"web-'5

h

LIBRARY
Michigan Sum

 
  

  
  

1| gum"; Illjljjlfllll Lm in (l H! in “Ill 1m l l n ,

This is to certify that the

thesis entitled

THEA MUSGRAVE'S
EQBN CONCERTO

presented by

C. SCOTT SMITH

has been accepted towards fulfillment
of the requirements for

Wane in MUSIC

gm é WWW}

Major professor

DateFebruary 13. 1980

04639

THEA MUSGRAVE'S
HORN CONCERTO

By
Charles Scott Smith

A THESIS
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF MUSIC

Department of Music

1980

ABSTRACT

THEA MUSGRAVE'S
HORN CONCERTO

 

By
Charles Scott Smith

Although Thea Musgrave has achieved an international
reputation as a composer, neither she nor her music is known
in many circles in the United States. By way of an intro—
duction, a biographical sketch of her life and a listing of
her works are included.

The writer selected the Horn Concerto as a work for de—
tailed study for two reasons: first, a profound interest in
the art of horn playing, and second, a desire to examine in
detail a significant work for the horn that was written in
the 20th Century.

A study of the Concerto's formal design and an analysis
of the linear and vertical structures that are contained
within it, make up the main body of the work. As an adjunct
to this, it seemed appropriate, because of the extensive use
of quarter-tones in the solo horn part, to include research

about quarter-tones as they relate to horn playing.

In Memorium:
W. Leigh Smith

ii

ACWOWLEDGMENTS

I wish to eXpress sincere gratitude to the following
professors: Dr. Douglas Campbell and Neill Sanders, for
insight in Horn performance; Dr. David Liptak, for his
teaching of musical synthesis; and especially Dr. Russell
Friedewald, whose guidance has been most inSpiring in

musical analysis and its presentation.

iii

TABLE OF CONTENTS

LiSt Of Tables 0 o ooooo o ooooo o o o o o o o o o o o o o o o u o o c o o o o o o o o o .V-Vi
LiSt Of Figures 0 o o o o o o o o o I o o o o o o o o o 0000000 o o o o o o o o I Vii-Viii
IUtI‘OdUC'tiOI’I o o o o o o o o o o o o a o o o o o a o o o o I o o o o o o o o o o o o o o o o o o o o o O 1

Chapter 1 --

Biography .00000...........OOOOOOOOOIOOOOOOOOu
Chapter 2 --- Formal Analysis ......... ................. ... 7

Chapter 3 —-" Linear AnalySiS o o o o o a o o o a I o o c o 0 o o o o o o o o o o I o 17
Aleatoric Features I o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o I 0 21‘"
Solo Horn Features .......... ...... .... ....... ........ 28

Chapteru---Vertical StI‘UCtureS Deco-00000000000000.0000 33
Appendix A -—- Derivation of Quarter-Tones ............... #1

Appendix B --- Thea Musgrave's Works (1953-1977) ......... 56
Ballets .............................................. 56
Operas ............................................ 56-57
Orchestral Works .................................. 57-58
Chamber Music ..................................... 59-60
Vocal and Choral with Orchestra ...................... 61
Unaccompanied Choral Music ........................ 61-62
Music for Young People and Amateurs .................. 62
Concert Band Music ................................... 63
Songs ................................................ 63
Piano Music .......................................... 63

List OfReferenceS .....OOOOOOOOOOOOCOO...IOOIOOOOIOO..... 64

iv

LIST OF TABLES

Table II-l
Similarities of Descending Scale Patterns
Using Basic Interval Successions ..................... 16

Table IV-l ............................................... 35
Table IV-2 ............................................... 36
Table IV-3 ............................. ..... ............. 37
Table IV-ha

Piano Structures In The Misterioso ................... 37

 

Table IV-hb
Harp Structures In The Misterioso .................... 38

 

Table IV-5 ............................................ 38-u0

Table A—I
F Horn Fingerings and Harmonic Series in
FHomPitCh .0.........OCOOO0.0.0.0..........OOOOCCOO ”a

Table A-II
B-Flat Horn Fingerings and Harmonic Series
inFHorn PitCh .0......00...........IIOOOOOOOOOOIOOOO as

Table A—III
A Horn Fingerings and Harmonic Series in
FHomPitCh .00....00.0.0000...0.000000000000000.....1+6

Table A-IV
High f Horn Fingerings and Harmonic Series
inFHomPitCh .0......IOIOOIOOIOOIOOOIOOOOOOOOOOO... “’7

Table A-V
High e Horn Fingerings and Harmonic Series
inFHomPitCh ......OOOOOOOOIOOOOOOI.....IOOOOIOI... 2+8

Table A-VI
Just and Equal Temperament Frequencies and
Tested and Calculated Quarter-Tones in
Cycles Per Second on Horns in F, A, B-Flat,
High f, and High e in Written F Horn Pitch ........ 50-52

LIST OF TABLES

Table A-VII
Fingerings for Accurate Quarter—Tones .. ...... ........ 53

Table A—VIII
Quarter-Tone Fingerings for the
F/B-Flat DOUbleHorn 00......00.......OOOOOOOOOOOOOOOO 51""

Table A-IX
Quarter—Tone Fingerings for the B-Flat (A)/
High f (8) Double Descant ..O.......'................. 55

vi

LIST OF FIGURES

Figure II—l IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII7
Figure II-Z IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII8

Figure II-3
Formal Analysis: Measures 5—8 ......................... 9

Figure II-h
Formal Analysis: Measures 1h-19 ...................... 10

Figure II-5
Formal Structure of the Misterioso ................... 11

 

Figure II-6a
Return of Material from the Andante Espressivo ....... 12

 

Figure II-6b
Return of Material from the Andante Espressivo ....... 13

 

Figure 11-7
completeQuOte IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 114'

Figure III-1 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII17
Figure III-2 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII18

Figure III-3
Categoryone IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII19

Figure IIIDL‘f cocoo-0.0coo-00000000000000.00-oooooooooooooo 19

Figure III-5
categoryTwo IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII20

Figure III-6 (a, b, & C) I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I 21
Figure III—7 I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I 21
Figure III-8 I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I 22

Figure III-9 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII 22

vii

Figure
Figure
Figure
Figure

Figure

Boxed Notation Inside Repeat Signs ......

Figure
Figure
Figure
Figure
Figure
Figure
Figure
Figure
Figure

Figure

III-10
III-11
III-12
III—13
III—14

III-15
III-l6
III-17
III-18
III—19
III—20
III-21
III-22
III-23
III-2H

LIST OF FIGURES

IIIII 23-24

. . . . .. ....... 2h
.. . . ............ 25

... 25

.... 26
.. 27-28
............. 27
28
.... 28

... 29
000 29

.............. 29

.............3o

... 31

Solo Horn Answered By Different Pitches ............. 32

Figure

Figure

Figure A—I

IV-1
IV-2 c

Figure A-II .

Figure A-III
Quarter-Tone Fingerings From Every Seventh and
Eleventh Harmonic Fingering in Written F Horn
PitCh IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII “'3

viii

......... 33
IIIII 31+

IIIIIIIIIIIIIIIIII.IIIIIIIIIIIIIIIIIIIIIIIIIII [4'2

INTRODUCTION

At the "Horn Fandango" at Western Michigan University,
February 16, 1979, the writer interviewed Barry Tuckwell,
hornist, who was there as guest soloist and clinician. Af—
ter a two-hour lecture-recital, Tuckwell entertained questions

about Thea Musgrave's Horn Concerto.

 

The work was commissioned by Mario di Bonaventura for
Barry Tuckwell and the Hopkins Center Congregation of the
Arts Festival at Dartmouth College, Hanover, New Hampshire.
When asked what kind of piece he wanted, Tuckwell requested
that it be for horn and strings. The resultant concerto
requires piccolo, flute, oboe, Cor anglais, B-flat clarinet,
bass clarinet, bassoon, contrabassoon, four horns (plus three
optional extra horns), two trumpets, tenor trombone, prepared
piano, celesta, harp, strings, and the following percussion:
suspended cymbals: high, medium, and low: two pairs of
maracas: tam-tam; side drum: three sizes of tom-toms: conga
drum; and Vibraphone.

Tuckwell suggested that the concerto contain quarter—
tone scales - he had heard these scales on a Don Ellis
recording (possibly Ellis' Haiku album). One inspiration
for the concerto was a postcard Tuckwell sent Musgrave from

Tula, Mexico. He said the postcard, showing four figures

1

around a central figure, reminded him of the four horn
players in the Tula Symphony. This inspiration developed
into one part of the work where three horns play at different
corners around the hall, creating four points around the
soloist.

