Last week, we got the sad news that James Yannatos — an accomplished composer and the longtime conductor of the Harvard-Radcliffe Orchestra — died at the age of 82.
During my first few years as a graduate student in Harvard's Music Department, and until he retired in 2009, Dr. Y was a ubiquitous presence around the music building. I only got to interact directly with him through a few brief conversations and a quick e-mail exchange about Nadia Boulanger (who was one of his teachers and is a subject of my own research). But his students raved about him — they were lucky to have had such a thoughtful, generous, and musically inspiring mentor. (See the Harvard Crimson obit for a sense of the impact his whopping 45-year tenure had on them.)
Although the Harvard community mainly knew Dr. Y as a conductor, he also left behind an impressive body of work as a composer — including several symphonies that we're fortunate enough to have on recordings with the man himself conducting the HRO in Harvard's Sanders Theatre. Today we'll focus on his Symphony No. 5, "Sons et Lumière" (1991), whose name, as he said, comes from the sound and light shows he would have witnessed in France — one of his many stops as a student before landing at Harvard.
These nighttime extravaganzas feature stimulating light displays on the fronts of buildings, with accompanying sounds, as a way of drawing attention to structures' histories. (Here's a neat example of Notre Dame getting the son et lumière treatment.) If Yannatos' "Son et Lumière" is a symphonic manifestation of a sound and light show, then the edifice it's meant to memorialize is nothing less than the globe itself, with its three movements entitled "Europe," "Asia Minor-Asia," and "Africa." As Yannatos himself wrote (according to these program notes), "The title alludes to past as well as to present events in which the political face of Europe and Africa is changing."
Of course, the early '90s were a heady time for the Western world, one in which many celebrated the end of the Cold War as well as a new image — however premature and, ultimately, naive — of a more unified global community. In other words, a perfect subject for a sound and light show.
Let's say that the "light" part of Yannatos' sound and light show comes from the orchestration — a musical parameter long understood and discussed in terms of visual perception. The orchestration in the opening has even been called a "collage of bright instrumental textures." A few things make it "bright": the emphasis on higher ranges, especially the soaring violins and solo trumpet ; creative percussion touches, like bells; and the overall clarity of the different parts and sections. Here's a segment from the opening:
If Yannatos' creative combinations of glistening timbres reflects the "light" part of the sound and light show, the "sound" part comes, perhaps, from the melding of snippets of national anthems and folk tunes (see here for a more detailed description). They're easy to miss because they're not all well known and because Yannatos masks them well — the regular shifts in instrumental combinations sometimes draw attention away from the pitches themselves. But appreciating the celebratory flavor of the work doesn't depend on recognizing the melodies. Here, in the first movement, some of you will recognize this sweeping, even plaintive reformulation of the Polish national anthem (listen here if you need a refresher).
Since we're talking about a sound and light show, it makes sense that Yannatos ends where he began, with the same harp glissandi and tense, quick alternation of notes in the strings we started with. That's because despite all the spinning of lights and swirling sounds, we're still recognizing one stationary object — here, the earth. (Yes, Sheldon Cooper, we know that the earth actually moves.) The movements' geopolitical titles suggest a journey, but the world is still the world, just as Notre Dame is still Notre Dame.
Yannatos also offered an alternative, more general interpretation — that his title "refers to vibrations and waves that move through real time and space in the form of sound and interplay between the various levels of musical sound and meaning, referring to our physical world as we live it, our sensory world as we see, hear and feel it, and our spiritual world as we attempt to comprehend it." Indeed, there's something visceral and physical about the way in which energy seems to ebb, flow, now suddenly build, and now quickly dissipate in the work. And this is hard for a building to express, no matter how much sound and light you add to it. Take the last minute of the first movement, where a triumphant chorale gives way to a calmer passage that picks up steam only to fade out into the distance:
The examples here have come only from the first movement, so you'll have to explore Asia and Africa on your own — or, as we at Unsung Symphonies hope, courtesy of some local orchestra finding a way to recognize Dr. Y's contribution to the Harvard Community, the Boston area, and the musical world at large (a Boston Symphony Orchestra concert in his memory of this or another work, perhaps?).
And it'll be interesting to see what kinds of tributes his students come up with. Here's one idea, hard to execute and maybe a little over-the-top: a son et lumière outside Harvard's Memorial Hall (home of Sanders Theatre), with Dr. Y's Symphony No. 5 as the soundtrack.
On October 25th, roughly two months before the movie is released in American theaters, John Williams' soundtrack for Steven Spielberg's The Adventures of Tintin will hit European shelves--thus ending a three year score drought from the 79 year old composer and sending starved aficionados into a frenzy. Short clips from the score have been steadily appearing on the internet, and one in particular--track 1 "The Adventures of Tintin," set to accompany the film's stylized main credits--quickly caught my attention. (Listen to sneak-peak here). Scored for chamber forces (clarinets and saxes, accordion, upright bass, harpsichord, muted brass, drum-set) and composed in a sprightly quasi-jazz idiom, it is sprinkled with synchronized fragments of themes and a walking bass through-line. Though vastly unlike the boisterous style Williams is best known for, it is an immediately familiar sound to anyone familiar with certain cues from Catch Me If You Can and Harry Potter and the Prisoner of Azkaban, particularly the manic "Knight Bus" cue from the latter (listen here).
