Handbook of Twentieth Century Musical Sketches

A HANDBOOK TOT WENTIETH-CENTUR Y

MUSICAL SKETCHES

This indispensable handbook explains how scholars and students should workwith and think about the composer’s working manuscripts. Over the pastquarter-century, the scholarly study of autograph sources has exploded andnowhere is this more true than in the field of twentieth-century music. Andyet, few if any courses or seminars broach the subject of sketch studies and theskills required to examine the manuscripts. This book surveys the knowledgenecessary to work efficiently in archives and libraries housing this materialand with the skills and techniques specifically related to sketch studies: tran-scription, reconstructing sketchbooks, deciphering handwriting, dating doc-uments. It deals with the music of important twentieth-century composersand presents visual examples of manuscripts from the collections of worldrenowned institutions such as the Paul Sacher Foundation. The book aims tomake the work of both researchers and students more efficient and rewarding.

patricia hall is Associate Professor of Music Theory at the Departmentof Music, University of California, Santa Barbara. She is the author of A Viewof Berg’s ‘Lulu’ through the Autograph Sources (1997). She has also contributedto several works including The Cambridge Companion to Berg (1997) and haswritten articles and reviews for a number of journals.

friedemann sallis is Professor at the Departement de musique, Uni-versite de Moncton. He is the author of An Introduction to the early works ofGyorgy Ligeti (1996). He also contributed to Music of the Twentieth-CenturyAvant-Garde (ed. L. Sitsky, 2002) and has published numerous articles onmusic of the nineteenth and twentieth centuries.

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http://www.cambridge.org


http://www.cambridge.org/052180860X

A HANDBOOK TOT WENTIETH-CENTUR Y

MUSICAL SKETCHES

edited by

PATRICIA HALL AND FRIEDEMANN SALLIS

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published by the press syndicate of the university of cambridgeThe Pitt Building, Trumpington Street, Cambridge, United Kingdom

cambridge university pressThe Edinburgh Building, Cambridge, CB2 2RU, UK

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C! Cambridge University Press 2004

This book is in copyright. Subject to statutory exceptionand to the provisions of relevant collective licensing agreements,

no reproduction of any part may take place withoutthe written permission of Cambridge University Press.

First published 2004

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A catalogue record for this book is available from the British Library

ISBN 0 521 80860 X hardback

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to our students

v

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Contents

List of illustrations page ixAcknowledgements xii

Introduction 1Friedemann Sallis (Universite de Moncton) and Patricia Hall(University of California, Santa Barbara)

1 Sketches and sketching 5Giselher Schubert (Hindemith Institut) and Friedemann Sallis(Universite de Moncton)

2 Preliminaries before visiting an archive 17Ulrich Mosch(Paul Sacher Foundation, Basle)

3 Archival etiquette 32Therese Muxeneder(Arnold Schoenberg Centre, Vienna)

4 Coming to terms with the composer’s working manuscripts 43Friedemann Sallis(Universite de Moncton)

5 The classification of musical sketches exemplified in the catalogue of theArchivio Luigi Nono 59Erika Schaller(Archivio Luigi Nono, Venice)

6 Digital preservation of archival material 74William Koseluk(University of California, Santa Barbara)

7 Transcribing sketches 85Regina Busch(Alban Berg Stiftung, Vienna)

vii

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viii Contents

8 A tale of two sketchbooks: reconstructing and deciphering Alban Berg’ssketchbooks for Wozzeck 102Patricia Hall(University of California, Santa Barbara)

9 ‘Written between the desk and the piano’: dating Bela Bartok’s sketches 114Laszlo Somfai(Bartok Archives of the Institute of Musicology of the HungarianAcademy of Sciences)

10 Defining compositional process: idea and instrumentation inIgor Stravinsky’s Ragtime (1918) and Pribaoutki (1915) 131Tomi Makela(Otto-von-Guericke-Universitat Magdeburg)

11 Floating hierarchies: organisation and composition in works by PierreBoulez and Karlheinz Stockhausen during the 1950s 146Pascal Decroupet(Universite de Liege)

12 Elliott Carter’s sketches: spiritual exercises and craftsmanship 161Denis Vermaelen(Universite de Tours)

13 E-sketches: Brian Ferneyhough’s use of computer-assistedcompositional tools 176Ross Feller(Oberlin College)

14 John Cage’s Williams Mix (1951–3): the restoration and new realisations ofand variations on the first octophonic, surround-sound tape composition 189Larry Austin(University of North Texas)

Appendix: Select list of composer institutes 214

Notes 221Select bibliography 239Index 246

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Illustrations

PlatesPlate 1.1 Paul Hindemith, Concerto for Woodwinds, Harp and Orchestra,

second movement, sketch. Hindemith Institut, Frankfurt am Main page 13Plate 1.2 Paul Hindemith, Sonata for Four French Horns, final movement,

sketch. Hindemith Institut, Frankfurt am Main 14Plate 2.1 Home page of the Paul Sacher Foundation 19Plate 2.2 Luciano Berio, Requies for chamber orchestra (1983–5), short score

(second draft), p. 1, Luciano Berio Collection, Paul SacherFoundation, Basle 24

Plate 2.3 Luciano Berio, Requies for chamber orchestra (1983–5), sketch,Luciano Berio Collection, Paul Sacher Foundation, Basle 26

Plate 2.4 Luciano Berio, Requies for chamber orchestra (1983–5), short score(second draft), no page number, Luciano Berio Collection, PaulSacher Foundation, Basle 28