The only adjustment made after the piece was written
involved the first horn off stage at measures 82-85. Origin-
ally, Musgrave wanted the first horn stopped, but after the
first rehearsal, it was discovered that the sound did not
carry. The part was then changed from stopped to open.
Tuckwell pointed out that the last note in the solo part, a
concert f, should be a concert bl-flat.

Tuckwell played the concerto approximately twenty times
since the work's completion in 1971, and he said that he
still receives requests for its performance.

Before leaving the interview, Tuckwell stated that
Thea Musgrave was an excellent conductor.

Below are two reviews of the Horn Concerto; the first
is from Music and Musicians, November, 1971, Volume 20,

No. 3, page 58, and the second, from Musical Opinion, Septem-
ber, 1971, No. 1123, Volume 9h, page 607.
The linguistic confusion which vitiated the nocturnal

attractions of Thea Musgrave's Horn Concerto, given its
first Prom performance by Barry Tuckwell and the Scottish
National Orchestra under the composer on August 9, was
less overt but more radical. The idea of superimposing
mu81cal ideas that are contrasted both in substance and
tempo certainly offers a viable, if arduous means of
constructing a long single movement. What the composer
appears not to have noticed is its most insidious danger
---the unwitting arousal of conflict between fundamentally
opposed concepts of sound perception. Between (on one

side) the progressive mode of musical discourse of the
great classics with its demand for an answering effort

of active thought on the part of the listener, and (on
the other) the additive presentation of sound for its

own sake---requiring, as Boulez put it in a programme
note a few days earlier, '... a contemplative attitude...
a different way of listening, attentive to what is
happening within the resonance itself' --- initially made
available to western music through the agency of Debussy.
In the Musgrave Concerto, neither approach is fully re-
alized in its own terms, but each serves continually to
interfere with the operation of the other (a pervasive
sense of indecision in the work's forward momentum is
only the most obvious symptom) so that the impact of

the so-called 'dramatic-abstract' elements---the stereo-
phonic perambulation of the brass players---is correspond-
ingly weakened.

...The core of this concert (August 9, 1971) was the horn
concerto of Thea Musgrave. Barry Tuckwell was listed as
soloist, but since there were at least four or more horns
around the R.A.H. as well as a couple of trumpets and
a trombone, it was more a new adventure in concertante
writing. For one thing, Thea Musgrave, who also conducted,
has never hidden her devotion to Charles Ives and she
used his trick of contrasting sonorities both within her
orchestra and with the help of the peripatetic brass.
There was more than a suggestion of the best of that
rare commodity, good electronic music in the sound quality,
which ebbed and flowed in the same manner already familiar
to the followers of Lutoslawski. The brass suggested the
hunt in the forest-—-or as it suggests here the quest.
Voices both of the soloist and orchestra are both intri-
cate and varied, and the whole should be quickly heard
again. But one does wonder how the piece will be housed
in the Festival Hall without upsetting cash customers in
the boxes and circle. Perhaps if it finds itself into
a programme of late Bruckner or Mahler it could make
economic as well as more interesting musical sense.

It is the hope of this writer that this analysis will

lend insight into the Horn Concerto's musical contents. Unless

stated differently, all french horn examples are notated in

concert pitch. All the musical examples in this thesis are

used through the permission of MagnaMusic-Baton, Inc., St. Louis,

Missouri: The Musgrave/Horn Concerto Copyright by J&W Chester,

London, 1974.

CHAPTER 1
BIOGRAPHY

Thea Musgrave, born on May 27, 1928 in Edinburgh,
Scotland, is recognized as a successful composer, accom—
panist, and conductor. In the last two decades, many of
her ballets, operas, music for television and films, chamber,
choral, and orchestral works have been commissioned (see
Appendix B). She has received the Donald Francis Tovey
and Lili Boulanger Memorial prizes, the Koussevitzky
Award (1973), and a Guggenheim Fellowship (1974-1975).
Performances of her works by the BBC and at the Edinburgh
International Festival in the early 1950's opened the road
to other European music festivals such as the Warsaw Autumn,
Zagrieb, Cheltenham, Aldenburgh, Florence Maggio Musicale,
and Venice Biennale. Her guest conducting appearances
include concerts with the BBC Scottish Orchestra, London
Symphony, English Chamber Orchestra, and world premiere
performances of her own works with the English Opera Group
and Scottish National Orchestra.

Musgrave's formal education at Edinburgh University
(19h7-51) includes harmony and analysis with Mary Grierson
and counterpoint and music history with Hans Gal. From
1952 - 195M, she studied accompaning under Nadia Boulanger
at the Paris Conservatory. Ms. Boulanger has inspired many
famous American Composers including Virgil Thompson, Aaron

Copland, Roy Harris, Walter Piston, and Roger Sessions.

Lyricism, made up of chromatic constructions, is a
main feature of her most recent instrumental works, such as

the Horn Concerto, Clarinet Concerto, Night Music, and

 

 

 

Memento Vitae. She composed many of these works in a "drama-
tic-abstract" form; the drama stems from theatrical elements,
and, since there is no restricting "programme" (program

music is usually written from a non-musical idea: musical
pieces in this genre depict people or events) within, the
works have an abstract nature. For example, in the Clarinet

Concerto, the soloist at different intervals joins smaller

 

groups within sections of the orchestra which play in op-
position to the conductor.

She has taught at London University (Great Britain)
and the University of California, and served on various
committees, including: the Central Music Advisory Panel for
the BBC, Music Panel for the Arts Council of Great Britain,
Executive Committee of the Composer's Guild of Great Britain,
and the Committee of Awards for the Commonwealth Fund of
New York. She is married to Peter Mark, a conductor and
violist, and they live in Santa Barbara, California. As an
eXperienced lecturer in the U.S.A. and U.K., she shares her
thoughts about composition with others. Here are her comments
about the concerto as an art form:

The idea of a concerto fascinates me. Many of my
recent works have been concertos, for this is the form
that lends itself to the kind of dramatic eXploration
that stimulates me. Several works have a theatrical

element where I use the players almost as a 'dramatis
personae.‘ This is really just an extension of the

6

concerto principle. I remember being struck by a remark
of Tovey's which I read as a student. He describes how
the basic idea of a concerto arises from the original
meaning of the Latin word "concertus" from "certare," to
strive: strive, in the sense of balancing unequal forces
--solo or soli versus tutti, or to put it in another way,
individuals versus the crowd. The crowd can dominate by
sheer force and can easily out balance the soloist, but
the soloist has the advantage of greater virtuosity, ly-
ricism, and rubato.

CHAPTER 2
FORMAL ANALYSIS

In the shadow of Thea Musgrave's Horn Concerto hides

 

the traditional sonata-related concerto form: but within its
structure, the signification of her presentation of a concerto
is revealed. Even though the loose structure suggests that
she had the traditional concerto form in mind, it would be
presumptuous to say that her work follows such a form strictly.
In the first forty—nine measures, the principal material in-
volves a series of exchanges between orchestra and solo horn.
This material is developed in the next seventy-five measures,
and leads into a transitional section of niney-two measures,
which forebodes a return to some of the previously stated
ideas. The return, or recapitulation, sixty-one measures
long, is followed by a seventeen-measure coda.

FIGURE II-l

 

l 1 I ll J I
O principal 49 development 125 transitional 218 return 279295

material of section of coda
principal ‘ some
material principal
ideas

This return, which is preceded by a solo horn cadenza
(measure 217), creates an arch contour. The synthesis of
ideas, improvisatory in nature and lacking regular phrase

structure, is presented rhapsodically within the arch.

FIGURE II-2

 

 

_fl_____———————""”_——-——.——.——flfl_fl——— P__““‘~F“\~

O 217 295

The sections as outlined in Figure 11-1, are labeled by
the composer. The first, (measures 1 to #9) bears the in-
scription: Misterioso: come un sogno,d’=48 circa ma con ru-
batq. It is in this section, that the traditional concerto
approach is suggested, for principal material is shared in a
series of exchanges between the tutti orchestra, individual
members, and solo horn. For example, in measures 1-9, a
tutti orchestral introduction (Ia) leads to a descending bass
clarinet scale pattern. The first solo horn statement (Ib)
is made up of two phrases: the first (measures 5 and 6)
begins with the last note of a descending scale pattern, and
the second (measures 7 and 8) follows two statements from
the contrabassoon and bassoon. The first orchestral res-
ponse, Ia' (measures 8-19) precedes a second solo horn state-
ment, Ib' (measure In) which precedes another descending bass
clarinet scale pattern. Like Ia and lb, Ia' and Ib' involve
a series of exchanges. The second orchestral response, Ic
(measures 18-20) initiates a third series of exchanges, Id
(measures 21-h0) until the climactic moment for the solo horn
in measure #0. The Misterioso comes to a close with what
might be called an unsettled codetta that links the Misterioso

with the second section.