Where does this hyperventilating style spring from? The answer lies in a concert work Williams composed in 1968, his Sinfonietta for Winds and Percussion. The piece is worth examining not only for its place in Williams' oeuvre, but the way in which it was part of an important development in American music mid 20th century -- the birth and ascendancy of the modern wind ensemble, a creature we have already encountered in Giannini's 3rd Symphony.
The genesis of John Towner Williams (1932-) as today's preeminent film composer was surprisingly eclectic; after a stint arranging for the US Airforce band during the Korean War, Williams went on to study classical piano at Julliard while playing jazz piano in nightclubs. He made the fateful hop to the West Coast in the following year, studying composition at UCLA and playing piano for film studio orchestras. He would progressively graduate to arranging, then composing TV and film scores. Williams, of course, was not (and still is not) primarily known for his concert music, but over the course of his six decade career he has produced an impressive body of "art music," mostly for large orchestra. This includes 11 fine concerti, the most recent of which (oboe) premiered this spring with the Boston Pops, and two symphonic works.[1]
The second of these symphonic efforts[2] , the Sinfonietta, was written free of a commission, but was picked up by the Eastman Wind Ensemble for performance in 1970, under the baton of Donald Hunsberger. Hunsberger inherited the position of conducting the EWE from its founder, Frederick Fennell, who essentially invented our modern notion of the wind ensemble as distinct from the military band. In the EWE, the obligatory doublings and arrangements common in earlier music for winds were replaced with single performers per part, an emphasis on extended technique, and original commissions from leading art music composers.[3] Hunsberger continued Fennell's legacy, particularly by issuing a series of printed scores with MCA Music and starting a recording series with the same label of new wind works with the EWE. The one single recording of the Sinfonietta's was thanks to Hunsberger's MCA series, placed on an 1972 LP where it was paired with Penderecki's Pittsburgh Overture and Mayazumi's Music with Sculpture. The recording, though re-issued in Japan in the late 90s, is now virtually unobtainable, and the clips I present below are from an admittedly low-quality bootleg.[4]
The Sinfonietta is a short but demanding work. Williams' early concert style can best be described as "dissonant," and here we find almost nothing of the catchy themes or rich harmonies that typify the composer's more public sonic persona. Instead, we get unvarnished atonality, couched not even in the triadic deformations and octatonic scales of his later aggressive concert works. The title "Sinfonietta" would seem to entail a smaller duration and scale than a full blown symphony (it is a descriptor adopted by many 20th century composers, most notably Janacek and Prokofiev), though it also serves as an escape clause from the rigor and importance ascribed to its parent genre. Williams' Sinfonietta is short--but hardly unprecedentedly so--hosting 3 movements instead of the usual four and lasting just short of 17 minutes.
Critics were of mixed opinion on whether Williams lived up, or down, to the diminutive title. One reviewer for High Fidelity Musical America claimed it "is too modestly titled; it is a real symphony in size and scope -- rather Hindemithian, but full of life and juice on its own."[5] A critic for Gramophone magazine was more mixed in praise, calling it "straightforward" and "well laid out," and that "there are some nice ideas, and some banal ones, but only in the first movement are they clinched by the overall form they give rise to."[6] The Gramophone critic shared with a less kind reviewer from The Music Journal a certain anxiety with Williams' status as jazz and film composer rather than classical artist: "Competently scored, appropriately laced with modernisms, it proceeds as innocuously as a film score--a medium, incidentally, at which Mr. Williams is said to excel."[7]
That last review smacks of irony in more ways than need to be tackled here. The Sinfonietta may be many things, but innocuous it certainly is not--and its vast bulk is far too strident to work as effective underscore. The opening movement is motivated largely by the clash of two loud, querulous themes. The first consists of widely spaced, homophonically moving chords for woodwinds, slowly ascending by semitone (in the first appearance, mm. 1-9, that upwards progress is deceptively small, a minor third from G5 to B5). The second theme is introduced at m. 27, something akin to a fugue subject, although it is not privy to a standard fugue exposition (entries are loosely on A, B, Eb, and C). There is a whiff of something cinematically familiar to this theme, perhaps the "Conversation" from Close Encounters, but by and large it is more Miraculous Mandarin than friendly alien.
First Four Measures of Second Subject, Sinfonietta Mvt. 1
The two themes contrapuntally collide for the first time at m. 56, and as soon as the brass takes up the second melody, a stretto quickly makes the already dense texture even more hazardous to navigate aurally. There is no doubt that Williams is capable of wringing a big "orchestral" sound from the wind ensemble at moments like this (both themes join at 0:25)
The first movement's middle section is more sparsely orchestrated, with small motivic cells being traded between instruments in a manner similar to early attempts at "Klangfarbenmelodie." However, these independent ideas begin to coalesce into firmer lines in 8ves. Once amassed, the woodwinds once again confront the stern fugue theme, now barely able to resist buckling under the pressure of the low brass. A final pronouncement of the initial homophonic theme brings the movement to an arch-like conclusion, only to disintegrate with an eerie sustained wind chord at its close. (for the truly curious, a 6z-16, which contains two semitone clusters a fifth apart).
The Sinfonietta's slow second movement is a procession of sorts, with quiet and steady pulse from timpani and pitched percussion undergirding its duration. The first 24 measures feature a dissonant conversation between three oboes, with (once again extremely loose) fugal introductions for all three. This yields to a lushly scored chord constructed mostly out of sus2 dyads, a jazz-cum-Ligeti sonority of the sort Williams would later claim was inspired by the ensemble scoring of jazz great Claude Thornhill. This passage is comparatively short-lived, however, and soon the drive of the opening procession returns with a vengeance, cresting with a gigantic climax chord similar to the culmination of the fourth of Webern's 6 Pieces for Orchestra. Here is the tail end of the oboe trio, leading into the rumination on that jazz chord.
