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Nigel (Henry) Butterley (b. 1935) is recognised as one of Australia’s foremost contemporary composers. His works span most compositional genres. By making a case for the value of sketch study in the process of musical analysis, the principal purpose of this thesis is to augment understanding of Butterley’s music and in particular, his compositional processes and procedures through the various stages of the genesis of a composition, from the sketch to final score. Butterley’s string quartets, composed between the years 1965 to 2001 provide the basis for this study; these works are contextualised and examined to illustrate his approach to composition in microcosm and also his individual style within the genre of string quartet writing. This study focuses on the examination of preliminary sketches, drafts and holographs, as well as the scores of the completed works. Initially, analysis is based on preliminary sketches; this will be augmented by a formal analysis of the completed works. Traditionally, formal analysis deals with the final product, something that has been created, and in a sense, views a work retrospectively. Sketch study, in contrast, examines the work as it is being created and is concerned with the attendant compositional issues and choices available to the composer and the processes followed as he or she creates the composition. The current work will identify significant common features in all the string quartets, and will trace Butterley’s compositional trajectory through these works demonstrating that individual characteristics of Butterley’s style, emergent as early as 1965, continued to be utilised in 1995 and remain present in the Bagatelle of 2001. That these characteristics remain present in a minutæ is significant, in that the Bagatelle may be seen as a microcosm of the writing style evident in his larger works. This thesis will demonstrate that sketch study and formal analysis may interact in order to provide a more comprehensive interpretation of a composer’s work and enrich the understanding and appreciation of the compositional process and the final product, ultimately impacting on the realisation of a composer’s work through performance.
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I would like to express my deep appreciation to the following people:
Dr Nigel Butterley for his generous sharing of his pre-compositional records, his availability for interview, telephone discussion and e-mail correspondence, and his patient assistance which made this project possible. Also, thanks to him for his permission to reproduce interview, e-mail, score and sketched materials.
Many thanks to my supervisor, Dr Christine Logan for her insights, patience, guidance and encouragement; the late Patricia Williams for her suggestions and encouragement; Vivien Kennedy for assistance in French translations; Richard Cowan and Sue Pollock for their care of the children during my work; Dr Emily Walkom for her assistance in the preparation of the final draft.
I would like to thank the following Australian composers for their discussions of pre- compositional planning methods: Dr Helen Gifford, Professor Peter Sculthorpe, George Dreyfus and Gordon Hamilton (also for his recollections of Butterley’s teaching methods).
Thanks to the following musicologists: Robert Smallwood for forwarding sketches of the first and third string quartets; Professor Hubert H. van der Spuy for his insights on Priaulx Rainier and Kevin La Vine, Senior Music Specialist, Library of Congress, Music Division.
And finally, thank you to Ch_rie, Asher, Tallis, Eliana and Charisse.
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I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.
Signature:______
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Abstract ...... i Acknowledgements...... ii Originality Statement ...... iv CHAPTER 1 INTRODUCTION ...... 1 Scope and Purpose ...... 1 Literature Review...... 5 Advantages of Analysing a Single, Entire Genre...... 7 The Compositional Sketches ...... 8 Analytical Perspectives ...... 10 CHAPTER 2 APPROACHES TO SKETCH STUDY AND SCORE ANALYSIS ...... 13 Analytic Approaches...... 27 CHAPTER 3 DEVELOPMENT OF BUTTERLEY’S INDIVIDUAL MUSICAL STYLE...... 30 CHAPTER 4 MATERIALS FOR STUDYING BUTTERLEY’S STRING QUARTETS...... 49 String Quartet (1965)...... 50 String Quartet No. II ...... 55 String Quartet No. 3...... 65 String Quartet No. IV ...... 67 Bagatelle for String Quartet...... 70 CHAPTER 5 BUTTERLEY’S COMPOSITIONAL PROCESS: SKETCHES FOR THE QUARTETS ...... 73 Comparison and Exposition: Butterley’s Planning Methods...... 73 Formative Ideas: Sketches in Words for String Quartet (1965) ...... 87 Compositional Hierarchy in the Sketches for String Quartet No. 3...... 92 Sketches Ascribed with Dates: String Quartet No. IV ...... 99 Summary ...... 104 CHAPTER 6 DETAILED COMPOSITIONAL PLANNING: SKETCHES WITH WORDS..105 Plans with Words: String Quartet (1965)...... 105 Movement Planning: String Quartet No. 3...... 107 Structural Planning: String Quartet No. IV...... 111 Descriptions of Unity and Contrast: String Quartet (1965)...... 119 Repetition and Variety: String Quartet No. IV ...... 123 Summary ...... 125 CHAPTER 7 SKETCHES IN MUSIC NOTATION...... 127 Musical Notation: Sketches for String Quartet (1965) ...... 127 Planning Aspects: String Quartet (1965) ...... 132 Notational Problems: Implications for Editing...... 146 Numbered Sketches and Their Function: String Quartet No. 3...... 151 Summary ...... 155 CHAPTER 8 FROM SKETCHES TO DRAFTS ...... 157 Interaction Between Sketches and Draft Copies of the Quartets ...... 157 String Quartet (1965): The Draft...... 160 String Quartet No. II: The Draft ...... 165 String Quartet No. 3: The Draft...... 170
v Bagatelle for String Quartet...... 179 Summary ...... 185 CHAPTER 9 PERFORMANCE CONSIDERATIONS AND INTERPRETATION ...... 186 Introduction ...... 186 Structural Implications ...... 186 Butterley’s Emotive Descriptions: Implications for the Smaller Scale...... 188 CHAPTER 10 ANALYTICAL PERSPECTIVES I: STRUCTURES...... 202 Constructional Symmetry in String Quartet No. IV...... 204 Proportional Structures in String Quartet No. IV...... 208 String Quartet No. IV: Bridging Motives Heightening Structural Delineation...... 214 Overall Symmetry, Balance and Proportion: String Quartet No. II...... 220 Proportional Lengths in String Quartet (1965)...... 224 Proportional Lengths in String Quartet No. 3...... 225 Structural Processes on a Smaller Scale...... 227 Structural Features: Opening of String Quartet No. II...... 228 String Quartet No. IV: Symmetrical organisation of the opening three measures ...... 229 Summary ...... 230 CHAPTER 11 ANALYTICAL PERSPECTIVES II: PITCH...... 232 String Quartet No. IV: Pitch Usage, Measures 1-7 ...... 235 String Quartet No. 3: Pitch Properties of the Chordal Sequences ...... 248 String Quartet No. II: Pitch Properties of the Opening Passage...... 257 String Quartet (1965)...... 266 String Quartet No. II: Motivic Development Within the Opening Passage ...... 267 String Quartet No. IV: Linear Variation Through Pitch and Note Augmentation ...... 270 String Quartet No. 3: Structural Unity of Pitch Materials – Vertical and Linear Relationships ...... 273 String Quartet No. 3: Linear Aspects and Motivic Development...... 282 Summary ...... 288 CHAPTER 12 ANALYTICAL PERSPECTIVES III: TEXTURE, TIMBRE, RHYTHM AND TEMPO ...... 290 Texture and Timbre...... 295 Rhythm and Tempi...... 312 CHAPTER 13 CONCLUSION ...... 320 BIBLIOGRAPHY...... 335 DISCOGRAPHY...... 353 VOLUME 2...... 354 APPENDIX 1 SKETCHES AND DRAFT COPY OF STRING QUARTET (1965)...... 355 Sketches...... 355 Draft Copy...... 370 APPENDIX 2 SKETCHES OF STRING QUARTET NO. 3...... 393 APPENDIX 3 SKETCHES OF STRING QUARTET NO. IV...... 439 APPENDIX 4 SKETCHES OF BAGATELLE FOR STRING QUARTET...... 461
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Scope and Purpose
Nigel (Henry) Butterley b.1935 is widely recognised as “one of Australia’s foremost [contemporary] composers.” 1 His earliest compositions date from 1954 and he is presently (2009) accepting commissions and is actively involved in composition as well as his other musical commitments. His works include numerous compositional genres from solo instrumental works,2 chamber music3 radio works,4 to symphonic works5 and opera.6 However, there is currently no major study focusing on either his compositional process or chamber music.7 The purpose of this thesis is twofold: to develop and augment the understanding of Butterley’s individual compositional processes, methods and procedures in the various stages of the genesis of a composition and in so doing, to take an innovative approach to the examination of an Australian composer’s work. Butterley’s complete string quartets will be the focus of this investigation as they provide a microcosm of his approach to composition8 and a basis for study of the emergence of his individual style. Composed
1 John Mackerras, “Honorary Doctorate to Eminent Composer,” Media release, The University of Newcastle, 16 April 1996, 2.
2 Some examples of these include: solo piano compositions Arioso (1960), Uttering Joyous Leaves (1981) and Il Gubbo (1987), Forest 1 (1990) for viola and piano and Forest II (1993) for trumpet and piano.
3 The quartet’s dates are; String Quartet (1965), String Quartet No. II (1974), String Quartet No. 3 (1980), String Quartet No. IV (1995) and Bagatelle for string quartet (2001). The quartets will be identified as using Butterley’s specific titles with the exception of his first quartet, which does not include the numeral “1”. This work will be identified as String Quartet (1965): the date being the year of completion for the work. Therefore the works are cited as String Quartet (1965), String Quartet No. II, String Quartet No. 3, String Quartet No. IV and Bagatelle for string quartet.
4 In the Head the Fire (1966) is one of these works and was awarded the Italia Prize.
5 Symphony (1980) is approximately 18 minutes and From Sorrowing Earth (1991) for symphonic orchestra with a duration of 23 minutes.
6 His opera is Lawrence Hargrave Flying Alone (James McDonald, librettist) (1988) and is about 90 minutes in duration.
7 This is detailed later in this chapter, pp. 5-8.
8 The rationale for the selection of the String Quartets is discussed on pp. 7-8. 1 between the years 1965 to 2001, at relatively regular intervals throughout his career to date, the string quartets exemplify Butterley’s compositional activities. They provide a consistent genre9 for an examination of the processes in the composer’s development. Primarily, this study will be based on preliminary sketches, drafts and the scores of the completed works. Study of the sketched materials of these quartets is critical to the identification Butterley’s compositional procedures. Many composers and scholars have recognised that “autograph sources”10 “shed [light] on the process of composition.”11 Part of the approach will be the use of both sketch and score analysis for examining the works. Therefore, this thesis will adopt analytical techniques that are appropriate to the study of Butterley’s string quartets. It is acknowledged that the “analytical methods should not be imposed but should … arise out of particular works being analysed,”12 and thus this thesis aims to respond to the unique set of compositional procedures adopted by Butterley as exemplified in his string quartet writing. A combination of analytic techniques, to examine both the sketches and the completed quartets, will be employed firstly based on the scrutiny of the preliminary sketches (including draft copies) and secondly based on traditional score analysis of the completed works. In addition to musical sketches, this study will make use of writings by Butterley including written notes, fragments, numerical tables, draft copies, holograph scores and post-composition comments (generally to performers).13
9Aside from piano works, the medium of the string quartet has remained consistent throughout his creative career.
10 This phrase is used by Friedemann Sallis and Patricia Hall to cover manuscript materials in general. A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 1.
11 This comment by Percy Grainger was made in response to collecting materials for his museum. He states that “The little museum I am building… is mainly to be devoted to all things pertaining to the creative side of music (the process of composition, sources of inspiration to composers, data of family inheritance & other influences upon composers). ….. And also hope to preserve some musical MSS by these composers in the museum, partly because of the light they shed on the process of composition, partly in order to preserve Australian musical MSS for the future & partly to make Australian music lovers more composition minded.” (Underlining by Grainger). Letter from Percy Grainger to Sutherland, 1938, Papers of Margaret Sutherland , National Library of Australia, Canberra, NLA MS 2967.
12 Margaret J. Kartomi, “Musicological Research in Australia: 1979-1984,” Acta Musicologica LVI, No.2 (1984), 133.
13 Classification and codification of the primary source materials is not a major focus of this thesis; however, logical steps may be seen in how the sketches evolved in detail, (and scope), and this process indicates the creative unfolding of these works.
2 The thesis is structured in three main parts. The first part is chapters 1, 2, 3 and 4. Chapter 1 is a statement of the thesis and a literature review of scholarly writing about Butterley’s work. Chapter 2 discusses the methods used to undertake the sketch study and analysis chapters. Chapter 3 contextualises the String Quartets in Butterley's creative life, influences upon Butterley (both musical and extra-musical) and gives relevant biographical details. Chapter 4 is an overview of the String Quartets, dedications, their lengths, number of movements, any unusual features, and extant sketch and score materials relating to them. The second part, chapters 5, 6, 7, 8 and 9, is a detailed analytical study of the extant sketches of Butterley’s three string quartets and his Bagatelle for string quartet. This part has several sections, each examining a different aspect of his planning processes. Chapter 5 examines in general terms how Butterley organises, creates and uses the sketches in his compositional process including discussion on changes in the styles of his plans in the chronological periods of his work. Chapter 6 looks at the plans of entire works, movements, large and small scale organisation of these quartets expressed in non-musical vocabulary. These are referred to as his “written” comments in this study (as opposed to his sketches which contain musical notation). Chapter 7 examines sketches that predominately contain musical notation; Chapter 8 is a discussion of the writing stage for these works and how the sketches are utilised in this process. Finally, Chapter 9 is an examination of performance and interpretative implications of the sketches. The third part of this thesis, chapters 10, 11 and 12, is a traditional analytical study of Butterley’s four string quartets and his Bagatelle for string quartet. In several sections, it examines different elements of his music; i) structure, ii) the use of cells or motives, and iii) the treatment of rhythm, texture and timbre. In Chapter 10, structure will be examined on both a large and small scale. Pitch aspects, including Butterley’s use of cells and motives throughout a quartet will be examined in Chapter 11. Vertical and linear similarities will be explored as well as methods of extension of these motives. Chapter 12 will consider Butterley’s use and treatment of the elements of rhythm, texture, timbre and tempo. The conclusion follows in Chapter 13. This thesis will demonstrate a distinct compositional style that can be recognised as Nigel Butterley’s individual musical voice. Butterley’s “style has gone on its
3 particular line rather than following any particular trend or innovation.”14 In this respect many factors that influenced his earlier compositions are still apparent to varying degrees in his more recent compositions. He states: “What I write now still has some of the gestures and textures of part of my way of writing in the 60’s.”15 That there are common aspects in Butterley’s music is reinforced by his conviction that no matter how, or by whom a work was commissioned, he would “want to make it as much my music.”16 This uniqueness or “unmistakable voice”17 must be recognisable and identifiable, in order for the composer to be able to claim it as “my music.” Butterley believes that no matter what the genre or purpose of the work might be, “it’s got to sound like my music and my music tends not to be very plain and simple.”18 The quartets enable identification of Butterley’s “style” as they all lie in his “mature”19 compositional period. Butterley’s work is held in “such high regard by every faction amongst his colleagues.”20 For almost half a century he has been considered one of Australia’s leading composers. Despite this, his music has not always had the popular appeal and recognition it has deserved. This is possibly because he “has not had the profile of some of his colleagues”21 such as Peter Sculthorpe and Richard Meale. Perhaps partially contributory, is the claim that the music of Sculthorpe and Meale can be more easily categorised22 than the music of Butterley who “never fitted - even superficially - into
14 Peter Dunbar-Hall, A. Pollack and G Hodge, “Nigel Butterley (1935- ),” in Music Resource Notes (Bondi: Educational Resource Materials, 1985), 39.
15 Susanne Ainger, “Birthday Greetings for Nigel Butterley,” 2MBS Programme Guide (Sydney, May 1995), 5.
16 Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August 1994, in “Nigel Butterley's String Quartet No 3: Context and Analytic Procedures” (Unpublished M.Mus. Thesis, University of New South Wales, 1995), 64. Used with permission.
17 Miriam Cosic, “Butterley flies Alone,” Sydney Morning Herald, 26 October 1995, 17.
18 Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August 1994.
19 Compositions prior to his lessons with Priaulx Rainier (1962) may be considered as earlier compositions: Laudes is often considered to be the beginning of his matured style.
20 Andrew Ford, “Flying Alone,” in Composer to Composer - Conversations About Contemporary Composers (St Leonards: Allen & Unwin, 1993), 164.
21 Cosic, “Butterley flies Alone.”
22 Ford feels that Sculthorpe was characterised as “the voice of Australia” and Meale was initially characterised as “the very model of a European avant-garde composer” and later he became “the champion of new romanticism.” Ford, 164. 4 any pigeonhole.”23 This somewhat parallels Butterley’s own reflections on the music of his teacher, Priaulx Rainier (1903-86), of whom he has stated that her music is “too confronting or merely too hard to pigeonhole.”24 Nevertheless, public recognition has increased in more recent years and has been made more evident by the grants, prizes and awards he has received.25
Literature Review
Some previous studies, usually a section within a broader thesis have looked at one or several selected works by Butterley.26 Other writers have examined compositions that span only a short period of Butterley’s creative life and therefore do not discuss changes or development in his compositional practices, while other studies undertake a cross- genre or cross-composer investigation that does not allow a coherent demonstration of the development of compositional strategies, thus aspects of compositional consistency or diversity have not been adequately addressed.27 Although these problems have been identified, previous studies have illuminated some general compositional practices. One practice of Butterley’s that has been identified is the use of cells to form mosaic patterns.28 However, these studies have neither addressed the compositional practices in
23 Ibid.
24 Graeme Skinner, “After the ebb, the tide always turns,” Sydney Morning Herald, 17 August 1991. Butterley’s statement to Skinner in an interview.
25 Some of these include the award of the “Australian Creative Artists’ Fellowship”, admission by the University of Newcastle, to the degree of Doctor of Music honoris causa in 1996 and the Paul Lowin Orchestral Prize ($25,000) 2001, for his 45 minute work, the Spell of Creation. In 2003 he received $29,500 from the Ian Potter Music Commissions to enable the composition of Winter Sunlight, for community orchestras.
26 These studies include; Catherine Flaherty, “Nigel Butterley’s vocal music: a study of stylistic development” (Unpublished B. Mus (Hons) thesis, University of New England, 1987); Christine Logan, Some Aspects of Australian Piano Music Since 1945 (Ann Arbor: UMI Press, 1989); Natalie Williams, “Australian String Quartet Music 1965-1983: A Study of Stylistic Developments” (Unpublished Bachelor of Music Honours Thesis, University of Adelaide, 1998); Alison Rosemary McCubbin, “An introduction for the singer to the solo vocal works of Nigel Butterley with particular emphasis on his works between 1976 and 2003” (Monograph, for the Doctor of Musical Arts, Louisiana State University and Agricultural and Mechanical College, 2004); and David Howard Jones, “The music of Nigel Butterley” (Unpublished PhD. thesis, University of Newcastle, 2005).
27 These areas are detailed later in this chapter. See pp. 7-8.
28 Logan, 108.
5 detail, nor directed attention to a major set of Butterley’s compositions. Significantly, the wealth of pre-compositional material has remained unexamined. One broad study is the thesis by David Howard Jones. This work was intended to encompass the life and compositions of Butterley. Tragically, the work was not completed and it was submitted posthumously.29 David Jones’ supervisor, Dr. Michael Ewans added an editorial note and a brief abstract. Ewans writes that “The chapters from 1 to 5 … were almost complete, except that Mr. Jones intended to add short concluding summaries.”30 Adding to this, in these chapters “analysis of a few small works from before 1974, and of the Violin Concerto, had not been made.”31 Chapters 6 to 9 were included “even though some major works remain unanalyzed”:32 These include String Quartets II, 3 and IV. All of the works listed in Jones’ thesis appear in a chronological sequence which assists in the establishment of an accurate catalogue of his works. The discussion by Jones of Butterley’s works is referenced from interviews with the composer. One of the main attributes of this thesis is the detailed biographical account.33 For a period of time, Jones personally held many works’ sketches in his office at the Newcastle Conservatorium of Music, although he makes no reference to these in his thesis. Some compositional aspects in Butterley’s works, which have been previously explored in other analytical papers, and which are further developed in this thesis, are those relating to structure, tempi and unifying pitch procedures. One aspect of the interrelationship of these parameters was discussed by Christine Logan in her study of Butterley’s composition Uttering Joyous Leaves (1981) where it was found that “certain patterns emerge from the sequence of material.”34 Other studies include the work by Catherine Flaherty, “Nigel Butterley’s Vocal Music: A Study of Stylistic Development.” Her study of his early vocal works analyses “the influences of speech
29 The work was submitted posthumously as David Jones died in a motor-car accident in March 2005.
30 Michael Ewans, “Editor’s note,” in David Howard Jones, “The music of Nigel Butterley” (Unpublished PhD. thesis, University of Newcastle, 2005), unnumbered page. Ewans states “The music is situated in context by quotations from extensive conversations with Dr. Butterley.”
31 Ibid.
32 Ibid.
33 Michael Ewans, “Abstract,” in David Howard Jones, “The music of Nigel Butterley” (Unpublished PhD. thesis, University of Newcastle, 2005), unnumbered page.
34 Jones, 108.
6 rhythm …in the melodic writing of the early works.”35 Alison Rosemary McCubbin, in her thesis, “An Introduction for the Singer to the Solo Vocal Works of Nigel Butterley with Particular Emphasis on his Works Between 1976 and 2003”36 found similarly that “his vocal music is inspired and guided by the structure of the text.”37 Natalie Williams’ work entitled “Australian String Quartet Music 1965-1983: A Study of Stylistic Developments” examines selected string quartets by Peter Sculthorpe, Richard Meale and Nigel Butterley, these three composers often being referred to as the “Triumvirate”38 of contemporary Australian composers. Williams’ thesis explores general stylistic changes occurring in Australian string quartet music during this period through analyses39 of Butterley’s first three string quartets and of selected string quartets by Sculthorpe and Meale.
Advantages of Analysing a Single, Entire Genre
It is assumed that the output of one composer may demonstrate common compositional practices across his or her body of work (and perhaps even more so, across same-genre works).40 Indeed, in Butterley’s string quartets, there are significant obvious similarities; superficial features such as their length, duration and dedications are readily identifiable. In addition, within the structures of String Quartet No. II and IV, there are further similarities to be observed41 while notable parallels in structure may be drawn between the first and third quartets.42
35 Flaherty, 54.
36 McCubbin. Her thesis is designed to be a general introduction to selected solo vocal works by Butterley.
37 McCubbin, 189.
38 Andrew McCredie, Musical Composition in Australia - Including Select Bibliography and Discography (Canberra: Australian Government Publishing Service, 1969), 22.
39 The purpose of the analysis undertaken by Williams was to “determine whether a stylistic change is evident in the string quartets of Meale, Butterley and Sculthorpe… [and] that a significant style change is evident in the quartets of each of these composers.” Williams, 68.
40 As discussed earlier, Butterley feels that there are common features within his works.
41 These two quartets’ similarities include length and structures reliant on balance and proportion. Detailed discussion of these similarities will occur later.
42 Both these quartets share a four-part structure in each movement although they vary in the number of movements.
7 The consistent performing media of the string quartets, a genre to which the composer has frequently returned, act as a stable factor for analysis and interpretation and thus make it easier to distinguish other variables in the compositions. The aspects of uniformity illustrate areas of Butterley’s compositional style that provide the basis of his works, whilst the aspects of diversity reveal those features which constitute, over time, the evolution of his compositional style. Thus, innate idiosyncratic features will be exposed and furthermore, Butterley’s tendency, either consciously or sub-consciously, to exploit and develop these features will be demonstrated. The consistency of Butterley’s style can be demonstrated through examination of his complete output (to date) in a single genre. All the string quartets are commissioned compositions. Commissioning imposes external and possibly artificial constraints on Butterley and these may have had a significant effect on each of these works.43 Some of these imposed constraints included the duration of the composition, the length of time in which to write the work, and special performance requirements or preferences with regard to potential performers44 and audiences.45
The Compositional Sketches
The progress of Butterley’s method of composition can be traced through the sketches. Butterley is thorough in retaining records of compositional plans,46 which has facilitated this study: not only are holograph scores available, but also detailed sketches. Carefully preserved sketches are a special feature of Butterley’s compositional approach. For each quartet, similar developmental procedures covering almost the full
43 String Quartet (1965) was commissioned by the Austral Quartet and String Quartet No. II was commissioned by the Adelaide String Quartet. String Quartet Nos. 3 and IV were commissioned by Musica Viva, as was the Bagatelle for string quartet.
44 Some of these details become more apparent when the contents of the sketches are discussed.
45 His most adventurous String Quartet No. II, commissioned by the Adelaide String Quartet, premiered at the Adelaide Festival of the Arts (within the environment of an arts festival).
46 Butterley intends to archive his preliminary workings and sketches of most of his compositions with the National Library of Australia, Canberra. Sketches exist for most of his works. However, the preliminary workings of String Quartet No. II appear to be lost. Robert Smallwood had in his possession the sketches of String Quartet (1965) and String Quartet No. 3, which are currently on loan to the author of this thesis. The sketches of his Bagatelle for string quartet were passed directly from the composer to the current writer. The current writer would like to thank the composer for his generosity in supplying the sketches and manuscripts and for his co-operation throughout the preparation of this thesis.
8 spectrum of compositional process are exhibited in these preliminary sketches; they reveal the composition from its genesis to completion. Butterley’s sketches commonly include a description of moods and structural possibilities through to an almost complete draft copy of the score and thus the analyst may view the choices and decisions made by Butterley. His stages of creating a work often include an inspiration, general overall planning in words, expanded in detail where necessary, notational organisation and lastly the writing of the draft copy. In contrast to those compositional traits that can be identified as characteristic, aspects of diversification generally related to structural issues are indicative of his compositional development and refinement. Examination of preliminary sketches enables the identification of Butterley’s “working methods”47 and germinal ideas which are later assimilated through his compositional process. This promotes a more constructive analysis of the progression of a work as the analyst can either elect to trace the work through the working drafts of the composer or to study the work via alternative means (scores); thus, the analysis can itself be responsive and dynamic in relation to the work to which it has been applied. This current work will identify and discuss the relative importance of various musical considerations during the period of composition of each string quartet. Furthermore, it will determine whether these musical judgements retain equivalent importance throughout the years and whether they change as the composer matures. Thus sketch study elucidates the interrelationships of various compositional aspects in the process of composition. Scrutiny of the sketches during the period of composition will also illustrate the procedures Butterley follows in the course of composing a quartet. It will show if the steps he takes in creating his quartets follow a common process in all of the works, over time, as he matures. The sketches of a work can detail aspects of a composer’s approach to a particular composition’s creation. Sketch study can complement formal analysis. It will be argued that sketches raise different questions that are more aligned to the processes of creation of the composition, whereas analysis tends to pose the question “how does it work?”48 Formal analysis deals
47 Such as those noted by Elizabeth L. Keathley, “Schoenberg’s Opus 16/IV: An examination of the sketches,” Theory in Practice 17 (1993), 67. She demonstrated, through sketch examination, that Schoenberg placed differing emphases on the various musical elements over the compositional period.
48 Ian Bent, “Analysis,” in The New Grove Dictionary of Music and Musicians Vol 1 (London: Macmillan, 1980), 342.
9 with the final product, something that has been created, and in a sense, looks at a work retrospectively. Sketch study, in contrast, examines the work as it is being created and all the attendant compositional issues: it reveals some of the choices available to the composer and the decision making process as the composition is created. Sketch study and formal analysis can interact with each other. The utilisation of both approaches strengthens the outcomes of the analyses.49 This study has implications for performers that emerge from the sketches and also the draft, holograph copies and post-composition directions to performers. Early sketches contain Butterley’s conceived sounds, moods and images. Many of the emotive and descriptive plans written by Butterley in his sketches have not been included in the scores of the quartets and therefore these interpretations are not available to the performer. Expressive performance considerations involving structural pillars are more valid when confirmed by the composer’s own workings. There have been special performance directions added into the draft copies and holographs of the quartets and these have not been included in published scores. Furthermore, scores both published and computer manufactured contain differences to earlier holograph copies. This augmenting information provides the performer(s) with the tools for a more authoritative interpretation.
Analytical Perspectives
A multi-faceted approach to the investigation and consequent discussion of Butterley’s compositional procedures will be used in order to achieve a holistic exposition of his procedures. No single method of analysis (of the finished score) has been applied to the compositions; rather, an approach has been used which will aim at uncovering the processes at work in these compositions from the earliest stage to the finished product. The formulation and compilation of analytic techniques derives from the precepts of Allen Forte,50 John Rahn,51 Robert D. Morris,52 Joel Lester,53 Jonathan
49 Analysis and sketch methodologies are detailed in Chapter 2.
50 Allen Forte, The Structure of Atonal Music (New Haven and London: Yale University Press, 1973).
51 John Rahn, Basic Atonal Theory (New York and London: Schirmer Books, 1987).
52 Robert D. Morris, Pitch Classes: A Theory of Compositional Design (New Haven and London: Yale University Press, 1987).
10 W. Bernard54 and John D. White.55 The analytic techniques used are assimilated from these various methodologies, including pitch class analysis, structural and proportional analysis, and rhythmic analysis. To a large extent, analytical writing since 1960 has concentrated on a few of the elements in the organisation of music. Most studies of twentieth-century music have concentrated on pitch structure: “the interrelations among entities such as ordered and unordered sets of pitches, their transformations and the processes and forms they generate.”56 This preoccupation with pitch structure has often resulted in the neglect of other compositional elements. Although pitch relationships are a prime concern in this thesis (as “complex pitch organization”57 has been previously established and demonstrated in Butterley’s works), the study adopts an approach utilising aspects of pitch set theories, as well as demonstrating the manner in which elements such as register, structure, 58 rhythm, 59 texture, 60 tempi and timbre61 contribute to these compositions. Focusing on the compositional process will allow for the expansion of the usual analytical emphasis.
53 Joel Lester, Analytic Approaches to Twentieth-Century Music (New York: Norton, 1989).
54 Jonathan W. Bernard, The Music of Edgard Varèse (New Haven and London: Yale University Press, 1987).
55 John D. White, Comprehensive Musical Analysis (Metuchen, N.J. and London: The Scarecrow Press, 1994). Also, John D. White, Theories of Musical Texture in Western History (New York and London: Garland Publishing, 1995).
56 Morris, XI.
57 The piano composition Uttering Joyous Leaves is analysed. The method of analysis relied heavily upon “Pitch Class sets” as a tool to extract the necessary information and support the thesis. Logan, 81.
58 Courtney Adams examined the work of Satie, utilising the “Golden Section” as displayed in the ‘”Fibonacci” series to examine structures. Courtney S. Adams, “Eric Satie and Golden Section Analysis,” Music and Letters 77, No.2 (May 1996), 242-252. In this thesis, Butterley’s quartets are shown to illustrate similar proportions. Some earlier studies using the “Golden Mean” are: Erno Lendvai, Béla Bartók: An Analysis of his Music (London: Kahn & Averill, 1971); and Roy Howat, “Review article: Bartók, Lendvai and the principles of proportional analysis,” Music Analysis 2, No.1 (March, 1983), 69- 95.
59 Allen Forte, “Foreground rhythm in early twentieth-century music,” in Models of Musical Analysis Early Twentieth-Century Music, ed. Jonathan Dunsby (Oxford: Blackwell Publishers, 1993).
60 Judith Lockhead, “Texture and timbre in Barbara Kolb’s Millefoglie for chamber orchestra and computer-generated tape,” in Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford and New York: Oxford University Press, 2005), 253-272.
61 Scholars include Richard P. DeLone, “Timbre and Texture in Twentieth-Century Music,” in Aspects of 20th Century Music, ed. Garry Wittlich (Englewood Cliffs, New Jersey: Prentice Hall, 1975), 64. Also, Lockhead, who like De Lone incorporated studies of both texture and timbre in her work. 11 Another aspect that will be examined is external compositional aids. Butterley has alluded to the exploitation of cryptography. 62 As an aid to the compositional process Butterley’s use of numerology and its possible relevance to the string quartets is also examined as its use is evident in the sketches. The utilisation of these devices may play an important role in the final presentation of the compositional work. An example of this influence may be seen in something significant as the structure and overall length of the string quartets. The string quartets are an excellent medium for the elucidation of Nigel Butterley’s music and his writing procedures. Through examination of the string quartets’ compositional sketches, this thesis will argue that where they are available, preliminary writings and sketches demonstrate “that the analysis of compositional sketches … [has] the capacity to inform, enrich, refine, [and] contextualise”63 with greater depth than that which has been traditionally gleaned from score study in isolation.
62 Nigel Butterley, interview with Peter Watters-Cowan. Here, Butterley describes using cryptography in creating motives for his work Lawrence Hargrave Flying Alone.
63 Peter McCallum, “The Analytical Significance of Beethoven’s Sketches for the String Quartet in F Major, Opus 135” (PhD thesis, University of Sydney, 1995), 4.
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Sketch study and traditional score analysis are central to this study. This chapter reviews the ways scholars have studied compositional sketches by surveying some current methods of score analysis that pertain to Butterley’s quartets. The earlier part of this chapter focuses on sketch study whereas the latter part discusses approaches to score analysis. The selection of scholarly works to be reviewed is made according to similarity of musical techniques and applicability to Butterley’s works. Study of musical sketch material is detective work; it includes the “deciphering of notes of all kinds (musical, verbal or other), usually in manuscript, … to make possible a deeper understanding, as well as classification and interpretation of the deciphered material.”1 In the present study, this will be achieved by assigning roles to the various sketches, assessing how they relate to the particular work; and examining Butterley’s manner of inclusion. The composer’s special “shorthand” writing traits throughout the sketches will be deciphered. In subsequent chapters, the sketches of each quartet wil be scrutinised according to the common sequence that emerges in Butterley’s compositional planning, namely from his æsthetic conception to detailed planning and finally to musical notation. I will use the information gleaned from the sketches to discuss Butterley’s compositional process, editorial issues and performance practice. The sketches detailing broad æsthetic and structural plans are deciphered first, followed by notated sketches that are scrutinised for creative process, development and the way Butterley integrates them into each quartet. Next, to be discussed is how Butterley combines sketches in words and musical notation in the writing of the draft copy. Later considerations will be editorial problems and performance practice. Similar sketches will be compared for the information they show and then the discussion will generally centre on compositional practices used in common across the quartets rather than treating each quartet as an isolated entity. For example, sketches in words are analysed separately from notated sketches. By linking the similar processes
1 Regina Busch, “Transcribing sketches,” in A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 85. 13 found in the sketches, it may be possible to draw general conclusions about Butterley’s individual conception and writing method. Sketches are also studied chronologically following the general direction of the process in the work’s creation.2 In order to contextualise Butterley’s compositional method, other contemporary Australian composers were asked to describe their writing and planning methods. The results will be discussed later in this chapter. General analytic techniques used by other scholars for the discussion of musical sketches will now be explored. Following a period when the value of studying musical sketches was strongly debated, it is becoming increasingly common to find them included in musicological discussion.3 In 1978, Douglas Johnson4 debated the value of sketches asking: “Is there a single important analytical insight derived from sketches which has become common knowledge among musicians?” Despite his scepticism, Johnson’s discussion brought the role and neglect of sketch studies to the awareness of his colleagues. More recently, an appreciation of the value of sketch study is shown by the number of institutions promoting research involving study of musical sketches.5 Generally, discussions about the role and value of sketch studies have been polarised. One view is that the finished composition, the result of many corrections and alterations is the true representation of the composer’s intentions - that changes have been discarded for the finished copy. The other view is that all the composer’s workings contribute to the complete composition; therefore, they are all relevant to appreciate the work fully.
2 McCallum, in his work on Beethoven’s String Quartet in F Major, Opus 135, traced the quartet in a “deconstructive” method, from the score back through the sketches to its conception. Peter McCallum, “The Analytical Significance of Beethoven’s Sketches for the String Quartet in F Major, Opus 135” (PhD thesis, University of Sydney, 1995), 2-3.
3 Nicholas Marston states that “Beethoven's sketching habits were a subject of curiosity even in his own lifetime, and it is no exaggeration to say that the branch of musicology called ‘sketch studies’ derives directly from scholarly engagement with the Beethoven sources.” Marston, “Sketch,” in Grove Music Online.
4 Johnson, Douglas. “Beethoven Scholars and Beethoven’s Sketches,” 19th-Century Music 2, No.1 (July, 1978), 13.
5 Friedmann Sallis and Patricia Hall state that various institutions offering courses related to sketch studies were minimal before about 1990. “Only a handful of such institutions were established in the decades following the Second World War, between 1990 and 2000 no less than fifteen opened their doors and many of these contain massive manuscript collections.” Friedemann Sallis and Patricia Hall, Eds. “Introduction,” in A Handbook to Twentieth-century Musical Sketches (Cambridge: Cambridge University Press, 2004), 1.
14 In studying Beethoven’s sketches, Peter McCallum asked: “what is there of analytical value which can be discovered in sketches which cannot also be discovered in the completed work?”6 This question is also pertinent to the examination of Butterley’s sketches. Possibly a more fundamental question is not “whether sketch material will be used for analysis, but rather, How this should be done?”7 Preliminary sketch study provides different information to an analysis of the finished score. In studying sketches we examine diverse materials which are the composer’s workings up to and including the final draft. These questions and assumptions underpin the current study. Roger Smalley, in studying Webern’s sketches, recognised that analysis and sketch studies provide different types of information. He states: If we analyze a finished work we can learn a great deal about the structure of that work in particular, and about the composition techniques in general. … By studying the first sketches of a work we learn less about the structure of the work as a whole but more about the composer’s own creative processes.8
Barry Cooper posits that sketch study by “aiding communication between the composer and the listener [enhances an] understanding of the music itself.”9 Smalley’s comment about “learning less about the structure of a work” through sketch study may not be the case where different sketches are examined but it does highlight the fact that diverse outcomes will emerge from these different types of study. Examination of sketches in the compositional process may “reveal previously overlooked motivic relationships between different ideas in a movement or confirm one’s suspicions that such a relationship is significant and was planned by the composer”10 more clearly than is displayed through the techniques of score analysis. To comprehend and appreciate the sketches to best advantage, it is essential to have a “particular understanding of the composer as original creative artist and of the
6 In his thesis, McCallum found that Beethoven’s sketches of the string quartet show that Beethoven had “worked up [this piece] from several points of departure.” He also feels of the sketches that “some of the decisions taken along the way were not always dictated by the far-sighted vision of genius but were, on occasions, somewhat circumstantial.” McCallum, 346.
7 Sallis and Hall, “Introduction,” 5.
8 Roger Smalley, “Webern’s Sketches (II),” Tempo 113 (1975), 2.
9 Barry Cooper in his study of Beethoven’s sketches states that “Study of the sketches helps one to see, and therefore hear the music from the same angle as Beethoven saw it.” “The Compositional Act: sketches and autographs,” in The Cambridge Companion to Beethoven, ed. Glenn Stanley (Cambridge: Cambridge University Press, 2000), 41.
10 Ibid. 15 musical work.”11 Without the knowledge of the composer’s general compositional practices or reference to the sketches’ context within the complete work, the significance of the sketches would be diminished or unclear. This view underscores the role of score study as imperative. One goal of this thesis is to demonstrate how analytical observations related to Butterley’s string quartets can be strengthened through scrutiny of his sketches. Many perspectives emerge in previous work on composers’ sketches12 including information on compositional process,13 performance interpretation,14 analytic purposes,15 editorial issues,16 biographical detail,17 and score reconstruction.18 Some composers whose sketches have been examined for these
11 Marston, “Sketch,” in Grove Music Online.
12 In classifying the different types of material Friedmann Sallis states in “Coming to terms with the composer’s working manuscripts,” A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 51. that: “Sketches and drafts are private documents.” Stanley Boorman defines a holograph as a “document written in the hand of the author or composer.” “Holograph” in Grove Music Online, ed. L. Macy, accessed 28 May 2008. http://www.grovemusic.com. Nicholas Marston states that an autograph is “A manuscript written in the hand of a particular person.” “Autograph (i).” in Grove Music Online, ed. L. Macy, accessed 28 May 2008. http://www.grovemusic.com. In addition to these statements, Sallis states that: “In practice, both [terms] are used to indicate manuscripts of musical works written in the hand of the composer.” Hall and Sallis, 53. She also defines a “fair copy” as “the authoritative source of the musical idea or content of the work.” Hall and Sallis, 53.
13 Elizabeth Keathley, “Schoenberg’s Opus 16/IV: An examination of the sketches,” Theory in Practice 17 (1993), 67-83; Roger Smalley, “Webern’s Sketches (II),” Tempo 113 (1975), 29-40; Marcus Hartstein, “The creative process in Don Banks’ early chamber music. A sketch study of Three Studies for Cello and Piano and Three Episodes for Flute and Piano” (Unpublished PhD thesis, Conservatorium of Music, University of Sydney, 2000).
14 Giselher Schubert and Friedmann Sallis discuss that Alban Berg’s sketches “also contain explanatory notes referring to the fact that Berg related certain musical gestures to extra-musical phenomena.” “Sketches and sketching,” in A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 7.
15 Two examples are Peter McCallum, “The analytical significance of Beethoven’s sketches for the String Quartet in F Major, Opus 135” (Unpublished PhD thesis, University of Sydney, 1995) and Barry Cooper, “The Compositional Act: sketches and autographs,” in The Cambridge Companion to Beethoven, ed. Glenn Stanley (Cambridge: Cambridge University Press, 2000).
16 James L. Zychowicz, “Re-evaluating the sources of Mahler’s music,” in Perspectives on Gustav Mahler, ed. Jeremy Barham (Aldershot: Ashgate, 2005).
17 Marston, “Sketch,” in Grove Music Online.
18 Robert Anderson, Elgar in Manuscript (Portland: Amadeus Press, 1990).
16 purposes include Beethoven,19 Schoenberg,20 Berg,21 Bartók,22 Webern,23 Elgar,24 Holst,25 Stravinsky,26 Debussy,27 Satie,28 Mahler,29 Copland30 and Carter.31 Some composers including Johannes Brahms and Olivier Messiaen routinely destroy their sketches. Marston states that “Brahms, despite his scholarly interest in earlier music and his possession of an important collection of autographs, habitually destroyed his sketches.32 Messiaen, who offered copious spoken and written
19 Marston says of Beethoven that “undoubtedly the most celebrated corpus of sketches to have survived, and no discussion of the term can afford to skirt their importance.” Marston, “Sketch,” in Grove Music Online.
20 Keathley, 67.
21 Patricia Hall, A View of Berg’s Lulu through the Autograph Sources (Berkeley, Los Angeles and London: University of California Press, 1996).
22 Lazlo Somfai, “Written between the desk and the piano: dating Béla Bartók’s sketches,” in A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 114-130.
23 Roger Smalley, “Webern’s Sketches (II),” 2.
24 Robert Anderson, Elgar in Manuscript (Portland: Amadeus Press, 1990). See also: Christopher Kent, “Elgar’s Third Symphony: The sketches reconsidered,” The Musical Times CXXIII, No. 1674 (1982), 532-537.
25 Richard Greene, Holst: The Planets (Cambridge: Cambridge University Press, 1995).
26 Lynne Rogers, “Stravinsky’s break with contrapuntal tradition: A sketch study,” The Journal of Musicology XIII, No 4 (1995), 476-507. See also: Tomi Makela, “Defining Compositional Process: Idea and instrumentation in Igor Stravinsky’s Ragtime (1918) and Pribaoutki (1915),” in A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 131-145.
27 David A. Grayson, The Genesis of Debussy’s “Pélleas et Mélisande” (Ann Arbor, London: UMI Research Press, 1986), 134.
28 Courtney S. Adams, “Satie’s Nocturnes seen through his sketchbooks.” The Journal of Musicology XIII, No. 4 (1995), 454-475.
29 James L. Zychowicz. “Re-evaluating the sources of Mahler’s music,” in Perspectives on Gustav Mahler, ed. Jeremy Barham (Aldershot: Ashgate, 2005), 419-436.
30 Elizabeth Bergman Crist, “Aaron Copland’s Third Symphony from sketch to score,” Journal of Musicology 18, No. 3 (Summer 2001), 377- 405.
31 Denis Vermaelen. “Elliott Carter’s sketches: spiritual exercises and craftsmanship,” in A Handbook to Twentieth-century Musical Sketches, ed. Patricia Hall and Friedemann Sallis (Cambridge: Cambridge University Press, 2004), 161-175.
32 Marston, “Sketch,” in Grove Music Online.
17 explanations of his composition methods, apears to have left no sketches.33 In contrast, other composers retain sketches in varying degrees of completeness.34 Butterley preserves his preliminary writings in folders, generally one for each composition. This enables the “survival of a critical mass of material”35 and has facilitated this study of his music for string quartet. There are extant sketches for three of the four string quartets and also for the Bagatelle for string quartet. A draft copy exists for all these works. Butterley’s sketched materials are detailed and extensive. His sketches vary in their roles, use and function; some are planned in words, æsthetic projections and some are in music notation. The writing paper Butterley re-uses36 can help to establish the time taken to create these quartets as well as Butterley’s particular extra-musical interests, throughout a particular compositional period. Butterley’s String Quartet No. IV and his Bagatelle have dates written on most sketches and therefore for those works, periods of composition can be established. The dates on the sketches indicate the sequence from conception to completed work for the various aspects of composition and also Butterley’s compositional pace. The information the composer requires in the compositional process influences these sketches. Composers differ in the extent and level of detailed planning necessary to meet each specific compositional task. There is usually no standard planning sequence.37 Sketches show variation in size and detail, nature of content and organisation.
33 Camille Crunelle Hill states that “Messiaen composed in privacy, and he left no working sketches to reveal the process of his thought.” This is in contrast to his “public explanation [and] notebooks to verify the consistency of the colours he imagined.” Camille Crunelle Hill, “Saint Thomas Aquinas and the Theme of Truth,” in Messiaen’s Language of Mystical Love, ed. Siglund Bruhn (New York: Garland, 1998), 164.
34 Marston, “Sketch,” in Grove Music Online. Marston states that “Beethoven’s attachment to his sketches as opposed to autograph manuscripts was so extraordinary that his is undoubtedly the most celebrated corpus of sketches to have survived”.
35 Ibid.
36 Sketches in words are often written on the reverse side of various documents. Examples of these include SQ3:15 and SQ3:21 which are on the other side of an assignment for his second year students due Friday November 9 (1979), SQ4:05 is on the opposite of a letter from a credit union dated 1st March 1993 and SQ4:07 is on the other side of a letter from Community Aid Abroad dated 4th Nov 1994. See Chapter 4 for an explanation of the sketch coding system.
37 For this thesis pre-composition will mean any planning necessary before composing the draft of a work. The term’s meaning is unclear, the composer Paul Doornbusch asks “where exactly does the pre- composition process or activity end, and where does composition begin?” He also separates sketches from 18 Studying Mahler’s sketches, James Zychowicz emphasised that they “are crucial above all for the understanding of Mahler’s working processes.”38 He found that Mahler’s procedures altered “between the time he finished the Third Symphony and when he started work on the Fourth [Symphony].39 A composer’s written records and detailed workings over the creative period can be traced through sketches. A sketch may be “an idea recorded in musical notation;”40 it may also include “verbal remarks or numerical tables and rows”41 frequently used in serial works. As an extension of these ideas, Butterley’s descriptions in words during the formative period of a composition will be scrutinised. While individual, Butterley’s compositional process shares common features with some of the composers whose sketches have been studied previously. As noted, similarities such as the order of conception, planning and writing methods and varied writing materials will be discussed as these topics provide a basis for examining Butterley’s sketches. Combining score and draft study assists the identification of the compositional sequence,42 particularly where the composer’s conception method is hierarchical,43 as is Butterley’s. Elizabeth L. Keathley, in examining Schoenberg sketches, reaches significant conclusions about the compositional procedures of opus 16/IV.44 Keathley found that Schoenberg “first conceived melodies, that is pitches in rhythm; harmony,
the pre-composition process as he feels that “sketches build material within the compositional process.” He feels that “constructing a scale for a piece of developing a tuning system may be pre-compositional work.” Veronica Krausas questions that pre-composition would include “instrumentation… length of the work? Melodic and harmonic structures? Rhythmic structures? Composition style and æsthetic? Form of the work? Structures within the form? [and] Title choices?” Paul Doornbusch, “Pre-composition and algorithmic composition: Reflections on disappearing lines in the sand,” Journal of Music Research 29- 30 (2005), 47-58. Veronika Krausas, “Some thoughts about pre-composition,” Journal of Music Research 29-30 (2005), 69-73.
38 Zychowicz, “Re-evaluating the Sources of Mahler’s Music,” 236.
39 Ibid.
40 Marston, “Sketch,” in Grove Music Online.
41 Ibid.
42 Susan Hallam, Music Psychology in Education (London: Institute of Education, 2006), 72-3. Susan found theories illustrating various stages during the creative process.
43 Hallam, p80.
44 Keathley found that Schoenberg conceived the different aspects of a work in a hierarchical manner. Elizabeth L. Keathley, “Schoenberg’s Opus 16/IV: An examination of the sketches,” 67. 19 meter and colour were later considerations.”45 Schoenberg’s sketches displayed a hierarchy, commencing with its conception and progressing through the composition to its completion. Hierarchic procedure found in Schoenberg’s Third String Quartet, Opus 30 was discussed in a study of Schoenberg undertaken by Reynold Simpson. He noted that the “sketches are filled with numerous examples of compositional ideas developing rapidly and multi-dimensionally from one line to the next.”46 Of Edward Elgar, it has been demonstrated that the sketches are of “considerable value in the impression they give of Elgar’s mind and working methods and of the way his imagination fulfilled itself in his chosen material.”47 Also, hierarchic prcecces have been observed in Beethoven’s development of a composition where the sketches are seen to progress from “concept sketches,” “continuity drafts,” through to a “final continuity draft.”48 Butterley’s process of creation and organisation of materials, as observed in his sketches, illustrate a definite progression through various stages although they do not, understandably, represent the same sequence as Beethoven’s. Butterley’s sketches effectively diarise his thoughts; for example, he constantly poses questions to himself about many of the compositional possibilities available in his quartets. Roger Smalley has commented that scrutinising the “sketchbooks of a great composer is perhaps the closest we can ever come to experiencing the act of creation.”49 Sketches place the scholar in a privileged position with an intimate opportunity of first- hand observations. It is possible to gain insight into the “fundamental nature of a composer’s creative personality”50 as sketches may illustrate the way a composer “approaches and grapples”51 with compositional possibilities.
45 Ibid.
46 Reynold Simpson, “New sketches, old fragments, and Schoenberg’s Third String Quartet, Op. 30,” Theory and Practice 17 (1993), 100.
47 Kent, “Elgar’s Third Symphony: The Sketches Reconsidered,” 537.
48 Cooper, “The Compositional Act: sketches and autographs,” 37-39.
49 Smalley, “Webern’s Sketches (II),” 2.
50 Ibid.
51 Ibid. 20 Butterley makes use of varied writing mediums for particular purposes and especially to remind himself of more intricate details that enhance and augment his initial ideas. They are also employed to highlight the completion of different procedures in the hierarchical order of composition. These different materials assist a composer by helping in the prioritisation of musical issues. Ultimately, it can precipitate the rapid completion of tasks necessary over the writing of a composition. The layers evident through the varied writing mediums facilitate an understanding of the hierarchy and conceptual importance of particular musical elements during the writing of a work. Grayson describes an approach by Debussy to pre-compositional organisation, stating that he “laid out the page as he composed, usually using systems of four or five, but sometimes three staves.”52 He observed in Pélleas et Mélisande where the “manuscript was written in black, blue, orange, and green pencil and black ink”53 and that Debussy “typically sketched in pencil, copied in ink, and corrected with a contrasting colour (pencil or pen)”54 for greater clarity. He established that these layers indicated developmental procedures. The varied writing mediums facilitate distinguishing of “the compositional layers”55 observed over the growth period of this work akin to Butterley’s use of various writing materials. The sketches of the quartets show that Butterley often commences work on a single stave and when voicing considerations are necessary, he uses a piano score. Studying the creative process for The Planets by Holst, Richard Greene observed a similar approach. Holst worked initially in piano score which was then “… marked with instrumentation, and gradually each movement was transferred to full score.”56 When Butterley commences writing a draft, he does not always organise each page as the work progresses; he appears, at times, to draw up several pages of staves at a time. An example is observed in the layout of the opening pages of the holograph of his String Quartet No. II.
52 Grayson, The Genesis of Debussy’s “Pélleas et Mélisande,” 138.
53 Grayson, 134.
54 Grayson, 135.
55 Ibid.
56 Greene, Holst: The Planets, 28.
21 Butterley’s sketches will be used to illustrate how he organises his material to ‘work up’ his quartets. Some other composers utilised “numerous sketches; Stravinsky often composed a passage or portion of a passage in a shorter version first, then lengthened it… Yet other sketches document a relatively simple idea that is subsequently modified to become more complex in one or more aspects.”57 A further perspective is found in Beethoven’s work by Peter McCallum – a piece “being ‘worked up’ from several points of departure, [rather] than to think of it originating in a single unified imperative.”58 Susan Hallam cites a different composer’s approach where “At the outset, a clear mental picture of the composition was in place which acted as a loose framework throughout the process.”59 This provides clear evidence for the validity of the current writer’s application of compositional principles which cannot always be gleaned through score analysis alone. Some composers’ sketches contain expressive or other details which may be relevant to the completed work but which do nor appear in a completed score although they add information for performance. Sketches provide “access to levels of meaning which cannot be directly extracted from the published score.”60 In reference to Beethoven, Johnson stated that his “sketchbooks contain a great deal of material that was not absorbed into the finished works.61 The mass of plans make it difficult to include all the details into a score. Assessment of these details potentially has implications for performance; for example, a composer’s timing of a particular passage could be directly related to a more precise tempo indication. Additionally, inclusion of words like “warmth” and “light” in a sketch may assist performers to a greater understanding of Butterley’s expressive intentions. Most of these instructions are not included in the score, due to writing conventions and space, but they provide a wealth of information for an enhanced performance.
57 Rogers, “Stravinsky’s break with contrapuntal tradition: a sketch study,” 507.
58 McCallum, “The analytical significance of Beethoven’s sketches for the String Quartet in F Major, Opus 135,” 1.
59 Hallam, 73-4.
60 Schubert and Sallis, “Sketches and sketching,” 7.
61 Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Clarendon Press: Oxford, 1985), 3.
22 This study will provide answers to some questions made by the original performers particularly concerning the fourth quartet by utilising the specific directions only to be found in a sketch that Butterley gave to the performers. Some of Butterley’s quartet sketches are not dated by him; however a plausible sequence of events for these sketches62 will be suggested. This assists in clarifying the composer’s planning procedures. Butterley’s sketches demonstrate the relative importance he places on the various musical elements necessary to compose a string quartet. For example, examination of sketches may reveal whether a composition grows from an opening thematic passage which is then developed into a structured work,63 or if an overall structure is conceived first. Butterley’s sketches will be used to identify editorial problems in these works. Sketches can be significant where drafts and holographs of Butterley’s works contain discrepancies when compared to a published score that may be editors’ mistakes. Further to this, personal notes detailing his own editorial practices64 assist in reducing inconsistencies or ambiguities in published scores. It has previously been found that sketch study can help clarify the editorial process, especially for those scores where alternate readings are available. Published scores often contain editorial changes and confusion may arise over the most ‘correct’ edition. 65 Biographical detail66 may be enhanced through sketch materials. Sketches can indicate the duration over which a composition was created and assist in accurately dating the work. Further to this, sketches can also indicate the evolution of a composition and the work’s sequential development. These details can also show
62 Using a variety of procedures, the current writer was able to estimate the sequencing of the drafts and sketches: these methods and sequencing will be discussed in Chapter 5.
63 Hartstein states of Don Banks’ compositional process as “developing an opening passage that could be continued as a score.” This is one instance of a composer creating a work from an opening passage. Hartstein, “The creative process in Don Banks’ early chamber music,” 202.
64 Butterley writes in the sketch SQ3:14 about his procedure for the application of accidentals. This is discussed in Chapter 4.
65 Zychowicz found that that there were published editions alongside other more recent versions with modifications by Mahler which added to the challenges facing contemporary editors. Zychowicz did not believe that following the copy with the latest alterations would “necessarily serve the music as well as it could.” Zychowicz, “Re-evaluating the Sources of Mahler’s Music,” 435-436.
66 In his study of Elgar, Anderson used sketches as an aid to biography. Anderson, Elgar in Manuscript, vii.
23 whether the composer worked on one composition or several at once.67 The paper used for sketching may determine the duration of the composition period through dates on sketches, notes and memorandums in sketches, jotted points, watermarks and other means which identify makers of the paper, manuscript printers, and correspondence if the paper is re-used. In summary, Butterley’s particularly detailed sketches will be used to explore his compositional process and method by tracing the development of the quartets. This will provide an understanding of Butterley’s initial conception, musical and extra-musical influences, planning, creation of musical materials and drafting processes. The sketches are catalogued in the order that they were found in each envelope and can be found in the appendices. In this thesis, the sketches are examined for the compositional processes that they help to explain. Sketches containing words that indicate structural planning and emotive detail are studied separately to those that contain notational planning. Longer notated and drafted passages are examined in the context of how they are composed, where they have been worked from and how they feature in the completed composition They are discussed in chapters 5-8 in their order of conception in Butterley’s general compositional sequence. Additionally, information contained in the sketches that enriches performers’ interpretation, illustrates typographical errors and ommisions made in the various copies, and any postscript detail Butterley included prior to the performances which are not included in the score are also examined.
Compositional processes in the work of Butterley’s contemporaries
Several established, recognised and respected contemporary Australian composers including Helen Gifford (b. 1935), Peter Sculthorpe and George Dreyfus (b.1928) were consulted in order to ascertain whether the method applied by Butterley to composition, as shown in the sketches, was common practice. Asked to comment on their compositional processes and methods, each composer described a different compositional process and cited specific examples using their work.
67 Anderson found this kind of information useful in biographical writing about Elgar where his creative life is addressed more in terms defining the “workings by the construction times of the works rather than the completion or performance dates of a given composition.” Anderson, vii.
24 Helen Gifford cited her “writing a series of short piano pieces (ca. 2mins on mental conditions and states of mind—(it’s very broad, and the series may continue as long as I do),” 68 and stated that she usually writes a few sentences as “points of departure” and that also,“…once you start putting the notes down the piece takes on a life of its own.”69 On a general level she commented: “I find that the essence of compositional method lies in determining a balance between conscious commitment and triggered reflex, and resolving the conflict that arises from this creative interplay.”70 Shorter pieces may need less planning and develop more organically and may not require extended development or thematic prolongation compared to longer works. Gifford gave no indication that she utilised extensive sketch material: she writes “In short, my pre-compositional structure is not nearly as detailed as Nigel’s – more like something to spark me up.”71 Discussing72 Peter Sculthorpe’s own compositional preparation, he wrote that Butterley’s style was “close to my own approach.”73 Sculthorpe cited his String Quartet No. 16 (2005) stating that he makes visual plans of the respective movements and described the “drawing” as giving “the appearance of five pavilions.”74 Sculthorpe usually has no “literary stimuli”75 like Butterley frequently uses. However he adds, “Most of my pieces are based on some extra-musical idea.”76 He commented that “if
68 Helen Gifford also writes that “the one I’m doing since your letter arrived is ‘lost’, so I took care to notice how I went about it.” Gifford made no mention of a general title to the series. Personal communication, 13 February 2007. Used with permission.