 

\r. \11/ sh

 

(-

. ea.
c um: .e‘

mum mmmbmfis "meNHEéw Qéom
MIHH mmDUHm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

10

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

9
I -
Nifl h
‘u a H
<
\l/mI“ AAA:
_ l.» - “first 5%
_ _ »— N
r K ' \§
r .F~
C “R8 :6
§$Uxfi
L “
~- u a.
.N-
:8 .E
“ ‘ A
A .3. £§§Q
h
N- :4
I EN
— uV
\—

 

 

 

 

 

 

 

 

hax $£.Q <

maldfi mmmbm<m2 umHqu<z< Q<Smom
dIHH mmDon

11

FIGURE II-S
FORMAL STRUCTURE OF THE MISTERIOSO

 

 

[ Ia 1 Ib [Ia'] Ib'] Tc 1 Id I podetta]
O 5 8 14 18 21 EEO 4E8 #9
solo
horn
climax

The Parodia, a seventy—five measure developmental sec-
tion following the Misterioso, eXplores contemporary tape
techniques in conjunction with the orchestra, and follows
no specific pattern. A six-measure codetta brings back the
first solo horn statement and ends the Parodia, after which
violins and double basses provide a link into a third section.

Although the Capriccioso forebodes a return of pre-
viously stated material, the solo horn cadenza is its ultimate
goal. This ninety-two measure section, highly improvisatory
in nature but controlled by metered rhythms, contains, for
the most part, new material, but also includes a short quote
from the Parodia. An unmetered solo horn cadenza leads
smoothly into the fourth and final major section - the
Andante Espressivo, which returns material from previous
sections and completes the arch contour. Its first seven

measures have quotes from the Capriccioso, followed by pas-

 

sages from the former three sections. Some of these pas—
sages are complete, as is measure 250: others are short

statements, such as in measure 24h, where the piano

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

12

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

H
N N Ella‘sH i! U)
A 4
_\\II:I/ _ t .
H _L unlhl _ _ s .
- w. Ti “\>
I ||I‘\.
L. ...... e )
) , L .n a t
w _.l N WM
4 u E” Nq N
AH h "f d S-QA
L 1
uwxxx .lnm1L
we:
Rb; h!
l N
l N ‘1
II _
um um [.mr
n
H-

 

 

 

 

 

 

 

 

 

 

 

 

 

. alt..:‘.!2¢lllun=:.i...-u F...
. . IFEEVII'L_

 

 

mmfi-mQM1uomm-mHN .ss

 

O>Hmmmmmmm mez<mz< mme 20mm H<Hmme¢2 mo zmbemm
mlHH mmDUHm

13

FIGURE II-6
RETURN OF MATERIAL FROM THE ANDANTE ESPRESSIVO

 

mm. 221-224 = 196-199

E17

 

222

provides a quote from measure 60. A seventeen-measure coda,
starting at measure 279, brings the work to a close.
Throughout the Horn Concerto, material from the
Misterioso appears in other sections: this reappearance of
material, often literal, strengthens the formal structure.
Table II-1 illustrates every occurence of the bass clarinet
statement as it fits into different sequences of events.

This returning statement, analyzed by Basic Intervallic

11+

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Aumm s .ma .3 .s op HmOMPcmua maummzv

5mm .5 “$1358:
meoao memqmzoo
n-HH mmDuHm

I I I r P . .
l t w ,2. WW 3.3
Nae
“E a u .. 3. v as
rm “ms.o< <1
“8 K
H T . .U
c. annnH “mw.o<
r I x
m M. w. M ..‘Q
. Iv

 

15

Successions1 (BIS patterns), sometimes returns exactly
(for example, measures 5 through 6, are in total invariance
with measure 58) and sometimes with a few note changes (the
BIS patterns of measures 5 and 14 show an N—1 relationship,2
thus they are similar but not in total invariance). A
closer look at the three occurences of descending bass clari—
net scale patterns in the Parodia reveals a variation techni-
que. The fixed elements are rhythm and instrumentation:
added notes in the solo, woodwind, and brass statements
provide a variation of the linear lines.

The over-all aural effect of the Horn Concerto is that
of a long continuous movement. The internal sections,

Misterioso, Parodia, Capriccioso, Andante Espressivo, and

 

coda give direction to the work. Although the concerto is
rhapsodic, cyclic treatment provides unity and variety in

such a way that the piece has an arch contour.

1Basic Intervallic Succession (BIS) is based on a
12-tone concept (Mod 12) and refers to the intervallic re-
lationship of one note to another. A semitone = 1, the
closest distance between two notes in music of the common
practice period of Western civilization, a tone = 2, a minor
3rd = 3, major 3rd = A, perfect 4th = 5, and an augmented nth,
or tritone = 6. Intervals larger than a tritone are re—
duced as follows: 7 to 5, 8 to A, 9 to 3, etc. A BIS refers
only to actual intervals within a pattern of notes.

2When two BIS patterns are compared, one can observe
that they are identical, or they differ in one or more inter-

val classes: the symbols N-l, N-2, etc., denote the number of
differences.

16

Afl.o.a.av
pmaesue

AH.6.H.HV
meESpe

Am.mv

meESLB

Adum5N.©-H.N.Hv
cuox 6cm

A#.W.N.©.H.N.Hv
CLOI UCN

Am.mv

cue: ecm

Adngogm.H-Nv
ozonEops

Am.H.o.m.H.mv

mconEose

1m.NV

ozonsope

Am.mv

Ego: oaom

AH.~.H.o.m.H.mv
:po: oaom

As.mv
cs0: oaom

AH.~.n.m.N.H.m m m.H.H.HV
AficflufluH.Nofi.fi.N.m.H.H-HV
Coowmmm d CoommmnmupCOU
d
umcfihmao a pmcfihwao mmmm oofiumo mfluopmm
AH.H.a.n.H.N.H.n.N.N.H.HV
pmcHumHo w wmcwpmao mwmm Nanak mflvopmm
AN.N.H.m.H.~.H.M.N.N.H.H.HV
pwcfihmao mmmm 001mm mfluopmm

A4~.N.M.O.M.H.M.MV
pmcflpmao mmmm mm AUHV owoahmpmfls
AH.~.m.H.N.H.m.m.m.fi.fl.fiv
pmcflpmao mmmm manzfi A.DHV omowpmpmflz
Am.m.fi.m.H.N.H.m.N.N.H.H.fiV

pmcflpmao mmmm mum ADHV omowpmpmflz

monmmmoosm A<>mmBzH on<m oszD mzmm98<m mq<om UZHQZMOmMQ mo mmHBHm<AHEHm
HnHH mAm<B

CHAPTER 3
LINEAR ANALYSIS

Synthetic, chromatic lyricism, a main dramatic and

abstract contributing feature in the Horn Concerto, divides

 

into four categories, of which each contains melodic scale
patterns consisting of a minimun of four horizontal in-
tervals (or a BIS with a cardinal number equal to or great-
er than four), with one interval being an augmented second.1
Three categories contain an augmented second (interval class
3) at or near the beginning, and the fourth, an augmented
second somewhere within its scope.
The pattern which begins with an augmented second
(first found in the clarinet, measure 12), is placed in
FIGURE III-1

an
Clarinet; m. 12: -¢f

(u)

   
 
   

I

BIS: (3:193:14291914')

category 1. There are four instances where the pattern
begins with an augmented second. All four occur in measures
#0 and 267 in a horn or English horn part and have BIS re—
lationships of N-2 at the sane pitch level (see Figure III-2).
A retrograde variant of the BIS shown in Figure III—3, appears

1The augmented second is used instead of the minor
third because the former notation was the composer's choice.