And so we arrive at the final "Allegro Molto" movement -- and it is here we discover the original source for the "Knight Bus" style introduced at the beginning. Where a jazz mindset may have provided one or two complex chords in previous movements, here it dominates; a sense of rhapsodic group improvisation pervades, and represents the first of several real contributions Williams would make to Third Stream jazz: a style invented by Gunther Schuller that attempted to blend classical forces and forms with jazz sensibilities.[8]
Following a cacophonous opening, Williams thins the texture down to percussion, solo winds, and a very busy contrabass part. Playing solo or with their 2 other basses, the perfomer runs through a constant stream of 8th notes roving in scalar figurations -- an atonal walking bass, in other words. The material placed above this motor rhythm ranges from quirky to ominous. One can easily discern the seeds for various special effects of the "Knight Bus" cue here, from the off-kilter piano/vibes melody presented in major ninths to the car-horn imitations.[9] A recollection of that noisy opening "restarts" the walking bass, which collapses under the pressure of heavier brass lines, and it is not long before the whole movement slams into a wall of a pyramid chord and goes silent. Since, short of convincing an orchestra to play the whole piece, it is unlikely you can hear this work independently, here is the entire last movement.
Having lain dormant for decades, this final movement of the Sinfonietta for Winds and Percussion served as a fount for some of the most memorable movie music of the last decade. While it seems unlikely Williams will ever return to the genre of the symphony again, we should take comfort in knowing that in film music--and indeed in all music--no good idea, however obscure, ever lacks for a creative application in some surprising form.
---Frank Lehman
--------------- 1.In this way Williams is part of the same tradition of film composers contributing to the concert hall as Korngold, Rózsa, Previn, and Herrmann, although none of his concert works directly utilize music from his film scores (with one exception, his Elegy for Cello and Orchestra.). Williams routinely downplays the importance of these pieces, claiming they are exercises of personal compositional growth and/or gracious "offerings" to performers with whom he has established a personal relationship; nevertheless, several are works of substance and deserve to be evaluated as "serious" contributions to orchestral literature. 2. His first symphony (1966), written at the prodding of his then mentor Bernard Herrmann, was premiered in America and then Europe, both times under the baton of his friend Andre Previn, in 1968 and 72 respectively. Williams, unsatisfied with the proportions of the piece, reworked it in the 1980s, but a performance of the revised symphony never materialized despited being programmed in 1987. 3. A terrific source for information on the development of the American wind ensemble is the volume The Wind Ensemble and its Repertoire, edited by Frank J. Cippola and Donald Hunsberger himself.
4. Williams was to benefit twice more from his association with the EWE and Hunsberger. First with a commission to celebrate the school's 50th Anniversary that became his Nostalgic Jazz Odyssey (1971-72) and premiered alongside new works by Howard Hanson. The second was an all-Williams Eastman Philharmonia concert in 2001 initiated by Hunsberger.
5.High Fidelity Musical America, Vol. 22/1, 1972.
6. Gramophone, Vol. 50/1, 1972.
7. The Music Journal, Vol. 30, 1972.
8. An excellent treatment of Williams' links to that style can be found in Greg Akkerman's 2004 dissertation, "An Original Composition in a Postmodern Confulent Style for Orchestra and An Analysis of Escapades for Alto Saxophone and Orchestra by John Williams."
9. Even a respite at measure 67 (1:47) seems to have a correlate in a portion of the "Bus" cue where the bus interior squeezes down to fit through narrow spaces!
Although we've dealt with very few hardcore atonal works here at Unsung Symphonies so far, there does exist a (somewhat sporadic) thread of symphony writing among composers of a...less-than-tonal persuasion. The founding trinity of mainstream atonality, Schoenberg, Berg, and Webern, all composed multi-movement orchestral works -- some symphs in all but name (Berg's 3 Orchestral Pieces), others in barely anything other than name (Webern's Symphony Op. 21). I venture that their ambivalence towards the genre stems from conflicting urges for 1) non-repetition and the abandonment of set forms and 2) a certain penchant for familiar containers with a lot of cultural cachet to ground their experimental impulses.
One composer who felt this atonal ambivalence with special acuteness was the American George Perle (1915-2009). Enraptured with the wide open possibilities of Viennese atonality from an early age, Perle nevertheless felt Schoenberg left behind an unfinished project. Perle believed that Schoenberg's 12-Tone Method (also known as serialism) was a partial and unsatisfactory way for dealing with these new resources. As prominent a music theorist as he was a composer, Perle set out to discover a more musical basis for picking this note over that. In a series of influential books and articles, he ended up formulating what he called "Twelve Tone Tonality," a system that allowed for many of the gestures of traditional music -- cadences, "mode" and "keys", and most importantly a real sense of directed chord progression -- without any of the trappings of tonal pitch selection or syntax.[1] Perle wrote the majority of his own music according to this system. But rather than existing simply to validate his music theoretically, Perle's special brand of "Tonality" was deeply committed to accessibility.
