i BY MALCOLM BARRY = AND ROGER PARKER nT | CAASCORE READING Twentieth-Century Music woHwooeneneweeeoed by Malcolm Barry and Roger Parker with Celia Duffy a a a a 2 a Music Department OXFORD UNIVERSITY PRESS Walton Street, Oxford OX2 6DP 200 Madison Avenue, New York NY 10016Osford University Press, Walon Street, Oxford OX2 6DP Oxford New York Athens Auckland Bangkok Bombay Galeuta Cape Toun Dar es Salaam Dethi Florence Hong Kong Istanbul Karacki ‘Kuala Lumpur Madras Madrid Melbourne ‘Mexico City Nairobi Paris Singapore Taipei Tokyo Toronto and associated companies in Berlin Ibadan Onford isa ade mark of Oxford University Press Published in the United States by Oxford University Press, exo York © Malcolm Barry and Roger Parker 1987 Reprinted 1990, 1995 Allright reserved. No part ofthis publication may be reproduced, stored ‘stem, or transmitted in any form or by ay means, electronic recording or otheraise, without the prior permission of Oxford University Press Printed in Hong Kong hanical, photocopying, Preface (Our intention has been to produce representative examples of the particular dilficultes presented by twentieth-century scores, and to stimulate considera. tion of the relationship, for the listener, between what is seen (the score) and what is heard (the music). These points will be discussed more fully in the Introduction, but we should add here a note on our criteria for selection of extracts. Our emphasis has been on major composers ~ which gives the book a ‘wider appeal, and increases its possible uses - but the nature of our topic ‘meant inevitably that the bias was almost exclusively towards highly innovative figures. While this wll probably prove acceptable to most people for the period. before 1945 - Mahler, Debussy, Schoenberg, Ives, Stravinsky, Bartok, Varése, Webern, and Messiaen - the situation after that time is much more compli cated. Against Cage, Boulez, Stockhausen, Penderecki, Riley, and Cardew one might well place Britten, Tippett, Shostakovich, Henze, and Dallapiccola, Claiming that the second group presents a firmer, more convincing tradition for the music of the future, But our primary aim was to identify what was new from a notational point of view, and the second group, whatever its merits, has for the most part been content to leave this area unchanged. So this is not a history of twentieth-century music; nor isita glossary of new devices and signs (though composers’ tables of symbols are included where necessary) ‘We have also tried as far as possible to avoid the impression that the progress of twentieth-century music is some kind of steeplechase in which the hurdles become higher as time goes on. For example, we have grouped the scores chronologically by composer (except in the Appendix), and, as ithappens, one of the most complex turns out to be one of the earliest (Schoenberg's Op. 16 No. 5). For similar reasons, we have not always chosen the most difficult or problematic pieces to illustrate particular genres: Webern, for example, is re- presented by his String Quartet Op. 28 rather than by a late orchestral work; Boulez by Le Martemu sans maitre rather than by Pli We have provided translations of unustal and unfamiliar instruments and terms; Italian terms which are in common use are not translated, but their French and German equivalents are. Anything not included can be found in a good dictionary of music, which should be referred to as appropriate where ‘more detail is requited Finally we would emphasize that the commentaries are designed to be of assistance after the initial impression, which must be derived from hearing the extract and, indeed, the complete work. several people who have been of great help to us in the writing and prepara tion of this book deserve mention here. Philippa Whitbread of Oxford Univer: sity Press initiated the project, and has been helpful and encouraging at every Stage. Carol Newing, also of OUP, undertook a fair amount of rather tedious negotiation, and reacted with good humour to several last-minute changes, Although formal acknowledgement of copyright holders is made elsewhere, we must also thank the various publishers and individuals for permission to ab & nnemmereproduce the extracts, in particu revised performing instructions for great care and patience in typing the manuscript Goldsmiths College 1982 ferry Riley fo! C. Jean Russel supplying and Joan Berr with his showed Contents 10. IL 12. B. 14 1s. 16. 18, Introduction G, Mahler: Symphony No. 4 in G major, First Movement . Debussy: Prifude & Vapres-midi d'un fa C. Debussy: Jeux (extract A. Schoenberg: Five Orchestral Pieces, Op. 16 No. 5 (complete . Ives: Symphony No. 4, Second Movement (extract) B. Bart6k: Sonata for Two Pianos and Percussion, Second Movement (extrac I. Stravinsky: The Rite of Spring (2 extracts I. Stravinsky: Symphony of Psalms, Second Movement E. Vartse: Jonisation (extract A. Webern: String Quartet, Op. 28, First Movement (complete ©. Messiaen: Oiseau exotigues (extract J. Cage: Music for Marcel Duchamp (extract P. Boulez: Le M K. Stockhausen: Ko K. Penderecki: Thronody: tothe Vict T. Riley: Jn C (complete take (extrac, ims of Hiroshima (extrac Appendix C. Candew: Ti K. Stockhausen: Aus den , Unbegrenzt’ (completeIntroduction Hindemith, then in coneiderable Vogue, barely talked of today; Stockhausen the enfant terme ofthe 1950s and ds, has retreated into mystica, Be has (erally) disappeared underground: In such an almosphere, it seem quite opt that Stzwvinsk - the émigré, the Russian the Frenchman, the American All this has had fis elect on the sway music is verten down, and has wthich may be identified as presenting particular dificalies tothe musian usally aided by the fac that it moves in regular shyt, aa Seted tempo tonality were challenged tthe beginning ofthe century, 0 too was the regula fhythmic pracce of the previous two centuries: Rhythm became an ara of We would stress atthe outst that rhythm is notin itself an element of music its comprised of durations (.e, note values) grouped by mele and organized by tempo. A change in any of these elements means a change inthe rythm langage. In some cases all of these elements were altered simultaneously (ea in some of Eliott Carter's musi); in others (there are many examples Many ofthe composers represented inthis book had a different approach to stythin but, significantly, most if not al were influenced by Stravirery. Even Berk, whose Alero bartare of El predates The Rie of rng was tet acknowledge his indebtedness (especialy in the Second and Third Plano Concertos) though inially i was his research into Easter European folk Isic which stimlated his interest in regular metrical groupings Many rhythmic devices taceable to The Rte have been farther exploited ty more recent composers: ‘additive rhythms” (which are based on & small (etc.) first harp tune A sharp to B flat, C sharp to D flat, E natural to F flat, Gsharp to A flat Alto viola TERMS Tres modéré very moderately dour et expressif softly and expressively sourdine mute Surla touche on the fingerboard Fegerement et express lightly and ex essay tari les 0 fines quickly take off a momnmmeneeewid eee eee ee ee ee ee i ie ada i PRELUDE 4 L’Aprés-Midi dun Faune ca roaming fot — = me ‘FREE Reprinted by permission of Ernst Eulberg Lis, London© deptomeat ec exprwait nie Cee eee ee eee ee ee ee | ae ewCee ee ee ee ee ee bee ee oe i ibe 3. C. Debussy: Jeux (extract). se yx ax, writen in 1912, was Debussy’ last major orchestral work. I : CLANDE_vescesr 3 éd asa ballet score forthe famous Russian impresar ho wa also associated with Stravinsky's early ballets "see N cs most teat J20¢ - nsates for the absence of conventional signpost. The ballet was = sin =e estat the amorphous musical definition of the work does not ‘help he ball ove : = === == 3 the net, [ts] what makes the game worth watching a a ee The extracts in three sections differentiated by tempo: two slow sections, a frame a Scherando, in which tiny motifs are thoven between various elements % set iginalty of Debussy’s orchestral thought can be seen in the opening bars ; . . ae a hich combine a solo horn with harp harmonic, or in the Shersando, wh final peed and extreme fragmentation ofthe Scheramdo section may presen és Saas SS he score-reader with some intial difficulties, I is important to locate the = } aeeeeionees precise postion of certain ey instruments, particularly inthe percussion and _ sparsene pussys orchestral texture (he remarked of this piece that fi = pifctope ty INSTRUMENTS a aceite etl cheater Nias Aout réveur softly and dreamy | Fee ees aque, tambourine Bag, de Timb, with etledrum sick i sarle chevalet on the bridge Tein tent J-s2 tegen marque lightly, marc : = = = z TERMS ttn pew en dehors brought out atl ie ay, Mouvs du Prelude atthe speed ofthe eee z Tons dicho firs (horn) with echo- , Préhude om z ing sound s surla touche on the fingerboar . 