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Stravinsky's Topology
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Stravinsky's Topology: CHAPTER 2 Analyses and General Characteristics of Stravinsky's Twelve-Tone Music
16/02/2009 00:35
(Jerome Kohl, "Exposition in Stravinsky's Orchestral Variations," Perspectives of New Music (Fall/Winter 1979 and Spring/Summer 1980): 391-405.). Anthony Payne and Spies examine melodic segments to find key centers in Requiem Canticles (Anthony Payne, "Requiem Canticles," Tempo 81 (Summer 1967): 10-19. Claudio Spies, "Some Notes on Stravinsky's Requiem Settings," in Perspectives on Schoenberg and Stravinsky, 223-249.). Lynne Rogers looks to vertical simultaneities to highlight pitch centers in The Flood and The Owl and the Pussycat (Lynne Rogers, "Stravinsky's Serial Counterpoint and the Voice of God." Unpublished paper presented at the 1999 Society of Music Theory national conference, Atlanta.). Pieter van den Toorn looks for octatonic collections within Stravinsky's twelve-tone compositions (Pieter Van den Toorn, The Music of Igor Stravinsky, (New Haven, Connecticut: Yale, 1983): 427-455.).
Structural Analysis
Some analysts of Stravinsky's twelve-tone music focus on the large-scale formal structure of his works. Thomas Clifton constructs a large-scale formal symmetrical structure of Stravinsky's A Sermon, A Narrative, and A Prayer based on the focal symmetry that he finds in Stravinsky's rotated rows (Thomas Clifton, "Types of Symmetrical Relations in Stravinsky's A Sermon, A Narrative, and A Prayer," Perspectives of New Music (Fall/Winter 1970): 96-112.). Spies provides formal outlines for many of Stravinsky's late twelve-tone works (Claudio Spies, Perspectives on Schoenberg and Stravinsky, 186-249.). Straus examines the large-scale tonal, motivic, and harmonic structures in Stravinsky's late works (Joseph N. Straus, "A Strategy of Large-Scale Organization in Stravinsky's Late Music," Integral 11 (1997): 1-36.).
Text Analysis
Several analyses present relationships between the poetic texts of Stravinsky's twelve-tone works and his music. Gauldin and Benson analyze the poetry and music of the serial, pre-twelve-tone work In Memoriam Dylan Thomas in great detail (Robert Gauldin and Warren Benson, "Structure and Numerology in Stravinsky's In Memoriam Dylan Thomas," Perspectives of New Music 23:2 (Spring/Summer 1985): 166-185.). Spies also incorporates analyses of poetry in his articles (Claudio Spies, Perspectives on Schoenberg and Stravinsky, 186-249.).
Repeating Pitches
Like many other twelve-tone composers, Stravinsky often repeats notes or small groups of notes in the course of his set use.
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Stravinsky's Topology: CHAPTER 2 Analyses and General Characteristics of Stravinsky's Twelve-Tone Music
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Stravinsky also employs notes from rows out of order, including such procedures as row element rotation, skips in row ordering, as well as palindrome- or arch-shaped row deployment. Set rotation in Stravinsky ranges from simple reordering in the works of the 1950's to his frequent use of more complicated rotation and verticals in the works of the 1960's.
Row as motive
Stravinsky was less concerned with the compositional exploitation of internal row patterning than the classical serialist composers. Although some analysts point out the pitch-class set types in segments of Stravinsky's rows, Stravinsky seldom takes full and exclusive advantage of common tri-, tetra-, penta- or hexachords in most of his twelve-tone music. Additionally, Stravinsky does not frequently use certain portions of the row as recurring formal motives, as Schoenberg or Webern. Rather, Stravinsky's motivic row use is on a much smaller formal scale, although he often uses entire rows as subjects in fugal expositions.
Schoenberg's De profundis
A brief examination Schoenberg's De profundis will aid in the presentation of an Object-Oriented study of Stravinsky's twelve-tone works. Schoenberg's last completed composition, De profundis, exemplifies his characteristic compositional devices, such as combinatoriality and set succession. Schoenberg composed De profundis, Op. 50b, in 1950, five years before Stravinsky's first work using twelve-tone technique, Canticum sacrum. Schoenberg dedicated De profundis to the newly formed state of Israel. The work
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Stravinsky's Topology: CHAPTER 2 Analyses and General Characteristics of Stravinsky's Twelve-Tone Music
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calls for a six-part unaccompanied chorus (SSATBB) and soloists (SATBB). The Hebrew words are taken from Psalm 130. Following traditional Jewish practice for the musical presentation of Hebrew words, Schoenberg's setting replaces the Psalmist's tetragrammaton (YHWH) with "adonay" in every occurrence of the word. The English translation offers "LORD" for the tetragrammaton and "Lord" for "adonay." Table 2 shows the Hebrew words and English translation of De profundis.
