INTERPRETATIVE - White Rose University Consortiumetheses.whiterose.ac.uk/3482/2/301278_vol2.pdf · INDEX OF MUSICAL EXAMPLES (listed alphabetically by composer) Composer work Example

INTERPRETATIVE ISSUES IN PE

CONTEMPORARY PIANO MUSIC

by Philip Thomas

(Volume II)

Submitted in partial fulfilment of the requirements for the

degree of PhD in Performance Practice

Department of Music

University of Sheffield

G

April 1999

INDEX OF MUSICAL EXAMPLES

(listed alphabetically by composer)

Composer work Example No.

Barry, G. Au Milieu 1.60

Beethoven, L. Sonata in F minor, Op. 57 3.11

Benjamin, G. Sonata 1.5

Berg, A. Sonata Op. 1 2.1a

Berio, L. Sequenza 1 4.2

Sequenza IV 4.1,4.3-4.30

Boulez, P. Sonata No. 1 1.19b

Sonata No. 2 1.4

Busotti, S. pour clavier 1.56b

Chopin, F. Nocturnes 1.40,1.53b

Preludes No. 18 1.41

Dillon, J. Spleen 1.50

Feldman, M. Piano 1.16,1.52

Piano Piece 1956a 1.58a

Piano piece 1956b 3.16

Triadic Memories 1.8,1.9,1.24,

1.30,1.35,1.51,

2.17-2.25,3.2

Vertical Thoughts IV 1.58b

Ferneyhough, B. Intermedio alla Ciaccona 1.46 Lemma-Icon-Epigram 1.7,1.44,3.17

String Quartet No. 2 1.45

Finnissy, M. all. fall. down 1.59

Elephant 1.34

English Country Tunes 1.2,1.11,1.55

1.56,1.57

Fast Dances, Slow Dances 1.15 Gershwin Arrangements 3.10 Jazz 1.21,1.48

Reels 1.10,1.47

Short But... 1.33 Sometimes 1... 3.9

Grainger, P. The Gum-Suckers March 1.27a

Haydn, J. Sonata in E flat, Hob. XVI: 52 1.53a Ives, C. Sonata No. 2 'Concord' 1.17, 1.27b,

1.42

Johnson, R. S. Seven Short Piano Pieces 1.38

Ligeti, G. Etudes pour piano 1.14

Messiaen, O. Catalogue d'oiseaux' 1.20 Modes de valeurs et d'intensites . 1.25 Vingt Regards sur l'enfant Jesus Christ 3.6

Pärt, A. Für Alina 3.7

Poole, G. TEN 1.1 Rihm, W. Klavierstück VII 1.28, 1.61 Sackman, N. Sonata 1.18 Saxton, R. Sonata 1.37, 2.4-2.12, Schnittke, A. Sonata No. 2 1.13, 1.49 Schoenberg, A. Suite Op. 25 1.19a Skempton, H. Campanella 1.36

First Prelude 3.3 Invention 1.22 September Song 1.29, 3.8

Stockhausen, K. Klavierstück 1 1.6,1.26,1.39,

1.43, 2.3,3.1

Klavierstück IV 1.23 Klavierstück IX 1.54

Stravinsky, I. Les Cinq Doigts 2. lb Tippett, M. King Priam 3.4

Piano Concerto 3.5 Sonata No. 2 2.13- 2.16,3.4,

3.5. Sonata No. 3 1.12, 1.32

Webern, A. Variations Op. 27 1.3,2.2 Xenakis, I. Eveyali 1.31, 3.12-3.15

Example 1.1

0

1.1a Poole, TEN 1st movement 'Sinfonia' b. 23

Pogo prw osw

PKI Satý Sý 5wr. e. ly d; 6 tc

ýý _ý

C

IU

cresc.

1.1b Poole, TEN 2nd movement 'Invention' b. 19

Q rý

Oise

3rLo

PP

(transcription of right hand)

-- .I-- . -, --1

F h-g==

. 5. " 3 p" s :, J " "__ J ýA rýl . "A Y

g g m 0 , it I -11. %. - I - 11 - I- i i V v

an

00

L. 0

V

E 0 E

'O

N

a) C

F

v C

0 U

c

> c, c' C C

4...

cz N

'-i

h

"-o Fd

O

)

04

O

E

b_

aý E V

0 E b N U) N

O U

C

.D N

. -i

Example 1.2

Example 1.3

1.3a Webern, Variations Op. 27 1st movement b. 1-2

Sehr mäßig . h. _ ca 40 2

A

pp

1.3b Webern, Variations Op. 27 'Stadien edition' 1st movement b. 1-2

Sehr mäßig ."= ca 40

J �Verhaltener Klagerzuf"2

<>

Example 1.3c

1.3c Webern, Variations Op. 27 3rd movement (final variations) b. 56

wieder ruhig

A56 57 58

FIJI ý.. ý

subito pp pp q' qý

. 59 rit. ______ tempo

60 61 62

molto 63 64 65

ý" 66

" "Ipü" iA p7 i

Example 1.4

1.4 Boulez, Piano Sonata No. 2 (1st page)

PIANO

Extremement rapide (Tempo I) #_ ;

-7 L

ý. V ý`

ýiap f

4 Sop

LY

Iq6 -" -kit

-x

oo, -5 3

his

Aft. ººr p #_

- -bý* - 'ý 8. ß: q,,

ýý ýý

0ý Atli'

Example 1.5

aý

bA

0

I

c

11 7

1%

0

-'n"

n'

n Aik-

, 4, n

N

t

k

1

Ic

D

D

3

Example 1.6

1.6 Stockhausen, Klavierstock I b. 1

--------------J1: 10---------------, r--7: 5 I-,

M

of

7: 5 4 pp ._ --, 2 f 5ý

4 7, 3 ff

4 Q

--------------

5: 4

r-3-1 r----------------------5: 4 ---°----------------- 11: 12

pp Výv

I tW-- Ir

jN

#ffti-t, fft

3 2

VI) v Iý `ýI

13: 12

larr "'"JJ . _. _J

6f '3 3 , --7: 8 4 r3J

2 " 0 bid bi 4

,.

r ýJopl, - 0" "Z:: --ý, 0L- -11: 12-

ý

_, nfj,

iA k-

tn

a E m

w ^I 0 o

E

-

aU

nN r;

M

.3 A-

aim ý Q ý

. 1.1.

