UNIVERSITY OF CINCINNATI

Date:______

I, ______, hereby submit this work as part of the requirements for the degree of: in:

It is entitled:

This work and its defense approved by:

Chair: ______

Notated Extemporization: The Structural Ramifications of Improvisatory Composing in Part VIII of Frederic Rzewski’s The Road

A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati

In partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Division of Keyboard Studies of the College-Conservatory of Music

By

Joseph Armond Ferretti B.M., University of Colorado in Boulder, 1998 M.M., University of Cincinnati, 2000

Committee Chair: Dr. Joel Hoffman Abstract

“Notated Extemporization: The Structural Ramifications of Improvisatory Composing in

Part VIII of Frederic Rzewski’s The Road” explores musical elements that result from Frederic

Rzewski’s improvisational approach to composition. The Road is a mammoth work in eight

Parts, each containing eight Miles. This document focuses on Part VIII, “The Big Day Arrives,” which also happens to be the largest of the Parts.

Rzewski presets structural frameworks for The Road on several levels. In addition to the eight-by-eight grid of Parts and Miles, there are eight labeled sections within each Mile and, in many cases, eight subsections within each section. Having established a framework in terms of time, sectional layout, or pattern, Rzewski gives free reign to his imagination in terms of tonality, harmony, rhythm, motive, figuration, and sound production. This document focuses on elements that result from an improvisatory flow of creativity. Such elements include a variety of local structures, eclectic presentations of material, an exploratory and colorful use of harmony, and a practical and somewhat free approach to motivic unity and cyclicality.

A great deal of scholarship on the output of Rzewski has focused on eclecticism and the incorporation of improvisation through the use of cadenzas. The aim of this document is to illustrate the manner in which Rzewski’s ability to improvise influences that which he composes out. Furthermore, it will introduce a very recently completed body of music of extraordinary dimensions.

The paper will begin by introducing Rzewski and his music. An ensuing survey of his piano works finishes with an overview of The Road and its conception. Following a summary of

Part VIII, the paper will explore attributes that suggest improvisational composing in each Mile

ii of Part VIII. A concluding chapter will outline salient characteristics that are universal to the

Miles of Part VIII.

iii

Acknowledgements

I would like to thank my advisor and committee chair Joel Hoffman for his knowledge, insight, and especially for encouraging me to forge new territory in my research on the music of

Frederic Rzewski. I would also like to thank Frederic Rzewski himself for generously taking his time to talk about his music, and for allowing me use his manuscript score in the examples of this document.

I could not have accomplished this without the loving and tireless support of my wife,

Elaine Lau. I want to also acknowledge my parents, Eugene and Donna Ferretti, for supporting

my every move and encouraging me all the way through.

Finally, I thank the other members of my reading committee for their time and input:

Allen Otte, and Eugene and Elizabeth Pridonoff, who also helped me to find my individual

musical and pianistic voice.

iv Table of Contents

Abstract...... ii

Acknowledgements ...... iv

List of Examples and Illustrations...... vi

Introduction...... 1

The Road...... 3

Part VIII, The Big Day Arrives...... 6

Mile 57, “Leaving”...... 7

Mile 58, “Marriage”...... 17

Mile 59, “Many Loves”...... 29

Mile 60, “Uphill” ...... 39

Mile 61, “Stop the war!”...... 48

Mile 62, “The Babble” ...... 53

Mile 63, “Nowhere” ...... 58

Mile 64, “Leaks and plugs”...... 64

Conclusions...... 74

Bibliography ...... 77

v List of Examples and Illustrations

Ex. 1a, Mile 57, mm.1-2...... 8 Ex. 1b, Mile 57, mm. 18-19...... 9 Ex. 2a, Mile 57, m.1 of section B, Dance-like figure 1...... 9 Ex. 2b, Mile 57, m.4 of section B, dance-like figure 2...... 9 Ex.2c, Mile 57, m.9-10 of section B, dance-like figure 3...... 10 Ex. 3a, Mile 57, mm. 1-4 of section C...... 10 Ex. 3b, Mile 57, mm. 29-36 of section C...... 11 Ex. 4a, Mile 57, mm. 1-7...... 12 Ex. 4c, Mile 57, mm. 18-21...... 13 Ex. 4d, Mile 57, mm. 7-17 of section C...... 14 Ex. 4e, Mile 57, mm. 18-19 of section C...... 14 Ex. 5a, Mile 57, mm. 1-9 of section B...... 15 Ex. 6a, Mile 57, mm. 1-12 of section G...... 16 Ex. 6b, Mile 57, m. 1 of section H ...... 16 Ex. 6c, Mile 57, mm. 14-15 of section H...... 17 Ex. 6d, Mile 57, mm. 19 of section H...... 17 Ex. 7a, Mile 58, the opening measures...... 19 Ex. 7b, Mile 58, mm.5-6...... 19 Ex. 8b, Mile 58, mm. 19-20 of section B...... 20 Ex. 8c, Mile 58, mm. 23-34 of section B...... 21 Ex. 9a, Mile 58, mm. 14-17 of section B ...... 21 Ex. 9b, Mile 58, mm. 34 of section B...... 22 Ex. 9c, Mile 58, mm. 34-40 of section B ...... 22 Ex. 9d, Mile 58, mm. 1-6 of section D...... 23 Ex. 9e, Mile 58, mm. 7-8 of section D...... 23 Ex. 9f, Mile 58, mm. 20-22 of section D...... 24 Ex. 10a, Mile 58, mm. 1-2 of section F...... 24 Ex. 10b, Mile 58, mm. 7-11 of section F...... 24 Ex.10c, Mile 58, mm. 17-21 of section G...... 25 Ex. 10d, Mile 58, mm. 24-29 of section G...... 25 Ex. 11a, Mile 58, mm. 1-8 of section H...... 26 Ex. 11b, Mile 58, mm. 12-19 of section H...... 27 Ex. 11c, Mile 58, mm. 32-36 of section H...... 27 Ex. 12a, Mile 58, mm. 46-47 of section H...... 28 Ex. 13a, Mile 58, mm. 1-4 of section C...... 28 Ex. 14a, Mile 59, mm. 1-5...... 30 Ex. 14b, Mile 59, mm. 13-14 of section A...... 31 Ex. 14c, Mile 59, mm. 25-27 of section A...... 31 Ex. 14d, Mile 59, mm. 46-50 of section A...... 32 Ex. 14e, Mile 59, mm. 55-59 of section A...... 32 Ex. 15a, Mile 59, mm. 1-3 of section B...... 33 Ex. 15b, Mile 59, mm. 39-42 of section B...... 33 Ex. 15c, Mile 59, m. 13-14 of section B...... 33 Ex. 15d, Mile 59, mm. 14-17 of section B...... 34 Ex. 15e, Mile 59, mm. 34-37 of section B...... 34 Ex. 15f, Mile 59, mm. 20-26 of section B...... 34 Ex. 16a, Mile 59, mm. 1-3 of section C...... 35 Ex. 16b, Mile 59, mm. 6-10 of section C...... 35 Ex. 16c, Mile 59, mm. 15-28 of section C...... 36 Ex. 16d, Mile 59, m.29-34...... 37 Ex. 16e, Mile 59, m.55-59 of section C...... 37 Ex. 17a, Mile 59, mm. 28-34 of section D...... 38 Ex. 17b, Mile 59, mm. 1-4 of section E...... 38

vi Ex. 18a, Mile 60, mm. 1-13...... 40 Ex. 18b, Mile 60, mm. 14-19...... 41 Ex. 18c, Mile 60, mm. 33-39...... 41 Ex. 18d, Mile 60, mm. 26-28...... 41 Ex. 18e, Mile 60, mm. 41-50...... 42 Ex. 19a, Mile 60, mm. 55 of section D...... 42 Ex. 19b, Mile 60, mm. 40 of section B...... 43 Ex. 19c, Mile 60, mm. 11-19 of section G...... 43 Ex. 19d, Mile 60, mm. 24-27 of section H...... 44 Ex. 19e, Mile 60, mm. 36-43 of section H...... 44 Ex. 20a, Mile 60, mm. 73-78 of section E...... 44 Ex. 20b, Mile 60, mm. 14-17...... 44 Ex. 20c, Mile 60, mm. 11-19 of section G...... 45 Ex. 21a, Mile 60, mm. 1-4 of section B...... 45 Ex. 21b, Mile 60, mm. 30-38 of section B...... 46 Ex. 21c, Mile 60, mm. 10-17 of section D...... 46 Ex. 21d, Mile 60, mm. 27-34 of section F...... 47 Ex. 21e, Mile 60, mm. 41-46 of section F...... 47 Ex. 22a, Mile 61, mm. 1-10 of section B...... 49 Ex. 23a, Mile 61, mm. 1-3 of section C...... 49 Ex. 23b, Mile 61, mm. 13-18 of section C...... 49 Ex. 23c, Mile 61, mm. 23-28 of section D...... 50 Ex. 23d, Mile 61, mm. 10 of section E...... 50 Ex. 23e, Mile 61, mm. 1-3 of section F...... 50 Ex. 23f, Mile 61, mm. 7-11 of section G...... 50 Ex. 24a, Mile 61, mm. 1-2 of D...... 51 Ex. 24b, Mile 61, mm. 22-23 of section G...... 51 Ex. 24c, Mile 61, mm.1-4 of section E...... 52 Ex. 24d, Mile 61, mm. 3-4 of section F ...... 52 Ex. 24e, Mile 61, mm. 10-12 of section G...... 53 Ex. 25a, Mile 62, mm.1-13...... 54 Ex. 25b, Mile 62, mm. 20-24...... 55 Ex. 25c, Mile 62, mm. 33-36...... 55 Ex. 26a, Mile 62, mm. 1-6 of section B...... 56 Ex. 26b, Mile 62, Latin square in section B ...... 56 Ex. 27a, Mile 62, mm. 16-17 of section C...... 57 Ex. 27b, Mile 62, mm. 49-51 of section C...... 57 Ex. 28a, Mile 63, mm. 1-5...... 59 Ex. 28b, Mile 63, mm. 26-33 of section A...... 59 Ex. 28c, Mile 63, mm. 41-47...... 60 Ex. 29, Mile 63, mm. 46-48 of section F...... 61 Ex. 30a, Mile 63, mm. 1-8 of section G...... 62 Ex. 30b, Mile 63, m.9 of section G...... 62 Ex. 30c, Mile 63, mm. 12-15 of section G...... 62 Ex. 30d, Mile 63, mm. 29-30 of section G...... 63 Ex. 30e, Mile 63, mm. 57-64 of section H...... 63 Ex. 31a, Mile 64, mm. 1-4...... 65 Ex. 31c, Mile 64, mm. 1-5 of section B...... 66 Ex. 31d, Mile 64, mm. 9-16 of section B...... 66 Ex. 32a, Mile 64, mm. 1-4 of section C...... 67 Ex. 32b, Mile 64, mm. 17-20 of section C...... 67 Ex. 32c, Mile 64, mm. 25-26 of section C...... 67 Ex. 33a, Mile 64, mm. 41-42 of section C...... 68 Ex. 33b, Mile 64, mm. 6 of section A...... 68 Ex. 33c, Mile 64, mm. 1-6 of section D...... 69 Ex. 33d, Mile 64, mm. 31-34 of section D...... 69

