SYMPHONIC POEM NO. 1:
COMPOSITIONAL METHODS AND ANALYSIS
GRAHAM ALLISTER SMITH
A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF ARTS
GRADUATE PROGRAM IN MUSIC
YORK UNIVERSITY,
TORONTO, ONTARIO
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1+1 Canada ABSTRACT
The goal of this project was to create an original symphonic piece that successfully combines contrasting sections by using similar methods and thematic elements throughout. The following document outlines the progression of these methods and thematic elements as they appear in Symphonic Poem No. 1. This composition has a duration of approximately eleven minutes, and is designed for piccolo, two flutes, two oboes, english horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four french horns, two trumpets, two trombones, bass trombone, tuba, timpani, two auxiliary percussionists, and strings. The cyclical form of this piece has been disguised by the fact that there are no consistently repeated sections, but rather a broad use of recurring ideas and techniques. Analysis and specific examples have been provided in order to further support the argument that Symphonic Poem No. 7 is a successful unification of contrasting sections.
IV TABLE OF CONTENTS
Abstract iv
List of Examples vi
General Introduction 1
Analysis: Introductory Section 5
Development 9
Restatement 23
Ending 26
Concluding Remarks 29
Bibliography 32
Discography 34
Appendix A: Symphonic Poem No. 1 36
v LIST OF EXAMPLES
Example 1: Character and Tempo Markings with Corresponding Measure Numbers — 4
Example 2: First Important Harmonic Reference, Measure 4 5
Example 3: Clarinet Material, Measures 5-7 6
Example 4: Consecutive Rising Fifths in the Lower Strings, Measure 10 7
Example 5: Form Map for the Introductory Section 9
Example 6a-b: Comparison of Quintuplet Figures 10
Example 7: Final Developed Form of Quintuplet Figure 12
Example 8: Voicing and Instrument Designations, Measure 60 13
Example 9: String Sonorities, Measures 61-65 14
Example 10: First Statement of the Two-Part Imitative Phrase, Measures 65-74 16
Example 11: Middleground Brass Material, Measures 79-81 17
Example 12: Bass, Tuba, and Contrabassoon Material, Measures 109-110 21
Example 13: Voicing of the Climactic Moment, Measures 120-127 22
Example 14: Voicing from Restatement, Measure 132 23
Example 15: Three More Voicings Using Stacked Sevenths 24
Example 16: Form Map for the Restatement Section 26
Example 17: Two Important Intervals from the Ending, Measures 154, 156, 158 27
Example 18a-b: Comparison of Clarinet Theme from Measures 5-6, at Sounding Pitch, with Lower String Material from Measures 166-168 28
vi Symphonic Poem No. 1: Compositional Methods and Analysis
General Introduction
The term '^symphonic poem" was first used by Franz Liszt to describe twelve
symphonic pieces he wrote between 1848 and 1858, as well as a thirteenth in 1881-82.
These pieces are relatively short, single movement works that present material in a
continuous form, often relying on a cyclical method which uses recurring themes within
sections of contrasting character and tempo. This is opposed to the older convention of
thematically independent sections.' The genre of symphonic poem was explored by many
composers after Liszt, but was popularized mainly by the works of Richard Strauss,
written between 1886 and 1915, and Jean Sibelius, written between 1892 and 1925.
These works are often referred to as tone poems rather than symphonic poems, but the
terms have become interchangeable.
Whether discussing the symphonic poems of Liszt - the progenitor of the genre, or
the poems of other significant contributors such as Strauss and Sibelius, one can conclude
that there tends to be a nonmusical source of influence for the title and musical content of
these pieces. This influence is commonly referred to as creating music of a programmatic nature. Two types of programs for symphonic poems have become easily identifiable. A philosophical program, which Liszt most often employed, relies on general ideas and emotions. On the other hand, a descriptive program, which was commonly used by
1. Grout, A History of Western Music, 555, 620.
1 Strauss, represents specific nonmusical events. It is impossible to clearly differentiate
between these two types of program as they both share elements, but usually if a piece is
of a programmatic nature, it is more strongly associated with either the philosophical or
descriptive type.2
It is important to emphasize the possibility of a symphonic poem having no
external nonmusical influence, that is, to be of the absolute nature opposed to the
programmatic nature. Such is the case with the work in question: Symphonic Poem No. 1.
A conscious decision was made regarding the musical content and title of the work. The
compositional methods used, consist of utilizing purely original, abstract musical ideas.
Some of these musical ideas are developed and recur throughout the piece, relying on a
similar cyclical method as used by Liszt, and not the older convention of thematically
independent sections. This cyclical method is further emphasized by the recurrence of
specific intervals and rhythmic devices. Examples and analysis will be provided below,
as well as further insights into the compositional methods that were used to create
Symphonic Poem No. 1.
The instrumentation of this piece is quite substantial, consisting of piccolo, two
flutes, two oboes, english horn, two clarinets, bass clarinet, two bassoons, contrabassoon,
four french horns, two trumpets, two trombones, bass trombone, tuba, timpani, two auxiliary percussionists, and strings. This results in thirty different parts, and depending
2. Grout, A History of Western Music, 639.
2 on the size of each string section, could result in the use of seventy-five or more
musicians. This being the first time the composer has conceived a piece which requires
this many different parts for this number of musicians, matters of orchestration were
approached with the mindset of keeping the writing for each part as practical as possible
in regards to range and agility. As challenging as it is to write for an ensemble as diverse
and large as this, there are distinct advantages in regards to different sounds and textures
available from different instrument combinations, and an increased range of dynamics.