2 molt second half (of 2nd violins) Sourdines mu z i pup Soil 4 desks 5 ter les sourdines takeoff mutes = idPOT UV OCT Ue eee eee eebaebaawwe DD Seneraandorrenrea a i3 s s = 3 s 3 s a a = a = a = a iid 4. A. Schoenberg: Five Orchestral Pieces, Op. 16 No. 5 (‘Das obligate Rezitati’) ‘Amold Schoenberg (1876-1951) was one of the great musical innovators of the twentioth century” His earliest compositions expanded and extended the Austro-German musical tradition of Brahms, Wagner, and Mahler, in particular exploring ever more extreme areas of chromaticism. The Op. 16 set of Orches- tral Pieces (1909) are among the first ‘atonal’ works (ie. works is which key entres are no longer an important structural force). The atonal music of this Period, whether by Schoenberg or his pupils Berg and Webern, tended to be based on a text, orto be short in duration, or both. The absence of the organi ing power of tonality was keenly felt by these composers and resulted in a paucity of extended orchestral or instrumental compositions Perhaps as a reaction to this, in the early 1920s, Schoenberg devised his ‘method of composing with twelve notes, sometimes known a3 serialism’ or ddodecaphony, in which all twelve notes of the chromatic scale have a fixed and equal place in the compositional framework No. 5 of Schoenberg’ Op. 16 is perhaps the most complex and radical ofthe set. Some of the other pieces make use of conventional musical devices ostinato, pedal points, formal repetition and development — which help to ‘anchor’ the music around pitches, ifnot to give ita firm key sense. But in No. 3 there seems no identifiable form, just a melodic line which continuously unfolds against a highly contrapuntal background, We might tentatively relate this to the ttl, literally “The Obbligato Recitative, which implies a stream of rhythmically and formally free music, altho fully convinced that his title was a good idea, ‘Das obligate Rezitativ” is undoubtedly one of the hardest pieces to follow in igh Schoenberg himself was not this collection. Though the Klangfarbenmeladie (see the Introduction) is not as consistent as in Op. 16 No. 3, entitled ‘Farben’ (Colours), the main melodic ideas move continually from one instrument to another. The problem is com- pounded by the piece’s considerable contrapuntal activity. It is not at all ‘unusual for three or four separate events to sound simultaneously (ollow, for ‘example, the various strands in the opening bars), and there is, atleast as far as standard nineteenth-century practice goes, relatively lttle doubling of instru ments or instrumental groups. The difficulty of identifying ‘ines’ within this ‘music was recognized by Schoenberg, and to assist readers and pe invented the symbol H”_ to signify that aline contained within the brackets is a ‘principal part’ (the German term is Haupistimme). Though not seen in this extract, afurther symbol indicating a secondary part (Nebenstinine) is also used by Schoenberg and his disciples. A glance through the piece, follow ing the progress of the Hauptstinme through this complex texture, is perhaps the best preparation for listening with the score. Attentive listening will suggest a structure based on factors other than pitch, for example the two dynamic climaxes, which form two landmarks for the listener, and Schoenberg's characteristic use of extreme and sudden dynamic contrasts, as at Fig. 6, where there is an abrupt change from ff to pppp in the middle string parts, The piece thus marks a transition from music based on pitch to music based on INSTRUMENT Kleine Flate piccol Posaunen trombones TERMS Bewegte Achtel agitated quavers Ho 1 (hiaupistinme) main voice mit Dampfer with mutes ohne Dampfer without mutes Mittelstimime middle voice zart tender BaBstimme bass voic dann thin voll fal Schrzart und hell very tender and bright GSaite G string gedampft muted Echotonartig ike an echo zusammen togethe Nebenstimme secondary voice Teich, dina light and thin fexture the latter a concept which was to become much ‘more important after 1945, as will be seen in late e 11. m. D. 2nd (player) with mute so schwach wie moglich as delicately as possible Sa he Schr gebunden very smooth wweich melo Dampfer wes take off mutes sehr ruhig steigern; ohne Beschleuni- Gut speeding up Flatterzunge flatter tongued trem. am Steg tremolo on the bridge nicht gebunden not smo zat tender p aber breitim Ton Il, ge FL. nimmt IL. Piccolo Sd ite takes 2nd piccolo dleutlich (Solo) distinct (Sol!) Schalltiehter hoch hold up the bel Stach get divide into three Dampler aufsetzen put on mutes adineke ee ewe oo a a a i i i wt1 20ieee ee eePest al=mRTE Howe oe i 1 ey ha) TBOPmpempneamreanuannan5. C. Ives: Symphony No. 4, Second Movement (extract) The American composer Charles Ives (I871-1954) is one of the most extraordi nary and original of the twentieth century. His father, George F. Ives, was a bandmaster who encouraged his children in a broad range of music activites, often ‘stretching their ears’ by unconventional means: Charles Ives recalled later how his father would have them sing a tune in one key while he accom. panied in another. Though Ives had some professional training he never forgot this early experience, and remained throughout his composing career an tunselfconscious but thoroughgoing innovator The Fourth Symphony (completed in 1916) is one of Ives's most important and representative pieces, In many senses itis a culmination of his work (he Stopped composing in the early 1920s) and, as if to emphasize this, he quotes from no fewer than sixteen of his previous compositions, not to mention Camptoun Races and Yankee Doalle. As with much of Ives's music, it also has an extra-musical element, a general ‘programme’ which the composer later described as ‘the searching questions of What? and Why? which the spirit of ‘man asks of life. This is particularly the sense ofthe Prelude’ Subsequent move: ments provide ‘answers’ to these questions, In the second movement, ‘an exciting, easy and worldly progress through life is contrasted with the trials of ims in their journey through the swamps and the rough country. The occasional slow episodes ~ Pilgrims’ hymns ‘overwhelmed by the former? This programmatic content determines the musical form and provides a useful guide to listening: the movement proceeds by abrupt contrasts of material (providing yet another example of ‘block-form), with the opening ‘material taking over towards the end of the extract, where the cellos and basses with their downward glissandos are joined by a heavily syncopated piano ‘ostinato from Fig. 4, both these elements gradually wearing down the violin melody ~ the Pilgrims’ hymn, The clearest example ofthe abrupt juxtaposition ‘of material mentioned above occurs at the beginning of the extract: the frst page of the score, with its noisy, chaotic music, is followed by the delicate Sonority of upper strings (playing harmonics and quartertones, marked and pp), ‘scarcely audible’ piano, and a flute melody (see Fig, 2 onwards) Examples of Ivess careful attention to sonority and sometimes unconventional directions abound in this extract (see, for example, the use of a very large percussion section, the extreme dynamics (triangle pppp in bar 2), and the various types of string writing (harmonics, glissandos, tc.) As a glance at the first page of the score will reveal, the most formidable problem for performers (and score-readers) isthe rhythm. Two conductors are required, and the meshing of speed and time signatures (see the directions to conductors on the first and final pages ofthe extract) is compounded initially by he extreme complexity of much of the chythm and further by such directions ‘as accel. freely (see piano and bassoon on the frst page), giving the individual instrumentalist a certain amount of freedom, Henry and Sidney Cowell, the composer's early biographers, tell the following story about this movement constantly crowded out and At the sight of the second movement of the Fourth Symphony, every orchestral ‘conductor exclaims a once: ‘Impossible to conduct the piece!” When in early 1927 the ‘Store was shown to Eugene Goossens, he said exactly the same thing, but thereafter he proceeded differently from other peopl, for he wound a towel about his head, drank Ballons of coffe. sat up