vii Ex. 33e, Mile 64, mm. 47-51 of section D...... 69 Ex. 34a, Mile 64, mm. 1-3 of section F...... 70 Ex. 34b, Mile 64, mm. 1-12 of section F...... 71 Ex. 34c, Mile 64, mm. 22-24 of section F...... 71 Ex. 35, Mile 64, mm. 1-3 of section G...... 72 Ex. 36a, Mile 64, mm. 1-4 of H...... 72 Ex. 36b, Mile 64, mm. 5-6 of section H...... 72 Ex. 36c, Mile 64, mm. 9-12 of section H...... 73

viii Introduction

A captivating feature of composer Frederic Rzewski and his music is the presence of a

unique and brilliant eclecticism. The wealth of articles and essays devoted to this aspect of his

output attest to this. Rzewski is a performer versed and skilled in the full gamut of styles in the

Western classical tradition as well as jazz. Renowned as an improviser and a player of

composed music, Rzewski applies the breadth of his capacity to his composing.

The versatility that Rzewski brings to his creative endeavors reflects his diverse background and development. Born in 1938 in Westfield, Massachusetts, Rzewski completed degrees at both Harvard and Princeton, studying with Randall Thompson, Walter Piston, Roger

Sessions and Milton Babbitt. His friend, the composer Christian Wolff, was also highly

influential in his compositional development at the time. A Fulbright scholarship took Rzewski

to Italy from 1960 to 1961, during which time he studied with Luigi Dallapiccola in Florence.

During the rest of the sixties, he remained busy throughout Europe as both a pianist and composer. In 1966, along with Alvin Curran and Richard Teitelbaum, he founded Musica

Elettronica Viva (MEV), an ensemble based in Rome with whom he delved into the realm of collective improvisation and live electronic music. This led to other interests, such as music dealing with social and political concerns, music written in graphic notation, and a large body of works that combine improvised elements with composed elements. Having taught as a visiting instructor at numerous schools throughout the United States and Europe, Rzewski currently passes most of his time in Brussels, where he recently retired from a post as Professor of

Composition at the Conservatoire Royal de Musique in Liège. His output includes works for solo piano, tape and mixed media, varied instruments, chamber ensembles, voice, orchestra, and the concerto medium.

1 Rzewski’s political interests and views have shaped much of his music and career as

composer and performer. He communicated his thoughts on the relationship between artist and

society when he wrote, “To create means to be here and now: to be responsible to reality on the

high-wire of the present. To be responsible means to be able to communicate the presence of

dangers to others.”1 Rzewski’s witnessing of a worker’s demonstration in 1969 while in Rome

had a profound effect on him. In the same year, he composed what probably was his earliest

widely-felt success, Les Moutons de Panurge, based on a text by the same title. The work

articulates some of his social views, partly by its practical and aleatoric freedom in terms of

performers and instruments. The theme of breakdown and eventual chaos in the work returns in

many of Rzewski’s later works as well. A stout leftist, Rzewski was compelled by the 1971 riot

in New York’s Attica Prison, where forty deaths resulted from a military attack ordered by

Governor Nelson Rockefeller, to write such works as Attica and Coming Together. Both works

were completed in 1972 and designated for mixed instrumental ensemble and spoken text.

Furthermore, Rzewski has joined other artists in adopting the “Copyleft” philosophy, wherein

publishers are avoided and obtaining a score involves requesting it from a composer, manager or

making a photocopy of a nearby colleague’s.

Frederic Rzewski's output for solo piano results from the wide gamut of styles and compositional processes that have interested him through the years. There are virtuosic and brilliant warhorses, such as the immense and monumental The People United Will Never Be

Defeated, composed in 1975. Based on the Chilean composer Sergio Ortega’s song by the same title, Rzewski’s set of theme and variations embodies the original song’s spirit of revolution and solidarity as much as it extends the Romantic tradition of virtuoso piano writing. Further to the idea of political and social expression through music, the composer spared little of the piano and

1 Rzewski, Frederic, “Statement,” Source Vol. 3 No. 2 (July 1969), pg. 90.

2 even the pianist in producing numerous works based on themes that have captivated him. Labor

and peace movements are central to the North American Ballads (1979), which incorporate tunes

from protests songs and spirituals. His set of theme and variations Mayn Yingele (1988-89) utilizes a Yiddish ballad bemoaning similar conditions. Rzewski also wrote a number of pieces along more abstract lines, such as the set Squares (1978), a sonata composed in 1991, and

Fantasia (1999). There are pieces employing extended techniques and non-conventional elements in a seemingly limitless exploration of sonic possibility, such as the aforementioned

North American Ballads and his De Profundis (1992). An experienced improviser himself,

Rzewski includes sections calling for improvisation within a large body of his piano works, many of which were mentioned above. The full gamut of these elements and influences plays an extensive part in The Road, Rzewski’s all-encompassing “novel” for piano.

The Road

Prior to completing The Road, Rzewski wrote the following:

The Road is a “novel” – for want of a better term- for solo piano, which when completed will contain about eight hours of music. Why a novel? It is not so much that the music tells a story – although the narrative element is certainly present – or that it refers to a particular literary model – although here too the writing techniques of certain authors (especially Russian nineteenth- century writers like Gogol, Dostoyevsky, Tolstoy, and Chechov) have influenced the writing of the music. I think of this music as a “novel” because it is meant primarily to be read (played) by a single person alone in a room, at a speed and for a duration determined by that person, independently of the conventions of concert performance. (This same person may also perform portions of the music for an audience.)2

2 Frederic Rzewski, liner notes to Rzewski plays Rzewski: Piano Works. 1975-1999, Nonesuch Records 79623, 2002, compact disc.

3 The Road is massive, its eight parts spanning 539 pages of manuscript score.3 With its

employment of an exhaustive array of extended techniques and forms of text, The Road also

provides the pianist with an opportunity to experience dimensions that are rarely and only

recently included to such extremes in piano music. Conceptualizing in the same manner as J.S.

Bach when he composed the two books of The Well-Tempered Clavier, Rzewski pictured a

domestic setting for The Road.4 Rzewski creates part of the story line for this journey through

conventional means, such as texture, harmony, and figuration. Heavy use of extended techniques, including use of voice, text, other parts of the piano, and various other objects, make the experience more vivid and obvious, allowing and pushing the pianist to experience the journey with even more mental and physical connection.

As is the case throughout much of his output, Rzewski captures extramusical themes in

the individual pieces, or Miles, of The Road with vivid resourcefulness. Quick movement

between extreme textural ranges and a variety of melodic and motivic invention are some

characteristics in The Road that contribute to its spontaneity and freshness. Christian Wolff

wrote of Rzewski, “In the seventies he regularly played self-contained improvised pieces at

formal concerts. These were shaped by pre-established structural schemes. The way of playing

and what he played was so clear and decisive, and often highly complex that it was hard to

imagine that the music hadn’t all been written.”5 The combination of structural layout and

spontaneous variety in The Road suggests a compositional process very akin to the

improvisational practice just described.

3 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 1.

4 Frederic Rzewski, liner notes to Rzewski plays Rzewski: Piano Works. 1975-1999, Nonesuch Records 79623, 2002, compact disc.

5 Christian Wolff, “Frederic Rzewski and his Piano Music,” Liner notes to Rzewski plays Rzewski: Piano Works. 1975-1999, Nonesuch Records 79623, 2002, Compact disc.

