investigation into nigel butterley’s pentad
TRANSCRIPT
INVESTIGATIONINTONIGELBUTTERLEY’SPENTAD
BryanWayneGriffiths
Athesissubmittedinpartialfulfilmentof
requirementsforthedegreeof
MasterofMusic(Performance)
SydneyConservatoriumofMusic,
UniversityofSydney.
2017
Thisistocertifythattothebestofmyknowledge,thecontentofthisthesisismyown
work.Thisthesishasnotbeensubmittedforanyotherdegreeorotherpurpose.
Inadditiontothestatementabove,incaseswhereIamnotthecorrespondingauthorof
apublisheditem,permissiontoincludethepublishedmaterialhasbeengrantedbythe
correspondingauthor.
iii
Abstract
NigelButterley’sPentad(1968)wasoneofthemanycompositionstobecommissioned
byAustralianinstitutionsduringthe1960s.Yet,inspiteofitsregularperformancein
thefirsttwentyyearsfollowingitspremiere,itsextantsourcesarenotinareasonable
conditionforfaithfulperformancestoday.FollowingJamesGrier’smethodologyupon
thesubject,alongwithdirectconsultationwiththecomposer,thisstudyprimarily
documentsthecriticalexaminationinpreparinganeweditionofPentad.Newanalytical
perspectivesoftheworkpromptedbythisinvestigation,areincludedinthisdiscussion.
AlthoughPentad’sorchestrationfortwenty-sevenwoodwindandbrassinstrumentsfits
itwithinthecategoryofawindbandwork,itsabstractaesthetic,instrumentationand
commissionmoreappropriatelysuggestsitberegardedasworkfororchestralwinds.
Thisstudyalsoreportsthedeterminationofthisfinding,alongwithanassessmentof
thebackgroundandcontextofthecompositioninAustralianmusicatthetime.
Consequently,newfindingsontheAustralianwindbandmovementfrom1945–1970
arepresented,andnewlightisshedonPentad,auniquecompositioninButterley’s
oeuvre.
iv
Preface and Acknowledgements
IwouldliketosincerelythankthefollowingpeoplewhosehelpandcontributionsIam
mostgratefulfor.Firstly,toNigelButterleyandThomasKennedy,withoutwhose
continualgeneroussupport,interestandefforts,thisprojectwouldnothavebeen
realised.Ialsoparticularlythankmysupervisors,DrJohnLynchandDrAlanMaddox
fortheirconstantcounsel,feedback,expertise,encouragementandinsights,alongwith
DrStevenCapaldoandDrJoannaDrimatisfortheirwiseadvice.
FromtheAustralianMusicCentre,theassistance,knowledgeandguidanceIreceived
fromJudithFosterandJamesLeewasinvaluable.Iwouldalsoliketoacknowledgethe
timeandassistanceofNyreeMorrisonfromtheUniversityofSydneyArchives,and
KathrindiRoccoandMarieChellosfromtheUniversityofSydneyLibrary.Theexpertise
ofKateStantonfromtheUniversity’sCopyrightService,andAnitaKellyfromthe
University’sOfficeofGeneralCounselwasindispensableinunderstandingand
facilitatingcopyrightlawforthisproject.
IgivethankstoViKingLimandthestaffatSymphonyServicesInternationalfortheir
assistanceinviewingscoresandrecordspertainingtoPentadintheirlibrary,and
MeredithLawnforhelpingmeuncoverconcertprogramsattheStateLibraryofNew
SouthWales.ThestaffattheNationalLibraryofAustraliawerealsohelpfulin
facilitatingtheinspectionofscoresandpapersrelatingtothisstudy.Iwouldalsoliketo
acknowledgetheassistancegivenbyJamesKSheppardfromofficeofbandsatthe
HenryandLeighBienenSchoolofMusicatNorthwesternUniversity,andJanetC.Olson
fromtheNorthwesternUniversityLibraries.
Lastly,Isincerelyappreciatethefriendship,support,collegialityandhumourofferedby
myfellowstudents,andmyfamilyforsimplyeverything.
EthicsapprovalwassoughtandgrantedforthisstudybytheUniversityofSydney
HumanResearchEthicsCommittee,ProjectNo:2016/242.
v
Performance Recital Acknowledgement
Iwouldliketosincerelythankthefollowingpeoplewhotookpartinmyfinalrecital,
whichformedpartofthisthesis’assessment.Eachplayer’sskill,musicianshipand
commitmentwasinvaluable,andIamgratefulfortheirsupportandparticipation.
Flute Oboe
SamanthaHennessy HannahKovilpillai
MelanieWalters(Piccolo) JonathanDaw
LydiaSharrad(Piccolo) AnNguyen(Coranglais)
MadeleineStewart KathleenCowie
Clarinet Bassoon
CharisePenrose(E-flat) TimothyRosen
SamanthaWebber SamanthaHrycek
AnnaColeman(Bassclarinet) JosieHawkes(contrabassoon)
KatieMarshall ChristopherBuckley
Horn Trumpet
NicoleJohn NicholasBauer
AlexMiller TimothyFrahn
EmmaGregan CarlyCameron
NatalieWilliams DavidKhafagi
Trombone Percussion
EdwardKoltun AndrewTimko
MatthewMadden JackdelaLande
ThomasGreer HenryMillar
CassandraPope AmberWatkins
Tuba
BradTurner
vi
TableofContents
Abstract................................................................................................................................................................iii
PrefaceandAcknowledgements................................................................................................................iv
PerformanceRecitalAcknowledgement.................................................................................................v
Terminology.....................................................................................................................................................viii
ListofExamples................................................................................................................................................ix
ListofPhotographicExamples....................................................................................................................x
ListofTables.......................................................................................................................................................xi
ListofAppendices..........................................................................................................................................xii
1.Introduction....................................................................................................................................................1
2.LiteratureReview.........................................................................................................................................5
2.1DiscussionofPentadintheliterature...........................................................................................................5
2.2FormalstudiesintoButterley...........................................................................................................................7
3.BackgroundandContextofPentad’sComposition........................................................................9
3.1Australiancompositionpriorto1960..........................................................................................................9
3.2Australiancompositioninthe1960s:aperiodofstylistictransition..........................................12
3.3Butterley’scompositionsfromthe1960s................................................................................................13
3.4Windbandmusicinthe1960s:theavant-garde..................................................................................15
3.5ThewindbandinAustralia,post1945.....................................................................................................18
4.Methodologies.............................................................................................................................................21
4.1Criticalediting......................................................................................................................................................21
4.2Interview................................................................................................................................................................26
5.CriticallyEditingPentad:DeterminingtheNewEdition..........................................................28
5.1InvestigatingtheextantsourcesofPentad..............................................................................................28
5.2Inspection,description,evaluationandclassificationofthesources..........................................29
5.2Transcription........................................................................................................................................................35
5.3Editorialamendments:determiningerrata,inconsistencies,andambiguities.......................35
5.4Reproductionofscorecharacteristics,notationalpracticesandgeneraleditorial
adjustments..................................................................................................................................................................54
5.5Criticalapparatusandintroduction...........................................................................................................60
vii
6.Pentad:ACriticalRe-examination......................................................................................................62
6.1Performancehistory..........................................................................................................................................62
6.2Backgroundandcomposition........................................................................................................................65
6.3Assessmentanddescription..........................................................................................................................68
6.4ClassificationwithintherepertoireandconnectiontoStravinsky’sSymphoniesofWind
Instruments....................................................................................................................................................................70
7.Conclusion.....................................................................................................................................................77
8.Recommendationsforfurtherresearch...........................................................................................79
9.Bibliography.................................................................................................................................................80
AppendixA: TranscriptofinterviewwithNigelButterley…………………………………….…...96
AppendixB:EthicsApproval…………………………………………………………………………………..143
viii
Terminology
ThetermwindbandusedthroughoutthisstudyfollowsFrankBattisti’sbroaddefinition
ofthewindband/ensemble–“musicforeightormorewoodwind,brassandpercussion
instrumentsusedtogether,separatelyorinvariouscombinations,whichrequiresa
conductor.Someworksincludestrings,eitherassoloinstrumentsorbass-line
reinforcement.Aselectnumberofworksincludechorusand/orsolovoicewiththe
windband/ensemble.”1Importantly,thedefinitionofthewindbanddoesnotreferto
theBritishstylebrassband,whichexcludestheuseofwoodwinds.
Itisusefultonotethevarioustitlesassociatedwiththewindbandmedium.AsWilliam
H.RehrigpointsoutinhisEncyclopediaofBandMusic;“intheEnglishlanguage,concert
bandsandmilitarybandsareknownbymanyothernames.”2Rehriggivesthefollowing
examples–windandpercussionorchestra,windandpercussionensemble,symphonic
band,symphonicwinds,symphonyofwinds,symphonybandandwindensemble.3
1FrankBattisti,TheWindsofChange:TheEvolutionoftheContemporaryAmericanWind
Band/EnsembleanditsConductor,1sted.(Galesville,MD:MeredithMusicPublications,
2002),xv.2WilliamH.Rehrig,TheHeritageEncyclopediaofBandMusic:Composersandtheir
Music,edPaulE.Bierley(Westerville,OH:IntegrityPress,1991),v3Ibid.,v.
ix
List of Examples
Example1:MotiveB,firstandsecondstatements……………………………………………………..41
Example2:MotiveB,thirdstatement:trajectoryofvoice1…………………………………….....42
Example3:MotiveB,thirdstatement:trajectoryofvoice4……………………………………….43
Example4:MotiveB,fourthstatement:Group1……………………………………………………….44
Example5:MotiveB,fourthstatement:constructionofvoice2,Group1…………………...45
Example6:MotiveB,fourthstatement:constructionofvoice3,Group1…………………...45
Example7:MotiveB,fourthstatement:Group3……………………………………………………….47
Example8:MotiveB,fifthstatement:Group1……………………………………………………….....48
Example9:MotiveC,sevennotepitchset………………………………………………………………...49
Example10:MotiveD,firststatement……………………………………………………………………...52
x
List of Photographic Examples
PhotographicExample1:Slurredflourishedfigures……………………………………………….....37
PhotographicExample2:Applicationsofdynamics………………………………………………......38
PhotographicExample3:Rhythmicpuzzle…………………………………………………………....….51
PhotographicExample4:Dynamicmarkingformultipleparts……………………………….….55
PhotographicExample5:Figuresoverthebarline………………………………………………….…57
PhotographicExample6:Ties……………………………………………………………………………….….58
xi
List of Tables
Table1.ImportantAvant-GardeCompositionsfortheWindBandduringthe
1960s……………………………………………………………………………………………………………………...17
Table2.AustralianCompositionsforWindBand,1945–1970…………………………...……..20
Table3.IdentificationTable……………………………………………………………………………………..22
Table4.Identification:ManuscriptintheComposer’sAutograph…………………………..…..29
Table5.Identification:DraftManuscriptandSketchMaterialofPentad……………..………30
Table6.Identification:MarkedFacsimileofPentad……………………………………….......……...33
Table7.Identification:InstrumentalpartstoPentad…………………………………………….......34
Table8.Performance:SydneyTownHall,Saturday,29thofMarch,1969…………………..62
Table9.Performance:SydneyTownHall,Saturday,15thofNovember,1980………….…63
Table10.Performance:SydneyTownHall,Saturday,23rdofSeptember,1989……….…63
Table11.Performance:Pick-StaigerConcertHall,Saturday,4thofFebruary,1978……..64
Table12.Performance:LlewellynHall,Tuesday,20thofApril,1982…………………………..64
Table13.Performance:ConcordiaCollegeChapel,Saturday9thofJuly,2016……………..65
Table14.Instrumentation:Pentad(1968)………………………………………………………………..66
Table15.Instrumentation:IntheHeadtheFire(1966)……………………………………………..66
Table16.Instrumentation:EastmanWindEnsemble(1952)…………………………………….72
Table17.OriginalInstrumentation:AmericanWindSymphonyOrchestra(1957)……..73
Table18.Instrumentation:SymphoniesofWindInstruments(1947)………………………….74
xii
List of Appendices
AppendixA:TranscriptofInterviewwithNigelButterley
AppendixB:EthicsApproval
AppendixC:PhotographicFacsimileoftheComposer’sAutographScoreofPentad
[attachedpdf]
AppendixD:NewEditionofPentad[attachedpdf]
AppendixE:RecordingofInterviewwithNigelButterley,30thOctober[audiorecording]
AppendixF:RecordingofInterviewwithNigelButterley,13thNovember[audio
recording]
1
1. Introduction
ScholarlyenquiryintotheevolutionofwindbandinAustraliaisdistinctlyminimal
comparedtotheinvestigationofthemediuminAmerica,andtoalesserdegreein
Europe.Unsurprisingly,windbandrepertoirebyAustraliancomposersisalsolargely
unexaminedandunrecognisedbytheAustralianmusicalcommunity.Alargebodyof
researchdoesaddressthewindbandmusicofPercyGrainger–oneofAustralia’smost
significantcomposers–howeverhiscompositionsfor,andhisassociatedactivities
withinthemedium,predominantlyfollowedhisrelocationandensuingnaturalisation
intheUnitedStatesfrom1914.LittleisknownregardingotherAustraliancomposers.
Indeed,asMartinHardyhaspointedout,“alackofwindbandresearchhasresultedina
dearthofinformationconcerningtheperformersandcomposerswhoare,andhave
been,directlyinvolvedinthemovement.”4
Nevertheless,therehavebeenanumberofendeavoursthathaveidentifiedandeven
examinedAustraliancompositionsforthewindband.In1977and1985,theAustralian
MusicCentre(AMC)publishedcataloguesofrepertoireconcerningbrassensemble,
brassband,andmilitaryandconcertbandmusic,5andmorerecentlyaselective
compendiumofAustralianworksforbandwasassembledbyMichaelBurch-Pesses.6
AlongwithGrainger,Hardyhasspecificallyexaminedselectedwindbandcompositions
ofAlexanderLithgow,andDavidStanhope,7whilstalsobrieflyacknowledgingseveral
othercomposersforthemedium.However,theseeffortshavelargelyrecognised4MartinHardy,“TheDevelopmentoftheAustralianWindBand:AnHistoricalOverview
withReviewofSelectedWorks”(MMusThesis,UniversityofNewSouthWales,1995),
54.5AustralianMusicCentre,ed.,"CatalogueofAustralianCompositionsVI:Militaryand
BrassBandMusic”(Sydney:AustralianMusicCentre,1977);AustralianMusicCentre,
ed.,“CatalogueofAustralianBrassandConcertBandMusic”(Sydney:AustralianMusic
Centre,1985).6MichaelBurch-Pesses,TheBandDownUnder:AustralianComposersandTheirWorks
forBand(Hillsboro,Oregon:BPPublications,2015).7Hardy,“TheDevelopmentoftheAustralianWindBand.”
2
contemporaryandactivecomposersforthewindband,andwherethefewidentified
worksbyprecedinggenerationsarelisted-withtheexceptionofLithgowandGrainger
–littleisaddressedbeyondtheirtitle,instrumentationandduration.Thislackof
investigationandthesubsequentexpansionofknowledgeitwouldbringtothetopic
raisesthefollowingquestions:whoelsehaswrittenforthewindbandinAustralia,and
inparticular,haveanyworksbeenproducedbythoserecognisedasthecountry’s
leadingcomposersfromgenerationspast?
Intheintroductiontohisstudy,HardymentionsthatDonBanks,NigelButterley,
GeorgeDreyfus,StephenLeekandPeterSculthorpehavewrittenforthewindband,yet
theirworksarenotidentified.8Toidentifythesecompositions,andthosethatmayhave
alsobeenwrittenbyothersignificantpastAustraliancomposers,IsearchedtheAMC
bandcatalogues,theAMCandSymphonyServicesInternational’sonlinecatalogues,and
theNationalLibraryofAustralia’sTrovesearchengine.9Thesewerethemostrelevant
databases,repositoriesandcataloguesforsuchaninvestigation.Searchtermsforonline
sourcesincluded‘windband’orothertitlesforthemediumlistedbyRehrig,alongwith
‘Australia,’‘Australian,’orthenamesofcomposers.Whereapplicable,thesearchwas
alsorestrictedtomusicalscoresonly.Thisidentifiedmanywindbandworks,including
compositionsforwindbandbythecomposerslistedbyHardy.10Importantly,thesearch
alsorevealedworksbyothercomposersrelevanttomyenquiry:DulcieHolland,Robert
Hughes,WilliamLovelock,JamesPenberthyandLarrySitsky.
8Hardy,“TheDevelopmentoftheAustralianWindBand,”1-2.9TrovesimultaneouslysearchesalargenumberofimportantAustraliancollections
includingtheNationalLibraryofAustralia,StateandTerritoryLibraries,andUniversity
libraries.Seehttp://trove.nla.gov.au/general/about10IfHardyisreferringtoBurkeandWills:SuiteforSymphonicBandasSculthorpe’s
contribution,itisnotanoriginalcompositionforwindband.Rather,itwasarrangedfor
themediumafterhisscoreforthefilmofthesamename.Othersettingsoftheworkalso
existfororchestraandbrassband;seePeterSculthorpe,BurkeandWills:Suitefor
SymphonicBand([London]:FaberMusic,c1985).
3
Thesecomposers,alongwiththoseaforementionedbyHardy,areallwidelyrespected
fortheircontributionstoAustraliancompositionand,withtheexceptionofLeek,were
activeduringthemid-twentiethcentury.Yet,manyoftheirwindbandworksexistas
handwrittenscoresorsurviveassketches,11andasaresulthaveoftenremained
unpublished.Othersarenotlocatable,12oraretooshortindurationtowarrant
individualinvestigationbyastudythissize.13However,amongstthesecompositions,
theearliestsubstantialandeasilyaccessibleisPentadbyNigelButterley.14Composedin
1968foranensembleoftwenty-sevenwoodwindandbrassinstruments,Pentadwas
writtenatatimewhenAustraliancompositionwasincreasinglybecomingcritically
acknowledged,bothlocallyandinternationally.
Uponinspection,Pentad’sextantsourcesarenotinasatisfactoryconditiontoprovide
forfaithfulperformances.Whileacompletemanuscriptinthecomposer’sautograph
hassurvived,itsmusicaltextissmudgedanddifficulttoaccuratelyreadinplaces,and
thefinalpagehasbeenpartlyobscuredbybinding.Anexaminationofthework’s
instrumentalpartsrevealstherearenumerouserrorsincomparisontotheautograph
score,andtheyaregenerallyawkwardtoread.Variousphotographicfacsimilesof
Butterley’sautographscorealsoexist,buttheirpoorqualitylargelymakesthem
unsuitableforperformance.Takingintoaccountthephysicalconditionofthework,itis
unsurprisingtonotethattherehasbeenagapofovertwenty-sevenyearsbefore
Pentad’smostrecentperformancein2016,whichwasaresultofthisstudy.15
11DulcieHolland’sStanmoreRoadMarchsurvivesasapianoscoresketchatthe
NationalLibraryofAustralia.12OnlyonescoreforWilliamLovelock’sthreerecordedworksforwindbandis
locatable.13Forexample,RobertHughes’Flourish:forthe86thBirthdayofIgorStravinskyis
approximately50secondsinduration.14NigelButterley,Pentad(Sydney:J.Albert&Son,c1969).15See“AustralianStories,”AustralianMusicCentre,accessedJuly21,2016,
http://www.australianmusiccentre.com.au/event/australian-stories
4
GiventhecontinuedprogressofthewindbandmovementinAustralia,16andaninterest
inencouragingnewwindbandcompositionsbylocalcomposers,17therevelationthat
Butterley–oneofAustralia’smostsignificantcomposers–hascomposedaserious
workforthemediumshouldnotbeignored.Asthisthesisoutlines,thedevelopments
andactivitiesinthewindbandmovementinAustraliafollowingtheSecondWorldWar
werenotasdynamicasthoseintheUnitedStates,andsotheinvestigationtowhy
Butterleychosetowriteforthemediumatthistimeisanimportantconsiderationfor
Australianwindbandheritage.
Toensurefutureperformance,studyandassessmentofthework,thisthesisprimarily
documentsthecriticalinvestigationofaneweditionofPentad.Aninterviewconducted
withthecomposerhasassistedinthistask,whilealsosheddinglightonButterley’s
motivationsandinfluencesbehindPentad’scomposition,andhisconsciousnessofthe
windbandmediumatthetime.Pentad’sconnectionstothestylisticdevelopmentsin
thewindbandmovementarealsoexamined,alongwithitsclassificationwithinthe
greaterwindbandrepertory.
16Forinstance,theSydneyConservatoriumrecentlyestablishedapostgraduatewind
conductingprogram.SeeTheUniversityofSydney,"InternationalWindConductorDr
JohnLynchAppointed,"accessedDecember15,2015,
http://music.sydney.edu.au/international-wind-conductor-dr-john-lynch-appointed/17TheinauguralABODANSWandWorldProjectsSouthPacificAustralianWind
SymphonyCompositionCompetitionwasheldattheAustralianInternationalMusic
Festivalin2017.SeeWorldProjects,“AustralianWindBandCompositionCompetition,”
accessedMay1,2016,http://www.worldprojects.com.au/wbcc.htm;ABODANSW,
“ABODANSWandWorldProjectsSouthPacificproudlypresenttheinaugural
AustralianWindSymphonyCompositionCompetition,”Facebook,February11,2016,
https://www.facebook.com/abodansw/posts/10153959755043470
5
2. Literature Review
2.1 Discussion of Pentad in the literature
ComparedtoanumberofButterley’sotherworksforlargeensemble,scholarly
discussionofPentadislargelyshortandconcise.In1972,JamesMurdochprovideda
shortdescriptionoftheworkamongstalargelybiographicalaccountofButterley’s
careertodate,18howeveritislackingindetail.AcloserexaminationofPentadwas
completedin1975byDavidSwale,19whooutlinedthestructureandtrajectoryofthe
fivemotivesthatconstitutethework.AlthoughSwale’schapterprovidesmoredetails
onButterley’sdevelopmentsandcompositionalapproachthanMurdoch’s,Pentad’s
evaluationanditsrelationshiptoButterley’sotherworksisrelativelyunexplored.
Pentadwasnotassessedagainuntil2005whenDavidHowardJonesundertookthefirst
critiqueofButterley’scompositionaloutputfromhisfirstworksuntil2001.20Through
interviewsheldwiththecomposer,Jonesprovidesinterestinginsightsintothe
backgroundofPentad,thoughdetailsconcerningButterley’schoiceofinstrumentation
andhisknowledgeofwindbandmusicarelargelyun-investigated.Ananalysisofthe
workfollows,howeveritismorestructuralandnarrativethandetailedandexhaustive.
AmorecomprehensiveanalysisofButterley’sworkswascompletedbyElliotGygerin
2015.21GygercloselyexaminesPentadbychartingitsformandanalysingthespecific
constructionofitsfivemotives.SimilaritiestoStravinsky’sSymphoniesofWind
Instrumentsareidentified,thoughButterley’sconsciousnessofthisconnectionisnot
addressedbyGyger.Butterley’soverallcompositionaldevelopment,andthechangesin
hismannerandapproacharealsosuccinctlyprovidedinanintroductiontothestudy.
18JamesMurdoch,Australia'sContemporaryComposers(Melbourne:SunBooks,1975),
51-55.19DavidSwale,“NigelButterley”inAustralianCompositionintheTwentiethCentury,ed.
FrankCallawayandDavidTunley(Melbourne:OxfordUniversityPress,1978),207.20DavidHowardJones,“TheMusicofNigelButterley”ed.MichaelEwans(Unpublished
Ph.D.thesis,TheUniversityofNewcastle,2005).21ElliotGyger,TheMusicofNigelButterley(Malaysia:WildbirdMusic,2015).
6
Pentadis,however,absentfromastudyregardingAustraliancompositioninthe1960s
byCliveO’Connell.22Arguingthatthedecadewasa‘fulcrum’tothestylisticchangein
Australianmusicthatwastooccurinthetwentiethcentury,O’Connellexaminessix
importantcomposersfromthisperiod,includingButterley.AfewofButterley’sworks
andtheirbackgroundarediscussed,andanexplorationofhisinfluencesand
interactionswithothercomposers,conductors,performersandartistsistraced.One
workexaminedbyO’ConnellisButterley’sExplorationsforPianoandOrchestra(1970),
whichhedescribesasabstractandintellectualincharacter,citingitasrepresentativeof
anobviouschangefrom“thelyricalexpansivenessofhisothermajorproductions
duringthe1960s.”23GiventhatPentadalsonotablymirrorsO’Connell’sstylistic
descriptionofExplorations,andwascomposedtwoyearsearlier,itsomissionhereis
perhapsindicativeofalackofawarenessoftheworkbythebroaderAustralianmusical
community.
Evenamongsttheliteraturespecificallyonwindbandrepertoire,Pentadisbarely
addressed,evidencedbyitsabsencefromanumberofcataloguesofwindband
compositions.Twocataloguestoappearinthe1980sbyAmericanpublishers24failto
includePentad,despiteitsUSpremiereinChicagoin1978.25Pentadisalsoabsentfrom
therecentcompendiumofAustralianworksforwindbandbyBurch-Pesses.26Detailing
nearlyfortycomposersandone-hundredandsixoftheirworks,Burch-Pesseshas22CliveO’Connell,“MusicalCompositioninAustraliainthePeriod1960-1970:
IndividualTriumphorHistoricalInevitability?”(MMusthesis,TheUniversityof
Melbourne,2000).23O’Connell,“MusicalCompositioninAustralia,”122.24SeeBandMusicGuide:AlphabeticalListingofTitlesandComposersofAllBandMusic,
Vol.1,(Evanston:InstrumentalistCo,1982);DavidWallace,andEugeneCorporon,Wind
Ensemble,BandRepertoire(Greeley:UniversityofNorthernColorado,SchoolofMusic,
1984).25PentadwasperformedbytheNorthwesternUniversitySymphonicWindEnsemble
onthe4thofFebruary,1978,conductedbyNigelButterleyhimself.Detailsofthis
concertarediscussedinchapter6.1.26Burch-Pesses,TheBandDownUnder.
7
contributedtowardstherecognitionofAustraliancomposerswhohavewrittenforthe
windband.Yet,concedingthathissurveycannotcoverallAustralianworksforband,27
Burch-Pessesinsteadfocuseslargelyuponrepertoireforhighschoollevelensemblesby
contemporarycomposers.Onlyfivecompositionsofgradesix(professional)levelare
identified,thelevelatwhichPentadwouldbeexpectedtobeincluded.Asthisisthefirst
catalogueofAustralianwindbandmusictoappearinthirtyyears,28Pentad’somission
hereisdisappointing.However,giventhatBurch-Pesses’focusappearstobeuponmore
recentcompositionsofalowerdifficultythanPentad,andthephysicalstateofthescore
andinstrumentalparts,thisissomewhatunderstandable.
