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A Discovery of Origins and Motivations Thesis CALIFORNIA STATE UNIVERSITY, NORTHRIDGE A Discovery of Origins and Motivations A Thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By David Bowman December 2018 Copyright by David Bowman 2018 !ii The thesis of David Bowman is approved: _________________________________________ ___________________ Dr. John Roscigno Date _________________________________________ ___________________ Dr. Lorenz Gamma Date _________________________________________ ___________________ Prof. Diane Roscetti, Chair Date California State University, Northridge !iii Table of Contents Copyright ii Signature Page iii Abstract v Section 1: Elliott Carter - Figment III for Contrabass 1 Section 2: Gareth Wood - Quintet for Five Double Basses 5 Section 3: Krzysztof Penderecki - "Duo Concertante pour violino e contrabasso" 7 Section 4: George Onslow - String Quintet No. 15, Op. 38 “The Bullet” 10 Section 5: Johann Sebastian Bach - Cello Suite No. 2 in D Minor, BWV 1008 15 Conclusion 23 Bibliography 26 iv! Abstract Discovery of Origins and Motivations By David Bowman Master of Music in Music, Performance For any given composition, there is typically a purpose, a specific motivation, or a dedication with which the piece was written. It is the goal of this study to investigate the background behind select compositions performed on my graduate recital, in hopes of making new connections to both notable and lesser-known composers. With five different composers from all parts of the globe and a time frame spanning from 1720 to as recently as 2013, there is a large amount of research covering the various contextual motivations of these composers throughout history. Through the use of manuscripts, journals, dissertations, theses, interviews, and composers' personal websites, there are a large number of avenues through which to explore each composer's possible inspirations that !v lie behind their works. The motivations behind specific works can be much more clearly deduced for a number of compositions, whether through primary source material or other clear historical context. While the works of Carter, Wood, Penderecki, and Onslow have clear evidence to support specific intentions, the examination of the widely varying theories that surround Bach's Six Cello Suites raises the question of whether a composer's motivations can ever be conclusively deciphered; whether underlying motivations can or cannot be truly discovered, these composers all succeeded in innovating the repertoire of not only bass instruments, but instrumental music as a whole. vi! Section 1: Elliott Carter - Figment III Elliott Carter’s music is intrinsically complex, and Figment III is no exception. Though the piece features only one instrument, the range, technical virtuosity, and specificity demonstrated within the piece make it truly unique. Figment III certainly pushes the limits as to the capabilities of the double bass. With chordal and octave passages, huge interval leaps, and incredibly nuanced rhythmic structures, the piece is truly crafted to explore almost all boundaries of the instrument. As Carter himself states, The contrabass has always interested me for its special tone color and range. Having written solos for it in several pieces, I decided to write this for the instrument alone.1 Carter's desire to explore the various soundscapes stems from a multitude of influences. Carter’s compositional styles and techniques were highly impacted by his peers and other composers he admired. Many composers whom he highly respected - such as Ives, Stravinsky, Schoenberg, and Bartók - played a clear role in the development of his compositional style. Ives, whom Carter met in high school and wrote his Figment II as an homage to, played a particularly strong influence on many elements of his work.2 From Ives he took the fascination with the experience of simultaneous hearing and the intersection of aural memory and experience as well as the practice of 1 Elliot Carter, “Figment III,” Elliott Carter Studies Online., Accessed March 30, 2018, https:// www.elliottcarter.com/compositions/figment-iii/. 2 Leon Botstein, “Elliott Carter: An Appreciation,” The Musical Quarterly 91, no. 3/4 (2008): 154, Accessed April 4, 2018, http://www.jstor.org/stable/205343530. !1 combining discrete contrasting but continuous elements, not mere fragments, and weaving them into a single fabric within the frame of a composition.3 Ives seemed to have a particular impact on Carter’s life and compositions, enough so to homage his original work, Figment II, in Ives honor. Although Carter incorporated many musical elements that had been set forth by his contemporaries (whether simply through admiration or desire to further explore certain experimental ideas), his compositions are inherently unique. As Botstein asserts, In the end, however, Carter invented himself without propagating a school, a system, or training a group of imitators. He is a meticulous builder, an engineering experimentalist with an uncanny sense of practical utility. 