Lipp ýo

4

1-

lit

Ax,

tI

k!

M

I

�7

,:; si ý d, A

s^ -�C

vC

-i

1

1

i

Example 1.7

t

ti

Rýý; ö

ýý

a

Example 1.8 and 1.9

1.8 Feldman, Triadic Memories (pg 41)

X11 x11 x3

it

---_ s -"- i6 -- ;44 F--S --H 41

1 ý12 4'&

x11 X3 X11

b 4 115 1-- 6 --1 q

X4

x7 V

g

1.9a Feldman, Triadic Memories (pg 16 line 2)

4

: -: '

«1 r r ___

- -r

1.9b Feldman, Triadic Memories (pg 16 line 3)

t

f

^ 4ý r---- 4 --ý r-'_' 4 _----1

Example 1.10

1.10 Finnissy, Reels (pg 1)

[ý =1661

?r

staccato

1 ___4: 5P

r--- ?ý6 J'. ý

ý-- : L- :5

: ýA____ý

f

IL

r----- 9ý sý--,

I

r---6 :5 ý---T r-3-1

' r__. ___ 3: 3

(sta. cc-ato)

. - M

eo n.

U) 3 0

b ß aý

C7

V E N

0 E

U)

m a)

0 V

U)

N

ca

c:.

Example 1.11a

ýs

ýý .ý

co a

. n.

A-ý

N .. pes

4.. L

cc

W

q

a

v

Example 1.11a (cont. )

Example 1. lla(cont. )

0 u c d

M N

H

0 c *1

C R' s r

i

00 ý-

0

v

}

C) an cu

U)

0

0

E V 0

n y C

L C O

V

C

N

C

.0

. -i '

p--ý o

, 0: 3

ÜV Zv 0

cýC E'ý

icy 0Z

R ýý

8

1. t

, quit

Example 1.11b

f i,

iý

L). I

If) nn

in 12 w a)

"0 C

0

C m y E L

"0

4)

CG 4)

.0

E

0 U

y N

E 4)

0 E

.r 00

4)

O U

W 0

U

a

. b°'

ý; -°. i

... [ 1

.o

Example 1.11c

u' S

i

I

..

..,.

I

Example 1.12 and 1.13a

1.12 Tippett, Sonata No. 3 (beginning)

Allegro (J-132. J. - 88) r--- k

-- -------------------------------------------------------------------------

IIII t-# -. - Iý 0-T-14

q>> (-I>) y n> qý

1.13a Schnittke, Sonata No. 2 (beginning)

I

trb ýý_ý

Moderato 6 0711,6 a_

Olt

MP

!! Tim

4ý7

8--- -----------------------------------------------------

ýý ---

ß"4... r..... » - ý+ ,ý ýe" ae" ý^

Example 1.13b

M

an

U

E

O

En N O

z

0 C/]

O

cC

V x

U

0 j

00

r

G

M

Example 1.14a

ao

on

Cn L r\

J Li. 1

O ö

z l 0

y

rý

O

e

L

"6 y W

00 .. ä

cý ý7

\ ýrý, /

Example 1.14b

N

aD

00 N

0 In I- CU

N

G 0 u

ö z O

CC yC

L

o-

ä

r y

G)

v

0 U

.0 Z7

1-4

0

t3. Co Co

O

O

cis O

U

Example 1.14c

Example 1.14d

ao

O

V L 'Lu L O N

z O

L

O

N

M

N

,. -I

ýý rn

ýd.

9

T

qj A 0

ra

Od gD

li Q

z ý? wv

%Lu

It-

C

I- b s tý

Ci.

v

Example 1.15

ao

U, U C tC

0

U C Cd

N

N

C

G_

r-1

ýi 0

d

.D

1'

0 Ö

(q

1.16 Feldman, Piano (pg 16 line 3- pg 18 line 1)

c

c.. 63) Iý 61"

Example 1.16

fff

4

b# ,

429 fff , yf PPP fff 4

i 1

8J

6 ., b

owl

Example 1.16 (cont. )

4 ----1

ums. - ". I c--I

jýdl j

8 [ppp sempre] 3

L_L. - 4 14

f

t --ý-

5

.. I- h . _. --J

r-t,

9-

No :

1 1 im

5 #6 8q.... ,

14 -Nil

-Zj

4 fff L4 L

-14

15_1 0 qß-'' 4

Example 1.17"

1.17 Ives, Sonata No. 2 2nd movement 'Hawthorn'

#p

AAn

slightly slower

If

n

�T

A

ý... ý O tt '

gradually faster

'; "ý 33333

RIP VVV

I

0 4-

I

ä c

Z. M

en

L

VC

G

N

O

fI

. -r

Co

O

ft1

v

-

I

Example 1.18

i r

Example 1.19

1.19a Schoenberg, Suite Op. 25 'Gigue' (beginning)

Rasch (J = ca. 192)

I"

-f V

1". 19b Boulez, Sonata No. 1 2nd movement (lines 3-4)

VIO

staccato

j3ý 317

46

v

-ft 'I iz i

"ý , ý} fl! f sub.

r- 3

4, - 0- If

Example 1.20. -

s N au a 4-4

0 C

N

at V

O

N

CLE 0

iI .r cu

U

C V ca

V :E 0 N ri

0

s

1

It It

N

ou

NI N

N

Example 1.21--

f l

ýý yh

metal

I

I

X 3r

.�

-Example 1.22 and 1.23

1.22 Skempton, Invention

Gently

(; V11 a cu.

