The Avant-Garde Horn: A Select Annotated Bibliography with an Analysis and

Comparison of Two Representative Works

D.M.A. Document

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical

Arts in the Graduate School of The Ohio State University

By

Benjamin Thomas Hottensmith

Graduate Program in Music

The Ohio State University

2020

D.M.A. Document Committee

Professor Bruce Henniss, Advisor

Dr. David Hedgecoth

Professor Timothy Leasure

Dr. Russell Mikkelson

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Copyrighted by

Benjamin Thomas Hottensmith

2020

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Abstract

The horn’s strong tradition of solo repertoire has led to shortcomings in unique and unusual works when compared to other instruments. Solo horn works associated with the avant-garde, in particular, are lacking, though not entirely non-existent. The term

“avant-garde” itself is also varied in its usage. This document explores and proposes a definition of avant-garde works, noting philosophical, social, and musical characteristics common in works and composers associated with the term. The definition is then applied to solo works for the horn in order to label existing works and establish a sub-genre of avant-garde works within the larger solo horn repertoire. Works deemed avant-garde are displayed in the form of an annotated bibliography including information in regard to the composer, title, year composed, duration, publisher, present extended techniques and theatrical elements, and a brief overview of the work. Works included in the bibliography are able to be easily acquired through publishers, libraries, composers’ websites, and file sharing websites such as IMSLP. Also provided is a detailed analysis of the evident avant-garde considerations of two exemplary works: No. 36 (NONcerto for Horn) by

Richard Ayres and Nebadon für Horn und Elektronische Musik by Karlheinz

Stockhausen. The goal in the creation of this document is to provide a resource for horn players and teachers interested in performing works of this type and to show that the solo horn medium is and can be further explored in relation to the avant-garde genre as a

ii whole. Composers may also benefit from this document by gaining insight to how the horn is incorporated and utilized in avant-garde music, perhaps spurring action to write more for the instrument in this setting.

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Dedication

To Ashley, for all your love, support, and patience. I cannot thank you enough.

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Acknowledgments

I would like to thank the many people who guided me during the creation and development of this document. My committee members Dr. Mikkelson, Dr. Hedgecoth, and Professor Leasure who provided edits and suggestions to this document. The Ohio

State University Music and Dance librarians Gretchen Atkinson, Jared Ogier, and Sean

Ferguson for assistance with research and the many scores I had sent to their desk.

Amanda Midkiff and Michael Rueda for their assistance in the acquisition of scores. And most importantly, I would like to thank Mr. Bruce Henniss for his mentorship, support, and constant positive image over the past three years. I feel extremely fortunate to have been provided the opportunity to be your Graduate Associate and I am forever grateful for your musical and academic guidance.

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Vita

Bachelor of Music – Horn Performance, Kent State University, 2014

Master of Music – Brass Performance, The University of Akron, 2016

Doctor of Musical Arts – Performance and Pedagogy, The Ohio State University, 2020

Fields of Study

Major Field: Music

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Table of Contents

Abstract ...... ii Dedication ...... iv Acknowledgments ...... v Vita ...... vi List of Figures ...... viii Chapter 1. Introduction ...... 1 Purpose ...... 1 Literature Review ...... 3 Definition of Terms ...... 5 Limitations ...... 6 Organization ...... 7 Chapter 2. A Definition of Avant-Garde Music ...... 9 Chapter 3. Annotated Bibliography of Avant-Garde Works for Solo Horn ...... 17 Works for Solo Horn or with Electronic Accompaniment (one performer) ...... 17 Works for Horn with Keyboard Accompaniment (two performers) ...... 42 Works for Horn with Ensemble Accompaniment ...... 48 Chapter 4. Analysis of Two Representative Works ...... 54 Richard Ayres – No. 36 (NONcerto for Horn) ...... 55 Karlheinz Stockhausen – Nebadon für Horn und Electronische Musik ...... 66 Chapter 5. Conclusion ...... 76 Bibliography ...... 82 Appendix A. List of Works ...... 85

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List of Figures

Figure 1 – Ayres: No. 36, Movement 1, m. 9, Solo Horn (concert pitch)...... 57 Figure 2 – Ayres: No. 36, Movement 3, m. 231-232, Solo horn (concert pitch)...... 58 Figure 3 – Ayres: No. 36, Movement 3, m. 35-36, Clarinets and Bassoon...... 59 Figure 4 – Ayres: No. 36, Movement 1, m. 48, Solo horn...... 60 Figure 5 – Ayres: No. 36, Movement 1, m. 28, Solo horn...... 60 Figure 6 – Ayres: No. 36, Movement 1, m. 36, Solo horn...... 61 Figure 7 – Ayres: No. 36, Movement 2, m. 1...... 62 Figure 8 – Ayres: No. 36, Movement 2, m. 26...... 64 Figure 9 – Stockhausen: Nebadon, minute 12:10-12:20, Horn in F...... 68 Figure 10 – Stockhausen: Nebadon, minute 8:30-8:40...... 69 Figure 11 – Stockhausen: Nebadon, minute10:00-10:15...... 69 Figure 12 – Stockhausen: Nebadon, Performance Practice Notes ...... 72 Figure 13 – Stockhausen: Nebadon, minute 8:40-10:00...... 73

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Chapter 1. Introduction

Since the turn of the twentieth century, new and varied schools of composition have formed, leading music into unexplored territories. The dawn of the 20th century brought about the proliferation of various “strands” of musical composition, expanding tonal landscapes and bringing a challenge to what might be possible in the realm of music performance.1Along with the compositional approaches, labels have been attributed to the music to classify unique types of composers and their works into unique groups. These categories, such as atonal, serial, modernist, and neo-romantic, among others, have led to their own styles and movements within the sphere of western art music. One label in particular has been applied to a genre of compositions pushing the boundaries of what is possible and acceptable in musical composition. The term avant-garde has its roots with the French Revolution and has been applied to the arts denoting those composers and compositions that are “outside-the-box” of their respective art form.

Purpose

The purpose of this document is to identify and investigate works within the solo horn repertoire that can be considered avant-garde. String instruments, piano, percussion, and the trombone have largely been associated with the avant-garde through their many compositions by understandably avant-garde composers, yet the horn is not as readily

1 The “strands” as outlined by Leon Botstein are the Second Viennese School, French-Russian axis, German Expressionism, Indigenous Modernism, and Experimentalism. 1 associated with this compositional genre. Still, composers have long experimented with the many sounds and features unique to the horn, and many works to incorporate and expand upon these features have resulted. As horn players around the world seek new tonal palettes and approaches to performance, this document will serve as an important and timely source of data and information. The following questions will be explored in the document:

1. What are the characteristics of avant-garde works for horn?

2. What are the works that feature these characteristics and therefore can be considered avant-garde?

3. How are the characteristics specifically realized in works of this type?

The answers to these questions will be beneficial to performers and teachers of the horn, as they will help to create a guide for those looking to perform interesting and alternative works for the instrument. The lack of modern works for horn, compared to the rest of the brass family, is partly due to the rich tradition of works from composers like Brahms,

Schumann, and Mozart. Other brass instruments do not have works by composers of this caliber, owing to their more enthusiastic approach to new music. The strong historical tradition of horn playing has contributed to its modern-day shortcomings concerning avant-garde repertoire.2 Through this document a genre of avant-garde works for solo horn that are accessible and available to performers and teachers will be shown to exist.

2 Douglas Hill, Extended Techniques for the Horn: A Practical Handbook for Students, Performers, and Composers (Eau Claire, WI: Really Good Music, LLC, 2010), 7. 2

The importance of a document of this type has been noted by renowned and respected performers and teachers of the horn. Douglas Hill, whose book on extended techniques is noted in this document, comments on the need for new repertoire in the introduction to the aforementioned text. He states that though there are champions of new horn works, there are still many performers “who ignore or denounce invention and experimentation and openly discourage composers from utilizing the numerous possibilities of our highly versatile instrument.”3 His belief is that new, perhaps more experimental music is desirable for the art form, and though a rich history of solo works exist, it is hardly enough.

Adding additional support to this position, Stefan Dohr, principal hornist of the

Berlin Philharmonic Orchestra, reinforces the need for students to explore modern works.

In a recent live interview, he is asked whether “younger students should be investing more time into learning modern pieces,” to which his reply is “absolutely.”4 Dohr is a champion of new music for the horn, having performed in “new music” ensembles such as Ensemble Modern, in addition to commissioning and premiering multiple concerti.

Literature Review

Extant literature regarding avant-garde music for horn does not delve into the existing repertoire of this type so much as it examines the general compositional traits used by composers in contemporary horn works. A recent publication by Eric Hessel describes current compositional trends and their relation to the standard pedagogy of the

3 Hill, Extended Techniques, 7. 4 Sarah Willis, “Stefan Dohr on Sarah’s Live Horn Hangouts,” Filmed February 20, 2020, YouTube video, 56:36, (Posted February 20, 2020, https://www.youtube.com/watch?v=JIf7QrK0A78), 17:46-17:52. 3 horn.5 Microtones, advanced extended techniques, rhythmic complexity, and unusual notations are described with methods for approaching the performance of these features.

Other guides to performing unconventional or extended techniques commonly found in avant-garde music are commonplace, and have dealt with general extended techniques,6 or the use of techniques in specific works.7 None of the documents, however, use the term avant-garde when referring to the horn or horn music.

However, documents have been written relating the term to music of other instruments, notably trombone and tuba. Documents that center on trombone performance include works utilizing extended techniques, the history and development of avant-garde repertoire, and etudes composed utilizing avant-garde techniques. Similar writings focused on tuba performance include analyses and comparisons of performances of avant-garde repertoire and new techniques in the avant-garde repertoire.

Bibliographic listings of works for horn rely on objective characteristics as parameters, such as instrumentation or composer nationality. Groupings of works by style or musical characteristics are less common or outdated. An existing bibliography of works for horn and fixed media includes works that may be considered avant-garde, though only a few actually qualify as such.

This document differs from those mentioned above in that it will characterize a specific type of writing for the horn. The avant-garde label is often applied to pieces in

5 Eric Thomas Hessel, “Addressing Technical and Music Demands of Contemporary Music for Horn Through Newly-Composed Etudes,” (DMA diss., The University of North Texas), 2019. 6 Timothy F. Thompson, “Extended Techniques for the Horn: An Historical Overview with Practical Performance Applications,” (DMA diss., University of Wisconsin-Madison), 1997. 7 Carol Jean Deats, “Toward a Pedagogy of Extended Techniques for Horn Derived from Vincent Persichetti’s ‘Parable for Solo Horn,’ Op. 120,” Ph.D. Diss., Texas Tech University, 2001. 4 the repertoire, though specific characteristics are not defined, and the term remains one of subjectivity. By offering a definition of the term avant-garde and providing a bibliographical listing of works of this type, a sub-genre of the solo horn repertoire can be developed. Additionally, this document will serve as a source for performers looking for contemporary compositions to add variety to recitals or other performances.

Definition of Terms

Various terms will be utilized throughout the document to describe compositional aspects and traits. The following terms refer to the methodology of this document as well as specific bibliographic entries.

Avant-garde – Compositions containing significant non-traditional performing aspects including, but not limited to, the extensive use of extended techniques, unusual extended techniques, theatrical elements, aleatoric elements, and performance instructions, possibly combined with graphical notations, that may challenge a listener’s concept of the traditional medium.

Solo Horn Music – Music composed for unaccompanied solo horn or with electronic accompaniment, solo horn with keyboard accompaniment, or solo horn with ensemble accompaniment. Works for horn and one or more other instruments (as in wind quintets, brass quintets, chamber music utilizing the horn, duets, trios, etc.) will not be considered as the horn is not the focal aspect of those types of works. Works for multiple solo horns will also not be considered, as the intent is for single performers of the horn.

Furthermore, works written for a variable instrumentation, or any instrument, are not considered, since the pieces are not explicitly crafted with the horn in mind.

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Extended techniques – Extended techniques are any sounds created by using the horn in a non-traditional as opposed to traditional (i.e. by using the lips to buzz into the mouthpiece with an open hand in the bell and an attempt at correct intonation) manner.

Douglas Hill’s book Extended Techniques for the Horn thoroughly examines the many extended techniques possible on the instrument and is used as a basis for the definition of extended techniques for this document.