Someone suspicious of atonality and its reputation of ugliness and difficulty would do well to give Perle's Sinfonietta II a listen. He composed this in the fall of 1990 during his three year tenure as the San Francisco Symphony's composer-in-residence. It was performed in February of the next year under the baton of Herbert Blomstedt. Newspaper reviews were quite lavish with their praise, and especially quick to emphasize how enjoyable, or in the words of Sacramento Bee reviewer William Glackin, how "happy" a work it was.[2] The San Francisco Examiner called the Sinfonietta "disarmingly communicative" (expecting something else?), while the San Jose Mercury News basically dubbed Perle the spiritual successor of France's "Les Six": "Nothing is trite; nothing is a rerun; nothing panders to popular taste."
Like the duration (a fleeting 16 minutes), the orchestra of Perle's Sinfonietta II is quite small, save for the percussion section, which keeps its four performers busy with thirteen colorful instruments in strategic reserve. The outer movements, labelled Scherzo I and Scherzo II, are siblings in terms of structure and ethos, both playful romps with a clear ABA form. Orchestration is usually tidy and open, the opposite of Berg and Schoenberg's dense-thicket approach, closer in spirit to Webern's crystal lattices. But that's basically where the Webern similarities end, because Perle projects a sense of fun and extroversion completely alien to that more rarefied style. Melodies and motifs crop up repeatedly, meaning that Perle keeps the listener from worrying about where they are in the piece. The attention span of these ideas is quite short, leading to a manic, scurrying quality that persists throughout -- at several times, especially in the second Scherzo, there is a strong suggestion of cartoon music!
The first Scherzo sets off with a handful of tricks: first a climb up an arpeggiated diminished seventh (I mean, err, presentation of the interval-3 cycle mode-1...), then a harmonized flute phrase, a pair of cello interrogations followed by more arpeggios, and a set of strident but not-too-dissonant string chords:
The harmonic materials, the play of rhythms, and the quickly alternating orchestral colors are characteristic of the whole movement. The B-section "trio" introduces a nervous triplet pattern for strings, over which the flute and piccolo rush in a panic, soothed and egged on at intervals by vibraphone and brass whole-tone arpeggios.
To me, the second Scherzo is the funnier of the two. There is right off the bat a strong contrast between annoyed insistence (the strings' upward bounding, dissonant theme) and mellow sheepishness (the wind and pizzicato answers). After each urgent string statement, a corresponding gesture of deflation seems to follow. Particularly striking are the unvarnished clarinet major thirds and the short passages of honest-to-goodness jazz scoring for brass and percussion -- what better way to puncture an insecure atonal phrase's sense of angsty importance?!:
I have no doubt this work's pitch design is rigorously organized, but the impression is the exact opposite of what you'd expect coming from a theorist of 12-tone quasi-mathematical structure: this is academic atonality, thoroughly defanged.
The heart of this short work is the second movement, "Chorales and Diversions." Hearing it on Pandora (on my Nørgårdchannel, no less) first made me interested in Perle's Sinfonietta, and it is the movement I find myself returning to the most. A rondo in form, the movement sandwiches some eerie passages of rather Bergian sound between statements of a lyrical chorale melody, given almost exclusively to a solo bucket-muted bass trombone. The theme respires in and out like a Bach chorale glimpsed in the dusk, and is harmonized homophonically with some truly lush lower string writing. Here is the entire first section of this nocturnal movement:
George Perle may be the only composer of resolutely "atonal" music for whom I've noticed the label "conservative" repeatedly applied. Sometimes this is in reference to his choice of musical forms. But elsewhere it seems "conservative" is the only word we have for composers who attempt to eschew abstraction for its own sake, and instead choose to ground their music in a consistent and accessible system like traditional tonality. Ultimately, it's as unsatisfyingly simplistic a label as would be "progressive." Better to take Perle at his own word:
"There's this mystique that there's an elite of specialists for whom contemporary music is written. I don't write up or down to anyone. I'm just doing what composers have always done. Some people have written about me as though I were a composer of inaccessible music. But my experience has been that people who listen to my music are amazed by how accessible they find it." [3]
--Frank Lehman
------- 1: The foundations of Perle's theory are two interlocking organizational parameters. The first is the inversional array, which relates notes of the chromatic scale to stable pitch axes (often about a tritone) - this hinge is his equivalent to "key." The second is the interval cycle, which selects a number of pitches based on some symmetrical partition of the scale, such as minor thirds or major seconds - this furnishes the sense of "mode." Both are prominent aspects of the styles of not just Berg and co., but of Bartok, Debussy, and even composers further back into the 19th Century. In compositional practice (and Perle's analyses) the interactions of these two factors can become exceedingly complex, but the important point is that they help produce points of reference and stability that keep the listener from ever becoming too lost. 2: Reviews excerpted at GeorgePerle.net (not surprising that they are so positive!) 3: Quoted in For the Love of Music: Invitations to Listening (Steinberg and Rothe, 147)
This should sound like a gutsy way to start a symphony even to the most jaded listeners among you:
In performance, the effect will be even more striking. This work begins with the filing of orchestral musicians into the concert hall, warming up their instruments like normal. This isn't a transcribed preamble to a concert like Edgard Varèse's Tuning Up (1947) but genuine, if highly predictable, span of "chance" music. As the buzz of non-music suffuses the hall, the conductor takes the stage and instructs a quartet of low brass players, positioned oddly on a raised platform, to sound a theme. Their sharply-etched annunciation stands in starkest relief against the disorderly backdrop. The brass quorum call thus issued, the warming up musicians fall in line, proposing a handful of mysterious motifs that will soon coalesce into this symphony's main thematic subject.
