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From Manuscript to Music: Roger Smalley's Works for Solo Piano

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From Manuscript to Music: Roger Smalley's Works for Solo Piano From Manuscript to Music: Roger Smalley’s Works for Solo Piano Adam Pinto B.Mus (Hons) M.Mus This thesis is presented in partial fulfilment of the requirements for the degree of Doctor of Musical Arts of the University of Western Australia Conservatorium of Music 2019 Thesis Declaration I, Adam Pinto, certify that: This thesis has been accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text and, where relevant, in the Authorship Declaration that follows. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 01/09/2019 i ABSTRACT This thesis details the solo piano works of Roger Smalley AM (1943–2015). It provides a performer’s perpective of these works, founded upon an investigation into Smalley’s relationship with the piano. The creative component focuses on two significant compositions: Transformation for piano with live electronic modulation (1968–69, rev.1971); and the Concerto for Piano and Orchestra (1984–85). An examination of these works is given with a focus on the technical elements of fingering; coordination and use of the hands; questions of interpretation and style; the relationship between compositional process and piano technique; pianistic fluency; the distinctive properties of Smalley’s piano writing; and the consequences of working with live electronics. Context is given to this examination through selective analyses of Smalley’s last works for solo piano: 3 Studies in Black and White (2002–04); and Morceau de Concours (2008). The process of preparing a performance of Smalley’s Concerto for Piano and Orchestra is detailed. This includes the creation of an arrangement of the work for two pianos and an examination of the piano techniques and compositional process evident in the work. Reasons behind musical decisions and specific alterations made in the creation of this arrangement for two pianos are discussed and explained in the context of the orchestration, compositional process and related works by Roger Smalley. Analyses of Roger Smalley’s recordings of Transformation, Monody (1971–72), and the Concerto for Piano and Orchestra are detailed to illustrate the relationship between his pianism and detailed scores. These analyses provide comparisons between the clear and precise markings in the score and the practicalities of Smalley’s realized performance. Analyses of sketches and drafts for Transformation, Monody, the Concerto for Piano and Orchestra, 3 Studies in Black and White and Morceau de Concours are presented, with a focus on the integration of piano technique into Smalley’s compositional process. ii TABLE OF CONTENTS Chapter 1 Roger Smalley Pianist-Composer ............... 1 1.1 Introduction ..................................................................................... 1 1.1.1 Aims .............................................................................................. 2 1.1.2 Note Streams ................................................................................. 3 1.1.3 Pianist-composer ........................................................................... 4 1.2 Roger Smalley’s Music for Solo Piano ............................................ 5 1.2.1 Smalley’s Early Works for Piano ................................................... 6 1.2.2 Smalley’s Earliest Published Works ............................................... 9 1.2.3 Missa Parodia I ........................................................................... 19 1.2.4 Register, Texture and Orchestration ............................................. 23 1.2.5 Missa Parodia Conclusions ......................................................... 28 1.3 Reviews of Smalley as performer .................................................. 29 1.4 Transformation and the influence of Stockhausen ........................ 30 1.5 Monody: A Case Study .................................................................. 32 1.5.1 Sources ........................................................................................ 33 1.5.2 The BBC Recordings ................................................................... 34 1.5.3 The Manuscripts of Monody ........................................................ 36 1.5.4 Revisions to Monody ................................................................... 36 1.5.5 Structure ...................................................................................... 42 1.5.6 Technical Revisions ..................................................................... 47 1.6 Accord in Australia ........................................................................ 54 1.7 Concerto for Piano and Orchestra .................................................. 56 1.8 From Barcarolle to Chopin ............................................................ 57 1.8.1 Albumblätt: A Missing Link ......................................................... 62 iii 1.9 Smalley’s Final Works for Solo Piano .......................................... 63 1.10 Conclusions .................................................................................... 65 Chapter 2 A Complete Transformation: The Score .. 67 2.1 Background .................................................................................... 67 2.2 Initial Recorded Source ................................................................. 69 2.2.1 Other Surviving Recordings ......................................................... 69 2.2.2 Manuscripts ................................................................................. 72 2.2.3 The Performance Scores .............................................................. 73 2.2.4 Discrepancies Revealed Through My Performance ...................... 75 2.2.5 Corrections Required in a Critical Edition .................................... 80 2.2.6 Note Streams Revised Through Performance ............................... 89 2.3 Conclusions .................................................................................... 91 Chapter 3 Transformation: Smalley’s “Magic Piano” 93 3.1 Introduction and Australian Première ......................................... 93 3.2 Sources used in preparing a perfomance ...................................... 94 3.3 The Subsidiary Material................................................................ 95 3.3.1 Subsidiary I 1970 Sketch ............................................................. 96 3.3.2 Performance Instructions 1970 ..................................................... 99 3.3.3 Subsidiary Material 1968–69 ....................................................... 99 3.3.4 Performance Instructions 1968–69 ............................................. 105 3.4 Smalley’s Performances .............................................................. 107 3.4.1 Structure of the Improvised Bars ................................................ 107 3.4.2 BBC Recording 1969 ................................................................. 109 3.4.3 BBC Recording 1970 ................................................................. 112 iv 3.4.4 BBC Recording 1971 ................................................................. 115 3.4.5 Conclusions from the Recordings .............................................. 118 3.5 Smalley’s 1971 Revision Sketch .................................................. 119 3.6 Conclusions .................................................................................. 125 Chapter 4 Arranging a Masterpiece: Roger Smalley’s Concerto for Piano and Orchestra .......................................... 126 4.1 Background .................................................................................. 126 4.2 Critical Reception ........................................................................ 128 4.3 Aims and Reasons for me to create a two-piano arrangement .. 131 4.4 Producing the Arrangement........................................................ 134 4.5 Extended Techniques................................................................... 147 4.6 The Third Movement .................................................................. 150 4.7 Conclusions .................................................................................. 153 Chapter 5 Performing the Concerto ......................... 154 5.1 Background .................................................................................. 154 5.2 Genesis of the Concerto................................................................ 154 5.3 Smalley’s Recording .................................................................... 161 5.3.1 Smalley’s Live Performance ...................................................... 163 5.3.2 Schumann Albumblätt ................................................................ 164 5.4 Compositional Process ................................................................
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