.`

1.23 Stockhausen, Klavierstück IV (beginning)

i. of/:

4 ý--ý, --3---_ -3- -ý 5 2

L3J 1-31 1-3-1 L-3 . fib , ip) ýf} L3J L. 3_J

---------------------- 3 ---------------------

off (/1J'ß

C4 C4 !Y wi 77 AIML

ý----"3 r-. 3_ß

r-3 Mi l

4y

UP L------------ T6 ------------ --------7: 6-- -----ý W)

Example 1.24

1.24a Feldman, Triadic Memories b. 1-4

6 I,

-9r

4 -1 r-4 ý- -1 -ý

1.24b Feldman, Triadic Memories (pg 4, line 4; pg 9, line 1)

6 . -001-

T -#L-ý

6-0-!

: T_ _:

_ ..

1

1 4

ý---- 4 -ý ý-4-1

_q .2ý,

6-0.

ý- ý.

h-4 -i i-4

.e 02

c

t,

U, c a. ) c

a) 10

rI tl

i

IýI

"y

OI(

00

-`' O I

ti

In N

i i

a

Example 1.25

Example : 1.26 and 1.27a

1.26a Stockhausen, Klavierstück I b. 20

1.26b Stockhausen, Klavierstück I b. 54

---------- 4: 3 ----------ý

0

1.27a Grainger, The Gum-Suckers March

Somewhat slower m ý---

-very feeling ly pes---- mf

22 rat

SID -

Tiz). tt-&

ff 6 7; g

ß"8J

Example 1.27b and 1.28a

1.27b Ives, Sonata No. 2 tsV movement 1 IMerson "

1u. 1 1.1

1.28a Rihm, Klavierstück VII (pg 1, beginning; pg 3, line 4)

J' 100 (undl schneller)

N. °yZ PPP ppp PPP

n

x fffz X PPpm9-, NwP

_ý f N

>

Example 1.28b and 1.29

1.28b Rihm, Klavierstück VII (pg 6, line 5)

i

. f!

3---- cit. - ac cal. "-- -* --u ttinpfº

vvqy

I 1.29 Skempton, September Song (beginning)

N

As slowly and quietly as possible

-p. -40- -. -0- -f -0- . P. ... -S- -9- -e

Example 1.30 and 1.31a

#ý ýu_. _.

#ý u _. ý' #ý'

_. ýu

_.

VLI4IL4IIII4II4

L EE __ __ ____

I"

1.31a Xenakis, Evryali (pg 7)

0

M

M partout, sec

0

1.30 Feldman, Triadic Memories (pg 3 lines 3-4)

Example 1.31b

1.31b Xenakis, Evryali (pg 5; and final bar)

sit- rrf F= 7F=ý

ff ff mF

fit ..

fV $ LJ

ny

P mP f ff N iff :9fp Ep Pf ff ffE At jgf f .9 X11 E'O oil

ýh -(

I O. E-----)f 1lt

mf gý mf ff off mf pp fffg? f ffff pp {f{f pp PP

Example 1.32

1.32a Tippett, Sonata No. 3 b. 1

Allegro (d-132, J. =88)

1) --------------------------------------------------------------------------

1.32b Tippett, Sonata No. 3 b. 23

pesante

desante iý-ý

-fw- pesante poco

pesante

T dr.

pesanteTz"

1.32c Tippett, Sonata No. 3 b. 39

39

Psub.

41 ýý 7

1.32d Tippett, Sonata No. 3 b. 56

Idt"

8--------------------------------------------------------J

Example 1.33

1.33 Finnissy, Short But... (beginning)

Cýý56]

6.5

r

Both pedals down throupout (u. c'.

)

OJE

ro *__j tIII; 0 1ý3

7: s) ? gis) r7- II. 1IýII

6'SI /rin 1

7: 4J-ý

6-5r ` 6'Sr

I3-I3

C`ý: 4 _0

Example 1.34

1.34 Finnissy, Elephant (beginning)

Elephant Andante, con moto [ý' = 96 ]

1 11 fýý T ý ova.

11

c. ý ------------

I if - , -

ývl 01,

Inseed$es

olm

-

Pill 0

it 0N F; 0

PP

ý6 sa b bß, 1. ____ ý

11

3 ý. Th

c. J. ý

s rir'T II

ýý

> pP subito '

f-f -1-

PP br

SUb i{o

pp', 6-5

A. tb Yý subito I

MýJ- L

ý_

--

Example 1.35 and 1.36

1.35a Feldman, Triadic Memories (quintuplets from pg 36)

1.35b Feldman, Triadic Memories (introduction of semiquavers, pg 34)

1 4'

1.36 Skempton, Campanella (beginning)

as

pp

R .....

'r 00

O u

O

ey

O r- E

41

f

M on

cl 0

0 x Cl VI

I "1

Example 1.37a

N M


1.37b Saxton, Sonata (pg 4-5) ( p=106)

7 7: 4 3.

"4

6 n ýh tý b4. ß

: hý ý- .T t#

cresc.

A53 `ý Presto e vivo ý1" =105

if

sfl SJZ Vý

1.38 Sherlaw-Johnson, Seven Short Piano Pieces No.! 'Prelude' (beginning)

(J=132)

P. 176 3P-. p

(P-1O6app. )

5 31

f

-,.

---------------- - poco Ped. P'

8. J P

Example 1.39

1.39 Stockhausen, Klavierstück I (pg 1)

r--------------X1: 10------------ý -ý

f 7: 5 ný v r-5-+ ff 3

----------------- 1: 10--, ----------- v.

- ........... .: Y3 ............

