| Libby Larsen (b. 1950) is recognized as one of the foremost composers of her generation, as well as one of the most performed. A prolific composer, she produces at least one large-scale piece a year. In an era when classically trained composers conventionally earn their living in an academic environment, Larsen makes her livelihood as a composer in the "classical" or concert field. In this way she exemplifies a shift in composer economics, as many composers have abandoned the academic life in favor of self-promotion.;This dissertation examines musical patronage in the United States in the late twentieth and early twenty-first centuries by exploring the ways Larsen has developed commissions as an independent artist, incorporating the complex relationships that exist among composer and commissioner in the process of composing large works. Thus patronage, politics, audience, and composition are all intertwined in compelling ways. These relationships are shown by examining six specific works: three operas, Frankenstein, the Modern Prometheus, Eric Hermannson's Soul, Barnum's Bird, one choral symphony, Coming Forth Into Day, one cantata, Eleanor Roosevelt, and one oratorio, The Triptych..;As a group these six works illustrate consistent ideas, such as the power a composer wields in the creative act when commenting on the nature of society, the role of composer in research and development, and favoring topics resonating within American culture: war and peace, consequences of technological advancement, music as a redemptive force, and art versus entertainment. Larsen uses the commission contract negotiation process to help focus her composition by establishing parameters for performing forces, duration, and text choices.;These works demonstrate various models in her approach towards composition. They are tailored to each circumstance, such as using a workshop approach to working in near isolation. Larsen uses quotation as a unifying device in these larger works, creating a gloss on the action in order to deepen the meaning of the narrative. Larsen's music is frequently modal, with harmonies generated from overlapping vocal lines and utilizing contrasting styles to augment the underlying nature of her characters. The overall results are compelling music dramas that deserve to be heard again. |