Significantly,Pentadislistedina1993AmericanstudybyJayGilbertwho,byupdatinga
previousstudybyEricOstling,29haspresentedconductorevaluationsofwindband
compositionsagainstameasureofartisticquality.Pentadwasnominatedbyone
participant–conceivablyJohnP.Paynterwhowasinvolvedinthework’sonly
documentedperformanceintheUSin1978–andjudgedtobe80%initsartistic
merit.30Suchanencouragingassessmentoftheworkisincontrastwithitsabsencein
discussionsofAustralianwindbandliterature,andprovidesadditionaljustificationof
itsfurtherexaminationinthisthesis.
2.2 Formal studies into Butterley
Inrecentdecades,growinginterestinButterleyhasyieldedavarietyofstudiesintohis
compositionaloutput.AstudybyAlisonMcCubbinexaminesthestylisticdevelopment
27Burch-Pesses,TheBandDownUnder,18.28ThepreviouscatalogueofAustralianwindbandmusicwaspublishedin1985bythe
AustralianMusicCentre.SeeAustralianMusicCentre,ed.,“CatalogueofAustralian
BrassandConcertBandMusic”(Sydney:AustralianMusicCentre,1985).29ActonEricOstlingJr.,“AnEvaluationofCompositionsforWindBandAccordingto
SpecificCriteriaofSeriousArtisticMerit”(Ph.D.thesis,TheUniversityofIowa,1978).30JayWarrenGilbert,"AnEvaluationofCompositionsforWindBandAccordingto
SpecificCriteriaofSeriousArtisticMerit:AReplicationandUpdate"(D.M.,
NorthwesternUniversity,1993),84.
8
ofButterley’ssolovocalmusic,31amediumhighlysuitedtohisexpressionofnon-
musicalideas,andreflectiveofhisliteraryinspirations.Butterley’scontributionsto
stringquartetwritingisaddressedintwostudies,32andGraemeSkinnerhasproduceda
comprehensiveanalysisofhis1991orchestralworkFromSorrowingEarth,33including
detailaboutthebackgroundandnatureofthework.Morebroadly,Butterley’s
compositionalapproachanddevelopmenthasbeenevaluatedbyJones,andnotably
Gygerintheirstudiesmentionedabove.Astylisticoverviewhasalsobeenconductedby
SebastianBonaccorso,34howeverboththisstudyandanotherbyCatherineFlaherty35
uponthedevelopmentofButterley’svocalmusicarecurrentlyunobtainable.
ThesestudiesattesttotheinterestinevaluatingButterley'scompositionalstyle,andhis
importantcontributiontotheemergenceofauniquelyAustralianvoiceinwesternart
musicfromthe1960s.AlthoughPentadisaddressedintheabove-mentionedtexts,
nonehaveexaminedtheworkinitscontextasawindbandcomposition.Thisraises
questionsofButterley’sknowledgeofotherwindbandworksatthetime,bothwritten
inAustraliaandabroad,andtheconsiderabledevelopmentsinthemediumfromthe
mid-twentiethcentury.Similarly,hisawarenesstotheconnectionsbetweenPentadand
Stravinsky’sseminalworkSymphoniesofWindInstrumentswarrantinvestigation.
31AlisonMcCubbin,"AnIntroductionfortheSingertotheSoloVocalworksofNigel
ButterleywithParticularEmphasisonhisWorksBetween1976and2003"(Ph.D.diss.,
LouisianaStateUniversity,2004).32NatalieWilliams,“AustralianStringQuartetMusic,1965-1983:AStudyofStylistic
Developments”(B.Mus(hons.)Thesis,UniversityofAdelaide,1998);PeterWatters-
Cowan,“NigelButterley’sStringQuartets:CompositionalProcessesfromSketchto
Score”(Ph.D.Thesis,UniversityofNewSouthWales,2009).33GraemeSkinner,NigelButterley’sFromSorrowingEarth:anAnalysis(Sydney:Sounds
Australia,1992).34SebastianBonaccorso,“NigelButterley:AStylisticOverview”(BCS(hons.)thesis,The
UniversityofWollongong,1991).35CatherineFlaherty,“NigelButterley’sVocalMusic.AStudyofStylisticDevelopment”
(B.Mus(Hons.)Thesis,UniversityofNewEngland,1987).
9
3. Background and Context of Pentad’s Composition
3.1 Australian composition prior to 1960
Australiancompositionunderwentarapidtransformationduringthe1960s.This
decadesawlocalcomposersembraceacontemporarymodernistaestheticintheir
music,bringingAustraliancompositioninlinewiththeconcurrentdevelopmentsby
EuropeanandNorthAmericancomposers.Priortothis,Australiancomposershad
largelyframedtheirexpressionwithinthemusicaltraditionsinheritedfromtheBritish
Empire.36AsRhoderickMcNeillpointsout,therewasasignificantnumberofBritish-
bornmusicprofessorsandconductorsinAustralia37intheearlytomid-twentieth
centurywhowereactiveascomposers.38WorksbytheseBritishexpatriates,alongwith
otherlocallyborncomposers,wereoftenjudgedbycommentatorsatthetimeasbeing
inastyleregardedasoverlyfamiliarandoutdated.39Suchwasthegeneralregardof
contemporaryAustraliancompositionatthetimethatDonaldPeart,theheadofthe
departmentofmusicattheUniversityofSydneyfrom1947-1974,40retrospectively
argued“thatin1956,therewasreallyalmostnothingworthperforminginthewayof
strictlycontemporarymusicinAustralia.”41
36DavidTunley“AustralianCompositionintheTwentiethCentury:ABackground”in
AustralianCompositionintheTwentiethCentury,ed.FrankCallawayandDavidTunley
(Melbourne:OxfordUniversityPress,1978),1.37McNeilllistsEdgarBainton,EugueneGoossens,FritzHart,JoshuaIves,andGeorge
Marshall-Hall.38RhoderickMcNeill,"Migrantsymphonies:thesymphoniccontributionofresident
BritishcomposerstoAustralianmusicallife,"inProceedingsoftheNationalSymposium
onMigrantSecurity2010(UniversityofSouthernQueensland,2010):153-158.39RogerCovell,Australia’sMusic:ThemesofaNewSociety(Melbourne:SunBooks,
1967),158.40PeartwasalsothefoundingpresidentoftheSydneybranchoftheInternational
SocietyforContemporaryMusic(ISCM)in1956.41DonaldPeartandHazelDeBerg,DonaldPeartinterviewedbyHazeldeBerginthe
HazeldeBergcollection[soundrecording](August8,1969),accessedJuly14,2016,
http://nla.gov.au/nla.obj-220873565
10
ThelackofdevelopmentsinAustraliancompositioninthefirsthalfofthetwentieth
centurywasincontrasttotheriseofmodernisminEuropeanandNorthAmerican
musicsincearound1900.Evolvingintovariousdistinctformsintheearlytwentieth-
century,modernism’smostsignificantmanifestationinmusicwas12-noteserialism,
developedbytheSecondVienneseSchool.AsMurdochnotes,serialismdidnotappear
inAustralianmusicuntiltheearly1950s.42Otherformsofmodernismtoappear
includedexperimentalism,aleatoricmusic,andtheincorporationoffolkmusicand
traditionalformswithinacontemporarymusicallanguage.Lackingtheorganisationof
theSecondVienneseSchoolmovement,thelatterformwasassociatedwithcomposers
IgorStravinsky,BélaBartókandtoalesserdegree,PaulHindemith.
ThemusicalvocabularyofStravinsky,BartókandHindemithwouldhoweverfindits
wayintotheworksofanumberofAustraliancomposersduringthe1940sand50s.
CompositionsbyJohnAntill,CliveDouglas,DorianLeGalliene,RaymondHanson,
TrevorJones,andMargaretSutherlandhavebeennotedtoformabridgebetweenthe
conservatismofearlytwentiethcenturyAustraliancompositionandthewidespread,
up-to-dateadoptionofmodernisttechniquesthatwastooccurfromthe1960s.
Althoughanumberofthesecomposerswereinitiallyrecognisedandcritically
supported,McNeillpointsoutthatbythe1960stheywere“seenasderivativeandold-
fashioned.”43Yet,threeworksfromthisperiodaretodaynotedassuccessfulexamples
ofearlyAustralianmodernism;JohnAntill’sballetCorroborree(1946),andRaymond
Hanson’sPianoSonata(1938-40,rev.1963)andTrumpetConcerto(1947).
CorroboreewassoonlabelledbycommentatorsasAustralia’sdelayedanswertothe
primitivismanddissonanceofStravinsky’sinfluentialLeSacreduPrintemps(1913).44
Yetremarkably,Antillclaimedtohavenotheardtheworkbeforecomposinghis
42Murdoch,Australia'sContemporaryComposers,xii.43McNeill,"Migrantsymphonies,”153.44FredBlanks,“JohnAntillandhisCorroboree”(TheSydneyMorningHerald,6April,
1984).
11
ballet.45CorroborreealsomarkedachangefromAntill’searlierconservativeand
accessiblestyleofcomposition;asDavidSymonsargues,hislaterworksfollowedthe
neo-classicistand“neo-tonal”languagethatwassharedbyotherprogressiveAustralian
composersatthetime,althoughneverasaggressivelyasitwasinCorroborree.46
Hanson,ontheotherhand,wasstronglyinfluencedbyHindemith’stheorieson
harmonyandcomposition,yetMurdochclaimedthatmostofhismusicwasconsidered
tobetooprogressiveforAustraliantastesatthetime.47Recentstudies,however,
suggestthatbothHansonandhismusicinsteadsufferedunfairlyfromdiscrimination
bycriticsandthemusicalestablishmentfromthe1950sonward.Hanson’sartisticand
socialbeliefsledhimtobecomeinvolvedintradeunionconcerts48andtheAustralian
CultureDefenceMovement,whichwaserroneouslybrandedasa‘communistfront’by
thenPrimeMinisterRobertMenzies.49Suchanassociationduringthecoldwarappears
tohavebeenresponsibleforthedeclineinhiscareer,whichasSandraRidgewellpoints
out,“hadbegunintheearly1940sinablazeofgloryandcriticalacclaimonlyto
inexplicablypeterout.”50RecentreconsiderationofHanson’smusichasreaffirmedits
significanceandquality,mostnotablyinaday-longsymposiumheldbytheSydney
Conservatoriumin2013,honouringthe100thyearofhisbirth.51
45PatriciaBrown,“JohnAntill”inAustralianCompositionintheTwentiethCentury,ed.
FrankCallawayandDavidTunley(Melbourne:OxfordUniversityPress,1978),44.46DavidSymons,“CorroboreeandAfter:JohnAntillasa‘One-workComposer’?,”
MusicologyAustralia34,no.1(2012):53-80.47Murdoch,Australia’sContemporaryComposers,113.48JoannaDrimatis,“RaymondHanson:OneManandHisMusic,”Limelight,November
14,2013,accessedOctober8,2016,
http://www.limelightmagazine.com.au/Article/364209,raymond-hanson-one-man-
and-his-music.aspx49SandraRidgewell,"MusicinTheServiceoftheStateandthePoliticsofStyle:Makinga
MusicCultureinAustralia"(Ph.D.thesis,SydneyUniversityofTechnology,2008),292.50Ridgewell,"MusicintheServiceoftheState,”x.51AustralianMusicCentre,“RaymondHansonCentenarySymposiumandConcert,”
accessed15August,2017,
12
3.2 Australian composition in the 1960s: a period of stylistic transition
AlthoughanumberofAustraliancomposersincludingAntillandHansonhad
stylisticallydepartedfromthepriorconservativedispositionofAustralianmusic,their
musichadlittleinfluenceuponthesucceedinggeneration.Rather,theuptakeofpost-
1945modernistpracticesbythisgenerationhasbeenassessedbyO’Connelltoberesult
ofacombinationoffactors:areactiontothereluctanceofmoreestablishedcomposers
tofullyembraceserialism,atonality,chancemusicandtheavant-garde;thepresenceof
youngtalentedcomposerswhowereeagertodoso;thedeterminationofinfluential
conductors,administrators,criticsandacademicswhosupportedthem;andthe
accessibilityofinternationalcontemporarycompositionsthroughrecordingsandlocal
performance.52
WiththenotableexceptionofHanson,Australiancomposersalsofoundnewlevelsof
supportthroughthedevelopmentandpromotionoftheirwork.Thelegislated
requirementoftheAustralianBroadcastingCommission(ABC)toreserve5percentof
itsbroadcastsfor‘localcontent,’andtheABC’ssubscriptionandyouthconcert
programsensuredperformancesofcontemporaryAustralianmusicwerebothheldand
heard.Theestablishmentofanumberoffoundations,bothprivateandgovernment
funded,alsoyieldedalargenumberofcommissionedworks.DavidTunleyrecords
eighty-sixmajorcommissionsduringthedecadefromorganisationsincluding
Australianschools,universitiesandsocieties,theABC,MusicaViva,theAustralasian
PerformingRightAssociation(APRA),citycouncilsandtheAustralianOpera.53
Suchdevelopmentsnotonlyresultedinanincreasednumberofworksbeingcomposed,
butalsoanewlevelofsophisticationandmaturityofcomposition.Indeed,ratherthan
merelyimitatingcurrentmodernistidioms,thenewgenerationofcomposersembraced
thesetechniquesandpracticesbyself-fashioningthemintotheirownhighlyoriginal
http://www.australianmusiccentre.com.au/event/raymond-hanson-centenary-
symposium-and-concert52O’Connell,“MusicalCompositioninAustralia,”127-134.53DavidTunley,“ADecadeofMusicalCompositioninAustralia:1960-1970,”Studiesin
Music5(1971):70-71.
13
works.54AsAdrianThomaspointsout,theywouldreceivenotableencouragementfrom
localcommentatorsandcritics,particularlythosebasedinSydney,whoreviewedtheir
compositionswith‘asignificantlevelofsupport.’55Theinterestandhighevaluationof
contemporarymusicsawthepresentationofnewworksbyfourteenAustralian
composersacrossthreeconcertsbytheInternationalSocietyforContemporaryMusic
(ISCM)atthe1964AdelaideBiennaleFestivalofArts.56Similarly,Australianmusicwas
alsoincreasinglyheardabroadthroughentriesintointernationalcomposition
broadcastpanelsandcompetitions,andinternationaltoursbyAustralianperforming
artsorganisations.57Withsuchdevelopments,Murdochdeclaredin1971that
“Australianmusichasnowendedajourneytowardsinternationalismandhascomeof
agemusically.”58
3.3 Butterley’s compositions from the 1960s
AlongwithcontemporariesPeterSculthorpeandRichardMeale,Butterleyisregarded
asoneofAustralia’smostsignificantcomposersofthetwentieth-century.However,his
overallstylisticapproachhasoftenbeenconsidereddifficulttocategoriseanddefinein
comparisontohispeers.KerryGordonhaslinkedButterleystylisticallytotheBritish
humanitariantraditionofRalphVaughanWilliams,BenjaminBrittenandMichael
Tippett,59andButterleyhashimselfacknowledgedEnglishmusic,includingVaughan
Williams,asanearlyinfluence.60WhilehestudiedprivatelywithHansonin1957,
Hanson’sadvocacyfortheprinciplesfoundinHindemith’stextsonharmonyandtheory
failedtohaveansignificantimpactButterley,anditwasnotuntiltheearly1960sthat
54Covell,Australia’sMusic,269.55AdrianThomas,“AustralianCompositioninthe1960sand'70s:TheCriticas
Patron,”inSoundsAustralian:JournaloftheAustralianMusicCentre55(2000):8-9.56PeartandDeBerg,DonaldPeartinterviewed.57AnoverseastourbytheSydneySymphonyOrchestrain1965isoneexample.58Murdoch,Australia'sContemporaryComposers,xii.59KerryGordon,NewClassicalMusic:ComposingAustralia(Sydney:UNSWPress,2009),
189.60NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
14
hismusicbegantobecomemoreprogressivethanthestatusquo.Completedonhis
returnfromstudyinginLondonwithSouth-AfricanborncomposerPriaulxRainier,
Laudes(1963)becamehisfirstworktoincorporateserialtechnique.
Fromthe1960sonwards,Butterley’smusichasbeenregularlycitedasintegraltothe
adoptionofcontemporarymodernisminAustralianmusic,61andhecameinto
internationalattentionin1966afterwinningthePrixItaliaforhisradiophonic
compositionIntheHeadtheFire.HavingrecentlyassessedButterley’soutputintothree
distinctperiods,Gygerdateshismiddleperiodfrom1964to1975,describingitas“an
invigoratingexplorationofmodernistpossibilities.”62Towardstheendofthedecade
Butterley’scompositionswerenotedfortheirabstractnature,63thoughasAndrewFord
states,hismusichasneverbeenregardedas“aggressivelymodern.”64Indeed,Butterley
hasretrospectivelydescribedhimselfas“anold-fashionedmodernist,”65andadmits
thathefoundthestrictadherencetoserialismtoberatherarid.66AsGygerpointsout,
Butterleywouldutilisetheprinciplesofserialismasastartingpoint,67andworksfrom
thisperiodfeaturepolyphonicandheterophonictexturesoftenderivedfromthe
technique.
Pentad,composedin1968,undoubtedlyembodiestheseelements.Consistingoffive
motivesthatareeachrepeatedfivetimes,Pentadisanotablyabstractworkamongst
Butterley’soutput,bothinitsnon-representationofextra-musicalideas,anditsoverall
form.Indeed,itsrationalisedstructureandthesubsequentexecutionofeachmotivic61MartinBuzacott,"CommissionImpossible,"Limelight,June,2006:20.62Gyger,TheMusicofNigelButterley,1.63MichaelBarkl,"Butterley,Nigel,"GroveMusicOnline.OxfordMusicOnline,Oxford
UniversityPress,accessedMay1,2016.
http://www.oxfordmusiconline.com/subscriber/article/grove/music/04465.64AndrewFord,ComposertoComposer:ConversationsAboutContemporaryMusic(St
Leonards,NSW:Allen&Unwin,1993),165.65LaurieStrachan,“Beyond60,”TheWeekendAustralian,June3,1995.66Ford,ComposertoComposer,166.67Gyger,TheMusicofNigelButterley,2-3.
15
ideareflectsthesobernuanceandintellectualismoftheabstractaestheticofthetime.
Twomotivesinparticulararealsorootedinthetechniquesofserialism,usingthe
orderedrepetitionofselectpitchesasthebasisforalterationssuchasretrograde,
truncation,transpositions,andre-arrangement.Theseareelaboratedupon,where
applicable,inthediscussionregardingthecriticalinvestigationoftheneweditionin
chapter5.3.
3.4 Wind band music in the 1960s: the avant-garde
WhileAustralianmusicunderwentanembraceofmodernisminthe1960s,anewstyle
andapproachincompositionbegantotheemergeinthewindbandrepertoire.
Describedasavant-garde,conductorLarryLivingstonassertedthattheseworkshad
stylisticallyexpandedbeyondthetraditionalidiomthathadlongbeenaccustomedin
windbandmusic.68AlthoughBattistihasreflectedthattheavant-gardeidiomwas
delayedinreachingthewindbandrepertoirebyoveradecade,69precedingeventsin
themediumlikelyencourageditsintroductionearlierthanmightotherwisehavebeen
thecase.
In1952,theestablishmentoftheEastmanWindEnsemble(EWE)byconductor
FrederickFennellfundamentallyalteredestablishedperceptionsandregardforthe
windbandasavalidartisticmedium.Contactingapproximatelyfourhundred
internationalcomposersin1953,Fennellinformedthemofhisconceptandtheflexible
instrumentationofthewindensemble.70Bythemid-1960sthisundoubtedly
encouragedanumberofsignificantcomposerswhoweretowriteforthemediumfor
thefirsttime.71FiveyearsafterFennell,conductorRobertBoudreauestablishedthe
AmericanWindSymphonyOrchestra(AWSO),alongwithanambitiouscommissioning
68LarryLivingston,"BandMusic:ANewHorizon,"TheInstrumentalist28(May1974):
82.69Battisti,TheWindsofChange,81.70FrederickFennell,“TheWindEnsemble,”AmericanMusicTeacher2,no.4(March
1953):12.71Battisti,TheWindsofChange,76.
16
project.By1972,thishadgeneratedovertwohundredworksfortheensemble’s
distinctinstrumentationfororchestralwindinstrumentswithpercussion,keyboards,
harpandstringbass.72
Giventheseriousnessofthephilosophiesbehindbothensemblesincomparisontothe
populistappealofmarchingbandsandthewindbandtraditionofJohnPhillipSousa,
theemergenceoftheavant-gardeintherepertoirefollowingtheirestablishments
seemstohavebeenaninevitableoccurrence.Thefollowingtablelistsimportantavant-
gardeworksthatwerecomposedduringthedecade.Apartfromthetwoworksby
MessiaenandonebyBielawa,allotherswerecommissionedbywindbandsorwind
bandorganisations,includingtwobytheAmericanCollegeBandDirector’sNational
Association(CBDNA),andtwobytheAWSO.Spectrum,aserialworkwhich
incorporatedelectronicsounds,waswrittenfortheMemorialHighSchoolbandin
Houston,TexasunderagrantfromtheFordFoundation.73Messiaendeterminedthe
instrumentationofEtexspectoresurrectionemmortuorumhimself,whileCouleursdela
CitéCélestewasinpartinfluencedbyHeinrichStrobel,74whosecommissionofthework
stipulatedtheuseofthreetrombonesandthreexylophones.75
72Battisti,89.73HerbertBielawa,“Spectrum,”JournalofBandResearch4,no.1(Fall,1967):12.74Strobelwasanactivepromoterofcontemporarymusicandwasappointedchairman
oftheISCMin1956.75BrianK.Shepard,“TheSymbolicElementsinMessiaen’sWorkforWindEnsemble,
‘CouleursdelaCité,’”JournalofBandResearch18,no.1(Fall,1982):52.
17
Table1.ImportantAvant-GardeCompositionsfortheWindBandduring
the1960s
MortonGould Prisms(1963)
OlivierMessiaen CouleursdelaCitéCéleste(1963)
OlivierMessiaen Etexspectoresurrectionemmortuorum(1964)
GeorgeRochberg Apocalyptica(1964)
AaronCopland Emblems(1964)
HerbertBielawa Spectrum(1966)
KrzysztofPenderecki PittsburghOverture(1967)
LubošFišer Report(1971)
WhileEmblemsisnotanavant-gardeworkinthestrictestsenseoftheword,Ihave
includedithereasitliesbeyondwhatwasaestheticallyassociatedwithtraditional
windbandmusicatthetimeofitscomposition.Despiteitsacknowledgementtodayas
notableworkinCopland’soutput,itspremiereattheCBDNA’snationalconventionin
1964wasreceivedcoollybytheverybanddirectorswhocommissionedit.76Copland
laterstatedthathe“purposelyavoided”theuseofserialisminEmblems,yetrecognised
thatit“wasatfirstconsidereddissonantandangular”followingitspremiere.77
Theimportanceofembracingtheavant-gardewasarguedbyLivingston,whoin1974
anticipateditspotentialinclosingthe‘artisticgap’betweenwindbandmusicand
westernartmusicingeneral.78ThissentimentwasalsosharedbyconductorRobert
Vagner,whoviewedtheexperimentalqualitiesoftheidiomasessentialinprogressing
theinstrumentationofthewindband,andthereforegarneringacceptanceofthe
mediumfromallcomposers.79Battistiwouldlaterobservethat“withtheinclusionof76DavidWhitwell,“TheEnigmaofCopland’sEmblems,”JournalofBandResearch7,no.2
(Spring,1971):5.77QuotedinAaronCoplandandVivianPerlis,Copland.Since1943(NewYork:St.
Martin’sPress,1989),344.78Livingston,"BandMusic,"82-87.79RobertVagner,"Avant-GardeBandLiterature"inTheCollegeandUniversityBand:An
AnthologyofPapersfromtheConferencesoftheCollegeBandDirectorsNational
18
musicinavant-gardestyles,windbands/ensemblesandtheirliteraturebecamemore
viableparticipantsinthecontemporarymusicworld.”80Regrettably,muchoftheavant-
garderepertoiretoemergeduringthedecadeneverreceivedmultipleperformances,
andasresult,hasleftlittleinfluenceuponthefuturedevelopmentofwindbandmusic.81
3.5 The wind band in Australia, post 1945
ItisdifficulttoformanaccurateassessmentoftheactivitiesofwindbandsinAustralia
from1945aslittleresearchhasbeenconducted.MartinHardy’sthesisrepresentsthe
onlybroadstudyonthetopictodate,whichexaminesthedevelopmentofthewind
bandinAustralianfromthecolonialperioduntilthelatetwentiethcentury.82
RecountingthewindbandprogramsinNewSouthWales(NSW)schoolsfrom1945,he
notestheirevolutionfrombrassbandmodels.Otherstatesandterritoriesarenot
discussed,althoughtheexistenceofequivalentwindbandprogramsissuggested.83
HardyalsohighlightssomeactivitiesoftheAustralianBroadcastingCommission
NationalMilitaryBand(ABCNMB),whichwasformedin1934.Thebanddidmuchto
stimulateinterestandpromotionofthewindbandinAustraliauntilitscessationin
1951,althoughitsrepertoireappearstohavelargelyconsistedoftranscriptions.84
ThepostsecondworldwarperiodalsosawtheestablishmentoftheAustralianArmy
SchoolofMusicin1953(latertheAustralianDefenceForcesSchoolofMusic),andthe
AustralianArmyBandCorpsin1968,yettheimpactofthesebandsuponthemusical
communityhasnotbeeninvestigated.Indeed,theabsenceoffurtherknowledge
regardingthewindbandoutsideNSWschoolsinAustraliaandtheABCNMBinthe
immediateyearsfollowing1945maysuggestalackofsignificanceintheiractivitiesand
Association,1941-1975,ed.DavidWhitwellandActonEricOstlingJr.(USA:Music
EducatorsNationalConference,1977),56.80Battisti,TheWindsofChange,85.81Battisti,84.82Hardy,“TheDevelopmentoftheAustralianWindBand.”83Hardy,39-40.84Hardy,26.