69 Ibid.
70 Ibid.
71 Ibid.
72 The following was in a letter written to Peter Sculthorpe and was my brief summary of Butterley’s processes asking Sculthorpe for comment and discussion of his own process. “After examining Dr Butterley’s sketches, it has become apparent that he plans his works in words (rather than say, in music notation) to a high degree before notating his thoughts on manuscript. I would like to establish if this is a regular practice amongst contemporary (Australian) writers. I was wondering if you would be able to indicate to me if in your own works whether you undertake preliminary sketches and what form do your preliminary plans take?” Watters-Cowan. personal communication, 4 January 2007.
73Sculthorpe, personal communication, 31 January 2007. Used with permission.
74 Ibid.
75 Ibid.
76 Ibid.
25 something affects me, it gets into the music… The Australian landscape and Tasmania have been my most continuous sources of inspiration.”77 Notably, he states that “I first need to establish the architecture.”78 He adds, “Having assembled the structure, I then begin the actual music. I rarely begin at the actual beginning of a piece.”79 Preparation of plans is one common feature he shares with Butterley’s planning. On organising the ‘architecure’ of a work Sculthorpe adds “Over the years, I’ve found that most male composers, but not all, work in this way.”80 Another approach was described by George Dreyfus: “I tend to sit down at 9 am on a Monday morning and go with what I’ve got/had in my head, and obviously the impetus for that was the film music which always had a tight delivery date followed by the reward of instant money.”81 Like Gifford, Dreyfus did not mention any use of sketches. Australian composer Ross Edwards (1943-) also does not use sketches. When intervieved by Philip Cooney he stated that “I never pre-plan…I have an idea of what I’m doing [but overall] it’s a mysterious process.”82 Edwards discusses further his structures and feels that “there is no sort of labeling them: A, A1, B and so on. You [the analyst] can do it afterwards…but when I’m composing I don’t.”83 In contrast, Butterley does plan works and structures in detail, leading more to the impression that composition is a craft to be worked upon and for him less of a “mysterious process.” Composers’ writing processes obviously differ. Supporting this, Dreyfus stated that “not all human beings are the same and certainly not all composers operate in the same way.”84 However, many composers need to plan, organise and sketch as process in their composition.
77 Peter Sculthorpe, interview with Amber De Nardi, “Turning Silence into Sound. Composers Talk about Inspiration,” 2MBS radio, Fine Music (Feb 2001).
78 Sculthorpe, personal communication, 31 January 2007. Used with permission.
79 Ibid.
80 Ibid.
81 George Dreyfus, personal communication, 8 February 2007. Used with permission.
82 Phillip Cooney, “Beyond Sacred and Maninya: Developments in the Music of Ross Edwards between 1991-2001” (PhD thesis, University of Newcastle, 2003), 257.
83 Ibid.
84 George Dreyfus, personal communication, 8 February 2007. Used with permission.
26 Analytic Approaches
Through an integration of analytical techniques, one main objective of this thesis will be to explain the compositional procedures employed by Butterley in the string quartets. It is essential that the analytical procedures utilised are relevant to the particular music to be analysed, a premise advocated by Meyer when he stated: “an analytic method or theory must be appropriate to the style of the composition being studied.”85 It is this principle which underpins the adoption of a blended approach using varied analytic procedures in this thesis. In this thesis the analysis will focus on musical procedures and choices such as structures, pitch, rhythm, textures and tempi as they occur in Butterley’s string quartets, applying integrated analytic methods which examine the constituent elements of the music, in order to explain how the music works in both structural and compositional terms. This study will proceed by examining one facet of the music at a time. Providing a framework for further investigation, Butterley’s large scale structures will be the first element considered. Next, his smaller scale structures are examined. In general, musical structures are examined to illustrate Butterley’s preferred practices. Pitch properties, both vertical and linear are analysed for favoured combinations and particular methods of organisation followed by rhythm, texture and tempi. Ultimately, how these elements function independently and they are inter-related in the music will be discussed. Finally, related aspects will be integrated to demonstrate Butterley’s compositional characteristics. Ferrara states: “researchers in music often establish their method first and then examine a musical work”86 and the ensuing analytical discussion is constructed to suit the outcome of the method. In other words, “the researcher can become predominantly concerned with executing his method”87 rather than adopting a methodology which best reveals aspects of the music. “As the method replaces the immediacy of the analyst, music comes to mean only what methods allow it to mean.”88 These ideas are supported
85 Leonard B. Meyer, Explaining Music: Essays and Explorations (Chicago: The University of Chicago Press, 1973), 24.
86 Lawrence Ferrara, Philosophy and the Analysis of Music: Bridges to Musical Sound, Form and Reference (New York: Greenwood Press, 1991), xv.
87 Ibid.
88 Ferrara, xvi.
27 by Ian Bent who considers that the analyst’s “starting-point is a phenomenon itself rather than external factors.”89 It is intended that the analysis implemented in this thesis use an assimilation of several scholars’ methods and practices90 as they elucidate aspects of the music involved,91 rather than dogmatically following one particular method. Performance related aspects will be discussed in sections where sketches potentially contribute to a performer’s interpretation. These aspects are shown to better advantage in the sketches. It is for this reason that the score analysis is not directed towards informing performance practices. As discussed in Chapter 1, many analytical studies of music tend to concentrate on one or only a few elements simultaneously. There are many explanations for the phenomenon. Pitch and its related aspects are the most commonly discussed aspects, which is in direct response to the predominance of pitch organisation in most Western music and that as a musical element it can be discussed relatively objectively and it can usually be effectively discussed separately. The analytic approach to each of Butterley’s string quartets will be similar in nature, but there will be scope for focus on particular compositional techniques, as they emerge, in each work. One example is the examination of his use of a note-row in String Quartet (1965). Examining similar musical elements in each quartet will enable a more effective comparison of these works. A consistent methodology will be adopted in order to extract, illustrate and compare the composer’s ideas and practices. Further, a consistent method of comparison can illustrate an evolving creative process of the composer. As this thesis will rely on a variety of analytical approaches for the different musical elements, each relevant chapter will be prefaced with an outline of the model used. In summary, Butterley’s string quartets are analysed from the two different perspectives of sketches and score analysis. These types of analysis have been found by other scholars to elicit diverse types of information which can complement each other to
89 Bent, “Analysis,” 342.
90 These scholars include Forte, Rahn, Morris, Lester, White, Cope, David Fanning, and Bernard.
91 Some recent studies of quartets have been made by: David Fanning, Shostakovich: String Quartet No. 8 (Aldershot: Ashgate, 2004); and Roger Graybill, “Formal and expressive intensification in Shostakovich’s String Quartet No. 8. Second Movement,” in Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford and New York: Oxford University Press, 2005), 191-201.
28 give a fuller understanding of a composer’s works. As will be shown with Butterley’s string quartets, sketch studies can enlighten his compositional processes, enrich performance and help with editing issues as has been been discussed in other scholar’s works on various composers. The sketches are assessed for the various types of information they convey and are grouped into their various types. Different types of sketches, æsthetic, plans, notation and drafts together illustrate his methods. Butterley’s compositional practices are unique but his approaches have similarities with other composers, including contemporary Australian composers. Final score analysis will assess musical elements singularly, in a sequential order and blend analytic techniques. The analysis will assess consistent practices employed by Butterley across these works and thus reveal characteristic features of the composer’s style and technique.
29 # "$%. ($/$-!0$"!1)""$%-$,#'('/'() -0)' - ",-$
Butterley’s music has not followed any particular trend or changed dramatically in style but “has gone on its particular line.”1 In this respect, musical practices that influenced his earlier compositions are still apparent to varying degrees in his more recent compositions. This chapter provides a discussion contextualising the development of Butterley’s musical style, making a case that it has developed according to significant events in his life.2 The principal influences on Butterley’s creative development will be discussed, particularly as they relate to the string quartets. The discussion is chronological, touching on his religious spirituality, his interest in using the work of particular writers, his employment experience and travel, teachers, composers who specially interest Butterley, and his personal relationships. Additionally, the chapter presents a stylistic comparison of the quartets. Butterley has never regarded himself as an innovator; rather he feels that his music “has followed on what others have done”.3 He has drawn together many musical influences, selectively adapting composers’ techniques to create an individual style. Butterley expresses this as, “There is no point in finding out what the latest fashion is and then copying it - the same as there’s no point in finding out what the latest fashion is and ignoring it.”4 A major influence on Butterley’s work has been his religious philosophy and spiritual influences, initially fostered by his parents, who, with his wider family,5
1 Peter Dunbar-Hall, A. Pollack and G. Hodge, “Nigel Butterley (1935- ),” in Music Resource Notes (Bondi: Educational Resource Materials, 1985), 39.
2 This is acknowledged by Butterley as well as in several other sources cited earlier including Peter Dunbar-Hall and Susanne Ainger. Dunbar-Hall et al., 39. Susanne Ainger, “Birthday greetings for Nigel Butterley,” in 2MBS Programme Guide (Sydney: 2MBS, May 1995), 5.
3 Dunbar-Hall et al., 39.
4 Nigel Butterley, “Butterley on Butterley,” Music Now 11, No. 1 (Feb 1969), 30.
5 Nigel Butterley, “Live recording from Musica Viva concert in Hobart on 22 May 1995,” Pre-concert introduction speech, Australian Music Centre, Library number C 2981. String Quartet No. IV was premièred in Tasmania and Butterley proudly alluded to his connection with Hobart through his brother 30 created a “high Anglican ethic that shaped his life and work for so many years”.6 His parents also created an environment conducive to his musical development.7 For Butterley, “though the passage of the years has for him (as for so many) blurred the notion of God, the essential qualities of his diverse output remain the same - those two characteristics of the finest and most potent religious expression: contemplation and ecstasy.”8 Earlier works tend to exhibit religious influences more overtly than his later works. The texts used in his vocal works and the poetry related to his instrumental works are indicative of the religious concerns in his work. The True Samaritan (1958),9 Joseph and Mary (1959)10 and Goldengrove (1981), which emanates from Thomas Tallis’ motet, O Nata Lux provide characteristic examples. Laudes (1963) is a work directly inspired by four churches Butterley had visited over the previous two years. Each church had a particuliar spiritual aspect that appealed to Butterley.11 Cosic stated who was the then Dean of St. David’s Cathedral, Hobart. In email correspondence with the current writer, Butterley wrote with obvious pride: “My brother is Rev. Harlin Butterley, who turned 80 last April and is still working as a locum in Anglican parishes in Melbourne. Before becoming Vicar of St. Andrew’s Brighton he was Dean of St. David’s Cathedral in Hobart. He and his wife have two children and five grandchildren. Our grandfather was also Rev. Harlin Butterley.” Nigel Butterley, personal communication, 5 December 2007. Used with permission. Clearly the high Anglican religious philosophy was a prominent feature of Butterley’s upbringing.
The Reverend Butterley is currently working as an “inspirational” orator. He has recently written two books, one of which is entitled “Poisoned while Preaching” and the other entitled “Murder in the Pulpit … and Other Encouraging Essays” (2006). Further details of his work may be found on: http://www.icmi.com.au/Entertainer/After_Dinner_Speakers/Rev_Harlin_Butterley/Biography, accessed 6 December 2007.
6 Jill Sykes, “Nigel Butterley at Fifty,” APRA Journal Oct (1985), 7.
7 James Murdoch, Australia’s Contemporary Composers (Melbourne: Macmillan, 1972), 45.
8 John Carmody, “Special treats for a Butterley birthday,” concert review, National Times, 28 June 1985, 35.
9The True Samaritan is a set of four unaccompanied motets. Music Score, 1958 (Wollongong: Publications by Wirrapang, 2007).
10 Joseph and Mary is a carol for soprano and flute, Libretto by Bruce Beaver. Music Score, 1959 (Wollongong: Publications by Wirrapang, 2007).
11 The work comprises four sections, each representative of one church. Butterley’s impressions of these are as follows: “(i) The Basilica of Saint Apollinare Nuovo, Ravenna (6th century): ‘The mosaic procession of the Virgin Martyrs – serene, bright, calm, joyous, singing – resplendent in white and gold and green. A crisp, snowy Sunday morning. The gentle sound of bells.’ (ii) The Apse, Norwich Cathedral (12th century): ‘Norman pillars and arches – strong, dark, massive. Christ the Rock is the foundation.’ (iii) King’s College Chapel, Cambridge (16th century): ‘The vaulted ceiling, veiled in a fading autumn afternoon. The rich red and blue of stained glass yielding to the gentle persuasion of candlelight. The praises of trumpeters, carved high above the organ.’ (iv)The Church of the Reconciliation, Community of Taizé, Burgundy (1962): ‘Renewal bringing freedom and joy. Praise expressed in involvement, compassion, unity. The bold strength of abstract stained glass.’ 31 of Butterley’s music in 1995 that “he has worked unremittingly for more than 40 years to create music which is spiritual”.12 Furthermore, Daniel House has described Butterley’s composition as a “spiritual odyssey”.13 A search for spiritual expressiveness is also evident from his description in the program notes of his first string quartet where Butterley writes that this work has the qualities of “warmth, joy and quietness …. and the serenity of the closing bars.” 14 Most of Butterley’s early works (those prior to 1961) use a vocal medium15 as in Six Blake Songs (1956) and Child in Nature (1957). Much of Butterley’s early theoretical and compositional tuition was influenced by the English tradition of Ralph Vaughan Williams (1872-1958), through his harmony instructor, Dr (David) Alexander Burnard, (1900-71)16 while his “Three Serenades (1954) show the influence of Benjamin Britten, which for Butterley at that time was much more modern”.17 Butterley’s musical experiences were to widen during a period of eighteen months from December 195518 spent in Adelaide working as a producer of music programs for the (then) Australian Broadcasting Commission (currently known as the Australian Broadcasting Corporation, ABC).19 Upon his return to Sydney in 1958, working with composition teachers Professor Nöel Nickson (1919-2006) and Raymond Charles
Andrew D. McCredie, Musical Composition in Australia, Includes select bibliography and discography (Canberra: Australian Government Publishing Service, 1969), 22-5.
12 Miriam Cosic, “Butterley flies alone,” The Sydney Morning Herald, 26 October 1995, 17.
13 Daniel House, “Butterley’s poetic odyssey woven into a song cycle,” The Sydney Morning Herald, Spectrum, 2 September 1994, 15.
14 The International Society for Contemporary Music (Sydney), Concert program, Ninth season, Sixth concert, 12 November 1965.
15 Seven compositions prior use a vocal medium, either as solo or choral. The Australian Music Centre lists thirteen works composed in this period with the piano being the second most prominent medium comprising 3 compositions.
16 Murdoch, Australia’s Contemporary Composers, 45.
17 Catherine Flaherty, “Nigel Butterley’s vocal music: a study of stylistic development” (Unpublished B. Mus (Hons) thesis, University of New England, 1987), 9-10.
18Murdoch, 45-6.
19 Butterley’s breadth of musical knowledge and repertoire is extensive. Elliott Gyger supports this as he states that Butterley has experienced “a wide range of new music through his experiences as a performer and broadcaster.” Gyger, “Nigel Butterley and the Problem that Wasn’t,” Resonate 2 (28 February 2008). Online journal, http://www.resonatemagazine.com.au/article.php?id=115
32 Hanson (1913-1976),20 he was able to explore other compositional styles. According to James Murdoch, it was “through Hanson, he made acquaintance with the harmonic principles of Paul Hindemith”.21 Over the next three years, his music also shows the influence of Béla Bartók (1881-1945) in its “muscular percussive style”,22 which is revealed in his work Canticle of David (1959),23 a work for string orchestra. Canticle of David is his first “largish”24 instrumental work.25 The next major event that influenced his compositional development was his visit to the Middle East and Europe in 1961. This journey overseas has been described as an “essential turning point in his career”.26 On a personal level, Butterley “found significant clarification within his personal Christian experience” 27 during his two visits to the ecumenical Christian community of Taizé.28 Musically, one important discovery for Butterley at this stage was the music of Sir Michael Tippett (1905-1998),29 especially his opera, King Priam (1958-61). At Tippett’s suggestion,30 Butterley began
20 Graham Hardie, “Hanson, Raymond Charles,” in Grove Music Online, ed. L. Macy, accessed 5 October 2007. http://www.grovemusic.com
21 Murdoch, 46.
22 Andrew McCredie, “Butterley, Nigel (Henry),” in The New Grove Dictionary of Music and Musicians Vol III (London: Macmillan, 1980), 521.
23 Murdoch, 46.
24 Butterley, personal communication, 30 April 2008. Used with permission.
25 Michael Barkl, “Butterley, Nigel,” in Grove Music Online, ed. L. Macy, accessed 2 July 2008. http://www.grovemusic.com
26 Michael Noone and Robert Parker (eds.), “Nigel Butterley,” Handbook accompanying the Discography, in Anthology of Australian Music (Canberra: Canberra School of Music, 1989), 85.
27 David Howard Jones, “The music of Nigel Butterley” (Unpublished PhD. thesis, University of Newcastle, 2005), 150.
28 The Taizé Community is an ecumenical Christian men’s monastic order in Taizé, Saône-et-Loire, Burgundy, France. For more information on the history and philosophy of the Taizé Community see: www.taizé.fr
29 David Clarke, “Tippett, Sir Michael (Kemp),” in Grove Music Online, ed. L. Macy, accessed 5 October 2007. http://www.grovemusic.com
30 Tippet’s association and helpfulness towards Rainier preceded this where he “suggested that she should send the String Quartet (1939) for consideration for publication to Schott, his publishers. She did this and they published it.” The publication date is 1947. Herman Hubert van der Spuy, “The Compositions of Priaulx Rainier: an Annotated Catalogue” (Doctor of Music thesis, University of Stellenbosch, 1988), pp34, 126.
33 composition lessons with (Ivy) Priaulx Rainier (1903-1986).31 These lessons with Rainier, in 1962, were a catalyst for new concepts to emerge in his composition. His time spent under her instruction “was the most vital, self-explorative and learning period of his life”.32 In “only a handful of lessons with Rainier,”33 he was able to embrace a completely new and fresh direction in his composition. According to Butterley, these lessons “open[ed] up my style so that the first pieces I wrote after studying with her were much freer”.34 Butterley did not assimilate Rainier’s own compositional techniques and styles;35 rather, she influenced his attitudes and expectations of musical process. In this respect, Butterley states that Rainier was able to help “loosen up [my music] to a freer sort of structure.”36 There is a parallel with Rainier’s composition teacher (Juliette) Nadia Boulanger (1887-1979).37 Rainier had only two months of lessons with Boulanger38 and whilst this was not an extended tutelage, (equivalent to Butterley’s handful of lessons with Rainier), it was Rainier’s “special ‘conversation’ lessons with Nadia Boulanger which cleared her mind as to the direction for future composition.”39
31 Ian Kemp and Hubert van der Spuy, “Rainier, (Ivy) Priaulx,” in Grove Music Online ed. L. Macy, accessed 5 October 2007. http://www.grovemusic.com
32 Murdoch, Australia’s Contemporary Composers, 47.
33 Andrew Ford, “Flying Alone,” in Composer to Composer- Conversations about Contemporary Composers (St Leonards: Allen & Unwin, 1993), 164. The extent of lessons was also quantified by Butterley as “less than ten lessons.” David Howard Jones, “The music of Nigel Butterley,” 152.
34 Dunbar-Hall et al., “Nigel Butterley (1935- ),” 38.
35 In summary of her style, Kemp and van der Spuy write that “the most important influences were the language and music of the Zulus… Although Rainier never consciously used African musical techniques, these movements obviously reflect her origins”. Ian Kemp and Hubert van der Spuy, “Rainier, (Ivy) Priaulx”. Unlike Rainier, Butterley’s music has not sought to reflect any indigenous musical influences. Some non- Western musical influences may be seen in his utilisation of various texts and the use of the Jewish liturgical instrument the shofar in In the Head the Fire.
36 Dunbar-Hall et al., 38.
37 Caroline Potter, “Boulanger, (Juliette) Nadia,” in Grove Music Online ed. L. Macy, accessed 7 October 2007. http://www.grovemusic.com
38 These lessons took place when she was in Paris for two months in 1937. van der Spuy, “The Compositions of Priaulx Rainier: an Annotated Catalogue,” 30.
39 Ibid.
34 Rainier provided more than inspiration; they became “correspondents and good friends”40 until her death in 1986. At the concert for Butterley’s 50th birthday, held on 31 May 1985, Rainier’s Quanta41 (1961-2) written for oboe and string trio was one of the works performed. Butterley also performed Rainer’s Sonata for viola and piano (1945)42 with the violist Simon Oswell in 1987. Of her compositional methods, van der Spuy reported, “At the time of my study I have tried to ‘extract’ from Priaulx Rainier her compositional processes, but to no avail.”43 Butterley is more forthcoming with information about his own works. Laudes,44 a chamber work, was written as a direct result of these lessons with Rainier, and signifies a new awakening within Butterley: “in one mystical moment, there occurred a fusion of the emotions he had felt while visiting various churches in Europe and the essence of the new musical approach which he was working towards with Rainier.”45 Part of his new musical style was “incorporating the techniques of serialism.”46 Laudes was first performed at the Adelaide Festival in 1964 achieving positive recognition and by its success, may have acted as catalyst for further ensemble writing represented in the 1965 works of the Canticle of the Sun47 and The White- Throated Warbler.48 Butterley’s compositions in the period after his lessons with
40 Graeme Skinner, “After the ebb, the tide always turns,” The Sydney Morning Herald, Spectrum, 17 August 1991, 41.
41 van der Spuy, 271.
42 Fred Blanks, “Jekyll and Hyde Recital,” Concert review, The Sydney Morning Herald, 3 August 1987, 18. Ian Kemp and Hubert van der Spuy give the date for the composition of the Sonata for viola and piano as 1946, differing from the 1945 date, stated in the concert review by Blanks.
43 Herman Hubert van der Spuy, personal communication, 6 February 2007. Used with permission.
44 Laudes is scored for flute and piccolo, clarinet and bass clarinet, horn, trumpet, violin, viola and piano. According to Gordon Kerry, this work was written at the suggestion of Professor Donald Peart. Kerry, Gordon, “Weaving Light: Nigel Butterley at Sixty.” Gordon Kerry (personal website), Accessed 23 October 2008, http://www.users.bigpond.com/gkerry/Butterley.htm
45 Murdoch, Australia’s Contemporary Composers, 47.
46 Murdoch, 44.
47 The Canticle of the Sun is scored for three amateur instrumental groups which consist of Ripieno I: 2 descants, treble, flute, clarinet, euphonium, tuba, drums, triangle and Ripieno II: 2 cornets, 2 trumpets, horn in F, 2 trombones, drums, cymbals. Australian Music Centre, catalogue entry for Nigel Butterley’s “Canticle of the Sun,” AMC Library number: Q 785.5319/BUT 1, accessed 19 October 2008.
48 The White-Throated Warbler was scored for sopranino recorder/flute/piccolo and harpsichord or piano. Nigel Butterley, “The White-Throated Warbler,” Music score, 1965 (Armidale: Orpheus Music, c2001).
35 Rainier are more frequently instrumental than the almost exclusive vocal music written prior to this festival. The first string quartet49 was written after the success of Laudes. Butterley’s reputation as a composer was enhanced with these new compositions written subsequent to Rainier’s lessons. The première performance of String Quartet (1965) was for the International Society for Contemporary Music (Sydney). At this time, the members of the Austral String Quartet included Donald Hazelwood and Ronald Ryder (violins), Ronald Cragg (viola) and Gregory Elmaloglou (‘cello).50 Over the previous years of this decade Butterley had developed as a mature composer, now writing with confidence, authority and self-assurance in this work. A single-minded direction of thought process is apparent in Butterley’s explanation of this work: “So while the first of the two movements is rather restrained, in the second the music has unfolded enough to contain both the energy of the outburst… and the serenity of the closing bars.”51 (See Figure 3.1). The contrasting moods in the work is reinforced by the wording of the concert program, where Butterley continually makes reference to the construction of his music and the connection with the poem he has used for inspiration, namely The Revival by Henry Vaughan (1621-1695).
Figure 3.1 Extract from concert program, String Quartet (1965)
49 The title of this work is String Quartet. In this thesis, it will be differentiated from the other quartets by adding the year of composition to its title, thus String Quartet (1965).
50 Concert program, The International Society for Contemporary Music (Sydney), Ninth season, Sixth concert, Cell Block Theatre, East Sydney Technical College, Friday 12 November 1965. Other items in the program were Peter Sculthorpe’s String Quartet No. 6 and Olivier Messiaen’s Quartet for the End of Time.
51Concert program, International Society for Contemporary Music, 12 November 1965.
36 Many works in the years following his study with Rainier use serial techniques, in a free, non-prescriptive manner.52 Rainier stated of Butterley, that he is “one of those rare composers using the full range of contemporary resources as a vehicle for coherent expression of contemporary thought.”53 Laudes and String Quartet (1965) and In the Head the Fire (1966) are examples of his works which use serial techniques. Of these later 1960’s works, Rainier commented that they “are outstanding works, exciting in concept, offering a musical experience of originality and depth.”54 Laudes and String Quartet (1965) may be seen as a precursor to In the Head the Fire, which was commissioned by the ABC and won the Italia Prize (1966). Significantly, Butterley’s composition was successful ahead of Luciano Berio’s Laborintus II.55 In the Head the Fire exemplifies Butterley’s breadth of resources used in the creation of a work. It features “a range of dramatic and timbral devices, as well as tape manipulation, to blend texts from ancient Irish mystical verse, the Dead Sea scrolls and Greek and Roman liturgies.”56 This indicates a complex musical style using very diverse instrumental media, techniques and sources. Another major orchestral work composed in the late 1960s was Meditations of Thomas Traherne (1968). Roger Covell described the work at the time as “Butterley’s most substantial composition for the concert hall and also … his finest.”57 Butterley’s importance as a composer and his post- Rainier, ‘mature’ style, was established by these works dating from 1963-1968. Other important works over the ensuing years include Refractions (1969), the 1970 work Explorations for piano and orchestra and the Violin Concerto (revised in 1975),58 Letter from Hardy’s Bay for prepared piano (1971), and Fire in the heavens (1973),59 which was commissioned as part of the opening
52 Butterley’s use of serial techniques in String Quartet (1965) is discussed in detail in Chapter 7, pp. 140- 141.
53 Priaulx Rainier, Composer Profile, Nigel Butterley (Sydney: J. Albert & Sons, 1970).
54 Ibid.
55 Jill Sykes, “Nigel Butterley at Fifty,” APRA Journal Oct (1985), 10.
56 Michael Barkl, “Butterley, Nigel,” in Grove Music Online, accessed 30 June 2008, http://www.grovemusic.com
57 Roger Covell, “When applause is irrelevant,” The Sydney Morning Herald, 4 July 1968, 8.
58 Barkl, “Butterley, Nigel (Henry).”
59 “The title Fire in the heavens does not use a capital ‘h’. It is not a religious piece.” Nigel Butterley, cited in David Howard Jones, “The music of Nigel Butterley” (Unpublished PhD thesis, University of 37 celebrations for the Sydney Opera House.60 Sometimes with One I Love (1976), a setting of Walt Whitman’s Leaves of Grass (1855) typifies his ability to use various musical techniques including “…the whole-tone scale,… angular declamation,… Sprechstimme”61 combined into an effective work. Michael Barkl continues that “Simple structural relationships, such as palindromes (seen most clearly in the rhythm and harmonic progression of the first song), are also evident.” 62 These techniques are used by Butterley in the earlier work, String Quartet (1965). Following Butterley’s return from Europe (1963-72),63 he was employed by the ABC as a producer and presentation officer, effectively curtailing some of his time for composition. Composing, while hampered by the demands of full-time employment has the potential to make special demands in terms of organisation, planning, formulating and transcribing. To manage these difficulties, Butterley created his own method including detailed sketches, which are well-structured and layered, undoubtedly as a means of recording impressions and the intentions of a work in between limited time for composition. Detailed sketching and planning a work appears to have commenced around the time of his first string quartet. He confirms this, remarking: “I've just looked at the original score of Laudes (1963), the work immediately before the first String Quartet, and there are no sketches with it.”64 He adds that “I presume I did some preliminary scribbles for Laudes, or some working out as it progressed, but I don't seem to have kept them, or anything related to any earlier largish work, eg. the string orchestra piece, Canticle of David.”65 It would seem that Butterley accords special significance to the composition of the first string quartet as he acknowledges that the “sketches related to
Newcastle, 2005), 520. Despite this, the selective list cited in the Grove Music Online states: “Fire in the Heavens”. Barkl, “Butterley, Nigel (Henry).”
60 Jones, 517.
61 Barkl.
62 Ibid.
63 Prior to this he also worked for the ABC from 1952. Murdoch, Australia’s Contemporary Composers, 45- 7.
64 Butterley, personal communication 30 April 2008. Used with permission.
65 Ibid.
38 the first quartet seem to be the earliest that I thought of keeping.”66 It is significant that this work prompted Butterley to retain his preliminary sketches. In 1973, Butterley was appointed a position as Lecturer in Contemporary Music at the New South Wales State Conservatorium of Music (Newcastle Branch). He composed his String Quartet No. II during 1973-1974, as confirmed by the holograph score (see Figure 3.2). The new employment responsibilities, which involved train travel67 from his home in Stanmore (Sydney) to Newcastle, probably contributed to the lengthy68 duration taken to compose String Quartet No. II (approximately 18 months).
Figure 3.2 String Quartet No. II, final page of holograph
The String Quartet No. II was first performed on 22 March 197669 during the Adelaide Festival of the Arts in Edmund Wright House.70 In a contemporary review of the performance it was described as a “very meaty piece, but with enough immediate appeal to make a good impression on a single hearing.”71 Acknowledging some of the experimental aspects in this work, another review made mention, due to the time
66 Ibid.
67 Butterley used the train service for travel between Newcastle and Sydney. This would have enabled him to undertake some work whilst travelling.
68 Butterley considers himself to compose slowly. The three other string quartets were composed over periods of between six and eight months. The eighteen months used to compose this second string quartet is considerably longer than the others.
69 Elizabeth Silsbury, “Bouquets for this festival Quartet,” concert review, Advertiser 23 March 1976. The pun enclosed in the review is of the quartet “who not only paid up, but also played up”, 8.
70 Details in the program of the Festival of Adelaide, 22 March 1976.
71 Silsbury, 8.
39 measured passages,72 that it is “really a quintet as there are five performers on-stage, four instrumentalists and a human metronome”.73 It is likley that Buttterley wrote the work in a more experimental style in order to meet the objectives of the intended audience: a music festival where avant garde music would be promoted. This second quartet is a vast contrast to the first: both are focused on direction, movement and change. However, the second is often aggressive, and even the tranquil passages still contain relentless motion with none of the “serenity” felt in the first quartet.74 The listener’s sensation of progression and expectation through the work is directed through repetition of six sections, contrasted and often altered through diminution. Subsequent performances of Butterley’s String Quartet No. II were made by the Petra String Quartet75 in 1978.76 The performance was in the format of a “Meet the composer - Nigel Butterley - Lecture and concert,” which was held on Friday, 8 September in Tasmania.77 The program also included other works by Butterley. In the following year (1979), the Petra Quartet performed in another “Meet the composer - Nigel Butterley” lecture at Newcastle.78 The program included Butterley’s String Quartet (1965); String Quartet No. II and also the first movement of String Quartet No. 3. This was an interesting preview of the then unfinished third string quartet as the date on the score is January, 1980. Passages from the String Quartet No. II were also featured in a session at the 1983 Musica Viva Easter Chamber Music Festival held at Mittagong and performed by the
72 Butterley wrote, “I only knew the first Penderecki Quartet, and a few years before I'd been a clock (indicating the passing of five-second bars), for a performance at Beecroft District Music Club, which I organised programmes for.” Personal communication, 5 May 2007. Used with permission. Therefore Butterley had prior experience with such practices and he incorporated them in his later writings, and in his second string quartet as will be discussed in Chapter 7 of this thesis.
73 Anon, concert review, Nation Review, 2 April 1976.
74 These attributes are discussed in Chapter 4, p. 51 and pp. 56-57.
75 The Petra string quartet members were Sonya Hyland, Robert Macindoe, Simon Oswell and Susan Pickering. Details in concert program, 8 September 1978, Tasmania.
76 The reference to the year was in the concert program (8 September 1978) advertising a forthcoming concert on 11 October 1978.
77 Details in concert program.
78 The performance was on Thursday 20 September 1979. Details were in the concert program of 20 September 1979 (Conservatorium of Newcastle) and was confirmed by Butterley in a personal communication, 18 August 2007. Used with permission.
40 Conservatorium Quartet. This work is technically demanding as is apparent from a review of this (partial) performance that states that the passages “should have been prepared - and prepared with some thoroughness and dash.”79 Both the String Quartet (1965) and String Quartet No. II utilise an extra-musical stimulus that add a further dimension. The use of a textual inspiration is a feature of Butterley’s compositional style. In the first string quartet, the prose adds to the listener’s comprehension of Butterley’s music by allowing him/her to follow the same inspiration that the composer expresses in the music. In the second string quartet the poetry helps to “clarify the work and provoke further questioning and probing.”80 The score of String Quartet No. II concludes with two lines of poetry from One Hour to Madness and Joy by the “American poet, essayist, journalist, and humanist, Walt Whitman (1819-1892).” There have been many writers who have had a special influence on Butterley and these have varied as his intellectual, personal and musical interests have changed. He has used specific writers’ works as texts for vocal compositions, and also as stimuli for instrumental works. In addition to Whitman and Henry Vaughan, some of the authors include English poets William Blake (1757-1827),81 Thomas Traherne (1636 or 1637- 1674),82 American poet Emily Dickinson (1830-1886),83 Australian writer James McDonald (1959-)84 and more recently, the British writer, Kathleen Raine (1908-2003). Sometimes Butterley has combined several writers’ texts in the one work, an example of this is his Spell of Creation (2000)85 which utilises texts of Kathleen Raine and German author, poet and musician Hildegard von Bingen (1098-1179), Vaughan, Julian of Norwich (c.1342 – after 1416c),86 from the Book of Baal and the Taittiriya Brahmana.
79 Roger Covell, “Music in the outdoors takes a bow,” concert review, The Sydney Morning Herald, 5 April 1983, 5.
80 Elizabeth Silsbury, “Concert review,” Advertiser, 23 March 1976.
81 William Blake is an early influence and his texts were used for Five Blake Songs (1955).
82 Meditations of Thomas Traherne (1968) is related to extracts from Centuries of Meditation by Thomas Traherne.
83 Frogs (1995) is a set of three songs using text by Emily Dickinson.
84 James McDonald was the librettist for his opera Lawrence Hargrave Flying Alone (1988).
85 Spell of Creation: for soprano and baritone solos, semi-chorus, double choir and orchestra.
86 St Andrew’s Anglican Church: Parish of Lutwyche, “Julian of Norwich,” accessed 30 June 2008. http://www.standrewslutwyche.org.au/html/julian_of_norwich.html
41 Butterley’s use of such diverse text sources in one work (previously mentioned in discussion of the works In the Head the Fire and Sometimes with One I Love) is typical and remains a feature of his complex style many years later.87 Some contemporary composers whom Butterley cites as being influences were Olivier Messiaen (1908-1992)88 and John Cage (1912-1992),89 though both in very different ways. Butterley comments: What interests me in Messiaen was the sound of his music, the religious background, harmonies, the rhythmic influences ... Though my music does not sound like Messiaen.90
Messian’s influence on Butterley’s compositional practices are observed in works as early as String Quartet (1965).91 Butterley comments that Cage’s music appeals to him as “challeng[ing] the nature of music, and art in general”.92 Notably, Butterley’s second quartet explores and challenges the musical capabilities of this medium through timbral sounds created by specific string techniques. More recently, Butterley has also acknowledged the influence of Russian composer, Sofiya Gubaydulina (b. 1931), whose works have a “deep-rooted belief in the mystical properties of music.”93 Butterley introduced his students to the music of his contemporaries, for example Messiaen and Cage, in his position as “Lecturer in Contemporary Music”94 and General
87 Elliott Gyger comments of Butterley’s universal variety and states that Butterley has taken “what he needed from serialism and other modernist techniques alongside ideas drawn from the traditions of his Anglican heritage.” Gyger, “Nigel Butterley and the Problem that Wasn’t.”
88 Paul Griffiths, “Messiaen, Olivier (Eugène Prosper Charles),” in Grove Music Online ed. L. Macy, accessed 7 October 2007. http://www.grovemusic.com
89 James Pritchett, “Cage, John,” in Grove Music Online ed. L. Macy, accessed 7 October 2007. http://www.grovemusic.com
90 Dunbar-Hall et al., “Nigel Butterley (1935- ),” 37.
91 Discussed later in Chapter 7, pp135-137.
92 Ford. 168.
93 G. Schirmer Publishers, “Sofia Gubaidulina,” (2006), accessed 23 May 2007. http://www.schirmer.com/default.aspx?TabId=2419&State_2872=2&ComposerId_2872=2908. For a comprehensive outline of this composer, see the article by Valentina Kholopova, “Gubaydulina, Sofiya Asgatovna,” in Grove Music Online ed. L. Macy, accessed 25 May 2007. http://www.grovemusic.com It is also noted that there are variant spellings of the composer’s name. For this thesis the spelling adopted by Grove Music Online will be used.
94 Nigel Butterley, “Music with A Future,” 2MBS-FM Program Guide April (1993), 13. 42 Studies. In lecturing, he was able to explore with students a “vast range of music and ideas”95 and always endeavoured to “find something interesting and enjoyable that they [the students] may not have been familiar with before.”96 Also, lecturing in this area gave Butterley the opportunity for constant appraisal of the latest compositions and composers’ musical developments. Concurrent with a change in employment there is also a stylistic change. As noted by Graeme Skinner, “by the mid 1970s Butterley had moved away from overtly religious motivations for his works.”97 In the period between writing the second and third quartets, Butterley composed for various performing mediums, including Sometimes with One I Love (text by Whitman) written in 1976 for speaker, soprano, baritone, flute, clarinet, horn, 2 ‘celli and piano, and No Man is an Island (text by J. Donne, 1572-1631) written in 1977 for four sopranos, four altos, four tenors and four basses. Also in this year, he composed Fanfare and Processional98 written for four trumpets, two trombones and timpani for the University of Newcastle99 as well as another ‘radio score’ piece during this period entitled Watershore (written for four speakers, flute, three ‘celli, prepared piano and percussion in 1978), which was first broadcast “on ABC radio 2, Wednesday November 2, 1977.”100 Evanstan Song for flute and piano was composed in 1978 and the following year, he wrote Trio for clarinet, ‘cello and piano. The small number of compositions written during this period attest to his dedication to his lecturing and the preparation involved, resulting in a reduced rate of composition. During this period Butterley was also a ‘visiting scholar’ at North Western University in Illinois (1978) and in the first part of 1979 he was ‘composer in residence’ at the University of Melbourne.101 His style
95 Ibid.
96 Ibid.
97 Graeme Skinner, “Nigel Butterley’s From Sorrowing Earth - An Analysis,” in Sounds Australian (Sydney: Australian Music Centre, May 1992), 1.
98 Michael Barkl, “Butterley, Nigel (Henry),” in Grove Music Online.
99 Jones, “The music of Nigel Butterley,” 564.
100 Jones, 596. Barkl assigns the date of 1978 to Watershore.
101 Catherine Flaherty, “Nigel Butterley’s vocal music: a study of stylistic development” (Unpublished B. Mus (Hons) thesis, University of New England, 1987), 8. Butterley’s “composer in residence” and lecturing responsibilities in 1979 is recollected by the current writer. Butterley was relieved by Dr. Anne Boyd. While she was lecturing for this period she was commissioned to compose a work reflecting her impressions of the city of Newcastle: the result was her work “Coal River.”
43 during this period became more relaxed, illustrated by the generally calmer tempi, metrical consistency, less dissonant harmonies and more lyrical melodic lines, adding to the more ‘gentle’ manner of the third quartet compared to the more restless character of the second string quartet. String Quartet No. 3, commissioned by Musica Viva, was composed over the period June 1979 to January 1980. Despite a preview of the first movement in Newcastle on Thursday 20th September 1979,102 the entire work was not premièred until Saturday 31 July 1983, three years after its completion, with this performance being given by the Petra Quartet.103 They also performed it in a Newcastle concert on Friday 30 September 1983.104 The performers in the quartet had changed since 1979 and now included Julie Wilder, Jonathon Allen, Trevor Jones and Susan Pickering. 105 On the day following the Newcastle performance, Butterley’s third quartet featured in a series of workshops and concerts entitled “The String Quartet in the present tense”.106 Ironically (considering that Butterley had waited three years for performance) String Quartet No. 3 was performed again (on the following day) by the Sydney String Quartet. The program of that event claimed that this was a “Premier” performance of this and other works. The three-day workshop on Butterley’s String Quartet No. 3 included quartets by the Australian composers Richard Meale (1932-) and Don Banks (1923-1980). The performers were John Harding, Laszlo Kiss, Alexandru Todicescu and Nathan Waks. String Quartet No. 3 was also performed at the 1985 Mittagong Easter Chamber Music Festival to celebrate Butterley’s 50th birthday. The Petra Quartet “impressively performed”107 this work and “carried the audience with them on their journey through
102 Details were confirmed by Butterley in a personal communication with the current writer, 18 August 2007. Used with permission.
103 The program also included works by Webern, LutosIawski and a première performance of a work by Brenton Broadstock.
104 Also included in the program were works by Mozart, Webern, and Ravel.
105 Details in concert program, Newcastle, 30 September 1983.
106 Details in concert program, “The String Quartet in the Present Tense. A weekend of workshops and music,” with the Sydney String Quartet, Sydney Sailors’ home, Marionette Theatre of Australia, Saturday 1 October Monday 3 October, 1983.
107 Carmody, “Special treats for a Butterley birthday,” 35.
44 its pilgrimage of generosity and wonder.”108 The sentiment of the third quartet’s reception is perhaps best reflected in the comment by Roger Covell, “Butterley’s Third String Quartet, with its airy exultation of line, is a beautiful work”.109 The composer himself reflected in this same year (1985) that, “Some aspects are emphasised [more] now than they were then, the gentler aspects”.110 The writing style of the third quartet shows a general change from the second. The third is more homogeneous than the second which features sectional juxtapositioning of passages. The change has been also noted by Gyger who wrote that “…beginning with works such as the String Quartet No. 3 (1980) and the piano solo Uttering Joyous Leaves (1981) – [a] conscious experimentation [is] giving way to a more organic approach.”111 His solo piano work Uttering Joyous Leaves, (January) 1981, written one year after the completion of String Quartet No. 3, was composed for the Sydney International Piano Competition. It is described as a “splendidly pianistic and attractive work”112 which is hardly surprising, considering Butterley’s significant pianistic abilities. Other works from this period include his opera, Lawrence Hargrave Flying Alone, which was made possible through a grant that enabled him to take leave from the Conservatorium in order to complete the composition.113 Butterley retired from his lecturing post in 1990 and was granted a four-year Australian Artists’ Creative Fellowship for further compositional endeavours. In addition, he was made a Member of the Order of Australia in 1991 for services to music. Some works in this period following his retirement from full-time lecturing include Forest I (1990) written for viola and piano and Forest II (1993) written for trumpet and piano.
108 Roger Covell, “Butterley celebrates at Mittagong,” The Sydney Morning Herald, 8 April 1985, 8.
109 Ibid.
110 Dunbar-Hall et al., “Nigel Butterley (1935- ),” 39.
111 Gyger, “Nigel Butterley and the Problem that Wasn’t.”
112 John Carmody, “State of play from the past,” Australian Financial Review, Weekend Review, 8 September 1988, 11. The composing of this work, as Carmody writes, was at a rapid pace by Butterley’s standard, as it was commissioned to replace a piece which Richard Meale did not produce.
113 Noone and Parker, “Nigel Butterley,” 86. The Australia Council Fellowship was awarded to Butterley in 1985. This enabled him to take leave from lecturing duties. 45 Musica Viva commissioned a fourth string quartet which was premièred in Tasmania, both in Launceston and Hobart on the 24th and the 25th of May, respectively.114 On both occasions, the work was performed by the Goldner String Quartet. These concerts marked the 50th anniversary of Musica Viva.115 It was the first new work commissioned for this string quartet. The work was subsequently performed at St James’ Church, in Sydney on the 28th of May as part of his 60th birthday celebration.116 According to contemporary critics, the “Goldner Quartet played Butterley’s fourth quartet luminously”117 and with “emotional turbulence and hushed reverence.”118 In this quartet, a forthright character pervades, created by Butterley’s loud dynamics and vertically combination of the four instruments (as in measures 1-3), but within the melodic lines, a lightness of character is also evident through scoring and softer dynamics (for example the passage at rehearsal letter B, measure 40). Variety in this work is created through many contrasting sections119 which links it structurally to the second quartet. Stylistically, this work explores the combined and solo aspects of the instruments of the string quartet medium in a similar way to the third and second quartets: Butterley uses solos (one for each passage based on similar material adapted for the particular timbre of the instrument), duet passages and four-part chordal statements. Butterley has received public recognition for compositions such as From Sorrowing Earth (1991), which won the 1992 Sounds Australian Award for the Best Composition by an Australian Composer. Further recognition was bestowed upon Butterley when he was admitted by the University of Newcastle to the degree of Doctor
114 Susanne Ainger, “Birthday greetings for Nigel Butterley,” 7. However, the Australian Music Centre (AMC) website states the recording details as “Live recording from Musica Viva concert in Hobart on 22 May 1995.” Library number: C 2830, accessed 14 March 2007. http://www.amcoz.com.au/Detail.aspx?id=19603
115 Nigel Butterley, Pre-concert introduction speech on the recording of this work. “Live recording from Musica Viva concert in Hobart on 22 May 1995.” Available at the AMC, Library number C 2981.
116 Details on cassette of recording available at AMC. “Live recording from Musica Viva concert in Hobart on 22 May 1995.” Library number C 2981.
117 Carmody, 146.
118 “A Spiritual Pioneer Celebrates,” The Sydney Morning Herald, 29 May 1995, 14.
119 This aspect will be discussed later in this thesis in Chapter 9.
46 of Music honoris causa in 1996. Butterley was awarded the ($25,000) Paul Lowin Orchestral Prize in 2001 for his 45 minute work, the Spell of Creation, a five movement work for double chorus, semi-chorus, soloists and symphony orchestra.120 The Bagatelle for string quartet (2001) displays typical features of Butterley’s compositional style in its use of cells in a mosaic manner. This work is as yet unperformed. It will be discussed in Chapters 4, 8, 9 and 12. Butterley has since been one of the recipients of “The Ian Potter Music Commissions”,121 a grant that enabled the composition and helped with performances of Winter Sunlight, for community orchestras. Some of these community orchestras are the Kuringai Philharmonic, The Brighton Secondary Schools Orchestra in South Australia, regional orchestras in Darwin and Canberra.122 In summary, it is significant that some practical constraints such as time for composition as due to employment circumstances have impacted on Butterley’s working methods, in particular, his use, design and application of compositional sketches. Beyond their historical value, these sketches have practical implications for study and performance. A record of his progress to date on a composition, they have assisted some of his compositional endeavours. This is particularly advantageous to him considering his relatively slow rate of composition and sometimes necessarily fragmented approach to composition. Butterley comments on his use of extra-musical stimuli stating that “most of my best music, I think, does have some extra-musical idea behind it (except that I think my fourth string quartet is one of my best pieces and that doesn’t).”123 Extra-musical stimuli is often a feature, as is the very diverse sources for inspiration even within one work. Butterley’s interest in poetry and devotion to spirituality has remained a focal point of his life and feature of his musical style. Although his life circumstances have changed over time, his compositional trajectory has been relatively consistent. John
120 Ben Wyld, “Composer’s job to combat negativity,” The Sydney Morning Herald, Metropolitan section, 23 October 2001, 19.
121 Anon. Publicity statement from the Ian Potter Music Commissions, online. Butterley and four other leading composers were selected from 56 entrants to be recipients of grants. These were: Nigel Butterley $29.500, Barry Conyngham $20.000, Ross Edwards $14.000, Elena Kats-Chernin $20.000 and Carl Vine $5.000. Accessed 22 May 2006. http://www.ianpotter.org.au/10-cultural/10-03-recent.html
122 Andrew Ford, “Nigel Butterley,” The Music Show, Radio National, 14 May 2005, accessed 22 May 2006, http://www.abc.net.au/rn/music/mshow/s1391764.htm
123 Jones, “The music of Nigel Butterley,” 403.
47 Carmody stated of Butterley, that at 60, “the flame of Nigel’s vision is undiminished.”124 Each quartet is individual, however, there are common links in all of these works. Butterley’s stylistic traits include diverse stimuli, his prefered textures, and structures that support his particular pitch construction. Generally, an introspective, concise and uncluttered sound contribute to his individual musical voice. His sketches provide a strong support to his creative process.
124 John Carmody, “Tribute to a Composer,” concert review, Sydney, Sun Herald, 3 June 1995, 146.
48 # "$%2 0 "$%' -1!%")(,'3)""$%-$,#"%'3 ) %"$"
This chapter discusses the source materials used for this study. Commencing with String Quartet (1965) and working through to the Bagatelle for string quartet, the sources are detailed chronologically. Quartet lengths, number of movements, dedications, inspirations, type of scores including differences between editions, extant sketches including their contents, placement of passages within works and compositional dates will be mentioned. This will provide a comparative overview of the quartets themselves and the materials available for studying Butterley’s compositional processes. For the purposes of this thesis, Butterley’s preliminary sketches have been coded by the current writer using a numbering system that identifies the relevant string quartet, for example, SQ1 indicates the String Quartet (1965) and SQ2 indicates String Quartet No. II and so forth. The page reference for the sketches is also included, for example, SQ3:01 indicates page one of the sketches for the third string quartet. Additional letters at the end of the code indicate markings on both sides of the page, for example SQ1:05r is the front side (recto) and SQ1:05v is the reverse (verso).1 Where further letters have been used, these signify a series of pages in sequence: this generally applies to a draft copy, for example, SQ1:08e, which is the fifth page of a preliminary draft. Alternatively these letters sometimes indicate that the sample is, a larger page that has been folded to create a number of leaves, for example, SQ1:01a/b/c. The sketches for Bagatelle for string quartet have been catalogued in a similar manner, beginning with the prefix “B”. The sketches are numbered in the order they appear in their folder to retain its authenticity as a primary source rather than codifying by conception or by material-type as this may attach unwarranted significance to the folders of material.
1 “The Library of Congress uses the terms ‘recto’ and ‘verso’ to describe the front and back sides (where applicable) of a single leaf, respectively. This usage adheres to standard archival practice as recommended in the United States by the Society for American Archivists (http://www.archivists.org), the largest professional association in this field in the United States.” Kevin La Vine, Senior Music Specialist, Library of Congress, Music Division. Personal communication, 28 November 2007. Used with permission.
49 String Quartet (1965)
For the program notes of première performance, the composer wrote: “The Quartet derives its structure, as well as its whole idea of feeling, from the poem ‘The Revival’ by Henry Vaughan.”2 The poem3 (Figure 4.1) copied in Butterley’s hand appears in a seminal sketch of this quartet. The sketch reveals the architecture of the work. Butterley intends the work will be in two movements which mirror the two stanzas of the poem.
Figure 4.1 SQ1:06
Butterley’s comments give a brief analytic summary and enhance the listener’s understanding of the way the quartet unfolds. Across these contrasting movements, it is Butterley’s intention to give the feeling of a progression and gradual search for change, development and finally a sense of contentment. He writes that this is a “movement
2 Extract from concert program of String Quartet (1965), Cell Block Theatre, East Sydney Technical College, Friday 12 November 1965.
3 The form of The Revival by Henry Vaughan is that of a sonnet: (aabbcc ddeeffgg).
50 from darkness to light, from caution to joy, an opening out”.4 In discussing the second movement, he comments that there should be extremes “of activity and serenity.”5 These attributes are reflected in both the poetic inspiration6 for the work as well as in the character of the quartet. Musically, these emotive qualities are illustrated in many ways, including the combination of elements such as tempi, dynamics, rhythmic patterns and pitch ranges used in this composition. A sense of contentment and resolution7 is achieved through tempo and rhythmic change. The second movement commences at the most rapid tempo in the entire work, with measure 1 being a crotchet=120. The note values in this section are predominantly semiquavers. The tempo gradually slows; measure 2 is crotchet=c.100, measure 4 is crotchet=c.84, measure 6 is crotchet=c.46 and generally the note values are longer. This is particularly noticable from measure 25, until the quartet’s completion. A note-row and serialised rhythms are utilised in the construction. Butterley wrote that “A note-row evolves out of the opening few bars, and the music gradually unfolds quite freely from the four forms of the row, each one on a transposition beginning on F sharp.”8 These creative techniques were used within a broad framework to establish the necessary building blocks of the quartet.9 Despite this organisation, it is clear that the musical conception is more important to the composer than any set method of organisation. Dedicated to Jack and Diana Carmody,10 the first string quartet was commissioned by the Austral Quartet. A twelve minute work11 in two movements, it is the shortest in
4 SQ1:06.
5 Ibid. The quotes from SQ1:06 are similar to the statements in the concert program cited in Chapter 3, Figure 3.1.
6 Henry Vaughan, The Revival.
7 This is similar to statements in the concert program.
8 Concert program extract: String Quartet (1965).
9 As stated in Chapter 3, Rainier lauded Butterley as “one of those rare composers using the full range of contemporary resources as a vehicle for coherent expression of contemporary thought.” The adoption of compositional devices as far as they are useful is evidence of this skill.
10 Butterley wrote in email correspondence to the current writer: “Dedicatees of the first two quartets were important (newish) friends at the time of writing, and have remained so. Jack Carmody is Dr. John Carmody, recently retired from UNSW; he became a music critic after I first knew him, and without my approval, as he would be the first to agree! We met in 1965 at a lecture by Peter Maxwell Davies, and I'd already known Di since 1961 (when she stuck on my beard for performances of The Play of Daniel).” 5 May 2007, used with permission. 51 duration of Butterley’s quartets.12 The two movements are 86 measures and 45 measures respectively. The completed holograph score bears the dates 19 April - 4 October 1965 which may be taken as the duration of the composition period (although planning the work may have commenced earlier). None of the sketches are dated.
String Quartet (1965): The materials for this study
The folder that holds the sketches for this quartet was maintained in an orderly manner, reflecting Butterley’s methodical approach to his composition. There are seven pages of sketches for String Quartet (1965),13 some with writing on both sides, as well as its draft copy. The sketches and preliminary drafts have not been previously catalogued. Sketches SQ1:02 to SQ1:05 are enclosed within SQ1:01, a larger sheet of manuscript paper folded around these pages. When the page SQ1:01 is folded, it creates three sides enclosing notated workings. SQ1:01a comprises seven lines of notated passages and rhythmic schema. SQ1:01b shows one system of notes, with a line through them, effectively crossing them out. SQ1:01c is eight lines in length and comprises many notated workings essential to this composition’s creation. The sketch (SQ1:01c) is headed by “Important figure: Movt. I Movt. II.” however neither of these motives are used in the quartet although the interval of the first two notes feature in this work. Also included in this sketch is a note-row and its permutations.14 This note-row is used in its four versions, to create passages in the first movement commencing at measure 38 on the F#. The staves headed “unfolding motive I” feature several times in both movements, initally at measure 25 in the first movement. Next to this is a similar motive that is subject to rhythmic inversion: it first occurs at measure 19. The last stave in this sketch is notated in short cells (the first two being extracted from the note-row) and appear in the first four measures of the ‘cello part. The next cell is played by violin 1, measures 9-10. Lastly, there is a passage written to occur at “line 3 page 2” of the draft
11 The duration for the work is twelve minutes and fifteen seconds, as stated by the composer on the score.
12 That is the shortest of Butterley’s four main string quartets and not his Bagatelle for string quartet which is one minute in length.
13 A copy of these sketches with descriptive annotations is in Appendix 1.
14 These note-row versions are the original, retrograde, inversion and retrograde-inversion.
52 copy. This appears at measure 21 played by violin II, however, Butterley uses only the cell’s first four notes. The pages enclosed within SQ1:01 include both sketches in music notational and words. Both sides of SQ1:02 have written comments. SQ1:02v discusses only general musical concepts whereas the other side, SQ1:02r, is not directly related to this quartet. SQ1:03 is a plan in words of the second movement and comprises several sections, one for each part of this movement. SQ1:04 is a double-sided page of twelve-stave manuscript, the recto includes many notated cells as well as a note-row and its versions. The intervals and their shape of the first cell in this sketch are used extensively. The following three staves of notes are not used in the work. Although it has many similarities, the note-row in this sketch differs from the row in SQ1:01c.15 The note-row written in SQ1:04 is the one used to open both movements of this quartet and not the other note-row used at measure 38, first movement. The seventh stave is headed, “opening,” and this fragment is the material for the beginning of the first movement. SQ1:04v has a brief passage written for complete string quartet commencing with a viola figure. This figure occurs in the quartet but it is not exactly as it appears in the sketch.16 The other parts of this sketch are not used in the work. The plan for the first movement written is on SQ1:05r. On the reverse of this page, SQ1:05v, there is a brief calculation and a (seemingly) unrelated message. SQ1:06 is a loose page but it is placed after the bundle of sketches enclosed by SQ1:01. SQ1:06 is an important but brief plan of the entire quartet. It includes Butterley’s hand-written copy of The Revival and underneath, his initial description of the design for the quartet in two movements. The sketch SQ1:07 is written on manuscript paper (Possum Brand No. 7). It shows small notated sections (although not all are utilised in the work) and a note-row, re- worked from SQ1:01c. Here, each variant now commences on F#, as it occurs in the first movement. Stave 12 comprises four cells and the notes are grouped in 4, 5, 6 and 7. Although these precise notes are not used, the rhythmic groups are utilised and developed in the quartet.17 Material not used in this sketch include the notes written on
15 This is discussed in Chapter 7, pp. 140-141.
16 Two examples of the figure’s use are at measure 13 and measures 16-7 in the first movement.
17 These rhythmic groups are examined in Chapter 7, pp. 135-137. 53 stave 13, headed “possible addition to 1st violin part… 4th last bar… 3rd last bar.” In addition, stave 15 is labelled “section 2 of 2nd movt.” and it has the same first three cells as SQ1:01c. These motives are used on the first page of the first movement and not in the second movement.18 Following this sketch, in the bundle within the folder, is the draft copy of the score. This is written on a different type of paper. The paper used in the draft copy is twenty staves to the page indicating that in hierarchical terms, it is separate from the plans for this quartet. Three of the sketches are musically notated on manuscript (SQ1:01, 04 and 07) and three written sketches (SQ1:03, 05r and 06) are reflective of the compositional process (SQ1:02r is not directly related to this quartet). The three notated sketches are neither paired nor directly correspond with the three written sketches. The sketches are numbered in the order they were found in the folder but this does not imply a chronological ordering of the composer’s working papers. Although the preliminary workings are not dated or numbered, it is possible to establish a credible sequence of development. One exception to this is the sketch SQ1:02v (see Appendix 1) which has material that makes it difficult to place in sequence. The written components in this sketch represent general compositional considerations and possibilities indicating that SQ1:02v was scribed before the musical writing of this quartet commenced. The comments in this sketch are pre-notational in nature: this is demonstrated in the way Butterley outlines his projections for sounds and structures. This sketch does not diarise his present work or reflections on his past work. The developmental sequence of these sketches follows two separate paths, one being sketches with written comments, and the other, workings in music notation. These sketches may be utilised not only for the information contained, but also to demonstrate a sequence in Butterley’s creative process. However, it is important to note that such a sequence may not be complete as the folder with the preliminary workings may have been altered, with pages added and removed, or written on, many times since the completion of this composition. Sketches may have been placed in other unrelated folders, as within this folder there is a note about Canticle of the Sun (1965) composed
18 The first cell G-B occurs in the ‘cello in measure 2, the second cell is also played by the ‘cello, measures 3-4 and the third cell (alternating notes C# and D) is played by violin I measures 9-10. 54 in the same year as this String Quartet.19 An example can be seen in his sketch SQ1:02r (see Figure 4.2), where a discussion of the contents of the program notes indicates the work Canticle of the Sun was complete. Its presence in this folder could indicate that it was deposited in this file while Butterley was working on this string quartet. We know Canticle of the Sun was completed before the String Quartet (1965) as the program notes for the String Quartet’s première performance include a reference to Canticle of the Sun. It is possible that not all the workings involved in this composition are present, but there are no other indications that any further materials are extant.
