Classical Guitar Music by Irish Composers

325 Pages·2014·5.87 MB·English

L , - 0 * 3 7 * 7
w
NUI MAYNOOTH
OII»cdI »■ f£ir*«nn WA Huad
Classical Guitar Music by Irish Composers: Performing
Editions and Critical Commentary
John J. Feeley
Thesis submitted to the National University of Ireland, Maynooth as
fulfillment for the degree of Doctor of Philosophy in Music (Performance)
3 Volumes
Volume 1: Text
Department of Music
NUI Maynooth
Head of Department: Professor Gerard Gillen
Supervisor: Dr. Barra Boydell
May 2007

VOLUME 1
CONTENTS
ABSTRACT i
ACKNOWLEDGEMENTS ii
INTRODUCTION 1
CHAPTER 1 13
APPROACHES TO GUITAR COMPOSITION BY IRISH COMPOSERS
Historical overview of the guitar repertoire 13
Approaches to guitar composition by Irish composers ! 6
CHAPTER 2 31
DETAILED DISCUSSION OF SEVEN SELECTED WORKS
Brent Parker, Concertino No. I for Guitar, Strings and Percussion 31
Editorial Commentary 43
Jane O'Leary, Duo for Alto Flute and Guitar 52
Editorial Commentary 69
Jerome de Bromhead, Gemini 70
Editorial Commentary 77
John Buckley, Guitar Sonata No. 2 80
Editorial Commentary 97
Mary Kelly, Shard 98
Editorial Commentary 104
CONTENTS CONT’D
John McLachlan, Four pieces for Guitar 107
Editorial Commentary 121
David Fennessy, ...sting like a bee 123
Editorial Commentary 134
CHAPTER 3 135
CONCERTOS
Brent Parker Concertino No. 2 for Guitar and Strings 135
Editorial Commentary 142
Jerome de Bromhead, Concerto for Guitar and Strings 148
Editorial Commentary 152
Eric Sweeney, Concerto for Guitar and Strings 154
Editorial Commentary 161
CHAPTER 4 164
DUOS
Seoirse Bodley Zeiten des Jahres for soprano and guitar 164
Editorial Commentary 166
Frank Corcoran, Quasi un Amore for flute/alto flute/piccolo and guitar 167
Editorial Commentary 169
Jerome de Bromhead, Vespertine for flute and guitar 169
Editorial Commentary 172
John Buckley, In Winter Light for alto flute and guitar 174
Editorial Commentary 178
Raymond Deane, Epilogue for flute and guitar 179
Editorial Commentary 184
Eibhlis Farrell, Orpheus Sings for violin and guitar 184
Editorial Commentary 187
Rhona Clarke Reflection on the Sixth Station of the Cross
CONTENTS CONT’D
for alto flute and guitar 188
Editorial Commentary 190
Fergus Johnston, Opus Lepidopterae for flute (alto recorder) and guitar 191
Editorial Commentary 193
Martin O Leary, Three Lyrics for alto and guitar 195
Editorial Commentary 196
John McLachlan, Fragile for alto flute and guitar 197
Editorial Commentary 200
Ciarán Farrell, Around and About for flute and Guitar 200
Editorial Commentary 203
David Fennessy, continuity error for flute and guitar 205
Editorial Commentary 207
CHAPTER 5 208
SOLOS
Brian Boydell, Three Pieces for Guitar, Op. 70 208
Editorial Commentary 214
John Kinsella, Fantasy 215
Editorial Commentary 221
Frank Corcoran, Three Pieces for Guitar 222
Editorial Commentary 225
Jerome de Bromhead, Guitar Sonata No. 1 225
Editorial Commentary 228
Jane O Leary, Four Pieces for Guitar 230
Editorial Commentary 233
Philip Martin, Due Angeli 233
Editorial Commentary 236
Eric Sweeney, Figurations 239
Editorial Commentary 241
Eric Sweeney, Three Folk Songs for Guitar 241
Editorial Commentary 242
Donal Hurley, Sonata for Guitar 244
Editorial Commentary 246
John Buckley, Lullaby for Deirdre 249
Editorial Commentary 251
John Buckley, Guitar Sonata No. 1 251
Editorial Commentary 258
Martin O Leary, Guitar Sonata No. 1 261
Editorial Commentary 263
Martin O Leary, Guitar Sonata No. 2 263
Editorial Commentary 265
Ciarán Farrell, The Shannon Suite 266
Editorial Commentary 269
Dawn Kenny, e-motion 269
Editorial Commentary 272
CONCLUSION 273
BIBLIOGRAPHY 275
APPENDIX 286
List of Contemporary Irish Guitar Works
INSIDE FRONT SLEEVE
CD 1: e-motion
CD 2: in winter light
INSIDE BACK SLEEVE
CD 3: Music from Ireland and Spain
CD 4: Contemporary Irish Guitar music
Sweeney, Fennessy, McLachlan and Jane O’Leary
CD 5: Concerto for Guitar and Strings
Jerome de Bromhead
ABSTRACT
The last four hundred years have seen the guitar fall in and out of fashion, from its
position as a respected medium for art music to its role as an accompanying instrument.
Improvements in the construction of the instrument at the end of the nineteenth century,
coupled with growing interest from leading twentieth-century composers, have resulted
in a substantial and important new repertoire. A significant increase in the number of
new works is especially evident after 1950. The availability of performing editions and
compact disc recordings of these works is vital for their dissemination internationally.