Symphonic Poem No. 1 spans a total of one hundred eighty-six measures and
depending on the interpretation of tempo markings will last approximately eleven
minutes. The piece can be divided into four main sections: Introduction (measures 1-24),
Development (measures 25-128), Restatement (measures 129-153), and Ending
(measures 154-186). The development section can be further divided into four
subsections. A more lyrical approach was used for measures 25-48 (rehearsal letter A);
an atonal approach was used for measures 49-64 (rehearsal letter B); the material in measures 65-105 (rehearsal letter C) relies on imitative counterpoint to create a fugal texture; and the material in measures 106-128 (rehearsal letter D) represents the most climactic moment of the piece.
The beginning of the piece is marked Adagio, which is a character marking that recurs throughout the piece and acts as a unifying feature. Although the recurrences are often brief, two or four measures in some cases, they come at clearly defined moments and involve important thematic and climactic material. Example 1 presents the important
3 character and tempo markings of the piece along with corresponding measure numbers.
These markings do not always reflect the formal sections described above, as they do not
always change when the sections change, and often change within the different sections.
These markings act more as a subtext to the overall form, representing a method that
helps unify the piece.
Example 1 Character and Tempo Markings with Corresponding Measure Numbers
Adagio J=56 Piu mosso J=72 Adagio J=56 Piii mosso J=72 Adagio J=56 Agitato J=l 12 1 1 1 1 1 1 17 49 51 61 65
Adagio J=56 Piu mosso J=72 Adagio J=56 Piu mosso 1=12 Resoluto J=64 1 1 1 1 1| 125 129 144 151 154 186
It is difficult to perform any kind of traditional harmonic analysis on this piece
because some sections do not have traditional harmonic progressions and rely instead on
layers of specific intervals stacked on top of each other to create important harmonic
references. This technique makes it difficult to specify a tonal centre for this piece, but
there seems to be an overall pull toward the tonality of D minor. As the analysis progresses there will be sections identified that exist outside the traditional definition of
D minor, but as far as a tonal centre, D minor is the best overall label that can be provided.
4 Analysis: Introductory Section
The first instance of stacked intervals that provides an important harmonic
reference happens right at the beginning of the piece and involves the lower strings and
first clarinet. The double bass section begins and the other sections enter one at a time,
going from lowest to highest, each a measure after the other. This method of staggered
entry becomes an important feature of the piece and recurs at key points throughout.
Here, the basses enter on E1, followed by the cello section on D3, followed by the viola
section on C4, and finally the first clarinet on B b4. If the extra octave between the bass
and cello notes is disregarded, there is a visible series of stacked notes a minor-seventh
apart. Example 2 clarifies this further.
Example 2 First Important Harmonic Reference, Measure 4
Clarinet
* «- m7 Viola- Cello. ml -o— Bass, — ml (+8va)
This combination of pitches creates an ambiguous harmonic moment, which can be attributed to the whole-tone nature of this material, and serves as the first important harmonic reference of the piece. Recurring throughout the piece in both harmonic and melodic settings, this reference contributes significantly to the unification of the piece.
After this first important harmonic reference the clarinet continues with what
becomes the first thematically important melodic and rhythmic material. Example 3
isolates the clarinet material from measure five to measure seven.
Example 3 Clarinet Material, Measures 5-7
3 5
The undulating minor-second intervals, as well as the leap of a minor-seventh between
the last two notes of the phrase, play an important thematic role. Most important of all
though is the quintuplet figure that appears at the end of measure six. This rhythmic
figure is used extensively throughout the piece, both in its original form, and later in
altered forms.
Between measures eight and ten, the first flute repeats the initial motive from the
clarinet part, a perfect-fifth higher. This is followed by another thematically important
gesture in measure ten by the lower strings. Example 4 shows this material. The most
important element is the consecutive rising fifths between beats two and three. These rising fifths contribute significantly to the piece as they are used throughout the development section. The material presented in examples 2, 3, and 4, supplies most of
6 the components that are drawn on throughout the piece to unify the contrasting sections.
Example 4 Consecutive Rising Fifths in the Lower Strings, Measure 10
=—1 » Viola 1cH~i— m—
Violoncello *tt =£=
/ —f— Double Bass *4f4 =P= m ^i
In measure eleven the quintuplet figure from the opening clarinet motive is used
in sequence by the woodwinds. It is played first by the flutes, then repeated by the oboes
a step lower, and then the clarinets another step lower. This little three-voice sequence is used throughout the piece, often approaching beat one of a new phrase. In this first instance it is followed by another sequential pattern. As the bass and cello sections return to their minor-seventh pedal from the opening, the viola section and woodwinds descend stepwise in a sequential pattern, within the key of D minor, before arriving on a G minor- seven chord in measure fifteen. This measure also brings about the second occurrence of the rising fifths gesture in the lower strings, as outlined in example 4. This time the phrase is a step higher and the viola section is replaced with the bassoons and contrabassoon. This altered instrumentation adds depth and force to this phrase, and allows the viola section to hold its note, which supports the winds.
