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A Study of Form and Structure in Pierre Boulez's Pli Selon Pli

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A Study of Form and Structure in Pierre Boulez's Pli Selon Pli Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-26-2015 12:00 AM A Study of Form and Structure in Pierre Boulez's Pli selon Pli Emily J. Adamowicz The University of Western Ontario Supervisor Dr. Catherine Nolan The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Emily J. Adamowicz 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Theory Commons Recommended Citation Adamowicz, Emily J., "A Study of Form and Structure in Pierre Boulez's Pli selon Pli" (2015). Electronic Thesis and Dissertation Repository. 3133. https://ir.lib.uwo.ca/etd/3133 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. ! ! ! ! ! ! ! ! A!Study!of!Form!and!Structure!in!Pierre!Boulez’s!Pli$selon$Pli$ $ (Thesis!format:!Monograph)! ! ! ! by! ! ! ! ! Emily!J.!Adamowicz! ! ! ! Graduate!Program!in!Music! ! ! A!thesis!submitted!in!partial!fulfilment! of!the!requirements!for!the!degree!of!! Doctor!of!Philosophy! ! ! The!School!of!Graduate!and!Postdoctoral!Studies! Western!University! London,!Ontario,!Canada! ! ! ! ! ! ! ! ! ! ! ! ©!Emily!J.!Adamowicz,!2015! Abstract In his 1963 treatise, Penser la musique aujourd’hui, Pierre Boulez proposes that there should be no distinction between serial materials and large-scale form. After his self-professed failure with Structures 1a and Polyphonie X due to the incapacity of the twelve-tone series to provide form in and of itself, Boulez reassessed and expanded his compositional approach to include what he refers to as “indiscipline,” which permitted him a new freedom to modify his materials as he saw fit through a plethora of new techniques, and to link these materials to large-scale forms that take their inspiration largely from literary influences. This investigation seeks to concretize Boulez’s proposed relationship between serial content and large- scale form in “Don” (1962) and “Tombeau” (1959), the framing movements of Pli selon Pli, largely by establishing the nature of their formal organization and the origin of the serial materials used in their construction. The course of this investigation traces the developmental history of materials used in “Don” and “Tombeau” which includes analyses of materials used in the unpublished Oubli signal lapidé (1952), the retracted drama L’Orestie (1954–55), the unpublished work for solo flute Strophes (1955–56), the Troisième Sonate (1955–57), Le Marteau sans maître (1953-55) and the inner movements of Pli selon Pli: the “Improvisation[s] sur Mallarmé I, II, and III” (1957, 1957, and 1959 respectively). The materials developed for “Don” and “Tombeau” are largely continuations of different lineages of serial materials developed for these earlier works and form constellations of structurally related materials that persist beyond the boundaries of individual works. Taken together, the works composed during the period 1952–62 are the most inspired and creative in ii Boulez’s compositional history. The trajectory of this investigation incrementally introduces the reader to increasingly larger-scale means of organizing serial materials that culminate in Boulez’s evolving theory of discontinuous musical form. Connections among works and their organizational structure are largely derived from sketch studies undertaken at the Paul Sacher Foundation in Basel, Switzerland. Keywords Pierre Boulez, music theory, musical form, integral serialism, serial music, Modernism, aesthetic theory, sketch studies, quotation, Pli selon Pli, Le Marteau sans maître, “Improvisation sur Mallarmé,” L’Orestie, Strophes, Oubli signal lapidé iii Acknowledgments I first want to thank my advisor, Dr. Catherine Nolan, for providing invaluable feedback and for generally making this dissertation possible given the delay caused by a prolonged illness. I also want to thank Dr. Peter Franck and Dr. Kevin Mooney for their contributions, and my colleagues and mentors, Erling Guldbrandsen and Catherine Losada for their input during this dissertation’s formation and for their continued support, and for Erling and Joseph Salem’s collegiality in permitting me to use certain materials of theirs and I hope to facilitate more widespread discussion of their valuable work. I also have deep gratitude and appreciation for Robert Piencikowski, the curator of the Boulez collection at the Paul Sacher Foundation in Basel, Switzerland for sharing his knowledge and his friendship, and for the curators and staff at Sacher for their hospitality and generosity during my many visits. In general, I have been struck by the collegiality and