This is the beginning of Karl Weigl's Fifth Symphony "The Apocalyptic" (1945), from a movement dubbed "Evocation." It's a rhetorically direct strategy, to wring order out of a swarming musical chaos, routine since Beethoven's 9th first premiered in 1824. The outlines of the brass melody are also familiar, the downward agglomeration of perfect intervals resembling Beethoven and perhaps even more, the grand columns that buttress Anton Bruckner's symphonies. In the long competition of composers striving to out-inchoate each other's openings, Weigl's is the logical extreme; to my knowledge, no such an audacious version of the ex nihlo archetype had been attempted prior to this 1945 work. It is the more surprising because Weigl was no avant-garde composer, and this is no experimental symphony. Nothing remotely as strange occurs for the duration of the long (50 minute) symphony. For all its potency in establishing the mood of this work, the opening of the "Apocalyptic" is a weirdly one-off event.
The great expanse of the rest of the "Evocation" movement presents a dense network of sonata themes. Some are knotted in the vein of early Schoenberg, like this the first subject proper, straining the ears with its tangle of counterpoint and hovering tonality (listen to the progressive enchroachment of the brass summons):
Others are broad, even benedictory like this secondary theme:
In full Brucknerian fashion, there's a false climax at the end of (what seems to be) the development section, evoking the life out of that introductory brass theme. This is not music that minces its words.
Karl Weigl is not a household name for the same reasons that Zemlinsky, Schreker, von Schillings, and Schmidt are not. While an inventive and prolific composer, his music continued up the late-romantic branch of Mahler and Strauss long after the history-hogging offshoot of atonality had broken off. Born into an assimilated Jewish family in Vienna 1881,Weigl was situated at the absolute center of Viennese musical culture for several decades. He studied with the luminaries Fuchs, Adler, and Zemlinsky, participating with the latter in his progressive "Society of Creative Musicians" along with Schoenberg and Webern -- pals until their musical paths diverged so radically. He went on to become Mahler's right hand man at the Vienna opera, acting as vocal coach and rehearsal conductor. Weigl garnered prestigious positions and critical praise for his music through the 20s. But the rise of the Nazi party dragged this prominent composer's reputation down considerably. With Hitler's annexation of Austria, the Jewish socialist managed to emigrate to the United States like so many other German composers. Adjustment to American life was difficult, but he eventually secured teaching posts at various schools of music on the East Coast. But deprived of the renown as a composer he enjoyed in Europe, he was forced to retreat into composition without performance.
Weigl wrote his Fifth Symphony at the conclusion of World War II. It is dedicated to "the people of the United Nations" and bears the inscription "to the memory of Franklin Delano Roosevelt" -- a gesture identical to that of Erich Wolfgang Korngold (a former student) in his dedication to the F-sharp Symphony (1952). The timing and appellation "Apocalyptic" suggests that this is a war work; Weigl, an ardent pacifist, conceived of his Second Symphony as a response to the Great War. But there is little external evidence indicating what exactly Weigl meant in programmatic terms. I suspect he was making a nod towards Bruckner's Eighth Symphony, sometimes also referred to as "Apocalyptic," for the spirit of Bruckner infuses much of this work, particularly the massive 3rd Movement Adagio "Paradise Lost." Unquestionably the heart of the symphony, it is its most bald-faced musical anachronism, gorgeous but seemingly immobilized under the 19th century symphonist's shadow. Here is a sample of the only slightly updated Brucknerisms, swelling climaxes and all.
Paradise for Weigl, it would seem, is a Bruckner slow movement in double variation form. (When it comes to direct references, which are numerous, I hear more of Bruckner's 7th "Lyric" symphony than the 8th). Against the dominance of Viennese atonality that Weigl could never accept, the power of such sweet tonality was indeed "lost."
The "Apocalyptic's" second and fourth movements are most literally eschatological. The second, titled "The Dance around the Golden Calf," is a sardonic, very Mahlerian scherzo with certain modal touches that Llyod Moore (author of the one recording's liner notes) hears as distinctly "Jewish." (So who exactly is the target of sardonic energy here?). The fourth movement, "The Four Horsemen," is eventful but not necessarily the fire-and-brimstone you'd expect from the title. Rather, elements of previous movements (particularly "Paradise") clash against the backdrop of a semi-serious march themes. You'll be hard pressed to locate Famine, War, Death, or Pestilence individually here, or even a clear-cut sense of victory or defeat. The ending, a sudden blast of celebratory bells, sounds perfunctory and pessimistic. All of this is quite a contrast to the work's unearthly opening sounds. It is a gesture which, for all the symphony's beauty and teeth-gnashing, Weigl never feels the need to corroborate.
****
Weigl never survived to hear the eventual premiere of this work at the hands of Leopold Stokowski in 1968, although it was highly praised when finally heard. I freely admit I only picked up the BIS recording of this work because of the extravagant cover art. Thomas Sanderling's conducting of the Rundfunk-Sinfonieorchester Berlin is stellar, especially for such a red giant of a work, but without other recordings, I am in no position to say if it's truly definitive. Only one other Karl Weigl symphony has been recorded, the Sixth, by the same forces.
Middle America has given us two great musical Hansons. We're still waiting for a symphony to come from the Oklahoma-born Hanson clan who left us MMMBop. That means Wahoo Nebraska's own Howard Hanson (1896-1981) gets the spotlight to himself today. Hanson was a major figure in the institutional history of American music, a member of the generation that included Copland, Sessions, and Wally Piston. His 40 year (!) tenure as director of the Eastman School of Music and his co-founding/presidency of the National Association of Schools of Music testify to his reputation for life-long advocacy for composers, conductors, and performers. He's not called the "Dean of American Music" for nothing.