Since 1969, Irish composers have created a considerable repertoire for guitar, but this
repertoire has been sadly neglected by performers due to lack of such editions and
recordings.
This thesis presents performing editions of thirty-seven works for classical guitar by
twenty-one Irish composers and comprises compositions for guitar with orchestra, guitar
with another instrument or voice, and guitar solo; a set of five Compact Disc recordings
which includes nineteen works by twelve Irish composers (almost four hours of music); a
discussion with analytical comments on the works and editorial commentary on the
editions, with details, where available, of the composer/performer collaboration; and a
more in-depth discussion of seven selected works. This thesis aims to provide a resource
for those who wish to perform, or carry out research, into this neglected repertoire.
ACKNOWLEDGEMENTS
The completion of this project has occurred with the support of a number of individuals
and institutions. I wish to express my gratitude to Dr. Barra Boydell, who guided me
through the writing of this thesis with commitment and patience. His high academic
standards and incisive feedback have stimulated my own intellectual and personal
development; for this I am grateful to him. I am also grateful to Professor Gerard Gillan
for his support and encouragement. I would like to offer my sincere thanks to both Dr.
Lorraine Byme and Dr. Gareth Cox for taking the time to read this thesis and for their
helpful and perceptive insights which illuminated many issues.
I would also like to express my appreciation to Dr. Ellen Hazelcom, head of the Faculty
of Applied Arts, Dublin Institute of Technology and Brid Grant, Head of the
Conservatory of Music and Drama, DIT, for their support. Many thanks also to the
library staff at the Dublin Institute of Technology, the National University of Ireland,
Maynooth, and the Contemporary Music Centre.
I wish to express my sincere gratitude to all of the composers who have allowed me to
use their music as part of this project. I am especially grateful to John Buckley for the
numerous hours of collaboration during the writing and recording of his complete guitar
music (on Compact Disc 2).
A special thank you goes to flautists William Dowdall and Laura Chislett and
composer/pianist Brent Parker who performed on the recordings. 1 also wish to thank
John Kelly, manager of the Irish Chamber Orchestra, and RTE, for permission to use the
recording of the concert of Jerome de Bromhead’s Concerto for Guitar and Strings.
Finally, 1 wish to thank my family for their love, support and encouragement.
INTRODUCTION
The twentieth century has without doubt seen a renaissance in the resurgence of interest
in the guitar, an instrument which in terms of its popularity as a serious medium of
expression has had a turbulent history. Over the years it has been described by some as a
subtle and expressive medium, and alternatively by others as a vulgar and coarse
instrument suitable only for ‘the charlatans and saltimbanques who use it for
strumming’.1 Its renaissance has been reflected since the 1970s in a considerable amount
of rich and varied repertoire written by composers from the Republic of Ireland for solo
guitar, guitar with another instrument, and guitar concertos. However, very little of this
repertoire has been performed by guitarists outside of Ireland.
In popular music the guitar has taken centre stage during the last few decades, but it also
holds great appeal for the contemporary composer. Much of the earlier guitar repertoire
was written by composers not generally regarded as top-ranking in the history of music,
but during the twentieth century this trend was reversed: many of the first-rate composers
have written for guitar, finding it a most versatile and rewarding instrument which holds
abundant possibilities for expression. The guitar, however, remains a singularly difficult
instrument for which to write. Although it does not present any particular problem for
the guitarist/composer, it has always posed a considerable challenge for those not familiar
with the instrument; it is, in the words of one Irish composer represented here, ‘a
nightmare ... even more difficult than writing for the harp’.2
1 Frederic V. Grunfeld, The Art and Times of the Guitar: An illustrated History Of Guitars and
Guitarists (New York: Collier Books, 1969), 2.
2 John Buckley, interview with the author, 12 April 2003.
1