Theatrical elements – Theatrical elements are indications in the score that results in a visual or physical, non-musical effect, including, but not limited to, lighting specifications, staging directions, costumes, and acting or speaking.

Performance elements – Performance elements are specific directions indicated by composers that describe other performance aspects of a work and include, but are not limited to, amplification, sound design, memorization, and audience considerations.

Limitations

One limitation with the present study is the subjective nature of what the avant- garde is and what pieces and composers are considered to be avant-garde. As will be shown in Chapter 2, a clear and concise definition of the avant-garde is difficult to arrive at, thus making the bibliography in Chapter 3 subjective. Nevertheless, a rational definition of avant-garde music will be derived from multiple sources so that the bibliography is possible.

Another concern is the label “avant-garde” and its association with composers.

Some composers, like Karlheinz Stockhausen, have been firmly established as avant- garde and embrace the label. Others, like Morton Feldman, disparage the label and

6 believe their music does not belong to that, or any, style or genre. However, composers ultimately have no say in how their music is interpreted after it has been created. Public and critical reception decides what the music is, even if the creators of the music disagree.

Finally, while every effort was made to examine every work, some scores were unable to be obtained due to their obscure nature and lack of availability. Many works of this type are unpublished or only available from the composer. The works included in the bibliography are those in which scores were readily able to be purchased from publishers, borrowed from libraries, available on IMSLP, or through composers’ websites. Since the musical aspects of a work, both notational and aural, contain features lending works to specific genres, works in which no scores or recordings are available are not included in the bibliography. Records of works may exist, but without a tangible aspect of the music itself it is not possible to determine avant-garde characteristics.

Organization

This document is divided into five chapters. In Chapter 2, characteristics of avant- garde music will be explored, and the relationship of these characteristics to solo repertoire for horn will be examined. This will allow for existing works for solo horn to be classified as avant-garde works. Chapter 3 contains a list of solo works for the horn that are deemed avant-garde. Each work will have an annotation describing its avant- garde characteristics along with other useful information to aid one in understanding the basic features of each work. The bibliography will be limited to works composed for solo horn, solo horn with keyboard or electronic accompaniment, and solo horn with ensemble

7 accompaniment between 1960 and 2015. In Chapter 4, an in-depth analysis of two specific works, No. 36 - NONcerto for Horn by Richard Ayres, and Nebadon for Horn and Electronics by Karlheinz Stockhausen is presented detailing the specific avant-garde traits of each work. These two works, though both avant-garde, exhibit their avant- gardism in different ways, and a comparison will be helpful in further understanding and contextualizing avant-garde horn repertoire. In Chapter 5, direction and suggestions for future research are presented along with a summary of the findings.

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Chapter 2. A Definition of Avant-Garde Music

In order to develop a repertoire of avant-garde horn works, a definition as to what avant-garde music is, or is not, must be established. Unfortunately, this is no straightforward task, as much debate surrounds the term and which composers and works qualify to be labeled as such.

The process of arriving at a concise definition of avant-garde music involves surveying the varied uses of the terms and isolating the common characteristics.

After a general sense of the term is acquired, it can be applied to horn music in order to discern avant-garde characteristics specific to horn music, and thus can be applied to works as a sort of criteria. The process proved to be a challenge as multiple varying definitions and descriptions of avant-garde music exist. However, many similar characteristics are shared between differing viewpoints and it is these commonalities that are used for the definition for the duration of this paper.

Sources consulted include music dictionaries and encyclopedias, books dealing specifically with the avant-garde, and compilation books containing chapters regarding avant-garde music. Within these sources, many applications of the term were found, yet none laid out a definitive, concise overview of what avant-garde music is or contains.

Paul Griffiths even states in his book A Concise History of Avant-Garde Music: From

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Debussy to Boulez that “it is difficult to generalize about avant-garde music.”8

Additionally, in the foreword to Music of the Twentieth-Century Avant-Garde: A

Biocritical Sourcebook, Jonathan Kramer points out that the multiple authors contributing to the book “do not completely agree on the essential attributes of avant-gardism.”9 In the preface to the same book, the editor, Larry Sitsky, notes that “everyone has their own idea of what avant-garde means and who belongs on the list.”10 Despite these disclaimers that avant-garde music is difficult to describe, key points are made apparent.

Definitions

The term avant-garde itself is of French origin and translates to English as

“advanced-guard,” originally referring to French military groups out front of the main fighting forces during the French revolution.11 The literal sense of the word does not directly relate to music, though the term has been applied to and associated with the arts as a whole. As a musical term, the Oxford Dictionary of Music defines avant-garde as a

“term used in the arts to denote those who make a radical departure from tradition.”12 The

Harvard Dictionary of Music, on the other hand, does not contain an entry for avant- garde, but does mention the term in its entry on modernism. Its definition of modernism states “the avant-garde musical aesthetics from the late 19th century to mid-20th century.

8 Paul Griffiths, A Concise History of Avant-Garde Music: From Debussy to Boulez (New York: Oxford University Press, 1978), 7. 9 Jonathan D. Kramer, foreword to Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, ed. Larry Sitsky (Westport, Connecticut: Greenwood Press, 2002), xi. 10 Larry Sitsky, preface to Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Connecticut: Greenwood Press, 2002), xix. 11 Grove Music Online, s.v. “Avant garde,” by Jim Samson, accessed February 17, 2020, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000001573. 12 Oxford Dictionary of Music, 2nd ed. (2006), s.v. “avant-garde.” 10

In compositional terms, there are several general traits common to much modernist music: a corrosion, or even refusal, of traditional harmonic and rhythmic organization; the use of unconventional instruments and sounds; and distortions of inherited musical forms.”13 These two dictionary definitions, though somewhat vague, point to a basic grouping of composers and compositions with shared, non-traditional approaches to music making. Even more simply, avant-garde music pushes the boundaries of established traditions, often radically.

Literature Review

The dictionary definitions, however, fail to illustrate concerns about what avant- garde music is, which can be clearly illustrated through the view of John Cage and his music. Larry Sitsky’s book on the avant-garde includes a chapter on Cage, and Griffiths discusses Cage and his music often. Additionally, Kramer states in his foreword to

Sitsky’s book that Cage remained an avant-gardist throughout his career, while also referring to him as a “hardcore avant-gardist” along with Karlheinz Stockhausen.14

However, Michael Nyman’s text, Experimental Music: Cage and Beyond, argues that

Cage is an experimental composer, and that the term “experimental” represents music different from the avant-garde.15 One specific and important distinction between the two terms, avant-garde and experimental, is that avant-garde music is of an existing tradition, though at the fringes, and experimental music exists wholly outside tradition.16 David

13 Harvard Dictionary of Music, 4th ed. (2003), s.v. “modernism.” 14 Kramer, foreword, xiv-xvi. 15 Michael Nyman, Experimental Music: Cage and Beyond (Cambridge: Cambridge University Press, 1999). 16 Nyman, Experimental Music, 1. 11

Nicholls supports the avant-garde/experimental dichotomy, asserting that avant-garde music occupies “an extreme position within a tradition,” with the “Euro-centric art music tradition as a reference point.”17 Since a goal through the creation of this document is to provide a listing of avant-garde works for solo horn, the solo horn tradition will be used as reference. The traditional repertoire includes works by Mozart, Beethoven, Schumann, and Brahms, among many others, and is largely classified by the common historical eras of Classical, Romantic, and Twentieth-Century.

Though the distinction between avant-garde and experimental music can be argued, for the purposes of this document, both will be considered as avant-garde. In another view, experimental music can be considered as a specific niche within avant- garde music, much like how a square relates to a rectangle. A square is a rectangle, but a rectangle is not necessarily a square; experimental music is avant-garde, but avant-garde music is not necessarily experimental.

Through their discussions of composers like John Cage, Nyman, Kramer, and

Griffiths, among others, illustrate a key point regarding the beliefs and intents of avant- garde composers. The central tenet of avant-garde composers is the intent to challenge the listener. Kramer describes avant-garde music as trying to “upset not a small elite but as many people as possible,” and that “it confronts its audiences with aggressively new statements and sound objects.”18 Nicholls supports the idea, saying avant-garde music is likely to “challenge, rather than comfort.”19 Additionally, avant-garde music is described

17 David Nicholls, “Avant-Garde and Experimental Music,” in The Cambridge History of American Music, ed. David Nicholls (Cambridge: Cambridge University Press, 1998), 518. 18 Kramer, foreword, xv. 19 Nicholls, “Avant-Garde and Experimental Music,” 518. 12 by Robert Adlington as having a “dedication to provocation, controversy, and shock.”20

Challenging works can be seen by audiences as being radical, thus elucidating the definitions provided by the dictionaries.

Characteristics

The key idea of avant-garde composers outlined above, while not necessarily musical in itself, manifests in musical ways. One way composers manifest the avant- garde ideas musically is through the use of extended instrumental techniques. Extended techniques are common to avant-garde works, particularly works from the 1960s.21

However, as is pointed out by Kramer, “The label…is routinely applied to music involving extended instrumental techniques and/or nontraditional notation,” and is thus

“trivialized.”22 In his view, there is much more to an avant-garde work. Extended techniques also help composers to create a “distinctive sound-world,” as described by

David Osmond-Smith in relation to what he feels is a “key work” of the avant-garde of the 1950s.23 It is further suggested by Adlington that “the creation of novel sound worlds appears to indicate a decided rejection of worldly engagement.”24 The use of extended techniques is also obvious to audiences, and may seem radical and challenging by those who are unfamiliar with them.

20 Robert Adlington, “Introduction: Avant-Garde Music and the Sixties,” in Sound Commitments: Avant- garde Music and the Sixties, ed. Robert Adlington, (Oxford: Oxford University Press, 2009), 3. 21 Richard Toop, “Expanding Horizons: The International Avant-Garde,” in The Cambridge History of Twentieth Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004), 473. 22 Kramer, foreword, xvii. 23 David Osmond-Smith, “New Beginnings: The International Avant-Garde,” in The Cambridge History of Twentieth Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004), 348-49. 24 Adlington, “Introduction,” 4. 13

Avant-garde music also contains theatrical elements which serve to “enhance the composer’s avant-gardism.”25 Theatrical elements, such as stage directions, speaking or acting, or the use of props are not found in the traditional horn repertoire, and thus works containing such elements lie at the edges of, or outside tradition. Griffiths also notes that

“by 1970 there were few vanguard composers who were not bringing theatrical elements into their music.”26

Another common characteristic of avant-garde works is the use of aleatoric procedures or devices. Aleatoric (also indeterminate, or chance) elements confront the concept of notated music itself and the years of training that musicians undertake in order to faithfully reproduce the notes on a score. John Cage, for example, is most notably associated with indeterminacy and the use of chance procedures in his compositions. His notorious composition 4’33” is often used as an example. As is said by Kramer, “Cage’s indeterminacy…openly courts rejection.”27

Though details and discussions surround the various ways avant-garde beliefs, ideas, philosophies, and aesthetics are realized, a more general approach to avant-garde music will be taken for the purposes of this document. As such, basic features of avant- garde music include, but are not limited to, the following characteristics:

Extended techniques

Theatrical elements

Aleatoric (improvisational) elements

25Gardner Read, Compendium of Modern Instrumental Techniques (Westport, Connecticut: Greenwood Press, 1993), 3. 26 Griffiths, Concise History, 182. 27 Kramer, foreword, xv. 14

Unusual score notations

Written performance instructions

Furthermore, the definition of avant-garde music that will be considered for this document, and for which the works in Chapter 3 have been evaluated, is as follows:

Compositions containing significant non-traditional performing aspects including, but not limited to, the extensive use of extended techniques, unusual extended techniques, theatrical elements, aleatoric elements, and performance instructions, possibly combined with graphical notations, that may challenge a listener’s concept of the traditional medium. The traditional medium in this regard being works for solo horn.

Although, some works may contain aspects relating to all the above characteristics, other works may only contain aspects from one or two. Kramer points out that “there are several ways a work can exhibit avant-gardism, each to varying degrees.”28 Moreover, certain aspects, such as theatrical elements, carry more weight when considering a work as avant-garde.29 Regarding horn playing, some extended techniques, such as vocalizations or the removal of slides from the instrument, are more uncommon and unusual than the use of mutes, stopped notes, or flutter-tonguing, and thus carry more weight as well. The degree to which a characteristic is utilized in a work is also important to making the decision about whether a work is avant-garde or not. For example, a work composed entirely in graphical notation leans more toward the avant- garde than a work in standard notation, or one with only a few graphical notations.

