Incantations, Concerto da Camera for Piano and Ensemble (2015): the balance of traditional and progressive musical parameters through the concertante treatment of the piano

Waterhouse, Graham (2018) Incantations, Concerto da Camera for Piano and Ensemble (2015): the balance of traditional and progressive musical parameters through the concertante treatment of the piano. Doctoral thesis, Birmingham City University.

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PhD Thesis.pdf

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Score 1 - Incantations, Concerto da Camera for Piano and Ensemble (2015).pdf

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Score 2 - Chinese Whispers, String Quartet No. 1 (2011).pdf

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Score 3 - Prophetiae Sibyllarum, String Quartet No. 2 (2012) - I.pdf

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Score 3 - Prophetiae Sibyllarum, String Quartet No. 2 (2012) - II.pdf

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Score 3 - Prophetiae Sibyllarum, String Quartet No. 2 (2012) - III.pdf

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Score 3 - Prophetiae Sibyllarum, String Quartet No. 2 (2012) - IV.pdf

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Score 4 - Alcatraz, String Quartet No. 3 (2014) - I.pdf

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Score 4 - Alcatraz, String Quartet No. 3 (2014) - II.pdf

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Score 4 - Alcatraz, String Quartet No. 3 (2014) - III.pdf

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Score 4 - Alcatraz, String Quartet No. 3 (2014) - IV.pdf

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Score 5 - Sonata Ebraica for Viola and Piano (2013) - I.pdf

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Score 5 - Sonata Ebraica for Viola and Piano (2013) - II.pdf

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Score 5 - Sonata Ebraica for Viola and Piano (2013) - III.pdf

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Score 6 - Rhapsodie Macabre, Piano Qunitet (2011).pdf

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Score 7 - Skylla and Charibdis, Piano Quartet (2014).pdf

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Score 8 - Concerto da Camera for Cello and Ensemble (2012).pdf

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Score 9 - Pas de Quatre for Oboe, Violin, Viola and Cello (2013).pdf

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Score 10 - Der Werwolf for Speaking Voice and Cello (2015).pdf

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Score 11 - Le Loup-garou for Speaking Voice and Cello (2015).pdf

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Score 12 - Red Campion for Clarinet Solo (2015).pdf

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Appendix 1.pdf

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Appendix 2.pdf

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Compilation I - 01 - Prophetiae Sibillarum, String Quartet No.2.mp3

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Compilation I - 02 - Prophetiae Sibillarum, String Quartet No.2.mp3

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Compilation I - 03 - Prophetiae Sibillarum, String Quartet No.2.mp3

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Compilation I - 04 - Prophetiae Sibillarum, String Quartet No.2.mp3

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Compilation I - 05 - Alcatraz, String Quartet No. 3.mp3

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Compilation I - 06 - Alcatraz, String Quartet No. 3.mp3

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Compilation I - 07 - Alcatraz, String Quartet No. 3.mp3

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Compilation I - 08 - Alcatraz, String Quartet No. 3.mp3

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Compilation I - 09 - Alcatraz, String Quartet No. 3.mp3

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Compilation I - 10 - Rhapsodie Macabre, Piano Quintet.mp3

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Compilation I - 11 - Rhapsodie Macabre, Piano Quintet.mp3

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Compilation I - 12 - Rhapsodie Macabre, Piano Quintet.mp3

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Compilation I - 13 - Rhapsodie Macabre, Piano Quintet.mp3

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Compilation I - 14 - Rhapsodie Macabre, Piano Quintet.mp3

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Compilation II - 01 - Skylla and Charybdis for Piano Quartet.mp3

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Compilation II - 02 - Skylla and Charybdis for Piano Quartet.mp3

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Compilation II - 03 - Skylla and Charybdis for Piano Quartet.mp3

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Compilation II - 04 - Skylla and Charybdis for Piano Quartet.mp3

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Compilation II - 05 - Sonata Ebraica for viola and piano.mp3

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Compilation II - 06 - Sonata Ebraica for viola and piano.mp3

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Compilation II - 07 - Sonata Ebraica for viola and piano.mp3

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Compilation II - 08 - Red Campion for Clarinet Solo.mp3

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Compilation II - 09 - Der Werwolf for Cello and Speaking Voice.mp3

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Compilation II - 10 - Le Loup-garou for Cello and Speaking Voice.mp3

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Compilation II - 11 - Incantations, Concerto da Camera for Piano and Ensemble.mp3

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Compilation II - 12 - Incantations, Concerto da Camera for Piano and Ensemble.mp3

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Compilation II - 13 - Incantations, Concerto da Camera for Piano and Ensemble.mp3

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Compilation II - 14 - Incantations, Concerto da Camera for Piano and Ensemble.mp3

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Abstract

The aim of this research project is to investigate concertante techniques in composition with reference both to traditional models and recent works in the genre, and to redefine a contemporary understanding of concertante writing in preparation for the principal work of this thesis, Incantations for Piano and Ensemble. Starting with the contradictory meanings of the word “concertare” (to compete and to unite), as well as with a fleeting, non-musical vision of combining disparate elements, I investigate diverse styles and means of combining soloist (mainly piano) and ensemble. My aim is to expand my compositional “vocabulary”, in order to meet the demands of writing a work for piano and ensemble. This involved composing supporting works, both of concerto-like nature (with more clearly defined functions of soloist and tutti), as well as chamber music (with material equally divided between the players). Part of the research was to ascertain to what extent these two apparent opposites could be combined to create a hybrid concerto/chamber music genre in which the element of virtuosity transcends the purely bravura, to embrace a common adaptability, where soloist and ensemble players are called upon to assume a variety of roles, from the accompanimental to the soloistic.

Special attention is paid to the use of the parameters harmony/form, concertante piano writing and extended techniques in my supporting works and how these are developed and applied to the principal work. The use of extended techniques, originally intended for wide-scale deployment in the principal work, is essayed especially in two works for cello and speaking voice. For one of the latter a new method of notating certain techniques had to be devised. The validity and effectiveness of the extended techniques is assessed in a number of different contexts and conclusions are drawn regarding their deployment in the principal work.

Item Type: Thesis (Doctoral)
Additional Information: Of the many people involved with this research project I should like first and foremost to thank the staff of Birmingham Conservatoire: Director of Studies Joe Cutler, supervisors Chris Dingle and Edwin Roxburgh for their invaluable advice and unending patience, and Carrie Churnside for editorial suggestions. Thanks are also due to my many musical acquaintances: colleagues from the Pelaar String Quartet, Munich; members of the Munich Philharmonic Orchestra, of the Bayerisches Staatsorchester and of the Munich Chamber Orchestra for their ideas and insights in trying out new works; Conductor Richard Baker and members of the BCMG for their expert practical advice whilst rehearsing and recording Incantations; Conductor Armando Merino and Soloist Michael Schöch for the opportunity to play Incantations in Munich; also violinist David Frühwirth for advice with the string parts of the piano chamber music; Alexander Reich for his technical help and John Arthur and Fabio Maffei for their editing assistance. Finally, I should like to thank my son, 10 years old when Le Loup-garou was begun, for his (unwittingly) useful advice on which cello techniques to include and which to leave out; also, my wife, for enduring long spells of non-communication and absence during the protracted gestation period for this thesis.
Uncontrolled Keywords: Composition, Concertante
Subjects: W300 Music
Divisions: REF UoA Output Collections > Doctoral Theses Collection
Depositing User: Kip Darling
Date Deposited: 26 Mar 2019 13:16
Last Modified: 27 Mar 2019 16:56
URI: http://www.open-access.bcu.ac.uk/id/eprint/7308

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