X5.4 ""`%

-----------------------55: 4 --- ---- ----------, 11: 12

' 6^ X7: 8 I i;

le

3 2 1 Ný )

,ý [ 13: 12 fI 14: 12- "8 }:

or .WA .. F 01% IAA A -

.3 4f 2 1, &4 1

64 mf I A

VIP L---------- 111: 12------------ý

8 ....................................... i...

Sop

y h n

/- r`te

11 pp


1.40 Chopin, Nocturnes No. 1 (beginning)

Larghetto J=s16 23

p espress. © --

ý3 33

................ t

... J

`'simile

1.41 Chopin, Preludes No. 18 b. 12

2ýqJ! 5q

(ce, ýý1}0) ---------------- r415 jZ 3qr

445

12 ---s f' ------ ý- _-- _-- --- cresc. -

AI. -- -&-. 41.24.643. k

31

,. 7 Vo


1.42 Ives, Sonata No. 2 1st movement 'Emerson'

r--j--l very st

1 44 ýý ý1-

4,

A

17

.... .................................... ....................... AA_ fý A

17 18

..........................................................................................................................................

1.43a Stockhausen, Klavierstück I b. 14

fff Nl

1.43b Stockhausen, Klavierstück I b. 15-16

r--3-i ffk

qý'. ýý` ý

Example 1.43c

1.43c Stockhausen, Klavierstück I b. 34-37

fk

Zfc 1q)

32 16 5 7f

g6: 5 r ..

ZY ý4 virr - Al) ýýZ/ Eý > f 0. Vf, 2"' ý 1. ... IM:

Example 1.44

ý- M

to

E co

w

0 U a-.

CC

E E 4)

.. c 00 0

C U

CZ V

I

1

av

1/

ti"ý

OL

GO

11

vl

0 v

Jß

11 ý1 V Jv

Iý vý

j

-1

Ä ja

on . 1 ir öt

°° Cy

jr r .

4

A3 r

i' . n1 ' .. V 00

-z r O I A, ZVI

ýcti ya

i Z.

. ý'

ý.

1-

r

LE


1.45a Ferneyhough, String Quartet No. 2 b. 13-16

.. )

;, Sö cccel serrore

IAL ws 71

U) -, c; ra facso

Cfý=mt -'t "' (uguale) fttt rrm

stffz Wpt mP

r"n

Vin 11

. ft -mr---=ft

1.45b transcription of Ardittis's performance of 1.61a (Marsh, R. )

b) v'

c

1.46 Ferneyhough, Intermedio alla Ciaccona b. 1-4; transcription (Marsh, R. )

"54.60 con massima violenza quasi Senta vibrato x_. 7: 4--ý r--7: 5

P-1 . --ä'. l-

JJJJ

CsGL0 -3--,

to.

(Satt =) (13. oss) (0.4,8)

Example 1.47

ao c

c

aý .a c 0 v ()

-o c N

Ni . ý( Cl, c L

C_

d'

r--1

il

04 c

c

aý .a

NI N ß

ti

Cl,

C

w

00

O aý O E

C "- o Cl. uE U. 0

V

0 ö E

Example 1.48

`ý

Example 1.49

ý ný "r. v. L r

s tq

O

3 0 E C L

0

0

an

O

'Z L.

M N O

z

0

U

C'

( r

i

i

ý. n

N co

Or L

G E_ U

3f

>

EL FE y-

y- qC

C tC

LC FÜ

N

C^

U r

L'. G

oE G CJ

'J - C/1 -

"L

s.

"

Example 1.50

C r, an a

c U U

c 0

A

0 I

r; -t 0

x


1.51 Feldman, Triadic Memories (pg 34)

r4

8

-_-

Ö48 16

-65 V

1.52a Feldman, Piano b. 3

\J=c.. 63)

r--t -ýý

1.52b Feldman, Piano (pg 7)

Q -m co.. 63 r--ý- t -___. ---i

L------3-------J

3

3

`- ---3---- -i

Example 1.53a

110 S .. r

`O

'C

N

N N

O

cu ca

0

b

cC M I

r-i

v `ý

Example 1.53b

1.53b Chopin, Nocturne (Op. 15, No. 2) No. 5 b. 11 and b. 18

l, cr iorn

4 dokiss_ ýý :;

pp e poco riten.

.......................... 411. ...................... n_.... r

Example 1.54

.D an

y L GJ

4)

Cfj

U 0

1t

liz,

iI I

414

114

1

It,

Y

ýT

Example 1.55

ýn +, t bo °' .ö

c O

L

E

C

GJ

0 E

"O C

N

C

L

C

0 V

N

G

N N C

C_

In

Aý /ý

J

H

ý

uY

t*

f-v

. -

i.

cam

L

a Y

=d

? výI

II

II

gll ud

a

III .sä . a-

Lý II IIiý

ti

..;..

I'rný-

i IH I

ti

, ý,, ate, -

il 1'

Example 1.56

1.56a Finnissy, English Country Tunes 2nd movement 'Midsummer Morn' (pg 16)

ýLr.. dº,

1.56b Busotti, pour clavier

H . -I

iP

Example 1.57

an

c O

L N

G

N_

NC G V

O

b C

N

aU

O

W

'Ad

0

Example 1.58

1.58a Feldman, Piano Piece 1956a (extract)

ýsiýulý ý, bFs' ýJ

's'

1.58b Feldman, Vertical Thoughts IV (extract)

(Z. le S-i} .= 8

tv

T

Example 1.59

ou

0

U)

Li

rn

. ýi

N

M

d J 11

3

. III

III II ý'-

ýýIý

ýý_

`pes (I. l

flý

. 111(111

__

-- --- III } -1111III - '

1 III 4fl -

r

3r I11..

{ý}( Hill,

. till iIIlt.

j4 ". 'I... 4IU11- 11lllli I_____ýI11l; iiw- ý

ýý 11

III

ý ý

r} ý{lifll ._ý. , i ýýý

..

