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THE MUSIC OF JEFFREY LEWIS VOLUME I of II A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 DAVID KENNETH JONES SCHOOL OF ARTS, HISTORIES AND CULTURES THE MUSIC OF JEFFREY LEWIS CONTENTS VOLUME I Title page 1 List of contents and word count 2 Musical examples and tables 4 Abstract 11 Declaration 12 Copyright statement 13 Acknowledgements 14 The Author 15 1. Introduction 16 1.1 Aims and objectives 19 1.2 An overview 21 1.3 Research materials 28 2. Jeffrey Lewis – A Biographical Sketch 34 2.1 Early years 34 2.2 Cardiff 41 2.3 Darmstadt, Kraków and Paris 55 2.4 Leeds 69 2.5 Bangor 82 2.6 Illness and Retirement 109 2.7 In conclusion 135 3. Memoria 144 3.1 Time-Passage : paving the way 146 3.2 Elements of disguise: timbre, harmony, melody and texture in Memoria 156 3.3 A critique of Henshall’s article 166 3.4 Memoria compared to Naaotwá Lalá 170 3.5 Lewis and Welsh music 176 3.6 Terms and titles 181 3.7 Cultural resonances and the passage of time 184 3.8 Analysis 186 3.9 Conclusions 205 4. Epitaph for Abelard and Heloise 207 4.1 From Memoria to Epitaph for Abelard and Heloise 216 4.2 Analysis 219 4.3 Wave one 224 4.4 Wave two 230 4.5 Wave three 231 4.6 Wave four 234 4.7 Crisis and resolution 238 2 4.8 Anticipations and influences 249 4.9 Postscript 252 VOLUME II Title page 254 List of contents 255 5. Tableau 256 5.1 The building blocks 262 5.2 Fantasy and freedom 268 5.3 ‘Interlude’ 274 5.4 Return 278 5.5 Suspension and distillation 282 5.6 Reflections and Conclusions 285 6. Carmen Paschale 290 6.1 Analysis 299 6.2 First wave 301 6.3 Central waves 311 6.4 Final wave and silence 314 6.5 The threshold of the light 316 6.6 Texts 321 7. Piano Trio and Fantasy 329 7.1 Chaconne 330 7.2 Piano Trio and Fantasy – an introduction 335 7.3 First movements… 336 7.4 James MacMillan and melodic decoration 345 7.5 Oliver Knussen and melodic growth 353 7.6 …Second movements… 362 7.7 …Third movements 384 7.8 Some conclusions and reflections 403 8. Epilogue 405 8.1 Jeffrey Lewis – recognised 405 8.2 Jeffrey Lewis – placed 407 8.3 In conclusion 425 Appendix 1: Jeffrey Lewis – A Catalogue of Works: Methodology 428 Appendix 2: Jeffrey Lewis – A Catalogue of Works 431 Bibliography 473 Word count – 77,156 plus 12,500 (Appendices) 3 MUSICAL EXAMPLES All examples are of music by Jeffrey Lewis unless otherwise stated. 2. Jeffrey Lewis – A Biographical Sketch Ex 1 Two Cadenzas, No 2 , bars 36 – 39 51 Ex 2 Schäffer: Studium poliekspresyjne , extract from page 1, line 3 60 Ex 3a Schäffer: Kompozycja swobodna , first phrase 60 Ex 3b Duologue , bar 60 (opening) 60 Ex 4 Extract from Schäffer’s teaching notes for Lewis’s Chamber Music (dated July 11 th [1968]) 62 Ex 5a Chamber Music , extract from pages 7 – 8 of manuscript, showing the violin parts only 65 Ex 5b Mobile I , bars 1 – 6 66 Ex 5c Chant VII , bars 1 – 13 67 Ex 6 Mutations II for organ, opening 74 Ex 7a Mutations II for organ, continued (registrations as in Ex 6) 75 Ex 7b Lutosławski: Partita for violin and piano, movement 5, bars 107 – 114 76 Ex 8 Mobile II , bars 1 – 10 77 Ex 9a Koechlin: Les bandar-log , bars 1 – 5 (string parts only) 88 Ex 9b Aurora , bars 150 – 151 (string parts only) 89 Ex 9c Memoria , bars 1 – 5 (string parts only) 89 Ex 9d Piano Concerto, bars 1 - 6 90 Ex 10 Wind Quintet, bars 1 – 4 97 Ex 11a Silentia Noctis , bars 120 – 123 103 Ex 11b Silentia Noctis , bars 141 – 145 104 Ex 12 Threnody , page 6, last 7 bars 105 Ex 13 Musica Aeterna , bars 1 – 26 117 Ex 14a Untitled Piano Piece [J 101] (2008), bars 1 - 13 126 Ex 14b Untitled Piano Piece [J 101] (2008), bars 344 - 355 127 4 Ex 15a Symmetrical chords, including a wedge-shaped progression 130 Ex 15b 11-note symmetrical chords, symmetry within as well as between the hands 130 Ex 15c 9-note symmetrical chords and sketch of Piano “Chord” Piece 131 3. Memoria Ex 1 Time-Passage , bars 1 – 5 151 Ex 2a Time-Passage , bars 22 – 24 151 Ex 2b Memoria , bars 159 – 60 152 Ex 3a Memoria , bars 165 – 166 153 Ex 3b Time-Passage , bars 135 – 137 153 Ex 4a Time-Passage , bars 116 – 121 154 Ex 4b Memoria , bar 17 155 Ex 5 Memoria , bars 9 – 17 161 Ex 6a Vaughan Williams: Norfolk Rhapsody No 1 , bars 11 – 12 169 Ex 6b Dutilleux: Métaboles , bar 14 170 Ex 6c Memoria , bars 134 – 135 170 Ex 6d Memoria , bars 64 – 66 170 Ex 7a Swayne: Naaotwá Lalá , bar 1 173 Ex 7b Swayne: Naaotwá Lalá , page 4 173 Ex 7c Swayne: Naaotwá Lalá , 4 bars before Fig 4, pages 5 – 6 174 Ex 8a Swayne: Naaotwá Lalá , pages 7 – 8 174 Ex 8b Memoria , bars 45 – 48 175 Ex 9 Mathias: Requiescat , bars 1 – 5 178 Ex 10 Memoria , bass line 187 Ex 11 Memoria , bass line with modes indicated 191 Ex 12 Memoria , bars 30 – 44, string parts only 195 Ex 13 Memoria , bars 17 – 19 196 5 4. Epitaph for Abelard and Heloise Ex 1 Stratos , bar 33, electric guitar part only 217 Ex 2 Epitaph for Abelard and Heloise , modes used in bars 7 – 103 223 Ex 3a the names of Abelard and Heloise in cryptogram form 226 Ex 3b Epitaph for Abelard and Heloise , cryptogram at bars 17 – 18 226 Ex 3c Epitaph for Abelard and Heloise , cryptogram at bar 32 226 Ex 3d Epitaph for Abelard and Heloise , cryptogram at bars 41 – 42 226 Ex 3e Epitaph for Abelard and Heloise , cryptogram at bars 46 – 47 227 Ex 3f notes from Ex 3e, and at bar 123, showing their place within the cryptogram 227 Ex 3g Epitaph for Abelard and Heloise , cryptogram at bars 74 – 5 (for comparison with Ex 3c) 227 Ex 4 Epitaph for Abelard and Heloise , presentations of ascending phrases 228 Ex 5 Epitaph for Abelard and Heloise , bars 37 – 38 234 Ex 6a Epitaph for Abelard and Heloise , woodwind figures, bars 77 – 9 236 Ex 6b Stratos , clarinet figures, bars 20 and 40 236 Ex 7 Epitaph for Abelard and Heloise , harmonic skeleton of bars 104 – 122 241 Ex 8 Epitaph for Abelard and Heloise , harmonic framework of bars 124 – 129 242 Ex 9 Epitaph for Abelard and Heloise , harmonic framework of bars 129 – 136 243 Ex 10 Epitaph for Abelard and Heloise , pitch sets used in bars 137 – 148 244 Ex 11 Epitaph for Abelard and Heloise , bars 158 – 162, chords and modes 247 6 5. Tableau Ex 1 Tableau section I, bars 1 – 18, showing gestures 264 Ex 2 Tableau section I, harmonic skeleton of bars 19 – 40 270 Ex 3 Tableau section I, bars 41 – 80, harmonic skeleton and textural changes 273 Ex 4 Modes in Tableau section II and comparison with Epitaph for Abelard and Heloise 276 Ex 5 Tableau section III, bars 9 – 36, chord progression, and a comparison with chords in section III, bars 2 – 8 and section I, bars 5 and 10 281 Ex 6a Tableau section IV, bars 1 – 3 283 Ex 6b Tableau section IV, showing the order of pitch occurrence frequency in bars 1 – 20 283 Ex 6c Tableau section IV, bars 21 – 23, which also shows the four most frequently occurring chords of bars 21 – 35 283 6. Carmen Paschale Ex 1 Gweledigaeth , bars 12 – 17 295 Ex 2 Carmen Paschale , bars 1 – 11 303 Ex 3a Carmen Paschale , bars 5 – 6 (tenor line) 307 Ex 3b Debussy: La mer , movement 1 (‘De l’aube à midi sur la mer’), bars 12 – 17 307 Ex 4 Carmen Paschale , harmonic map 309 Ex 5 Limina Lucis , bars 269 – 281 (short score) 318 Ex 6a Recordatio , bars 175 – 178 324 Ex 6b Pro Pace , bars 219 – 232 325 Ex 7 Epitaphium – Children of the Sun , bars 169 – 170 327 7. Piano Trio and Fantasy Ex 1 Chaconne , bars 1 – 8, chord sequence played by string quartet 332 7 Ex 2 Chords from Berg’s Wozzeck and Vier Stücke Op 5 for comparison with Chaconne , Chord 2 334 Ex 3 Chaconne , bars 12 – 19 (first variation); bars 29 – 42 (second variation) 334 Ex 4 Piano Trio, movement 1, bars 1 – 6 338 Ex 5 Fantasy , movement 1, bars 1 – 7 339 Ex 6 Piano Trio, movement 1, bars 7 – 20, melodic line (predominantly the violin line) 341 Ex 7 Fantasy , movement 1, bars 8 – 11, 14 – 19, 22 – 25, 27 – 32, 33 – 41, melodic line 342 Ex 8a MacMillan: A Different World , bars 4 – 12 349 Ex 8b Piano