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Claudia Herrerias Guerra Copy Portfolio of Compositions Claudia Delfina Herrerías Guerra PhD in Music Composition University of York Music Department December 2013 Abstract This portfolio comprises the nine pieces written during my PhD research at the University of York and a commentary about the process of composition. My work seeks to focus on timbre and texture as guiding parameters, with due attention to comprehensibility through unity of material. I first give an overview of my compositional processes during the years previous to my research. Then I discuss the general principles of my present approach, sketching the links between it and earlier work. Finally, I illustrate these principles by discussing individual pieces and the links between them. i List of Contents Abstract ……………………………………………………………………………………………………….. i List of Contents .……………………………………………………………………………………………. ii List of figures ……………………………………………………………………………………………….. iii List of Accompanying Material …..……………………………………………………………………. iv Acknowledgements ……………………………………………………..……………………………….. v Author’s declaration ………………………………………………………………………………………. vi Part 1: An Overview Chapters 1. Background ……………………………………………………………………………………………….. 1 2. Previous work ……………………………………………………………………………………………. 1 3. Compositional approach .…………………………………………………………………………….. 2 4. Texture ………………………………………………………………………………………………………. 3 5. Planning process ……………………………………………………………………………………….. 4 Part 2: Individual Works Chapters 1. Yeixpan, for violin, violoncello and piano …………………………………………………….. 5 2. Matlaktli, chamber ensemble for ten players ……………………………………………….. 8 3. Solo pieces …………………………………………………………………………………………….. 13 piece for recorders …………………………………………………………………………….. 15 pars ad fagottum ………………………………………………………………………………… 17 pieza para guitarra ………………………………………..……………………………………. 20 stück für bratsche ………………………………………………………………………………. 22 4. Ome ueuekuikani, for percussion duo .……………………………….……………………... 25 5. Una pieza para dos pianos, for two pianos ...……………………………………………… 30 6. aeternae vires - oratio Pythagorae for solo countertenor, choir and chamber orchestra ………………………………………….. 32 Conclusion …………………………………………………………………………………………………… 48 Resource List ………………………………………………………………………………………………. 49 ii List of Figures 1 Yeixpan. 1.1. Chord types in Yeixpan. 1.2. Chord plan for Yeixpan (chords 1-4). 1.3. Use of multipliers in Yeixpan. Second movement b. 1-6. 2. Matlaktli. 2.1. Categories and qualities in Matlaktli. 2.2. Combinations of qualities. 2.3. Matlaktli - Drawings. 2.4. Harmonic material. 3. Four solo pieces. 3.1. Four pieces - First sketches. 3.2. Relation of colours and playing techniques in the solo pieces. 3.3. Pitch material and structure. 3.4.1. Structure of piece for recorders. 3.4.2. Pitch-set for piece for recorders. 3.4.3. piece for recorders: developing of the pitch-sets. 3.5.1. pars ad fagottum - structure. 3.5.2. pars ad fagottum - general plan. 3.5.3. pars ad fagottum, b. 7-11. 3.5.4. pars ad fagottum, b. 20-22. 3.6.1. pieza para guitarra - structure. 3.6.2. Pitch-sets for pieza para guitarra. 3.6.3. Sketch for the third section from pieza para guitarra. 3.7.1. Row for stück für bratsche. 3.7.2. stück für bratsche: Row P0 as pitch-sets (b. 1-10). 3.7.3. Structure of stück für bratsche. 4. Ome ueuekuikani. 4.1. Dance-pattern of Rhodesia (fragment). 4.2. Basic rhythmic line of eighty-four-quavers and beginning of its retrograde. 4.3. Variation 1, b. 11-16. 4.4. Beethoven’s Funeral March, 1st Violin (b. 1-8) and below, mine (systems 2-3). 4.5. Liszt’s ‘Marche funèbre’ and below the introduction to my ‘Funeral March’. iii 5. Una pieza para dos pianos. 5.1. Recurrence of figurations determined by Fibonacci numbers. 5.2. Una pieza para dos pianos: pitch-sets. 6. aeternae vires - oratio Pythagorae. 6.1. Ensemble: Countertenor, choir SATB 4x4 and chamber orchestra (21 players). 6.2. aeternae vires - structure. 6.3. Twelve-note row ∂ - P0 and P6. 6.4. Twelve-note row ß - P0. 6.5. Phrases from section 2 arranged as a four-part polyphonic texture for sections 7 and 11. 6.6. Limpid, open harmonies with row ∂ (P6) in orthodox use with doublings, b. 99- 109. 6.7. Row ∂ (P0) as pitch-sets. Choir b. 118-127. 6.8. Row ∂ in orthodox use and the text shifted, b. 131-137, Letter F. iv List of Accompanying Material Scores: 1. Yeixpan, for violin, violoncello and piano (13’00) 2. Matlaktli, ensemble for ten players (10’30) 3. Solo pieces: piece for recorders (9’25) pars ad fagottum (3’50) pieza para guitarra (5’30) stück für bratsche (6’00) 4. Ome ueuekuikani, for percussion duo (10’20) 5. Una pieza para dos pianos, for two pianos (10’00) 6. aeternae vires - oratio Pythagorae for solo countertenor, choir and chamber orchestra (25’00) v Acknowledgements I would like to thank the Universidad de Ciencias y Artes de Chiapas and SEP-Promep for giving me the opportunity to pursue this research. Special thanks to my supervisor Professor William Brooks, for his support and guidance. Thanks to my internal examiner Dr. Thomas Simaku and Professor Roger Marsh for his supervision during the