If I were asked to sum up the idea of Neo-Romanticism in music for someone, I'd probably hand them a recording of Hanson's symphonies (perhaps this one) and then something rather different from roughly the same time (perhaps this one!). The allegiance to tonality, the eschewing of bizarre or overtly novel orchestral effects, the generally harmonious and positive outlook on humanity -- it's all there! Reactionary is an ugly word, but it does capture the conscious rebellion Hanson undertook against the serial/neo-classical establishment in his own music (not in his teaching, however). His most famous work, the Second Symphony "Romantic" was written, he attests, as "a genuine expression of romanticism and a protest against the growing Schoenbergianism of the time -- the cold music -- and I wanted to write something that was warm and young, vigorous and youthful."1
Hanson was a conservative, no doubt, politically as well as musically. That's basically a death knell for one's hopes of entering the ~Classical Canon~. Well, our blog's motto is to hell with the canon! So let's take a nice, unabashed neo-Romantic bubble bath.
Actually, the member of Hanson's cycle of seven symphonies I've chosen to discuss is not his most sentimental, consonant, or accessible. In fact, the Symphony No. 6 (1967) contains passages that commentators point out as being uncharacteristically dissonant or "demonic." I believe this may be the best manifestation of a certain tension I've always felt about Hanson the composer and Hanson the thinker. For this peddler of symphonic romanticism that would make Rachmaninoff blush was also an indisputable pioneerin the realm of advanced music theory for atonal music! More than a decade before Allen Forte's The Structure of Atonal Music, Hanson published his Harmonic Materials of Modern Music, a textbook that lays out a system for describing (and exercises for composing with) any combination of chromatic pitches. His system is idiosyncratic but thorough, introducing many of the concepts that were supposedly "big finds" in Fortean set-theory. On a couple of occasions, I've noted severe condescension towards Hanson's system from music theorists who deride it for not being as "systematic" or versed in mathematical set theory as Forte's. I think this is outrageously unfair towards Hanson (who was, after-all, neither career mathematician or music theorist) and his innovative theory.
Hanson's basic idea is to represent the interval content of a group of pitches by listing off the occurrences of (inversionally equivalent) intervals within it. For example, the succession of C to G to A has one perfect fifth/fourth (C-G), one minor third (A-C), and one major second (G-A). Hanson labels this group pns (no, not that). Descriptions for bigger groups can get a lot more complicated (the major scale, for example, is an inelegant p6m3n44s5d2t...), but the basic idea of capturing interval distribution is the same, and is a huge conceptual step towards modern atonal music theory.
But he didn't write atonal music.
At all.
Can this weird facility with atonal pitch sets be reconciled with his consistently conservative harmonic idiom? I think it is in the Sixth Symphony. Hanson attested that the work was based entirely on the opening idea, the pitches C-G-A (pns strikes back).2 This is not a particularly dissonant idea, but it can be manipulated in a number of ways similar to what atonal composers were doing mid-century. For example, one can invert (or, "involute" as Hanson would say) it, preserving the intervals in mirror image form. C-G-A, flipped around C, becomes C-F-Eb. Still pns, still pretty tonal sounding.
That flip is the very first thing to happen in the symphony. Winds in octaves state C-G-A-F-Eb, and the phrase is completed by a timpani+tuba strike on C. A little conversation subsequently grows out of the motif, and this sort of tentative dialog within orchestral choirs is typical of the whole first movement.
Hanson alternates between slow/emotional and fast/demonic moods from movement to movement. Though C-G-A does not literally appear at every point, pns or some slight variation or derivation of it ostensibly does, resulting in an breathtakingly tight, integrated work. Case in point the second "Allegro scherzando" movement -- two snares introduce a driving triplet rhythm that persists to the end. Winds enter, stating C-G-A-Eb-F (pns x2!) in a case of motivic shrinkage, soon to be incorporated into a playful, slightly malevolent scherzo.
A totally different mood is created in the third movement. Here the composer lets a lush adagio develop out of that little interval configuration. Vintage Hanson neo-romanticism, but with a formalist twist!
I was introduced to the sixth movement finale prior to my exposure to the whole symphony -- it's the first track on this -pretty awesome- CD. This is rollicking chase-scene music3, barreling down a track laid by a rotated, transposed pns (C-Eb-Bb) ostinato. Near its conclusion, you can hear a slightly more lyrical idea played by the brass (an octave leap from Bb followed by a stepwise descent) -- this is the last, cumulative appearance of a secondary theme that makes its first appearance towards the end of the second movement. Unrelated to pns (I think it'd be called p1mnsd2), it's something of the symphony's defiant minority opinion. Yet pns is ultimately in charge here, and the whole work concludes on a blast of the initial C-G-A-F-Eb-C. Heck, here's the whole Earquakin' movement.
I think the symphony should serve as a reminder that sophistication of composition or theory does not need to equal "difficult" or "abstract" music. If this work is successful, it is because Hanson is able to translate a tiny mote of musical data into a succession of vividly different symphonic moods. Their brevity insures that the Sixth Symphony is never heard to be heavy, tasting more like a well thought out menu of little dishes that together make for a satisfying meal.
Frank Lehman
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1. Quoted in Liner notes to Delos Box Set of Hanson Symphonies, DE 3150 1990.