7 The lower strings and bassoons descend after the second rising fifths gesture and arrive on a low E-flat in measure seventeen. This measure comes with a character marking of Piii mosso and represents the second part of the twenty-four measure introductory section. The brass section is used here for the first time as they outline a C minor-seven chord. This brass entry utilizes both the rising fifths gesture as well as the staggered entry method from the beginning of the piece. The harmony becomes an F minor-eleven chord on beat two of measure eighteen and is further arpeggiated by the woodwinds to an F minor-thirteen chord by the downbeat of measure nineteen. This is followed by another quintuplet sequence in the upper winds that is similar to the sequence in measure eleven. This sequence leads to a repetition of the brass material from measure seventeen, this time with reinforcement provided by the bass trombone, tuba, and timpani. As the woodwinds arpeggiate the F minor-thirteen chord again, the violin sections enter for the first time. The violins support the upper winds as they approach the final climactic moment of the introductory section, which occurs on beat two of measure twenty-two. The harmony then changes to an E half-diminished-seven chord and the winds and upper strings descend and drop out. The introductory section ends with the appearance of a 5/4 time signature, and an E pedal that is emphasized by the timpani.
Example 5 on the following page provides a form map of the introductory section for clarification.
8 Example 5 Form Map for the Introductory Section
24 measure introductory section
16 measure Adagio section 8 measure Piii mosso section
4 measure staggered entrance of minor 7ths (Brass enter) leading to first important harmonic statement 7 I 1 Cm to Fm» r 3 measure motive by clarinet 7 13 i Cm to Fm 3 measure motive by flute I 1 I I E07 D minor sequence r r Quintuplet Sequences
Consecutive 5ths'
Development
The next twenty-four measures represent the lyrical part of the development section. Split up into four measure phrases, this section more than any other provides a secure sense of a D minor key centre. All the notes that exist within these twenty-four measures are found in the natural minor, or D aeolian mode. Most of the harmonic support for this section is provided by the bass and cello sections as they use the consecutive rising fifths figure from example 4 to outline chords. Although not explicitly triadic, this support is successful in conveying specific harmony by placing the root of each implied chord on beat one of each measure. This support allows various instrument combinations to play in a more lyrical way above, without having to emphasize specific chord tones. The first four measures of the lyrical section act as a resolution to the previous
section and establish a firm D minor tonality with the use of lower woodwinds and french
horns along with the lower strings. The lower winds and horns drop out for the next four
measures as the violin and viola sections introduce newly composed material. The upper
woodwinds echo part of this material and then combine with the strings to outline a three-
voice quintuplet sequence that is similar to the two in the introductory section. Here
however, the quintuplet figure begins with an ascending second interval, opposed to
descending, as in the instances present in the introductory section. Example 6 provides a
comparison of the first clarinet quintuplet from the introductory section, at sounding
pitch, with the quintuplet from the first violin part of the lyrical section.
Example 6a-b Comparison of Quintuplet Figures
a. Introductory Section b. Lyrical Section 5 V ^M^^f rr r r r
The next four measures see the brass section come to the foreground as the two
trumpets and two french horns combine to form a three-voice texture. The woodwinds drop out and the violins and violas supply a tremolo background at pianissimo. A quintuplet sequence once again leads to the downbeat of the next four measure system.
The brass section drops out and there is a repetition of the material from measures 29-32
10 with the violins and violas taking the lead, and the upper woodwinds supplying an echo.
After this repetition however, the upper woodwinds carry on at measure forty-one as the
lower woodwinds and french horns enter with material similar to that from the first four
measures of this section. Starting on beat three of measure forty-one until the end of
measure forty-two, there is some familiar material in the flute and oboe parts. The exact
thematic material from the flute part in measures eight and nine is present here, transposed up an octave. As the piccolo joins in at measure forty-three, the original motive from the clarinet part in measures five and six appears, transposed up an octave in the oboes, and up two octaves in the flutes and piccolo. The woodwinds continue with a familiar descending quintuplet sequence, as in the introduction, which leads to a firm D minor chord in measure forty-five. This chord is sustained for the final four measures of the lyrical section and the upper voices gradually drop out as the lower strings remain held over to the next section.
A number of interesting things happen in the next part of the development section, between measures forty-nine and sixty-four. First, there is a return of the Adagio marking from the beginning, and in the lower strings, a return of the first important harmonic material, as displayed in example 2, without the clarinet part. Although this is a brief two measure restatement of this important material, it helps unify the piece. After this restatement auxiliary percussion is used for the first time as the xylophone and glockenspiel play in response to trills and tremolos in the upper winds. This is followed by the familiar rising fifths gesture in the lower strings, now played pizzicato. The pitch
11 content here shows that the piece is getting away from the strict D minor tonality of the
previous section. The first muted brass chord in measure fifty-one especially
demonstrates a tendency for a more harmonically ambiguous colour. These brass
voicings continue to be harmonically ambiguous throughout this section and contribute to the atonal approach used for the progression of this section.
Measure fifty-two presents the final developed form of the quintuplet figure in the woodwinds, as shown in example 7.
Example 7 Final Developed Form of the Quintuplet Figure j^^TT> -t=i 5
This form of the quintuplet figure, followed by a leap of a minor-sixth interval, is a prominent feature of the remainder of the development section. The appearance of these figures over the next several measures occur in an aleatoric way. The intention here was to use all twelve forms of the quintuplet figure, that is, each consecutive quintuplet starts on a different pitch until all twelve versions have been stated. The order in which they appear is random, but resembles the sequential patterns from earlier in the piece. The change of texture in this section, with the use of mallet percussion, pizzicato strings, and muted brass, provides an important contrast to the previous lyrical section.
12 The climax of this section occurs in measure sixty with all instruments playing
except the percussionists. The sonority that is present in this measure is built from the
rising fifths gesture that has been used on several occasions previous to this. Example 8
shows the voicing used in measure sixty, along with instrument designations.
