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Index

Abbate, Carolyn mechanics of signiﬁcation 282, 283, 285, on narrative and voice 156, 190, 196n.4, 292 219, 219n.81, 234 scenic rhythms 284, 285 Accrington Amateur Operatic and Dramatic ‘true’ theatre 281, 354 Society 16 Atherton, Elizabeth 337 action Attali, Jacques 77 physical see body, the; mime; pantomime on music as a simulacrum of ritual murder symbolic representation of 279 43, 72–3 Adlington, Robert 1n.1, 13, 73n.70, 88, 116, Auden, W. H. 79n.4, 160, 161n.13 143, 150, 153, 203, 204, 204n.40, audibility 205n.43, 246, 248, 252n.37, 276, 280, of compositional schemes 57, 58, 59, 66, 303, 303n.88, 316n.119, 317, 317n.123, 68, 117, 129, 138, 233, 233n.102, 265, 322, 336 394, 396 Adorno, Theodor 5, 72, 153, 166, 166n.21, audience participation 26 219, 239, 265, 361 Augustine, Saint 152, 154 Affekt 40, 73, 412 Austin, J. L. 341 Agamben, Giorgio 376 avant-garde dilemma 2, 5–7, 81, 197 Coming Community, The 362, 363, 364, 365n.52, 376n.88, 389, 400, 436 Babbitt, Milton 40, 40n.15, 62 ‘Agamemnon Experiments’ 143, 290–5, 303, Philomel 7, 145 304, 306 Bach, Johann Sebastian 314, 392, 412, 439 Aldeburgh Festival 168, 306n.100 St Matthew Passion 39, 67n.51 Allen, Thomas 92 Bacon, Francis 247, 281n.15 Almeida Opera 306n.100 Bakhtin, Mikhail 72, 157n.219 Almen,´ Byron 220 Ballad of the Cruel Mother 5, 25, 26 Alpers, Paul 169–70, 172, 173, 174 Ballad of the Two Sisters 296–7 ‘representative anecdote’ of pastoral 169, Barba, Eugenio 30 172, 174, 175, 183, 194, 195 Barenboim, Daniel 355n.2 Anderson, Barry 79n.17, 83–4 Barrault, Jean-Louis 285, 294n.68, 296 Andriessen, Louis 6n.14, 151 Barthes, Roland 257, 257n.61 Aperghis, George 5, 286 Baudrillard, Jean 243, 253, 254 Arendt, Hannah 363, 363n.42 BBC 20, 159 The Origins of Totalitarianism 363 Night Waves 361 Aristotle 152, 196 Beardslee, Bethany 145 ‘mythemes’ 156 Bedford, David 21n.84 Poetics 154 The Wheel 21n.84 Artaud, Antonin 8, 282n.22, 280–6, 291n.60, Beethoven, Ludwig van 39, 219, 239 293, 294n.68, 296, 297, 301, 301n.81, Fidelio 64 307, 314, 336, 346, 412 Bell, Catherine 280, 281 between gesture and thought 280, 282 Benjamin, Walter 243, 263n.75 ‘concrete’ signs or gestures 284, 288, 305, Bennett, Richard Rodney 6n.15 316, 336 Berg, Alban 10, 270 cruelty, concept of 281, 283n.27, 341, Lulu 255n.50 354 Wozzeck 79, 240

458 Index

Berio, Luciano 5, 285 Corridor, The 3, 9, 37, 198n.9, 279, 283, Birtwistle, Harrison 284, 337–54, 434, 436 childhood interest in theatre 15–17 choreography 338, 354 onthecreativeprocess 12, 14 onstage musicians 338, 340, 341 ‘emblematic theatre’ 9 Orpheus’s turn 338, 344, 344n.169, 351 on landscape 167n.30 ‘physical texture’ 341, 342, 343–4, 354: on the libretto for The Io Passion 307 Eurydice’s disintegration or ‘dance to on the libretto for The Mask of Orpheus death’ 342, 347–51, 354, 436 91–2 sketches and other MSS for 342, on the libretto for The Minotaur 404 342n.165, 344–6, 347–51 on the libretto for Yan Tan Tethera 160 vocal utterance 341, 347, 354:asaction and older theatrical traditions 8–9, 76, 341, 344; instrumental speech 346; 79–80 ‘His Song’ 340, 342, 346n.174, 351 and operatic dialogue 10 see also Harsent, David on painting and music 11n.41 Cort`ege 439 on theatre music 286 Country Wife, The (incidental music for) use of metaphor 11–13, 242, 247 286, 287 visual and spatial thought 8, 10–13, Crowd 439 205, 242, 247, 247n.15, 307–9, 337, Cry of Anubis, The 258n.68 404 Cymbeline (incidental music for) 306n.97 works Deowa 168, 200 26 Orpheus Elegies 439 Double Dealer, The (incidental music for) ...agm... 105n.94 288n.51 Amadeus (music by Mozart and Salieri Down by the Greenwood Side 2, 3, 5, 15, 18, selected for) 287 24–37, 159, 160, 167, 296, 337n.145 Angel Fighter 439 Ballad of the Cruel Mother 26 As You Like It (incidental music co-written choreography 26 with Dominic Muldowney for) ﬁght scenes 31 288n.51 pantomime 5 Axe Manual, The 439 relationship between: music and Bacchai, The 306, 306n.99 movement 29–37;musical Bogenstrich 439 abstraction and drama 30–7;tragic Bow Down 10, 15, 21, 160, 279, 283, 285, Ballad and comic play 26–8, 31–7 295–305, 337n.145 sketches and other MSS for 31n.105, Ballad of the Two Sisters 296–7 31n.106, 33n.107, 37 choreographed movement and mime Duets for Storab 168 304–5 Earth Dances 150n.190, 160, 231, 247n.15, music 302–3 305, 306, 421 music as action 303–4 Eight Lessons for Keyboards 79n.4, roles of actors and musicians 302 126n.134 see also Harrison, Tony Endless Parade 150n.190 Brand (incidental music for) 288n.51 Entr’actes and Sappho Fragments 39 Cantata 126n.134 Exody ‘23: 59: 59’ 247n.15, 361, 362n.33, Cantus Iambeus 439 373, 375, 421 Carmen Arcadiae Mechanicae Perpetuum For O, For O, the Hobby-Horse Is Forgot 105n.94, 247n.16, 289 16n.64 Chanson de Geste 79n.3 Four Interludes for a Tragedy 79n.3 Cherry Orchard, The (incidental music for) Four Songs of Autumn 321 288n.51 Gawain 3, 4, 9, 12, 14, 15, 16, 29, 30n.102, Chronometer 79n.3 150n.190, 156, 168, 196–241, 243, 277, Clarinet Quintet 317 280, 306, 309n.105, 314, 341, 356, 357, Coriolanus (incidental music for) 306n.97 372, 397, 411–12, 429, 434