Plate 3.1 Vault of the Arnold Schoenberg Centre 34Plate 3.2 Proper viewing of source material 38Plate 3.3 Proper handling of manuscripts 39Plate 3.4 Proper viewing of bound objects 40Plate 4.1 Gyorgy Kurtag, Kafka-Fragmente, Op. 24, for soprano and violin

(1985–7), sketches for ‘Leoparden’, Gyorgy Kurtag Collection, PaulSacher Foundation, Basle 46

Plate 4.2 Gyorgy Ligeti, Requiem for soprano, mezzo-soprano, double choirand orchestra (1963–5), sketches for the Kyrie, Gyorgy LigetiCollection, Paul Sacher Foundation, Basle 47

Plate 4.3a Gyorgy Ligeti, Sıppal, dobbal nadihegeduvel (With Fifes, Drumsand Fiddles) for soprano and percussion (2000), ‘Tanc Dal’(Dancing Song), draft, Gyorgy Ligeti Collection, Paul SacherFoundation, Basle 48

Plate 4.3b Gyorgy Ligeti, Sıppal, dobbal nadihegeduvel (With Fifes, Drums andFiddles) for soprano and percussion (2000), ‘Tanc Dal’ (DancingSong), fair copy, bars 1–19, Gyorgy Ligeti Collection, Paul SacherFoundation, Basle 49

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x List of illustrations

Plate 4.4 Gyorgy Ligeti, Variations concertantes for chamber orchestra(1956, unfinished), short score, bars 1–26, Gyorgy LigetiCollection, Paul Sacher Foundation, Basle 50

Plate 4.5 Gyorgy Ligeti, Requiem for soprano, mezzo-soprano, doublechoir and orchestra (1963–5), Kyrie, draft, bars 11–15, GyorgyLigeti Collection, Paul Sacher Foundation, Basle 52

Plate 5.1 Luigi Nono, Da un diario italiano, work timetable, Archivio LuigiNono C! Eredi Luigi Nono 66

Plate 7.1 Anton Webern, top: Funf Canons nach lateinischen Texten, Op. 16No. 1, sketches; bottom (upside down): Kinderstuck (M. 266),sketches, Anton Webern Collection (folder 49, page [6]), PaulSacher Foundation, Basle 92

Plate 7.2 Anton Webern, Funf Canons nach lateinischen Texten, Op. 16No. 1, sketches (identified as page ‘2’ by the composer),Anton Webern Collection (folder 49, page [3]), Paul SacherFoundation, Basle 94

Plate 7.3 Anton Webern, top: Kinderstuck (M. 266), sketches, bottom(upside down): Funf Canons nach lateinischen Texten, Op. 16No. 1, sketches, Anton Webern Collection (folder 49, page [6]),Paul Sacher Foundation, Basle 96

Plate 7.4 Anton Webern, detail from the upper right-hand cornerof sketches for Kinderstuck (M. 266) (see Plate 7.3),Anton Webern Collection (folder 49, page [6]), Paul SacherFoundation, Basle 97

Plate 7.5 Anton Webern, detail from the lower middle section (staves9–15) of sketches for Kinderstuck (M. 266) (see Plate 7.3),Anton Webern Collection (folder 49, page [6]), Paul SacherFoundation, Basle 99

Plates 8.1 Alban Berg, Wozzeck, dimensions of the ‘A’ recto leaf for ONBand 8.2 Musiksammlung F 21 Berg 13/II and 13/VII 104

Plate 8.3 Alban Berg, Wozzeck, sketchbook ONB Musiksammlung F 21Berg 13/II, showing gatherings 106

Plate 8.4 Alban Berg, Wozzeck, sketchbook ONB Musiksammlung F 21Berg 13/II, showing added leaf 107

Plate 8.5 Alban Berg, Wozzeck, concept sketch for Act I, scene 2, ONBMusiksammlung F 21 Berg 13/II p. 92 110

Plate 8.6 Alban Berg, Wozzeck, concept sketch for Act I, scene 2, ONBMusiksammlung F 21 Berg 13/II p. 93 112

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List of illustrations xi

Plates 9.1–6 Bela Bartok, Sonata for Violin and Piano No. 1, sketches in theBlack Pocket-book 118–20

Plate 10.1 Igor Stravinsky, Ragtime, sketch, Sketchbook V, Igor StravinskyCollection, Paul Sacher Foundation, Basle 137

Plate 10.2 Igor Stravinsky, draft of the full score, notated on the back side ofa draft for a letter written to Edwin Evans and dated 9 January1918, Igor Stravinsky Collection, Paul Sacher Foundation, Basle 138

Plate 10.3 Igor Stravinsky, Pribaoutki, ‘Natashka’, sketch of bars 11–14, IgorStravinsky Collection, Paul Sacher Foundation, Basle 140

Plate 10.4 Igor Stravinsky, Pribaoutki, ‘Polkovnik’, sketch for bars 27–32,Igor Stravinsky Collection, Paul Sacher Foundation, Basle 141

Plate 12.1 Elliott Carter, A Mirror on Which to Dwell, ‘Anaphora’, bars 54–8 167Plate 12.2 Elliott Carter, matrix of the all-triad structure, Elliott Carter

Collection, Paul Sacher Foundation, Basle 170Plate 12.3 Elliott Carter, A Mirror on Which to Dwell, ‘Anaphora’ sketch

dated 29 July 1975, Elliott Carter Collection, Paul SacherFoundation, Basle 171

Plate 12.4 Elliott Carter, A Mirror on Which to Dwell, ‘Anaphora’ sketchdating from 5 August 1975, Elliott Carter Collection, Paul SacherFoundation, Basle 172