Example 8 Voicing and Instrument Designations, Measure 60
Vln. I, Pice.- Vln. I, Fl. Vln. II, Ob.- Vln. II, Tpt, CI., Eng. Hn. Vla.,Tpt.,Hn.,B. CL- TT TT •Vla.,Hn.,Bsns.
Vc, Hns.- ><"» \>. <> •Vc, Tbn. Vc, Tbn.- dzm Db.,B. Tba Db, Tba., Cbsn.-
Eleven of the twelve available pitch classes are used here. Beginning with G \>' and building perfect-fifths on top of each other, all the way up to E7, results in the voicing used in measure sixty. This is reminiscent of the method used at the beginning of the piece when minor-sevenths were stacked on top of each other to create the first important harmonic reference (example 2). The following measure shows the brass and woodwinds dropping out completely by beat three, leaving the strings alone. However, because the strings are divided, the sonority from example 8 remains intact. This measure also shows a return of the familiar Adagio marking, which continues to guide the form of the piece.
The strings carry on to the next section by moving between the vertical sonority from
13 example 8 and another a major-second lower. These two sonorities are shown in example
9. The change in each string section is staggered by an eighth-note which creates etherealness and resembles the staggered quality of many other important moments in the piece, like the F minor arpeggiations from the introductory section. This staggered method of presentation along with the return of the Adagio marking contributes significantly to the unification of the piece.
Example 9 String Sonorities, Measures 61-65
"cr
Measure sixty-five brings a double-time tempo marking along with the character marking Agitato. Simply doubling the Adagio tempo provides a smooth transition while propelling the piece forward. This forty-one measure section, spanning measures 65-105, has an interesting design. First, there is a single measure that facilitates a two-beat quintuplet pick-up. Next, there is a nine measure phrase that relies on two-part imitative counterpoint. This phrase is repeated three more times by different instrument combinations and with different tonal centres. As each new phrase is stated, the
14 background and middleground material becomes more dense. The section is completed with a four measure tag that releases the tension from the dense material leading up to it and acts as a transition to the final part of the development section.
The pitch content of the quintuplet pick-up in measure sixty-five is equivalent to the first appearance of the final developed form of the quintuplet figure from the previous section (example 7). This is followed by an ascending minor-sixth interval as before, and is played here by the bass and cello sections. This entrance is imitated by the flutes, oboes, and clarinets in measure sixty-seven, but this time the quintuplet is followed by a descending minor-sixth interval. From here, the two parts play in rhythmic unison until the downbeat of measure sixty-nine. At this point the upper voice takes the lead and the lower voice follows two beats later; the melodic content of the two parts is equivalent from here until the end of the phrase at measure seventy-four. This initial two-voice imitative phrase is isolated in example 10, on the following page.
The tonal centre of this initial imitative phrase is D minor, the home key. This is especially clear if the quintuplet pickups are disregarded. The end of the phrase does however move toward a G minor cadence. The interval content of this phrase reflects characteristics that have been deemed thematically important. If the quintuplet pickups are again disregarded, the only intervals that exist in both voices are either ninths, octaves, sevenths, or seconds. If octaves are considered equivalent to unisons, and ninths as equivalent to seconds, then the only intervals that really exist in this phrase are sevenths and seconds. This is reflective of the interval content of the opening motive as
15 stated by the clarinet and outlined in example 3.
Example 10 First Statement of the Two-Part Imitative Phrase, Measures 65-74
bJ JlJ A P^ MrrTD.,)>r o\r TV,r
.!>/> | ^ -^^ ^ r_ ^ ^ ^£ m ^^ ^ ^ if£=^ ^ relics
The quintuplet pick-up into measure seventy-five signals the start of the second statement of the two-part phrase. This quintuplet is a tritone higher than the initial, however, the tonality of this second phrase is not a tritone removed from the original.
The tonal centre remains D minor, but the overall content of measures 75-83 reflects more of a modal dominant of D minor. The first violins have the lower voice in this second statement while the flutes and piccolo take the upper voice. The peculiar appearance of G-flats in measure seventy-six can be explained by the desire to preserve the descending minor-sixth interval following the quintuplet figure in the flutes and piccolo. The glockenspiel makes a brief appearance here to add some interesting colour, and then the second violins and violas enter with a dynamic marking of pianississimo.
16 The material that the second violins and violas play here is background material and
simply outlines an A minor triad with a five-note, eighth-note pattern. This background
material continues throughout this section with alterations for each new phrase. During
this second statement of the contrapuntal phrase, middleground material is played by the brass instruments as they appear for the first time in this section. Example 11 shows the brass material from measures 79-81.
Example 11 Middleground Brass Material, Measures 79-81
Vi* ' 1 f If I ' f \f i 1
The first set of three notes is played by all four french horns and two trombones, while the second set of three notes adds the bass trombone and tuba an octave lower. This middleground material is derived from the original rising fifths gesture in the lower voices from the introductory section (example 4). The first three-note set corresponds to measure fifteen, beats two and three, and the second three-note set corresponds to measure ten, beats two and three. This material has been drawn on throughout the piece and appears now as descending fifths.