2. In his book Howard Hanson in Theory and Practice (Praeger, 2004), Allen Laurence Cohen analyzes Hanson's music according to the composer's own theoretical ideas.
There is a lengthy discussion of the 6th Symphony within for the curious.
3. Compare the movement's beginning to this chase scene at 5:50. Also, sort of, this. Hanson's effect on certain film composers is considerable.
Today, three (and a half) symphonies for the price of one. One from Finn, Einojuhani Rautavaara, another from an American, Gloria Coates, and a half from Henri Dutilleux, a Frenchman. On the face of it, these are some pretty strange bedfellows (all they seem to share at first is being fairly prominent living composers), so the fact that each has a symphonic work inspired by the art and life of Vincent Van Gogh is probably coincidental. But a happy coincidence for Unsung Symphonies, since we can see how composers of very different temperaments engage similar(ish) subject matter.
One technique that Rautavaara and Coates (not so much Dutilleux) frequently use is the blurring of a clear melody with lots of surface dissonance, setting it against other layers of unrelated, constantly fluctuating material. The results can vary from a quiet shimmer that leaves the underlying melody undisturbed to a tune whose outline is nearly erased by a dense haze of other activity. Boundaries blurred, shapes distorted, surfaces and backgrounds always squirming -- we could just as well be talking about Van Gogh's painting technique as modern musical procedures here.
Rautavaara's Sixth Symphony: "Vincentiana" (1992)draws a considerable amount of its material from the composer's opera Vincent (1990), a heavily symbolic, non-linear collage of the life and mind of Van Gogh with libretto penned (like all of Rautavaara's 8 operas) by the composer. The symphony is divided into the traditional four movements (like all of Rautavaara's 8 symphonies, save the strange Fifth), each one with a subtitle alluding to an image or idea from the opera. This is the only of his symphonies to feature electronics, which are most prominent at the edges of movements, the orchestra typically filling up the space in between. Meandering quasi-tonal rhapsodies (that as a Rautavaara listener, you either come to love or hate) are freely mixed with passages of extreme atonal/12-tone violence throughout the work, though some of those rows also contribute to the consonant triadic material as well, a Rautavaarian trick.
Among the highlights of the symphony is the combination of synthesizers and orchestral effects that kick off the work's first movement "Starry Night," a delirious waltz that seems to detonate towards the end of the third movement "Saint-Rémy" (Van Gogh's late life sanitarium), and exultant finale for the last movement "Apotheosis." The second movement, "The Crows," features a haunted refrain, ostensibly drawn from the opera's second act, where Van Gogh, in the company of Gauguin and his brother Theo, experiences a vision of fields "heaving, breaking in waves...writhing like big animals in their death-throes." Squint your ears for the almost inaudible string-section fuzz that blows over the slow chordal theme.
This slight blur becomes an impenetrable smear with the tail end of the Sanitarium waltz, which buckles, then gives way to a blast of electronics and wind-mouthpieces, transmuting some nagging chorus of physicians and art critics into a murder of displeased corvids.
Things do come together in the final "Apotheosis," which stems from music written for Vincent's final, triumphal/suicidal paean to light: "The day of the sun! And he who dies today shall never disappear, but will join those who once had the courage to go on and live!" Even here, Rautavaara's characteristically dense orchestration creates a blurry sort of sensory overload.
Even more prolific a living symphonist than Rautavaara is Gloria Coates, an American ex-pat composer living in Germany who has 15 symphonies under her belt. Prior to her Seventh, they had non-symphonic titles, and were only dubbed "symphony no. x" substantially after the fact; eventually, Coates seems to have overcome her own discomfort with attaching what she calls such "a little name" to her earlier orchestral essays. Coates' style is intense and difficult, highly dissonant and devoid of much anything that could be called ingratiating. But her music is also clear and tightly balanced. A hallmark is the highly expressive, almost compulsive use of glissandi in all corners of her works.
Her 9th Symphony, "The Quinces Quandary" (1992-93) is a sonic expansion of a work for chamber orchestra from the same year, "Homage to Van Gogh." Both are inspired by Van Gogh's late painting "The Quinces," created in the last year of his life. As far as I can tell the two pieces are the same but for thinner orchestration in the former, although the CPO Recording of the work, which is clearly for huge orchestra, labels the track "Homage." Nevertheless, I present this clip, which conveys a representative sample of this imposing 23 minute work - one of the huge waves of glissandi - with the assumption that it is the symphony we're hearing (it sure sounds like a massive orchestra).
Coates' glissandi are apt metaphors for Van Gogh's late style. Her unending stream of sliding notes, restless and defiant of the boundaries of discrete pitch (and those of discrete event as well) are quite intentional musical analogues of the pulsating, unstable motion that undermines any "still life" in "The Quinces." The piece's continuous form is hard to pin down; this owes partly to Coates choice to eschew a prefabricated musical container, using the visual experience of gradually exploring the painting, allowing one's eye to train from one corner of the frame to the other, to guide her own pen.
Like Rautavaara's Vincentiana, the Quinces does manage to fasten onto something something comparatively solid and "thematic" at its conclusion, a stony dirge of brass chords (by far the most tonal thing heard yet) jutting against the ever-present glissandi.
The "Quandary" in the title alludes to something deeper, and more troubling, than a simple visual puzzle raised by the painting. While it was possible to take aesthetic-mystical flight in Rautavaara's Sixth, Coates' The Quinces Quandary allows no escape from the gloomy isolation of Van Gogh's world. If these are musically-represented decorative fruits, they are the most despondent fruits to ever grace a kitchen table. Take that oranges and pears!
