MAPPING MUSIC

Tag: composer

  • 12. Zweite Wiener Schule

    Vienna, 1992 —

    The so-called “Second Viennese School” consisted of influential master composer Arnold Schoenberg and his protegés, Alban Berg and Anton Webern in early 20th-century Vienna. They pioneered a compositional approach described succinctly by Wikipedia as “totally chromatic expressionism without a firm tonal centre, often referred to as atonality; and later, Schoenberg’s serial twelve-tone technique.”

    When I began studying composition at Michigan in 1968, I quickly became immersed in exploration of pitch structure and broader tonality freed from the long-traditional restrictive limits of tonality: diatonic major and minor keys and their chromatic extensions, triadic sonorities and tonal centers. The complexity of this new musical realm is not truly “atonal” but rather an opening to a universe of fascinating, colorful possibility.

    Three pieces of the early 20th century, which I studied deeply in the 1970s and later used extensively in my teaching of modern music, were each masterful explorations of musical sound color.

    • Claude Debussy’s La Mer (1905), an iconic tone poem of Impressionistic musical painting, was discussed in Journal 1. Musique Française.
    • Anton Webern’s Symphony, Op. 21 (1928) is maybe the briefest piece ever titled as a symphony, a succinct, two-movement work whose first movement is a delicate gem of pointillistic color and complex 12-tone harmony.
    • Arnold Schoenberg’s Five Pieces for Orchestra, Op. 16 (1909); the third piece is a gentle study of orchestral sound color titled “Sommermorgen an einem See (Farben)” — (Summer Morning by a Lake: Colors”.

    After fifty years, these works are embedded more deeply than ever in my musical consciousness.

    It was only in 1992, on a side trip by bus from Brno, that I visited Vienna, the great musical city of Haydn, Beethoven, and Mozart in his last years. Mozart’s grave, not in the main cemetery but on the edge of the city, was hard to find but emotionally powerful to visit.

    Farben

    “Farben” is an early Schoenberg piece that is all about instrumental sound color and exotic harmonic color. The chords are not triads but rather atonally “dissonant” sonorities that place the instrumental colors in close, glowing pitch-interval proximity.

    LISTEN ›

    Five Pieces for Orch – III (Farben)

    Chicago Symphony on YouTube

    My recent piece, Farben, pays special homage to Schoenberg’s masterpiece, layering kaleidoscopic wind-instrument colors to build massive, morphing constellations, echoing Webern’s hidden chord-color symmetry.

    FARBEN

    Clark 2025 (TC-149)

    I have long admired and been influenced by the music of Anton Webern. Known historically as a member of the Second Viennese School with Alban Berg and mentor Arnold Schoenberg, the three were pioneers of so-called atonal music and 12-tone-row serial harmonic organization. I find the term “atonal” misleading and negative, as their 12-tone processes achieved new “12-tone tonalities” — not simply a rejection of traditional tonal harmony but also striving to create new and more complex tonalities.

    What I admire about Webern’s mostly-quiet instrumental miniatures (his Symphonie Op. 21 has only two sparsely-scored movements) is the delicate, crystalline quality of his pitch constellations; and their gently lyric, precious setting into transparent, pointillistic textures, pearl-strings of separate, delicate instrumental colors (called Klangfarbenmelodie). The first movement is built on one enormous, static, 13-pitch chord containing all 12 pitch classes of the chromatic universe in a symmetrical interval pattern, a palindrome interval pattern, the same top to bottom as bottom to top.

    Todesfall in Mittersill

    Webern’s mentor, Schoenberg, as a Jew was compelled to emigrate to the U.S. in 1933 before it was too late. Webern, not Jewish, stayed in Vienna, where he was born, suffered through and survived World War II, only to be fatally shot by a U.S. Army soldier during the Allied occupation of Austria in 1945. My homage to this beautiful musical mind tries to capture his music’s “lyrical, poetic concision” (Wikipedia).

    WEBERN ELEGY

    Clark 2024 (TC-115)

    Neue Tonalität

    My compositional excursions in 12-tone tonality traverse many of my compositions. One that sums it up well, if not succinctly, is VIENNESE SKETCHES. A set of “Twelve Miniatures in Twelve Tones,” parts I through IV are adapted from Webern Elegy , and V through XII from MapLab7 – For Little Arnold from my book, Mapping the Music Universe.

    Not intended to portray the historical European city, VIENNESE SKETCHES instead explores various textures and tonalities using the musical techniques of the Second Viennese School. My goal was to create a complex counterpoint of sound constellations that is less dissonant and more sonorous — my sense of a new tonality.