28 Kramer, foreword, xiv. 29 Gardner Read, Instrumental Techniques, 3. 15

Ultimately, the classification of a work as avant-garde is subjective. Works may lack any sort of unique visual component, though their sonic components are significant enough to warrant avant-garde inclusion. The opposite may result as well, where more traditional sonic elements are utilized, though many theatrical elements may be included rendering the work avant-garde. It may also be possible that a work is avant-garde even if no unusual aural or visual elements are included, insofar as another avant-garde element is present and dominant, such as an aleatoric premise. Finally, the particular experiences of the observer play a significant role in the perception of whether a work is or is not avant- garde. A work may be thoroughly avant-garde to one person, but hardly to another. The purpose of establishing the preceding definition is to mitigate the differences in experience among readers of this document.

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Chapter 3. Annotated Bibliography of Avant-Garde Works for Solo Horn

The following annotated bibliography contains works decidedly avant-garde as outlined by the characteristics and definitions in Chapter 2. Though every effort has been taken in being as objective as possible in this list, some subjectivity is necessary in the selection of works. Many pieces contain avant-garde elements, though not extensively enough or in a manner consistent with avant-garde characteristics to be included. Each works’ technical playing requirements (including use of extended techniques), notational aspects, extramusical effects, unconventional performance aspects, and compositional context evaluated when considering whether or not to be included in the bibliography.

The scope of the bibliography is limited to works originally composed for solo horn and are easily accessible to the interested performer. Works are able to be acquired through publishers, libraries, composers’ websites, or score sharing sites such as IMSLP.

Works for Solo Horn or with Electronic Accompaniment (one performer)

Arnecke, Jörn (b. 1973) – Bamberger Hörnchen, für Horn Solo

Composed: 2010

Duration: 9:00

Publisher: Edition Sikorski

Discography: None

Extended Techniques: Multiphonics, stopped notes

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Theatrical Elements: None

Bamberger Hörnchen was commissioned for the 2010 ARD International Music

Competition as a required piece for the horn category. The work is a single movement that explores a variety of sounds and effects. Important to the work is the use of multiphonics. Extended, chorale-like sections of multiphonics serve to separate sections throughout the work. Arnecke also provides two separate lines for the vocal aspect of the technique, one for male voices and one for female. The lines are at times different, where a male voice might change pitches, but a female voice would sustain a different pitch altogether. Another significant aspect of the work is the use of the harmonic series.

Arnecke provides indications throughout the work as to which overtone on a specific harmonic series is to be used. The seventh and eleventh harmonics are used often due to their “out-of-tune-ness” and are often employed to create microtonal scales. Stopped notes and slow glissandi from stopped to open are also used. Another effect is the speaking of syllables into the horn “percussively and without pitch.” Alterations between

“p,” “t,” and “k” syllables are rhythmically notated, creating a unique sound overall.

Arnecke’s exploration of sounds and colors in this work, along with the involved sections of multiphonics, place it in the avant-garde horn repertoire.

Arter, Matthias (b. 1964) – Voice for French Horn

Composed: 1998, 2009 Revised

Duration: 5:00

Publisher: Egge Verlag

Discography: Matthias Arter: Solo Pieces 1993-2007, NEOS10940

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Extended Techniques: Stopped notes, multiphonics/singing, removing slides, microtones

Theatrical Elements: None

Voice for French Horn was composed in 1998 by Swiss composer and oboist

Matthias Arter and revised in 2009. Dedicated to Karl Fässler, the work is based on an extended horn solo found in Arter’s woodwind quintet Détours. Many unique sounds are explored in this work ranging from simple stopped notes to “pale” sounds, “like a

Renaissance cornett.” In order to achieve these specific sounds, the performer is directed to remove slides from the instrument, though it is not indicated which ones. Arter utilizes the “pale” sounds in effective ways throughout the work, often repeating or alternating with regular notes. Multiphonics are also used throughout the work, though in different ways than usual. The first multiphonic, for example, has the performer singing in unison with what they are playing, before the played note ends, leaving the performer only singing though the instrument. Sung intervals are also brought into unisons on multiple occasions, creating new tonal colors. More common extended techniques include trills, glissandi, and flutter-tongued notes. The microtones indicated are always one quarter tone lower and are both played and sung. Notational elements in the score are mostly traditional, though some graphic notation is used to indicate glissandi and rhythmic variations. Arter also uses square and diamond note heads to denote the singing and “pale sound” throughout. Overall the work is rather accessible on a technical level, though the multiphonics and sound resulting from the removal of slides would be of challenge. This

19 work is also rather short in duration, possibly providing a less intimidating introduction to avant-garde horn music.

Babbitt, Milton (1916-2011) – Around the Horn

Composed: 1993

Duration: 9:30

Publisher: Sonic Arts Editions

Discography: Babbitt: Soli e Duettini, The Group for Contemporary Music; Koch

International 3-7335-2 (1996)

Extended Techniques: Stopped notes, mute

Theatrical Elements: None

Babbitt’s Around the Horn was composed for William Purivs, professor of horn at

Yale University, and dedicated to Marjorie Schuller, wife of conductor and composer

Gunther Schuller. Structurally based upon an “all-partition array,” the work is totally serial in style and is tremendously difficult for the performer. As is the case with much of

Babbitt’s music, the compositional process guiding the music becomes the music itself.

The structure is based upon twelve-tone aggregates divided amongst an upper and lower register, requiring the performer to frequently make large leaps upward and downward.

Intervals of over an octave are found often and are usually quick in duration.

Rhythmically speaking the work is extremely complex. Though notated in a traditional manner with a steady pulse, the shifting meters and short rhythmic durations require the highest level of detail of the performer for an accurate performance. Unusual rhythmic notations such as “3=h” also contain similar indications within, adding to the level of 20 complexity of the work. Babbitt’s use of extended techniques is basic in this work and only features two short sections of stopped notes and one short section of muted horn.

However, both the stopped and muted sounds relate to the serial structure of the work and are not necessarily explorations of new tonal colors. The dynamics work in a similar manner throughout. Extreme dynamic shifts occur often and swiftly and encompass a wide range, from ppp to fff. As with the register shifts and stopped and muted sounds, the dynamics are a part of the underlying structure and are also serialized. Overall, the work pushes the boundaries of what is technically possible on the instrument, almost without regard to the performer. The notes are completely subservient to the compositional structure of the work and, though it has been recorded commercially, the work lies on the outskirts of the horn repertoire.

Bach, Jan (b. 1937) – French Suite for Unaccompanied Horn

Composed: 1982

Duration: 15:00

Publisher: Cimarron Music Press

Discography: Music of Jan Bach - John Boen, Horn, Equilibrium CD

Extended Techniques: Extensive

Theatrical Elements: None

Composed for Douglas Hill, the work pays tribute to Hill’s publication Extended

Techniques for the Horn, having been written as a way to incorporate many of Hill’s described techniques into a composition. The work is organized into four movements in the style of a French suite: Fantasie, Courante, Sarabande, and Fugue. The first

21 movement features the most varied and extensive use of extended techniques, including stopped notes, multiphonics, microtones, and hand glissandi. The multiphonics are unique in that they are distinct harmonies and often occur as single chords punctuating melodic lines. Some of the intervals sung must be generated by the hornist without much pitch reference, adding a layer of difficulty. The third movement of the work features a

“soft shoe” effect and requires a hairbrush to be scraped across the mute to create a sound similar to brushes on a snare drum. The effect is employed both while playing and on its own, requiring coordination from the soloist. The fourth movement uses many of the same effects as the first, including singing pitches through the horn, particularly the final note of the work. A half-valve harmonic is also found in this movement, where the soloist depresses the first valve halfway until a harmonic sounds an octave higher. The work overall incorporates many of the common extended techniques found in Douglas Hill’s book, as well as some of the more uncommon techniques. The interpretation and use of a traditional form in an unfamiliar way also helps to establish the work as avant-garde.

Holliger, Heinz (b. 1939) – Cynddaredd-Brenddwyd

Composed: 2005

Duration: 6:30

Publisher: Schott

Discography: Mdina – Music for Horn, Divine Art DDA 25189

Extended Techniques: Extensive

Theatrical Elements: None

22

Heinz Holliger composed Cynddaredd-Brenddwyd in 2005 and dedicated it to the

British horn player Johnathan Williams. The work is for unaccompanied horn and makes use of a multitude of extended techniques. The title is Gaelic for Fury-Dream and intends to depict these ideas in the music. Holliger’s writing utilizes a variety of extended techniques, including stopped notes, echo horn, multiphonics, half-valves, glissandi, alternate fingerings, trills, and pitch bends using the right hand, among others. However,

Holliger uses many of these techniques simultaneously, creating new sounds altogether.

The first line of music, for example, is one sustained pitch (minus the very short first note) and is subject to a variety of effects. The rapid changing and combination of these effects is demanding on the performer and requires a high level of technical command of the instrument. Furthermore, the extreme range, from F2-C6, and rhythmic complexity place further demands on the performer. Nested tuplets can be found multiple times within the score, as well as unconventional metric relationships like 5:4, 5:3, and 7:4 in close proximity to one another. Further avant-garde elements include graphic notations for approximating pitch values, and the lack of traditional harmonic elements as a unifying factor of the work. Overall the piece is very demanding and incorporates common extended techniques in new ways, leading to a new sound overall that audiences may not be familiar with.

Isaksson, Madeleine (b. 1956) – Tjärnöga - Ö blå

Composed: 1990

Duration: 13:00

Publisher: Svensk Music

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Discography: Sören Hermansson: Corno con forza, Phono Suecia – PSCD 113

Extended Techniques: Extensive

Theatrical Elements: None

Madeleine Isaksson composed Tjärnöga – Ö blå in 1990 and dedicated it to hornist Anna Axelsson, who premiered the work that year. The score indicates that the work was commissioned by Sveriges Radio of Sweden. The title translates to “The Eye of the Lake – Blue Island” which are two locations Isaksson visited while traveling in

Sweden. Though the two sections were written independently, they are meant to represent a single work and are similar in style. The work features the use of extended techniques almost constantly throughout, often in combination. Isaksson highlights the timbral changes by reducing the melodic material to only a few notes, notably at the opening where the hornist plays a written F5 the majority of the time. Stopped notes and glissandi from stopped to open are common and used throughout both sections of the piece. A more unconventional technique used in this work is blowing “through the water-hole.”

This leads to an airy sound that is different than simply blowing air through the instrument and is uncommon across the horn repertoire. Moreover, an extensive use of quarter tones is found in this work. A detailed chart of pitches is shown in the score, indicating how they are to be played. The score also takes on an unconventional look, having the notes written in bass clef notated on their own staff below the treble. The second staff only appears when it is needed and replaces the treble staff, leaving visual gaps throughout. Graphic notations to indicate vibrato are also used, as well as symbols to indicate the highest note possible and falling sounds. Musically the work is very

24 complex and difficult with dramatic register shifts, extreme dynamic changes, and the almost constant use of an extended technique or effect. Rhythmically the work is also challenging by use shifting meters and small rhythmic durations. Overall, the work requires a high level of technical accomplishment by the performer and a very precise rhythmic sense in order to accurately render the work.

Kavanaugh, Patrick (1954-2018) – Debussy Variations No. 11

Composed: 1977

Duration: 6:00

Publisher: Pembroke Music Co.; Carl Fischer, Inc.

Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

Patrick Kavanaugh composed a series of solo works known as Debussy

Variations. Each work in the series features his compositional concept that is a mix of new and traditional methods. In his view, traditional notation is limiting, so he utilizes graphic notations to represent the infinite variations in pitch between two notes. Due to this system, much interpretation is left up to the performer in his works. Debussy

Variation No. 11 for Horn features this distinct type of writing. Other effects are prevalent throughout this work and include humming and singing, the removal of slides, glissandi, trills, and stopped notes, among other unusual techniques. Aside from playing without the slides, another effect is created by inserting or removing the slides gradually to create popping sounds. Singing and humming are also important aspects in this work,

25 even being notated on their own staves. Kavanaugh also indicates which valves to press, leading to intonation differences and microtones between the same pitches. Notes are often sustained while valves are changed in order to produce these effects. Another unique effect comes from the removal of slides. The performer is asked to play notes that sound out of the empty slide pipe rather than the bell, and then use a finger to partially or fully cover the end of the pipe according to specific rhythms. This effect creates a truly unique sound. The combination of graphic notation, aleatoric elements, and unusual extended techniques make this a thoroughly avant-garde work for the horn and would require much interpretation and experience on the part of the performer.