Index 459

Birtwistle’s response to the libretto 197, sketches and other MSS for 317–19, 203–9, 235 319n.124, 321, 326, 328, 328n.134, ‘blindness of the psyche’ 200, 202, 238 329n.135, 329–36 divided identity 198, 208, 212, 237, varied ostinato 329–36 238–41: inner and outer worlds 198, see also Freud, Sigmund; Plaice, Stephen 200, 201, 208, 222, 227, 229, 231, Julius Caesar (incidental music co-written 235n.111, 435;seealsoBirtwistle, with Dominic Muldowney for) Harrison, The Minotaur, duality 288n.51 misogyny 198n.11, 202, 202n.28, Last Supper, The 3, 12, 15, 314n.112, 202n.29 338n.151, 355, 356–400, 401, 405n.130, musical line 197, 199, 209–18, 221, 412, 421, 437–9 234–8, 239: fundamental line 209, ‘breakage’ 360, 366, 366n.61, 373, 392 210; as metaphor 209, 239; shadowed community 356, 359, 362, 376, 391, 392 208, 213, 215–18;andvocalmelody ‘existential given, the’ 366, 366n.58, 369, 210n.63, 213–18 391n.95 narrative: and drama 197, 209, 220, footwashing scene 359, 363, 366, 367, 221–33, 239;andvoice 197, 209, 218, 375n.80, 400 233–8, 239 identity and voice 397–400 ‘pure’ theatre, moments of 206, 222 ‘irreparable, the’ 364–6, 369, 401 revisions to Turning of the Seasons sketches and other MSS for 372n.74, 203n.33 397, 400 sketches and other MSS for 200–1, table-building scene 372, 375–91, 392, 201n.22, 203n.35, 205n.44, 205–7, 398: six-note gestalt 382–91; 207n.50, 207n.51, 208n.53, 209, symbiotic bifurcation 391, 392–3 210–18, 222, 229, 237n.113, 238n.114 Visions, the 357, 357n.8, 367, 369, 371, see also Harsent, David; journey, 396n.104, 397–8, 398n.109 Gawain’s; leitmotif see also Blaser, Robin Hamlet (incidental music for) 148, 286 Linoi 79n.3, 126n.134 Herod (music co-written with Dominic Lorca 2, 21–4 Muldowney for) 287 sketches and other MSS for 21n.83 Imaginary Landscape, An 99n.74, Mark of the Goat, The 3, 20 140n.163, 248n.21 Mask of Orpheus, The 3, 4, 7, 10, 12, 15, 19, Interrupted Endless Melody, An 200 24, 29, 37, 79–158, 193, 197, 198, 223, Io Passion, The 3, 4, 16, 29, 279, 283, 285, 274, 280, 292, 301, 305, 327, 337, 355, 297, 306–37, 338, 341n.155, 342, 343, 405, 413n.154, 421, 429 354, 424n.169, 439 ‘act of telling’ 88 action sequences 309–10 arches 89, 102–10, 119–23, 127–34, 151, inner–outer dichotomy 314:endo-and 154, 157, 158 exosomatic worlds 314–15, 316–37 asynchrony 90, 101, 150 Io, the myth of 310–11, 328n.134, Birtwistle’s response to the libretto 329n.135 100–1, 103–10, 114–16, 122–3, 124, Man/Woman confrontations 311, 326, 130, 138, 142 327, 336: ‘sexual psychodynamics’ ceremonies 82, 85n.23, 91, 99, 100–1, 311 115–16, 117, 124, 157, 365 ‘mobile staticity’ 317, 328 compositional techniques 99, 100, Nocturnes 327, 329–36 116–50:ActIIcantus 135–9, 153, recurring motifs 316:ﬂymotif 325, 157;durations 117–23;modetables 326–8, 329, 331;lampmotif 321, 323, 127–34 329, 331, 332, 333, 335;man’swalking continuity and discontinuity 81, 88, 95, motif, the 320, 325–6, 327, 331 99, 99n.74, 105, 116, 122, 130, 135, 150, ‘ritual and veristic drama’, tension 154 between 311, 314 (de-)constructed song 87