19
impactuponthebroaderAustralianmusicalcommunity.AsDanielDoylehasobserved,
thewindbandmovementinAustraliawasvoidofanationalorganisationandoutlook
untiltheestablishmentoftheAustralianBandandOrchestraDirectorsAssociationin
1985,andtheAustralianWindsin1990.85Priortothis,relativelyfewAustralian
composersundertookwritingforthewindband.
Surprisingly,fortheperiod1945-1970,Ihaveonlybeenabletoidentifytwelve
compositionswrittenspecificallyforthewindbandbyAustraliancomposers,aslisted
inTable2.86AlthoughKenny,Holland,Hughes,andButterleyonlywroteone
compositionsolelyforthewindbandintheirlifetime,Lovelock,Paviour,andPenberthy
wouldeachwriteatleastoneotherworkafter1970.87Remarkably,Penberthyappears
tohavebeenamajorcontributorforthewindbandfromthisperiod,writingfourworks
forthemedium,twoofwhichareforensemblessimilarininstrumentationtoPentad.88
ThetwocompositionslistedbyBruceSmeatonappeartobearesultofhisemployment
withtheRoyalAustralianAirForceCentralBandfrom1957-1963.Following1970,
cataloguesofAustralianwindbandmusicchartagradualincreaseinthevolumeof
workswritten.
85DanielWhitfieldDoyle,"TheOriginandDevelopmentoftheAustralianWinds"(Ph.D.
diss.,UniversityofIllinoisatUrbana-Champaign,1997),9-10.86Thistableonlyincludesoriginalcompositionsforwindbandbylocalcomposers,
excludingworkscomposedduringthisperiodthatwouldlaterbetranscribedor
arrangedforthemedium,andworksbycomposerswhowereyettoimmigrateto
Australia.PercyGrainger’sMarchingSongofDemocracy,althoughsetforwindbandin
1948,isalsoomittedasitwasoriginallycomposedin1918.87Penberthy,Nonet:forwindnonet(1991);Lovelock,HMASStilling,op.138(1973),
SuiteforWindandPercussion(1973);Paviourwouldcontinuetowritemanyworksfor
windband.EarlycompositionsincludeMusicforCelebrationI(1973),andQuantum
Madrigal,op.121(1978). 88Thesetwoworksare,Happening1970,op.118andVariationsonaRussianTheme,op.
70.
20
Table2.AustralianCompositionsforWindBand,1945–1970
JamesPenberthy TheSwamp:SuiteforThirteenWindInstruments(1955)
JamesPenberthy VariationonaRussianTune,op.70(1960)
BruceSmeaton FourCuriousDances,commissionedbytheRAAF(1962)
JamesPenberthy ClosingHymn1962CommonwealthGames,op.83for
ChoirandMilitaryBand(1962)
BruceSmeaton SuiteforMilitaryBand,commissionedbytheRAAF
(1963)
MichaelKenny ASymphonicStudyforConcertBand(1965)
WilliamLovelock AustralianaforMilitaryBand(1966).
DulcieHolland StanmoreRoadMarch,commissionedbyNewington
CollegeBand(1966).
RobertHughes Flourish:forthe86thBirthdayofIgorStravinsky(1968).
NigelButterley Pentad,commissionedbytheUniversityofSydney
(1968).
JamesPenberthy Happening1970,op.118(1969)
PaulPaviour89 Togethertheywon,op.31no.2(1970)
ThelackofinterestbyAustraliancomposersforthewindbandduringthisperiodwas
instarkcontrasttothelargenumberofcomposersabroad,particularlyinAmerica,who
weretotakeupwritingforthemediumforthefirsttime.90Indeed,theactivitiesand
developmentsintheUS,spurredonbyindividualsandorganisationsincludingtheEWE
andAWSO,didmuchtoadvancethewindbandasavalidartisticmedium,andresulted
inanumberofsignificantworksbeingcomposed.Bycontrast,noneofthelistedworks
byAustraliancomposershaveenteredintothemainstreamwindbandrepertoire,or
evenappeartobeknownbytheAustralianwindbandcommunitytoday.AsButterley
composedPentadinthiscontext,thisraisesquestionsofhisknowledgeandperception
ofthemediumatthetime,bothinAustralianandabroad.
89AlthoughPaviourhadpriorcomposedanumberofworksforwindband,hedidnot
immigratetoAustraliauntil1970.90Battisti,TheWindsofChange,65.
21
4. Methodologies
4.1 Critical editing
ThecreationofthisneweditionofPentadwaspredominatelyguidedbyJamesGrier’s
authoritativetextonthehistory,methodandpracticeofcriticalediting.91Grierhas
conciselyencapsulatedthetaskandmethodofcriticaleditingas“toestablishand
presentatextthatfullyrepresentstheeditor’sconceptionofthework,asdetermined
byacriticalexaminationofthework,itssources,historicalcontextandstyle.”92WhilstI
largelyfollowedthestagesoftheeditorialprocessoutlinedbyGrier,theirsequenceand
procedurewasadaptedtothecontextandcircumstancesencounteredinmystudy.
Grierhasadvisedthatthismaywellbethecase,statingthat“editorswillinevitably
developtheirownmethodswitheachnewedition.”93Perhapsofmoreimportanceto
mystudywereGrier’sprinciplesguidingthemannerandapproachofaneditoras
discussedthroughouthistext.Whereapplicable,thesepointsareincludedinthisand
thefollowingchapter.
Establishing the sources of Pentad
Grierbreaksdownthetaskofeditingintothreestages;“gatheringtheevidence,
classifyingthesources,andevaluatingthereadings.”94Gatheringtheevidenceconsists
offoursteps,beginningwiththelocationofmaterials.AsButterley’scareerhasbeen
basedinAustralia,asearchofscores,manuscripts,andrecordsrelatingtoPentadwas
firstundertakenthroughmajorAustralianlibraries,archivesandrepositories.Research
intothelocationswherePentadhadbeendocumentedashavingbeenperformedwould
alsolikelybesignificant,andsothelibrariesofrelevantinstitutionswerealso
examined.
91JamesGrier,TheCriticalEditingofMusic:History,Method,andPractice(Cambridge;
NewYork,USA:CambridgeUniversityPress,1996).92Grier,TheCriticalEditingofMusic,37.93Grier,7.94Grier,49.
22
Grierstatesthat“afteridentifyingandlocatingthesourcesofthetext,theeditormight
wonderwhichonesdeservecloseconsideration.”95Giventhediverselocationofscores
andmanuscriptsofPentadaroundAustralia,thesourcesthatcouldbestcontribute
distinctinterpretationsofthemusicaltextweredetermined.Threescoreswere
identifiedassuch,andtheninspectedanddescribed,firstlybyrecordingtheirdetailsas
outlinedinGrier’sappendixonsourcedescription.96Thesevenpointsofreferenceof
eachsourceareasfollows97–
Table3.IdentificationTable
1. Siglumforcodexusedinedition.
2. Location(city,town,placeoflibrary).
3. Presentshelfmark(andalternative,ifthereisone).
4. Briefstatementofcontents(detailedcomeslater).
5. Date
6. Copyist(s).
7. Ownership(allowners,contemporary,modern).Origin.
Griercontinuesthistablewithacomprehensivelistingofdescriptorsofthesource’s
materialandcontent,howeverthisformatwasomitted,andinsteadanarrative
descriptionofpointsrelevanttothisneweditionwasdocumented.
Transcription and investigation of the musical text
Onceeachsourcehasbeenlocated,inspectedanddescribed,Grierspecifiesthattheybe
transcribed.Importantly,Griernotesthatthisstep“ispartoftheprocess…thatwill
formtheeditor’sconceptionoftheworkanditscontext.”98Giventhatallsourcesused
inmyeditionoriginatedfromthecomposer,theirevaluationandclassificationwasfirst
established.Thisdeterminedaprincipalsourcefromwhichafulltranscriptionwas
95Grier,52.96Grier,227-229.97Astabledinthisappendix;seeGrier,227-228.98Grier,60.
23
taken,transferringthetextintothecomputernotationsoftwareSibelius,version7.This
largelyrepetitiveprocessassistedinformingathoroughanalysisofthecomposition,
whichinturn,gaverisetoalargenumberofeditorialquestionsrequiringresolution.
However,asGrierhaswarned,thereisadangerduringthisstageofdistortingthe
musicaltext,wheretheeditormayindulgeintransferringtheirinterpretationofthe
sourcematerialintothenewedition.99Consequently,Iseparatelynotedalleditorial
queriesthataroseduringthistask,andnoamendmentstothetextweremadeatthis
stage.Carewasalsogivenintranscribingthemusicaltextascloselyaspossibletoasit
appearedinButterley’smanuscript.Thisnotonlyconcernedtakinganaccurate
transcriptionofthetext,butalsoButterley’smannerofnotation,includinghis
idiosyncrasiesofdynamic,accidentals,articulations,note-stemdirection,andnote
beaming.
Followingthetranscription,theeditorialissuesformedfromthemusicalanalysisand
othersthatweremoreimmediatelyapparentuponinspectionoftheprincipalsource,
weretabulatedforenquiry.Thetwoothersources,deemedtobesecondarytoforming
myinterpretationofthemusicaltext,werethencomparedtotheprincipal.Differences
notalreadyidentifiedbetweenthescoreswerealsorecordedforinvestigation.Asno
barnumbersarepresentinanysources,Ihavereferencedeachissuebythebarand
pagenumberasitappearsintheprincipalsource.Anew,highresolutionphotographic
facsimilewastakenofthisscoreandisincludedasappendixC.Whileitcannotreplace
thedetailednuancesfoundbyinspectingthismanuscriptinperson,itprovidesan
adequateillustrationoftheeditorialissuesdiscussedinthefollowingchapter.Where
morecomplexissuesarepresented,Ihaveplacedselectedimagesofthisfacsimile
withinthediscussion.
Interpretation and establishment of the new edition
Grierstatesthatinthisstage,“editorssummonalltheknowledgetheyhave
accumulatedfromthestudyofthesources,therepertoryanditscomposer,aswellas
99Grier,58.
24
theirhistoricalcontextinordertofixthetextoftheedition.”100HereIformedmy
interpretationofthemusicaltextthroughacriticalassessmentofthecomposition,its
threeidentifiedsources,andconsultationwiththecomposer.Ofprimaryimportanceto
thisprocesswasmyanalysisofPentad,whichinadditiontoraisingeditorialquestions,
largelyinformedtheirsolution.Thecomparisonoftheprincipalsourcetothesecondary
sourcesnotonlyestablishedquestionablevariants,butalsoassistedindeterminingand
supportingthefindingsmadefromtheanalysis.AnexaminationofButterley’sother
worksfromthisperiodwasalsoenlighteninginunderstandingthenatureofPentad’s
composition.
Anumberofissuesconcerningscorelayout,designandnotationalconventionswere
resolvedbyconsultingauthoritativetextsuponthesesubjects.Ofprimaryreference
wasMarkMcGrain’stextonthetheoryofmusicalnotationanditsrulesand
application.101AlthoughMcGrain’sprimaryfocusisthenotationofmusicbyhand,the
conventionssetoutonhisbookareequallyapplicabletodigitalnotesetting.McGrain’s
textassistedindeterminingsolutionstotheapplicationofaccidentals,instrument
transpositionandothercurrentnotationalconventions,andareelaboratedoninthe
followingchapter.
Oncecompleted,acopyoftheneweditionandatableofeditorialchangeswere
presentedtoButterleyforinspectionandreview.Issuesthatweremorecomplexwere
consideredtobebestresolvedthroughconsultation,andthereforewerediscussedwith
Butterleyinaformalinterview.Interestingly,Butterley’sresponsesattimeswerenot
alwaysexplicit.Occasionallyhereferredaneditorialissuetomyjudgement,whileother
casesrequiredconsiderationonhowbesttoaccommodatehisresponse.
Manner of presentation and marking editorial interventions
Oncemyinterpretationofthemusicaltextwasestablished,considerationwasgivento
itsmannerofpresentation.Althoughhavingsoughttoreplicatethenotational100Grier,96.101MarkMcGrain,MusicNotation:TheoryandTechniqueforMusicNotation(Boston,
USA:HalLeonardCorporation,1986).
25
characteristicsoftheprincipalsource,theformationofthemusicaltextbasedonthe
analyticalstudyofitssourcesprecludedmyeditionbeingclassedsimplyasaprinted
replicaoftheoriginalnotation.Instead,myeditionconformedtoGrier’sdescriptionofa
criticaleditionwhichinformedthestyleofpresentation.Astheintendedaudienceofmy
editionisprimarilyperformers,editorialdiscretionwasappliedinpresentingthe
notationwithclarityandeaseofcomprehensionforitsusers.AsGrierargues,thisis
“thefirstpriority”ofacriticaledition.102However,thisdidnotimmediatelyresolvehow
myeditorialamendmentstothemusicaltextshouldbepresentedinthescore.
NicholasTemperleyhasarguedthat“nothingprintedintheoriginalsourcecanbe
obliterated,exceptfortotallyunintelligiblepassageswhichareclarifiedinthescoreand
explainedincriticalNotes.Norcananythingbeaddedunlessitisclearlyshowntobe
editorial.Ifanoteisprintedonthewrongline,itisleftasitis,butthecorrectnoteis
writtenonasmallsectionofstaffaboveorbelowtheprintedstaff.”103Grier,however
arguesthattheprintingofmaterialthatshouldbedeletedfromtheoriginaltext–such
asincorrectpitches–ismisleadingtoaperformerandinsertingeditorialmarkings
betweensquareandangledbracketsaredisorientating.104Giventhattheprimary
motivationforproducinganeweditionofPentadistoprovideanaccurateandlegible
scoreforperformance,noeditorialinsertions,markingsordirectionswereincludedin
thescorethenewedition.Instead,followingGrier’sadvice,105ashortcommentary
detailingalleditorialamendmentstothemusicaltexthasbeenprovidedinacritical
apparatusfollowingthescore.
AfullcopyoftheneweditionisprovidedasappendixD.
102Grier,TheCriticalEditingofMusic,156.103NicholasTemperley,"OnEditingFacsimilesforPerformance,"Notes,SecondSeries
41,no.4(1985),684. 104Grier,TheCriticalEditingofMusic,169.105Grier,150-151.
26
4.2 Interview
TheprimarypurposeofinterviewingButterleywastoinvestigateanumberofeditorial
issuesthatwereconsideredtobebestresolvedbydirectlyconsultinghim.The
interviewalsogaveanopportunitytoenquireintoButterley’sknowledgeofwindband
music,bothinAustraliaandabroad,andtodiscoverthegeneralbackgroundtoPentad’s
composition.TakingmethodsfromSteinarKvale’stextonqualitativeresearch
interviewing,theinterviewwasplannedintwosections.106
Firstly,alistofquestionscoveringtheeditorialissuesthatweretoberesolvedwas
prepared.Whilethesewereoftenhypothesis-testingindesign,carewastakennotto
putpressureonButterleyintheinterviewforaspecificanswer.Indeed,insomecases
Butterleyaskedformyguidanceincomingtoadecision,orleftitopenformy
consideration.Asthesecondhalfoftheinterviewmostlyconcernedtheexplorationof
broadertopicareas,thisfollowedthesemi-structuredinterviewstyleasoutlinedby
Kvale.Coveringanumberofthemes,eachkeyareawasdrawnup,andfollowedinthe
interviewasKvaleadvises:“withoutapredeterminedsequenceandformulationof
questions.”107Abackgroundtoeachtopicareawasassembled,toguidetheinterview
appropriatelywhenrequired.AshortlistofquestionsregardingButterley’sknowledge
ofAustralianwindbandmusicwasalsoprepared.
Regardingthetoneoftheinterview,Kvalestatesthat“theinterviewermustestablishan
atmosphereinwhichthesubjectfeelssafeenoughtotalkfreelyabouthisorher
experiencesandfeelings.”108GivenButterley’sageandstageinlife,carefulthoughtwas
giventoframingtheinterview.Inadditiontointroducingthecontextoftheinterview
withabriefingdescribingthepurposeandprocessoftheinterview,carewasgivenin
developingarapportthroughthequalitieslistedbyKvale;attentivelistening,respect
andunderstanding.109Similarly,adebriefingwasheldfollowingthequestions,106SteinarKvale,Interviews:AnIntroductiontoQualitativeResearchInterviewing
(ThousandOaks,California:SagePublications,1996).107Kvale,Interviews:127.108Kvale,125.109Kvale,128.
27
rounding-offtheinterviewbysummarisingwhathadbeendiscussedandinviting
Butterleytoraiseanyissuesoradditionaltopics.
Theinterviewwasconductedintwosessions,andwasdigitallyrecordedonanH2
Zoomaudiorecorder.Thefirstsessionwasheldonthe30thofOctober,2016andmainly
concernededitorialissues,theirresolution,andbackgroundtoPentad’scomposition.
Thesecondsessionwasheldonthe13thofNovember,2016,anddiscussionwasbased
aroundButterley’sknowledgeofthewindbandbothinAustraliaandabroad.Alistof
theeditorialissuesandgeneraltopicareasexploredwereprovidedtoButterleybefore
theinterview,sohecouldfamiliarisehimselfwiththesubjectmatter.Atranscriptof
wasthentakenofsectionsoftheinterviewrelevanttothisstudyandwaspresentedto
Butterleyforreview.Butterleyhoweverrequestednochangesbemade,andthe
transcripthasbeenincludedasappendixA.Asthepurposeofthisinterviewwas
predominatelyfactual,anethnographicanalysiswasnotconducted.Instead,relevant
pointsweredrawnfromtheinterviewandappliedtothestudywhereapplicable.
28
5. Critically Editing Pentad: Determining the New Edition
5.1 Investigating the extant sources of Pentad
GatheringthesourcematerialforPentadinvolvedarelativelystraightforward,yet
interestinginvestigation.AsearchontheWorldCatandTrovesearchenginesrevealed
scoreslocatedatthefollowinglibrariesandinstitutions–
• NationalLibraryofAustralia(NLA)
• StateLibraryofVictoria
• AustralianMusicCentre(AMC)
• TheConservatoriumofMusicLibraryoftheUniversityofSydneyLibrary(SCML)
• ArtsandMusicLibraryoftheAustralianNationalUniversity
• CityCampusLibraryoftheUniversityofNewcastle
• ArchitectureandMusicLibraryoftheUniversityofQueensland
• SymphonyServicesMusicLibraryofSymphonyServicesInternational(SSI)
InadditiontoascoreofPentad,theAMCwasalsorecordedtoholdasetofinstrumental
partsofthework.However,uponrequestitwasdiscoveredthatthephysicalcopieshad
beenlostamongsttheCentre’sarchives,thoughfortunatelydigitalscanswerestoredon
theCentre’scomputerdatabase.TheNLAholdstheitem‘PapersofNigelButterley,circa
1953–circa2007’intheircatalogue,whichincludesoriginalmusicscoresandworking
papersbyButterleyhimself.Uponinspection,asinglepageofsketchmaterialofPentad
andanincompletedraftscoreofthecompositionwasfoundinthiscollection,locatedin
Box6:‘OrchestraI’.110TheSSI,anorganisationsupportingbothlocalandinternational
orchestrasthroughartistdevelopment,programnotes,andscoreandparthire,holds
fourcopiesofthescoreofPentad.
110NigelButterley,DraftandsketchmaterialtoPentad,PapersofNigelButterley,circa
1953-circa2007,Box6,‘OrchestraI,’MSAcc09.081,NationalLibraryofAustralia,
Canberra.
29
5.2 Inspection, description, evaluation and classification of the sources
TheComposer’sAutographManuscript
Table4.Identification:Composer’sAutographManuscript
1.Siglum AUS-Scm.(RISMSiglum)111
2.Location Sydney,ConservatoriumLibrary,TheUniversityofSydney
Library.
3.Shelfmark FX40BUT2
4.Contents FullscoreofPentadinthecomposer’shand.
5.Date ManuscriptdatedDecember196[8].112
6.Copyist NigelButterley.
7.Ownership Copyright,1969,J.Albert&Son,Pty.Ltd.,139KingSt.,Sydney,
Australia.NowdeterminedtorestwithNigelButterley.
DespitethemanylocationsofPentad,almostallsourceswereconfirmedtobe
photographicfacsimilesofthehandwrittenmanuscriptheldbytheSCML(shelfmarkF
X40BUT2).113Thismanuscriptbearsastronglikenesstootherhandwrittenscoresby
Butterley,andwasconfirmedintheinterviewtobeproducedbyhim,andtobehisfinal
scoreofthework.114Thetextiswritteninblackinkon14leavesofmusic-linedpaper,
boundbystringinthreeplacesalongtheedges,andencasedinahardcover.Eachleaf
measures326mminwidthand437mminheight.Whilepublishingremarkshavebeen
gluedtothefirstpageofthescore–reading‘copyright©byJ.Albert&SonPty.,Ltd.,
139KingSt.,Sydney,Australia’–therearenootheridentificationorwatermarksonthe
manuscript.
111RépertoireInternationaldesSourcesMusicales.112Althoughthefinalnumberofthisyearisobscuredbythebindingappliedtothe
manuscript,thefacsimilesofthisscoreclearlyshowthedateas1968.113NigelButterley,Pentad(Sydney,Australia:J.Albert&Son,c1969),callnumberFX40
BUT2.114NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
30
Closeinspectionrevealedtwomethodsofcorrectionwereused;etchingawaythe
immediatesurfaceofthemanuscripttoremoveanerror,andtheapplicationofafresh
segmentofmanuscripttothescoretoallowthetexttoberewritten.Thesealterations
havecreatedsubtlecharacteristicswhich,inadditiontotheobvioussimilarityofscore
layout,designandhandwritingcharacteristics,helpedconfirmthoseothersasbeing
facsimilesofthismanuscript.Thereare,however,somenotabledifferencesbetweenthe
manuscriptanditsfacsimiles.Thefinalpageofthemanuscripthasbeendamaged,
whereahardcoverbindinghasbeengluedtotheedgesofthemanuscriptcoveringup
thefinalnotesoftheworkandthecompletiondate.Theinkthroughoutthescoreisalso
slightlysmudgedinplaces,thoughlargelynotimpairingthereadabilityofthetext.
Giventhesecharacteristicsarenotpresentinthefacsimiles,itislikelythatthefacsimile
ofthescorewastakenbeforethesechangestothemanuscriptweremade.
AsthisscoreisinButterley’shand,andwasidentifiedashisfinalscoreofPentad,itwas
thereforeconsideredastheprincipalsourceforthenewedition.Anewhighresolution
photographicfacsimileofthissourceisprovidedasappendixC.
TheDraftManuscriptandSketchMaterial
Table5.Identification:DraftManuscriptandSketchMaterialofPentad
1.Siglum AUS-CAnl.(RISMsiglum)
2.Location Canberra,NationalLibraryofAustralia.
3.Shelfmark MSAcc09.081,Box6‘OrchestraI’.
4.Contents CompositionalsketchmaterialanddraftscoreofPentad.
5.DateDraftmanuscriptdated9-29December1968.Sketchmaterial
undated.
6.Copyist NigelButterley
7.Ownership OriginatedfromButterley’sownprivatecollection.
ThedraftmanuscriptforPentadheldattheNLAformspartofacollectionof
handwrittenscoresbyButterley.Thetextiswrittenonverysimilar,ifnotthesame
makeofmusicmanuscriptpaperasthefinalmanuscript;thepagedimensionsare
identical,measuring326mminwidthand437mminheight,andagain,noidentification
orwatermarksonthemanuscriptwerediscovered.Itsmusicalnotationiswrittenin
31
pencil,whiletheclefsandinstrumentalbracketsalongtheleftmarginofthestaves
appearinblueink.Thescoreisunboundandincomplete,missingpages9,10,11,12,
13,14,16, 19,20,23,and24andfollowsthesameinstrumentationandlayoutasfound
inButterley’sfinalmanuscriptofthework.Interestingly,somestavesarealmostempty
ofmusicalnotationandareinsteadmarkedtoduplicateanotherinstrumentalpart
notatedatthesamepoint.Thisisindicatedbyaninitialpitchonagivenstavewitha
notespecifyingwhichinstrumentalparttoduplicate.Suchamarkingisusuallythen
followedbyhorizontallinewithanarrowabovethesucceedingstaves.Onpage25
however,manystavesareleftblankwithoutanyindicationtowhatistobenotated.
Thedraftmanuscriptdoescontainafewminornon-musicalmarkings,recording
Butterley’sintenttoreallocatethemusicofagivenstavetoadifferentpart.Thisis
markedwiththenewinstrumentinbrackets,aboveorbelowthegivenstave.An
exampleofthisappearsonthesixthpageofthemanuscript,whereButterleyhas
marked‘(bsnII)’abovethemusicaltextofthefirstbassoonpart.Thisamendmentis
indeedfollowedthrough,asinthefinalmanuscript,thislinedoesnowappearinthe
secondbassoonpart.Thedraftmanuscriptalsoincludeslessdetailofarticulations
comparedtothefinalmanuscript.
Asthisscorecontainsnomajorcompositionalnotes,changestothepresentationofthe
motives,orothersignificantdifferencestothefinalmanuscript,itwaslikelythatitwas
aclosetofinaldraftofthecomposition.However,anumberofminordiscrepancies
betweenthemusicaltextofthisscoreandthefinalmanuscriptwerediscoveredwhich
warrantedinvestigation.Thisconcernedspecificpitches,slurring,articulationsand
dynamics,whichwereimportantconsiderationsinthepreparationofmynewedition.
Consequently,thedraftmanuscriptwasdeterminedtobevaluableininformingmy
interpretationofthemusicaltextandsubsequentlywasclassifiedasasecondary
source.
Interestingly,Butterleyhasdatedthedraftmanuscriptonitsfinalpageas‘9-29
December1968.’AsButterley’sfinalmanuscriptofPentadissimplyrecordedonits
32
finalpageasbeing“finishedDecember1968,”115itispossiblethathequicklycompleted
thisscorewithinthetwofinaldaysofDecember,followingthelastdateofhisdraft.Itis
alsopossiblethat“finishedDecember1968”insteadreferstohisconceptionand
compositionofPentad,andthepreparationandcreationofthefinalmanuscriptofthe
work,whichdoescontainminordifferences,mayhavebeencompletedinthemonths
followingthedraft.
ThesketchmaterialforPentadwasfoundinthesamecollectionofpapersasthedraft
manuscriptattheNLA.ItconsistsofasingleA4manuscriptpage,withmusical
fragmentsandworkingnotes.AlthoughofferingafascinatinginsighttoButterley’s
conceptionandmannerofcomposition,thissourcedidnotprovideanyuseful
informationofvalueinpreparingthenewedition.
