Beruflich Dokumente
Kultur Dokumente
Bruce Reiprich
Perspectives of New Music, Vol. 16, No. 2. (Spring - Summer, 1978), pp. 167-180.
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Wed Jul 4 14:41:28 2007
TRANSFORMATION O F
BRUCE REIPRICH
Lontano can be divided into three lengthy sections (A, A', A 2 ) , each
containing ( a ) multiple pitch canons at the unison followed by ( b )
sustained clusters, and thus represented schematically as shown below :
A
a
b
mm. 1-41 41-56
A'
a'
56-1 12
A2
b1
111-20
a2
120-45
b2
145-65.l
This paper, now revised, was originally delivered at the Spring 1977 Midwest
Chapter meeting of the American Musicological Society.
I n the case of the second and third canonic sections, the advent of canonic
activity proper does not coincide with the beginning of the section but, following
a sustained sonority, starts in mm. 60 and 122, respectively.
168
I shall deal here with the canonic sections only, focusing primarily on
the first of the three.
As the major generative element, canonic lines are rhythmically
complex, lack immediate rhythmic similarity to all other lines, mainly
employ motion in seconds but with some thirds and a few larger intervals, and are so restricted in range that segments typically weave
around one pitch (see Ex. 1 ). Such linear definition does not exhibit
foreground traits that potentially might articulate any single line into
immediate relief. While the identity of each line is not obliterated,
such diminishing of identity, combined with the large number of
canonic parts sounding at the same time, force linearity into a mass
conglomerate and endow that linearity with a new perspective: that is,
the grouping of lines of identical pitch into unique and self-contained
layers rather than the projection of single lines. With the unique orchestration of each canon, the flanking of its lines by rests, and with
the differences of bowings, octave and unison doublings, and complexity of part-writing between different canons, various factors of coloration, time, and density also interact with pitch to delineate layers.
Even so, layers are not projected as sharply profiled events. Due to
temporal overlapping, color linkage resulting from general timbre
similarities, and duplication of pitch-order content, as for example
between Canons I V through VIII,2 the lines of each layer do not
become independent from those of preceding and succeeding layers but
rather merge with them to sound like organic continuations (see
Ex. 2, pp. 170-7 1 ) .3
It seems then that the individuality of each canonic layer is never so
pronounced as to upset the predominately homogeneous character of
the mass. Nonetheless, layering provides much more than simple generation of that mass, for owing to the nature of canonic activity, all
2 Though these canons overlap considerably in respect to pitch-order content,
they are nevertheless individualized by a symmetrical process of imbrication. Starting with Canon V, the lines of each canon repeat the last four notes associated with
those of the immediately preceding canon and add two new pitches a second apart.
T h e final canon adds seven pitches.
3 Although canonic activity is the primary generator of the mass in the canonic
sections, not all parts are always engaged in the statement of a canonic line. Some
parts sustain only one pitch or a limited succession of pitches over a long period
of time. This pitch material may be unrelated to simultaneously presented canons
or it may result from the doubling of the entrance of canonic pitches without continuation in canonic movement. In either case, it usually functions to increase
density and is assimilated into the mass transformation without being perceived
as an individually contributing agent (see Ex. 3 ) .
Ex. 2 ( c o n t . )
172
coloration changes occur gradually as individual parts successively employ the timbres and pitches associated with new canonic layers. In
addition, the introduction of bowing changes and tremolos is most
often camouflaged by originating at or near the lowest point of a crescendo. Successions of different canonic layers, consequently, impose
regulated changes upon the mass coloration and density that appear to
evolve naturally as very slow textural transformations: almost imperceptibly the mass becomes a new composite of color and pitch.
Ex. 3 Arabic numerals arranged horizontally under pitches of the staff indicate
those pitches sounded within each beat. The value of the numeral shows the number of occurrences of a pitch, including unison doublings. Numerals in parentheses
identify pitches belonging to non-canonic layers. Solid horizontal lines indicate
changes in mass pitch-class content, dotted lines show changes in octave doublings.
** Pitch-count predominance of F# temporarily lessened while lagging parts
and viola extension emphasize the end of Canon I .
174
kleawre 20/1
21/1
21/2
176
PERSPECTNES
OF NEW MUSIC
components, the weight of Bh, C#, and D# (and the later addition of
G#) has the qualitative effect of triggering another dip to a less dense
area (mm. 19/3-20/4),' especially since these pitch-classes are accentuated further by ( 1 ) their appearance in upper register flutes
within an almost exclusively string texture, ( 2 ) the greater extent to
which all other pitches are subdued in number beginning in m. 19/3,
( 3 ) the change from octave statements of all pitches to only these
pitches plus Ch,9 and ( 4 ) the contrast of the less dense or "consonant"
character of these pitches-when sounded together-to the more dense
total mass. With the arrival of Bb in octaves in m. 21/ 1 coupled with
its increasing number of occurrences thereafter, the process of increasing mass density is resumed. It appears, then, that the sound-mass in
Lontano is distinctively colored by a kind of qualitative/quantitative
density fluctuation that redefines "consonance" and "dissonance" as
regulated by the number of half-steps embodied within a vertical structure and by the predominance of pitches that suppress or highlight the
half-step organization.
Regulation of density at various levels, moreover, is at times a product of cadential punctuations that involve parts of the mass or the mass
as a whole. Beginning in m. 14, the parts of Canons I11 and IV gradually and successively come to a rhythmic halt by m. 18, thereby fusing
their pitches with those sustained by the basses into a cadential cluster
(see Ex. 2 ) . The deletion of clarinets 1, 2, and 3 in mm. 16-17 combined with the simultaneous deletion of the violins, clarinet 4, and horns
1, 2, and 3 in m. 18 (beat 2 ) yield a punctuation within the cadential
cluster while other cadential parts continue to sustain their pitches until
the third beat of m. 19. But due to the stabilization of pitch within the
cadential cluster from mm. 18/ 1-19/2 and pitch-class content within
the mass as a whole from mm. 16/1-20/2, cadential activity here is
primarily a transformational stimulus and one which in two stages
creates a variegation, not in pitch content, but in mass coloration,
rhythm, and density resulting from changes in instrumentation, rhythmic activity, and doubling, respectively. The effect is remarkably subtle.
Cadential structure is disguised by its concurrent appearance with noncadencing canonic lines and by the usually immediate resumption of
canonic motion in the deleted parts.
Quantitative change also comes into play with the deletion of C4 in m. 20Q.
Qince the octave doubling of Ch occurs in only one cello part, its appearance
does not radically affect the predominance of B4, C#, and D#.
8
and later occurrences within canonic lines and in the foreground construction of a previous brass cadence (mm. 53-56), gives rise to the
ultimate appearance of the set as a sustained sonority on a distinctly
foreground level (mm. 120-22) and so reflects the gradual emergence
of textural elements as a unifying process over an extreme timespan.
Appearances of focal points are apparently governed by formal considerations within a density transformation plan and by a relationship
in which foreground projections reinforce parts of the background
mass, but not by a pitch/rhythmic scheme of serialized proportions.
Long range progression, then, is engendered by extended contours of
textural space and accumulations of density while at the same time
quantitative and qualitative changes of the mass, whether regulated
by canonic activity, cadential punctuations, or space manipulations,
promote an impression of textural transformation rather than a series
of different and separable events. Ultimately, mass complexity in
Lontano does not entirely consume the contrapuntal movement nor
does the mass ever become totally homogeneous. Instead, interaction
of canonic activity perceived at a number of levels produces a contextual hierarchy within the mass. The structural integrity of the
180