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The Duality of the Composer-Performer

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The Duality of the Composer-Performer The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques. A detailed account of these strategies and how I utilised them to construct my portfolio have been relayed in the critical commentary. The supplementary dissertation, on the other hand, displays empirical research of a non-musical nature, offering personal interviews with thirteen accomplished living composers – both guitarists and non-guitarists – who have made significant contributions to the classical guitar repertoire. An introductory chapter precedes a full display of the interviews whereby each composer is introduced in turn, highlighting their relationship with, and significant contributions to the guitar. An overview of the topics that were covered in the interviews, as well as an outline of the themes that emerged from the analysis have also been supplied. A discussion of how the findings contribute to a better understanding of how to write successfully for the guitar and furthering the guitar repertoire concludes the chapter. Several of the themes coincide with my own devised approach that could help guitarist- composers avoid conventional and predictable styles of writing. This therefore forms the most important contribution that this PhD portfolio can offer: providing recommendations that combine tried and tested strategies with the collective knowledge of significant guitar composers to assist future guitarist-composers avoid the habitual pitfalls when writing for the guitar. Acknowledgements I’d like to take this opportunity to thank all the people who have made this PhD possible. To Tom Armstrong and Karen Short, thank you for making sure the administrative side of things are kept in check. I’d like to also thank all the composers who took part in my interviews project and for taking the time and effort to answer my questions. The project could not have been possible without you. Also thank you to Michal Stanikowski, Andrzej Bauer, and Sylvia Sze-hua Jen for taking the time and effort to learn, rehearse, play, and record my compositions for this portfolio project. Thank you for your friendship, companionship, ideas, and support. Portfolio Contents Abstract Acknowledgements Portfolio (80% of PhD) Critical Commentary Includes YouTube links to video recordings of all portfolio compositions Includes full list of compositions completed during PhD 2012-2015 in the appendix Music Scores (with programme notes) 1. THE GO-DAI CONCERTO ‘Takemitsu: In for guitar and orchestra (2012) Memoriam’ for guitar and piano (2013) 2. LUTOSŁAWSKI: In Memoriam for solo guitar (2012) for solo piano (2013) for guitar duo (2013) 3. SCINTILLA: After Arvo Pärt for solo piano (2013) for solo guitar (2013) for guitar duo (2014) 4. ANAMNESIS: After Tōru Takemitsu for solo piano (2013) for solo guitar (2013) for cello and guitar (2014) Dissertation (20% of PhD) Interviews Project: Thirteen composers on Writing for the Guitar Bibliography CRITICAL COMMENTARY The duality of the composer-performer by Marek Pasieczny Submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) in Music Composition Department of Music and Media, School of Arts University of Surrey July, 2016 CONTENTS INTRODUCTION .................................................................................................................................................................................... 3 DEFINING THE CHALLENGE ........................................................................................................................................................ 3 OVERCOMING THE CHALLENGE: STRATEGIES ......................................................................................................................... 7 2.1. HOMMÁGE TO NON-GUITARIST COMPOSERS .......................................................................................................... 9 2.1.1. Takemitsu ....................................................................................................................................................................... 10 2.1.2. Lutosławski ..................................................................................................................................................................... 16 2.1.3. Pärt .................................................................................................................................................................................... 21 2.1.4. Evidence of Progress .................................................................................................................................................. 24 2.2. ADAPTABLE MATERIALS .................................................................................................................................................... 25 2.2.1. Idiomatic adjustments ............................................................................................................................................... 25 2.2.2. Palimpsest ...................................................................................................................................................................... 27 2.3. EXTENDING TECHNIQUE .................................................................................................................................................. 30 2.3.1. Stretching and left hand thumb ............................................................................................................................ 30 2.3.2. ‘Jumps’ (extreme position change) ....................................................................................................................... 32 2.3.3. Extensive use of existing techniques ................................................................................................................... 35 2.4. EXTENDED TECHNIQUES .................................................................................................................................................. 36 2.4.1. Extended harmonics ................................................................................................................................................... 37 2.4.2. Re-tuning, glissando, and bending ...................................................................................................................... 38 2.4.3. Unison note-campanella .......................................................................................................................................... 39 CONCLUSION...................................................................................................................................................................................... 41 REFERENCES ........................................................................................................................................................................................ 43 Music scores ................................................................................................................................................................................... 43 APPENDIX A: YOUTUBE LINKS TO FULL VIDEO RECORDINGS ........................................................................................ 44 APPENDIX B: FULL LIST OF COMPOSITIONS COMPLETED DURING PHD 2012-2015 ........................................... 45 2 INTRODUCTION Compared to many of the classical instruments available today, the repertoire for the six-string classical guitar is minimal and dates back no earlier than the 19th century. This is due to the fact that the modern guitar itself was not available until the 19th century, which undoubtedly forms a major reason for why the guitar repertoire has been so limited1. The purpose of this composition portfolio is to contribute towards expanding that repertoire. For practical reason, this project will only be focusing on
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