460 Index

Birtwistle, Harrison (cont.) Music for Sleep 17n.70 electronic music 79n.3, 83–4 Narration: A Description of the Passing of a love duets 99–100, 127n.137, 140, 142, Year 17n.70, 18 156, 157 Nenia: the Death of Orpheus 79n.3, 88, ‘lyrical formalism’ 29, 81–2, 85–9, 145, 126, 127, 134, 142, 248n.21 150, 154, 158 Neruda Madrigales 405, 405n.130, 439 narrative 82, 88, 95, 150: and memory Night’s Black Bird 337n.148, 424n.169, 100, 102, 114, 150, 152, 154, 155, 157; 439 and space 157–8;andtime 151–6; Nomos 134, 141n.167, 168, 248 topics 95–101, 144, 157 Offence, The (ﬁlm score) 79n.3 Orpheus’s ‘turn’ 103, 135, 337 Oresteia 20, 20n.82, 116, 143, 150n.190, reason and intuition 81, 150, 153 287, 290, 293n.66, 297, 302, 305 sketches and other MSS for 80, 80n.9, ‘macropulse’ 293 88–95, 101, 103–10, 116, 117, 118–34, see also ‘Agamemnon Experiments’; 135–50 Harrison, Tony tides, the 110 Panic 247n.15, 306 see also cantus and continuum; Orpheus, Pantomime: A Choreographic Sketch for themythof; Zinovieff,Peter Three Mime Artists and Unaccompanied Medusa 24, 79n.3 Clarinet 2, 15–16, 29 Melencolia I 85, 183n.82, 247n.15, Prologue 248n.21 317n.122, 344n.169 Pulse Field 292n.62 Mime 17, 17n.70 Pulse Sampler 289 Minotaur, The 3, 4, 9, 12, 15, 29, 198n.9, Pulse Shadows 246, 295, 306, 316, 317, 306, 341n.155, 356, 397, 400–37, 439 317n.122 duality 355, 356, 356n.6, 400–1, 402, Fantasia 4 322, 329n.137 409, 411, 413, 414, 424 Frieze 1 321, 329n.137 labyrinth scenes 402, 402n.120, 405, ‘Todtnauberg’ 210, 214 409, 410, 411, 413, 433n.184 ‘White and Light’ 212, 329n.137 Minotaur’s dream scenes, the 402, 403, Punch and Judy 3, 8, 9, 10, 12, 15, 18, 19, 404, 405, 410, 411, 434–6 21, 24, 26, 30n.102, 31, 38–78, 79, 81, Minotaur’s dying scene, the 405, 409, 91, 94, 95, 134, 144, 145, 159, 197, 234, 410, 434 280, 314, 355, 404n.123, 412, 421 Minotaur’s entrance, the 410, 413: carnivalesque, the 72n.66, 72–3, 76, 77 transition leading to 414–19 Choregos, the role of 44, 45, 54, 58, the myth 401–2 66–75, 77 pitch centricity 419–21 fragmented form 3, 75 sketches and other MSS for 404, genre 3, 6, 75, 77–8 409–11, 413n.153, 417–23, 424–33 ‘Goat-Song’ system 51, 58, 59, 61 sources: Durrenmatt¨ 404–5, 434; grotesque, the 42, 45, 51, 58, 59, 67, Neruda 405, 423, 426; Picasso 75–6 406–9, 413;(divinity) 356n.6, 407–8; Judy’s Aria 3, 21, 73–4 (melancholy) 406, 423, 436 mind–body bifurcation 15 toccatas 403, 405, 410, 421–3, 423n.167 musical quotation 60 war cry motif 421, 421n.164, 423, 426, noise 71–3, 77 427, 427n.174 Punch, characteristics of 76–7 whole tones, use of 410, 413–29, 431, Punch’s Lullaby 17–18, 50 435, 436 Punch’s quest see journey see also Harsent, David see also audibility; Collier, John; Giraud, Monodrama 24, 46, 117n.118, 122n.124 Albert; parody; pitch and interval Monody for Corpus Christi 321 schemes, chromatic wedges; Pruslin, music for a Noh play 18 Stephen; Schoenberg, Arnold, Pierrot MusicforaPlay 18 lunaire;Tragoedia

Index 461

Refrains and Choruses 6, 44 Verses for Ensembles 6, 8, 20, 134, 229, Ring Dance of the Nazarene 198n.9, 439 247n.15 Ritual Fragment 150n.190, 247n.15 Violin Concerto 439 Salford Toccata 150n.190 Visions of Francesco Petrarca, The 19, 25 Second Mrs Kong, The 3, 4, 11, 12, 15, 29, Volpone (incidental music for) 287 37, 91, 210, 242–77, 306, 356, 372, 393, Winter’s Tale, The (incidental music for) 401, 423 306n.97 ﬁlm scene 264–72 Woman and the Hare, The 198n.9, idea of Kong, the 242, 250, 254, 277 424n.169, 434 identiﬁcation 243, 248–57, 272, 275, Yan Tan Tethera 3, 9, 12, 15, 28n.98, 276, 277: ‘longing for what cannot be, 159–95, 200, 296n.76, 328 the’ 250, 251, 255, 261n.72;‘mirror boundaries 171n.50, 172, 180, 185, 188, stage, the’ 249, 251, 253, 272 190, 193, 195 images 242, 245–77:‘acousticmirror, counting contests 163, 173, 189 the’ 253;andvoice 243, 244, 246, Hannah’s lament 163, 192–4 253, 258, 272, 275 hard pastoral 170 memory 246, 257, 258, 261, 274, 275, instrumental pastorals 163, 173, 276: and ‘the indeterminacy of being’ 174n.64, 175, 176, 180, 183, 185–94, 245, 246, 272 195, 328, 329, 421 ‘moment under the moment, the’ 263 registral plan (or ‘static artefact’) musical shapes 243, 261–3, 264n.79, 177–80:useof 180–9 264–5, 268–72, 273, 277:asmetaphors scene and agent 169, 171, 176, 179, 185, 271–2 189, 190, 193, 195 representation 252n.37, 257, 265, 275: sketches and other MSS for 177n.74, sighing motif 258, 261 194 sketches and other MSS for 256n.60, ‘still movement’ 183, 183n.82, 185, 189 256–7, 258, 261–3, 264–72, 273 see also Harrison, Tony; labyrinth; see also Hoban, Russell landscape; pastoral Secret Theatre 8, 150n.190, 160, 180, 231, Birtwistle, Silas 2n.3, 6n.16, 15n.62, 17n.70, 247n.15, 274, 305 21n.83, 79n.4, 80n.9, 83n.17, 85n.23, Semper Dowland, Semper Dolens: Theatre of 87n.35, 89n.48, 91n.57, 92, 104n.93, Melancholy 30n.104, 337–8, 117n.117, 145, 145n.178, 201n.22, 338n.153, 439 205n.46, 210n.65, 404n.123 Shadow of Night, The 30n.104, 258n.68, Black Mountain School 361 337n.148, 424n.169, 439 Blaser, Robin 355, 391 Signals 79n.3 Exody 361, 361n.30, 366 Silbury Air 247n.15, 270, 271, 289 ‘Fire, The’ 362 Slow Frieze 317 Holy Forest, The 362 Still Movement 160, 183n.82 libretto for The Last Supper 357n.9, 376 String Quartet: The Tree of Strings 247n.15, revisions to 366–7 439 ‘Moth’ 360n.19 Tamburlaine the Great (incidental music for) Bless the Bride 16, 16n.63 288–9, 292 body, the 15, 68, 76, 258, 278–354 Tempest, The (incidental music for) corporeal music 278, 279, 322 306n.97 facial expression 28 Theseus Game 247n.15, 439 music and movement 29–37, 279, 292, Three Lessons in a Frame 48 307, 342–3 Tragoedia 17n.70, 19, 24, 39, 42, 51–61, 63, and word 20–1, 286, 289, 294, 303–5, 229, 317n.122, 344n.169 316–37 sketches for 51–4, 68 physical action and movement 278, 285, Triumph of Time, The 84n.18, 86, 126, 301, 302, 316 247n.15, 248n.21 and ritual 278

