THE ISLE OF THE DEAD:

A MUSICAL ILLUSTRATION

BY

L. MICHELLE HOWARD

EW
A thesis submitted to the faculty of the Leigh Gerdine College of Fine Arts of
Webster University in partial fulfillment of the requirements for the Degree of
I
Master of Arts in Music.
EV

ST. LOUIS, MISSOURI

PR

© Copyright by
L. Michelle Howard
ALL RIGHTS RESERVED
(2009)

The author hereby grants to Webster University permission to reproduce and distribute publicly
paper and electronic copies of this thesis document in whole or in part for educational purposes.
 UMI Number: 1481971

All rights reserved

INFORMATION TO ALL USERS

The quality of this reproduction is dependent upon the quality of the copy submitted.

In the unlikely event that the author did not send a complete manuscript
and there are missing pages, these will be noted. Also, if material had to be removed,

EW
a note will indicate the deletion.

UMT
I
Dissertation Publishing
EV
UMI 1481971
Copyright 2010 by ProQuest LLC.
All rights reserved. This edition of the work is protected against
unauthorized copying under Title 17, United States Code.
PR

ProQuest LLC
789 East Eisenhower Parkway
P.O. Box 1346
Ann Arbor, Ml 48106-1346
 WEBSTER UNIVERSITY
THESIS APPROVAL

THE ISLE OF THE DEAD:

A MUSICAL ILLUSTRATION

by

L. Michelle Howard

APPROVED:

W
2 '^Uc&i.
Committee Chair/Mentor
- W/<3
Approval Date
Dr. Glen Bauer
IE
?ht(°
EV
h M
Committee Member (Second Reader) Approval Date
Professor Robert Chamberlin
PR

Site IDirector/bepartment Chair Approval Date

Dr. Jq#rey Carter

/2_
A'cademic Dean Approval
pproval Date
Peter Sargent, Dean Leigh Gerdine College of Fine Arts

II
 ACKNOWLEDGEMENT

THE ISLE OF THE DEAD:

A MUSICAL ILLUSTRATION

by

L. Michelle Howard

Education has consistently been an important aspect of my life personally

and professionally. The professors at Webster University have provided me with a

high quality education and a desire to continue my research and arranging

W
endeavors. I would especially like to thank Bob Chamberlin, Allen Larson, James

Staley, Earl Henry and Glen Bauer for their time, dedication and passion for higher
IE
education. Thank you for your personal attention to my never ending questions.
EV
As both of my parents are educators, Rick and Sharron Howard raised me

with a profound respect for life-long learning. Thanks, Mom and Dad, for the
PR

continued encouragement and advice throughout the researching and editing of this

paper. Your philosophy of education is the pillar from which my own teaching

methods were constructed.

Thank you to my husband, Michael Baum, for the months of understanding

and support. I could not have completed this project without you.

iii
 ABSTRACT

THE ISLE OF THE DEAD:

A MUSICAL ILLUSTRATION

by

L. Michelle Howard

The analysis of Sergei Rachmaninoff's symphonic poem, The Isle of the

Dead, revealed many interesting transformations of the Dies Irx. The mutations

W
and fragmented quotes were utilized to help illustrate Arnold Bocklin's

symbolist painting, Die Toteninsel (1883). Some fragments chosen from the Dies Irae
IE
plainsong evoked an auditory image of Charon moving across a body of water with
EV
a passenger. Further exploration into the life and works of Bocklin and

Rachmaninoff allude to a common fascination with death and the macabre.

PR

Viable and theoretical associations of the Dies Irae within both the visual and

musical works entitled The Isle of the Dead will be examined. The uncharacteristic

methods of analyzing the Dies Irae plainsong brought interesting patterns to the

forefront. These patterns provided adequate data to present an argument that both

Bocklin and Rachmaninoff may have been influenced by the Dies Irae plainsong.

IV
 THE ISLE OF THE DEAD:

A MUSICAL ILLUSTRATION

by

L. Michelle Howard

TABLE OF CONTENTS

Acknowledgement iii

Abstract iv

Table of Contents v

List of Figures and Illustrations

Introduction

Chapter I Arnold Bocklin

I EW vi

3
EV

Chapter II Dies Iras 9

Chapter III The Isle of the Dead: Symphonic Poem 19

PR

Conclusion 27

References 29

Appendices
A. The Isle of the Dead, ver. 1-5, and The Isle of Life 33
B. Dies Irae text translations 36
C. Dies Irae plainsong transcription 39
D. Dies Irae Gregorian chant 40
E. The Isle of the Dead- Augmentations and mutations
of the Dies Irae 41
F. Graphic representation of the Dies Irae 42
G. The Isle of the Dead- Condensed Score 43
v
 THE ISLE OF THE DEAD:

