L , - 0 * 3 7 * 7 w NUI MAYNOOTH OII» c d I »■ f£ir*«nn WA Huad Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary John J. Feeley Thesis submitted to the National University of Ireland, Maynooth as fulfillment for the degree of Doctor of Philosophy in Music (Performance) 3 Volumes Volume 1: Text Department of Music NUI Maynooth Head of Department: Professor Gerard Gillen Supervisor: Dr. Barra Boydell May 2007 VOLUME 1 CONTENTS ABSTRACT i ACKNOWLEDGEMENTS ii INTRODUCTION 1 CHAPTER 1 13 APPROACHES TO GUITAR COMPOSITION BY IRISH COMPOSERS Historical overview of the guitar repertoire 13 Approaches to guitar composition by Irish composers ! 6 CHAPTER 2 31 DETAILED DISCUSSION OF SEVEN SELECTED WORKS Brent Parker, Concertino No. I for Guitar, Strings and Percussion 31 Editorial Commentary 43 Jane O'Leary, Duo for Alto Flute and Guitar 52 Editorial Commentary 69 Jerome de Bromhead, Gemini 70 Editorial Commentary 77 John Buckley, Guitar Sonata No. 2 80 Editorial Commentary 97 Mary Kelly, Shard 98 Editorial Commentary 104 CONTENTS CONT’D John McLachlan, Four pieces for Guitar 107 Editorial Commentary 121 David Fennessy, ...sting like a bee 123 Editorial Commentary 134 CHAPTER 3 135 CONCERTOS Brent Parker Concertino No. 2 for Guitar and Strings 135 Editorial Commentary 142 Jerome de Bromhead, Concerto for Guitar and Strings 148 Editorial Commentary 152 Eric Sweeney, Concerto for Guitar and Strings 154 Editorial Commentary 161 CHAPTER 4 164 DUOS Seoirse Bodley Zeiten des Jahres for soprano and guitar 164 Editorial Commentary 166 Frank Corcoran, Quasi un Amore for flute/alto flute/piccolo and guitar 167 Editorial Commentary 169 Jerome de Bromhead, Vespertine for flute and guitar 169 Editorial Commentary 172 John Buckley, In Winter Light for alto flute and guitar 174 Editorial Commentary 178 Raymond Deane, Epilogue for flute and guitar 179 Editorial Commentary 184 Eibhlis Farrell, Orpheus Sings for violin and guitar 184 Editorial Commentary 187 Rhona Clarke Reflection on the Sixth Station of the Cross CONTENTS CONT’D for alto flute and guitar 188 Editorial Commentary 190 Fergus Johnston, Opus Lepidopterae for flute (alto recorder) and guitar 191 Editorial Commentary 193 Martin O Leary, Three Lyrics for alto and guitar 195 Editorial Commentary 196 John McLachlan, Fragile for alto flute and guitar 197 Editorial Commentary 200 Ciarán Farrell, Around and About for flute and Guitar 200 Editorial Commentary 203 David Fennessy, continuity error for flute and guitar 205 Editorial Commentary 207 CHAPTER 5 208 SOLOS Brian Boydell, Three Pieces for Guitar, Op. 70 208 Editorial Commentary 214 John Kinsella, Fantasy 215 Editorial Commentary 221 Frank Corcoran, Three Pieces for Guitar 222 Editorial Commentary 225 Jerome de Bromhead, Guitar Sonata No. 1 225 Editorial Commentary 228 Jane O Leary, Four Pieces for Guitar 230 Editorial Commentary 233 Philip Martin, Due Angeli 233 Editorial Commentary 236 Eric Sweeney, Figurations 239 Editorial Commentary 241 Eric Sweeney, Three Folk Songs for Guitar 241 Editorial Commentary 242 Donal Hurley, Sonata for Guitar 244 Editorial Commentary 246 John Buckley, Lullaby for Deirdre 249 Editorial Commentary 251 John Buckley, Guitar Sonata No. 1 251 Editorial Commentary 258 Martin O Leary, Guitar Sonata No. 1 261 Editorial Commentary 263 Martin O Leary, Guitar Sonata No. 2 263 Editorial Commentary 265 Ciarán Farrell, The Shannon Suite 266 Editorial Commentary 269 Dawn Kenny, e-motion 269 Editorial Commentary 272 CONCLUSION 273 BIBLIOGRAPHY 275 APPENDIX 286 List of Contemporary Irish Guitar Works INSIDE FRONT SLEEVE CD 1: e-motion CD 2: in winter light INSIDE BACK SLEEVE CD 3: Music from Ireland and Spain CD 4: Contemporary Irish Guitar music Sweeney, Fennessy, McLachlan and Jane O’Leary CD 5: Concerto for Guitar and Strings Jerome de Bromhead ABSTRACT The last four hundred years have seen the guitar fall in and out of fashion, from its position as a respected medium for art music to its role as an accompanying instrument. Improvements in the construction of the instrument at the end of the nineteenth century, coupled with growing interest from leading twentieth-century composers, have resulted in a substantial and important new repertoire. A significant increase in the number of new works is especially evident after 1950. The availability of performing editions and compact disc recordings of these works is vital for their dissemination internationally. Since 1969, Irish composers have created a considerable repertoire for guitar, but this repertoire has been sadly neglected by performers due to lack of such editions and recordings. This thesis presents performing editions of thirty-seven works for classical guitar by twenty-one Irish composers and comprises compositions for guitar with