A LITTLE VARIATION AS USED BY AUSTRALIAN COMPOSERS Dr This lecture recital will deal with how some Australian composers treat Variation form with particular reference to works by John Polglase, Robert Davidson, Peter Webb and Justin McKay. Works by these composers will be performed and their works will be analysed in order to determine the compositional methods used. All of the composers have composed sets of variations in the last 20 years spanning from 1982 until 2010 and their treatment of this standard form emphasises their different compositional idiosyncrasies. A CD recording of seven sets of variations composed by these six composers, recorded in 2012, will be available after the recital. This conference is sub-titled Opening Doors - the Complete Musician in a Digital Age. Sometimes doors can be opened behind you as well as in front of you. In discovering how Australian composers deal with Variation form I discovered that several reached behind them, firstly in their choice of a suitable theme which acted as the basis for the compositions and also in the very act and method of their variations on that theme. The essence of the beautiful is unity in variety said Felix Mendelssohn. 1 A structure that allows the composer compositional freedom while also creating a sense of unity and familiarity of material for the listener is, as Mendelssohn writes, beautiful. Variation form, one of the very basic structures of so much western music, has the inherent qualities of unity and familiarity while at same time creativity and inventiveness can find free range. To take a theme and apply a series of variations to that theme has been used by countless composers and has been a means of demonstrating amazing skill in the variation process. The variation concept is also the basis of ground bass, passacaglia, chaconne and most jazz music is structured around a basic pattern of theme and variations. My fascination with the compositional process used in varying a theme has led to an exploration of how contemporary Australian composers deal with this form. Research into this subject has culminated into a recording of seven works by six composers. 2 All of the composers whose works appear on the recording treat the traditional Theme and Variations in their unique way incorporating into the form their own voice and compositional style. Although the collection of pieces on this recording is not exhaustive of all the works written by contemporary Australian composers using this medium, it still demonstrates a variety of methods and styles. Traditionally theme and variations could be either on a known theme by another composer or existing melody, or an original theme purposely constructed for that particular set of variations. In the works present here some of the composers have used a theme which already existed and others have developed their own theme and methods of variation. For the purpose of this lecture recital I have chosen to demonstrate the works of four composers who treat the process quite uniquely. 1 Quote from website : http://www.brainyquote.com/quotes/quotes/f/felixmende257544.html 2 A Little Variation. CD recording, 2013. Vox Australis, (VAST032.2), Sydney. 11 th Australasian Piano Pedagogy Conference Proceedings Page 1 of 30
Justin McKay Justin McKay is an Australian composer and performer, whose output includes vocal and chamber music, three operas, orchestral works and many works featuring piano. Born in Narromine, NSW, in 1976, he attended the Sydney Conservatorium High School, and the University of Western Sydney, Nepean. Since 1996, he has been active as a harpsichordist with several Northern California orchestras and ensembles, and has been in high demand as a piano teacher and vocal coach. McKay's works have been heard on radio and television, and in recent years he has been active writing works for the stage. His operas Alice in Wonderland and The Salon were premiered by Chicago State Opera Workshop in 2008 and 2009 respectively. A third opera, an adaptation of Shakespeare's The Tempest was premiered on April 25 and 26, 2012. A new orchestral work will be premiered October 13 and 14 by the Veridian Symphony in Yuba City, California. Recent works include Seven Fugues for piano (2011), Concerto for harpsichord and strings (2010), Quintet without words (2011), for piano and winds, String Symphony (2011) Prelude in the French style (2011) Coiffure for chamber orchestra (2012) and The Tempest (2012). 3 The set of variations written by McKay is based on the theme of the second Bourree from the 4 th cello suite (BWV1010) by J. S Bach and given the obvious title Variations and Fugue on a Theme by J.S Bach. McKay considers this a work of his neo-classic period when he was fascinated not only by Bach but also by Handel. Written in 2000 he revised the score slightly in 2011. There are nine variations, some with changes of key and character, finishing with a fugue. The theme is obviously tonal (Eb Major) and is in an extended binary form with a four bar melody (A) repeated followed by a contrasting section (B) and recapitulation (A) which together are repeated. Ex 1: The original theme of the Bourree from the fourth suite for cello by J.S. Bach (McKay, 2011) 3 Australian Music Centre Composer Biography 11 th Australasian Piano Pedagogy Conference Proceedings Page 2 of 30