4 Rzewski establishes general parameters for the Miles in the form of purely numerical patterns and structures. He states, “One of the purposes of having a rational, abstract structure, is to make it less likely that you do the same old thing over again. It’s usually not as good as the first time.”6 These parameters are nothing like the types of preset and controlled formulas associated with serial composers. Nor does their use contradict the fact that an element of improvisation plays an important role in composing the Miles. The structures establish a set of parameters that allow Rzewski to compose in an uninhibited way. In discussing the compositional process, Rzewski states, “There is a certain amount of planning that maybe precedes the actual writing. I usually try to construct some kind of framework, or a box, to put things in. But then, whatever goes into that box is not planned at all.”7 Indeed, these purely numerical structures do form grids or boxes that do not affect aspects of pitch, rhythm or harmony within them. The overall organization and cycle of Miles within The Road exemplifies such a numerical structure. The work is in eight parts, each of which contains eight Miles, thus forming an eight-by-eight grid.

Rzewski layers a cycle of seven over this eight-based system: music that heavily employs extended techniques, or so-called “percussion” music, occurs in cycles of seven.8 In other words, a piece based almost entirely on unconventional piano writing occurs in the seventh Mile of Part

I, the sixth Mile of Part II, the fifth of Part III, and so on. For Part VIII, the cycle of seven has advanced full circle. Thus, it fits that “Nowhere,” the seventh piece of Part VIII, features almost entirely rhythmic notation for the keyboard cover and strings. With these grid-like structures assembled, Rzewski gives free reign to his imagination throughout The Road.

6 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, minidisk recording.

7 Ibid.

8 Ibid.

5 The abandon with which Rzewski’s pen flows from one idea to another in Part VIII of

The Road demonstrates an ability to draw on resources at a whim. This document will illustrate

ways in which Frederic Rzewski’s improvisational approach to composition has direct structural influence on the Miles of Part VIII of The Road. Following an overview of Part VIII, its

individual structure and place in the overall structure of The Road, the paper will explore

attributes that suggest improvisational composing in each Mile of Part VIII.

Part VIII, The Big Day Arrives

Part VIII, containing Miles 57-64, is the largest of the eight Parts. In fact, each Part in

The Road gradually expands in size and scope: Part VIII accounts for 227 pages, or over two-

fifths, of the manuscript score for The Road. The structural makeup of individual Miles in

Part I are comparable to just sections or passages in the Miles of Part I. In terms of inspiration,

each of the eight Parts of The Road features an individual theme. Part VIII is unique in that

Rzewski changed the intended theme partway through: “As I remember, my original idea, which

I did not carry out completely, was to base the whole of Part VIII on the relationships between

men and women. However, that was just an idea that kind of got left by the side of the road so to

speak; because then there were these pieces that clearly don’t have anything to do with that, like

‘Stop the War.’ Well, the war came in in the middle . . . The War kind of took over from love.”9

Miles 57 through 59, entitled “Leaving,” “Marriage,” and “Many Loves” reflect

Rzewski’s initial theme. Mile 60 features a text by the Victorian poet Christina Rossetti entitled

“Uphill,” which traces the symbolic journey on a road through dialogue. Its universal theme is

central to The Road as a whole, thus possibly bridging the gap between the earlier and later Miles

9 Ibid.

6 of Part VIII. Miles 61 through 63, “Stop The War!” “The Babble,” and “Nowhere” reflect

Rzewski’s change in inspirational focus from love to war, brought about by the U.S.-led war on

Iraq. Interestingly, Rzewski closes Part VIII with Mile 64, “Leaks and Plugs,” which plays on

the idea of preludes and fugues, and was written prior to the war-based Miles.

Structurally, Part VIII represents a miniature version of the entire work’s eight-by-eight

construction: each Mile features eight sections, labeled A through H. Even individual sections often feature such a construction, as will be shown below.

Mile 57, “Leaving”

Rzewski establishes an ironic twist by giving the title of “Leaving” to the first Mile of

The Big Day Arrives. The subsequent appearance of these titles on the same page of manuscript

score draws attention to the contrasting words “arrives” and “leaving.”10 The avoidance of

harmonic resolution or arrival stands as one manifestation of the work’s title. Although the work

features a motivic quality, Rzewski changes and varies motivic material greatly. With regard to

the practice of composing without correction or change, Rzewski stated, “It’s something that

Morty Feldman called ‘turning the page.’ He wrote without reference to what he had done the

day before . . . I’m basically lazy, so I like to just write whatever is in my head. And I usually

keep it since I’m also a miser. I don’t like to waste anything. If I can use it, I do.”11 With

regard to Mile 57, characteristics that result from improvisatory composing are its broad family

of related motives, its constant atonality and avoidance of arrival, and the free use of harmony.

10 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 312.

11 Rzewski, interview. by author, 10 June 2006, Cincinnati, minidisk recording.

7 The atonal writing and lack of harmonic resolution create the sense of movement and search suggested by the title. In terms of the composition process, such a lack of grounding would allow for freedom and an onward production of musical ideas. According to Rzewski, the musical events of Part A occur in twelve-second units.12 This accounts for changing meter and

tempo markings throughout. In addition, a vocal noise occurs in every seventh musical event.

Thus, a miniature version of both the eight-based and seven-based cycles is set; Rzewski can

move from passage to passage with renewed creativity as he continually “turns the page.”

The work begins with an ironic juxtaposition: a conventional phrase structure is stated

with a lack of tonal center or conventional harmonic support. The opening two-note slur motive

is followed by a chromatic circling gesture. This is answered by a reverse presentation: a

chromatic circling gesture followed by a two-note slur motive, both utilizing completely

different pitches. (See Ex. 1a).13

Ex. 1a, Mile 57, mm.1-2.

The reversal of events from measure 1 to 2 forms an antecedent and consequent phrase structure.

Rzewski avoids the expected harmonic closure normally associated with a consequent phrase

however. The fact that there is a lack of tonal hierarchy conveys a sense of openness; arrival is

avoided even on a local level.

12 Ibid.

13 Ibid.

8 Along with avoidance of resolution, the use of free atonality and chromaticism help give

the A section a sense of departure or searching. Example 1b demonstrates this ever-present chromatic quality. (See Ex. 1b).

Ex. 1b, Mile 57, mm. 18-19.

Section B introduces a new dance-like rhythmic figure that is freely woven into the

material. Examples 2a, 2b and 2c reveal a few related variations, the third of which has added

vocalizations that augment the carefree character of the figures. The whimsical use of such

figures that share general attributes reveals an improvisatory conception. (See Ex.2a, 2b, and 2c)

Ex. 2a, Mile 57, m.1 of section B, Dance-like figure 1.

Ex. 2b, Mile 57, m.4 of section B, dance-like figure 2.

9

Ex.2c, Mile 57, m.9-10 of section B, dance-like figure 3.

Rzewski begins section C with a soft and simpler version of the figure from section B, introducing the section with a contrast. (See Ex. 3a)

Ex. 3a, Mile 57, mm. 1-4 of section C

As in previous sections, Rzewski moves from one idea to the next at a quick pace, as will be shown by the following musical chain of events. Four measures into section C, Rzewski abandons the dance figure for two-note slurred motives and chromatic movement generally seen in previous sections. This is quickly followed by a passage featuring perpetual sixteenths in widely spaced intervals and a vocal interjection. Subsequently, a new motive appears. The remainder of section C combines fragments of this new motive, hints of the figure that started the section, and also fragments of the rapid sixteenth note material. Example 3b features this combination of elements.

10

Ex. 3b, Mile 57, mm. 29-36 of section C.

The sense of exploration and variety throughout such passages suggest an uninhibited

compositional process: Rzewski states in his essay, “Little bangs: A nihilist theory of

improvisation” that an improvised idea is “allowed to enter the playing field, in order to be

kicked around in pleasing patterns for a moment before being substituted by another idea.”14

Rzewski succeeds in binding all of this varied material together by using related motives

throughout. Although some passages explore unrelated ideas, he always returns to core motives.

Rzewski creates a very economical, at times contrapuntal, and motivically driven work without

controlling contrapuntal movement and motivic treatment. A pliable conception of motive,

along with allowance for interludes that feature unrelated material, are aspects of “Leaving” that

support the idea that Rzewski maintained a constantly onward focus during the compositional

process. A more thorough look at the motives introduced in sections A through C, taking note of

their similarities and differences, sheds some light into Rzewski’s motivic approach. Rzewski

himself wrote of improvisation that, “The first idea is unintentional, an error, a wrong note, a

fumble in which the ball is momentarily lost, a momentary surfacing of an unconscious impulse

14 Frederic Rzewski, “Little bangs: A nihilist theory of improvisation.” Current Musicology 67/68 (Fall 1999): 377-388 (Full text in pages numbered 1-6 accessed through ProQuest 5 April 2006), , 2.

11 normally kept under cover. The play to which it is subjected is the graceful recovery of the

fumbled ball, a second ‘wrong’ note that makes the first one seem right, the justification for

allowing the idea to be expressed in the first place.”15 The fact that Rzewski’s motivic material

turns in various directions could be the result of a mental process more akin to improvisation,

wherein thoughts and ideas are always moving forward, and editing or condensing material is

avoided.

Below is a survey of the motives used in sections A through C. The two-note slur idea is probably the most commonly woven motive throughout. After its initial presentation in the first

two bars in question and answer format, it is taken up again in measure four and combined with a

three-note motive. Starting at measure 6, related motives interact in various presentations and

combinations. (See Ex. 4a)

Ex. 4a, Mile 57, mm. 1-7.

A fluid texture that combines these ideas ensues. The material is not constantly saturated

with specific or related motives; however, Rzewski weaves motives into a chromatic and often

generally contrapuntal texture. The result then is a texture that sounds economical and

15 Ibid.

12 contrapuntal. Forms of both the two-note and three-note idea are combined and placed in

various contexts throughout the material that follows. For example, starting at measure 11, a

slower section begins with the slur motive, now featuring crescendos to the second note and

accompanied by trills in the right hand. (See Ex. 4b)

Ex. 4b, Mile 57, mm. 11-12.

