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M John McCabe (1939– ) Great Britain McCabe has synthesized many contemporary in®uences into his extended tonal compositional style, including neoclassicism,Impressionism, serialism, Messiaenic rhythmic structures, clusters, and space-time notation. He uses the “Study” series to explore different aspects of contemporary piano writing. Variations Op.22 1963 (Nov) 10 min. No. 1 in the Virtuoso Series. Unusual theme suggests an Indian Raga, Messiaen in®uence. 18 short variations built in a peculiar, steady, and exciting manner. Exotic music, demands advanced pianism. D. See: Robert L. Reynolds, “Variations for Piano, Op.22—An Analysis,” Piano Journal, 14 (June 1984):10–14. 5 Bagatelles Op.27 1964 (Elkin) 5 min.Capriccio;Aria;Elegia;Toccata;Nocturne. Short, spontaneous examples written to demonstrate certain aspects of serial writing. M-D. 3 Impromptus Op.4 1962 (OUP) 22 min. Short neoclassic terse pieces. Nos.1 and 3 are highly rhythmic. No.2 is a Siciliano lento malinconico. An orchestral imagination will aid the performer. M-D. Fantasy on a Theme of Liszt 1967 (Nov) 10 min. This one-movement form is in a neo-Lisztian idiom but stamped with McCabe’s personal style, which is full of color and energy. Free 12-tone usage. M-D to D. Capriccio 1969 (Nov) 6 min. Study No.1. Custers, harmonics, hammered octaves, printed on three staves. D. Sostenuto 1969 (Nov) 8pp. 8 min. Study No.2. Widely spread sonorities, harmonics , varied ¤gurations, extremes of keyboard used. Impressionistic. Evaporates “a niente.” M-D. Gaudi (Nov 1970) 25pp. 15 min. Study No.3. A tribute to the Spanish architect Antonio Gaudi. Sounds of bells and gongs; complex; highly contrasted sections ; strong Messiaen in®uence; repeated cluster chords,irregular rhythms;®amboyant writing. D. Aubade (Nov 1970) 8pp. 7 min. Study No.4. Slow, extended use of arpeggio ¤gures and appoggiaturas; formally fairly free; concentrated thematic material ; intended to conjure up the moment of stillness before dawn. Brief fragments of melodies are heard, but as if in recollection. Impressionistic. Requires an elegant legato. D. Couples (Nov 1976) 2pp. Theme music from the Thames Television Series. Broad sweeping melody; seventh chords and octaves. Int. 507 Intermezzi 1968 (Nov) 16pp. 9 min. Five contrasted movements are linked by the opening fanfare-like passage, which appears again during the course of the piece and from which many of the themes derive. Each section presents problems of musicianship (e.g., phrasing and pedaling); all require careful rhythmic control. Eclectic, idiomatic style. M-D. Paraphrase on “Mary Queen of Scots” 1979 (Nov) 17pp. 9 min. Study No.5. “This Study is, in its own way, a descendant of the type of operatic Paraphrase common in the nineteenth century and especially perfected by Liszt. In this case, however, the theatrical source is a ballet, the full-length work Mary, Queen of Scots for which I wrote the music in 1974–75. A further difference is provided by the actual form of this Paraphrase, which is that of a Prelude and Fugue. Although the themes of these two sections are to some extent related, they are derived from passages in the ballet which refer to two aspects of the life of Mary Stuart. The Prelude, which is partly a straightforward transcription, is taken from an Interlude depicting her in her domestic circle; in the ballet, this precedes a scene including a Pas de Deux for Mary and Darnley. The material of the Fugue is taken from a double Pas de Trois which represents the more public aspect, in this case the ‘political’ battle of wills and clash of interests between Mary and Queen Elizabeth I” (from the score). Flexible melodies, large arpeggiated chords, multi-layered textures, fast alternating octaves between hands, dynamic extremes. D. Afternoons and Afterwards (Nov 1982) 17pp. 11 min. Seven pieces designed “for musicians of limited technical ability.” Original ideas. Requires many subtle changes in hand position. Int. Haydn Variations (Nov 1988) 53pp. 26 min. 17 variations (unnumbered) that begin with a brilliant octave cadenza, use varied techniques and ¤gurations, end Andante ppp. The theme is eventually identi¤ed on p. 32. Dissonant, yet highly pianistic with lyric lines from time to time. Virtuosic. D. Paul McCartney (1942– ) Great Britain Best known as a pop singer and songwriter, McCartney has composed a few “serious ” music works. A Leaf (Faber). 7 movements, re®ective in character, some bravura passages. The¤fth movement contains a complex climax; an alternative version is included for pianists not up to the original. M-D to D. Bruce MacCombie (1943...
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