462 Index

body, the (cont.) Colorado at Boulder, University of 141 as a site of meaning 336 comic irony 33 theory on 13 commedia dell’arte 15, 42, 48 see also mime community Boulez, Pierre 5, 9, 40, 40n.15, 281n.12 theories of 13 Bread and Puppet Theater 30 see also Birtwistle, Harrison, The Last Supper Brecht, Bertolt 3, 4, 21n.84, 280 Cone, Edward T. 209, 221, 234 Bregenzer Festspiele 306n.100 Corneille, Pierre 15 Brueghel the Elder, Pieter 72, 247n.15 Craig, Edward Gordon 280 Carnival’s Quarrel with Lent 72 Cranborne Chase School 17 Briggs, K. M. Crang, Alan 20 British Folk Tales 160 Crashaw, Richard 362, 392 Britten, Benjamin 10, 19, 38, 341 Cross, Jonathan 1n.1, 7, 8, 9, 10, 28n.97, 44, Billy Budd 48n.28 61, 62, 73n.70, 79n.4, 82, 86, 88, 100, Burning Fiery Furnace, The 280 150, 151n.193, 166, 205, 280, 287, 392 Curlew River 280, 286 Cruickshank, George 43 Peter Grimes 240 Cumming, Naomi 233 Midsummer Night’s Dream, A 183 on Birtwistle 38n.4 Dante 359 on Punch and Judy 38, 78 Divine Comedy 359 Prodigal Son, The 280 Inferno 359 Brody, Alan 25 Darmstadt 5, 6, 6n.15, 17, 81 Brook, Peter 8, 21n.84, 285, 294n.68, Darwin, Charles 412 297 Davies, Peter Maxwell 6, 18, 18n.73, 24, 45, ‘empty space, the’ 296 46, 46n.23, 48, 48n.26, 139n.161 ‘Immediate Theatre’ 291 Antechrist 46 Brooks, Peter 336 Eight Songs for a Mad King 28 Burke, Kenneth 162, 169 Taverner 18, 81 Davis, Colin 79n.4 Cage, John 6, 285, 361 Debussy, Claude-Achille 3 Cairns, Tom 253 Deleuze, Gilles 281n.15, 283 Calder, John 21, 21n.83 Dennett, Daniel 153n.204 cantus and continuum 20, 103, 115, 119, Derrida, Jacques 280 122, 124n.130, 130n.144, 134, on the ‘metaphysics of presence’ 281, 135n.156, 135–9, 140, 153, 189, 193, 282n.22, 283, 283n.26, 283n.27, 210n.67, 274, 293, 405n.130, 437 284 Carver, Robert 397 Deutsche Staatsoper, Berlin 4, 355n.2, 367 Cecil Sharp House 24 Devlin, Graham 168, 296n.73 characterisation 4, 10n.37, 168, 205, 297, Doane, Mary Ann 251 338, 376, 411 Doob, Penelope Reed 176 archetypes 160, 168, 172, 195 Dowland, John 337, 337n.148, 439 Chew, Geoffrey 160–1, 168 ‘In darkness let me dwell’ 30n.104, Chitty, Alison 80n.4, 306, 337, 338n.151, 259n.68, 337, 337n.148 403, 403n.121, 406 Seaven Teares Figured in Seaven Passionate Chronos Pavanes 337 themythof 79n.4 Duncan, Robert 361 Clair, Rene´ 296n.73 Dunsby, Jonathan 51, 67 Clements, Andrew 9, 167 Durer,¨ Albrecht 247n.15 Cocteau, Jean 280 Annunciation, The 407 Collier, John 43 Melencolia I 406 Tragical Comedy or Comical Tragedy of Durrenmatt,¨ Friedrich Punch and Judy, The 43, 71, 72n.64 The Minotaur: A Ballad 404–5