In measures 18 and 19, three-note and two-note ideas sequence down with chromatic harmonies.

Rzewski then overlaps two-note slur figures, wherein even the dynamic shape is inverted. (See

Ex. 4c).

Ex. 4c, Mile 57, mm. 18-21.

The B section, while integrating some of the already presented motivic ideas throughout, introduces a new idea: a staccato, dance-like skipping motive discussed above in examples 2a

13 through 2c. To review, these rhythmically-related motives often emphasize syncopation and feature a pendulum-like melodic alternation. The C section begins with an idea, seen previously in example 3a, that is related to the skipping motive. Here in simple quarter notes and perfect fourths rather than tritones, at a dynamic level ppp, the character is sweeter and lyrical. Once again, Rzewski continues to integrate material already presented, while introducing some new ideas that are then incorporated throughout the section. The first new idea is a running sixteenth note figure in wide intervallic leaps that dominates five measures in its first presentation. (See

Ex. 4d)

Ex. 4d, Mile 57, mm. 7-17 of section C.

Immediately following is the second new idea, a jaunty rhythmical figure. (See Ex. 4e)

Ex. 4e, Mile 57, mm. 18-19 of section C.

Both ideas are interspersed throughout the remainder of section C.

Rzewski’s extensive use of chromaticism throughout “Leaving” is itself a unifying element. Chromatic lines are used in conjunction with motives, or as transitional material and

14 passagework. It comes in the form of single bass lines, parallel chords or diads, contrapuntal

textures, and sometimes in presentations with displaced octaves. At the beginning of section B,

Rzewski alternates between the dance motives and sections with thick chromatic and

contrapuntal textures. (See Ex. 5a)

Ex. 5a, Mile 57, mm. 1-9 of section B.

In sum, Rzewski uses motives in and out of a constantly progressing journey through textures in sections A through C. In sections D through F, these ideas are recalled freely and in

the same manner. Furthermore, he maintains certain salient features of accompanying and

transitional materials, namely chromaticism and contrary contrapuntal motion. Rzewski, with

such attributes at his disposal, journeys onward, keeping perhaps his own performance indication

“with no regrets” in mind.16

The arrival of section G marks the beginning of a completely new idea. Harmonic

stability, up to now avoided, is present and sustained here. A bass ostinato figure that consists

16 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 312.

15 entirely of an arpeggiation of an F-sharp major harmony provides the sense of harmonic stability so far untapped. The melodic line explores both harmonic tones and dissonant pitches with equal emphasis. (See Ex. 6a).

Ex. 6a, Mile 57, mm. 1-12 of section G

Rzewski follows the F-sharp major ostinato section with a return to previous gestures and textures in section H. Fragments from the opening sections are recalled or hinted at. For example, the circling figure that initiates the work also initiates section H. (See Ex. 6b)

Ex. 6b, Mile 57, m. 1 of section H

Some very short recalled ideas are similar enough to their initial presentation to sound like literal restatements. (See Ex. 6c and 6d)

16

Ex. 6c, Mile 57, mm. 14-15 of section H

(Compare with ex. 4b for similar passage from A section)

Ex. 6d, Mile 57, mm. 19 of section H

(Compare with Ex. 1b for similar passage in section A)

Thus, Rzewski unifies the ending with short segments of memorable preceding material, bringing closure in a cyclical way to the work. His use of recall is very fitting for the journey in

“Leaving,” a natural part of which would involve remembering those things left behind.

Mile 58, “Marriage”

In Mile 58, “Marriage,” Rzewski presents a textual plot adapted from Tolstoy’s Kreutzer

Sonata to a musical journey. The plot appears to generate the musical content, as if Rzewski is reacting spontaneously to the plot and creating a soundtrack. Rzewski states, “The original version of this story was a dramatic monologue for a well-known actor, who was a friend of

Tolstoy. And then, Tolstoy turned it into a short novel. Tolstoy never wrote for theater. This is

17 one of those rare occasions, where he wrote a work for, not the theater, but probably private

performance. And of course, also in the nineteenth century, there was this tradition of

melodramas. Schumann, Strauss, and Mendelssohn wrote these melodramas for famous actors.

Usually the composer accompanied them at the piano. This is a melodrama, except that the pianist is doing it by himself. There is only one performer.”17 Although the larger form seems

to be governed by the text, smaller scale forms are often governed by simple and logical patterns.

Thus, Rzewski is able to establish a sense of unity in a practical way: local patterns and structures serve as processes for generating material. Furthermore, Rzewski uses a wide variety of resources to accompany the drama. The expanded sound world and musical experience in this work includes use of the keyboard cover and strings in conjunction with the pedal, the finger nail, extensive use of voice from the pianist, and a glass of water at the end.

Rzewski sets the stage in an almost hypnotic manner. Rhythm is the primary focus of the entire opening section. A rhythmic palindrome executed with the left hand on a very low C string serves as an ostinato throughout. The rhythmic structure within each cycle features first an additive pattern and then a subtractive pattern, forming a palindrome. Meanwhile, the right hand taps free rhythmic material on the keyboard cover. (See Ex. 7a)

17 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, minidisk recording.

18 Ex. 7a, Mile 58, the opening measures.

Although the right hand material is not patterned in a repetitive way, Rzewski constructed it using smaller scale rhythmic figures that are combined in a variety of ways. The voice joins in with exclamations, for which Rzewski indicates, “Read Tolstoy’s Kreutzer Sonata, then find your own sound for Pozdnyshev’s ‘strange noise.’”18 The composer places these noises in a pattern that coincides with two cycles of the left hand rhythmic pattern. (See Ex. 7b)

Ex. 7b, Mile 58, mm.5-6.

The overall result is an amalgamation of structure and seeming randomness. The effect is not only mesmerizing, but somewhat sinister. The use of strings and keyboard cover creates a unique world of sound. Various parts of the finger, including the tip, flesh or nails, are used to tap, scrape or dampen various parts of the cover and low strings. All of these effects in the soft

18 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 331.

19 dynamic ranges provide an eerie soundscape for the intensity created by the rhythmic material.

The intensity is heightened toward the end of the opening section, wherein a gradual crescendo and increase in number of strings played leads to a cadenza.

Section B begins with a three-note pattern consisting of a minor second and a minor third in the bass. This three-note cell, which Rzewski treats with freedom in terms of interval order, becomes the unifying motivic cell for the remainder of the work. Example 8a shows the first presentation; and 8b features its first appearance in a concentrated contrapuntal texture. (See Ex.

8a and 8b)

Ex. 8a, Mile 58, mm. 1-7 of section B

Ex. 8b, Mile 58, mm. 19-20 of section B.

In the next example, the motive appears in all types of formats, from simple homophonic textures, to overlapping statements, doubled, and in contrary motion. (See Ex. 8c)

20

Ex. 8c, Mile 58, mm. 23-34 of section B.

Much of the writing in “Marriage” is not motivically driven; rather, it reinforces the text

and drama in a figurative and improvisatory way. Incidentally, the plot to Tolstoy’s Kreutzer

Sonata unfolds in the form of a narrative told by the main character while traveling on a train.

Thus, piano writing and figuration is largely inspired by the idea and sound of a train.19 The B section marks the beginning of the use of adapted text. The piano music accompanies this declamation with constant chromaticism and figuration that increases in both speed and size of interval. (See Ex. 9a)

Ex. 9a, Mile 58, mm. 14-17 of section B

19 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, minidisk recording.

21 The use of widely spaced and open harmonies, either in repetition or in alternating, pendulum-

like figures, also find their place in strategic locations throughout the work. The repeated

harmony in section B mimics a bell-tone or chiming clock, reinforcing the text “What time is it?”

(See Ex. 9b)

Ex. 9b, Mile 58, mm. 34 of section B.

Other statements are often effectively accompanied by silence or the soft and gradual decay of sound previously produced and held by the pedal, such as the closing remarks of section B. (See

Ex. 9c)

Ex. 9c, Mile 58, mm. 34-40 of section B

After a lengthy musical interlude, the chime figure reappears at the beginning of section

D. Its reappearance serves to bring the listener back into the reality of the textual drama, as if all

track of time had been lost. Rzewski renders clear the return to the present: the piano now

produces five chimes as opposed to the four chimes in section B. The presentation here is very

similar, as it too is followed by measures of rest. Rzewski then breaks the pianistic silence with

pendulous chiming figures in the fourth through sixth measures of the passage. (See Ex. 9d)

22 Ex. 9d, Mile 58, mm. 1-6 of section D.

Open and widely spaced harmonies are then used to accompany the slow build of musical tension that ensues. Again, chromatic rise effectively reinforces mounting tension in the words.

(See Ex. 9e)

Ex. 9e, Mile 58, mm. 7-8 of section D.

Rzewski continues through the work, reacting musically to the text. Lots of chromaticism and virtuosic scoring accompanies the mounting tension. Sequential writing abounds; parallel harmonies are also highly present. Without concern for motives or themes,

23 Rzewski fluently lays out dramatic accompaniment in a manner reminiscent of the use of improvised live piano playing during the silent film era. Intense continuous bass patterns churn and expand, such as the train-like accompaniment below. (See example 9f)

Ex. 9f, Mile 58, mm. 20-22 of section D

After another musical interlude, text returns to the forefront at section F. Here Rzewski creates tension through a repetitive bass figure that mirrors the steady chugging of a train. An eventual and gradual widening of interval within this perpetual movement provides a fatalistic backdrop for the plot, wherein the main character Pozdnyshev eventually murders his wife. (See

Ex 10a and 10b)

Ex. 10a, Mile 58, mm. 1-2 of section F.