Ex 2: The opening theme as harmonised by Justin McKay (McKay, 2011) The variations, though they flow easily from one to the next, are quite different and distinct from one another and are varied in terms of articulation and key. The tempo, which begins Poco Allegro, is varied to Allegro in the fourth variation, Piu Lento e Cantabile in the fifth, Espressivo e legato in the sixth, Allegretto e giocoso the seventh, Molto moderato, the eighth, Allegro Con Fuoco and the fugue is marked Senza fuoco. The tonality which is mostly in its original Eb major is in Ab minor in the second variation and C major in the seventh and eighth variations. The first variation retains the basic harmonic structure of the theme while balancing the theme with a left hand counter melody and ornamentation on key melodic notes. 11 th Australasian Piano Pedagogy Conference Proceedings Page 3 of 30
Ex 3: The opening of the first Variation (McKay, 2011) In the second variation there is a change of key to Eb minor and the melody appears in the left hand darker in colour now according to the tonality change. Page 4 of 30
Ex 4: the opening of the second Variation (McKay, 2011) The third variation contains a leaping bass where in the theme the bass was more static. The right hand is ornamented with left hand notes creating another counter melody. Page 5 of 30
Ex 5: the opening of the third Variation (McKay, 2011) The main feature of the fourth variation is the change of time signature to 12/8, a faster tempo marking and moving pattern in the left hand. Page 6 of 30
Ex 6: The opening of the fourth Variation (McKay, 2011) Variation five retains the basic harmonic structure but is a completely different melodic pattern. Page 7 of 30
Ex 7: the first two bars of Variation 5 (McKay, 2011) The sixth variation is expressive and bears only a faint resemblance to the theme in its melodic structure. Ex 8: the opening of Variation 6 (McKay, 2011) In the seventh variation McKay has changed both character and key signature (now C major) and the character of this variation is lively and cheerful - where the theme was more sombre in character. Page 8 of 30
Ex 9: the opening of Variation 7 (McKay, 2011) The eighth variation retains the key of C major but is slower and again quite expressive. With the use of slurs McKay ornaments the theme and creates a differing melodic line with the use of added notes. Page 9 of 30
Ex 10: Variation 8 (McKay, 2011) In the ninth variation the left hand is quite virtuosic but is in reality accompanying the expanded version of the theme in the right hand. This is quite a short variation. Page 10 of 30
Ex 11: Variation 9 (McKay, 2011) The fugue is again in a different time signature ¾ and is based on the same melodic line with a different rhythm. Page 11 of 30
Ex 12: The fugue subject and answer (McKay, 2011) This set of variations is an example of a composer who has reached behind himself to open a door of the past while at the same time being aware of what the present has taught him about composition. The piece creates the effect of a composition revering the music of Bach in structure and form but uses some harmonic devices and pianistic elements of music of a much later time. Peter Webb The Variations for Piano by Peter Webb were written in 1990 and commissioned by the Adelaide Eisteddfod Society for an Australian music section in its yearly eisteddfod. Peter Webb was born in Melbourne on the 29th of February, 1948. After attending school in Geelong, he completed a BA in Music and Philosophy at the University of Melbourne in 1969, and in 1970 obtained his Secondary Teachers Certificate. After some years teaching in Victorian secondary schools, a career change saw him become a professional oboe and cor anglais player, which led to contract work with the Sydney Symphony Orchestra, the Australian Opera Orchestra, and the Tasmanian Symphony Orchestra, after which he became the Principal Cor Anglais with the Adelaide Symphony Orchestra, where he played from 1975 until 1995. From 1995 he was involved for some years with the ASO s Education Program. Peter Webb has been the conductor of the Unley Symphony Orchestra since 1983, and of Choir Cecilia since 1997. He has also conducted and tutored at State Music Camps in South Australia, and has been a guest conductor of the Woodville Concert Choir, the Adelaide Harmony Choir, the Corinthian Singers of Adelaide, and the combined choirs of Page 12 of 30