Index 463

Eisler, Hanns 265 Shadowplay 280 Eliot, T. S. Sonata about Jerusalem 280 Murder in the Cathedral 203 Goeppert, Sebastian, and Herma C. Empson, William 9, 166, 173 Goeppert-Frank 406, 408–9 English National Opera 80n.4 Gondoliers, The 16 English Opera Group 18, 38 Graham, Colin 286 Epidaurus 305 Graves, Robert Esslin, Martin 10 The Greek Myths 311n.110 exoticism 93 The White Goddess 311n.110 Greek tragedy 46, 67, 83, 196, 280 Faust Griffiths, Paul 355 legend of 79n.4, 85 Grossberg, Lawrence 157 Fayrfax, Robert 397 Grotowski, Jerzy 8, 30, 285 film 12, 13, 88, 242, 255, 284, 307 Theater Laboratory 30 identification theory 251–2 Grove-Friedlander, Michal 265 as metaphor 263 Gumbrecht, Hans Ulrich projections 24, 242, 244n.7, 405 production of presence, the 13–15, 72, 73, see also Birtwistle, Harrison, The Second Mrs 156, 205 Kong,filmscene;Hermann, Bernard; King Kong; Scorsese, Martin, Taxi Habermas, Jurgen¨ 151 Driver; Steiner, Max Hacker, Alan 24, 46n.23, 317 Finney, Albert 288 Hall, Michael 1n.1, 10, 73n.70, 116, 134, 151, Fletcher, Angus 172 209, 210n.66, 280, 294n.67, 302, 321, Flier, Jaap 292n.62 404 formalism 88–9, 144, 160, 247 ‘central organizing principle’ 117 structuralist metanarrative 156, 223 ‘rhythmic development’ 316 substructure (and superstructure) 88, 105, ‘the sanctity of the context’ 94, 105, 175, 193, 197, 197n.8 204, 268n.86 Freeman, David 7n.19, 80n.4, 85, 169n.39 Hall, Peter 20, 20n.82, 79n.4, 81, 288, 290, Freud, Sigmund 243 305, 306 ‘FragmentofanAnalysisofaCaseof Handel, George Frideric Hysteria’ 315–16, 316n.118, Messiah 366 336 Harrison, Jane Ellen 283 Friedman, Susan 157, 158 Harrison, Jonty 288n.51, 291, 295, 302 Harrison, Tony 28n.98, 160, 167n.29 Gabrieli, Giovanni 17n.70 libretto for Bow Down 297–301 Gateway Theatre, Edinburgh 21 libretto for Yan Tan Tethera 160n.6, 163–5, Gedda, Nicolai 92 169–75, 183, 188 Geertz, Clifford 282 revisions to 188 gender 279 version of The Oresteia 173, 290, 291–2, Genette, Gerard´ 152n.199, 220 294, 297 genre 2, 3–5 Harsent, David 9, 197, 337, 338n.152, gesture (musical) 287 341n.155, 355 Gill, Peter 296n.73, 337, 337n.145, 342 libretto for Gawain 198–9, 200–3, 205–9, Girard, Rene´ 72 309n.105 Giraud, Albert 45, 48–9, 49n.32, 49–50, principal revisions to 206–7 67–8 libretto for The Corridor 337n.146, 338, Glyndebourne Opera 79n.4, 242, 307, 340, 341–2, 342n.163, 342n.164 355n.2, 367 revisions to 344–6 Goehr, Alexander 6, 6n.15, 18, 18n.73 libretto for The Minotaur 409n.142, Arden Must Die 18 402–11, 426, 434, 436 Naboth’s Vineyard 280 revisions to 409–11

464 Index

Harsent, David (cont.) Kabuki 297 Mr Punch 198 Kagel, Mauricio 5, 15, 285 ‘Windhound, The’ 198, 209, 212, 238 Staatstheater 91, 296n.73 Hartleben, Otto Erich 45, 49, 67 Kallman, Chester 161 Hegel, G. W. F. 153 Kandinsky, Wassily 310 Heidegger, Martin 153, 242, 363, 364, Kant, Immanuel 153 391 Kantorowicz, Ernst 359 Henze, Hans Werner 6n.14, 151 Karl, Gregory 198, 218, 223 The Bassarids 81, 81n.11 Kepler, Johannes Herbert, Jocelyn 80n.4 Harmonices Mundi 140 Hermann, Bernard 255, 255n.54 King Kong (ﬁlm) 242, 244, 245, 250, 264, Hippodrome, Accrington 16 269 Hoban, Russell 242 Klee, Paul 247, 247n.16, 248 on Kong (in the opera) 243, 250 Notebooks 268 libretto for The Second Mrs Kong Klein, A. M. 362, 369, 377 early drafts 250, 250n.29, 264 Kramer, Daniel 61n.44, 72n.66 Medusa Frequency, The 245, 246n.9, 261, Kramer, Lawrence 265, 276 261n.70 Kristeva, Julia 253 Moment under the Moment, The 245 Turtle Diary 245 labyrinth 356, 401, 402, 404, 424 Hofmannsthal, Hugo von 310 concept of 158, 159, 176 Hollander, John 145 as metaphor for Birtwistle’s music 176–7, Holst, Gustav 180, 185, 193, 412 Four Songs for Voice and Violin, Op. 35 reference to in a Birtwistle sketch 430 321 in Tippett’s Knot Garden 183 Howarth, Elgar 9 see also Birtwistle, Harrison, The Minotaur, Hutcheon, Linda labyrinth scenes on parody 74 Lacan, Jacques 243, 249–51, 255, 273, 275–6, 276n.103, 277 identity see subjectivity Lakoff, George 12, 285 Innes, Christopher 282, 284 lament 28, 74–5, 81, 86, 88, 138, 139, 258, instrumental theatre see theatre 331, 338, 340, 341, 347, 351, 356, 397, IRCAM 83, 83n.17 401, 410, 414, 437 landscape 159, 163, 167, 169, 170, 171, 173, Jameson, Fredric 152 173n.56, 174, 175, 176, 185, 193, 195, Jana´cek,ˇ Leosˇ 10, 310 201, 247 Jarry, Alfred 280 Langridge, Philip 92, 142n.172, 254n.48 John, Gwen 310 Langridge, Stephen 80n.4, 306, 310, Johnson, Mark 11, 285 314n.113, 403, 403n.121, 405, 408 Jonic, Bettina 21, 21n.84 Lawrence, D. H. journey ‘Bavarian Gentians’ 411 the Blind Harper’s 301 layers 1, 105n.94, 117, 129, 189, 253, 263, Eurydice’s 101, 338, 340, 347 273, 292, 293, 316, 327, 347 Gawain’s 198, 206, 207–8, 209, 221, 232–3, ‘corridors of activity’ 159 234 Leach, Robert 43, 76 Kong’s quest 254 leitmotif 199, 208, 231, 232–3 as narrative concept 1 Leonardo da Vinci Punch’s quest 40, 44, 62n.45, 61–2, 66, The Last Supper 369 102 Levi-Strauss,´ Claude 156 Orpheus’s 89, 102, 103, 346 Lidov, David 280, 314 Theseus’s quest 402, 412, 419–20, Ligeti, Gyorgy¨ 5, 15 432 line 248, 432

