tem�oa quarterly review of modern musicissn 0040-2982

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vol. 66 no. 260 april 2012

plural styles, personal style:the music of thomas adèsDominic Wells

kaleidoscopes and a labyrinth – the musical vision of justin connolly Anthony Gilbert

baroque minimalism in john adams’sviolin concertoKheng Keow Koay

the evolution of form in the music of roger reynolds (part ii)Michael Boyd

first performances:huddersfield 2011

book reviews:ligeti, huber, steinitz

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editor Calum MacDonaldEmail: macval@compuserve.com

advertising managerArthur Boyars4 Hollywood Mews, London, SW10 9HU, UKTel: 0207 352 6400 Fax: 0208 789 8122

subscription enquiriesTel: 01223 326070

advisory boardMichael Cherlin University of Minnesota, USAJonathan CrossUniversity of Oxford, UKBob Gilmore Brunel University, UK Peter Hill University of Sheffield, UKElke Hockings Mölndal, SwedenStephen Johnson Herefordshire, UKNicholas Jones University of Cardiff, UK Lyudmila KovnatskayaRussian Institute for Fine Arts Studies (St Petersburg)Robin MaconieDannevirke, New ZealandDavid Matthews London, UKOlivia Mattis Huntington, New York, USAGerard McBurneyChicago Symphony Orchestra, USADavid Metzer University of British Columbia, CanadaTim Rutherford-Johnson London, UK Howard SkemptonLeamington Spa, UKChris WaltonStellenbosch University, South AfricaArnold WhittallKing’s College London, UKRachel Beckles WillsonUniversity of London, UK

SubscriptionsTempo (ISSN 0040-2982) is published four times a year in January, April, July and October. Four parts form a volume. The subscription price for volume 66 (Nos. 259–262), which includes delivery by air where approp-riate (but excluding VAT) is £87 (US $145 in USA, Canada and Mexico) for institutions (print and electronic); £74 (US $126) for institutions (electronic only); £23 (US $37) for individuals ordering direct from the publishers and certifying that the journal is for their personal use (print only). EU sub-scribers (outside the UK) who are not registered for VAT should add VAT at their country’s rate. VAT registered members should provide their VAT registration number. Japanese prices for institutions (including ASP deliv-ery) are available from Kinokuniya Company Ltd, P.O. Box 55, Chitose, Tokyo 156, Japan.

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CopyingThis journal is registered with the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, USA. Organizations in the USA who are also registered with the C.C.C. may therefore copy material (beyond the limits permitted by sections 107 and 108 of U.S. Copyright law) subject to payment to the C.C.C of the per copy fee of $12. This consent does not extend to multiple copying for promotional or com-mercial purposes. Code 0040-2982/2012 $12. ISI Tear Sheet Service, 3501 Market Street, Philadelphia, PA 19104, USA, is authorized to supply single copies of separate articles for private use only. Organizations authorized by the Copyright Licensing Agency may also copy, material subject to the usual conditions. For all other use, permission should be sought from Cambridge or from the American Branch of Cambridge University Press.

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tem�o tempo is the premier english-language journal devoted to 20th-century

and contemporary concert music. it began publication in january 1939

as the bimonthly newsletter of boosey & hawkes music publishers in

london, who supported its transformation into a fully-fledged

indepen dent journal and continued to publish it until the end of 2002.

© Cambridge University Press 2012

Instructions for ContributorsArticle suggestions or submissions, correspondence relating to articles and correspondence for publication, should be sent in the first instance by email to the Editor at macval@compuserve.com; articles should prefer-ably be in the form of a MS Word Document. Correspondents unable to email may use the editorial postal address at PO Box 171, Herne Bay, Kent CT6 6WD.

Articles should generally be no more than 5,000 words in length. If their nature calls for it, they may be illustrated by music examples, photographs or facsimiles. Normally we prefer articles to contain no more than six examples and/or tables and one or two photographs and/or facsimiles. These should be provided in electronic format if possible. Submission of an article will be taken to imply it has not previously been published in English, and is not being considered for publication by another journal or as part of a book. Exceptions to this, as also to word-lengths and number and format of illustrations, should be discussed in correspondence with the Editor.

It is not practicable to formulate rules covering the very wide range of material that Tempo publishes, but the following guidelines may be helpful. Articles should be formatted with footnotes (not end-notes), fully justified. Single quotation marks should be used for quotations within main text, double quotation marks for quotations within a quotation. (Longer quotations may be set as smaller type without single quotes; this will be the Editor’s decision.) Contributors from North America may use North American spellings. Dates should follow the model: c. 1999, 1990s, 31 December 1999. Bibliographic citations should follow the pattern:

Douglas Jarman, ‘Weill and Berg: Lulu as Epic Opera’ in Kowalke (ed.), A New Orpheus: Essays on Kurt Weill (New Haven and London: Yale University Press), pp.147ff.

Authors wishing to submit reviews of books, recordings, performances and conference reports may only do so after prior discussion with the Editor. Tempo is pleased to receive suggestions for review topics but will tend to commission reviews in advance.

Authors of articles published in Tempo assign copyright to Cambridge University Press (with certain rights reserved) and will receive a copyright assignment form for this purpose. First proofs of contributions (but not, except in special cases, of Letters to the Editor) will be sent to authors for correction, and should be returned within three days of receipt. Corrections should be confined to typographical errors and matters of fact: larger corrections must be discussed on an individual basis with the Editor.

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editor Calum MacDonaldvolume 66 no. 260 april 2012

2 plural styles, personal style: the music of thomas adès Dominic Wells

15 kaleidoscopes and a labyrinth – the musical vision of justin connolly Anthony Gilbert

23 baroque minimalism in john adams’s violin concerto Kheng Keow Koay

34 the evolution of form in the music of roger reynolds (ii) Michael Boyd

first performances 50 Huddersfield Contemporary Music Festival 2011 Paul Conway 54 New York: Nico Muhly Rodney Lister 57 Manchester University: Julio d’Escrivain Tim Mottershead 59 Aberystwyth: Nicola LeFanu’s ‘Dream Hunter’ Paul Conway 60 Further reports from Manchester, London and Boston

Tim Mottershead, Jill Barlow, Rodney Lister

book reviews 65 György Ligeti Symposium Mike Searby 66 Conversations with Hans Huber Peter Palmer 68 Richard Steinitz’s ‘Explosions in November’ John Fallas 69 Thomas Wilson biography Paul Conway

cd and dvd reviews 71 Mieczyslaw Weinberg roundup & ENO’s ‘The Passenger’

Martin Anderson 76 Kurtág complete string quartet works Arnold Whittall 76 Hosokawa orchestral music Colin Clarke 77 Ben Johnston string quartets Paul Rapoport 78 Further Reviews Bret Johnson, Arnold Whittall, Tim Mottershead,

Paul Conway, Colin Clarke, Peter Palmer, Calum MacDonald

91 news section

96 contributors

tem�oa quarterly review of modern music

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