The third statement of the imitative phrase begins with the quintuplet pick-up to
17 measure eighty-four, this time played by the english horn and clarinets. The second
violins and oboes respond with the upper voice entrance in measure eighty-five. This
time the melodic content outlines a tonal centre of E minor. This key is reinforced by the
background material that appears in the first violins and violas. Like the background
material of the previous phrase this is an arpeggiation of the E minor triad using a five-
note, eighth-note pattern. The next few measures get an added density as the bassoons
play a fragmented entry of the lower voice part (measures 87-89), the flutes play a
fragmented entry of the upper voice part (measures 89-91), and the brass section plays
another statement of the middleground material from above (measures 88-90). This
second statement of the middleground material is a fourth higher than the original,
however, it remains within the tonality of D minor. This adds to the density of this
section and creates a moment of bitonality as both E minor and D minor tonalities are
present.
The fourth and final statement of the imitative phrase begins with the lower voice
once again in the bass and cello sections, this time with some reinforcement from the
bassoons, bass trombone, and tuba. First violins, flutes and piccolo follow with the upper
voice. The tonal centre of the phrase this time is F# minor. This is supported by the
familiar five-note, eighth-note triad arpeggiations in the background material, played by the second violins and violas. The added density from the previous phrase is employed again in this phrase as the bassoons play a fragmented entry of the lower voice part
(measures 96-98), the oboes play a fragmented entry of the upper voice part (measures
18 98-100), and the brass section plays another statement of the middleground material
(measures 97-99). The middleground material in this phrase appears exactly as it did the
first time, as displayed in example 11. The use of this D minor material results in another
moment of bitonality toward the end of this fourth and final statement of the imitative
phrase.
As the fourth statement ends, in measure 101, the clarinets play a fragmented
entry of the lower voice part on beat one. This is followed by the bass clarinet playing the
same material an octave lower, two beats later. This leads into the final four measures of
the contrapuntal section. As the string section holds a B b pedal, the oboes play a
fragmented entry of the upper voice part on beat one of measure 102. This is followed by
the english horn two beats later, in a similar fashion to the clarinets from the previous measure. The glockenspiel makes another brief appearance in measures 103-104 as the
lower strings drop out. The dynamic markings diminish, and the upper strings and woodwinds are held over into the final part of the development section.
The final part of the development section, between measures 106 and 128, is the most important climactic moment of the piece. The final developed form of the most important thematic element, the quintuplet figure, which has been heard throughout the previous section, comes together with the most important method of creating a harmonic moment, that is, stacking consecutive intervals of the same type on top of each other to form a chordal sonority. As displayed in examples 2 and 8 in particular, this method of stacking intervals often leads to an ambiguous harmonic statement, and the climax of this
19 section acts no differently.
The general concept behind the final part of the development section is to end up
with all the instruments in the ensemble sounding to create the most climactic moment
with a very specific voicing. This voicing is ultimately attained by each instrument being
assigned a specific version of the quintuplet figure followed by either an ascending or
descending minor-sixth. The final note of this figure translates to the final pitch
assignment for the climax. The harmonic moment contains twelve different notes which
require twelve different statements of the quintuplet figure. These statements occur in a
staggered way, which has been an ongoing method throughout the piece, used to help
unify different sections. Some instruments play more than one figure, and some
instruments, especially brass and woodwinds, drop out after their initial statement and
come back in as the climax builds. In a couple of instances involving lower register
instruments, the pitch after the quintuplet is transposed down an octave or two after the
initial statement in order to fulfill the necessary pitch assignment. This allows the quintuplet figure to appear in an idiomatically clear and manoeuvrable range for each instrument. Special care was taken when considering note assignments for each instrument. It is important to keep the sound as evenly distributed and ambiguous as possible, with no emphasis on any pitch in particular.
The first entrance at measure 106 involves the basses, tuba, and contrabassoon.
The pitch content of this phrase exactly matches that of the first two measures of the initial statement of the lower voice in the imitative counterpoint section, back at measure
20 sixty-five; this also matches the initial statement of the final developed form of the
quintuplet figure in measure fifty-two, as displayed in example 7. The appearance of this
specific phrase at the beginning of each of these three consecutive sections within the
larger development section is an important contributing factor to the successful unification of the piece.
Two more statements occur over the next two measures with different instrument combinations and then the basses, tuba, and contrabassoon continue with two measures of material that is not directly connected with the quintuplet phrase. The main purpose of this material is to help with the overall unity of the piece by melodically stating the first important harmonic reference from example 2, which is used again in the restatement section, and by introducing a simple descending line, C-B \> -A-A \>, which is drawn upon in the ending. Example 12 outlines the two components of this material.
Example 12 Bass, Tuba, and Contrabassoon Material, Measures 109-110
melodic statement of first important harmonic material descending line 1 used in the ending + 1 >• m^i ; r
The remaining statements of the quintuplet phrase occur, one per measure, over the next nine measures, until all the instruments are engaged at measure 120. Starting on
21 E1 and building perfect-fifths on top of each other results in the voicing used here, with
the only exception being that the top note has been transposed down an octave, and sits at
A6 instead of A7. This is simply for reasons of practicality, as the only instrument that can
comfortably play A7 is the piccolo, and the piccolo is already playing D7. Example 13
shows the voicing used and the instrument designations for this climactic moment.
Example 13 Voicing of the Climactic Moment, Measures 120-127
Pice, Glock. Fl.,Xyl.,Vln. I en:—Fl.,Xyl.,Vln.I -o- Ob., Vln. II Ob.,Cl.,Tpt.,Vla. Eng.Hn.,Cl.,Tpt., Via. B. Cl.,Bsn.,Hns. £ -&- Bsn., Hns., Vc. Tbn., Timp., Vc. K -' pi Tbn., Timp. B. Tbn., Tba. Cbsn., Db.
