Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies
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Counterpoint and Performance of Guitar Music – Historical and Contemporary Case Studies Paul Ballam–Cross B.Mus (Performance), M.L.I.S A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Music Abstract This thesis examines how contemporary composers approach the guitar and counterpoint. An historical overview of the guitar is provided at the outset of the thesis, leading to detailed examination of contrapuntal technique in an extended twentieth-century work by Miklós Rózsa, and addresses effective guitar performance techniques in relation to different kinds of contrapuntal textures. These historical, technical and performance considerations then inform a series of interviews with six contemporary composers (Stephen Hough, Angelo Gilardino, Stephen Goss, Tilmann Hoppstock, Ross Edwards, and Richard Charlton). These interviews aim to provide insight into how 21st century composers approach contrapuntal writing for the guitar. The interviews are paired with detailed discussions of representative works for guitar by each composer. These discussions deal particularly with difficulties in practical performance and with how the composer has achieved their compositional goals. This thesis therefore seeks to discover how approaches to the guitar and counterpoint (including challenges, limitations and strategies) have changed and evolved throughout the instrument’s existence, up to some of the most recent works composed for it. i Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly–authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co–authors for any jointly authored works included in the thesis. ii Publications included in this thesis No publications included iii Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature Peer–reviewed papers: Ballam-Cross, Paul. “’Nonagon infinity, open the door!’ – motivic interrelation across albums in the music of King Gizzard and the Lizard Wizard’” Perfect Beat (forthcoming) Ballam–Cross, Paul. "Finding New Repertoire: Transcribing Mozart’s Sonata, K. 292/196c for the Guitar" Context No. 43. (2018): 47–67. iv Contributions by others to the thesis No contributions by others. v Statement of parts of the thesis submitted to qualify for the award of another degree No works submitted towards another degree have been included in this thesis. Research Involving Human or Animal Subjects Ethics approval number: SoM–ETH16–11/PBC Name of approving committee: School of Music Ethical Review Panel A copy of the ethics approval letter is included in the thesis appendix. vi Acknowledgements I would like to acknowledge the immense help that my supervisors, Dr Denis Collins and Dr Eve Klein, have been in the creation of this thesis. Their editorial and structural advice has been invaluable. I would also like to acknowledge Tracey Powell, the liason librarian for the University of Queensland School of Music. She helped immensely in finding some of the scores discussed in this paper. Finally, I would like to acknowledge the participants interviewed in this paper. Without them, this thesis wouldn’t exist. vii Financial support This research was supported by a University of Queensland Research Scholarship. Keywords Guitar, classical guitar, counterpoint, polyphony, contemporary classical, composers, interviews viii Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190406 Music Composition 20% ANZSRC code: 190407 Music Performance 20% ANZSRC code: 190409 Musicology and Ethnomusicology 60% Fields of Research (FoR) Classification FoR code: 1904, Performing Arts and Creative Writing, 100% ix Dedications I would like to dedicate this thesis to my parents, who have always encouraged my hours of research and love of obscure information, and to my fiancée Dr Genesta Nicolson. x Contents Introduction 1 Chapter 1: The Contrapuntal Guitar: An Historical Overview 24 Chapter 2: Analysis of Miklós Rózsa’s Sonata for Guitar, Op. 42 70 Chapter 3: Counterpoint in