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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 APRIL 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-62425-8 Our file Notre reference ISBN: 978-0-494-62425-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 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,