Derrick Puffett on Music

830 Pages·2001·40.507 MB·English

by  Kathryn Bailey Puffett (editor)

DERRICK PUFFETT ON MUSIC
To Robert Puffett
Derrick Puffett on Music
Compiled and edited by
KATHRYN BAILEY PUFFETT
~l Routledge
~ ~
Taylor & Francis Group
LONDON AND NEW YORK
First published 1002 by Ashgate Publishing
Published 2016 yb Routledge
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Copyright ©Kathryn Bailey Puffett 1002
All rights reserved. No part of this book may be reprinted or reproduced
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British Library Cataloguing ni Publication Data
Derrick Puffett on music
.1 Music - Histaonrdy criticism .2 Music appreciation
.3 Music analysis
.I Puffett, Kathryn Bailey
087
Library of Congress Cataloging-in-Publication Data
,tteffuP Derrick.
Derrick Puffett on music I edited by Kathryn Bailey Puffett.
p.cm.
Includes bibliographical references (p. ) and index.
NBSI 3-9930-6457-0-879 .kla( )repap
.1 Music--History and criticism. .I Puffett, Kathryn .yeliaB .II .eltiT
ML60 .P984 2001
780'.9--dc21 2001022811
NBSI 3993064570879 (hbk)
Contents
Acknowledgements vii
Editor's Introduction ix
TRAP :I THE TSYLANA SKAEPS 1
1 :lairotidE In ecnefeD of msilamroF 3
2 Schenker's 'Eroica' 7
TRAP :II LINER DNA PROGRAMME SETON 72
3 :rengaW serutrevO dna lartsehcrO Music 92
4 Richard Strauss: doT und gnuriilkreV dna Don Quixote 23
5 Richard Strauss: Symphonia Domestica dna Parergon 53
6 ehT 'Tawdriness' of Salome 83
TRAP :III ENGLISH CISUM 54
7 A naehcszteiN :otterbiL suileD dna
eht txeT rof A Mass of Life 74
8 eh tnI Garden ofFand: dlonrA Bax dna eht 'Celtic 1\vilight' 38
9 The Fugue morf Tippett's dnoceS gnirtS Quartet 201
01 tteppiT dna eht Retreat morf ygolohtyM 831
11 ... na lacitylanA gnireffO .A( .G )2991 ...
nO Goehr's egamoH ot Bach 951
TRAP :VI RUSSIAN DNA FRENCH CISUM 191
21 A cihparG sisylanA ofMusorgsky's 'Catacombs' 391
31 Eight Bars of :yksnivartS ehT Septet detisiveR 204
41 Debussy's otanitsO enihcaM 132
vi Contents
:YTRAP AREPO 782
51 Siegfried ni eht txetnoC of s'rengaW citarepO gnitirW 982
61 s'kceohcS :sarepO A noitseuQ of erneG 892
71 emoS snoitcelfeR onLiteraturoper 013
81 greB dna namreG arepO 413
91 :emolaS na noitcudortnI 143
02 segamI of emolaS 153
12 Strauss's oiranecS rof eht ecnaD' of eht neveS 'slieV 653
22 Salome sa cisuM amarD 263
32 Elektra: sgninnigeB 893
42 ehT cisuM of Elektra: emoS yranimilerP sthguohT 904
52 nA noitcudortnI ot Der Rosenkavalier 624
TRAP :IV ANNEIV 534
62 noitpircsnarT dna :noitisopmoceR ehT egnartS esaC
of s'yksnilmeZ kcnilreteaM sgnoS 734
72 A lanoitatoN ytirailuceP ni ylraE mebeW
dna sti snoitacilpmI 884
82 enoG htiw eht remmuS ;dmW ,ro tahW mebeW tsoL 894
92 cisuM' taht seohcE nihtiw 'enO rof a :emitefiL s'greB
noitpeceR of s'grebneohcS Pelleas und Melisande 935
03 ,greB relhaM dna eht eerhT lartsehcrO ,seceiP .pO 6 616
TRAP :IIV NAMREG CISUM 956
13 'Lasser eid ,isuM ow eis ist': hctiP yticificepS ni ssuartS 166
23 s'renkcurB :yaW ehT oigadA of eht htniN ynohpmyS 786
Sources 197
Index 397
Acknowledgements
This volume has taken much longer to appear than I had depoh it .dluow After
three years of apathy and inactivity from the two University presses one or
other of which I had naively supposed to be its logical ,emoh I submitted it to
Ashgate, ,erehw ,ylippah it was accepted readily and with the enthusiasm I
think it deserves. Thus ym first thanks must go to Ashgate, for helping to some
extent to restore my sagging faith in publishers, and specifically to Rachel
Lynch, who has been ,citsaisuhtne encouraging and helpful throughout, and to
Sarah Charters, for her close attention to detail and her extraordinary patience
and good .ruomuh
Alexander ,rheoG nellA Forte, Arnold Whittall and Robert Pascali helped
to get the project off the ground in the first place. Alan Mendelson and Ian
Wood provided badly-needed moral support over the nearly evif years it has
taken to come to fruition; at times I might not have persevered without their
encouragement. StJohn's ,egelloC Cambridge, contributed generously towards
the cost of preparing the typescript - yet one more example of the continuing
kindness the College has shown me since my husband's death. Laura Davey's
virtuoso proofreading helped to make the text much more tnetsisnoc than it was
before she set to work on ;ti yna problems that remain are entirely my ,nwo the
result of numerous eleventh-hour reformattings in an attempt to propitiate a
particularly diabolical computer programme. I am profoundly grateful to all
eseht people for their .pleh ,yllaniF ym daughter Sara si responsible for gnipleh
me to maintain my sanity- just- throughout the ordeal of computer typesetting,
an enterprise which presented difficulties that often seemed insurmountable: I
offer her my deepest thanks, for both her much-needed sympathy and her many
excellent practical suggestions.
I am extremely grateful to all the publishers who have given peemrmission
to reprint the works in this .emulov The generosity of their responses has been
unanimous, and my gratitude is far from pro forma: my heartfelt thanks to
Cambridge University Press, Decca Music Group, Deutsche Grammophon,
Faber, German Life and Letters, John ,redlaC Macmillan, Music Analysis
(Blackwells), Music & Letters (Oxford University Press), MehuTsical ,semiT
Musiktheater: Schweizer Theaterjahrbuch, Nottingham ,ytisrevinU Princeton
University sserP dna .opmeT ,yllaniF I ma personally indebted to Hugh ,dooW
Alexander Goehr and Anthony Pople for allowing me to include excerpts from
their writing ,ni ,ylevitcepser the Introduction, Chapter 11 and Chapter 32.