Plate 12.5 Elliott Carter, A Mirror on Which to Dwell, ‘Anaphora’, bars 1–2 173Plate 13.1 Brian Ferneyhough, Trittico per Gertrude Stein (1989), rhythmic

sketch transcription 180Plate 13.2 Brian Ferneyhough, Terrain (1992), sketch transcription of

‘3rd Rereading Filter Sequence’ 182Plate 13.3 Brian Ferneyhough, screen shot and sample rhythm from

Patchwork Patches, ‘Random-Fun perm-to-1 Comb.pw’ 186Plate 14.1 John Cage, Williams Mix, score, page 5 190Plate 14.2 John Cage, programme of the premiere of Williams Mix 192Plate 14.3 John Cage, Williams Mix, score, page 192 194Plate 14.4 John Cage, Williams Mix, score, page 1 196

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Acknowledgements

This book was originally conceived by Patricia Hall as an ideal text for a course she hastaught since 1999 on twentieth-century sketches and autographs. Many of the topics forthe book correspond to subjects covered in this course – subjects we thought would bevaluable to anyone studying twentieth-century sketches and autographs. In this regard, wemust first thank the authors of this book, who, as dedicated teachers and researchers, tooktime from their busy schedules to contribute to this pedagogical endeavour. At CambridgeUniversity Press we were also very fortunate to have Penny Souster guiding and encouragingthis project. Special thanks go to Ulrich Mosch and the Paul Sacher Foundation for theirgenerous contribution and we would also like to thank the Alban Berg Stiftung, the ArchivioLuigi Nono, the Bartok Archives, the Hindemith Institute and the John Cage Trust forallowing us to reproduce their holdings.

In its planning stage (at a cafeteria in Basle, Switzerland), we very much benefited fromTomi Makela’s suggestions on possible authors and topics and sincerely thank him forhis contribution. We heartily thank J. Bradford Robinson and Michael Graubart for theirtranslations and John Boulay for his competent work on the translation of the two chapterssubmitted in French. We are deeply grateful to Marion Macfarlane for scrupulously correctingall the translated chapters and also for her expert advice. We would like to thank the Directiongenerale des technologies of the Universite de Moncton and particularly Leo Blanchardfor the time and energy invested in preparing the plates and examples presented in thisbook. Finally, we could not have completed this project without the help of our researchassistants. In the final rush to submit the manuscript to Cambridge, Katherine Schroederwas a Godsend, sending files electronically to Moncton, contacting authors, and checkingfootnotes. We would also like to thank Elise Malinge, Myrianne Dube, Mylene Ouellette,Renee Fontaine and Serge-Andre Comeau for their assistance at various stages of this project.Similarly, William Koseluk kindly produced the musical examples for chapters 9 and 12.

The research for this book was funded by the Austrian-American Fulbright Commission,the Social Sciences and Humanities Research Council of Canada, a General Research Grantfrom the University of California, Santa Barbara and grants from the Faculte des arts etdes sciences sociales as well as the Faculte des etudes superieures et de la recherche of theUniversite de Moncton.

xii

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Acknowledgements xiii

Copyright materials are reproduced as follows:

Plates 1.2–2 were reproduced by kind permission of the Hindemith Institute. Plates 2.1–4,7.1–5 and 10.1–4 were reproduced by kind permission of the Paul Sacher Foundation.Plate 4.1 was reproduced by kind permission of the Paul Sacher Foundation and EditioMusica Budapest on behalf of the composer. Plates 4.2–4.5 were reproduced by kind per-mission of the Paul Sacher Foundation and the composer. Plate 5.1 was reproduced by kindpermission of the Archivio Luigi Nono. Plates 8.1–6 were reproduced by kind permissionof the Austrian National Library and the Alban Berg Stiftung. Plates 9.1–6 were repro-duced by kind permission of the Bartok Archives of the Institute for Musicology of theHungarian Academy of Sciences. Plates 12.1 and 12.5 were reproduced by kind permissionof G. Schirmer and Associated Music Publishers. Plates 12.2–4 were reproduced by kindpermission of the Paul Sacher Foundation and the composer. Plates 13.1–3 were reproducedby kind permission of the Paul Sacher Foundation and the composer. Plates 14.1–4 werereproduced by kind permission of the John Cage Trust.

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Index

abbozzo, 47access issues, 23, 31, 36, 40

concerning computer-generated material, 187–8acidity, 35, 37Adorno, Theodor, 232Agawu, Kofi, 232agogic indications, 134, 144, 145alignment, 89ALN, see Archivio Luigi Nonoalterations, 11ambiguity, 177analysis, 133–4

limits of, 4, 221of pitch combinations, 8, 162–5, 168–9of serial music, 146–60sketches and, see under sketches

annotations, see verbal elements and annotationsunder sketches

Aranyi, Jelly d’, 116–17, 130, 230archives and institutions housing musical sketches, 1, 59,

214–20access issues, 31, 36application procedures, 36behaviour in and proper handling of material, 37–9, 40contacting before visiting, 18counting of manuscript holdings, 69, 226estimating time needed at, 18–19inspections, 35preparation for visiting, 17–21, 23, 29–31, 36, 39–40,

73reducing need to visit, 37responsibilities of archivists and researchers, 36–42,