Trio, movement 1, bars 53 – 55 350 Ex 8c MacMillan: A Different World , bars 47 – 49 351 Ex 8d MacMillan: A Different World , bars 71 – 79 352 Ex 9 Knussen: Sonya’s Lullaby , bar 1 355 Ex 10 Fantasy , movement 1, showing six variants of the chord sequence 357 Ex 11 Knussen: Sonya’s Lullaby , bars 2 – 5 358 Ex 12a Knussen: Sonya’s Lullaby , bars 7 – 11 359 Ex 12b Knussen: Sonya’s Lullaby , bar 13 (right hand only) 359 Ex 12c Knussen: Sonya’s Lullaby , bars 16 – 20 (right hand only) 360 Ex 13a Cantus , movement I, bars 1 – 7 364 Ex 13b Silentia Noctis , bars 15 – 18 365 Ex 13c Teneritas , bars 14 – 21 365 Ex 13d Sonante , bars 50 – 55 366 Ex 14 Dallapiccola: Rencesvals , bars 46 – 54 368 Ex 15 Boucourechliev: Nocturnes , I, bars 21 – 28 369 Ex 16 Berio: O King , bars 1 – 8 370 Ex 17a Piano Trio, movement II, bars 1 – 7 (Lewis’s bar numbering) 373 Ex 17b Piano Trio, movement II, bars 65 – 69 374 Ex 17c Piano Trio, movement II, bars 116 – 117 374 8 Ex 17d Scena , bars 135 – 140 375 Ex 18a Fantasy , movement II, bars 44 – 45 377 Ex 18b Piano Trio, movement II, bars 52 – 53 377 Ex 18c Piano Trio, movement II, harmonic skeleton of bars 52 – 53 378 Ex 19 Louis Andriessen: De Staat , bars 106 – 9 378 Ex 20a Fantasy , movement II, bars 59 – 64 380 Ex 20b Louis Andriessen: De Staat , bars 725 – 730 381 Ex 21 Fantasy , movement II, bars 1 – 11 382 Ex 22a Fantasy , movement III, bar 1 (top stave only) 388 Ex 22b Debussy: ‘The Little Shepherd’, bars 3 – 4 388 Ex 22c Fantasy , movement III, bar 16 (top stave only) 389 Ex 22d Fantasy , movement III, final phrase, page 18 389 Ex 23a Fantasy , movement III, right hand phrases from page 15 390 Ex 23b Debussy: ‘The Little Shepherd’, bars 5 – 6 390 Ex 23c Sonante , clarinet phrases from bars 5, 7 and 14 391 Ex 23d Dreams, Dances and Lullabies , bars 4 – 7 392 Ex 23e Threnody , page 3, top system 392 Ex 24a Fantasy , movement III, right hand phrases from pages 17 and 18 393 Ex 24b Debussy: ‘The Little Shepherd’, bars 19 – 20 393 Ex 25 Fantasy , movement III, page 14, start of unbarred section 395 Ex 26 Piano Trio, movement III, bars 27 – 31 399 Ex 27a Night Fantasy , bars 292 – 303 401 Ex 27b Cantus , movement II, bars 176 – 183 402 9 INDEX OF TABLES 3.
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    The Art of the Modern Trumpet •1 ENESCU•HINDEMITH•HONEGGER•LIGETI MARTINU° •MAXWELL DAVIES•WILLIAMS Huw Morgan, Trumpet Patricia Ulrich, Piano The Art of the Modern Trumpet • 1 World War Two, Hindemith’s remarkable creativity continued Born in Wales, Christopher Williams graduated from George Enescu • Paul Hindemith • Arthur Honegger • György Ligeti apace: 1939 was a particularly fruitful year, which included Cardiff University and now leads a varied professional life as the birth of the Violin Concerto and sonatas for viola, clarinet, a pianist, composer, conductor, teacher and arranger. Bohuslav Martinů • Peter Maxwell Davies • Christopher J.G. Williams and horn (part of his series of substantial works to challenge Williams is currently Assistant Director of the BBC National The repertoire of The Art of the Modern Trumpet spans a where he composed four morceaux de concours serious amateur performers of virtually every solo Chorus of Wales and a staff accompanist at the Royal Welsh period which can easily be described as the instrument’s (‘competition pieces’) for the internal examinations of the instrument). Arguably, the Sonata for Trumpet and Piano is College of Music and Drama, as well as being in great ‘second golden age’. Almost 150 years after the pinnacle of Paris Conservatoire. Among these works, Légende, his arguably the finest in the cycle – skilfully combining demand as a chamber musician. The kaleidoscopic the virtuoso clarino performer, whose agility in the upper single-movement concert piece written in 1906 and Hindemith’s
  • Composer Brochure

    Composer Brochure

    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.