0

N

lZ to

Q je-

0

Example 1.60a

Example 1.60b and '1.61

bA

.D 0

M

bA t],

> U

N t. N

ý4

A "0

"4

o_ n

v


S

' ,1

4

ley

1

4

1ý

A

A 711

"1 1%

"1 ft

4

iT

"

rC

JA

a- ^

l2

ý"i

'^

It m

iF

ý- ý

Example 2.1

2.1a Berg, Sonata Op. 1 (beginning)

Mäßig bewe t.

p accel. _-- `ý rit.

--ý_ ý, ý-

2.1b Stravinsky, Les Cinq Doigts 'Lento'

12345

35ý ý

5 5 i1 2 3 4 5

1

Example 2.2a

9

(I, G,. l ) r_

2.2a Webern, Variations Op. 27

1st movement, b. 6-12

70

g Cl) 2 3

Tp

"3 TT

(ZD 1st movement, b. 34-38

rit. 'pq 35 36

*A 64 iv ýý

m

f T

44 looý !41

SIBS 5 to z ýý'. t67S3 ---ý' ºº

tempo -qR

Z3

Example 2.2a

2.2a (cont. ) 3rd movement b. 33-34 (transition into 3rd variation)

vce-Oy, zl% .3

rit. tempo ýý

molto rit. _

bLA: Sfp pf m'

e1 1

Example 2.2b and 2.2c

2.2b Webern, Variations Op. 27 1st movement b. 1-7

Cnlir r":. 4 i(r -h --n.

AA

2.2c Webern, Variations Op. 27 1st movement b. 8-10

I

21 3

(Ez) cv %Q II

g Z. g6 10 1z

L

pu 4w -

Z LIZA

4 cl to (rýz 7 3

a- -- -- -6 or RO3`

B- g

S

i ý, 37i

It 10 __

ýZ

Example 2.2d

O

0

O E

S N

C

O

cC L

CC

L

.0 aý

A v

Cd 'I t

dA` "-

aý,

N

`ýv

`ý

d $ý`

M

Example 2.3

2.3a Stockhausen, Klavierstück I b. 1-3

--------------11: 10--, r 7: 5 ýý b "- ,

"f 4

pP .p

f

4

1v a 4L4

.j 41 ý-I) f -Aa" 44 ,

ýq ----------------- 11: 10-- ---------- ý

............:............. �f 5: 4

2.3b Stockhausen, Klavierstück I b. 4-6

S

r-3--,

ap-

----------------------5: 4 --- -------------- ýqc

11: 12

pp 0

ý, fffff , tzl g a# ý

2 iF

PP PF, I -ýý '1 4 #ý) r pp ýW,

-ý '3'fqqb ff iß ____ý

-- Example 2.4a

2.4a Saxton, Sonata (pg 1)

Lento 1 =56

3

mp

qt 4

poco accel.

r3 3 -, f3^3 r-3-, r-3-, C= -1 IM ?i III I

f: tea.

(a tempo)

TO. lb-0.

E; -I_ I -Ell

(poco) rn

m m f `ý'r� rv

b 10 10

"f sempre Sim.

"9! lbs. 11 1V -Ps `/ . -V- -

. Xo st a. a

;.. . ctu.... '. GX£'b.

: k. Vii.

L- accel-- ----------- Piü mosso =66

Example 2.4

2.4b Saxton, Sonata 2 hexachords featured in opening page

nn

2.4c Saxton, Sonata spatial arrangement of hexachord 2

2.4d Saxton, Sonata (pg 2)

Piü mosso o) =72 3 r3

: D..

qq Is_. _, 5 -, f)

SPE -1

ad lib.

r hýý

9: 8 1

tq"ý

: %ö. ad lib.

3

P

Example 2.5a

00 u 'ci

O C)

A

a) 0 Ei a

1ý

Q

0 a E V h

A

cr) to a

cz c 0

0 x cz

cz tr)

i I,

C.

h

N

Example 2.5

aý

bn

Co u Cu

O

C 0 -. + X

Cl)

.0 kn

O

C7'

I

t1 U

00 11

-76

O

O E

0 C v

: -v

00 on a

y Cý

s. 0

0

X

U

i i

i

i i i

.r aý U U C3

co 0

0

c aý 0

d

0

ýo ä

1

NN

Example 2.6

2.6 Saxton, Sonata selected themes founded upon intervals of fourths and

tritones (pg 4; pg 5; pg 8; pg 10; pg 10 (3rd line); pg 14; pg 15)

_, K. Piü mosso

J) =105 Presto e vivo

I. =105

mp

v -------' q

if

Z , 1f

H Meno mosso 1i)

=96

f (sostenuto) r- .5 --ý

1 11

con To, sempre

Presto e vivo =116

Ta.

Vivo J) =108

3

7r 6k: 6T 61 [6

A ra ajII

eq/

h)

" LL.. __ 3ýý

ý. ýeö '

Example 2.7

0

0 Cf)

CF 0 x cl

a\ u

0 N y C E C C d

x

JC3

I E°

< <

r . °. E

4

i

o, N

i. C. 1

ýýý

r

keb IÄ `4 ý

Lr r

Iý

to

i

oil

vv

I.

.

n

vv

N N

Example 2.8

C,

F l

- o- ý

J

5

K

siý

M Cl,

C

t].

CC

C 0

0 4- x

Cl)

00 N

ö

"r.