Index 465

instrumental 1, 134–9, 399–400, 412, see also body 432–7 modernism 5, 9, 79, 82, 86, 151, 279, 279n.7, see also Birtwistle, Harrison, Gawain;The 282 Mask of Orpheus, compositional ‘Modual Book. The Triumph of Time’ 126, techniques, Act II cantus; pitch and 248 interval schemes Monteverdi, Claudio 39, 80 Living Theatre, The 30 L’incoronazione di Poppea 64 London Sinfonietta 159 Orfeo 67, 80, 87, 174n.64 London Weekend Television 26n.95, 79n.4 Mozart, Wolfgang Amadeus 10, 38, 39, 64, Lorca, Frederico Garcia 21 287 Lowell, Robert Cos`ı fan tutte 44n.20 ‘Orpheus, Eurydice and Hermes’ Don Giovanni 199 342n.163 Zauberflote,¨ Die 64 Lully, Jean-Baptiste Muldowney, Dominic 287, 290, 294–5, Amadis 287 295n.69 Lutosławski, Witold 220 on Birtwistle’s music 287 Luxon, Benjamin 92 Mulliner Book 17n.70 Lynch, David mummers’ play 15, 18, 25–6, 280 Blue Velvet 8n.23 music theatre 279 Lyotard, Jean-François 155 definition 3n.5 Music Theatre Ensemble 25n.89 Machaut, Guillaume de Music Theatre Wales 68, 73, 75n.76 MessedeNostreDame(Amen from the Mussorgsky, Modest 3 Gloria) 141, 150n.190 Boris Godunov 409n.143 ‘Tant doulcement’ 287 myth 1, 172, 280, 346 Mahjong 51 and memory 83 masks 17, 40, 75, 83, 90, 91, 166, 208, 280, and ritual 282, 287 304–5, 311, 367n.67, 406, 419 see also Aristotle, ‘mythemes’;Birtwistle, McCarthy, Michael 68 Harrison, The Minotaur;The Io Passion; McClary, Susan 87 Chronos,themythof; Orpheus, the Mellers, Wilfrid 278 myth of metaphor 2, 10–13, 159, 176, 193, 221, 254n.45, 263, 271–2, 278, 285 Nancy, Jean-Luc see also Birtwistle, Harrison, Gawain;The on images 242n.2, 243, 255, 272 Second Mrs Kong; film; labyrinth; Inoperative Community, The 359n.12, 362, sketches 363, 363n.41, 365, 366, 376, 376n.88, Metz, Christian 196n.4, 243, 251–2, 255 391 Metzer, David 86 narrative 7, 150–8, 162, 166, 168, 196, 297, Meyerhold, Vsevolod 42, 280, 281, 305 411 mime 4, 17, 19, 25, 26, 33, 48, 72n.66, 80, 83, and drama 20 84, 91, 95, 100n.81, 101, 202, 207, 208, and narration 433 280, 284, 304–5, 309–10, 311, 317, 357 non-linear 4, 83, 280, 297 ‘mimed percussion’ 87 theories on 13, 152–8 music suggestive of physical actions 29, 34, ‘transformation’ 155 326, 346 see also Birtwistle, Harrison, Gawain; Mask relationship to music and drama 2, 58, of Orpheus, The 279 National Theatre, London 21, 148, 278, rustic 173 286–95, 303, 305, 306, 337 sequences of actions 114, 207, 244, 297, Studio 337n.145 307 workshops 279, 285, 286, 306–9, 311, 337, see also Birtwistle, Harrison, The 342 Corridor;The Io Passion see also ‘Agamemnon Experiments’