nights, learned the score, and found away to conduct it saccess The score-reader’s best preparation is to locate the instruments that play loudly on the first page: the bassoon and double basses (at opposite ends of the score) and then the very loud brass and piano section (roughly inthe middle at Fig. 1). With the Largo indication at Fig. 2 the music becomes much easier to follow For a composer as isolated as Ives seems to have been, much of this musicis remarkable in its anticipation of future developments in tsventieth-century ‘music, in particular the American experimental attitude and composers such as Cage 7 Amana am £Sot ohh a tet ee aC Aw dy 4 sce i oh ay VO SRR PRR RRR RRPRBRHRFFHF FFB eeePAF FPR RRR RRR ABBApoewwuTuHuuuuNuonnunnneeeunuvuy@ apm pr aor Aapn peor gm Berge] OOP OPR ORR RAR RHR RRA eaoomaac nee ee ewww ese a a 6. B. Barték: Sonata for Two Pianos and Percussion, Second Movement (extract), Béla Bartok (1881-1945) was one of the most important figures in twentieth: century music. His considerable work in the field of ethnomusicology, in particular his research into Hungarian and Romanian folk music, was an important influence inthe formation of his mature style, especially with regard to thythm and melodic forms, But Bartsk was by no means isolated from the central traditions of Furopean art music, and he was considerably influenced by Debussy and Richard Strauss. He wrote an opera, Bluchoans Castle (191), several ballet scores, various orchestral and choral works, and a substantial body of chamber music. His six string quartets lie at the centre of the modern chamber repertory Bart6k’s Sonata for Two Pianos and Percussion (1937) is a fine example of his, mature style, with driving rhythms and intricate contrapuntal sections. Tt shows a firm, highly original attitude to overall tonal structure in the two outer movements, and a characteristic depiction of nocturnal sounds in the cen Lento, The mixture of percussion and pianos brings into relief the fact that Barték was primarily atracted to the piano for its percussive quality (as were ‘many twentieth-century composers, eg Ives as shown in the previous extrac). From the opening bars of the first movement, where a low timpani roll merges subily into the piano theme, there is constant creative interchange between these two elements, The opening of the second movement is pure rhythmic notation. Itis worth reading it through and then trying to imagine how this ist line will sound. If nothing else, this will prepare one for the notation of the next extract, Varese’: ionisation. The overall form of the movement s ternary: here we have the whole ofthe first A section and a portion of B. In the former, the complex percussion pattern is overlaid by the pianos at their most sustained (note the precise Instructions for the percussion, e.g, for the hitting positions of side drum and cymbal); in the latter (bar 28 onwards) — the ‘nocturnal’ evocation — the per cussive potential of the keyboard instruments is brought into full prominence, Pianistic imitations ofthe gong and xylophone eventually being complemented by the actual sounds of these instruments (although the tam-tam (a large gong) is present from bar 37). At the climax (bar 45) the xylophone takes over the ssemiquaver material which is soon transferred to the timpani (bar 48). From this point there is extreme contrast of registers between the xylophone, now following the new chromatic melody of piano l, and the timpani, which retain the semiquaver figure. The section is a clear example of the interchange pianos and percussion in terms of both thematic material and instrumental timbre, TERMS Side Drum ce. (con corde) with snares Side Drum se. (senza corde) without aif Lento, ma non troppo, dice» ©copyright 1942 by Hawkes & Son (London) Lid Reprinted by permission of Boosey & Hawkes Music Publishers Lid 33monn mm em mom mom oh om nn om Somcalmandosi= Ul ete tte PRA RAMA ARAMA AMM AMATOa = 3 Ss a 3 3 a a 7. 1. Stravinsky: The Rite of Spring (2 extracts) Igor Stravinsky (1882-1971) is one of the major figures (many would say ¢ ‘major figure) of twentieth-century music, lis career may be divided into three Periods: inthe first (up to. 1918) his music shows the powerful influence of his early upbringing and music education in Russia; in the second (c. 1918-1951), a so-called ‘neo-classical’ period, we find a return to the classical ideals of balance and symmetry, as well as o certain formsand gestures associated with music of the eighteenth and nineteenth centuries; in the third he gradually began to evolve an extremely individual approach to Schoenberg's twelve-note method But these changes of style can be overstressed: Stravinsky was plainly too original and too fine a composer to allow whichever form or genre he took up to ‘obscure his essential musical personality The Riteof Spring (113) is one ofthe most famous pieces of twenteth-centuy music. It provoked a riot on its first performance in Paris (though this was ably due more to Nijinsy’s choreography than t the musi) bat ha ince ome a standard orchestral show-pcce Although The Rite is highly inna tive in practically every direction — harmony, melody, orchestral tchnigu, etc. ~ Ibis the work's approach to shythm which has perhaps excted ost ‘comment. Because ofthis piece’s considerable importance, we have chosen two extracts ~ one from the beginning and one from the end. The first extract immediately reveals an original orchestral conception — a texture made up of a trio of wind instruments and a horn, with a solo bassoon placed at the very top of its range — an unusual sonority. The extract abounds In unusual orchestral effects but we might also mention the use of six solo double basses later on at Fig. 10. As one can see, the time signature changes ‘often; we inevitably gain the impression that the barlines are put in primarily for readability and carry little oftheir conventional stress function. The rhyth- mic irregularity and ambiguity is heightened by Stravinsky's melodic writing, with tunes which move obsessively around a small number of notes, often tating melodic progressions in more than one rhythmic content. Another noticeable feature is Stravinsky's frequent use of superimposed layers of different metres ~ at Fig. 7, for example, the allo flute. first oboe, clarinets, and solo cello are playing against the indicated time signature: only the second obve and, 3 bars later, the cor anglais uphold the : pulse. There are ‘many other examples of this ‘polymetrical texture’ in the work: inthis instance it derives from the free counterpoint (or ‘free association) of melodic ideas derived from folk-song types. Stravinsky's ear for precise sonorities — a characteristic shared with Debussy (see extracts 2 and 3 above) — is also evinced in the first extract, e.g. the alto flute at Fig. 6 the division of the doublebasses into six parts at Fig. 0. Again this contributes to a textural effect rather than one based on pitch (¢l. Schoen: berg, extract 4) The second extract isa clear example of Stravinsky's metrical practice. Taken fom the climactic ‘Sacrificial Dance of the Chosen Virgin, it shows the chang ing of time signatures in almost every bar, the use of the whole orchestra as a percussion section (no beautiful tone on the violins here), and Stravinsky's tendency to score in blocks. This is by no means an easy score to follow and we would stress again the importance of careful preparation: a secure knowledge of the relative position. ing ofthe instruments within this large orchestra is essential. As a first step the reader should follow the bassline (in timpani and double basses) and see how the various sections (e.g. Fig. 199 to the bar before Fig, 200) are constructed using it as a foundation. INSTRUMENTS TERMS ing. cor anglais tan peu endehors brought out a litle Gi. pice in Re sopranino clarinet in. sul ponticello on the bridge Descender le Ti’ un demiton plus bas tune the A (string) a semitone lowerThe Rite of Spring hes ieee First Part ADORATION OF THE EARTH @copyright 1921 vy Russscnar Musivering ‘Copyright assigned 1947 to Boosey & Haves, Ine forall countries Feprinted by permission of Boosey & Hawkes Music Publishes Lid, London & & & & E E E 1 & E & E E £ £ £ E E e e & £ & & &hom poate Tecpep e % P rt sed Y947 Bo ay Hoos refx sournas Sen eee he Re eml¢ viet Ee, iets8. I, Stravinsky: Symphony of Psalms, Second Movement (extra). The Symphony of Psalms (1930) comes during what is usually termed Stravinsky's ‘neo-classical’ period (see introduction to extract No. 7). The ‘lassicismy of this movement may