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UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 1 of 1 The Harpsichord in Twentieth-Century Britain by Christopher David Lewis Thesis for the degree of Doctor of Philosophy September 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy THE HARPSICHORD IN TWENTIETH-CENTURY BRITAIN by CHRISTOPHER DAVID LEWIS This dissertation provides an overview of the history of the harpsichord in twentieth- century Britain. It takes as its starting point the history of the revival harpsichord in the early part of the century, how the instrument affected both performance of historic music and the composition of modern music and the factors that contributed to its decline. Information regarding British composers, performers, and individual works has been gathered together in a database. Analysis of this database allows the consideration of how the characteristics of the revival harpsichord shaped the use of the instrument throughout the century. More detailed case studies of the harpsichord works of three composers writing at different points in the century: Lennox Berkeley, Stephen Dodgson, and Michael Nyman are then plotted against this narrative. Conclusions will be drawn from analysis of the case studies and will consider how the harpsichord has moved away from its nostalgic associations, and how has it not. Table of Contents Table of Contents .......................................................................................................... i List of Tables ................................................................................................................. v List of Figures .............................................................................................................. vii List of Musical Examples ...............................................................................................ix DECLARATION OF AUTHORSHIP ................................................................................... xv Acknowledgements ................................................................................................... xvii Chapter 1: The Revival of the Harpsichord ........................................................... 1 1.1 Preface ..................................................................................................................... 1 1.2 The Decline of the Harpsichord ............................................................................... 4 1.3 Revival Instruments and Modern Performers ......................................................... 5 1.4 Changing Attitudes ................................................................................................. 20 1.5 Modern British Builders ......................................................................................... 23 Chapter 2: Modern British Harpsichord Music .................................................... 29 2.1 The Database ......................................................................................................... 29 2.2 The Performers ...................................................................................................... 31 2.3 The Composers ...................................................................................................... 45 Chapter 3: Harpsichord Music of Lennox Berkeley ............................................. 57 3.1 Berkeley and the Harpsichord ............................................................................... 57 3.2 Berkeley Early Works ............................................................................................. 62 3.3 The Paris Years ....................................................................................................... 67 3.3.1 Suite For The Harpsichord (1930) ............................................................ 73 i 3.4 Later Works ........................................................................................................... 83 Chapter 4: Harpsichord Music of Stephen Dodgson ............................................ 93 4.1 Dodgson and the Harpsichord ............................................................................... 93 4.2 Six Inventions Set 1 (1955) .................................................................................. 100 4.3 Six Inventions Set 2 (1961) .................................................................................. 107 4.4 Six Inventions Set 3 (1970) .................................................................................. 110 4.5 Six Inventions Set 4 (1985) .................................................................................. 116 4.6 Six Inventions Set 5 (1993) .................................................................................. 122 Chapter 5: Film and Harpsichord Music of Michael Nyman ............................... 129 5.1 Introduction ......................................................................................................... 129 5.2 Harpsichord in British Films ................................................................................. 130 5.2.1 Historic Usage/Character Matching ...................................................... 130 5.2.2 Comic Usage .......................................................................................... 133 5.2.3 Gothic Usage ......................................................................................... 138 5.3 Michael Nyman and Peter Greenaway Films ...................................................... 140 5.4 Concerto for Harpsichord and Strings ................................................................. 151 Conclusions ............................................................................................................... 165 Appendices................................................................................................................ 173 Appendix A British Harpsichord Database .......................................................... 175 Appendix B Lennox Berkeley Publication ............................................................ 281 Appendix C British Music Harpsichord Liner Notes ............................................. 299 Bibliography .............................................................................................................. 305 Books and Journals........................................................................................................ 305 ii Scores ............................................................................................................................ 308 Websites ........................................................................................................................ 309 Discography ................................................................................................................... 310 Videography .................................................................................................................. 311 iii List of Tables Table 1.1 Table of Notable Twentieth-Century British Harpsichord Makers. ................. 27 Table 4.1 Table of Complete Harpsichord Works by Stephen Dodgson. ........................ 98 Table 5.1 Table Listing the Structure of Harpsichord Concerto by Michael Nyman. .... 156 v List of Figures Figure 1.1 Goble & Son Single Manual Harpsichord in the Boys’ Room at Mottisfont Abbey, Hampshire © Christopher D. Lewis. .................................................................. 4 Figure 1.2 1930s Grand Modèle Pleyel Harpsichord © Clars Auction House................... 10 Figure 5.1 Neupert ‘Bach’ Harpsichord © J C Neupert. .................................................. 162 vii List of Musical Examples Example 1.1 Francis Poulenc, ‘Concert Champêtre’ (1927-28), bars 23-27 © Editions Salabert. ......................................................................................................................... 14 Example 2.1 Anonymous (edited Carl and Arnold Dolmetsch), ‘Greensleeves to a Ground: Twelve Divisions on the Tune Greensleeves’ (1939), bars 1-11 © Schott Music. ......................................................................................................................... 33 Example 2.2 Frederick Delius, ‘Dance for Harpsichord’ (1919), bars 1-5 © Universal Edition. ......................................................................................................................... 36 Example 2.3 Elizabeth Maconchy, ‘Three Bagatelles’ (1975), Section A © Oxford University Press. ...............................................................................................................