Example 2.9

N

a)

CL

cl cv 0

to

0 x

rn N

1

r Mv

cr;

. ^0

11 -6q

__ H

i

, I- 00

(ff

`1-1

ý:

2.10a Saxton, Sonata (transition pg 3-4)

, "_a4) ! 4: 3 -1 4: 3 ;, -I

-1

.ý

Molto meno mosso =56 poco a poco accelerando

mf, ,

2.10b Saxton, Sonata (transition pg 4-5)

Example 2.10

(sec. )

DF

7.4

00

00

O

cu L

cu

O

O

x c3

! /]

as

N

0

'öo a

1: 3

Q-i

CD

a4

O

R cu

O

O

X cu cn

N

n

v k

u

Ü

O

oA

O

iz

a

4-+ N Z E

ä

4b r. + O

a. + G'. N

U t0

ar

Example 2.11

Example 2.12a

2.12a Saxton, Sonata (pg 2)

(D_-,, N

crescendo --------------- r'"ý

ü- -ýý- -- r- --ü __ý -

If tf

- __ - _V

ad fib.

0 0n

Example 2.12b

00 au

cc c 0

c ý. 0 x ca

N

a

N

Example 2: 13 and 2.14

2.13a Tippett, Sonata No. 2 b. 15-16 (theme 4)

Tempo 4 J

pochissimo mono mosso (J c 1.18)_

l5

pleggero e scorrevole

2.13b Tippett, Sonata No. 2 b. 109-113

(a = c.. sý) ten. Sý

109 > ten. 6 V y

dark pecho echo

- --

P

AF== 'f

' ýý

pp

>--

2.14 Tippett, Sonata No. 2 transitions between themes (b. 40; b. 45; b. 60;

b. 153; b. 160)

(a ý_ýý --- --- Tempo S (J. c. 54)

6 ý.

6

t11

Pnrurc: ---_' non sec"co troppo

t v7r".

Tempo 4 (J- c. 138)

c. 54ý V ------------------- 45 .

F. ' M' f 6g

p pp dokiss. sotto roce

_1- e. 2 00) Temno 4 153 (ý . c. 138)

piü p 0

1 -11


Tempo 5

secco

Tempo z ---------------- (.. c. 112)

Example 2.15,2.16 and 2.17

2.15 Tippett, Sonata No. 2 b. 13-15

Tempo 4 (. I = c. zoo) J pochissimo meno mosso, 8---- ------ ---- --- ------------- ---

1 17 1777

7: r! r 9 _

ýt - (>)

2.16 Tippett, Sonata No. 2 b. 298-301

0

Tempo 3

2.17 Feldman, Triadic Memories b. 1-4

r---- Th

Tempo 1 (1= c. 100)

r-4 _ý

I

r-4

*eb.

8------------- cam' i:.: j


2.18a Feldman, Triadic Memories (pg 4, line 2)

2.18b Feldman, Triadic Memories (pg 4, line 4)

2.19 Feldman, Triadic Memories (pg 4, line 4; pg 5, line º; pg 5, line?; pg

10, line 1; pg 13, line 1; pg 13, line 3; pg 23, line 1; pg 25, line 2; pg

41, line 1; pg 41, line 2)

r-4

E-H rooo


X3

1"2


x5

Example 2.20

2.20 Feldman, Triadic Memories (pg 6-7)

At b4ý-" cb, "

$ I --- 4 _----I (býý"

r-4 IIIIII I

llwmmwý r=L

ý. II r- .

'k2 % --

ý. L__ L_ L__ - u_. L_

- L__ -

. 2p

old

if 1W-. _""

Example 2.21 amd 2.22

0

2.21 Feldman, Triadic Memories (pg 5, line 1)


2.22b Feldman, Triadic Memories (pg 10, line 2; pg 20, line 2)

1

/1a

I-

Example 2.22b, 2.23 and 2.24a

2.22b cont.

V

2.23 Feldman, Triadic Memories (pg 11, line 1)


4

4

4

rn=

1ý -'ý` L-4 _J

0

r-Er--I c" " -l


2.24b Feldman, Triadic Memories (pg 15, line 3)

Y

2.25 Feldman, Triadic Memories (pg 34, lines 3-4)

i, An

ýg 3 4 ý ýý 65

91

Example 3.1

3.1 Stockhausen, Klavierstück I b. 14-17; b. 22-27 fff

i----3ý

ýi ý' ýý i

'! t 7171 L

4i 8ý

7)

r----------3 -----------

2 , f' !fb$

9

fff ý sfffz

r5--ß r- 5-i fff

4,5 16 6- r5--ß 16

JVIT z 'i s x'4'5 ýt

16

Ta......... p.

............. -I............

........... *

Example 3.2

3.2 Feldman, Triadic Memories - comparison of score with transcription of

recording by Roger Woodward

QI (eh ")

score V

r _ __

T): _i

I I Lt I 'I -

0

Q5

I

P5 11

Woodward

Example 3.3

00

.ß N

N

Q. N

1. S.

O a. + a E N

En M cri

Example 3.4a

3.4a Tippett, Sonata No. 2 b. 5; Tippett, King Priam (fig. 226)

Tempo 2 Allegro (J -c. 112)

w r- ' loco b f, j 5 x:

r- ' loco 6f

r

ff strong, detached

.06, o

vOw +:

" '

ten. ý" ý ý" - ten.

441

f --------------------

----------------- -I

226

You had a chance, an hour back Vor ei - ner ' Stun - de harr'sr du

226 Pft.

1

fpesante marc.

f

bat - tie with the a- ven - ging Greeks, Chan - ce, dich sei-nem Schwert :u stell'n,

Example 3.4b

3.4b Tippett, Sonata No. 2 b. 174; Tippett, King Priam (ca. fig. 282)

Tempo 7

__fiý_t ±"

s Allegro c. 132)

f marcatiss. martellato uss.

r

s

177 a_

-dPl

T

bä

6ý^

Piu mosso (tempo 4) (J = c. 144) ACHILLES retoricamente 282

ý3ý

r When we. fought

- a-rainst The-be, I was the fi: Als wir The - ben er - stürm-ten, war - ich der e

Piu mosso (tempo 4) (J = c. 144) La _ -82 "

S, ' Rva; - ,

f marte! lato Pft. f ýý

f

Piani 8v" $"a ý-.; ý

.�

Example 3.5

3.5 Tippett, Sonata No. 2 b. 56; Tippett, Piano Concerto (beginning)

H

,a 21

: )ba

5&0) .