FacsimilesoftheComposer’sAutographScore
Consideringtheuseofthephotographicfacsimilesinthisinvestigation,Iheeded
ThomasTanselle’swarningthat“anyreproductionwhetherclearorindistinct,mustbe
suspectsimplybecauseitisnottheultimatesource.”116Indeed,mostofthefacsimilesof
Pentadlackedthequalityorclarityandprecisionindetailfoundinthefinalmanuscript,
andbeingcopiesoftheoriginal,offerednonewdatatomyinvestigation.Thefacsimiles
werethereforeignored,withoneexception.
115NigelButterley,Pentad(Sydney,Australia:J.Albert&Son,c1969),27.116ThomasG.Tanselle,"ReproductionsandScholarship,"StudiesinBibliography42
(1989):34.
33
Table6.Identification:MarkedFacsimileofPentad
1.Siglum AUS-Sb.(RISMsiglum)
2.Location Darlinghurst,Sydney.SymphonyServicesInternationalMusic
Library.
3.Shelfmark ZZ2922
4.Contents FacsimilescoreofthefinalmanuscriptofPentad.Noparts
included.
5.Date 1968.
6.Copyist NigelButterley,J.Albert&Son,Pty.Ltd.
7.Ownership Copyright,J.Albert&Son,Pty.Ltd.,139KingSt.,Sydney,
Australia.
OfthefourfacsimilesscoresofthefinalhandwrittenmanuscriptheldbytheSSI,one
wasdiscoveredtobemarkedforperformance.Thisscorecontainsshorthandmarkings
ofcues,additionaldynamics,tempoandpitchchanges,andisrecordedtohavebeen
lentouton“20/09/88c/oFoggfor1989.”Itisthereforelikelytohavebeenusedby
conductorJorgeMesterforhisperformancewiththeSydneySymphonyOrchestra
(SSO)in1989.117Followingthepremiereperformanceonthe29thofMarch1969,the
SSIalsorecordsPentadasbeinghiredoutfurtherperformancesbytheSSOintheir
1969subscriptionconcerts,andagainin1980forperformancesdirectedbyJohn
Hopkins.Itisunclearhowever,whichscore,orscores,werelentout.TheSSI’s1969
recordsalsoshowthatthreeofthefourscoreswerelentto‘JHopkins’,‘forRostrum’,
suggestingtheworkwasfeatured,oratleastconsideredtobefeaturedatthe1969
InternationalRostrumofComposersunderthedirectionofconductorJohnHopkins.118
ButterleyhadpreviouslyrepresentedAustraliaatthe1967Rostrum.
117Detailsofthisconcertareoutlinedinchapter6.1.118ThewebsiteRostrum+recordsGyörgyLigeti’sLontanoasthesole‘selectedwork’of
the1969InternationalRostrumofComposers.Detailsregardingtheotherentriesofthe
1969Rostrumhavenotbeenobtainable.SeeRostrum+.“Archives.”Accessed
September4,2017.http://rostrumplus.net/about-2/archives/
34
Thismarkedfacsimile,probablyannotatedbyconductorsMesterorHopkins,was
determinedtobeusefulinmyinvestigationasithadbeenpreparedforrehearsaland
performance.Thesemarkingsprovidedinsightintotheidentificationoferrataand
suggestionsfortheircorrection,alongwithinterpretativeperformancemarkings.As
Grierpointsout,“notext,eventhecomposer’s,isfullyauthoritative,”119andthe
existenceofsuchasourcenotimmediatelyrelatedtothecomposerhimselfoffereda
differentperspectiveonthetext.Thisscorewasthereforeestablishedasanother
secondarysource.
InstrumentalParts
Table7.Identification:InstrumentalpartstoPentad
1.Siglum AUS-Smc.(RISMsiglum)
2.Location Ultimo,Sydney.TheAustralianMusicCentre
3.Shelfmark Unknown
4.Contents PhotographicfacsimilesofinstrumentalpartstoPentad.
5.Date Unknown
6.Copyist Unknown
7.Ownership TheAustralianMusicCentre.
TheinstrumentalpartsforPentad,heldbytheAustralianMusicCentre,arestoredas
digitalscansandviewablebycomputer.Inspectionrevealedthemusicaltextofthese
partswaswritteninadifferenthandtoButterley’s,withnorecordofwhoprepared
them.Closeexaminationraisedissuesofmis-transposition,alongwithdifficultyin
accuratelyreadingthetextitselfinplaces.Asthissourceonlyintroducednewerrors
andambiguities,withoutofferingsolutionstothosealreadyidentifiedinthefinal
manuscript,itwasconsideredunreliableandthereforenottakenintoaccountin
preparingthenewedition.
119Grier,TheCriticalEditingofMusic,68.
35
5.2 Transcription
Followingtheevaluationofthesourcesatranscriptionofthemusicaltextwastaken
fromtheprimarysource.AsGrierstates,“whensourcesassociatedwiththecomposer,
suchastheautograph,oraprintededitionpublishedunderthesupervisionofthe
composer,survive,itispossibletospeakofacomposer’stext.”120Despiteapplyingsuch
authoritytothissource,myinvestigationrecognisedthepossibilityoferratamadeby
Butterleyintheactoftranscribingtheworkfromdraftscoretofinalmanuscript,andI
haveidentifiedanumberofdiscrepanciesassuch.Indeed,Butterleyhashimself
admittedthatwhenpreparinghisscoreshetendedtobeinconsistentinhismannerof
notation,121andconsequentlyIconductedmystudyofthissourcewithanopenmind.
DespiteButterley’sadmission,carewastakentoreplicatethemusicaltextascloselyas
possible.Griersuggeststakinga“diplomatictranscription,”recordingthe“source
materialexactlyasitappearswithasmanydetailsaspossible.”122Thislargely
concernedrecreatingtheidiosyncrasiesofButterley’smusicalnotationincludingtime
signatures,note-beams,andscoredesignandlayout.Discussionoftheseelements
followstheinvestigationoferrorsandambiguities.
5.3 Editorial amendments: determining errata, inconsistencies, and ambiguities
PentadisanunusualworkinButterley’scompositionaloutput,inthatitstitlereflects
theformofitscomposition.Consistingoffivemotivicideas,eachdistinctinits
assembly,expression,design,texture,andorchestration.Themotivesareeach
presentedfivetimes,heighteningthiscontrastbetweenthemineachsuccessive
statement.Theyeithergrow,diminishoralternateindynamic;intensifyorremain
consistentintheirtexture;expand,recedeormaintainaconstantlength;andvaryin
theirorchestration.Suchknowledgeofthecomposition’smotivedesign,structureand
developmentwasintegralinformingmyinterpretationofthemusicaltextinthis
120Grier,109.121NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.122Grier,TheCriticalEditingofMusic,58.
36
edition.Ofsignificantimportancetomyconsiderationswastheconsistencyor
inconsistencyofthemusicaltextthroughoutthefiveappearancesofamotive.
DuringtheeditorialprocessageneralanalyticalstudyofPentadwasundertaken.Its
findingswereconsistentwiththosepublishedbyElliotGyger.123However,insome
instances,thisanalysisresultedinamoreindepthpictureofPentad’sconstruction,
whichinturn,assistedinrevealingeditorialissuesthatmaynothavebeenatfirst
apparent.Therefore,newanalyticalinterpretationsandperspectivesoftheworkhave
beenpresentedwhenjustifyingsomeoftheamendmentsmadetothemusicaltext.In
additiontothesecomplexanalyticalerrata,thecommentaryalsorecordsmoreobvious
editorialresolutions.Thefollowingdiscussionexamineseacheditorialissuebymotive.
Motive A
TheopeningmotiveofPentadconsistsoftwocontrastingsections,orphrases.Taking
thefirststatementasanexample,thefirstphrase,occurringinbars1-3ofpage1,isa
clusterconsistingofatoneandtwosemi-tonesbetweenthesuccessivemultioctave
entriesofthepitchesB-flat,C-naturalandB-natural.Ineachsubsequentstatementthis
phrasegraduallydiminishesinlengthwhere,asGygerobserves,theoctaves“areone
quavershorteroneachsuccessiveoccurrence.”124Thesecondphrase,inbars4-5,
combinesquick,oftenflourishedfiguresinaconversationalfashionoveradissonant
homophonicaccompaniment.Ineachstatementtheseflourishesareassignedtoa
differentfamilyofinstruments,andsimilarly,thehomophonicaccompanimentis
variatedinitsorchestration.
Inthefirst,secondandfifthstatementstheseflourishesareslurred;however,closely
studyingthesefigureshereraisesaneditorialissueregardingthespecificapplicationof
theslursinrelationtothenotatedpitches.InthefirsttwostatementsofmotiveA
(pages1and4)thebeginningpointofeachslurintheflourishedfiguresisunclear,as
theslursarealmostalwaysnotatedasbeginningbetweenthefirstandsecondnotes
(seephotographicexample1).Studyingthefifthstatementofthisphrase,beginning123Gyger,TheMusicofNigelButterley,96-100.124Gyger,98.
37
fromthesixthbarofpage20,doesnotassistindeterminingasolutionastheseslursare
markedasbeginningfromeitheroneofthefirstthreenotesofthephrase,oragain
somewhereinbetween.Theequivalentpointsinthedraftmanuscriptaresimilarly
unclear.ThesediscrepancieswereraisedwithButterley,whoagreedthatthelikely
solutionwastobegintheslurfromthefirstnoteofeachflourish.125Takingtheexample
oftheFluteIpartinthefifthbarofpage1,Butterleyconcludedthattheslurwas
“pointing”tothefirstnoteofthisflourish,andifitappeareduncleartothereader,it
wasbecausehedidn’twantthescore“tolookmessy.”126
PhotographicExample1:Slurredflourishedfigures
Anothernoticeableambiguityinboththeprincipalsourceandthedraftmanuscriptis
thespecificpointoftheapplicationofdynamicswithinthefirstphraseofthismotive.In
itsfirststatementinpage1oftheprincipalsource,therearenewdynamicsmarkedin
thebrassinthesecondbar,andagaininthebrass,oboes,coranglais,bassoonsand
contrabassoonsinthethirdbar.However,asthesedynamicsareplacedbetweentwo
successivenotes,theirpointofimplementationisopentointerpretation(see
photographicexample2).Thisissueisalsofoundinthethirdstatementofthismotive,
whereinthefourthbarofpage11,thedynamicsintheTrombone,BassoonI,II,and
Contrabassoonpartsareagainmarkedinthemiddleofaduration.
125NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.126NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
38
PhotographicExample2:Applicationofdynamics
Oneplausibleinterpretationisthattheyshouldbeappliednotatthebeginningofa
note,butinsteadataspecificpointduringit,correspondingtotheentryor
rearticulationofotherinstrumentsthatalsosharethenewdynamic.Forinstance,inthe
firststatement,thetrumpetsandtrombonescouldchangefrommezzo-pianotomezzo-
forteonthesecondbeatofthesecondbar,matchingtheentriesofthebassoons,
contrabassoon,oboesandcoranglais,andtherearticulationofthetubawhichareall
markednowatmezzo-forte.ThiswassuggestedtoButterleywhoconfirmedthiswas
likelyhisintention.Butterley,however,experimentedwithaddingasmallcrescendo
precedingthenewdynamicsbeforedecidingthateachchangeshouldinsteadbe
subito.127Inordertobestillustratethistotheperformer,eachnotevaluehasbeen
deconstructedandre-notatedusinglessernotevaluestiedtogether,toshowwithno
uncertaintytheprecisepointatwhicheachdynamicshouldbeapplied.Thishasbeen
appliedtoallstatementsofthismotivewherethisambiguityoccurs.
InthesecondstatementofmotiveA,theCoranglaisandClarinetIandIIpartsappearto
bemissingaccentsinthethirdbarofpage4.Thisisincontrastwiththefirst,thirdand
fourthstatements,whereButterleyalwaysmarkseachentryofthesesuccessivemulti
octavenotesofB-flat,C-naturalandB-naturalasaccented.Thepassageismarkedwith
accentsinthedraftmanuscriptheldbytheNLAandIhavethereforeincludedthemin
thenewedition.
Inthesamestatement,thedraftmanuscriptincludesan‘8va’markingabovetheE-flat
clarinetinthefirstthreebarsofpage4.However,intheprincipalsourcethesebarsare
missingthisdirection.Althoughattheextremeendoftheinstrument’sregister,thisis127NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
39
possibletoplay.ThiswasraisedwithButterleywhothoughtitwouldbemoredramatic
toplacetheE-flatclarinetuptheoctavehere.128An‘8va’signhasthereforebeen
includedintheneweditionoverthesethreebars.
InthefifthstatementofmotiveA,thereisonepitchthatisdifficulttoread.Thefifthlast
quaverofpiccoloIinthefirstbarofpage21,couldeitherbereadasaC-sharporB-
natural.AninspectionofthedraftmanuscriptheldattheNLAshowsthisnotelegibly
markedasaC-sharp,andIhavethereforemarkedthispitchsimilarlyinthenew
edition.
Onthesixthbarofpage20theentriesoftheOboeIandIIpartsappeartobemarked
onestavehigherthantheyshouldbe,withtheOboeIpartappearinginwhathasbeen
consistentlythroughoutthescoreanunmarked,emptystaveseparatingtheflutesand
oboes.Giventhesepartstieacrossapageandaresubsequentlymarkedinthe
appropriatestaves,Ihavethencorrectedthisscribalerrorbyenteringtheseparts
appropriatelyinthenewedition.
TheflourishedfiguresthatappearinthesecondphraseofmotiveAareanassemblyof
manynotesunderasinglebeam(seephotographicexample1).Markedasgrouped
quaverswithadiagonalslashthroughthefirstnote’sbeam,thesefiguresappearsimilar
toannotationdefinedbyHowardRisattiinhiscatalogueofcontemporarynotations.129
Risattistatesthat“thebeamingdoesnotindicateabsolutedurationalvalues.”130Inthe
interview,Butterleyassertedthatallnoteswritteninthismannershouldbe“playedas
quicklyaspossible.”131ComparedtotheexampleprovidedbyRisatti,Butterleyhas
adaptedthesenotationsbyspecifyingrhythmicallywhentheyaretobeginineachbar.
Thefirstnoteofeachfigureisalwaystwicebeamed;onebeamisusuallymarkedabove
thestaveandadjoinstoallothernotesofthatfigurethatfollow,whiletheotherbeamis128NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.129HowardRisatti,NewMusicVocabulary:AGuidetoNotationalSignsforContemporary
Music(Urbana:UniversityofIllinoisPress,1975).130Risatti,NewMusicVocabulary,9.131NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
40
markedasasinglequaver,usuallybelowthestave,measuringwhenthefigureistobe
playedinthebar(seephotoexample).Restsalwaysprecedeandfollowthissingle
quavernote.Inordertodistinguishbetweenthetwoelementsofthesenotations,Ihave
changedthesizeofthenotesthatbeamabovethestavetoacue-size,whilemaintaining
thestandardsizeforthesinglequavernotethatisbeamedbelow.Thisistohelp
performersdistinguishbetweenthenotewhichindicateswhenthefigurebegins,and
thosenotesmakeupthatparticulargesture.Insomeinstancesintheprincipalsourcea
similardistinctionisapparent.Asthesefiguresarenotausualformofnotation
encounteredbymostperformers,adefinitionofhowtoexecutethemhasbeenincluded
intheintroductionoftheedition.ThisisinaccordancewitharecommendationbyGrier
oncontemporarynotations.132
Ofallthesegestures,onlyoneisnotateddifferently.Inthefifthbarofpage4,theOboeI
partismissingthesinglequavernotebeamedbelowthestavethatdetermineswhen
thefigureistobebegun.Consideringthetightspaceinthescoreduetothehigh
beamednotationinthestaveimmediatelybelow,itsaccidentalomissionisconceivable.
Inthedraftmanuscriptbothbeamsarepresentinthisbar,althoughtheyare
awkwardlyreversed;thesinglenoteisbeamedup,andthefollowingnotesarebeamed
down.TomatchallotheroccurrencesofthisgestureIhaveaddedasinglequavertothe
beginningofthisfigure.Thecomputernotationsoftwareusedenablesthespace
betweenstavestobeadjusted,allowingmetofollowbeamingthesinglequaverdown
andthefollowingnotesupasinallotherexamples.
Motive B
InimmediatecontrasttomotiveA,thefirstthreeoccurrencesofmotiveBconsistofa
densechordaltextureinhomorhythm.AsGygerobserves,the“heavybrasscontribute
isolatedinterjections,duplicatingnotesalreadysoundinginotherinstruments.”133By
thefourthandfifthoccurrencesofmotiveB“afurtherelementoflayering”is
introduced,where“theensemblesplitsintothreerhythmicallyinterlockinggroups.”134132Grier,TheCriticalEditingofMusic,59-60.133Gyger,TheMusicofNigelButterley,98.134Gyger,99.
41
Myanalysisofthetrajectoryandsubsequentdevelopmentsofthismotivewas
approachedinadifferentmannertoGyger’s,andhelpedestablishanumberof
importanterratainthismotive.
Gygerhasanalysedthismotivevertically,statingthatitis“aloopingsequenceoften
chords,oneofwhichisrepeatedattheendofthecycle.”135Healsonotesthat“each
chordcontainsfourpitch-classes.”136Alternatively,Iapproachedthismotive
horizontally,determiningfourvoicesthatmakeupthetotaloftenchordsand
establishingaspecificelevennotesequenceineachvoice(seeexample1).Inthefirst
twostatementsofmotiveB,thefourvoicesappearinthesequenceasoutlined;
however,thesecondstatementbeginsthissequencethreenoteslaterthanthefirst.
Eachsequenceisheardinfullbeforerepeating,yettherhythmisalwaysvaried,andthe
finalcycleofeachstatementisoftennotcompletedbeforethemotiveconcludes.Inthe
firstthreestatementsofmotiveB(beginningonpages2,7,and14)eachofthefour
voicesisdoubledbyfiveinstruments.
Example1:MotiveB,firstandsecondstatements
135Gyger,98.136Gyger,98.
42
Inthefirststatement,onevoicewasfoundhowevertohaveapitchalteredinonecycle
ofitssequence.Inthefinalquaverofthefirstbarofpage2,theinstrumentssharingthe
fourthvoice–theFluteII,Coranglais,Bassclarinet,ContrabassoonandHornIVparts–
arenotatedtoplayaD-flat.Asthisnoteinallothercyclesinthefirsttwostatementsof
themotiveisconsistentlymarkedasaD-natural,thediscrepancyhereraisesaquestion.
InthemarkedfacsimileofPentadheldbySSI,anatural-signhasbeenpencilledbefore
thenotefollowedbyaquestionmark,suggestingthisshouldinsteadbeaD-natural.The
Draftmanuscriptsupportsthisfindingwherethepitchisclearlymarkedassuch.Given
thedifferencebetweenaD-flatandD-naturalinthisinstanceconcernsanaccidental
withinthebar,itwaslikelythatButterleysimplyomittedanaturalsignbeforethis
quaverintheprincipalsource.Ihavethereforecorrectedthisomissioninthenew
edition.
BythethirdstatementofmotiveB,beginningatpage14,thefourvoicesareagain
presented,howevereachcycleofthesequenceisdisrupted.Takingthefirstvoiceasan
example,theelevennotesequenceisfirstheardtwiceinfull,whilethenextthree
iterationsareincompletealthoughretainingthefundamentalsequenceofpitches(see
example2).
Example2:MotiveB,thirdstatement;trajectoryofvoice1
Myanalysisfoundthattheothervoicesfollow,inparallel,thesamepatternasthefirst
voice;twocompletesequencesandthreedifferingtruncations.However,atonepoint
thefourthvoicewasdiscoveredtodeviatefromtheestablishedsequenceofnotes
withinthispattern.Inthesixthbarofpage14,thefinalquaverplayedbyofthe
43
instrumentssharingthisvoice–theFluteII,Coranglais,Bassclarinet,Contrabassoon
andHornIVparts–ismarkedasaD-flatintheprincipalsource,ashighlightedinredin
example3.Atallothercorrespondingpointsinthissequence,thenoteisinstead
markedasaD-natural,andallothervoicesdonotsimilarlydeviateatthispoint.
Althoughthisissuecouldnotbeclarifiedwiththedraftmanuscriptasthispagewas
missing,IhaveamendedthisnotetoaD-naturalintheneweditionasitislikely–as
wasinthepreviousissue–thatButterleysimplyomittedanaturalsignbeforethis
quaverineachpart.
Example3:MotiveB,thirdstatement;trajectoryofvoice4
BythefourthstatementofmotiveB,beginningfromthefifthbarofpage15,the
handlingofthefourvoicesbecomessomewhatmoredeveloped.AsGygercomments,
“theensemblesplitsintothreerhythmicallyinterlockinggroups,twoworkingthrough
thechordloopinitsoriginalformwhilethethirdusesitbackwards.”137Myanalysishas
revealedamorecomplexconstructionandrelationshipbetweenthethreegroupsthat
Gygerrefersto.
ThefirstgroupisrhythmicallysimilartothepriorstatementsofmotiveB,butnow
consistsofonlythreevoices.Eachvoiceisdoubledbytwoinstruments(seeexample4)
andisassignedtotheOboesIandII,Coranglaisandtrumpetsparts.Unlikethethird
statementofthemotive,thenotesequencesareagainpresentedascompletebefore
repeating.Theconstructionandsequenceofthevoicesappearstobenew,yettheyare137Gyger,99.
44
baseduponthevoicesheardpreviouslyinthesecondstatement,beginningfrompage7;
voiceoneisthesameasvoiceoneofthesecondstatement;voicetwoisacombination
ofvoicestwoandthreeofthesecondstatement,withtheexceptionofanewpitch
(markedinred);andvoicethreeisacombinationofvoicesthreeandfourofthesecond
statement,again,withtheexceptionofanewpitch(markedinred).Theirspecific
constructionisillustratedinexamples5and6,whereIhaveusedarrowstoindicatethe
selectionofpitchesofpreviousvoicesthatnowconstitutethesenewvoicesofthis
group.
Example4:MotiveB,fourthstatement:Group1
45
Example5:MotiveB,fourthstatement:constructionofvoice2,Group1
Example6:MotiveB,fourthstatement:constructionofvoice3,Group1
OnediscrepancyinthefinalmanuscriptwasdiscoveredinthethirdvoiceofGroup1.In
thesecondbarofpage17,thefourthquaverofthecoranglaispartisnotatedasaC-
sharp,yetinallothercyclesofthisvoice’ssequencethispitchisconsistentlymarkedas
aC-natural.Giventhattheonlyotherinstrumentdoublingthistone-tow–theTrumpet
IIIpart–ismarkedatthispointasaC-natural,itislikelyButterleyagainsimpleomitted
anaturalsign.Whilethiscouldnotbeclarifiedwiththedraftmanuscriptasthispage
wasmissing,IhaveamendedthisnotetoaC-naturalinthenewedition.
46
BeforeproceedingtothenexttwoerrorsdiscoveredinthisstatementofmotiveB,it
seemsprudenttodiscussthenewpitchesintroducedinvoicetwoandthreeofGroup1.
Althougheachvoicehereisaconstructofthevoicesthatappearedinthesecond
statement,thetwonewpitchesthatdonotconform–ashighlightedinredinexamples
5and6–couldbeconsideredtobeerrorsoftheirassembly.Itisalsopossiblethat
Butterleymayhavewrittenthesepitchesoutincorrectlywhenpreparingthescore.
Whateverthereasonmaybe,theirconsistencyineachcycleofthesequenceinthis
statementhasmadethemanintegralpartofthecomposition.Grier’swarningtothe
editorseemsappropriateinresolvinganyconflictinthisissue,whenhestatesthatthe
editormustbewaryofthetemptation“toimprovethecomposer,toimposeanarbitrary
stylisticstandard,ortofolloweithersourcematerialsorpreviouseditorswithout
revisionorcriticalcomment.”138
Asimilarissuewasidentifiedinthemodificationsfoundwithintwoofthevoicesof
Group3inthefourthstatement,assignedheretothebassoonandtrombones.In
comparisonwiththefirststatementofmotiveB,thesevoicesareinsteadpresentedin
retrograde(seeexample7).Voiceoneappearsasthesameasvoiceoneinthefirst
statement;voicetwoappearsasthesameasvoicetwointhefirststatement,withone
exception(markedinred);andvoicethreeappearsasvoicefourinthefirststatement,
withtwoexceptions(bothmarkedinred).Giventheircloseresemblancetothevoices
thatappearatfigure1,itispossibletoconsider–aswasthecaseinvoicestwoand
threeofGroup1–thatthesenewpitchesareerrata.Butagain,becauseoftheir
consistencyineachcycleofthesequenceinthisstatement,theyhavebecomean
integralpartofthecomposition.Itisalsopossiblethattheconstructionofthesevoices,
foundinthisgroup,andalsoGroup1ofthisstatement,followedauniquecomposition
procedurethatIhavebeenunabletorevealthroughthisanalysis.Ihavethereforemade
noalterationtotheminthenewedition.
138Grier,TheCriticalEditingofMusic,96.
47
Example7:MotiveB,fourthstatement:Group3
HavingjudgedthesesubtlechangestothevoicesofGroup3asbeingavalidreadingof
themusicaltext,Iidentifiedtwofurthereditorialissueswithinthisgroupinthis
statement.Inthesixthbarofpage16,thefirstpitchoftheTromboneIIpartisdifficult
toaccuratelydiscern.TheBassoonIIpart,whichsharesvoicetwowiththeTromboneII
part,isclearlynotatedasanA-naturalatthispointwhichisconsistentwiththe
sequenceandcycleofthisvoice.Althoughthisissuecouldnotbeclarifiedwiththedraft
manuscriptasthispagewasmissing,IhaveamendedthisnoteasanA-naturalinthe
newedition.
Inpage16oftheprincipalsource,thetrombonepartsappeartobemissing
articulations,whereinallotherpartsthroughoutthemotive,singlequavernotesare
markedasstaccatoandlongervaluesaremarkedtenuto.GiventhattheBassoonparts,
whichsharethesamethreevoicesasthetrombonesinthisstatement,aremarkedwith
articulationsinthismanner,itfollowsthatthetromboneswerelikelyintendedtobe
markedsimilarly.Indeed,wheretherestofthisstatementofthemotiveiswrittenon
pages15and17,thetrombonesaremarkedassuch.Althoughclarificationwiththe
draftmanuscriptcouldnotbemadeasthispageofthescorewasmissing,Ihave
markedthesepartswitharticulationsaccordinglyinthenewedition.