Ex. 10b, Mile 58, mm. 7-11 of section F.

24 The tension created, sustained, and built up, culminates in a slamming piano lid at the beginning

of section G, which returns to the sound world that opened “Marriage.” The score calls for use of the keyboard lid as well as the sides and underside of the piano. A brief passage suggests a

palindrome; numbers of repetitions within units of pulse expand and contract. (See Ex 10c)

Ex.10c, Mile 58, mm. 17-21 of section G.

This is followed by a section that exhibits a less metered approach. Rzewski creates gestures

using ascending and descending movement, in terms of both dynamic level and physical

movement on the keyboard lid. This is enhanced by Rzewski’s instructions to “Imagine the

flapping of vampire wings.”20 (See Ex.10d)

Ex. 10d, Mile 58, mm. 24-29 of section G.

20 Ibid, 356.

25 The dialogue resumes at section H. With the heavy use of rests, the sparse texture

features an alternation between unaccompanied text and musical punctuation. These pianistic

responses to the text are reactive, thus exhibiting a spontaneous quality. (See Ex. 11a)

Ex. 11a, Mile 58, mm. 1-8 of section H.

Following this, chromaticism and train-like bass figuration return, acting as a unifying thread

that is woven throughout the drama. A local pattern takes form at measure 14: pitches in the bass move chromatically in contrary motion against similar movement from harmonies in the right hand. (See Ex 11b)

26

Ex. 11b, Mile 58, mm. 12-19 of section H.

Musical reaction to text throughout section H varies from the punctuation and intense perpetual

motion seen in the previous two examples. Local patterns and structures abound. The bass

figuration below features chromatic rises that manages to expand higher each time. (See Ex. 11c)

Ex. 11c, Mile 58, mm. 32-36 of section H.

As the drama winds to a close, Rzewski recalls previously employed material. First of all, the three-note motive, made up of a minor second and a minor third, is clearly recalled in the bass and treble registers. As before, he treats the interval order with some freedom. (See

Ex. 12a)

27

Ex. 12a, Mile 58, mm. 46-47 of section H.

Later, short half-step figures also recall much of the chromatic figuration previously heard; and

the free use of widely spaced harmonies is also reminiscent.

Although not yet discussed, extensive sections without text also reveal an improvisatory

approach to unity in “Marriage.” In addition to the unconventional use of piano in sections A

and G, there are two sections, namely C and E, that function as musical interludes within the

drama. They reveal some simple and improvisatory methods of integrating within the dramatic

and musical whole of the work. Section C, marked Presto agitato, begins with rapid figuration that moves in a roughly sequential way up the keyboard, and gives way to material that incorporates the three-note motive. (See ex. 13a)

Ex. 13a, Mile 58, mm. 1-4 of section C.

28 Ensuing is a sparser texture that allows for some “coughing, sobbing” from the pianist’s voice.21

Rzewski employs the haunting, widely-spaced harmonies used in a somewhat parallel fashion

and applied, as we have already seen, later at various points throughout the work. Furthermore,

the rapid sixteenth-note bass figuration, so present in other sections, appears in section C.

Sequences and parallel movement are employed freely and reveal improvisatory

approaches as well. Like section C, section E integrates unifying ideas into a free-flowing

journey through contrasting textures and passages. Chromaticism and sequential patterns, used

in a general way, are unifying in themselves due to their abundant presence here and throughout

the rest of the work. Rhythmic fragments previously used as well as the three-note motives are

also worked in.

Rzewski’s forward-moving approach to composition is particularly effective in creating the musical drama “Marriage.” He returns to ideas and motives, thus maintaining an organic and unified structural whole. Yet the terrain of contrasts, textures, tempos and local structures, as well as the sensitivity to specific events in the text, reveal spontaneity that likely results from an in-the-moment creative process.

Mile 59, “Many Loves”

A reader beginning a chapter entitled “Many loves” might expect to follow a tale full of

diverse experiences. Rzewski’s pianistic story “Many Loves” narrates just such a tale. The

abundance of sections featuring a wide variety of textures and structures form a sort of

patchwork that parallels an album of pictures and stories. A closer look reveals the organization

for this structure. Each of the eight sections, labeled A through H, feature eight subsections that

21 Ibid, 337.

29 last for twenty-four seconds. The appearance of extended techniques occur in a cycle of seven:

the third section of A features a vocal sound of “Pshhh,” the second of section B uses whistling,

and the first and eighth sections of C feature tongue clicks, et cetera. Rzewski introduces the

story by establishing a wide expanse of possibility, especially in terms of harmony and meter.

Tonal center and metrical regularity are avoided. In terms of tonality, the seven pitches of each

of the first three measures form an unrepeated set. Furthermore, all twelve possible pitches are

presented in the first twelve notes of measure 4, thus reinforcing a desire for an open tonal

palette. (See Ex. 14a)

Ex. 14a, Mile 59, mm. 1-5

In complement to this atonal writing, Rzewski avoids metrical regularity as well; the first five

measures contain three different meters. Rhythmic ambiguity is enhanced through generous use

of triplets and ties.

The flow from section to section follows a regular pattern: slower sections in 5/4 meter,

with the quarter note set to 80, alternate with faster, more articulate sections in primarily regular

meters and a metronome marking of 96. The opening, discussed above, forms the first section set at 96. The first 5/4 section ensues, furthering a sense of atonality with widely spread

presentation of pitches spanning both extremes of register. The next section, set at 96, includes a

stream of passagework that, although featuring perpetual motion in a regular meter, maintains a

sense of freedom by avoiding interval patterns and a tonal center. An examination reveals that

30 pitch repetition is avoided as much as possible; as many as ten or eleven pitches proceed before being repeated in some cases. (See Ex. 14b)

Ex. 14b, Mile 59, mm. 13-14 of section A.

The next section, marked espressivo, is a slower and lyrical contrast. At the onset, the right hand features a two-part texture, wherein the voices move closer together in chromatic contrary motion. Meanwhile, the bass ascends chromatically. (See Ex. 14c)

Ex. 14c, Mile 59, mm. 25-27 of section A.

The alternation between sections with toccata like textures at a faster tempo and sustained sections at a slower tempo continues. Rzewski closes out section A with a sparser fast and slow strand alternation. The last strand set at a faster tempo features some sense of center on D in the bass. The upper register material continues with a more atonal exploration. The composer uses harmonies that move in mostly chromatic and parallel relation to each other. (See Ex. 14d)

31

Ex. 14d, Mile 59, mm. 46-50 of section A.

The following and final strand, with a metronome marking of 80 for the quarter note, dispels any

possibility of settling on D or any center. This pointillistic closing features a disjunct, atonal,

almost Webernesque texture. As in the opening of the piece, pitch repetition is avoided within

each bar, except for a repeated middle C in the penultimate measure. Thus, Rzewski achieves a

high degree of atonality throughout section A without the strictness associated with a complete

equalization of pitches. The simple and rhythmic logic in this final passage consists of a steady

articulation of each quarter pulse. (See Ex. 14e)

Ex. 14e, Mile 59, mm. 55-59 of section A.

Rzewski creates interest by varying the placement of rests in section B. For example, it

begins with continuous chromatic trill figuration interrupted sporadically by rests of various lengths. Rzewski divides the material between hands, creating harmonic intervals when they overlap. (See Ex. 15a)

32 Ex. 15a, Mile 59, mm. 1-3 of section B.

He alludes to the figure again at the end of the section. (See Ex.15b)

Ex. 15b, Mile 59, mm. 39-42 of section B.

At other points, rests are quite evenly placed. The following measure features a visual palindrome. The even alternation between pitch and rest disguise a feeling of compound meter.

(See Ex 15c)

Ex. 15c, Mile 59, m. 13-14 of section B.

In the measures that follow, a compound metrical feel is continually obscured. Rzewski creates a syncopated effect by avoiding regularity of a subdivision by three. Furthermore, the use of compound meters and oscillating patterns give much of the material in this section a swinging quality. Rzewski approaches this concept with much creativity and variety. (See Ex. 15d)

33

Ex. 15d, Mile 59, mm. 14-17 of section B

The “back and forth” idea is present in the bass part of the following rhythmically regular

example. (See Ex. 15e)

Ex. 15e, Mile 59, mm. 34-37 of section B.

Rzewski also experiments with rests and pendulum figures in the irregular rhythm of 5/4. (See

Ex. 15f)

Ex. 15f, Mile 59, mm. 20-26 of section B.

34 Within each of the subsections of C, interest in rhythm, sound and figuration result in a series of small structures, or the “pleasing patterns” to which Rzewski refers.22 Section C begins with some rhythmically intricate material in three layers, one of which consists of tongue clicks that usually occur on weak parts of the pulse. (See Ex. 16a)

Ex. 16a, Mile 59, mm. 1-3 of section C.

An atonal equalization of pitches, emphasis on chromaticism, and register jumps are reigning characteristics of the second passage of section C. (See Ex.16b)

Ex. 16b, Mile 59, mm. 6-10 of section C.

Next we encounter rapid perpetual motion. The entire gamut of pitch is hit equally for the first five beats of the section. Spontaneous interest in interval and pattern governs the resulting pitches in what follows however. For a short while, Rzewski emphasizes tritones and half-steps. The figuration eventually settles into a fixed scale made up of minor thirds and half steps. The sixteenths eventually wind down to a semitone trill figure, which Rzewski truncates

22 Frederic Rzewski, “Little bangs: A nihilist theory of improvisation.” Current Musicology 67/68 (Fall 1999): 377-388 (Full text in pages numbered 1-6 accessed through ProQuest 5 April 2006), , 2.