immediately be seen in its fugal form and the restraint and larity ofits instrumental textures; but similarities with The Rite are pethaps just as obvious, Again we have a highly original orchestral conception (the festriction to treble instruments of the opening section and the absence of Violins and violas throughout); melodic lines which tend to move in a limited range and to repeat progressions; and (though clearly in less extreme form) fre {uent distuptions of regular rhythm. Stravinsky's omission of the ‘expressive Upper strings contributes further to a highly personal and very restrained ‘musical language Stravinsky deseribed the movement as ‘an upside-down pyramid of fugues’ The opening section isthe simplest, with entries (at Figs. 1,3, and 3) occurring at the conventional pitch intervals (an alternation of tonic and dominant); a ‘hort episode (Figs. 4-5) leads tothe second fugue, a vocal one, which is under pinned in the bass by a restatement of the orchestral fugue’s main subject, “There is a clear case of stretto at Fig. 10 (where the entries of the fugue subject pile up’ on one another) and, just before the end of the extract, asolo trombone ves further rhythmic transformation of the initial subject. There are no grave problems in following this score, but the reader should be alert to the considerable number of precise performing instructions Stravinsky gives the executants. In the light of his statement quoted in the Introduction, this will be of no surprise, Note in particular the ‘pause’ marks fr the first four notes of the initial subject, which serve to isolate the melodic line from any Iyrical connotations and emphasize it asa progression of intervals. The detailed phrasing throughout is also of great importance, particularly asin many cases there is a complex counterpoint’ of phrasing which adds to the textural variety 2 E E E E E E EROMP MOP PMA omOw we ww ee rT9. E, Varese: Ionisation (extract) Edgard Varése (1883-1965) wrote a number of compositions in the 1920s and 1980s which, in their use of rhythm and, consequently, percussion instru ments, and their seeming disregard for precise pitch organization, were in ‘many ways as revolutionary as the textural innovations of Debussy or the pitch organization of Schoenberg. None the less, he was not a complete ‘original’ {influences may be discerned as diverse as the French pre-Classical tradition on the one hand (stretching back to the organum of Pérotin and the Notre Dame School), and on the other his contemporaries Debussy, Schoenberg, and Stravinsky, He was, however, suspicious both of system and of immediate tradition, He never espoused twelve-note technique and his music is almost impenetrable to any but the most sophisticated analytical methods, There can be no denying its power, however, and Jonisation (1934) isan excel lent introduction. Scored for percussion orchestra, including piano, the work depends on rhythm and texture for is effect. (Its significant that the piano the only traditional melodic/harmonic instrument in the ensemble — is used only sparingly.) The instruments used might not be considered untistal nowa days (although the sirens may stil raise a laugh in some performances), but in 1934 the concept of an orchestra comprising only percussion was highly ‘unusual. The distribution of the instruments used is shown at the end of this, section, The work opens quietly with predominantly sustained sounds (from the gong and tam-tams, sirens, cymbals, ec.) rather as ifthe piece isto grow from ‘lemental beginnings. In this it may be compared to the opening of La Mer and by Debussy. The counterpart to a ‘theme’ begins in the bar before Fig. 1 ‘where the side drum (tambour militaire) asserts its presence with a martial figure (accompanied by bongos) which is to be prominent in the opening sections of the work. Whether itis permissible to speak of the rhythmic figure at Fig La a ‘theme substitute’ is debatable: perhaps itis better simply to regard the side ddrumas the ‘first violin of the ensemble and, at least initially, to concentrate on that line. Listening to the whole work will show that pitched elements (the piano, for example) are merely inserted as additional sonorities: the real point Of this piece remains chythmic and timbral throughout. ‘The rhythmic complexity is largely a matter of durations and groupings rather than of tempo (Which is constant throughout) or metre: the two changes of time signature may be heard as built-in rubato at the ends of phrases, 46 (res grave) bass Gong gong, 2 Tametam clair high tam-tam ‘Tam-tam grave low tam-tam 2 Bongos (clairigrave) high and lowe Bongos 3.4 Caisse Rowlante tenor drum 2 Grosses Caisses (moyenne grave) Gest EY ae tear cr ilitaire military dram Tambour Caisse rout Sirene claire high siren Tambour 3 corde snare dram Sirene grave lone siren Fouet: Whip (also played by 13) Gliro scraper t { | $3 Blocs Chinois (clair moyenigrave) high, medium, and lowe chinese blocks Claves claves ‘Triangle triangle 8 (Caisse claire (détimbrée) high ‘cram (vithout snare) 2 Maracas (laie/grave) high and Tarole tarole (small snare drum) 9 {er claire high drum Gymbate suspendue suspended ‘ymbal 10 { Grelos smal ound bells Gjmbates cymbals 11 { Gatto scraper (Soccenettss castanets 12 Tambour de Basque Enclumes anvil 13 Plano piano TERMS Baguettes Timbales (en peau) Kettle ‘drum sticks (on the skin} Baguettes Timbales en fetre felt ketle ‘drum sticke Baguettes Timbales en bois wooden iettledrum sticks Baguettes Tambour drumsticks (pouce) thumb ) ia MMMM MMM MMM ™ m E = = =gard Varise con. 8 © cotrane Mae Pataing Coe jo xa s a 3s a a a i i 10. A. Webern: String Quartet, Op. 28, First Movement Anton Webern (1883-1945) is without doubt the composer who has most fluenced avant-garde music since 1945, Composers such as Boulez and hausen identify him, rather than Schoenberg, as their fundamental point of departure; Stravinsky, when he began to take up twelve-note composition in he 1950s, set the seal on Webern's reputation when he described him as ‘a perpetual Pentecost forall who believe in music The String Quartet, Op. 28 (1938), comes from Webern's most influential period, when he was producing the series of twelve-note instrumental works which formed the basts of his reputation among composers immediately after World War Il, The note-row upon which the piece is based. = =F is both symmetrical (notes 9-12 are a transposition of notes 1-8; notes 5-8 an inverted transposition) and clearly evident in the opening of the work, albeit with octave displacement. Webern's musical language typically tends towards extreme economy and towards reduction of the possibilities available within twelve-note writing, as is seen here, Equally revealing is the fact thatthe letter names ofthe initial {our notes spell out B-A-C-H when transposed u third (in German, B~Br; H-=Bt); this gesture to the past reminds us that regarded himself as part of a firm tradition — a logical continuation of the Austro-German music of the previous 200 years While itis b structure of this highly complex movement, we might point out that most new Sections are preceded by ritardandos (bars H-15; 32; 47-8; 63-5; 77-8), and are often further emphasized by a change in tempo. Note the proliferation of ‘expressive markings (virtually every note carries instructions for dynamics and ‘method of attack) and the intensification of Ki elie techniques even ‘compared with extract No, 4 Other features of the movement typical of Webern nclude the use of wide intervals, particularly the major seventh and minor ninth which had been characteristic of the expressionistic atonal works of his teacher Schoenberg, and the use of silence. The latter, in particular, serves to isolate and intensify individual sounds. Both these features can be seen clearly in the fist bars of the extr [As in Schoenberg's work, the eye and ear must learn to follow what is essen- tially a contrapuntal texture. As a start, the reader might follow through the various permutations of the basic B-A-C-H cell, The last vestiges of the homophonic melody and accompaniment still present in Mahler hy completely disappeared in favour of counterpoint. In this respect it is highly appropriate that Bach, the contrapuntal composer par excellence, stands behind the work, Webern wwond the scope of this short introduction to discuss in detail the INSTRUMENTS Geige violin Bratsehe viol TERMS Massig, moderate drangend pressing on fliessender more Howin wieder massig moderate agai Dimpfer auf mute on mit Dampfer with mute ‘ohne Dampfer without mut Wieder sehr missig. again very