Arthur Honegger's Three Versions of "King David"

Author(s): Robert S. Hines

Source: The Choral Journal, Vol. 46, No. 8 (FEBRUARY 2006), pp. 32-39
Published by: American Choral Directors Association
Stable URL: http://www.jstor.org/stable/23556153
Accessed: 24-06-2016 09:04 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.

American Choral Directors Association is collaborating with JSTOR to digitize, preserve and extend
access to The Choral Journal

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
© public and university Library, Neuchâtel
Neuchatel

Arthur Honegger's Three Versions of King David

by Robert S. Hiñes
Hines

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
 M
usicians are often unaware that there are three ex- sion, Honegger found himself solving numerous, unanticipated
tant versions of Arthur Honegger's Le Roi David problems in the months before the premiere. He soon realized
[King David], The first version was for the four- that he would be composing for a large, on-stage chorus of
hour, staged drama by the playwright/producer 100. A second issue was the size of the orchestra's pit, which
Rene Morax, for whom Honegger composed music to highlight would accommodate only seventeen instrumentalists. Honegger
specific events in David's life. A second version was Morax's learned that he would only have at his disposal an ensemble of
reduction for concert-hall performance in which he substituted percussionists, woodwind, and brass players from a nearby vil
narrator(s) for the cast, reduced the running time to a little over lage's community band, a double bassist, and a church organist,
an hour, but retained all the original music with its scoring for who could play the harmonium or piano.4 In extreme anxiety,
seventeen instruments, soloists, and chorus. The third version, Honegger turned to Stravinsky for counsel. The experienced
also for concert-hall use, was the same as the second, except Russian wisely suggested that Honegger think of this unique
the composer revised the instrumentation for large orchestra, combination of instruments as an ensemble that he had chosen.
Honegger's title for this final version was Le Roi David [King It was superb advice that presented a challenge that Honegger's
David], Psaume symphonique en troisparties d'apres le drame genius would conquer with imagination and skill.5
de Rene Morax [Symphonic Psalm in three parts after the drama The months preceding the premiere were a busy time for
by Rene Morax]. the young composer; those days were filled with personal and
The purpose of this article is to remind musicians of the emotional problems. Honegger's mother, for whom he had great
suitability of the second version for performance by college, affection, was seriously ill with stomach cancer. This crisis
community, and church groups. This revision is ideal for or- necessitated several train trips from Paris to his parents' home
ganizations with limited financial resources or for those with in Zurich. Historians believe that Honegger composed several
instrumental programs that are unable to mount a performance movements of King David during these long train rides.6
with large orchestra. Due to the close June deadline, Honegger composed the
The three versions of Le Roi David came about in the early chorus parts first, so that they could be mailed from Paris to
1920s. A central figure was the Swiss dramatist/producer Rene Switzerland, duplicated, and rehearsed. The young conductor/
Morax (1873—1963). In 1903, he and his brother Jean, a scenic pedagogue Paul Boepple (1896—1970), who later moved to
designer, founded the Theare du Jorat in the village of Mezieres. the United States (1926), rehearsed the chorus. In addition, the
However, it was not until the summer of 1907 that public perfor- solos were completed early to enable the singers time to learn
mances were initiated on Saturdays and Sundays. An impressive the music. A prudent decision was to leave the orchestration of
repertoire of music dramas was produced during the pre-World the entire work until last. It was completed on May 20, 1921,7
War I period, productions that combined professional actors Several movements from King David were performed in
with talented amateurs from surrounding villages.1 Paris with piano accompaniment shortly before the premiere
During the First World War, operations ceased; nevertheless, of the entire work in Switzerland. These excerpts were the
after 1918, when hostilities were over, a reopening was planned contralto solos "The Song of David, the Shepherd," (No. 2),
for 1921. Morax had the enthusiastic support from Werner "Song of the Handmaid" (No. 18), and "Song of the Prophets"
Reinhart, a wealthy Swiss industrialist and philanthropist. On (No 8) with M. Sheridan at the Salle Gaveau on June 2, 1921,
December 31, 1920, less than six months before the opening, and "In the Lord I put my faith" (No. 6), "Pity me. Lord" (No.
Morax asked the composer Jean Duperier to compose the music 9), and "O shall I raise mine eyes unto the mountains" (No. 21)
for his twenty-seven-scene pageant on the life of the Old Tes- by the tenor Hubbard on June 7, 1921.8
tament hero, King David.2 Morax had worked with Duperier The first performance of the staged pageant Le Roi David
several times previously, but the composer turned down the of- was on June 11, 1921, with the composer conducting. From
fer because the size of the project was prohibitive, considering the beginning, the drama was a huge success with audiences,
the nearness of the mid-June premiere. In desperation, Morax that would bring Honegger national, then European and inter
sought suggestions from the distinguished conductor Ernest An- national fame. The initial triumph led to plans for a second ver
sermet and the composer Igor Stravinsky, both of whom recom- sion for concert-hall performance, which evolved into another
mended the young Arthur Honegger. Shortly after, Morax wrote collaboration between Honegger and the author/producer Rene
Honegger and offered him a commission, which the composer Morax. As librettist, Morax reworked the entire French script,
accepted in a reply posted January 22, 1921.3 Unfortunately, using a narrator to replace the numerous actors. However,
Honegger was unable to begin composition until late February, the original music and orchestration were untouched—all the
because of previous commitments. adjustments were entirely within the spoken lines of the play.
As a result of his eagerness to accept the prestigious commis- Yet, in the process of making a textual revision appropriate for
concert-hall performance, the timing of the original pageant (c.
4 hours) was reduced to approximately 67 minutes (57 of music
r. u o Li- ■ x -x / ■ * x for the drama's three parts — 29,12:30, and 25:30). Conductors
Robert S. Hines is a professor emeritus (music) at ■.» c
the University of Hawaii at Manoa where he served as may retain the female role of the Witch of Endor for the Incanta
director of choral activities, chairman, then dean of the tl0n Plus a sin8le hne for "The Shade of Samuel"that is usually
College of Arts and Humanities. <hines@hawaii.edu> sPoken by a member of the chorus.9
It was Hans Reinhart who completed the German transla