A crescendo builds over the next four measures until the apex of the climax is reached at measure 123. This is followed by a full measure of rest, and then the return of the familiar Adagio marking. The sonority from example 12 is played five more times, alternating with rests, over the next three measures with diminishing force. Another full measure of rest with afermata follows, and this marks the end of the development section.
22 Restatement
The material between measures 129 and 153 is a restatement of the introductory
material, with the first fifteen measures being an extended version of the initial harmonic
material, and the next ten measures being a condensed version of other thematically
important material. The first fifteen measures are labelled Piii mosso and can be further
divided into three groups of five measures, while the next ten measures show the return of
the Adagio marking and can be divided into a group of four measures followed by two
groups of three measures.
The first group of five measures utilizes only the lower woodwinds, brass, and
cello and bass sections. The material here builds from the original staggered entry of stacked minor-seventh intervals from the first four measures of the piece, as outlined in example 2. This time each voice is exactly a seventh apart, opposed to the octave and a seventh that occurs between the two lowest voices in example 2. Also, all the voices shift up two notches as two more notes are added on top. This results in the voicing outlined in example 14.
Example 14 Voicing from Restatement, Measure 132
o ZEE Jm7 M7 o_ J' csEz.-°m7
23 The pitch content of this section stays within the home key of D minor, and as a result,
the interval content of this voicing now contains a major-seventh, along with two minor-
sevenths.
The next five measures are an exact repetition of the first five measures of this
section. Following this repetition the brass and woodwind sections drop out and the
string section continues to build on the stacked sevenths theme. The same staggered
entry system is used here as the five different sections of the string ensemble build five- note voicings. The ensemble comes to a rest on three important voicings over the next five measures. These voicings are simply extended versions of example 14 that continue to emphasize the method of stacked sevenths within the key of D minor. Example 15 outlines these three voicings.
Example 15 Three More Voicings Using Stacked Sevenths
JQL
Vln. I / vy—** o t* Vln. II / A 4> €> 1 VMC
Vc. 1 tfV 1 I) • *% Db. \\ <> TT
The first voicing adds a note on top of the voicing from example 14, the second voicing adds a note below, and the third voicing takes the material from the first voicing and
24 shifts it up another seventh. The upper woodwinds join the strings on the staggered entry
that leads to the third voicing and this chord is held over to the first measure of the next
ten measure section that is used to restate thematically important material from the
introduction.
The first four measures of the next section contain the same material as measures
eleven to fourteen, with some added instruments and slight alterations to the supporting
material. The first measure contains the familiar three-voice quintuplet sequence and this
leads into a three measure descending D minor sequence. Over the next three measures
the upper voices hold a G minor-seven chord while the lower voices play the two
statements of the consecutive rising fifths gesture from measure ten and fifteen. This is
followed by the same descent in measure sixteen that leads to a low E-flat. The final
three measures of the restatement are a condensed version of measures seventeen to
twenty-four of the introduction. There is a return of the Piii mosso marking as the
woodwinds and strings continue to hold their notes, and the brass section uses the rising
fifths gesture and staggered entry method to outline a C minor-seven chord. This harmony is extended to C minor-eleven when considering the woodwind and string notes that have been held over. This harmony is further punctuated by the timpani as the ensemble decrescendo into the ending. Example 16, on the following page, provides a form map for the restatement section, similar to the one in example 5 for the introductory section.
25 Example 16 Form Map for the Restatement Section
25 measure restatement section 15 measure Piii mosso section 10 measure Adagio section {Piii mosso) I II l 5 measure staggered Quintuplet sequence entrance of stacked 7ths I 1 I I „ . D minor sequence Repetition of first 5 measures i 1 1 Consecutive 5ths Stacked 7ths in strings i i C minor (brass)
I 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Ending
The ending, which spans measures 154-186, acts as a summary of the important material that has been traced throughout the piece. This section comes with the marking
Resoluto, which requests the music to be realized in a steadfast manner. The tempo is set exactly between the two most common markings that have been used in the piece, Adagio at fifty-six beats per minute, and Piii mosso at seventy-two beats per minute. This results in a new tempo of sixty-four beats per minute. This new marking helps balance and resolve the material from the restatement section. The thirty-three measure ending is divided into two parts, with the final seventeen measures being very similar to the first sixteen measures.
The beginning of this section shows a reduction in instrumentation as the lower strings, two french horns, and two bassoons are alone for the first seven measures. Over
26 the course of these first seven measures there are two important characteristics that help
summarize and unify the piece. First, the double basses play a descending line that
consists of C-B b -A-A b, an augmentation of the descending line found in the last part of
the development section and outlined in example 12. Second, the melodic material that
occurs in this section, most easily seen in the cello part, is a succinct representation of the
two important intervals that have been emphasized throughout the piece and relied upon
for unification. Each two measure phrase begins with a rising seventh interval, both
minor and major occur due to the use of notes within D minor, which is followed by a
rising perfect-fifth interval. Example 17 highlights these intervals.
Example 17 Two Important Intervals from the Ending, Measures 154, 156, 158
These notes are all within the home key of D minor, however, there are a few notes that appear, especially in the second half of the first sixteen measure section, which are not.
Most of these notes are passing in nature and simply add colour to this section.
After the first seven measures the other two french horns and the two trumpets are added, as they, along with the basses, supply some syncopated accompaniment. The lower strings continue alone after this in a descending manner, which leads to an
27 undulating pattern that can be compared to the opening theme in measures five and six of
the clarinet part. Example 18 shows these two phrases with lines between the
corresponding notes; the interval content is exactly the same, but the rhythm has been
altered.