Figure 4.2 SQ1:02r
String Quartet No. II
With a performance time of nineteen minutes, as stated by Butterley at the conclusion of the score, String Quartet No. II is the longest of the quartets in duration (see Figure 4.3). Commissioned by the Adelaide String Quartet, it was dedicated to Rod Powell. It is in one movement with 331 measures (or 229 measures).20 In the score, at the work’s conclusion, there are two lines of prose from Walt Whitman’s One Hour to Madness and Joy,21 handwritten by Butterley (see Figure 4.3).
19 It is assumed that Canticle is a reference to his composition Canticle of the Sun rather than Canticle of David (1959) due to the proximity of the composition dates.
20 The reasoning for the different measures is discussed later in this chapter.
21 This poem comes from a cluster of poems entitled Children of Adam in Whitman’s Leaves of Grass (1871-72).The quote comes from the third stanza of this poem. The text of the poem is as follows:
One hour to madness and joy! O furious! O confine me not! (What is this that frees me so in storms? What do my shouts amid lightnings and raging winds mean?) O to drink the mystic deliria deeper than any other man! O savage and tender achings! (I bequeath them to you my children, I tell them to you, for reasons, O bridegroom and bride.) 55 Figure 4.3 String Quartet No. II, final page
Currently no sketches of String Quartet No. II are believed to be extant; however, two sketches created while composing his third string quartet have relevance to this second quartet. The sketch SQ3:14 (Appendix 2) has a self-posed question on accidental usage and SQ3:09 (Appendix 2), gives a brief summary of this work.22 There are some
O to be yielded to you whoever you are, and you to be yielded to me in defiance of the world! O to return to Paradise! O bashful and feminine! O to draw you to me, to plant on you for the first time the lips of a determin’d man.
O the puzzle, the thrice-tied knot, the deep and dark pool, all untied and illumin’d! O to speed where there is space enough and air enough at last! To be absolv’d from previous ties and conventions, I from mine and you from yours! To find a new unthought-of nonchalance with the best of Nature! To have the gag remov’d from one’s mouth! To have the feeling to-day or any day I am sufficient as I am.
O something unprov’d! something in a trance! To escape utterly from others’ anchors and holds! To drive free! to love free! to dash reckless and dangerous! To court destruction with taunts, with invitations! To ascend, to leap to the heavens of the love indicated to me! To rise thither with my inebriate soul! To be lost if it must be so! To feed the remainder of life with one hour of fulness and freedom! With one brief hour of madness and joy.
Walt Whitman. One Hour to Madness and Joy, accessed 5 May 2006. http:// classiclit.about.com/library/bl-etexts/wwhitman/bl-ww-1hour.htm
22 The sketch pertinent to String Quartet No. II on SQ3:09 reads: Compare two-note figure with one in I Dense opening – all basic ideas Quieter melodic shape in rhythmically uneven unison leading To fast unison passage rushing on Sustained D- from which come violin 2 56 compositional similarities between this quartet and the other three quartets such as a hierarchical organisation in the treatment of moods, structures and separate thematic and rhythmic elements. The second quartet differs from the other three in several respects. This work has more experimental qualities; its sectionalised structure23 provides Butterley more latitude for investigating various musical elements in each passage. Each section explores a different musical aspect. This exploration is most conspicuous in the area of ametrical passages in free time, that is, where the measures are in timed bars and not metrical pulses, and also different timbral effects created by string instrumental effects on a single note (see Rehearsal letters D and K). Other differences include the contrasts between the independent and inter-dependent treatment of the four instruments, and the exploration of the resultant timbres, rhythmic pulses and textures. Compared to the other quartets, String Quartet No. II is most closely aligned to String Quartet No. IV as they are both constructed in one movement and have the same length, 331 measures.24 They are both constructed using broad, balanced, proportional and symmetrical sections with shorter contrasting passages repeated and varied to constitute larger sections. Both have a definite midpoint, a similar structure and a climax at a point approximating 66% through the composition.25
String Quartet No. II: The materials for this study
String Quartet No. II exists in two scores both of which are recognised by Butterley as “correct”, despite there being some differences. The older score is the original holograph completed in 1974, whereas the other score is newer (although undated). The more recent score is a computer-generated edition of the older score.26 It
viola ‘cello solos then sparse, quiet section and violin 1solo- using material from other solos with thicker accpt. + Chopin. Unison passage repeated + other material- end C maj.
23 Each of the sections is re-stated at a later time in the work in a modified format.
24 The length of 331 measures is the newer edition whereas the older edition is 329 measures.
25 Discussion of the implication of the “Golden Mean” is in Chapter 9.
26 When asked, Butterley recollected that the computer generated score was prepared by Robert Smallwood. Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 18 August 2007. Used with permission. 57 was not intended as a revision or modification of the older score. There are no indications that the newer edition is a revision by the composer and the extent of the composer’s contributions to the computer edition was minimal.27 A comparison of these scores reveals discrepancies, leading to some confusion about the composer’s intentions. Potentially this creates problems in terms of both performance and analytical study. Generally these disparities may be attributed to human error, limitations of the computer programming that generated the newer score, inconsistent editorial procedures or possibly even from the composer’s suggestions.28 Editorial procedures, particularly the use and cancellation of accidentals, have created some differences between these editions. This has occurred by trying to follow one principle in accidental placement and adapting it to Butterley’s use in his own manuscript edition. Some mistakes attributable to error in judgement have occurred by a combination of misreading accidentals and through assumptions made in the adoption of particular editorial conventions. It is acknowledged that some accidentals are written unclearly on the holograph. As a result some incorrect accidentals have been notated (see discussion later in this chapter). Vertically aligned notes in free-time measures have been altered between these editions. Limitations regarding computer software probably account for this difference (see Figure 4.6). In his written score, the vertical alignments indicate Butterley’s desire that the notes be performed simultaneously (unless specifically indicated otherwise in the performance directions). In free-time measures, without a designated pulse (these are shown as 5 second measures) the alignments add further to a sense of unification among these instruments. A comparison of the two editions reveals that when the vertical alignments change, different harmonic implications arise. When scrutinised, the alignments are sometimes several notes apart, as can be seen in the viola and ‘cello parts of measure 2, (see Figure 4.4). The precise layout of the handwritten edition, where
27 Ibid. Butterley commented that he had little recollection of any input into the computer edition or in fact, of the project.
28 Ibid. Both scores have been held at the Australian Music Centre (AMC). Currently the AMC library catalogue only cites the computer score. Butterley was unaware of any performance of this work subsequent to the creation of the newer score. He believed that there was special funding for the generation of the computer score. Significantly, when aspects of this work were discussed with the composer, Butterley used both copies of the score for his reference. 58 each measure has been ruler-drawn to a length of seven centimetres (with the exception of the first measure of each line which measures seven and a half centimetres to allow space for the clef) is evidence of the importance which Butterley’s accords the visual alignments in his handwritten score. These vertical alignments are therefore a visual cue of Butterley’s intentions.
Figure 4.4 String Quartet No. II, viola and ‘cello, Measure 2, computer score (left) and handwritten score (right)
Observing these discrepancies between the scores can assist both the scholar and the performer, as they highlight specific interpretative issues. It is valuable to understand the principles involved in constituting such changes and whether a change occurred by mistake or through a particular modification deemed necessary. Comparing the general principles of Butterley’s manuscript writing and later editorial organisation will highlight any differences between these scores and possible reasons for these changes. It is important to assess implications of these alterations in regard to a work’s performance. Furthermore, understanding Butterley’s writing practices will ensure that the composer’s intentions are not misinterpreted due to unclear writing practices.
String Quartet No. II: adding bar-lines
Although the two editions have differing numbers of measures, no extra material has been created; rather, bar-lines are merely inserted in the computer score to create extra measures immediately before rehearsal letter M at measure 222. The holograph shows the viola and ‘cello performing one measure and the violins three measures, which is suggested by time signatures and dotted bar-lines (see Figure 4.5). In the computer generated copy these dotted bar-lines are notated in a single bar-line and 59 encompass all four instruments. This adds a further two measures to the work (shown in Figure 4.6).
Figure 4.5 String Quartet No. II, Measure 222, preceding letter M, holograph
Figure 4.6 String Quartet No. II, Mm 222-224, preceding letter M, computer score
An issue highlighted by this change is the intended placement of stresses implied by the bar-lines in the computer score as compared to the hand-written score where the viola and ‘cello were in free time. In a performance using the computer score, these instruments would tend to accent the first beat of these three measures which establishes a regular pulse that was not implied in Butterley’s holograph. In fact, it could be stated that Butterley’s meticulous notation in this section indicates his desire to actively avoid the conventional notions implied by the use of standard bar-lines. The bar-lines also imply the need to play “on the beat” where this was non-existent in this passage for the viola or ‘cello in the earlier score. By performing “on the beat”, instruments are playing together in a metrical sequence of events, and therefore vertical alignments are a prime concern. It can be seen that the alteration of the vertical alignments and the added bar- 60 lines in the the second score impact on pulse and meter which was not evident in the holograph. Thus, Butterley’s musical intentions are distorted. The computer generated edition gives rise to vertical associations between notes where none were originally intended. In the holograph, ‘cello notes in measure 222, that is, the double-stopped F and E (shown in Figures 4.5 and 4.6), were written directly underneath one of the dotted bar-lines in the violin I and II parts and notated to be played independently of metrical time. In the computer score, these notes are now “on the beat” and appear as if they should be played simultaneously with the note E heard in the Violin I part of measure 223. Textural implications are also altered through these changes. Initially, in Butterley’s manuscript score, the manner in which he has partially barred this measure indicates that the instruments are to function in two pairs. Here, the barring of all four instruments in the newer score conceals the textural intention of the instrumental pairing (also shown in Figures 4.5 and 4.6). This alteration is inconsistent, as other measures with similar material have not been altered. Measures 215 to 221 appeared in the manuscript with a similar metrical pattern, however, there were no bar-lines added in the newer edition. The computer edition omits changing time signatures in the Violins I and II, (these were 4/4 then 3/4 and become an encompassing 7/4) but retains the dotted bar-lines, in these parts, over the measures 215 to 221. These changes alter the composer’s metrical, vertical and textural intentions, and also do not demonstrate the notational consistency evident in the original manuscript.
String Quartet No. II: Editorial problems
Differing editorial principles cause conflict in the reading of particular notes. For example, in the work’s computer edition, the last note in measure 149 (viola) is clearly a G7. In Butterley’s manuscript this G has no indication, where several notes earlier in this measure, the G is clearly marked as a G#: this potentially creates a dilemma. In his sketches, Butterley states: “Sharps and flats (the word Accidentals is crossed out) [they] apply throughout the bar unless cancelled by a natural, but in more complex bars they are repeated to avoid doubt” (see Appendix 2, SQ3:14). Thus, according to this precept, the note in question should be G#. However the composer also states that “An accidental applies only to the note it immediately precedes, except in the case of
61 obvious repetition.”29 In this case the note would be automatically played as G7 and would not require a natural sign. Examining Butterley’s handwritten copy and his approach to the writing and the re-writing of accidentals, it appears that the latter schema is more consistently followed by the composer.30 That is, Butterley tends to write an accidental in front of every note, even “in the case of obvious repetition.”31 This is in contrast to the editor’s practice evident in the computer score, where accidentals are not written in front of repeated notes unless deemed necessary. In some instances the editor has omitted accidentals where obvious repetition has occurred and has also added unnecessary accidentals, as if to cancel previous accidentals. Cancelling accidentals creates confusion. This procedure could potentially lead to misreadings of notes.
String Quartet No. II: Mistakes within the scores
Some accidentals have been transcribed incorrectly. For example, Violin II part shows double-stopped notes of G and B7 at the conclusion of measure 1. In contrast, the new copy states that these are G and B6. The handwritten version has a reasonably clear natural sign for the note B as can be seen in the following example (see Figure 4.7).
29 Butterley, SQ3:14.
30 There are many instances of accidentals being re-written as they apply only to the note it immediately precedes. The first example is in measure 1 of Violin I, where the higher notes are E 6, F, and the following note is written as E 6. Sometimes, in the case of repetition, Butterley repeats the accidental and this can be seen in measure 2, Violin I, where two consecutive E 6 both are indicated.
31 Butterley, SQ3:14.
62
Figure 4.7 String Quartet No. II, Measure 1, manuscript score (left) and computer score (right), showing incorrect transcription of accidental, circled by current writer
Other instances of incorrect accidental usage occurring in the computer generated score is corroborated by subsequent use of similar material. Examples are found at letter F, measure 137 where a B7 and G is sounded in the Violin I (see Figure 4.8). Letter F is similar to the music in measure 1 where these notes appear in inversion. Similar examples are at letter H, measure 157 (see Figure 4.9) and letter M (measure 233 or 235). Subsequent use further justifies the note, B7, which occurs in a related passage for violin I, measure 32.
Figure 4.8 String Quartet No. II, Violins I and II, Measure 137, letter F, handwritten score (left) and computer score (right), circles by current writer
63 Figure 4.9 String Quartet No. II, Violins I and II, Measure 157, letter H, handwritten score (left) and computer score (right), circles by current writer
The existence of this natural sign does show a difference between Butterley’s and the subsequent editor’s use of accidentals. However, in the new edition the sign does define the notes cited.
String Quartet No. II: Structural overview
Balanced structures are an important feature of String Quartet No. II.32 This composition is constructed considering the large scale as well as the smaller passages within these larger sections. Broadly this work is divided into two halves around a mid- point which occurs at rehearsal letter I, measure 162. Architecturally and structurally the quartet revolves around this central point. This “arch form” may be described as A, B, B, A form which can be summarised as follows: A Measure 1 to measure 103;33 B Measure 104 to measure 161; B Measure 162 to measure 224 (or 222 on handwritten score); A Measure 225 (or 223) to measure 331 (or 329 on handwritten score).34 Within these large sections, each rehearsal letter signifies the beginning of a different passage.
32 As discussed in Chapter 3, Butterley’s lectures to undergraduates displayed a predilection for arch-like structures and he emphasised the importance of strong architectural proportions both in other composers’ works and advocated the use of similar approaches in the students’ work.
33There is a close similarity in the length of this A structure that is 103 measures, and the length of the first movement of String Quartet No. 3 that is 104 measures.
34 The overall structure of A B B A is based upon changes and repetition of compositional material all of which coincide with rehearsal markings. Further discussion of structural detail will follow in Chapter 10, pp220-224 and Chapter 12, pp300-302.
64 String Quartet No. 3
According to Butterley’s recommendation on the score, String Quartet No. 3 is fifteen minutes in duration. Unlike the two preceding string quartets, this work is in three movements: the first movement consists of 104 measures; the second movement is 160 measures and the third movement is 86 measures. The score of this quartet has no poetic references however it does carry a dedication, which is a common feature of the first three string quartets. The dedication also appears in the sketch SQ3:01 (see Appendix 2).35 Butterley recounted: “It’s the first work dedicated to Tom [Kennedy], so that is [the work’s] most important influence”.36 Its dedication to Kennedy undoubtedly motivated the gentle and resolved nature in this quartet. The general mood of contented reflectiveness is expressed through gentle melodic lines and full chordal passages. Even the excitable, contrasting middle movement includes tender reflections found in the the calm chordal passage. The third quartet contains none of the angst or aggression evident in the second quartet. This is achieved through the use rhythmic devices and harmonic combinations, especially in the time measured passages. At the conclusion of the work, the statement of the chordal passage, through its tempo, instrumental spacing and lack of harsh dissonance gives the quartet a final and gentle resolution. Significantly, critical reviews of String Quartet No. 3 have generally alluded to the gentleness and lyricism and used terms like “attractive, melodic expressiveness”.37 The first movement is detached from the second movement, whereas the second and third movements are linked by a sustained C# in the ‘cello. Movements one and two may be seen to be in conflict with each other with the third movement providing a resolution to the previous movements. Broadly, the first movement may be divided into two sections, delineated both by character and also by a change in tempo. Measures 1 to 85 constitute the first section at a tempo of MM quaver=88; measures 86 to 104, the second section, are at the reduced speed of MM quaver=76. This slower section
35 In correspondence to the current writer, Nigel wrote that the work was dedicated to: “Tom (formerly Thomas; born 20.2.57) [who] has been my partner since 15 November 1978 … I don't always dedicate a piece to anyone – only when there’s a significant reason.” Nigel Butterley, personal communication, 5 December 2007. Used with permission.
36 Nigel Butterley, interview with Peter Watters-Cowan, in “Nigel Butterley’s String Quartet No 3: Context and Analytic Procedures” (Unpublished M.Mus. Thesis, University of New South Wales, 1995), 66.
37 James Koehne, “Discovering Australian music,” concert review, Canberra Times, 2 March 1985, 15.
65 (measures 86 to 104), a chordal passage, is re-stated with slight changes in both the second and third movements. The second movement comprises several main sections, each with a different character. These sections may be easily identified by changes in tempo, which are; Tempo 1 crotchet=120; Tempo 2 dotted crotchet=80; and Tempo 3 crotchet=80. Each section is re-stated at a later time in the movement but not in a patterned sequence. The third movement may be divided into two main sections: measure 1 to measure 76, and the quaver anacrusis in measure 77 to measure 86. These two sections are easily discernible through a change in both tempo and character. The first section is at a speed of MM crotchet=c.46, the second is at the speed of MM crotchet=c.66. Similarities are evident between the first and third movements. Although the second movement is more contrasting, a chordal sequence used in this movement is similar in musical content to equivalent passages in movements 1 and 3. Despite this, the chordal passage is treated differently in the second movement.
String Quartet No. 3: The materials for this study
Sketches and preliminary drafts for String Quartet No. 3 are copied, annotated and found in Appendix 2. Material within these pages is similar to that for his first quartet, as it also covers the gamut of compositional writing, from hand-written musical discussion to a relatively intact, draft copy of the score. The composer’s notational process and particular considerations during the compositional period are revealed in the sketches. Material has been added to this folder following the completion of the composition, as can be seen in sketch SQ3:09. This page details in words, Butterley’s brief outline of these three string quartets to that date, including a short statement about his views on the “personal” nature of these works.38 A short musical quotation is included which possibly contributed to his program notes. The content on this page suggests that it may have been used as a lecture or introductory talk for a concert. This suggests that it was probably written and added to this folder after the completion of String Quartet No. 3.
38 Included on this page is a note to “look at John…” which seems to indicate a personal directive during a speech. 66 Sketches SQ3:12 and SQ3:11 include material relevant to other compositions. It is also possible that some workings of this quartet may be either within other folders or merely lost. Generally, sketches relating to particular movements appear to have been labelled by the composer, during the planning process, using the numbers 1, 2, or 3 for each respective movement. Within each movement, constructional sections have been labelled with letters A, B, C, D as necessary, also the letters X and Z appear. Sketches are often labeled as 1C, which corresponds to the third main constructional section in the first movement. Sketch SQ3:02 (See Appendix 3) uses the indications 1C, 2C and 3C. The “C” classification denotes the third section which is used in each movement. The sketches shows that Butterley uses material, in varied formats, in each movement. Identifying pitch material according to the composer’s sectional classifications, facilitates a study of these musical fragments, their development and use across the three movements. Sketches SQ3:02, 03, 04, 07, 08r, 10, 12, 13r&v, 18, 20, 22r, 23, 24 and 25 consist of musical notation. Sketches SQ3:01, 02, 03, 04, 11, 15r, 17r, 19, 21v and 23 include written notes and plans, while 05r&v, 15v and21r show planning of numerical aspects. SQ3:26a-e is the draft of the second movement and also most of the third movement.
String Quartet No. IV
String Quartet No. IV is written in one movement. In this respect and also in its length of 331 measures, it is similar to his String Quartet No. II. The duration is approximately seventeen minutes.39 The lack of a dedication makes String Quartet No. IV unique among Butterley’s string quartets. This complex work has eleven sections, each partitioned by double bar-lines and lettered sections “A – K”.40 Unusually, the first rehearsal letter, A, occurs at the work’s commencement and not at a point within the work.
39 On the score obtained from the Australian Music Centre entitled “Composer’s Autograph,” Butterley has suggested the performance duration of 17 minutes.
40 The structure is discussed in detail in Chapter 10, pp. 204-207.
67 String Quartet No. IV: The materials for this study
The folder of sketches consist of 21 pieces of paper,41 which are mostly scribed on diverse “scraps” including reverse sides of letters, concert programs, a composer profile (Nigel Butterley), bookmarks, a ballot paper for the board of the National Trust of Australia (NSW) and manuscript paper.42 The papers used for the sketches are more varied in their former use than for the earlier sketches which gives the impression that Butterley is using materials that are “at hand” and that he is writing whenever and wherever he has “inspiration” for this work.43 Some sketches describe the quartet in words whilst other sketches are notated material. The folder has no lengthy sketches or preliminary drafts. Some sketches are held together by a paperclip, which may suggest the composer’s intention to combine related ideas. There are four such groupings; sketches SQ4:03 and SQ4:04, SQ4:05 to SQ4:11, SQ4:13 to SQ4:15 and SQ4:16 to SQ4:21. Some of the sketches are sketches for Butterley’s other compositions. As these sketches appear in this folder, this would seem to provide further indication that some sketches for this quartet may be in other files or lost.44 The composer often creates material which exceedes the requirements for a particular work.45 Rather than discard this material Butterley earmarks it for later use, writing: “When completed, extract unused ideas for use in T&F,46 and also under-used ideas, (eg. colour ideas).”47
41 See Appendix 3. These sketches have been copied and annotated.
42 The varying array of papers used indicate Butterley’s diverse interests. Not mentioned above are the writings on the reverse of letters some of which are receipts from various charities. This sort of documentation gives some unexpected insights into aspects of Butterley’s social conscience.
43 The first string quartet used mainly manuscript and lined paper; in the third string quartet manuscript paper and also the reverse sides of assignment questions (for undergraduates) were used, whereas the fourth quartet’s sketches are scribed on more diverse papers.
44 An indication of the existence of other sketches is made in SQ4:09 where there is a reference to a sketch dated 16/3: this sketch is not in this folder.
45 This is also demonstrated in Butterley’s writing of String Quartet (1965), see Chapter 7, pp. 131-132.
46 It is assumed that T&F is an abbreviation of future works Butterley is considering composing. A search of the Australian Music Centre online catalogue (accessed 20 October 2008, http://www.amcoz.com.au/opac/name.aspx?id=207), found no titles that could be represented by these letters found in his list of works.
47 SQ4:15.
68 A comparison with the composer’s previous plans, schemes and methods leads to the conclusion that either not all the preliminary sketches are present, or alternatively, that his organisation methods have changed.48 In this file (String Quartet No. IV) there are very few sketches that have notated materials, unlike those created for String Quartet (1965) and No. 3. The sketches that give dates may assist in understanding the sequence of his compositional method as dated sketches may explain whether this string quartet was fully planned then written according to a pre-conceived plan, or whether the planning was freer and evolved as the composition was written. This type of examination contributes to a more comprehensive understanding of his compositional procedures. Undated and missing sketches make it impossible to definitively order and classify the compositional process but the general working methods and processes determined from the available sketches are the more important aspects for scrutiny. Planning for this String Quartet No. IV was more flexible than in his earlier quartets. Butterley follows a “create and alter” approach as the work progresses. There has still been overall planning, to which several sketches attest, but not as formally or with the same depth of organisation that he formulated for the earlier quartets. Possibly, String Quartet No. IV has been more problematical during its creation than the preceding works. Butterley’s written comments in sketches show the composer wrestling in self-discussions about the possible inclusion of material. He also changes the order of major sections and combines the work into one movement, thus modifying his original concepts relating to architecture and proportions. The sketches in this folder display some material which is similar to the sketches of the first and third string quartets. Similarities occur in Butterley’s self-questioning regarding compositional possibilities. However, it is the differences that are more pronounced, particularly in this fourth quartet’s preliminary organisation and planning. There are few actual musically planned passages and motives. Several possibilities may account for this, the most obvious being his employment situation at the time. During the writing of the string quartet, Butterley was partly retired and able to compose more full-time and hence the need to write materials for later reference was less critical. Also, it seems that Butterley’s own compositional practices at this juncture appear to require
48 It is the belief of the current writer that these sketches are incomplete as they contain very few musically notated motives and passages compared to Butterley’s other quartets.
69 less planning in actual notation, which is suggested by the lack of musically notated sketches. Generally, for this work the sketches are in words. One important difference is that many sketches for this quartet include a date. This enables a definitive chronological sequence49 and therefore permits an ordered re- creation of the compositional process. The rate of progress during the composition period is not known for the other quartets, however, the inclusion of dates on this quartet specifies time spent in planning as opposed to the duration and speed of the actual writing. All of Butterley’s string quartets were commissioned and therefore a performance deadline was imposed on each. Date inclusions in the sketches for String Quartet No. IV reveal the rate of development as it occurred and indicate whether the compositional rate increased as the deadline approached. As the sketches of this quartet and his Bagatelle for string quartet are also assigned dates, the writing sequence is not subject to conjecture. As String Quartet No. IV was completed in February 1995 and the dates ascribed to the various sketches show the day and month, it is assumed that the year is 1994, except for January and February 1995. The earliest sketch remaining in this folder is SQ4:21 with the date 15 March 1994.
Bagatelle for String Quartet
There are eleven pages of sketches relating to Bagatelle for string quartet.50 The sketches include written discussion, notated fragments, rhythmic drafts, a draft of the opening six measures for the initial scoring, for a trio setting and Butterley’s scheme for converting this work into a quartet. B:02 is an explanatory note from Butterley to the current writer describing some aspects regarding the work and its planning. In this sketch (B:02, see Appendix 4) Butterley’s comments affirm his procedure as he transforms this work from trio to quartet.51 His planning has been thoroughly detailed and succinctly written for this short work. Therefore this Bagatelle may be seen as an
49 The is detailed in Chapter 5, Table 5.1, p103.
50 These sketches are copied and annotated and appear in Appendix 4.
51 Some of these procedures are developing one element (rhythm), and labelling fragments and using differing writing materials to delineate various aspects of this work. These will be shown to be features of his compositional process and are illustrated in various sections of this thesis.
70 exemplar in minituæ summarising his compositional practices. Futher to this, it is believed that all the work’s sketches are included. One aspect that is different for this work is the actual writing. On this occasion, once planning is complete, Butterley finishes the work in a computerised format, eliminating the need for a manuscript draft. This indicates that at the age of 65, the composer is not too entrenched in his own methods to be able to utilise new technologies. This short composition demonstrates some of Butterley’s compositional processes succinctly. The initial aspects, for example, rhythmic structure and note groups were conceived rapidly (for Butterley) and all ‘roughed out’ basically on one day.52 The sketches demonstrate that elements such as rhythms, motives (pitches) textures (linear or chordal) and voicings (through instrumentation) are planned separately. Despite this, Butterley considers how these elements interact musically as shown on B:01 wherein he details the work’s main fragments and discusses their use in the work. Sketches for Bagatelle provide insight into the composer’s ability to adapt a work from string trio (two violins and viola) to a string quartet (two violins, viola and ‘cello) “while maintaining the basically linear character.”53 In summary, the physical presentation of each score differs. String Quartet (1965) is a score published by J. Albert & Son Pty. Ltd and as such, is clear (although there are minor errors overlooked in proofreading). String Quartet No. II exists in two versions, and exhibit differences which potentially creates confusion, whereas String Quartet No. 3 is only in a hand-written version and all the notation is clearly legible. The score for the fourth quartet is desk-top published but there is a complete hand-written copy that appears to have been used by Butterley during rehearsals. The Bagatelle exists only in a computer generated format. Butterley’s sketches show that some similarities occur in his conception and method of composing string quartets. However, there are changes in the quantity, scope and type of planning necessary at different stages in his career and life. Further to this, Butterley conserves unused material for later use. Butterley’s sketches indicate an evolution from a more rigid approach to a less strict method when creating a composition. The change in the format of scores, especially the Bagatelle, indicate
52 Butterley writes that “The rhythmic structure was done on 31st Jan. Later I gave the fragments letters, to help in finding the notes.” See Appendix 4, B:02.
53 See Appendix 4, B:02. 71 Butterley’s ongoing progressive utilisation of advanced technology. The sketches demonstrate that for Butterley, composition occurs quite distinctly from the planning stage although the two may develop simultaneously.
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This chapter will identify compositional processes revealed in the sketches for Butterley’s quartets. It will be demonstrated that some aspects of Butterley’s processes remain constant in all his quartets. In general terms, these are concerned with the hierarchical organisation of compositional planning. Variation in his method of planning the quartets over the years is also discussed as it relates to the content and detail within the sketches. Later in this chapter sketches are used to firstly illustrate Butterley’s initial conception of a work using String Quartet (1965) as an example, secondly to illustrate his hierarchic processes in String Quartet No. 3 and lastly, to examine his conceptual procedure as chronicled in String Quartet No. IV. Subsequent chapters will detail how Butterley creates and uses sketches in words and preparatory notation as well as how he actually writes the work.
Comparison and Exposition: Butterley’s Planning Methods
The sketches of String Quartet (1965) illustrate the way Butterley conceives moods, shades, textures, sections and structures. Later, his initial ideas are augmented with the detail necessary to write the work. Butterley’s first string quartet is planned in a similar manner to the third quartet. This may suggest that he employs a common composition principle in his early planning. Butterley outlines the entire quartet’s main concepts in the sketch SQ1:06 (see Appendix 1). This is a formative sketch where each movement is subsequnetly planned in partitioned columns.1 The information in each column is then expanded into two more detailed sketches, each representing a movement; the first movement’s sketch is SQ1:05r (see Appendix 1). Similarities are found when comparing this sketch with the third quartet sketch, SQ3:21v (see Appendix 2). Both sketches are elaborations on the
1 Further information is detailed later in this chapter, p 89.
73 previous overview sketch and they include more detailed information, especially concerning areas requiring more intensive planning. In the first and third string quartets, a conceptual stage commences at a more evident point than in the the fourth quartet.2 As illustrated by the sketches, planning in the earlier string quartets (the first and third), moves from a broad overview to more detailed issues. This is followed by organising each movement and its composite sections. Planning appears to be effectively in position before any significant writing commences. This is not the case for the String Quartet No. IV where, as the sketches show, the work develops and changes, being fashioned as it evolves, even in an area as fundamental as broad structural considerations. Indeed, Butterley’s own comment: “All this may be too much. Decide when we get there” supports this proposition (SQ4:11, Figure 5.1). The change in the sequence of the passages in the quartet and the way in which the work was ultimately combined into one movement are affected by the transformation in his compositional methods.
Figure 5.1 SQ4:11
For both String Quartet No. 3 and String Quartet No. IV, Butterley conceived works in three movements; in other respects his planning method diverges. The third quartet is sketched in non-musical words (see Appendix 2, SQ3:17r). Its three movements are represented by numbered columns; the four sections in each movement by the letters A, B, C and D with general detail and requirements for the music noted in each section. The sketches for String Quartet No. IV contain no similar overall plan. Subsequently, in String Quartet No. 3, more detailed planning is created for each movement.3 These comprehensive sketches more precisely indicate the type of material
2 If a starting point was needed for the String Quartet No. IV, the sketch SQ4:02 provides such a stimulus for his ideas. However, this is not a watershed for the commencement of new inspiration for an entire work but as written in this sketch, it “is the whole motivation for the movt.”
3 Two examples of these are the sketches SQ3:15r and SQ3:21v.
74 and character to be used in each part. They also supply extra detail for the work’s more complex or problematical sections, seen by added material in SQ3:21v (see Appendix 2) under third movement, headed section B. The fourth string quartet has no similar sketch detailing the structural proportions or dimensions of the three intended movements. Like the other quartets, it is planned in sketches with words which indicate the initial concept, namely three movements and sub-sections within these movements. Despite this, there is no overall plan illustrating how the sections link together. It is assumed that here, Butterley is relying more on memory and mental planning facilitated by his semi-retirement. His lack of personal strictures is reflected in his more relaxed approach to planning a work. His sketches indicate that in writing the composition, the actual notation, commenced at the quartet’s beginning. Measures 17-19 (I) must have been written before he planned and wrote the sketch for section IIA, (see SQ4:07 in Appendix 3, in which “I” indicates the first movement and “II,” the second movement). As a contrast, the planning and writing for the third quartet is such that the draft copy4 commenced at the opening of the second movement and progresses continuously through the third movement. The second and third movement’s draft is intact (except for the last chordal passage in the third movement) and are all scribed on the one style of paper, whereas, the first movement’s draft is in sketches fragmented and is in several places, using different manuscript paper. It comprises fully notated passages which are planned in sections that are between 12 and 45 measures in length. These shorter drafted passages follow the composer’s sectional plan for this movement. Butterley has been able to compose this quartet by assembling all his constituent ideas into sections to create a well planned composition. There are written discussions on the content intended for some subsections that constitute the movements in this fourth quartet, but these differ in nature from those written in the sketches of the third quartet. They generally comment on changes within these subsections and also re-positioning of these passages. For example, SQ4:11 (Figure 5.2) is characterised by the comments: “It now seems that the above idea Z should be quite short, and wouldn’t provide a whole section” and “now this movt. is AB (instead of ABA).”5
4 SQ3:26a.
5 Also including the previously cited comment: “Decide when we get there.” SQ4:11. 75 Figure 5.2 SQ4:11, changes pondered by Butterley for String Quartet No. IV, circled and underlined by current writer
Through the sketches, layers in the creative process are easily identified by a variety in writing implements used. Butterley’s chosen medium appears to be more formalised in the first and third quartets than in the fourth. The draft copy of the String Quartet (1965) is written in pencil and has extra markings in ink such as a suggested cut in the work, rehearsal markings and tempo markings for changes within the various movements. Pages that include written plans (using non-specific musical words) are often written in one medium initially, for example a blue fountain pen, and later alterations are easily detected, as they are often squeezed in between the existing blue ink in a different ink or pencil (see Figure 5.3). A similar approach to the compositional drafts is followed in String Quartet No. 3.
76 Figure 5.3 SQ1:05r
The holograph for String Quartet No. IV, as marked by Butterley, has editorial corrections in red ink and remarks about the work including performance suggestions,6 written in pencil. The sketches reveal the trajectory of Butterley’s compositional procedure, from the quartet’s æsthetic conception, through the work’s notational formation and subsequently, the combination of these two areas that are then worked into the draft copy. Butterley’s sketches dealing with æsthetic considerations are generally in words.7 The æsthetic conception in String Quartet’s (1965) development commenced with the images Butterley obtained through an external stimulus, which in this case was the poetry. The images conveyed through the poetry are translated into sound images, musical moods and the broad structure utilised in the music. The material in the sketch SQ1:06 provides an insight into types of Butterley’s compositional considerations. Included in this sketch (see Figure 5.4) are his musical interpretations, describing tempi as: “quick- gradually slower- slow”; dynamic levels which are indicated by “quiet joy” and some idiomatic instrumental (sound) effects noted as “…warmth - harmonics light”.
6 These suggestions are in pencil and include expressive comments and performance techniques like changes from “pizzicato” to “arco” that are frequently omitted in the computer score. These are discussed in detail later in this chapter.
7 There are four main sketches containing the written impressions of this quartet, they are SQ1:06, SQ1:03, SQ1:05r and SQ1:02v. 77 Figure 5.4 SQ1:06
As the sketches become more detailed, the expressive wording becomes more concrete and begins to state possible means to achieve the composer’s æsthetic conception. This can be seen in terms of structures, tempi, sound intensity, textures, instrumental use and special effects (harmonics) as observed in Figure 5.5. Butterley is now planning quite precisely how he intends to write this work. At this stage he has not started to write the draft. A similar approach can be found in the sketches for the third quartet.
Figure 5.5 SQ1:03
The compositional devices structured such as note-rows, motive structuring, planning individual passages and rhythmic orderings may be observed in SQ1:07r (Figure 5.6).
78 Figure 5.6 SQ1:07r
The extensive detail shown in these notated plans is evident in String Quartet No. 3’s opening passage, second movement (SQ3:23, seen in Figure 5.7). Butterley’s rhythmic planning shows the planned duet passage. These rhythms are linked to the number sequence on the bottom of this sketch (SQ3:23, seen in Figure 5.8). and in the melodic patterns grouping in SQ3:22 (shown in Figure 5.9). When combined, these two sketches form this passage.
Figure 5.7 SQ3:23 79 Figure 5.8 SQ3:23
Figure 5.9 SQ3:22
Sketches that express æsthetic considerations have little or no musical notation and conversely, the musically notated sketches use few words. These two aspects are planned separately. Many motives or cells created in the notated sketches are finally omitted from the composition. Integrating æsthetic considerations and compositional aspects into the finished composition occurs in the final stage where he notates the work. String Quartet’s (1965) preliminary draft is written in pencil with few alterations or erasures. There is no evidence of smudges or smears which indicate the use of pencil erasers. Later markings are evident and written in ink but these generally apply to tempo considerations. Precise notation of the composition (without errors) suggests that Butterley intends to integrate the æsthetic and musical aspects carefully as a single event, and in a well thought-out manner so that there will be no need for lengthy revisions. This indicates his ability to compose mentally, formulate and develop main sections and then simply transcribe the finished composition. Overall, Butterley’s sketches display a wealth of expressive elements, as well as the more concrete planning involved in this work’s composition. The String Quartet’s (1965) sketches show that the work is organised into main sections, and also display comprehensive rhythmic and motivic planning in micro-detail; the intermediary stages
80 between these small notated fragments and its draft copy are, however, not evident. Sectionalising each movement’s plans8 reduces the necessity to organise intermediary, developmental aspects for these works. Each small section is subsequently formulated in the composer’s mind, according to the general plan and the notated fragments: these are then added as necessary into a final draft copy. The way in which Butterley conceives a new composition on several planes simultaneously is most obvious in the fourth quartet where the sketches bear a date. This verifies the sequence and also provides a timeline of the different processes. Creative development is on many levels as demonstrated by several different sketches. Each sketch includes different musical aspects and elements, planned on one day.9 On 13 October, 1994 Butterley wrote notes on three sketches (see Figures 5.10, 5.11, 5.12). The following comments refer to a passage in the first movement concerning moods such as an “unexpected, hushed interlude” (SQ4:06v), developing the “colour” in a section planned for the second movement (II) (SQ4:10) and the structural implications for a passage (SQ4:19). Therefore, merely assembling the sketches in chronological order and assessing development according to the demonstrated sequence indicated by the dates inscribed, would not highlight the different processes combined in the final composition.
Figure 5.10 SQ4:06v
8The sketch SQ1:05r, of his first string quartet, divides the first movement, 86 measures into five sections (at an average of 17 measures per section).within this section 3, and is sub-divided into a further four sub- sections. Sketch SQ1:03 divides the second movement of 45 measures into three broad sections (at an average of 15 measures per section). This is similar to his other quartets.
9 On 13 October three separate sketches, SQ4:06v, SQ4:10 and SQ4:19, covering varied aspects, were all commenced. On 31 December two sketches SQ4:17 and SQ4:05 were commenced and a third sketch, SQ4:07 began on 5 December, There were additions to this sketch on 31 December. 81 Figure 5.11 SQ4:10
Figure 5.12 SQ4:19
Butterley’s sketches have a dynamic function in the composition process as they involve an initial response to the creative process followed by the composer’s critical reflection on that process. For example, String Quartet (1965) SQ1:03 has tempi indications that are followed by question marks, see Figure 5.13. Self-questioning or reflective writings like “the 1st Movt should perhaps begin senza vibrato- warming up
82 by about A” (also Figure 5.13) indicate the composer’s developmental processes during the work’s formative stages. The written comments with the subsequent self- questioning and resolution, as seen in these sketches, show Butterley’s process of refining organisation, development and design.
Figure 5.13 SQ1:03
This duality of purpose is also apparent in the sketches for String Quartet No. 3. (see SQ3:19, Figure 5.14). Self reflections have multiple advantages for Butterley when writing (and recording) his compositional process. The rationale for decision-making aids both the practicalities of written composition and also contributes to the work’s æsthetic development. From a practical perspective, it is pertinent to note that the composition was written over eight months and that notes and discussions, such as those present in the sketches, help to restore and focus the composer’s attention on detail within the composition.
Figure 5.14 SQ3:19
Butterley has always recognised that his music is influenced by other composers’ music and in the third string quartet’s sketches it is possible to examine some compositional influences that Butterley has exploited. Further, it is possible to understand the use and relative importance of these musical inspirations. Butterley’s early writings refer to other composers’ works and texts for inspiration. Four sketches in the third quartet’s seminal stages mention other composers. These references are used in different contexts. On one level, Butterley appears to use these
83 materials as if they are reference guides. This is apparent in the sketch SQ3:19 (see Figure 5.15), where he writes in an almost perfunctory manner, “Look at Circles, Penderecki Quartet, Le Marteau, notation book etc.”10 The diversity of the works cited by Butterley would suggest that in this instance, he is looking for general ideas.11
Figure 5.15 SQ3:19
Influence on another level is more apparent where a direct reference is made to an aspect of another composer’s technique. In this instance, in SQ3:19 (Figure 5.16) Butterley discusses possibly using an “accel superimposed on rall (ref Elliott Carter)”;12 however, in later contemplation, decides against using this technique. Butterley also declined to follow through creative methods he derived from Graeme Skinner which involved the using “proportional notation; ([where] each instrument has vla. part and relates to it, some more improvisatory, freer than others).”13
10 It seems that the works to which Butterley refers are: Luciano Berio’s Circles for female voice, harpsichord and 2 percussion (1960) and Pierre Boulez’ Le marteau sans maître for flute, guitar, vibraphone, xylorimba, percussion and viola (1953–5). It is unknown whether Butterley refers to Krzysztof Penderecki’s String Quartet No. 1 (1960) or String Quartet No 2 (1968). The final work is a text entitled Notation by Karkoshka. Erdhard Karkoshka, Notation in New Music: A Critical Guide to Interpretation and Realisation (New York: Praeger , 1972). Butterley wrote to the current writer: “I think the ‘notation book’ would have been one around at the time called, I think, ‘Notation’, by Karkoshka. I would have been looking towards that and those three works for help in seeing how to notate the ideas I had in mind. I knew the works a bit, and notation was the main thing I was interested in.” 5 December 2007, used with permission.
11 The diversity is typical of the complexities in Butterley’s style; his use of texts and musical influences was discussed briefly in Chapter 3.
12 David Schiff, “Carter, Elliott (Cook),” in Grove Music Online, ed. L. Macy, accessed 5 October 2007. http://www.grovemusic.com
13 SQ3:19.
84 Figure 5.16 SQ3:19
Carter’s influence also emerges in another sketch, SQ3:17r, wherein Butterley mentions “two violins overlapping” (Figure 5.17). This technique constitutes the second movement’s opening idea. This sketch also includes a reference to a “Tippett” sound that Butterley identifies as “high semiquavers” in the violins and viola and “ towards end, ‘cello low, - isolated chords, pizz.”14 Butterley integrates Carter’s and Tippett’s techniques in the second movement. These composers’ sounds are described again with more detail and appear in the sketch SQ3:03 (Figure 5.18). Butterley’s realisation of Carter’s influence results in a two layered rhythmic pattern followed by the words “2 melodies chasing each other”15 in SQ3:03 (also Figure 5.18). Butterley’s wish to incorporate particular writing techniques used by other composers and assimilate these aspects into his own music is apparent in these examples.
14 The sound identified here is the passage first occurring in the second movement commencing at measure 24. The ‘cello enters at measure 47.
15 An example of Butterley’s realisation of this aspect is observed in the opening passage, second movement, measures 1- 7.
85 Figure 5.17 SQ3:17r
Figure 5.18 SQ3:03
A reference to Mozart’s compositional style emerges when Butterley discusses technical aspects. Butterley states that “parts overlap as in Mozart” and also in the direction, “Imitative writing (more Mozart),” SQ3:17r, (see Figure 5.19).16 Here, Butterley indicates his ability to isolate, adapt and use instrumental techniques from non-contemporary composers. Although the reference to Mozart may seem a little incongruous to Butterley’s own writing style, it does demonstrate that he is inspired by the various composers’ techniques.
16 The first use of the “Mozart” techniques, using “overlapping parts… [and] … imitative writing” is in the first movement, measures 55-85. 86 Figure 5.19 SQ3:17r
Other composers’ practices adopted by Butterley become increasingly apparent in his more detailed sketches where he discusses interpreting these sounds in a tangible manner and how he will utilise them in his quartet. Butterley stated that he “absorbed them [these techniques] and got what [he] wants from them,”17 by exploiting the techniques for their creative impetus. There are several sketches for String Quartet No. 3 that also indicate external influences. The sketch SQ3:09 (see Appendix 2) summarises first three quartets’ main aspects. They are notes that may have been intended for a pre-concert discussion or a Meet the Composer lecture. Butterley writes that “perhaps this [work] is the most personal of all,” which indicates that aspects of the composer’s private life are relevant to the composition and have influenced its conception.
Formative Ideas: Sketches in Words for String Quartet (1965)
The question arises, whether the musical conception preceded the chosen poem, or whether the poem inspired the quartet’s structure and mood? The heading on the sketch SQ1:06 states “String Quartet in Two Movements,”18 shown in Figure 5.20. The poem
17 Peter Dunbar-Hall, A. Pollack and G Hodge, “Nigel Butterley (1935- ),” in Music Resource Notes (Bondi: Educational Resource Materials, 1985), 39.
18 SQ1:06. 87 is clearly in two six and eight lines stanzas19 and Butterley’s own handwritten copy in SQ1:06 replicates the two sections. The quartet’s two movements imitate the poem’s two sections.
Figure 5.20 SQ1:06
It is clear from the outset that Butterley seeks to organise a work in two large sections and that the work is created with consistent regard to the whole, with the precise pitch detail being subsequently completed. In this sketch, SQ1:06, Butterley discusses the tempi, general melodic shapes and impressions such as “upward growing music, searching for the light”20 and warmth. Descriptive images he first explores for this work are “cold… the light is not shining…searching for the light [and] ‘unfolds’,” seen in Figure 5.21.
Figure 5.21 SQ1:06
19 The form of this poem is a sonnet (aabbcc ddeeffgg).
20 SQ1:06. 88 The composition was conceived as a whole and was not one that emerged or developed from several thematic points. This is implied by the correlation between the poem in the sketch and the quartet’s realisation in two movements. This is not to say that there is no thematic growth, as this is clearly observable, but simply that the entire work was conceived as an entity. Commencing with the early planning stages, Butterley draws a comparison between those aspects which he deems essential to the poetry and the character to be portrayed in the two movements. The comparison is observed in the sketch SQ1:06 in which Butterley arranges the lower part of the sketch into two columns, facilitating a comparison of the two contrasting movements. The first line (shown in Figure 5.22) shows the composer writing in the first column “I Fairly Slow - More Active - Slow - Fairly Quick – Slower” and in the other he contrasts with “II Quick - Gradually Slower - Slow.” This highlights that Butterley is mindful of both the differences between the movements and also the need to create continuity over the entire quartet.
Figure 5.22 SQ1:06
Tempi indications in this sketch (SQ1:06) are used to designate main sections in each movement, as shown in the later sketches SQ1:03 and SQ1:05r. The first movement has five sections (each indicated by a tempo change) and the second movement includes three sections (also designated by the tempi changes, see Figure 5.22 above). Thus these tempo indications are integral to the work’s planning and structure. Comparison and contrast between the movements continue as the sketch is developed into elements beyond tempi and structure. Butterley’s writing in the second and third line, shown in Figure 5.23, illustrates his concern for contrasting timbral development in each movement. The first movement is described as “Cold, beginning to unfold; the light is not shining yet - there is tension and uncertainty.” By contrast, in the parallel column, the second movement is described as “Warm, unfolding to quiet joy. Illuminated by light. Viola warmth - harmonics light.”
89 Figure 5.23 SQ1:06
In writing these plans in columns directly parallel with each other, Butterley suggests the sense of contrast between these two movements, which accompanies the this composition’s progression. The following line in this sketch (as shown in the underlined sections, see Figure 5.24) begins with “Opens with upward growing music, searching for the light,” for the first movement, with the second column stating (for the second movement): “Same opening but quicker - joyous now the light shines.” The sketch’s next part commences “In this movt.” for first movement and across from this its second movement sequel begins “This movement.” This further indicates Butterley’s parallel conceptualisation of these two movements.
Figure 5.24 SQ1:06, lines by current writer
Developing a methodical approach: String Quartet (1965)
Butterley has developed four distinct tiers when planning each movement in his first string quartet as the early sketch SQ1:06 attests. When comparing related aspects, these layers are distinctly visible in the two columns in SQ1:06 and are numbered 1-4 in Figure 5.25.
90 Figure 5.25 SQ1:06, numbers by current writer
The first tier refers to tempi contrasts, which also indicate the sections and broad changes in each movement (see earlier Figure 5.22). The second tier is an expressive account detailing the main æsthetic sensations the composer wishes to clarify and represent in the string quartet. The third tier begins to describe in more definite, practical terms, how Butterley intends to achieve his objectives. He still refers retrospectively to the thoughts and sensations outlined in the second layer. The fourth tier reiterates the earlier features, as if the composer is consolidating his ideas. At this point he also ventures into other areas considered necessary in this composition. For the first movement, Butterley’s comments focus on another essential aspect - that “there are no extremes of tempi or dynamics - it all comes out moderately.” As the second movement is written in greater detail (5 lines), more planned ideas can be seen in the intended material planned at this stage. Butterley writes that “This movt. is a sort of comment, elaboration, variation, interpretation, flowing of the first - growing some material, restating other parts.” The composer is practically considering both this movement’s nature and its relationship with the first movement; additionally he considers the point from which this material should originate. Continuing in this sketch, he makes a further comparison to the first movement, commenting that “This movt. has unfolded to contain extremes of tempi and dynamics - of activity and serenity.” (see preceeding Figure 5.25). Each level planned emerges from the previous tier as Butterley develops and contrasts the two separate movements in this early conceptual stage.
91 Butterley’s treatment of pitch materials, both in the completed composition, as well as in his writings in several sketches, replicate his conscious arrangement and sequencing. These aspects are mirrored in the layout of sketch (SQ1:06) where the same pitch materials are re-organised to achieve contrast in the corresponding section in the parallel column. One example is in his application of the note-row in the opening section of each movement: he uses the same note-row but in a different manner to achieve different moods in the opening passages. Contrasts and similarities between the two movements are integral to the music. These are intentionally addressed by the composer from the work’s inception and planned not only in words, but also expressed in terms which can be practically implemented. The thoroughness, organisation, preparation and conciseness seen in SQ1:06 demonstrate Butterley’s methodical approach. His written preparation on the page and its layout enable him to easily sustain an overview of the entire composition. This template is then elaborated in more detailed sketches whilst still retaining the central focus on the elements and aspects which the composer considers to be the main features. Later additions, in pencil and black ink, suggest that Butterley still consults this sketch and adds to it as the quartet is being developed. The absence of musical notations (motives or rhythmic patterns) in SQ1:06, and indeed in some other later sketches, gives the impression that moods, timbres and expression are the primary focus for Butterley.
Compositional Hierarchy in the Sketches for String Quartet No. 3
Many preliminary sketches and workings demonstrate both Butterley’s sequential process and writing. They also show interrelationships among various elements and musical features.21 Using the third quartet as an example, it is possible to trace these ordered aspects and construct a logical hierarchy from the existing sketches.22 The relationships between the sketches clarify this sequence. The first sketch in the sequence is SQ3:01 which states the title of this work (3rd string quartet) and its dedication “M.L.B.T.” It is a statement about the dedicatee;
21 This relationship is overt in sketches SQ3:22r and SQ3:25 where the first sketch details a sequence of pitches and the other sketch is one which deals with a rhythmic pattern developed for these pitches.
22 It was stated in Chapter 4 that there may be some sketches lost or misplaced in other work’s folders.
92 therefore it is proposed that these letters were created as an initial overall focal point for the composer. Early sketches record the composer’s scribed possibilities for this work. The next sketch in sequence is SQ3:19 (see Appendix 2), where Butterley imagines the general features of the opening. He then creates a reading and listening list, seemingly for study and inspirational purposes. Another early sketch is SQ3:11 (Figure 5.26), in which Butterley establishes this quartet as a three movement plan, and states general structure, speed indications, instrumental roles, phrase indications, dynamic possibilities and unifying features.23 Other early compositional considerations apparent in this sketch (SQ3:11) concern structure, in which Butterley writes that “each movement must be an entity - not 4 sections.” The quartet has been planned for each movement to include the following sections: “solo decorated, duo, tutti and chordal theme.” Using these similar textural aspects across the three movements provides unifying factors for the entire work but Butterley feels that the sections could also possibly detract from the homogeny within individual movements. The possibility of this outcome would explain why Butterley worked on each movement as an entity and not merely as a progression of sections. He is also concerned with the abrupt changes between each section. This sketch also discusses opportunities for the resolving this issue. One solution Butterley explores is the use of “BRIDGE PASSAGES [that] may soften the outlines of the sections of each movt.” (see Figure 5.26).
23 In this instance Butterley envisages a chordal sequence to be the unifying element. 93 Figure 5.26 SQ3:11, underline added by current writer
This sketch’s structurally important aspects (SQ3:11 shown above, Figure 5.26) lie in the four sections that constitute each movement and Butterley’s respective treatment of these passages. The four headings within each movement are transcribed onto a later sketch (SQ3:17r, cut as illustrated in Figure 5.27). Butterley has allocated more writing area to allow increased detail for each section. A comparison of these sketches demonstrate their similarities, and highlights that the core content within these sketches remains the same. The later sketch (SQ3:17r) both explores and elaborates on the possibilities and concepts initially conceived (SQ3:11) and also partially describes Butterley’s realisation of these earlier inspirations.
94 Figure 5.27 SQ3:17r, headings within each movement corresponding to those in SQ3:11
Sketch SQ3:17r (see Appendix 2) is the next plan in sequence. The manner in which Butterley has laid out this sketch creates the impression that he has commenced by drawing three columns, leaving a small space at the top, and proceeded to write the letters A, B, C and D in each column. These letters, which are in equally spaced, gives Butterley boxes where he adds detail necessary for each section in the appropriate space. The details in this sketch are added over time. This is suggested by the various writing mediums, the way that he has needed to compress the writing in various places and his responses to some aspects about the music. Within this plan are several short thematic statements. It is assumed that at this point in the composition’s development some sketches including motives have been, or are being developed through the incorporation of these brief musical segments. This sketch, as well as having a short few passages, refers to several other musical fragments as if they have already been created -- in the comments “fanfare figure” and “rhythm of Q fragment is heard first.” Despite these references, no extant sketches indicate that these motives are fully sketched at this stage. Sketches showing more detail are next developed: these are of the second movement (SQ3:15r) and the third movement (SQ3:21v) (see Appendix 2).24 These two
24 The paper used for these plans showed there was a due date for the assignment of 9th November. 95 sketches have been formulated after the plan sketch SQ3:17r. It is proposed that the thematic material was written prior to these sketches SQ3:15r and SQ3:21v. In these sketches there is more discussion, including particular thematic use, measure numbers and greater exactitude in placing passages which constitute the final work than in the plan that deals with all three movements. There is no corresponding first movement sketch, although the sketch SQ3:17v does show the movement’s sections including the length, in measures, in each section. Possibly Butterley’s ideas were relatively formulated for the opening movement and only the entire work’s large plan was necessary. Also it is likely that the first movement was written quickly without a detailed plan because of the preview of this movement on 20th September, only three months after Butterley commenced work on this quartet. The two sketches, SQ3:15r and SQ3:21v, are written on the same type of scrap paper (the reverse had been used for a homework task for tertiary music students which Butterley had assigned in 1979). Using the same fragment of paper may suggest that these sketches were written quite closely chronologically. Despite this suggestion, the organisation of this sketch is very different. The writing on one sketch (SQ3:21v) is spaced more logically and evenly down the page (with writing added as necessary) while the other sketch (SQ3:15r) outlines the passages for the movement and incorporates many and varied aspects in a seemingly less coherent manner. Through necessity, these two sketches are different: they have different roles and functions because the structure of each movement is quite different. The second movement is based on recurring sections in dissimilar states from their original annunciation whereas the third movement adopts a simple structure. The sketch for the second movement is concerned with Butterley’s ordering of these passages. Emerging from this structural sequencing is specific information concerning the placement of each section, how the constituent material is altered when repeated, and how the composer intends the sections to be linked in a musical manner. It is assumed that at this point in Butterley’s planning he has conceived the thematic material for the work and would then proceed to the next stage which is drafting out the work’s different sections. In the first movement measures 1 to 12 appear as a draft in SQ3:10; measures 21 to 43 are in SQ3:18; SQ3:25 has the passage commencing midway through measure 45 and concludes at measure 85; the chordal passage from measures 86 to the movement’s conclusion is in a draft in SQ3:13r. The passages from measures 13 to 20 are not represented in these sketches. SQ3:26a-e 96 (movement 2, measures 1 to 138; and movement 3, measures 1 to 78) is the longest draft; SQ3:08v (movement 3, measures 81 to 86, D).25 Butterley assembles these passages and then writes his final copy. Butterley uses a kind of short-hand to facilitate different facets of notation. These occur in his conception process between formulating a passage and writing a draft, although it may be a composite of an early draft. In this example (Figure 5.28) Butterley has obviously written, in close score, the notes of a four part passage. In plans, Butterley often uses close score to first notate vertical properties, as if they are worked on at the piano. Voicing considerations are not featured at this point as a comparison with the score indicates that the vertical order is not followed. This passage is measures 86-104 of the first movement. Importantly, dynamic considerations are drawn before rhythmic planning, as evidenced by the writing medium. The blue ink is used at the drafting stage shown by the inclusion of page numbers and the positioning of the systems. Using the same writing medium indicates that rhythmic planning is considered at this point. New systems are indicated thus – X. The tempo marking in this example is also added after the notes in the sketch have been scribed. The tempo indication is in a darker blue, which is the same colour as a correction in the rhythm of this section. In summary, three levels of planning are apparent: firstly, the notes and dynamic changes are set out; secondly, the heading ‘chords’ are added, the passage’s positioning is fixed at page 6 and the rhythmic shape is added; and finally an alteration is made in the rhythm written above the stave which coincides with the addition of the tempo indication.