,i . goIt

Aliearo nonrroocc I

_---_- "ve I Je p, JOAp-rOG O! OMeAv-re

1

6+

iV

PP aonri

4% Schott 3 Co. Ltd., London

(ýý-=c_13? ) -----"--"------"-'8)------- ----------------------------------

Nelk 9r nae oc+xerre con nwnj conbra& form oo: orn lauian entrero i fors pia ter.

Example 3.6

e

0 a. +

IC)

0 L CC bA V

V

E V

0

b

N " L,

I-

U

ti

N

c_

c N vs

ýo cri

s K I ýö 1w 1V ý 1 ..

b

1 .. ýÖ .+

1 -r Id

td 'd td to cd a. 0

ýpF

*.

i i i 7 1

m cd 92 d" 10

i i

i

.i oý

a" 00

Example 3.7 and 3.8

3.7 Part, Für Alina (beginning)

Hi ig, f"rhaheu , in %i("Il Iiint"inI rý hriýý)

I, .'

1l -- ->

3.8 Skempton, September Song (beginning)

As slowly and quietly as possible

-0- -9- AN -0- -01 -0- -dP- -0- -0- -0- -e-

ä

`ýr. ý.

Example 3.9

3.9 Finnissy, Sometimes I... (beginning)

for Goff- y Hannan Slow (rubatO) .

e, .r 1ý

poco piU j- .. 4--

p

_n

, --7: ro ý- rr-- t, 3

i.. 1 ý

poco plu n iý aostmuto ----.,

Example 3.10a

3.10a Finnissy, Gershwin Arrangements 'A Foggy Day' (beginning)

Dreamily spacious

(senza rail. )

ppp

-j -

espressivo

slightly darkening in mood rail. -- f-3 slower//accel.

a little faster (J = 92 J=

46 ca. ) ' (senza rail )


3.10b Finnissy, Gershwin Arrangements 'Embraceable You' (beginning)

held back 3_ ýý

Qmm .I

ý1

== 00Z

I Im,

Yn - 01 1 !,;: 1 ýý ý=E .

6TT ýf F-eq

.

. wLIU1 13 193 -

19, --

I ---

ILI

.

4v '_, ttý 3 '3

ý1

ýýýý

Warmly. Moderately fast and pressing forward

3.11 Beethoven, Sonata in F minor Op. 57 1st movement (end)

Example 3.12a

Q4 V

. - rn an

a) 5C ca N

4

Ft

cr)

N t j

N

CL

. CE

.0 N

Example 3.12b

n

T

4.

M


3.13 Xenakis, Evryali transcription of example 3.12a by Peter Hill

d. GO. ppro:. Pp rrp ý ........................ .

loco

Si _

LL cý. " ýl_ . -. .t ýr wYJ __

LL _fi

l+. t-1_ liE t .t ýtý-º

tJ if

ýT

_f.. "",.

;t

ý 11t ß T v yº i fýiºý_

fff fff ýýý

pY yttý

Irrt p

3.14a Xenakis, Evryali (pg 17) A

S

3.14b Xenakis, Evryali (pg 24)

- . PP

T-- ý ý- 2-8

48; Lii, Pz. " -0-


3.15 Xenakis, Evryali transcription of example 3.14a by Marc Couroux

A'r

3.16 Feldman, Piano Piece 1956b (pg 2)

Cslo, ai

ý, ýM

I

C'

a

W

'I [

E

ý vH

to 0-1% ci O 1p

VC

N r, ri

r "

"

0

111 0 CL C

9-

Example 3.17

Go OR-4

11

171, r

vº

J 3%

xI r ,A

_ .. A

Ur tA - A

-jor "A

-22

.6 ý

A

-s "'

" II'

ý -s o xlr dn b

Example 4.1 Sequenza IV

4.1a comparison between original and revised editions: 10/iii/3 and 14/ii/4

P ý, ' 60

S --i lýP . Üý -Ln

=60

i ft. % r-7--1r-5--1

Ped. Sust. ped.

.r----

f Ped. J

f

-Example 4.1d and 4.2 Sequenza IV

4.1d 2/iii/2

I �I i__1 1

4.2 Sequenza I (original edition, beginning)

70 M. M. ' ^' .'>

iw

- ifv-ýp/I pp /i

'f

ýý.., rft Zba 6Lý. r

Cp f -ff

6 60 'p-ý ff »¢' Pf

I 'I


N

Cl N

ý=i

N

cý M

V

M

r L

r L


4.4a 8/iii/5

0ý=60 PP

mf

. Sust. ped.

4.4b 9/ii/2-3; 10/i/1-2

(A=6o) ý= 50

Sust. ped.

. =50 PPP

ý_ 5 _ý PP j"

Sust. ped.


r, aio a

ýt

I l

C

cn N

U

V a

gN

1"

. ea, a,

C c

C v

L

Vl

T; v a

b ä N

U)

C

N r- 11

-ICi

Example 4.6a Sequenza IV

ýl

d' O .. ý

it

f l

g

in öý -4 I Mu

-z: ý N

C13

Example 4.6b Sequenza IV=

N

r,

"q

g q

rI u

'-' --i

u

n o 'I

tom.

cr)

0 co w D

ýV v a

V

V/

Example 4.7 and 4.8 Sequenza IV

4.7 8/ii/4-5; 13/ii/2-3

(J)424) r-5--l

(. a= 6o)

J

A6

llý

Ped. 8'b-' lc

4.8a 10/iii/3-5

: '=40

l - - ------ - ------

-

Sust. ped. 'f

4.8b 11/ii/2-4

(P=4o) ý= 104

ý'ý t >_--1r- , 5--, -1 r3-1

ý71 k

f

- mf

Sust. ped.