48
NoeditorialissueswerefoundinthevoicesofGroup2inthisstatement.
InthefifthandfinalstatementofmotiveB,beginningfromthefourthbarofpage23,
theensembleagainsplitsintothreedifferentrhythmically-interlockinggroups.Group2
usesthesamefourvoicesthatappearedinfirststatement,andGroup3usesthethree
voicesofGroup3fromthefourthstatement.However,itwasinfirstgroupthatthefinal
discrepancywasdiscovered.Group1returnstotheoriginalfourvoicesheardinthe
firsttwostatementsofthemotive,thoughlikethesecondstatement,itbeginsits
sequenceherethreenoteslaterthanthefirst(seeexample8).Inthesixthandseventh
quaversofthethirdbarofpage25,theinstrumentssharingvoicetwo–thePiccoloII,
ClarinetIIandOboeIparts–aremarkedbyaprioraccidentalinthatbartoplayaB-
flat.However,inallothercyclesofthisvoiceinthisandpriorstatements,thesenotes–
theeleventhandfirstofthesequence–areconsistentlybothB-naturals.Itistherefore
likelythatthisdiscrepancywasagaincausedbythescribalomissionofanatural
accidental,andwasnotadeliberateintentionbyButterley.Althoughclarificationwith
thedraftmanuscriptwasnotpossibleasthispagewasmissing,Ihaveamendedthis
notetoaB-naturalinthenewedition.
Example8:MotiveB,fifthstatement:Group1
49
Motive C
MotiveCispredominatelyaheterophonictexture,whereasevennotepitchset(see
example9)issimultaneouslypresentedbygroupsofinstruments.Acrossthefive
appearancesofthemotive,thepitchsetappearsinthreedistinctsequencesandthree
distincttranspositions,althougheachinstrumentisassignedonlyonesequenceandone
transpositionineachstatement.Similarly,onlytwosequencesandtwotranspositions
ofthepitchsetareeverpresentedineachstatement.Eachinstrumentcyclesthroughits
givensequence,eitherforwardorinretrograde,andisassignedaspecificrhythm.In
additiontothistexture,aclusterofeitherthreeorfourpitches139appearsinbrief
interjectionsagainstit,consistingeitherofflutter-tongue,rhythmicallymeasured
alternationsbetweentwoofthosenotes,trills,orblockchords.AsGygerobserves,this
motive“proceedsby[an]accumulationoflayers,”140whereineachsubsequent
occurrence,anotherlayerofthesevennotepitchset,orthethreeorfourpitchclusteris
added.Importantly,Gygerobservesthat“thelayersareintermittent,soeachelements
[sic]hasachancetobeheardaspartofakaleidoscopicallyshiftingwhole.”141
Example9:MotiveC,sevennotepitchset
InthefirststatementofmotiveC,beginninginthefifthbarofpage2,therearetwo
notesthatareambiguoustoread.ThefirstoccursintheTrumpetIIpart,wherebefore
thefinalnoteofthefirstbarofthisstatementtheimmediatesurfaceofthemanuscript
hasbeenetchedaway,suggestingtherewaslikelyanaccidentalinsertedbeforeit.
Inspectionofthedraftmanuscriptshowsthatthisnotedoeshaveanaturalsignbefore
it,butitissuperfluousasthepreviousinstanceofthisnoteinthebarisalreadymarked139Gyger,TheMusicofNigelButterley,99.140Gyger,99.141Gyger,99.
50
asanatural.Theremovalofthesurfaceofthefinalmanuscriptwasthenadeliberateact
byButterleytocorrectthisunnecessarymarking.IntheneweditionIhaveleftthis
pitchasanF-natural,althoughwithouttheredundantaccidental.
Thesecondambiguouspitchinthisstatementoccursinthefourthbarofpage3inthe
TromboneIIpart.Theonlynoteofthisbar,thisquavercouldbereadaseitheranA-
naturalorB-natural.Asallvoicesthatcyclethroughthesevennotepitchsetinthis
statementusethesametransposition,andnonehavedeviatedfromthesepitchesinany
way,itislikelythatthisnoteshouldbeaB-naturalasanA-naturalisnotpartofthe
pitchset.Thisfindingissupportedbythedraftmanuscript,wherethenoteislegibly
markedasaB-natural.IhavethereforeclarifiedthisnoteasaB-naturalinthenew
edition.
Asimilarproblemisfoundinthesecondstatementofthismotive.Inthesecondbarof
page9,thepitchofthethirdsemiquaverintheTrumpetIpartcouldagainbereadas
eitheranA-naturalorB-natural.Followingthesameinvestigationasforthepreceding
problem,Idiscoverednootherdeviationstothesevennotepitchsetineither
transpositionthatispresentedinthisstatement.AsanA-naturalisnotpartofthepitch
setinthisvoiceitislikelythisnoteshouldbereadasaB-natural.Althoughclarification
withthedraftmanuscriptwasnotpossibleasthispagewasmissing,Ihaveclarifiedthis
noteasaB-naturalinthenewedition.
Aminoromissionwasalsodiscoveredinthisstatement.Inthethirdbarofpage9,the
OboeIpartwasmissingappropriaterestsafterthefinalquintupletsemiquaverofthis
bar.Althoughclarificationwiththedraftmanuscriptwasnotpossibleasthispagewas
missing,Ihaveaddedaquaverrestbeforethefinalcrotchetrestofthisbarinthenew
editionsothatthetotalrhythmsofthisbaraddupcorrectly.
BythefourthstatementofmotiveC,arhythmicpuzzlehasbeenleftbyButterleyinthe
thirdbarofpage23.IntheOboeIIandCoranglaisparts,thenotatedrhythmicvalues
notatedofthisbardonotadd-uptothecorrecttotalaccordingtotheprescribedtime
signatureof4/4,insteadexceedingitbythevalueofaquaver(seephotographic
example3).Asnootherpartsinthisbararerhythmicallyover-allocated,norhaveany
51
barsappearedsimilarlyintheotherstatementsofthismotive,itislikelythatthisis
anotherscribalerrorandnotintendedtobeanunevenbarof9/8.Indeterminingwhat
shouldberemovedfromthesepartssotheirmeasureconformstothetimesignatureof
4/4,therestsseemedanobviouschoice.AcomparisonoftheOboeI,OboeIII,and
ClarinetIpartswhichalmostalwaysbeginandendsimultaneouslywiththeOboeIIand
Coranglaisparts,confirmsthattheinitialrestonthatbarshouldprobablybeaquaver
rest,notacrotchetrestasmarked.Althoughthisissuecouldnotbeclarifiedwiththe
draftmanuscriptasthispagewasmissing,Ihaveamendedtheserestsaccordingly.
PhotographicExample3:Rhythmicpuzzle
Thecomparisonofthefifthstatementofthismotiveaspresentedintheprincipal
sourcetothedraftmanuscriptyieldedanumberofpitchdiscrepanciesbetweenthe
two.Inthefirstbarofpage26inthedraftmanuscript,thefirstnoteofthethirdbeatin
theCoranglaispartappearsasaG-sharp,whereasanaturalsignismarkedbeforeitin
theprincipalsource.Inthesamebar,thesecondsemiquaveronbeatthreeoftheHorn
IIpartinthedraftmanuscriptalsoappearsasaG-sharp,whereasthisnoteisinstead
markedasaG-naturalintheprincipalsource.Finally,inthefifthbarofthispage,the
secondsemiquaverofbeatfourintheHornIIpartisclearlywrittenasaG-natural,
whereintheprincipalsourcethisappearsinsteadasanA-natural.Althoughmyedition
hastakenthemusicaltextasitappearsintheprincipalsourceasitsprimary
consideration,thesedivergentreadingswarrantedresolution.Ineachcasethese
identifiedpitchesformedpartofthesevennotepitchsequence,andtheirappearancein
52
theprincipalsourcematchedtheappropriatesequenceandtranspositionforthat
instrumentinthisstatement.Ihavethereforeretainedthemusicaltextasitappearsin
theprincipalsourcefortheseaforementionedpoints.
Motive D
MotiveDisasinglemonophoniclinepassedthroughvariousinstrumental
combinations,thoughprominentlybythewoodwindinstruments(seeexample10).
Beginningassevenbarsinitsfirstappearanceonpage5,Gygernotesthat“each
subsequentstatementlosesfour[crotchet]beatsfromthebeginning.”142Gygerhasalso
describedButterley’screativemanneroforchestrationofthisline,statingthatitis
“playedbyaconstantlyshiftingblendofinstrumentalcolours.”143
Example10:MotiveD,firststatement
Throughoutthismotive,theslursareonoccasionwrittentoeachsuccessivenote,
ratherthanadheringtothestandardpracticeofgroupingmultiplenotestogetherunder
asingleslur.Anillustrationofthisnotationstylecanbeenseeninthesixthandseventh
barsofexample10,andthismannerofnotationwasfoundtobeconsistentthroughout
boththeprincipalsourceandthedraftmanuscript.Similarly,slursareoftenmarkedto
beginfromthelastofagroupoftiednotes,ortofinishonthefirstofgroupoftiednotes.
ThesepointswereraisedwithButterleyastheirdistinctionmayhavebeadeliberate
142Gyger,99.143Gyger,99.
53
phrasemarkingorotherinterpretativedirection.Onstudyingthisphrase,Butterleyat
firstindicatedthatthisstyleofslurnotationimpliedexpressivenuances,howeverthen
suggestedthatallnotationsshouldappearasconsistentaspossibletothereader.144
Giventhatthisphraseisalreadymarkedespressivo,givinglicencetothemusiciansto
playwithnuance,Ihaveadaptedtheslurstoconformtothemorecommonpracticeof
groupingallnotesintendedtobeslurredunderonesingleslur.
Threeothereditorialadditionswerealsorequiredinthismotive.Inthesecond
statementtheE-flatclarinetpartappearstobemissingasluroverthefivelastnotesof
thethirdbarofpage10.Asallotherinstrumentssharingthemonophoniclineatthis
pointareslurred,andinprioroccurrencesthisbarisalwaysslurredbyallinstruments,
itsomissionwasmostlikelyunintentionalbyButterley.Whileclarificationwiththe
draftmanuscriptwasnotpossibleasthispagewasmissing,Ihaveaddedaslurherein
thenewedition.
AsimilarcasewasalsodiscoveredintheHornIIIpartinthesecondbarofpage20.
WhiletheHornIpartisslurredfromthefirstnoteofthisbartothefirstnoteofthe
followingbar,theHornIIIpartisnot.AstheCoranglaisandClarinetIpartswhichalso
shareexcerptsofthesamelineasthehornsinthisbarareslurred,andinprior
statementsthisbarisalwaysslurredbyallinstruments,itseemsthatitsomissionwas
againmostlikelyunintentionalbyButterley.Althoughclarificationwiththedraft
manuscriptwasnotpossibleasthispagewasmissing,Ihaveamendedthisaccordingly
inthenewedition.
Inthefifthbarofpage20,thedottedquavervalueintheBassclarinet,HornIIandHorn
IVpartsoddlyappearswithitsstemmarkedabovethestave.Inallotherstatementsof
themotivethisnote’sstemismarkedbelowthestave,andIhaveamendedthis
accordinglyinthenewedition.
144NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
54
Motive E
GygerobservesthatmotiveE“consistsoftwolayerseachoscillatingbetweentwo
chords,whosepitch-classcontentremainsconstantthroughout.”145Importantly,each
layerishomorhythmic.Asimpleillustrationofthisoccursfromthesecondbarofpage
six,whereonelayerissharedbythewoodwindsandhorns,andtheotherbythe
trumpetsandtrombones.Inthesecondandthirdstatementsofthemotive,the
woodwindsandthebrassareeachassignedalayer,whereasthefinaltwostatements
areheterotimbral,whereeachlayerconsistsofcombinationsofbothwoodwindand
brassinstruments.
Theonlyeditorialissuediscoveredinthismotiveoccursinitssecondstatement.Inthe
secondbarofpage8,atieappearstobemissingfromthefirsttothesecondnoteinthe
HornIpart.AsallotherpartsthatsharethishomorhythmiclayerwiththeHornIpart
aremarkedwithatie,itsomissionwasmostlikelytobeunintentionalbyButterley.
Indeed,inthemarkedfacsimileofPentadthiscorrectionisaddedbypencil,andinthe
draftmanuscriptatieispresentbetweenthetwonotes.Ihavethereforeaddedatiein
thenewedition.
5.4 Reproduction of score characteristics, notational practices and general
editorial adjustments
ThroughtheprocessoftranscriptionGrierhaswarnedofthetemptationofdistorting
themusicaltext,wheretheeditormayindulgeintransferringtheirinterpretationofthe
sourcematerialintothenewedition.146Asheasserts,“whenawrittenversionofthe
piececomesintoexistence,itembodiesthenotationalchoicesoftheparticularscribe
responsibleforthewrittenversion,andreflectsthatperson’sindividualconceptionof
thework.”147GiventhatButterleywasthescribeforthefinalmanuscriptofthework,I
considereditdesirabletocloselyreplicateasmanyofthedetailsfoundwithinthis
sourceaspossible,andIhavefollowedthesamelayout,scoredesign,andnotation
145Gyger,100.146Grier,TheCriticalEditingofMusic,58.147Grier,44-45.
55
designsinthenewedition.Yet,anumberofthesecharacteristicswerefoundtobe
inconsistentintheirpresentation.UponenquiringwithButterleyintheinterviewon
thosethatwarranteddiscussion,heremarkedthatnotationalpractices“mightaswell
beconsistent.I,asI’vetoldyouprobablyseveraltimes,Itendtobeinconsistent.”148The
discussionbelowexaminesButterley’snotationalpractices,andwhereissueor
ambiguitywasfound,Ihavenotedthesolutionsadoptedfortheirresolution.
Throughouttheprincipalsource,dynamicshaveoftenbeenmarkedtoapplytoagroup
ofstavescollectively,ratherthanbeingassignedtoeachstaveindividually.An
illustrationofthiscanbeseenintheopeningthreebarsofpage1,whereeachfamilyof
instrumentsisassignedasingledynamicdirection,oftenmarkedinthemiddleofthree
orfourstaves(seephotographicexample4).Thisshorthand-mannerofnotationwas
likelyaconsequenceofthefixedpositionoftheprintedstavesonthemanuscript,which
leaveslittlespacebetweentoapplydetailstoapartwhenledger-linesaremarked.
Computernotationsoftware,however,enablesthedistancebetweenstavestobe
adjusted,allowingforsuchmarkingstobeincludedaboveorbeloweachappropriate
stave.Ihavethereforeapplieddynamicstoallrelevantstavesinthenewedition.
PhotographicExample4:Dynamicmarkingformultipleparts
148NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
56
Anothercharacteristicthroughouttheprincipalsourceistheinconsistentdirectionof
notestemsandbeaming.Traditionally,thestemsofnoteslocatedfromthemiddleline
ofthestaveandabovearedirectedupwards,andstemsofnoteslocatedfromthe
middlelineandbelowaredirecteddownwards.149Beamingfollowsthesameprincipal,
butwhereabeamisappliedtotwonotesthatcrossthemiddleline,McGrainpointsout
that“thenotefurtherfromthemiddlelinedeterminesstemdirection.”150However,this
practicehasnotalwaysfollowedbyButterley.Onviewingsuchexamples,itbecame
apparentthattheirinconsistencywasagainoftenaresultofthefixedpositionofthe
printedstavesofthemanuscriptpaper;littlespacewasleftforappropriatestemand
beamingdirectionwheremusicaltextwasalsowrittenthestavesaboveorbelowthe
staveconcerned.AsthischaracteristicwasnotdeemedtobeintegraltoButterley’s
conceptionofthework,Ihavealteredstemandbeamingdirectiontoconformwith
commonpracticeinthenewedition.
Sharpandflataccidentalsintheprincipalsourceareoftenre-notatedwithinagiven
bar.Thisdiffersfromthestandardpracticewhereanyintroducedaccidentalis
applicabletoeachsuccessivenoteofthesamepitch,unlessadjusted,inthebaritis
appliedto.151Atfirst,thismightseemausefulassetforperformers,howeverwhenthis
practiceisnotalwaysconsistent,theirabsenceraisesthequestionofwhether
subsequentpitchesshouldbeadjusted.Indeed,theomissionofaccidentalswithina
givenbaraidedthisinvestigation’sdiscoveryoferratainmotivesBandC.Yetthis
practicehasledtoaclutteredscore,particularlyinthestatementsofmotiveCwhereup
totwoaccidentalsarere-notatedtwiceinasinglebar.Inthenewedition,Ihave
followedthestandardpracticeoftheuseofaccidentals,withtheexceptionofthe
contemporarynotationfiguresthatappearinthesecondphraseofmotiveA.Here,the
re-notationofaccidentalswithineachfigurewasdeterminedtobeusefulfor
performersasthesuccessionofnotesarerapidinspeed,comparedtothespacein
whichtheyarenotatedinthescore.Aspecificpitchwithineachfigureisoftenaltered
byseveralaccidentals,andsothere-notationherealsowasdeemedtobeanasset,149McGrain,MusicNotation,26.150McGrain,80.151McGrain,40.
57
ratherthanahindrance.Whereaspecificpitchaffectedbyasharporflataccidental
occurstwiceormoreinimmediatesuccession,thesubsequentre-notationofthe
accidentalhashoweverbeenavoided.
Inthenewedition,Ihavealsomadeuseof‘courtesyaccidentals’toassistperformersin
readingthemusicaltext.Grierpointsoutonecontextoftheiruseis“whenanote
appearsanoctaveawayfromanotethatisalteredbyanaccidental.”152Anotheruse,
detailedbyMcGrain,istheirapplicationtoatiednotethathasbeenseparatedbya
breakinpage,orsystem.153Grieralsonotestheusefulnessof‘courtesyaccidentals’in
twentiethcenturyliterature.154AsPentadisalargelydissonantwork,andthisnew
editionhasbeenpreparedwithperformersinmind,Ihaveadoptedtheiruseinboth
contextsasspecifiedbyGrierandMcGrainthroughoutthescoreandinstrumentalparts.
Thequick,flourishedfiguresthatappearinmotiveAareoftenbeamedoverabarline.
Oneexampleofthisoccursfromthethirdbarofpage4(seephotographicexample5).
However,comparingthesefiguresbetweentheprincipalsourceanddraftmanuscript
oftenshowsdifferentpointstowhereeachfigurecrossesoverabarline.Thissubtle
differencesuggeststhatthesefiguresarenotintendedtoberhythmicallymeasured
accordingtotheirproportionalspacetoabarline.Nevertheless,intheneweditionI
havematchedthepositioninthebarandthepointwhereeachfigurefallsoverthe
barlineascloselyaspossibletothewaytheyappearintheprincipalsource.
PhotographicExample5:Figuresoverthebarline
152Grier,TheCriticalEditingofMusic,164.153McGrain,MusicNotation,43.154Grier,TheCriticalEditingofMusic,164.
58
Inboththeprincipalsourceanddraftmanuscripttiesareoftenwritteninashorthand
manner,whereeachpointofatiedoesnotalignabovethetwonotesindicatedtobe
tiedtogether.Instead,ashorttieisbegunfromabovethesecondnotetowardsthe
precedingnote,butneverextendingtothefulllengthrequiredtoconnect(see
photographicexample6).Thisismostnotablewhentwonotesoflargedurationare
tiedtogether,wheretheresultantspacebetweenthemislargerthanthatbetween
notesofashorterduration.Presumablytomitigatetheunfamiliarityanduneasinessin
readingthismannerofnotation,thesetieshaveoftenbeenadjustedinpencilinthe
markedfacsimileofPentadheldbySSItothemorenormalpracticeoffullyconnectinga
tiebetweentwonotes.Asthemajorityofpublishedscorestodayusecomputer
notationalsoftwarewherethisidiosyncrasy,thoughpossibletoreproduce,isnot
commonpractice,Iconsequentlydecidedtonotreplicatethisscorecharacteristic.
PhotographicExample6:Ties
Inbarsemptyofmusicaltextinascoreitisusuallycustomarytoentera‘wholebar
rest,’orsemibreverest.However,intheprincipalsourceButterleyinsteadleavesthese
barsblank.Despitethis,thereareoccasionswhenawholebarrestispresentinthe
score.Thisusuallyoccurswherebetweentwoentriesofmusicaltext,wherean
instrumentalparthasasinglebarrest,yetthisisnotconsistentthroughoutthescore.
ThisnotationpracticewasraisedwithButterleyintheinterview,whoinstructedmeto
dowhatwasclearestforthereaders.155AftersomeconsiderationIconcludedthatthe
absenceofrestsdoesnotimpedeusersofthescore,andIhavereplicatedthis
characteristicinthenewedition.Inordertobeconsistentwithnotationalpractices,I
155NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
59
havealsoremovedwholebarreststhatappearinasinglebarbetweentwophrasesof
musicaltext.
OnoccasioninmotiveB,wheretwoormoreinstrumentssharethesamevoice,there
areinstanceswhereaspecificpitchhasbeenspeltenharmonicallyinadifferentwayin
eachpart.Anexampleofthisoccursonpage16oftheprincipalsource;inthethirdbeat
ofthefirstbar,themarkedcrotchetintheOboeIIandTrumpetIIpartshasbeen
writtenasaB-flatandA-sharprespectively.Giventhatthisidiosyncrasydoesnotaffect
thereadabilityofthemusicaltext,nordiminishitsintegrity,thesepointshavebeenleft
intheneweditionastheyappearinprincipalsource.
Traditionally,bothorchestralandwindbandfullscoresarepreparedas‘transposing
scores.’Thismeanseachstaveinthescoreisnotatedinthetranspositionspecificto
thatinstrument.Withtheadventofatonalityintheearlytwentiethcenturysomescores
begantobewritteninsoundingpitch,withtheexceptionofthecustomaryoctave
displacementofinstrumentssuchasthepiccolo,celesta,ordoublebass.156Usually
delineatedasa‘scoreinc,’itsbenefitsincludeaquickstudyofpitchwithouttheusual
obstacleoftransposition.157BoththeprincipalsourceanddraftmanuscriptofPentad
aremarkedasandwrittenatsoundingpitch,notincludingthepiccoloand
contrabassoonparts.AsitisButterley’swishtoretainthescoreinc,158andthere
appearsnomajorbenefitstoitschange,Ihavepreservedthisaspectofhisscoreinthe
newedition.Theinstrumentalparts,whicharetakenfromthenewedition,however,
followthecustomarytranspositionsforeachinstrument.
Despitethetraditionforoctavetransposinginstrumentstobewrittenanoctavehigher
orlowerthantheysound,atonepointinthecontrabassoonpartintheprincipalsource
Butterleyindicatesthatthepartbeplayedat‘actualpitch.’Occurringfromthefourth156DavidCharltonandKathrynWhitney,"Score(i),"GroveMusicOnline.OxfordMusic
Online,OxfordUniversityPress,accessedJuly17,2016,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/25241.157Grier,TheCriticalEditingofMusic,162.158NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
60
barofpage11untilthefirstbarofpage12,thiswaspresumablydonetoavoidtheuse
ofledgerlinesinthehandwrittenscore.Astheuseofledgerlinesatthispointinthe
computerisedscoreoftheneweditiondoesnotrequireexcessivespace,Ihaveedited
thesebarssothattheyarewrittenintheconventionalway,anoctavehigherthanthey
sound,soastoavoidanyconfusionontheperformerspart.
Throughouttheprincipalsource,thoughmostnotablyinmotivesBandE,successive
quavershavebeenbeamedintopairs,ratherthantheperhapsmorecommonpractice
ofgroupsoffour.ThisdetailhasbeenregardedascharacteristicofButterley’shandand
hasbeenreplicatedinthenewedition.AsimilarnotationpracticeofButterleyisthe
extensionofbeamsaboverestswhichfallwithinthesubdivisionsoftriplets,
semiquavers,quintuplets,sextupletsorseptuplets.ThisappearsinmotiveC,andon
occasion,inmotiveA.McGrainhasidentifiedthisnotationtobebeneficialwhen
complexrhythmsareused,159andthestylehasbeenreplicatedascloselyaspossiblein
thenewedition.
Thetripletrhythms,however,oftenaremissingthecustomaryfigure‘3’aboveeach
group.OneexampleofwherethisoccursisinthefirstbaroftheTromboneIIIparton
page23.Readerswillnotethatinthefollowingbar,thistripletdoesappearwith‘3’
aboveit.Forconsistency,Ihavemarkedalltripletswiththefigure‘3’inthenewedition.
5.5 Critical apparatus and introduction
Asitwasdeterminedthatallamendmentstothemusicaltextwouldnotbemarkedin
thescoreassuch,acriticalapparatuswasinsteadpreparedtoidentifyallchangesmade
inthenewedition.AlthoughGriersuggeststakingtheformatfromtheNeueSchubert-
Ausgabeasamodelforthis,160Ichosetobasemyapparatusupontheperhapsmore
familiarNeueMozartAusgabe,publishedbyBärenreiter.Eachamendmentistabledby
barandinstrumentalpart,andabriefcommentaryontheamendmentprovided.
159McGrain,MusicNotation,100.160Grier,TheCriticalEditingofMusic,173.
61
Similarly,anintroductionhasbeenincludedpriortothescoreitself,providingabrief
historicalaccountofPentad’scompositionanditspremiereperformance.Thesources
thatformedthiseditionhavebeendetailedandaconciseaccountofthismethod
discussed.Thework’sinstrumentationisprovided,alongwithadefinitionofthe
modernnotationalsymbolusedthroughoutthework.AsPentadfrequentlyswitches
betweenthreetempi–crotchetequals48,72,and108–considerationwasgivento
includemetric-modulationsinthescore.AlthoughButterleysawthebenefitoftheir
inclusion,hethoughtitbesttolistthematthebeginningofthescoresoasnotto
distracttheperformerwithtoomuchinformation.161Ihavethereforetabledeach
metric-modulationandincludeditintheintroduction.Thereisoftensomeambiguityin
theorderingofthenotationvaluesinthemodulations,howeverMcGrainhasdescribed
themostgenerallyacceptedpracticeasbeing;the“oldnote-value,followedbyitsnew
equivalentnote-value.”162
161NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.162McGrain,MusicNotation,74.