first year. Thanks are also due to the musicians with whom I have worked on my pieces - including those who performed them and those who gave me their invaluable feedback. These are: Azlee Babar, Diego Castro Magaš, Li Cheong, Ana Fontecha, David Hammond, Ginevra House, John Jacobs, Ellen Jordan, Tom Marlow, Charlotte Pugh, Diana Ramírez, Martin Scheuregger, Sophie Simpson and Doug Spaniol. Sincere thanks to Gilly Howe and the staff of the Music Department. And finally I would like to express my deep gratitude to my parents, my family and my friends. vi Author’s Declaration of Originality I hereby certify that I am the sole author of this commentary and portfolio of compositions and that no part of this commentary has been published or submitted for publication. I certify that, to the best of my knowledge, my thesis does not infringe upon anyone’s copyright nor violate any proprietary rights and that any ideas, techniques, quotations, or any other material from the work of other people included in my commentary, published or otherwise, are fully acknowledged in accordance with the standard referencing practices. vii Part 1: An Overview 1. Background I was born and grew up in Mexico City, where I started my music studies. An undergraduate degree in piano was interrupted in 1989 when destiny led me to Germany where, this time, I did complete an undergraduate degree in music composition. I lived more than seven years in Nuremberg; and although my composition teacher then, Vivienne Olive, was an English woman, I was certainly imbued with the musical culture of the German-speaking region. Many years later I did a Master Degree in Glasgow, also in Music Composition, and my education is culminating now with this doctorate in York. Although between my trips to Europe to study I always returned to Mexico, where I am based, musically I am focused on European tendencies. I appreciate Latin American folk music so much, particularly dance music such as the Cuban son, that I prefer to leave it untouched. In other words, I do not exploit it nor can I perceive any explicit influences on my music, apart from a particular liking for rhythm, which I consciously set aside for most of the works of this portfolio. 2. Previous work My previous objective was to achieve coherence through motivic unity and economy of material. This objective was influenced by the music of Webern and his book, The Path to the New Music. My compositional process rested primarily on finding what I considered interesting and flexible motivic material. As a starting point, this usually consisted of pitch constellations, presented as scales having symmetric qualities, or of a pair of scales which together completed the twelve- note row, often used in combinations that formed twelve-note aggregates. I constructed all these to be suitable for the creation of motives that would direct the development of the piece. My aim was to work with a minimum of material and exploit its potentials. The parameter of rhythm played an important role in this procedure. In the planning process, as a consequence, I was focusing on sets of pitch-classes and rhythmic cells, on motivic and harmonic material — that is, on musical parameters that, traditionally, have occupied a higher level in the hierarchy. The macro-structure and timbral and textural qualities were a product of my material; they were the result of the melodic and rhythmic ideas and they were not a substantial part of the plan. I chose my set of instruments carefully, but I often did not exploit thoroughly their qualities. I paid attention to form but, again, only as a result of what the motives suggested. Then I ordered carefully the resulting ideas, designing the macro- structure, paying attention to tension and release, very often in symmetric forms. With the exception of a few pieces, there had never been extramusical meaning in my work. Most of them were conceived as abstract music, with no conscious agenda. The exceptions 1 were pieces in which I used a text, either sung or as a source of inspiration. That still happens nowadays. But other than that, the expression of an idea able to be explained with other means than music has seldom been my purpose. 3. Compositional Approach My present approach allows me explore more deeply compositional parameters which had remained in the background during the previous compositional process and enables me to develop works in which contrasting textures are among the main concerns. Furthermore, the development of my work has led me to pay attention to macro-structure and tempo relations. I shifted my focus from the generation of motives to the textural quality of musical fragments; from these I derive the macro-structure, the tempo relations and the pitch-material. With some exceptions, rather than pursuing motivic unity, I think more in terms of gestural unity. Nevertheless, the construction of the basic elements is still very important to me. I still pursue economy and unity of material, but I do not allow this to hinder the development of other parameters.
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