17

18

in a clarinet statement from measures 20 to 21; here, the BIS
is (3.1.1). With the exception of this clarinet statement

FIGURE III-2
CATEGORY ONE

English Horn; m. 40 English Horn: m. 267

   

BIS: (391,212!1!3)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Solo Horn: m. 40 Solo Horn: m. 267
.. , 1 )7) , ,
I r
1 < J‘ 3 <

BIS: (3,1,2,3.2,3)

and the alteration of the BIS in Figure III-1, the lower
tetrachord of the statements found in this category (BIS
patterns of 3,2,1,...) are identical. These lower tetrachords
continue with an interval class of 1,2, or 3: ie., 3.1.2.1;
3.1.2.2: or 3.1.2.3.

The augmented second, traditionally associated with
the harmonic minor scale, occurs between the 6th and 7th
scale steps. In this work. however. some of the BIS patterns

that make up the first tetrachord in category one. suggest

19

FIGURE III-3
CATEGORY ONE

Clarinet: m. 20-21

     

r/ ,f,

BIS: (2,2,2,2,1.1.3)
RETROGRADE BIS: (3.1,1.2,2,2.2)
the Hungarian Major scale1 BIS of (3.1.2,1.2.1), (for ex-
ample, the horn quotes in Figure III-2). The BIS of the
Hungarian Major scale has an N-1 relationship with that
of the 6th mode of the Harmonic minor scale.
FIGURE III-4

Harmonic Minor Scale Harmonic Minor—-—6th Mode:
A

 

Hp

 

 

 

 

 

 

 

 

 

 

—

 

 

 

 

 

 

BIS: (2:1:2929193vl) BIS: (3:1:2910292v1)

Hungarian Major Scale:

4 - .

 

 

 

 

 

 

 

 

2E l l
L

BIS: (3,1,2,1,2,1,2)

 

Category 2 contains patterns that begin with a minor
third followed by an augmented second. As seen in Figure
III-5, the lower tetrachord of the Hungarian Major scale

(BIS: 3.1.2), is evident in the bass clarinet, clarinet,

1Persichetti, Vincent, Twentieth Century Harmony,
(W.W. Norton & Company. Inc., New York), 1961.

p. Uh.

20

FIGURE III-5
CATEGORY TWO

   
   

 

 

 

 

 

 

 

 

Flute: mm. 40, 268: Solo Horn: mm. 72-73, 75:
1 .1 1 -EE 4‘
,, , ’-1r‘7 1'7
BIS: (3.2III;.3.2.3) BIS: (3.3.1.1.1.3.1.3)
Bass Clarinet; m. 1A8: Clarinet: m. 187:

 

    

 

 

 

 

 

 

 

f’

BIS: (3.3.1.2.1,1,1) BIS: (3.2.1.2.1.3)
Cello: mm. 147. 186: Oboe: mm. #.13.250,272

   
     
   

15? :3=" .71’

BIS: (393:20391:2919293) BIS: (3939291)

and flute parts.

Category 3 contains patterns which begin with a minor
second that is followed by an augmented second. These are
found in the piccolo and horn parts. Figure III-6c is uni-
que because it contains an enharmonic, palindromic BIS pattern.
Figures III-6b and III-6c are similar. From the axle point
b-flat, Figure III-6b contains an added note (g) between the
f# and a. The BIS pattern of III-6b has an N-1 relationship
with a double harmonic minor scale.1 This synthetic scale

11bid.

21

FIGURE III-6 (a, b. & C)
A:
Piccolo: mm. b, 13, 250, & 272:

 

 

 

 

 

 

 

 
 

 

 

>-
15'
BIS: (1,1,1.1.1,3.1)
B: C:
Solo and First Horn: m. 10h: Horns 1-4: m. 260
l
, , , ’ ; . ,
(fi)"’” r/rr/ ’ ’
BIS: (1:3:10201939291) BIS: (1939391)

FIGURE III-7

Figure III-6b:

 

 

 

 

£9
BIS: (l,3,1,2,1,3,2)

'Double Harmonic

Minor scale: W

BIS: (1939192119391)

 

 

 

 

 

22

FIGURE III—8

Double Harmonic A
Minor Scale: . '

 

 

 

 

Figure III-6b:

 

 

 

 

 

 

 

 

__A
H
Enigmatic Scale: 3g: I ‘ i I

Figure III-6b:

    

BIS: (1,3,2)

FIGURE III-9

:23:
/""—

 

Piccolo: mm. 4.
13! 250: 2723 I I
(Figure III-6a)

 

 

 

 

 

 

 

 

 

BIS: (1,1,1.1.3.1)
IA

 

V

 

Retrograde BIS: (1,3.1,1.1,1)

W

T

Retrograde BIS, (minus e-flat): (1.3.1.2,1)
1

 

 

 

Ibid.

23

contains two augmented seconds. Figure III—6b is constructed
from the lower septachord of a double harmonic minor scale
and the lower tetrachord of an enigmatic scale.1 The piccolo
statement in Figure III—9 relates indirectly to the double
harmonic minor scale; when e-flat is deleted. one finds that
the first five intervals (BIS: 1.3.1.2.1), which evolve when
the original BIS is reversed, are identical to the first five
intervals of the double harmonic minor scale.

Patterns in category 4 contain an augmented second
somewhere within their structure and fall into one of four
types: (2,1.3.2,1,2), (6,2.1.3.1,2,3.2.1,2), (2,1,3,1,2,1).
and (1.3,1,3.1,3,1,3). Besides the null or empty set, the
smallest practical subset of all four sets in Figure III-10
is (1.3): two common BISes shared in examples a, b, and d are
(2,1,3) and (3.2.1): examples b and d have the largest BISes
in common: (2.1.3.1.2).

FIGURE III-10

a:
Solo Horn: m. 150:

 

 

  

 

 

 

 

 

‘7.
BIS: (2,1.3.2,1,2)

 

b:
Solo Horn:
mm. “’0 & 268:

 

BIS: (6’2’1’3’1'2’3’2'1'2)

24

FIGURE III-10
Continued

c:
Solo Violin: m. 8:

 

 

 

 

 

 

 

 

 

 

 

BIS: (193919391a391v3)

d:
Clarinet: m. 268:

 

 

BIS: (2,1.3.1.2,1)

ALEATORIC FEATURES

With unconventional types of notation. Musgrave includes

moments of linear indeterminancy in the Horn Concerto. She

 

allows various performers to become a part of the compositional
process as the concerto pregresses in performance. Even

though the performer has to choose a melodic direction and
sometimes rhythm, additional instructions similar to those
illustrated in Figure III-11, are needed. In this example,

FIGURE III-11

Violin I; mm. 10-13:

AD LIB: an

 

25

the notes and dynamics are given, but rhythm, bowing. in-
tensity, and interpretation are left up to the string player's
discretion. In measure 283, (Figure III-12), exact pitches
are given (in any order) and the rhythm is indicated:

FIGURE III-12

Violin I; m. 283-286:

 

 

 

 

 

 

P1257?) #760
9 A0 LIB fade; amcfinj:
19714171 Ib'-V19”
T I J—
eri-1.4. r’n 3 ’ r11 '3 4“
ff Mb .97,
FIGURE III-13
I I. Pxocfw M pd: I T”

Afli 1&9:rqpkbfhm'fifflkr?fl%h4fl$*:?

Violin “f . P!
I

' I
In! f‘ydmf. m "loaf: fifila at! Mr

Mpia’o EV“ Wk? "1%“??ij

RP
:40 Lflk

Violin

II In! rAJIH-u; em "E’t’i FM“ in}, ”a"
l

 

no
m: 37 (38)

26

in measures 284—285, the pitches are not given, but the no-
tation suggests an ascending direction which is to end on a
b in measure 286.

Sometimes, the composer uses instructions in one or
more parts with boxed notation inside and outside of repeat
signs (Figure III-13 & Figure III-14).

FIGURE III—14
Boxed Notation Inside Repeat Signs:

Solo Horn; m. 245:

¢é~56hzdflrngv i¢9fl&IAMS

‘13? 032
pmng aswAZaHZD 6:” 3 “'0

     
   

9‘22 f

Figure III-15 shows three other means of playing notes
in a free fashion. A variation of the notation in Figure
III—15c is illustrated in Figure III—16. Except for the first
note, this notation is explicitly graphic.

FIGURE III—15

 

 

 

 

 

 

 

 

 

 

a;
Flute;
m. 40:
J I I i . '1 H'I'

 

 

27

FIGURE III-15

    
  
  

 

Continued
b: hazffi!
Solo Horn:
m. 260:
AD LIB: Rapid”
c:
Vibes:
mo 53:
flmuifh1 .38

FIGURE III-16

Solo Horn:
m. 217:

   

JV ..q... .'._._.u¢?