71–2working in, 31, 36see also digital archives and sources

Archivio Luigi Nono, 59–72, 215, 226Artificial Life theory, 177artwork(s), see work(s) of artAsaf’yev, Boris, 135Austin, Larry

and Ives’s Universe Symphony, 211, 213Williams [re]Mix[ed], 189, 191, 197, 199–213, 237;

sounds recorded for, 202, 207–12autograph, meaning of, 51–3, 185Babbitt, Milton, 164Bach, Johann Sebastian, 54, 156

backups, 78Barron, Bebe, 189, 192, 193, 237–8

Austin and, 211and Cage’s Williams Mix, 193, 194, 207, 208, 210,

211, 237–8Barron, Louis, 189, 192, 193, 237–8

and Cage’s Williams Mix, 193, 194, 207, 208, 210,211, 237–8

Bartok, Bela, 55, 215compositional methods, 8, 23, 114–30handwriting, 116, 123–4lecture notes, 230performances of works by other composers, 127sketchbooks, 114, 115–16, 126use of piano for composing, 8, 114, 115, 116Improvisations on Hungarian Peasant Songs, 117, 125,

126The Miraculous Mandarin, 115, 122, 123, 125, 126,

127, 230Sonata for Violin and Piano No. 1 (1921), 115,

116–30, 230, 231Sonata for Violin and Piano No. 2 (1922), 115, 122Three Studies Op. 18, 125, 126, 231

Bartok, Ditta, 229Bartok, Marta, 116–17, 127BBC Sound Effects Library, 211Beethoven, Ludwig van, 6, 54

sketchbooks, 102, 106, 108, 228–9sketches, 54, 131Symphony No. 10 (sketches), 16

bella copia, 51Benary, Peter, 224Benjamin, Walter, 3, 6Berberian, Cathy, 27–9Berg, Alban, 214

Carter compared to, 168compositional methods, 6, 7, 8, 102explanatory notes, 7handwriting, 108–13paper used for sketches, 90printed scores, 227sketchbooks, 102–13verbal instructions and footnotes in scores, 134Lulu, 15Lyric Suite, 7Wozzeck, 102, 103, 110–11, 112, 168

246

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Index 247

Berio, Luciano, 18–23, 30, 223compositional methods, 23, 27Folk Songs, 27Gesti, 22Rendering, 16Requies, 17, 18, 19–20, 21, 22, 23–9Sequenza III, 29Sequenza V, 22

BIS, 232Bishop, Elizabeth, 166Blacher, Boris, 220books, sketches written in, 45, 69books and bound documents, proper handling, 37–9, 40Borio, Gianmario, 55, 221Boulez, Pierre, 8, 146, 147–56, 159–60, 192

Cage and, 147, 191, 192, 199, 212compositional methods, 23, 147–56definition of system, 160sketches, 148–9and Stravinsky, 151Antiphonie, 148–9, 153–6, 235Le marteau sans maıtre, 148, 149–50, 151–3, 156, 160Piano Sonata No. 3, 148–9, 235Premiere etude de musique concrete, 147Structures, 147, 150

Brahms, Johannes, 54Britten, Benjamin, 216brouillon, 47Brown, Carroll, 194Brown, Earle, 189, 193, 194, 201, 206, 237

Octet, 192, 199, 236, 237–8Bruckner, Anton

Symphony No. 9 (sketches), 15Busoni, Ferruccio, 216

Cage, John, 8, 191–6, 208, 209, 212, 217, 218and Brown, 237–8and compositional methods, 194–6and computers, 202–3and the I Ching, 191, 193, 194, 195–6, 202–3, 237Concerto for Prepared Piano and Chamber Orchestra, 193Fontana Mix, 237HPSCHD, 203Imaginary Landscape No. 4, 193Imaginary Landscape No. 5, 193, 236–7Instances of Silence, 237Music of Changes, 193, 203Newport Mix, 237Rozart Mix, 194, 237String Quartet, 191, 193Williams Mix, 191, 213; Cage on performance, 212;

performance configuration, 206–7; sounds recordedfor, 202, 207–12

Carter, Elliott, 161–5, 181compositional methods, 165–75Harmony Book and related research, 8, 162–5, 168–9pre-compositional strategies, 162–5

sketches, 161–75view of his place in music-theoretical research, 163–4Concerto for Orchestra, 163Double Concerto, 164Eight Etudes and a Fantasy, 168A Mirror on Which to Dwell, 165–75, 235; ‘Anaphora’,

165–75String Quartet No. 1, 163, 164String Quartet No. 2, 164

Casella, Alfredo, 217catalogues and cataloguing, 20–1, 36, 37, 41, 59–73

of pitch combinations, 8, 162–5, 168–9see also classification systems and inventories

cellulose, 33Cerha, Friedrich, 15Cernovitch, Nicola, 194Cezanne, Paul, 5Chadabe, Joel, 212, 213Charlip, Remi, 194chronology and dating, 9–10

composers’ own, 10, 45, 68, 91, 116, 178, 224computer files, 178–9examples of investigation into, 27, 29–30, 45, 55,

93–100, 116–30, 178–9, 224external evidence and, 9, 69–70, 126, 178of literary texts, 53paper and, 9, 69–70, 91see also order

classification systems, 36, 43, 59–73see also catalogues and inventories

Coda Finale (notation program), 177, 181collaboration, 15–16, 110, 193–4, 203, 224, 237–8colleagues, as source of information, 17colour

identifying, 103of ink/ink flow, 124, 230issues in reproduction, 30, 75, 78–9of paper, 103

complete editions, publication of sketches in, 10–11completeness/incompleteness, see under sketchescompletions of, and works based on, sketches, 15–16,