Lebic, Lojze (b. 1934) – In voce cornus

Composed: 1990

Duration: 11:00

Publisher: Edicije DSS

Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

In voce cornus was commissioned by the Deutscher Verlag für Music in Leipzig and is a set of five miniatures which “may be performed as a whole, in parts, or in various combinations.” Three of the five were premiered in 1990, with the whole set premiered in

2000. Each miniature portrays a different music character with the third and fourth being the most unusual. The first miniature is organized into two distinct sections with a silent pause between. The first section features more traditionally notated motives with

26 graphically notated notes interspersed. Slow glissandi, stopped notes, and flutter-tongued notes are also found in this section, as well as throughout the entire work. The second section is more gestural, with varying cells of pitches to be played as quickly as possible.

Enharmonic fingerings during trills are asked in order to produce timbral changes. The second miniature introduces rhythmic indications in the form of a timeline above the staff where sections are broken down into specific durations. The third miniature indicates

“plunger” effects and introduces an extended section of multiphonics. Air sounds are also explored in this miniature, with syllables to be spoken into the mouthpiece. The fourth miniature is similar to the third in terms of extended techniques and notations, but additionally requires improvisations on notated sections. The fifth miniature brings motives from the first miniature back and is the most straightforward of the miniatures.

The work is thoroughly avant-garde due to the techniques required and is enhanced so by the manner in which the miniatures are permitted to be performed.

Mellnäs, Arne (1933-2002) – Estampes per corno solo

Composed: 1995

Duration: 6:00

Publisher: Edition Reimers

Discography: None

Extended Techniques: stopped notes, flutter-tongue, glissando, air sounds, whispering into the instrument, multiphonics

Theatrical Elements: None

27

Estampes was composed for the 25th anniversary of “Grafikgruppen,” an art collective in Sweden, and dedicated to Swedish horn player Sören Hermansson. The title of the work is French for “prints” or “engravings,” alluding to the visual art influence.

Throughout the work various works of art are referenced above the music, perhaps indicating specific inspiration or a specific mood to inflect by the performer, though no details are left by the composer. The work is rather straightforward except for a few instances. One section of the work requires the performer to whisper text into the instrument. The text is from the poem “I ritorni” by Salvatore Quasimodo and translates from the spoken Italian to “under the head we cross my hands / and remember the returns.” Stopped notes are common throughout the work as well as glissandi. Rhythmic air sounds are also used in addition to a single multiphonic note. Mellnäs also uses flutter-tonguing, but only at specific moments. Five artworks are indicated, and each time the accompanying music is played flutter-tongued. This acts as a sort of signal that perhaps a new work is being “viewed.” Though much of the music is in more of a traditional, though modern, style, the unique effect of speaking into the horn lends the work to the avant-garde genre. The various sounds achieved through other extended techniques as well as the general difficulty of the work also require an advanced performer in order to effectively portray the scenes depicted within.

Oyens, Tera de Marez (1932-1996) – Concerto for Horn and Tape

Composed: 1980

Duration: 15:30

Publisher: Donemus

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Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

Tera de Marez Oyens’ Concerto for Horn and Tape was requested by and dedicated to Johan Donker Katt. The work is based on a traditional concerto form, but an electronic accompaniment has replaced the orchestra, creating a dialogue with the horn.

The electronic accompaniment is comprised of electronic sounds and horn sounds subject to electronic modification. The score features much graphic notation but is organized by chronological time rather than traditional meter. A stopwatch is necessary to start at the beginning of the work simultaneously with the electronics so that the performer can accurately render the work. Many extended techniques are utilized in this work, including stopped notes, flutter-tonguing, and glissandi with the right hand. A wah-wah mute is also required for this work, which is uncommon for the horn. Oyens indicates in the score when the hand is to be moved towards and away from the mute, creating the wah-wah effect. Other uncommon effects in the work include singing into the mouthpiece, vibrato changing into tremolo, air sounds, and using the hand to strike the mouthpiece creating a popping sound. Overall, the work exhibits many characteristics of avant-garde music, and many unique and non-traditional aspects are present in this work.

Polansky, Larry (b. 1954) – Horn

Composed: 1989, rev. 1992

Duration: 17:00

Publisher: Frog Peak Music

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Discography: None

Extended Techniques: None

Theatrical Elements: None

Horn was composed for Chris Bobrowski, who performed the premier of the work in 1990. The work is composed for horn and tape, or horn and live electronics. Both versions have similar results, and the performer is involved in both. For the tape version, the performer is to record between four and eight realizations of the work, which they then play along with. For the live electronics, a software program can be downloaded which essentially “composes” a realization of the work in real time, with which the performer then plays along. A tape rendering is also available from the composer so that the performer does not need to create one themselves. The work consists of five sections of seventeen measures, each of indeterminate length. The pitch material is based on three different overtone series’, concert B-flat, D, and F. The first measure begins with the fundamental of the B-flat (series I), and each subsequent measure adds one harmonic to the series until the series is complete at the end of section one. The second section slowly introduces the harmonic series on D (series V), replacing existing pitches from series I until a complete series V exists. This process is repeated throughout the subsequent sections. The overall effect is that the varying intonations of the natural harmonic series slowly change throughout the work and the overall harmony shifts as a result. Coupled with the electronic accompaniment a large, slowly shifting soundscape is created. The performer is advised to play the pitches in each measure in any order, and the measures are not necessarily to be of equal length. This highly aleatoric aspect of the work, along

30 with the microtonalities and electronic accompaniment places it in the avant-garde, even though many other avant-garde aspects are non-existent.

Rechbrger, Herman (b. 1947) – The King’s Hunt

Composed: 1977

Duration: 6:00

Publisher: Edition Modern

Discography: New Finnish Music 5: Music for 1 to 24 Horns, PAN LP 005

Extended Techniques: Extensive

Theatrical Elements: Acting instructions

The King’s Hunt was written by Finnish composer Herman Rechberger in 1977 and dedicated to Esa-Pekka Salonen. The work features many avant-garde aspects and is largely notated graphically. The work is organized into gestural sections of various effects and instructions following a timeline with timing indications. The first line of the score takes forty seconds, with a bracket of ten seconds encompassing the first “cell” of music. Within the “cell” are notations representing sounds to be made. Many of the sounds are performed without the horn, such as air sounds, whistling, singing, and stomping. Some traditional sounds, both in notation and performance, are found throughout and often interrupt the other effects. Two different staves are utilized, with the lower being in bass clef and the upper in treble. The effects used while playing include multiphonics, flutter-tonguing, stopped notes, tongue vibrato, and valve sounds. A short improvisatory section is also found where the hornist is given pitches from which to improvise. Theatrically, the work calls for short sections that involve polishing the

31 instrument. In the first instance, the hornist simply polishes the instrument, while the second instance adds “murmuring under breath” to the gesture. The third instance requires the hornist to sit on the ground and polish while happily singing. While notated explicitly, there are no instructions to describe how the soloist is to perform some of the effects in the work, leading to interpretations on the part of the performer. The theatrical and unusual nature of this work make it a clear candidate for inclusion as an avant-garde solo for horn.

Ryan, Cory (n.d.) – Chugach

Composed: 2013

Duration: 9:00

Publisher: Self Published

Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

Composed for Andrew Pelletier, Chugach is a work for horn and fixed media.

The intent of the composition is to explore the musical qualities of a space, and the electronic accompaniment represents that intent. The material for the accompaniment is sound captured from within Chugach National Forest in Alaska late at night. The notated horn part largely interacts with these sounds. Many extended techniques are found throughout including beginning with the third valve slide pulled halfway out, air sounds, and sounds reminiscent of “dog panting.” These sounds are combined with other techniques like flutter-tonguing in order to create unique results. Speaking through the

32 horn is also utilized and is interspersed with traditional sounding notes and the air animal effects. Some graphical notations are used throughout to represent repeating patterns and the various extended techniques. The end of the work requires the use of a practice mute, an implement not typically used for performance. The work creates an unusual sound world and incorporates unique extended techniques that interact with the electronic accompaniment. An overall avant-garde addition to the horn repertoire.

Samuelsson, Marie (b. 1956) – I am-are You?

Composed: 2001

Duration: 11:00

Publisher: Gehrmans Musikförlag

Discography: Marie Samuelsson – Air Drum, Phono Suecia – PSCD 147

Extended Techniques: Stopped notes, air sounds, hand glissandi, flutter-tongue

Theatrical Elements: None

I am-are You? was commissioned by the Swedish Concert Institute and premiered by Swedish hornist Sören Hermansson. A work for horn and electronic accompaniment, the work strives to depict the “relation between musicians and loudspeakers’ voices.”

One feature of the work is spoken text in the electronic accompaniment that persists throughout. The horn reacts to the text, often as if responding to the various questions of

“are you the one?” The work is divided into five continuous sections with differing musical characters. Wide register leaps are found throughout, as well as the use of flutter- tonguing and stopped notes for effect. The extreme high register is explored with optional octave down indications for the performer. Slow glissandi by closing the bell with the

33 right hand are used in the less active sections of the piece. Lip and valve tremolos are also specified. Additionally, the hornist is asked to blow air through the instrument as a gestural accompaniment to the electronic sounds. Samuelsson further adds that the horn is to be amplified, and several loudspeakers should be used for the playback of the accompaniment. The unusual and non-traditional presence of vocal text within the accompaniment adds an extra narrative to the work, contributing to its avant-garde consideration.

Schultz, Mark (1957-2015) – Podunk Lake for Amplified Solo Horn

Composed: 1993

Duration: 9:00

Publisher: JOMAR Press

Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

Podunk Lake was composed on commission by Ellen and Douglas

Campbell in memory of horn player Neill Sanders for the 1993 Fontana Music Festival.

The work features many varied extended techniques and includes a set of wind chimes to be played by the hornist. The chimes are to be “placed on a percussion stand/boom close to the bell hand of the performer,” and are subsequently sounded by the hornist’s right hand. Throughout the score the chimes are notated on a second staff below the horn line and are occasionally sounded at the same time the hornist is playing. The extended techniques found in this work are extensive, with detailed instructions regarding the

34 notation and performance. Basic techniques include fully and partially stopped notes, multiphonics, half-valved sections and air sounds. Schultz, however, uses these in combinations, resulting in unusual sounds and effects. The multiphonics included require the hornist to sing melodic lines over a horn note, play melodic lines over a sung note, as well as change horn notes while singing in a simple counterpoint. The air sounds are also more advanced than typical usages, requiring the hornist to blow air out or breathe air in through the instrument while simultaneously using a half-valve flutter. Other interesting techniques used by Schultz involve changing oral cavity vowel shapes and creating a buzz tone by tightly clamping the teeth together on sustained notes. These techniques are employed back-to-back, showcasing the distinct timbres created. Throughout the work as a whole, only a handful of notes are sounded traditionally through the instrument. The performer is nearly always required to use some sort of effect, straying from traditional solo expectations into the avant-garde.

Shannon, William R. (b. 1952) – Tonus

Composed: 1978

Duration: 15:00

Publisher: William R. Shannon

Discography: None

Extended Techniques: Possible mutes

Theatrical Elements: None

Tonus is a work for horn and electronics that explores the harmonic relationships between the various harmonic series’ and a drone. The electronic accompaniment is a

35 drone of concert D2 and D3. Shannon permits a recording or fixed pitch instrument to provide the drone, suggesting an organ or synthesizer with a horn-like sound for best results. The score consists of a timeline depicting seconds, necessitating a stopwatch to keep track. The score is also only one-third the length of the work and is to be played through three times. Different pitches should be played on each pass of the score according to the accompanying instructions at the beginning. Some notated pitches may be played any time and are up to the discretion of the performer. Other notes are played either the first or second times. Shannon leaves the note durations, dynamics, articulations, and rests up to the performer’s decision. Experimentation with timbres, including the use of a mute, is also encouraged in the work, though the interaction with the various harmonics with the drone is of greatest importance. Many of the out-of-tune harmonics of the harmonic series are explored and are used more frequently during the second and third passes of the score. An aleatoric work, Tonus is a-melodic, focusing on color and sound rather than more traditional musical considerations, and its variability lend it to the avant-garde repertoire.

