Descubriendo a Henri Dutilleux (1916–2013) (2017)
A Spanish-language introduction to the music of Henri Dutilleux, published in 2017 by Pauta Journal in Mexico. Written with Mexican composer Mauricio Beltrán.
Stylistic development and variation form: Dutilleux’s Second Symphony, Le Double in context (2016)
An extension of Between the Pages, this new article, which examines the the impact of variation form in the stylistic development of Henri Dutilleux, will be published in the Mitteilungen der Paul Sacher Stiftung in April 2016.
Between the Pages (2011/12)
I recently co-authored a paper entitled ‘Between the Pages, Composition Process in Dutilleux’s Symphony No. 2’ with Mexican composer Mauricio Beltrán. The paper was presented at the Sacher Perspectives International Conference at Cardiff University, March 2012. This is the abstract for the paper:
This paper examines the sketches for Henri Dutilleux’s Symphony No. 2, Le Double held at the Paul Sacher Stiftung in Basel. The material is described in more detail than has been attempted hitherto, testing and challenging some previous statements and conclusions. It also reveals sketches that have remained hidden, leading to some surprising new facts, including: the extent of Dutilleux’s indecision regarding Le Double’s instrumentation, his struggle to compose part of the second movement and an early sketch for a different opening to the work. It seeks, finally, to show how some of the newly discovered material has implications as to how we view the finished composition.
The paper is published in Tempo music journal, here.
PhD Commentary (2011/12)
My commentary for my PhD provides some useful background on my work. It can be viewed here.
Stylistic Development and the Extra-Musical in Two Symphonies by William Mathias (1997)
The full text for this work may be viewed here.
The first two symphonies by the Welsh Composer William Mathias (1932-1992) are markedly different in style. This paper will take one aspect of Mathias’s style, sound, and attempt to show how it developed between the two works. It will also illustrate that the sound of both of these works is closely related to extra-musical factors that are sometimes not obvious in the works’ titles but are, rather, themes that frequently appear in the composer’s output. It will be shown, furthermore, that an understanding of these themes is useful in explaining how the musical argument of these pieces works. Finally, since whether a composer has his own voice is largely related to the issue of sound, an attempt will be made to assess how individual these works are and, therefore, whether they deserve to survive in the repertoire.