Contents’ Part’1epubs.surrey.ac.uk/807043/2/2. Contents .pdfBrian’Ferneyhough ’ 55! 4.3!...

v

Contents

Part 1

Introduction

1

Chapter One – Introduction to New Complexity 3

1.1 Research questions 3

1.2 Preliminary discussion of research questions 4

1.3 Research boundaries. 5

1.4 Historical context 7

1.5 Complexity, new complexity, performability and virtuosity 7

1.6 Notation and the score 9

1.7 Thesis outline 13

Notes 16

Chapter Two – Facets of Complexity 17

2.1 Introduction 17

2.2 Defining complexity and new complexity 17

2.3 The new complexity composers and complexity 19

2.4 Aspects of new complexity 21

2.5 Conclusion 28

Notes 29

Chapter Three – Complexity after Toop’s facets 31

3.1 Introduction 31

3.2 The Complexity? booklet 32

3.3 The contributions by other composers in the Complexity? booklet

35

3.4 The Perspectives of New Music volumes 36

3.5 Views of the other composers 40

3.6 James Dillon -‐ his thoughts in 2010 44

3.7 Discussion and conclusion 46

Notes 49

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Chapter Four – Learning strategies and performance practice in

the new complexity repertoire

51

4.1 Introduction 51

4.2 Brian Ferneyhough 55

4.3 Magnus Andersson 58

4.4 Performers’ responses in complexity? 60

4.5 Rhythm – introduction to the problems 62

4.6 Steve Schick – an introduction 63

4.7 Schick’s Method 1 64



4.10 Schick’s later thoughts 71

4.11 Irvine Arditti 73

4.12 Christopher Redgate 74

4.13 Barrie Webb 76

4.14 Mieko Kanno 80

4.15 Philip Thomas 83

4.16 Geoffrey Morris 85

4.17 Mats Scheidegger 85

4.18 Discussion and conclusions 85

4.19 The guitar 88

Notes 90

Chapter Five – Attempting objectivity 94

5.1 Introduction – Roger Marsh 94

5.2 Measurement; methods and criteria –Ferneyhough, Kurze Schatten II

97

5.3 Graphical representation of results 106

5.4 John Williams’s recording of Bourrée 1 from Cello Suite BWV 1009 (J.S.Bach)

108

5.5 Analysis of Stockhausen -‐ Klavierstücke 1 113

5.6 Irvine Arditti’s performance of Ferneyhough’s INTERMEDIO alla ciaccona – a reconsideration of Marsh’s analysis

116

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5.7 Bone Alphabet – Schick and Tomlinson 120

