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Investigation Into Nigel Butterley's Pentad

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Investigation Into Nigel Butterley's Pentad INVESTIGATION INTO NIGEL BUTTERLEY’S PENTAD Bryan Wayne Griffiths A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music, University of Sydney. 2017 This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any other degree or other purpose. In addition to the statement above, in cases where I am not the corresponding author of a published item, permission to include the published material has been granted by the corresponding author. Abstract Nigel Butterley’s Pentad (1968) was one of the many compositions to be commissioned by Australian institutions during the 1960s. Yet, in spite of its regular performance in the first twenty years following its premiere, its extant sources are not in a reasonable condition for faithful performances today. Following James Grier’s methodology upon the subject, along with direct consultation with the composer, this study primarily documents the critical examination in preparing a new edition of Pentad. New analytical perspectives of the work prompted by this investigation, are included in this discussion. Although Pentad’s orchestration for twenty-seven woodwind and brass instruments fits it within the category of a wind band work, its abstract aesthetic, instrumentation and commission more appropriately suggests it be regarded as work for orchestral winds. This study also reports the determination of this finding, along with an assessment of the background and context of the composition in Australian music at the time. Consequently, new findings on the Australian wind band movement from 1945–1970 are presented, and new light is shed on Pentad, a unique composition in Butterley’s oeuvre. iii Preface and Acknowledgements I would like to sincerely thank the following people whose help and contributions I am most grateful for. Firstly, to Nigel Butterley and Thomas Kennedy, without whose continual generous support, interest and efforts, this project would not have been realised. I also particularly thank my supervisors, Dr John Lynch and Dr Alan Maddox for their constant counsel, feedback, expertise, encouragement and insights, along with Dr Steven Capaldo and Dr Joanna Drimatis for their wise advice. From the Australian Music Centre, the assistance, knowledge and guidance I received from Judith Foster and James Lee was invaluable. I would also like to acknowledge the time and assistance of Nyree Morrison from the University of Sydney Archives, and Kathrin di Rocco and Marie Chellos from the University of Sydney Library. The expertise of Kate Stanton from the University’s Copyright Service, and Anita Kelly from the University’s Office of General Counsel was indispensable in understanding and facilitating copyright law for this project. I give thanks to Vi King Lim and the staff at Symphony Services International for their assistance in viewing scores and records pertaining to Pentad in their library, and Meredith Lawn for helping me uncover concert programs at the State Library of New South Wales. The staff at the National Library of Australia were also helpful in facilitating the inspection of scores and papers relating to this study. I would also like to acknowledge the assistance given by James K Sheppard from office of bands at the Henry and Leigh Bienen School of Music at Northwestern University, and Janet C. Olson from the Northwestern University Libraries. Lastly, I sincerely appreciate the friendship, support, collegiality and humour offered by my fellow students, and my family for simply everything. Ethics approval was sought and granted for this study by the University of Sydney Human Research Ethics Committee, Project No: 2016/242. iv Performance Recital Acknowledgement I would like to sincerely thank the following people who took part in my final recital, which formed part of this thesis’ assessment. Each player’s skill, musicianship and commitment was invaluable, and I am grateful for their support and participation. Flute Oboe Samantha Hennessy Hannah Kovilpillai Melanie Walters (Piccolo) Jonathan Daw Lydia Sharrad (Piccolo) An Nguyen (Cor anglais) Madeleine Stewart Kathleen Cowie Clarinet Bassoon Charise Penrose (E-flat) Timothy Rosen Samantha Webber Samantha Hrycek Anna Coleman (Bass clarinet) Josie Hawkes (contrabassoon) Katie Marshall Christopher Buckley Horn Trumpet Nicole John Nicholas Bauer Alex Miller Timothy Frahn Emma Gregan Carly Cameron Natalie Williams David Khafagi Trombone Percussion Edward Koltun Andrew Timko Matthew Madden Jack de la Lande Thomas Greer Henry Millar Cassandra Pope Amber Watkins Tuba Brad Turner v Table of Contents Abstract ................................................................................................................................................................ iii Preface and Acknowledgements ................................................................................................................ iv Performance Recital Acknowledgement ................................................................................................. v Terminology ..................................................................................................................................................... viii List of Examples ................................................................................................................................................ ix List of Photographic Examples .................................................................................................................... x List of Tables ....................................................................................................................................................... xi List of Appendices .......................................................................................................................................... xii 1. Introduction .................................................................................................................................................... 1 2. Literature Review ......................................................................................................................................... 5 2.1 Discussion of Pentad in the literature ........................................................................................................... 5 2.2 Formal studies into Butterley ........................................................................................................................... 7 3. Background and Context of Pentad’s Composition ........................................................................ 9 3.1 Australian composition prior to 1960 .......................................................................................................... 9 3.2 Australian composition in the 1960s: a period of stylistic transition .......................................... 12 3.3 Butterley’s compositions from the 1960s ................................................................................................ 13 3.4 Wind band music in the 1960s: the avant-garde .................................................................................. 15 3.5 The wind band in Australia, post 1945 ..................................................................................................... 18 4. Methodologies ............................................................................................................................................. 21 4.1 Critical editing ...................................................................................................................................................... 21 4.2 Interview ................................................................................................................................................................ 26 5. Critically Editing Pentad: Determining the New Edition .......................................................... 28 5.1 Investigating the extant sources of Pentad .............................................................................................. 28 5.2 Inspection, description, evaluation and classification of the sources .......................................... 29 5.2 Transcription ........................................................................................................................................................ 35 5.3 Editorial amendments: determining errata, inconsistencies, and ambiguities ....................... 35 5.4 Reproduction of score characteristics, notational practices and general editorial adjustments .................................................................................................................................................................. 54 5.5 Critical apparatus and introduction ........................................................................................................... 60 vi 6. Pentad: A Critical Re-examination ...................................................................................................... 62 6.1 Performance history .......................................................................................................................................... 62 6.2 Background and composition ........................................................................................................................ 65 6.3 Assessment and description .........................................................................................................................
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