the warm reception I received from my inquiries among Boulez scholars, including Edward Campbell, Jonathan Goldman, Erling Guldbrandsen, Stephen Heinemann, Catherine Losada, Robert Piencikowski, Joseph Salem, and Ciro Scotto. Studying Boulez’s music and musical theory is a great challenge and a rewarding one that I, alongside my colleagues, have embraced. I wish to thank Western University for their support of my research, and the Department of Music Research and Composition for their vested interest in my work and success. Finally, I want to thank my parents, Steve and Carol, my sister Sarah, and my partner John for their unending and unconditional support and encouragement through some of the most difficult years of my life. iv TABLE OF CONTENTS ABSTRACT……..………………………………………………………………………….…….ii ACKNOWLEDGEMENTS………………………………………………………………………iv LIST OF FIGURES……………………………………………………………………………...vii CHAPTER ONE: A NEW APPROACH TO SERIAL COMPOSITION 1.1 The Technical Musical Work………………….……….........……..……...…1 1.2 Le Marteau sans maître as the Turning Point...................................…...........4 1.3 The Genealogical Approach to Analyzing Boulez’s Music...........................11 1.4 The Challenges of Sketch Analysis……………….........................………...16 1.5 The Challenges of Analysis in Boulez’s New Style..........................….........22 1.6 This Study in the Context of Boulez Scholarship…………………………...26 1.7 The Trajectory of This Investigation…………………………………....…..29 CHAPTER TWO: THE PROLIFERATION OF THE SERIES 2.1 The Generalized Series……...…..…......................................................…....34 2.2 Local Indiscipline……………………………......................…………….….37 2.3 Isomorphism and Invariance………………………………………………...42 2.4 Analysis of “Texte”……………………………………………………….....47 2.5 Vibraphone Lines from “Improvisation sur Mallarmé II”…………………..54 2.6 Extending Indiscipline...………………………………………………..…...59 CHAPTER THREE: CONSTELLATIONS OF DERIVED MATERIALS 3.1 Differentiating Constellations……………………………………………..…64 3.2 The Process of Multiplication……………………………………………..…65 3.3 Applying Products of Multiplication……………………………………..….74 3.4 The Issue of Transposition in the Multiplication Process……………..……..81 3.5 The L’Orestie Series and its Rotational Array…………………………..…...88 3.6 The Rotational Array in Strophes, L’Orestie, and “Don”………………..…..94 3.7 Expanding the Constellation……………………………………………..…106 CHAPTER FOUR: CONSTELLATIONS AND SERIAL FORM 4.1 Expanding the Constellation………………………………………………..110 4.2 Discontinuous Form and the Constellation…………………………………113 4.3 From Series to Voice in “Improvisation sur Mallarmé I, II, and III”………121 4.4 Losing the Series: the Virtual Theme……………………………………....132 4.5 Formal Discontinuity and Self-Quotation.……………………………….....134 4.6 From Constellations to Large-Scale Form……………………………….....144 v CHAPTER FIVE: LOCAL AND LARGE-SCALE FORM IN “DON” AND “TOMBEAU” 5.1 Constellations in “Don” and “Tombeau”………………………………….147 5.2 The Formal Design of “Don” and “Tombeau”..…………………….……..152 5.3 Local and Large-Scale Form in “Don”………………………….…………162 Section a/f………………………………………………………….…..166 Section b/e………………………………………………………….…..171 Section c/d………………………………………………………….…..173 Section d/c………………………………………………………….…..189 Section e/b………………………………………………………….…..190 5.4 A Microcosm of Large-Scale Form in Section f/a of “Tombeau”…….…...197 5.5 Pli selon Pli on Pli selon Pli…………………………………………….…203 CHAPTER SIX: CONCLUSION 6.1 A Summary of this Investigation……………………………………………206 6.2 Heterophony, Polyphony……………………………………………………208 6.3 Boulez and Klee………………………..……………………………………210 6.4. “Improvisation sur Mallarmé III”…………………………………………..216 6.5 Final Thoughts………………………………………………………………222 APPENDIX TO CHAPTER FIVE……………………………………………………………..225 BIBLIOGRAPHY………………………………………………………………………………256 CURRICULUM VITAE…………………………………………………………………………………………..268 vi List of Figures Chapter Two Fig. 2.1. Invariances in a Boulezian series constituted of trichords……………........43 Fig. 2.2. Invariances that emerge through the rotation of the series in Fig. 2.1….. ……………………………………………………………………………………………………….44 Fig. 2.3. Invariances that emerge in the rotated series from Fig. 2.2………………..45 Fig. 2.4. Internal invariances of the Le Marteau sans maître series……………...…..46 Fig. 2.5. Four partitions of the L'Orestie series along with their invariances…....47 Fig. 2.6. “Texte” from the Troisième Sonate with partitions of the series………….49 Fig. 2.7. “Common-tone” (invariant) relationships among [0127] partitions in adjacent series in “Texte”……………………………………………………………..…50 Fig. 2.8. O’Hagan’s Analysis of the Opening of “Texte” from the Troisième Sonate……………………………………………………………………………………………...52
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