25 Examples of these sketches may be found in Appendix 2.
97 Figure 5.28 SQ3:13r
While Butterley is writing the passages, he still consults his descriptive (non- specifically musical) sketches. At this point he revises these writings and incorporates further details. This may be observed in the sketches in “ticks (),” “no”, inclusions like “first 5 bars of [movement] 2 v. [very] slow lead into C”26 and crossed-out passages like “any extra bars needed?”27 Butterley is now working multi-dimensionally, concentrating on the aspects necessary to compose the section(s) where he is currently working, while still maintaining and developing his plans in the other parts of the composition. Butterley continues this multi-faceted approach while simultaneously preserving these aspects within his initial æsthetic and formal framework. In summary, it is possible to identify the conceptional order in compositional planning, Butterley’s priorities and sequencing in the compositional process through an examination of the sketches. In String Quartet No. 3, Butterley’s first considerations are mood, textures and timbres. Formal considerations are important as some sections are planned to be repeated in each movement (a decision which was probably made before the actual notation was formulated). Varied repetition to be implemented in later points in the work is also planned at this stage for these sections. Thus, it emerges that Butterley composed following a hierarchical and systematised schema when creating
26 SQ3:21v.
27 SQ3:15r.
98 this third string quartet. A similar sequence was employed in the first quartet. Although the sketches for String Quartet No. 3 bear no date or precise method to verify the conceptual progression, a realistic sequence has been traced through examining these sketches, which provides a general guide to Butterley’s compositional process.
Sketches Ascribed with Dates: String Quartet No. IV
Sketches for the fourth string quartet and the Bagatelle give more insight into the Butterley’s creative sequence than the sketches for the other quartets. Most sketches (fifteen out of twenty-one) of the fourth quartet are ascribed a date.28 The dates written on the String Quartet No. IV’s sketches reveal several clear planning periods. Writing these sketches probably indicates the time periods spent on this composition including several breaks before its completion. As there are six sketches which are not dated and others that are probably missing, these periods only suggest the compositional period and are not definitive. First planning commenced prior to the earliest dated sketch, SQ4:21, 15 March (1994).29 As previously noted, Butterley’s early sketches generally contemplate the compositional ideas, inspirations, general sounds and broad structural possibilities.30 These references are found in words in SQ4:02, whereas the sketch SQ4:21 (see Appendix 3), briefly discusses some possibilities for the opening. The sketch SQ4:02
28 SQ4:21 Date 15/3/94 (Tuesday) or in middle of sketch, (9/8/94) (Tuesday). SQ4:01r (and therefore probably SQ4:01v) Date 27/6/94 (Monday)(sketch probably not of this quartet). SQ4:11 Date 29/8 (Wednesday) then 23/9 (Friday) then 26/9 (Monday) and again 26/9 and also 25/10 (Tuesday). SQ4:20 Date 8/9 (Thursday). SQ4:09 Date 20/9 (Tuesday) Colour 23/9 (Friday) & 26/9 (Monday). Includes reference to 29/8 and16/3. Despite this reference in SQ4:09 there is no sketch dated 16/3. SQ4:16 Date 10/10 (Monday) Future, then 18/10 (Tuesday) and 17/1 (Tuesday). Sq4:06v Date 13/10 (Thursday) Note. SQ4:10 Date 13/10 (Thursday) Colour II and reference to 20/9 and 26/9. SQ4:19 Date 13/10 (Thursday) Note. SQ4:06r Date 26/10 (Wednesday) II Colour IIA and reference to (20/9). SQ4:07 Date 5/12 (Monday) Note and 31/12 (Saturday) with reference to 20/9. SQ4:08 Date 27/12 (Tuesday) IIA. SQ4:17 Date 31/12 (Saturday) IIC also 2/1 and refers to 13/10 SQ4:05 Date 31/12 (Saturday) IIA. SQ4:12 is dated by the facsimile machine as 24/2/1995 (Friday). Six other sketches exist that are undated.
29 The year 1994 is added by the current author - the rationale for this year was discussed in Chapter 4, p70.
30 In his first and third quartets these aspects were the first to be planned by Butterley.
99 (see Appendix 3) is undated, but includes more compositional considerations than illustrated in the previous sketch, SQ4:21. Butterley contemplates the possibilities in an “Idea arising from what Roger Smalley said (in interview) about his two-piano work Accord.”31 Butterley explores the adaptation of these ideas into a “Work in several movements each of which is concerned with a progression eg. High-low, slow-fast, fast- slow, low-high, sustained-detached, detached-held, middle-extremes, extremes-middle, thick-thin.”32 The general nature, content and the type of compositional possibilities that this sketch (SQ4:02) explores indicates that it pre-dates the sketch SQ4:21 (bearing the date 15 March [1994]) therefore, SQ4:02 was written previously. The next pre-compositional planning period is approximately five months later and carries the date 29 August (1994), as seen in sketch SQ4:11 (see Appendix 3). Comments on planning passages to be created have been added to this sketch on several occasions. Butterley considers creating specific musical sounds and structuring several passages’ placement. The passages are indicated by capital letters. At this point he is still consolidating this quartet’s conception without any specific pitch or rhythmic detail. His planning continues spasmodically and gains impetus through late September and during October, which is confirmed by the later dates in this sketch, as is shown in Figure 5.29. Here too, the frequency of dates added to this sketch confirms Butterley’s return to this plan over the two months. In this planning period, Butterley organises the first movement and explores the material-type required for the remainder of the work.
31 Roger Smalley, Accord, for two pianists, 1975.
32 SQ4:02. 100
Figure 5.29 SQ4:16 (left) and SQ4:17 (right)
There are no sketches that have dates for November and therefore it is assumed that Butterley was not actively composing the string quartet in this month. Possibly this was because Butterley was frequently involved as a special marker at Newcastle University as well as other institutions for end of year recitals which normally occur in November. Therefore composition may not have continued because of work commitments. Planning continues throughout December and the last sketch to carry a date is SQ4:17, dated 2 January (1995). One other sketch, SQ4:16, bears the date 10 October (1994) and includes subsequent modifications which were incorporated on 17 January (both sketches are shown in Figure 5.29, above). It is possible that once planning is complete, Butterley does not require further deliberations during the final writing period.
101 The composition’s completion is confirmed in a message to David Barmby33 stating that “[you] should have the score and parts next Wednesday (8th)” (see SQ4:13, Appendix 3). This assists in establishing that although there were no new plans made throughout most of January, the compositional writing was in progress (that is, the completion of the draft copy) and that the quartet was being finalised in early February. Questions by the performers and misinterpretations by the editor were addressed in a facsimile transmission where the date was automatically generated; 24 February 1995.34 Concluding the composition process is a “Note for the performers” in the undated sketch, SQ4:15 (see Appendix 3). This indicates that Butterley was concerned about performance considerations which are “beyond” the score. Interestingly, this “Note for performers”35 is not included in the published score although it includes changes where “Bars 202-3 muting can be changed to 205-6”36 and a request that the phrase played by the ‘cello in measures 280-282 be performed on the ‘D’ string. Obviously, this note was initially intended for the performers in the Goldner String Quartet.37 However, without this alternative performance instruction in the score, these directions are lost, except to those studying primary sources such as the sketch materials. As a result, Butterley’s modifications, as they affect this section, are not generally known. String Quartet No. IV was conceived and written over different periods which span almost a year. Table 5.1 identifies each sketch which bears a date or dates. Days of the week are also included, for interest, as they may show Butterley’s weekly preference of days for composition. These show he rarely plans on a Saturday and never on a Sunday. Butterley generally uses a similar schema as he has previously implemented to create this quartet, but his approach is more flexible during its construction than it has been in his other works in this genre.
33 David Barmby was Head, Artistic Planning at Musica Viva at the time. Details supplied by Nigel Butterley, personal communication, 18 December 2007. Used with permission.
34 SQ4:12
35 SQ4:15
36 SQ4:15
37 “The Goldner String Quartet was launched in 1995, although the players have performed together since 1991 as members of the acclaimed Australia Ensemble.” Hyperion Records, “Goldner String Quartet,” accessed 6 December 2007. www.hyperion-records.co.uk/artist_page.asp?name=goldner 102 Table 5.1 String Quartet No. IV, Sketches including dates, with the bands indicating various compositional periods
SQ4: 21 01r 11 20 9 16 06v 10 19 06r 7 8 17 5 12 Tues 15/03 Mon 27/06 Tues 9/08 Wed 29/8
Thur 8/9 Tues 20/9 Fri 23/9 23/9 Mon 26/9 26/9 Mon 10/10 Thur 13/10 13/10 13/10 Tues 18/10 Tues 25/10 Wed 26/10
Mon 5/12 Tues 27/12 Sat 31/12 31/12 31/12
Mon 2/1 Tues 17/1 Quartet completed prior to 8 February 1995 Fri 24/2
103 Summary
Butterley’s string quartet sketches show that similarities occur in his conception and composing in this genre. However, there are distinct changes in the quantity, scope and the type of planning undertaken by him. Butterley’s sketches change from a fairly rigid adherence to planning to a more flexible approach to composition. He conceives a work and it develops multi-dimensionally while exploring various aspects simultaneously. This has been a constant aspect in Butterley’s creative process. Butterley commences by writing his ideas. His descriptions establish an æsthetic guideline for the piece. Also, these sketches include intended structures and tempi. Pitch and rhythmic details are conceived independently of the written plans. Aesthetic considerations and broad structures are a prime concern in his initial planning stages. This approach was still evident in his String Quartet No. IV. Once Butterley has established these aspects he is able to expand and augment them in order to develop his composition in more precise musical detail. Butterley is very careful not to duplicate material from other compositions that he has written previously and the sketches also indicate a concern for the performance details as they will affect the work. These sketches reveal that for Butterley, compositional planning is quite distinct from the writing of a work. While these two aspects may develop simultaneously, they occupy and operate on different planes of his consciousness.
104 # "$%5 ($" '-$(!0!'"'! -- '3+$"#$6'"# 6!%(
This chapter analyses sketches that are written in words. It will explain how Butterley creates and uses his sketches with words as opposed to sketches in musical notation. Butterley’s conceptual processes and hierarchy of development in compositional planning were discussed in the previous chapter. This chapter details Butterley’s multi-dimensional approach by examining layers of conception in the sketches for quartets 1 and 3.
Plans with Words: String Quartet (1965)
SQ1:06 (Appendix 1) remains a reference point for all Butterley’s subsequent planning as it is an overview of the work. That it is also updated as the work develops can be seen by subsequent inclusions made by the composer. The two sketches, SQ1:05r and SQ1:03 (Appendix 1), re-present the material from SQ1:06, but now the content is expanded with further details. Butterley’s methodical sketch design helps him to plan each individual movement. In these more detailed sketches his planning style alters as each is written and extended in response to the intended music. These sketches are divided into sections, as initially conceived, which reflects the basic design of the movement. Also included are comments indicating Butterley’s ponderings for each section in fairly encompassing emotive terms. In those instances where there are later additions, his notes to himself are increasingly more precise as detailed musical materials are gradually articulated. The sketches in words become more significant as the planning and writing develops in this quartet. The planning needed for each section is evident in the detail written in each sketch, as well as its sections. Looking at the sketch SQ1:05r (Appendix 1), the third section comprises seven lines of writing as well as a subsequent note detailing plans for four sub-sets of this section. Three distinct layers of thought are apparent in the third part and they are identified by writing in blue (fountain) ink, black pen and lastly pencil. The second section in this sketch also uses another writing medium other than the blue ink;
105 these additions are written in pencil. By the amount written, the third section appears to have been the most difficult to plan. Conversely, the sketches of the first section have minimal writing and may have proven to have been the easiest to plan. As Butterley is able to compose mentally,1 this first section was probably conceived in his mind and not on paper. The quantity of sketches does highlight the areas in this work that appear to have received more attention as this composition developed. Most tone-rows, cells and motives in the movements have been created either before, or during the scribing of these two sketches. Both SQ1:05r and SQ1:03, the first and second movement respectively, show Butterley considering the use of either different or changing figures as they are placed and applied in these plans. The draft copy has been partially completed by the finalisation of SQ1:03, as the sketch holds precise indications showing sections of music placed in the quartet. For example, Butterley’s comments “like 1st bar page 9” implies that he has already completed the musical draft up to, and including the music to page nine (see Figure 6.1). Further evidence that the draft copy is being composed while this sketch is developing is his reference to rehearsal letter “D page three,” (Figure 6.2) and other statements including: “on page 9 is Tempo I ( crotchet = 46) too slow?” (shown in Figure 6.3). By the time Butterley is working on details for the second movement, the first movement has been established and composed to a large extent. In the sketches with words, references to precise places in the draft copy show that there is a reciprocal relationship between Butterley’s draft and his these plans.
Figure 6.1 SQ1:03, circled by current writer
1 The ability to compose sections of works mentally was discussed in Chapter 5 (p75) after examining the draft copy of String Quartet (1965). 106 Figure 6.2 SQ1:03, circled by current writer
Figure 6.3 SQ1:03
Sketch SQ1:03 also includes lines crossing-out three sections. It is not that these plans have been erased or omitted from the composition, but more likely this is a reminder for Butterley that the material has now been included. In summary, the written sketches show the composition of this string quartet commenced with the first movement. This is illustrated by notes in SQ1:03 citing the precise placement of passages in the first movement. These include page numbers and a rehearsal letter which establishes the order Butterley follows when writing the two movements. Butterley adopts an approach whereby he writes ideas and thoughts in general terms and then refines these into more specific ideas. Butterley’s sketches demonstrate that he has a clear method of developing his concepts sketched in words into music in the first quartet’s creation.
Movement Planning: String Quartet No. 3
Butterley’s plans for the third string quartet are developed along similar lines to those for his first string quartet. His overall plan, SQ3:17r, is summarised on one sheet, making it possible to keep the entire work in perspective. The subsequent plans for the second movement illustrated in sketch SQ3:15r (Appendix 2), and the third movement illustrated in sketch SQ3:21v (Appendix 2), are in greater detail and both are organised differently to meet the diverse requirements needed in planning two different movements.
107 Butterley does have the ability to develop very differently structured plans and isn’t confined to the same type of layout each time he writes a “movement” sketch. Planning in these more detailed sketches is determined by the intended structure. The second movement is composed more in short, reiterated sections reflected in the layout of the sketch, which aims to order these passages. By contrast, the third movement sketch is generally more descriptive. Constructed in larger sections, this movement is essentially resolving2 the previously composed material.3 The first movement has no separate plan but, SQ3:17v (Appendix 2) summarises the content and length of each section. By developing the music in shorter notated sketches, it would appear that lengthy planning, in words, was not necessary. Sketch SQ3:21v (Figure 6.4) highlights Butterley’s descriptive approach to his third movement plan. The sketch frequently contains descriptive terms, with phrases including: “Flowing, expansive, but with some breaths. The whole movt. is a continuous, lyrical song.”
Figure 6.4 SQ3:21v
This descriptive approach is not used in areas that need concrete planning, like section B (see Figure 6.5). This section is planned in much more practical terms,4 it also appears to be more difficult to organise and hence a descriptive approach would not be beneficial to the composer at this point.
2 A feeling of resolution is created in the third movement by Butterley’s adaption of thematic material from the second movement. This sense is created by using the same material at a slower tempo, with more rhythmic stability, a fuller scoring and a generally higher and wider pitch range.
3 This difference is most noticeable when comparing the sketches SQ3:15r and SQ3:21v.
4 SQ3:21v reads as: B - 1. Bars ½ of “2” beginning E, 2 8ves apart. One vln hangs on to Eb 2. Page 2 bars 21- 27. * vla/vlnII muted, cello/vlnI muted. Then brief link to 31-35. Bars 32-3 – 4pt chords. 3. Bars 1-5 of “2” beginning on C#, 2 8ves apart. Repeat bars 5 with on inst sustaining top C, and lower inst doing their part 8ve higher. *At end of bar 27 insert “3” from section A. Remove mutes just before. 108 Figure 6.5 SQ3:21v
Material used in the third movement was used in the two previous movements, although it is modified to accommodate the projected moods of this movement. Butterley’s statements indicating that this was intentional include: “First 5 bars of 2 may be used again” (see Figure 6.6), wherein the number “2” refers to the second movement.
Figure 6.6 SQ3:21v
The sketch identified as SQ3:21v (Appendix 2) displays the characteristic layers that are an organisational feature in Butterley’s sketches. Most conspicuous is the methodical way he writes his initial concepts in blue ink, with additions in pencil and further alterations and corrections in red ink. The pencil additions discuss the re-use of previous material, tempi changes and also string effects like using mutes. Red ink is used for directing material around the page. Each writing medium has its own purpose as it indicates the revision of a different aspect and is exploited by the composer to clarify and assist in the revision and development process. The material contained in the equivalent sketch of the second movement, SQ3:15r, is organisational and practical in nature. The second movement comprises eleven separately planned sections in combination with three different tempi, in contrast to the four broad sections in the third movement. This difference has resulted in varied planning methods for the contrasting movements. Within the sketch SQ3:15r, the eleven
109 sections are clearly indicated by letters, in blue ink, and their repetition indicates recurring subject matter. Butterley re-classifies these sections, later and more clearly in pencil, using the letter “B” as a substitute for the section identified by him as “AX” and “S” similarly changes to “Z”. These alterations by the composer are for his ease in the classification of sections within this movement. Tempi indications are also inserted in red ink, to indicate the three speeds as they correspond to the different sections. Figure 6.7 shows that section A is intended to be set at tempo I, section B is at tempo II while Z, ZC and D are all tempo III. Like in SQ3:21v, the three writing mediums each have a separate purpose and each illustrate a different layer of planning.
Figure 6.7 Section and tempi markings in SQ3:15r
The left section of the sketch shows the sectional ordering in the second movement: it is this planning schema which he also adopts for this movement. When the entire sketch is viewed, SQ3:15r (Appendix 2), the lines drawn across the page
110 elucidate further the content in the various passages and the composer’s method for linking the separate sections. In summary, the written sketches demonstrate that Butterley’s approach to the early planning for the first and third string quartets are similar. Initially, there is an overview sketch where the work is conceived in broad terms and the moods desired are described. Beyond this point, the music being created determines the type and amount of detail planned in the sketches. Butterley exhibits flexibility in the extent and type of plan he writes depending on his needs. Detailed, written sketches exhibit a systematic approach using varied writing implements so Butterley can see the various layerings of his work.
Structural Planning: String Quartet No. IV
By comparing information in the sketches with the written score, it is possible to divide String Quartet No. IV into three movements,5 as it was originally conceived. It would seem that the change in structure, from several movements to just one movement, occurred at a latter stage in Butterley’s conceiving this work. The first movement was originally planned to commence with the same material as now exists and to conclude at the end of the passage, rehearsal letter D, measure 88. The second movement would have commenced at letter E (measure 89) and conclude at the end of the passage at letter H, measure 206. The last movement was originally designed to commence at letter I (measure 207) through to this work’s conclusion (measure 331). These partitions have been annotated as can be seen in Figure 6.8, and show the main sections. Divisions are created by the contrasts and variants found in the music that are congruent with and also highlighted by written indications in the sketches. The added pencil markings on the third section of SQ4:14 are one example where the sketches support the notion that the third movement was planned to commence at letter I, or alternatively at the viola passage, “song III,” which commences two measures earlier (now letter F, Measure 126).
5 As discussed in Chapter 5 pp. 74-76, String Quartet No. IV is in one movement, although it has many smaller sections. However, Butterley’s sketches of this quartet constantly discuss its structure as a “work in several movts.” not in one movement as it finally appears. This is supported by material in the sketch SQ4:02. The same planning is also recorded in the sketch SQ4:11, where the composer details occurrences in the “first movt…. 2nd movt…. [and] 3rd movt.”.
111 Figure 6.8 SQ4:14, division of movements by current writer
Probably a later sketch, SQ4:14 is undated. It details the quartet’s overall structure in one movement showing the thematic material correlating with the rehearsal letters. The sketch was written at or near the completion of the creative process as it details durations for each section and also the entire quartet. Interestingly, this sketch (SQ4:14, Figure 6.8 above) includes the additional markings in pencil that complete the last three sections. These pencil markings show that Butterley considered alternate lengths, modifications or tempi changes for these final sections, and also show section names in brackets, “(IIB), (IIC) and (IID).”
112 Previous practice seen in Butterley’s other sketches would suggest that it is usual for him to label a broad second section (or movement) of music with numbers. In this instance the marking “II” would be the second movement and not the closing sections: this suggests that these passages were originally planned as second movement sections. Material in these sketches provides evidence that Butterley not only transformed this work into one movement, but re-positioned several large passages while planning this work. This is corroborated with the music in the score.6 These changes affect the design and are significant to the structure of the quartet. The changes demonstrate that at this point in his career, Butterley is flexible in his planning and organisation (such significant changes are not notable in his previous works), and that he is more concerned with the blocks of sound or cells, rather than adhering stringently to a preconceived structural design.7 This quartet posed more apparent difficulties and needed more planning and re- working than his other quartets. As he plans this work and adapts to the new changes, apparent confusion occurs over the classification of several sections. Figure 6.36 shows where the section “IIB (or is it now IIC?)” is described in SQ4:11. Another example, (also seen in Figure 6.9) highlights the same difficulty; part II is discussed by Butterley who refers to “the C (formerly B) section” in SQ4:10. This confusion may have occurred because Butterley has altered his overall structure of this work and does not appear to have written-out his plans as clearly as in his earlier quartets. However, by the time he has written the holograph, he has resolved these difficulties, as the final score shows no evidence of major modifications (such as crossed-out passages, omission or later additions).
Figure 6.9 SQ4:11 (top), SQ4:10 (bottom)
6 This is described in detail over the following pages.
7 Butterley’s concern for creating his desired sound rather than following a particular musical technique has already been well documented here, but it is interesting to note that this has been the case since his first quartet. 113 Where sketches contain indications I, II, and III, the numerals represent the three movements respectively. The sketch SQ4.14, (see previous Figure 6.8) also shows where movements II and III are exchanged (or at least most of the material planned for these sections) by the re-writing of “(IIB), (IIC) and (IID)” as the work is developed and subsequently adapted into one movement. The markings in earlier sketches suggest that I (the first movement) is the section from letter A (measure 1) to measure 125. Where “III” is used in this instance, it applies to the next or middle section commencing at, or slightly prior to rehearsal letter F, that is, the viola passage entering in measure 124. The sketch SQ4:06r (Appendix 3) refers to “the first song of III (viola)” and the music best described by this commences two measures prior to letter F (see Figure 6.10). Confirming this is the holograph score (and also shown in Figure 6.10) wherein Butterley includes the words “vla’s solo” (in light pencil, after the measure of letter F), indicating that this is the repositioned placement of “the first song of III (viola).” The final placement of this passage supports the idea that large sections were re-positioned.
Figure 6.10 String Quartet No. IV, Mm 123-30, “vla’s solo” underlined by current writer
Comparing the second movement with the score, the markings “II” (that is, the second movement) appear to be most appropriate to the final sections, that is, from 114 letter I (measure 207) to the conclusion, at measure 331. The pencil markings on SQ4:14 (shown in Figure 6.8 above) showing “(IIB), (IIC) and (IID),” match the rehearsal letters I, J and K, respectively. This supports the premise that the third movement, III, has now been placed earlier in this work, and that the composer has in fact exchanged the order for the second and third movements. The section “IIA” (rehersal letter E) is the only part of the second movement material that now remains positioned where it was initally planned. The third section commences at rehearsal letter I, however, “IIA” may have been intended to be positioned at letter E with the remaining second movement passages commencing at letter I. In the same sketch that discussed the “first song of III (viola)”, SQ4:06r (see Appendix 3), Butterley also considers section “IIA” of this work. In this sketch Butterley describes the “IIA” passage: this discussion precedes the “first song” and therefore it is plausible that “IIA” precedes the “song” in the score. “IIA” most likely corresponds with the material at letter E. In SQ4:06r, Butterley writes: The difference between this and the QUATRO sections of I is that there each part individually goes on its own way…Here each event is a corporate event (2 or more inst-or perhaps one by itself-but not separate fragments or ideas or motives superimposed).
The music at letter E does contain similarities with the “QUATRO” section in the first movement (this presumably being the first three measures in the quartet where all four instruments play in vertical combination) and it is assumed that this was intended to be the first section of the second movement. Butterley chose to alter the placement of these passages. The change permitted him to implement a previously favoured structural design.8 The existing central sections are generally calmer than the more strident opening passage, letter A. The central section is constituted by the rehearsal letters E - H, where the music at letter F is a viola song with a light accompaniment, letter G restates the opening passage more gently and much altered and letter H is represented by a violin II song, partially as a duet with violin I and with a light accompaniment. These moods are generally contrasted by the following sections, letters I, J and K. Butterley’s interchanging order gives the quartet a
8 The practice is in regard to creating a work based more on an ‘arch’ structure, which he has previously used. Discussion follows on the next page. 115 calmer central section and increases the excitement in the framing sections at the work’s beginning and conclusion. Table 6.1 is based on the writing contained in sketch SQ4:14 illustrates these changes. This sketch shows the order of the sections, thematic material and durations for the quartet in both the pre-worked and final sections. Columns 1-4 illustrate the final order of the passages within this quartet and the information in the sketch SQ4:14. Column 1 includes rehearsal letters A-K as these appear in the score. Column 2 is Butterley’s categorisation of the different thematic material A, B, C, D and E. Column 3 is the composer’s durational estimate for each section. Column 4 indicates the re- distributed material from the second movement as drawn by Butterley, see SQ4:14. Column 5 is the current writer’s durational summation (using Butterley’s times), if the work was still divided into three movements in the final layout. Columns 6-10 contain the same detail but are based on repositioning the second movement according to Butterley’s initial conception. Column 6 shows the repositioned rehearsal numbers, Column 7 shows the repositioned sections, Column 8 shows the durations as they correspond with the sections, Column 9 is the first anticipated position of the second movement, and Column 10 is the cumulative duration of the movements. Butterley’s final draft shows a sectional structure ordered as A B C B A B C B D E A. This organisation is more akin to the arch structure that Butterley has been shown to prefer,9 and used in his second string quartet.10 Aesthetically, this is possibly more appealing than the A B C B A D E A B C B structure first proposed, given the non-return of A or the inconclusive ending with section B.11 The repeated occurrence of the sections A B C B in sequence, aids in the listener’s aural recognition. The final return of A helps to unify to work adding to a sense of finalisation. The sectional structure of this quartet makes these alterations possible as the sections are all separated, often by rests, facilitates the interchange of passages.
9 Ross Edwards, “Nigel Butterley’s In The Head The Fire,” Music Now 1 No. 2 (1969), 10. In this article, Edwards analyses the work’s seven sections into three major parts of A B A. Edwards states that these sections “bear a symmetrical relationship to one another within the arch shape”.
10 It is discussed in detail in Chapter 9 that String Quartet No. II also has a broad overall arch structure of A B B A.
11 The B sections are the solo song passages and are less conclusive in nature.
116 Composing in sections, rather than a work developing out from a theme, is a feature of Butterley compositions.12 Planned movement lengths (later becoming sections) are also better proportioned in the final layout. The duration of the movements in the initial plan was: 4’25”, 8’05” and 4’05”. This results in a very long second movement which is almost equal in duration to the other movements’ combined lengths. As a result, the idea of structural “equilibrium” is distorted. If Butterley, however, had retained the idea of “movements” in his final draft, these movements would be 4’25”, 5’40” and 6’30” in length respectively. Thus, when combined, the first two movements add to 10’05”, which is 61% of the work’s total duration13 (16’35”). Although the work has not been clearly divided into three distinct movements, the composer has indeed retained the structural partitioning by using different tempi and repeated material. The final design ultimately strengthens the quartet’s structural proportions.
12 String Quartet No. II is also based on reoccurring sections, see Chapter 12, pp. 300-302.
13 Other proportional practices favoured by Butterley will be discussed in detail in Chapter 10, pp. 208- 215.
117 Table 6.1 Order of sections and duration of material in pre-worked and final sections of String Quartet No. IV
1 2 3 4 5 6 7 8 9 10 2nd Changed Planned Planned RLs in Thematic Section Movt. Changed Changed movt. thematic Position times of score material times times RLs times changes order 2nd movt. movts. A A 1.50 A A 1.50
B B 1.00 B B 1.00
C C .35 C C .35
D B 1.00 4.25 D B 1.00 4.25
E A 1.35 E A 1.35 IIA
F B 1.05 I D 3.15 IIB
G C .50 J E .30 IIC
H B 2.10 5.40 K A 2.45 IID 8.05
I D 3.15 IIB F B 1.05
J E .30 IIC G C .50
K A 2.45 IID 6.30 H B 2.10 4.05 RL = rehearsal letters
Several sketches help identify where these replaced passages occur. The music heard during the passage E14 is apparently Butterley describing a “corporate event.”15 Identifying letter E by the indication “IIA”, is also corroborated by the writing found in the sketch SQ4:07 (Appendix 3). In this he writes: “IIA could include a quotation of bars 17-19 (I) or (more likely) the quatro section of I.” The “quatro” passage mentioned describes the four instruments playing chords simultaneously, For example, the opening, also at letter E, measure 89 and letter K, measure 270.
14 Measure 89.
15 The “corporate event” described by Butterley in SQ4:06r is where “2 or more inst- or perhaps one by itself- but not separate fragments or ideas or motives superimposed.” Most of the music in the passage of letter E is two or three instruments playing vertically. The thematic material here is based on the opening as Butterley describes as a “Quatro” section, SQ4:07. 118 Sketch SQ4:17 (Appendix 3) has the heading “IIC” and best resembles the music at letter J, with reference to “pushing towards the coda” being the music from letter K, to the this music’s end (measure 331). Butterley demonstrates yet again, that he places musical considerations ahead of pre-determined structures or compositional techniques. Flexible thinking during composition has altered this work into a single entity containing a sense of progression and a feeling of contrasting sections, as well the work having a more conclusive finish. His planning changed the quartet’s three broad parts and within these, the shorter composite passages, into his final “favoured” structure.
Descriptions of Unity and Contrast: String Quartet (1965)
Butterley organises the first quartet in two separate but complementary sections. However, descriptions in sketches reinforce his intention to maintain unity over the two movements. Unifying procedures are stated clearly in the second movement sketch, SQ1:03, as Butterley states that “all material is based on the first movt., and therefore on the row” and “the four unfolding ideas of section III of the first movement” (Figure 6.11). Butterley’s desire to use similar material in both movements is clearly shown in sketch SQ1:03 where the composer uses material “From section I of the 1st movt.” (also Figure 6.11). Butterley uses similar material but with variants, in both movements.
Figure 6.11 SQ1:03, underline by current writer
119 Butterley’s approach to adapting melodic material across movements is seen in the ‘cello passage in the opening of the second movement which contains many similarities with the ‘cello part in the opening of the first movement (Figure 6.12).
Figure 6.12 Movement 1, ‘cello Mm 1-6 (top), Movement 2, ‘cello Measure 1 (bottom) , text by current writer
The second movement is designed to be a “summing up” the first movement (see Figure 6.13). Contrasts between the two movements are in the cold, “senza vibrato” first movement and later “warming up” (both are seen in Figure 6.13). Further contrasts are achieved by altering the intervals and harmonies so where there “are more 3rds, 4ths, 6ths [in the second movement] than tritones, 2nds, 7ths” in the first movement (again, shown in Figure 6.13).
120 Figure 6.13 SQ1:03
Butterley also achieves contrasts between the two movements when using similar material which is treated differently in various contexts. He writes in a first movement sketch that “in 2nd movt. chord growing motive is played by 3 insts with 1st vln doing independent line above” (Figure 6.14). The “chord growing motive” is located in the second section of the first movement (commencing at measure 19) with the four instruments playing in rhythmic unison. In contrast, this motive is treated in a different manner in the second movement (from measure 38 until the end), mainly using an “independent”16 violin I playing above the other three instruments which perform in rhythmic unison. Another example showing Butterley’s desire to vary treatment of similar passages may be seen in his comment: “In 2nd movt. use the row unfolding ideas from section 3 a, b, c, d, - only slower, and without the bits in between. These will get slower and more remote and still.” Varying the same musical material allows the composer to change the nature of the music; he is able to give the work the general direction desired for development without further complicating the music with new material to achieve this effect. Using similar material with differing compositional techniques and processes assists in creating unity and simultaneously provides contrast.
16 SQ1:05r. 121 Figure 6.14 SQ1:05r
Butterley’s sketches also demonstrate his concern with relationships between the various materials used within the one movement; particularly in his planned rhythms which are numerically calculated, and his preferred intervals, especially in the first movement. In the sketch SQ1:05r, the composer writes that in the third part, that this section should be “reminiscent of section I” – second movement (see Figure 6.15). Under the fifth heading, Butterley has written that this section should be a “Restatement of section one, with stronger, more definite use of the row, and with reference to the rest of the movement.” Similar examples expressing the composer’s desire for unification within various movements are written in this second movement’s sketches.
Figure 6.15 SQ1:05r
An example in the sketch SQ1:03 (see Figure 6.16) demonstrates the link in melodic material used in the ‘cello part in the second movement’s opening section with this material subsequently presented in the second part of this movement. Butterley writes in this sketch that the material is “related to the ‘cello part at the beginning of this movement”.
122 Figure 6.16 SQ1:03
Repetition and Variety: String Quartet No. IV
Butterley’s String Quartet No. IV sketches detail using and re-using material over different passages. Butterley is conscious of the difficulties when incorporating new material and yet he is also mindful of the need to use familiar material. In his musings on the section IIA, as shown in SQ4:06r (Figure 6.17), Butterley states that he wants it to contain “Plenty of repetition, so that it is recognisable as a structure”.
Figure 6.17 SQ4:06r
Butterley adopts a cautious approach when introducing new material, being mindful that its integration requires careful handling and that repeating this material will be necessary in order for the piece to function cohesively. This is indicated in his comments in the sketch SQ4:07, which state: “Include in the A material something suggestive of or anticipatory of 4 and 5 so that when they occur at C they will be familiar” (Figure 6.18).
123 Figure 6.18 SQ4:07
The care which the composer adopts in the introduction and treatment this new material is very apparent and similar concerns are expressed in several other sketches. In the sketch SQ4:10 (Figure 6.19) Butterley proposes that “Hints of 4 and 5 could be included in the colour material of A, so that the new section wouldn’t be unrelated.”
Figure 6.19 SQ4:10
Again Butterley questions this material’s suitability reflecting that: “Perhaps 4 and 5 are too different, too new. Something like them may provide this fast section pushing towards the coda, but if possible the section should clearly be familiar” as stated in SQ4:17 (Appendix 3). Here it can be seen that the composer is actively seeking avenues to resolve the problems he encounters during the course of composing the quartet. Significantly, introducing the new material appears to elicit individualised responses from the composer, reflecting the adaptable approach he adopts to his craft. The originally planned section “IIC discarded- 4 and 5”, Butterley discards as a result of the material being too different in nature for inclusion in this quartet. However,
124 Butterley plans to use it in another composition, as he suggests in SQ4:18 (Appendix 3). He notes: “possible for Ncle?”, with “Ncle” being an abbreviation for the city of Newcastle, New South Wales. Interestingly, Butterley is mindful of not re-using material from other works. Here it can be shown that once he has arrived at a viable musical motive, he considers its usefulness in the present composition and makes decisions as to whether the material is suitable. This indicates a conscious selectivity by the composer, and that he is also frugal in retaining material for future use if it is not appropriate in the current setting. It would appear that the section IIC is music occurring at letter J in the score, however, it is not the material initially planned. Butterley writes in SQ4:17 (Appendix 3) that “The unison, measured tremolo activity might be derived from previous melodic lines instead of 4 and 5.” This material is present at letter J. Also in this sketch, Butterley refers only to “4-5 type material” which is not applied. The music actually used at letter J is derived from the notes in measure 7. Again, it is the atmosphere, mood or intent that is the prime concern and not applying pre-constructed motives that is foremost in Butterley’s planning. The initial parts, 4 and 5 are not deemed appropriate by him to follow the earlier music, but other materials, similar in nature are modified for this section and incorporated into earlier passages.
Summary
Descriptive sketches with words retain their importance throughout the compositional process and increase in their significance as they are developed and refined. When re-visited, emotive descriptions become more practical in detail and application as Butterley becomes more intent on how he will achieve his desired sounds. He uses the sketches to clarify, compare and preserve his ideas across movements, and to assist in his planning in order to achieve diversity, unity and variety within a work. Butterley’s plans in words are integral to his compositional method. They enable him to plan, modify, order and consider possibilities, debate, expand, detail and finally write the string quartets. Generally the planning in the sketches progresses from the general to the detailed; the amount needed depends on the complexity and difficulty in writing the music. His plans are formulated to meet the requirements for the type of 125 music being composed. They range from being broadly descriptive to very precise and detailed considerations of the musical events as they occur. Consistent features in his sketches with words are found. An emotive, structured concept is often the point of departure. After that, the plans evolve to enable the fruition of these concepts, generally with more tangible details. Butterley interacts with his sketches by self-posing questions and subsequently resolving them. The sketches enable Butterley to constantly re-assess potential materials for the string quartets and to reflect on his musical building-blocks and their application to his compositions. In essence, these sketches are used to create and maintain a work in perspective and keep a chronicle of all the considerations necessary during the compositional process.
126 # "$%7 +$"#$'0)'!" "'!
This chapter discusses Butterley’s notated sketches and the way he develops pitch and rhythmic elements of his composition by realising the plans that he conceived in his earlier, sketches with words. Discussion centres around the sketches for String Quartet (1965). The pitch practices used in String Quartet No. 3 are analysed later in Chapter 10. Also discussed in this chapter is an explanation of numbers and calculations appearing in Butterley’s sketches, using the sketches of String Quartet No. 3 as an example.
Musical Notation: Sketches for String Quartet (1965)
There are four main (notated) sketches for the first string quartet,1 not including the draft copy SQ1:08a-l. Two sketches will be examined as an exemplar for Butterley’s method of sketching in musical notation. SQ1:01a, shown in Figure 7.1, appears on seven staves all bearing notation. The first stave has two note groups and each subsequent note leaps an interval of a 7th, 8th or a 9th. The next five staves are motives taken from the note-rows that Butterley has labelled these “RI, I and RI”2 respectively. The motives feature the intervals: 7th, 8th or a 9th linking their material to the first stave. The last stave on this page shows a non-retrogradable rhythmic pattern which is used extensively in this work.
1 These sketches are: SQ1:01a, SQ1:01c, SQ1:04, SQ1:07r and two others of lesser importance, which are: SQ1:01b and SQ1:07v. See Appendix 1.
2 The RI indicates retrograde inversion and the I indicates inversion.
127 Figure 7.1 SQ1:01a
Sketch SQ1:01c (Figure 7.2) is nine staves. The first stave consists of several motives, and again Butterley is exploring cells using intervals that are a 7th, 8th or 9th. Beneath this is a two-stave system in four-parts labelled by the composer as an “unfolding motive,” in which two cells expand and contract, in pitch, using the rhythmic pattern and its reverse, as illustrated in SQ1:01a. Staves four and five are the note-row and its three permutations.3 Other note workings, with heads only, occur in the following staves, one is in four parts; the last stave includes notes used in the ‘cello part near the opening, a violin motive that occurs over the measures 9 and 10 and notes used in measures 21 to 23 and Butterley states: “that is, line 3 page 2 of the draft copy.” The sketches illustrate Butterley’s conception of pitch material in generally short cells. These short motives, in both sketches, are derived from the intervals Butterley writes on the top of SQ1:01a. It appears that these intervals are used as a guide for Butterley to follow when creating the figures.
3 These permutations are the retrograde, inversion and retrograde inversion. 128 Figure 7.2 SQ1:01c
Sketched materials mostly retain their original characteristics when placed in the composition. Once created in a sketch, it is rare that a motive is even transposed by Butterley. Similarly, pre-ordered pitch shapes are not manipulated as they are worked into the string quartet. This consistency is seen in SQ1:07r where the note-row and its permutations commence in each instrument, all on F#. These are not subject to any change or transposition in the final score. Figure 7.3 illustrates the note-row that commences in the ‘cello, on F# and its corresponding entry in the score; that is, at measures 61 to 62.4
4 The fourth note of this row is B6, however this is not represented in the final score. This discrepancy is discussed later in this chapter, pp147-150.
129 Figure 7.3 SQ1:07r (left), String Quartet (1965), Mm 61-62 (right)
Similarly, it is rare (although there are a few instances) that a rhythmic cell undergoes modification between its use in the sketch and the final score. SQ1:01a, (shown in Figure7.4) a rhythmic cell, is the same cell which appears at measures 25 to 27 (shown in Figure 7.5): this is only instance of this figure being used in the string quartet. These consistencies in rhythmic and melodic planning make it easier for Butterley to identify cells, when sketch material is incorporated in the quartet. This also facilitates the analysis when tracing the use of figures.
Figure 7.4 SQ1:01a
130 Figure7.5 String Quartet (1965), Movement 1, Mm 25-27
Materials devised in a particular sketch are not restricted to one section of a work. Pitch cells and rhythmic figures formed by Butterley are adapted, varied and utilised across both movements and they are also restated within a movement. For example, the rhythmic cell which appears on the last stave in the sketch SQ1:01a (also Figure 7.4 above) appears clearly four times in the first movement and six times in the second movement either in its original form or in inversion. The music shown in Figure 7.5 above, is one example of the use of this rhythmic cell in the first movement. As a ‘loosely’ serial composition, similar pitch materials are expected to be present throughout this work and here it is also found that similar rhythmic cells are also present in both movements. Retaining the original pitch and rhythm of the various cells makes it possible to assess how much of the material created is later discarded. A number of passages created in these musical sketches are not used in this work. One such example is an idea which Butterley initially claims to be an “important figure” (shown in SQ1:01c, Figure 7.6) This was sketched for both the first and the second movements. Despite it being designated as important in the work, these motives are not utilised.
131 Figure 7.6 SQ1:01c
Superfluous material suggests that in the first instance, musical cells are created according to the general æsthetic intention of a work, without Butterley necessarily having chosen a specific place for inclusion in the composition. When Butterley assesses material for incorporation into the work, he either accepts the material mostly without adjusting or completely dismisses the material if it is not exactly as he needs it. It would seem that he does not laboriously re-work passages in order to modify them for inclusion in a work. This gives the impression that when creating the musical components (pitches and rhythms), these are formulated separately from the broader æsthetic plans (the sketches in words). By illustrating these steps, that is, the processes of planning the musical components separately to the composer’s æsthetic considerations, a definite hierarchy in Butterley’s compositional process is highlighted. Another impression gained through Butterley’s discarding of material in this work is that he assembles this composition from many different thematic fragments rather than by developing only a few motives into a work. This particular work is assembled from many different pre-worked segments which are built into the framework rather than by a process of developing initial thematic material. It might be proposed that if this were not the case, his sketches would tend to illustrate developmental possibilities rather than isolated cells or units of work. Cells and motives tend to re-appear in varied forms rather than being a core source of material that undergoes development. This is a fundamental characteristic of Butterley’s style and compositional method.
Planning Aspects: String Quartet (1965)
Rhythmic and metrical details are considered at times in conjunction with pitch materials and at other times separately from these. Certain figures are planned according to the importance of their role. Some cells are organised with reference to pitch only,
132 others are created considering using both pitch and rhythm, and some patterns are only rhythmic. Therefore these different notational aspects will be viewed separately in the following discussion.
Planning of measures
Metrical lines are added as a later detail as Butterley “Write(s the) music, worrying about barring etc. after the music is actually done, making adjustments as necessary, as it goes along”(Figure 7.7). It may be observed that the sketches include no bar-lines and that these appear for the first time in the work’s draft copy. Each cell in these notated sketches is separated in some way from the other cells composed. This separation is often designated by a wavy line (as shown in Figure 7.8). Longer cells are characterised by explicit pulses. This can be established through particular note groupings - triplets, quintuplets and septuplets, ties joining notes and particular vertical alignments of notes. An example, in one brief passage, is observed in the sketch SQ1:04r (see Figure 7.9). Even though the exact barring is not done until a later stage, the ties and note groupings, including triplets, give the impression that pulses are felt and are subtly integrated into the creative process of the music as soon as the rhythmic shapes are conceived.
Figure 7.7 SQ1:06
Figure 7.8 Sq1:01c
133 Figure 7.9 SQ1:04r
The draft copy of this quartet further illustrates the fact that bar-lines are introduced at a later stage. Most often the vertical line joining the four instrumental staves, which serves as a brace, is hand drawn. The bar-lines, in contrast, are all drawn with a ruler. This indicates that the bar-lines have been ruled at a different time to the braces (see Figure 7.10). Close examination also indicates that the time signatures have been added after writing the notes and tie markings. Supporting Butterley’s statement that barring is done later, many measures do not conclude within the line but continue onto the next set of staves5 (see also Figure 7.10).
5 To complete the measures at the end of the line would be a usual practice for a musician like Butterley, for whom conventions regarding musical notation were drilled thoroughly. 134 Figure 7.10 SQ1:08a
Non-retrogradable and cumulative rhythms
Rhythmic patterns are planned in basic quaver lengths. Butterley writes of “bars in quaver pulse” (see Figure 7.11) being the core rhythmic unit in this work. A fundamental length note is a good starting point when organising notes into mathematical patterns and in particular ordered sequences as is evidenced in this composition.
Figure 7.11 SQ1:02v
While the cells or motives undergo change, as the music progresses, each retains its original character. Rhythmically altered cells generally follow a procedure, where the motives are either added to or subtracted from the initial motive. One example is a non- retrogradable rhythmic figure where the quaver’s values are 2,3,4,5,4,3,2. This is 135 planned in the sketch SQ1:01a (see earlier Figure 7.4) and first appears in the first movement, measures 25 to 27. This rhythmic pattern is also reversed and the quaver values are 5,4,3,2,3,4,5. This is sketched in SQ1:01c (Figure 7.12) and occurs in the first movement over measures 19 to 22. Rhythmic variation in these patterns occur in length - with quaver values from 1,2,3,4,3,2,1. This rhythm is found in the sketch SQ1:01c as written in the measures 14 to 16 in the first movement (also Figure 7.12). In these instances, pitch material is mirrored either side of the central point: the median is either the longest note value, or the shortest. For example, in Figure 7.12, the pitches are E, D, F F#, F, D and E, with F# as the central pivot point,with the note quaver values of 5,4,3,2,3,4,5 respectively. Thus, it can be seen that Butterley uses the arch shape for both the micro (rhythm patterns) in String Quartet (1965) and later in the macro (structural elements) schema in his second and fourth string quartets.6 Butterley employs variants in this rhythmic procedure. One such variation is the rhythmic figure occurring near the conclusion, at measures 41 to 44, second movement, where the quaver pulse is 3,4,5,6,7 and 8. This rhythmic shape, unlike the previous rhythms, is non-retrogradable. This rhythmic pattern appears frequently. It also occurs over measures 35 to 38 in the first movement, where the quaver pulse adds, by one, the numbers 1 to 7. These additative rhythmic patterns, in total, exceed 28 measures (or 21.3%) of the work’s total length and therefore are a major compositional device. These techniques are reminiscent of Messiaen’s rhythmic techniques.7
6 The string quartets’ structures are analysed in Chapter 10.
7 Butterley acknowledges that Messiaen has some “rhythmic influences” on his music. This was discussed in Chapter 3, p 42. 136 Figure 7.12 SQ1:01c, numbers by current writer
Additive rhythms
Another characteristic rhythmic device Butterley uses in this composition is expanding ordered, rhythmic patterns. These are five, six, seven and eight note figures. Butterley develops these rhythmic patterns for all four instruments. The rhythmic shape for these patterns is shown in sketch SQ1:07r (see Figure 7.13), however, the pitch shapes are not consistent with the patterns ultimately represented in the score. These rhythmic sets initially appear in five notes groups as quaver quintuplets, next as six notes which are two sets of quaver triplets, then seven notes as a quaver septuplet. One example occurs in measures 80 to 83 (near the end of the first movement) where the cell is extended to eight notes - that is eight semiquavers concluding the pattern (see Figure 7.14). A more subtle instance is found in the second movement’s first measure. In this measure, note groups tend to commence as four semiquavers and expand to five and seven semiquavers respectively (see Figure 7.15). This establishes a link with the rhythms cited on the sketch SQ1:07r. 137 Figure 7.13 SQ1:07r, numbers by current writer
Figure 7.14 String Quartet (1965), Movement 1, Mm 81-82, numbers by current writer
138 Figure 7.15 String Quartet (1965), Movement II, Measure 1, numbers by current writer
Rhythmic planning summary: String Quartet (1965)
Calculated rhythmic patterns occuring at or near the opening or closing of movements or at other significant places within the work are crucial in this composition, such as in the second movement’s first measure (see Figure 7.15 above). Measures 81 to 82 (see Figure 7.14 above) are another example and that occurs very close to the conclusion of the first movement in measure 86. This rhythmic figure also occurs in the second movement, in measures 41 to 44, which is only one measure from the conclusion in measure 45. These rhythmic cells also occur as bridge passages joining other fragments of music. Butterley’s approach to rhythmic and metrical planning is dependant on the intended use and importance of these elements. Where these aspects are less important, they are formulated at a later time or in conjunction with other elements. Even though these elements may be partially planned with some aspects like barring omitted, beats and pulses are still apparent. Passages in this composition that are heavily reliant upon rhythmic aspects tend to be worked on by the composer as independent entities, requiring individual attention.
139 Rhythms are created in short cells rather than longer phrase lengths. Where rhythmic cells are featured prominently, their creation has been undertaken numerically. These cells are varied in their use by the devices of addition, mirror image or non- retrogradable design. The sketches indicate that Butterley’s conception and development of durational aspects is governed by a fluid approach, and he uses both mechanical and non- mechanical devices that are able to be varied and adapted to be relevant to this element within the boundaries necessitated by this quartet. This is in keeping with Butterley’s compositional principles whereby he does not follow any particular method dogmatically.
Pitch planning: String Quartet (1965)
String Quartet (1965) is serial in nature; however, no principle is strictly adhered to.8 Many pitch details in the work are related to the traditional twelve-note system.9 Note-rows including retrogrades and their inversions are drawn on three sketches. The sketch SQ1:01c contains all four permutations of a note-row (see Figure 7.16). The original, beginning on the note G6 uses the notes G6, D6, C, D, A, B6, E, E6, G, F, A6, B (which has a semitone intervallic structure; 5,1,2,5,1,6,1,4,2,3,3). The inversion begins on its enharmonic equivalent F#. Sketch SQ1:07r includes the same note-row and its permutations as SQ1:01c but these all begin on F#. Another different, but related note-row is appears in SQ1:04r (also Figure 7.17). This commences on the note C# and has the intervals 1,6,1,4,2,3,3,3,4,5,1. The two note-rows are similar in their intervallic structure having the intervals 1,6,1,4,2,3,3 in common. They also share the intervals 5, 1 when the notes of the row in SQ1:04r are continued cyclically (see Table 7.1 below).
8 Butterley states that this is “Because I get a bit sick of a note-row and after a while other ideas would come up and I’d sort of gradually forget about it.” Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August 1994, in “Nigel Butterley's String Quartet No 3: Context and Analytic Procedures” (Unpublished M.Mus. Thesis, University of New South Wales, 1995), 62.
9 The Twelve-note system is also referred to as a note-row or tone-row. 140 Figure 7.16 SQ1:01c (top) and SQ1:04r (bottom)
Table 7.1 Correlation of interval structures: note-rows in SQ1:01c and SQ1:04r
SQ1:01c 5 1 2 5 1 6 1 4 2 3 3
SQ1:04r 1 6 1 4 2 3 3 3 4 5 1
Pitch materials created in the preliminary sketches generally contain Butterley’s labels indicating where they are to be used in this composition. Often the motives or musical workings are indeed placed where the labels indicate. An example showing the planning being realised may be seen in the sketch SQ1:07r (see Figure 7.17). This indicates the intended positioning, order, permutation and proposed instrument to commence the note-row, for its statements in the second half of the first movement. Measure numbers have been added to indicate their occurrences in the final score.
Figure 7.17 SQ1:07r, measure indications by current writer
141 These passages are not always placed according to their labels. Occasionally, in the creative process, at a point somewhere between the conception of word-plans, pitch materials and the draft copy, the positioning is altered. An example is observed in sketch SQ1:07r which bears the heading: “Section 2 of 2nd Movt.” This is followed by notated musical fragments (see Figure 7.18) which are not placed in the second movement, but actually occur in the first movement over measures 2 to 10. The same fragments also occur in the sketch SQ1:01c, following the words “from opening” (see Figure 7.19) and this time, these fragments are in fact placed in these opening measures. The notes cited in SQ1:01c (also Figure 7.19) contain more articulation and bowings that correspond with the score markings, than those found in SQ1:07r. When combined, these two factors suggest that SQ1:01c is a later revision of SQ1:07r.
Figure 7.18 SQ1:07r, measure indications by current writer
Figure 7.19 SQ1:01c
Repositioning material also indicates that musical fragments are created separately to the expressive plans in words. The musical materials are only placed in a definite position when they refer back to these sketches. These materials are always created in line with the general moods and shapes of sounds initially desired by the composer. Being able to re-organise sections of music within his plan is a further indication that the actual music is conceived as a complete entity: sections are added to the plan and possibly altered, rather than the work being based on motivic development and 142 subsequent expansion. The material in sketches reveals Butterley’s ability to alter the position of passages within the work rather than rigidly adhere to a pre-conceived compositional approach. Many sketches containing pitch shapes devised by Butterley also include extra material to that found in the note-rows. Butterley explores the melodic possibilities using “long flowing lines -3rds, 7ths.”10 Examining his sketches shows that these 7ths may be major or minor and may be written as diminished 8ths. A prominent example showing such intervals is seen in the sketch SQ1:01a. Here, the first fragment shows the notes B to B6, a diminished 8th, then to an A, this being a major 7th. In the next fragment these same notes descend and are followed by the ascending intervals B to C, (an octave displaced) a minor 9th, then to the note C#, an augmented 8th (see Figure 7.20). Similar pitch patterns are found on many notated sketches. In these writings, Butterley uses different classifications of the same semitone distances, for example, where both a diminished 8th and major 7th equal eleven semitones and an augmented 8th and minor 9th are 13 semitones. Whether this indicates his “internal” hearing biases is unknown.11 When octave distances are ignored and the notes B, B6 and A are reduced, each interval is a semitone as are the notes B, C, and C#. These are not related to the note-row as it has no consecutive semitones. Using pitch material unrelated to the note-rows supports Butterley’s own view that “other ideas”12 are also important in this loosely serial work.
Figure 7.20 SQ1:01a
10SQ1:07r
11 Butterley’s enharmonic alteration of intervals is also observed in String Quartet No. II, discussed in Chapter 11, pp. 262-263. The interval of a major 7th is also written as a diminished 8th, diminished 7th and augmented 6th.
12 Butterley, interview with Watters-Cowan, 62.
143 Texture: Linear and vertical
When Butterley discusses relationships between the four instruments that comprise the string quartet, he considers whether these instruments should be treated as an “ensemble, or [whether] … it [is] the individual people that make up the ensemble (the individual instruments that make up the ensemble)”.13 He adds: are you going to write for string quartet that sounds like one entity, as if it were being played on the piano or are you going to say there’s a first violin that has such-and-such a character, and a second violin with a different character, and a morose, bad-tempered viola player, and a very sexy-looking ‘cellist.14
Regarding textures in his string quartets, Butterley states; “I think that each piece, or even parts of a piece, vary between [the] string quartet as an entity, and [the] string quartet as four different people. And there are lots and lots of different places in between there.”15 The attributes that String Quartet (1965) displays in the sketches in some ways address the complex attitudes presented in these statements. This will also be observed in the analysis of the completed composition, however it is in Butterley’s writing of either individual parts or unified performance or the idea “in-between” which become more apparent in the sketches. Semi-independence of parts is found in the second movement’s first measure (see Figure 7.21) where “the three upper parts are independent of each other, but each player should relate his part fairly closely to the ‘cello part”. In another section, Butterley expresses his concept of textural combination by stating: “the violin and viola parts should be played in fairly close relation to the ‘cello part, but are independent of each other.”16 These sketches highlight the music’s formation as either linear, vertical or somewhere “in between” these two extremes.
13 Butterley, interview with Watters-Cowan, 60.
14 Ibid.
15Butterley, interview with Watters-Cowan, 61.
16 SQ1:03.
144 Figure 7.21 SQ1:08h (above), and String Quartet (1965), Movement 2, Measure 1 (below)
Following Butterley’s method of conceiving the motives helps illustrate the textural design of this composition as the sketches have implications for understanding the composer’s intentions for the various passages.17 The relationship between vertical and linear motion relationship can be observed through a comparison of the completed score with the sketches. Measures 25 to 27 (see Figure 7.5) illustrate a section that is characterised primarily by a homophonic texture; however the registers do indicate linear thinking on the part of the composer. In this instance, the composer’s intent for these passages is made more transparent as tracing the stages in the composition process for this passage, it becomes evident that linear considerations are also important to the conception. Planning commenced with a rhythmic pattern written in the sketch SQ1:01a. The sketch (see Figure 7.22) shows a rhythm, in quaver counts 2,3,4,5,4,3,2, the same as the rhythm used in measures 25 to 27.
17 Discussion over the following pages and Figures 7.22, 7.23 and 7.24 helps to clarify these statements. 145 Figure 7.22 SQ1:01a, numbers by current writer
Sketch SQ1:07r clearly shows Butterley’s intention to achieve “long flowing line[s] - 3rds, 7ths” (see Figure 7.23). Sketch SQ1:01a (where the rhythm pattern was illustrated), includes the sequence of notes F# - (3rd) - A – (3rd ) – C – (7th ) – B6 – (6th ) –D – (7th) – C# - (5th) – G – (8th ) - G# (see Figure 7.24) that features these intervals. The motive and the rhythmic pattern on the one sketch links the two ideas. Where such emphasis is placed on linear considerations, it appears that the horizontal aspect is more important than can be revealed by mere score study alone. Butterley’s sketches indicate that the material in this string quartet has been conceived principally linearly.
Figure 7.23 SQ1:07r
Figure 7.24 SQ1:01a
Notational Problems: Implications for Editing
Following the composer’s process from conception to the final published product highlights some errors that have occurred in the final printing stage. Comparing the 146 draft copy to the published copy, several errors are apparent. In measure 10 in the second movement, a septuplet sign has been omitted from seven semiquavers. This is, however, not gravely significant as the performer would easily recognise this as an omission. Also omitted are two accent signs in measure three, the second movement. They are shown circled in the draft copy (Figure 7.25) but omitted in the printed score. This omission occurs in the ‘cello part over a passage where all four instruments perform a series of semiquavers. Accents have been placed to enable the violin II to perform these stressed notes in union with the viola and similarly, the violin I with the ‘cello. Butterley appears to explore textural effects and dialogue among these instruments as the accents are passed between these paired instruments. Such an omission may be realised through score-study, but without reference to the draft copy; it is unlikely that this would be addressed by the performers.
Figure 7.25 String Quartet (1965), accents as they appear in the draft copy for ‘cello Movement 2, Measure 3, circles by current writer
String Quartet (1965): Notational errors
Sketch study clarifies more fully the composer’s original intentions for both the performer and the analyst, especially where various editions exist. As this composition is based loosely on note-rows, it is possible to follow the work’s sections and examine
147 the composer's use of this technique. The first note-row (and its inversion) to be examined is in SQ1:07r (Figure 7.26).