211, 213see also Austin, Larry, Williams [re]Mix[ed]

complexity, 177composer institute, 1, 214–20composers

attitudes to sketches, 9, 22–3comments and explanatory notes on own work, 7

compositional technique/process, 6–9, 88, 131,132–3

computer-assisted, see computer-assistedcomposition/sketching

individual/collective, 15–16, 133not notating self-evident aspects, 8–9, 45pre-compositional strategies, 6–8, 114, 162–5reconstructing/understanding, 114, 115, 127–30, 133,

142–5, 146–7, 162, 178, 181, 187

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248 Index

computer-assisted composition/sketching, 176–7,178–88, 202–3

see also Williams [re]Mix[er]computers, 76, 187–8

storage systems, 80–1testing databases, 83see also computer-assisted composition/sketching and

digitisationconfidentiality, 133, 162conservation issues, 31, 32–5, 74, 187

see also storagecontinuity drafts sketches, 47, 90, 115–16cooperation, see collaborationcopia, bella, 51copies, see fair copies and working copiescopyists, 226copyright, 23, 36, 40, 54, 132, 223corrections, 30cotton, 33creative (compositional) process, see compositional

technique/processcross-reference signs, 91, 95, 227Cunningham, Merce, 194

Dahlhaus, Carl, 54, 57Dallapiccola, Luigi, 215databases, 59–73

of digital files, 81–4requirements for, 72–3testing, 83

dating, see chronologyDebussy, Claude, 216

Bartok and, 127D’un Cahier d’Esquisse, 5

deletions, 30, 179, 236notations which may indicate, 100, 228see also erasures

Dessau, Paul, 220dictionary of pitch structures, 8, 162–5, 168–9digital archives, 81–4digitisation and digital scans, 17, 23, 29–30, 36–7, 74–81

of analog tapes, 200–1and deciphering handwriting, 110, 113problems and benefits of, 74technological aspects, 74–81terminology, 76see also image manipulation and working copies

diplomatic transcription, see transcription(s)Dlugoschevsky, Lucille, 194dpi, 76draft(s), 23

range of meaning, 20relationship to sketches, 9, 44, 47–51, 114–16terms for in other languages, 47

Druckvorlage, 53

e-sketches, see computer-assisted composition/sketchingebauche, 47

Eberle, Josef, 103, 230Eco, Umberto, 55–6editorial commentaries, 11–14, 87–8, 89,

113Eisenstein, Sergei, 132, 232Eisler, Hanns, 217electronic music, 189–213Elgar, Edward

Third Symphony (sketches), 16empty staves, 89, 227Entwurf, 47eps files, 77erasures, 11, 30, 139

see also deletionserrors, 11–12, 152

Cage on, 212in classification, 39in published editions, 152, 234transcription and, 11–12, 226

erste Niederschrift, 47esquisse, 44ethics, 133

see also privacyexercises, 162–5experimentation, 133, 232extroversive/introversive art, 232

facsimiles, 11, 12, 88as adaptations, 85transcriptions needed to complement, 89–90see also under publication of sketches and under

publication of worksfair copies, 51–3, 88–9, 227

relationships to sketches/drafts, 8, 23, 27, 44, 51,135–6, 185

terms for in other languages, 51Falla, Manuel de, 215Fanning, David, 102, 106, 229Fassung letzter Hand, 53Feldman, Morton

Intersection, 199, 236Ferneyhough, Brian, 176–88

compositional methods, 179–88poems, 236sketchbooks, 177, 178sketches, 176, 177–88Bone Alphabet, 177Carceri d’Invenzione, 181La Chute d’Icare, 181Etudes Transcendentales, 184Lemma-Icon-Epigram, 181, 236String Trio, 176, 181, 185Terrain, 179Trittico per Gertrude Stein, 179Palimpsests (poem), 236

fibril, 33, 223files, digital, 76, 77–8

formats, 77–8

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Index 249

filmsconservation issues, 33using in preference to original sources, 36–7

Finale (notation program), 177, 181flatbed scanners, 75Fondazione Giorgio Cini, 217Forte, Allen, 151, 164fragments, 15–16, 133frequency multiplication (multiplication sonore), 151–3,

234function, 147, 151–2, 159, 233

gatherings, 103–6, 108Gillies, Malcolm, 231gloves, 37, 39graphic libraries, 82–3Grier, James, 229groups (in serialism), 150–1gua charts, 205–6Gulke, Peter, 15, 16Gurewitsch, Matthew, 221

Haas, Georg Friedrich, 149, 234Haba, Aloıs, 164Halm, August, 6, 55handling, 37–9handwriting, 30, 108–13, 123–4, 142, 229Hauer, Josef Matthias, 164Henry, Pierre, 192Henze, Hans Werner

pagination of sketches and drafts, 223Symphony No. 6, 9

hermeneutics, 7, 54Hertzka, Emil, 95hexads, 205–6Hill, Richard, 164Hiller, Lejaren, 203Hilmar, Ernst, 102Hilmar, Rosemary, 102Hindemith, Paul, 219

compositional methods, 7, 8, 9, 15publication of sketches in complete

edition, 10–11sketches, 12–14Concerto for Woodwinds, Harp and Orchestra,

12, 13Sonata for Four French Horns, 12–14Sonata for piano, Op. 17, 15

Hobsbawm, Eric, 15holograph, meaning of, 51–3humidity, 33–4Hyde, Martha, 55

I Ching, 237use in compositional processes, 191see also Williams [re]Mix[er] and under Cage

image manipulation, 78, 80, 110, 113imprecision, 177, 200

improvisation, 114, 115, 116, 184index of pitch structures, 8, 162–5, 168–9information, sources of, 17–23, 30–1, 224Ingarden, Roman, 53Institut de Recherche et de Coordination