    VIENNESE SKETCHES

    Clark 2023 (TC-131)

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  • 8. Zeitmasse

    Interlochen, 1976 —

    The German word Zeit means “time.” While masse sounds like “masses,” it actually tranlates “measures.” The two together make the musical term “tempos”. Karlheinz Stockhausen composed his “Time Measures” in 1956, N. 5 Zeitmasse for five woodwinds. Time is unmetered, rapidly and unpredictably ebbing and flowing in a dense texture of highly stretchy, elastic rhythms. Instead of predictably placed bricks, musical notes are dancing sparkles or sustained starlight.

    Nr. 5 ZEITMASSE

    London Sinfonietta

    LISTEN › YouTube

    Compare that time sense with a work of mine composed 67 years later.

    DARK MATTER

    Clark 2023 (TC-133)

    Lucas Foss was among many composing works that were all about time. The opening song of his 1960 work,Time Cycle, for soprano, piano, clarinet, cello, and percussion, sets a poem by W. H. Auden, “We’re Late.” It begins:

    “Clocks cannot tell our time of day
    For what event to pray
    Because we have no time, because
    We have no time until
    We know what time we fill,
    Why time is other than time was.”

    TIME CYCLE – “We’re Late”

    Judith Kelloch, soprano

    LISTEN › YouTube

    Refracting time

    I met Foss in 1973 or ’75 when he guest conducted at the National Music Camp in Interlochen, Michigan, where I worked as assistant to the director of the university-level program (my first adminstrative gig). Back in Ann Arbor in the fall of 1975, I began writing my doctoral dissertation, a large three-movement score for symphony orchestra. Following the direction of my previous orchestral work, Animated Landscapes: Nocturne (1971), ILLUMINATIONS built sound masses animated in widely varying tempi, meters, and even unmetered free sprays of notes.

    ILLUMINATIONS – Three Refractions of Time

    Clark 1976 (TC-33)

    1. PROJECTION (future)

    2. REFLECTION (past)

    3. EMANATION (present)

    Receiving a Bicentennial commission from the Federation of Women’s Clubs, it was premiered in 1976 by the World Youth Symphony at Interlochen.

    with conductor and World Youth Sym.
    my prof Leslie Bassett

    Chronos

    Avant garde music in the middle of the 20th century was exploring an exploding range of new tonal possibilities — from by-tonaility to all-chromatic scales, from massive unresolved dissonance to pitchless noise. At the same time, composers were intensely interested in stretching rhythmic possibilities to the extremes of aperiodic time perception.

    The term trope in medieval music was an elaboration inserted into a liturgical passage. In the 20th century, Hauer used it to name an unordered collection of six different pitches (called an unordered hexachord), half of an equal-tempered twelve-tone set. Italian Niccolo Castiglioni’s TROPI (1959) uses this pitch organizing technique, but is more about blocks of contrasting rhythmic texture separated by extended silences. Moment by moment, these blocks succeed each other, recur, combine, and dissapate — a kaleidoscope of sound in time.

    Castiglioni – TROPI

    Gruppo “Musica Insieme” di Cremona

    LISTEN › YouTube

    American George Crumb composed ground-breaking works for piano, beginning with Five Pieces for Piano in 1962. With imaginative, free-wheeling non-metric notation, he conjured a menagerie of sound sprites dancing through an ever-changing timescape.

    Crumb – Five Pieces for Piano

    Thomas Little, piano

    LISTEN › YouTube

    In 1973, he went deeper with the first of four volumes of innovative piano music, Makrokosmos I – Twelve Fantasy Pieces after the Zodiac. Here is Nr. 12:

    Makrokosmos I – Spiral Galaxy

    Scott Sherman, piano

    LISTEN › YouTube

    In 1975 at Rackham Auditorium on the University of Michigan campus, I heard a live performance of this monumental work by David Burge, for whom the piece was composed. It had a profound impact. My own dive into this sound-in-time cosmos had only four character studies:

    1. precession of the equinoxes
    2. Stonehenge at dawn
    3. Heraclitean vortex
    4. lunar litany

    Geography of the Chronosphere

    Clark 1975 (TC-32)

    Max Lifchitz, piano

    Before Time

    Stephen Hawking, the great theoretical physicist and cosmologist, is famous for solving in 1974 the mind-boggling mathematics of black holes and what became known as their Hawking Radiation. He also wrote a fascinating book, A Brief History of Time. Now, after Hawking’s death, his last collaborator, Thomas Hertog, has published On the Origins of Time explaining Hawking’s theory of how Time itself began at the Hot Big Bang birth of the universe. The idea, in grossly simplified geometry, is that Space and Time were united as one primordial sphere that dramatically split apart at the Big Bang’s initial hyperinflation into expanding Space and progressing Time. Before that moment, there was no time, no before.

    The musical challenge: how to express utter timelessness before the explosion; and how to build a sound space that sits still then explodes. You’ll hear an initial sound space of just one pitch, G, which at first quivers in color but without perceivable rhythm. While standing still, the sound space expands by octaves and eventually explodes with a fuller spectrum of chromatic pitch color.

    HAWKING’S TIME

    Clark 2023 (TC-133)

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