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INTERPRETATIVE ISSUE PERFO CONTEMPORARY PIANO MUSIC J by\ Philip Thomas (Volume I) Submitted in partial fulfilment of the requirements for the degree of PhD in Performance Practice Department of Music University of Sheffield April 1999 SUMMARY This thesis explores practical and theoretical issues in interpreting contemporary notated piano music. Interpretative problems and approaches are discussed with a practical bias, using a varied selection of musical sources mostly from the last fifty years. The diversity of compositional styles and methods over this period is reflected in the diversity of interpretative approaches discussed throughout this thesis. A feature of the thesis is that no single interpretative method is championed; instead, different approaches are evaluated to highlight their benefits to interpretation, as well as their limitations. It is demonstrated how each piece demands its own approach to interpretation, drawing from different methodologies to varying degrees in order to create a convincing interpretation which reflects the concerns of that piece and its composer. The thesis is divided into four chapters: the first discusses the implications and ambiguities of notation in contemporary music; the second evaluates the importance of analysis and its application to performance and includes a discussion of the existing performance practice literature as well as short performer-based analyses of three pieces (Saxton's Piano Sonata, Tippett's Second Piano Sonata, and Feldman's Triadic Memories); the third chapter considers notions of style and performing traditions, illustrating the factors other than analysis that can 'inform' interpretation; and the fourth chapter draws together the processes demonstrated in the previous chapters in a discussion of the interpretative issues raised by Berio's Seguenza IV. Although each chapter selects examples which illustrate the concern of that chapter, the discussion of each extract is informed by processes found in the other chapters. Discussion is based upon personal experiences and those of nine professional pianists, well-known for their performances of contemporary music. This allows for an objective attitude which accepts a range of possible approaches to a single piece as being valid. It is intended that consideration of these approaches will combine to widen interpretative possibilities and illustrate the complexity and multiplicity of the interpretative process. ACKNOWLEDGEMENTS My thanks go to Andrew Ball, Michael Finnissy, Peter Hill, Nicolas Hodges, Peter Lawson, Joanna MacGregor, Philip Mead, Ian Pace and John Tilbury for giving up their time to be interviewed for this study. Their input has been invaluable. In particular I wish to thank Michael Finnissy for allowing me to interview him on two separate occasions and for patiently discussing his music, Peter Lawson for his encouragement and advice, and Peter Hill for his supervision and guidance. In addition, I would like to thank Nikki Dibben, Peter Dutton and Mark Thomas for their thorough proof-reading, generously giving considerable time to this task. Lastly, my heartfelt thanks goes to Tiff and God for constant support and encouragement. CONTENTS Page No. 1 Introduction 9 Chapter One: Notation and Interpretation 13 Notating Pitch 16 The Bar-line 29 Expression Marks and Dynamics 41 Tempo Indication, Gradation and Modulation 47 Rhythmic Complexity 66 Grace-notes 78 Chapter Two: Analysis, Comprehension, and Performance 106 Saxton's Piano Sonata 112 Tippett's Piano Sonata No-2 117 Feldman's Triadic Memories 124 Chapter Three: Style and Authenticity 168 Chapter Four: Berio's Seguenza IV: A Case Study 197 Epilogue 205 Appendix A: Questionnaire for Interviewees 208 Appendix B: Selectedlist of repertoire 212 Bibliography Introduction 1 Introduction An appropriate subtitle for this study might be 'The De-Mystification of the Contemporary Music Learning Process'. For many performers, the nature of most twentieth-century music suggests an intellectual and analytical approach, whilst traditional music (that is, music written before about 1920 and based around tonal principles) is more immediately comprehensible. I would suggest that the primary obstacle which prevents many performers from learning contemporary music is the element of unfamiliarity. Unfamiliarity with notational practices, compositional processes, performance traditions, and many other issues, combine to dishearten and frustrate the performer. Paradoxically, it is these very qualities of unfamiliarity that serve to motivate some performers, including most of those interviewed for this study, toward learning new music. The originality, perhaps radicalness, of much new music, combined with an absence of performing tradition, creates for these performers a sense of freedom which is limited in music which has a well- established performing tradition. The pressures of performance history or the audience's ingrained expectations may constrain the interpretation of traditional music. In research which draws from interviews with 22 professional musicians Dr. Sue Hallam concludes "It seems a more intellectual approach is required for learning modern atonal music, which is stimulating for the analytic holists, but creates difficulties for the intuitive serialists. "' Though this may be a fair representation of the attitudes of those interviewed, the conclusion must be challenged. The aim of this thesis is to consider methods of interpretation 1. Dr. Sue Hallam, 'Issues in learning and practice' (paper given at the conference of the Society for research in Psychology of Music land Music Education, 22nd October, 1994). The term 'analytic holists' referred to performers who 'adopted an approach which was analytic in nature'; the term 'intuitive serialists' referred to musicians who processed `without awareness and a "bottom up" approach where interpretation develops as the music is learnt'. Introduction 2 (applied to contemporary piano music) that extend beyond the preconceptions outlined above. It is hoped that the perceived mystery surrounding the interpretation of new music will be dissipated as issues of unfamiliarity are addressed with a practical bias. The intention is also to highlight problems and specific points of ambiguity in order to challenge received traditions and theories concerning interpretation. It is not the intention to simplify the interpretative process, or to provide a set of formulae to apply to all interpretation, but to clarify and address relevant issues as being demonstrative of different interpretative approaches. Many issues discussed will be relevant to the interpretation of all contemporary music, and this study is not intended to apply exclusively to the piano domain. However, contemporary piano music is the focal medium from which examples are taken and considered. Primarily this is because I am a is pianist, and much of the theoretical discussion, and choice of examples, derived from my own experience of playing this repertoire. In addition there in) are certain features which are unique to (or most common piano performance. Not least of these is the soloistic aspect of performance: though in last the solo repertoire of other instruments has increased considerably the for sixty years, the piano retains a prominent role as a solo vehicle interpreter, compositional expression. The independence of the unable to rely on an accompanist or partner, is an interpretative factor that unites piano music of all periods. For this reason, the decision to restrict this study to solo piano music, excluding chamber music, concertos, electro-acoustic music, etc., highlights the interpretative role of the individual. Consequently, issues of ensemble co- ordination are omitted from discussion. Many practical points of interpretation may, however, still apply to ensemble music, such as the interpretation of notation and issues of prioritisation. Introduction 3 The concentration on notated music ensures the link with traditional notions of interpretation. It must be stressed that the prioritisation of notated music as one form of 'contemporary music' (a term presumptiously appropriated by proponents of notated music to the exclusion of other types, such as jazz and freely improvised music) applies only within the limitations of this study. Consideration of entirely graphic scores, such as those by Busotti or Cardew, is outside the limitations of this study, being more associated with free improvisation. The plurality of approaches and responses of different performers to contemporary music is comparable to the differences in background and aesthetic of today's composers. This is reflected in every aspect of composition: the multifariousness of musical notation results in new symbols, become some of which are adapted to common usage, many of which never standard, and some of which have multiple meanings; new systems and methods of composition are invented with every piece for some composers, whilst others adapt and renew traditional constructs; the relationship of the composer with Western musical tradition, or other traditions - through modes for is likely to of harmony, gesture, rhythm - is different each composer, and change as the composer develops. The above factors, and many others, mean that there are no absolutes: the performer can take nothing for granted. Priorities, stylistic considerations, Though for and notational details must be re-examined with each new piece. 'tabula some this may seem like too much effort, for many, I suggest,