Acoustique/Musique (IRCAM), 176, 181institutions housing musical sketches, see archivesinstrumentation/orchestration, 135

see also under Stravinskyinstruments, composing with/without, 8

see also pianoInternet, 17, 37, 73, 83–4introversive/extroversive art, 232inventories, 18, 19–20, 41, 224

process of making, and access issues, 36see also catalogues

IRCAM (Institut de Recherche et de CoordinationAcoustique/Musique), 176, 181

isomorphism, 147, 148, 153, 159Ives, Charles, 10, 222

Universe Symphony sketches, 211, 213

Jahn, Otto, 54Janacek, Leos, 218Jenny, Laurent, 56John Cage Trust, 197, 199, 200–1, 218Johnson, Douglas, 4, 221Johnston, Ben, 194Jone, Hildegard, 227jpeg files, 77Jung, Carl, Gustav, 232

Kandinsky, Wassily, Carter compared to, 168Kaufmann, Harald, 220Kerman, Joseph, 45, 132Kobrin, Ed, 203Kodaly, Zoltan, 218

Bartok and, 127Kostelanetz, Richard, 189Krenek, Ernst, 216, 228Kuhn, Laura, 200Kurtag, Gyorgy, 10, 44, 45, 56–7, 225

and open work concept, 45unfinished works, 56–7Grabstein fur Stephan, 56–7Hommage a R. Sch., 56–7Kafka-Fragmente, ‘Leoparden’, 45, 46, 224Officium breve, 10Sorok Sirokay Zsuzsinak, 45

Kurth, Ernst, 6

language, thought and, 85languages and language competence, 3–4, 12–14, 25–7,

30, 110terms for sketches etc. in other languages, 44, 47, 51,

53, 224Leibowitz, Rene, 164libraries, see archives

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250 Index

Ligeti, Gyorgy, 44, 45, 132compositional methods, 47–8, 51, 225Aventures, 53Lux aeterna, 225Matraszentimrei dalok, 53Nouvelles Aventures, 53Requiem, 45, 47, 51, 52, 225Sıppal, dobbal nadihegeduvel, ‘Tanc Dal’, 47, 48, 49, 51,

53Variations concertantes (unfinished), 47–51

Ligeti, Veronika, 53light

as conservation issue, 34, 35issues concerning in photography/reproduction, 75, 79

Lindberg, Magnus, 132linen, 33Lisp (programming language), 181lists

researchers’, 30as sketches, 8see also catalogues

literature and literary criticism, 1, 53, 56see also text concept

loans, 40Loetscher, Hugo, 22Luening, Otto, 192

Machaut, Guillaume deKurtag and, 57Ligeti and, 225

Maderna, Bruno, 23magnetic tape

conservation issues, 33music for, 64, 189–213

Mahler, Gustav, 216Symphony No. 10 (sketches), 15

Malipiero, Gian Francesco, 217manuscript paper, 103, 226, 230

homemade, 233see also paper and staves/staff lines

manuscriptscounting of sheets of paper/pages, 69, 226guide for cataloguing, 226proper handling, 37–9see also sketches and sources

Marston, Nicholas, 224Martino, Donald, 164Martin !u, Bohuslav, 215meaning, 7meditation, 162memory, 178, 181Mendelssohn, Felix, 54Messiaen, Olivier, 192Metzger, Heinz-Klaus, 220Meyer, Felix, 90, 227, 228microfilms, 17, 23, 29–30, 31

see also working copies

Mies, Paul, 6Milhaud, Darius, 216Minsky, Marvin, 177mise au net, 51Mosch, Ulrich, 9, 223, 234Mozart, Wolfgang Amadeus, 54, 230multiplication sonore (frequency multiplication), 151–3,

234musical notation, 85–6, 134–5

and ambiguity/imprecision, 177empty staves, 227spelling of pitches, 235see also agogic indications, staves/staff lines and

typesettingmusical sketches, see sketchesmusical work(s)

concept of, 1, 6, 57–8, 133concept of work in progress, 132cooperative/collaborative, 15–16, 193–4, 203, 224individualism and, 15–16, 54parameters and primary/secondary aspects, 8–9, 45,

131–2, 134–5programmes/content descriptions, 8recycling, 10relationship of score to, 53relationship of sketches to, see under sketchessee also open work concept

music paper, see manuscript papermusic-writing software, see computer-assisted

composition/sketchingmusique concrete, 64, 189–213

use of term, 191

Newbould, Brian, 15, 222Niederschrift, erste, 47Nielson, Carl, 216Nietzsche, Friedrich, 6Nono, Luigi, 215

collaborative work, 71, 224compositional methods, 55, 61, 64, 69, 70–1paper type providing information, 69–70sketchbooks, 65–7, 69versions of works, 68writing implements, 70Da un diario italiano (unfinished), 65Diario polacco ’58, 68La fabbrica illuminata, 61–3, 64, 65, 71Variazioni canoniche sulla serie dell’opus 41 di Arnold

Schoenberg, 61–3, 64–5see also Archivio Luigi Nono

Nono, Nuria Schoenberg, 226notation, see musical notationnotepads, cataloguing, 65–7Nottebohm, Gustav, 54–5numbers