When one or more of the above notational devices are
used, the conductor, or specific added written instructions
provide control: the orchestra, soloist. and conductor must
communicate with one another to create the musical eXperience
and hold the concerto together. In the score. solid black
arrows indicate the conductor's downbeat to an unmeasured
bar, hollow arrows, the conductor's left-hand cue during an
unmeasured bar. and small arrows. cues from one player to
another.

One final example of boxed notation is given in Figure
III-17. Here. the pianist is given several ways to perform

certain pitches.

28

FIGURE III—17

Piano; m. 20:

40 us [A]

8rd ----------

[13]

      

Impaowse: use note: in an]
mneq

as [4‘6

A controlled yet free type of performance is suggested
by the notation that appears at measure 166.
FIGURE III-18

Trumpets I & II
m. 166:

 

 

 

 

 

 

SOLO HORN FEATURES

Although Musgrave does not pioneer any new ideas for
the solo horn player. she presents many traditional and non-
traditional sounds, some of which are characteristic only to
the horn.

Hand—stopped notes, common in horn playing. exist in
three timbres. As seen in Figure III—19. the first timbre

is a stopped note which is attacked sforzando-piano; this

    

29

timbre is used throughout the concerto to punctuate different
textures. The second and third textures are found in the

FIGURE III—19

 

 

 

 

 

Solo Horn; AD MB
III- 17: 3
gA r--fi + 6‘
M“. I. I
horn cadenza. As seen in Figure III-20. the slide from f

to e is performed by slowly closing the bell aperture. The
next two notes provide a traditional echo effect which is
created by closing the bell aperture completely and sounding

the given pitch at a dynamic level of p or pp.

FIGURE III-2O
0

Solo Horn:
m. 217:

    

I ... '.....u "w

The horn sound in the linking measure between the Mis-
terioso and Parodia may be eXplained in several ways. Most
FIGURE III-21

Solo Horn:
m. ”8‘53:

farce/id
To‘swuiilzi

‘0’! VI

   
 

£7 \_. ::>
’fl*>fif

30

horn players will either "lip" or "bend" a note somewhere in
a small register (Figure III-21), or play a combination of
half-valves and bend the resulting tone to create a slowly
rising and falling pitch. On the recording (Decca - "Mus-

grave Horn Concerto," 1973) , Barry Tuckwell executes this

 

sound with minor lip pressure and a change of lip tension.

The Horn Concerto might be the first to eXplore exten-
sively quarter-tone scales on the horn. Theoretically, it
is possible for one to lower a pitch a quarter-step by
partially hand stopping or lessening lip tension. A more
accurate method utilizes the out—of—tune harmonics already
located in the acoustical structure of the instrument. With
the seventh. eleventh. and thirteenth harmonics approximately
a quarter-tone flat. there exists many fingering combinations
on the double horn (see Appendix A for a detailed analysis
of these scales and fingerings). Figure III-22 illustrates
one of these scales and the fingering pattern sequence as it
appears in the score.

FIGURE III-22

Solo Horn: m. 250:

nx””"'—i _____~___‘~“-““\\
ADUB: ‘0 8&1........,.

& t

 

            
 
   

‘, 1'o;!z£§ 1o {32;

1%?

One of the theatrical moments in the Horn Concerto

 

31

involves the interplay between the soloist and four members
of the horn section. Measures 233 and 243-249. where the
orchestral horn players are placed around the soloist, are
reminiscent of the Scherzo in Gustav Mahler's fifth symphony,
in which there are eight measures where each horn player in
turn plays a concert f with a bell attack. In the ngn
Concerto. the soloist plays a concert g that is answered in
turn by successive orchestral horns at the same pitch as in
measure 233, and at different pitches, as in measure 243.
FIGURE III-23
Solo Horn and Horns

I, II, III, * IV;
Inc 233:

f* . n
IE] I :0 0.. 6....

 

.Ivo
ha

(«5)

If}:

f
F”

+0

32

FIGURE III-24
Solo Horn Answered By Different Pitches

Solo Horn and Horns
I, II, III. & IV:
mm. 243-244:

'0
('5')

6%

 

v

8?

In summary, Musgrave explores some means and extremes
for the horn soloist. Unlike some twentieth century works
for the horn, the Horn Concerto does not include any per-
cussive sounds that require tapping the instrument or any

chordal writing which requires simultaneous humming and

playing.

CHAPTER 4
VERTICAL STRUCTURES

A study of the vertical structures in the Horn Concerto
has shown that an approach which uses Roman Numerals and at-
tempts to identify functional harmonic progressions is not
appropriate: instead, a number system whose roots lie in
set—theory principles1 reveals more accurately the relation-
ships that exist. All structures are reduced to the base of
C in all of the tables in this chapter. and all number se-
quences begin with zero: this places all the pitches in a
given vertical structure in the smallest possible interval.
For example, in Figure IV-l. the notes c. d-flat, and e-flat
are labeled as 0.1.3: the minor third or augmented second is
the smallest possible interval in which these tones can be

placed. In the same figure, the notes f#. g. and a are identi-

FIGURE IV-l

 

(0.1.3) (0.1.3)
fied as 6. 7. and 9. To reduce these to a base of zero, one

1Set theory in musical analysis is a system of assign-
ing numbers to the universal set of notes. For convenience.
0:0.C#=1.d=2.d#=3.e=4uf=5.f#=6.g=7.
g# = 8, a = 9, a# = 10, and b = 11. For further information,
see Allen Forte's Structure of Atonal Music: Part I: Pitch-
Class Sets and Relations, P. 1 -’83.

33

34

subtracts 6 from all three numbers, which equates to O, 1.

and 3. Thus, both examples in Figure IV-1 are made up of the
same intervals when reduced. This chapter provides a location,
reduction, and tabulation of all the vertical structures in

the Horn Concerto: the final tabulations reveal the most

 

common vertical intervals.

In the Misterioso, vertical structures occur independently

 

in woodwinds, strings. piano. and harp: (no brass is used

in this section and only indefinite pitched percussion instru-
ments are used). In measure thirty, the woodwinds and strings
play together, but since the woodwind chord lasts one and a

half beats, the two choirs sound separately.

FIGURE IV-2

Woodwinds and
Strings: m. 30:

fl.

 

ob
a.

 

Vertical structures fall into two catagories: those
that punctuate the texture (essentially woodwinds), and those
that provide a background (strings). In the Misterioso, most

woodwind chords answer solo-horn statements: Table IV-1

35

illustrates the reduced sets of all woodwind structures in

this section.

 

 

 

 

 

 

 

 

TABLE IV-l
Structure: Measure Number: Number of Occurrences:
(0.1.4.7) 8 1
(0.1.5.8) 18, 21, 22. 24. 5
30
(0.2.5.6) 39 1
(0.2.3.6) 4O 1
(0.1.3.4) 40 1
(0.1.3.4.8) 41-43 1
(0,1.2,4,5,6) 44—46 1
(0.1.2.5) 40 1

 

One predominant background vertical structure that
first appears in measure 4, is a C minor-major ninth chord.
This chord "functions" only as a textural sonority and is

analyzed numerically as: (0.1.3.4.8).

 

 

 

 

 

FIGURE IV-3
Violas & Cellos:
m. 4:
<A 5” £33 l

 

V "—“

#4 if;

y I

 

 

 

 

36

The subsets (0.1.4). (0.1.5), (0), (0,3), (0.1.3.4).
(0.1.3.4,8), (0.1). and the empty set which is shared
between (0.1.3.4.8) (the most common structure in the strings),
and the sets in Table IV-l. represent the intervals common
to both choirs. These subsets reveal an emphasis on minor
seconds and thirds.

Table IV-2 contains a listing of all string structures

in the Misterioso.

 

 

 

 

 

 

 

 

 

 

 

 

 

TABLE IV-2

Structure: Measure Number(s): Number of Occurrences:
(0.1.3.4,8) 4-8, 13—18, 22-28,

30-31, 34-36. 48-54 6
(O,1,2,4,6,8) 5, 7-8, 17-18, 31 3
(0.1.3.6,9) 11-12, 12, 20-21 3
(O,1.2,3,4,6,8) 14-15 1
(0.1.2.3.5.7.9) 25-27 1
(O,1,3,4,6,9) 28-29 1
(0,1.2,4,5) 32-34 1
70.1.4.6) 37 1
(0.1.2.3) 37-38 1
(0.2.3.6) 38-39 1
(0.1.2.3.4.7.9) 39 1
(0.1.3.4,7.8) 40 1

 

Table IV-3 provides another comparison of (0.1.3.4.8).
this time, to all the sets from Table IV-2.