Isei I

if

Ped. ' Sust. ped. _

JA. Co

c_.

rA

-tý

1rw4 . d2z

J h

.L

N

ý II

z; a y

Cl)

fi ;)

b

l. ý

I Q ýJ

. is

F M

L

O 1-D

Ii

I gý.

.

Ck.

:ý

ýý

b Atä

A c. 4 _.


L

.Z

j. j

1 L

1

C" L

23 L

Z- Z,


i y

A

n

b aý cý. N

C) ýn V

I L

b V a

Cl,

In N

c'3 O

C J

L

0 u a N

ItT

Cr) r-4 .

.0

e

4

ýt ýt


4.11 14/i/1-2

iP=(. 0) r3-ß r3-i 72

r-7 11111I

r5

P'P'P 8 .f ýý P

v in

Sust. ped.

4.13 15/ii/2-3

ý= 104

I' ý, 11: 8 f; .

n n l f

N

Qý

N

Ö.

a x W

v

i N i

N

't

n 0 II

v

r h

L

2' N

cý. U,

1

iý ýr 4 ýý

ý: L

ýi'

i b ,ä

;f l

a" N


JI r

Wý

V ýý-

,d ýä

º_ A

Ih

1-A V.

`. 1 ýý

, t,

ýAý .ý..

fH

F AC 11. A1u LA

X11 A A ý-ý

ýt

Aeý

.U


4.14 10/ii/i; 11/iii/i-2

. ý=72

4.15a 8/iii/5

I

4.15b 12/i/1-2

"L .. 1w\

: l=60

PP

Sust. ped.

[-I. ] GI DIM

:, 0-

pp doice Pp

Sust. ped. i Sust. ped.

Ped.

of .. _


4.16 comparison of 7/ii/2 between original and revised editions

t ý,. 60) r--. -,

0=60)

JI nrfCff rmf

7 7Ped.

Ped.

N

bA a N

v

i- r

c

Aeý

g

4

u

v

N

all

C

u

A

-d v a N

Al


C n

u

---: u

a x

U


4; 18a 13/i/2

Ib- IA

4.18b transcriptions of 4.20a, taken from recordings by David Burge; Aki Takahashi; Susan Bradshaw; Bruno Canino; David Arden

1

0

f3\

^F:

i Fed.

Example 4.18b (cont. ) Sequenza IV

iý 'ý r'ý1

-11-

t


f 'l

f l

C

rY

h

L

i i

F-=H4 k

J tt1ýA

111 I II

IL -odt I

.n

I: h

ýn

In

rn

i

C

'ýi

A,

Co

v v a U,

V) v

A

A

4A


0 N

v

Itt CD

rq N

o J- x

P-b

Y0.

V

n§

ti v a N

V)

,Z

C

1%ý

U) lie

II4_I

Q


00 N

1t

d C'

I h I

i b N a v

n Cl)

C

cw a

r L

y

1 tj a

1 10 1

C


ýt

v

N N ý7'

c: .ý

0 v II

cý

b,


O

. C,

M

M

r')

v

C

i a cl.

b fu a

e- L)

u

Example 4.24a Sequenza IV

N

N

cz N

It N

r 31 cc

b aý a. N

i ci ya

Y N

Cl) vI

4.24b 10/iii/4 - 11/i/2; 14/iii/3

-40

n ýý

(J'' 72)

Sust. ped.

Example 4.24b Sequenza IV

l. '

____ Sust. ped.

(Sust. ped. )


4.25 10/i/2 - 10/ii/3; 14/i/3 - 14/ii/3

60 r-s -, , --3--,

vppL PP .f r-5

IPPI

Ik PP I I_

I_

. f=-

ttl Ped. I

of

RL5- -, _

r-5

P--=--fff --- ged.

Sust.

Ped. Sust. ped.

81x,

Ped. ' 'f --- PP Ped. j


4.26 11/ii/3; 15/ii/l

:ý= 104 _

f '= II 'I 1.1; 1 li

f

(or= l2)

0

.,

Example 4.27 Sequenza IV-

0 V) 4

U U a

Q c.

7

:!.

0

N

N N .7

I ý"

r

ýi

b U a

v ä ýs N

zi ti N

ý, O

lit I ---i

c.

0. ß

co

V V a

0

Example 4.27 (cont. ), Sequenza IV

v ý.

ti

N

CIA N II

N

Vu O.

.J N '3'

0 d- ýý

. r-.

C)

Ol IC II

'cý

b ä U, Li


4.28a 5/iii/4

c L4 Q> >

4.28b 7/i/2

(>. 6o) cl,

0

4.28c 8/i/5

'J:

j1Z

$p, P* 6 t: tlIs6, l

,_

PP PAP

T APP

(dolce)

I tect.

Ped. ____!


4.29 MacKay's analysis of chords from pg. 1

0

, (al) (bl)

(a2)(b2) f60 (c1)* (a3)

t (b3) (a4)** --ý-,

. ºi e ! (c2)

Wi . Iý3 r.

2 I (a5)

's(, v, . -. Ic I

:c Spa P. e

: -5o (c2) (c2)(c3) f4o (c4)(c3) (0) -*ý iý '-'-(bl)'(c3) ý-'-'

(c4) (a5) (a4)

Sufi ved-- t rar pp N;

Ptd p Suu Ped 4

(al) (c4)(a4) (b2) : -7? (a3) r-l'- (b4) (bl)(c3) , --,

(b4: (c4) (a4) ý, 5ýc3) (bl) r-. -

vl 1 8.

S. " pa

*- (cl) can in fact be derived from (b2) via inversion and chromatic alteration ** - from'(a3) via transposition, inversion and chromatic alteration


s

4.30 8/i/5; 12/iii/3; 13/ii/l

(jý. 50) ý

AA PAP

7 ppp G

(dolce)

vlý =60

(. r = co)

T

P ppp Ped. lc

-' Ic

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