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Phd for Hardbound July 16 ‘THE PRACTICALITY OF THE IMPOSSIBLE’: STUDIES IN 20th- and 21st- CENTURY PIANO ÉTUDES Naomi Meghan Jia-Ling Woo Faculty of Music University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy Clare College July 2019 soyez réalistes, demandez l’impossible DECLARATION This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution. It does not exceed 80,000 words. Naomi Woo 2019 ABSTRACT ‘THE PRACTICALITY OF THE IMPOSSIBLE’: STUDIES IN 20th- and 21st-CENTURY PIANO ÉTUDES NAOMI MEGHAN JIA-LING WOO This thesis examines piano études by John Cage, György Ligeti, Conlon Nancarrow, and Nicole Lizée that push the limits of the human body in performance. The thesis opens with an account of the origins of the piano étude in the works of Chopin and Liszt, situating it within the political, economic, and aesthetic conditions of the 19th century. Subsequently, sets of études by Cage, Ligeti, Nancarrow, and Lizée are studied, each using a different body of theoretical literature—including utopian thought, queer theory, and posthumanism—to understand how this limit manifests in musical works. These analyses enrich understanding by bridging gaps between musical performance studies and other areas of knowledge. For example, the chapter on Cage’s Études Australes addresses the notion of the limit using the utopian aesthetic philosophy of Ernst Bloch, thereby demonstrating novel correspondences between Bloch studies and performance studies. The thesis concludes by describing new forms of virtuosity that have emerged in the 20th and 21st centuries, and ties together the divergent modes of analysis used in each section. Theoretical investigations are interspersed with case study demonstrations from piano études, which draw on scores, recordings, and my personal experience as a pianist. This approach advocates the importance of embodiment, phenomenology, and performance research as key ways of knowing, and contributes to the growing field of artistic research at the piano. The project offers an original exploration of the performing body at its limits and presents a theory of contemporary virtuosity. In the process, it makes a multi-faceted contribution to scholarly work in musical performance and offers ways of thinking about musical aesthetics applicable to other genres and areas of study. ACKNOWLEDGEMENTS I would like to thank my supervisor, Professor John Rink, who has supported and guided this research with tremendous insight, patience, and thoughtfulness. I am grateful also to Nicholas Cook, Anthony Gritten, and David Trippett, who provided useful advice on early drafts. My experience as a researcher has been made richer by my time as a convenor of the Cambridge Interdisciplinary Performance Network and the Performance Philosophy Network, and I am indebted to the members of these rich communities for reminding me of the place for performance in academic scholarship. Countless other colleagues and friends have inspired and enriched this work through questions at conferences, conversations over coffee, and the support of enduring friendship: thank you. Finally, I would not be who I am today without the love and support of my family. In August 2018, I visited the Conlon Nancarrow Collection at the Paul Sacher Foundation. I am grateful to the director of the Foundation, Dr. Felix Meyer, for allowing me access to Nancarrow’s materials and especially for demonstrating Nancarrow’s player pianos. Significant portions of this research were written during a residency at the Nida Art Colony in Lithuania, supported by the Canada Council for the Arts; many thanks to curator Rasa Antanaviciute for the opportunity to work in such an idyllic environment and for exposing me to other disciplines of artistic research. During the completion of this dissertation, I have been funded by the Gates Cambridge Scholarship and the Canadian Centennial Scholarship Foundation, and received research grants from Music & Letters, Clare College Cambridge, and the Cambridge University Music Faculty. Musical examples are reproduced by permission of the publishers and Nicole Lizée. TABLE OF CONTENTS INTRODUCTION ........................................................................................................................................ 1 BOOK I ....................................................................................................................................................... 14 Étude 1: Virtuosity ..................................................................................................................................... 18 Étude 2: The Work of Art ........................................................................................................................ 23 Étude 3: The Bourgeois Subject ............................................................................................................. 29 Étude 4: Pedagogy and Discipline .......................................................................................................... 34 Étude 5: The Embodiment of Genre ..................................................................................................... 38 Étude 6: Case Study—Chopin’s Étude Op 10 no. 3 ........................................................................... 44 BOOK II ...................................................................................................................................................... 55 Étude 7: Hoping for the Impossible—John Cage’s Etudes Australes ............................................. 56 Étude 8: Case Study—John Cage’s Etude Australe VIII ..................................................................... 87 Étude 9: Failing towards the Impossible—György Ligeti’s Études pour piano ........................... 108 Étude 10: Case Study—György Ligeti’s L’Escalier du diable .......................................................... 137 Étude 11: Technologies of the Impossible—Conlon Nancarrow’s Studies for Player Piano ... 150 Étude 12: Technologies of the Impossible—Nicole Lizée’s Hitchcock Études ........................... 183 Étude 13: Case Study—Nicole Lizée’s ‘Stutter Étude’ ..................................................................... 214 CODA ....................................................................................................................................................... 222 CONCLUSION ........................................................................................................................................ 249 BIBLIOGRAPHY ...................................................................................................................................... 254 TABLE OF FIGURES Figure 6.1. ‘Exercice No. 9; for Étude Opus 10 no. 3. ............................................................................... 48 Figure 6.2. Étude Opus 10 no. 3, bars 1-2. .................................................................................................. 48 Figure 6.3. Étude Opus 10 no. 3, bars 21-23. ............................................................................................. 49 Figure 6.4. Exercises no. 10 (A) and (B) For Étude Opus 10. No 3. ........................................................ 49 Figure 6.5. Chopin, Etude, op. 10, no. 3. Autograph Stichvorlage For French First edition, bars 1–5. .............................................................................................................................................................. 49 Figure 6.6. Chopin, Etude, op. 10, no. 3. Autograph Stichvorlage For French First edition, bars 22–29. ......................................................................................................................................................... 50 Figure 6.7. Exercise No. 1 For Étude Op 10 no. 7. ..................................................................................... 50 Figure 6.8. Exercise for Étude Op 10 no. 3 bars 21-22, based on Exercise 1 For Op 10 no 7. ....... 51 Figure 7.1 Etude Australe I, First system. ...................................................................................................... 62 Figure 7.2 Etude Australe XVI, first system. ................................................................................................ 62 Figure 8.1. Etude Australe VIII, second system. .......................................................................................... 91 Figure 8.2. Etude Australe VIII, two chords From the sixth system. ....................................................... 94 Figure 8.3. Images oF my Hand playing the two chords From Figure 8.2. ............................................. 95 Figure 8.4. Etude Australe VIII, first Five notes in the right hand. ........................................................... 96 Figure 8.5. Etude Australe VIII, Fouth and FiFth systems [right hand only] ............................................ 98 Figure 8.6. Etude Australe VIII, first system. ...............................................................................................
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