Berg and, 7see also I Ching and Random Funnel

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Index 251

open work-concept and open forms, 5, 45, 55–6, 58, 132orchestration, see instrumentationorder, 29–30, 39, 223

see also chronologyOrff, Carl, 219Osmond-Smith, David, 16, 30ownership, 36, 40

packaging, 35, 38, 224paper, 30, 33

ageing process and conservation issues, 32–5, 37, 111colour, 103and dating, 9, 69–70, 91description of in cataloguing, 69–70reuse, 22size and format, 7, 90, 103standards for packaging, 35, 224variety used for sketching, 44–5, 69–70, 178, 224, 233see also manuscript paper

particella, Particell, 48, 224see also short score

passive conservation, 223see also conservation issues

pastings, 30PatchWork, 176, 177, 178, 179, 181–5Paul Sacher Foundation, 18, 23, 44, 56, 93, 131, 142,

219, 225and computer-generated material, 187counting of manuscript holdings, 226home page, 18, 19

Pavese, Cesare, 63pc-sets, 151Pears, Peter, 216pens/pencils, see writing implementsperformers/performance, 232

chance/variance, 177, 200impact of graphic aspects of scores, 227

Perkins, David, 43Perle, George, 164Peterson, Peter, 102, 106, 229Petrassi, Goffredo, 217–18Pfitzner, Hans, 7, 8philology, 9–10, 53, 55, 56photography and photographic reproductions (including

photocopies), 17, 23, 29, 31, 75conservation issues, 33manipulation, 78, 80as step to digitisation, 75, 76–7see also working copies

piano, composing at, 8, 10, 114, 115, 116piano score, 224pitch-class theory, 151pitch combinations, cataloguing, 8, 162–5, 168–9Poe, Edgar Allen, 85poietic perspective, 133Post-its, 45postmodern perspectives, 5, 56, 57–8

pre-compositional strategies, see under compositionaltechnique/process

preconceptions, 31preservation see conservation issues; see also

completeness/incompleteness under sketchespreventive conservation, 32, 42, 223

see also conservation issuesprima stesura, 47printer’s copy, 88printing, 86–7

as adaptation, 85see also publication of sketches, publication of works

and typesettingprivacy, 133, 162Project for Music for Magnetic Tape, 189, 193–4, 236publication of sketches, 10–12

in facsimile, 11, 12, 131, 231in transcription, 11–12, 88–9as works, 232see also editorial commentaries

publication of works, 53, 185–7computerisation and, 185–7empty staves, 227in facsimile, 53, 88–9, 185–7, 233impact of graphic aspects of scores, 227see also printing

publishers, as source of information, 17–18, 31

questionnaires, 41

Random Funnel, 179, 181, 183, 185see also PatchWork

Ravel, Maurice, Bartok and, 127reconstruction(s), 15–16, 53, 233

see also under compositional technique/processrecorded sounds, 202, 207–12

backwards, 237–8recordings, 31

conservation issues, 33recycling, 10Reger, Max, 7, 10, 133, 218Reinschrift, 51, 53reproductions, see digitisation, photography,

transcription(s) and working copiesresearch, 40–2

cooperation in, 110defining purpose of, 17, 39–40estimating time needed for, 18–19music-theoretical see analysissee also sources

resolution, 76restoration, 32, 35

see also conservation issuesReuß, Roland

concept of text, 86, 226on transcription, 89

Richards, Mary Caroline, 194

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252 Index

Rimsky-Korsakov, Nikolai, 135Rota, Nino, 217Rouse, Mikel, 200Sacher, Paul, see Paul Sacher Foundationsampling, 76

see also digitisationSatie, Erik, 214scanning, 75, 76, 77–8

see also digitisationScelsi, Giacinto, 132, 217Schaeffer, Pierre, 191, 192schemata, 8Schenker, Heinrich, 6, 55Schiff, David, 176schizzo, 44Schleiermacher, Friedrich, 54, 225Schoenberg, Arnold, 10, 55, 215

Carter and, 164compositional methods, 6–7, 8paper used for sketches, 90precision of notation, 134printed scores, 227publication of sketches in complete edition, 10, 11on thought and notation, 101Ode on Napoleon Buonaparte, Op. 41, 61–4Suite, Op. 25, 55

Schreker, Franz, 219Schubert, Franz

Symphony No. 10 (sketches), 15Schumann, Robert, 54secondary sources, see external evidence under

chronologySecond Viennese School, see Viennese Schoolserial music, 6–7, 8, 146–60

broadening of conceptions, 159–60see also twelve-tone composition

serial/row tables, 55, 147–50, 151–2, 156, 158–9short score, 23, 48, 136, 139, 145, 224Shreffler, Anne, 228Sibelius, Jean, 132, 232signs, 4, 85–7, 226

see also musical notation; see also verbal elementsunder sketches

sketchbooks, 102cataloguing, 65–7gatherings, 103–6, 108page numbering in, 107, 178reconstructing, 102–8

sketchesand analysis, 4, 133–4, 146–7, 161–5aspects normally missing, 8–9, 45benefits of studying, 4, 51, 54–8, 225and complete editions, 10–11completeness/incompleteness, 9, 115, 145, 176, 187–8completions and works based on by other composers,

see completionscomposers’ attitudes to, 9

as a compositional principle/idea, 5computer-assisted, see computer-assisted

composition/sketchingdocumentation concerning, see catalogues and

inventoriesdrafts and, 9, 20, 44, 47–51ethical problems concerning, see ethicsfinished work required to understand, 14history of study of, 1, 53–6importance of location on page, 89individuality, 90literary, 1meaningless or incomprehensible marks on, 10, 87nature of notation/signs in, 4, 10, 85–7, 226as private documents, 10, 45, 224publication of, see publication of sketchespurposes, 10, 114quantity of, 56–7, 59relationship to a work or work project, 5–7, 8–9, 11,

