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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96

Appendix A: Transcript of interview with Nigel Butterley

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

141

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.

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Appendix B: Ethics Approval

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