62
6. Pentad: A Critical Re-examination
6.1 Performance history
Sinceitscompositionin1968,therehavebeeneightdocumentedperformancesof
Pentad.Sevenwereheldinthespaceoftwentyyearsfollowingitspremiere,andthelast
occurredin2016.PremieredbytheSydneySymphonyOrchestraonthe29thofMarch
1969,163Pentadopeneda‘FestivalConcert’ofcontemporaryAsian,Australianand
Europeancompositionsbyadiverserangeofcomposers;OlivierMessiaen,Toru
Takemitsu,PeterSculthorpe,IsangYunandRichardMeale.ProducedbytheAustralian
BroadcastingCommission(ABC)andtheInternationalSocietyforContemporaryMusic
(ISCM),theconcertalsowasalsosupportedbytheNewSouthWalesGovernmentand
theCounciloftheCityofSydney.
Table8.Performance:SydneyTownHall,Saturday,29thofMarch,
1969.164
SydneySymphonyOrchestra,conductorMosheAtzmon.
NigelButterley,Pentad(1968)
ToruTakemitsu,MusicofTrees(1961)
PeterSculthorpe,SunMusicIV(1967)
IsangYun,ReakfürOrchester(1966)
OlivierMessiaen,LeRéveildesOiseaux(1953)
RichardMeale,SoonitwillDie(1969)
PentadwasagainperformedonJuly12thand14thin1969bytheSSOandAtzmon,
thoughitisunclearifthiswasinthesameprogram,oranincludedinanewprogram.165
163RogerCovell,"SomeMusicMakesImpact,"TheSydneyMorningHerald,March31,
1969.164FestivalConcert:Asian,Australian,EuropeanMusic,concertprogramnotes,Sydney
TownHall,Saturday,March29,1969,at8:00pm.165StephenPleskun,AChronologicalHistoryofAustralianComposersandtheir
Compositions,Vol.2:1955-1984(Bloomington,Indiana:Xlibris,2012),329.
63
PentadhasbeenperformedtwicemorebytheSSO,oncein1980,underAustralian
conductorJohnHopkins,andoncein1989,underconductorJorgeMesterinaconcert
titled‘ABC20th-centuryconcert,’markingthetwentiethyearsinceitspremiere.Details
ofthe1989concertareincludedbelow,howeveraprogrammeofthe1980concerthas
notbeendiscovered.
Table9.Performance:SydneyTownHall,Saturday,15thofNovember,
1980.166
SydneySymphonyOrchestra,conductorJohnHopkins.
Programincluded–
NigelButterley,Pentad
Table10.Performance:SydneyTownHall,Saturday,23rdofSeptember,
1989.167
SydneySymphonyOrchestra,conductorJorgeMester.
NigelButterley,Pentad
JohnCorigliano,ClarinetConcerto
JohnAdams,Harmonielehre
InadditiontoprofessionalperformancesbytheSSO,Pentadhasbeenprogrammedby
twoeducationalensemblesandtheAdelaideWindOrchestra,acommunitywindband.
In1978ButterleyhimselfdirectedthefirstperformanceofPentadintheUnitedStates
withtheNorthwesternUniversitySymphonicWindEnsemble(NUSWE).168The
programalsoincludedaperformanceofhisFanfareandProcessional(1977)for
trumpets,trombonesandtimpani.TheCanberraYouthOrchestraincludedPentadin
their1982program,andtheAdelaideWindOrchestrafeaturedtheworkinaprogram
166Pleskun,AChronologicalHistory,623.167LaurieStrachan,"SignpoststoMorePopularAccord...."TheAustralian,September
25,1989.168NoperformancematerialsofPentadwerediscoveredtobeheldinthebandand
universitylibrariesofNorthwesternUniversity.
64
entirelyofAustralianwindbandmusicin2016,169markingthefirstperformanceof
Pentadinovertwenty-sixyears.
Table11.Performance:Pick-StaigerConcertHall,Saturday,4thof
February,1978.170
NorthwesternUniversitySymphonicWindEnsemble,conductorJohnP.
Paynter,guestconductorNigelButterley.
HealeyWillan,RoyceHallSuite
DonGillis,‘Spiritual’fromSymphony5½(arr.Bainum)
NigelButterley,Pentad
GuntherSchuller,SymphonyforBrassandPercussion,op.16
NigelButterley,FanfareandProcessional
IgorStravinsky,CircusPolk
CliftonWilliams,SymphonicSuite
MalcolmArnold,TamO’ShanterOverture,op.51(arr.Paynter)
Table12.Performance:LlewellynHall,Tuesday,20thofApril,1982.171
CanberraYouthOrchestra,conductorRichardMcIntyre.
JohannesBrahms,VariationsonathemebyHaydn
MauriceRavel,PianoConcertofortheLeftHand
NigelButterley,Pentad
EdwardElgar,EnigmaVariations
169“AustralianStories,”AustralianMusicCentre,accessedJuly21,2016,
http://www.australianmusiccentre.com.au/event/australian-stories170NorthwesternUniversitySchoolofMusicSymphonicWindEnsemble,concertprogram
notes,Pick-StaigerConcertHall,Saturday,February4,1978,at8:15pm.171W.L.Hoffmann,"ContrastsinanExcellentConcert,"CanberraTimes,April21,1982.
65
Table13.Performance:ConcordiaCollegeChapel,Saturday,9thofJuly,
2016.172
AdelaideWindOrchestra,conductorBryanGriffiths.
NigelButterley,Pentad
PercyGrainger,ColonialSong
DavidJohnLang,GoingonaLionHunt
NatalieWilliams,Pendulum
MatthewHindson,RequiemforaCity
6.2 Background and composition
PentadwasButterley’sresponsetoacommissionbytheUniversityofSydneyto
produceashortorchestralworkforthetwenty-firstanniversaryofthefoundingofits
musicdepartment.173CompletedinDecember1968,itspremierebytheSSOin1969
appearstohavebeenpre-arrangedaspartofthecommission.174Despitetheavailability
ofafullorchestra,ButterleyinsteadscoredPentadspecificallyfortwenty-seven
woodwindandbrassinstruments.OnenquiringwithButterleyaboutthischoiceof
instrumentation,hesimplystated“becauseIwantedtowritesomethingdifferentto
whatI’ddonebefore.I’dwrittenpiecesforstringorchestra,I’vewrittenforfull
orchestra,andIwantedthispiecetobedifferent.”175
172“AustralianStories,”AustralianMusicCentre.173AlthoughtheSydneyUniversityArchivesweresearched,norecordofthe
commissionwasdiscoverable.174Jones,“TheMusicofNigelButterley,”402.
175NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.
66
Table14.Instrumentation:Pentad(1968)
Woodwinds Brass
2piccolos 4horns
2flutes 3trumpets
3oboes 3trombones
Coranglais Tuba
3clarinets
Bassclarinet
3bassoons
Contrabassoon
Pentad’sinstrumentationhowever,wasnotanisolatedphenomenonforButterleywho
hadpreviouslyexploredwritingforvariousensemblesfeaturingwindinstruments.
Mostnotableamongstthesewashis1966radiophoniccompositionIntheHeadtheFire.
ThoughincludingSATBchoir,solovocalists,percussion,piano,organandshofar,the
coreinstrumentationofIntheHeadtheFireisasmallwindensembleof20players.
Table15.Instrumentation:IntheHeadtheFire(1966)
Woodwinds Brass OtherInstruments
2piccolos,includingflute
2oboes,includingcoranglais
2clarinets,includingbassclarinet
2bassoons,includingcontrabassoon
4recorders(sopranino,descant,
treble,tenor,bass)
shofar
3trumpets
2horns
2tenortrombones
basstrombone
percussion,
timpani,piano,
organ,SATAchoir,
tenorsolo,
baritonesolo,
malespeaker
OtherearliercompositionsforwindinstrumentsincludedCanticleoftheSun(1965)for
threeamateurinstrumentalgroupsconsistingofvariousrecorders,flute,clarinet,2
cornets,2trumpets,horn,2trombones,euphonium,tubaandpercussion,withthe
optiontoincludestrings,andMusicforSunrise(1967)foraminimumofseven
recorders,flute,andsevenpercussioninstruments.Hisinterestinrecordersalsosaw
67
theirinclusioninhisfirstmajororchestralworkMeditationsofThomasTraherne
(1968).Butterleyhadalsowrittentwochamberworksfeaturingthewindquintet.His
strictestserialistwork176Variations(1967)waswrittenforwindquintet,pianoand
recordedpiano,whilstCarmina,fourLatinpoemsofSpring(1968,rev.1990)isfor
voiceandwindquintet.
Giventhattheseprecedingworksprominentlyfeaturedwindinstruments,Pentad’s
compositionthenappearstohavebeenaculminationofhispriorexperiences.Indeed,
ButterleyhadlittleknowledgeoftheexistenceandactivitiesofwindbandsinAustralia
atthetime,andnoneregardingthesmallbodyofrepertoiregeneratedbylocal
composersfollowing1945.177ThissuggeststhatPentadwasnotconceivedasawind
bandcompositionperse,butratherasaworkuniquelyforwindinstruments.Itslarge
woodwindsectioncomparedtothebrasswasaresultoftheSSO’srecentenlargement
fromtripletoquadruplewoodwinds.AsJonespointsout,thiswassomethingButterley
soughttotakeadvantageof178andisevidentinthework’sextensivewritingforthese
instruments.ButterleyhasaccountedforPentad’sabsenceofpercussioninstrumentsby
statingthat“IwasabitscaredofpercussionsoIdidn’tusepercussion.”179
Thework’stitleisunusualamongstButterley’soutputandwassuggestedbyFrances
Hillier,aco-founderoftheBeecroftDistrictMusicClub.Butterley,whohadearlierbeen
involvedintheclub,wasfriendswithHillier.AlthoughButterleyhadalreadybegun
composingPentad,hedidn’timmediatelyknowwhatasuitabletitlemightbeuntil
Hillier’sproposal.180Hilliermusthaveatleastbeenawareoftheformandstructureof
thework,giventhathersuggestionof‘Pentad’comesfromtheGreektermpentas
meaning“agroupoffive.”181Butterleyacknowledgedthatfindingasuitabletitleforhis176Gyger,TheMusicofNigelButterley,56.177NigelButterleyindiscussionwiththeauthor,Sydney,November13,2016.178Jones,“TheMusicofNigelButterley,”402.179QuotedinJones,“TheMusicofNigelButterley,”402.180NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.181MacquarieDictionary,s.v.“pentad(n.),”accessedSeptember6,2017,
https://www.macquariedictionary.com.au/
68
works“wasalwaysaproblem,”andtooktoHillier’ssuggestion.Fromthatmomenthe
states“itwasherpiece,”182howeverthereisnothingtoindicatethatHillierhadany
influenceontheworkbeyonditstitle.
6.3 Assessment and description
PentadhasbeenidentifiedbyGygeras“oneofButterley’smosttightlyconstructed
works,”183andsitswithanumberofhisothercompositionsfromthesameperiod,all
notedfortheirabstractaesthetic:Variations(1967),Refractions(1969),Explorations
(1970)andtheViolinConcerto(1970).However,theseworks,withtheexceptionof
Explorations,arelargelyincontrastwithtoday’sgeneralassessmentofButterley’s
musicasbeingprimarilyconcernedwiththecommunicationofextra-musical
concepts.184Butterleywouldreflectin1985thathis“bettermusicisusuallyrelatedto
somepositiveextramusicalidea,”185yetPentad’sfrequentperformanceinthefirsttwo
decadesfollowingitscompositionsuggeststhattheworkwasinitiallywellreceivedby
audiencesandprogrammers.
Inareviewofits1989performancebytheSSO,RogerCovellassertedthat“Pentad
wearsits20yearswell,”and“wasreassuringlyalive.”186Howeverinanotherreviewof
thesameconcert,LaurieStrachanquestionedthework,commentingthat“although
therewassomeinterestingmusichere,itwashardtograspwhereitwasallgoingand
why.”187StrachanwouldlaterstatethatnoneofButterley’smusichadreallyengaged
withthegeneralpublic,despiteitspositivereceptionfromhispeers.188Indeed,the
182NigelButterleyindiscussionwiththeauthor,Sydney,October30,2016.183Gyger,TheMusicofNigelButterley,97.184SeeKerryGordon,NewClassicalMusic:ComposingAustralia(Sydney:UNSWPress,
2009),189;T.HNaisby,"ButterleyScores50,"24Hours:ABCFMstereoMay,1985:8.185Naisby,"ButterleyScores50,"8.186RogerCovell,“SpongeCakeServedwithaHeadyMixture,”TheSydneyMorning
Herald,September26,1989.187Strachan,“SignpoststoMorePopularAccord....”188LaurieStrachan,“Beyond60,”TheWeekendAustralian,June3,1995.
69
generalaestheticofPentadcanbeconsideredchallengingforbothplayersand
audiencestodigestandhasbeendescribedas“afebrile,sour[s]ound,”189and“static
andrestrained.”190Otherreviewershavedrawnattentiontothecontrastingtexturesof
thefivemotivesandtheirabstractaestheticasareflectionofthemusicalzeitgeistofthe
times.Afteritspremiereperformancein1969,CovelldescribedButterleyandhismusic
as“thoroughlyofthisday,”191andprovidedaconciseaccountofPentad;“thegruff
denseformationsofwindsmovinginstifflyirregularrhythmscontrastabsorbinglywith
quick,sporadicpatternsofactivityandsteeplyarchinglyricism.”192
SuchdescriptionsofPentadarecomparabletoasetofcharacteristicsprovidedbyLarry
Livingston,whoin1974reportedontherecentemergingavant-gardewindband
repertoire.Livingstonexplainedthattheaestheticoftheseworkswas“concernedwith
exploringsoundandtextureasaprimarystructuraldevice.”193Indeed,ratherthan
developinginatraditionalmanner,Pentad’sfocusisinsteadonthejuxtapositionofits
fivemotivestooneanother,andthevarioustrajectoriesoftheircontent.Eachmotiveis
texturallycontrasting,andthevarietyoftheirdensitiesalsomatchLivingston’s
descriptionofavant-gardewindbandmusicinwhich“texturesarefrequentlyeither
impenetrablythickorsparseborderingonempty.”194
Livingstonalsodrewattentiontotheuseofneworunfamiliarnotations,andthe
uncharacteristicmanneroftheinstrumentalwritingintheseworks.195Pentadmakes
useofacontemporarynotation,asdiscussedinchapter5.3,andButterleyhimselfnoted
thereactionbymusicianstothechallengesofhismusicfromthe1960s:“Ihavea
feelingthattheSSOwaslargelyantagonistictonewworksthroughthatperiod.The
musicianswereapprehensiveand,tocomposers,notreallyencouraging.Ialwaysfelton189Murdoch,Australia’sContemporaryComposers,51.190Strachan,“SignpoststoMorePopularAccord….”191Covell,“SomeMusicMakesImpact.”192Covell,“SomeMusicMakesImpact.”193Livingston,“BandMusic,”85.194Livingston,82.195Livingston,82.
70
theouter.Someplayerwouldalwayslookforwrongnotes,orwouldrelishfinding
somethingyou’dwrittenwhichwasnotsuitablefortheirinstrument.”196
JimSamsonhasstatedthatthetermavant-gardeis“oftenusedlooselytodescribeany
artistswhohavemaderadicaldeparturesfromtradition.”197Thechallengesfacedby
performersinPentadwerenotonlydemonstrativeofthedramaticchangeinAustralian
musicalvocabulary,butalsoashiftofaestheticinButterley’scompositionalapproach
duringthelate1960s.Yet,thetermavant-gardewasnotalabelthatButterleyhimself
welcomed.InalecturetotheISCM1968,Butterleydeclared“theword“avant-garde”
hasbeenusedaboutAustralianmusic,butformetheworddoesn’tmeananythingvery
much.CertainlythemusicIwriteisn’tavant-gardeasfarasI’mconcerned;it’sjustthe
musicIwrite,whichhasnoparticularlabels.”198
6.4 Classification within the repertoire and connection to Stravinsky’s
Symphonies of Wind Instruments
Sinceitsinception,therehasbeenambiguityregardingtheclassificationofPentadas
eitherawindbandororchestralwork.AbsentfromboththeAustralianMusicCentre’s
(AMC)1977catalogueofAustralianmilitaryandbrassbandmusic199andthe1985
catalogueofAustralianbrassandconcertbandmusic,200Pentadwasinsteadlistedin
196QuotedinPhillipSametz,PlayOn!:60YearsofMusic-MakingwiththeSydney
SymphonyOrchestra(Sydney:ABCEnterprises,1992),281.197JimSamson,"Avantgarde,"GroveMusicOnline.OxfordMusicOnline.Oxford
UniversityPress,accessedOctober12,2015,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/01573198QuotedinNigelButterley,"ButterleyonButterley."Musicnow1,no.1(1969):30.199AustralianMusicCentre,ed.,"CatalogueofAustralianCompositionsVI:Militaryand
BrassBandMusic”(Sydney:AustralianMusicCentre,1977).200AustralianMusicCentre,ed.,"CatalogueofAustralianBrassandConcertBandMusic"
(Sydney:AustralianMusicCentre,1985).
71
theAMC’s1976catalogueofAustralianorchestralmusic.201Thisacknowledgmentofit
asanorchestralcompositionreflectsPentad’sperformancehistory,whenuntil2016,
Pentadhadbeenperformedalmostexclusivelybyorchestralorganisations.Thework’s
abstractaestheticwasalsoincontrasttowhatwastraditionallyregardedaswindband
musicatthetime,yetPentadisnowrecordedbytheAMCasawindbandwork.202While
PentadundoubtedlyconformstoBattisti’sdefinitionofawindband,thispast
dichotomyofclassificationisindicativeoftwodifferentsub-categoriesofwindband
instrumentationthatitreflects.
Onemannerofdescribingthework’sinstrumentationisthatofawindensemble.
Fennell’sestablishmentoftheEastmanWindEnsemblein1952engenderedanew
approachanddirectionofthemodernwindband.Asynthesisofthemilitaryband,the
concertband,andthewindsectionofthemodernsymphonyorchestra,itsdefining
featurewasitsflexibilityofinstrumentationandlimittoforty-fiveplayers.203Thiswas
incontrasttothetraditionalconcert/symphonicbandmodelintheUS,whichatthe
timeencouragednumerousplayersperpart.204Fennellstatesofthewindensemble
concept,“itwasourhopethatcomposerswouldlookuponthisinstrumental
establishmentasthebasicinstrumentationfromwhichtheycoulddeviateshoulda
particularscorerequiremoreorlessinstrumentsthanwerelisted.”205
201AustralianMusicCentre,ed.,“CatalogueofAustralianCompositions:Orchestral
Music”(Sydney:AustralianMusicCentre,1976).202“Pentad:symphonicwindband,”AustralianMusicCentre,accessedApril20,2016,
http://www.australianmusiccentre.com.au/workversion/butterley-nigel-pentad/3177203FrederickFennell,TimeandtheWinds:AShortHistoryoftheUseofWindInstruments
intheOrchestra,BandandtheWindEnsemble(Huntersville,NC:NorthLandPublishers,
2009),58.204Someuniversitybandswererecordedasnumberingclosetoonehundredmusicians,
seeBattisti,TheWindsofChange,66.205Fennell,“TheWindEnsemble,”12.
72
Table16.Instrumentation:EastmanWindEnsemble(1952).206
Reeds Brass Otherinstruments
2flutesandpiccolo 3cornetsinB-flat Percussion,harp,celeste,
2oboesandEnglishhorn or5trumpetsinB-flat piano,organ,
2bassoons 2trumpetsinB-flat207 harpsichord,solostring
contra-bassoon 4horns instruments,choral
1E-flatclarinet 3trombones voicesasdesired
8B-flat(orA)clarinets 2euphoniums
dividedinanymanner 1E-flattuba
orfewerinnumber 1or2BB-flattubas
1altoclarinet
1bassclarinet
2altosaxophones
1tenorsaxophone
1baritonesaxophone
DerivedfromthewindsectionoftheSSO,Pentad’sinstrumentationfortwenty-seven
woodwindandbrassinstrumentsisconsistentwiththeflexiblenatureofFennell’swind
ensembleconcept.Yetitsomissionofsaxophonesandeuphoniumscomparedtothis
modelinsteadsuggestsacloserassociationtoanumberofworksbaseduponthe
instrumentationoftheAmericanWindSymphonyOrchestra(AWSO).Often
incorporatingpercussion,theseworkslargelyowetheirexistencetotheformationof
theAWSOanditssubsequentcommissioningproject.
Establishedin1957byRobertBoudreau,theAWSO’sinstrumentationwasbasedona
‘doubleorchestrawindsection,’208withaddedpercussion,harp,keyboards,andastring
206Fennell,TheTimeandtheWinds,57.207ItispossiblethatFennellintendedthetrumpetandcornetsectionstoinsteadread,
“3cornetsand2trumpets,or5trumpets.”WindbandscoresbyGustavHolst,Ralph
VaughanWilliamsandRobertRussellBennetttypicallyfeature3cornetsand2
trumpetsintheirinstrumentation.
73
bass.LikeFennell’sphilosophyofthewindensemble,theAWSOmodelisbuiltonthe
conceptoffluidityofinstrumentationandtheprincipalofnon-doubling.209Notonlydid
manyoftheworkscommissionedbytheAWSOuseasimilarinstrumentationtoPentad,
theywerealsointerestinglyofasimilarmusicalaesthetic.AsJacobCainesobserves,a
largenumberofcomposerscommissionedbyBoudreau“werepurposefullyavant-garde
andfromoutsidethetraditionalwindbandworld.”210
Table17.OriginalInstrumentation:AmericanWindSymphonyOrchestra
(1957)211
Woodwinds Brass OtherInstruments
6flutes 6horns percussion
2piccolos 6trumpets harp
6oboes 6trombones keyboards
2coranglais 2tubas stringbass
6clarinets
2bassclarinets
6bassoons
2Contrabassoons
Althoughthesecompositionsreflectedtheensemble’savailableinstrumentation,like
Pentadtheiromissionofsaxophonesandeuphoniumsmarksthemincleardistinction
toFennell’swindensembleconcept.Yet,thereisnoindicationthatButterleywas
directlycommissionedtowriteaworkpurelyfororchestralwinds;theonlystipulation
appearstohavebeenthattheworkbeapproximately12minutesinduration.212Like208WarrenDaleOlfert,“TheDevelopmentofaWindRepertoire:AHistoryofthe
AmericanWindSymphonyOrchestra,”(Ph.D.Thesis,FloridaStateUniversity,1992),xii.209JosephEdwardCaines,“FrederickFennellandTheEastmanWindEnsemble:The
TransformationofAmericanWindMusicThroughInstrumentationandRepertoire”
(MArtThesis,UniversityofOttawa,2012),74.210Caines,“FrederickFennellandTheEastmanWindEnsemble,”76.211Battisti,TheWindsofChange,60.212Jones,“TheMusicofNigelButterley,”402.
74
manyofthecomposerscommissionedbytheAWSO,Butterleywasacomposerexternal
tothewindbandmovement,bothlocallyandabroad,anduponenquiringwith
Butterley,herevealednoknowledgeofRobertBoudreauandtheAWSO.213The
resemblanceofPentad’savant-gardeaesthetictomanyofAWSO’scommissionedworks
appears,then,tobepurelycoincidental.
PentaddoeshaveanumberofsimilaritiestoIgorStravinsky’sseminalwork,
SymphoniesofWindInstruments(1920,rev.1947).Writtenfortwenty-threewoodwind
andbrassinstruments,Symphoniesisregardedas“arguablythemostsignificantwork
tobecomposedforwindssinceMozart’sSerenadeno.10,K.361,‘GranPartita.’”214
InitiallyincludinganaltofluteandanaltoclarinetinF,itsoriginalinstrumentationwas
similartoanorchestralwindsection.Itsrevisionin1947sawthesediscarded,andwith
theadditionofathirdclarinettheworkcloselyresembledthestandard
instrumentationfoundinamodernsymphonyorchestrawindsection.
Table18.Instrumentation:Symphoniesof
WindInstruments(1947)
Woodwinds Brass
3flutes 4horns
2oboes 3trumpets
Coranglais 3trombones
3clarinets Tuba
3bassoons,including
Contrabassoon
BothGygerandJoneshavedrawntheparallelbetweenSymphoniesandPentad’s
instrumentation,andinparticular,Gygerhasalsonotedthesimilarityoftheirduration,
tempirelationships,andtheanalogousrepetitionofmotiveswithintheirstructures.215
WithsuchsimilaritiesitseemspossiblethatPentadmayhavetakendirectinspiration213NigelButterleyindiscussionwiththeauthor,Sydney,November13,2016.214Battisti,TheWindsofChange,31.215Gyger,TheMusicofNigelButterley,100.
75
fromSymphonies,yetButterleywasnotabletorecallifheknewoftheworkatthetime
ofcomposing.“Iprobablydidn’tknow[windworks]atthattime,ormorelikely,itwas
justgettingtoknow,becausehavingtowriteapieceforwindwassomethingI’dnever
donebefore,soIwantedtohearwhatothercomposershaddonefirst.Ican’tremember
itatthisgapofwhat,fortyyearsorsomething.”216
GivenButterley’scurrentage,217wemayneverfullyknowifhewasfamiliarwith
Stravinsky’sSymphoniesatthetimehewaswritingPentad;however,itseemsunlikely
thathewouldhavebeenunawareofthework,givenitsinclusioninahighprofile
concertbytheMelbourneSymphonyOrchestra(MSO).OrganisedbytheABC,
StravinskytouredtoAustraliain1961andheldconcertswiththeMSOandtheSSO.As
ButterleywasemployedbytheABCinSydneyatthetime,itislikelythathewouldat
leasthavebeenawareoftheperformanceofSymphoniesbytheMSO,althoughthereis
norecordofhimattendingtheconcert.AlthoughSymphonieswasnotperformedin
Sydney,218ButterleydidusehisemploymentwiththeABCtohisadvantage,takingthe
opportunitytoattendarehearsalwhenStravinskyappearedwiththeSSO.219
Stravinsky’sSymphoniesandButterley’sPentadsitcomfortablyintheircategorisation
asbothorchestralandwindbandcompositions.Itisthereforeperhapsfittingto
describethemasworksfor‘orchestralwindensemble’,reflectingtheirabsenceof
stringsandpercussionascommonlyfoundinanorchestra,andeuphoniums,
saxophonesandpercussionastypicallyfoundinawindband.JustasStravinsky’s
Symphoniesisfrequentlyperformedbybothorchestrasandwindbandstoday,Pentad,
too,deservesequalattentionfrombothmediums.Pastperformances,however,have
predominatelybeenfromorchestralorganisations.MyexaminationofPentadinthe216NigelButterleyindiscussionwiththeauthor,Sydney,November13,2016.217Butterleywas81yearsofageatthetimeofinterviewinghim.218TheconcertprograminSydneyconsistedofPulcinella,SymphonyinThree
Movements,ApollonMusagèttes,andexcerptsfromTheFirebird.219MartinBuzacottandAustralianBroadcastingCorporation,TheRiteofSpring:75
YearsofABCMusic-Making(Sydney:ABCBooks,2007),309.