February 2006 • CHORAL JOURNAL 33

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
tion of Morax's revision of Le Roi David, tration for symphonic forces, took place of Works (Translated into English by
Hans was the son of Werner Reinhart, three months later on March 14, 1924, Roger Nichols). For those persons com
Honegger's loyal Swiss philanthropist, at the Salle Gaveau. An enthusiastic petent in German, there is Hans Dieter
who had granted financial support to Mo- audience was on its feet applauding fol- Voss's longer analysis of the third ver
rax for the original production. The new lowing the finale's choral alleluias of Le sion in Arthur Honegger: Le Roi David
German version was premiered in Zürich Roi David. The success of this concert published in Munich 1983.12
on December 2, 1923, with Honegger's encouraged a second performance five A comparison of the two orchestra
latest orchestration for large orchestra, days later on March 19, 1924." tions of King David reveals that Honeg
Later, Edward Agate would complete an Although King David is usually heard ger, when expanding to full orchestra,
English translation.10 with large orchestra, musicians are fortu- strove constantly to retain his first con
An anticipated Paris premiere in nate in that an excellent description and cepts and musical depictions of Hebrew
French, one utilizing Honegger's orches- movement-by-movement analysis of the society and Old Testament events during
second version for seventeen instruments David's lifetime. (Table 1)
is contained in Harry Halbrieich's book, Observe that the woodwind players
Arthur Honegger—Part Two: Inventory in the early orchestration were expected

Pacific Rim
Children's Table 1

Chorus Festival
An Adventure in Choral Music from A Comparison of the Two Orchestras of King David
Pacific Rim Countries

This 9-day residential program is designed to provide Original (1921) Full Orchestra (1923)
teble choirs
treble choirs an
an opportunity experience the
opportunity to experience thecultures
cultures
of the Pacific Rim through their
iheir choral
choral music
music repertoire
repertoire
in an interactive, non-competitive environment. 2 flutes (piccolo) 2 flutes (piccolo)
Connect with new friends and different cultures.

