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
vi
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
4.8 Schick’s Method 2 66
4.9 Schick’s Method 3 69
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
vii
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
ix
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
x
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
4.7 Ferneyhough, Kurze Schatten II, 1st movement, bars 15-‐16 67
4.8 Eckhardt, Paths of Resistance, bar 24 68
4.9 Ferneyhough, Kurze Schatten II, 1st movement, bars 1-‐2 68
4.10 Ferneyhough, Bone Alphabet, bars 9-‐10 69
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
5.1 Ferneyhough, Kurze Schatten II, 1st movement, bars 13-‐14 97
5.2 Ferneyhough, Kurze Schatten II, 1st movement, bars 13-‐14 -‐ schematic with significant notes
98
xi
5.3 Ferneyhough, Kurze Schatten II, 1st movement, bars 15-‐16 101
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
5.14 Ferneyhough, Bone Alphabet, bars 18-‐22 125
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
6.2 Ferneyhough, Kurze Schatten II, 1st movement, bars 9-‐10 162
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
7.3 Dench, Severance, page 3, system 5, 9-‐12.5 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
xii
7.7 Dench, Severance, page 5, system 2, 6-‐25 cm 178
7.8 Dench, Severance, page 2, system 2 180
7.9 Dench, Severance, page 2, system 3, 0-‐17.5 cm 180
7.10 Dench, Severance, page 2, system 4, 0-‐8 cm 181
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
7.14 Dench, Severance, page 3, system 5, 0-‐21.5 cm 183
7.15 Dench, Severance, page 4, system 5, 0-‐22 cm 184
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
8.3 Finnissy, Nasiye, 2002, page 1, systems 7-‐9 201
8.4 Finnissy, Nasiye, 2002, page 2, systems 4-‐6 202
8.5 Finnissy, Nasiye, 2002, page 2, systems 10-‐12 203
8.6 Finnissy, Nasiye, 2002, page 3, systems 4-‐5 204
8.7 Finnissy, Nasiye, 2002, page 3, systems 5-‐8 205
8.8 Finnissy, Nasiye, 2002, page 4, systems 9-‐10 206
8.9 Finnissy, Nasiye, 2002, page 5, system 4 206
8.10 Finnissy, Nasiye, 1982, page1, systems 2-‐3 208
8.11 Finnissy, Nasiye, 1982, page 4, systems 1-‐4 209
8.12 Finnissy, Nasiye, 1982, page 6, systems 5-‐7 210
8.13 Finnissy, Cirit, page 1, systems 1-‐3 212
8.14 Finnissy, Cirit, page 2, systems 2-‐5 213
8.15 Finnissy, Cirit, page 8, systems 1-‐3 213
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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8.19 Finnissy, Nasiye, 2002, page 3, system 10 216
Chapter Nine
9.1 Dillon, Shrouded Mirrors, bars 120–122 225
9.2 Dillon, Shrouded Mirrors, bar 2 226
9.3 Dillon, Shrouded Mirrors, bar 13 226
9.4 Dillon, Shrouded Mirrors, bar 30 227
9.5 Dillon, Shrouded Mirrors, bars 51-‐52 228
9.6 Dillon, Shrouded Mirrors, bar 127 229
9.7 Dillon, Shrouded Mirrors, bar 18 230
9.8 Dillon, Shrouded Mirrors, bar 12 231
9.9 Dillon, Shrouded Mirrors, bar 57 232
9.10 Dillon, Shrouded Mirrors, bars 84-‐86 233
9.11 Dillon, Shrouded Mirrors, bar 108 233
9.12 Dillon, Shrouded Mirrors, bar 33 234
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
xiv
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
xvii
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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