76
contextofthewindbandmediumwillhopefullygenerateinterestandacceptanceofthe
workfromwindbandsinAustraliaandabroad.
77
7. Conclusion
Pentadwasoneofeighty-sixAustraliancompositionstobecommissionedduringthe
1960s.ItsmusicalstylenotonlyreflectedButterley’sowndevelopmentasacomposer
atthetime,butalsotheadoptionofamodernistaestheticinAustralianmusic.Pentad’s
strongparallelstotheemergingavant-garderepertoirewithinthewindbandmedium,
however,waspurelycoincidental,asButterleyhadlimitedknowledgeofwindband
compositionsandtheactivitiesanddevelopmentsofthemedium,bothlocallyand
abroad.Followingonfromanumberofhispriorworksthatprominentlyfeatured
winds,Pentad’sinstrumentationwasconceivedfromButterley’sdesiretocomposea
worksolelyforwinds–amarkofdifferencetohisotherworksforlargeensemble–and
itsbalanceofsixteenwoodwindandelevenbrassinstrumentsreflectedthesizeand
instrumentationofthewindsectionoftheSydneySymphonyOrchestrawhowere
engagedtopremierethecommission.
Pentad’sfrequentperformanceinAustraliabyorchestralorganisationsduringthefirst
twentyyearsfollowingitscompositionwaslikelyaresultofsupportbyconductors,
academicsandcriticsforButterley,hisgenerationofAustraliacomposers,andthe
progressivestyleofmusictheyrepresented.YetdespitereceivingitsUSpremiereby
theNorthwesternUniversitySymphonicWindEnsemblein1978,Pentadfailedtoenter
intothebroaderwindbandrepertoire.Thisappearstobeduetothework’sabsencein
variouswindbandcatalogues,anditsdistinctinstrumentationwhichmoreclosely
resemblesanorchestralwindsection,ratherthanatraditionalwindband.Indeed,the
workisnotrecordedashavingbeenperformedbywindbandinAustraliauntil2016,a
performancewhichwasadirectresultofthisstudy.
Formedthroughconsultationwiththecomposerhimself,thecriticalexaminationofhis
finalautographmanuscriptanddraftmanuscriptofthework,andofascoremarkedfor
performance,IbelievethisneweditionofPentadisasclosearepresentationof
Butterley’svisionoftheworkascanbeachieved.Importantly,thetransferenceofthe
musicaltextfromhandwrittenscoretocomputerisedformhasmitigatedagainstits
futurepotentialcorruptionordestruction.
78
Conceivedasaworkfororchestralwoodwindsandbrassforces,Pentad’sinclusion
amongstanAustralianwindbandrepertoryisperhapsnotentirelyunfitting,yetits
modernistandabstractaestheticmakesforchallenginglisteningbybothperformers
andaudienceswhomightbemoreaccustomedtothetraditionalidiomsassociatedwith
themedium.Gyger’sobservationofButterley’smusicperhapsresolvessuchobstacles
toPentad’sperformance,whilehighlightinghisuniqueapproachtocomposition-
“Butterley’smusicisoftenreluctanttoyieldupitssecretsquickly:thefifthor
tenthhearingofaButterleyworkmaybesubstantiallymorerevelatorythanthe
first.Theirmostpolemicalaspectispreciselytheirrefusalofpolemic,atatime
whenstylisticpositionswerebeingstakedoutanddefendedwithevangelistic
fervour.”220
Bycreatinganew,performableeditionofPentadcompletewithinstrumentalparts,I
hopethatthisneweditionwillenabletheworktoreachnewaudiencesinAustraliaand
abroad,alongwiththerecognitionofitsdistinctpositionamongsttheevergrowing
Australianwindbandrepertory.
220ElliotGyger,“NigelButterleyandtheProblemThatWasn’t,”ResonateMagazine
February28,2008,accessedSeptember30,2015,
http://www.australianmusiccentre.com.au/article/nigel-butterley-and-the-problem-
that-wasn-t
79
8. Recommendations for further research
AlthoughexaminingPentadasButterley’scontributiontotheAustralianwindband
repertory,thisstudyhasrevealedanumberofworkspreviouslyunrecognisedby
researchersinthisfield(listedinchapter3.5).Thiswarrantsfurtherinvestigationof
thesecompositions,theircontributiontotherepertoire,andiffoundtobeinan
unsuitableconditionforperformance,neweditionscreated.Sucheffortswouldadvance
thelocalandhistoricaltraditionofthewindbandmovementinAustralia.
Similarly,anumberofButterley’searliercompositionsmayrequireinvestigationinto
theirperformancesuitability,particularlyhisradiophonicworkforwindensemble,
choirandsoloists,IntheHeadtheFire.
80
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97
Interviewee–NigelButterley
Interviewer–BryanGriffiths
PARTONE
Date–30thOctober,2016.
Time–2:30pm
Time:0:02:27–0:09:42
BG
But,Beecrofthadsomesignificancetoyou,withtheBeecroftMusicClub.
NB
Yes,thatwasmuchlater.
BG
Yes,couldyoutellmeaboutthatperhaps?
NB
Yes,welltherewasafriendofourscalledDennisHillier.I’mjustwonderinghowwe
meettheHilliers.Can’trememberthat.ButDennishadajobinthecitynotfarfrom
TownHallStation.I’mnotquitesurewherehewas,itwasanadministrativejob.AndI
usedtogetthetraininatthattimetogototheABC,oritmighthavebeenadifferent
period.Butanyway,IusedtogototownandtravelinthetrainwithDennis…Frances
HillierandDenniswasthepersonwhoorganisedher.HedidforherwhatTomdoesfor
me.Hestoppedherfromgoingoffandsingingsomethingthatshewasn’tanygoodat,
andwouldn’tactuallyrecord,andnotspendinghertimemakingapuddingor
something...But,Francishadagoodvoice.Shewasnotayoungwomanbythattime.
ShewouldhavebeenIsuppose,becauseagoodsingercanbeuptoabouttwenty,or
twenty-five,they’regettingoldforasinger.Shehadbeenasuccessfulsingerin
Brisbane.AndsowhenshecametoBeecrofthernewishhusbandDeswasveryproudof
herbecauseshehadmadethemostofeveryopportunitywithhervoice.Andwantedto
singasmuchnewmusicasshecould.SoDenniswentberserkandeverycomposerhe
metheaskedthemtowritesomethingforhim.AndIanFarrlikedthembothverymuch
98
indeed,andwhenhesometimesusedtocomeandseeus–Idon’tthinkheeverstayed
atBeecroft,buthe,Ican’tremember,butheusedtocertainlycomeandseeusat
Beecroft…Yes,ItravelledtotowninthetrainasIsaidwithDennis,herhusbandandhe
startedtheBeecroftDistrictMusicClub.Mainlysothathecouldadvertiseherandgive
hertheopportunity,notsomuchthat,butgivehertheopportunitytoofsinging,
becauseshehadleftBrisbanewhereshehadalotofconnectionsandnowhehad
movedtoSydneytoanimportantjobwhichhewasabletogetinthecity.Andsoheand
Iusedtogetthetrainveryoften.He’dchatonaboutherandI’dchatonaboutwhatI
wasdoinganditwasaveryenjoyableandimportantsortofrelationship.
BG
DidshehavesomethingtodowithPentad,thetitleperhaps?
NB
Yes,absolutely.Thiswasabit,Iforgetwhatstageitwas,butIrememberdistinctly
comingupfromBeecroft.Inthosedaystherewerestairsgoingdownundertherailway
line,andthenyouwentupalittleramp.Itwasallveryniceandtheothersideoftheline
wasverynicetoo…IremembercomingbackhomefrombeingintownandI’dgoneto
townthatmorningwithDesinthetrain.Sheknewthathe’dbegettingoffthistrainand
thoughtIwouldprobablybetooandshecamedownandsaid,yououghttocallit
Pentad.AndIsaid,wellwhat’sthat?Andshesaidwellthat’sfive,thewordfive;
pentagraph,pentography,andallthatsortofthing.Shewasaveryintelligentwoman
andshesaid,that’swhatyoushouldcallit,Pentad.AndsoIsaidyesFrances,andfrom
thatmomentitwasherpiece.
BG
Sosheknewyouwerealreadycomposing?
NB
Ohyes.I’dalreadystartedthispieceandIneededatitleandthatwasalwaysaproblem,
becauseI’dstartwritingapieceofmusicandIdidn’twanttocallitPreludeinCor
something.IwantedtocallapiecewithaninterestingnameandIgotthistendency
mainlyfromKathleenRaineandbyalsomyteacher,ofcomposition,who’snameIcan’t
99
remembernow…[Hillier]knewIhadtowriteapieceforfiveinstruments,becauseI
waswritingitfortheBeecroftdistrictmusicclubandDesorganisedformoneyforan
actual,realcommissionformebecausehewas,theywerebothveryconcernedthatI
andotherpeopleshouldn’tjustdothingsbecauseitwasnicetodo.AndIcouldhave
easilysaid,ohI’lljustwritethispiece.ButI’mveryslow,andI’vealwaysbeenveryslow
atwriting.Sotherewasnopointinsaying,ohI’lljustwritethisforyou,becauseAndy
Fordcoulddothat.AndyFordcouldsay,ohyesI’llwritethispieceforyou,yes,andyou
needitsoonright?Nextmorninghe’dturnupwithit.
BG
Oh,soyouwerealreadycomposingPentad,andFrancesHillierknewthat,andyou
didn’twant…
NB
SheknewIhadtowriteapieceforfiveinstruments,becauseIwaswritingitforthe
BeecroftdistrictmusicclubandDesorganisedformoneyforanactual,realcommission
formebecausehewas,theywerebothveryconcernedthatIandotherpeopleshouldn’t
justdothingsbecauseitwasnicetodo.AndIcouldhaveeasilysaid,ohI’lljustwrite
thispiece.ButI’mveryslow,andI’vealwaysbeenveryslowatwriting.Sotherewasno
pointinsaying,ohI’lljustwritethisforyou,becauseAndyFordcoulddothat.Andy
Fordcouldsay,ohyesI’llwritethispieceforyou,yes,andyouneeditsoonright?Next
morninghe’dturnupwithit.
BG
Soyouwerealotmoredeliberate,orperhapsjusttookalittlebitmoretimeto
compose?
NB
Yes,ittookmemoretime.SomeonelikeAndyhasaverygoodtechniqueindeed,anda
fluenttechnique.
100
Time:0:15:16–0:16:09
BG
SowhenyouwerewritingPentadin1968,canyoudescribetome,youknow,your
compositionsfromthatperiod,andperhapsanyinfluencesandinspirationsyouthat
youfound?
NB
WellIwasinfluencedofcoursebythemusicIplayed,andIplayedlargelyEnglish
music,andIlikedEnglishmusic.
BG
Canyoubeabitmorespecific?WhattypeofEnglishmusic?
NB
VaughanWilliamswasmyfavouritecomposer.WhenIwon,whenIcametopinthe
stateintheleavingcertificateinnineteen-fiftysomething,thepersonwhocamefirst
wasa…What’sthewellknownconductor,Australianconductor?
Time:0:17:02–0:18:32
BG
Butjustcomingback,youmentioned,particularlywhenyouwerestillatschool,
VaughanWilliamswassomeonewhoyoulistenedtoalotofhismusic.Butwhatabout
inthelate60s?Whatwereyoulisteningtoperhaps?
NB
Thelate60s,well1966waswhenIwrote.
BG
Well‘66wasIntheHeadtheFire,yes.
NB
That’sthekeyyear,that’sthekeyword,thetimewhenIwroteIntheHeadtheFire.I’ve
probablyrattledonaboutthatbeforehaveI?
101
BG
Notyet
NB
andPatKirkwood?
BG
Pleasetellme.
NB
Yes,wellthat’sveryimportantandIcangoonlikethatflatout,becauseIntheHeadthe
Firewas,theopportunitytowritethat,itbecamemymostimportantpieceupuntilthat
time.Anditremainsoneofthetwoorthree,two,perhapstheremaybefivepieces.I’m
thinkingofmyfourthstringquartetwhichwasanimportantpiecebecauseitwas
differentfromwhatIhaddonebefore.AndthenapiecewhichIwroteforChris
Williams.
BG
ButIntheHeadtheFireNigel,howisthatdifferentandimportanttoallyourother
previousworks?
NB
Yes,becauseitwasforradio.
BG
Right!
NB
Ihadtowriteapiecewrittenespeciallyforradio.
102
Time:0:23:38–0:32:06
BG
Well,wetriedtomovealittlebitontoPentad.
NB
Pentad,yes.
BG
Sothatwaswrittenin1968anditwascommissionedbytheUniversityofSydney.
NB
Yes.
BG
Andwe’vealreadydiscussedalittlebitabouthowFrancesHillierhadtodowiththe
title,Pentad.
NB
Ahyes,Ihadbeenaskedtowriteapiece.CanIjustlookatthescore?
BG
Certainly.
NB
Justseeingmyownwritingofthescore.
BG
Yes
NB
Mightgivemeabitmore.
103
BG
Well,itmightbegoodformetoaskactuallynow,asyouareopeningthescore.Thisisin
yourhand,isn’tNigel?
NB
Yes
BG
Thisisyourownhandwriting?
NB
Ohyes,absolutely.ItriedtowriteneatlyandIdid.Youknow,that’swhatpeople
complainedabout,particularlyinstrumentalistswhohadthepartscopiedoutbyme.
Whattheycomplainedaboutquiterightly,werethatthenotesweretiny,andthenifyou
lookclosely.
BG
Imean,Icanreadthatokay.
NB
Yes,itsneatanditsreadable,butforaplayerwhoisconcentratingonhisownpart,and
hastobeawareofwhattheotherpartsaredoing,it’sbettertohavehisownparthere
andsomesortofcuesheetaboveit.
BG
Iunderstand.
NB
Isupposetheystilldosomethinglikethat.Ihavenoideawhattheydonowatall.So
heretherethiswholelotofpiecesandwithalittlelinethroughthere.BecauseI’dlearnt
thatfromthesortofmusicIwasplaying.
104
BG
Oh,soyouarereferringtothat?
NB
Thatlittle[sings],asfastaspossible
BG
Yes
NB
Andyouwriteallthenotesclosetogetherandyouputaslashatthebeginning.
BG
Canyourememberwhoyoulearntthatfrom?Oritwassomeothermusicyousawit
fromperhaps?
NB
Ohwell,I’dneedto,IwishI’d,ImeanIhopeI’vekeptquitealotofmusicbyother
peoplewhichI’veplayed.Thatwouldshowquiteclearly,butthatwasastandardthing
thatcomposersdidinthosedays.Ifyouhadalotofnotesandyouwantedthemplayed
asquicklyaspossible,you’dallwritethemallcloselytogetherwithone…beam,right
acrossthetop,andalittleslashfromlefttorightbeforeit,andthat’swhatitmeantand
everyoneknewthat’swhatitmeant.
BG
Justhavingalookatthosefigures,thisisjumpingtoaneditorialquestionnowNigel,so
ifyouhavealookatsomeofthem,it’suncleartowheretheslurbeginsfrom.Doesit
beginfromthesecondnoteorthefirstnote?Andsamewiththisonehere,andinthe
otherplacesthisoccursinthescore,thisfigure,it’salsolikethat.Sothequestionis,was
itadeliberatethingtostartthem,youknow,fromdifferentpoints?
NB
Meanttostartthereandthere,butnotanythingelse.
105
BG
Sotheslurs,doyouthinktheyshouldstartfromthefirstnoteorthesecondnote?
NB
Oh,fromthefirstnote.
BG
Fromthefirstnote?
NB
Ithinkso.
BG
Yes
NB
That’swhatitdoesthere
BG
Yes,atanearlierpoint,yes.
NB
That’squiteclear.Ithinkifyoutakethisparticularfigurehere,inbarwhateveritis,
takethatfigure,Ithinkthat’sagoodexampleofsomethingthat’splayedfast.Ifitdidn’t
havethatslash,youcouldjustgo[sings],butwhenyou’vegotthatyoucango[sings].
That’swhatthatmeans.
BG
Butsimilarly,theslur,Imeanthat’sclearlymarkedfromthefirstnote,isn’tit?Theslur?
NB
Yes
106
BG
Anddoyouthinkthatshouldapplytotheothercasestowhereit’sabitambiguousto
wheretheslurstartsfrom?
NB
Well,thesearethesamenotes,aren’tthey,forquitealotofthetime.
BG
Theydosimilarthings,yes.
NB
Similar,yesthey’resimilar.Ah,sowhatwasyouractualquestion,becauseweare
dealingwithsemiquavershereandquavershere?
BG
Well,ifyouhavealookatthose,eachofthesefiguresthathavetheslashthroughthem…
NB
Yes
BG
Eachtimetheycome,thesluris,sometimesitisveryclearlymarkedfromthefirstnote.
NB
Yes
BG
Andinotherexamplesitisabitunclearifitshouldstartfromthefirstorsecondnoteof
thefigure.
NB
Ahyes,wellI.Quiteclearlythatgoesthere.
107
BG
Yes
NB
Andthatone’s,butit’sgottwolittlenotesleftover,doesn’tit.
BG
Well,Ithinkthat’scopyingtheotherpreviousexamples.
NB
Yes
BG
ButI,we’restilllookingatthefirstnoteNigel,fortheslur.
NB
Fortheslur?
BG
Yes,perhapslet’slookatanotherexample.
NB
Firstnotesoftheslur,butthentheyseemtoendatdifferentplaces.
BG
Well,Ithinkinthatexamplethat’slikethat,butifIshowyoutothefirstexample.
NB
Yes.
BG
Itmightbeabitclearerforyoutosee.SoI’mstillabitunsureaboutwheretheslur
shouldbeginfromineachoftheseexamples.Youcanseefromthetop.
108
NB
Thatnote,ofallthese?
BG
Yeah,inthefluteandpiccoloparts.
NB
Ah,piccolopart,yes.Thatgoesthewholeway.
BG
ButwheredoesitbeginfromNigel?
NB
Itbeginsfromthefirstnote.
BG
Fromthefirstnote,sotheslurshould?
NB
Yeah,becausethat’stiedtothebar,thethingacrossthetop,thefirstnote’sthere,
there’salittletinytiethere.
BG
Yes,Iwasjustsayingformyeyes,theslurissometimealittlebitunclear.Imean,ifyou
havealookatthisexampleinthisbar.
NB
Ah
BG
TheslurseemstobeginfromtheB-flat,ratherfromtheD,whichisthefirstnote.
109
NB
Yes
BG
Doyouthinkitshouldbethat?
NB
Yes,definitelytheD,becauseit’spointingtotheD,isn’tit.
BG
Yeah,wellitcouldbe[laughs].
NB
Wellitis,itsgoing,itsonlygotatinybittogobeforeitreachestheD.
BG
Sure,noproblem.
NB
SoIdidn’twanttomessupthere,makeitlookmessy.
BG
Yes
NB
That’swhyIdidn’tactuallyattachittotheDIshouldthink.
BG
No,that’sfine
NB
BecauseItriedtomakemyclearscores,lookasclearaspossible.Because,I’dlearnt
fairlyearlythatIwroteverymessy,childishsortofmanuscriptindeed.AndIhadto
110
movegraduallyfromthattoahandwritten,butveryclearscore.AndItried,butI’ve
neversucceeded,orreallywantedtowritewithacomputeroranything.
BG
Yes
NB
Ialwayswanttowritebyhand.
BG
Okay,so…
NB
AndI’mnottheonlycomposerwhodoesthis.IthinkAndyForddoesit,butI’msurelots
offamouscomposersdothattoo.SamuelBarberforinstance,yes.
BG
Okay,sojustcomingbacktothis,soImean,asyouhavementioned,theslurforyouis
clearlymarkedfromthefirstnote.
NB
Yes
BG
SoinalltheotherexamplesIcomeacross,Nigel,inthislittlemotive,I’llputtheslurs
beginningfromthefirstnote?
NB
Yes
BG
Okay
111
NB
Ithinkthat’stheidea
BG
Okay,excellent.
NB
Itmightaswellbeconsistent.I,asI’vetoldyou,probablyseveraltimes,Itendtobe
inconsistent.
BG
Yes
NB
BecauseI,ittakesmealongtimetowriteapiece.Sotherecouldhavebeenaweekora
monthbetweenthispageandthenext.
BG
Yes
NB
Ontheotherhand,IsometimeshadleavefromwhateverworkIwasdoing,andI’d
concentrateonthepiece,andsometimesthatwouldbequitefluentandproductive,and
particularlywhenIwasinEnglandandworkingwithPriaulx.
BG
Right,okaythat’sinteresting.
Time:0:32:41–0:33:16
BG
So,isthisyourfinalscoreofPentaddoyouthink?
112
NB
Ohyes.
BG
Okay,that’sgoodtoknow.
NB
Ohyes,Iwouldn’thavegone
BG
Tothismuchtrouble?[laughs]
NB
Letouttoanyoneelsegotothetroubleofcopyingit,ifitweren’tthefinalscore.No,
everythingIwrote,Iwantedittobethefinishedthing.AndI’d,ifitlooksunfinished,
thenitisunfinished,becauseusuallyIwassopleasedtohavegottenridofthething,
thatIwroteadoublelineattheendandwrotethedatedownatthebottomwhenI
finishedit.
Time:0:49:00–0:50:35
BG
Nigel,thankyouforsharingthatstory.CanIjustpickuponsomethingyousaid?You
mentioned,intheItaliaPrize,oneoftheconditionsofthepiecethatyouhadtowrite,
wasthatithadtoberelatedtosomethingnon-musical,andobviouslyyou’vejust
describedthedeadseascrolls.
NB
Wellthatwasonlyonething.
BG
Ofcourse.
113
NB
Right,yes.
BG
IfIjumpovertosomeofyourworksafterIntheHeadtheFire.So,Pentadin1968oneof
them,Explorations.
NB
Ah,nowyou’regettingcloser,becausethat’saveryrarepiece,Pentad,becauseitsabout
thestructureofthepiece.There’snothingmuchlikethat.Mostofmymusichasan
extra-musicalideabehindit,andthat’swhathelpsmetowritemusic.IfI’donlyhadthe
rules,asIthink[inaudible],thenit’dbemuchharder.ButifI’mthinkingofthat
particularpicture,orofagarden.Certainlygardenshavehadaninfluenceonme.
BG
So,whenyou’rewritingmusicthat’snotextra-musical,howdoesitcomeabout?
NB
Ohwellthen,Pentad,aswasIsaid,wasinfluencedbyaperson.Itwasshewhoputme
ontothedeadseascrolls.
Time:0:51:41–0:55:57
BG
Shallwejumpbackintosomeeditorialquestions?
NB
Anythingyoulike
BG
So,Pentad,thescoreyouhavehere.It’sallinC,soconcertpitch.Wouldyoulikemeto
keeptheneweditionasinc,orwouldyoupreferthatItransposeit?
114
NB
Well,I’dpreferitthisway.
BG
Certainly
NB
Unlessyousaythatnoonecanreadthatsortofscorenow,ohnonoyou’vegottohave
italltransposed.
BG
Wellno,itscommontohaveuntransposedscores.
NB
Yes,yes.Wellthat’swhatIwroteandthat’swhatIwant.Becausethat’showIthoughtof
it.
BG
Yes.
NB
Yes.
BG
NotaproblemNigel.Okay,justhavealookatsomeofthesebarshereNigel.I’m
showingNigelthefirstpage,andyoucanseeinstrumentswhentheydon’thave
anythingtoplay,thescoreisjustempty,ratherthanputtingasemi-breverest,you
know.
NB
Andthewordtacet.
115
BG
Orlikethat.
NB
Oryes,justthesemi-breverest.
BG
Wouldyoulikemetocopyhowyouhavedoneit,or?
NB
No.
BG
Oh,you’dlikeittohavereststhere?
NB
Well,whateveryouthinkismostappropriateinthisparticularpoint.Theremaybe
anotherplacelaterinthescorewhereyoumightmakeadifferentdecision.Herethese
barsareveryclosetoeachother,it’sallverycontinuous,inotherplacesperhapsit’sa
bitdifferent,butyoumakeadecisionofwhateverismostclearforthereader,the
conductor,theplayers.
BG
Notaproblem,I’llhaveathinkaboutthat.Thanksforthat.
NB
Sothat’syourdecision.
BG
Okay,we’vedonetheslursand.Oh,thedynamics.Herewego.Solookingatthefirst
pageagainNigel.Youcanseeinthetrumpetparts,andthetromboneandthetuba,
you’vegotmezzo-fortewritten,butreadingit,I’malittlebitunsurewhereitshould
116
apply;whichbeatitshouldapplyto?Imean,ifyoulookatthetubapart,themezzo-
forteclearlyappliestothesecondbeat.
NB
Yes,butit’sinthemiddle.
BG
Yes,inthetrumpetandtrombones.Doyouthinkthatshouldbeonthesecondbeattoo?
NB
WellIthinkthisgivestherightimpression.
BG
Sothatwasalittlecrescendoyoudrewin.
NB
Yes,wellIthinkthat’sprobablywhatImeant.AsIsaidIwasalwayslazyat,inthatsort
ofthing.Butitlooksright,doesn’tit.I’vewrittenthatmezzo-fortethere,andI’ve
writtenitherewitha.
BG
You’vepencilledinacrescendosince.
NB
Acrescendosign,yes.SoIthinkthat’swhatitshouldbeallthetime.
BG
Notaproblem.
NB
SoI’vegotthemezzo-forteinthemiddleofthatbar.Sowhatthatmeans,Ithink,is
there,doesn’tit?Howmanybeatsinthebar?Four?One,two,three.One,two,three.
One,two,three.One,two,three,four,five.Thatsoundsrighttome.
117
BG
Solookingatthesecondbar,it’sthesamethingwiththeforte,isn’tit?
NB
Yes,four-four,four-four,four-four.Sorry?
BG
Sorrytointerrupt.Thefortelinesupwiththeotherentries,uphere,onthesecondbeat.
