A HANDBOOK TO TWENTIETH-CENTURY MUSICAL SKETCHES

This indispensable handbook explains how scholars and students should work with and think about the composer’s working manuscripts. Over the past quarter-century, the scholarly study of autograph sources has exploded and nowhere is this more true than in the field of twentieth-century music. And yet, few if any courses or seminars broach the subject of sketch studies and the skills required to examine the manuscripts. This book surveys the knowledge necessary to work efficiently in archives and libraries housing this material and with the skills and techniques specifically related to sketch studies: transcription, reconstructing sketchbooks, deciphering handwriting, dating documents. It deals with the music of important twentieth-century composers and presents visual examples of manuscripts from the collections of world renowned institutions such as the Paul Sacher Foundation. The book aims to make the work of both researchers and students more efficient and rewarding.

PATRICIA HALL is Associate Professor of Music Theory at the Department of Music, University of California, Santa Barbara. She is the author of A View of Berg’s ‘Lulu’ through the Autograph Sources (1997). She has also contributed to several works including The Cambridge Companion to Berg (1997) and has written articles and reviews for a number of journals.

FRIEDEMANN SALLIS is Professor at the Département de musique, Université de Moncton. He is the author of An Introduction to the early works of György Ligeti (1996). He also contributed to Music of the Twentieth-Century Avant-Garde (ed. L. Sitsky, 2002) and has published numerous articles on music of the nineteenth and twentieth centuries.

A HANDBOOK TO TWENTIETH-CENTURY MUSICAL SKETCHES

EDITED BY

PATRICIA HALL AND FRIEDEMANN SALLIS

PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE
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CAMBRIDGE UNIVERSITY PRESS
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© Cambridge University Press 2004

This book is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the
written permission of Cambridge University Press.

First published 2004

Printed in the United Kingdom at the University Press, Cambridge

Typeface Adobe Garamond 11/14 pt. System LATEX 2_e [TB]

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

ISBN 0 521 80860 X hardback

it to our students

Contents

Illustrations

Plates

Acknowledgements

This book was originally conceived by Patricia Hall as an ideal text for a course she has taught since 1999 on twentieth-century sketches and autographs. Many of the topics for the book correspond to subjects covered in this course – subjects we thought would be valuable to anyone studying twentieth-century sketches and autographs. In this regard, we must first thank the authors of this book, who, as dedicated teachers and researchers, took time from their busy schedules to contribute to this pedagogical endeavour. At Cambridge University Press we were also very fortunate to have Penny Souster guiding and encouraging this project. Special thanks go to Ulrich Mosch and the Paul Sacher Foundation for their generous contribution and we would also like to thank the Alban Berg Stiftung, the Archivio Luigi Nono, the Bartók Archives, the Hindemith Institute and the John Cage Trust for allowing us to reproduce their holdings.

   In its planning stage (at a cafeteria in Basle, Switzerland), we very much benefited from Tomi Mäkelä’s suggestions on possible authors and topics and sincerely thank him for his contribution. We heartily thank J. Bradford Robinson and Michael Graubart for their translations and John Boulay for his competent work on the translation of the two chapters submitted in French. We are deeply grateful to Marion Macfarlane for scrupulously correcting all the translated chapters and also for her expert advice. We would like to thank the Direction générale des technologies of the Université de Moncton and particularly Léo Blanchard for the time and energy invested in preparing the plates and examples presented in this book. Finally, we could not have completed this project without the help of our research assistants. In the final rush to submit the manuscript to Cambridge, Katherine Schroeder was a Godsend, sending files electronically to Moncton, contacting authors, and checking footnotes. We would also like to thank Élise Malinge, Myrianne Dubé, Mylène Ouellette, Renée Fontaine and Serge-André Comeau for their assistance at various stages of this project. Similarly, William Koseluk kindly produced the musical examples for chapters 9 and 12.

   The research for this book was funded by the Austrian-American Fulbright Commission, the Social Sciences and Humanities Research Council of Canada, a General Research Grant from the University of California, Santa Barbara and grants from the Faculté des arts et des sciences sociales as well as the Faculté des études supérieures et de la recherche of the Université de Moncton.

   Copyright materials are reproduced as follows:

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