Transcriptions and Arrangements for the Guitar 89 Chapter 4: The Impact of the Left and Right Hands on Counterpoint for Guitar 102 Chapter 5: Interviews with Twenty–First Century Composers and Discussion of 132 Representative Works Conclusion 199 Appendices 205 Works Cited 236 xi Page List of figures Introduction Fig. 1: Taxonomy of contrapuntal methods 9 List of tables Chapter 5.1 Table 1: List of codes 133 Table 2: Table of codes from interviews 136 List of examples Introduction Ex. 1; Ferdinando Carulli; L’harmonie: Appliquée à la guitare (above) 12 with Gallardo’s additional lower stave (below) (Gallardo 22) Chapter 1.2 The Baroque Guitar Ex. 2; Variety of tunings for the Baroque guitar (Koonce The Baroque 26 Guitar 3–6) Ex. 3a; de Murcia’s original tablature, and 3b; the effect on a modern 27 instrument (Koonce The Baroque Guitar 13) Ex. 4; Robert de Visée; Prelude from Suite in C minor (Strizich 32) 28 Chapter 1.31 Early Developments in Notation Ex. 5; Jean-Baptiste Phillis; Nouvelle méthode pour la lyre ou guitarre a 30 six cordes (Phillis 25) Ex. 6; Fernando Sor; Method – Example 25 (Sor 114), bars 1-4 31 Ex. 7; Mauro Giuliani; Fughetta, Op. 113, bars 1-6 32 xii Ex. 8; Anton Diabelli; Fugue in A minor, Op. 46, bars 1-4 32 Ex. 9; Wenzel Thomas Matiegka; Grand Sonata No. 1, bars 22-27 33 Ex. 10; Fernando Sor; Etude No. 5, Op. 29, bars 65-70 33 Ex. 11; Fernando Sor; Etude No. 5, Op. 29, bars 9-12 33 Chapter 1.4 The Mid-Nineteenth Century Ex. 12; Napoleon Coste; Les Cloches, Op. 21 No. 5, bars 1-6 34 Ex. 13; Napoleon Coste; Etude No. 19, Op. 38 (published 1873) 35 (Wynberg 25 Etudes de Genre 18), bars 1-7 Ex. 14; Zani de Ferranti; Caprice No. 1 (Wynberg Huit Caprices 4), bars 1- 36 4 Ex. 15; Giulio Regondi; Reverie (Nocturne pour la Guitare, Op. 19), bars 36 35-37 Chapter 1.41 The Late Nineteenth Century Ex. 16 Jacques Bosch: Duettino, Op. 10, bars 1–6 37 Ex. 17: Julian Arcas Mi Segunda Época (Sinfonia para Guitarra), Op. 11 38 bars 17-20 and bars 41-43 Ex. 18: Julian Arcas Mi Segunda Época (Sinfonia para Guitarra), Op. 11 39 bars 17–20 and bars 55–58 Ex. 19; Francisco Tárrega; transcription of J.S. Bach’s Fugue, BWV 1000, 40 bars 1-4 Ex. 20; Francisco Tárrega; Prelude No. 1, bars 12-16 40 Ex. 21; Francisco Tárrega; Recuerdos de la Alhambra, bars 1-2 40 1.5 The Legacy of Nineteenth-Century Counterpoint, and Twentieth- Century Compositional Movements Ex. 22; De Leeuw – Diagram showing the original, inversion, retrograde, 45 inverted retrograde, and simultaneous versions of the Bb – A natural – C xiii natural – B natural (“B–A–C–H”) motif Chapter 1.6 The Guitar in the Early Twentieth Century Ex. 23; Frank Martin; Prelude from Quatre Pièces Brèves (1933), bars 1-2 49 Ex. 24; Henri Martelli’s Quatre Piéces pour guitare, op.32 – II. 50 (Gilardino Quatre Piéces 12), bars 1-2 Ex. 25; Federico Moreno Torroba; Panorama from Piezas características, 50 bars 69-82 Ex. 26; Manuel Maria Ponce; Prelude No. 21 from 24 Preludes for Guitar 51 (ed. Alcázar), bars 1-7 Ex. 27; Heitor Villa-Lobos; Prelude No. 3, bars 23-24 52 Ex. 28; Heitor Villa-Lobos; Etude No. 5, bars 3-5 52 Ex. 29; Lennox Berkeley; Sonatina for Guitar – Third Movement, bars 1-4 53 1.7 Contrapuntal Developments After World War II Ex. 30; György Ligeti; Requiem – Kyrie (Malfatti 11), bars 1–3 54 Ex. 31; Steve Reich; Clapping Music, bars 1–3 55 Ex. 32; Steve Reich; Electric Counterpoint – III. Fast (rehearsal mark 71– 55 72) Ex. 33; Steve Reich; Electric Counterpoint – III. Fast rehearsal mark 93 56 1.8 Further Developments for the Guitar in the Twentieth Century Ex. 34; Toru Takemitsu, Folios – III., bars 25-27 57 Ex. 35; Allan Clive Jones Example 13 (Jones Poulenc’s Sarabande 16) 57 Ex. 36; Peter Maxwell Davies Guitar Sonata – II. Lento bars 1-2 58 Ex. 37; George Crumb; Mundus Canis – 1. “Tammy” bar 1 59 Chapter 1.91 Four Elements of Musical Style in the Twenty-First Century Ex. 38; Nigel Westlake; Hinchinbrook Riffs bars 1-2 61 xiv Chapter 1.92 Recent Developments in Guitar Repertoire Ex. 39; Terry Riley; Barabas bars 1-4 65 Ex.