1 oboe (English horn) 2 oboes (English horn)

HENRY
HiNRY H.
H. IECK 2 clarinets (bass clarinet) 2 clarinets (bass clarinet)
Festival Artistic Director

1 bassoon 2 bassoons (contra bassoon)

Founder and Director
Indianapolis Children's Choir
2 trumpets 2 trumpets

ÑOLA
NOLA A.
A. NAHULU
NAHULU 1 horn 4 horns
Festival Host Chorus Director

1 trombone 3 trombones
Host Chorus
Hawai'i Youth Opera Chorus
tuba

piano harp

celesta célesta
celesta

July 11-19,2006
harmonium organ
July 10-10,2007™
1 double bass strings (violins 1 and 2, violas,
July 15-23,2008
cellos and double basses)

learn • explore • grow timpani timpani

batterie: cymbals, bass drum, gong, batterie: cymbals, bass drum, gong,
tambourine, tambour tambourine, triangle

narrator narrator
Pacific Rim
MUSIC RESOURCES

Wanda Gereben, Executive Director soloists: soprano, alto and tenor soloists: soprano, alto and tenor
Ph: (808) 595-0233
www.PacRimFestival.org

mixed chorus (divisi women) mixed chorus (divisi women)13

' Independent Directors are welcome «

34 CHORAL JOURNAL • February 2006

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
 Rythme
1
/

Nev - er hath God for-sa - ken us e'en in cap - ti - vi - ty, or in ad-ver-si - ty, on us now

Sopr.

Alto

Rythme
8va

Piano LLIJJLLI JllLI JllLI JirLL. I JLTll, I J~LL

a-i—SS SS9 SS9 SS9 =

m
Sopr.
Solo r' % if \ i f~~7=p=p
lights his love, on us, now lights his love.

Sopr. '2
J» 1 «»_«» J» I =t=ig="il J» l«p Y p l#g^=5 J* 1 J* J» J* II
Is - ra - el. God the Lord, God the Lord comes to bless Is - ra - el. God the Lord.

Alto

1* j. l— —■ »—1»—»»— —■ »——• »— —j- =^fi j I— —.» J»

Is - ra - el. God the Lord, God the Lord comes to bless Is - ra - el. God the Lord.

Piano

Figure 1. Arthur Honneger, Le Roi David, No. 15, "Festive Canticle.," mm. 1-13.

to double on other instruments: ilute

on piccolo, oboe on English horn, and
clarinet on bass clarinet.13 Note too that
in the original score, piano is used rather
than harp, and the smaller harmonium
was required rather than organ. The
only change in the percussion section is
that the tambour of the first version was
replaced by the triangle in the score for
full orchestra.
The soprano, contralto, and tenor solos
are moderately difficult because Honeg
ger begins a solo with a diatonic melody
then contrasts it with dissonant passages
that can be challenging. The tenor sings
his solos without chorus. Although the
soprano and contralto soloists perform
alone with instrumental accompaniment,
they are featured in choral movements
that are central to the drama: i.e., the ex- are the "Festive Canticle" (No. 15) for
otic "Lamentations of Gilboa" (No. 14) soprano soloist, SSAA women's chorus
for soprano and contralto soloists, SSAA (Figure 1 ), and instruments, or the so
choir, narrator as voice over, and instru- prano solo and obbligato, mixed chorus,
mental accompaniment. Other examples and instruments of the finale, "The Death
EXPERT
TAILORING S3T Music Manager
Finest fabrics including permanent Software 5.0™
press and wash & wear. Superior
quality. Free color catalog and Cross-platform...Mac or Windows
fabric swatches on request.
GUARANTEED SATISFACTION Get information and demos at
Call Toll Free: 1-800-826-8612
www.musicmanager. com
EGENCY Toll Free (800) 282-9220
w-j.itwuw.m
also available for church musicians...
www.rcgown.com
P.O. Box 8988-CJ Jacksonville, FL 32211 WorshipManager™