NB
Oh,yes.That’sgotforteforthemall,exceptthetoponewhichshouldhaveit.That’s
quiteclear.
BG
Thatis,butthesepartsthathavetheforteinthemiddleoftheirnote,doyouthinkthat
againshouldlineupwiththeotherentriesuphere?Soyou’vegottheclarinetsentering
onthesecondbeat.
NB
Yes
BG
Whentheycomeinforte.
NB
Welltheyshouldcomeinonthesecondbeattoo.
BG
Secondbeattoo,onthetrumpetsandtrombones.
NB
Soyou’dgo,[sings],there.
118
BG
Notaproblem.
NB
That’smuchclearer.Thisisthesortofthingyoudoaseditor.
BG
Wesitdownandlookatallthisstuff.
NB
That’swhat’sneeded.
Time:1:00:20–1:09:03
BG
Okay,sothelittlecrescendothatyousortofsketchedintheotherday,youreckonthat’s
probablynotappropriate?Youwanttokeepthedynamicchangeasuddenthing?
NB
Ithinkso.
BG
Notaproblem.Okay,sothesuddenchangeshouldbewhentheotherinstruments?
NB
Butthetrumpetsaredifferent.
BG
Well,theystartatasofterdynamicyes.
NB
Butevenso,Ithinkthatshouldbeallthesame.
119
BG
Sowhentheotherinstruments,thedynamicchangessuddenly.
NB
They’restillmezzo-forte,butthey’vejustgotanaccentthere.
BG
Yes.
NB
Yes,well,sohowwouldthatworkhere?They’vestillgotaforte.Doyouthinkgetridof
thecrescendomark?
BG
I’mnotsure.
NB
Butthat’sthemostobvious,logicalthingtodo,isn’tit?
BG
[laughs]ah,itcouldbe.Iguessmyjobasaneditoristodowhateveryouwish,without
tryingtoforcemyownopiniononit.
NB
Yes,butifIhaven’tgotaclearidea,youcanhelpmesettleonagoodidea.
BG
well,IguessI’djustdefertowhatyouhavewritten.
NB
Yes
120
BG
So,you’veprobably,theotherdaywhenIcamearoundandwewentthroughthe
questions,andyousketchedit,Ithinkyouwereexperimentingwithwhatcouldbethe
solution,butIthinkit’ssortof,becausetheseinstruments–theoboesandbassoonsin
thesecondbarenterinmezzo-forte,onthesecondbeat,andyou’vewrittenthedynamic
intheseinstrumentsandtheylineupwiththesecondbeat,don’tthey?
NB
Yes
BG
Yes,sotome,thatwouldsuggestthattheychangethereatthatpoint.
NB
Sointhatcase,youwriteanother.
BG
Tieandacrotchet,andsoforth?
NB
Yes
BG
Notaproblem
NB
Yes,that’swhatyoushoulddo.
BG
Okay,notaproblem
NB
Thankyou.
121
BG
Notaproblem.Iguessthesolutionwe’vejustcomeupwithhere,I’llapplythattoallthe
otheroccurrences.
NB
Ohyes,Ithinkit’sveryimportantifyouseetwothingsthataresimilar,tomakethem
thesameifthere’sanydoubt.Butsometimesitcanbemorethandoubt.Itcouldbe,
deliberate.Ifthere’sonlyonelittlebit,ifitlookslikeanaccidentthenitis,oritshould
be.I’mnotquitesurewhetherthatwouldhappen.
BG
Alright,thanksforthatNigel.Let’sjumpahead.
NB
Yes
BG
So,anothereditorialquestion.Sothisisonpagefourandinthefirstthreebars,intheE-
flatclarinetpart.SointhedraftscoreofPentad,whichwasnicelytuckedawayatthe
NationalLibrary,theE-flatclarinetpartoverherehastheoctavesignaboveit,andIwas
wonderingwhenyoudrewupthisscore,whetheryoulefttheoctavesignoutby
accident,oryoumadeadeliberatechoicenottopoptheE-flatclarinetuptheoctave?
NB
SowhatareyousayingisintheNationalLibrary?
BG
Oh,anicedraftscoreofthework.It’smissingafewpages,butthispagewasthere.And
abovethispartithadtheoctavesign,theE-flatclarinet.Soit’sE-flatclarinetthere,first
clarinet,2ndclarinet,bassclarinet.
122
NB
WelltheE-flatclarinetsoundsanoctavehigheranywaydoesn’tit,well,anoctaveanda
bithigherisn’tit?
BG
Well,becausethescoreiswritteninC,thatwillsoundexactlyasaB-flat.
NB
AB-flat.
BG
That’swhatyou’vewritten.Yeah,itsonlythepiccolosthatwillsoundanoctavehigher.
NB
Ah,rightbecauseitsanE-flatclarinet,andsothat’sreasonablyhighfortheclarinet,isn’t
it?
BG
Yes,itis.
NB
Anordinaryclarinetdoesn’tgouptheremuch,doesit?What’sthe?
BG
Wellno,that’squiteinrangeforboththeE-flatandB-flatclarinet,ordinaryclarinet.
NB
Ah,butthesoundoftheE-flatismoreshrill.
BG
Correct,yes.
123
NB
Yeah
BG
Yes,soyouthinkprobablybestthatyou’velefttheoctavesignoutforareason,thatit
wouldprobablybeabittooshrillandhigh?
NB
What’dyousay?It’smeanttobeshrill?
BG
No,sorry,I’llstartagain.Sointhedraftscore,abovetheE-flatclarinetpartwasan
octavesignhere,overthefirstthreebarsofpagefour.Buthere,you’veleftitout.SoI
waswonderingifitwasadeliberatechoice,oryoucouldhaveeasily,maybeperhaps,
forgottoputitin?
NB
You’rejusttalkingaboutthispage,pagefour?
BG
Yes,justthisexactthreebarshere.Itdoesn’tapplytoanywhereelseinthework.
NB
Oh,Isee.Isthereanywherethatitlooksasifitmighthavebeenintendedtoapply?
BG
No,becausethisisuniqueheretothevoicesused.
NB
That’smezzo-fortetoo,soit’sallmezzo-forte.Yes,Ithinkthat’srightthen,isn’tit?
BG
Soitshouldbeleftasis?
124
NB
Yes
BG
Certainly
NB
Butyoudon’twantthat,ohIsupposethat’salright,butthewayI’vewrittenin,itlooks
asifI’veonlygotathickpenthen,suddenly.
BG
[laughs]That’strue.
NB
Butthosethings,thatlittlebitofinformationneedstobefairlylightlywritten.Crotchet
equalsso-and-so.Becausethat’sveryimportanttoknow.
BG
That’sveryreadable.
NB
No,thateight’srightupintheair,andthefourisdownbelowthestave.AndI’dlikeitto
beabitmoreexactthanthat.
BG
Itwillbetidy.Computersallowforthat
NB
Yes,ohgood.Good.
BG
ButjustbackonthatE-flatclarinetpart,youthinkthatyoulefttheoctavesignout
abovethesenotesheredeliberately?
125
NB
Oh.
BG
Icouldseewhyyoudid,becauseyou’vegotthesecondclarinetatthisoctave,thefirst
clarinetatthatoctave,andifyouweretohavetheE-flatclarinetanoctavehigher,it
wouldmakeanicetwooctaves;you’vegotoneoctaveandthentwo.SoIcanseewhy
you’dimaginedit.ButitispossiblefortheE-flatclarinettoplay,butyoumentioned
earlieritmightbeabitshrill.
NB
Butisn’tthatabitlowfortheE-flatclarinet,thatpitch?
BG
No,notatall.No.Because,rememberthescoreisinChere.
NB
Yes,butIwouldhavethought,IimaginetheE-flatbeingwayupintheair.
BG
[laughs]Wecanputituptheoctaveifyoulike.
NB
Onethingthat’spossible,youcanthinkabout.Ifapassagelikethisoccursagain,doesit?
BG
Yes,yesitdoes.
NB
Wellwhydon’tmakeitgoupanoctave?Makeitbemoredramaticthelasttime,or
woulditbebettertomakeitdramatic?Thereareonlythreetimes,sothelasttime
seemsmentallytobethetimeitshouldbemostdramatic.BecausethesoundoftheE-
126
flat,seeIshouldjustquicklymention,thereasonIknowtheE-flatisbecauseIdidsome
musicforfilms,andsoI’veheardanumberofinstruments,live,closeupinthe
recordingstudio.Thatwasaterrificexperience.I’vewrittenmoreaboutthat,the
opportunitytowritethingsfortheAustralianGovernmentFilmUnit,Iforgetwhatthey
werecalled.
Time:1:09:48–1:20:08
BG
Alright,wellwemightmoveontoanotherquestion.
NB
Yes
BG
Yes,it’sonpagefive.AndI’mjustobservingtheslurshere,inthismotive.SoifIjusttake
barfourasanexample,you’vegotone-two-three-four-fivenotesallunderasingleslur,
andtheninthefollowingbar,you’vegoteachslurgoingtoeachsuccessivenote,rather
thanunderonebigslur.AndIwaswonderingiftherewasanysignificancetothatNigel?
NB
IthinktheonlyreasonIdidthat,isthattheA-flatstartsthere,soIhaditgoingtothe
firstA-flatdeliberately,andthenthat’dstartovertothat.Nowwhat’sthedifference
withhere,itdoesn’tchange.
BG
Wellyes,it’sallunderoneslurhere.
NB
Butit’sallmezzo-piano,isn’tit?
BG
Wellallthepartsare,yes.
127
NB
There,butuphere,theyallthesame,mezzo-forte?
BG
Mezzo-piano.
NB
Ohstill,that’sa‘p’isit?Ohright,sothey’reallmezzo-piano,everythingismezzo-piano.
Yes,that’sinteresting,becauselookingatthat,I’dthinktherehadtobeacrescendo.I
neverwroteitin,didI?
BG
Butjusthavingalookattheslurs,didyouintendtohaveacrescendotheredoyou
think?
NB
Well,therelooksasifthereshouldbe.[sings]or[sings].Yes,you’dhaveashortbreath
there,another,nothat’stiedover.[sings]Likethat.
BG
Ah,sotheslurring,inaway,indicateswheretobreath?
NB
Yes
BG
Ahha,okay.
NB
Itdoes,doesn’tit.
BG
SoshouldIkeeptheslurringasitoccurshere?
128
NB
Well,makeitmoreclear,becauseyouhadquestionsabout,somakeitclearsothere
aren’tanyquestions.
BG
[laughs]But,Imeanitisclear,it’sjustdifferent,ifthatmakessense.
NB
Ah,Ithinkit’simportantto.Youmeanitssayingthesamethingassomethingelsebutin
adifferentway?
BG
Yeah
NB
WellIthinkit’simportanttohavethingsthesameway,becausewhenIwaswriting
somepiecefivemonthslater,I’dthink,ohwellthistimeIthinkI’dwriteitso-and-so,
butnotnecessarilyforaverydefinitemusicalreason.They’reprobablybothmean,or
they’remeanttobothmeanthesamething,butIjustwrotethemdifferently.SoIthink
youcouldeditthattomakesurethatifit’scleartoyouandmethatthesamethingis
intended,thensticktothat.
BG
Okay,noworries.Icanmakethosebarslookalittlebitmoreliketheothers,where
you’vegotlotsofnotes,Icandothesamehere.Icanputallthosenotesunderasingle
slur.
NB
Yes
BG
Yes,notaproblem.Okay,thanksNigel.
129
NB
Itmakesitflow.
BG
Alright,justjumpingoverto.I’vegotadraft,oroneofthedraftsofthenewedition.And
you’vehadaquicklookthroughthat.Youknowhowyouchangefrom–you’vegotthree
tempiinthepiece,crotchetequalsforty-eight,crotchetequalsseventy-two,and
crotchetequalsone-oh-eight,andtheyappeareachtime.I’daddedinsomemetric-
modulationsforthemusicianstobeabletochangefromonetempototheother,
withouthavingtoguess.
NB
Yes,sowhat’sthatlooklike.Metric-modulations,thatsounds[inaudible]
BG
[laughs]So,ifwehavealookatpagessevenandeight.Soherethisisalreadyatcrotchet
equalsforty-eight,andthenitjumpstocrotchetequalsone-oh-eight.Andso,themetric
modulationisasI’vewrittenit.Wouldyoulikethemetric-modulationstobeincludedin
thenewedition,ordoyouthinksomethinglikethatisabittoounnecessary?That’sjust
oneexample.
NB
Onecrotchetequalsthepreviousquaver.Orisittheotherwayaround?
BG
So,asemiquavernine-tuplet[laughs]oftheoldtempo,equalsasemiquaverofthenew
tempo.It’sabitcomplicated,butthat’scorrect.
NB
No,that’sclearisn’tit,thatthatiswhathashappenedbefore,andthat’swhat’s
happeningnow.Iusedto,whenIwasplayingthings,getabitconfusedaboutthatsort
ofinstruction,ornotgettingconfused,but,thislooksconfusingbecauseitcouldmean
theotherwayaround.
130
BG
Yes,wellIhadthesamethingbutIconsultedatextbook,anditsaidmodernday
practice,it’squitecustomaryforthevalueontheleftsiderelatestotheoldtempoand
thevalueontherightsiderelatestothenewtempo.
NB
Wellthatsoundssensibleandyousaythat’sthecommonpractice.
BG
Well,yes.
NB
Ohgood,wellwe’lldothatthen.
BG
But,myquestionis,includingthesemetric-modulations,here’sanotherexampleon
pagenine,I’veputanotheronethere–wouldyoubehappyforthattobeincluded?
NB
Ohyes,Ithink.[sings]Nowit’sgoingtobehalf?
BG
Yes,crotchetequalsone-oh-eightinthisbar,andnowitscrotchetequalsforty-eight.
NB
Butthatsaysquaverequalssemi-quaver?
BG
No,ignorethebitatthetop,ignorethat.That’scrotchetequalsforty-eight.
NB
Oh,ignorethat?
131
BG
Yes,thatthereismylittleadd-in
NB
Oh,ohwell.
BG
Andthat’swhatI’masking,doyouthinkthoseareneededtobeincluded,ornottobe
included?
NB
Well,bymodernpractice,probablythat’snotneeded,isit?
BG
Whichbit?
NB
ThebitI’vegotmythumbon.
BG
Right
NB
Thesimplerthebetter.
BG
Right,okaysure.Icannotincludethemifyouwish.
NB
Butyouweresuggestingthatthat’sthewayit’sdonenow-days.
132
BG
Well,fromperformerstochangefrom,ifyouhavetochangefromcrotchetequalsone-
hundred-and-eight,crotchetequalsforty-eight,howdoyoudothatprecisely?
NB
Yes,youcanalwaysputinalittle‘c’in,circa.
BG
Wouldyoulikeittobethatforallthetempos?
NB
Yes,ohyes.Idon’twantthemtobeplayingtoametronome
BG
Eventhoughyou’vewrittenthreetemposthroughoutthepiece,andthey’realways
writtenthesametempo,becausethey’reinterrelatedaren’tthey?
NB
Yes,theyare.Soeachoneshouldbethesameasitwasthefirsttimeandthesecond
time,yes.Yes,thetempoofthewholething,becauseitdoesn’thaveanymovements
doesit?
BG
Noit’sasingularwork.
NB
So,thatprincipal,crotchetequalsquaver,thatgoesonbeingthesame,doesn’tit?Yes.
Wellyoucouldhaveanoteatthebeginningsaying,throughoutthisscorecrotchet
equalsquaver,blah,blah,blah.
BG
Oh,that’sagoodidea.Soratherthanincludingalltheseabovethemusicallthetime,I
canjustaddatthebeginningthetemporelationships.
133
NB
Yes
BG
Sure
NB
Because,whenitsprinted,itshouldbeprintedsothatwhoeverislookingatitactually
seesthis,don’twriteitasalittlething,therearealotofEuropeanpublicationswhere
someterriblyimportant–atthispointyou’vegottoshootthesoprano,andtheysay
thatrightdownthebottom.
BG
[laughs]Itstoosmalltoread.
NB
Yes
BG
Okay,noIcanmakeitquiteclearatthebeginning.
NB
Yes,Ithinkthat’sthebestthing.
BG
Sure
NB
Thefewerwordsthereare,wordsofinstruction,thebetter,becausethenthey’re
lookingatthemusic,andatthenotes.
BG
Understood,okay.
134
NB
Andthinkingaboutthenotes,andthinkingthenotesand[inaudible]
BG
Tooeasy,I’lldothatNigel,thankyou.
NB
Good,ohwellthat’sveryhelpfulisn’tit,becausethat’smadequiteanimportant
decision,yes.
BG
Yes.
Time:1:20:15–1:21:50
BG
SoPentadisfortwenty-sevenwoodwindandbrassinstruments,whyomitstringsfrom
thework?
NB
BecauseIwantedtowritesomethingdifferenttowhatI’ddonebefore.I’dwritten
piecesforstringorchestra,I’vewrittenforfullorchestra,andIwantedthispiecetobe
different.AndthatprincipalappliestoeverypiecethatI’vewrittenIshouldthink,thatI
wantedtobedifferenttootherpieces.Soacertainpiecemighthavesimilaritywiththis
one,andadifferentsimilaritywiththatone.Butyoudon’twanttoworrytheplayer
aboutallthissortofstuff,justtellhimwhattodo,andnotworry.
BG
Okay,soyouwantedtheinstrumentationdifferenttowhatyouhadwrittenbefore,
becauseasyoumentionedyou’dwrittenforfullorchestraandsoon.
NB
Yes
135
BG
Didyouknowofanyotherworksthatwerewrittenforjustwindandbrass
instruments?
NB
Ohyes,I’msureIdid.I’msureIpinchedsomeideasfrom.Idon’tknowwhetherAndy
FordasI’dsaidIknewatthetime.Notherewassomeone,mighthavebeensomeonein
England.
BG
Right.
NB
Whowrote,yescertainly,therehavebeenworksforbrassandwindinstruments.
BG
Yes,yesthereare.
NB
Yes.
136
PARTTWO
Date–13thNovember,2016.
Time–11:30am
Time:0:00:25–0:01:36
BG
So,Nigel,priortocomposingPentadin1968,Iwaswonderingifyouhadanyknowledge
ofanyotherworksforwindandbrassinstruments?
NB
I’msureIdid.Ican’trememberexactly,unlessthere’ssomethingItoldyoubeforethat
yourememberof?
BG
Well,I’vepreviouslyraisedwithyousomeworksthatyoumighthaveperhapsknown,
likeStravinsky’sSymphoniesofWindInstruments.
NB
Yes.Theworksthatyoulisted,Iprobablydidn’tknowatthattime,ormorelikely,itwas
justgettingtoknow,becausehavingtowriteapieceforwindwassomethingI’dnever
donebefore,soIwantedtohearwhatothercomposershaddonefirst.Ican’tremember
itatthisgapofwhat,fortyyearsorsomething,Ican’trememberexactly,butIdo
rememberapersonthatIknew,afriend,asingerwholivedinBeecroftandwhereIwas
stillliving.
Time:0:04:02–0:08:06
BG
Somovingbackontoworksforwindandbrass.I’vehadalookintosomeworksthat
werewrittenbeforePentadbyAustraliancomposers,andIthoughtI’djustpassthem
pastyoutoseeifyouhad,atall,heardofthem.SothefirstTheSwamp,asuitefor13
windinstrumentsbyJamesPenberthy.
NB
No,Ihadn’theardofthat.No,I’veheardquiteabitofhismusic.
137
BG
Thatoneeludedyou.That’sfine.WhataboutacomposerBruceSmeaton?Hewrotetwo
works:FourCuriousDancesandSuiteforMilitaryBand.
NB
Ah,where’sthisonhere?
BG
Oh,that’sthesecond…
NB
MilitaryBand
BG
That’stheone,yep.
NB
ClosingHymnfortheCommonwealthGames,byPenberthy.
BG
Oh,wellthat’sanotheronebyPenberthy.
NB
That’slater.TheSwamp.
BG
Well,wejustcoveredTheSwamp.
NB
Well,Idon’tknowthat.
138
BG
That’sfine.Didyouknowoftheotherones?ThetwobyBruceSmeatonandtheother
onebyJamesPenberthy?
NB
ClosingHymnfortheCommonwealthGames.IwouldhavehearditIhope,butIdon’t
rememberit,andTheSwampsuiteIcertainly,that’sthefirsttimeI’veheardthenameof
it.IwenttoPerthatonestage,andhewasverywelcoming,andbecausehewasthe
Perthcomposer.Therewereotherpeoplearound.BrianHowardwasthereatthattime,
hewashalfwayinAustraliaandhalfwayfurtherup,andBrianwasveryinformedand
veryabletoexplainthingswell.Hewasagreathelp.
BG
Okay,sothetwopiecesbyBruceSmeatonaswell–isthatacomposerwhoyouare
familiarwith?
NB
No,Idon’tknowthatnameactually.
BG
Notaworry.Okay,MichaelKenny.HewroteaSymphonicStudyforConcertBand.
NB
Again,Idon’tthinkIknowthatname.Wherewashe,doyouknow?
BG
Look,IhavenotbeenabletofindanyinformationonMichaelKenny.
NB
No,he’sprobablyapseudonym
BG
[laughs]forsomeoneelse?
139
NB
Forsomeoneelse.Becausethatdoeshappen.Youknow,ifyouwanttogoonwriting
crummymusicbutyouknowthatpeoplewhorespectyourgoodmusicwillthinkyou’re
dreadful,soyouchooseanothername.That’snotanunknownthing,andit’svery
sensible,becausebothofthemareimportanttoyou.Oneisquitedifferent.
BG
Yes,I’lllookintothat.SothenextoneisbyWilliamLovelock,andit’scalledAustraliana.
NB
Yes,Idon’tknowthatpiece,butthetitleisabsolutelytypical,becausehelivedin
Brisbane.HecameouttoAustralia,IthinktoBrisbane,andhewasEnglish,andthefact
thathecallsitAustralianaindicatesthathewasreallyawarethathewaslivingina
differentplace.QueenslandwasnothinglikeLondon,ifyoujustthinkabouttheheat.
AndsoLovelockwasagoodteacher,andaveryfinemusician,andsohebecameknown
particularlyinQueenslandasaveryimportantcomposer.
BG
Okay,sothenextoneisbyDulcieHolland.StanmoreRoadMarch,whichwas
commissionedbytheNewingtonCollege.Idon’tsupposeyou’veheardthatone?
NB
Ihaven’theardthatactualpiece,butIwasinterestedtoseethenameofit,asDulcie,she
knewmeverywellquiteearly.DidItellyouthestory?
Time:0:10:28–0:10:50
BG
Okay,justlookingatthelastpieceonthelist.ThiswasbyRobertHughes.Flourishfor
the86thBirthdayofIgorStravinsky.
140
NB
Yes,wellthatwasoneofanumberofveryshortpieceswhichRichardMealeandIgot
variousAustraliancomposerstowrite.ItwasRichard’sidea.
Time:0:11:41–0:12:35
BG
SocomingbacktotheRobertHughes.Thiswassomesortofacommission,doyou
think,forthebirthdayofIgorStravinsky?
NB
Oh,yes.ItwaspartofRichard’sideaatthattime,becausetheAustralian,notthe
centenary.Whateveritwas,animportantyeariscomingupforAustralia,andRichard
thought,wellweoughttogetpeopletowritenewpieces,notjustdigouttheiroldones.
Weoughttohaveanumberofsignificantcomposersfromeachstatewritinganew
piece,andDulcieHollandandMiriamHydewerebothlivinginSydneyatthattime,and
theybothwroteverygoodpieces.
Time:0:13:31–0:14:14
BG
Okay,somovingalittlebiton.Iwaswonderinginthe60sbeforePentad,wellthisisa
bitearlieractually,ifyouhadknownoforheardabouttheABCNationalMilitaryBand,
whichformedin’34andfinishedin1951?
NB
Yes,wellI’dheardthemveryloudly,becauseIwasworkingasadispatchboyandmail
delivererandsortofmailsorter,twolittledepartmentswhichwerequietneartothe
street.
Time:0:16:06–0:19:34
BG
Okay,NigelI’mwonderingnow–thisisanAmericanEnsemble–it’stheAmericanWind
SymphonyOrchestra,andit’smadeupjustwind,brassandpercussionanditwas
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formedin1957byRobertBoudreau.Iwaswonderingifyouhadheardofthembyany
chance?
NB
No,Ihaven’t.No.
BG
No,that’sfine.But,youwereinAmericain1978,youtravelledtoNorthwestern
UniversityinChicago,andPentadwasperformedthere.
NB
Yes,andverywell.
BG
AndMeditationsofThomasTraherne,wasalsoperformed.
NB
Thesewerethestudents,andtheyofcoursebeingAmerican,whowereinAmerica,
wereverywelltrainedandsight-readwell,andtheywereexcellent.Soitwasquitea
privilegetohavemymusicdonebythem,andIthink,wasPentadthepiecethatwas
donethere?
BG
Soyes,Pentadwasplayedthere.YoualsowroteFanfareandProcessionalforabrass
choir.Thatwasalsoplayed.
NB
Ahyes,that’sright.IhadtowritethatpiecespeciallyIthink,andIcanvisualisewhereI
wasinthehall,whichIcan’trememberwhosehallitwas,butsomethingtodowith
probablyateachinginstitution,but,nowwhatamIgoingontosay?
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BG
YoucanrememberthehallwhereperhapstheywererehearsingorperformingPentad
andFanfareandProcessionalorMeditationsofThomasTraherne?
NB
Ah,itwasauniversitypart,universityhall.ThemainthingIrememberissittingabit
highupfromtheactualstage,fromwherepeoplewereplaying.Iwassittingthere,anda
mansittingbesideme,ohthat’srighttheyplayedaverypopularpiece,I’msorry.The
mansittingbesidemementionedaverypopularpiecewhichwasveryfamiliaratthat
time.Idon’tknowwhetherit’sstillaround,buthesaid,ohyourmusic,it’swonderful,
it’sjustlikeblahblahblah,tome,forme.Igavehimthesamegoodfeelingwithmy
rathermentalsortof,what’stheword?
BG
Ah,cerebral?
NB
Yes,arathercerebralsortofpiece,andhesaid,madeacomplimentaboutthispiece,
andcomparingitwithaverywell-knownpopularAmericanpiece.Hesaid,thisisjust
likethatpiecetome.
BG
Whichpiecewasthathewaslisteningto?WasthattheMeditations,or?
NB
Ithinkitwas,Ican’trememberforsure.