Staring at the painting, Coates claims "I felt something of his own fears and disappointments...and the quinces were beginning to move, one was already falling."1 The psychological aspect of Van Gogh's inner world Coates draws, orchestrally, from his "Quinces" is of withdrawal, despair, entrapment -- shades of the painter's mental illness, in other words. Her style is not a sunny one, and this is a work of frightening darkness. In her words, "If you only give the lighter side of yourself, that's not a symphony..." 2
One last Van Gogh work. Although not a symphony in name, and not really even a symphony-in-all-but-name, I'd be remiss if I left out Dutilleux's Timbres, Espace, Mouvement (1978), whose subtitle "Starry Night" betrays inspiration again from that most famous of Van Gogh's paintings. Timbres, like most of Dutilleux's small output, is music honed to an almost ridiculous polish, with every pitch, every orchestral pairing bearing the imprint of a calculating perfectionist. You really can't go wrong with Dutilleux and this piece is a little marvel.
***Update 10/18/2010***
After printing this, I discovered yet another Van Gogh inspired symphony, the 6th Symphony of Russian composer Alla Pavlova. Highly accessible, and perhaps a little trite, Pavlova's 6th exists in a kind of halfway point between lyrical neo-Romantic chromaticism and repetitive minimalist figurations. Much of Pavlova's sixth symphony seems geared towards an ever spinning cycle of dark, twisting modulations based on unusual triad relationships. Her orchestration is clear (featuring some viscous solo violin writing) but somewhat unvaried -- certainly, she resists the temptation to make experimental *timbre* the key in representing Van Gogh musically.
-Frank Lehman
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1. Quoted in CPO Liner Notes
2. Quoted from "A Symphonist Stakes Her Claim," Interview and Feature with Gloria Coates by Kyle Gann, New York Times Apr 25/1999.
Why not start this New England-based blog off with a local hero? A hero, at least, according to the Pulitzer Prize Board. In 1948, Maine-born Harvard professor Walter Piston (1894-1976) joined a small and distinguished group of composers — including Aaron Copland and Charles Ives — when he took home the Pulitzer for his Symphony No. 3, the subject of today's post. (Piston won again for his 7th, in 1961.) This Koussevitzky Music Foundation commission had its premiere on January 9, 1948, with the Boston Symphony Orchestra. Seems like a good start, right?
Despite its auspicious first year, this piece doesn't seem to have held audiences over the last 60 years the same way as, say, Copland's Appalachian Spring, which nabbed the Pulitzer just three years earlier, in 1945. And given Piston's career at Harvard, maybe it's fitting that the only CD recording I could find of this work was by James Yannatos and the Harvard-Radcliffe Orchestra, made in 1999. (We also have a 1954 recording on vinyl by Howard Hanson and the Eastman-Rochester Symphony Orchestra.)
For now, let's skip straight to the feverish second movement, where Piston loves to pass jumpy, brief melodic and rhythmic figures from instrument to instrument. Detached articulation and frequent, unpredictable rests give much of this movement a prickly, spiky feel — but this all slows, and fades, to a middle section that is almost shockingly warm and welcoming, given what's come before. In fact, it's so nice, with its harp and bass clarinet accompaniments, that it almost doesn't fit. (The first and third movements also have some of these lyrical moments, but nothing quite stops the show like this.) The flute fires off the tune-bomb we've all been waiting at least 10 minutes for, and then some other instruments get a chance to play around with it before the flute returns. Have a listen:
2nd movement, leading into the lyrical episode:
The prickliness, though, takes over again. In the rousing fourth movement, the spiky staccatos from the second movement return, and overall, it's a bit more stately and, on the surface, resolute (and certainly more tonally grounded) than that other fast movement. But there's something missing. In his recent book The Great American Symphony, Nicholas Tawa calls this movement "carefree and frolicsome." I didn't find it to be that, exactly. I actually found it to be pretty unsettling. Piston really hits you over the head with the last chord. It's a bit too obvious and forced for me think of this movement as "carefree," and that may be the point. The relentless ending (with its abrupt final sonority, complete with clipped cymbal crash) might be meant to contrast with the much nobler close of the symphony's first movement. That movement's climax actually felt, to me, like the end of a complete journey, finishing as it does with a thrilling build in texture, an almost sudden purge of chromaticism to land on a solid C-major, and a nice final swell. The closure there seems a bit more earned. Compare the movement conclusions and tell me what you think satisfies you more as an ending:
End of 4th movement:
End of 1st movement:
Piston's Third was my real first foray into this composer's music, but I preferred those moments when he allowed a solo instrument to sing for more than a few seconds before letting it get washed away in a sea of competing sounds. It seems, though, that I could be falling into an old trap of Piston criticism. Some think that the price Piston paid for his highly skilled and learned compositional approach is that his music lacks good old-fashioned soul — he was a "craftsman" but, perhaps, not a true artist. A 1958 review of the Hanson recording of this symphony, published in Gramophone, sums up that view: "There is something altogether too rational about Piston's music, and, in the last resort, too little inspired." I don't agree with the dichotomy there — I think logical music can be profoundly moving — but as I explore more Piston, I wonder if my desire for more time with really catchy tunes means I'm just not Piston's target audience. Or maybe I'm listening to the wrong symphony. What do Pistonites out there think about Walter and this highly decorated work?