mod. ‘am Steg on the bri Dimpfer ab mute off wieder nur massig. again only moderate wieder fiessender u. noch drangend bis again more flowing and still presT 2a STREICHQUARTETT (ee Se ph 100 ty Hat Reprinted by parmssion of Universal Elton (London) Lisee | i fringes oy3 2 3s a s a a s a a s = = a a a = Sefer | terme = = te % oSe ee ee ee ee)Geneon ee eee eee eee “auweew 11. ©. Messiaen: Oiseaux exotiques. Olivier Messiaen (born 1908) has been a very influential figure in music since 1945, He has taught most of the leading figures of the avantgarde (Boulez and Stockhausen are two of the most prominent) and his book Technique de mon langage musica” explains, in clear if didactic terms, the basis of his style His compositions have been dominated by a number of factors. First must stand his Roman Catholic faith which, as he writes in his books, prefaces to ‘works, and programme notes, underpins everything he does, Then there is hi interest in shythm and the extension of European practice by the use of devic such as additive rhythms and ‘rhythmic modes, often derived from Indian (Hindu) classical music. (A rhythmic mode isa pattern or grouping that recurs, either unchanging or developed additively, and unifies a composition.) Related to both these preoccupations is an interest in bird-song. A keen amateur ornithologist, Messiaen often transcribes the sounds he has heard into his music, and in.a whole series of works from Le Merle noir (1951) for flute and piano to the orchestral Des Canyons aux étoiles (1974), transcribed bird-song, is either the major part of the material or atleast forms a principal constituent Oisenexexotiques (1956) is an interesting combination of these concerns. The preface includes some ornithological notes (the hermit thrush, chest spotted with black, russet ral), the names of the Hindu and Greek rhythms he has used, and ‘a complete catalogue of the birds that sing in the score’ ~ all forty seven of them, The bird-song is organized into the rhythmic patterns in an empirical way but there is no doubt that it forms an essential part of the music — this is a composition, not an aviary. Whether it is an essential part of the score i ‘another matter. Though Messiaen carefully indicates the various bird-songs, the best way to approach the piece is, as with any other conventionally notated Work, to forget extra-musical associations and concentrate on the score as resented, The work is scored for solo piano and a small orchestra of wind and percus sion (Messiaen has probably omitted the strings for much the same reason as Stravinsky did in the Symphony of Psalms, feeling that their inherent expressive ress would obscure his intentions). The piano partis virtuosic in the extreme, with precise directions for all aspects of performance, especially phrasing (or method of attack) The orchestral parts, also precisely notated, remain in { throughout, primar ily for purposes of co-ordination, The piano part, however, with no time signa: ture in solo passages, follows the individual metrical implications of its ph ‘much more closely, with irregular bar-lengths, There is thus a distinction between the metrically free solo part and the ensemble, whose freedom is, subordinate to the demands of co-ordination. Some aspects of Messiaen’s rhythmic technique are clear: on the 5th page 4th system’ (Le. grouping of musical staves), several elements make up the call of the ‘Grive des bois, Amérique. The leftchand A¥Ds dyad’ (chord of two notes) alternates between three and two occurrences, The six note chord at the tend of the second bar recurs a the end of the next and the next-but-one but the number of occurrences of this increases from three to six to eight. In this way Messiaen keeps some aspects (ie. pitch material) of his music static while expanding the rhythm, This example demonstrates in miniature one of his techniques of rhythmic development: another (on the 2nd page) isthe alternation of static and mobile ‘music: bar 4 (which repeats bar I) is mobile ~ the glsandos giving an impres- sion of movement ~ whereas bars 5 and 6 present repetitions of a chord (with durations of 3 3, 3, and 2 semiquavers) which inevitably give the impression of ‘no movement’ Even more than Mahler, and just as much as Cage, Messiaen constructs in blocks’ There is no organic development in the traditional instead he has developed Debussy’s techniques (cf. jeux), presenting them in a stark uncompromising manner. INSTRUMENTS Pete Flate piccolo Petite Clarinette (Mis) F> clarinet Caisse Claire snare deur ee TERMS* Tees modére very moderately tn peu Tubato, laissez longuement ther aliterubat leave oresonate latent, ensoleill vivly it Grive de Wilson Veery 3 Serdin de Malaiste: Malayan Leafbind TTouplale de Baltimore Baltimore Oriole Grive de. Californie Californian Thrasher net, timbre en bois, proche du temple- ‘block lear wooden tone, close to That ofthe temple block Grive des bois, ’Amérique American Presque lent almost slowly Mainate hindow Common Mynah sans timbre without snares sec, dur dry, hard Sans péd, without pedal vociferation implacable implacable cry ‘of rage Garrulaxe de Himalaya Himalayan Thrush imad,img, dessus right/Tet hand on top timbre en bois wooden tone delg. rightlet tres see very dey hesitant hesitating resser hurry on we vif quite lively hist neylphon Tet tetelonests ae fothrix de Chine Red billed Mesia Sy tua " Trantltionsoftrdnamesare taken fom, Shela Johnson, Mawiany (London, Dent, 175)Oiseaux exotiques pour Pane sole pti eebesto OLIVIER MESSIAEN amr ne aaeee eeeeoweaeenweneeeieoee 4 rir12. J. Cage: Music for Marc Duchamp (extract) He's not a composer, he's an inventor ~ of genius! Schoenberg said of John Cage. Schoenberg, the staunch upholder of European tradition, taught Cage wm 1912) from’ 1934 an arious publications on or by Cage give some insight into this something of Cage's preoccupations and influences has been mentioned in the Introduction; here we see them in ‘operation, At first sight, the score of Music for Marcel Du as piano music, It is written in the alto clef (why? and especially, why for piano?) with the direction ‘both pedals throughout, which gives a shimmerit haze of sound broken only by the long rests Cage notates. Cage is thus ‘typical of the composers represented in these extracts in his use of texture and silence ‘There is not a great deal of two-part writing: indeed the extract might remind eader of the spare textures of the piano music of Satie, one of the few lier composers admired by Cage Given all these features, the look of the score — the sparse texture and the repetitions — is not so far from traditional notation, The sound, though, is ‘made utterly different by the page of instructions which qualifies the conven, tional notation: Cage gives the performer precise details on how to ‘prepare the piano by inserting various materials between the strings. This changes the sound, of course, but it does more than that. The relation ship between the score-reader and the performance is altered: hitherto the instruction to the performer would also be an accurate anticipation for the ; now the score retains instruction and even explanation (see Cage's note bt a listener can np (1947) is unconventional fon the structure at the top of the page of instruct scarcely be prepared for the modification of expectation until a greater familiar ity with the work and its sounds is achieved. ‘music — spare, stark in its juxtaposi from the 3rd tothe dth page) and novel a notation in which verbal features are So here is a comparatively new kind 0 tion of unrelated events (eg. the chan; sound characteristics, and articulated an essential complement to conventional note forms. The structure, consisting OF T sections of 11 bars each, is also novel, even within the terms of twentieth: century music, Within these sections musical events occur in phrases (bar Tengths) according to Cage's note, so that the first Il bars contain phrases of barlengths as follows: 2; 1 (repeated); 3; 1; 2 (silent bars) 1 ‘Compare: Sonatas ad Interludes for prepared piano (London, Peters, composed 1946-8). See also J. Cage, Notations (New York, 1969) + Eopcily on Cae eR, Kostelanetz (New York, London, Allen Lane, 1971 TRE REVTHIMIG STRUCTURE 1S Ue Ul (OKTEDED) © 2.401.312 1 ‘THE MUSIC WAS WRITTEN FOR THE DUCHAMP SEQUEKE O THE FILM, ‘DREAMS THAT MONEY CAN BUY” (HANS RICHTER). OMJECTS ABE PLACED BETHEENS THE STRINGS OF AN ORDINARY GRAND 2ANO, TRA FORMING THE SOUNDS WIM RESPECT TO ALL THER CHARACTERISTICS. TABLE oF PREPARATIONS 2 d g : = 5 sis a oot net tae 1 Hi EE _ BME WEATHER STRIPING AND RUBBER, OVER