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A Survey of the Solo Guitar Works Written for Julian Bream Michael Mccallie

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A Survey of the Solo Guitar Works Written for Julian Bream Michael Mccallie Florida State University Libraries 2015 A Survey of the Solo Guitar Works Written for Julian Bream Michael McCallie Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A SURVEY OF THE SOLO GUITAR WORKS WRITTEN FOR JULIAN BREAM By MICHAEL MCCALLIE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2015 Michael McCallie defended this treatise on October 22, 2015. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise Jane Piper Clendinning University Representative Benjamin Sung Committee Member Melanie Punter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank the members of my Doctoral committee, Jane Piper Clendinning, Bruce Holzman, Melanie Punter and Benjamin Sung, for their support and encouragement during the writing of this dissertation. I would also like to thank Zachary Johnson, Eliot Fisk, David Tanenbaum, Marco Sartor, David Starobin and Angelo Gilardino for agreeing to be interviewed and for lending their expertise to this project. I would like to thank my parents, Mike and Pam McCallie, my grandparents Lowell and Sharon Coe, and my brother Andrew McCallie for a lifetime of love and support and for never doubting my decision to become a musician. I would also like to thank my teachers, Charles Evans, Stephen Robinson, Benjamin Verdery and Bruce Holzman for introducing me to many of the works written for Julian Bream, and for offering valuable insight into performing many of them. Most importantly, I would like to thank my wife Kristen Pavlik McCallie without whom this treatise would not have been possible. Thank you for the hours of listening and proofreading and for the years of tireless support. I love you. iii TABLE OF CONTENTS List of Figures ................................................................................................................................ vi List of Musical Examples ............................................................................................................. vii Abstract .......................................................................................................................................... ix CHAPTER 1—INTRODUCTION ................................................................................................. 1 Biography of Julian Bream .......................................................................................................... 2 Segovia and Bream: Creating a Repertoire .................................................................................. 6 A Note on the Choice of Pieces ................................................................................................... 8 CHAPTER 2—THE PIECES WRITTEN FOR JULIAN BREAM ............................................. 11 Reginald Smith-Brindle – Nocturne (1946), El Polifemo de Oro (1956), Variants on Two Themes of J. S. Bach (1970) ............................................................................................... 11 Lennox Berkeley – Sonatina, Op. 52 No. 1 (1957) ................................................................... 19 Hans Werner Henze – Drei tentos (1958), Royal Winter Music: First Sonata (1976) Royal Winter Music: Second Sonata (1980) .............................................................................. 24 Denis ApIvor – Variations, Op. 29 (1959) ................................................................................ 30 Benjamin Britten – Nocturnal, Op. 70 after John Dowland (1963) .......................................... 33 Richard Rodney Bennett – Five Impromptus (1968), Sonata (1983) ........................................ 40 Tom Eastwood – Ballade-Phantasy (1968) ............................................................................... 47 Peter Racine Fricker – Paseo, Op. 61 (1970) ............................................................................ 50 Malcolm Arnold – Fantasy for Guitar, Op. 107 (1971) ............................................................ 55 William Walton – Five Bagatelles (1971) ................................................................................. 60 Humphrey Searle – Five (1974) ................................................................................................. 66 Alan Rawsthorne – Elegy (1975) ............................................................................................... 69 Giles Swayne – Solo, Op. 42 (1986, rev. 1995) ......................................................................... 74 Peter Maxwell-Davies – Hill Runes (1981) ............................................................................... 79 Michael Berkeley – Sonata in One Movement (1982) .............................................................. 83 Michael Tippett – The Blue Guitar (1982-1983) ....................................................................... 88 Tōru Takemitsu – All in Twilight (1987), Muir Woods from In the Woods (1995) ................... 93 Leo Brouwer – Sonata (1990) .................................................................................................. 102 CHAPTER 3—CONCLUSION .................................................................................................. 106 APPENDICES ............................................................................................................................ 107 A—INTERVIEWS ..................................................................................................................... 107 B—PERMISSIONS AND CORRESPONDENCE .................................................................... 135 C—THE PIECES: REFERENCE TABLE ................................................................................. 155 REFERENCES ........................................................................................................................... 159 iv BIOGRAPHICAL SKETCH ...................................................................................................... 168 v LIST OF FIGURES Figure 1: B—A—C—H Motive ................................................................................................... 15 Figure 2: J. S. Bach, Fugue Subject from BWV 861 .................................................................... 15 Figure 3: ApIvor, Variations, Op. 29 Twelve-Tone Matrix ......................................................... 32 Figure 4: Eliot Fisk’s Interpretation of the Form of Britten’s Nocturnal ..................................... 39 Figure 5: Octatonic Scale .............................................................................................................. 98 vi LIST OF MUSICAL EXAMPLES Example 1: Smith-Brindle, Nocturne, mm. 1-5 ............................................................................ 13 Example 2: Smith-Brindle, Nocturne, mm. 35-38 ........................................................................ 14 Example 3: Smith-Brindle, Variants..., “Poco adagio,” mm. 1-4 ............................................... 16 Example 4: Smith-Brindle, Variants..., “Vivo,” mm. 4 ................................................................ 16 Example 5: Smith-Brindle, Variants..., “Lento,” mm. 1 .............................................................. 17 Example 6: Smith-Brindle, Variants..., “Lento,” mm. 12-13 ....................................................... 17 Example 7: Smith-Brindle, Variants..., “Allegretto,” mm. 2-5 .................................................... 18 Example 8: L. Berkeley, Sonatina, Op. 52 No. 1, “Lento,” mm. 1 .............................................. 23 Example 9: Henze, Royal Winter Music II, “Mad Lady Macbeth,” mm. 270-271 ...................... 28 Example 10: ApIvor, Variations, Op. 29, “Poco lento: Affetuoso,” mm. 1 ................................. 32 Example 11: Bennett, Impromptus, “Agitato,” mm. 30-31 .......................................................... 45 Example 12: Bennett, Impromptus, “Con fuoco,” mm. 1-3 ......................................................... 46 Example 13: Eastwood, Ballade-Phantasy, “Ballade,” mm. 1-4 ................................................. 48 Example 14: Eastwood, Ballade-Phantasy, “Ballade,” mm. 57 ................................................... 48 Example 15: Eastwood, Ballade-Phantasy, “Phantasy,” mm. 1-2 ............................................... 49 Example 16: Fricker, Paseo, Op. 61, mm. 1-2 .............................................................................. 52 Example 17: Fricker, Paseo, Op. 61, mm. 144-145 ...................................................................... 53 Example 18: Fricker, Paseo, Op. 61, mm. 199-202 ...................................................................... 53 Example 19: Arnold, Fantasy for Guitar, Op. 107, “Maestoso,” mm. 1-2 ................................... 57 Example 20: Arnold, Fantasy for Guitar, Op. 107, “Scherzo,” mm. 8-9 ..................................... 58 Example 21: Arnold, Fantasy for Guitar, Op. 107, “Fughetta,” mm. 1-7 .................................... 58 Example 22: Arnold, Fantasy for Guitar, Op. 107, “March,” mm. 3-4 ....................................... 59 vii Example 23: Walton, Five Bagatelles, “Allegro,” mm. 14-18 ....................................................
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