Figure 7.26 Note-row in SQ1:07r
The first four notes in this note-row are F#, B, C and B6. These notes, but not the complete note-rows (Figure 7.27) are also roughly drawn and in this order on the bottom the draft copy – page three (SQ1:08c). It is likely that Butterley has drawn these as a summary, providing a practical reference when writing the draft copy. SQ1:08c shows the commencement of all four versions of the note-rows as they appear in the draft, from measure 38.
Figure 7.27 SQ1:08c, circle by current writer
The inverted note-row commences at letter G, measure 62 (see Figure 7.28), in the first movement. In the printed edition, the notes read as F#, B, C and B. By investigating Butterley’s draft copy (SQ1:08e) the first four notes written by the composer are as they appear in the sketch SQ1:07a as F#, B, C and B6. Without both the tone-row in the sketch, the tone-row drawn in the draft copy (SQ1:08c) and the actual passage in the draft copy (also Figure 7.28) there could be ambiguity over which pitch, B or B6 is intended, given the possibility that Butterley may have effected a change in the editorial stages. The simultaneities created by the error are B, C and D which is a 0, 1, 3 semitone set whereas the B6, C and D constitutes the less harsh 0, 2, 4 set. 148
Figure 7.28 String Quartet (1965) Measure 62 movement 1 (left), draft copy, SQ1:08e (right), circles by current writer
This mistake in pitch identification may lead to misinterpretation and misleading analysis of this work.18 One study relying on the published score has understandably transcribed the incorrect pitch.19 During the current study of the sketches and draft, the composer has been consulted regarding the discrepancy and remediation20 is now possible, at least as far as a score is concerned. In summary, the sketches of this quartet display Butterley’s compositional methods. This work has been written without mensural strictures - these follow later. Butterley overlays and intertwines his conceptual plans and therefore writes conceptually in a multi-dimensional way. Errors and ambiguities are more easily noticed in a written copy when primary source materials are available. For the analyst,
18 Although, if the passage was re-ordered back into its original form, a comparison with the original would show that there is a problem.
19 Natalie Williams, “Australian String Quartet Music 1965-1983: A Study of Stylistic Developments” (Unpublished Bachelor of Music Honours Thesis, University of Adelaide, 1998), Appendix B.
20 When Butterley was consulted by the current writer about this note his reply was that this was an obvious error in the score, “it has to be B6 because of the order of the row… and next time I’ll have to fix the copy at the music centre.” Nigel Butterley, personal communication, 18 August 2007. Used with permission. 149 errors in pitch create an obstacle for understanding the music and potentially thwart the outcomes of formal analysis.
Notational changes
Particular notes in the draft copy are different to those sketched out in Butterley’s plans. The sketch SQ1:01c includes several cells and one is a set of ten notes, on the last stave under Butterley’s heading “line 3 page 2” (see Figure 7.29). The notes in this fragment can indeed be traced to the instruments at this point in the draft copy, but there are inconsistencies between the sketch and draft copy in these two notes. The notes as they appear in SQ1:01c are; A, G, D, C#, B, A#, D#, E, F#, and F (also Figure 7.29).
Figure 7.29 SQ1:01c
In the draft copy (Figure 7.30) these notes appear as; A, G, D, C#, B, A#, D#, A, D, D#, E, F#, D#, and F (E#). Underneath these, the ‘cello plays a sustained harmonic B6, which occurs at the same time as the A# is played in the violin I. The instruments then proceed to an harmonic E which also corresponds with the same note in the violin I. The A# in the draft copy appears in the violin I and is transferred to the violin II, but this time it appears as an A. The D# precedes the A, and is followed by a D in the violin II, that is transferred to a D# in the violin I part. This variance in the intended note- pattern could have been introduced for many reasons. Butterley writes that “the viola may take over a vln note, or a violin a ‘cello note”,21 so there is a possibility that the composer desired a pitch-transfer for the instrument. In this instance this occurs between the A# (Violin I) and the A (Violin II) with the misplaced accidental.
21SQ1:02b 150 Figure 7.30 SQ1:08b, additional markings by current writer
Adding these two notes contributes to a more even rhythmic shape. This can be seen in the violin I and II parts as the rising figure now occurs at intervals that are relatively evenly spaced. Extra notes fill out the relatively sparse melodic patterns. Another possible reason for adding these two notes, beyond that planned in the sketch, is for pitch shape continuity. Butterley structures the notes in this passage around rising intervals of eleven semitones (see Figure 7.30 above). This rising interval is observed in the violin II notes, D to C#, and also the violin I notes, B to A#. Following this, the violin II plays the rising shape D# to D using the A as an intermediary note, demonstrating a clear relationship with the preceding notes and also with the following notes in the viola part that rise from F# to E# with the note D# in between. This interval appears to be a type of limit, self imposed by Butterley, to the overall width of each motive. All the motives are now based on a rising shape of eleven semitones adding to an aural sense of continuity for the listener.
Numbered Sketches and Their Function: String Quartet No. 3
Numerical calculations are found in several sketches and are used for various purposes. Some calculations estimate the duration for sections of this work. For example, in his sketches Butterley plans duration through mathematical calculations. The calculations multiply the number of beats at a particular tempo, which permits the composer to estimate the duration. The sketch SQ3:15v (see Figure 7.31), of the second movement, shows crotchet = 120. This sketch shows the calculation - 24 at crotchet = 120, namely 12 (seconds). 151 Figure 7.31 SQ3:15v
The following sketch SQ3:16v (Figure 7.32) is similar to the previous example, as it shows tempo markings and their beats to seconds ratios. It includes a metronome indication of crotchet = 72. Written underneath are two time calculations, the first is 6 (crotchets) = 5 (seconds) and 12 (crotchets) = 10 seconds; this is the duration of these notes at the tempo indicated above. Below this, in a similar calculation Butterley has written that a crotchet = 66 and 5 ½ (crotchets) = 5 (seconds) and 11 (crotchets) = 10 (seconds).
Figure 7.32 SQ3:16v
The following Figure 7.33 is from a sketch that includes a planned, but ultimately unused, opening of the first movement. Again the numbers indicate length and duration. 22 beats in 15” = 14.66 x 60 = 87.99 and the opening tempo is 88 beats per second. Therefore the opening 5 ½ bars take 15”. Other figures included are half - 11 in 7 1/2. 152 The 33 is also a count in quavers of the opening passages 8 ½ measures, which by Butterley’s calculation should be a little over 21”. These give the composer a quick calculation of how much material is needed for a particular section.
Figure 7.33 SQ3:13r
A third movement example is the sketch SQ3:21r where for 23 beats to equal 30” – the tempo must be c.46 beats per minute (Figure 7.34). The other equations underneath in this sketch also indicates a tempo of 46 beats per minute.
Figure 7.34 SQ3:21r
Butterley’s planning demonstrates careful attention to time lengths as performance duration is a prime concern when composing a work. In the second movement numbers are also used for planning of tempi. There are specific numbers multiplied by 3, 4 and 6. Their sum is multiplied to 456 and 480 153 respectively as seen in Figure 7.35. The numbers multiplying to 480 are 80 x 6, 120 x 4 and 160 x 3. These numbers, 80, 120 and 160, represent the tempi indications in the second movement. The number of beats in each measure varies. As a quick method of estimating the planned length of this movement, Butterley uses an approximation of 3 beats per measure – the movement is 160 measures, therefore he arrives at the length of approximately 480 beats. The numbers whose sum is 456 are a similar calculation, but obviously less beats are needed for the same duration at lesser tempi. The second set of tempi calculations were not used.
Figure 7.35 SQ3:05v
Another instance of Butterley’s meticulous planning of durational aspects of this work may be found in the second movement. The sketch (Figure 7.36) includes tempi, time signatures and also definite durations for particular passages. It is another example where Butterley considers duration as he anticipates the durations of two passages 2A
154 and 2AX. From the surrounding material on the sketch, it appears that these are planned durations, rather than finished times - approximations rather than precise timings.
Figure 7.36 SQ3:05r, planning of second movement
Numbers are used to calculate lengths of passages, tempi and durations. This occurs over the shorter sections, counted in beats, whereas the lengthier passages are counted in measures as well as tempi changes over entire movements.
Summary
Butterley’s musically notated sketches have been discussed in terms of pitch and rhythm. These two aspects are generally examined separately in this study, except where they are closely related. This is congruent with the sketches for these two elements that are often separately planned. For both rhythm and pitch, Butterley tends to
155 work in smaller cells which are manipulated and modified rather than subjected to developmental expansion. Throughout the permutations of these cells, Butterley retains their core essence so they remain intrinsically recognisable. Butterley appears to set parameters for the pitch range of motives and set up particular interval types he wishes to feature. Pitch aspects are altered less than rhythms. Rhythmic elements undergo changes through additive and non-retrogradable procedures highlighting the influence of Messiaen on Butterley’s music. As Butterley manipulates his material he then re-uses this altered material for many other sections in the work and also across movements, which results in a unified composition. Often metre is a later consideration; bar lines are not always included in the sketches. However, note groupings indicate that beats and pulses are implied as cells or motives are created. The sketches illustrate how scrupulous Butterley is when calculating a work’s durations. The notated sketches now crystallize Butterley’s pitch and rhythmic materials and are able to be melded with the descriptive sketches in words. At this stage Butterley has the constituent materials to compose a draft of these works.
156 # "$%8 1%!0+$"#$"!(% 1"
This chapter discusses how the information in the sketches supports the writing of the draft of Butterley’s quartets. The different manuscript paper used for the drafts indicates that Butterley has reached a particular point in his planning where he can now feel comfortable penning the score. Sketching does continue during this writing stage and the level of planning during the writing of the draft varies with each quartet. The sketches retain a dynamic role as Butterley appraises and updates the sketched material. After discussing the way Butterley interacts with his sketches, this chapter illustrates Butterley’s particular methods of writing his draft copies. Each quartet is written using different techniques and these are examined sequentially. String Quartet No. IV is omitted here, as planning and writing this work, with its changing structure was discussed at length in Chapter 6.
Interaction Between Sketches and Draft Copies of the Quartets
While Butterley prepares his draft, he continues to plan further and also to update his sketches with details of material already composed. This process is akin to journalising as the sketches log his composition progresss, his projected and completed alterations, and his questions and responses about his plans. The more common updates include durations, musical insertions, organising sections and note-row placement, instrumentation, page numbers, measure numbers and tempi. Butterley actively refers to both sketches in words and musical notation as he transcribes these quartets and this is illustrated by details added in these sketches. Examples in String Quartet No. 3, where Butterley keeps his sketches ‘updated’ during his writing, include the places where he inserts durations of movements on the general hand-written overview sketch, as seen in Figure 8.1. Butterley also adds the same material into the notated sketches such as the duration “6.30” at the conclusion of the third movement, section 3, shown in Figure 8.2. By constantly referring to and updating his sketches, Butterley keeps the composition within his conceived guidelines. Inserting time measurement in written and
157 notated sketches exemplifies the importance he places on durational aspects.1 If there are changes in the writing stages, Butterley revises and adapts broader planning in the work. Projecting durational aspects assists Butterley in maintaining proportions within passages in the entire framework of the string quartet. The sketches have a flexible role and they are subject to constant adaptation until the completion of the composition.
Figure 8.1 Durations of second (3.15) and third (6.30) movements in SQ3:17r
Figure 8.2 Duration of third movement (6.30), SQ3:08v
Further modifications to the sketches may be observed in the musical insertions and refinements that appear to have been made during the compositional period. In String Quartet (1965) a notable example is found in the sketch SQ1:07r where Butterley inserts comments in black ink, he states: “Last Movt. Possible addition to 1st violin part 4th last bar... 3rd last bar” (see Figure 8.3). These comments are in response to his thought that extra material is required near the end of the string quartet. However, this proposed material was not used. It is probable that his comment was added to this sketch during the writing period and not in the planning stages, because a different writing medium was used.
1 Butterley’s concern for the duration of passages and larger sections was discussed earlier in Chapter 7, pp. 151-155. 158 Figure 8.3 SQ1:07r
Further examples where comments have been added to the sketches throughout the draft process can be seen where he has written the note-row for String Quartet (1965) in blue ink, then later labeled these rows in black. This reveals the order of these passages within the work and the instrument that will commence playing these sections (see Figure 8.4). Adding to this, Butterley writes, in pencil, the stems and lines to group the notes into particular sets. The rows appear in the score in the order written in the sketch, with the marked instrument, but not in the order his pencilled numbering 3, 2, 4 and 1 would indicate. The tone-row is written in the following order; “O”, that is, the original, commences in the viola part in measure 38; “R”, that is, the retrograde, commences in the violin I part, in measure 49; “I”, that is, the inversion, commences in the ‘cello part, in measure 61 and “RI”, the retrograde inversion, commences in the violin II part, at measure 75. Butterley also wrote these note-rows incompletely on the third page of the draft (as shown in Figure 8.5), presumably for his own reference.
Figure 8.4 SQ1:07r
Figure 8.5 SQ1:08c
159 Butterley refers to particular page numbers in his sketches as shown in Figure 8.6. These generally correspond to the page numbers in the final draft. In this instance these numbers, for example, “page 6” are used to mark the place where certain material is positioned.
Figure 8.6 SQ3:13r
String Quartet (1965): The Draft
Barring of measures
The draft copy provides the evidence to support Butterley’s statement that he composed the notation for this work first and then subsequently added the bar-lines. It is assumed that Butterley has copied the essential notes onto the page, then made alterations in the note-lengths, possibly lengthening them, to help position the beginning of each measure. Examining the entries and alignments provides insight into his compositional method. Measures 4 to midway in measure 7 (see Figure 8.7) illustrates that there is only one point where new notes in the three instruments are vertically aligned with the remaining notes being single spatial entries. Apart from the single alignment which concludes the initial statement of the note-row, it becomes more apparent that this opening has been conceived primarily in a linear manner. Less reliance on vertical events and a lack of a regular rhythmic pulse facilitates the music being composed without bar-lines initially. This non-dependence on bar-lines and metrical steadiness supports Butterley’s intention that this is a work that “gradually unfolds.”2 This is achieved through almost randomly timed entries, minimal instrumental interaction and slow, sustained building of notes. Butterley’s process of
2 SQ1:06 160 adding bar-lines after completing the notes has contributed to his apparent ease in composing and also in his feel for the sound, by allowing the quartet to ‘unfold’ without the implied accents that bar-lines suggest.
Figure 8.7 String Quartet (1965) Mm 4-7 ½.
String Quartet (1965): Optional cut
An “optional cut” is marked in the draft copy from measure 21½ to 31 as shown in Figure 8.8. A quaver rest precedes and a crotchet rest concludes these ten measures. Butterley isolates this passage through rests and this means that this “cut” can be affected without the need for modification to the actual notation. Unlike the notation written in pencil, the optional cut is marked in blue ink, which may suggest that this “cut” was a possibility considered after the composition’s completion. This notion is further supported by there being no indication in the other sketches that this “cut” is anticipated. The duration of this section would be a little less than one minute, the work is 12’15” As this “optional cut” appears only in the draft copy and not in the published score, it is presumed that this indication is for Butterley’s possible use if required, but it is not offered as an option to potential performers.
161 Figure 8.8 String Quartet (1965), writing on bottom of page 1, draft (top) and commencement of “optional cut” on page 2 of draft (bottom)
Figure 8.9 shows the “optional cut” and its preceding measures. The measures in this section are similar to the preceding five measures but in an expanded format as there are the two types of material in both these passages. Firstly, there is the “flowing” vertically aligned passage and secondly, the linear motives. Potentially, if Butterley required less material, time or repeated melodic ideas, he would be able to omit this section as it is similar to the surrounding music.
162 Figure 8.9 String Quartet (1965), pages 2 and 3 draft copy, additional typed text by current writer
163 String Quartet (1965): Correlation of sketches with the draft score
The materials in the sketches and plans indicate that they are not only a progressive work-journal but also develop in a multi-dimensional way.3 In Butterley’s first string quartet, detailed plans for each movement can be equated with specific positions within the composed work. Despite this, some sketches listing several sections in sequence may be more complicated than they appear. Rather than simply following the laid-out sketch plan when realising the draft copy, Butterley’s plan operates on more than one level simultaneously, as is implied in the sketch SQ1:05r (see Figure 8.10). In this example, the movement progresses through five sections sequentially, but when the sketch is scrutinised in more detail and compared with the score, it emerges that the first two sections in the plan are consistent with the detail in the score to measure 37.4 Section 1 corresponds with measure 1 and section 2 (that is, the moving figures) beginning at measure 13. This section can be identified sequentially by its description and events in the score, see Figure 8.10. However, the “Shapes from section 1” are interspersed throughout the entire movement and are not present in this second section. Section 3 describes the workings of this composition to the conclusion of the movement. This is clarified in the addendum containing a reference to “Section 3” which includes parts “(a), (b), (c) and (d)”. These coincide with statements of the note- row at measures 38, 49, 62 and75, also illustrated in Figure 8.10. Sections four and five occur throughout the second half of the movement and are elaborations on the re- occurring versions and re-statements of the note-row present in section 3, a, b, c and d. Section three completes the projected plan of this movement. Occurring simultaneously within section 3a-d, are the workings required for sections 4 and 5 (see Figure 8.10).
3 Multi-dimensional in the sense that Butterley overlays his schema and plans his passages to overlay as he fits them into the music.
4 For clarity, the measures in the score corresponding with the particular sections in the sketch SQ1:05r (Figure 8.10) have been added by the current writer. 164 Figure 8.10 SQ1:05r, measure references added by current writer
String Quartet No. II: The Draft
The second string quartet displays Butterley’s care in the presentation of a score, especially in the time-measured passages. The most obvious benefit to performers is that it facilitates easy visual recognition of the relative lengths of cells. One example of 165 Butterley’s care is seen in the way he draws the lines dividing the measures before writing the music. This is demonstrated in three ways. Firstly, this is suggested by the uniform length of these measures. In the time-measured passages,5 each bar is always five seconds in duration, with the exception being the final measure in these sections. The following example (Figure 8.11) shows the opening measures; the first bar in each system measures 7.7 centimetres6 (which allows .5 of a centimetre for the clefs necessary to commence each system) while the remaining two measures are each 7.1 or 7.2 centimetres. Therefore each five-second measure occupies approximately seven centimetres on the written score. Also, the first page gives the impression that the bar- lines were measured and drawn with a ruler on the page across all the staves, leaving a break only between systems. Butterley’s methodical mensural preparation is contrary to the approach he adopted in String Quartet (1965) where he added the bar-lines after writing the notes.
5 These sections are: the opening passage to the conclusion of letter A - 40 measures in duration, letter F - 6 measures, letter H – 5 measures, letter J – 27 measures, letter M – 15 measures.
6 This is measured on the score. It has not been possible to retain the same scale when scanned and inserted into the text. 166 Figure 8.11 String Quartet No. II Opening measures
In the subsequent time-measured passages, Butterley also adheres closely to the same bar-length for every five-second interval. This may be observed in the length of the measures (Figure 8.12) where the first measure, 136, is metrical and then from letter F in five-second intervals. The first measure, in 3/8, is shorter in length and the other two, both five-seconds duration, measure about 7.2 centimetres in length. Such precision is a visual aid for performers.
167 Figure 8.12 String Quartet No. II, Mm 136-141
Secondly, the way Butterley wrote the notes in measure 33 (see Figure 8.13) also indicates that in these time-measured passages, the composer drew in the bar-lines before adding the notation. In this measure, at the end of the first system, the violin I notes overhang the bar-line as if added around the existing bar-line.
Figure 8.13 String Quartet No. II, Measure 33
Lastly, the final bar-line in each system on page 1 is represented by a line drawn vertically, slightly apart from the edge of the staves as shown in Figure 8.14. On the first system, the line commences at the end of the stave and then deviates at the same
168 rate from the edge of the staves indicating that the line was drawn following the ruler down the page at the one time, only breaking the line between the systems.7
Figure 8.14 String Quartet No. II, Page 1
Pre-drawn bar-lines are not confined to passages in measured time. Many measures in the longer 4/4 passages also appear to be pre-drawn. Figure 8.15 shows the the final passage, measure 298 (draft copy numbering) drawn in the same method as the other measures.
7 Subsequent to score study, the current writer asked Butterley if this was the process he had used in writing the string quartet. Butterley confirmed that this was his practice in the quartet. Butterley, interview by Peter Watters-Cowan, 18 August 2007. Used with permission. 169 Figure 8.15 String Quartet No. II, Final page
Butterley has pre-determined where he was going to complete this quartet. Assuming that the bar-lines on the final page were pre-drawn, he must have anticipated only one measure on the last system to complete the work. This can be seen in Figure 8.15, above, in which the last system shows only one measure: thus the score confirms Butterley’s planning. Butterley’s drawing of bar-lines for several pages (possibly at the one time) demonstrates his forward-planning and his highly organised and methodical approach to the practicalities of composition prior to commencing the physical writing of this string quartet.
String Quartet No. 3: The Draft
Sections of the draft copy for the third quartet have apparently been assembled quickly, evidenced by the lack of detail in some sections and the use of Butterley’s own style of short-hand. At all times however, Butterley’s writing in the draft contains sufficient information for him to realise his intentions. The first movement preview may have been the catalyst for Butterley’s different approaches to the drafting the work. The first movement draft is fragmented, unlike the (almost) complete second and third movements: this difference may be directly attributable to the limited time available prior to the first movement’s première.
170 The fragmented sections drafted of the first movement correspond quite closely to the four main sections described in SQ3:17v which outlines this movement as follows: • Section A represented in measures 1 to 20 and measures 1 to 12 are in SQ3:10; • Section B represented in measures 21 to 46 in SQ3:18; • Section C represented in measures 47 to 85 in SQ3:25; and • Section D represented in measures 86 to 104 in SQ3:13r. These four sections described by Butterley are shown in Figure 8.16. Butterley has designed and composed this movement in small sections of varying lengths which are then incorporated into the larger structure.
Figure 8.16 SQ3:17v
String Quartet No. 3: Lengths of sections
Butterley plans the lengths and durations8 of the sections before commencing his notation; enabling him to proportion and balance the piece without being too encumbered with actual notation. Therefore, he has an indication of the amount of music he needs to compose for a particular passage. Also, these parts may be composed in isolation and not necessarily be written from the work’s beginning, making it more possible to have a intermittent approach to composing the quartet. In one summary
8 Durational planning was discussed in Chapter 7, pp. 151-155. 171 (SQ3:17v, shown previously in Figure 8.16) he indicates that the sections C and CY should total 37 measures (that is, measures 47 to 85). Butterley proposes in the draft of these passage that its length will be “about 33 bars” (see Figure 8.17); however, the during writing the draft, SQ3:25, is expanded. This passage commences at measure 45 continuing to 85 and now exceeds the first planned length by seven measures.
Figure 8.17 SQ3:25
It appears that as Butterley writes a passage, he records the number of measures composed so a section remains within his original guidelines. He writes these details at the end of the last two systems on this page (SQ3:25). This indicates that he had initially composed 32 measures and subsequently 40 measures (see Figure 8.18). As this is longer than the planned 33 measures, possibly the C section was intended to be 33 measures and was written to be 32 measures. His extension to 40 measures is achieved by adding the CY passage,9 a transitory section leading to the ensuing chordal section. It is this ‘bridge passage’ that lengthens this passage from 33 to 40 measures.
Figure 8.18 SQ3:25
Butterley measures the length of the passage CY, from its commencement indicating that this section was composed separately but within flexible, pre-determined guidelines. Had the string quartet been written progressively from its beginning, the
9 Passage CY is cited in the sketch SQ3:17v.
172 numbers indicating the measures, length and position would be continued from a previous passage.10
String Quartet No. 3: Practicalities in writing
Markings in this draft indicate that as Butterley is writing his final manuscript he carefully annotates his progress on earlier drafts. These marks are obviously intended as a personal aid to minimise any errors when completing his final copy. As he writes the score, he indicates page numbers in the relevant sketch to clarify the position of these passages in the score. As well as this, he indicates with an “X” in the draft corresponding, where a new system commences in the score, as can be seen in Figure 8.19.
Figure 8.19 SQ3:25
Butterley’s tracking procedure is again implemented in the draft pages of the second and third movements (SQ3:26a-e). Further clarifying page and measure numbers, Butterley uses different coloured inks: red for page numbers and blue for measure numbers. New systems are designated by an “X” in red. All these numbering procedures are illustrated in Figure 8.20.
10 This adds further weight to the proposition that Butterley composed in smaller sections and then integrated and unified these passages in his final composition. See Chapter 5, pp. 92-99. 173 Figure 8.20 SQ3:26a
String Quartet No. 3: Pitch processes from sketches to draft
Most of the pitch structures in this quartet were conceived in a linear manner. Butterley writes on SQ3:2511 that he will “sketch out single line first” (shown in Figure 8.21): this indicates his working method. These single lines are subject to variation as they are re-used: the variation occurs in pitch shape and texturally, in combination with the other instruments. Frequently he commences a previously used shape and when later implemented, variation occurs through alteration of the concluding notes.
Figure 8.21 SQ3:25
Further evidence to support the notion that the composition was composed linearly is the swapping of violin I and II parts in the passage shown in Figure 8.22. The melodic lines were interchanged by Butterley: this exchange imbues the violin I line with a higher, more prominent role in the ensemble writing.
11 SQ3:25 is the draft of the C and CY sections, belonging to the first movement, measures 47 to 84. See Appendix 2. 174 Figure 8.22 SQ3:25
Sketch SQ3:02 (see Figure 8.23) illustrates the ‘cello theme, which is sketched out in a “single line”. Underneath this, the draft shows where the same passage is situated (it commences at measure 75 in the first movement, as shown in SQ3:25).
Figure 8.23 SQ3:02 (top), ‘cello SQ3:25 (bottom)
The pitch shapes in the ‘cello line in measure 75 commence canonically with the violin II and are also similar to the notes which comprise SQ3:13v (see Figure 8.24; no clef is indicated on the original sketch, but it is assumed that it is the treble clef). This illustrates one treatment of motivic shapes.
175 Figure 8.24 SQ3:13v, ‘cello line (top) matches SQ3:25, violin II line, Mm 75-77
In the same passage, the viola part is varied further and although the notes are not identical, similar pitch intent is evident (see Figure 8.25) in the contour, the opening three notes and the range from G, descending to A and returning to G.
Figure 8.25 viola passage, Measure 75, SQ3:25
The variant played by violin I is more elaborate, but it is a similarly contoured passage and is played from measures 76 to 79. Its range is from G, descending to A and returning to G, which is mirrored by the other instruments (see Figure 8.26). All of these variants, melodic and textural, in these instrumental lines have been developed from a single fragment, conceived in a “single line first.”12
12 SQ3:25. 176 Figure 8.26 Mm 75-79, SQ3:25
Although this draft is written fully, Butterley makes alterations as he considers this passage when writing the score. He alters his bar-lines and indicates their different positioning. The vertical lines in black ink, as shown in Figure 8.27, illustrate the new positioning of these bar-lines. These are drawn through the first violin part only, indicating that this has been a later alteration. The “X” drawn above the line it shows the commencement of a new system in the score.
Figure 8.27 SQ3:25 (X in the example corresponds with the score Movement 1, Measure 59)
Butterley makes some pitch alterations to notes as he writes his score. Figure 8.28 shows one example where he has changed a D in the viola line to an F. Possibly, Butterley changed this note to create an interval of 11 semitones which he appears to favour.13 This change appears in his final holograph, indicating that although Butterley has conceived this music he is constantly reviewing, adjusting and refining it throughout the compositional period.
13 This interval featured in his first quartet and was discussed in Chapter 7, pp. 143-144. 177 Figure 8.28 Viola, measure 65 D changed to F in score. SQ3:25, circle added by current writer
As a unifying feature, Butterley incorporates material created for one movement into other movements. The methods of adaption vary according to the requirments of the music in its new placement. Figure 8.29 shows where he has written a reminder in different colours to assist this process. He writes: “Blue – 2nd movt. adjustments. Red – 3rd movt. Adjustments.” Further to this is an annotation, as if a reminder to “take some fragments from previous material.” Using the material from a first movement sketch in the other movements further indicates that he commenced writing the work with this movement.
Figure 8.29 SQ3:25 (both samples)
The following example (Figure 8.30) shows a fragment played by the viola in measure 16 and its modified re-use, later in violin II, measure 52. Butterley has written the measure 52 example in the sketch where he discusses using previous material 178 (SQ3:25). The colour-coding helps the composer both to track and easily identify modifications made in his material as it is adjusted for later use.
Figure 8.30 Viola, Measure 16 (left); Violin II, Measure 52, SQ3:25 (right)
In summary, the segmented drafts of the first movement are written differently to the other movements. They vary in their accuracy of notation, when compared to the score. Their more untidy layout gives the impression that the passages are generally less formulated than the notated passages in the draft written for the second and third movements. This suggests that his first movement material is further refined when later re-adapted into the following movements. Also, this suggests that the first movement was composed at a different time. From indications on the sketch SQ3:25 which relate to alterations to the second and third movements, it is assumed that the opening movement was written first. His ability to write and keep his work in context by retaining an active dialogue between his sketches and drafts enables him to complete sections at different times or to write slowly but avoid a fragmentary sound in his music. Butterley has circumvented and reduced many difficulties which he may otherwise have encountered by adhering to his own guidelines in this string quartet.
Bagatelle for String Quartet
Writing the draft for the Bagatelle followed a very different process from the other four string quartets as it was notated at the computer. However, there are two complete rhythmic drafts, one mainly indicates the linear features of the composition, with added scope for a fourth instrumental part (B:03-4) and the other is the rhythmic scheme written for its four instruments, commencing at measure 7 and continuing to the conclusion (B:08-10). Both these rhythmic drafts clearly represent the pitch shapes intended for these passages. Figure 8.31 shows both types of sketches with the second
179 illustrating the filling-out with a fourth instrumental part. Sketch B:05 represents the opening seven measures in a string trio version, and also includes six of the designated nine rhythmic and pitch cells used in this quartet. Most of the material used in this work is stated in the opening seven measures. Although Butterley has not written a draft copy per se, all the basic material was formulated in a written sketch, and then composed with the aid of a computer.
Figure 8.31 Mm 7-10, B:03 (top); Mm 7-10, B:08 (bottom)
Mosaic construction: Bagatelle for string quartet
Constructing music using mosaic patterns is a technique Butterley often employs.14 Sketches of the Bagatelle clearly display Butterley’s intention to construct this work using the cells as the basis for this piece. Each cell is one measure in length except for
14 This technique has been identified by other writers, including Christine Logan in her discussion of Uttering Joyous Leaves. Christine Logan, Some Aspects of Australian Piano Music Since 1945 (Ann Arbor: UMI Press, 1989), 108. In the current thesis, this aspect was alluded to in Chapter 1, p. 7.
180 one variant – cell C. Some cells appear in the following sketch (Figure 8.32). In this draft that plans rhythm and pitch-shapes, Butterley labels each measure with an appropriate identifying letter. He does not restrict himself to using only these cells, but composes further material where needed.15
Figure 8.32 B:03
Butterley has created nine sets of rhythmic cells. Each cell is repeated between two and six times. The number of times each cell is used, is recorded and written at the conclusion of the rhythmic schema, as shown in Figure 8.33. Each set is labelled using the letters A to H and also W. Several measures are not marked and are supplementary to these previously labelled measures. There is a discrepancy with cell F; in the Bagatelle it is used six times, whereas the planning sketch Butterley indicates its intended use as being only five times. The difference in the use of cell F demonstrates that Butterley is not prescriptively tied to his plans.
15 It was discussed earlier that Butterley does not follow any one compositional method inflexibly. This statement is also supported by Butterley’s own comments regarding his compositional philosophy. Similarly, in the Bagatelle, Butterley does not restrict himself by strictly adhering to a composition principle. In this work he does not restrict his writing to incorporate only his initial cells, but spontaneously creates further material as he feels it is necessary in the work. Four of the Bagatelle’s 38 measures (which represent more than 10% of the work) are created in excess of his pre-planned cells.
181 Figure 8.33 Cell usage B:04
Table 8.1 shows the order in which Butterley sequenced these cells in this composition.16 The cells do not occur in a regular sequence. Cell E is important and this is emphasised through its placement in the opening and penultimate measures. Cell E is used five times, only secondary to the cell F (which is subject to six statements). It also features as a unifying pillar by the patterns subsequently created in its later repetitions. Cell E is followed twice by the D and C cell, and once by the D cell alone. This sequential repetition creates a sense of unification and progression. However, this order is not adhered to throughout. Beyond these three sequenced recurrences, no constant order is maintained. Hence each cell retains independence by being continually irregularly juxtaposed with both preceding and following cells.
16 Measures that do not have a marking by Butterley are shown thus * and the little c is where the cell C is divided over two measures. 182 Table 8.1 Use of cells in Bagatelle
E D C D A B W G F E D C B W * H G F F C c A E D F D G E B H F W * * G F E *
The cells labelled by the composer are not exact replicas but are comparable in shape and intention. The following example (Figure 8.34) is Butterley’s cell E in all its five statements. A basic approach is maintained in these passages, as seen by the similarity in each measure; however, detail is altered in these and this affects the pitch, rhythm, meter and instrumental layering. In the last two occurrences, measures 28 and 37, this cell reproduction is most altered from its first statement in measure 1. This creates the impression that the work becomes more involved as it progresses and does not merely alter in a kaleidoscopic fashion by the the cells being used in different juxtapositions.
183
Figure 8.34 Bagatelle for string quartet. Cell E in Mm 1 and 10 (top), Mm 23 and 28 (middle), and Measure 37 (bottom)
184 Summary
In all five works, Butterley uses different approaches to the actual writing process. String Quartet (1965) is written initially without bar-lines, whereas, String Quartet No. II has many bar-lines written before notes are placed. String Quartet No. 3 follows Butterley’s plan, but the draft of the first movement is fragmented. String Quartet No. IV did not have a plan and during the course of its conception and writing Butterley altered its entire shape.17 The Bagatelle for string quartet is planned in a handwritten state then finally computer generated. However there are similarities in Butterley’s writing methods for these string quartets, with smaller sections written to fit into his larger plan. The methodology in assembling the necessary constituents and maintaining a sense of currency in composition is critical to Butterley being able to bring a composition to completion. To facilitate this, his compositional processes shows that he uses the sketches in an interactive fashion with the draft during the composition phase. As the draft is written, he makes memos on his sketches, and then adds details from his sketch back into his draft. In this way he keeps track of what he has completed; he maintains his current writing and thoughts in perspective within the self-imposed parameters. He also make additional notes in his sketches for future work. Aside from the creative issues, Butterley’s compositional methods illustrate a high level of control in the direction of his work. The sketches simultaneously assist Butterley in the necessary practicalities of writing logically while retaining focus during the composition process.
17 String Quartet No. IV was discussed in Chapter 6. 185 # "$%9 $%1!%0 $!'($% "'! ( '"$%%$" "'!
Introduction
The sketches for Butterley’s string quartets include information for the performers that reveals the interaction between the performers and the composer, and the composer’s special regard for writing his music sympathetically for the string quartet. The sketches with words record Butterley’s musical intentions; they indicate what he feels to be significant to these works. This information is rarely included in the score. The additions, revealed through scrutiny of the sketches, contribute to the understanding of the score, and enhance various performance practices, especially those in relation to structural significance, performance styles, emotive content and sound colour. This information is created during both the planning and writing stages. Further information comes from notes written by Butterley after these works were completed and were designed to assist the artists for the first performance. This material includes facsimile transmissions, notes to the performers, and hand-written notes on the holograph score, used by Butterley when attending a rehearsal. The information includes clarification of technical matters for the initial performers, alterations in the music for the first performance (not included in the score) and other matters arising, probably during rehearsals, with the performers. Notes written post-composing also illustrate that Butterley is able to change his mind about musical aspects of his works.
Structural Implications
Butterley places considerable importance upon the structure of his compositions and understanding this (as is the case in his other quartets) is integral to an informed and successful performance.1 The sketches of String Quartet No. IV include a “Note for
1 The structural markers aid Butterley’s method of composing as he often writes shorter passages and integrates them into the larger work. Also, they help clarify the work for listeners by clearly sectionalising the passages of the work: additionally the breaks between passages are a point of departure for the analyst.
186 performers” (see Figure 9.1) and its first subject is related to the “structure (double bar- lines)” that divide the quartet into sections at the rehearsal letters of the work. Each section contrasts with the previous section and is often separated by a break, usually a rest or a tied note across these double bar-lines.2 Several sections have material that is similar in expression and these are repeated with various changes depending on their positioning within the work.3 Another example of a sketch with the heading “structure” is SQ4:14 which details the sections and their composite material. Although analysing the work will illustrate the organisation of this quartet, a fuller comprehension of the importance that Butterley places on the structure is only realised through examination of the sketches and notes as there are no additional performance notes in the score. As illustrated in his sketches,4 Butterley’s conceptualisation of a work commences on the large scale and structures are conceived at this stage, therefore these forms are central concerns of the composer.
Figure 9.1 SQ4:15
Further evidence of the importance Butterley places on a work’s structure is his reply to the current writer when asked about a suggested starting-point for analysing his third string quartet. Butterley replied “very obviously it’s in three movements … (whereas the second is continuous and the first is in two movements)… Butterley questioned, “Are they related, or are they completely different? And in the case of the
2 One exception is the “first song of III” (viola) which commences two measures before the double bar- lines at letter F. The other parts throughout these measures are basically static, giving the illusion that as the new section is introduced, the viola enters early to amalgamate the passages.
3 The opening, letter A, is a forthright annunciation, repetitions in the centre of the work, for example letter I, is calmer and more understated, whereas, at letter K, the commencement of the final passage, the music is similar in character to the opening passage.
4 Discussed previously, String Quartet (1965) was conceived in two movements. See Chapter 5, pp87-90, also see Appendix 1 SQ1:06.
187 Third Quartet they are related.”5 Butterley feels that the broad structures and their inter- relationships are integral to understanding his music. Figure 9.2 shows a plan of String Quartet No. 3, possibly its earliest sectional scheme. The manner in which it was drawn visually illustrates the interacting main sections of this quartet, providing the performers with a structural, textural, tempi and phrase-length overview of this string quartet. The indications in sections in this sketch (SQ3:11), and the overriding emphasis Butterley accords these, clearly demonstrate that his prime focus is the three movements and the four main sections within each movement. The variation in texture, tempi and other inclusions is designed to provide contrast between the four different sections constituting each movement and gives a general indication for Butterley’s expressive intentions in the quartet as a whole. Unification is created through the stylistic repetition of these passages in each movement.
Figure 9.2 SQ3:11
Butterley’s Emotive Descriptions: Implications for the Smaller Scale
In his earliest plans, Butterley writes emotively about the type of music he seeks to create. These emotive descriptions are not relayed to the performers because conventionally they are not included in the final score. Traditional expression and performance music descriptors are limited in the information they convey. For example, the first page of Butterley’s String Quartet (1965) carries the speed indication “Lento, Tempo (crotchet = c. 46)”, with a slow, changing, dynamic progression from p fluctuating to mf, pp then gradually to ff in measure 11. These limited indications rely
5 Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August 1994, in “Nigel Butterley’s String Quartet No 3: Context and Analytical Perspectives” (Unpublished M.Mus thesis, University of New South Wales, 1995), 65. 188 upon the individual groups to interpret notes and directions. Information provided through the composer’s descriptions in sketches displaying the expressive content of this piece can give credibility to particular interpretations in a performance. In sketch SQ1:06 (see Figure 9.3) Butterley intends the first movement to sound “cold, beginning to unfold; the light is not shining yet – there is tension and uncertainty. Opens with upward growing music, searching for the light. The musical material ‘unfolds’ from opening.”6 Butterley clearly envisages a sense of development and direction throughout this quartet that is not possible to glean from the score: the added information in the sketches holds implications not only for purely dynamic levels, but also for tonal quality and texture. The awareness that this is the composer’s general intention for the expressive content assists the performers to shape a convincing interpretation of this string quartet.
Figure 9.3 SQ1:06
As Butterley creates his plans, it appears that he also projects the style and manner in which a passage should be performed. In his plans for his String Quartet No. IV, Butterley describes a “slow lyrical [passage] to be the first song of III (viola)”, which is shown in SQ4:06r (see Figure 9.4). This passage corresponds with the score at measure 124 (shown in Figure 9.5). Butterley has written a lyrical song-like passage. Armed with the knowledge that Butterley intended this to be “lyrical” and “song”-like would empower the performer to confidently emphasise these qualities. The music includes no explicit indications, like cantabile, to advise the performer.
6 SQ1:06 189 Figure 9.4 SQ4:06r
Figure 9.5 String Quartet No. IV, viola passage Mm 124-7
Other examples showing the composer’s specific intention regarding particular emotions, atmospheres and moods can be seen where Butterley describes passages as being an “unexpected, hushed interlude. The relaxed? Forward – moving energy then returns” (shown in Figure 9.6), “a pp. scherzoish one – whispy, spasmodic, irregular with small fragments” (see Figure 9.7) and “with more hesitancy” (see Figure 9.8). Again, knowing these intentions would influence performers’ expressive and interpretive approach to the various passages as they would be assured that these were intended by the composer.
Figure 9.6 SQ4:06v
190 Figure 9.7 SQ4:09
Figure 9.8 SQ4:19
Interpretation of the fourth string quartet may be enhanced with the knowledge that Butterley originally intended it to progress from: “high – low, slow – fast, sustained – detached, middle – extremes, thick – thin” SQ4:02 (see Appendix 3). Such cognisance gives the performer an overall direction when considering this work’s performance.
Tempo flexibility
The headings beside the movements of String Quartet No. 3 (an example is shown in Figure 9.2) indicate that contrast is fundamental to the internal workings in each movement, for example, Butterley has written: “1 basically moderato, 2 basically fast, 3 basically slow”. The tempo indications in the score are precise and includes metronome markings (both approximate as well as precise tempi variations within each movement) and expression marks (espressivo, leggiero, espressivo e rubato). In contrast, those in the sketch are less precise; however, the sketches include extra-musical information affecting tempo considerations. Some of this information shows the main contrasts Butterley envisaged within each movement including the variation in tempo. Further to this, his indicating “basically…” in the sketch, gives the performer a sense of tempo flexibility beyond that indicated by the score yet within the confines of Butterley’s projected intentions. Both the detail in the sketch and that in the score are consistent in intention, but the slightly differing information complement and augment an understanding of the intended tempi contrasts.
191 Butterley’s sketches include projected durations of sections, movements and in fact, the entire string quartet. An example is shown in SQ3:08v which is the third movement of String Quartet No. 3; its intended duration is 6’30” (See Figure 9.9). By knowing that the composer intended this movement to last for 6’30”, the performers can more precisely plan the tempi, especially in those areas where Butterley uses less precise indications, such as crotchet = c. 46 (Movement 3, String Quartet No. 3).
Figure 9.9 Duration of third movement, SQ3:08v
Performance and textural considerations
Butterley designates sections as being “solo,” “duet,” “tutti,” and “chordal theme” material in the sketches (String Quartet No. 3). These indications clearly state the contrasting textural implications desired for this work and they indicate to the performers their various interactive roles within the different sections of the quartet. An example where the sketch (see Figure 9.2 above) assists in clarifying the score, and hence interpretation, is found in the the opening passage of the second movement. Here, the two violins (see Figure 9.10) are performing simultaneously and it would appear that the two instruments are performing a duet. However, Butterley designates this section as a “solo” which should therefore be played jointly; “it was intended that this was a sort of shared melody”7 as if written in one line and as for one instrument. The inspiration for this textural device was from score observation by the composer, who stated that he had “…seen something similar … in one of the quartets of Elliott Carter”.8
7 Butterley, interview with Watters-Cowan, 67.
8 Ibid.
192 Figure 9.10 String Quartet No. 3 Opening of second movement, violins I & II. Solo section, Draft 1
Technical realisation of Butterley’s conceptual sound quality
The anticipated sound quality is clearly indicated in the sketch SQ3:11 (see Figure 9.2 earlier). In this sketch Butterley states his desire for the approach to performing the 1C, 2C and 3C “tutti” 9 sections in each movement. He projects varied emphasis on each subsequent playing to provide a contrast across each movement. He expects the diverse qualities to consist of “breaths…notes (cresc.) …[and] phrases (ending unison) coloured by individual cresc/dim”. Butterley mentions the contrasts of this material over the three movements discussing his intention where “each of the three movts. has a substantial section which has the same notes each time, but the treatment is varied according to the style of each movt., (1) short phrases (2) isolated notes (3) long phrases with no gaps in between.” (Figure 9.11). This statement clearly indicates that Butterley intends a different sound for each passage. The slurs and phrase markings in the score attest to some of these expressions. The nature and manner of these passages and the execution required to achieve these 1C, 2C and 3C sections becomes clearer for the performer when viewed in conjunction with this sketch.
Figure 9.11 SQ3:03
9 The “tutti” is classified by Butterley also as 1C, 2C and 3C and is referred to in other sketches. Some sketches that refer to these sections are; SQ3:02, SQ3:08r, Sq3:17r. 193 When writing for strings, Butterley is theoretically and practically sympathetic to the medium. He has made personal notes about enhanced and more practical writing for stringed instruments. In planning String Quartet No. IV, Butterley notes that for the violin and viola that “a fifth is a good interval to change position on. Diminished 5th is awkward esp. fast. Shifts occurring on a pulse is easier” (see Figure 9.12). Considering such technical details has two benefits; it facilitates performance and there is less possibily of intonation blemishes.
Figure 9.12 SQ4:03
As well as making allowances for shifts in hand “position” in the string playing, Butterley writes his music according to the relative ease of hand-position when changing strings. This is taken into account when planning his cells for his Bagatelle, for which he writes, “make sure each pattern lies under the hand” (see Figure 9.13).
Figure 9.13 B:01
In addition to generally considering string technique, he considers particular performers’ attributes and capabilities and therefore accommodates individual performers when writing his music. One example is in the fourth quartet sketch; Butterley reminds himself to “check Darrell’s LH pizz”, see Figure 9.14.
194 Figure 9.14 SQ4:05
Butterley also seeks advice from string players to gain technical advice about string writing, an example may be seen in his Bagatelle for string quartet sketch B:01 (Figure 9.15).
Figure 9.15 B:01
Sketch SQ3:10 (see Appendix 3) has the reference to “Simon- phrasing?” It appears that this is a reminder note to ask “Simon”10 for technical advice in regard to the phrasing used by the string instruments. This sketch mainly consists of notated passages including two options for the opening passage which was performed by the viola. It is possible that “Simon” may have had technical input into appropriate bowing possibilities for the viola part. Where specifics are needed on various aspects of sound creation, for example producing harmonics,11 Butterley plans charts and tables for his reference. These are used throughout the planning and writing stages in String Quartet No. IV as shown in
10 It is likely that “Simon” is Simon Oswell who was violist in the Petra Quartet in 1978 and 1979, when the first movement, String Quartet No. 3 was previewed in Newcastle.
11 For a description of string harmonics and their usage see: Guy Oldham, Murray Campbell and C Greated, “Harmonics,” in Grove Music Online ed. L. Macy, accessed 12 June 2007, http://www.grovemusic.com
195 Figure 9.16. In this sketch, he notates both the natural and stopped harmonics that the viola creates, writing the finger needed to play the natural harmonics on the G and D strings if performed in the “first position”, together with the resultant note (overtone) and the harmonics which would sound the strongest. Butterley writes these in the treble clef so they are applicable to both the viola and the violin. He also writes several stopped harmonics showing the division of the string into quarters (creating a resultant note at two octaves higher) and into thirds (that is, a resultant note at one and a half octaves higher).
Figure 9.16 SQ4:04
Butterley gives some specific directions for performers to ensure an accurate performance of String Quartet No. IV - see SQ4:15 (see Figure 9.17). Here he clarifies four aspects: structure (previously discussed), metrical groupings, adjustments in muting and slurring. This “Note for performers” is the only record of Butterley’s indications as they do not appear in the score. Metrical groupings are clearly defined by Butterley, for those sections where ambiguity may lead to incorrect pulsing. He writes that the measures should be grouped in “5/8 = 2 + 3 except bars 41, 46, 99” (see Figure 9.17). The measures in 5/8 time are
196 grouped in 2 + 3 pulses, but some in Butterley’s scores have not been written as explicitly and benefit from his further clarification for an accurate execution.
Figure 9.17 SQ4:15
Measure 126 (Figure 9.18) is rhythmically grouped in a 3 + 2 pulse. The grouping is incongruous with Butterley’s instruction in his “Note for performers.” This may be as the grouping is relatively clear. The crossed-out rests in the ‘cello part also support the 3 + 2 grouping (in the final score, a whole-bar rest is substituted for the crotchet rests).
197 Figure 9.18 String Quartet No. IV, Measure 126, Showing the 3+2 rhythmic grouping
The use of the mute is also clarified in his sketches (Figure 9.17 earlier). Butterley writes that the muting that was to commence in “bars 202 -3 … can be changed to [begin in measures] 205 – 6.” The score does not indicate this change and shows the con sordino indications at measures 202 to 203 (shown in Figure 9.19). It is the current writer’s belief that Butterley’s intention was to have the new section I, at measure 207, muted.12 To facilitate the con sordino there must be a rest sufficiently long, in order for the mute to be placed on the instrument. Measures 202 to 203 contained suitable rests to enable their placement. Possibly later, Butterley deemed that the rests in measures 205 to 206 were sufficient in duration for the performers to add the mutes. Without these details being included in the score, measures 203 and 205 are still performed con sordino producing a different timbre for the notes in these measures than Butterley finally wanted.
12 The new section at I appears as if it should be muted. The dynamic level is mainly pp. Earlier muting at Mm 202-203 would be inappropriate as it would change the timbre mid-section during the “song” of violin II. The music prior to measure 202 is similar to Mm 202-205. 198 Figure 9.19 String Quartet No. IV, Mm 202-212, underline added by current writer
A fascimile transmission contains questions from the performers as well as Butterley’s responses to corrections in regard to specific aspects of performance details. These are in relation to particular notes, signs and articulations as shown in Figure 9.20.
199 Figure 9.20 SQ4:12 Facsimile page of questions to Butterley
Clearly examining pre-compositional writings, sketches and even post- compositional correspondence with performers can elucidate aspects of structure and
200 emotional content desired by the composer. Traditional musical notation does not have the capacity to include all the details indicated in the sketches. As it has been shown, not only is the understanding of æsthetic issues enhanced, but some practicalities involving performance practice can also be improved. Butterley demonstrates his pragmatism in obtaining advice and indicates his flexible and receptive nature in seeking such help. As it can be seen in these sketches, Butterley maintains an open dialogue with his performers (where known) and re-works his sketches during all stages of the compositional process. He clearly views the process from conception to performance as a complete entity, participating in pre-performance dialogue and post- performance considerations.
201
This chapter will demonstrate that symmetry, balance and proportion are significant in the construction of Butterley’s string quartets. Proportional structure exhibited by these quartets is closely linked to those defined as the “golden section.”1 However, close analysis reveals that the structures are more intuitively based, rather than created according to any firm mathematical precepts: lines of symmetry, balance and proportion tend to be approximate rather than precise. The chapter commences with a discussion of lines of symmetry, balance and proportion in String Quartet No. IV and String Quartet No. II.2 Smaller scaled structures are then detailed as they tend to reflect the same features but in minutiae. Many of the passages in String Quartet No. II are composed in equally balanced sections and this is demonstrated later in this chapter. Butterley creates short passages to the bridge sections of his music and his use of these is demonstrated in String Quartet No. IV. Also, in this quartet symmetrical pitch shapes are observed as they are reflective of large scale structures, which can be seen in the first three measures of the same work (see Figure 10.1).3 Due to its brevity, the Bagatelle for string quartet will not be considered at this point.4 Butterley’s quartets will
1 It is expected that some of Butterley’s structures involve proportional properties. As a guide, some applications, particularly of the “Golden Mean,” calculated using the Fibonacci series and applied by Lendvai, Howat and Adams will be adapted to examine the structure of these string quartets. The series produces a ratio approximate to .618 or the inverse .382 also referred to as the “golden ratio” or “golden section. As stated earlier, Butterley claims that he composes more intuitively than mathematically and therefore any relationships in the structure of Butterley’s music to the “golden section” are approximations.Some musicologists who have explored the relationship of music and this golden section are Lendvai, Howat and Adams. Courtney S. Adams, “Eric Satie and Golden Section Analysis,” Music and Letters 77, No.2 (May 1996), 242-252. Erno Lendvai, Béla Bartók: An Analysis of his Music (London: Kahn & Averill, 1971); and Roy Howat, “Review article: Bartók, Lendvai and the principles of proportional analysis,” Music Analysis 2, No.1 (March, 1983), 69-95.
2 Most of the discussion will involve String Quartet No. II and String Quartet No. IV. The structures of String Quartet (1965) and String Quartet No. 3 were detailed in discussion of their compositional processes in the previous sketch study chapters.
3 This aspect is detailed later in this chapter.
4 The brevity of this work precludes it from large structural considerations. The mosaic structure of the work was discussed in Chapter 8, pp. 180-183.
202 be explored for general similarities in structure5 as well as each work’s individual organisation.6
Figure 10.1 String Quartet No. IV, Mm 1-3, showing symmetrical shapes pivoting around a midpoint
5 Following well established analytical practices, the structural procedures employed in each work will firstly be examined. Other compositional aspects like pitch, rhythm, timbre, texture and tempo are discussed in Chapters 11 and 12. Once a broad framework is contextualised it will be possible to focus on particular compositional aspects and their relationship to the larger overall framework. The following are examples of such processes. David Fanning, when analysing Shostakovich’s String Quartet No. 8, began by examining the overall structure of the quartet with the general layout of the movements and then proceeded to examine the piece in detail. He looked at the sources of pitch material used in this quartet, then analysed each movement in sections and thematically, also using “analytic reductions” to display hierarchy within the music. Roger Graybill, when studying the second movement of the same piece, also commenced with the work’s general structure. Similar analytic approaches were followed by Wendy M. Penny in her analysis of String Quartet (1968) by the Australian composer, Colin Brumby and by Michael Hannan who discussed Sculthorpe’s String Quartets IV and VIII. Fanning, Shostakovich: String Quartet No. 8, (Aldershot: Ashgate, 2004), 49- 140. Graybill, “Formal and expressive intensification in Shostakovich’s String Quartet No. 8. Second Movement.” in Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford and New York: Oxford University Press, 2005), 191-201. Wendy M. Penny, “Developing variation in selected works by Colin Brumby: An analytical study” (Unpublished BA [Hons] thesis, University of Queensland, 1977). Michael Hannan, “The Music of Peter Sculthorpe” (Unpublished PhD thesis, University of Sydney, 1978), 78, 80.
6 Ross Edwards, “Nigel Butterley’s In the Head the Fire,” Music Now 1, No. 2 (1969), 7-11. In this article the “arch” form is cited as the basis for the work’s structure.
203 Constructional Symmetry in String Quartet No. IV
Butterley’s fourth string quartet is written in symmetrical sections. Many major musical events occur around the rehearsal letters A - K and also at the changes in tempo. Rehearsal letters and tempi changes occuring simultaneously indicate major structural divisions. Smaller sections may be recognised by musical changes which are often highlighted by tempo variation. It will be demonstrated that symmetrical proportions are important in this quartet. To give a diagramatic representation of the work’s structure, Figure 10.2 illustrates the rehearsal markings and tempi changes that occur in this quartet.
Figure 10.2 String Quartet No. IV, rehearsal letters and tempi changes
Letter H is structurally significant, as there is a major change in the music: following letter H, a violin II solo dominates where before all four instruments play different, independent parts (Figure 10.3). The only sound heard across letter H is a single tied-note, effectively linking the two major sections. The measure before letter H comprises “bridging motives”7 played by the violin I and the ‘cello. These short fragments all herald a significant change in the music. Letter H is situated at measure 165, the mid-point of the quartet (this being 49.8% of the entire work which is 331
7 The pitch qualities of the “bridging motives” are described in Chapter 11.
204 measures) as illustrated in Figure 10.4. Although the work is in one movement, this letter H may be seen as a “measured” as well as a structural mid-point. Another way to calculate the lengths of the sections, taking into account that the measures vary in length from 1/4 to 5/4, is through an addition of the note values. Figure 10.5 shows one example that illustrates the many changes in metres within this quartet. In this example the measures vary in length from 1/4 to 4/4. The whole work measures 2307.5 quaver beats. From the beginning to letter H is 1171 quaver beats or 50.07% of the work. Both methods, that is, through the addition of quavers, and through counting the number of measures, situate H as a mid-point of String Quartet No. IV. These are illustrated in the diagram, see also Figure 10.4.
Figure 10.3 String Quartet No. IV, Mm 162-165, Letter H
Figure 10.4 Letter H, Mid-point of String Quartet No. IV
205 Figure 10.5 String Quartet No. IV, showing time signature changes changes from 4/4, 3/8, 1/4, 4/4, 3/8 to 4/4. Mm 268-273
Major sections8 almost create a mirror image when intersected by the rehearsal point H. The opening 61 measures, from letter A to C, is equal in length to the final section, rehearsal mark K9 measure 270, to the end at measure 331 (see Figure 10.6). Rehearsal letters C to F are 65 measures in length; its corresponding section I to K is a similar length at 63 measures, as shown in Figure 10.7. The two central sections, rehearsal letters F to H, and H to I have a close similarity in length, being 39 and 42 measures respectively (see also Figure 10.6).
Figure 10.6 String Quartet No. IV, balancing symmetrical lengths A-C and K to m331, also balancing F-H and H-I
8 The discussion at this point is limited to sectional length and not counting quaver beats.
9 The rehearsal letter K is important as the music at this point recapitulates much of the material used in the opening seven measures of this work. 206 Figure 10.7 String Quartet No. IV, balancing symmetrical lengths C-F and I-K
Smaller sections also mirror structurally around the mid-point H. Measures 1 to 7, which constitute the opening section, is similar in length to the time from the last tempo change, which occurs at measure 325, to the conclusion of the work at measure 331 (see Figure 10.8). Also shown in Figure 10.8 is the relationship in length between the points B to C, this being 21 measures and its corresponding mirror image in the other half, K, to the tempo change at measure 293, which is 23 measures.
Figure 10.8 String Quartet No. IV, smaller symmetrical sections A to m7, and m325 to m331; also B-C and K to m293
The observations thus far relate to sectional length and do not imply any correlation with other compositional devices. However, such an examination demonstrates that there has been an emphasis placed on the overall planning of the work using the mid-point, rehearsal letter H, to divide the work into halves and to create smaller balancing sections around it.
207 Proportional Structures in String Quartet No. IV
Other proportional relationships are also observable in String Quartet No. IV. Some sections are organised in structures which emphasise a ratio of 2:110 or a close approximation of this. The rehearsal point, letter I, highlights this relationship in length. Letter I is a significant point in this work where there occurs a change in tempo, texture and a stylised repetition of the opening measures of the quartet. Letter I is 1504 quaver beats into the work. This work is 2307.5 quaver beats in length,11 placing letter I at almost two-thirds, or more precisely 65.2%, into the work.12 This ratio demonstrates that the structural proportions found in the quartet do conform to the “golden section.” Counting in measures, this places the rehearsal letter I at 62.5% of the entire length,13 letter I is situated at measure 207 of the works 331 measures. This is demonstrated below in Figure 10.9.