Editor's Introduction
The line between 'finding' a 'concept' and cooking an analysis si as
narrow sa the challenge in Tippett to existing theory is .ediw 1
Analysis . . . sdeen to maintain its own internal logic, its smia and its
sense of purpose - which may be described sa formalist smia and pur
poses, in the best sense of the .drow This seod not mean that analysts
can afford to ignore everything esle that si gniog on in the .dlrow 2
I first came across Derrick Puffett in eht autumn of 1984, at the King's College
London Music Analysis Conference, erehw eh koot part in a round table on the
subject of teaching music analysis in British universities. 3
My paper has eht title 'On the Teaching of Musical Analysis', a title
which smees to assume that analysis nac be taught. ,deednI my first
reaction to the general title of siht Colloquium ['Can Analysis be
Taught?'] is to :ksa 'If it can't be taught, what are ew lla doing here?
... analytical judgements, however rigorously they may be ,deugra are
likely to come out wrong if they are not supported by ediw .egdelwonk
Every analyst must be a historian sa llew ....
]tub[ ... history without analysis si hollow ... if ew are to evah sisylana
courses, ew must be clear that it is analysis ew are teaching and not
music history in .esiugsid
Analytical techniques can be ,thguat but usually through the medium of
harmony and counterpoint: eno can say quite a lot about ,reknehcS htiw
out even mentioning sih name, while correcting a piece of pastiche
1 ehT" Fugue morf Tippett's Second String Quartet', Music Analysis 5/2-3 (1986),
.pp 233-64; see pp. 102-37 woleb (quotation morf .p .)331
2 'Editorial: In Praise of Fonnalism', Music Analysis 1/31 (1994), .pp 3-5; see pp. 3-6
woleb (quotation morf pp. 5-6).
3 Proceedings of eht conference were published in Music Analysis 4/1-2 (1985); DP's
remarks era no pp. 186-90.