Zuo STAINS AND UNDER STINGS LAD 3. ; noo 0 od fa AMAA MMe mnmmmmm = E E Ee Eai a a a a # ao a a a e eprn 126 Henn Pan: Now York® Nema SSeS Ss eae 7 | | a | Tt 3 # | 4@ | et ul if 4 L iH I : tt iee ee ee ee ee = 1B. P. Boulez: Le Marteau sans maitre, commentaire I de ‘bourreaux de solitude’ Pierre Boulez (born 1925) was one of the leaders of the generation of avant garde composers who came to prominence after 1945, Taking We than Schoenberg as their point of departure, these composers (Stockhausen was another) developed ‘total serialism’ in which Schoenberg's twelve-note method was extended, by analogy, to duration, dynamics, and often other secondary areas Le Marea (1955) is a cantata to words by the French surrealist poet René Char who used words for their quality of sound rather than their mean- ing in his poems. In nine movements, it sets three of his poems and surrounds them with instrumental music. The work is scored for contralto voice, alto flute, xylorimba (a xylophone with extended compass in the bass register accommodate the low notes of the marimba), vibraphone, guitar, viola, and unpitched percussion The settings and associated instrumental movements are characterized by Particular instrumental forces: ‘bourreaux de solitude’ and its ‘commentaries are marked by the use of xylorimba and percussion. This movement is the clearest in formal structure of the nine: our extract forms the ‘N section of a temary form, recurring in telescoped form at the close of the movement. The ‘section is completely different, with the use of hard sticks on the xylorimba double-stopped viola playing pizzicato, and bongos produ and irregular feeli The rigorous control exercised by Boulez over his performers may clearly be seen, although it is open to question whether the labelling of every single sound event with a dynamic marking does not veer towards affectation. The Soft sticks of the aylorimba complement the legato of the alto flute (written fourth lower than itch), which Boulez stresses should be atthe limit of the capabilities ofthe player and the instrument Some of Boulez’s notational innovations are also presented. here, For ex ample, the individual note values (eg. in the alto lute part of bar 1) ae retained to emphasize the individual nature of the notes event when they are beamed together (to indicate phrasing). This leads to obvious difficulties in perfor mance ~ the complexities of the rhythmic language with its changes of metre are formidable ~ but Boulez aids the players to a certain extent by his sub divisions of the bar The texture is held together by the side drum (tambour, played at the rim), with its apparent regular pulsation; the alto flute seems to take the part of a Voice exposing lines ofa verse with short instrumental breaks in between The language of this extract is dificult: despite Bouler’s directions for legato, fragmentation is still the basic feature of his music Score-readers approaching this style for the first time should perhaps concentrate on the fute and side drum lines, later considering the relationship between the xylorimba and the viola alt). The texture will then have the flute as soloist, with accompaniment from xylorimba and guitar and with a steady background from the side drum, ng a fragmented in complete contrast to the measured pulse of the ‘A We still have a tradit INSTRUMENTS Flite en sol alto fate Xylorimba, baguettes douces xylorimbs Softtheaded sticks ‘Tambour sur cadre drum (on a stand) Alto avec sourdine viola with mut alto pose tarchet pour jouer cette piéce the viola should put down the bow for th TERMS Lent. Les nuances seront exicutées‘ponc tellement” Slow. The nuances should ional piece, traditionally notated — even if that tradition is now stretched into complexities which are daunting he inexperienced. be meticulously executed ‘Tempo rigoureusement exact jusqu’a Tindication ‘contraire Tempo. rigor ously exact unt theres an ination to the contrary donner aux valeurs tout leur conti 2a limite du legato heir flllength, tothe lito the leet “Toutes les sonortés res équilibrées entre clles ll sonorties very even baguettes de'caisse Claire tr Iegéres fry light snare drum sticks= R ee * > {© Cooyright 1958 by Universal Eaton (London) Lid se: eeew (© Fra! Version Copyright 1987 by Universal Eaton (London) id Repcintod by permesion of Universal Eaton (London Lia 6 Sede a adc ear ene an ar sel= a a a = a s 7 = 3 a s s z s sweeaeeeanweaed ae ae aeae wae 3 s = as = 44, K. Stockhausen: Kontakte (extract) What interests me most in ‘electronic music’ so far is the notation, the ‘score’ ravinsky, 1958.) In many ways Stockhausen (born 1928) has been the most sucessful composer of pure’ electronic music (ie, works in which a pre-recorded tape constitutes the entire piece). His Gesang der [inglinge (1955) was the fist work ofthis type to ‘make a wide impression, and he followed it with several other similar pieces. ‘Simultaneously, however, his increasing interest in the act of performance led him to make versions of his ‘pure’ electronic works in which instrumen: ists performed ‘ive, Kontakte (1958-60) isthe earliest example of ths. The composition is based on the idea of ‘contacts’ between electronic and instrumental sounds, and on ‘contacts’ within the tape part itself. It is organized in what Stockhausen has called ‘momentform, and this extract presents the frst ‘moment. Stockhausen defines moment-form in this work as, being either ‘a state or a process, individual and self-regulated and able to sustain an independent existence. In other words, this extract (2 minutes, 10 seconds, as may be seen from the figures at the top of the score) is, at least in theory, able to stand on its own as a self-contained piece. Within it are six distinct events, labelled IA - IF; each is characterized by various different features from the dense electronic sound and activity in IB to the staccato noises of ID, The tape part, which in live performance has to be balanced by a ‘sound projectionist; is notated a the top of the score and is represented graphically the composer's ‘pictures’ of his sounds. In the full score 63 pages of explanation of the sounds and treatments precede the music." They are a record of procedures, however, rather than Instructions to the performer or aids tothe listener, and should not be counted as part of the score The percussion is notated next. The percussionist has three types of sound at his disposal: metal e.g. gongs), skin e.g, snare-drum), and wood (eg. temple- blocks). At the bottom of the page is the piano part, the nearest fo conventional notation. As in much contemporary music the semibreve-type means that the sound lasts for as long as the instruments can sustain it while quaver-like figures with a dash through them (eg. at 243” in the second ‘block’ of section IB) are to be played as fast as possible Dynamics and pedalling are notated conventionally (even the dynamics in e tape part) while the abandoning of ‘bars’ and time signatures is, of course nevitable where the timing of all events is conditioned by a pre-determined tape. Of all the scores in the book this is the one that most demands reading while a recording is being played ‘or a further discussion of the issues raised by the notation of electronic music, see H. Cole, 5: is: aspects of musical notation (London, OUP, 1974), TA am Rand entlang 1x im Kreis st ‘chen stroke once around the rim inne Trommelstocke thin drum: stick Rand rim Klavier piano 1B In allen Verschiedenes each plays ‘something different Fab foot Vibraschlege IC Alternierend alternating 1D Inallen das Gleiche each plays the harter Gummi hard rubber dick thick (drumstick) Reproduktion nach der Handschrift des Komponisten a reproduction fof the composer's manuscript TE Rotation I-Il (ete) each player in turn I'll (ete) weich, aber f (Gummi) soft, but fore (rubber) harte vibraschlegel hard vibrastcks IF Flatklang (lit) floodsound hart (Kautschuk) india rubber vibrastick Kermeqestcle Xyloschlegel xylostick auf Maximum des elektr. Klanges the electronic sound as loud a5 possible schnell mit Ellbogen fast, with ‘elbow bleibt xyloschlegel still with the sylostick ddicker Kloppel big dapper SuBerste Vorderkante 8 the ot HL 1x langsam, etwas beschleunigend, im Kreis streichen once slowly speeding up alittle, stroking in 9 cele dinner Metallstab am Rand entlang, ‘Abstand zwischen Hand und Ber fihrungsstelle des Stabes konti nulerlich verkurzen (gliss. " ) ‘vith thin meal rod following round the rim, continuously shorten the distance between the hand and the point the od touches im Kreis rahren hit ina