth having, if it does not free freedom to sin, freedom to sin, what a

misery, what a wretchedness, who can decipher all this. Ultimate freedom comes from

inside each of us. But how can we break this cycle of wretchedness ?

XXVlll

XI : (angrily rebuking)

No! you got to do your time, you must pay your dues, you must pay your dues and we

should kill them all, kill them all.

X2 :1 know, I know who you are, who you are and what evil spirit inhabits you. We all

experience pain, and fear, injustice, confusion. We can only struggle to stay whole while

we last.

Matador:

Two years, two years, at last I'm beginning to feel at ease. I feel more at ease, I am

recovering my destiny, I need to forgive, to have a mission, a purpose. Two years, two

years.

Miss Justice:

Matador, blessed are you, Matador, the spiritual awakening is your most precious gift, the

purpose of creation for the boundless goodness to all, you have a mission, take position

and win your way out. God's gift of love is for everyone, reach within yourself and let

yourself receive the truth.

Chorus : (The visitor comment)

The purpose of creation, boundless goodness to all, the purpose of creation, boundless

goodness to all.

xxix

Matador:

I sing in gratitude, I am a new creation, I am defeating the beast, I am free through my

faith, through my faith in God, in God, no condemnation, no more guilt, no more guilt, I

believe, I believe, I believe in God, in God, no condemnation, no more guilt, no more

guilt, I believe, I believe, I believe in God, in God.

Miss Justice :

It is your freedom, goodness to all, it is your spirit.

Chorus :

There is now no condemnation, no more fear, no more fear, through the faith, through the

faith in God, in God.

xxx

Matador Opera in One Act

Oboe (English Horn)

Repeat continuously. Free tempo but moderately slow.

ca. 60 sec."

ents freelv)

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Indistinct toneless muttering. Some laughter, slamming dominoes on a table

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Perc. 1

Pfcrc.2

Perc.2


ca. 60 sec

vibraphone

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Perc. 1

327


ca. 60 sec.

tom-tom

tubular bells

Indistinct toneless muttering. Prisoners gradually leave the stage. Lights fade into darkness

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389

m

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ca. 60 sec

tom-tom i snare

tubular bells.

A new day. Prisoners gradually come to the stage. Gradual increase of mutterin

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Pen;. 2

jr

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Free tempo. Moderately slow. Repeat continuously pausing after each sequence

441

(Comes shouting angrily as he blows the whistle for count)

Pcrc.2

Muttering

466

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491 7 I ~r~r

Perc.2

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516

Perc.l

key ring

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p 0 ' - p 0 p f p p » » p » 0 y ^ —

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til I fi - n*I - ly a - greed.

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he did just what I did why am ac cued and not him'

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£ — - i - - i - r f — v — v , ^ = 2

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let there be jut • tice

let there be jut • Uce

let there be jut - tice

|» ^ • 0 * ^ f-

let there be jut Uce let there be JU» uce

he

who't go - lag to judge him now

O i ' ~ 1 " = = | - . | ~ | - 1

9 : 1 " • = i " 1 " 1 " 1

ac • ted in the name of the law. You are out of or - der' out of or - der-

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boun - leu good - nets to all to all When you lace track of

u ..r""• r F • 1 - -1

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N 1 "

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576

'p nJ i J I T J y P God's pur pose in lire you wc - cumb to e • vil

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586

Perc. I

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Perc.2

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i j j — j

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f r

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j

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606

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ca. 60 sec.

shackles w. block

Perc. 1

641 | ~

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