5.8 Ferneyhough, Bone Alphabet, bars 20-‐22. Schick’s performances

125

5.9 Dillon’s Shrouded Mirrors, Grahame Klippel’s performance 130

5.10 Interpretation of the analyses -‐ comparisons and performance factors

138

5.11 Conclusions 146

Notes 149

Part 2

Chapter Six – The Guitar and New Complexity 152

6.1 Introduction 152

6.2 The Guitar; repertoire, personalities and its use by 20th century composers

152

6.3 Specific problems for the guitarist in the new complexity repertoire

156

6.4 Aesthetics and performance practice 164

6.5 My own preparation for performance – introduction to the case studies

165

Notes 165

Chapter Seven – Case Study Number 1: A performer’s guide to

Severance by Chris Dench

167

7.1 Introduction: genesis of the work 167

7.2 The score 168

7.3 Form 172

7.4 Effects and special notation 173

7.5 Dynamics 176

7.6 Special difficulties 177

7.7 Interpretation: my responses to the aesthetics of the piece 179

7.8 Performance practice 184

7.9 Performance notes 185

7.10 Wider aesthetic considerations for the performer 187

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7.11 Conclusion 191

Notes 192

Chapter Eight – Case Study Number 2: A performer’s guide to

Nasiye by Michael Finnissy

195

8.1 Introduction to Nasiye 195

8.2 The scores of the 1982 and 2002 versions – the form of the

2002 version

197

8.3 Comparison of the two versions – the form of the 1982

version

206

8.4 Aesthetic considerations for the performer 210

8.5 Technical difficulties 216

8.6 Performance practice 217

8.7 Performance notes – my own practice 218

8.8 Conclusion 219

Notes 219

Chapter Nine – Case Study Number 3: A performer’s guide to

Shrouded Mirrors by James Dillon

221

9.1 Introduction 221

9.2 The score 221

9.3 Form 222

94 Tempo 222

9.5 Rhythm 226

9.6 Timbre 229

9.7 Dynamics 230

9.8 Performance Notes 230

9.9 Impossibilities and controversial solutions – my own practice

234

9.10 Aesthetic considerations 236

Notes 240

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Part 3

Chapter Ten – Discussions and conclusions 241

10.1 Introduction: the main characteristics of new complexity scores

241

10.2 Notation and perception: Taruskin and Stuart Paul Duncan 242

10.3 The score 247

10.4 Accuracy – the demands on the performer 251

10.5 Intention 259

Conclusions – the research questions 274

Notes 283

Bibliography 286

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Examples

Part 1

Chapter One

1.1 Ferneyhough’s rhythmic examples 10

1.2 Ferneyhough’s inherent rhythmic potentials 11

Chapters Two and Three – no examples

Chapter Four

4.1 Ferneyhough, Kurze Schatten II, Ist movement, bars 13-‐14 54

4.2 Eckhardt, Paths of Resistance, bar 14 63

4.3 Ferneyhough, Bone Alphabet, bars 1-‐3 64

4.4 Ferneyhough, Bone Alphabet, bar 1 (Schick’s schematic representation)

65

4.5 Ferneyhough, Kurze Schatten II, 2nd movement, bars 1-‐4 66

4.6 Ferneyhough, Kurze Schatten II, 1st movement, bars 9-‐10 67


4.8 Eckhardt, Paths of Resistance, bar 24 68



4.11 Ferneyough, Bone Alphabet, bar 9, (Schick’s simplified schematic representation)

70

4.12 Redgate, Ausgangspunkte, bars 1-‐6 75

4.13 Barrett, basalt, page 1, bars 1-‐19 77

4.14 Barrett, basalt – E, bars 13-‐15 79

4.15 Carcassi, Andantino in C, bars 1-‐4 82

4.16 Carulli, Waltz in G, bars 1-‐4 82

4.17 Stockhausen, Klavierstücke 1, bars 4-‐6 83

Chapter Five


5.2 Ferneyhough, Kurze Schatten II, 1st movement, bars 13-‐14 -‐ schematic with significant notes

98

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5.4 Downie, Piano Piece 2, page 11 102

5.5 Ferneyhough, Kurze Schatten II, 1st movement – waveform from 1:15 to 1:48 including bars 13-‐15

104

5.6 Ferneyhough, Kurze Schatten II, 1st movement – waveform from 1:19 to 1:27

105

5.7 Ferneyhough, Kurze Schatten II, 1st movement – waveform from 1:23.2 to 1:27

106

5.8 Bach, Cello Suite BWV 1009 – Bourrée 1, bars 1-‐8 108

5.9 Bach, Cello Suite BWV 1009 – Bourrée 1 – schematic of bars 1-‐8

109

5.10 Stockhausen, Klavierstücke 1, bars 4-‐6 114

5.11 Ferneyhough, INTERMEDIO alla ciaccona, bars 1-‐5 116

5.12 Ferneyhough, INTERMEDIO alla ciaccona – schematic view of bars 1-‐5

117

5.13 Ferneyhough, Bone Alphabet, bars 1-‐5 (with significant notes numbered)

121


5.15 Dillon, Shrouded Mirrors, bars 1-‐7 131

5.16 Dillon, Shrouded Mirrors, bars 1-‐7 – schematic with significant notes

131

Part 2

Chapter Six

6.1 Hayden, AXE(S), bars 1-‐4 157


6.3 Hayden, AXE(S), bars 20-‐22 163

Chapter Seven

7.1 Dench, Severance – the last note of page 5, system 5 173

7.2 Dench, Severance, page 1, system 5, 17-‐22.5 cm 174


7.4 Dench, Severance, page 4 system 1, 14-‐19 cm 175

7.5 Dench, Severance, page 4, system 3, 0-‐21 cm 175

7.6 Dench, Severance page 2, system 1, 17-‐34 cm 177

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7.8 Dench, Severance, page 2, system 2 180