Stacy, William B. (b. 1944) – H*O*R*N

Composed: 1973

Duration: 6:00

Publisher: Ludwig Music Publishing

Discography: None

Extended Techniques: Various

Theatrical Elements: None

36

Dedicated to Dr. William K. Kearns, H*O*R*N is a four-movement work, with each letter of the word “horn” titling each of the four movements. The word also serves as the pitch and rhythmic generators for each of the movements. Structured like a

Baroque sonata, the movements alternate fast-slow-fast-slow. The first movement of the work features a repeating motive broken up by at first no notes, but twelve notes by the end. Each time a note is added to the interruption of the motive, the timbre changes.

Stacy instructs the hornist to remove the second F slide and notates specific instances on when to use that valve. A harmonic “high” C is also used, where the hornist depresses the first valve halfway until the resulting harmonic sounds. A regular half-valve is used as well, as is tonguing through the horn without sounding a note. The second movement features the same effects as the first but in more of a drone-like setting. Long tones are held while the timbre is varied, followed by silences. The third movement is the most unique in that a grid of cells is presented and the hornist is instructed to select a cell from the first column, play the notes quickly, and repeat the procedure in the subsequent columns for a total of four sequences. The cells contain very short motives including tonguing out of the horn, multiphonics, tapping the horn, singing through the horn,

“pitchless noise,” or simply rests. This aleatoric movement is up to the determination of the performer and adds an experimental element to the work. The final movement is much more traditional and is played without any extended techniques. Overall, the unique extended techniques and aleatoric elements help to establish the work as avant-garde, even bordering on experimental.

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Stockhausen, Karlheinz (1928-2007) – Nebadon für Horn und Electronische

Musik

Composed: 2007

Duration: 21:42

Publisher: Stockhausen Verlag

Extended Techniques: Extensive

Theatrical Elements: Specified Lighting, attire, stage directions

See chapter 4 for a detailed description of this work.

Trebacz, Ewa (b. 1973) – Minotaur for Horn and Surround Sound

Composed: 2005, revised 2011

Duration: 14:30

Publisher: Composer

Discography: None

Extended Techniques: Various

Theatrical Elements: Movement around concert hall

Minotaur was composed in 2005 with assistance from horn player Josiah

Boothby. The work originated by recording various melodic motifs in locations of acoustical interest around the state of Washington. From those recordings a sequence of soundscapes was created and processed electronically. The work is avant-garde in its concept, most notably in that the performer is urged to improvise and not play the notes printed on the score. The score is a transcription of the motifs played by the horn on the tape accompaniment, and the purpose of the performer is to add to the soundscape in their

38 own way. Specific techniques and concepts are encouraged by the composer, however.

Right hand “coloration,” half-valved sounds, glissandi, scooped sounds, and flutter- tongued techniques are indicated and described in the score, though are not notated to be played by the performer in any specific manner. As the composer states on her website, the work is an “opportunity for the soloist to demonstrate their virtuoso skills.” Another important aspect of the work is the use of space. The soloist is encouraged to explore the entire performance space, on and off-stage. Further encouragement to disappear from audience view is indicated, allowing the electronic recording to dominate the space rather than the performer. Many avant-garde concepts are displayed in this work, both musical and social.

Tisne, Antoine (1932-1998) – Sensation pour cor en Fa

Composed: 1989

Duration: 14:00

Publisher: Gérard Billaudot Éditeur

Discography: None

Extended Techniques: Stopped notes, mute, quarter tones, flutter-tongue, glissandi

Theatrical Elements: None

Sensation is based on a poem of the same name by David Nieman. Six stanzas of text are presented at the beginning of the score which relate to the music via six sections.

Also indicated is that for national school of music competitions, certain sections should be prioritized, as the work is nearly fifteen minutes in total. The work also contains a

39 tribute to the painter Francis Bott and is dedicated to Patrice Petit Didier. Many unique sounds are presented in the work through the use of extended techniques and graphical notations. Stopped notes are utilized often, both independently and in conjunction with flutter-tonguing. Blowing air through the instrument is also asked of the performer and is presented at the conclusions of sections two and three. Quarter tones are also a feature of this work with specified instructions on playing the representative symbols. Tisne further instructs the performer to undulate pitches by a quarter tone through the use of graphic notations, creating a wavering sound. Further musical considerations include wide register and dynamic shifts, rapid tonguing, and lengthy trilled sections. Musically, the work is much more gestural than melodic, using the effects to represent the moods conveyed in the text of the poem. These gestures allow for interpretation on the part of the performer, though much of the music is specifically notated.

Westerkamp, Hildegard (b. 1946) – Fantasie for Horns II

Composed: 1979

Duration: 12:00

Publisher: Canadian Music Centre

Discography: Transformations – Hildegard Westerkamp, Empreintes DIGITALes

– IMED 9631

Extended Techniques: Valve glissando, hand glissando, stopped notes, air sounds

Theatrical Elements: Staging, lighting instructions

Hildegard Westerkamp composed Fantasie for Horns II in two parts. The first was the tape accompaniment, originally intended and conceived of as a stand-alone

40 electronic work titled Fantasie for Horns I. The live horn part was added which then became the current work. The sounds contained in the tape accompaniment include horn sounds from trains, boats, and factories found around the coasts of Canada, as well as alphorn sounds and the sound of a creek. Throughout the work, the performer is often asked to play in a style similar to the horn sounds found on the tape, sometimes requiring extended techniques to do so. Valve glissandi are found, as well as controlled pitch bends using the right hand in coordination with specific valves. These occur when moving from stopped notes to open notes, and are specified in the score, along with specific instruction prior to the score. The theatrical elements featured in this work include staging and lighting effects. The performer begins in the dark with the stage lights only coming on just prior to the first sounds by the horn, about a minute-and-a-half in. Further lighting instructions include raising a “dim spotlight” on a natural horn sitting on the stage, adding a visual element to the following section that is to be played in the style of an alphorn. However specific the lighting requests are, a note that they are simply suggestions exists, and the performer should adapt to their venue or situation. The staging effects are required though, and the hornist must be able to leave the stage at specific sections. The work, though unique, is rather accessible for both performer and audience and would be suitable for a someone looking for a more introductory work to the avant- garde.

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Works for Horn with Keyboard Accompaniment (two performers)

de Crepy, Bernard (b. 1935) – Synopse for Horn and Piano

Composed: 1972

Duration: 5:45

Publisher: Editions Musicales Transatlantiques

Discography: None

Extended Techniques: Stopped notes, echo horn, glissando, trill, flutter-tongue

Theatrical Elements: None

Bernard de Crepy composed Synopse for Horn and Piano in 1972 for the Paris

Conservatory exam and dedicated it to Georges Barboteu, then professor of horn. The work features a variety of extended techniques for the horn as well as the piano. The score also features much graphic notation throughout, with sections of time marked in seconds as opposed to traditional meters. The more interesting aspects of this work are found in the notations and effects that result. Many sections involve improvisatory elements, such as rhythmic, and even melodic, ad lib. indications in both horn and piano.

These are clearly marked in the score, though some note-heads are absent throughout with no specific indication as to how to interpret such marking. Furthermore, the pianist is instructed to produce cluster chords by playing notes within indicated ranges, occasionally by using the forearm to do so. The pianist must also depress keys without making sounds, allowing sympathetic vibrations to occur between the hornist and piano.

The work is challenging for the hornist in a more traditional sense as well, with wide register leaps and awkward intervals. Overall the work is a challenge for both performers.

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Hekster, Walter (1937-2012) – Eclogue for French Horn and Piano

Composed: 1989

Duration: 8:00

Publisher: Donemus Amsterdam

Discography:

Extended Techniques: Stopped notes, glissandi, flutter-tongue

Theatrical Elements:

Eclogue is dedicated to Ton ten Broeke. An Eclogue is a type of poem with a pastoral theme, which the work portrays throughout. Most of the piece is unmeasured and both hornist and pianist use a copy of the score for performance. Many sections feature interplay between the horn and piano, where the horn will play alone, and the piano will interject with short gestures during rests or sustained notes. Hekster adds to the interplay between the instruments by instructing the pianist to depress keys without sound so that resonant vibrations can occur from the horn’s sound. When the piano and horn are both quite active, the notes are not necessarily to be aligned, and each instrument progresses independently until simultaneous actions are indicated. Extended techniques can be found in both the horn and piano parts. The pianist is required to play harmonic notes, accomplished by reaching inside the piano placing a finger on the strings where the harmonic occurs. The more common extended techniques for horn are used to their usual effect. There are many rhythmic challenges in this work, requiring a strong rhythmic pulse from both players in order to align certain passages. Though the sounds created are not relatively novel, the unique interplay between the instruments and the overall

43 difficulty of the work, along with some of the more aleatoric sections, create a worthy addition to the avant-garde repertoire.

Hutcheson, Jere (b. 1938) – Wonder Music V for French Horn and Piano

Composed: 1976

Duration: 14:00

Publisher: Seesaw Music Corp.

Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

Wonder Music V was composed for hornist Margaret Gage for a master’s recital at Michigan State University. The work utilizes many extended techniques for both the hornist and pianist and features unique interplay between horn and piano. The techniques for the horn include multiphonics, stopped notes, air sounds, “enharmonic” trills, and glissandi. The “enharmonic” trill calls for the hornist to trill between two different fingerings but remain on the same pitch; the valve change creating a tremolo-like effect.

Hutcheson further requires a stopping mute for some of the stopped passages. The mute is required as Hutcheson asks the horn player to cover the hole of the stop mute slowly throughout sustained notes, changing the color of the stopped sound. This effect is represented graphically, as are the exhaled air sounds and indications to play the highest and lowest notes possible. The extended techniques for piano are significantly involved, requiring the removal of the music rack so that the strings can be accessed more easily.

String muting, plucking, and even a “karate chop” on the lowest strings to create a “deep

44 resonant sound” are found in this work. Strict adherence to metronome markings are requested, and overall the work is thoroughly and precisely notated, though coordinating the two parts would pose a challenge. This is considered an avant-garde work overall due to the unique effects in both piano and horn and the difficulty of both parts.

Turok, Paul (1929-2012) – Sonata for F Horn and Piano

Composed: 1973

Duration: 10:00

Publisher: The Brass Press

Discography: None

Extended Techniques: Stopped notes, microtones

Theatrical Elements: None

Paul Turok’s Sonata for Horn was commissioned by Dennis Behm. The single movement sonata features aleatoric elements throughout, and the “horn and piano parts are often intentionally unrelated.” Indications in the score occur where the piano and horn are to align but are scarce throughout the work. Many sections in the horn part even instruct the performer to wait at specific moments for the piano to finish their section before continuing. No rests or bar-lines are found in the horn part and only a few are found in the piano score. Turok instead employs different fermatas with varying lengths outlined in the performance notes prior to the score to indicate silences. The horn part contains few extended techniques, though one unusual effect is a pitch waver. Turok asks the hornist to waver back and forth from in-tune to a quarter tone lower on one sustained note in the work. Overall the music is challenging for both players and utilizes quick

45 rhythms and repeating figures. The avant-garde, aleatoric interplay between instruments can result in many different renderings of the work, even considering the explicit notation.

Wolff, Christian (b. 1934) – Duet II

Composed: 1961

Duration: 5:00-9:00, indeterminate

Publisher: C.F. Peters

Discography: John Cage – Christian Wolff, Wergo 6943 2 (2012), LP

Extended Techniques: Mutes, glissando

Theatrical Elements: None

Duet II is an experimental, highly aleatoric work consisting of a one-page score that is used by both the hornist and pianist. The score features graphical notations and letters and numbers to represent what is to be played, with extensive direction on how to interpret the markings. The work is organized into six sections to be played “in any order with any number of repetitions (including consecutive repetitions of the same section),” or even complete omissions of any section. The sections are begun by either player at their discretion, requiring that each player understand where the other is, so they are adequately able to respond as the score indicates. The piece ends “when neither performer wants to go on.” Multiple symbols are used to represent sounds, each of which indicates a varying duration, unless modified by another indicator. The other indicators include durational modifiers, transpositions and octave displacements, as well as timbral variations and possible extended techniques. The pitch material is contained in eight

46 sources labeled a-h. The performers choose pitches from the sources based on the notations surrounding the representations of sound. Additionally, the hornist requires two different mutes, though may perhaps never use either depending on the choices made during a performance. The highly experimental nature and extensive instruction for performance place this work in the experimental realm of avant-garde music for horn.