circle 6Nr.12 Kontakte Korlheins Stockhouren fie] 34s" Hor one oy" a Chie y of Universal Eton (London) LidAaa aganand a x aaeaw = @ = la a py Mis 44,3" as 28 Mo" He" 353" Rotation FoF Fisttlang FEeaeannewea aan gaan y wane 3 s _ = 15. K. Penderecki: Threnody: to the Victims of Hiroshima (extract), Krzysztof Penderecki (born 1933) first came to prominence in 1959 when he entered three works, anonymously, in a Polish national competition and won, the frst three prizes. After this he quickly gained an international reputation, with pieces such as Threnody (1961), the St Luke Passion (1965), and the opera The Devils of Ludun (1968). All these works mix stylistic elements, from simple melody and clear cadences to vast blocks of sound (e.g. mass string glissandos). Penderecki’s music was once described as the human face of the avant-garde and his works are notable for their wide and direct appeal AT first sight this score might seem as radical as Stockhausen's Kontakle or even Cardew’s Treatise, But no new relationship between the score and the reader is set up: Penderecki simply extends the range of symbols used in order to prescribe the extended range of string sounds (sometimes of unspecific pitch) Penderecki’s music has been among the most radical in its extension of instrumental possibilities, particularly as regards strings. Perhaps taking his cue from Barték (eg. the ‘night music’ of the slow movement of M: rings, Percussion and Celesta), he has concerned himself more with texture than with pitch organization ~ with instrumental and orchestral colour rather than rhythm or harmony in their traditional senses. He may be compared with Ltoslawski, Xenakis, and Ligeti in this, although each composer uses very different organizational methods. Penderecki's are pethaps the most simple, immediate, and dramatically effective. This music is not intended to be descriptive (ie, programmatic), and the title was added after the piece was composed The conductor's function is one of co-ordination rather than direction, since timings are strictly notated (sce the lowest line of the score). There is litle room, for interpretation in this work, a fact which relates it, in a way, to the music of Stravinsky and Boulez (a comparison that would surprise all three composers) The piece opens with staggered entries of all the strings playing the highest note possible. In the second and subsequent ‘bars’ Penderecki graphically represents different amounts of vibrato, while at Fig. 6he requires the strings to produce a battery of effects (literally). All are described in the initial table. Another graphic representation comes at Fig. 10, where Penderecki notates different types of cluster and glissando, His tse of quattertones to produce an effect akin to ‘noise’ in electronic music may clearly be seen. The notation of this work is thus an extension of conventional practice rather than a radical new development ~ except, perhaps, in the ‘space-time’ barring, where the length of each ‘bar’ is precisely stated (10 seconds, 15 seconds, etc.) rather than being determined by metre as in traditional rhythmic notation {=4 crotchet beats per bar). This development of rhythmic notation is now a ‘commonplace, with composers such as Berio and David Bedford, and com posers of electronic music, making frequent use of it, teste 0° tons oe rity, padi pra. 4 to ot na some oreo) fret ne sod bose aie | iy reed by ose lowered br foe Seer 5) fis pater Ploy on badge SNE Grabs fversu eco (rs) ee wegen, ‘eon ae = Etats ‘Asconzuncen Ono Seago Epthang om Ton pthong wm 34Ton Emiedigona um H6Ton Ich Tan es nn met asbestos Toate ben Sey natn ta Stet C4 Sa Sehlgzegetet mtOfiarom Hiroszimy TREN paca = Be is love ‘Reprodoce yn permioion of Bein Me Musi Limited, 250 Puy Wey, Croydon CRB 40 m oo — se a TPM PPO Peewwe aa a2aan @ a a Ss aw ak love ov16. T. Riley: In C Terry Riley's In C (1964, subsequently revised) was one of the first ‘systematic pieces to capture the attention of the musical public, Taking the idea of adherence 0 a pre-determined scheme of composition from Cage's music Riley’s works proved considerably more accessible (because of the tonal ‘musical material used) and, to a certain extent, less completely determined, Note, for example, in the performing instructions that each performer decides ‘on the number of repetitions of each figure, the looseness of tempo direction (depending on the ensemble’ ability), the layout of the ensemble, informality sto amplification, and so on, Equally noticeable, however, are the constraints on this apparent freedom, All performers have to play the same figure, in strict tempo, and itis strongly ed that the ensemble move, f not together, at least ‘within sight of ‘one another. This preserves the harmonic feeling of the piece which, without perfect cadences, appears to move from C as follows C+ & + Eminor + G? + G minor rows Ve > V minor ‘The whole effect is kaleidoscopic, with gradually shifting areas of tonality perceived only in blurred outline “The score-reader confronted with just the fragments in conventional notation willbe able to follow the piece, though in an incomplete manner; they are easy fenough to hear and to relate to the score. The ‘explanation’ contained in the performing instructions makes the work comprehensible (e.g. by stipulating, the pulse) — even ifRiley’s language now seems rather dated! Riley also directs the procedure for moving from fragment to fragment and suggests the manner in which this should be done. One of the interesting things about the piece is the contradiction between the fragmentary appearance of the conventionally notated segments and the finished work — a continuous texture, This contradiction is, of course, the result of the verbal instructions. In this piece, then, the written word is an essential adjunct to the notation: it ‘even becomes a vital part of that notation. It does not qualify traditional graphics ~ it complements them as an essential aid to performer and listener alike. But, given this dual function, Riley's piece stands on the conventional Side of the procedures outlined in the Appendin. Performing Instructions All performers play from the same part, There are 53 repeating figures, played in sequence. They are tobe taken consecutively with each performer determin. ing the number of times he repeats each figure before going on to the next. The pulse is traditionally played by a beautiful gel on the top two octaves (C's) of grand piano, She must play loudly and keep strict tempo for the entire ensemble to follow. The tempo should be determined by how fast the ensemble can execute the smallest units (I6th notes). All performers must strictly adhere to the tempo of the pulse, After the pulse has begun to sound each performer determines for himself when to enter on the fist figure. {As a general rule the performers should remain within a compass of 4 or 5 figures of each other, occasionally trying to merge together in a unison. This ‘means that although each performer is essentially free to repeat a figure as ‘many times as he wishes, he must ultimately abide by the pace taken on by the Iajority of the ensemble. The ensemble should sit as close together as is comfortably possible, all performers radiating outward from the pulse who should be in the center. It is O.K, to amplify instruments that can't naturally play so loud, such as strings, flutes, harpsichords, etc. All parts should be played at the written pitch, It is generally OXK. to transpose up an octave Transposing down an dctave shou are doing so and even then they should be extremely careful in choosing align iments and try to absorb the tendency to stick out Since performances often go over an hour each figure can easily be repeated fora minute or longer (performances could last days, months, a year — a figure foreach week, with the closing one to start the new year), Don't be in a hurry to move from figure to figure. Stay on your part and keep repeating i, listening for how it s relating to what the rest of the ensemble is playing. If it sounds like everyone is playing in the same alignment of a figure, you may shift yours to create an opposing alignment be discouraged unless several performers Say that most of the ensemble is playing figure 12 like this: = you may choose to align like this = as In this way you have not 53 figures but literally thousands and itis part of the creative task ofthe ensemble to explore the different combinations. Play at a good loud volume, but avoid leting your part get isolated from the others. Make all exits and entries as inconspicuous