10 The ratio of 2:1 possibly expressed as 66.6% appears significant in this quartet. Also, in a work where tempo constantly changes, a degree of leniency should be tolerated over proportional lengths of sections where the relationship is not exact. Adams states of the “Golden Section” that “analysts find 2 percent a reasonable margin” of deviation to allow for any fluctuations in tempo or other difficult to quantify elements. As Butterley composes more “intuitively than intellectually”, as quoted to both Smalley and Watters-Cowan, there is an amount of leniency in the calculation of these proportions. Most of these passages demonstrate proportions close to this, ranging from 62.5% to 68.5%. It is easier to describe these sections as a percentage of a larger passage than as a decimal fraction, although 66.6% is the equivalent of .666. This is slightly greater than the Fibonacci ratio of approximately .618, or its inverse approximately .382 as calculated by Adams. Roger Smalley, Nigel Butterley speaks with Roger Smalley, Video, University of Western Australia, 5 August 1992; Adams, 243.
11 As before, quaver beats as well as measures are used to calculate the length of this work, due to the constant variance in the length of measures.
12 When interviewed by the current writer, Butterley displayed interest in the intuitive aspect of proportions occurring in his works. He said that the application of symmetrical structures occurred naturally and that it is not calculated. Butterley contemplated that proportions may occur in his work From Sorrowing Earth and later stated: “From Sorrowing Earth has 397 bars, if you count the last one, which is a GP [Golden Proportion]. The climax begins to grow from bar 154, with an insistent ostinato E6. But from bar 172 it begins to be anticipated more intensely, and even more from bar 197. The climax (tutti, at the peak of a gong crescendo) is at bar 288. I didn't try to count the number of beats! Perhaps you can contrive something significant from that; I'll be interested to know.” Personal communication from Butterley to Watters-Cowan, 18 August 2007. Used with permission.
13 This highlights the difference in the calculation of lengths using two different methods. Demonstrating that even without taking tempi variations into account, these ratios should be allowed a degree of tolerance. 208 Figure 10.9 String Quartet No. IV, ratio of A to I within entire work
When the work is partitioned into two halves at letter H, each half is composed in similar proportions. Ratios of 2:1 discussed in the aforementioned section are important in the quartet’s construction. Letter K represents a significant point as it is a return to the material-type used in the opening section of the string quartet. This passage also has the attributes of a final section or coda. In the second half, letter H to K, and H to the conclusion, there are further examples showing two-thirds proportions: rehearsal letter H to the conclusion is 1136.5 quaver beats in duration, whereas letter H to K is 766 quaver beats. This places letter K at a point being a little over two-thirds (67.4%) through the second half of the work, demonstrating Butterley’s use of the “golden section” within halves of this work. as can be seen in Figure 10.10.
Figure 10.10 String Quartet No. IV, ratio of H to K within second half of work
A similar ratio is seen between the points A to G and A to I (the point two-thirds through the whole work). The music at letter G changes in tempo and the violin I and ‘cello play figures derived from the opening passage. The viola featured a “song”14
14 Butterley classified the music at letter F as “the first song of III (viola)” SQ4:06r. See also Chapter 6, p. 115. 209 passage from the previous section. Figure 10.11 illustrates that from A to G there are 1030 quaver beats and from A to E there are 1504 quaver beats, placing G 68.5% into the section A to I.
Figure 10.11 String Quartet No. IV, ratio of A to G within the length A to I (two- thirds of entire work)
Within the section A to G another similar proportion can be found. A to E is 64.9% of the distance between A to G. Rehearsal letter A to E is 669 quaver beats in length and A to G is 1030 quaver beats in length (see Figure 10.12). Smaller sections are also composed in the same proportions and can be divided into a 2:1 ratio.
Figure 10.12 String Quartet No. IV, ratio of A to E within A to G.
Butterley writes his compositions in relatively small sections15 and then incorporates these passages into the overall work, according to his plans. As these
15 Butterley’s planning and writing of the first movement, String Quartet No. 3 illustrated this practice, see Chapter 8, pp. 170-173. String Quartet No. IV also comprises many separated passages. 210 portions of works are constructed separately they may also exhibit characteristics of the “golden section” within each passage. Also, he gauges lengths of passages so that when combined into sections they exhibit proportions close to the “golden section.” String Quartet No. IV opens with three passages with lengths of 40, 21 and 10 measures. The lengths of these passages produce the following proportions, 40+21=61 and 40/61=65.5%; 21+10=31 and 20/31=64.5%. An example illustrating Butterley’s planning sections of a movement within the proportion of the “golden mean” is found in sketches of String Quartet No. IV. He describes the sections he planned in the second movement as IIB, IIC, IID and letter E would have been IIA. The entire movement would have been 161 measures with the “golden section” at measure 99.49; the passage IID would commence 100 measures into this movement16 at the exact point of the “golden section”. Butterley, working in even smaller sections, bounded by structural change, continues to compose to the same proportions. As these points occur closer to the commencement of the work, the 2:1 ratio places both rehearsal letters C and B within this equation. Letter C is situated at a point almost two-thirds (65.5%)17 between A and E, as is visually demonstrated in Figure 10.13. Similarly, rehearsal letter B is placed a little over two-thirds (67.6%)18 between A and C, which is demonstrated in synopsis at Figure 10.14.
Figure 10.13 String Quartet No. IV, ratio of A to C within the A to E
16 The passages lengths are E = 37, IIB = 43, IIC = 20 and IID = 61 measures. These details are found in Chapter 6, Table 6.1, p119.
17 Letter A to C is 438.5 beats. Letter A to E is 683 beats. C is 65.5% of A to E.
18 Letter A to B is 2996.5 beats. Letter A to C is 438.5 beats. B is 67.6% of A to C. 211 Figure 10.14 String Quartet No. IV, ratio of A to B within A to C
Similar structural proportions are evident in the work’s second half, from the mid- point, letter H, measure 165, to the conclusion at measure 331.19 The opening passage is finally re-stated at measure 319, twelve measures from the end.20 It is situated at a point in the series wherein the ratio is 2:1 (or two-thirds) between K, measure 270 and the end, measure 331 (K to the end of the work is 61 measures). This ratio is demonstrated in Figure 10.15 through a reduction of these sections from letter K to the end of the work. The other intermediary points in this sequence, measures 291, 303 and 313, are also highlighted points of change in the music and are therefore structurally significant.21 For example, measure 291 is made significant by a rest in all the instruments, and by an anacrusis into measure 292 where there is a change in tempo – “poco accel” and also a motive change (see Figure 10.16). Measure 302 is marked by a rest in all parts and measure 303 signifies the return of previous thematic material in the ‘cello part. Measure 313 changes tempo with “poco accel.” and changing texture and melodic material is reinforced by a “poco più mosso” instruction in measure 314 (see Figure 10.17).
19 As demonstrated earlier in Figure 10.10, the letter K is situated two-thirds the distance from H to the end of the work.
20 It was shown that Butterley anticipated the conclusion of String Quartet No. II by his method of ruling the final page of measures, see Chapter 8, p170. Therefore he may also have planned in reverse, that is, back from the conclusion of this String Quartet No. IV.
21 The distance from letter K to the end is 61 measures. By reducing 61 x 2/3 = 40.6 measures from the end, or measure 291 By reducing 40.6 x 2/3 = 27.1 measures from the end, or measure 303.1 By reducing 27.1 x 2/3 = 18.1 measures from the end, or measure 313 By reducing 18.1 x 2/3 = 12 measures from the end, or measure 319.
212 Figure 10.15 String Quartet No. IV, ratio 2:1 from K to the end of the work
Figure 10.16 String Quartet No. IV, Mm 291-3 showing a rest in all parts, tempo change and thematic change
213 Figure 10.17 String Quartet No. IV, Mm 313-315 showing tempo and thematic change
Butterley situates major musical statements at positions within the measured ratio of 2:1 within the entire work. As he writes the work in smaller passages, sections within this work display similar structural characteristics, for example, passage length is proportioned to the “golden section.” Furthermore, symmetrical balance, revolving around a median, is significant in String Quartet No. IV’s overall structural planning. Smaller sections are augmented by the same ratios over the opening and similarly diminish throughout the work’s closing sections. By commencing String Quartet No. IV with small, but increasingly lengthening sections, Butterley is able to state the material, including all the pitch materials and the other basic constituents of this work in the first seven measures. He then exploits motivic re-statement (which may be fragmentary), elaborates upon them, extends the subject matter and lengthens it each time. A reduction in the lengths of sections towards the work’s conclusion facilitates a sense of closure, for the listener, as each section is stated more succinctly upon each hearing.
String Quartet No. IV: Bridging Motives Heightening Structural Delineation
Bridging motives are short passages designed to link the larger sections in this work. The larger parts of String Quartet No. IV are generally separate entities which are
214 delineated by double bar-lines and rehearsal letters, repeated and altered as Butterley finds appropriate. These passages are often linked as one idea concludes and a fresh sequence begins. Bridging these passages is done with various material. Motives are generally one measure or less in length and are often separated by rests. The most commonly used bridging figure is a short rapid ascending passage derived from the material in measure seven. This measure 7 motive is repeated in measure 39, the bar preceding letter B. Figure 10.18 shows measure 7 and also the repetition heard in measure 39.
215 Figure 10.18 String Quartet No. IV, Measure 7 (top); Mm 39-40 (bottom)
Other bridging passages using material related to the passage of measure 7 are those played in measure 88, preceding letter E, violin II and ‘cello; measures 149 and 150, letter G, ‘cello; measure 164, preceding letter H and measures 249 and 259 letter J violin I and ‘cello. These are shown in Figure 10.19.
216 217 Figure 10.19 String Quartet No. IV, Mm 88-91 (a), Mm 149-150 (b), Mm 164-165 (c), Mm 249-252 (d)
Each bridging motive is subject to different treatment and it is often changed to be used as a precursor of the ensuing music. One example is at measure 88, one measure before letter E. Here, the rapid rising bridging figure is written only in semiquavers. The music at letter E is stylistically a re-statement of the opening. The second and third bars of this passage, measures 90 and 91, are characterised by semiquaver movement as a variation to its opening statement at letter A. The use of semiquavers in measure 88 provide a suitable link by preparing the listener for the similar rhythm in the following passage. Another example is seen in the music at letter J, commencing at measure 250, where there is a rapid passage in demi-semiquavers. The previous measure introduces a rhythmic pattern of demi-semiquavers, (see Figure 10.19 above), which heralds the following demi-semiquavers. Also, the latter parts of measure 250 restates some notes played measure 7; measure 7 contains the notes used to create these bridging passages. The repeated notes have been circled in Figure 10.20 and are B6, F, A and G#.
218 Figure 10.20 String Quartet No. IV, Measure 250
Other bridging motives, used to signal a change of section, feature longer sustained notes like those in measures 205 and 206 which lead into letter I. Letter I is a calmer more sustained restatement of the opening (this is shown in Figure 10.21). Again, the bridging passage provides a link to the ensuing passage.
Figure 10.21 String Quartet No. IV, letter I Mm 205-209
Another way Butterley uses these bridging motives is as a precursor to a new section. This is shown in the measure before letter K, that is measure 269 (see Figure 10.22). The passage at letter K is a full four-part restatement similar to the opening music at letter A. In the two measures preceding letter K, the four instruments
219 texturally perform in block chords. Their texture prefigures what follows during the passage commencing at letter K.
Figure 10.22 String Quartet No. IV, letter K. Mm 268- 272
These bridging passages also soften and disguise tempo variations that occur between the various sections of this string quartet. For example, the measure before letter B contains the indication “poco accel.” and at letter B the tempo quickens to “Poco pi mosso” (see Figure 10.18, earlier). Acceleration commences during the preceding measure and this moderates the abruptness of the tempo change. Butterley treats this contrarily when it occurs at the measure before letter I. He writes a rit. which anticipates the slower tempo for the section letter I (see Figure 10.21, earlier). These short bridging figures are a means by which Butterley can compose a piece in different sections and effectively link the various contrasting passages. These transitory sections comprise musical qualities which anticipate the ensuing music.
Overall Symmetry, Balance and Proportion: String Quartet No. II
Constructed with a balanced, symmetrical structure, the second string quartet has more architectural similarity with Butterley’s fourth string quartet than with the others in this genre. String Quartet No. II has a mid-point at letter I where there is a change in the music; the measures prior to 162 (letter I) were “time measured” in 5” duations and all four instruments played in ensemble whereas, after measure 162, there is a ‘cello
220 solo with little accompaniment and a regular 4/4 pulse is introduced, as shown in Figure 10.23. Rehearsal letter I, at measure 162 is 48.9% throughout the work or almost half the length22 of this work (see Figure 10.24). The second half includes sectional material that loosely mirrors thematic passages heard in the first half of the quartet, thus creating a work in which each half is balanced.
Figure 10.23 String Quartet No. II, Mm 159-164
Figure 10.24 String Quartet No. II, mid-point letter I
22 This calculation is achieved by counting measures in this composition. 48.9 % of 331 measures and 49.2% of 329 measures. 221 Butterley achieves balance around the mid-point of this quartet. The composition is 106 measures from letter M to its conclusion, at measure 331. These 106 measures are balanced by a similarity in length (approximately) by the opening 103 measures to letter D at measure 104, shown in Figure 10.25. Letter D is the commencement of the inner passages23 of this quartet. Briefly, the beginning to the end of letter C is the opening or outer part. Letters D to the end of L constitute the inner section and letter M to the completion is the final or again the outer part. Here the change is signified by a change of thematic material and texture. The passage of letter D is based on figures playing the note D. Letter M is a return to opening type material after the passage featuring the violin I.24 The music written in these outer passages, the opening 103 measures and the concluding 106 measures, contain passages with similar material, thus giving this work a balanced, overall arch-shape design.
Figure 10.25 String Quartet No. II, balancing structures, opening to letter D and M to the measure 331
The internal sections may also be logically and musically ordered into two halves that are similar in length with 58 measures25 and 63 measures26 respectively. Each “half” has similar material that includes the instrumental solos, two occur in each section. These solos, at letters E, G, I and L, only occur in the internal sections, that is, from the commencement of letter D measure 104, to measure 224, which precedes letter
23 Outer and inner passages that make this work are discussed further in Chapter 12. Briefly, the opening to the end of letter C is the opening or outer part. Letters D to the end of L are the inner and from letter M to the completion is the final or again the outer part.
24 The inner sections are characterised by each instrument featuring in a significant passage.
25 There are 58 measures from the start of letter D at measure 104 to the last measure of letter H at measure 161.
26 There are 58 measures from the start of letter I at measure 162 to the last measure of letter L at measure 225. 222 M (see the preceding Figure 10.25). Other material occurring only in the internal sections is the passage at letter D and also letter K. Both sections are in their respective halves of this central section and the passages are related: they are an exploration of the timbres associated with the pitch D. Figure 10.26 shows the music at letters D and E to illustrate the musical styles used in the central part of this string quartet.
Figure 10.26 String Quartet No. II, Letter D, measure 104 (top); violin solo, Letter E, measure 119 (bottom)
Butterley also relies on proportional relationships in his structure in this second quartet. For example, a major section commences at letter M, that is, measure 225 (or 223) and the composition’s main climax is reached over the measures immediately preceding letter M. Letter M is 68% through the duration of this piece, as is illustrated in Figure 10.27.27
27 This is calculated by the number of measures in this composition. Using Butterley’s manuscript score, letter M would be at 223 measures of the 329 measure composition or at 67.8% of the work.
223 Figure 10.27 String Quartet No. II, placement of letter M
Structural and thematic similarities in the major sections is of prime importance to the composer. The relative length found in large sections of this second string quartet leads to the conclusion that this is by conscious design. As the lengths of the structures are approximate, it is felt that these lengths are composed without the use of any set mathematical formula. These structures were to be later duplicated in String Quartet No. IV. This string quartet’s structure revolves around a mid-point around which large sections are symmetrically balanced. The work achieves a climax successfully dividing the work by a 2/3 ratio. Thus these clearly delinated structural designs confirms Butterley’s careful approach to the architectural properties of the work.
Proportional Lengths in String Quartet (1965)
In his earliest string quartet, Butterley organised the lengths of the two movements (when counting in measures) in a ratio approximating 2:1: this concurs with the structural practices he has employed in his later string quartets. The entire composition is 131 measures in length; the first movement is 86 measures whereas the second movement is 45 measures, thus the first movement is 65.6% or close to 2/3 of the entire length (see Figure 10.28 for a diagrammatical representation). Again, 2/3 ratios are important in Butterley’s structures. From the period of his earliest quartet Butterley has composed in proportions reflecting the ratios of the “golden section”.
224 Figure 10.28 String Quartet (1965), ratio of lengths of movements
Proportional Lengths in String Quartet No. 3
In Butterley’s third string quartet, similar structural proportions to those noted in the first string quartet are in evidence. The chordal progression is an important unifying passage of this work as it is found in a prominent position in each movement and, although it is altered on each hearing, the basic character is retained which provides cohesion to the work. This chordal passage occurs in structurally significant positions. These are at the conclusion of both the first and third movements. Its occurrence in the second movement is midway through measure 126 (see Figure 10.29) or 230 measures into the 350 (total) measures of this composition.
Figure 10.29 String Quartet No. 3, Mm 124-128
The chordal passage in the second movement occurs at 65.7 % of the entire work, which is almost two-thirds through the length of the quartet (see Figure 10.30). 225 Figure 10.30 Placement of chordal passage in String Quartet No. 3
Measure 104, in the second movement, (see Figure 10.31) is a point where the opening of this movement is reiterated, and there is also a return to “tempo 1”, a significant point in this movement. It is situated at 65% through the length of this 160 measure movement at a point close to the “golden mean.” The proportional placement of this point is equivalent within this movement to the placement of the chordal sequence within the entire quartet.
Figure 10.31 String Quartet No. 3, Mm 104-107
226 Structural Processes on a Smaller Scale
Butterley’s structural design used in the string quartets is similar when examined on the smaller scale to those he uses in his larger structures. Musical passages within sections often display balance and are proportinally structured. The examination of the passages in String Quartet No. II illustrates that many of the sections that comprise this work may be separated into musically balanced halves. Frequently, the second half is essentially a stylistic repetition, using similar pitch material although not always in the same sequence. Examples showing this balanced repetition occur in the opening passage,28 the music in the passage from letter B29 and in its similar passage at letter N, and in all the four instrumental soli in this quartet, that is, at letters E, G, I and L. Figure 10.32 shows the ‘cello solo commencing at letter I, measure 162. This passage is in two halves, balanced around a ‘cadential’ figure ending in two notes, B and D, played as thirds. The second half then begins and concludes also with notes played in thirds.30 Butterley uses shorter passages of music to represent in minutiae the events that occur over the entire work.
28 The opening passage, measures 1 to the end of 28, is an example of two balanced sections; the first section is 14 measures (70 seconds in duration) and the second, commencing at measure 15 and concluding at measure 28 (69 seconds), gives this passage two almost even parts. This is discussed in further detail, Figure 10.33 and also under the section on pitch in Chapter 11.
29 Music contained in the passage heard at letter B is from measures 41 to the end of measure 70, 29 measures, which also contains a mid-point after fourteen measures, where the passage is repeated at measure 55. This repetition is not exact, but it retains many of the characteristics from the initial statement. The music written at letter N, whose material is closely linked and related to that in letter B, is also composed in two balanced parts.
30 Each of these four soli exhibit similar characteristics to those shown in Figure 10.32. Each contains two sections of almost equal length. The two sections in these soli are all partitioned by a “cadential” figure.
227 Figure 10.32 String Quartet No. II, ‘Cello ‘solo’, Letter M, Mm 162-173
Structural Features: Opening of String Quartet No. II
The opening passage, measures 1 to 29, is the nucleus of this string quartet: it re- occurs, many times throughout the composition. Butterley has constructed the opening passage in two (almost even) halves, these being measures 1 to 14 (70 seconds) and measures 15 to 28 (69 seconds). A re-phrased repeat commences at measure 15 emphasising the two-part structure of this section. Figure 10.33 illustrates the first two measures as well as measures 15 and 16, to show the similarity between the opening and its stylistic reiteration in the second half of this passage. The first part is a kaleidoscopic statement of compositional material that is mainly in short fragments. The music is ever-changing, with several different motives stated in the first meaures. These musical cells are varied in pitch shape and rhythm as they are repeated in the different instruments. Vertical alignments also are constantly altering as the various motives are not equal in length nor are they repeated at regular intervals. The material is subject to constant transformation by the material being interchanged among the instruments. These cells, and their general organisation in the opening section, give the appearance of being randomly assembled. The second part includes these features, however it is more direct in leading to a climax.31 This highlight is achieved by developing and extending the fragments from the passage in the opening measures.
31 Detail of this material occurs in Chapter 11, pp. 257-264. 228 Figure 10.33 String Quartet No. II, commencement of first half of opening passage, Mm 1-2 (top), commencement of second half of opening passage, Mm 15-16 (bottom)
String Quartet No. IV: Symmetrical organisation of the opening three measures
This work has a broad plan which is based upon balanced equivalent proportions and like String Quartet No. II, exhibits similar patterns on a smaller scale. Symmetrical lines are established in the fourth quartet’s first three measures. Lines of symmetry at all levels, both vertical and horizontal, are extremely important in the opening of the fourth quartet, as shown earlier in Figure 10.1. The main structural pillars at either end pivot around the middle measure. There is reliance on
229 contrary motion, reciprocating note patterns and chords whose pitch-class is equivalent when inverted, all of which demonstrate the symmetrical patterns occuring in the opening.32 On many levels, the music displays balanced proportions. The structure of the outside notes in the ‘cello part displays perfect symmetry through balanced contrary motion utilising the notes A and F as an inner axis where both parts move outwards by the interval 0, 9.33 A similar shape is used in the violin II part. Here the movement is more concealed, but it is still possible to observe this progression. In the higher part, the note A falls to E and finally rises to A. Contrarily, the note D rises to G and then returns to D. Both move inversely by the interval of five semitones (see Figure 10.1). The violin II and viola parts contrarily balance each other in measure 2 (also shown in Figure 10.1) while symmetrical note patterns are important in this composition’s construction.
Summary
Butterley’s string quartets use designs that are balanced and proportioned according to the entire length of a composition: this is evident in the overall structure as well as in the smaller sections. Butterley either consciously plans his works to be structured within these guidelines, or balance and proportion occurs naturally as he intuitively structures his compositions. Butterley believes that the latter explanation reflects his individual approach.34 Possibly Butterley’s structures are a result of both. He composes generally to these forms, rather than mathematically, and uses intuition to write within these general structures. The intuitiveness of Butterley’s methods may be substantiated by his deviation from rigid structural models which would probably not be the case if he adhered to a pre-set formula. Butterley is consistent in using proportional designs over the 30 years represented by the works in this genre. Although these works
32 The pitch-class of the opening chord and the final chord in measure 3 is Tn/TnI-type [0,2,4,5,7,9] which has the same structure when inverted. This is discussed in detail in Chapter 11, pp. 236-242.
33 In the ‘cello part, the higher part uses the notes D, F, D or 0,9,0, while the lower part contains the notes C, A, C or 0,9,0.
34 See earlier in this chapter, Fn. 10, p 208. Roger Smalley, Nigel Butterley speaks with Roger Smalley, Video, University of Western Australia. 5 August 1992. Peter Watters-Cowan “Nigel Butterley’s String Quartet No 3- Context and Analytical Perspectives,” 63.
230 were not composed as a set they feature similar constructional considerations that may be seen to be a compositional trait of Butterley’s string quartet writing.
231
This chapter discusses the organisation and use of pitch materials in Butterley’s string quartets. The aim is to reveal Butterley’s individual style in respect to pitch usage by tracing sets of notes with similar features in both small and large scale sections of these works. It will be asserted that the pitch structures in each work are based on a fundamental core of material. Investigation of Butterley’s pitch usage and related intervallic structures will commence in each work at structurally significant points including the opening passages1 and sections that display similar pitch characteristics. It is Butterley’s practice to state the basic pitch materials over relatively short passages. The note-row of String Quartet (1965) is stated in the first 5 measures, the opening section which contains the seminal material of String Quartet No. II is 18 measures, the three chordal passages which constitute the main pitch material of String Quartet No. 3 are relatively short being 19, 11 and 10 measures in each movement and String Quartet No. IV states its predominant pitch material in the opening 7 measures. Butterley positions this core material in a prominent position in each composition; String Quartet No. II provides an example. He describes the opening section of this quartet as having “all [the] basic ideas”2 used in the work stated within this passage. Several very different short melodic and rhythmic motives are moulded together in this complex, busy or “dense opening”3 passage, and the material created for these sections forms the basis for motives used in the subsequent passages. Examining these motives in their varied forms highlights Butterley’s tendency to use a similar set of material, which is re-worked, to convey different outcomes in musical sounds.
1Lester states that “the beginning of most pieces announces the basic materials of that work.” This is a similar view to White who suggests: “Very often the basic harmonic materials of an entire musical work may be presented at the very beginning in the form of clearly discernible pitch sets.” Joel Lester, Analytical Approaches to Twentieth Century Music (New York: Norton, 1989), 109. John D. White, Theories of Musical Texture in Western History (New York and London: Garland Publishing, 1995), 378.
2 As stated on his sketch, Butterley, SQ3:09.
3 Ibid.
232 Butterley often designs these short passages to reflect the main architectural structures he assigns to each quartet. For example, the opening part of the second quartet is structured in two halves, as is the entire work and most constituent sections are also in two halves. The opening of String Quartet No. IV is balanced and symetrical both in small-scale structures as well in its pitch shape and note usage. Discussion commences with the first seven measures of String Quartet No. IV and a summary of its pitch qualities. Next to be analysed are the chordal passages that occur in each movement in String Quartet No. 3. Following this, the pitch structures in the opening passage of both String Quartet No. II and String Quartet (1965) are scrutinised for their important characteristics. These pitch attributes, the particular chordal use, similarity within chords and favoured intervals are then examined within the context of each quartet. Through examining note groupings and tracing their similarities through the larger structures, common links in pitch use will be displayed. It is anticipated that in each individual quartet there will be similarities in Butterley’s chordal construction, motivic conception and development of these motives. Aditionally, it will be asserted that the vertical and linear pitch qualities are inter-related. Butterley’s use of pitch-structures within one work may then be compared to their use in the other string quartets studied. Pitch materials are examined in small sections, generally cells containing 3 to 7 notes, with an emphasis on harmonic and motivic analysis to identify common pitch structures favoured by Butterley. Cells, motives and chords will be grouped into sets which are sympathetic with the music. In some instances both vertical and horizontal combinations may be grouped together. Butterley’s pitch processes that create cells based on particular intervallic structures are more discernible within these small passages. These smaller sections will be compared and permit those sets of notes with similar characteristics to be traced and identified in various sections, or over an entire work. Pitch-class set analysis has been shown to be an appropriate tool to compare sets of notes either horizontally, vertically or in combination, in order to highlight relationships between these notes. However, in this thesis, any particular method is only employed for its usefulness in illustrating as fully as possible certain functions in the music. Sets of notes, or pitch- class sets, will display the fundamental pitch relations between note groupings. Joel Lester claims that, “pitch-class sets provide us with an analytic tool to study melodies,
233 harmonies, and the interactions between melody and harmony in non-tonal music.”4 Comparing these sets of notes may then highlight their similarities and differences. It is anticipated that there will be common aspects among many of these “pitch-class sets”5 and “the relations between the underlying pitch-class materials and entities and their musical realizations as pitches”6 should enable Butterley’s compositional preferences in respect to pitch, to emerge. Classifying note groups into these pitch-class sets makes comparison of interval qualities easier and hints at sonic finger-prints which are characteristic of the individual composer. To be an effective tool, “set analysis requires grouping pitches together based on logical and consistent criteria.”7 In selecting the groups of notes their “context is all important”8 as “pitches in a pitch-class set must appear together, either consecutively as a melody, simultaneously as a harmony, associated texturally or timbrally as in the accompaniment to a melody, or related in some other way.”9 Fortunately, in “some music this grouping falls naturally and even conveniently within certain boundaries,”10 facilitating the choice of note groups into pitch-class sets. Selecting notes to be incorporated into the groups for pitch-class identification will take compositional characteristics, such as the linear, vertical and their combinations, into account. Relations between pitch-class sets are illustrated in several ways. When pitch sets contain an equal number of classes, a maximum similarity between the vectors11 of the pitch-class sets reveals intervallic structures that are similar.
4 Lester, 81.
5 Allen Forte, The Structure of Atonal Music. New Haven and London: Yale University Press, 1973. Pitch-class sets are tabulated in Appendix I of this reference, 179-181.
6 Robert D. Morris, “Equivalence and similarity in pitch and their interaction with pc set theory,” Journal of Music Theory 39, No. 2 (1995), 207.
7 David Cope, Techniques of the Contemporary Composer (New York: Schirmer Books, 1997), 77.
8 Lester, 90.
9 Ibid.
10 Cope, 77.
11 John Rahn, Basic Atonal Theory (New York and London: Schirmer Books, 1987). Tn/TnI sets appear with vectors in Table II, 140-143.
234 Reducing larger pitch-class sets to examine their “subset”12 qualities is another method to compare intervallic structures will be utilised in this thesis. Where sets differ in the number of notes, subsets will be used to demonstrate basic common qualities.13 It will be shown that reducing the larger pitch-class sets into smaller subsets will be an effective tool in analysing the pitch properties in Butterley’s string quartets.
String Quartet No. IV: Pitch Usage, Measures 1-7
Characteristically, Butterley provides a nucleus of material as the basis for all aspects of pitch organisation, (both linear and vertical), that he will develop in each string quartet. In this work, the basic pitch materials used are stated during the first seven measures, shown in Figure 11.1.
12 Rahn, 115.
13 For example pitch-class set [0,1,3,5,8] has many similarities with the set [0,1,5]. Perhaps less obvious is its similarity to the set [0,2,5], the classes [0,3,5] inverted, and [3,5,8] transposed.
235 Figure 11.1 String Quartet No. IV, Mm 1-7
There are three distinct sections in these 7 measures: measures 1 to 3; measures 4 to 6; and measure 7. These three sections are separated by rests. Although they are separate in their initial statement, when developed throughout the work, the material is utilised from more than one of these sections concurrently. The first three measures establish pitch structures that lend themselves towards triadic and step-wise development. The intervallic structures composed are basically consonant. Measure 1 includes a four-note chord played by each string instrument (see Figure 11.2). The summation of pitch properties and their intervallic relationships is
236 facilitated using techniques identifying pitch-class (pc)14 as a means of classification. Violin I and the ‘cello share the same notes, C, D, F, G, which form the pc set15 Tn/TnI- type [0,2,5,7]. Violin II plays the notes G, A, D, E, which constitutes the same pc Tn/TnI-type [0,2,5,7]. The viola plays a trichord comprising the notes A, C, E, whose pc set is Tn/TnI-type [0,3,7]. Both pcs have in common the class 0,7 and also the class 0,3, creating possibilities for major/minor chordal development.
Figure 11.2 String Quartet No. IV, Measure 1, circles by current writer
The pc set Tn/TnI-type [0,2,5,7] also has lines of symmetry within its intervallic structure, as the notes contain the same intervals in their original form and in their inversion as observed through pc examination. The complete set of notes used vertically in measure 1 is: C, D, E, F, G, A, and their pc classification is Tn/TnI-type [0,2,4,5,7,9] (Figure 11.3). This pc set also has the same interval structure in its original ordering as in its inversion.16 From this may be drawn two equal, replicated and important17 subsets
14 These are classified in sets earlier described in the works of Forte, Rahn and Morris.
15 Pitch-class will henceforth be abbreviated to pc.
16 The pc set Tn/TnI-type 0 - 2 - 4 5 - 7 - 9 consists of the same interval content as its inversion: Tn/TnI- type 9 - 7 - 5 4 - 2 - 0. 237 of Tn/TnI-type [0,2,4]. Noticeably, an interval that is omitted in the vertical configuration is the [0,6] interval. A possibility for its omission is that Butterley required a chord quality with a more consonant nature without the added dissonance of an augmented 4th or diminished 5th (for this reason, there is only one semitone interval, E and F). This chord underlies the pitch structure of the work; chord qualities are therefore of prime importance. The composer establishes pitch structures that are generally consonant and have chordal (major C, E, G and minor D, F, A) as well as tetrachordal (C, D, E, F) potential for development.
Figure 11.3 String Quartet No. IV, Measure 1, bracket by current writer
The notes in the individual instrumental parts in measure 2 (Figure 11.4) have intervals which bear close relationships to those in measure 1. The ‘cello notes played in measure 2,18 C, A, F, are intervallically equivalent to the viola notes in measure 1, the
17 The importance of this subset is that this is one pitch structure Butterley is creating, a series of conjunct notes in succession, for example C, D, E.
18 Violin I D, B: Tn/TnI-type [0,3]. Violin II G, E: Tn/TnI-type [0,3]. F, D: Tn/TnI-type [0,3]. Combined G,E,F,D: Tn/TnI-type [0,2,3,5] 238 pc set for both being Tn/TnI-type [0,3,7]. A strong correlation of interval class [0,3] is found in the violin I and violin II notes. This set (Tn/TnI-type [0,3,7]) has a core similarity to the Tn/TnI-type [0,2,5,7] set that is important to the notes played by three of the instruments in measure 1. The combined notes in the violin II part in measure 2, that is, D, E, F, G, (Tn/TnI-type [0,2,3,5]) display inversional symmetry19 in their classed structure as illustrated: Tn/TnI-type 0 - 2 3 - 5 5 - 3 2 - 0. The combined viola notes in measure 2, result in the set Tn/TnI-type [0,1,3,5]. This is also related by its [0,3] and [0,5] class to the important Tn/TnI-type [0,2,5,7] set found in measure 1.20 This similarity provides cohesion through a repeated intervallic structure.
Viola C, B, G: Tn/TnI-type [0,1,5]. A, C: Tn/TnI-type [0,3]. Combined G,A,B,C: Tn/TnI-type [0,1,3,5]. ‘Cello C, A, F: Tn/TnI-type [0,3,7].
19 Rahn, 91.
20 The set Tn/TnI-type [0,1,3,5] has similarities with the set Tn/TnI-type [0,2,5,7] through the following subsets: 0 - 2 - - 5 - 7 0 - - 3 0 - - - - 5 5 - - - - 0 239 Figure 11.5 String Quartet No. IV, Measure 2
The combined notes played in measure 1 are a direct subset of the notes used in measure 2.21 The similar pitches create a sense of unity with the first measure. Measure 3 concludes the first part of the opening material. It implies an aspect of completeness by ending on the same notes as the opening hexachord (see Figure 11.6). The return to this chord assigns a pivotal role to the sonority contained in measure 2.
21 The notes in measure 2 are B, C, D, E, F, G, A, while the notes in measure 1 are C, D, E, F, G, A. Measure 2 contains the note B which was not present in measure 1.
241 Figure 11.6 String Quartet No. IV, Measure 3, lines by current writer
Butterley uses the next three measures to consolidate the previous pitch structures and during these measures he introduces more variety in note usage and differing intervallic structures. The cells of notes illustrate that the music is now becoming less consonant. The second set of material which constitutes the opening statement is found in measures 4 to 6. These three measures exhibit different characteristics from those discussed in the first three measures. Measures 4, 5 and 6 consist of mainly linear rising motives, although important vertical aspects are apparent (Figure 11.7). As these measures progress, a change in intervallic structure is introduced. Measure 4 uses groups of notes whose pitch-class is similar in nature to the preceding three measures. Throughout measures 5 and 6 new groupings of notes with different pitch-class implications are introduced.
242 Figure 11.7 String Quartet No. IV, Mm 4-6
Vertical alignments of notes in measure 4 illustrate distinct similarities to those used previously, especially in measure 2 which reinforce the earlier tonal qualities of the music, before change occurs over these three measures. Figure 11.8 shows the vertical alignments which occur at the commencement of each half measure. The first beat in measure 4, set Tn/TnI-type [0,1,3,5,8] bears a distinct similarity to the set in measure 2, Tn/TnI-type [0,1,3,5,6,8,10]. A close relationship is also noticed with the second alignment (on the 3rd beat) in measure 4, Tn/TnI-type [0,1,3,4,5,8] and the same set in measure 2.22
22 The first pc set in measure 4 is a subset of the pc set in measure 2. Tn/TnI-type [0,1,3,5,8] is found in the set Tn/TnI-type [0,1,3,5,6,8,10]. The similarity between the second pc set in measure 4 and that of measure 2 may be demonstrated thus: measure 2: 0 1 - 3 - 5 6 - 8 - 10 measure 4: 0 1 - 3 4 5 - - 8 243 Figure 11.8 String Quartet No. IV, Measure 4, first beat alignment (left), 3rd beat alignment (right)
Linear pitch shapes in measure 4 are similar to the vertical contour and this use of intervallic structure is a characteristic of Butterley’s pitch construction. The pc set Tn/TnI-type [0,1,3], with viola notes B, C, and D, and ‘cello notes E6, G, and G, is a subset of both the vertical pitch-class sets Tn/TnI-type [0,1,3,5,8] and Tn/TnI-type [0,1,3,4,5,8] as are the other two linear sets used in this measure, Tn/TnI-type [0,2,5], viola notes G, A, and C, and Tn/TnI-type [0,3,7], ‘cello notes C, F and A, then G, B6 and D23 (see Figure 11.9). The linear intervallic structures in measure 4 are related, by common subsets, to the vertical pitch configuration in previous measures. The combined notes played in measure 1 are C, D, E, F, G and A Tn/TnI-type [0,2,4,5,7,9]. All these three linear sets in measure 4 are subsets of the interval structure in measure 1.24
23 The set Tn/TnI-type is: 0 1 - 3 - 5 - - 8 The set Tn/TnI-type [0,2,5] is: 5 - - 2 - 0 The set Tn/TnI-type [0,3,7] is: 7 - - - 3 - - 0 The set Tn/TnI-type [0,1,3] is: 0 1 - 3
24 The set, measure 1 is Tn/TnI-type is: 0 - 2 - 4 5 - 7 - 9 and subsets in measure 4 are: 7 - - - 3 - - 0 0 - 2 - 5 0 1 - 3
244 Figure 11.9 String Quartet No. IV, viola and ‘cello linear sets, Measure 4
Butterley introduces a contrasting, more dissonant sonority as the opening measures progress, leading into the “bridging” motive of measure 7. Measures 5 and 6 introduce new pitch material, mostly involving a more prominent use of the [0, 6] pitch- class, as well as reinforcing the previously used pitch-class sets (Figure 11.10). The note groups demonstrate characteristics which increase the importance of the [0, 6] intervallic pattern (the interval 0, 6 has only been utilised once previously in measure 2 on the opening septachord Tn/TnI-type [0,1,3,6,8,10]).25 The interval 0,6 occurs over three sets of notes in these two measures.26
25 The numbers (and other significant numbers), are underlined by the current writer in order to emphasise the importance or relationship of notes within a set.
26 (i)The set ii; Ab Bb D E Set Tn/TnI-type [0,2,6,8]. (ii) The set iii; F# C# D# A Set Tn/TnI-type [0,2,5,8]. (iii) The set iv; Bb Ab C D Eb Set Tn/TnI-type [0,1,3,5,7].
245 Figure 11.10 String Quartet No. IV, violins and viola, Mm 5-6
A new melodic sonority of a major 3rd is also introduced in these measures. The inclusion of this interval coincides with a departure from chordal events to linear movement. Most pc set groups in these two measures now include the interval [0,4]. This interval is prominent in these two measures as sets i, ii, iv, v (+ note E) and vi contain this interval. Other previously favoured intervallic classes ([0,3], [0,5] and [0,7]) are still present, although not as prominently. Also important during these measures, is the partial relinquishment of the earlier pcs used and an increasing emphasis of [0,6] melodic and harmonic structures. Measure 7 is an accumulation of all the notes previously heard. It is the final part of the opening statement and summarises the pitch material that has been introduced thus far. Cells of notes heard here exhibit intervallic characteristics of the sets described earlier. Pitch details apparent in measures 1 to 3 and 4 to 6 are also to be found in measure 7.27 Although measure 7 is a departure in rhythmic, textural and timbral qualities, the pitch-class organisation remains similar in nature to the preceding measures.
27 The notes in this measure are important in this work as variants of the music played in measure 7 are used throughout the work. They were described as “bridging” motives in Chapter 10. This measure is also used as the basis for the passage performed at rehearsal letter J. 246 In total, measure 7 (Figure 11.11) has 10 of the 12 notes available (the missing notes being B and C#). The pc set of the measure 7 decachord28 is Tn/TnI-type [0,1,2,3,4,5,6,7,8,10]. All the pc sets in the preceding measures are related as they are subsets of this larger set.29 This example also separates the whole measure of notes into four smaller pc sets. These four cells are Tn/TnI-type [0,2,3,6,8], Tn/TnI-type [0,1,3], Tn/TnI-type [0,1,2,5] and Tn/TnI-type [0,2,4,6] and all these sets share common elements of the pcs that have been stated previously.30
Figure 11.11 String Quartet No. IV, viola and ‘cello, Measure 7
28 Rahn, 74.
29 The complete pc set of measure 7 is: Tn/TnI-type [0 1 2 3 4 5 6 7 8 - 10] Measure 1 contained a related subset shown thus: Tn/TnI-type [ 0 - 2 - 4 5 - 7 - 9] Measure 2 contained a related subset shown thus: Tn/TnI-type [0 1 - 3 - 5 6 - 8 - 10] Measure 4 contained a related subset shown thus: Tn/TnI-type [0 1 - 3 4 5 - - 8 ]
30 These previously discussed pc sets contain qualities of Tn/TnI-type [0,2,5], Tn/TnI-type [0,3,7], Tn/TnI-type [0,2,4] and Tn/TnI-type [0,2,6]. Some of these characteristics may be found in the subsets within measure 7, these being Tn/TnI-type [0,2,3,6,8], Tn/TnI-type [0,1,3], Tn/TnI-type [0,1,2,5] and Tn/TnI-type [0,2,4,6]. 247 String Quartet No. IV: Main Characteristics
The pitches used in the opening seven measures of this string quartet are derived from several pc sets. The most prominently used sets (and subsets of these) are: Tn/TnI- type [0,2,5]; Tn/TnI-type [0,3,7]; Tn/TnI-type [0,2,4] and to a lesser extent Tn/TnI-type [0,2,6]. Some basic sets have further notes added, for example, Tn/TnI-type [0,3,7] to Tn/TnI-type [0,1,3,7]; or the basic Tn/TnI-type set may be replicated, expanding the chord as in Tn/TnI-type [0,2,4,5,7,9]. Pitch-class properties appear to be used similarly whether employed in a vertical or horizontal manner. In measure 1, the vertical ordering of the pc set Tn/TnI-type [0,3,7] was stated in the viola part. A linear use of the same pitch-class (Tn/TnI-type [0,3,7]) occurs twice in measure 4 as stated in the ‘cello music. After the statement of these seven measures, Butterley begins refining and developing these melodic and harmonic elements into material he uses to compose the rest of this work. Several of the pc sets have symmetrical properties and these are Tn/TnI-type [0,2,4,6], Tn/TnI-type [0,2,5,7]31 and Tn/TnI-type [0,2,4,5,7,9]. It may be suggested that there is a correlation between the symmetrical pattern32 in the chords opening these three measures - that is their pivoting around the notes in measure 2, and the inversional properties found in the notes used in the first chord of measure 1 and the final chord of measure 3. Therefore, Butterley is experimenting with palindromic33 shapes in these chords both in their sequence and pitch structure.
String Quartet No. 3: Pitch Properties of the Chordal Sequences
In Butterley’s 3rd string quartet, pitch material is derived from the statement in the three similar chordal passages. Identifying its pitch characteristics in these passages will give insights into Butterley’s pitch organisation for the entire work. In the 3rd quartet, a chordal sequence is repeated, at least in spirit, in each movement: this will provide the basis for the initial discussion wherein the changes effected in the subsequent repetitions of this section are examined. Butterley has
31 The pc set Tn/TnI-type [0,2,5,7] is also an important set in String Quartet No. 3 and it is discussed later in this chapter.
32 Lines of symmetry are discussed and illustrated in Chapter 10.
33 Palindromes were discussed as non-retrogradable rhythmic and pitch patterns in String Quartet (1965), See Chapter 7, pp135-7. 248 remarked that: “the way [the chordal section] is in each of these movements sums up what’s gone on before in those movements”.34 Pitch materials in these chordal passages create the melodic and harmonic features used in the rest of the quartet. Figure 11.12 shows the chordal passage that occurs in the first movement.
34 Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August, 1994. Used with permission. 249 Figure 11.12 String Quartet No. 3, chordal passage, Movement 1, Mm 86-104
In the first movement the chord sequence begins at measure 86 and consists of thirty-six chords (see Figure 11.12 above). The majority of these (twenty-nine) are tetrachords,35 with only two different sets of trichords;36 these trichords are sounded seven times at the end of this section. Vertically aligned, the twenty-nine tetrachords are based on ten different pitch combinations.37 Two different trichords follow these tetrachords. These, and the resultant hexachord are shown in Table 11.1.
35 Rahn, 74.
36 Ibid.
37 These ten combinations are listed in order of frequency of use; Movement 1: chords measures 86 to 100: Number of Tn/TnI-type Vector Found in measures times sounded [0, 2, 4, 7] <021120> 6 89, 91, 93, 94, 97, 97 [0, 3, 5, 8] <012120> 5 86, 88, 90, 92, 94 [0, 2, 5, 7] <021030> 5 87, 90, 92, 93, 95 [0, 2, 5, 8] <012111> 5 89, 92, 93, 95, 99 [0, 1, 5, 8] <101220> 3 87, 96, 98 [0, 2, 3, 7] <111120> 1 86 [0, 3, 4, 7] <102210> 1 88 [0, 1, 4, 8] <101310> 1 96 [0, 1, 3, 5] <121110> 1 97 [0, 1, 3, 7] <111111> 1 98
250 Table 11.1 Trichords found in String Quartet No. 3, Movement 1
Tn/TnI-type Times sounded Found in measures [0, 3, 7] 4 100, 101, 103 [0, 2, 5] 2 102, 103 Resultant hexachord:
[0, 1, 3, 4, 5, 8]
There is a close similarity between the intervallic nature of the tetrachords sounded, and the trichords which combine to form the hexachord. Each tetrachord is a subset of the resultant trichord/hexachord combination. The similar characteristics of these related intervallic structures creates an aural association providing cohesion. The intervallic structure of the Tn/TnI-type set [0,2,4,7] is such that it may be a subset of the larger hexachord Tn/TnI-type set [0,1,3,4,5,8]. This can be observed when the Tn/TnI-type set is transposed by one semitone: Semitone pattern:0 1 2 3 4 5 6 7 8 Tn/TnI: 0 1 - 3 4 5 - - 8 Transposed one semitone: Tn/TnI: 0 - 2 - 4 - - 7
As the set Tn/TnI-type [0,2,4,7] is a subset of the larger set Tn/TnI-type [0,1,3,4,5,8], the two sets of trichords which constitute the set Tn/TnI-type [0,1,3,4,5,8] are also found in the set Tn/TnI-type [0,2,4,7]. Both trichord sets Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5] have intervallic structures which may be found in the chord set Tn/TnI-type [0,2,4,7]. The set Tn/TnI-type [0,3,7] is a subset of Tn/TnI-type [0,2,4,7] through inversion, while the set Tn/TnI-type [0,2,5] gains the status of a subset through transposition, Tn/TnI-type [0,2,4,7]. All of the chords used from measures 86 to 100 may be shown to have a relationship to the final two trichords or their resultant hexachord. This relationship is not always as obvious as that shown in the relationship of the chord Tn/TnI-type [0,2,4,7] with the other sets Tn/TnI-type [0,1,3,4,5,8], Tn/TnI-type [0,3,7] and Tn/TnI- type [0,2,5], but a distinct relationship may be shown to exist. It is possible to see from Table 11.1 that all of the chords used in this passage (measures 86 to 100) contain common qualities which culminate in the structure of sounds used to conclude this
251 section. Butterley chooses chords with intervallic similarities, therefore there is a consistency of chord type selected which results in a unified sounding passage. The chords created by Butterley are mainly without the dissonance of semitone clashes (see footnote 38 which lists the number of times each chord is sounded and also the interval vectors for each chord). Resolution of the chordal passage occurs as the tetrachords are reduced into their basic trichord subsets. The chords used in the passage measures 86 to 100 divide into two main groups. These groups are more easily identified by their relationship to the subsets Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5]. Those which have a subset which is related to Tn/TnI- type [0,3,7] are of a more “traditional” major/minor nature (for example C=0 then [0,3,7] is C, E6 and G or inverted or C, A and F), an extra note being added in each case. The sets of chords which are included in this category are: Tn/TnI-type [0,2,3,7], Tn/TnI-type [0,3,5,8], Tn/TnI-type [0,1,5,8], Tn/TnI-type [0,3,4,7], Tn/TnI-type [0,2,5,8], Tn/TnI-type [0,2,4,7], Tn/TnI-type [0,1,4,8], and Tn/TnI-type [0,1,3,7]. Those chords related to the subset Tn/TnI-type [0,2,5] are as follows: Tn/TnI-type [0,2,4,7], Tn/TnI-type [0,3,5,8], Tn/TnI-type [0,2,5,7], Tn/TnI-type [0,2,5,8] and Tn/TnI-type [0,1,3,5]. Of these sets, only two do not share the subset Tn/TnI-type [0,3,7]: Tn/TnI-type [0,2,5,7] and Tn/TnI-type [0,1,3,5]; the pattern of Tn/TnI-type [0,1,3,5] is “scale-like”, while Tn/TnI-type [0,1,3,5] has an equivalent C=0, as C B A G. The other tetrachord not containing the subset Tn/Tn1-type [0,3,7] is the set Tn/TnI- type [0,2,5,7]. The notes contained in this group are constructed of perfect fifths; therefore the set Tn/TnI-type is symmetrical. A repeated chordal sequence in this section provides another point of consistency over the passage. Three chords used in measures 89½ and 90 are repeated in measures 93 and 94, using the same notes. This progression when shown in sets may be classified as: measures 89½ and 93 Tn/TnI-type [0,2,4,7] measures 90 and 93 Tn/TnI-type [0,2,5,7] measures 90 and 94 Tn/TnI-type [0,3,5,8]
Variations on this sequence also create stability within this section of the work. They may be seen in sets ordered as: measure 94½ Tn/TnI-type [0,2,4,7]
252 measure 95 Tn/TnI-type [0,2,5,7] measure 95½ Tn/TnI-type [0,2,5,8] with one pitch-class, Tn/TnI-type [0,2,5,8], being varied from the earlier sequence. Setting aside features relating particularly to voice leading, in this section, it can be seen that there are many other interrelated characteristics which unify the ideas. Those discussed to this point are relevant only to the similarities and ordering of pcs. Pitch-class material in the 3rd movement’s chordal sequence, measures 76½ to 85 (see Figure 11.13) differs only in small detail from that already described in the first movement. It is, in essence, an exact note repetition, though the notes do vary through different voicings and pitch ranges of the chordal sequence in the first movement (measures 86 to 103). There are four main differences to the chord sequence in the first movement. The first discrepancy is that there is a chord added commencing the progression in measure 76 of the 3rd movement, which did not occur in the first movement. This opening chord Tn/TnI [0,1,4,6] is only sounded this one time in the three similar chordal passages found in this work. Secondly, there is a slight change where a note is omitted from one of the chords in this sequence. The 3rd chord sounding in measure 77 includes the notes C, A#, E6, and B6, Tn/TnI-type [0,2,5,7]. When comparing the pc sets, a close similarity may be observed where the Tn/TnI-type [0,2,5] chord is a subset of the Tn/TnI-type [0,2,5,7] chord. The 3rd difference between the chordal passage in the first and 3rd movements is regarding decorations used in the last movement. These elaborations are found in the ‘cello part in measures 79 and 81. The decorations used, involve a “turn” and several suspensions. Lastly, the 3rd movement has one more chord than the second movement at the end of this sequence. This major chord (A, C# and E) gives the quartet a more concordant resolution. Both the first and 3rd movements use an alternating progression of Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5] pitch-class sets over the six to seven chords of these passages. The first movement ends on the more dissonant Tn/TnI-type [0,2,5] set, while the 3rd movement ends on the concordant sound of the set Tn/TnI- type [0,3,7].
253 Figure 11.13 String Quartet No. 3, Movement 3, Mm 76½-95
The second movement includes a chord sequence with similar intervallic structures to those in the first and 3rd movements. However, in the second movement this chordal passage is placed in a different position -- the chordal passage in the second movement
254 begins half way through measure 126 and concludes during measure 138 (see Figure 11.14), rather than at the conclusion of the movement. There are twenty-five chords which correspond in sequence with those in the other movements, whereas the chordal progression in the second movement contains a sequence of thirty-two chords. In the chordal passage of the second movement, musical elements like tempi, rhythm and pitch range are more akin to the movement’s faster and more agitated nature than the calmer statements of the passage in the other movements.
Figure 11.14 String Quartet No. 3, Movement 2, Mm 126½-138 255 The progression in the second movement differs from that in the other movements in several ways. Firstly, the initial chord sounded (Tn/TnI-type [0,1,5,7]) in this progression is of different construction from the chords utilised in similar passages found in the other movements. The first four chords do not correspond with those used in the other movements. Metrically, the progression in the second movement is more complex. Decorations in the viola and second violin part over measures 129 to 131 (see Figure 11.14 above) provide rhythmic and melodic variation to the progression in the first movement, but are reflected in the 3rd movement progression. The viola plays a quintuplet turn with added notes (measures 129-30) and the violin II plays added notes (measure 131). The conclusion of this chordal passage in the second movement is more abrupt than is the case in the other two movements. The first and 3rd movements alternate two chords six and seven times respectively. In the second movement, this pattern is repeated only four times. Unlike the first and 3rd movements, the second movement uses different chords to conclude this passage. Both the first and 3rd movements finish with the sets of chords alternating Tn/TnI-type [0,3,7] and Tn/TnI- type [0,2,5], or combined as Tn/TnI-type [0,1,3,4,5,8]. The second movement terminates with the chord sets Tn/TnI-type [0,1,5,8] and Tn/TnI-type [0,3,5,8], or combined as Tn/TnI-type [0,1,3,5,6,8]. Although the chords which end these sections are different, they share similarities through their subsets: Tn/TnI-type [0,3,7] is a subset of the set Tn/TnI-type [0,1,5,8], and the set Tn/TnI-type [0,2,5] is a subset of Tn/TnI-type [0,3,5,8].
String Quartet No. 3: Main Characteristics
The chordal sequences are a major unifying factor in String Quartet No. 3. Its reiteration is one method Butterley uses to create continuity. There are also many links or common features within the pitches Butterley used for these chordal sequences. The relationship between the notes in the chordal passages is observed in prominent sets of notes. Important cells or sets of notes have been isolated and are classified as Tn/TnI- type [0,2,4,7], Tn/TnI-type [0,3,5,8], Tn/TnI-type [0,2,5,7], Tn/TnI-type [0,2,5,8] and Tn/TnI-type [0,1,5,8]. These pc sets share similarities through common intervallic relationships. Their common structures are based on subsets that include the pcs Tn/TnI- type [0,3,7] and/or Tn/TnI-type [0,2,5]. Later in this chapter, it will be demonstrated
256 how the pitch processes in the work are formed and rely on the pitch structures created in the chordal sequences.
String Quartet No. II: Pitch Properties of the Opening Passage
In addition to Butterley’s statement that all of the important pitch properties in this composition are in a prominent position, the second string quartet exhibits features that demonstrate that the opening section is a microcosm of the entire work. The opening reveals characteristics that are the foundation of not only pitch, but also many of the other elements such as structure and texture that Butterley develops throughout this work. The two parts that constitute this work’s opening section, measures 1 to 28, are structurally a model of the entire composition.38 The opening twenty-eight measures also divide into two musical halves. Measures 15 and 16 are an elongated restatement of measure 1 (Figure 11.15). From this point the passage continues to both restate the essence of the first fourteen measures while developing these cells. Beyond this, the opening twenty-eight measures include the quintessence of all that is developed in this string quartet. Pitch shapes, both linear and vertical, rhythmic groupings, patterns, as well as textural and timbral features in this opening section form the basis of the material used in the contrasting later sections.
38 Discussed in Chapter 10, p. 228. 257
Figure 11.15 String Quartet No. II, Measure 1 (top), Mm 15-16 (bottom)
The ‘cello commences this quartet by playing nine pizzicato notes. These are E6, C, B, F, D6, B6, A, A6, and D (Figure 11.15, above). These notes are repeated in the opening passage by the ‘cello, measure 11, and viola, measures 9 and 16. A similar passage using related notes is played by the second violin over measures 5 and 6. This nine-note passage is used to create material for later passages. The groupings and sub- groupings of these notes allow Butterley to create motives and cells which form the foundation of pitch material used in this second quartet. Subsets of this nine-note set also occur over this whole opening section. Two of these are shown in Figure 11.16, the first is in the viola, measure 4 and the second is the ‘cello measures 5 and 6.
258 Figure 11.16 String Quartet No. II, showing motives based on the ‘cello pizzicato passage, viola, measure 4 (top), ‘cello, measures 5 and 6 (bottom)
Subsets formed from this ‘cello motif are the intervals [0,3] (C to E6), and these notes are also stated in the opening notes of the violin I and violin II; [0,4] (D6 to F), the next two notes are also in the violin I; the notes D to A6 [0,6] which is the distance the composer often uses when re-stating a transposed passage. Sets of notes also found by partitioning this ‘cello passage are the D, F, A6, B; Tn/TnI [0, 3, 6, 9] tetrachord (Figure 11.17). This is significant as a subset of the notes in the previously mentioned interval D to A6. All of these intervals are significant as they are used to create most of the motives in this work.
259 Figure 11.17 String Quartet No. II, Measure 1, circled areas by current writer showing ‘cello pizzicato and similarities with violin I
Frequently used cell groups are also found in this set of notes. Notes featured during letter E are E6, B, and D39 all belong to the ‘cello opening. One of the most important notes played in this string quartet is the note D. D is the main note played during the entire section at letter D and to a slightly lesser extent at K. This note, D, is the final one played in this ‘cello passage. Many note groups in the passages of this piece can be logically grouped into cells. These cells are normally between four and seven notes. When grouped, cells display a heavy reliance on a semitone structure. One example occurs over Measures 8, 9 and 10 in the viola. Butterley writes these eight notes grouped with one bar (as quavers) over the three measures and their separation from other notation implies their detached status. The notes that constitute this cell can
39 The violin II solo concludes many phrases on the note D. Measure 126 contains a “cadence-like” figure that commences on E6 then plays double-stopped B and D. 260 be combined into a set of six different notes. Without octave displacement all these notes are one semitone apart when commencing on B6 and are B6, B, C, D6, D and E6, as shown in Figure 11.18. Another similar example is found in measures 17 and 18 where a seven-note cell comprises six notes, one semitone apart, and with the seventh note separated intervallically. Again, their grouping by Butterley implies these notes constitute a cell. Further examples of these semitone based groups are the sets created from the notes over the rehearsal letter A, measures 29 to 40, where similar patterns occur (for example, see violin I, measures 28-32, Figure 11.18). Smaller cells of notes, those played during rehearsal letter B, measures 41 to 70, also exhibit important semitone based clusters. Violin I plays the predominately semitone-based passage of the notes E, F#, G, G#, A, Bb, B, and C. Seven of these notes are a semitone apart (see Figure 11.19). The notes grouped to form this cell commence at the beginning of this passage and conclude where there is a rest in all of the instruments. Inherent to the structure of this ‘cello passage is a seven-note series spanning A6 to E. The important pitch materials used to compose this work are all derived from a well constructed set of nine notes.