the Country Choral Association, as well as being a member of the Council of the Young Adelaide Voices (formerly the Adelaide Girls Choir) for five years, from 2004 until 2008. In 2008 and 2009, he was Director of the South Australia State Music Camp. In 1988, Webb was appointed Musical Director of the Bicentennial Closing Ceremony, composing, arranging, and conducting music for a large youth orchestra. Peter Webb is a teacher and music arranger, and does regular adjudicating at various South Australian eisteddfods, as well as occasional examining for the Elder Conservatorium of Music. He is well-known for his lectures on music to the University of the Third Age and other interested groups, and is also a performer on the didjeridu, both in a solo capacity, and as an accompaniment to various choir performances and recordings. In the Queen s Birthday Honours List of 2007, he was awarded an OAM 'for services to the arts as a musician, conductor, composer, and teacher'. 4 This set of variations is based on an original theme which is enigmatic in terms of tonality and character. There are four variations and they are particularly diverse in style and rather than being closely related to the theme are like four short pieces in their own right. The theme is quite simple while at the same time being quite chromatic. 4 Australian Music Centre Composer Biography Page 13 of 30
Ex 13: The theme by Peter Webb for his set of Variations for Piano (Webb, 1990) The first variation uses ornamental flourishes decorating the melodic line in which the theme can be heard. Page 14 of 30
Ex 14: The opening bars of Variation 1 demonstrating the ornamental triplets on the theme. (Webb, 1990) The second variation begins with a series of ascending trills in an inversion of the theme. Various parts of the theme are taken out and expanded into sections which create different characters. Page 15 of 30
Ex 15: The opening of Variation 2 (Webb, 1990) The third variation is a cheeky, canonic 5/8 melody, and involves knocking on the lid of the piano for some timbrel effects. Ex 16: The opening of Variation 3 (Webb, 1990) The final variation is a scherzo and lyrical trio involving the usual da capo and coda and is longer and more pianistically substantial than the other variations. John Polglase The largest work on the recording is the set of variations by John Polglase. ( Variations on a Theme of Bela Bartok for solo piano, composed 2005). John Polglase, born in 1959 is presently a resident of South Australia. He completed undergraduate and postgraduate studies in composition in Adelaide studying with Graeme Koehne and Richard Meale. He won several prizes for composition including in 1993 the 'Leonardo Prize' First prize: String Trio and was recipient of an Australia Council Fellowship. Other studies include in 1992 a String quartet workshop with the Australian String Quartet: String Quartet No.2. ; National Orchestral Composers School with Richard Mills, Carl Vine and the Queensland Symphony Orchestra: Drive in 1991; National Orchestral Composers School with Dobbs Franks, Richard Meale and the Tasmanian Symphony Orchestra: Sinfonia and a String quartet workshop with the Arioso String Quartet: String Quartet No.1. in 1988. Page 16 of 30
To date Australian composer John Polglase has created a considerable oeuvre of orchestral, chamber and solo works of high artistic quality which are beyond the reach of average performers. In addition Polglase s writing is driven more by musical and artistic concerns than educational imperatives. Therefore the player must deal with an irregular synthesis of ideas rather than a carefully presented set of musical principles waiting to be applied in a predictable fashion. He has written a number of piano works including Quiet this Metal and Eight Bagatelles. Polglase has a certain fascination with the writing of Bartok and his oeuvre also include a set of 13 Variations on a Hungarian Folk Song transcribed by Bela Bartok, (2010). He has been a staff member of the Elder Conservatorium since 1995. Based on the Bagatelle no. 6 (1908) by Bela Bartok this work contains eight variations, each with different tempo and innate character. Page 17 of 30
Ex 17: Theme by Bartok on which the Polglase set of Variations is based. (Polglase, 2005) Variation one is marked ben ritmato and is a series of quaver clusters of irregular groupings held together by the strategically placed accents. Page 18 of 30
Ex 18: Opening of Variation 1 (Polglase, 2005) In contrast Variation 2 is Molto rubato and espressivo and uses ornamental figures to emphasise the different harmonies as well as irregular bar lengths to give a rhapsodic character. Page 19 of 30
Ex 19: Opening of Variation 2 (Polglase, 2005) The third variation is scherzo like, light and capricious, marked animato poco capricci. The bar lengths are for some of the variation more regular, but the different groupings on the repeated note section and again strategically placed accents create an agitated character. Page 20 of 30
Ex 20: Opening of Variation 3 (Polglase, 2005) The fourth variation is quite orchestral with large chords and grand gestures and is marked in modo di sinfonia. Page 21 of 30
Ex 21: Opening of Variation 4 (Polglase, 2005) The fifth variation is a march (Brioso, alla marcia) and is the most regular in terms of a solid 4/4 pulse throughout. Page 22 of 30