The sounds of the work are otherwise unknown until performance itself, and it scarcely resembles a traditional work for horn and piano.

47

Works for Horn with Ensemble Accompaniment

Ayres, Richard (b. 1965) – No. 36 – NONcerto for Horn and Large Ensemble

Composed: 2002

Duration: 25:00

Publisher: Schott

Discography:

Extended Techniques: Stopped notes, flutter-tongue, trill, vocalizations

Theatrical Elements: Staging, props, program

See chapter 4 for a detailed description of this work.

Kelemen, Milko (1924-2018) – Concerto for Horn and String Orchestra

Composed: 2001/2002

Duration: 20:00

Publisher: Musikverlag Hans Sikorski

Discography: None

Extended Techniques: Extensive

Theatrical Elements: None

Kelemen’s Concerto for Horn and String Orchestra is dedicated to hornist

Radovan Vlatkovich and Achim Fiedler and the Festival Strings Lucerne. It is a single movement work that makes use of a wide variety of extended techniques in both the horn and string parts. The horn part features traditional extended techniques like stopped-horn and flutter-tonguing, but also includes the use of highly unusual techniques. One unusual aspect is the requirement of speaking text into the horn. The string orchestra is silent in

48 this moment near the end of the work, and the hornist speaks before the orchestra joins in again. A second speaking instance leads into a horn cadenza that closes the work. In the cadenza, the hornist is required to produce rhythmic air sounds, as well as play multiphonics with specified vowel sounds for the voice. Additionally, the voice is to be sung loudly, “almost screaming.” Other instances of slow glissandi and notated quarter tones are found throughout the horn part, as well as one instance of a “differential tone,” where the hornist plays and sings the same pitch. The string orchestra is utilized in its traditional divisions of violins one and two, violas, cellos, and basses, but is also divided up into multiple parts of each instrument, used to create a denser texture. Some improvisatory sections are also found in the string parts, where notated pitches are played freely and not together. Long, drawn-out glissandi also are also written in the string parts, particularly violins, that span multiple measures and octaves. A further requirement of the strings is the use of plectra to pluck the strings behind the bridge. Overall it is a unique, avant-garde work that highlights the sonic capabilities of the horn and strings.

Ligeti, György (1923-2006) – Hamburg Concerto

Composed: 1998-1999, Revised 2003

Duration: 15:00

Publisher: Schott

Discography: The Ligeti Project IV: Hamburg Concerto/Double

Concerto/Ramifications/Requiem; Teldec Classics – 8573-88263-2

Extended Techniques: Stopped notes, half-stopped, muted

Theatrical Elements: None

49

Ligeti composed his Hamburg Concerto on commission from the ZEIT-

Foundation of Hamburg and dedicated it Marie-Louise Neunecker who premiered the work with the Asko Ensemble in 2001. The work is divided into six movements, each having a different musical character. The solo horn is accompanied by a small chamber orchestra including the unusual appearance of basset horns and four obbligato natural horns. The natural horns play a significant role in the work, playing the natural harmonics and their “out-of-tune” tendencies of certain pitches. Ligeti often uses each horn in a different key, creating unique sounds with the combination of in-tune and out-of-tune notes. The solo horn works with the orchestral horns in the same respect, playing on the open harmonic series, but using a double horn to change keys as needed. Ligeti asks the solo horn to “half-stop” notes in the third movement, though without altering the pitch.

Regular stopped notes are also found in the work, as are sections with the mute. The strings are also asked to perform extended techniques. At the end of the piece, Ligeti requires the violins to bow in between the bridge and tailpiece on any string. A single note is sustained for the entire movement in the strings, except for the basses, while the four natural horns play a flutter-tongued chorale. Overall a demanding and unique work for the soloist as well as the orchestral horns. The colors created by using the natural harmonics create a distinct sound throughout that is unusual for traditional horn concerti.

Musgrave, Thea (b. 1928) – Horn Concerto

Composed: 1974

Duration: 21:00

Publisher: J&W Chester/Edition Wilhelm Hansen

50

Discography: Thea Musgrave – Concerto for Orchestra, Clarinet Concerto, Horn

Concerto, Monologue, Excursions; Lyrita LY 0253

Extended Techniques: Stopped notes, flutter-tongue, half-valve, microtones

Theatrical Elements: Stage directions

Thea Musgrave’s Horn Concerto was commissioned by Mario di Bonaventura for

Barry Tuckwell and the Hopkins Center Congregation of the Arts Festival. The work is scored for horn and large orchestra, with the extra orchestral horns being optional. One prominent feature of this work is the staging direction of the orchestra horns and trumpets. The score contains a diagram of the orchestral setup and paths for the stage movement of the instruments. Horn one begins the work offstage behind the orchestra before moving to the back of the hall later in the work. Horns two and three are to begin on stage before moving to stage left and right, respectively. The two trumpets also mirror horns two and three but do not move as far forward. The three optional horns may be placed in the upper balcony of the hall, depending on the hall itself. The extended techniques found in the solo horn part include stopped notes, flutter-tonguing, and half- valved glissando sections. Furthermore, the piano and harp are to be prepared according to instructions in the score to create unique sounds throughout the piece. Aleatoric sections are also encountered throughout the piece and consist of repeated figures and improvisatory figures throughout the orchestra, notably in the piano, percussion, and strings. The combination of extended techniques, aleatoric sections, and instrumental staging create a truly avant-garde work for horn and orchestra.

Namavar, Reza (b. 1980) – De metalen radiovlinder

51

Composed: 2011

Duration: 10:00

Publisher: Muziek Centrum Nederland

Discography: None

Extended Techniques: multiphonics, stopped notes, air sounds

Theatrical Elements: None

De metalen radiovlinder, loosely translated as “metal radio butterfly” was premiered in 2011 by the Caméléon ensemble. The work is scored for horn and strings plus bassoon and B-flat clarinet. An interesting addition to the horn repertoire, the work has a minimalist feel to it. Dotted rhythmic figures drive the work in both the solo line and accompaniment, though not in a particularly melodic fashion, all while sounding rather tonal. The work also features quick, sharply accented chords followed by silences, sometimes extending for measures. The extended techniques found in the work occur mainly in the horn part. The first entrance for the horn requires the use of multiphonics which recurs throughout the work. The multiphonic sections are often unaccompanied and are extensive. Namavar requires the soloist to change both sung pitches and horn pitches creating harmonic progressions. One stopped note is present in the horn part, as well as one instance of blowing air through the horn. The bassoon and clarinet parts also require blowing air through the instrument as an accompaniment to the multiphonics in the horn. The overall effect is unique and provides contrast to the rhythmic pulse throughout the work. Overall the work is avant-garde due to its extensive use of

52 multiphonics as melody, and the air effects present in the wind and horn parts, coupled with the rhythmic repetition and unique sound world created as a whole.

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Chapter 4. Analysis of Two Representative Works

Two works included in the bibliography in the previous chapter stand out as examples that clearly exemplify the characteristics and considerations of avant-garde horn music. They are No. 36 – NONcerto for Horn by Richard Ayres, and Nebadon für

Horn und Electronische Musik by Karlheinz Stockhausen. In this chapter, the works are analyzed in detail so the avant-garde characteristics they contain can be more clearly illustrated, and the genre of avant-garde horn music can be further contextualized.

These specific works are chosen for analysis due to their explicit avant-garde characteristics. Both utilize the horn in novel, though differing ways. Many features of avant-garde music are present, such as extended techniques, theatrical elements, performance elements, unconventional accompaniment, improvisational elements, and social considerations. Moreover, the two works are important, though mostly obscure, works of the solo horn repertoire, and are worth exploring in detail. Having works for horn written by these notable composers is significant and the opportunity to explore the pieces in detail should not be overlooked. The notoriety of the composers, along with some of the renowned performers of their music, further attests to the quality of the works and their subsequent inclusion for further analysis.

Additionally, commercial recordings of both works are available. Ayres’s work was recorded by hornist Wim Timmermans with the ASKO Ensemble, a Dutch chamber

54 music group dedicated to performing works of the twentieth and twenty-first centuries.

Stockhausen’s work was recorded by Christine Chapman, hornist with Ensemble

Musikfabrik; a leading ensemble of contemporary music. That both of these works have been recorded by established performers of contemporary music is unique when compared with other avant-garde works for the instrument, of which many have no recordings available at all.

Richard Ayres – No. 36 (NONcerto for Horn)

Richard Ayres has won awards for composition including the International

Gaudeamus Prize in 1994 and the Vermeulen Prize in 2003, and currently teaches composition at the Amsterdam Conservatory. Ayres’ music features unusual characteristics and often retains a child-like quality.30 Additionally, Ayres’ music has a tendency to make audiences question their experiences with it.31 The second quality being representative of avant-garde composers and their works.

Ayres’ work for solo horn, No. 36 (NONcerto for Horn), was composed in 2002 and premiered by hornist Wim Timmermans with the Asko Ensemble in December of that year. The title of the work refers to Ayres’ series of works for solo instruments and ensemble – NONcertos. These works all represent traditional concertos, consisting of three movements, the outer two of which contain more energetic music than the middle.

However, the play-on-words of the phrase NONcerto represents an “un-concerto” or

30 Christopher Fox, "Ayres, Richard," Grove Music Online. 22 Oct. 2008; Accessed 27 Feb. 2020. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0002061629. 31 Christopher Fox, “Life is Beautiful: Richard Ayres in Focus,” The Musical Times 142, no. 1875, (Summer 2001): 39. 55

“uncertain concerto.”32 The philosophical belief driving the NONcertos is failure, and that “it’s the only thing that we are all guaranteed to do, we all eventually fail.”33

In addition to the philosophical background, this work features many unconventional techniques, including extensive theatrical elements, though utilizes them in a traditional concerto format. A further consideration for the inclusion of this work as a prime example of an avant-garde solo for horn is in its annotation in Richard Seraphinoff and Linda Dempf’s Guide to the Solo Horn Repertoire. The annotation for this work describes it as “avant-garde and theatrical,” a label that few other works in the book receive.34

No. 36 in particular has been championed by Stefan Dohr, principal hornist of the

Berlin Philharmonic. A live recording of Dohr performing the work with the Berlin

Philharmonic is available through the orchestra’s Digital Concert Hall and sufficiently illustrates the piece’s quality and importance in the horn repertoire. Additionally, the work has been performed by many noted ensembles in Europe, including the BBC

Scottish Symphony, London Sinfonietta, and the State Philharmonic Orchestra of Mainz.

Extended Techniques

The extended techniques featured in this work can be found in both the solo horn and the ensemble accompaniment. Though a focus on extended techniques is not evident throughout the work, they are employed effectively. The horn part is not nearly as

32 Fox, “Life is Beautiful,” 49. 33 ibid., 51. 34 Richard Seraphinoff and Linda Dempf, Guide to the Solo Horn Repertoire (Bloomington: Indiana University Press, 2016), 345. 56 experimental as other avant-garde works, but still utilizes common and uncommon extended techniques.

The opening of the work features an extended passage of lip-trills, to be performed “without hand in bell.” Though lip-trills are hardly avant-garde, the degree to which Ayres uses them in the opening of the work pushes well past the traditional, typically ornamental use. The “melodic” content of the solo horn for the first eleven measure of the work are lip trills of varying intervals, ranging from whole-steps to perfect fourths. While trills alone are rather unmelodic, Ayres manages to treat the trills in somewhat of a melodic manner by changing the intervals or principal notes on which the trills are built.

Figure 1 – Ayres: No. 36, Movement 1, m. 9, Solo Horn (concert pitch).

Other extended techniques in the first movement include stopped notes, representing an echo in a theatrical game of “call and echo” that dominates the first movement.