Example 18a-b Comparison of Clarinet Theme from Measures 5-6, at Sounding Pitch,
with Lower String Material from Measures 166-168
The low C is held over in the double basses as the material from the beginning of this section is repeated. This time the first and second violins, along with the violas, play the melodic material an octave higher than before with a syncopated embellishment. The remainder of the ensemble, excluding percussion, join in on the syncopated accompaniment which leads to a similar descending line with an abbreviated semitone undulation.
The ending is completed by an alternation of dyads, which is played three times.
As the string section completes its undulating semitone pattern and settles on B \>, they
28 are joined by the brass and lower woodwinds who fill out a chord consisting of only B t> 's
and F's. This dyad is answered by the upper woodwinds and string section, with natural
harmonics in the strings. The dyad this time consists of only D's and A's which suggests
a return to the home key, however, with only the root and fifth sounding there is some
uncertainty. This alternation of dyads happens two more times with the last statement of
the string harmonics being held longer. The open quality of this final chord, along with
the use of harmonics, lends a final etherealness to the piece. This characteristic has been
achieved at other important moments during the piece, and along with the uncertainty of
the final chord, acts as a final unifying quality.
Concluding Remarks
The discussion and analysis above have demonstrated the successful unification of contrasting sections within Symphonic Poem No. 1. Even though this piece consists of several diverse sections, an overall cohesion has been achieved by the recurrence of important thematic elements and compositional methods. The Adagio marking, the staggered entry method, the use of stacked seventh intervals and the harmonic ambiguity that accompanies this technique, the opening clarinet motive, and the consecutive rising fifths gesture are all important features that help create a unified piece.
As displayed in example 1, the Adagio marking begins the piece and recurs at key moments throughout. Although the recurrences are often brief, they come at clearly defined moments and involve important thematic and climactic material. For instance,
29 the first sixteen measure section provides all the important thematic material, the next
occurrence at measure forty-nine shows a brief restatement of the opening harmonic material, measure sixty-one provides a foreshadowing of the climactic material, measure
125 marks the end of the climactic section, and of course the final occurrence at measure
144 consists of restatements of important thematic material from the beginning.
The staggered entry method is employed at numerous important moments throughout the piece. The most important moments include the lower strings and first clarinet over the first few measures, the brass entries and ensuing arpeggiations at measures seventeen and twenty, the string section material at measure sixty-one, most of the climactic section from between measures 106 and 120, and throughout the restatement section.
The use of stacked seventh intervals, along with the harmonic ambiguity that accompanies this technique, is another important unifying factor. As displayed in example 2, measure four presents the first instance of this technique. A brief recurrence at measure forty-nine helps tie together the introduction with the development section.
And finally, this technique is the main feature of the first sixteen measures of the restatement section, which helps unify the entire piece.
The opening clarinet motive, between measures five and seven, and displayed in example 3, supplies the influence for most of the important melodic material within the piece. The interval content, which emphasizes seconds and a seventh, is drawn on throughout the piece, and the quintuplet figure is developed and used continuously. Most
30 importantly, the imitative counterpoint section, from measures 65-105 and displayed in
example 10, emphasizes second and seventh intervals. The quintuplet figure is
emphasized the most in the atonal section, between measures 49 and 64, and the climactic
section, between measures 106 and 128. These different sections, which draw on the
same material for influence, provide evidence that the opening motive is an important
unifying component of the entire piece.
Finally, the rising fifths gesture that is displayed in example 4, and first occurs in
measure ten, is another motive that is drawn on throughout the piece and acts as an
important unifying factor. The lower voices continuously emphasize this figure
throughout the lyrical section, measures 25-48, and the atonal section, measures 49-64.
But more importantly, the motive is expanded and used in a stacked form between measures 60 and 65, and again, at the most climactic moment, between measures 120 and
127.
The compositional methods within Symphonic Poem No. 1, consist of utilizing purely original, abstract musical ideas. Some of these musical ideas are developed and recur throughout the piece, relying on a similar cyclical method as used by Liszt.
However, this piece was not directly influenced by any specific historical model. Rather, many different compositions were consulted (as evidenced by the following bibliography and discography) in order to gain general knowledge regarding form and orchestration.
31 Bibliography
Bartok, Bela. Kossuth. Budapest: Editio Musica, 1963.
Debussy, Claude. La Mer. Zurich: Eulenberg, n.d.
. Prelude a I'apres-midi d'unfaune. Zurich: Eulenberg, 1967.
Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 6th ed. New York: W. W. Norton & Company, Inc., 2001.
Howell, Tim. Jean Sibelius, Progressive Techniques in the Symphonies and Tone Poems. New York: Garland Publishing, Inc., 1989.
Liszt, Franz. Ce qu 'on entend sur la montagne. Leipzig: Breitkopf & Hartel, n.d.
. Les Preludes. Paris: Heugel & Co., 1951.
. Orpheus. Leipzig: Breitkopf & Hartel, n.d.
. Tasso, Lamento e Trionfo. Leipzig: Breitkopf & Hartel, n.d.
Moore, Earl V., and Theodore E. Heger. The Symphony and the Symphonic Poem. Ann Arbor, MI: Edwards Brothers, INC., 1974.
Mussorgsky, Modest. Night on Bald Mountain. New York: Edwin F. Kalmus, n.d.