Figure 11.18 String Quartet No. II, semitone based cells, viola, last note Measure 8 and Mm9-10 (top) and violin I measures 28- 32 (bottom).
261 Figure 11.19 String Quartet No. II, semitone based cells, violin I, Measures 41-46.
In this second quartet Butterley frequently uses sets of intervals and their inversions. These intervals, the major 3rd, [0,4]; the minor 3rd, [0,3]; major 7th, [0,11]; minor 7th, [0,10] and diminished 7th, [0,9] may be written by Butterley in enharmonically altered positions. The inversions are a minor 6th, major 6th, minor 2nd, and major 2nd. The 3rds tend to feature harmonically whereas the sevenths tend to feature more melodically. 3rds are frequently present from the quartet’s opening. Violin I commences by playing a minor 3rd, C to E6, then a major 3rd, D6 to F. These 3rds are used in this manner to herald the return of this thematic material, one example is its use at measure 15. Major and minor 3rd intervals are prominent in the construction shape of the ‘cello pizzicato passage, in measure 1. In this passage, intervals of a 3rd occur between the notes B6 to D6, a minor 3rd, D6 to F, a major 3rd and C to E6, a minor 3rd. These intervals would be expected to appear in this ‘cello passage as it includes the core features of the melodic and harmonic components used in this string quartet. Sevenths tend to be used near the commencement and conclusion of motives. Obvious examples occurring in the opening passage are found in measure 1, violin I, where an E6 is followed by the note E, which is a diminished 8th, [0,11] (or a major 7th), see Figure 11.20. These two notes commence a motive of semiquavers. The violin I part in measure 2 is, a semiquaver passage that is concluded by the notes F then E6, creating the interval of a minor 7th, [0,10] see also Figure 11.20. Butterley tends to restrict the range of notes used motives to the interval of a 7th. For example, in measure 5, first the ‘cello and then the violin II play a figure and the pitch range of both parts is from G# to F, a diminished 7th, [0,9], see Figure 11.21. These instruments perform a similar passage canonically however, the violin II extends the cell by two notes. These intervallic structures occur in the ‘cello passage in the opening measure, as they are important to the opening section of this quartet and also the entire composition. The major 7th, [0,11], occurs from D6 to C and also a 262 diminished 8th, D to D6, both being [0,11] semitones. Occurring in this pattern of notes twice is the minor 7th, [0,10], between the notes F to E6 and D6 (or C#) to B. The diminished 7th [0,9], appears in this ‘cello part between A6 and F, see earlier Figure 11.16. Intervals of 3rds and 7ths are featured in the construction of motives in this opening passage.
Figure 11.20 String Quartet No. II, violin I, measures 1 and 2
Figure 11.21 String Quartet No. II, motive limited to a range of a 7th ,‘cello passage and violin II, measures 5 and 6
263 String Quartet No. II: Notational Procedure as an Indication of Butterley’s Motivic Conception
Inserting accidentals before notes, especially where they are theoretically unnecessary, can help to define the boundaries of sets or cells. An example can be seen in measures 4 and 5 played by the violin II, in which there is a G# followed by bar-line, E, then G7, all in semiquavers joined over the bar-line. Traditional notation convention does not require the placement of the natural sign.40 By following the composer’s use of accidentals, it can be seen that the G7 is added because the sounds were conceived as a unit without considering the bar-line being part of the cell. Another example is seen in measures 1 and 2, in the viola part; this has the same pitch shape of G#, bar line E, then G7, as can be seen in Figure 11.22. In this instance, the semiquavers are not all joined, as was the case with the three notes in the violin II music.
Figure 11.22 String Quartet No. II, violin II Mm 4-5 (top); viola part, Mm 1-2 (bottom)
These cells may have been conceived in more than one instrument simultaneously and hence, accidentals are placed “unnecessarily”. Also, the accidental changes may be
40 This natural is not necessary according to conventions stated by Butterley in his sketch SQ3:14 and also according to accepted notational practices, as enunciated by Kurt Stone, Music Notation in the Twentieth Century: A Practical Guidebook (New York and London: W. W. Norton & Company, 1980), 56.
264 redundant when they are used across bar-lines. This would indicate that Butterley has conceived the cell melodically, prior to pulse or metrical considerations.41 The notes in the first measure of the violin I and violin II parts demonstrate an inter-relationship (which is more obvious in this passage later restatements at letters F, H, and M) that is highlighted by an unnecessary use of a natural sign42 on the last note in the violin II part. Violin I plays the note B6 and as the composer conceives one cell of notes between the two instruments. He later cancels the flat, even though it is in the violin II part and a natural sign is not needed, as is shown in Figure 11.23.
Figure 11.23 String Quartet No. II, violins I and II, Measure 1
Other examples are observed in the later restructures of this passage that occur at letters F, H and M. Each of these examples demonstrate clearly that the B6 is later written as a B7 (see Figure 11.24).
41 This conception of linear pitch material first has been discussed earlier in Chapter 8, pp. 174-7.
42The computer generated copy of this note is a B6 but the manuscript copy, as well as analytic evidence, leads to the conclusion that this note is indeed B 7. Also, in a later interview that I conducted with Butterley he stated that the note in the violin II is a B 7 and that he wrote the sign as he may have had the B6 in mind from the violin I. Interview with the current writer, Sydney 18 August 2007. Used with permission. 265 Figure 11.24 String Quartet No. II, violin II letter F Measure 137 (top); violin I letter H Measure 157 (middle); violins I and II letter M Measure 223 (bottom)
String Quartet (1965)
Butterley’s statement of the principal pitch material occurs at the beginning of this work. Figure 11.25 shows the row, which is the main pitch idea used in this work, featured at an important place in the quartet.43
43 Detailed discussion of String Quartet (1965) including the rows and other pitch resources occurred earlier in Chapter 7.
266 Figure 11.25 String Quartet (1965), Opening note-row with the series numbered
String Quartet No. II: Motivic Development Within the Opening Passage
This opening section to letter A, that is 28 measures,44 is not merely a random statement of note-patterns assembled together for use at some stage later in this string quartet, rather it is a statement of compositional possibilities inherent in the work. This opening passage represents a model of the entire work as all the requirements needed, growth, development and balance45 are all achieved in this opening passage (139 seconds).46 Following is an example illustrating one method Butterley uses to develop a cell and simultaneously create a sense of heightened tension in the quartet’s opening passage. The opening figure is dominated by the melodic interval of a major 2nd in both the violin I and the viola part as shown in Figure 11.26. A figure is performed
44 Measures cited in this chapter are counted from the computer-generated score which is 331 measures in length. The differences in the scores in the numbering of measures occur after measure 222.
45 This section is divided into two halves as discussed earlier in this chapter.
46 Duration is calculated by the timing markings of each measure as specified in the score.
267 melodically by the violin I (playing E6, F, E6 and the viola, (D-E, upper notes, and F- G, lower notes, repeated as semiquavers D, E, D, E). The instruments play these short cells of notes over the same passage and whilst they are not in unison, they exhibit similar characteristics (also Figure 11.26).
Figure 11.26 String Quartet No. II: Marked notes violin I and viola, Measure 1, additional marks by current writer
This pattern is alluded to again, when the ‘cello at measures 9 and 10 plays E6, F and then again as semiquavers E6, F E6, F in a transposed repetition of the viola opening, shown in Figure 11.27. This figure is repeated, in essence, by the viola in measure 13 using the notes C# and D# (also seen in Figure 11.27). There is no development or extension of this pattern in the first half of the opening passage. After measure 15, this cell is developed and as it changes in rhythm and length, it illustrates one of the principal methods Butterley employs to heighten tension and achieve a climax in this opening section.
268 Figure 11.27 String Quartet No. II, ‘cello part, Mm 9-10 (top); viola part, Measure 13 (bottom)
Over measures 16 and 17, this motive is expanded and becomes a more rhythmically-driven figure. The violin I plays the notes C, D, C, followed by the group C, D, C, finally followed by a semiquaver “turn” C, D, C, B, C (see Figure 11.28). This cell is reiterated in almost every measure, with some modifications, among the various instruments, until this section concludes. It facilitates a climax that occurs in measure 28, achieved through the use of this motive ascending in pitch.
Figure 11.28 String Quartet No. II, violin I, Mm 16-17
This motive now consists of two sections. The first of these is now the rhythmically repeated notes C, D, C, followed by C, D, C, that is, the first six notes in Figure 11.28 (above). The other cell developed from the original motive is the semiquaver “turn” shown in the notes C, D, C, B ending on C, also in Figure 11.28 Both units of sound can function independently and are used as an expanded motive at later stages in this composition. The independent semiquaver “turn” becomes a figure that is used to finalise sections, and through its later repetitions it is a unifying aspect. Somewhat modified but
269 Figure 11.4 String Quartet No. IV, Measure 2
In measure 2 there are two vertical alignments. The chord occurring on the first beat comprises the notes B, C, D, E, F, G, A, Tn/TnI-type [0,1,3,5,6,8,10] while the other chord is on the second semiquaver in the measure. The notes B, C, D, F form Tn/TnI-type [0,2,3,4,7] (Figure 11.5). The second pc set is a subset of the first.
240 essentially intact, it concludes the passage over letter F, that is, measures 142 and 143, and M, that is, measures 239 and 240 (see Figure 11.29).
Figure 11.29 String Quartet No. II, violin I Mm 142-143 (top); violin I, Measure 239 (bottom) “Turns” illustrated.
The entire, developed, motive is used at the climactic ending of this composition. It has undergone variation in rhythmic and pitch construction since its establishment in the opening passage. This is one example of motive development and its subsequent and varied use later in this string quartet. The second string quartet is structured in sections and many of these passages conclude with the motive discussed. The fourth string quartet is also structured in sections, however, these sections are linked using different methods.
String Quartet No. IV: Linear Variation Through Pitch and Note Augmentation
A characteristic method Butterley uses to develop the cells he creates is to state a basic unit, then at later parts in the work, alters its length as well as expanding its pitch range. This trait is not confined to String Quartet No. IV as motives were showed to expand in String Quartet No. II. The predominant pitch shape from the opening three
270 measures of String Quartet No. IV are traced to this motive which is developed through this work.47 An important melodic derivative of the opening seven measures is its development into the motive first stated in measures 24 and 25. This motive in the violin I part is used in many places throughout the work,48 and undergoes a transformation. It has a close relationship to the pitch shapes in the vertical chords which occur in measures 1 to 4. As the work progresses, the motive develops in the measures 24 to 25 and the contextual development of the vertical characteristics seen in measures 1 to 4 become increasingly similar. Measures 24 and 25 express the horizontal aspect of the opening section. Figure 11.30 demonstrates the relationship between measures 1 to 3 and the measures 24 and 25.
Figure 11.30 String Quartet No. IV, violin I and violin II Mm 1-4 (top); violin I, Mm 24-25 (bottom), letters by current writer
47 Tracing the development of this motive throughout the quartet also supports the argument that Butterley does place his core of pitch material to be used in a work in a short passage of music. 48 The initial statement in measures 24 to 25 can also be found in measures 29, 74, 77, 83, 90, 99, 103, 111, 187, 278, 322 and 329, in varied forms. 271 The motive in measures 24 and 25 has demonstrable similarities to both violin I and violin II parts in the first four measures. The violin I part is constructed upon a semitone movement C, B, C, B (in its upper register). This is the first similarity with measure 24, which includes the notes C, B, C, B, C, B. While the violin II part in the first four measures does not use semitonal movement, but that of a tone, it highlights the interval E to A and its return to E as its concluding shape (0,5,0) (see earlier Figure 11.30). Measures 24 and 25 have a similar ending, but includes in its return to the initial note a step-wise motion using the note C and it reads, B, C, E, D, C, B. Its pc set is Tn/TnI-type [0,1,3,5] and this melodic passage at measures 24 and 25 is related intervallically to the opening four measures of the work. An example illustrating the ever-changing nature of Butterley’s motivic use may be seen in measures 29 and 30 (see Figure 11.31) where the pattern played in measures 23 and 24 is not only repeated but futher elaborated upon. The pattern commences with the same shape, but it is augmented in length by an approximate repetition of the descending passage as it returns to its initial pitch. The notes G# to C# then A6, or 0,5 demonstrate the pitch range.
Figure 11.31 String Quartet No. IV, violin 1, Mm 29-30, letters by current writer
This figure is further transformed (while still retaining much of its initial shape) when it is applied to the succession of four or more notes oscillating around a tone or semitone and then leaping a total distance of 0, 5 (semitones) from either of the initial notes, then returning to its starting point. Figure 11.32 shows the violin I part at measure 74 where there are changes in rhythm and in the descending quintuplet figure, but the motive still bears a relationship to those examples shown in Figures 11.30 and 11.31 (rhythmically there is also a relationship to the quintuplet figure in measure 7). The music in Figure 11.32 shows that expansion also occurs in the overall interval size: this
272 procedure introduces the larger interval of 0, 6 (semitones B to F) into the structure of this motive.
Figure 11.32 String Quartet No. IV, violin I, Measure 74, letters added by current writer
Expansion of intervallic passages is an important feature of this composition. Cells with an initial interval range of 0,5 expand over several permutations to widen into a 0,6 interval. This is often used in conjunction with other compositional devices including contrary and inversionary treatments of such cells, often with canonic delay. Motivic cells also undergo variation through diminution and augmentation in length. This generally occurs in conjunction with the pitch expansion mentioned previously. Methods used to vary a motive may transform the idea into two separate entities (through vertical use as opposed to a more horizontal use) but this may unify the motive by later combining characteristics of both developed patterns.
String Quartet No. 3: Structural Unity of Pitch Materials – Vertical and Linear Relationships
The second movement of String Quartet No. 3 commences with a duet performed by the two violins. The composer describes his intention as being “the overlapping first and second violin … that they’d do a melody, and they share the notes.”49 These two parts, therefore, will be discussed jointly. Scrutinising the opening passage will establish the close links within this section to the chordal passages previously discussed.
49 Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August, 1994.
273 The duet passage may be divided into cells which vary in number, from five to eight notes (see Figure 11.33). Some cells here bear a direct relationship to characteristics found in the core pitch material in the chordal passages, while other cells are seen to exhibit a less obvious relationship. Opening this passage (measures 1 to 7) are the notes C, D, A, E, F, C#, played in both violin I and violin II over the first half measure.50 These notes are classed as the set Tn/TnI-type [0,1,3,4,5,8]. The most obvious relationship it has is with the chordal passages final accretion, illustrated in the section found in the first and last movement (measures 100-104 and 84-81 respectively),51 is that the notes cell’s notes create the same pc set Tn/TnI-type [0,1,3,4,5,8].
Figure 11.33 String Quartet No. 3, Violin I and Violin II, Movement 2, Mm 1-7
Two main sets were found to be important in the chordal passages of the first and 3rd movements: the sets Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5]. All the cell groups, except one, in the first seven measures of the second movement, include subsets
50 The cell groups are also based on information contained in Butterley’s sketches where he creates these sets of notes. See SQ3:22r and SQ3:23, Appendix 2.
51 The pitch-class sets illustrating these passages appeared earlier in this chapter.
274 of both Tn/TnI-type [0,3,7] andTn/TnI-type [0,2,5].52 These relationships demonstrate a common pitch association between the notes in this passage and the notes in the chordal
52 Mm 1 to 7 of the second movement demonstrating the pc relationships of notes used in these measures to the subsets Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5]
Interval 0 1 2 3 4 5 6 7 8 9 10 11
M 1: Tn/TnI-type 0 1 3 4 5 8 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 5 2 0 ------M 1½: Tn/TnI-type 0 1 2 4 5 7 Subset Tn/TnI-type 7 3 0 Subset Tn/TnI-type 0 2 5 ------M 2: Tn/TnI-type 0 1 3 4 6 8 9 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 0 2 5 ------M 3: Tn/TnI-type 0 1 2 3 6 7 9 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 0 2 5 ------M 3½: Tn/TnI-type 0 1 2 3 4 6 8 10 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 0 2 5 ------M 4: Tn/TnI-type 0 1 2 3 6 7 9 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 0 2 5 ------M 4½: Tn/TnI-type 0 2 3 5 8 Subset Tn/TnI-type 7 0 3 Subset Tn/TnI-type 0 2 5 ------M 5: Tn/TnI-type 0 1 3 4 6 8 10 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 5 2 0 ------M 6: Tn/TnI-type 0 4 5 7 Subset Tn/TnI-type 7 3 0 ------M 6½: Tn/TnI-type 0 1 3 6 7 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 0 2 5 ------M 7: Tn/TnI-type 0 1 2 3 4 6 7 Subset Tn/TnI-type 0 3 7 Subset Tn/TnI-type 0 2 5
275 passages. Over the first seven measures the composer avoids the exact repetition of a cell. It can be seen that all the cells, except one in the first half of measure 6, contain some common characteristics. The chordal passages in movements 1, 2 and 3 include a series of ten chord sets in common, as well as a final chord. Each can be demonstrated to be a subset belonging to one of the sets which were used over measures 1 to 7 in the second movement.53 Again, there is a common feature in Butterley’s use of notes that include the subsets Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5]. The constant use of pcs which are related indicates Butterley’s prefered intervals, chords and melodic shapes. The second movement includes two other sections that are delineated by their speed indications. Both sections are interspersed at intervals throughout the movement. These two other sections have pitch structures that are closely related to both the pc sets featured in the opening section of the second movement and therefore, the pcs used in the chordal sequence belonging to each movement. Tempo 2 (MM dotted crotchet = 80) is one of these other passages; it occurs three times in the second movement. It is characterised by a continuous semiquaver passage grouped in various arrangements of twos and threes. A quaver counter-subject is also apparent through parts of this section. Although there are three independent lines (violin I, violin II and viola) present through the majority of this section, the music will be
53 This is demonstrated by a comparison of the pc sets: Semitone Structure 0 1 2 3 4 5 6 7 8 9 10 11 ------Tn/TnI-type Set: M 1, Mvt 2 0 1 3 4 5 8 M 86, Mvt 1 0 2 3 7 M 86½, Mvt 1 0 3 5 8 M 87½, Mvt 1 0 1 5 8 M 88, Mvt 1 7 4 3 0 (inversion) M 96, Mvt 1 0 1 4 8 M 97, Mvt 1 0 1 3 4 5 8 Resultant chord- M 103, Mvt 1 0 1 3 4 5 8 ------M 1½, Mvt 2 0 1 2 4 5 7 M 87, Mvt 1 0 2 5 7 M 89½, Mvt 1 0 2 4 7 ------M 3½, Mvt 2 0 1 2 3 4 6 8 10 M 89, Mvt 1 8 5 2 0 (inversion) M 98, Mvt 1 0 1 3 7 276 discussed according to vertical aspects relevant to either two- or three-note groups by their vertical alignments. Vertically aligning the notes, measures 24 to 34 (see Figure 11.34), results in the sets containing between three and six notes. Many sets have characteristics which have been discussed earlier, where the main cell holds subsets of either Tn/TnI-type [0,3,7] or Tn/TnI-type [0,2,5] or both within the one cell. Over the ten-measure section containing twenty-three sets, nineteen sets display characteristics which are related to either or both of these subsets.
Figure 11.34 String Quartet No. 3, Movement 2, Mm 24-34
277 There are four sets of notes in this section which do not contain either subset Tn/TnI [0,3,7] or Tn/TnI [0,2,5]. These four sets all contain similar features seen when displayed in their pc sets (Table 11.2):
Table 11.2 Tn/TnI-type pitch-class set, String Quartet No. 3, between Mm 24-34
Tn/TnI-type set Measure 26½ [0, 2, 4, 6] Measure 27 [0, 2, 4] Measure 30½ [0, 2, 4, 6] Measure 31½ [0, 2, 4, 6, 8]
The other second movement section, from measure 63 to measure 70 includes the last stylistically different material used in this movement. This passage is identified by the Tempo 3 (MM crotchet = 80) and marked with the stylistic direction – “giocoso”. The segment is repeated in character only and it is treated differently in each of its three appearances. Its first appearance is over the measures 63 to 70 (see Figure 11.35). This section is characterised by a syncopated, detached and rhythmic nature with all four instrumentalists performing the same rhythm. Vertical alignments are easily observed. There are twenty-six sets of chords sounded (measures 63 to 70), the majority being tetrachords with two pentachords54 and one trichord.55 As was discovered with other sections of the work, the chords here display the characteristic subsets of Tn/TnI [0,3,7] and Tn/TnI [0,2,5].
54 Rahn, 74.
55 The following displays pitch-class groupings assembled by frequency of use over measures 63 to 70 in the second movement of String Quartet No. 3. Number of Tn/TnI-type Vector Found in measures times sounded [0, 2, 4, 7] <021120> 6 63, 63, 66, 69, 69, 70 [0, 2, 5, 7] <021030> 3 67, 68, 70 [0, 2, 5, 7, 9] <032140> 2 66, 68 [0, 1, 3, 7] <111111> 3 68, 69 [0, 1, 4, 7] <102111> 1 67, [0, 1, 5, 7] <110121> 1 63 [0, 1, 4, 8] <101310> 2 64, 67 [0, 2, 4, 6] <030201> 1 64 [0, 1, 3, 5] <121110> 1 64 [0, 2, 5] <011010> 1 65 [0, 3, 5, 8] <012120> 2 65, 67 [0, 1, 5, 8] <101220> 2 64, 65 [0, 2, 4, 8] <020301> 1 70 [0, 1, 4, 5] <201210> 1 67
278 Figure 11.35 String Quartet No. 3, Movement 2, Mm 63-70
Many of these tetrachord sets can also be found in the chordal passages which occur within each movement.56 The sets not found in the previously discussed sections are: Tn/TnI-type [0,1,4,7], Tn/TnI-type [0,1,5,7], Tn/TnI-type [0,2,4,6], Tn/TnI-type [0,2,4,8] and Tn/TnI-type [0,1,4,5] (the set Tn/TnI-type [0,2,5,7,9] is treated as if it is the set Tn/TnI-type [0,2,5,7], because of the close relationship). Of these sets, Tn/TnI- type [0,2,4,6] and Tn/TnI-type [0,2,4,8] have a close relationship to each other. They
56 These passages are Movement 1, mm 86-104; Movement 2, mm 126½-137; Movement 3, mm 76½-86. 279 have a common interval subset Tn/TnI-type [0,2,4]. This close relationship is also apparent when the interval vectors are compared. A maximum similarity of four matching entries indicates a close relationship between the two pc sets. The vectors for these sets are: Tn/TnI-type [0,2,4,6], Vector <0,3,0,2,0,1>; and Tn/TnI-type [0,2,4,8], Vector <0,2,0,3,0,1>. These two chord sets are related to the sets discussed earlier, which occurred at measures 30½ and 31½; that is, Tn/TnI-type [0,2,4,6] and Tn/TnI- type [0,2,4,6,8] respectively. The set Tn/TnI-type [0,1,4,7] (see Movement 2, measure 67) has similarities with the main group of chords in this section and also with many other sections previously discussed. The similarity is realised through a common subset Tn/TnI-type [0,3,7] which is a component of the larger set Tn/TnI-type [0,1,4,7]. Two other chords in this section (that is Movement 2, measures 63-70) appear unrelated to previously discussed material. They are the sets Tn/TnI-type [0,1,5,7] in measure 63 and Tn/TnI-type [0,1,4,5] in measure 86¾ (see score p. 5). Neither contains subsets relating to Tn/TnI-type [0,3,7] or Tn/TnI-type [0,2,5]. A less tangible link may be established through the interval relationships of [0,5], [0,7] and [0,2]. This intervallic similarity demonstrates that there is some relationship between these pc sets. Butterley intended the string quartet’s 3rd movement to be heard as resolving the sentiments of the preceding two movements. This is congruent with two statements made by the composer, for example, Butterley stated: “the string quartet as an idiom, as a medium, is a personal one ... [the quartets] helped me to respond to a personal relationship which was important at that time”.57 Secondly, the composer states about the work that: “it’s more serene, at the end of the 3rd movement”.58 In this statement, Butterley was referring particularly to the main chordal sequence which occurs in each movement. The chord sequence was viewed in each of its statements as “sum[ming] up what’s gone on before in those movements.”59 The chord sequence in each movement summarises its character. As each chord sequence is related it is likely and will be demonstrated that many pitch features in the two preceding movements are present also in the 3rd. However, in the last movement these features are dealt with in a manner
57 Nigel Butterley, interview with Peter Watters-Cowan.
58 Ibid.
59 Ibid.
280 which conveys a more serene and resolved conclusion. The tempo is the slowest in these passages, and the highest registration is in this movement, lending the sound a more ethereal quality.60 The opening sequence from the second movement, the violin duet, is restated on three occasions in the 3rd movement. Each recurrence of this passage, commencing at measures 34, 48 and 71, is similar but varied. Its character has developed from the duet in the second movement to a full sounding of all four instruments. The brief repetition at measure 34 pairs the instruments. Violin I is paired with the ‘cello, playing basically the same passage at a distance of two octaves. The second violin and viola perform the same notes, also at a distance of two octaves. Figure 11.36 shows the second movement’s opening and its modified restatement occurring in the 3rd movement at measure 34. The tempo in the 3rd movement is slower than the second movement and coupled with the fuller sounding instrumentation; it creates a more relaxed impression than the first hearing. This is also the case where the passage recurs at measures 48 and 71.
60 The tempo of the chordal section is the slowest of the three passages at quaver =c. 66 slowing to quaver = 60. In the second movement this passage is at crotchet = 80 and in the first movement it is quaver = 76. The four instruments generally play at a highest pitch in the passage in the 3rd movement. 281 Figure 11.36 String Quartet No. 3, violins I and II Movement 2, Mm 1-2 (top); Movement 3, Mm 34-35 (bottom)
String Quartet No. 3: Linear Aspects and Motivic Development
Generally, the ideas used in the first two movements have a broader, richer and more relaxed character when reiterated in the last movement. This is certainly the case in the duet passage from the second movement. This passage is now performed by the instruments playing in pairs and at a much slower tempo, for example, in measure 34 of movement 3. Single-part note patterns, such as the four semiquavers in measure 2, movement 1, are now performed by all four instruments (that is, measure 9, movement 3), giving a much warmer and less austere character to the patterns.
282 Measure 2 of the first movement includes a four note motive, using the notes A, B, C#, B, or, as a Tn/TnI-type set, [0,2,4]. This motive appears in the 3rd movement, performed by all four instruments, providing a much fuller sound (see Figure 11.37). The melodic shape is not identical, but the motive can be identified by its rhythmic character. Either a solo passage or played by several instruments, it appears in six places in the last movement, these are: at measure 3, final beat; measure 7, final beat; measure 10, final beat; measure 13, 3rd beat; measure 20, final beat; measure 41, second beat. The developmental and unifying role of this motive will be discussed later. At present, discussion will centre on the vertical aspects where applicable to these passages.
Figure 11.37 String Quartet No. 3, viola part, movement 1, Measure 2 (top); movement 3, Measure 10 (bottom)
Measure 10½ draws on motivic shape from cells in earlier movements. As the notes are aligned vertically over the next three measures it is also possible to see vertical relationships to features present in the earlier movements (see Figure 11.37 above). 283 Vertical alignments in measures 10 to 13 in the 3rd movement (see Figure 11.38) include features similar to other areas already discussed. Twenty-five sets may be assembled from these alignments. Relationships occur in their pc subset structure. Twenty-four of the chords over this section have a pc structure where either the subset Tn/TnI-type [0,2,5] or the subset Tn/TnI-type [0,3,7], or in some cases both subsets, are to be found.
Figure 11.38 String Quartet No. 3, Movement 3, Mm 10-13
The remaining chord, whose pc structure does not include either Tn/TnI-type [0,2,5] or Tn/TnI-type [0,3,7] as its foundation, is the set Tn/TnI-type [0,2,4,6]. This set has already been recognised as a prominent feature of the work as a whole. There are several pcs which are dominant in the work. These are related to particular set groupings of notes. Interval set groupings of Tn/TnI-type [0,3,7], or merely [0,7] or its inversion, [0,5] are used often. The interval set [0,5] is also a subset of the set Tn/TnI-type [0,2,5] and is commonly used. The other feature which appears is the set Tn/TnI-type [0,2,4,6,8] and its related subsets Tn/TnI-type [0,2,4] or Tn/TnI-type [0,2,4,8]. Many of these subsets that have been shown to constitute an integral part of the harmony can be identified in the quartet’s melodic or linear aspects. Many pitch features in the opening section are related to those in the latter parts of the work. Supporting this, the composer, in discussing the general composition of the
284 work, said: “the first few pages are very important, because they set up new ideas”.61 The opening nine measures, Figure 11.39, can be divided into several groups of motives. The work opens with the two notes E to B. The interval this creates is [0,7]. This interval is present in much of the harmony which follows. Following this, the notes in measure 2, A, B, C#, B, also Figure 11.39, may be grouped together as a cell and described as Tn/TnI-type [0,2,4]. This cell is a subset of the larger cell Tn/TnI-type [0,2,4,6]. By combining the notes in measures 1 and 2 that is, the notes E, B, A, B, C#, B, they produce a four note pattern of E, A, B, C#. When this pattern is converted to a pc the Tn/TnI-type set becomes A, B, C#, E or Tn/TnI-type [0,2,4,7]. This set thus displays the characteristics of a core harmonic element used throughout the work. The set Tn/TnI-type [0,2,4,7] includes the sets Tn/TnI-type [0,3,7] and Tn/TnI-type [0,2,5]. This illustrates that the melodic aspects of construction are reflected in the harmonic design. The notes sounded in the 3rd measure, also Figure 11.39, reinforce the other important note grouping found in the set Tn/TnI-type [0,2,4,6,8]. The notes played in the 3rd measure are D, F# and G#. These create the set Tn/TnI-type [0,2,6], which is a subset of the Tn/TnI-type [0,2,4,6,8] set. Further demonstration of the relationship between the linear and vertical aspects may be seen in the next measure (measure 4). The notes heard in this measure are G, F, D# and F# which constitute the set Tn/TnI-type [0,1,2,5] and includes within it the prominent Tn/TnI-type [0,2,5] set. Measure 7 , also Figure 11.39, contains four notes: G, F, E6 and C, which is the pc set Tn/TnI-type [0,2,4,7]. This reveals a direct link with the melodic material already examined and discussed. The measure may be examined in conjunction with measure 8 and when viewed together two cells may be seen. The first cell is the quintuplet figure with the notes C, G, C, G, F whose pc set is Tn/TnI-type [0,2,7]. The second cell is two pairs of descending notes, C-E6 and A6-B6. As a pc set the notes C, E6, A6, B6 are classed as Tn/TnI-type [0,2,4,7]. Both sets are clearly related. As previously stated, much of the melodic material used in this string quartet is derived from the motives stated in the opening nine measures. The note-groups in this passage express pitch characteristics, in their cell units, which have been shown to provide the foundation of the main harmonic structures of this work.
61 Nigel Butterley, interview with Peter Watters-Cowan. 285 Figure 11.39 String Quartet No. 3, Movement 1, Mm 1-9
The composer advocates that there are two main aspects to his use and treatment of motives. Butterley considers that the motives “develop”62 and that they “unify the piece”.63 Further, he observes that he does not “normally repeat things exactly as they have been before”.64 Repetition of the various motives’ intrinsic characteristics can be demonstrated. The motive used in the second measure of the first movement provides a good example to illustrate repetition which is exploited for its unifying properties. This motive (see Figure 11.40) is a four-note semiquaver figure, with the last note “tied”; its pc set type is Tn/TnI-type [0,2,4].
62 Ibid.
63 Ibid.
64 Ibid.
286 Figure 11.40 String Quartet No. 3, viola part, Movement 1, Measure 2
This motive has obvious repetitions at measures 10, 14 and 15 although these differ in the pitch and the duration of the final note. In measure 82, the violin II part illustrates the motive reversed in shape. The motive from measure 2 is also developed and played in other movements. In using this motive every movement is unified. One example is in the opening passage of the second movement (see Figure 11.41), which also shows the violin II motive at measure 82 and from this, the similarities between the three motives: those in the violin II, movement 1, measure 82, the violin I, movement 2 measure 1 and the viola in measure 2 movement 1, (shown in Figure 11.36 above) may be seen.
Figure 11.41 String Quartet No. 3, violin II Movement 1, Measure 82 (above) andViolin I Movement 2, measure 1 (below)
Both motives have a similar pc structure. In the first movement, the semitone structure is {0-2-4-2} and in the second movement the notes C, D, E, C# have a semitone structure that is {0-2-4-1}. This demonstrates the pitch similarity of both
287 motives. They are also similar rhythmically. In the second movement, this note pattern is developed and prefaces an extended melodic section The motive performs a unifying role in both the second and 3rd movements. The chordal passage in the second movement, at measure 129 of the viola part, includes a “turn” figure which is reminiscent of the motive from the first movement. The variants of the motive from measure 2, movement 1, occur also throughout the 3rd movement. Examples of this include measure 3 in the ‘cello part and 34, violin I. Pitch structure of the motive is varied when the pattern of notes is performed by all four instruments; in these instances, the motive is then identified by its rhythm. These rhythmic similarities can be demonstrated at measures 10 and 41 in the last movement. A final reference to the motive occurs in the last movement during the chordal sequence. The motive is incorporated here as a means of unification. It appears in the ‘cello part at measure 79, in an inverted variation of the original, as seen in the first movement, measure 2. It can be seen then, that this motive is both developed and extended, as well as repeated, in order to create a sense of unity. Butterley exploits this treatment in other motives used in the work.
Summary
This chapter illustrates similarities in Butterley’s use of pitch materials in his string quartets. He composes so the main pitch attributes are stated over a short passage in each work: these statements occur at an important position within the work. The basis of the pitch aspects, both linear and vertical, for each string quartet is created within these short passages. Butterley’s use of chords and motives are related by similar intervallic structures. This was generally illustrated through grouping the notes into pc sets and examining their interval relationships. Shorter cells are often sub-sets of larger pitch structures and display relationships among notes. In both String Quartet No. 3 and String Quartet No. IV, Butterley favours particular subsets. These are classified as Tn/TnI-type [0,2,5]; Tn/TnI-type [0,3,7]; tetrachords containing the trichords favoured by Butterley include, Tn/TnI [0,2,4,7], Tn/TnI [0,3,5,8], Tn/TnI [0,2,5,7]. Other trichords favoured by Butterley are Tn/TnI-type [0,2,4] and Tn/TnI-type [0,2,6]. Using related pitch structures in each work facilitates unification processes within each string quartet.
288 In the earlier two quartets, Butterley often uses enharmonic equivalents in writing pitches. For example, a major 7th may be written also as a diminished 8th. Motives that commence with a leap are often a 7th and this interval is set up by Butterley as a limit to the pitch range of the cell. Motivic cells also undergo variation through augmentation and diminution in length as well as expansion of intervals within these cells. These devices are often used with other musical techniques including contrary motion treatment of such cells in inversion accompanied by canonic delays. The pitch class analysis demonstrates that Butterley uses similar intervals in both his melodic and harmonic process. This approach is relatively consistent acorss the four string quartets. These preferred structures are employed in both the micro and macro structures of the work to provide unity. Simultaneously they also permit the composer to introduce diferent material through superimposition. The similarities in pitch permit experimentation in the various elements, including rhythm, timbre and texture. In essence the composer is able to provide musical cohesion, establish a feeling of musical logic and also maintain a sense of spontaneity in the various works.
289 # "$%&* -,"' -$%$"'/$'''"$:")%$;"'0%$; %#,"#0 (
This chapter examines Butterley’s characteristic treatment of texture, timbre, rhythm and tempo in his string quartets. These works, in particular String Quartet No. II, are structured in sections1 designed to contrast. Butterley uses three main textures and a distinctive approach to rhythm, tempo and timbre to create variety within these works. Timbral changes are exploited to subtly enhance and reinforce textural contrasts particularly in monophonic sections. Butterley’s characteristic use of timbre and texture will be examined in string quartets 2, 3 and 4. The Bagatelle and the first quartet are used as the principal examples to demonstrate how rhythmic elements interact with the tempi Butterley selects – these two elements are generally discussed concurrently. Structures contextualised earlier in this thesis2 will be used to aid identification of sections when discussing Butterley’s application of these elements. Approaches used by other scholars3 for the examination of texture, timbre, rhythm and tempo as well as Butterley’s documented approach to these elements provide an introduction to this discussion. Some of these approaches have provided the groundwork for the present study. However, these scholars have tended to develop specific approaches for a particular composer’s œuvre, or even individual pieces by a composer. It is acknowledged that Butterley’s individual style is influenced by other composer’s techniques. The methods developed by other scholars are not entirely
1 There are seven major sections comprising different material in Butterley’s second quartet. Each section is restated at another point in the composition with varying degrees of change.
2 String Quartet (1965) is in two movements of 86 and 45 measures. See Chapter 4 p. 52. String Quartet No. II is written in one movement 331 (or 229) measures: it is a broad ‘arch’ structure ABBA and comprises seventeen sections using six different passages of music. See Chapter 4, p. 64 and Chapter 10, pp. 220-224. String Quartet No. 3 is in three movements 104, 160 and 86 measures. See Chapter 4, pp. 65-66. String Quartet No. IV is one movement of 331 measures comprising 13 sections, letters A – K, comprising five different types of material. See Chapter 4, p. 67, Chapter 6, pp. 112-113 and Chapter 10 pp. 204-207.
3 These scholars are identified on pages 291 and 293 of this chapter.
290 pertinent for the study of these elements in Butterley’s music, they do however provide useful terminology. Parallels between Butterley’s music and the music of other composers, as evidenced in various scholars’ writings, are discussed in the following paragraphs. Some of the discussion by scholars confirms that the elements of timbre, texture and tempo tend to be explored less than pitch and that the techniques developed to examine these elements are not as developed or refined as that for pitch. Butterley’s preliminary writings are evidence that all of his string quartets are conceived with consideration for layering, that is, solo, duo, tutti4 and combinations of these textures. Increasingly, contemporary music illustrates a “clear evidence of the concern for textural details.”5 Butterley’s string quartets, especially Nos. II and IV are sectionalised. Their formal design has resonance with Threni by Igor Stravinsky (1882- 1971): an aspect discussed by Richard P. DeLone. In his examination, DeLone states that the “formal design is delineated by textural layout, contrast, and recurrence”6 and continues discussion of textural changes in clearly identifiable sections of the work.7 These changes identified in Threni simultaneously create variety and unification in the music. In a similar way, Butterley also uses various textures to create aspects of variation and unity. Music with less distinct textural variance is also discussed by writers such as Wallace Berry,8 Michael Klein9 and Judith Lockhead.10 Berry defines many terms
4 Butterley uses these terms to describe textures, see SQ3:11.
5 Richard P. DeLone, “Timbre and Texture in Twentieth-Century Music,” Aspects of 20th Century Music, ed. Garry Wittlich (Englewood Cliffs, New Jersey: Prentice Hall, 1975), 64.
6 DeLone, 190-191.
7 This aspect will be explored in this chapter, as will other studies that examine the aspects such as klangfarbenmelodie, sonic fingerprints and mélodie des timbres. Reference will be made to the studies of: Robert Cogan, “Toward a theory of timbre: Verbal timbre and musical line in Purcell, Sessions, and Stravinsky,” Perspectives of New Music 8, No. 1 (Autumn - Winter, 1969), 75-81; Graham Lack, “Objects of contemplation and artifice of design: Sonic structures in the music of George Benjamin,” Tempo No. 215, (Jan., 2001), 10-14; E.W. Marvin, “The structural role of complementation in Webern’s orchestral pieces,” Music Theory Spectrum v (1983), 76–88; Danuta Mirka, “To cut the Gordian Knot: The timbre system of Krzysztof Penderecki,” Journal of Music Theory 45, No. 2 (Autumn, 2001), 435- 456; Ian Quinn, “Fuzzy extensions to the theory of contour,” Music Theory Spectrum xix (1997), 232– 263.
8 Wallace Berry, Structural Functions in Music (Englewood Cliffs: Prentice-Hall, 1976).
9 Michael Klein, “Texture, register, and their formal roles in the music of Witold Lutosławski,” Indiana Theory Review 20, No. 1 (Spring 1999), 37-70.
10Judith Lockhead, “Texture and timbre in Barbara Kolb’s Millefoglie for chamber orchestra and computer-generated tape,” in Engaging Music: Essays in Musical Analysis, ed. Deborah Stein (Oxford
291 associated with texture and examines the use of this element through various and diverse musical examples. He concludes that “Although texture in music is relatively little studied (albeit much referred to), its effect is almost always an important factor in structure and expressive effect in some degree at some level.”11 Klein discusses the music of Witold Lutosławski (1913-94) in terms of “coupling of texture and register in a single musical structure called texture-space.”12 Klein observes that “Although there is no doubt that studies of pitch and rhythm make up a large percentage of music analysis writings, a growing body of literature focuses on register and texture, or what I have been calling texture-space.”13 Lockhead commences her study of Barbara Kolb’s (b.1939) Millefoglie by examining “how textural and timbral features articulate overall formal design…”14 She found that in Millefoglie “textural/timbral types serve functions of both association and variation, linking sections across the duration of the work while at the same time providing renewal that creates dynamic formal direction.”15 Tone colour is inseparable from performing media and registeral considerations including density and layering of instrumental parts, harmony,16 the textures created17 and special string effects. The two focal points in this thesis in terms of texture and timbre, are passages that are similar and sections that the composer has especially organised in register, density and performance related aspects. The concept of “colour” is mentioned by Butterley in his sketches when he refers to various sections.18 This may be similar to the “tone-color melody,... [a] term coined by Schoenberg …[that is] created by a succession of different colors as well as by
and New York: Oxford University Press, 2005), 253-272.
11 Berry, 293.
12 Klein, 38.
13 Klein, 42.
14 Lockhead, 258.
15 Lockhead, 271.
16 Ilescu Mihu, “L’harmonie et le timbre au XXe siècle: quelques avatars d’un couple inseparable,” Analyse musicale 48 (September 2003), 107-114. This article examines the overlapping areas of these two elements in the analysis of certain aspects of contemporary music.
17 Lockhead examines “texture and timbre” jointly in her study of Kolb’s Millefoglie.
18 SQ4:09, SQ4:10 and SQ4:06a.
292 different pitches.”19 Although Butterley has not cited Schoenberg as a direct influence on his composition20 his interest in Schoenberg’s work was evident as early as 1958 when he was the pianist for the Australian première of Pierrot lunaire.21 Rhythmic analysis will be discussed in conjunction with aspects related to metre, phrase length, note patterns and particular rhythmic groupings22 as well as other inter- related aspects of these elements. The rhythmic aspects are examined individually and subsequently discussed in conjunction with other elements. Some scholars who informed this study include Jonathan Bernard,23 Edward Pearsall,24 Julian L. Hook,25 Graeme M. Boone,26 Justin London,27 Eliot Gohfur Woodruff,28 Joel Lester,29 Ruth Tatlow and Paul Griffiths.30 These studies all include a detailed rhythmic and metric analysis of some twentieth-century music repertoire.
19 Bryan R. Simms, Music of the Twentieth Century: Style and Structure (New York: Schirmer Books, 1996), 110.
20 It was stated in Chapter 3 that Butterley absorbs many styles of music and adapts these as required in his music.
21 Michael Barkl, “Butterley, Nigel (Henry),” in Grove Music Online, ed. L. Macy, accessed 7 October 2007. http://www.grovemusic.com
22 Butterley’s String Quartet (1965) makes use of pitch patterns in numbered sequences.
23 Jonathon Bernard, The Music of Edgard Varèse (New Haven and London: Yale University Press, 1987). “Elliott Carter and the modern meaning of time.” The Musical Quarterly 79, No. 4 (1995): 644- 682.
24 Edward Pearsall, “Interpreting music durationally: A set-theory approach to rhythm,” Perspectives of New Music 35, No. 1 (Winter 1997), 205-230.
25 Julian L. Hook, “Rhythm in the music of Messiaen: An algebraic study and an application in the Turangalîla Symphony,” Music Theory Spectrum 20, No. 1, (Spring 1998), 97-120.
26 Graeme M. Boone, “Marking mensural time,” in Music Theory Spectrum 22, No. 1 (Spring 2000), 1- 43.
27 Justin London, “Rhythm,” in Grove Music Online, ed. L. Macy, accessed 24 September 2008. http://www.grovemusic.com
28 Eliot Ghofur Woodruff, “Metrical phase shifts in Stravinsky’s The Rite of Spring,” in Music Theory Online, 12, No. 1 (February 2006), 77-84.
29 Joel Lester, Analytic Approaches to Twentieth-Century Music (New York: Norton, 1989).
30 Ruth Tatlow and Paul Griffiths, “Numbers and music,” in Grove Music Online, ed. L. Macy, accessed 24 September 2008. http://www.grovemusic.com
293 As a generalisation “the term rhythm denotes those aspects of music that deal with time and the organisation of time.”31 Elliot Carter (1908- ), whom Butterley cites in his preliminary sketches,32 is renowned for “his way with musical time”33 which varies “From the level of intricate rhythmic detail to large-scale formal proportions.”34 Lester describes various twentieth-century metric and ametric practices in conjunction with tempo and rhythmic motives. Lester’s terminology35 is valuable in describing facets of this element in Butterley’s music, which is characterised by diverse metrical and ametrical techniques. Bernard’s investigations of Edgard Varèse’s (1883-1965) music showed that “rhythm/duration has long been problematic in analytic discussions of Varèse’s music.” In response to this, Bernard has “illustrated techniques … for dealing with this domain.”36 According to Bernard, Varèse’s music varied “from passages of rhythmic unison (complete coordination) to situations in which every part can be distinguished from every other purely on the basis of rhythm (complete independence).”37 In a similar treatment, Butterley’s quartets also range from using rhythmic unison, to complete independence of all four parts. “Deliberate avoidance of metrical reinforcement”38 was a feature found in Varèse’s music. This avoidance of metre is similarly exploited in Butterley’s first quartet which was initally composed without bar lines. Although the bar lines were added later, Butterley did retain “bars in [a] quaver pulse”.39 His second quartet uses ametrical passages.
31 Lester, 15.
32 See SQ3:17r and SQ3:19 in Appendix 2.
33 Bernard, “Elliott Carter and the modern meaning of time,” 644.
34 Ibid. Butterley does make use of some of Carter’s compositional techniques as cited in his sketches SQ3:17r and SQ3:19. Butterley’s teacher, Priaulx Rainier and Carter were both taught by Nadia Boulanger.
35 Lester defines many terms, for example; rhythm, meter, changing meter and ameter. 15
36 Bernard observes areas of stasis in Varèse’s music. He examines pitch referring to development and termination of this element. Following this, he studies the role of rhythm in percussion of indefinite pitch. Additionally, he examined the use of ostinati and rhythms that were created with “thematic” reference. Bernard, The Music of Edgard Varèse, pp134, 154, 156, 176, 183 and 191.
37 Bernard, 131.
38 Bernard, 134.
39 SQ1:02v
294 As Butterley’s compositional style features cells of notes with a basic note value of a quaver, an examination of “proportional relationships, namely the relative duration of successive notes…”40 will illustrate inter-relationships between note values. Edward Pearsall examines Luigi Dallapiccola’s (1904-1975) Quaderno musicale di Annalibrera (1952) and devised an approach which encouraged the “holistic contexts in which rhythmic relations emerge.”41 Pearsall’s approach is relevant, as Butterley’s music exploits relationships between rhythm, tempo and metre. As an extension of his mathematical representation of rhythm patterns, Pearsall discusses palindromes in Semi-simple Variations by Milton Babbitt42 (1916-) and String Trio, Op 20 by Anton Webern (1883-1945).43 Butterley uses rhythmic palindromes. Butterley cites Olivier Messiaen (1908-1992) as a major inspiration,44 and it may be argued that Messiaen’s use of rhythmic palindromes is one of the most tangible manifestations of this influence.45 Of relevance then, is Julian Hook’s algebraic applications as demonstrated in his study of Messiaen’s Turangalîla Symphony (1946- 1948).46 Hook found that there were “interactions of rhythm and pitch, and of rhythms with each other”. Woodruff’s work on Stravinsky’s The Rite of Spring (1911-1913) illustrates that the “metric events [are] not bound by sequence”.47 In the current study, it will be demonstrated that Butterley’s metrical changes are likewise unfettered in their usage. The parallels between Butterley’s music and some other composers’ music provides a foil for the examination of various techniques and gives purposeful terminology for the discussion of these elements in Butterley’s quartets.
40 London.
41 Pearsall, 225.
42 Pearsall, 213, 215
43 Pearsall, 215.
44 See Chapter 3, pp42-43.
45 Hook, 98.
46 Hook, 114.
47 Woodruff, 77.
295 Texture and Timbre
Butterley’s reflections on texture and timbre provide starting points for consideration in the ensuing discussion. When asked his thoughts on his treatment of ensemble writing and the attendant texture, Butterley contemplated: “there’s the question: is it the ensemble, or is it the individual people that make up the ensemble ... or is it somewhere in between?”48 Texturally, the second movement of Butterley’s third quartet is the most transparent. The work consists of three main sections, each with a different contrasting tempo which is characterised by a specific texture. Tempo 1 (see Figure 12.1) is polyphonic: here, the two lines of violins I and II work independently.49
Figure 12.1 Polyphonic texture in two parts Tempo 1; String Quartet No. 3, violins I and II, Movement 2, Mm 1-4
The above example shows that the melodic lines of both violins originate from the same point: C. This melodic technique is associated with the polyphonic texture of Tempo 1 and its frequent recurrence constitutes an aspect of Butterley’s compositional design. This device is not only used in this movement, but also in the other movements. Another example of this approach to timbre and melody can be seen as early as measure 8 of the first movement (see Figure 12.2).
48 Also quoted in Chapter 7, p. 144. Nigel Butterley, interview with Peter Watters-Cowan, Sydney, 29 August, 1994. Used with permission.
49 Scrutiny of the score leads to the impression that the two instruments play independently but Butterley’s sketches indicate that he conceived these two parts as one melody line. See Appendix 2, SQ3:22r.
296 Figure 12.2 Viola and ‘cello- polyphonic texture in two parts commencing on a common note; String Quartet No. 3, viola and ‘cello, Movement 1, Mm 8-9
As the violin melodic lines unfold from a single pitch, the parts are later intertwined, and ultimately function as an ensemble. The unified writing for violins I and II provides the basis for the subsequent viola and ‘cello entries. When they are introduced, the viola and ‘cello work independently of the two violins which continue to present a unified texture and melody. In the second movement, the Tempo 3 sections are characterised by homophonic writing which occurs three times: this textural difference provides a contrasting texture to the Tempo 1 sections. At this point, the main compositional impetus appears to be generated by the rhythmic patterns, which is upheld in the example at Figure 12.3. This example also illustrates that all the instruments work rhythmically, as a single entity in a homophonic texture.
Figure 12.3 Homophonic texture Tempo 3; String Quartet No. 3, Movement 2 Mm 119-123
297 Another homophonic passage utilising a different approach can be seen in the Tempo 2 passage, shown in Figure 12.4. Despite changing time signatures, violins I, II and the viola play almost the same rhythms in vertical alignment. A denser texture is generated through compact pitch ranges and the use of a different tempo to both pre- and post-Tempo 2 sections.
Figure 12.4 Homophonic texture Tempo 2; String Quartet No. 3, violin I and II and viola Movement 2, Mm 24-28
Homophonic texture is further manipulated by the composer in the chordal passage of this movement, (measure 126 to 138, shown previously in Figure 11.14). The chordal writing contrasts with the other two homophonic sections in rhythmic and melodic treatment: in this section, longer note values, a more stable pulse, and a wider pitch range are utilised. Sudden contrasts in mood are created in the second movement through modifications in texture, rhythmic patterns and tempi. Unlike Butterley’s treatment of such sudden changes in the fourth string quartet, in the third string quartet’s changes are not tempered by any linking passage. His concern for sharp contrasts and juxtapositioning of ideas is paramount in this second movement which is sectionalised into smaller passages. These passages are signified by re-stating the original melodic ideas which are varied in terms of length and the frequency in repetition. The repetitions do not comply with any traditional sequential pattern associated with formal design.
298 The first movement of this third string quartet uses less dramatic changes than the second movement. In the first movement, the instruments generally perform melodic lines that are specifically designed to be independent of the other instrumental parts. Butterley has assiduously avoided simultaneous movement in blocks of sound. This approach is further supported in the rhythmic treatment wherein rhythms have been constructed in order to avoid vertical alignment of sound. One example illustrating rhythmic independence of the instrumental parts may be seen at measure 66 (Figure 12.5).
Figure 12.5 String Quartet No. 3, vertical independence of rhythm, Movement 1, Measure 66
The final movement utilises thematic material presented in the preceding two movements. Thematic material that is re-presented in the third movement is intensified and enhanced. Generally, the final movement uses fuller, richer sounds. This is partly attributable to the synchronised writing which is apparent. Re-stating themes or motives which were initially presented as a solo or duet are, in the third movement, performed with increased instrumental resources. The motive from measure 2 in the first movement (see Figure 11.37 shown earlier) was initially monophonic, whereas, in the final movement, measure 10, the motive is re-written using homophonic texture (see Figure 11.37 shown earlier). The opening of the second movement is written as a duet,
299 whereas in the third movement (measure 34), all four instruments are used, doubled in pairs at a distance of two octaves (see Figure 12.6). These approaches to melody and texture permit the composer to reintroduce material whilst also allowing changes in texture to provide variety.
Figure 12.6 String Quartet No. 3, pairing of instruments, Movement 3, Mm 34-35
The chordal section, common to each movement (measure 86 to the end of the first movement, measures 126 to 138 in the second movement, and measure 76 to the conclusion of the third movement), retains the same basic texture at each occurrence. It is altered through changes in pitch and varied voicings in the four instruments. The final movement resolves the work with the chordal section, however, at this point Butterley has written the section at its highest pitch statement which produces an ethereal conclusion to the work. String Quartet No. II demonstrates Butterley’s approach to creating a work in contrasting passages which differ in length, tempo, melodic contour, rhythmic shape, instrumental techniques, tone colours and textures. There are six50 distinct sections in this string quartet, created through a variety of compositional approaches to contrast.
50 There are seven major sections of different material. The last section, commencing at letter O may be considered most related to the opening of this quartet but in discussing texture, it is sufficiently different to warrant separate attention.
300 Firstly, the contrasts affect the ensemble writing, from independent instrumental writing through to homophonic passages, monophonic unison and octaves. Secondly, the passages differ in metre, rhythm and tempo. Lastly, differing timbres and special string techniques are used for contrast. These six different sections are listed in Table 12.1 which show their placement and modified restatements in various parts of the work.
Table 12.1 The six main sections of String Quartet No. II
Section Opening passage Varied restatement at: 1 Mm1-28 (i) Letter F, mm137-42 (ii) Letter H, mm157-161 (iii) Letter M, mm225-239 (iv) Letter O, mm300-331 2 Letter A, mm29-40 Letter J, mm174-200 3 Letter B, mm41-70 Letter N, mm240-272 4 Letter C, mm71-103 Mm273-299 5 Letter D, mm104-118 Letter K, mm201-208 6 Letter E, mm119-136 (i) Letter G, mm143-156 (ii) Letter I, m162-173 (iii) Letter L, mm209-224
The types of textural layering, the interaction of the material and special string techniques that Butterley employs can be detailed by discussing each section. The structure of the work is a broad ‘arch’: ABBA. Figure 12.7 illustrates the formal structure of the quartet, which may be summarised as:
301 A B B A M151 A B C D E F G H I J K L M N M 273 O
Figure 12.7 Formal structure of String Quartet No. II, colour coded to show similar musical material
Outer sections: Section A (first occurrence) from the “Opening” (Op), letters A, B, C; and Section A (second occurrence) comprises letters M, N, measure 273 and O; and Inner sections: Section B (first occurrence) includes letters D, E, F, and G and Section B (second occurrence) comprises letters H, I, J, K and L.
In the outer parts of the arch, the “Opening” of section A is balanced by letter O and letters B and C are related to letter N and the passage at measure 273. Parts of the B or ‘inner section,’ that is, letters E and G are balanced by I and L. In a similar manner, section D equates to letter K. In Figure 12.7 above, sections using similar musical material are colour-coded in order to clarify the formal structure and areas of relationships as they occur throughout this work. The musical material in sections five and six (shown in Table 12.1) only occurs in the inner sections,52 whereas sections three and four are heard in the outer sections only. The other passages are interspersed throughout the entire work. Sections one and two (see Table 12.1) are passages that utilise polyphonic textures. In these sections, other musical elements are varied in order to provide contrast and maintain musical interest. Monophonic texture is found in sections three and four. Homophony is confined to the music in section six. Texture is treated differently in the fifth section. It is something of an anomaly as there are two possible ways to classify its texture. The passage at letter D explores string effects and their resultant timbres. In this passage all four instruments essentially play one note, ‘D4’. Using a single pitch suggests a monophonic texture. Despite this, each instrumentalist performs an independent rhythm and timbre. This independence
51 The opening passage is labelled M1 standing for measure 1.
52 The opening to the end of letter C and letter M to the conclusion are the outer passages whereas, letter D to the conclusion of letter K with a midpoint of letter I is the inner section. Further detail is provided later in this chapter. 302 suggests another texture: that of polyphony. Timbral differences are created by using various string performance techniques including natural harmonics, non vibrato, tremolo, col legno, unstopped strings (open) which contrast with stopped strings, arco and pizzicato (left hand) simultaneously, pizzicato and pizzicato with glissando finishing on a definite pitch as shown in Figure 12.8 (showing part of the passage at letter D). The texture is predominantly polyphonic in the sense that the varying rhythms and timbres of these instruments function independently. Some pitch changes do occur later in this passage, but are reserved for the second half. Thus, the single pitch is treated in a multi-layered manner which creates the impression of a light and uncomplicated texture without the tempo and rhythm of the music being too active.
Figure 12.8 String Quartet No. II, one pitch ‘D4’ (Monophonic element) with independent rhythm and timbre (polyphonic elements), Mm 106-111
Sections one and two are polyphonic and the texture is achieved in each instance by different means. As can be seen in Figure 12.9, the opening texture of section one is complex. At this point, all four instruments play independently and their vertical combinations are not restricted by the limitations of a regular pulse. In this section the composer avoids common beats or measures in the vertically aligned homophonic texture. All four instruments present the basic melodic and rhythmic material in a variety of layers. The material which is presented in these layers is freely interchanged
303 amongst the four instruments. The polyphonic independence of the parts is fundamental to the sonority of this passage.
Figure 12.9 String Quartet No. II, Mm 1- 3
A sense of unity is created through the repetition and development of several motives within this section.53 As the motives re-occur they expand and the texture of the music changes, especially in the writing for the violin I and II parts, which become more vigorous. The importance of texture increases as the writing becomes denser with more frequent repetitions of prominent motives and it begins to dominate the overall ambience of the work, ultimately facilitating the climax that concludes this section. The following passage, section two, (from letter A, commencing measure 29 and ending at measure 40 as shown in Table 12.1), is without metre. This section is also polyphonic in texture, however, here the layering is more sparse with fewer notes that are less active in their interaction in comparison to the preceding section. Two different approaches to texture are used in the passage from letter A. Firstly, a slow, canonic entry of about ten notes in all four instruments unfolds; in essence it is heard three times (Figure 12.10). The example is the second statement of this passage. Each time it re-occurs there are differences in the way the material is layered and presented. The successive restatements become more complex in texture as Butterley changes timbre by using pizzicato rather than arco, and he also diversifies the rhythmic impetus with the repeated cells presented at a quicker speed.