35 incrementally. Thus, a subtractive pattern takes form: fourths, then thirds, and then finally just

minor seconds are emphasized. (See Ex. 16c)

Ex. 16c, Mile 59, mm. 15-28 of section C.

As the subsections of section C continue to flow one after the other, the often chromatic and atonal writing regenerates itself at every turn, as if in search or exploration. Rhythmic interest continues, as small-scale rhythmic palindromes and patterns periodically appear.

Rhythmic palindromes such as the following are hidden within contrapuntal left hand parts. (See

Ex.16d)

36

Ex. 16d, Mile 59, m.29-34

Another such palindrome is barely detectible audibly, involving more rests than pitches in quintuplet groupings. In addition, Rzewski precedes it with a gradual decrease in space between pitch articulations, notated through the use of a subtractive meter pattern. (See Ex. 16e)

Ex. 16e, Mile 59, m.55-59 of section C.

Finally, the section is unified in a cyclical manner with a return to the tongue click texture. Although the passage is not a literal recall, the added sonic element, interest in syncopation and dotted rhythms make the reference unmistakable.

The sectional flow of “Many Loves” continues in much the same manner: salient characteristics include the presence of highly contrasting passages, occasional recall of material, and frequent changes in tempo and meter. Often resulting from the use of set time durations, meter changes sometimes become the material for local numerical structures or interesting momentary patterns. The following passage in section D reveals an incremental increase in the number of beats per measure. (See Ex. 17a)

37

Ex. 17a, Mile 59, mm. 28-34 of section D.

The passage that begins section E features subtractive meter pattern. (See Ex. 17b)

Ex. 17b, Mile 59, mm. 1-4 of section E.

Many meter changes throughout “Mile 59” do not fall into these types of patterns. They serve as creative and momentary solutions to the set musical problem: maintaining variety in musical events that fall into equal and organized partitions of time.

As “Many loves” draws near to its close, Rzewski takes a turn down a very different path for section G. Various props are employed, to include a ball, a cup, and a container. Its appearance in the seventh section of “Many Loves” also fits within the continuing cycle of seven

(the first and eighth sections of the previous Mile were percussion sections). The pianist performs such tasks as snapping fingers, kissing, drinking, bouncing a ball, jumping and making hissing sounds. Thus, a highly contrasting page is turned within the survey of characters and experiences in the chapter. Rzewski closes with section H, which features a few small trips

38 down memory lane. Rzewski’s use of recall, so far only extending within sections, now functions within the entire work as hints and fragments of section A resurface periodically.

Mile 60, “Uphill”

Rzewski based “Uphill,” on a poem by the nineteenth century poet Christina Rossetti.

The lyrics, which are in question and answer form, often evoke musical response from the piano.

Furthermore, Rzewski manages to musically embody the text in more general ways, especially with regard to the title. The poem, which can be interpreted on a number of levels, is shown below:

Uphill

DOES the road wind uphill all the way? Yes, to the very end. Will the day’s journey take the whole long day? From morn to night, my friend.

But is there for the night a resting-place? A roof for when the slow, dark hours begin. May not the darkness hide it from my face? You cannot miss that inn.

Shall I meet other wayfarers at night? Those who have gone before. Then must I knock, or call when just in sight? They will not keep you waiting at that door.

Shall I find comfort, travel-sore and weak? Of labour you shall find the sum. Will there be beds for me and all who seek? 23 Yea, beds for all who come.

Section A exhibits a colorful palette of sound. With regard to some of his output,

Rzewski has been compared to Debussy for emphasizing similar interest in the piano’s sound

23 Rossetti, Christina, “Uphill,” The Oxford of English Verse, ed. Sir Arthur Thomas Quiller-Couch (Oxford: Clarendon, 1919), .

39 possibilities.24 The passages of section A traverse a wide range of register, lack a tonal center,

and all stay within a very soft dynamic range. This, combined with a sense of rhythmic variety

and ambiguity, give the section an atmospheric quality. Furthermore, subsections are not clearly

delineated by clear tempo changes.

Rzewski opens “Uphill” with an ironic twist: opening trill figures that begin in the treble

registers gradually descend into the bass. He expands the palette in the next passage by

incorporating the use of a suspended peace bell, the fluttering articulation of which recalls the

trills just played. (See Ex. 18a)

Ex. 18a, Mile 60, mm. 1-13.

Other passages emphasize sustained and widely spaced harmonies. These are often quartal

harmonies that feature dissonances created by harmonic minor seconds and minor ninths. In the

first example below, Rzewski gradually stacks harmonic pitches above a low C-sharp, possibly

creating a musical embodiment of an uphill rise. (See Ex. 18b and 18c)

24 Howard Pollack, Harvard Composers: Walter Piston and His Students, from Elliot Carter to Frederic Rzewski (Metuchen: The Scarecrow Press, Inc., 1992), 388.

40

Ex. 18b, Mile 60, mm. 14-19.

Ex. 18c, Mile 60, mm. 33-39.

The presence of small palindromes, themselves a possible reference to the idea of a hill, appear in the form of harmonic swells, created both in terms of harmonic density and register rise and fall. (See Ex. 18d)

Ex. 18d, Mile 60, mm. 26-28.

The general sense of tonal, rhythmic, metric and register exploration throughout section A is all greatly present in its closing passage. (See Ex. 18e)

41

Ex. 18e, Mile 60, mm. 41-50.

The degree of exploration and variety exhibited in section A parallels that found within the

practice of free improvisation. In section A of “Uphill,” Rzewski maintains an interest in sound

and color rather than motivic unity and drive.

As with other works in Part VIII, the presence of small-scale structures throughout

“Uphill,” such as palindromes, are an example of impromptu composing. Incidentally, in

discussing Morton Feldman’s continually onward approach to composition, Rzewski also

remarked on the composer’s extensive use of palindromes.25 There are various examples of

small scale palindromes in “Uphill,” in addition to the one mentioned in section A.

To begin, Rzewski presents palindromes that are based on rhythmic structure. The 26/4 meter of this bar appears to result from the overall length of the palindrome, possibly suggesting

Rzewski’s intention for a single gesture. (See Ex. 19a)

Ex. 19a, Mile 60, mm. 55 of section D.

The following rhythmic palindrome resulted in a meter of 13/4. (See Ex. 18d)

25 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, minidisk recording.

42

Ex. 19b, Mile 60, mm. 40 of section B.

In the next example, a gradual thickening of harmony occurs simultaneously with a gradual decrease in note value. The central harmony, which lasts for an eighth note value, is followed by an incremental increase in note value and thinning of harmony. Thus a palindrome is created both in terms of rhythmic value and density of sonority. (See Ex. 19c)

Ex. 19c, Mile 60, mm. 11-19 of section G.

Exemplifying another small and numerical structure, the following passage features an

alternating single-note figure that is placed in between bits of text. Each figure is reduced

gradually; the numbers in each group are eight, five, three, two and finally, one. Ironically, the

groups interrupt the text, “Of labour you shall find the sum.”26 (See Ex. 19d)

26 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 412.

43

Ex. 19d, Mile 60, mm. 24-27 of section H.

A similar subtractive pattern appears soon after. (See Ex. 19e)

Ex. 19e, Mile 60, mm. 36-43 of section H.

Rzewski’s approach to text painting and imagery also reveals some local and improvisatory approaches. He manages to capture the idea of a hill in numerous ways, the palindrome concept being one of them. The passage below suggests a hill, particularly by its visual appearance. (See Ex. 20a).

Ex. 20a, Mile 60, mm. 73-78 of section E.

The following passage, already discussed in terms of meter, parallels an uphill ascent: Rzewski increases density by gradually stacking tritones to the top of each new sonority. (See Ex. 20b)

Ex. 20b, Mile 60, mm. 14-17.

44 This next passage, previously examined as a palindrome, captures the two-sided idea of a hill

while generally rising at the same time. The ascension in this case has a transcendental quality.

(See Ex. 20c)

Ex. 20c, Mile 60, mm. 11-19 of section G.

Rzewski manages to call upon the power of association to evoke a sense of travel within

the pianist and listener, while at the same time fulfilling the pattern of placing extended sounds

in every seventh unit. Using a compound meter, with its potential to have a swinging feel,

Rzewski adds tongue clicks. The result is a reference to the sound of a horse trot. This rhythmic figure, which acts as a unifying element of the work, first appears at the onset of section B. (See

Ex. 21a)

Ex. 21a, Mile 60, mm. 1-4 of section B.

The composer imaginatively reacts to the question and answer text that weaves in and out

of the work. The first text sequence proceeds as follows: “ ‘Does the road wind uphill all the

way? Yes, to the very end.’ ”27 Rzewski follows this with winding material indeed. The

downward chromatically descending figures and freely atonal writing give the music a weary

27 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 392.

45 quality. The texture changes to a bouncy, disjunct exchange of hands that ripples up and down the keyboard, creating twists and turns that mimic the uphill wind discussed in the dialogue.

(See Ex. 21b)

Ex. 21b, Mile 60, mm. 30-38 of section B.

Later, in response to “For the night a resting-place?” Rzewski supplies plenty of rests. A jaunty version of the trot motive gradually winds down to a very soft standstill.28 (See Ex. 21c)

Ex. 21c, Mile 60, mm. 10-17 of section D.

28Ibid., 398.

46 Following the answer later in the piece, “Those who have gone before,” are a series of rapid ascending and descending runs.29 The contours created can evoke the idea of journeys up and down the hill. (See Ex. 21d)

Ex. 21d, Mile 60, mm. 27-34 of section F.