4 Carter absolutely pushed the envelope of what was aurally acceptable; and his music truly is considered a language of his own. This furthers the statement above, in that most of Carter’s works immediately give the impression of experimentalism in every shape, form, or fashion. Carter's hyper-detailed and nuanced style can make the performance of his works quite overwhelming to the novice or even advanced musician. The musicians Carter admired and respected most also play a crucial role in the construction of the music within his collection of figments. Due to the inherent complexity of Carter’s music, the select few musicians to whom his works were written 3 Ibid., 153. 4 Ibid., 154. !2 not only had advanced virtuosic abilities, but a clearly demonstrated ability in extended technique on their respective instruments. Beyond simply adhering to the task of performing the piece “correctly” from a technical standpoint, the performer must attempt to convey a deeper message and purpose behind the music. Botstein posits that such complex music creates a distinctive experience in which the listener must approach with an open mind, stating The task of the listener is not to reject what seems at first encounter irritatingly "unintelligible," but rather to stick with the new as if it were a new language, and learn its order and logic and then derive pleasure from it. If emotion and sentiment are communicated by music, they are only accessible after "one understands how the music works"; it is then that one can "perceive the emotion.” 5 Donald Palma, the double bassist for which Figment III is composed, is both an accomplished soloist and longtime musical collaborator of Carter’s. He is credited to multiple conducted recordings of various works composed by Carter. Palma’s prior experience as both a performer and conductor of Carter’s work would have certainly given him a greater understanding of how to best approach the intricacies within such a complex solo work. Indeed, Carter was true to himself in his music. Even when drawing upon his many influences, he managed to configure many incredibly unique works that ultimately made 5 Ibid., 155. !3 him the towering 20th century composer that he was. He was a very fortunate composer in that he had a wide array of highly skilled musicians at his disposal who were able to comprehend, perform, and emote his music. No matter the motivations behind any given work of Carter's, his attention to detail motivates both the performer and audience to find a meaningful interpretation for themselves. Carter’s exploration into the double bass in Figment III, encapsulates a versatile, conceptually challenging, and physically straining experience by the performer. Each phrase comes in figments and small bits that ultimately coalesce into a much larger picture and an arc that requires much subtlety and attention to detail. The motivation is still clear that Carter fondly thought of the double bass for its rich color and special tone. !4 Section 2: Gareth Wood - Quintet for Five Double Basses Although Gareth Wood is not considered a prominent composer, his music is becoming more widely recognized amoung those interested in modern classical music. For a composer living in the modern era, I was surprised that his own personal website did not provide information from which to draw upon for source material. Born 1950 in Cilfynydd, Wales, Gareth Wood went on to study double bass and composition at the Royal Academy of Music. He later joined the Royal Philharmonic in 1972. He became chairman of the organization in 1991, a position he held for three years. In addition to his performance career, Gareth has commissioned and/or composed over fifty pieces of music over his life, including two double bass concertos, two double bass sonatas, and a multitude of works for double bass ensemble, as well as over a dozen works for wind and brass chamber ensembles. Gareth Wood frequently composes music for his students. There is a short dedication to a young bassist named Laurence Ungless on the front page of the score of the quintet. Wood’s composition Light, a double bass dectet, featured Ungless as one of the ten young bassists on the US premiere with the Los Angeles Philharmonic in 2011.6 Ungless is a performing double bassist in the UK who performs regularly with local orchestras, as well as performing in Europe with various chamber orchestras. Although there lacks 6 “Quintet (U.S. Premiere),” Los Angeles Philharmonic, http://stg.laphil.com/philpedia/ music/quintet-us-premiere-gareth-wood#page !5 conclusive evidence as to Wood’s motivations and the depth of his connection to Ungless, the intricacy and virtuosic technical passages throughout the piece would suggest that Wood had a clear amount of trust and understanding of Ungless' capabilities and musicianship to garner a dedication. The Quintet's principal part carries the highest pitch in most of the piece and requires a great deal of understanding of thumb position.
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