Another, unusual extended technique is found in the third movement. A short section of vocal and air sounds is explored in conjunction with stopped and open tones on the horn.

57

Figure 2 – Ayres: No. 36, Movement 3, m. 231-232, Solo horn (concert pitch).

The unique effect comes with a footnote explaining the notation due to its sparse use in this work, and other works for horn.

Other extended techniques can be found in the ensemble. The opening of the third movement, for example, requires the use of a string to dampen the metal bass strings of the harp, resulting in pizzicato-like sound. The two clarinetists and bassoonist also require a set of keys each, which they are to rattle against the stand, creating a unique percussive effect.

58

Figure 3 – Ayres: No. 36, Movement 3, m. 35-36, Clarinets and Bassoon.

Though Ayres does not use radical extended techniques, the techniques he employs are utilized in radical ways. The extent of the trills and stopped notes as well as the vocalizations and “sniff” sounds in the solo horn part are unusual for a horn concerto and begin to explore the boundaries of traditional horn writing.

Theatrical Elements

Since the limited use of extended techniques do not necessarily approach the extremes of traditional usage, other elements are important to the work’s inclusion and example of the avant-garde. Theatrical elements are a significant, if not the most significant, aspect of avant-garde consideration with this piece. Each movement of the

59 work features some theatrical production that plays an important role in the conception of the work as a whole, as well as garnering probable reactions from the audience.

The first movement of the work utilizes “two podia fitted with ramps 8 to 10 metres apart” situated behind the ensemble. These podia are meant to represent mountain peaks on which the horn soloist is to “play a game of ‘call and echo’” by running back and forth between the two. At the opening of the work, the soloist begins playing on the stage-right podium before an indication to run to the other side appears twenty-six measures later.

Figure 4 – Ayres: No. 36, Movement 1, m. 48, Solo horn.

The score also features indications as to which podia the soloist is to be standing when playing certain figures and describes whether the music is a “call” or “echo,” where stage left is the “calling” podium and stage right is the “echoing” podium.

Figure 5 – Ayres: No. 36, Movement 1, m. 28, Solo horn.

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Figure 6 – Ayres: No. 36, Movement 1, m. 36, Solo horn.

Musically, the stopped notes act as the echo and are used when the soloist is on the stage-right podium. Additionally, Ayres adds a layer of comedy to this game of “call and echo.” As the movement progresses, the soloist has less and less time to run between podia, finally culminating in a moment of failure. At m. 101, the soloist arrives on the right podium, waits shortly, and runs back to the left podium without playing anything from the right podium. The musical building in the ensemble over the course of the movement pushes the soloist along, eventually overtaking and causing the soloist’s failure.

The second movement abandons the raised podia in favor of a door that is to open and close, revealing and concealing the soloist. When the soloist is playing, the door is open, and is closed during extended rests when the ensemble plays.

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Figure 7 – Ayres: No. 36, Movement 2, m. 1.

62

Musically, the soloist is playing a “very rough,” steady stream of notes both stopped and with flutter-tongue. The middle to lower-middle register of the horn is utilized here, and is often difficult to project, especially with the extended techniques involved. The ensemble accompaniment is also thickly textured and rough sounding at a loud dynamic. The “doors closed” sections of the work features a distinct musical change and employs the bass flutes.

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Figure 8 – Ayres: No. 36, Movement 2, m. 26. 64

The overall texture is no longer loud and rough, and a lighter sound is explored featuring a high, melodic line in the violins. Additionally, in the second movement, the soloist is instructed to stand “behind, or slightly separated from, the ensemble (not in the traditional soloists position).” A further conflict with the expectations of a concerto.

The third movement of the work does not utilize props like the first two, though does contain an extensive programmatic narrative. The narrative is presented musically, but Ayres also provides a written description of what is allegedly occurring. The descriptions must be provided to the audience so that they can “simultaneously listen to the music and read the corresponding texts.” Ayres’s instructions call for silent movie- like “story boards” projected on a screen behind the ensemble as the method providing the audience with the written descriptions. The actual narrative revolves around the character Anna Filipiova and describes a fantastical journey on which she finds herself.

Other Considerations

Another unique and unconventional aspect of this work is the instrumentation of the chamber ensemble accompanying the soloist. The scoring for the ensemble is two flutes (both doubling piccolo and bass flute), B-flat clarinet (doubling E-flat clarinet), bass clarinet (doubling B-flat clarinet), bassoon, contrabassoon, two trumpets in C, bass trumpet, tuba, percussion, two harps, two violins, and double bass. Many low sounding instruments are featured, including the unusual appearance of the bass trumpet and bass flutes. Furthermore, Ayres indicates that the bass flutes must be amplified, though slightly and with the speakers placed near the players in the ensemble, no doubt to address balance issues. A possible reason for the unusual accompanying ensemble is the

65 group for which it was commissioned – the Asko Ensemble. The Asko Ensemble (known now as Asko/Schönberg after a merger with the Schönberg Ensemble) is an ensemble dedicated to “quality, experimentation and innovative programming,” and is a leader among new music ensembles.35 The instrumentation of the members of Asko/Schönberg resembles that of the accompanying ensemble of Ayres work.

Overall, Ayres’s piece is firmly one of the avant-garde. The conception and philosophy behind the work, its theatrical elements and extended techniques, and even the ensemble for which it was commissioned align with characteristics common to avant- garde works, both in general, and in relation to the traditional solo horn repertoire.

Karlheinz Stockhausen – Nebadon für Horn und Electronische Musik

Karlheinz Stockhausen has long been associated with avant-garde music, beginning with his time in the 1950s at the summer music school in Darmstadt.36 His status as a leading figure of avant-garde composers is unquestioned and he is recognized as an innovator and pioneer in aspects of musical composition; notably electronic music and serialism. Stockhausen has also received awards for his compositions, including the

Siemens Prize in 1987 and the Polar Music Prize of the Swedish Royal Academy of the

Arts in 2001, in addition to honorary doctorates.37 A horn work by a composer so noted

35 “About us,” Asko/Schönberg Ensemble, accessed March 9, 2020, https://askoschoenberg.nl/about/about- us/. 36 David Osmond-Smith, “New Beginnings: The International Avant-Garde,” in The Cambridge History of Twentieth Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004), 340. 37 Richard Toop, "Stockhausen, Karlheinz," Grove Music Online. 2001; Accessed 27 Feb. 2020. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000026808 66 as Stockhausen is significant, and the opportunity to analyze the work is undertaken in this document.

Stockhausen composed Nebadon in 2007 as part of a larger cycle of works titled

Klang, a series of twenty-four movements representing the hours of a day. Nebadon is the seventeenth movement, or hour, of Klang. Nebadon was premiered by hornist Christine

Chapman in 2010 as part of the larger premier of Klang and has been recorded as part of the Stockhausen Complete Edition of works. The work is scored for horn with electronic accompaniment and features distinct characteristics making it a work clearly fit for avant- garde classification. Unusual extended techniques are utilized, along with detailed theatrical elements and aleatoric elements left up to the discretion of the performer.

Overall, the work contains the gamut of avant-garde considerations, and is an excellent example for further contextualizing the specific elements.

Extended Techniques

The extended techniques found in Nebadon are varied and often left up to the discretion of the performer. Specific indications in the score include stopped notes, flutter-tonguing, glissandi, half-valved notes, and the use of the mute. The mute usage, however, is much different than the traditional in-or-out instruction. Moments in the work require the slow insertion and removal of the mute, changing the sound gradually.

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Figure 9 – Stockhausen: Nebadon, minute 12:10-12:20, Horn in F.

The notation above the staff for this technique conveys the beginning and ending points of the effect, with a specific moment when the mute should be fully inserted into the bell. The graphical notation on the staff represents the duration for which the note is held, from which the performer can ascertain the speed at which to insert and remove the mute. Stockhausen further requires a “mute belt” to be worn by the performer. The work is to be performed by memory and the hornist is instructed to point the bell in varying directions, requiring the mute to be accessible while allowing for freedom of motion by the performer.

Aside from the unusual usage of the mute, more common extended techniques are found throughout Nebadon. Stopped notes, flutter-tongue, half-valve glissandi, and trills are asked for as well. A “tremolo” is also called for, which represents a wide, irregular trill in this work.

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Figure 10 – Stockhausen: Nebadon, minute 8:30-8:40.

The half-valve technique is used in conjunction with graphic notation.

Stockhausen’s note for this technique is “half-valve and quasi chromatic glissando mixed,” resulting in an unusual sound. The graphic notation visually represents the lengths of the glissandi.

Figure 11 – Stockhausen: Nebadon, minute10:00-10:15. The combination of half-valve and chromatic glissandi compliment the graphic notation, as it is possible to achieve smoother, more legato sounding changes between the notes as directed in the score.

Theatrical Elements

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The theatrical elements present in Nebadon consist of lighting effects and staging for the performer. The work begins with a fade-out of both the hall and stage lights, except for a “beam of light shining onto the floor at center stage.” Additionally, a path of light from the stage entrance to center stage is illuminated. When the electronic music starts, the soloist is instructed to walk from offstage to the beam of light at center stage with the horn up in playing position. The first six minutes and forty seconds of the work are electronics only, and the hornist does not turn to face the audience until just prior to the first entrance at 6:40. Moreover, Stockhausen notes that the soloist “with eyes closed, plays NEBADON.” Memorization is a notable aspect of this work and is discussed later in this chapter.

Throughout the work, the soloist is instructed to perform parts of the work in different directions, though stopped notes should be played with the bell pointing at the audience. Sustained notes should be accompanied by “very slow loops with the bell so that the direct sound of the horn moves in space.” Interestingly, this effect may be difficult to perceive, as the horn is amplified and mixed into the electronic accompaniment. Furthermore, at minute 25:40 until 26:04, the soloist is directed to abruptly rotate about their axis once for each of the six notes in that section while remaining still during the rests. Shortly after, the soloist should slowly walk back toward the stage entrance, before playing the final note while facing the audience. After the final note is played the soloist moves offstage, out of view of the audience. Lighting cues return for this section. The path of light is faded up while the beam of light at center stage is faded out, but not completely dark. Finally, the stage lights are to be faded in when

70 applause commences. The specific stage directions by Stockhausen add an interesting and unexpected visual element to the work which has the possibility to enhance the aural perception of the audience as well. The soloist, too, is free to continually add to the visual and aural elements through their choices and decisions regarding the direction they are facing and the motion of their bell.

An additional theatrical element is present in the attire for the performer. Each movement of Klang is associated with a specific color; HKS 10 being the color for

Nebadon. Stockhausen specifies that the “horn player could wear a costume of this color.” The costume itself is not described, however, further leaving decisions up to the performer.

Other Considerations

The aural projection of the electronic accompaniment is significantly detailed in the notes included in the score. An 8-channel recording is desired for performance, though a stereo recording exists for practicing and performances with only stereo playback capability. The 8-channel recording requires eight speakers for playback, placed in specified locations around the audience.

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Figure 12 – Stockhausen: Nebadon, Performance Practice Notes

Stockhausen describes the need for eight speakers in the notes accompanying the score. The electronic accompaniment is based upon the electronic composition Cosmic

Pulses, hour thirteen of the larger work Klang. Cosmic Pulses features twenty-four melodic loops, or layers, of varying pitches, tempi, and registers, which are then subject to further electronic modification. The electronic accompaniment to Nebadon is based on layers 15-14-13 of Cosmic Pulses. The uniqueness regarding the layout and use of multiple speakers is that each layer of the electronic accompaniment has “its own spatial motion among 8 loudspeakers.” The horn is amplified and mixed into the existing

72 electronic sounds so that it is clearly audible at all times through each of the eight loudspeakers. Further considerations of the electronic accompaniment involve the demarcation of the twenty-four sub-sections of Nebadon. Stockhausen notated words into the score at each section which were then recorded and mixed into the electronic accompaniment. The announcement of the sections may also be of help to the performer.

Prior to the performance practice notes, Stockhausen states “NEBADON should always be performed from memory.” This may be difficult for performers due to the improvisatory and yet precise notations by Stockhausen. However, the score is laid out so that each line covers one sub-section of the work, or approximately one minute of time, perhaps making it easier to memorize.

Figure 13 – Stockhausen: Nebadon, minute 8:40-10:00.