orchestra, guitar with another instrument or voice, and guitar solo; a set of five Compact Disc recordings which includes nineteen works by twelve Irish composers (almost four hours of music); a discussion with analytical comments on the works and editorial commentary on the editions, with details, where available, of the composer/performer collaboration; and a more in-depth discussion of seven selected works. This thesis aims to provide a resource for those who wish to perform, or carry out research, into this neglected repertoire. ACKNOWLEDGEMENTS The completion of this project has occurred with the support of a number of individuals and institutions. I wish to express my gratitude to Dr. Barra Boydell, who guided me through the writing of this thesis with commitment and patience. His high academic standards and incisive feedback have stimulated my own intellectual and personal development; for this I am grateful to him. I am also grateful to Professor Gerard Gillan for his support and encouragement. I would like to offer my sincere thanks to both Dr. Lorraine Byme and Dr. Gareth Cox for taking the time to read this thesis and for their helpful and perceptive insights which illuminated many issues. I would also like to express my appreciation to Dr. Ellen Hazelcom, head of the Faculty of Applied Arts, Dublin Institute of Technology and Brid Grant, Head of the Conservatory of Music and Drama, DIT, for their support. Many thanks also to the library staff at the Dublin Institute of Technology, the National University of Ireland, Maynooth, and the Contemporary Music Centre. I wish to express my sincere gratitude to all of the composers who have allowed me to use their music as part of this project. I am especially grateful to John Buckley for the numerous hours of collaboration during the writing and recording of his complete guitar music (on Compact Disc 2). A special thank you goes to flautists William Dowdall and Laura Chislett and composer/pianist Brent Parker who performed on the recordings. 1 also wish to thank John Kelly, manager of the Irish Chamber Orchestra, and RTE, for permission to use the recording of the concert of Jerome de Bromhead’s Concerto for Guitar and Strings. Finally, 1 wish to thank my family for their love, support and encouragement. INTRODUCTION The twentieth century has without doubt seen a renaissance in the resurgence of interest in the guitar, an instrument which in terms of its popularity as a serious medium of expression has had a turbulent history. Over the years it has been described by some as a subtle and expressive medium, and alternatively by others as a vulgar and coarse instrument suitable only for ‘the charlatans and saltimbanques who use it for strumming’.1 Its renaissance has been reflected since the 1970s in a considerable amount of rich and varied repertoire written by composers from the Republic of Ireland for solo guitar, guitar with another instrument, and guitar concertos. However, very little of this repertoire has been performed by guitarists outside of Ireland. In popular music the guitar has taken centre stage during the last few decades, but it also holds great appeal for the contemporary composer. Much of the earlier guitar repertoire was written by composers not generally regarded as top-ranking in the history of music, but during the twentieth century this trend was reversed: many of the first-rate composers have written for guitar, finding it a most versatile and rewarding instrument which holds abundant possibilities for expression. The guitar, however, remains a singularly difficult instrument for which to write. Although it does not present any particular problem for the guitarist/composer, it has always posed a considerable challenge for those not familiar with the instrument; it is, in the words of one Irish composer represented here, ‘a nightmare ... even more difficult than writing for the harp’.2 1 Frederic V. Grunfeld, The Art and Times of the Guitar: An illustrated History Of Guitars and Guitarists (New York: Collier Books, 1969), 2. 2 John Buckley, interview with the author, 12 April 2003. 1 This study presents performing editions of the most important categories of contemporary guitar music from the Republic of Ireland: guitar concertos, music for guitar with one other instrument or voice, and music for solo guitar. 2004 provides the cut-off date for the inclusion of works. A small number of works are not included here: this study focuses only on those works which the author considers to be suitable for concert performance. Some study-like works, such as Paul Hayes’ Non in Fretta and Thirteen Little Things that Touch the Heart, as well as Derek Balls’ Commentary on Minimalism, Commentary on the B ’s fault, and Preludes even I can