A MUSICAL ILLUSTRATION
by

L. Michelle Howard

LIST OF FIGURES/CHARTS/ILLUSTRATIONS

Chapter 1, Figure 1: Illustration. Self Portrait with Death Playing

the Fiddle, by Arnold Bocklin 3

W
Chapter 2, Figure 1: Chart. Intervallic distances Dies Irse 11
Chapter 2, Figure 2: Music ex. Symphony fantastique 13
Chapter 2, Figure 3: Music ex. Totentanz
IE 15
Chapter 2, Figure 4: Music ex. Sweeny Todd-
Demon Barber of Fleet Street 17
EV
Chapter 2, Figure 5: Music ex. Nightmare before Christmas 17
Chapter 2, Figure 6: Music ex. Dies Irse with mirror inversion 18

Chapter 3, Figure l.a: Music ex. Dies Irse opening figure 20

PR

Chapter 3, Figure l.b: Music ex. The Isle of the Dead 20

Chapter 3, Figure 2.a: Music ex. Dies Irse, end of first phrase 21
Chapter 3, Figure 2.b: Music ex. Retrograde of 2.a 21
Chapter 3, Figure 2.c: Music ex. Combined to form
"Water motive" 21
Chapter 3, Figure 3: Music ex. Companion to Appendix E 22
Chapter 3, Figure 4: The Isle of the Dead, tertian harmonies 23

VI
 INTRODUCTION

The intention of this thesis project is to raise questions and awareness of

some relations between the Dies Irae plainsong and both the visual and musical

illustrations of The Isle of the Dead. The obvious similarity is the subject matter:

death. Death has been a popular theme to haunt and inspire artists for many

centuries. The Dies Irae became a popular tool for musicians to easily evoke the

W
representation of death. Religions of all types have preached their beliefs about

the hereafter, but there is no tangible, concrete evidence to substantiate their

IE
theories. Therefore, the mysticism associated with life after death will continue
EV
to allow artists to draw their own conclusions.

Arnold Bocklin and Sergei Rachmaninoff seemingly shared a fascination

PR

with death. This is evident within many of their pieces. This document will

focus almost entirely on The Isle of Dead and the Dies Irae. Neither the composer

nor the artist tried to disguise their reference to death. Fragmented use of the

Dies Irae can be noticeably associated with Rachmaninoff's musical illustration of

Bocklin's famous painting. However, does Bocklin employ any elements of the

Dies Irae within his work? An unusual speculation will be discussed at great

length in the chapters to follow.

1
 The numerous resources listed within the bibliography pertaining to

Arnold Bocklin were collected in order to verify information about the artist's life

and works. Bocklin was difficult to research due to the small number of

documents written in English rather than his native language, German. Many of

the articles contained false or inconsistent data. The information presented

within this paper upheld The Oxford University Press as the dependable source.

Similarly, researching the Dies Irse was demanding, but this was due to the

EW
age of the plainchant. The majority of the documentation was based upon

restating the findings of past scholars that could not be further confirmed. This

paper will explore nontraditional methods of analysis to unlock hidden patterns

I
EV
within the Gregorian chant that has survived. The patterns found within the

Dies Irse will be directly related to both artistic representations of The Isle of the
PR

Dead.

During the preliminary review of the orchestral score(s) for

Rachmaninoff's symphonic poem, it became evident that his use of the Dies Irse

was significant and complex. In order to continue with the analysis process, a

condensed score was necessary for clarity. The transcription of The Isle of the

Dead (Appendix G) was utilized as a tool to help identify and examine the many

fragmented and mutated quotes of the Dies Irse.

2
 CHAPTER 1

ARNOLD BOCKLIN

Arnold Bocklin (1827-1901), was a Swiss Symbolist painter known for

combining classical landscapes and mythological figures. Throughout his life,

Bocklin was influenced by his travels between Switzerland, France, Germany

and Italy and by his tribulations. Arnold Bocklin voiced strong feelings that art

W
alone could portray his internal visions, just as music or poetry opens the listener

or reader to deeper thought. IE "Wenn der Maler nicht malen darf, was
ihm einfallt und wie's ihm urns Herz ist,
EV
dann ist's besser, man hangt die ganze
Kunst an den Nagel."- Arnold Bocklin.
PR

"If a painter can't paint what occurs to

him and how he feels about things, then
he may as well give up art."1

Figure 1: Bocklin, Arnold. (1872)