The score also features unique notations which Stockhausen details in the written notes preceding the music. As the score is unmeasured, various indications are used to denote time, including notating durations in seconds, beats within specific tempos, and one instance of a quarter note tempo relationship. Additional symbols are used to denote the speed at which groups of notes are to be played. “IRR,” for example, simply means 73

“irregular” and the group of notes under that notation are not to be played at the same speed. Other aspects of performance are left up to the soloist with a specification from

Stockhausen that “all notes (also shorter ones) should be played using various vibrati

(mix with non vibrato), with many different timbres and dynamic changes.”

Though the work does not venture far away from the more common extended techniques, the additional elements of required memorization, the electronic accompaniment and its technical production requirements, the lighting and theatrical elements, and the many decisions left up to the performer make this work firmly rooted in the avant-garde. Additionally, Stockhausen’s reputation as a leader among avant-garde composers further attests to Nebadon’s inclusion as a defining work of avant-garde repertoire for horn.

Assessment

Both Ayres and Stockhausen have composed works for the horn that are distinctly avant-garde, though wildly different in their presentations. The medium in which the horn is utilized, for example, is quite different, with Stockhausen’s less traditional electronic accompaniment and Ayres’ more traditional concerto setting. Though the traditional concerto setting may not be as avant-garde as the electronic accompaniment, other features of both works further add to their avant-garde aesthetic.

The composers of each work utilize unusual extended techniques alongside more common ones. Stockhausen’s slow mute changes and Ayres’ vocalizations are particularly unusual, requiring explanation and instruction on the part of the composer.

The more common techniques of flutter-tonguing and stopped notes are utilized, yet in

74 inventive ways, straying further from their traditional usages. Both composers similarly employ wide trills, or tremolos, where the principal note of the trill remains the same while the secondary note changes. This creates a melodic effect out of an otherwise ornamental practice.

In terms of the score and compositional considerations, Ayres’ work is precisely notated with no room for improvisation on the part of the soloist. Stockhausen’s work is very much the opposite, containing a note in the score saying “the unusual notation of

NEBADON gives the player an enormous amount of freedom in forming the groups, notes, and figures. The interpretation should always be full of surprises.” The workings of both composers represent the opposite extremes of avant-garde concepts. Stockhausen, however, leans much further toward the avant-garde than Ayres in this regard.

These works’ distinct characteristics allow for their recognition as prime examples of avant-garde works for solo horn. Their differences also show varying ways and varying degrees by which solo horn works can exhibit avant-garde characteristics, and by which they should be evaluated and labeled as such. Through the prior analyses, future performers can more clearly understand what an avant-garde work for horn is, and thereby further expand the genre through the commissioning of new works containing these characteristics, or the re-evaluation of existing works through a lens more clearly attuned to avant-garde considerations.

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Chapter 5. Conclusion

The purpose of this document is to explore the horn and its relationship to the avant-garde repertoire and to provide a resource to those interested in looking for unique and unusual solo works for horn. Three questions were presented, the answers to which have been outlined. The questions presented are as follows:

1. What are the characteristics of avant-garde works for horn?

2. What are the works that feature these characteristics and can be considered avant-garde?

3. How are the characteristics specifically realized in works of this type?

Answers to these questions are provided in Chapters 2, 3, and 4 of this document.

Question one was answered in Chapter 2 of the document. A definition of avant-garde music was researched and explored. The many existing and varying definitions of avant- garde music proved a challenging aspect of this research. However, a key factor pointed out by many scholars is that avant-garde music tends to challenge audiences and push the boundaries of established traditions, even surpassing traditions entirely. The use of extended techniques and novel sounds, theatrical elements, and aleatoric elements, among others, are ways in which composers of avant-garde music realize their intent to challenge. However, the musical characteristics are realized in varying degrees and works

76 may contain some aspects but not others. As such, the definition of avant-garde music arrived at in chapter two is as follows:

Compositions containing significant non-traditional performing aspects including, but not limited to, the extensive use of extended techniques, unusual extended techniques, theatrical elements, aleatoric elements, and performance instructions, possibly combined with graphical notations, that may challenge a listener’s concept of the traditional medium. The traditional medium in this regard being works for solo horn.

Chapter 3 provided an answer to question two in the form of an annotated bibliography of works. The works were selected based on the definition of avant-garde established in Chapter 3. The list of thirty-one works reveals interesting patterns among avant-garde works for horn. Overwhelmingly, most avant-garde works are unaccompanied solo works, with twenty-one being of that medium. This makes sense, however, as it is much easier for a composer to explore the various sounds and possibilities of horn writing using only one performer to do so. As more instruments and performers are added, less freedom is afforded to the composer.

Of all the works, the most experimental were composed in the 1960s and 1970s.

Christian Wolff’s Duet II, Herman Rechberger’s The King’s Hunt, and Patrick

Kavanaugh’s Debussy Variations No. 11 all consisted of almost entirely graphical notations and included some of the most extreme effects and techniques. Wolff’s work is highly aleatoric, Rechberger’s uses unique theatrical elements, and Kavanaugh’s features extremely unusual extended techniques. Though composed later, Schultz’s Podunk Lake

77 perhaps features the fewest notes played traditionally; only a dozen or so throughout the entire nine-minute work.

Electronic accompaniment is also commonly used, especially in more recent works. In particular, Cory Ryan’s Chugach and Ewa Trebacz’s Minotaur designed their works to have the horn part “interact” with the electronics via composed or improvisational elements. Other electronic elements, such as amplification, also tend to skew a work towards the avant-garde. If the horn is amplified, another unique effect is usually present and challenging of the solo horn tradition.

Chapter 4 answered the question of how specific techniques are realized in more detail by exploring two prime examples of avant-garde works for solo horn. The works by Richard Ayres and Karlheinz Stockhausen contain every element considered in the definition of avant-garde music, and yet do so in differing ways. They feature the extensive use of extended techniques, both common and unusual, have theatrical and aleatoric elements, extensive performance instructions, graphical notations, and challenge the listener’s concept of tradition. Ayres’ work features the most overtly theatrical elements and obvious challenge to the audience through the title NONcerto, while also extensively employing extended techniques. Stockhausen’s work leaves many decisions up to the performer through the use of graphical notations and written performance instructions, creating an aleatoric foundation within the notated music.

Limitations and Future Research

This document acts as an introduction to the horn’s association with the avant-garde. The definition and bibliography provided within only begin to explore the

78 available repertoire to hornists of this genre and the features and characteristics of such repertoire. As such, the information presented in this document is a starting place for future research endeavors.

One obvious extension on the present research is the expansion of the bibliography. The parameters limiting a work’s inclusion in the bibliography include the instrumentation, reasonable availability of scores, and the concept behind the works – that they were written specifically for the horn. More works exist than those found in this document, though were not included for the reasons above. Modifying the parameters would be one way in which more repertoire may be discovered and by which the horn’s association with avant-garde music may be strengthened. For example, two works by avant-garde composer Vinko Globokar, Echanges für einen Blechbläser (1973) and

Res/as/ex/ins-pirer für einen Blechbläser (1973) are works written for any brass instrument. Either of these works would be included in the bibliography, had they been written specifically for the horn. Though not included in this document, they are viable avant-garde works that could be played by a hornist, and exemplify the many characteristics of avant-garde works discussed, including extensive graphical notations, aleatoric elements, and highly unusual extended techniques.

Works that are unpublished are also omitted from the present document due to the difficulty in obtaining scores or parts. Often works of this type need to be obtained directly from the composer or someone who has performed the work, making it difficult, or at times impossible, to procure the materials needed for a performance. An example of this is Hornpipe (1967) by Gordon Mumma. Recordings and descriptions of the work

79 exist; however, the work is not published, and the performance materials are unable to be found except possibly by contacting the composer. Other avant-garde works utilizing the horn would also be worth exploring. Chamber music works, such as George Crumb’s An

Idyll for the Misbegotten (1985/1997), feature many characteristics described in the document, and would be worth investigating to further expand the recognized avant- garde repertoire including the horn.

Though as the repertoire expands, the definition proposed in Chapter 2 may also need revision or expansion. It may be possible for the horn to be included in an avant- garde work as a whole, though the horn part itself may not be considered avant-garde, especially when compared to existing solo works. Discussions on these types of problems would further the consideration of the horn’s association with the avant-garde and may lead to other conclusions about avant-garde music for horn.

Another important direction for future research would be to record the works that have not yet been recorded. Though some of the works in the bibliography in Chapter 3 have been commercially recorded, a majority of them have not. Even then, amateur recordings on sites such as YouTube are non-existent. Some sample recordings of works can be found on composers’ websites, but the availability of full recordings would allow for more people to experience and become familiar with works of this type. Available recordings also help to promote works of this type and would assist those learning the music by providing a reference for certain techniques or performance aspects found in the works.

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Although the horn is not as readily associated with the avant-garde as other instruments, a body of alternative and unusual works exists within the larger repertoire and is available to those seeking to perform such music. The many directions for future research also allow for those interested in the present topic to pursue other areas involving the horn’s association with avant-garde music. Composers may also see an opportunity to contribute to this style of horn writing, expanding on the possibilities and capabilities of the instrument through the creation of new works in this style. Ultimately, actions taken by today’s performers, teachers, and composers can help expand the repertoire and perception of the instrument, challenging existing norms and exploring new musical directions.

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Ayres, Richard. No. 36 (NONcerto for horn) for solo horn and large ensemble. London: Schott, 2002.

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Appendix A. List of Works

Works for Solo Horn or with Electronic Accompaniment (one performer)

Arnecke, Jörn (b. 1973) – Bamberger Hörnchen, für Horn Solo ...... 17 Arter, Matthias (b. 1964) – Voice for French Horn ...... 18 Babbitt, Milton (1916-2011) – Around the Horn ...... 20 Bach, Jan (b. 1937) – French Suite for Unaccompanied Horn ...... 21 Holliger, Heinz (b. 1939) – Cynddaredd-Brenddwyd ...... 22 Isaksson, Madeleine (b. 1956) – Tjärnöga - Ö blå ...... 23 Kavanaugh, Patrick (1954-2018) – Debussy Variations No. 11 ...... 25 Lebic, Lojze (b. 1934) – In voce cornus ...... 26 Mellnäs, Arne (1933-2002) – Estampes per corno solo ...... 27 Oyens, Tera de Marez (1932-1996) – Concerto for Horn and Tape ...... 28 Polansky, Larry (b. 1954) – Horn ...... 29 Rechbrger, Herman (b. 1947) – The King’s Hunt ...... 31 Ryan, Cory (n.d.) – Chugach ...... 32 Samuelsson, Marie (b. 1956) – I am-are You? ...... 33 Schultz, Mark (1957-2015) – Podunk Lake for Amplified Solo Horn ...... 34 Shannon, William R. (b. 1952) – Tonus ...... 35 Stacy, William B. (b. 1944) – H*O*R*N ...... 36 Stockhausen, Karlheinz (1928-2007) – Nebadon für Horn und Electronische Musik ..... 38 Trebacz, Ewa (b. 1973) – Minotaur for Horn and Surround Sound ...... 38 Tisne, Antoine (1932-1998) – Sensation pour cor en Fa ...... 39 Westerkamp, Hildegard (b. 1946) – Fantasie for Horns II ...... 40

Works for Horn with Keyboard Accompaniment (two performers) de Crepy, Bernard (b. 1935) – Synopse for Horn and Piano ...... 42

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Hekster, Walter (1937-2012) – Eclogue for French Horn and Piano ...... 43 Hutcheson, Jere (b. 1938) – Wonder Music V for French Horn and Piano ...... 44 Turok, Paul (1929-2012) – Sonata for F Horn and Piano ...... 45 Wolff, Christian (b. 1934) – Duet II ...... 46

Works for Horn with Ensemble Accompaniment

Ayres, Richard (b. 1965) – No. 36 – NONcerto for Horn and Large Ensemble ...... 48 Kelemen, Milko (1924-2018) – Concerto for Horn and String Orchestra ...... 48 Ligeti, György (1923-2006) – Hamburg Concerto ...... 49 Musgrave, Thea (b. 1928) – Horn Concerto ...... 50 Namavar, Reza (b. 1980) – De metalen radiovlinder ...... 51

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