466 Index

Nattiez, Jean-Jacques 219 ‘seamless pastoral’ 200 naturalism see realism theories of 13, 162, 166 Neruda, Pablo Paul Sacher Stiftung 21 ‘Ode to the Double Autumn’ 405, Pelasgic alphabet 141 405n.130 Persky, Stan 360n.19 Nerval, Gerard´ de 362, 392 Petrarch 19 Netherlands Opera 69n.60, 75n.76 phonetics 142, 144, 303 Neue Oper Wien 367n.67 Piaget, Jean 155 New York State University, Buffalo 84 Picasso, Pablo 247 Newton, Isaac 155 Minotauromachy 406, 410, 436 Noh drama 18, 93, 280, 296, 328n.134 Piccini, Giovanni 43 Nono, Luigi 5, 285 Piero della Francesca 87, 247 Canti per tredici 6, 79n.4 The Flagellation 87, 168 Nooteboom, Cees 396n.104 Pierrot Players 24, 45, 279, 286 numbers pitch and interval schemes 124–41 Birtwistle’s use of 31, 64, 68, 116, 138, 142, chromatic wedges 6, 12, 20, 30–7, 51–66, 186, 212, 269, 274, 274n.102, 304, 319, 68, 126, 129, 146, 335, 427, 435 331, 334, 350, 351, 393, 394 contour 53, 125–7, 144, 144n.176, 248, ‘Magic Book of Numbers’ 117, 117n.117, 277, 394 189 harmonic ﬁelds 12, 179, 321, 323, 343, Nyman, Michael 25, 134 413, 427–31 on Punch and Judy 39n.7, 67n.52 lines approximately parallel 212–13, 321 Ogden, John 6 counterpoint 210–12, 393 Olson, Charles 361, 362, 392 ﬁltered and elaborated 213, 432–3 Opera Factory 159 see also Birtwistle, Harrison, The Mask of Orpheus,themythof 15, 82, 85, 141, 150, Orpheus, compositional techniques, 154, 168, 245, 337, 354, 362, 375 Act II cantus ostinato 117, 208, 231, 273, 274, 315, 322, modes 12, 99, 124–5, 127–34, 146, 157, 328, 329, 347n.177, 347–51, 354, 373 398n.109, 433n.185 whole-tone see Birtwistle, Harrison, The ‘harmonic ostinato’ 140 Minotaur varied pitch-centricity 419–23 see also Birtwistle, Harrison, The Io shapes 393–7 Passion see also Birtwistle, Harrison, The Second Ovid 145, 362 Mrs Kong;The Last Supper, Metamorphoses 82 table-building scene, six-note gestalt symmetry 54–7, 60, 63, 179, 185, 373, 390, Padmore, Mark 337 392, 426, 430 Palestrina, Giovanni da 397 Plaice, Stephen 306, 311, 314, 439 pantomime 5, 15, 16, 16n.64, 17, 25, 59, 284, libretto for The Io Passion 307, 309n.106, 310 322n.129, 326n.133, 336 parody 21, 24, 29, 39 early draft 328n.134 and allusion 40n.13, 48n.28, 62, 78 Pollock, Jackson 239, 247 and palimpsest 169 Ponsonby, Robert 159 polystylism 24 postmodernism 151, 155, 247, 276 theories of 13 post-structuralism 156, 362 Partch, Harry 278 Poulton, Robert 75n.76 Pasler, Jann 150, 155–6 Pousseur, Henri 5, 285 pastoral, the pre-composition see sketches (musical) concept of 9, 28n.97, 159, 160, 161n.10, presence 2, 8, 13–15, 281n.15, 283n.27, 293, 169–74 354, 397

Index 467

shared 401 death and rebirth 15, 25, 28n.97, 72, 74, visceral sense of 412 199, 244, 254, 256, 262, 273, 314, 336, Princeton University 7, 19, 39n.4 338, 342 Propp, Vladimir 152n.199, 222 and emotion 200 Pruslin, Stephen 39, 144, 145n.178 language 284 libretto for Punch and Judy 43–51, 64, and mechanism 163 70n.61 performance 279, 282, 307 draft for (with revisions) 70–1 sacrifice 297, 311 libretto for Monodrama 46 theory 281–2, 283 pulse 289, 291, 292, 295, 304, 305, 320, ‘thought–action’ dichotomy 281, 287, 327 314 ‘choral pulse’ 303 ‘ritualised agents’ 282 ‘variable pulse’ 295 symbolically schematised environment, Pyant, Paul 411 the 282 Roberts, Stephen 75n.76 Quartermain, Peter 367 role see characterisation role-play Raasay 84 instrumental 1, 6, 196 Racine, Jean 15 Ronell, Avital 362 Randle, Frank 17n.68 Roy, Arundhati Ravel, Maurice The God of Small Things 157 Daphnis et Chloé 15, 167n.31 Royal Festival Hall, London 355n.2 realism 19, 174, 376, 397 Royal Manchester College of Music 17 and ritual 357 Royal Opera House, Covent Garden 79n.4, and stylised, artificial drama (or verse) 4, 202, 400n.114 169n.39, 203, 279 see also Birtwistle, Harrison, The Io Salieri, Antonio 287 Passion Samuel, Rhian 199, 202, 203, 401, 413, 433 refrain see verse–refrain structures San Francisco Renaissance 361 Reinhardt, Max ‘scene–agent ratio’ see Birtwistle, Harrison, Yan The Miracle 310 Tan Tethera, scene and agent; Burke, repetition 160, 168, 204, 246, 273, 347 Kenneth cyclic 44, 116, 153, 207 Schechner, Richard 285 literal 411, 421 Schenker, Heinrich 141 varied 1, 25, 110, 114, 134, 283, 296, 304, Scherer, Klaus 317, 389 ‘affect bursts’ 412 representation 283, 303, 315, 336 Schiller, Friedrich 167, 173 the act of 283 Schnebel, Dieter 286 musical 279, 320, 322, 336, 347 Schoenberg, Arnold 3, 5, 18n.73, 21 see also Birtwistle, Harrison, The Second Erwartung 337 Mrs Kong Pierrot lunaire 21, 28, 42, 45–51, 59n.41, Reyland, Nicholas 220 61, 67–8, 71, 280 rhythmic skeleton 119, 189n.89, 350, Scorsese, Martin 433n.185 Taxi Dr iver 255 Ricoeur, Paul 152, 154–5, 156, 196 Seconda pratica 80 on ‘narrative identity’ 397 serialism 6 Rihm, Wolfgang 281n.12 Shakespeare, William 287n.44, 306 Rilke, Rainer Maria As You Like It 170 ‘Orpheus, Eurydike, Hermes’ 342n.163 Hamlet 16n.64, 307 ritual 1, 15, 17, 72, 100, 114, 160, 166, Midsummer Night’s Dream, A 165 231, 280, 301, 305, 355, 357, signals (musical) 279, 289, 292, 294 371 Silverman, Kaja 253