February 2006 • CHORAL JOURNAL 35

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
 Figure 2a. Arthur Honneger, Le Roi David, No. 24, "Thee will I love, O Lord," mm. 1-6.
© Copyright 1921 by Hug & Co. Musikverlage, Zürich.

of David" (No. 27).

Many of the movements for mixed
Bring your choir and chorus, like the solos, are brief and often
favor an ABA form. They are diatonic,
perform John Butter's with contrasting middle sections that
are highly chromatic. "Thee will I love,
Gloria with
Gloría O Lord" (No. 24) for mixed chorus and
instruments is one instance (Figures 2a

guest conductor and 2b).

The "Dance Before the Ark" (No. 16)
and "The Death of David" (No. 27) are
Charles Bruffy the longest and most demanding pieces of
the entire work. Although the choral parts
are moderately difficult, nonetheless the
Join Charles Bruffy, director of the Kansas City Chorale
music is unique and possesses logic and
and the Phoenix Bach Choir, July 12-15, 2006 in Pasadena,
California and perform as part of the National Association
of Church Musician's Annual Conference.

Exciting package deal includes performance with Beyond Words

Going Beyond words
Award Winning
orchestra, 3 nights' accommodation, Los Angeles area Choral Radio Show
sightseeing tours, conference registration fees, and much
more! Available on the Web
KVNO.org
For more information please contact Sun.
sun. 12 PM CST
ACFEA Tour Consultants
Tel: (800) 886-2055
acfea
Tour Consultants
Host: Stan Schmidt
more info on clarionrecords.com

Email: info@acfea.com Performing Arts Tours Since 1955

listeners
Listeners in
in 14
14 States
states

36 CHORAL JOURNAL • February 2006

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
 When waves of death en - com - passed me, And snares of men made me a - fraid Then did he send, and take me from a -

f * ,t i f f * i £ft "lif I»f g ! g

When waves of death en - com - passed me, And snares of men made me a - fraid Then did he send, and take me from a -

bove, and drew me forth out of ma - ny wa - ter.

bove, and drew me forth out of ma - ny wa ter.

Figure 2b. Arthur Honneger, Le Roi David, No. 24, "Thee will I love, O Lord," mm. 20-25.

symmetry that singers will enjoy, adapt strumental part, and the uniqueness of when playing alone as an instrumental
to, and remember. changing combinations of instruments group: "Introduction" (No. 1), "March of
Two factors make the instrumental that require subtle adjustments in en- the Philistines" (No. 13), two of many ex
parts of the second version moderately semble playing, if blend and balance are amples, or while accompanying soloists,
difficult—the solo nature of every in- to be achieved. These issues are apparent and choruses, under spoken lines. The

February 2006 • CHORAL JOURNAL 37

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
 Figure 3. Arthur Honneger, Le Roi David, No. 23, "March of the Hebrews," mm. 25-31.

"March of the Hebrews," No. 23 (Figure The first Paris performance of the
3) is an instance when the narrator inter- second version, using the original or
Choral Warm-ups with rupts the music to speak David's words of chestration and narrator, did not occur
Pizzazz! thanks and praise to his victorious army. until June 4, 1947, and then only thanks
Undoubtedly, the key individuals to the tenacious efforts of Philippe Stra
I'm Not Crazy, I'm Vocalizing!
in any performance of King David are bin. Why the long delay is a mystery. It
I'm Vocalizing 2, with a world view
Exercises In Harmony the conductor and narrator. They must is documented that Honegger preferred
maintain the drama, because this work is the smaller instrumental ensemble even
CD kits include:
Varied instrumental accompaniments,
in essence a theatrical event. As a result, though he was invited to conduct the
booklet with lead sheets the pacing and timing of dialogue and symphonic version many times.14 Those
To hear samples and to order visit
www.vocalizing.com
music within and between movements conductors who have performed both the
1-800-286-7464 are critical to the flow of the unfolding second or third versions of King David
story line. often concur with the composer.