37

TABLE IV—3

(0,1,394’8

compared to:

Subset:

 

 

 

 

 

 

 

 

 

 

 

 

(0.1.3.4.8) (0.1.3.4,8)
(O.1,3,4.6,8) (0.1.3.4.8)
(0.1.3.6.9) (0.1.3)
(0,1,23,42,53) (0.1.3.4,8)
(0.1.2.3.5.7.9) (0.1.3.4)
(0,1.2,4,5) (0,1,4)
(0.11.6) (0,1,4)
(0.1.2.3) (0.1.4)
(0.2.3.6) (0.3)
(0.1.2.3479) (0.1.3.4)
(0.1.3.4323) (0.1.3.4,8)

 

and seconds are more evident.
The piano and harp structures are shown in Tables IV—4a

and IV-4b.

These subsets once again indicate an emphasis on major thirds

TABLE IV-4a
Piano Structures in The Misterioso

 

 

 

 

Sets: Measure(s):_
(0.1.2.3,5) 2, 4. 11, 13
(0.1.2.3.5.7) 9. 10
(0.1.3.4.?) 19

(0.1.3) 47

 

38

TABLE IV—4b

Harp Structures In The Misterioso

 

 

Sets: Measure(s):
(091,391+) 1’ 10
(091,293,14') 4! 13’ 13

 

Of all the subsets in the Misterioso,

 

(0.1.3) and (0.1.3.4)-

the most common are

Table IV-5 illustrates all unique structures in the Horn

 

Concerto according to the section in which they are found.

Since material in the Andante Espressivo and coda derives

 

from previous sections, no new vertical structures occur.

The most common set is (0.1.3.4.8).

 

 

 

 

 

 

 

 

 

 

TABLE IV—5
Section: Sets: Measure(s):
Parodia: Brass: (0.1,3.4.7,8) 49. 51
(0.1.3.5.7.9) 52. 57-68. 77
(O.1.2.4.7,8) 52
(0.4.6) 54. 72
(0.1.6) 55
(0.2.6.8) 71
(0.1.3.5.6.7) 77-78
(O,1,2,4,7,8) 89-91,
(O,2,4,5,6,8) 91
(0.1.4.6) 91

 

39

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TABLE IV-5
Continued
Section: Sets: Measure(s):
(0.2.5.8) 93
(0.1.4.?) 95
(0,1.2,4,5) 96
(0,1.3.5.6.9) 102
(0.2.4) 111
Parodia: Stirngs: (0.1.3.4,8) 49-54
(0.2.4.8) 60
(0.1.3.6.8) 75-77
(0.1.2.3.4) 85
(O.1,2.4,6.7,8.9) 98-101
(0.1.2.3) 118-119
(0.1.3.6) 119
(o,2.3.4,6,7.9) 123—125
Parodia: Piano: (0.1.3) 47
(0.1.3.4.8) 56. 58. 77. 87
(0.1.5,6) 85-86
Parodia: Harp: (0,1) 56, 57, 88, 62. 63,
67. 79. 80. 87
(0.1.3.?) 60
12:11:31?“ mm
Strings: (0.1.5.8) 138-140, 216
(0.1.2.3,6) 163-164
(0.2.3.5) 187

 

4O

 

 

 

TABLE IV-5

Continued
Section: Sets: Measure(s):
Capriccioso: -

(0.1.2.3,6) 205-207, 209-210

 

The most common vertical intervals in the Horn Concerto

 

are the tritone, major and minor seconds, and thirds.

APPENDICIES

APPENDIX. A

APPENDIX A
DERIVATION OF QUARTER-TONES

This concerto is written for a double horn with an F
and B-flat side (side refers to a specific horn on a double
horn: ie., F side = F horn): a single F or B-flat horn could
not produce all the tones called for. On each side there
are seven different fingering combinations available,1 and
each combination enables a player to produce sixteen harmonics.
Since there are two fingerings on the B-flat side that over-
lap the F side (fingerings 1-3 and 1-2-3, on the B-flat horn
equal 0 and 2 on the F horn), therefore, twelve different
harmonic series exist. Every harmonic series contains five
tones of equal temperament (1, 2, 4. 8, and 16), seven of
just intonation (3. 5, 6. 9, 10, 12, & 15), and four which
approximate tones in today's system of tuning (7. 11, 13. &
14).

Tables A-I through A—V illustrate, at written F horn
pitch (a perfect fifth above concert pitch), overtone series
for every combination on horns in F, B-flat, A, high f. and

1On a three-valve horn. the first and second valves
lower the open horn a major and minor second respectively.
Some Europeans prefer a horn with an ascending-third valve
which raises the instrument a major second. However, the
most common horns, single and double, have a descending-third
valve that lowers a horn a minor third. The total possible
fingerings on an instrument with a descending-third valve are:
0. 2, 1, 1-2, 2-3. 1-3, 1-2-3, and 3: but since 3 and 1-2
lower the horn the same distance, and 3 is usually too flat,
only 1-2 will be considered. The elimination of the third
valve creates seven unique fingering combinations. On some

single B-flat horns, 1-2 is too sharp and only 3 is used:
this still leaves seven different fingering combinations.

41

42

 

 

 

 

 

 

 

 

 

 

FIGURE A-I
. A— -oobnh‘ag
, .‘ ZTV
av
Z— a
3 0"
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
LI 1_ I I I I II I _I II I I I I I I
Equal Temperament
3 5 6 9 10 12 15
L I I II L _.
Just Intonation
7 11 13 14
I L L__l
Approximate

high e (high f horns are one-half the length of a standard
F horn: high e horns are one—half step lower than high f
horns). Figure A-III illustrates quarter-tones from e-flat
to b, along with all possible fingerings from Tables A-I
through A-V.

The solo horn fingerings in measure 250, as shown be-
low, relate to the seventh harmonics of the following fin-
gerings: B-flat side: 0. 2. 1, 1-2, 2-3, and F side 0, 2. 1,
1-2.

FIGURE A-II
Solo Horn: m. 250:

I; ADI-133 .9 1 m1. , ,

 

 

 

 

 

 

 

 

 

 

 

_A I. * w I ' ' ’
J1 IIIIILiI TI 1 «V i i, ‘L +—
_. T1 [IJFflngl
7 I...
P 1.123.012; *\
m:

.59‘={4umfh§]

43

PNHH ozopupwpgwsw one u+

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

m m
m N m m .
H m o N H H N H m .zmomw
m n
m m N m m .
N H m o N H H N H m .zmomm
n m
N m m N m m .
m m
N m m N m m .
o N H N m m m o N H N m m m “zmomm
H N H H H N H H
W in Mm».
p . q mkub . . ”*5
Qua“ ‘Q‘Afidfiflm + MI_+.+J+ + a.fl a 11* a 41 <
+ H H H H H .

moBHm ZMOm m szBHmE zH
DszmGZHm UHzoSm<m mezmkmqm 02¢ mezmkmm MmmE/m 20mm MUZHmmUzHPH mzoelmmemfigo
HHHI< mmeHm

44

TABLE A-I
F HORN FINGERINGS AND HARMONIC SERIES IN F HORN PITCH

Fingerings:
O

 

I+5

TABLE A-II
B-FLAT HORN FINGERINGS AND HARMONIC SERIES IN F HORN PITCH

Bu

 

 

Fingerings:
O

TABLE A-III
A HORN FINGERINGS AND HARMONIC SERIES IN F HORN PITCH

 

Fingerings: 9" 1

 

O

UNH H MON

W

47

TABLE A-IV
HIGH 1' HORN FINGERINGS AND HARMONIC SERIES IN E HORN PITCH

 

F ingerings: 3"
O

 

48

TABLE A-V
HIGH e HORN FINGERINGS AND HARMONIC SERIES IN F HORN PITCH

 

Fingerings: g"
0

 

1.19

All of the seventh and eleventh harmonics in Tables A-I
through A-V were tested on two horns with a Hewlett-Packard
55221A Electronic (frequency) Counter. The first horn
tested. a Holton 179. contained an F and B-flat side, and
the second, a Paxman 41, contained a B-flat and a high f side.
with the addition of a second thumb key which lowered each
side one-half step. Table A-VI illustrates tested quarter-
tones. Just and Equal temperament frequencies of traditional
pitches, and calculated Equal temperament quarter-tone
frequencies in Herzt or cycles per second. In most cases.
the tested frequencies were higher than the calculated fre—
quencies. These higher pitches can be corrected by the horn
player covering the bell aperture with the right hand. Table
A-VII shows quarter-tone scale fingerings which are most
accurate. However, these fingerings are not the most prac-
tical: they require several different horns. The only avail-
able instrument that would encompass all possible horn com-
binations is a triple horn with a second thumb lever that
lowers each side a minor second. Although triple horns are
available. few performers use them. The fingerings in Figure
A-II are practical: they follow a convenient sequence on the
double horn. Tables A-VIII and A-IX show two quarter-tone
scale fingerings, one for the double horn, the other for a

double descant.