468 Index

Sir Gawain and the Green Knight 197, 218, text and music 7 229n.98, 309 theatre sketches (musical) 1–2 in Birtwistle’s music 7–10 and compositional process 12–13, 188, instrumental 14, 197, 205, 231, 239 195, 277, 316, 356 recognition (anagnorisis)andreversal and metaphor 11–13, 37, 51, 356 (peripeteia) 10, 20, 28, 44–5, 176, and performance 2, 284 205, 272 and pre-compositional schemata (images ritualistic 29–30, 39, 279, 281, 287 and ideas) 11–13, 31, 37, 51–3, 68, space 279, 287, 293, 296 75–6, 94, 126, 127, 135, 139, 140, see also Birtwistle, Harrison, The Mask of 177–80, 204, 208, 233, 261, 264, 268, Orpheus 317, 377, 386–90, 392, 417–19, 423 stylised 25, 293, 294 with revisions 93–4, 110, 138, 147–50, avant-garde 280, 285 212, 215, 334, 377–91, 394–7, 400 ‘true’ see Artaud, Antonin undisclosed revisions 264 Theatre of Cruelty 8, 280 see also Birtwistle, works Workshop 285 Snowman, Nicholas 7 Theatre of the Absurd 10 Soja, Edward 157 Theocritus 173 Sontag, Susan 281 Idylls 161, 169 space see theatre Thomas, Gwion 75n.76 Spenser, Edmund 19n.76, 362 Thomas, Mary 46 Spicer, Jack 361 Thompson, Wentworth D’Arcy Stein, Leonard 18n.73 On Growth and Form 248 Steinecke, Wolfgang 6n.15 time Steiner, George 362 and space (in opera) 14 Steiner, Max 263, 264n.78, 264n.79, 269 and re-presentation 15 Stockhausen, Karlheinz 5, 285 see also Birtwistle, Harrison, The Mask of Gruppen 396 Orpheus ‘moment form’ 158 Tippett, Michael 18, 18n.74, 151 Plus-Minus 286 King Priam 18 Stimmung 286 The Knot Garden 18, 183 Stravinsky, Igor 3, 4, 5, 6, 9, 11, 40, 116, 126, Tomlinson, John 198n.12, 401n.118, 406, 129, 151, 160, 280 409n.143 Les Noces 42 Tooley, John 38n.2, 79n.4 Oedipus Rex 42, 67, 166 Traherne, Thomas 362, 392, 398 Petrushka 42 Trevis, Di 14 Pribaoutki 29n.99 Turner, Victor 282 Pulcinella 42 Rake’s Progress, The 74n.74, 160–1 Vaughan Williams, Ralph 159 Renard 42 Verdi, Giuseppe 9, 10, 260 Rite of Spring, The 81, 130, 167n.31 Simon Boccanegra 409n.143 Soldier’s Tale, The 42, 67 Vermeer, Jan 247 Strindberg, August 310 Girl with a Pearl Earring 244, 253n.39 subjectivity 9, 159, 163–8, 174, 180, 183, 190, verse–refrain structures 1, 21, 95, 162, 187, 195, 234, 273, 412 204, 218, 224, 232, 246, 287, 293, 297, and identity 197, 238–41, 397–400, 301, 315, 316n.119, 317, 328, 329, 424 344n.168, 374, 377, 400, 402, 417n.156, sublime, the 253n.39 426, 427, 435, 436 Swarthmore College 84, 84n.22 Virgil 169n.38, 173 Eclogues 161, 169, 170, 170n.44, 171, 173, Taylor, Michael 92, 105, 193 173n.59, 195 Tear, Rober t 92 Georgics 82, 171

Index 469

voice Webern, Anton 29, 40, 62 in The Mask of Orpheus 141–50 Wedekind, Frank 310 Sprechgesang 28, 46, 148, 346n.174 Weill, Kurt 3 status of (in compositional process) 148 Weiss, Peter stylised declamation 28–9, 293, 294, 338 Marat/Sade 297 see also Birtwistle, Harrison, The Corridor, Whittall, Arnold 9, 87n.38, 88, 212, 295, vocal utterance;Gawain, musical line 355, 360, 361, 362, 401n.117, and vocal melody, narrative and 409n.143 voice;body, the, music and movement, Wiesenthal, Grete 310 and word; Punch and Judy,Judy’sAria, Wordsworth, William 170 Punch, characteristics of, Punch’s Prelude, The 170–1 Lullaby Wray, Fay 245 Wright, Patrick 361, 361n.28, 363, Wagner, Richard 3, 9, 91, 200, 201, 239n.120, 367 279, 306, 314 Die Meistersinger von Nurnberg¨ 412 Yeats, W. B. 280, 288n.51 Parsifal 199, 199n.19, 200, 201n.24 Ring, The 199, 231, 409n.143 Zinovieff,Peter 79, 88, 88n.42, 90n.52, 100, Gotterd¨ ammerung¨ 199 101, 114, 141, 141n.170, 145, 151, 153, Walker, Julia A. 281 156, 301 Walsh, Stephen 11 libretto for The Mask of Orpheus 88, Walter, Marie-Ther´ ese` 406 89–92, 102–3 Wardour Castle Summer Schools 18, 145 early drafts (summary of) 89–90 Watkins, Hugh Ziˇ zek,ˇ Slavoj 243, 274 Crime Fiction 338n.152 Zurbaran,´ Francisco de 396n.104