Just preceding the question, “Then must I knock or call when just in sight?” are a couple

of rising two note slurs evoking the idea of vocal calls.30 (See Ex. 21e)

Ex. 21e, Mile 60, mm. 41-46 of section F.

In summary, Rzewski composes “Uphill” using his flair for creating structures, some

inspired by textual themes and images, and others resulting from patterns and numerical shapes.

The size of these structures, along with their subsequent placement in an overall sectional work,

complies with the assertion that these ideas occurred to the composer as he went along.

29 Ibid, 407.

30 Ibid, 409.

47 Mile 61, “Stop the war!”

Rzewski makes effective and complete use of the piano in “Stop the War!” A militaristic

atmosphere is set with march-like footstep rhythms and drum roll figures under the keyboard in

section A. The composer heightens the intensity with statements by the pianist of “Stop the

War.”31 Furthermore, the three-note figure at the beginning of section B reminds the listener of

the three word statement just made. Eventually, this motive, and the general idea of any three-

note motive, becomes a common unifying thread throughout the piece. Furthermore, Rzewski’s

flexible approach to using a motivic germ renders it easy to use spontaneously.

“Stop the war!” features a larger structural pattern related to the work’s motive.

Throughout, Rzewski follows a vocal statement of “Stop the war” with the motive in a simple, single-note or homophonic manner. An excursion or development of the motive ensues. After this exploration builds to a dynamic climax, the texture diffuses, making way for another vocal statement of “Stop the War” and a new simple motivic presentation. A different sort of exploration ensues, and the cycle continues.

The initial three note idea, which resembles a bugle call, follows a statement of “Stop the

War” at the end of the percussive section A. The motive first appears in simple, single note fashion. Rzewski gradually envelops the tune with a growing extended B-flat seventh harmony.

Eventually, the motive itself is somewhat embellished in a hypnotic and rich presentation. (See

Ex. 22a)

31 Ibid, 415.

48

Ex. 22a, Mile 61, mm. 1-10 of section B.

After an unaccompanied vocal statement, the motive is suggested and enveloped once again.

Section C begins with a new three note motivic idea. Its approximate rhythmic similarity to the vocal statement makes for an easy association. The motive is listed below, along with all of the other motivic statements that initiate new cycles of exploration and development. (See Ex.

23a-23f)

Ex. 23a, Mile 61, mm. 1-3 of section C.

Ex. 23b, Mile 61, mm. 13-18 of section C.

49

Ex. 23c, Mile 61, mm. 23-28 of section D.

Ex. 23d, Mile 61, mm. 10 of section E.

Ex. 23e, Mile 61, mm. 1-3 of section F.

Ex. 23f, Mile 61, mm. 7-11 of section G.

50 Rzewski closes the overall structure of “Stop the war!” with a recall of the opening

soundscape; the whole of the closing section H is played on the keyboard lid and under the keyboard. The final three word vocal statement is eventually extended this time, with the clause,

“or it will stop us.”32

An examination of the explorations that follow each new presentation reveals some

improvisatory characteristics. To begin, Rzewski rarely permeates the texture with statements of

the motive. Occasionally, he does heavily weave statements into exploratory and atonal terrain.

(See Ex. 24a-24b)

Ex. 24a, Mile 61, mm. 1-2 of D.

Ex. 24b, Mile 61, mm. 22-23 of section G.

32 Ibid., 428.

51 In the following passage at the beginning of section E, the lilting quality of the motive gives rise to a more elaborate and disjunct exploration of the “back and forth” swing, employing wide leaps.

(See Ex.24c)

Ex. 24c, Mile 61, mm.1-4 of section E.

Below are a two brief examples of textures layered with motivic statements. (See Ex.

24d-24e)

Ex. 24d, Mile 61, mm. 3-4 of section F

52

Ex. 24e, Mile 61, mm. 10-12 of section G.

To conclude, the form and overall structure of “Stop the War!” is a series of regenerating

cycles, wherein a motive becomes grounds for extemporization of some kind. The series of

events could be likened to the practice of improvising to a suggested theme. Due to its natural

association with a vocal exclamation, Rzewski’s motive assumes the form of a determined persona.

Mile 62, “The Babble”

Rzewski describes his inspiration for Mile 62: “I was constantly thinking about the

bombs falling on the ziggurats of Babylon, and how civilization seemed to be, in a crazy way,

spinning out of control and destroying itself at its very roots.”33 The title “Babble” also refers to the biblical story of the tower of Babel. A general and incoherent stream of questions stated by the pianist at the end capture the sense of confusion associated with this biblical story.

33 David Weininger, “Rzewski: composer, pianist, iconoclast: Full of eclectic invention, his work doesn’t fit into a box” The Boston Globe (19 June 2005), (Accessed on the internet 20 February 2006), .

53 A four note rise, normally made up of whole steps, immediately establishes itself,

unifying the entire opening. Rzewski presents these rising figures in a continuous stream, and

with great variety in terms of harmony, articulation, rhythm, meter, dynamic and accompanying sound effects. Beginning in the lower registers, rising figures ascend incrementally to the upper regions of the keyboard. The beginning is shown below. A variety of seventh chords gradually reinforce the constant step-wise ascent. (See Ex. 25a)

Ex. 25a, Mile 62, mm.1-13.

Maintaining the same figure throughout this grandiose introduction, Rzewski focuses his

creative energy on reinventing the motive in a step-by-step fashion. It is the terraced levels of

the ziggurat that he has in mind. A scalar rise in the uppermost pitch of each sonority affirms an

incremental ascension. Rzewski adds variety to each step however: variation exists in terms of

chord quality, duration, articulation, and execution of harmony. Rzewski even explores the use

of the body in sound production and experience, supplying the pianist with breathing symbols.

(See Ex. 25b)

54

Ex. 25b, Mile 62, mm. 20-24.

The invention with which Rzewski varies each new level of the ziggurat is further demonstrated

by the example below. (See Ex. 24c)

Ex. 25c, Mile 62, mm. 33-36.

Section B gives birth to a new melodic idea, one that Rzewski will incorporate

throughout the rest of the work. He bases the underlying numerical structure on the idea of a

Latin square.34 Including pauses and rests, Rzewski creates musical events that last for all possible durations between one and eight beats. The example below illustrates the layout of the first set of eight musical events in section B. The number of beats for each event is labeled. (See

Ex. 26a)

34 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, minidisk recording.

55

Ex. 26a, Mile 62, mm. 1-6 of section B.

For the remaining seven sets within section B, Rzewski fulfills all possible orderings of musical event durations. A matrix of numerical possibilities, or what is otherwise known as a

Latin square, results. (See Ex. 26b)

1) 4 2 8 7 1 3 5 6 2) 8 4 7 5 2 1 6 3 3) 5 1 4 3 8 6 7 2 4) 1 8 5 4 6 2 3 7 5) 7 3 2 6 4 5 8 1 6) 2 7 6 8 3 4 1 5 7) 3 6 1 2 5 7 4 8 8) 6 5 3 1 7 8 2 4

Ex. 26b, Latin square in section B of Mile 62 produced by placing in order the number of beats or duration of each musical event that takes place within the eight sets of material.

The fact that all possible combinations are already set allows Rzewski to work with spontaneity. As he fills the framework with material, a sense of variety and freshness are guaranteed, especially with regard to timing. As seen in example 26a, Rzewski supplies the instructions “hesitating” in Italian above the scalar melodic utterances. Articulation markings are in constant shift from one sequence to another, creating variety and possibly mimicking the changing patterns of speech. An octatonic rise, which appears in the fifth measure, also proves

56 to be a crucial element throughout the work. Rzewski derives much of the work’s melodic material from this scale.

Although the remaining sections do not necessarily feature a Latin square, the continuous flow of contrasting textures and tempos feature a free flowing chain of inventions and ideas. The aforementioned melodic motives are worked into much of the patchwork. In the following example, the sequential melody and a rhythmically altered presentation of the octatonic rise are placed in contrary motion. (See Ex. 27a)

Ex. 27a, Mile 62, mm. 16-17 of section C.

In another passage, Rzewski places the sequential and scalar melodic material in contrary motion against two sets of two-note slurs, which are descending versions of the motive at the very beginning of the work. Incidentally, the two-note gesture becomes a focus for the next strand.

(See Ex.27b)

Ex. 27b, Mile 62, mm. 49-51 of section C.

57 These are but a few examples of Rzewski’s inventiveness in setting motives and melodic

ideas. These settings are not always so contrapuntally compact. Nor are the motives worked

into all of the passages. All of this attests to Rzewski’s desire to work in a spontaneous way,

working freely with motives as he sees fit for each moment. Thus, he achieves a sense of unity and motivic drive without a planned and strictly economical use of material.

Mile 63, “Nowhere”

“Nowhere” falls within the patterned structure of The Road as one of Rzewski’s so-called

“percussion” pieces.35 The lack of a pitch dimension throughout much of the work parallels a

lack of direction suggested by the title. Except for a section toward the end, this Mile is tapped

entirely on the keyboard cover. The intensity and sense of hierarchy often associated with the

element of pitch is forgone; however, the composer creates a sense of tension and direction using

solely dynamic markings and changes in note values. Specific techniques, such as slaps, snaps,

hand claps, tremolos, and tongue clicks, help reinforce arrival points and accents. The use of the

damper pedal throughout adds resonance to the rhythmic soundscape.