5O

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

n_m IIArI .II¢?AI . IN. A. a. .. . . k. .m:
l I 1 I H u + a H I H I
o.mo: Hmm own mom own Non mmzoe-mmem<o
mme<HsoH<
as: mon z<zx<
OH: mam, No men HNm me eqHNIN z<sx<
m6: awn, mom Nam! HNm 6mm e<HNIm ZOBHoz
we: mmm, mm can NHm Hon < z<2x<m
Imos Nam. Hem mam. on mom m ZOHHom
Nm cum N.6s, 6.mNm H.HHm N.mNN H<Dom
N.6Nn NH
.Nmm m.nmm .m.msm NNm m.mom m.smN em:
I. 1. dul. hm.
I . 15.1%
In. IIHIH Tl.
me moN :mN osN NNN :HN mNZOHummem<so
mme<qsoq<o
smN < z<2x<m
:mN :NN omN msN SMN mNN m ZOBHom
N.NNN .HmN 6.6sN mMN ONN NON H<sgm
mNN H.mnm m.moN
m.NNN H.HmN m.msN 6.0:N mHN :.soN em:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

moeHm zmom m zmeeHmE ZH
m mUHm Qz¢ .h mUHm .B<lem .< .m ZH mzmom zo 0200mm mmm mmgowo ZH
mmzoelmmemdbd DME<HDDH<U QZ< Omemme Qz< mmHoszOmmm Bzm2<mmm2me A¢Dom Qz< Embh
H>I< mqm<e

51

 

moEHm zmom m szBHms 2H
m mem Qz< .H mUHm .B<Hm|m .< .m 2H mzmom zo ozoomm mmm mmqowo ZH
mmzoelmmem<bo DMB<HDUH<O Qz< Qmemme Qz< mmHUzmbommm Bzm2<mmm2me H<de 02¢ BMDW
H>I< mqm<e

52

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ara
.mm
1 1 H.
.Q. 1Q. q
a s :A .ws x +
m.o¢o moo m.omn,mmzoa-mmem<nm
omaeqsoqao
wa Nmm me H mon z<2x<m
ewe sow NN m onm z<sx<m
6:6 sow NN B<Hs-m z<2x<m
6:6 wow NN 9<Hm-m zoeqom
:66 mm, < z<2x<m
.mw w.NNm .wa H<o
N.NM6
H.smo mHm 64mmm em:

 

moaHm zmom m zmeeHmz 2H

 

m mUHm 92¢ .h mUHm .B<Amum .< .m 2H mzmox zo onomm mmm mmgowo 2H
mmzoslmmem<so mme<qaoq<o Qz< Dmemme Qz< mmHozmsommm Bzm2<mmmzme A<Dom QZd BmDh
H>I< mAm<B

<2
HNM
53
N
.4.
CD

 

 

 

 

 

 

 

 

 

 

 

- NH
++ + +++ +
m m
m m m N m m
93 N; H NIH N H3 H H N H m;
LT H «mm H: R
H. + a HIH H *H H U4

mmzoaImmBm<DG WE§DUU< mom mUszmqum
HH>I¢ mgmfia

54

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

zmom mHmaon H<Hm-m\m mma mom moszmosz szHINNHNHDN
HHH>-< NHNHH

NoHNmHMMOMNJNOEOQNNENJNHrHHojm

NW”

J J Idflkw \r U Qwfllqmfi

Uuqn q¢¢niqufi AVA Q q I. IIHIHS

ngllfffr 1:1: 1:

m

m N m H o m N m .Lm H o m N m H o m N m H m o m N .mmHm 1
H11 191 URN“...

IUDLfi.UDm~HQ .l ..Ilifl

HTHIJHHI HHHH 1.1L HHIH a

55

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1 111.11 A 13 q 17 .1 111 1
Ll; 1: I I II.
”.mNEOMijmNéoMNMHLNMQMJNNEMQN
H in?» I muWIHlHHImmb ET NH
11%.? 1.: Iflfl .1 HH H Is 1 .

9722me QODOQ AmvH moHiA<vB¢Qmum mme mom mqummwsz mzoalmm9m¢bo
xHI< mgmfia

APPENDIX B

APPENDIX B
THEA MUSGRAVE'S WORKS

(1953-1977)

BALLETS

A Tale for Thieves (1953)
One act: scenario based on The Pardoner's Tale of Chaucer.

Beauty and The Beast (1968-69)

Two acts: chamber orchestra and electronic tape: scenario
by Colin Graham, based on "Bell et la Bete" by Mme de
Villeneuve.

Commissioned by the Gulbenkian Foundation.

First performance: the Scottish Theatre Ballet at Sadler's
Wells. 1969, conducted by Kenneth Alwyn, choreography

by Darrell.

OPERAS

The Abbot of Drimrock (1955)

Chamber opera for seven singers. violin. cello, piano,
celesta, percussion.

One act: libretto by Maurice Lindsay, based on one of
Wilson's "Tales of the Border:"

First performed in concert version by Park Lane Opera.
1958, conducted by Myer Fredman.

First staged performance: the National School of Opera.
1962. conducted by Lawrence Leonard, directed by Anthony
Besch.

The Decision (1964-65)

Three acts: libretto Maurice Lindsay.

First performance by The New Opera Company at Sadler's
Wells. 1967, conducted by Leon Lovett. directed by Colin
Graham.

The Voice of Adriane (1972-73)

Chamber opera in three acts: libretto by Amalia Eluera,
based on Henry James' "The Last of the Valerii."
Commissioned by the Royal Opera House with the assistance

56

57

OPERAS

from the Gulbenkian Foundation.

First performance by the English Opera Group at the
Aldenburgh Festival. conducted by the composer, directed
by Colin Graham.

ORCHESTRAL WORKS

Divertimento (1957)
For string orchestra.

Obligues (1958)

For harp. celesta, timpani. percussion, and strings.
First performances by the BBC Scottish Orchestra, 1959.
conducted by Colin Davis.

Scottish Dance Suite (1959)

Perspectives (1961)

 

Sinfonia (1963)

Festival Overture (1965)

Commissioned by the City of Glasgow for the Commonwealth
Arts Festival. 1965.

First performance by the Scottish National Orchestra
conducted by Alexander Gibson.

Nocturne and Arias (1966)

For harp, timpani. percussion, and strings.

First performance by the Radio Orchester Beromeunster.
Zurich conducted by Norman Del Mar.

Concerto for Orchestra (1967)

Commissioned by Feeny Trust.

First performance by the City Birmingham Symphony Orchestra,
1968. conducted by Hugo Rignold.

U.S. premiere: the Philadelphia Orchestra. conducted by the
composer. 1976.

Clarinet Concerto (1968)
Commissioned by the Royal Philharmonic Society.

58

ORCHESTRAL WORKS

First performance by the BBC Symphony Orchestra, 1969,
conducted by Colin Davis: clarinetist. Gervase de Peyer.
U.S. premiere, on the West Coast: by the Los Angeles
Philharmonic Orchestra, conducted by Gerhard Samuel.
Michele Zukovsky. clarinet, 1971: East Coast: by the
New York Philharmonic, conducted by Sarah Caldwell,
Stanley Drucker, clarinet. 1975.

Night Music (1969)

Commissioned by the BBC.

First performance by the Welsh Orchestra, 1969, conducted
by John Carewe.

U.S. premiere. on the West Coast: by the San Francisco
Symphony Orchestra, conducted by Niklaus Wyss, 1975: on the
East Coast: by the Syracuse Symphony Orchestra, conducted
by Calvin Custer. 1975.