53 Butterley’s approach to motivic development is detailed earlier in this chapter.
304 Figure 12.10 String Quartet No. II, Mm 34-36
The second texture in this section is also polyphonic, and consists of rapid, interjecting, semiquaver figures. In measures 32 to 33, the instruments tend to be timbrally paired, for example violin I with the ‘cello, both playing arco and violin II with the viola, playing pizzicato. Each pair enters canonically, in contrary motion (see Figure 12.11). All four instruments play independently and quickly arrive at a climax. This rapid passage occurs twice and interjects between the slower canonic sections. This is illustrated in Figure 12.11 wherein violin I and the ‘cello perform similar material, although the pitch shape of the ‘cello line is inverted. In this example it can be seen that the ‘cello follows violin I. In contrast, violin II performs pizzicato chords, which are again followed canonically by the viola: these chords are treated in a similar inversion. Thus, canonic and inversional writing are a feature here.
Figure 12.11 String Quartet No. II, Mm 32- 33
305 The passage commencing at measure 174, letter J (section two) is similar to the material at A through the re-use of long slow notes; however, the passage at letter J has no canonic structure or rapid semiquaver interjections. This section is characterised by a light texture of slow intertwined notes without metre in which the polyphonic writing is enhanced through the overlapping of all four parts with sustained notes. A monophonic texture is created in both sections three (Letter B, Mm41-70 and Letter N, Mm240-272) and four (Letter C, Mm71-103 and Mm273-299) although they are very different. Section three is also characterised by changes in metre, rhythm and tempo. For the greater part of this rapid section, all four instruments play in unison and octaves (see Figure 12.12). The monophonic nature is in a state of flux as the density of the four parts constantly varies from an octave to a two octave range as may be seen at measures 41 to 44 and 46 to 48. Interestingly, Butterley interchanges the layering of these instruments with each playing at times the highest pitch or the lowest part. One example can be seen in the ‘cello line, where the pattern is played an octave higher than the other three instruments in measures 51-53: this is a reversal of its usual pitch level. The changing in the position of the instruments playing these short cells dynamically keeps the element of timbre in a constant state of flux. Despite this, all the instruments retain the same rhythmic patterns and are unified by one melodic line (in octaves). However, in the latter stages, this homogenous melodic approach disintegrates. The passage commences with close, dense part-writing which progressively expands. Later, a stylised repetition occurs in the passage at letter N measures 238 to 270 (holograph).
Figure 12.12 String Quartet No. II, monophonic writing, letter B Mm 41- 48
306 The other monophonic passage is at measure 71, letter C (section four) however this contrasts in sound, timbre and textural treatment. The textures in this section are much lighter than the preceding letter B: this is achieved through decreasing the number of instruments playing simultaneously as at letter C.54 Significantly, the passage at letter C operates as a transition or bridge from the preceding passage, letter B, to the following, letter D, which commences the central section of the work. Butterley blends melodic and rhythmic material from both letters B and D into the passage at letter C to achieve the transition. Letter B is characterised by unison writing of semiquaver passages. The material within letter C acts as a bridge: from the textures of the preceding passage, a simultaneous unison and octaves in all four instruments (letter B) to the differently structured but also monophonic passage following, letter D. The melodic material at letter C alternates in small motives across the four instruments, sometimes singularly and at other times in pairs. All four instruments combine to create a monophonic texture. The intensity of the texture diminishes from a fuller to a lighter texture which ultimately contracts to one pitch at measure 105. A variety of textures are exploited in Measures 71 to 82 as shown in Figure 12.13; measures 71 to 72 show the four parts in unison and octaves; measure 76 indicates performance in trios; measures 75 to 76 show writing for pairs, and measure 80 shows individual parts exchanging a motive.
54 At letter B all four instruments are continuously used, whereas the passage at letter C varies the number of instruments used, with Butterley frequently decreasing the instrumental forces.
307 Figure 12.13 String Quartet No. II, letter C Mm 71- 82
Homophonic passages (section 6) are confined to the ‘solo’ parts, one part being designed to be of prime importance. This is achieved either through single instrumental usage or through the dominance of a single line with the other parts accompanying, thus producing a homophonic texture. The latter one is the texture that Butterley uses in this section: the solo shown at letter E, measure 119, typifies this (Figure 12.14). In this instance, and also at letters G (measure 143) and I (measure 162) the accompaniment is light and sparse, with the composer indicating “con sordino” and occasionally “pizzicato”.
308 Figure 12.14 String Quartet No. II, Violin II solo, letter E Mm 119-126
Four soli occur within the central section (letters D to L).55 The first of these is at letter E (measure 119). All the soli are constructed in a similar manner although each features a different instrument. The violin I solo at letter L (Figure 12.15) is the most distinctive solo, as both the solo line and the accompaniment writing is far more impassioned than the three other soli: this is achieved through an increase in tempo, louder dynamics and a denser accompaniment style. In the accompaniment of this passage, the viola and ‘cello play a ‘strictly rhythmic’ 4/4 passage. Above these
55 Butterley’s string quartets contain passages that he defines as solos. In this quartet the soli occur in each instrument, for example, letter E features violin II, letter G features the viola, letter I features the ‘cello and L features violin I.
309 instruments, the ‘solo’ violin I and violin II superimpose a different metre56 which creates a sense of movement in the accompaniment. Therefore, the solo line needs to be clearly enunciated above the other instruments. The rhythmic complexities, expression, dynamics, pitch range and tempo of this passage all contribute to the creation of a sense of climax within this work. As signified by the restatement of the opening material at letter M, this passage leads from the central section to a return of the material of the outer parts.
Figure 12.15 String Quartet No. II, Violin I solo, sample of letter L Mm 215-218
Textures alternate within sections of this work. This is especially prominent in the ‘inner’ sections of this quartet, that is, letters D to L inclusive. Table 12.2 shows the correlation of textures to sections and also the changing sequence of these textures. The top row of Table 12.2 replicates the structures shown in Figure 12.7 with the rehearsal letters and main sections with similar passages in the same colours. This table demonstrates that Butterley retains the same texture for no more than two consecutive sections. In the ‘inner’ passages, letters D to L inclusive, the texture changes with each section.
56 In the manuscript score the viola and ‘cello perform one measure of 4/4 to a combination of 4/4 and 3/4 in the violins I and II simultaneously. In the computer score the violins play one measure of 7/4 to the other parts 4/4.
310 Table 12.2 Dominant texture for each section of String Quartet No. II
M1 A B C D E F G H I J K L M N M273 O
P P M M P/M H P H P H P P/M H P M M P
P = polyphonic, M = monophonic, H = homophonic
In String Quartet No. II, Butterley generally retains a constant texture in each passage. When a passage is repeated later in this work it also retains the same texture. This is shown in Table 12.2, above. An exploration of texture characterises the writing of String Quartet No. IV; it is sectionalised in a similar way to the second quartet. Each of the five sections57 in String Quartet No. IV uses various elements as a contrast to the preceding section. There are many similarities between the fourth and second quartet in Butterley’s use of the musical elements. In String Quartet No. IV he has written ‘song’58 passages, which are similar in texture to the ‘solos’ in the second quartet. This ‘song’, like the ‘solos’ of String Quartet No. II, is played four times. These ‘song’ passages are labelled by Butterley as “B” material, and have a homophonic texture, similar to those ‘solos’ played in the second string quartet. One example is the viola ‘song’ passage at letter F, measure 126 (Figure 12.16), wherein the viola plays a solo with the other three instruments performing a light accompaniment. Butterley’s ordering of these sections in this work is A B C B A B C B D E A. Aural coherence is enhanced by the the formal structure that repeats the sequence A B C B.
57 Butterley labels differing sections of material as A, B, C, D and E in his sketch SQ4:14. The sections and Butterley’s description of these was discussed in Chapter 6, p113.
58 The “song’ is Butterley’s classification of a solo passage. See Chapter 6, p115. 311 Figure 12.16 String Quartet No. IV, Mm 126-9
Butterley’s “A” sections consists of both homophonic and polyphonic material. For example measures 1-3 are vertical block chords and measures 4-7 are a lighter polyphonic texture. The C passages are polyphonic in texture. Passages indicated by their rehearsal letters, material within each passage, with their general texture is shown in Table 12.3. Repetition of sections with diverse textures creates both a link with previous material and variation in texture within this work. The use of this practice in String Quartet No. IV parallels Butterley’s practice in String Quartet No. II.
Table 12.3 Dominant texture for each section of String Quartet No. IV, also showing material type classfied by Butterley
Section A B C D E F G H I J K
Alternation A B C B A B C B D E A of material General H/PHPPH/PPHPH/PPH/P texture P = polyphonic, M = monophonic, H = homophonic
Rhythm and Tempi
Butterley associates particular rhythmic59 techniques in the string quartets with specific compositional methods. The composer has notated his score with a variety of approaches including: i) passages measured in seconds with the measures indicated every five seconds; ii) works such as the String Quartet (1965) with bar lines added
59 Rhythm is discussed in terms of durational aspects and these are metre, pulse, and note values and their groupings.
312 after writing; iii) passages where bar lines are ruled before writing in order to determine the length of a section within the work; and iv) works that change metre almost every measure. He is flexible in composing using various metrical devices. Generally, in fast passages, Butterley changes metre in almost every bar. Slower, metrical passages change metre less frequently and a pulse tends to be avoided. In ametrical passages a sense of pulse is created through note groupings. Another technique emerges in the Bagatelle, namely when a time-signature is repeated, the rhythmic patterns first associated with that time-signature recur. In String Quartet (1965) Butterley also uses non-retrogradable rhythmic cells. These rhythmic techniques will be detailed below. Bagatelle for string quartet is a work at a fast tempo (crotchet = MM 168) in which the time signature changes every measure. There are eight different time signatures in this work, they are 2/4, 3/4, 4/4, 3/8, 5/8, 7/8 5/16 and 7/16. Each time signature is repeated several times. Although the metre is changing constantly, the main note value is a semiquaver. This may appear as a quintuplet, triplet or as a semiquaver. As 7/8 recurs, every measure repeats a particular pattern with similar note groupings. For example, the 7/8 measures commence with a semiquaver quintuplet followed by four quavers and six additional notes, which are either all semiquavers or a quintuplet and a semiquaver. Figure 12.17 shows the three of the 7/8 measures and their attendant rhythmic patterns.
313
Figure 12.17 Bagatelle for string quartet, Mm 1 and 3 (top), measure 12 (bottom), 7/8 measures quintuplet, four notes and six notes
A second example of rhythmic consistency is in the 5/16 measures from the Bagatelle where two three-note semiquaver cells are played and each group overlaps by one note as shown in Figure 12.18.
314 Figure 12.18 Bagatelle for string quartet, 5/16 measures, three note cells, measures 9 and 18, text added by current writer
Butterley achieves great musical momentum by frequent metre changes. In String Quartet No. II, the passage commencing at letter B (Figure 12.12 shown previously) is at a tempo of crotchet = MM 96. The music in this passage also changes metre almost every measure using the varied time signatures 2/8, 3/8, 5/16, 6/16 and 7/16. The quickest passage in String Quartet No. 3 is the Tempo 2 (dotted crotchet = MM 80) in the second movement. In measures 24 to 60 the metre changes almost every measure; Butterley uses the alternating time signatures of 2/8, 6/16 (3/8), 5/16, and 7/16. Where the metre changes less frequently, the tempo is often slower and the music is written to avoid a distinct pulse. The opening tempo of String Quartet (1965) is Lento (crotchet = MM c.46). In the first eleven measures, three different metres are used, these are: 4/4, 5/4 and 6/4. This is a slow rate of change compared to the faster passages. The notes are also written to avoid creating a regular pulse, for example, over these eleven measures only seven notes are played to coincide on any crotchet beat, and only three notes commence on a first beat. Figure 12.19 shows the first seven measures.
315 Figure 12.19 String Quartet (1965), Mm 1-7
In String Quartet No. 3 avoidance of pulse in metrical, slower passages is achieved through a similar approach. A ‘cello ‘solo’ opens the third movement, measures 1-10, at a tempo of crotchet = MM c. 46. While the metre changes once in this section from 3/4 to 4/4, most pitches are not sounded on a beat or pulse (see Figure 12.20).
Figure 12.20 String Quartet No. 3, notes sounding on beats, ‘cello Movement 3, Mm 1-10
316 Butterley uses note groupings to indicate pulses where the music is ametrical, for example, he writes successive semiquavers in String Quartet No. II in groups of one, two, three, four and five. This can be seen in Figure 12.21, in which the notes are articulated according to their groups: consequently a rhythmic pulse is established.
Figure 12.21 String Quartet No. II, groupings of semiquavers, ‘cello Mm 2-3 (time measured; top); violin I Measure 11 (time measured; middle); violin II Mm 10-11 (time measured; bottom)
Notes groupings are used in a similar way in String Quartet (1965) in the opening measure of the second movement. The measure is three systems in length60 and semiquavers are grouped in two, three, four, five, six and seven notes, as shown Figure 12.22. In the larger, seven note cells, the pitch arrangement creates a melodic contour that also adds to a sense of pulse within each group. The three seven-note groups shown in this example have a 4 + 3 semiquaver pattern.
60 A ‘note’ in the score states: “From the beginning of this movement until A the three upper parts are independent of each other, but each player should relate his part fairly closely to the ‘cello part.”
317 Figure 12.22 String Quartet (1965), seven note cells, violin I Movement 2, Measure 1 (top); cells of various lengths, viola Movement 2, Measure 1 (bottom)
Butterley also creates non-retrogradable rhythmic patterns in String Quartet (1965). In addition to larger patterns (previously discussed)61 small note figures may also have a non-retrogradable profile (see Figure 12.23).
Figure 12.23 String Quartet (1965), non-retrogradable rhythmic patterns; viola Movement 2, Measure 1 (top); violin II Movement 2, Measure 1 (middle); violin 1 Movement 2, Measure 1 (bottom)
61 In Chapter 7 it was shown how Butterley uses rhythms in the shape of 2, 3, 4, 5, 4, 3, 2, quavers (pp. 145-146).
318 In summary, similarities in the treatment of texture and tone colour can be observed when examining the second movement of String Quartet No. 3, String Quartet No. II and String Quartet No. IV. Composing a work or movement with several varied sections allows the use of a large palette of musical resources: each section facilitates a range of musical expressivity. Butterley simultaneously contrasts sections with varied musical elements and repeats similar passages in order to establish a sense of unity and continuity. The re-introduced melodic material is characterised by variety through changes in texture. When sudden contrasts in mood are created, Butterley effects this through simultaneous variance in several elements such as texture, tempi, rhythm and metre. Butterley’s use of metre, rhythm and tempo are entwined in these string quartets. Fast passages using rapid notes have a clearly defined, but multi-metrical basis. Ametrical passages, usually also at a rapid tempo, use notes in groups to generate pulse. Slower passages tend to change metre at a slower rate and despite the more constant metre, Butterley composes the work so that a constant, repetitive pulse is avoided in these sections. Cells tend to retain their rhythmic characteristics throughout a work as a unifying feature and a notable aspect of Butterley’s technical devices is his implemementation of numerically based and non-retrogradable rhythms.
319 # "$%&. !-)'!
This study has revealed the compositional processes of Nigel Butterley, an eminent Australian composer. Through detailed observation of his compositional techniques and procedures from his first sketches of a work through to the final score and its performance, a contained and comprehensive study of Butterley’s string quartets has been conducted. Study of a single genre1 was facilitated by the common performing media allowing identification of Butterley’s consistent and sometimes variable compositional practices. These are summarised below. No previous study has examined Butterley’s own detailed working notes or indeed those of any other Australian composer. Butterley has been an ideal subject for such a study as he has maintained and provided numerous working notes and papers in various states of organisation. These detail the works from his initial conception to rehearsal notes, and this material, appended in Volume 2, provides the principal source for this study. Although the sketches are catalogued in this thesis in the order in which they were found, a significant task in this study was the sorting of sketches into various categories that reflect their compositional purpose or design. For this study they were divided into sketches with words, notated fragments and draft copies.2 Spanning 36 years, the greater part of Butterley’s mature3 composing life, the string quartets have been set in a biographical context which reveals that certain events, including employment, personal relationships, changing religious and spiritual beliefs, altered Butterley’s approach to composition. All four of the string quartets were written close to a period of major significance in Butterley’s life. The first String Quartet (1965) was composed shortly after his “most vital”4 lessons with Rainier of 1962. String
1 Butterley has written no other quartet work for any other instrumental resources.
2 Debate on the classification of different kinds of drafts is not a feature of this study.
3 It is generally recognised that his early works are those written before his overseas vacation and study with Rainier (1962).
4 James Murdoch, Australia's Contemporary Composers (Melbourne: Macmillan, 1972), 47.
320 Quartet No. II was written in the years 1973-1974, around the time of Butterley’s change of employment from the ABC to his tertiary lecturing position, in 1973. String Quartet No. 3, completed in January 1980, followed a period as ‘composer in residence’ in Melbourne in the first part of 1979 and shortly after the commencement of his relationship with Tom Kennedy on 15 November 1978. String Quartet No. IV was commissioned for the occasion of his 60th birthday (1995), a few years into his retirement from full-time lecturing. As all of these works were commissioned, it is postulated that each of the particular events exposed him further to a greater variety of social contacts which enhanced his professional status and thus improved his ability to attract grants for composition. Rainer’s teaching clearly altered Butterley’s approach to composition. Parallels were found between the teaching practices of Boulanger and those of Rainier, and also between those of Rainier and Butterley.5 The similarities include the brief duration of the lessons (which is not to imply that these were not intense) and the statement by each respective composer that the lessons “liberated” and “broadened” their compositional outlook. Butterley appears to have adopted this less rigid, more inspirational approach in his own “teaching” or compositional guidance.6 At the same time some aspects of Butterley’s compositional work were not subject to change regardless of circumstances. For example, he was less inclined to vary a number of musical elements including his preferred structures and pitch processes. In the string quartets, Butterley’s relatively consistent treatment of these elements is evident; thus the string quartets have provided a basis for elucidating his compositional style. An analytic procedure primarily based on examination of the works’ scores together with scrutiny of Butterley’s compositional sketches highlighted detailed
5 Chapter 3, pp. 34-35.
6 Gordon Hamilton (b. 22 December 1982) was a composition student of Nigel Butterley at the Newcastle University Conservatorium in the BMus(Hons) program. Interestingly, Gordon stated of Butterley: “…as a composition teacher, Nigel is very free in what he allows his students to do.” Gordon is now working as a composer and musician in Germany. He was one of four finalists in the Luxembourg Sinfonietta International Competition Prize in 2007. When asked by the current writer about Butterley’s teaching methods, Hamilton commented that Butterley’s …help consisted of observations, criticisms, encouragement and suggestions along the way. In fact, sometimes when I asked him for direct advice, he still didn't give me a direct solution, instead a variety of possibilities, from which I would have to choose. That is, he always made me write my own piece, make all of my own decisions. Gordon Hamilton, personal communication, 15 May 2007. Used with permission.
321 structures,7 pitch organisation,8 rhythmic planning9 and textural and timbral conceptions.10 In contrast to the final score, however, the sketches detail Butterley’s initial æsthetic intentions,11 processes of conception12 and formation of the work, and choices he made as the work evolved. In a sense the sketches allow us to walk-through the creative process with the composer. In addition, the sketches revealed some errors and omissions which impact on the process of editing.13 The sketches illustrated further details for performance interpretation and suggestions made at rehearsals by the composer which are not included in a printed score.14 Qualitatively different types of information were obtained from these two avenues of examination. As a result of these differences, the two investigations were treated as separately as possible. Whether both types of analysis might be used simultaneously was not at issue; rather it was integral to this thesis to illustrate that diverse approaches to the study of these works would demonstrate different facets of the music. Although sketch study alone cannot be used to analyse the string quartets comprehensively, this thesis demonstrated that the tracing of the compositional process as it occurred, rather than examining the finished product in isolation, adds a further dimension not only to our understanding of these string quartets for both study and performance purposes but also to the processes which contributed to these work’s composition. For study purposes scrutiny of the sketches has formalised Butterley’s emphasis upon differing elements as the works are conceived.15 It has been revealed that
7 See Chapter 10.
8 See Chapter 11.
9 See Chapter 12.
10 See Chapter 12.
11 See Chapter 5, pp. 77-80.
12 See Chapter 5, pp. 87-92.
13 See Chapter 4, pp. 62-64 and Chapter 7, pp. 146-150.
14 See Chapter 9.
15 Jonathon Bernard also feels that importance of various elements is important to analysis. He postulates “Which comes first? Which domain, or combination of domains, forms the initial ides that is then sharpened, clarified, and made more definite by the others?” The Music of Edgard Varèse (New Haven and London: Yale University Press, 1987), 129.
322 expressive elements are always important, as are structures,16 textures and tempi. As pitch and rhythmic structures are planned after these works’ general guidelines are in place, an impression is created that these elements are of secondary importance, created to convey his emotive musical content. This finding is supported by Butterley’s avoidance of a composition technique beyond the boundaries of his own needs.17 For performers, there is a wealth of descriptive suggestion in the sketches beyond the information available in the score that potentially heightens awareness of the expressive possibilities. Some of these areas include tempo and its flexibility, fluctuations in volume, general contrasts based on structural organisation and instrumental ensemble coordination. Butterley’s deliberations, alterations and clearly planned discussion of instrumental interactions enable not only a more informed performance but also greater confidence in representing the composer’s intentions. Butterley’s extensive interests in literature, and arts in general result in a flexibility of outlook which is evidenced in his utilisation of diverse influences.18 His interest in poetry19 influenced his first and second string quartets: personal relationships also provided an extra-musical stimulus. However, these influences are not overtly displayed through all of Butterley’s compositional life. His first string quartet is conceived and planned in conjunction with a poem, and also carries a dedication, his fourth string quartet has neither a poetic prelude nor postscript or personal dedication. The musical influences of other composers are also apparent in both his sketches and final works. Butterley cites various composers, including Mozart, Tippett, Carter and Smalley in his sketches. Furthermore, Butterley freely discusses other composers who have been
16 Other composers express the importance of structures. For example, Sofia Gubaidulina (as spelt in following article), who is acknowledged by Butterley as an influence, states that “Form is the most important thing in a composition. Without exaggeration, it’s the only possible way to give unity to a variety of material, a variety of possibilities.” Gubaidulina, “Colloquium,” in The Composer Speaks II: Proceedings of the Australian New Music Conference, 1990, ed. Graeme Skinner and Caitlin Rowley (Sydney: Australian Music Centre, 1998), p43.
17 See Chapter 7, p. 140.
18 Butterley’s employment with the ABC as a program producer, performer of “new music,” and his use of very varied texts all give the impression that he has always had a desire for broadening his knowledge. See Chapter 3, p. 38.
19 Interest in diverse literary sources has been a characteristic of Butterley both for inspiration for instrumental works and in texts for vocal music. See Chapter 3, pp. 41-42.
323 influential in his writing, including Cage and Messiaen. In particular, the compositional practices of Messiaen were shown to have influenced Butterley’s first string quartet.20 His relationship with performers has also impacted on the way in which he writes. Butterley shows technical awareness and sensitivity for both the instruments and the performers in these quartets. The sketches contain comments where he has approached prospective performers to seek their advice on technical matters.21 Butterley generally knew the performers who premièred these quartets, and was aware of their performance styles and mannerisms, which influenced the way in which he finalised the works.22 Butterley’s compositional process evolves relatively slowly.23 Therefore, documenting each composition’s progress enables him to pause and re-commence the work as time permits.24 His method of composition has also developed to accommodate limited time constraints. Progress in writing the work is recorded in the sketches. Butterley plans each string quartet as an entire work, which he subsequently divides into smaller sections. These sections are described and planned, and then composed and placed in his overall framework. Composing in shorter sections is surely advantageous on a practical level, when the work is undertaken in irregular conditions. Examination of the sketches for String Quartet (1965) and String Quartet No. 3 (String Quartet No. II has no extant sketches) reveals an approach based on four general stages.25 Initially, Butterley seeks inspiration, æsthetic conceptions and texts; he then conceptualises and outlines in words, and creates a diagrammatic overview of the work. Secondly, he creates a more detailed plan, producing one for each movement, including
20 Butterley’s use of non-retrogradable rhythms is one aspect of Messiaen’s compositional style which has impacted heavily on his style. For a comprehensive outline of this device see the article by Paul Griffiths, “Messiaen, Olivier (Eugène Prosper Charles),” in Grove Music Online ed. L. Macy, accessed 17 November 2007. http://www.grovemusic.com
21 The sketch B:01 contains Butterley’s direction to ask “Robyn possibl[ly] for string advice.”
22 An example is in SQ4:05 where Butterley wants to “check Darrell’s LH pizz.”
23 String Quartet (1965) was composed in six months, String Quartet No. II was composed in eighteen months, String Quartet No. 3 was seven months and String Quartet No. IV was eleven months.
24 The sketches of String Quartet (1965) and String Quartet No. 3 are undated, whereas the sketches of String Quartet No. IV bear dates. The type of information and methods of planning are similar in String Quartet (1965) and String Quartet No. 3 and again String Quartet No. IV’s sketches contain different types of plans. Butterley had retired from full-time employment by the time of embarking on his String Quartet No. IV.
25 Susan Hallam cites several theorists who similarly categorise composers’ stages occurring during their creative process. Susan Hallam, Music Psychology in Education (London: Institute of Education, 2006), 72.
324 his realisations for his inspirations. Both of these stages are in written text. Thirdly, he plans notational aspects; note-rows, cells, motives, rhythms and chords. Finally, he commences writing the draft-copy of the string quartet. These stages of conception are not strictly sequential, that is, one of these phases need not be completed in its entirety before Butterley moves to another level of planning. This is particularly relevant in stages two and three.26 Contained in the ‘overview’ sketch27 are the work’s main structures, movements, sections, expressive features, tempi, instrumental layering,28 special timbres,29 phrase types,30 and unifying and contrasting elements. This type of sketch is also created so Butterley can visually monitor the direction of a work, how it progresses and how this progression31 functions between movements. Butterley creates sections of material to generate contrast and repetition of similar features. This plan establishes the general musical sounds and impressions desired. At this early stage of conception, Butterley also researches musical resources, which are recorded in a separate sketch. The sources which Butterley consults include other composers’ writing techniques, texts (including theoretical musical texts and non-musical texts)32 and performers.33 The sketches that constitute the second stage include one page for each movement and contain greater detail. These sketches delineate the same structures and contain the essence of the ‘overview’ plan, but elaborate further. The plans for each movement are more practical as they notationally illustrate Butterley’s musical realisations of the æsthetic conceptions of the ‘overview’ sketch. It is also evident, especially in the
26 These stages are discussed in Chapter 5.
27 For String Quartet (1965) see SQ1:06, for String Quartet No. 3 see SQ3:11 and SQ3:17r.
28 In the sketches for String Quartet No. 3, the following instrumental groupings occur, “solo, duet, tutti chordal theme.” SQ3:11.
29 A “chordal passage” passage repeated in each movement of String Quartet No. 3 is successively planned to sound “low (p)…full (ff)… [and] high (pp).” SQ3:11.
30 Butterley writes of “breaths… notes … [and] phrases” when contrasting a tutti section’s use in each movement of String Quartet No. 3. SQ3:11.
31 Progression or movement within a work is discussed in the program notes of String Quartet (1965) and also in Chapter 3, p. 37.
32 See Chapter 5, pp. 83-87.
33 See Chapter 9, pp. 194-196.
325 sketches of String Quartet (1965) that a multi-layered34 approach in planning was adopted. These sketches highlight particular sections of the work that required additional planning, evidenced by more extensive writing than that for more readily crafted passages. During this period of planning, Butterley develops several notated elements (motives, tone-rows, rhythms and harmonic structures). The amount of detail is dependent on the kind of music on which he is concentrating. Note-row entries in the first string quartet are not pre-planned with rhythm, whereas in the opening passage of the second movement of String Quartet No. 3, both pitch and rhythm are designed as separate entities.35 The notated aspects of intricate passages are planned in detail. Whilst the creation of these musical elements occurs in conjunction with the written plans, the composer rarely combines notated sketches with those containing written expression. It is in this phase that Butterley often creates notated material which he later considers superfluous to the work and is hence discarded. Despite this, these extra materials are conserved for use in future works. The fact that the two types of plan are created separately and retained as individual entities makes the next phase of writing easier for the composer. As planning reaches a certain stage, Butterley begins to write out each work. The different type of manuscript paper used for the draft copy is indicative of Butterley’s self-acknowledgement that he has reached a point of sufficient preparation as demonstrated in Chapter 8. Constantly refering to the sketches as he drafts the work, he also modifies them as he composes. This process is undertaken through a series of self- posed questions, which he answers in short written statements, and through the inclusion of projected compositional time-spans. The point of the commencement of draft writing varies with each string quartet; however, the fourth string quartet has significantly less planning. As a later work, the fourth string quartet has no ‘overview’ sketch and only minimal notational planning. Butterley is more able to modify and vary this string quartet as it develops. As the writing in the fourth string quartet is less formally planned, the sketches indicate a more fluid and also more adaptable approach. This may imply (understandably) Butterley’s
34 SQ1:05r is a plan of the first movement. Marked in Figure 8.10 are the measure numbers showing where the described passages occur. The sequencing of the position of the passages indicates that the music created is not planned on one level but layered throughout the movement. See Chapter 8. pp. 164- 165.
35 See SQ3:22 and SQ3:23. 326 greater maturity and self–confidence in compositional design and implementation. It may also demonstrate that as Butterley was no longer in full-time employment and had less external distractions he was able to achieve a greater level of compositional continuum than experienced in his previous works. Furthermore, greater flexible planning of Butterley’s works appears to be in keeping with a gradual and continual process, not only in his works, but also in personal beliefs and their influences on his works. Butterley’s religious perspective has changed from a more formal and organised religious belief, to a religious philosophy which is expressed in a more liberated sense of spirituality.36 Another significant difference in the planning of the fourth string quartet is the inclusion of dates on the sketches. For Butterley, these dates highlight the latest areas of consideration and effectively diarise his work. For the scholar, the inclusion of dates on the sketches provides the definitive order of conception, eliminating areas of conjecture raised in the sketches of previous works that do not carry such dates. Dating of sketches illustrates that he conceives a work and it develops multi-dimensionally while he explores various aspects simultaneously – an invariable in Butterley’s creative process. Butterley’s compositional techniques have changed less than his planning methods over the years that these string quartets represent: Butterley has been consistent in the use of his preferred structures to create unity and contrast. Among the structural features common to Butterley’s string quartets are balanced and proportioned sections within the entire length of the composition. It has been shown that the composer gives particular attention to: mid-points; the opening lengths of passages which are often equivalent to concluding passages; and the proportional lengths of sections often expand from openings and diminish towards endings. As demonstrated in Chapter 10, the composer appears to plan the lengths of passages in his works more intuitively than consciously applying mathematical formulæ. He is quite aware of the principle of the “golden section” but as he doesn’t compose using mathematical formulæ. his works display this proportion approximately. As he often composes a work in sections, parts of works also exhibit lengths close to the golden section proportions.
36 Butterley’s influences of, and expression of religion and spirituality, as expressed in his music was discussed in Chapter 3, pp. 30-32.
327 Butterley favours broad ‘arch’ structures, which he uses in the single movement quartets.37 An ‘arch’ structure lends itself to a work containing mid-point and equivalent balancing passages.38 The ‘arch’ structure may be used to create variety with its differing sections as well as to create unity through the repetition of these passages. These forms, used as guidelines and not as a tenet of composition illustrate the care Butterley has taken in the planning of the broad formal aspects of these works. Although not composed as a set, the similar constructional considerations constitute a common compositional feature and add to a sense of unity amongst the quartets. The string quartets are all constructed in small passages, as Butterley’s sketches illustrate. He is mindful of the way in which the sections are integrated into a work39 and in the case of the fourth string quartet, he constructs bridging motives to connect passages, whereas the sections in the second string quartet alternate more abruptly. As these passages are re-stated, many of the characteristics remain constant. Each section tends to retain its own tempo, motives, rhythms, timbres and textures, although Butterley makes subtle changes each time a section or smaller passage is repeated. Sections of music which are juxtaposed for contrast are not always repeated in the same sequence. In fact, the progression of these sections is frequently altered, resulting in a mosaic-like approach to structure. Butterley’s compositional devices on a smaller scale are a model for his large- scale practices, as is evident in his treatment of the Bagatelle for string quartet. In this work, the composer treats each measure in a similar manner to the larger sections within the larger string quartets. Essentially, the compositional design and approaches are identical for both large and small-scale works with the Bagatelle for string quartet providing a microcosm of these methods and plans. In Bagatelle for string quartet each measure of the same time signature retains the same musical characteristics when repeated, but with subtle alterations. Some patterns of repetition of these measures are
37 Butterley also used ‘arch’ structure in the work In the Head the Fire. Ross Edwards. “Nigel Butterley’s In the Head the Fire,” Music Now 1, No 2 (1969), 7-11.
38 A former student of Butterley’s recalls that he regularly advocated the use of arch structures in compositional design. Butterley demonstrated such design with the use of black-board dusters and likened the structure to the strong architectural properties of some church designs. Dr Chérie Watters-Cowan, recalling Dr Butterley’s lectures of 1981-1983 at the NSW State Conservatorium of Music, Newcastle Branch, 17 November 2007. Used with permission.
39 Butterley writes in SQ3:11 that “BRIDGE PASSAGES may soften the outlines of the sections of each movement.”
328 formed but essentially, sequencing is not repetitive and the small sections recur kaleidoscopically. Exposition of pitch elements, both linear and vertical, similarly occurs in each string quartet. Butterley exposes all pitch materials necessary to the composition during a brief passage situated at a prominent place in each work. These measures exhibit many of the compositional characteristics that are later developed in the work. For example, the structure of the opening of String Quartet No. II is in two halves reflecting the structure of the entire work. Most of the sections comprising this work are also constructed in two halves. String Quartet No. IV has three main ideas in its first seven measures and each is expand into material used in subsequent passages. These expository passages are placed at the opening of String Quartet (1965), String Quartet No. II and String Quartet No. IV and in a chordal passage repeated in each movement of String Quartet No. 3. The examination of pitch material, including pitch-class analysis (as discussed in Chapter 11) illustrates that much of the material in these compositions can be traced back to these exposition-type sections. Pitch was generally analysed through an examination of common properties among logically grouped sets of notes, using pitch-class analysis techniques. Butterley’s common use of shorter motives and cells, in horizontal detail and with the vertical alignments of four instruments, made it possible to show related intervallic structures of these pitch-class sets and subsequent subsets. Motives undergo change rather than development. As shown in Chapter 11, the analysis of pitch qualities demonstrates that in these works, vertical intervallic structures are similar to linear pitch structures. Butterley’s created pitches use common interval classes of which the larger chords contain basic common elements or subsets. For example, a chord which may be considered characteristic of Butterley, uses notes which may be classified in pitch-class as Tn/TnI- type [0,3,5,8], Tn/TnI-type [0,2,3,5] and Tn/TnI-type [0,2,5,7], and have common intervallic elements, the subsets of Tn/TnI-type [0,3,5] and Tn/TnI-type [0,2,5].40 These pitch-class sets identify the chords which may be regarded as constituting elements of Butterley’s compositional “sonic finger-print”.41
40 Discussed in Chapter 11.
41 The term “sonic fingerprint” was utilised by Robert Cogan in his article, “Stravinsky’s sound, a phonological view: Stravinsky the progressive,” Sonus II/2 (Spring 1982), 1-25.
329 Prominent fundamental pitch-class subsets used by Butterley in these string quartets are: Tn/TnI-type [0,2,5]; Tn/TnI-type [0,3,7]; Tn/TnI-type [0,2,4]; and Tn/TnI Tn/TnI-type [0,2,6]. These basic trichord sets, generally with added notes, form much of the vertical and linear pitch content of these works. As demonstrated (in Chapter 11), Butterley, especially in his fourth quartet, tends to favour chords that have the same pitch-class structure in inversion: the three aforementioned tetrachords Tn/TnI-type [0,3,5,8], Tn/TnI-type [0,2,3,5] and Tn/TnI-type [0,2,5,7] and trichord Tn/TnI-type [0,2,4] all contain these attributes. Similarity of basic structures in pitch-class is a unifying factor in each of these compositions and contributes to Butterley’s “signature sound.” Motives created by Butterley undergo change and development through the adoption of intervallic augmentation and extension of interval patterns as these cells are repeated.42 Cells and motives tend to re-appear in varied forms rather than undergoing lengthy development. As shown in Chapter 11, his music generally comprises shorter phrases and motives rather than long extended melodies. His manuscripts reveal that notes and intervals may be written enharmonically.43 Rhythmic cells are treated in similar ways to pitch properties. Butterley uses longer rhythmic patterns that are non-retrogradable: this is most easily seen in String Quartet (1965) and the shorter cells of String Quartet No. II. Rhythms have been often shown to be number-based and Butterley extends rhythmic patterns by attaching additional notes to the cells or motives.44 Rhythmic, metric and tempi elements have been analysed in conjunction with each other so that the way they interrelate in the compositions were demonstrated. Metrically these string quartets are diverse, ranging from passages with little change to metrical changes in almost every measure. Butterley also estimates compositional time-spans through the inclusion of anticipated timings. In this thesis, the musical elements of rhythm, metre and tempo were examined in conjunction and it was illustrated that consistencies occur in Butterley’s treatment of these aspects in his compositional design. As shown in Chapter 12, passages in which
42 Extension of motives was discussed in Chapter 11, pp. 267-270 under String Quartet No. II and String Quartet No. IV, see also Chapter 11, pp270-273.
43 Discussed of String Quartet (1965) in Chapter 7 p. 140 and also String Quartet No. II in Chapter 11, pp. 262-263.
44 See the discussion in Chapter 11.
330 the metre is relatively constant are characterised by a slow tempo; however, even in these passages, Butterley writes in a style which avoids a constant pulse. Fast passages are multi-metrical and note values are constant and often include pulsing semiquavers. Ametrical sections use short rhythmic cells of varying note values and these motives are composed to generate a pulse within each fragment. The ametrical passages are usually written to be played at a rapid tempo. The elements of texture and timbre were more difficult to discuss, due to their inter-related use and as they are harder to define; therefore discussion was generally more descriptive. However, textures were shown to generally remain constant within a section - Butterley tends to contrast passages in different styles with a varied texture. Butterley adopts an approach that might be described as egalitarian in his instrumental writing: for example, in the second and fourth string quartets, each instrument in turn performs a solo. The solo passages are similar in each string quartet, but varied in content and character. This approach enables Butterley to exploit the instruments’ particular register and tone-colours. Furthermore, he explores aspects of instrumental inter-relationships which impact on the overall tonecolour of various passages and therefore affects the aural appreciation of the linear, melodic writing and its inter-dependence on associated texture and timbre. In String Quartet (1965) Butterley commences each subsequent re-statement of the note-row with a different instrument.45 Numbers and calculations written in the sketches generally indicate planning of the lengths of sections, expected durations of passages and numerical frequency of repetition of cells. This study incorporated an examination of calculations in order to determine the role of numerology in Butterley’s compositional planning.46 Although the current writer expected that numerology, as alluded to by the composer, may have had an overt influence on his compositional output, there was no evidence found in this current study which supported the notion that numerology contributed to Butterley’s creation of cells or establishment of structural dimensions. While it has been demonstrated that the extant sketches of a work provide a wealth of information for the pre-compositional stages, it must also be acknowledged that the
45 The four instruments in turn commence the note-row at measure 38; viola, measure 49; violin I, measure 62; ’cello, and measure; 75; violin II.
46 Chapter 7. pp. 151-155.
331 sketches are finite in the information they provide. Each composer and each individual work brings a different set of guidelines, limitations and resources. This is certainly true in relation to Butterley’s four string quartets. Nevertheless, his sketches detail his perspectives, processes, options, choices and methods of composing which cannot be gleaned from any other source. As shown in this study, the sketches indicate that Butterley uses a consistent method for planning the quartets, although the intensity and depth of detail is modified as needed. The sketches for fourth string quartet indicate that he did not undertake as much pre-planning as with the first and third quartet. It was in the fourth string quartet that Butterley encountered increased difficulties in the overall structure of the work and it cannot be discounted that the reduced pre-designing and lack of formative plans contributed to these difficulties. However, these difficulties were also overcome by not having a written plan to adhere to and therefore, being freer to alter the order of passages in this work. 47 In his sketches, Butterley starts with emotional stimuli, which translate into motivic melodic cells. These are then augmented with rhythm and it is structure which then binds all of these elements together. The adoption of structural proportion would seem to be placed intuitively, although there is evidence of conscious structural design. The sketches and the use of different coloured inks are evidence of Butterley’s methodical approach to composition and importantly of revision and self-correction.48 Butterley remains responsive to his plans which results in a relatively organic approach to his craft. This study has established that the sketches can enhance, enrich and support a discussion based on traditional analytical examinations and findings. The sketches attest to the chronological development of the composition and indicate the hierarchical importance of different compositional devices and musical elements. The sketches contain information not included in scores. Some of these details include æsthetic conceptions, balance and variety in passages and movements, and score changes added at a later date which may or may not be acknowledged and realised in subsequent scores.
47 See Chapter 6, pp. 113-114.
48 See discussion in Chapter 5, p. 98 and Chapter 8, p. 173.
332 On a practical level, score ambiguities can be identified, addressed and resolved. The sketches may clarify mistakes in the editorial processes which occur in both traditional publishing and desk-top publishing.49 Study of these works using both sketch and score analysis makes for a more complete understanding of the music for the musicologist, aspiring composer, and performer. The analytic study of Butterley’s string quartets confirms the structural proportions alluded to in the sketches and also indicates the concern for structural issues on the micro-scale, through smaller dimensional properties and through his use of rhythmic cells. The analysis elucidates those aspects of writing which constitute Butterley’s “sonic fingerprint,” achieved through intervallic clustering, mosaic-like pitch patterns, kaleidoscopic reiteration and juxtaposition of cells, motivic re-use and transformation, additive rhythm and texture, timbre and tempi inter-relationships. The examination of Butterley’s working methods have also indicated aspects of his personality50 which have undoubtedly assisted in creating an individual “sound.” On a professional level, Butterley’s willingness to co-operate with scholars indicates his ability to disassociate himself on some level from his craft and not want to remain cloaked in the Romantic notion often associated with the art of the composer, for whom the craft is reliant on inspiration rather than a process of refining and working. Butterley reveals his knowledge of what is happening in other, usually contemporary, composers’ works and he also abstracts principles from other composer’s works, such as Mozart’s, in order to fulfil his compositional purposes. Additionally, he seeks advice on practical issues by consulting respected texts, scores, recordings and performing musicians. It has been shown that there are significant common features in all the string quartets. A case has been made that Butterley’s compositional trajectory may be traced through the string quartets. It has been demonstrated that some individual characteristics of Butterley’s compositional style were emergent as early as 1965, continued to be utilised in 1995 and were still present in his small work of 2001. His music has remained sectionalised while juxtaposition of these sections gives variety and their repetition assists in creating a sense of unity. The works are conceived as a whole and do not develop out of elaborations of thematic material. His writing is concise. That these characteristics remain attendant in a minutæ, as in the Bagatelle for string quartet,
49 See discussion on errors in Chapter 7, pp. 147-151.
50 Butterley willingly seeks advice regarding technical aspects and he is also agreeable in discussing his works and their influences. 333 is significant, in that this work may be seen as a microcosm of the writing style evident in his larger works. This thesis has demonstrated that a comprehensive examination of compositional sketches enhances the outcomes of formal analysis by assessing both the composer’s working considerations, methods, emphases on particular elements during the process as well as the details shown in the final score. This examination of the sketches alongside a formal analysis provides a holistic approach to the study of a composer’s work which is mutually informed. The result of this approach enriches our understanding and appreciation of the compositional process, product and ultimately impacts on the performance of these works.
334 '-'!3% #,
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352 ('!3% #,
Butterley, Nigel. String Quartet. Cassette (13 min), Australian Music Centre, Library number C 3062.
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353
Nigel Butterley’s String Quartets: Compositional Processes from Sketch to Score
VOLUME 2
Peter Watters-Cowan
Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy
School of English, Media and Performing Arts
University of New South Wales
2009
APPENDIX 1 SKETCHES AND DRAFT COPY OF STRING QUARTET (1965)
Sketches1 SQ1:01a shows Butterley’s experimentation with intervals and pitch shapes. The subsequent lines use these pitch shapes to develop motives for possible use.
1 Writing materials and the age of the sketches may make some sketches difficult to read. For detail of the holdings of the sketches see Vol. 1, Fn. 46, p. 9.
355 SQ1:01a
SQ1:01b shows an idea crossed out.
356 SQ1:01b
SQ1:01c shows four musical figures. The first is the Important figure; next is the unfolding figure which is prominent to both movements of this work; underneath there is a the note-row and its permutations; lastly, there is a line of music headed from opening.
SQ1:01c
357
SQ1:02r is a note showing that Butterley is concerned about other works while he is planning this string quartet.
358 SQ1:02r
SQ1:02v is the other side of this sketch. It shows Butterley’s consideration of particular string techniques, tone colours and some projected applications.
359 SQ1:02v
SQ1:03 is a detailed plan of the second movement of this quartet and it shows the three main sections. Each section is “crossed” out when completed.
360 SQ1:03
SQ1:04r contains mainly notated ideas. It shows intervallic patterns, motives, and plans of the note-row and its permutations. The upper and lower part of the sketch contrast “warm” and “cold” motives.
SQ1:04r (top)
361
SQ1:04r (bottom)
362 SQ1:04v shows a brief sketch for the string quartet and some planned pitches.
SQ1:04v
363 SQ1:05r is a plan of the first movement in five sections.
SQ1:05r
364 SQ1:05v is a brief personal reminder and indicates an involvement in formalised religion.
SQ1:05v
365 SQ1:06 shows the poetic inspiration for this work, Butterley’s interpretation and a plan of how he will organise his composition.
Figure A1.12 SQ1:06
366 SQ1:07r shows the note-row and its permutations. There are also short melodic shapes and longer melodic sections.
SQ1:07r (top)
367
SQ1:07r (bottom)
368
SQ1:07v
369 Draft Copy
Please note that each page of the draft copy has been scanned in two parts, top and bottom. There is an overlap of approximately three staves on each half of the page.
Page 1 (top)
370
Page 1 (bottom)
371
Page 2 (top)
372
Page 2 (bottom)
373
Page 3 (top)
374
Page 3 (bottom)
375
Page 4 (top)
376
Page 4 (bottom)
377
Page 5 (top)
378
Page 5 (bottom)
379
Page 6 (top)
380
Page 6 (bottom)
381
Page 7 (top)
382
Page 7 (bottom)
383
Page 8 (top)
384
Page 8 (bottom)
385
Page 9 (top)
386
Page 9 (bottom)
387
Page 10 (top)
388
Page 10 (bottom)
389
Page 11 (top)
390
Page 11 (bottom)
391
Page 12 (top; bottom of page is blank)
392
APPENDIX 2 SKETCHES OF STRING QUARTET NO. 3
SQ3:01 is the first sketch in the folder: it shows the title and dedication of the work, M.L.B.T. standing for My Little Boyfriend Tom [Tom Kennedy]
SQ3:01
393
The upper part of this sketch SQ3:02 describes in words the musical passages sketched underneath. They are sketched out for the ‘cello and the higher melody used in Movement 1, measures 75 to78, and also in the ‘cello part of Movement 3, measures 64 to 66. The last entry shows how Butterley intends this melody tobe incorporated in the third movement. .
SQ3:02
394
SQ3:03 consists of three melodic fragments, the second of these is related to the ‘cello line in Movement 3, measure 10, and also a rhythmic pattern. There are brief descriptions of the three movement work in terms of 1) short phrases, 2) isolated notes, 3) long phrases.
SQ3:03
395
SQ3:04 has two lines of manuscript; the higher has two sets of chords and the lower shows notation in two parts similar to measures 32-3 of the first movement, violin I and viola parts. Also shown are set of numbers and letters indicating different sections of this work (1B; 1C; 2B; 3B; 3C).
SQ3:04
396
SQ3:05r shows rhythmic and durational planning for parts of the second movement. It has a line drawn through it (as if crossed out) and several self-posed questions.
SQ3:05r
397
SQ3:05v is in two different parts. One part shows a series of mathematical calculations that arrive at the sum of either 456 or 480. The second part of this sketch indicates planning multi-rhythmical combinations.
SQ3:05v
398
SQ3:06 shows Butterley’s planning and writing practices for the passages 2A and 2AX of the second movement. Also included is a brief comment for performance techniques: pizzicato and bowed tremolo.
SQ3:06
399
SQ3:07 shows Butterley’s “rough” notation as he writes passages. He uses fully notated writing in conjunction with parts in “close” score. These sketches are from measures 10 to 29 of the third movement. Also of interest are the two circled numbers of 18 and 19, which correspond to the page numbers in the completed score.
SQ3:07
400
SQ3:08r shows two briefly notated sketches classified by Butterley as belonging to section “3C”, measures 63 to 65 of the third movement. The upper motive occurs in the violin I and the lower line is distributed among all four instruments. There is also a reference to the first movement, page 5 with two sets of note ranges written “upside- down”.
SQ3:08r
401
SQ3:08v shows notation in three independent sections. The first illustrates the end of this work in the third movement, measures 81 to the conclusion. This is written in two staves with principally vertical dots for the notes and the rhythm added underneath. The duration of this movement is stated at 6’30” with the total duration of the work being 15 minutes. The second fragment is a series of chords and lastly, seven pairs of notes.
SQ3:08v
402
SQ3:09 is an overview by Butterley of his first three string quartets possibly intended for a pre-concert talk and thus not a pre-compositional sketch but a retrospective summary of the main features of these string quartets.
SQ3:09
403
SQ3:10 is in three parts showing two possibilities for the opening and also a planned passage for the third movement (not used). The first is four bars of the viola opening, from measure 1. Underneath this is the second part of this sketch which presents another statement of the opening 12 measures. In addition to this, there is another marking which is “Simon- phrasing”.
SQ3:10
404
SQ3:11 shows compositional possibilities which are divided by horizontal lines. The first of these sections describes the instrumentation of a wind ensemble.. The second section depicts a scoring consistent with the general instrumental use in this work. The last section is an expansion, in more detail, of the plan in the above section. This last section is a brief plan of Butterley’s conception of String Quartet No. 3 and is the earliest outline of the work.
SQ3:11
405
SQ3:12 shows notated sketches in two sections, beginning from reverse edges of the page. These parts appear to be unrelated. One part appears to be thematic motives of several characters, not of this quartet, while the reversed notes are a series of tetrachords written in close score over three sets of staves.
SQ3:12
406
SQ3:13r shows a draft of one possible opening of this quartet and also a progression of tetrachords with a rhythmic pattern above: the passage is measure 86 to the conclusion of the first movement.
SQ3:13r
407
SQ3:13v shows several short musical fragments written in a single line, parts and also note heads. The second stave bears a motive commencing and concluding on the note F, related to the motives written on staves 7 and 8 of this sketch, except here they commence on G, in ‘cello motives written in SQ3:02 and used in movement 1, measure 75. The notes over staves 5 and 6 are also appear in the C passage of the first movement, measures 55-8. The last three staves comprise rhythms, written upside- down: these are rhythmic projections for the opening of the second movement.
SQ3:13v
408
SQ3:14 shows Butterley’s editorial practice for implementing accidentals. Although it is written as a question, these writings provide the basis for his general editorial guidelines.
SQ3:14
409
SQ3:15r is a plan of the second movement showing sections by letters with the corresponding tempi. Details are included for the writing of each of the sections in this movement where special planning and consideration is necessary. There are also references to “Robert Gray, Cities of the Mind and Lawrence H F A”.
SQ3:15
410
SQ3:15v shows several numerical calculations, one of which is a reference to speed and duration in the second movement.
SQ3:15v
411
SQ3:16r shows four bars of music in three parts written in close score.
SQ3:16r
412
SQ3:16v shows several different aspects of planning. Firstly there is a rhythmic pattern in 3/4, with a metronome indication. There is a possible relationship between this and the rhythms used in measures 63 to 70 in the second movement. Underneath are sketched chords. These chords are not identified as part of this composition. The next part shows two different scale patterns and lastly there is a brief motive not part of this work. Also, there are numerical calculations. This sketch (both sides) has little relevance to this quartet.
SQ3:16v
413
SQ3:17r is probably the most important sketch of this work. It shows Butterley’s plan for the entire quartet and describes in detail the movements and their constituent sections with the contents of each.
SQ3:17r
414
SQ3:17v lists the sections A, B, C, Cy and D comprising the first movement showing their placement and length numbered in measures.
SQ3:17v
415
SQ3:18 shows Butterley’s drafting music for violin I and viola in measures 21 to 43 of the first movement.
SQ3:18
416
SQ3:19 is one of the earlier sketches of this work. It shows Butterley’s conceptualisation of initial sounds, music for inspiration and a reference book.
SQ3:19
417
SQ3:20 contains two melodic sections that both occur in the third movement. The shorter sketch is of eleven notes, used in measures 13 and 14, while the other longer sketch is of measures 22 to 26. Both these fragments are played by the ‘cello.
SQ3:20
418
SQ3:21r shows several numerical calculations. There is a possible relationship between them and the duration of some sections of this piece. A likely explanantion is that the ratios are a calculation of the number of beats to the number of seconds at a particular speed.
SQ3:21r
419
SQ3:21v (in very pale pencil) shows each main section of the third movement by letter name and gives a commentary on the details to be included.
SQ3:21v
420
SQ3:22r is scanned in two parts because of the size of the paper. Staves 6 to 15 show pitch-planning for the opening passages of the second movement. The third stave indicates how the notes are to be divided between the violins I and II. On the bottom, each stave consists of melodic planning: the most easily identifiable example in this work is of the ‘cello passage which commences in the third movement.
SQ3:22r (top)
421
SQ3:22r (bottom)
422
SQ3:22v contains the words “write rhythmic scheme, then number of notes needed for each group”. Also shown are some brief rhythmic patterns in two parts.
SQ3:22v
423
SQ3:23 has been scanned in two parts. It shows the rhythmic schema to accompany the pitch organisation of the sketch SQ3:22r. Underneath is Butterley’s planning of several passages and also a melodic passage whose rhythm is similar to the passage Tempo 3 which commences at measure 63, movement 2.
SQ3:23 (top)
424
SQ3:23 (bottom)
425
SQ3:24 contains two sets of notes. The higher passage shows planning in four parts, of the second movement, in close score, commencing at measure 127, whereas, the passage on the lower part of the shetch commences in two parts and develops into four, found in the passage commencing at measure 74, movement 3.
SQ3:24
426
SQ3:25 has been scanned in two parts and shows the draft of part of the first movement of measures 45 to 85. This is described in other sketches by Butterley as the C and CY section or sometimes as 1C. His markings in this sketch indicate that Butterley intends to modify the section for use it the other movements of this work.
SQ3:25 (top)
427
SQ3:25 (bottom)
428
SQ3:26a-e is the draft copy of the second and third movements of this string quartet (these five pages have each been scanned in two parts). Note that Butterley has omitted writing the final “chordal” passage in this draft, which commences at measure 76 in the third movement of this work.
SQ3:26a (top)
429
SQ3:26a (bottom)
430
SQ3:26b (top)
431
SQ3:26b (bottom)
432
SQ3:26c (top)
433
SQ3:26c (bottom)
434
SQ3:26d (top)
435
SQ3:26d (bottom)
436
SQ3:26e (top)
437
SQ3:26e (bottom)
438 APPENDIX 3 SKETCHES OF STRING QUARTET NO. IV
SQ4:01r is the first sketch in this folder. It shows plans of a work using a ground bass.
SQ4:01r
439
SQ4:01v
440 SQ4:02r shows ideas for a work that generally describe progression from one element to its antithesis.
SQ4:02r
441 SQ4:03 is a note that shows Butterley’s consideration of string performance techniques.
SQ4:03
442 SQ4:04 shows the natural harmonics that are practical on the viola and violin.
SQ4:04
443 SQ4:05 shows the way Butterley classifies musical passages with a heading for the section “IIA” and smaller subsections. In addition, there is a note about a particular musician’s technique.
SQ4:05
444 SQ4:06r shows Butterley’s thought process as he draws together the various constituent ideas for a work.
SQ4:06r
445 SQ4:06v shows Butterley’s description of the character of an interlude passage.
SQ4:06v
446 SQ4:07 indicates the planning of material to be used in parts of the IIA section. It shows that he proposes to re-use previous passages with alterations.
SQ4:07
447 SQ4:08r shows Butterley’s planning of “mosaic” patterns of a work.
SQ4:08r
448 SQ4:09r indicates Butterley’s planning of passages within a work and gives some insights into his interpretation of “colour”.
SQ4:09r
449 SQ4:10 indicates Butterley’s planning of passages within a work and his consideration of previously used material.
SQ4:10
450 SQ4:11 shows the planning of passages, identifying a repeated passage “Z” by the use of special string techniques such as pizzicato, harmonics and fingered and bowed tremolo.
SQ4:11
451 SQ4:12 is a facsimile from the performers regarding the score with questions for Butterley. His responses are shown as ticks and in red ink.
SQ4:12
452 SQ4:13 is a note from Butterley to David Barmby about the completion of the quartet and the distribution of the score and parts.
SQ4:13
453 SQ4:14 shows details of the structure of the work’s composite sections, their durations and tempi.
SQ4:14
454 SQ4:15 is an note after completion that refines performance details.
SQ4:15
455 SQ4:16 shows Butterley’s consideration of sections planned for this work and the proposed use of left-over material in other compositions. Despite the heading “FUTURE” this sketch was written before the draft copy was completed. The final addition was included after the quartet was composed.
SQ4:16
456 SQ4:17 shows Butterley’s consideration for inclusion of planned material.
SQ4:17
457 SQ4:18 is a note about discarded material and suggests another possibility for its use.
SQ4:18
458 SQ4:19 is a note about the inclusion of material and shows Butterley’s projected plan of a section of the work.
SQ4:19
459 SQ4:20 is a short musical statement showing Butterley’s addition of detail using various writing instruments.
SQ4:20
SQ4:21 is an early idea for the quartet (unused) and a description of the opening of this work: “Tutti opening… Second beat opening out and gradually, contrary motion”.
SQ4:21
460 APPENDIX 4 SKETCHES OF BAGATELLE FOR STRING QUARTET
B:01 is dated 31.1.01 and shows early planning of the essential elements of this Bagatelle.
B:01
461 B:02 shows Butterley’s explanation of some details of the compositional process and its adaption from a trio to a quartet.
B:02
462 B:03 and B:04 are the two sketches that show the rhythmic schema, in three layers, worked out by Butterley on the 31.1.01.
B:03
463
B:04
464 B:05, a draft of the opening of this work, shows the initial concept of the work for three instruments.
B:05
465 B:06 and B:07 are notes that explain Butterley’s planned method of alteration of this work into a quartet.
B:06
466
B:07
467 B:08, B:09 and B:10 draft the rhythmic scheme of this work for four instruments. Each instrument is written showing detail of its pitch shape, however, no pitches are written here.
B:08
468
B:09
469
B:10
470 B:11r shows planning of measures near the conclusion of this work.
B:11r
471 B:11v is a brief reminder note and shows that “Bar 26 is supposed to be pizz.”..
B:11v
472