The Prime row is taken from the first aggregate heard in the chorus (MM. 1-6). Table 3 shows the standard twelve-tone matrix for De profundis.
int: I-0 P-0 P-6 P-7 P-11 P-1 P-5 P-8 P-4 Eb A Bb D E Ab B G
-6 I-6 A Eb E Ab Bb D F C#
-1 I-5 Ab D Eb G A C# E C
-4 I-1 E Bb B Eb F A C Ab
-2
-4 I-11 I-7 D Ab A C# Eb G Bb F# Bb E F A B Eb F# D
-3 I-4 G C# D F# Ab C Eb B
+4 I-8 B F F# Bb C E G Eb
+1 I-9 C F# G B C# F Ab E
+6 I-3 F# C C# F G B D Bb
-1 I-2 F B C E F# Bb C# A
-4 I-10 C# G Ab C D F# A F
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Stravinsky's Topology: CHAPTER 2 Analyses and General Characteristics of Stravinsky's Twelve-Tone Music
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F# C C# F
C F# G B
B F F# Bb
G C# D F#
F B C E
C# G Ab C
Bb E F A
D Ab A C#
Eb A Bb D
A Eb E Ab
Ab D Eb G
E Bb B Eb
In De profundis Schoenberg employs only two rows, and their retrogrades: P-0, R-0, I-3, and RI-3. These rows have a combinatorial relationship so that the first half of P-0 (1-6) and the first half of I-3 (1-6) form and aggregate, as do the second half of P-0 (7-12) and the second half of I-3 (7-12). Schoenberg exploits this combinatoriality in the course of the composition. Table 4 shows all of the rows used in De profundis. Hexachords are split up so often that the first six notes in each row will be designated the "a" hexachord, and the last six notes in each row will be the "b" hexachord. P-0a contains the same six notes, in reverse order as R-0b; likewise I-3b contains the same six notes, in reverse order, as RI-3a; etc.
Verse 1 2
Soprano P-0
Mezzo
Alto
Tenor
Baritone Speaking
Bass
I-3b RI-3a
RI-3b & R-0a Speaking I-3a w/Bas I-3b w/Mez P-0 w/Sop RI-3b w/Sop R-0b w/Sop Speaking R-0 Speaking
Speaking P-0a I-3a RI-3b I-3a w/Alto P-0b w/Mezz & Alto R-0a Speaking P-0 w/M & A I-3a w/Soprano
R-0b w/Tenor
RI-3 [including error] R-0 7 I-3a w/Bass I-3b P-0 w/Bass P-0a
I-3(1-4)
Speaking
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Stravinsky's Topology: CHAPTER 2 Analyses and General Characteristics of Stravinsky's Twelve-Tone Music
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I-3
In the mezzo-soprano part in M. 32, two pitches, d" and eb' are out of order. Most analysts agree that Schoenberg mistook the soprano clef (C1) for a treble clef (G3) when he wrote these notes. The corrected pitches, transposed up a third (to f" and gb') maintain Schoenberg's formal construction with his row choices. As this investigation will later show, the rows that Schoenberg chooses are not related in the way that Stravinsky commonly chooses his rows. Whereas Stravinsky chooses rows related to the first and last notes of the Prime row, in De profundis the rows that Schoenberg uses do not share any beginning or ending pitches. In this work, Schoenberg is concerned with the economy of combinatoriality and a few rows. The next section of this paper will show how Stravinsky's row choices are different.
TABLE 5. Epitaphium "fr das Grabmal des Prinzen Max Egon zu Frstenberg" (1959) Rows
Prime Form (P-0) Retrograde (R-0) Inversion (I-0) Inverted Retrograde (IR) Retrograde Inversion (RI-0) Retrograde Inversion (RI-4) C# Bb Eb E C B F# F D G Ab A A Ab G D F F# B C E Eb Bb C# C# E B Bb D Eb Ab A C G F# F A Bb B E C# C G F# D Eb Ab F F F# G C A Ab Eb D Bb B E C# A Bb B E C# C G F# D Eb Ab F
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Stravinsky's Topology: CHAPTER 2 Analyses and General Characteristics of Stravinsky's Twelve-Tone Music
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Within most of his twelve-tone works, Stravinsky consistently employs rows obtained from these four forms (Prime, Retrograde, Inversion, Inverted Retrograde), to the exclusion of any other rows. (In the course of analyses below, the phrase "Retrograde Inversion beginning with the last note of the Prime form" (RI-4 in the case of Epitaphium) will be used in preference to "Inverted Retrograde" (IR) to facilitate analysis. When Stravinsky does employ the actual un-transposed Retrograde Inversion (RI-0), this paper makes clear the relationship of the rows.) Further, when he does employ other rows, he often does so according to a system generated from similarly related rows. This system will be illustrated later in this paper with Object-Oriented analysis. Of great interest to the conductor is that Stravinsky often employs a specific row for a structural event or to musically underscore the poetry. For example, Stravinsky often uses the Inverted Retrograde form of the row to highlight a particularly poignant musical or poetic-textual moment in a piece. On other occasions, Stravinsky uses specific foundational rows in certain sections of a work, then moves away from these forms and returns again at significant formal instances.
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