Extending the Baroque Violin in the 21St Century: an Exploration of New Approaches and Compositions For

Extending the Baroque Violin in the 21st Century: An Exploration of New Approaches and Compositions for Baroque Violin Volume 1—Exegesis Ms Elizabeth Jane Welsh BMus Queensland Conservatorium Arts, Education and Law Griffith University Submitted in partial fulfilment of the requirements of the degree of Doctor of Musical Arts November 2018 Abstract Since around the middle of the 20th century, the baroque violin has been gradually rediscovered for use in early music performance. This research project is an investigation into the processes of developing and presenting new music for the baroque violin, drawing on my experience both as an early music baroque violinist and as a contemporary music modern violinist. This research project aims to uncover ways in which the baroque violin may be used to express 21st-century music. This is presented in three volumes: Volume 1, this Exegesis, outlines the processes and outcomes of the project; Volume 2, an online Catalogue, details techniques and approaches to the baroque violin, for composers and interpreters, that may be used in 21st-century music; and Volume 3, recordings of three Recitals, each programmed to reflect on the significant stages of the research project. The development of five new works for the baroque violin, written by Australian composers Jacob Abela, Biddy Connor, Vincent Giles, Paddy Mann, and Samuel Smith, is considered. These works are used both as a means for developing new techniques and approaches to the baroque violin, and as examples of the practical application of the baroque violin in this context. Three additional works, by Alexander Garsden, Natasha Anderson, and Liza Lim, are also discussed. Through artistic research methodologies, drawing on interactions with composers and other performers, historical use of the baroque violin, and contemporary use of the modern violin, the approaches and techniques discussed in the Catalogue are developed and defined. The Recitals are presented to demonstrate the stages of the research project and the contemporary uses of the baroque violin that have been discovered and presented in the Catalogue. Statement of Originality The work contained within this thesis is my own. This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Signed ___________________ Elizabeth Welsh, November 2018 ii Contents Prologue ......................................................................................................................... 1 Chapter 1—The Project ................................................................................................. 5 Rationale ................................................................................................................... 6 How to Navigate through this Research .............................................................. 11 Chapter 2—Methods .................................................................................................... 15 Research Design ..................................................................................................... 18 Artistic research using action research ................................................................ 18 Reflective Cycle ...................................................................................................... 21 Interviews ................................................................................................................ 25 Timeline .................................................................................................................. 26 Chapter 3—Context ..................................................................................................... 28 Recitals .................................................................................................................... 29 Chapter 3.1—The Baroque Violin ............................................................................... 32 My Baroque Violin and Bows ............................................................................... 39 Historically Informed Performance ..................................................................... 41 Recital 1—A Few Necessary Reminders, Early Music for Baroque Violin ....... 46 Chapter 3.2—The Modern Violin ................................................................................ 50 Recital 2—Yet We Must Go On, New Music for Modern Violin ........................ 51 Chapter 4—On the Catalogue ...................................................................................... 54 Composers’ Impressions of the Catalogue .......................................................... 67 Chapter 5—New Works for Baroque Violin ............................................................... 69 21st-Century Composition for the Baroque Violin ............................................. 70 New Works Generated .......................................................................................... 72 silver as catalyst in organic reactions for baroque violin with classical bow, Vincent Giles (2016). .....................................................................................................................................72 Curious Animals for baroque violin and nylon-string guitar, Paddy Mann (2016). ..75 iii archive for retuned baroque violin, Samuel Smith (2017). ................................................77 The Glass Violin for baroque violin, voice, tuned wine glasses and GliderVerb software, Biddy Connor (2018). ..............................................................................................81 In Consequence for baroque violin, ondes Martenot and MIDI keyboard, Jacob Abela (2018). ................................................................................................................................................85 Additional Works Considered .............................................................................. 87 Law II for baroque violin and electronics, Alexander Garsden (2013). .........................87 Philtre for solo retuned violin or Hardanger fiddle, Liza Lim (1997). ...........................89 The Target Has Disappeared for baroque violin & voice (1 player) and digital stereo file, Natasha Anderson (2018)..................................................................................................91 Collaboration with Halla Steinunn Stefánsdóttir ............................................... 92 Recital 3—Everything Old is New Again, new music for baroque violin ........... 93 Reflections on the Process and Outcomes of Generating New Works for Baroque Violin ....................................................................................................... 95 Collaboration .......................................................................................................... 95 Thoughts on Baroque Violin as a Vehicle for 21st-Century Compositional Expression ............................................................................................................... 98 Chapter 6—Conclusions ............................................................................................ 101 Bibliography .............................................................................................................. 104 Appendix…………………………………………………………………………....121 iv List of figures Figure 1 – artistic research method with elements of action research cycles……......20 Figure 2 – chronological representation of research events…………..…………....….27 Figure 3 – timeline of the evolution of the violin……………………………..........…….35 Figure 4 – screen shot of drop-down menus in the Catalogue...……...…….………….55 Figure 5 – screen shot of Instrument entry in the Catalogue…………....……………...56 Figure 6 – screen shot of Amplification entry in the Catalogue…...………………..….58 Figure 7 – screen shot of description section in Sul ponticello entry in the Catalogue………………………………………………………………………..….....….60 Figure 8 – screen shot of discussion of Sul ponticello on the baroque violin in the Catalogue………………………………………………………………………………....61 Figure 9 – screen shot of suggested notation section in Sul ponticello entry in the Catalogue……………………………………………………………………………...….62 Figure 10 – screen shot of suggested notation section in Tupfer entry in the Catalogue..……………………………………………………………………...…..…….64 Figure 11 – excerpt from silver as catalyst in organic reactions (Giles, 2016, bars 73– 74)..........................................................................................................................73 Figure 12 – excerpt from silver as catalyst in organic reactions (Giles, 2016, bars 30– 34)..........................................................................................................................73 Figure 13 – excerpt from silver as catalyst in organic reactions (Giles, 2016, bars 112–114) ................... ...... ....................................................................................74 Figure 14 – photograph of foam preparation used in Curious Animals……….……...76 Figure 15 – excerpt from Curious Animals (Mann, 2016, bar 99)………........……….77 Figure 16 – excerpt from archive (Smith, 2017a, bar 7)…………….……………….….80 Figure 17 – excerpt from archive (Smith, 2017a, bar 117)……………………...……...81 Figure 18 – excerpt from The Glass Violin (Connor, 2018, bars 164–169)………..…82 v Figure 19 – excerpt from The

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