Ex 22: Opening of Variation 5 (Polglase, 2005) The march is followed by the sixth variation which is again calm and gentle, Like a lullaby, and creates a very definite feeling of lassitude. Page 23 of 30
Ex 23: Opening of Variation 6 (Polglase, 2005) The seventh variation is in the form of an improvisation, in modo di fantasia quasi improvisando and is again characterised by irregular bar lengths. Ex 24: Opening of Variation 7 (Polglase, 2005) The final variation is a reprise of the theme, this time ornamented and harmonised. Page 24 of 30
Ex 25: Opening of the final variation entitled Reprise (Polglase, 2005) Robert Davidson Robert Davidson studied composition with Terry Riley in California and New York, and completed a PhD in composition at the University of Queensland. He previously studied South Indian vocal music in Kerala, India. He was a bassist in the Australian Opera, Sydney Symphony, and Queensland Symphony orchestras before working as a freelance computer programmer. His postclassical quintet Topology has played at numerous festivals around the world since forming in 1996 - their performances range from supporting pop group Savage Garden to experimental theatre. Topology worked with Geoffrey Rush in the opening production of the Optus Playhouse and again in the 2000 Olympics Arts Festival. Davidson's compositions are regularly performed, recorded and broadcast around the world. All of Australia's professional orchestras and many leading soloists and ensembles have commissioned and performed his works. Robert is currently undertaking research into links between language and music. He has composed many works around this theme, including voice portraits using recordings of figures including Ghandi, Churchill, Clinton, Whitlam, JFK, Amelia Earhardt and many others. Page 25 of 30
Robert is the Lecturer in Composition at the University of Queensland. Variations and Episodes by Queensland composer and double bass player Robert Davidson was composed for Colin Spiers (pianist and composer) in the early part of 1990, while the composer was a student. The theme again an original theme was in existence since 1987. It is a simple pentatonic melody in Eb major with an accompanying harmonic progression in F minor. These two structures form the basis of the piece, which alternates between variations on the theme and episodic departures, developing motifs derived from the theme. The following structure is used: Variation 1-3, Episode 1a, Episode 2a, Variation 4, Episode 2b, Episode 1b, Variation 5 and Postlude. The composer writes: In Variations and Episodes, an attempt has been made to incorporate a Mozartian simplicity. Some central characteristics of the piece s structure concern tension generated by opposing elements: fast vs. slow harmonic rhythm, rigid vs. quasi-improvised melody, long vs. short phrasing and simple vs. complex pulse. In the postlude, the harmonic content and tension of the piece is summed up in a single chord, which proceeds to be gradually pared down to a simple resounding unison F, easing the composition into resolution and its end. 5 Ex 26: Theme and the beginning of the first variation (Davidson, 1990) 5 From the program notes supplied by the composer with the score. Page 26 of 30
Ex 27: The second variation (Davidson, 1990) Page 27 of 30
Ex 28: Opening of One of the Episodes (Davidson, 1990) The music of these four composers demonstrates that doors opening either to the future or to the past are available to musicians- composers and performers - and living in a digital age has made the finding of the doors easier as well as the understanding of what is behind the doors more comprehensible. Composers and performers are influenced by the present day as well as the forms and structures of the past such as the traditional and much used variation form. Page 28 of 30
References Davidson, Robert. Variations and Episodes. 1990. Unpublished score McKay, Justin. Variations and Fugue on a Theme by J.S.Bach. 2011. Unpublished Score Polglase, John. Variations on a Theme by Bartok. 2005. Unpublished Score Webb, Peter. Variations for Piano. 1990. Unpublished Score The Australian Music Centre web-site relating to Composer Biographies. All scores are available on request from the Australian Music Centre, Ultimo. Page 29 of 30
About the Author: Dr. is a Senior Lecturer in the Ensemble Studies Unit at the Sydney Conservatorium of Music. She has performed as a soloist, chamber musician and accompanist in Germany, Italy, Austria, Switzerland and throughout Australia, and recorded for Bavarian Radio, the ABC, and regional stations in Australia. She performs regularly as a chamber musician for Musica Viva and other organisations. She completed a Doctor of Creative Arts, from the University of Wollongong, in the area of Australian post-1970 solo piano repertoire and recently released her fifteenth solo CD of Australian piano music. In 2002 she received the national award of most outstanding contribution to the advancement of Australian music by an individual. Page 30 of 30