Abstract

The recycling of pre-existing material in pianist-composer Roger Smalley’s compositional process is an important characteristic of his output. Such a broad assertion, however, encompassing a range of examples exhibiting varying degrees of re-contextualization, perhaps risks diminishing the sophistication of his compositional process. Smalley’s final work for solo piano, Morceau de Concours (2007), is a transcription of material from his Piano Concerto No. 2 (2004). This article explores both the process of this transcription and the compositional process of the piano concerto. Although Smalley’s sketches contain no explicit indication of how Morceau de Concours was constructed, through the examination of primary sources, this article illustrates that the work should be considered a concert-paraphrase, despite the directness of its transcription. Smalley’s continuing preoccupation with process rather than style will be evaluated in relation to his compositional influences and will be placed in context with other late twentieth-century piano music.

摘要

钢琴家兼作曲家罗杰·斯莫利的作曲过程中对现有材料的再利用是他作品的一个重要特征。然而，如此广泛的断言，包括一系列表现出不同程度的重新语境化的例子，可能会降低他的创作过程的复杂性。Smalley 为钢琴独奏创作的最后一部作品Morceau de Concours（2007 年），是对他的《第二钢琴协奏曲》（2004 年）材料的转录。本文探讨了这种转录过程和钢琴协奏曲的作曲过程。尽管 Smalley 的草图没有明确说明Morceau de Concours构建，通过对主要来源的检查，这篇文章说明了该作品应该被视为一个一致的释义，尽管它的转录是直接的。斯莫利对过程而非风格的持续关注将根据他的作曲影响进行评估，并将与其他 20 世纪晚期钢琴音乐放在一起。