7.11 Dench, Severance, page 2, system 4, 17-‐26cm 181

7.12 Dench, Severance, page 2, system 5, 28-‐34 cm and page 3, system 1, 0-‐6.5 cm

182

7.13 Dench, Severance, page 3, system 3 182



7.16 Dench, Topologies, page 2, bars 1-‐5 189

7.17 Dench, asymptotic freedom, page 8, systems 1-‐3 190

Chapter Eight

8.1 Finnissy, Nasiye, 2002, page 1, systems 1-‐3 200

8.2 Finnissy, Nasiye, 2002, page 1, system 6 201








8.10 Finnissy, Nasiye, 1982, page1, systems 2-‐3 208



8.13 Finnissy, Cirit, page 1, systems 1-‐3 212



8.16 Finnissy, Song 17, page 2 214

8.17 Finnissy, Song 17, page 5, systems 2-‐3 215

8.18 Finnissy, Song 17, page 3, systems 2-‐3 215

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Chapter Nine

9.1 Dillon, Shrouded Mirrors, bars 120–122 225

9.2 Dillon, Shrouded Mirrors, bar 2 226











Part 3

Chapter Ten

10.1 Ferneyhough, String Quartet N0 2, bars 14-‐16 245

10.2 Fitch, Per Serafino Calbarsi II: Le Songe de Panurge: il cucco, bars 34-‐56

261

10.3 Harrison, être-‐temps, p.5 263

10.4 Harrison, être-‐temps – simplification of the first five chords of être-‐temps p.5

265

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Tables

Part 1

Chapters One to Four – no tables

Chapter Five

5.1 Ferneyhough, Kurze Schatten II, 1st movement, bars 13-‐14 -‐ actual timings of significant notes

99

5.2 Ferneyhough, Kurze Schatten II, 1st movement, bars 13-‐14 – actual and theoretical timings of significant notes

100

5.3 Bach, Bourrée, bars 1–8 – significant notes with actual timings (seconds)

110

5.4 Bach, Bourrée – bar lengths with implicit mm 111

5.5 Bach, Bourrée, bars 1-‐8 – actual and theoretical timings of the significant notes

112

5.6 Stockhausen, Klavierstücke 1 – starting times of bars 5-‐7 114

5.7 Ferneyhough, INTERMEDIO alla ciaccona, bars 1-‐6 -‐ actual and theoretical timings

117

5.8 Ferneyhough, INTERMEDIO alla ciaccona – timings for bar 5-‐6

118

5.9 Ferneyhough, Bone Alphabet, bars 1-‐4 – timing data and implied mm (Schick)

122

5.10 Ferneyhough, Bone Alphabet, bars 1-‐4 – timing data and implied mm (Tomlinson)

122

5.11 Ferneyhough, Bone Alphabet – timing data from Schick’s performance of bars 1-‐4

123

5.12 Ferneyhough, Bone Alphabet – timing data from Tomlinson’s performance of bars 1-‐4

124

5.13 Ferneyhough, Bone Alphabet, bars 20-‐22 – timings with implied mm

126

5.14 Ferneyhough, Bone Alphabet, bars 20-‐22 – timings of 1st and 3rd notes of triplets

127

5.15 Ferneyhough, Bone Alphabet, bars 20-‐22 – inferred lengths of triplets

127

5.16 Ferneyhough, Bone Alphabet – theoretical lengths of triplets in bars 20-‐22 implied by Schick’s tempi

128

5.17 Ferneyhough, Bone Alphabet – triplets in bars 20-‐22 – Schick’s deviation from his own tempi

128

5.18 Ferneyhough, Bone Alphabet – triplets in bars 20-‐22 – theoretical timings based on 8th = 60

129

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5.19 Ferneyhough, Bone Alphabet – Schick’s performance compared to Ferneyhough’s tempo

129

5.20 Dillon, Shrouded Mirrors, bars 1-‐7 -‐ actual timings for significant notes

132

5.21 Dillon, Shrouded Mirrors, bar 1 – timings for the first beat 133

5.22 Dillon, Shrouded Mirrors, bar 1 – timings for the second beat

133

5.23 Dillon, Shrouded Mirrors, bar 3-‐6 – timings for the significant notes 16-‐49

134

5.24 Dillon, Shrouded Mirrors – actual and theoretical time differences between pairs of notes in the first two beats of bar 1

136

5.25 Dillon, Shrouded Mirrors – actual and theoretical time differences between pairs of notes of bars 3-‐6

137

Part 2

Chapter Six – no tables

Chapter Seven

7.1 Dench, Severance, system lengths 170

Chapter Eight

8.1 Finnissy, Nasiye (2002 version) – location of each section 198

8.2 Finnissy, Nasiye (2002 version) – composer’s descriptions of each section

199

8.3 Finnissy, Nasiye, 1982 – section identification 207

Chapter Nine

9.1 Dillon, Shrouded Mirrors – the four sections 222

9.2 Dillon, Shrouded Mirrors, tempo indications for each section

223-‐4

9.3 Bars of Shrouded Mirrors for which recalibration of tempo is possible

228

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Part 3

Chapter Ten

10.1 Harrison, être-‐temps, p.5 – theoretical timings for the first five chords

265

10.2 Harrison, être-‐temps – original compared to simplified score times of the first five chords p.5

266

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Figures

Chapter Five

5.1 Ferneyhough, Kurze Schatten II – graphical representation of Table 5.2

139

5.2 Bach, Bourrée – graphical representation of Table 5.5 141

5.3 Ferneyhough, INTERMEDIO alla ciaccona – graphical representation of Table 5.7

142

5.4 Ferneyhough, Bone Alphabet (Schick), graphical represen-‐tation of Table 5.11

144

5.5 Ferneyhough, Bone Alphabet (Tomlinson), graphical representation of Table 5.12

144

5.6 Dillon, Shrouded Mirrors – graphical representation of Table 5.23

146

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Supplementary Data Files Dench, Severance (Grahame Klippel-‐ classical guitar)

Finnissy, Nasiye (Grahame Klippel-‐ classical guitar)

Dillon, Shrouded Mirrors (Grahame Klippel-‐ classical guitar)

Finnissy, Song 17 (Grahame Klippel-‐ classical guitar)

James Dillon, BBC Composer Portrait (excerpt, 19 Aug 2010)

Jerome Kohl -‐ Hear and Now (excerpt, 15 Nov 2008)

Irvine Arditti -‐ Here and Now (excerpt, 30 Jan 2010)

Examples 1.1 and 1.2

Example 4.3

Example 4.10

Example 4.13

Example 4.14

Example 5.14

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