Self Portrait with Death Playing the Fiddle

1
Arnold Bocklin. Bocklin. Trans, by Thomas Bourke. (Munchen: Verlag F. Bruckmann KG, 1975),
p.2.

3
 Arnold Bocklin was one of seven children born to his merchant father in

Basel, Switzerland. Bocklin began his studies at the Zeichenshule under the

Romantic artist Ludwig Adam Kelterborn, prior to relocating his artistic training

in 1845 to the Dusseldorf Art Academy to study landscape painting under the

direction of Johann Wilhelm Schirmer.2 In 1848, Bocklin moved to Paris and

found himself in the throes of the French Revolution of 1848, also known as the

February Revolution. Within a year, Bocklin had returned to Basle for military

W
service and was betrothed briefly to Louise Schmidt. She died in March 1850.3

In all probability, the death of Bocklin's fiance influenced his first retreat
IE
to Italy. While he kept his ties with his homeland, Bocklin's link to Italy was
EV
strengthened by his 1853 marriage to Angela Pascucci.4 She was eleven years his

junior and gave birth to thirteen children, of which six survived.5

PR

Shortly after Bocklin's marriage, his artistic career began to thrive. Many

influential people began taking notice of his incorporation of mythological

figures within his classical landscapes. His first major success was the second

version of the painting Pan in the Reeds, 1859, that was acquired by King

2
Elizabeth Clegg. "Bocklin, Arnold." In Grove Art Online. Oxford Art Online,
http://www.oxfordartonline.com.library3.webster.edu/subscriber/article/grove/art/T00
9486.
3
Bocklin, pg. 96.
4
Clegg.
5
Bocklin, pg. 96.
4
Maximilian II of Bavaria. The recognition from the painting led to Bocklin's

appointment as professor at the Weimar Kunstschule in I860, where he taught

landscape painting. Although Bocklin enjoyed his position in Munich, his

somewhat nomadic tendencies returned.

During the next twenty-plus years, Arnold Bocklin lived for periods of

time away from Italy in Basel, Paris and Munich working on commissioned

pieces and participating in exhibitions. In 1880, "while convalescing on the

EW
island of Ischia after contracting influenza on a sketching trip to Naples, Bocklin

seems first to have had the idea on which he based five versions of the

composition The Island of the Dead."6 In addition, Marie Berna requested a

I
EV
painting to induce dreams. This painting became Bocklin's signature work. (See

Appendix A)
PR

Each of the five versions of the painting shares a similar vision. A vessel

on a body of water appears to move slowly toward a rocky island. The vessel is

simple, unadorned. The water is dark and foreboding, while the dark figure

rowing faces the island and the passenger(s). The coffin appears to be

accompanied by either a guardian or the soul of the dead. The standing figure is

absent of color. The clean, white appearance of the standing figure brings a

6
Clegg.
5
sense of calmness and finality to the scene. The cypress trees stand tall on the

island embraced by rocky cliffs. Carved into the stone of the cliffs are entrances

similar to that of a mausoleum. A simple stone port invites the vessel to dock.

The subject rowing the vessel within the paintings is assumed to be that of

Charon, the ferryman, transporting the dead across the River Styx to Hades. The

legend of the newly deceased being transported over water has been noted in

folklore from around the world since as early as the first millennium B.C.

EW
However, in Greek and Egyptian folklore the ferryman is known as "He-who-

looks-behind-himself" or "He who sees behind him."7 In the five versions of

Bocklin's painting, the oarsman appears to be facing forward.

I
EV
Although similar, the paintings contain notable differences. The

mausoleum entrances vary in location, number and size. The oarsman while
PR

always cloaked in dark clothing has varying postures and appearances. Slight

color discrepancies are evident, but the colors are not remarkably dissimilar. The

decoration on the coffin varies slightly, but the easily missed discrepancy found

within the figure in white is the most important factor. The posture of this figure

can completely change the tone of the painting regardless of the modifications to

the actual island. When the figure stands erect there is a feeling of responsibility

7
L. V. Grinsell. "The Ferryman and His Fee: A Study in Ethnology, Archaeology, and
Tradition." Folklore, vol. 68, No. 1 (March 1957): http://www.jstor.org/stable/1258157. ps 259-261.
6
and duty to deliver the coffin to the island. However, with outstretched hands,

the viewer can arrive at new conclusions. Is the figure praying, embracing death,

or calling for redemption? Is this a reference to Christianity? When the figure

bows his head, is this in silent prayer or sadness? The small alterations within

the five versions of Bocklin's painting are important elements to differentiating

the emotion behind the five paintings.

The uncertainty of Arnold Bocklin's inspiration for the landscape adds to

W
the mystery behind the artist's intention. "Carlo Bocklin (1910) has mentioned

the castle of Alfonso of Aragon on the island of Ischia as the model for this
IE
work."8 Other than the similarities visible within the building's structure and the
EV
fact that they are both islands, a connection cannot be assumed. The painting

may be a combination of many landscapes from Arnold Bocklin's life; e.g. an

PR

English Cemetery in Florence where he buried his infant daughter or the Greek

island, Pontikos, that has a remarkably similar grove of cypress trees.

The title Die Toteninsel or The Isle of the Dead may not have originated from

the artist. "As a rule the master refused to give specific titles to his paintings.

The current titles stem mostly from art-dealers or his circle of friends and

8
Arnold Bocklin, 1827-1901. Exh. Cat. (London:Arts Council, 1971), pg. 31.