Memento Vitae (Concert in Homage to Beethoven) (1969-70)
Commissioned by BBC (Scotland) and the Saltire Society.
First performance by the BBC Symphony Orchestra. 1970.
conducted by James Loughran.

U.S. premiere: by the Milwaukee Symphony Orchestra. 1970.
conducted by Sarah Caldwell. 1975.

Horn Concerto (1971)

Commissioned by Mario di Bonaventura for Dartmouth Con-
gregation of the Arts, U.S.A.

First performance by the Scottish National Orchestra, 1971.
conducted by the composer: Barry Tuckwell, Horn.

Viola Concerto (1973)

Commissioned by the BBC.

First performance by the Scottish National Orchestra, 1973.
conducted by the composer, Peter Mark, viola:

U.S. premiere: by the Pasadena Symphony Orchestra, conducted
by Daniel Lewis. Peter Mark, viola. 1975.

Orfeo II (1975)

For solo flute and fifteen strings.

First performance by the Los Angeles Chamber Orchestra, 1976.
conducted by Neville Marriner: also, same year, same
orchestra. conducted by Thea Musgrave, David Shostac. flute.

59

CHAMBER MUSIC

Cantata for a Summer's Day (1954)

For vocal quartet, speaker, flute, clarinet. string quartet.
and double bass: or flute, clarinet, and string orchestra.
Texts by Hume and Lindsay.

String Quartet (1958)
Commissioned by the University Court (Glasgow) under the
terms of the McEwen Bequest.

Colloguy for violin and piano (1960)
Written for Manoug Parikian and Lamar Crowson for the
Cheltenham Festival.

Trio for flute, oboe, and piano (1960)
Commissioned by the Mabillon Trio.

Monologue for solo piano (1960)
Written for Margaret Kitchin.

Serenade for flute, clarinet, harp, viola, and cello (1961)
Commissioned by the John Lewis Partnership for the Melos
Ensemble.

Excursions for piano - four hands (1965)

Commissioned by the London University Extra—Mural class.
Teddington.

(Eight duets for piano - four hands with one easy part).

Chamber Concerto No. 1 (1962)

For oboe, clarinet, bassoon. horn, trumpet, trombone,
violin, viola, and cello.

Commissioned by the University Court (Glasgow) under the
terms of the McEwen Bequest.

 

Chamber Concerto No. 2 - In homage to Charles Ives (1966)
For flute—(piccolo and alto flute). clarinet (bass clarinet),
violin (viola), cello, and piano.

Commissioned by the Dartington Summer School of Music

for the Vesuvius Ensemble.

Chamber Concerto No. 3 (1966)

For clarinet, bassoon, horn, two violins. viola. cello.
and double bass.

Commissioned by the Anglo-Austrian Music Society for the
Melos Ensemble.

6O

CHAMBER MUSIC

Sonata for Three (1966)
For flute, violin. and guitar.

Impromptu for flute and oboe (1967)
Written for Douglas Whittaker and Janet Craxton.

Music for Horn and Piano (1967)
Written for Barry Tuckwell and Margaret Kitchin for the
Zagreb Festival.

Soliloguy for guitar and tape (1969)
Tape in collaboration with Daphne Oram.
Written for Siegfried Behrend.

Elegy for viola and cello (1970)
Written for Peter Mark and Geoffrey Rutowski.

Impromptu No. 2 for flute, oboe, and clarinet (1970)
CommISSione by the department of music. University College,
Cardiff, in association with the Welsh Arts Council.

From One to Another for viola and tape (1970)

Tape in collaboration with Daphne Oram.

Written for Peter Mark for the Monday Evening Concert.
Los Angeles.

Spaceplay: A Concerto for Nine Instruments (1974)

For flute, oboe, clarinet, bassoon, horn, violin. viola, cello.
and double bass.

Commissioned by the Koussevitzky Music Foundation.

First performance by the London Sinfonietta. 1974.

U.S. premiere - East Coast: by the Chamber Music Society

of Lincoln Center, 1975: West Coast: by the Monday Evening
Concert. Los Angeles, 1976.

Orfeo 1. An improvisation on a theme (1975)

For flute and tape.

Commissioned by the BBC Transcription Services for James
Galway.

61

VOCAL AND CHORAL WITH ORCHESTRA

Cantata for a Summer's Day (1954)

For vocal quartet, speaker, flute, clarinet, string quartet.
and double bass: or flute, clarinet. and string orchestra.
Texts by Hume and Lindsay.

First public performance by the Edinburgh International
Festival, Saltire Singers, conducted by Hans Oppenheim.

Tritych (1959)

For solo tenor, strings, harp. three percussion. celesta
(or piano).

Commissioned by the Saltire Society.

First performance by the London Symphony Orchestra,
conducted by Meredith Davies, tenor, Duncan Robertson.

The6Pheonix and The Turtle for small choir and and orchestra
19 2

Commissioned by the BBC.

First performance by the BBC Scottish Orchestra and
Ambrosian Singers, conducted by Norman Del Mar.

The Five Ages of Man for chorus and orchestra (1963)

For timpani. three percussion, piano. strings, and optional
brass.

Commissioned by the Norfolk and Norwich Triennal Music
Festival.

First performance by the Festival Choir and Orchestra,
conducted by Charles Mackerras.

UNACCOMPANIED CHORAL MUSIC

Four Madrigals for SATB chorus (1953)

Songpof The Burn for SATB chorus (1954)

Make Ye Merry For Him That Is Come (1961)

For s0pranos, contraltos, and children's chorus (optional

organ accompaniment).

John Cook for SATB chorus (1963)

 

 

62

UNACCOMPANIED CHORAL MUSIC

Memento Creatoris for SATB chorus (1967)
Optional organ accompaniment.

Two Chrismas Carols in Traditional Style (1966)
For solo soprano, SA chorus with TB chorus optional, oboe.
or clarinet, or solo violin and strings.

Rorate Coeli for SATB chorus (1973)

 

MUSIC FOR YOUNG PEOPLE AND AMATEURS

Theme and Interludes (1960)
For orchestra.

Marko the Miser (1960)

A tale for children to mime, sing, and play.

Commissioned by Wayney Mann Ltd. for the Farnham Festival
of Schools Music.

For recorders/violin. or clarinet/guitar/piano/percussion
including glockenspiel and chime bars.

Excursions for piano. four hands (1965)

 

Variations for brass band (1966)

Sonata for Three (1966)
For flute. violin, and guitar.

63

CONCERT BAND MUSIC

Scottish Dance Suite (1974)

SONGS

A Suite O'Bairnsangsifor voice and piano (1953)
Commissioned for the Scottish Festival. Braemar. 1953.

Five Love Songs for soprano and guitar (1955)

 

A Song_for Christmas for high voice and piano (1958)
Commissioned by the BBC, Scotland.

 

Sir Patrick Spens for tenor and piano (1961)
Commissioned by Peter Pears.

First performance by Peter Pears and Julian Bream at the
Aldenburgh Festival.

 

Primavera for soprano and flute (1971)
Written for Dorothy Dorow for performance at the Zagreb
Festival.

 

PIANO MUSIC

Monologue (1960)

Excursions (1965)

 

LIST OF REFERENCES

 

LIST OF REFERENCES

Baker's Biographical Dictionapy of Musicians. 1978 ed.,
8. v. "Musgrave. Thea."

Forte, Allen. The Structure of Atonal Music. New Haven and
London: Yale University Press. 1979.

Dictionary Of Contemporapy Music. 1944 ed., s.v.
"Musgrave. Thea."

Harvard Dictionapy of Music. 2nd ed. (1972), s.v. "Acoustics."

International Who' Who in Music and Musician's Directopy.
8th ed. (1977): s.v. "Musgrave, Thea."

The New College Encyclopedia of Music. 1976 ed., s.v.
"Musgrave, Thea."

Northcott, Bayan. "Promenade Concerts." Music and Musicians
(November 1971): 58.

 

The Oxford Companion to Music. 10th ed. (1970), s.v.
"Musgrave, Thea.‘

Persichetti, Vincent. Twentieth-Century Harmony, Creative
Aspects and Practice. New York: W. W. Norton and
Company, Inc., 1961.

Simmons, David. "London Music." Musical Opinion (September

1971): 607.

64

   

"IIIIIIIIIIIIIIIII'IIIIIII