as possible. In order to play continuously without fatigue a figure can be repeated in groups of 4or 5 with a t E a ak al ahww wo aaa = aaa rest included to form an overall pattern consisting of X number of repetitions plus a rest. The duration of the rest may be equal to the duration of the figure being repeated as illustrated below This makes the part more stable and symmetrical and allows it to groove bette with the rest of the ensemble, especially if everyone else is stabilized in a Pattern formation. However, any number of repetitions and any duration of is permitted. Changes should not be dramatic. The s gradually unfold. When each performer reaches figure 53 he should stay on that figure until the entire ensemble has arrived and a unison is achieved. The Players can then gradually drop out, the pulse continuing a few moments after the rest of the ensemble has finished. Ifa performer comes toa figure he cannot ay he may omit it. The ensemble should learn all figures in unison before attempting any combinations. It is essential that everyone play the figures correctly. Any numberof instruments can play In general the more players, the better it goes. Several keyboard instruments should be used as well as xylophones. instruments that are tuned such as marimbas, vibraphones and5a lll) tt a © oo 7 mom ; ot © vl Aaa fly q | Reproduced by permission ofthe composerSauabnad ey a t a Appendix Scores have traditionally been instructions to performers articulated through a symbolic language understood by both composers and performers. Since the late eighteenth century, scores have also been aids to listeners: those who could read music were able to follow the progress of a musical work The new methods of notation outlined in the previous three pieces do not call either of these functions into question, although the subsequent work of John Cage, for example, certainly does, However, with these two extracts the func tion of the score as information for both performers and listeners is abandoned, albeit in two contrasting ways. It remains to be seen how far these experiments point the way forward for our musical traditio 7. C. Cardew: Treatise (extract) Cornelius Cardew (1936-81) was the foremost composer in the British avant garde during the 1960s and 1970s. After studying at the Royal Academy of Music, he worked with Stockhausen at the time the latter was composing Can, After returning to England Cardew became interested in the ideas and notational devices of Cage, and Treatise may be seen as the synthesis ofthe two influences ~ the precise ordering of Stockhausen (there is a strict formal plan) as a background and the apparently free notation and interest in stimulating, the performers’ imagination derived from Cage. After Treatise, Cardew bx dissatisfied with the isolation of avant-garde music and turned increas ‘expressing his socialist political commitment through music ofa simpler kind. Treatise is a score of 193 pages of graphic symbols, These symbols take ‘musical notation as their point of departure but extend the purely visual aspects even further than some of Cage's later work. Treatise could be read simply as a succession of visual symbols deriving from musical notation: the only definitely musical aspect of the work isthe pair of staves at the bottom of teach page. No duration oF instrumentation is specified ‘The composer's plan was to write a score in which a certain number of graphic symbols would be varied, extended, and developed, much as themes Were in Classical and Romantic music. The graphic ideas take on a life of their ‘own, and there is thus a vast difference in the relationship between score and performance (and listening) here as compared with, for example, a nineteenth: century symphony where the score comprises instructions for performance land a record of the composer's musical intentions. The score is of little use to the listener. There is no necessary correlation between what is seen and what is heard. There could be, however, if the Performer(s) adopted a literal or evocative approach to the symbols; this shows the importance of the performer in the realization of Treatise and scores lke it ‘One of the main trends in music since 1945 has been to give the performer more control over the sounds they produce — hence the strange innovatory notations of Cage and Cardew. In Treats itis up to the performer(s) to decide what the symbols mean and how they are going to interpret them, Two extren possibilities are 1 to use the score merely as pretext. Such a performance would be an improv sation and it would searcely matt or anything else were the impetus for the performance: 2 to study the whole score and try to ascertain the con his plan of the symbols and their development, to aftach to each symbol a sound or sounds, and thus to follow the development of the symbols and vary the sound or sounds accordingly. For example, if it were decided that a ot would be a Be and that size of dot i Bs on the lft ofthe Ist page, slightly louder notes at the end of that page. and three considerably louder Bs on the next. Perhaps the flat infront ofthe block circle on the 2nd page would also alter the note, perhaps not sr whether Trea poser’ intentions as to ated volume, there would be quiet One thing should be clear. This leaves a great deal to the performer in the ‘making of decisions, but it also makes the concept of score-reading redundant cother than in the most literal terms. For scores such as Treafse or even Unbegrenct (the next extract) are visual documents only ~ to be viewed in the same way as works of visual art but with no background in the listener's aural experience to aid the reading, The conventions have gonePMH ROKER RRP Ee48. K. Stockhausen: Aus den sieben Tagen “Unbegrenzt Although Cardew’s Treatise retains graphic symbols that are at least akin to conventional musical notation, Stockhausen dispenses with this entirely. His, Collection of texts ‘From the Seven Days’ is, however, clearly intended for musical realization, since: 1 the composer tells us so; 2 the composer (and others) perform the work as a piece of music (indeed, as ‘a composition). Stockhausen formed an ensemble to perform his less conventionally struc- tured music (eg. Sto ‘and wrote fifteen texts for this ensemble in May 1968, The present extracts the only one of these texts to be accompanied by any phic symbol At first gl: thing so utterly remote from conventional musical notation as the score of Unbegrenct (Unlimited) deserves serious attention; but in fact the sketch does specify certain points First Stockhausen directs that this is an ensemble piece, so that the interaction of the performers is essential. Secondly, he has ensured that the concentration, of conscientious interpreters of the piece will be on the element of time ~ ‘play 4 sound, . infinite amount of time Tt may be objected that this is merely a stimulus to improvisation (where, by definition, a score is redundant), but Stockhausen carefully regulates all th performances in which he is involved (and, indeed, supervises recordin them). In his activities as ensemble director, therefore, he is much less con- cerned than Cage with the liberation ofthe performer and we must accept that this isan attitude that underlies his music as wel ‘So at least one of the traditional functions of the score is preserved, in that the sketch is an introduction to the performer. It is very unspecific, however, and in that sense is remote from traditional musical conventions. Ifthe listener is willing to suspend the normal score-reading (and rational) ‘even serve as information, But it is clear that this is very different from the rnormal information presented in a score by Beethoven, Schoenberg, or even. Boulez, and as such must be seen as a completely new departure, though different from Cardew’s rather looser approach. That one must rely so radic oon evidence external to the score for indications of Stockhausen’s intentions ‘demonstrates the remoteness ofthis notation from earlier practice nce, the reader may wonder how far som HOMO OOM AMO ON os mmm eraw ® ® “ 8 a a for Ensemble « a 4 a as UNBEGRENZT a a a « acs Gowishat « a8 Du beliebig viel Zeit und Raum hast = 8, Mai 1968for ensemble UNLIMITED play a sound with the certainty that you have an infinite amount of time and space may 8, 1968 © am e & & 6 & et ed | é E Bm el el e & | et i i & | E a! i a ea" bs al |OORT ooSCORE READING Peet by Malcolm Barry and Roger Parker Le SCORE READING Book 1: Orchestration Book 2: Musical Form Book 3: Concertos by Roger Fiske 19 F780. 1934210301 Oso RUE owe