Rachmaninoff, Sergei. The Isle of the Dead. London: Boosey & Hawkes, 1947.
. The Rock. Moscow: Muzgiz, 1955.
Ravel, Maurice. La Valse. Paris: Durand & Co., 1921.
Respighi, Ottorino. The Fountains of Rome. New York: Dover Publications, Inc., 1999.
Saint-Saens, Camille. Danse Macabre. New York: Edwin F. Kalmus, 1988.
Schoenberg, Arnold. Pelleas and Melisande. Wien: Universal Edition, 1939.
Scriabin, Alexander. The Poem of Ecstasy. London: Eulenburg, n.d.
32 Shostakovich, Dmitri. October. Leipzig: Edition Peters, 1972.
Sibelius, Jean. Finlandia. Mineola: Dover Publications, 1991.
. Tapiola. Weisbaden: Breitkopf & Hartel, 1985.
Smetana, Friedrich. Ma Vlast No. 2, Vltava (The Moldau). New York: Edwin F. Kalmus, n.d.
Strauss, Richard. Also Sprach Zarathustra. London: Eulenberg, 1932.
. Don Juan. London: Novello & Co. LTD, n.d.
. Don Quixote. London: Novello & Co. LTD, n.d.
. Ein Heldenleben. London: Eulenberg, 1958.
Wilde, Denis. The Development of Melody in the Tone Poems of Richard Strauss. Wales: Edwin Mellen Press, Ltd, 1990.
33 Discography
Bartok, Bela. Music of Bartok. Performed by the Hungarian National Philharmonic Orchestra. [London?]: IMP, 1992.
Debussy, Claude. Orchestral Music. Various Performers. Paris: Andante: Naive, 2005.
Liszt, Franz. Complete Tone Poems, Volume 1. Performed by the London Philharmonic Orchestra. Baarn, The Netherlands: Philips, 1993.
Mussorgsky, Modest. Prokofiev and Mussorgsky. Performed by the New York Philharmonic. New York: Sony Classical, 2006.
Rachmaninoff, Sergei. The Rock. Performed by the Russian National Orchestra. Hamburg: Deutsche Grammophon, 1994.
. Isle of the Dead. Performed by the Concertgebouw Orchestra. New York: London, 1984.
Ravel, Maurice. Boulez Conducts Ravel. Performed by the New York Philharmonic. New York,N.Y.: Sony Classical, 1983.
Respighi, Ottorino. Symphonic Poems. Performed by the Pittsburgh Symphony Orchestra. [London, England?]: Naxos, 1991.
Saint-Saens, Camille. Danse Macabre. Performed by the Philharmonia Orchestra. New York: London, 1980.
Schoenberg, Arnold. Pelleas & Melisande. Performed by the Chicago Symphony Orchestra. [S.I.]: Erato, 1992.
Scriabin, Aleksandr. Poem of Ecstasy. Performed by the USSR Symphony Orchestra. [S.I.]: Moscow Studio Archives, 2004.
Shostakovich, Dmitrii. Words of Michelangelo. Performed by the BBC Philharmonic. Colchester, Essex, England: Chandos, 2006.
Sibelius, Jean. Symphonic Poems. Performed by the Moscow Philharmonic Orchestra. [France?]: Chant du monde, 1992.
Smetana, Bedrich. My Country: Cycle of Symphonic Poems. Performed by the Czech
34 Philharmonic Orchestra. Prague: Supraphon, 1981.
Strauss, Richard. Don Quixote, Don Juan. Performed by the Chicago Symphony Orchestra. New York: RCA Red Seal, 2006.
Strauss, Richard. Ein Heldenleben. Performed by the Royal Concertgebouw Orchestra. The Netherlands: RCO Live, 2004.
Strauss, Richard. Symphonic Poems. Performed by the Chicago Symphony Orchestra. London: London, 1994.
35 Symphonic Poem No. 1 Adagio J = 56
2 Clarinets in Bb
Contrabassoon
2 Trumpets in Bb
Bass Trombone
36 f ht f f f f irf
Eng. Hn.
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37 A tempo (J=56) Piu mosso J=72
Eng. Hn.
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Timp.
40 |A| A tempu (^=72)
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(AjAtempo(J=72)
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3 5
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47 L5J Adagio J = 56 Piu mosso J=72
br7W% f ' \iri
f
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mp -== / /. =- ^, 48 49 OS ff=- /=-<&» /=-<*» 3 *1
y :=— dia.
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Tpts.
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55 PPP simile
mf —= /
TPP
56 Eng. Hn
57 Eng Hn.
58 J ' *J J (t-J *'~ J " -± J- ' -m-
59 Eng. Hn.
I.^=^H& pp
PPP
60 D m a-1, .^^^ ^— W
Eng. Hn.
Tpts.
61 Eng Hn.
Tpts
62 Eng. Hn.
Tpts.
Timp.
63 Adagio (J=56) molto rit..
Eng. Hn.
Timp
fff mp 64 Piu mosso J=12
Tpts.
~ff
[Ejpiu mosso J=72
65 -wp
-mp
Tpts.
66 Adagio (J=56)
Adagio (J=56)
67 rit A tempo (J=56)
Eng. Hn.
68 Piii mosso J=72 tT ft J~K
Eng. Hn.
Tpts
Timp
69 (El Resoluto J=64
70 • 3 Via. 15 ^ J. J'1 J J J bX" ! r~~ J1 -J i>U "^rL "
3 Vc. ')•$ J. U J "J
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71 72 73 74