45, 54–5, 57–8, 133, 176terminology concerning, and definitional problems,

see under terminologyterms for in other languages, 44typology of, 114–16, 128–9, 224unfinished, 15–16, 61, 65, 68, 133variety of material on which written, 44, 69, 177–8,

224, 233verbal elements and annotations, 7, 8, 12–14, 25–7,

29, 45, 48, 108–13, 134in the visual arts, 1, 5, 37see also chronology, sources and transcription(s)

sketchingas an autonomous process, 5as a continuing activity, 44preparation for performance as, 232

sketch studies, 10–11, 128, 142, 146–7and analysis, 6–7, 55–6and different aspects of music, 131–2limitations, 122, 130, 161–2

Skizze, 44Somfai, Laszlo, 55sources

availability, 37conservation issues, 32–5, 74, 187, 223continuing need to examine, 89–90incompleteness, 22–3locating and finding information about, 17–23, 30–1,

36, 224see also archives, manuscripts and working copies;

see also external evidence under chronologyspeed of writing, effects, 124, 226staves/staff lines, 86–7, 144, 227, 233

see also manuscript paperSteiger, Rand, 179Stein, Erwin, 227Stein, Leonard, 217stemmata, 53, 55

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Index 253

stesura, prima, 47Stockhausen, Karlheinz, 8, 23, 146, 150–1, 159–60, 220

compositional methods, 156–9sketches, 156–9, 235Gesang der Junglinge, 156, 235Gruppen, 160Kontakte, 160Kreuzspiel, 156Zeitmaße, 153, 156–9, 235

storage, 35, 38, 224see also archives and conservation issues

Strauss, Richard, 8, 219Stravigor, 233Stravinsky, Igor, 131, 231

agogic indications, 134, 136, 139, 144, 145Boulez and, 151compositional methods, 8, 23, 131, 132, 135–9on his own process, 131and instrumentation/orchestration, 134–42, 144, 145music compared to film, 132, 232sketches, 133, 135–45Taruskin and, 221work by Wuorinen based on sketches by, 16Berceuses du chat, 135L’histoire du soldat, 135, 139Les noces, 135Pribaoutki, 132, 135, 136, 139–42Ragtime, 132, 135–45Le sacre du printemps, 151

Stravinsky, Vera, 16Stuckenschmidt, Hans-Heinz, 220systems

Boulez and, 160Ferneyhough on, 177

Szekely, Zoltan, 127Szervanszky, Endre, 10Szymanowski, Karol, 218

Bartok and, 130, 231

tables, 8, 147, 151–2, 169tape, see magnetic tapeTaruskin, Richard, 221technology

for databases, 72–3for digitisation, 74–81see also computers

temperature, 33–5terminology, 51–3, 229

concerning sketches, 20, 43–4, 45, 51, 114concerning technology, 76in other languages, 44, 47, 51, 53, 224

text concept, 85–6, 226Thomas, Christiane, 223Thompson, Michael, 204, 205Thomson, Virgil, 191thought, language/notation and, 85, 101tiff files, 77

time estimation, 18–19titles, 67–8tone rows, 6–7, 169Toop, Richard, 188tracing, 75–6transcription(s), 11–12, 85, 86–90

as adaptations, 85commentaries on, see editorial commentariesof computer-generated material, 187of doubtful passages, 100, 113facsimiles needed to complement, 89–90, 100handwritten, 88–9limitations, 89–90of multiple sketches, 98–100supplementary information on, 87–8, 93treatment of alterations, 11treatment of erasures, 11treatment of errors, 11–12, 226see also handwriting

translation, 3–4transcription and, 85of verbal elements of sketches, 12–14

transliteration, 226Tudor, David, 193, 217

and Austin, 211and Cage, 189, 193, 194, 237

twelve-tone composition, 6–7, 169typesetting, 134, 185–7

see also Coda Finale

Urtext, 53Ussachevsky, Vladimir, 192

Valery, Paul, 56verbal elements and annotations, see under sketches; see

also handwritingViennese School, 6–7, 134

see also individual composersvisual arts, 1, 5, 37

Walton, William, 217, 220watermarks, 9, 30Watt, Jay, 194Weber, Max, 134Webern, Anton

compositional methods, 6, 114cross-reference signs, 91, 95, 227fair copies, 90, 227Kurtag’s use of music by, 10notations which may indicate deletions, 100, 228paper used for sketches, 90–1precision of notation, 134published facsimiles of sketches, 90, 226row tables, 90Schoenberg and, 10sketchbooks, 91, 228sketches, 90–101

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254 Index

Webern, Anton (cont.)Concerto, Op. 24, 227Funf Canons nach lateinischen Texten, Op. 16, 90–101,

227, 228Kinderstuck (M. 266), 90–101, 227, 228Klavierstuck (M. 277), 228String Quartet, Op. 28, 227

Weill, Kurt, 218Whittall, Arnold, 133–4Widmungsexemplar, 53Wightman, Alistair, 231Williams, Paul, 189, 193Williams [re]Mix[er], 191, 203, 204–6, 209–10Wolff, Christian

For Magnetic Tape, 192, 236

wood pulp, 33working copies, 17, 23, 29–31, 36, 196–7, 223

and conservation issues, 36–7problems and benefits of, 30, 37see also digitisation

work(s) of art, concept of, 1, 6, 132–3see also musical work(s)

writing implementsand dating, 9, 70, 123–4, 224to produce staff lines, 233researchers’, 38

Wuorinen, CharlesA Reliquary for Igor Stravinsky, 16

Yun, Isang, 217

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Documents

Handbook of Twentieth Century Musical Sketches