38 CHORAL JOURNAL • February 2006

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms
 Vocal and choral scores and the 8 Ibid, 397
Arthur Honegger's early masterpiece.
narrator's script are printed for purchase 9 Ibid, 398
in French, German, or English. Minia NOTES Honegger, "Preface" of miniature orchestral
ture scores of the original version for score (French, German).
Halbreich.
seventeen instruments (1921) and the 1 Pruieres, 6,
composer's revision for large orchestra - Halbreich, 73. Voss, book on Honegger's Le Roi David.
Sistruch, 30—1.
(1923) in French and German are also 3 Slonimsky, 217.
4 Halbreich, 74. Halbreich, 399.
available for purchase. Large scores and
their instrumental parts for both versions 5 Austin, 374—5.
are available on rental only. Additional 6 Halbreich, 75.
information on Le Roi David is available 7 Ibid, 78.

from the Swiss publisher Hug & Co.,

Zürich <info@hug-musikverlage.ch>,
scores from Música Viva, Glattbrugg,
Switzerland <info@musicaviva.ch>, or
Hug's distributor in the United States, /&L Classic Concerts InternationaC
EAM European American Music, Valley
Forge, Pennsylvania <info@eamdllc.
Come, sing with us in 2007!
cci
com>.

June 21, 2006, marks the 85th anni To Arrange A Classic Experience For Vour Ensemble,
versary of the premiere of Le Roi David. Call Us At 888CANTATA (888-226-8282) Or
Audiences around the world are fortunate Visit Us Online At www.classicconcerts.com!
that performances featuring the second
version in various languages are more
frequent. A hope is that this article will
encourage an even wider acquaintance
with the magnificent music and drama of

Bibliography

Austin, William, Music in the 20th Century. New York: W. W. Norton & Co., 1966.

Delannoy, Marcel. Arthur Honegger. Second edition with a catalog of works by Geoffrey K. Spratt. Geneva: Editiones
Slatkine. Original edition Paris: Pierre Horay, 1953.

Halbreich, Harry. Arthur Honegger. (English translation by Roger Niçois.)

Nicols.) Portland, OR: Amadeus Press, 1999.

Honegger, Arthur with Bernard Gavoty. I Am A Composer. English Translation by William O. Clough in collaboration
with Allan Arthur Willman. London: Faber& Faber, 1966.

Honegger, Arthur. Le Roi David. Psaumme symphonique en trios parties d'après

d'apres le drame de René
Rene Morax. "Preface"
in French and German. Lausanne: Foetisch Freres S. A. Editeurs, 1924. (Miniature orchestral score.) American dis
tributor: EAM European American Music.

Prunieres, Henry. "A Swiss Festival," in The New York Times, August 2, 1931, Section 8, 6.

Sistrunk, George Willis. A Comparison of the Two Orchestrations of King David by Arthur Honegger. Coral Gables,
FL: University of Miami, an unpublished doctoral thesis, 1972.

Slonimsky, Nicolas. Music Since 1900. Fifth Edition. New York: Schirmer Books (Macmillan, Inc.), 1994.

Spratt, Geoffrey K. The Music of Arthur Honegger. Cork, Ireland: Cork University Press, 1987.

Voss, Hans Dieter Arthur Honegger: Le Roi David. Munich, 1983.

Waters, Keith. Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger. Burlington, VT: Ashgate
Publishing Company, 2002.

February 2006 • CHORAL JOURNAL 39

This content downloaded from 132.236.27.217 on Fri, 24 Jun 2016 09:04:54 UTC
All use subject to http://about.jstor.org/terms