Rzewski’s interest in numerical patterns is evident in the small structures throughout

“Nowhere.” To begin, the opening notated fingerwork on the keyboard cover features a gradual

increase in speed that results from a corresponding decrease in note value within a constant

framework of pulse. The counting pattern is carried out on a number of levels; the number of

repetitions of each alternating rhythmic figure corresponds to the number of notes that fit into the

value of a quarter pulse. (See Ex. 28a)

35 Ibid.

58

Ex. 28a, Mile 63, mm. 1-5.

A different type of rhythmic exploration takes place in the following passage. Although

the section features a steady stream of eighth notes, Rzewski exploits possible fluctuations in

accentuation that result from dividing the material between the hands in a variety of ways. A subtractive pattern is evident. (See Ex. 28b)

Ex. 28b, Mile 63, mm. 26-33 of section A.

Furthermore, the act of tossing these progressively smaller groupings of notes creates a physical

and visual incremental increase in intensity that would be felt by a performer and/or audience.

Similarly effective are some tremolo glissandos that rise and fall in terms of both dynamic level

and physical movement. The length of each swell is shortened by a quarter note value, resulting

in a heightening intensity similar to that of the opening of “Nowhere.” (See Ex. 28c)

59

Ex. 28c, Mile 63, mm. 41-47.

Each individual section in “Nowhere” features a unique and characteristic meter.

Section A has metrical shifts that eventually settle on 4/4; while section B remains 4/4

throughout. Sections C, D, E and F feature the meters 9/8, 5/4, 3/4, and 4/4 respectively. After

use of pitch and the keyboard in section G, the work closes with the final percussive section H,

which has 6/4 as its meter.

Rzewski is abundantly resourceful in his approach to sound production throughout these

sections. The use of the chest and leg as an object to slap, thump, or strike with cupped hands is

added in section B. The “heel,” or “carpo-metacarpal joints” of the wrist, is used in section C.36

Scratch techniques, as well as the formation and use of a “pad” using flat fingers, is employed in section D.37 The use of the fleshy part of the fingertip, intermixed with use of the fingernail, can

be heard in section E. Rzewski includes foot stomps and vocal sounds that resemble those of a

monkey in section F. (See Ex. 29)

36 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 485.

37 Ibid., 489.

60

Ex. 29, Mile 63, mm. 46-48 of section F.

Furthermore, Rzewski employs the pianist’s voice for text and other sounds throughout

“Nowhere.” A constant shift in interest and pattern again suggest spontaneous composing within a structured framework of sections.

Rzewski creates an overall structure for “Nowhere,” which is otherwise a sectional work.

He utilizes pitch in composing section G, which is followed by a return to the use of keyboard cover in the final section H. Thus, there is a sense of movement to an alternate soundscape in the penultimate section, followed by a cyclical return to previous percussive sounds in the final section. An ironic reversal takes place in section H; Rzewski assimilates the use of pitch, in the form of whistling, into the penultimate section of H.

As previously seen, Rzewski captures the idea of “nowhere” by avoiding pitch and tapping into a percussive, yet quiet, range of sounds throughout the outer sections of the work.

As pitch is brought back to the playing field in section G, Rzewski employs alternate modes of achieving a static atmosphere. In addition to using a very soft dynamic range, lengthy note values, and occasional soft pedal, Rzewski paints a dark and motionless picture with a descriptive harmonic palette. To open the section, widely spaced harmonies, often featuring ninth stretches and a dissonant half-step, descend by major thirds in the bass. (See Ex.30a)

61

Ex. 30a, Mile 63, mm. 1-8 of section G.

It is probably no mistake that an augmented triad, itself a very open and typically nonfunctional

sonority, can be found within each of these. Rzewski creates an especially dark and eerie

sonority by juxtaposing augmented triads with roots that are a half step apart. (See Ex. 30b)

Ex. 30b, Mile 63, m.9 of section G.

Other abysmal sounds are created using triadic or seventh harmonies tinted with chromatic neighbor tones or their octave-displaced equivalent, the minor ninth. (See Ex. 30c)

Ex. 30c, Mile 63, mm. 12-15 of section G.

62 A slight contrast to the characteristic sustained sonorities of section G, and the only example of

continuously moving eighths and sixteenths in the section, the following downward cascade

avoids any hint of tonal direction; much of the spreading arpeggio can be broken down into

unrelated triads. (See Ex. 30d)

Ex. 30d, Mile 63, mm. 29-30 of section G.

Rzewski’s exploratory approach to composition is specifically effective in capturing the expansive and ambiguous nature of this pitch-based embodiment of nowhere.

Perhaps supplying a reality check amidst the return to an alternative pianistic sound experience in section H, Rzewski inserts a passage of whistling only. The tune is highly diatonic and tonally directed. (See Ex. 30e)

Ex. 30e, Mile 63, mm. 57-64 of section H.

The monologue that follows provides a clue or interpretation of the work’s title: “Even though:

The toilet still leaks, my back hurts, my friends have died, I failed to make the revolution, et

63 cetera, and still I’m not finished.”38 “Nowhere” could indeed be answering the question: to

where does the road lead? Rzewski is literal when writing “and still I’m not finished:” one turns

the page of the manuscript score of The Road to find that there is indeed one more page of

“Nowhere.”

Mile 64, “Leaks and plugs”

Part VIII finishes with “Leaks and Plugs,” the final and sixy-fourth Mile of The Road.

Far from a culminating fanfare, its quiet and modest ending is more of an interruption than a

completion, possibly suggesting the unwritten future or what is presently unseen territory on the road. According to Rzewski, the title is a reference to the concept of a prelude and fugue.39

Furthermore, the idea of fugal writing refers to the very opening of The Road, or Part I, wherein some of the pieces are like fugues.40 Interestingly, Rzewski composed “Leaks and plugs” while

guest teaching at the University of Cincinnati College-Conservatory of Music. This also means

that it was composed before some of the earlier pieces, namely the fifth, sixth, and seventh Miles

in Part VIII.41 The form of Mile 64 is again sectional. However, this time each section takes on the character and label of either a leak or a plug. Just as the partnered preludes and fugues from

J.S. Bach’s Well-Tempered Clavier occasionally exchange defining features, Rzewski’s leaks

and plugs do not exhibit strictly separate or individual characteristics. As might be expected,

Rzewski drives and centers this final work using motive. However, Rzewski allows himself to

occasionally stray from the center in pursuit of other interests.

38 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 507.

39 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, nimidisk recording

40 Ibid.

41 Ibid.

64 As in “Leaving,” these motivic germs share enough of a resemblance to each other to give the work a unified and motivic quality. The primary ideas are a sustained half-step figure, as well as a brisker motive that features two sets of half steps that move in the opposite direction and are usually separated by a third or fourth. Rzewski notes the similarity of the latter to

Shostakovich’s DSCH motive, made up of the pitches D, E-flat, C and B.42 Incidentally,

Rzewski has shown an interest in Shostakovich, whose music he was teaching a course on during his guest post at the University of Cincinnati. (See Ex. 31a)

Ex. 31a, Mile 64, mm. 1-4.

Rzewski saturates section A with combinations of these figures or related figures, as illustrated in the following passage. (See Ex. 31b)

Ex. 31b, Mile 64, mm. 13-16.

Furthermore, the passage exhibits the prevalence of the tritone interval throughout.

42 Ibid.

65 Section B begins with the motive in fragments. Using arrows, Rzewski indicates the intended motions and articulation that will vary the sound quality and accentuation in these fragments. (See Ex. 31c)

Ex. 31c, Mile 64, mm. 1-5 of section B.

In a passage that soon follows, Rzewski sequences the figure by intervals of a tritone in the right hand. The pattern is somewhat obscured by use of octave displacements. Motivic fragments are interspersed throughout the left hand. (See Ex. 31d)

Ex. 31d, Mile 64, mm. 9-16 of section B.

As the section continues, there is less focus on the motive intact. However, a general sense of chromaticism, which is the essence of the motive itself, remains constant.

The use of chromaticism, along with free atonality, becomes a salient characteristic as we head through section C as well. The beginning of C features an entirely new texture: a perpetual stream of triplet sixteenths. Although some triads are outlined, Rzewski continues to emphasize chromatic motion. (See Ex. 32a)

66

Ex. 32a, Mile 64, mm. 1-4 of section C.

A second stream of running sixteenths is added, resulting in a balance of both contrary and parallel motion. (See Ex. 32b)

Ex. 32b, Mile 64, mm. 17-20 of section C.

Rzewski later returns to a single stream, divided between both hands. This time he exploits larger intervals and a larger span of register. The motivic cell is projected through the use of tenuto markings. The material remains continuously atonal. (See Ex. 32c)

Ex. 32c, Mile 64, mm. 25-26 of section C.

67 Eventually, a more melodic texture begins. Here, at the beginning of this section in 5/4, the initial brisk motive appears in the left hand, reinforced in broken octave form. (See Ex. 33a)

Ex. 33a, Mile 64, mm. 41-42 of section C.

Rzewski already presented the above version of the motive in measure 6 of section A. It appeared in subsequent sections as well. (See Ex. 33b)

Ex. 33b, Mile 64, mm. 6 of section A.

The motive appears in various other guises throughout the section. Although the resemblance is audible and visible on the score, the variation in small intervallic details of the motivic presentation reveals a flexible conception. Section C ends with a subsection labeled, “Tempo di prima.”43 Although the texture does not contain any semblance of the motive, it joins in the continuity of flow with its highly atonal quality. Furthermore, the perpetual and figurative nature of this material, which Rzewski divides continually between the hands, links it with previous sections.

43 Frederic Rzewski, The Road (Brussels: composer’s own collection, 2004), 523.

68 The motive appears in a five note form at the onset of section D. Rzewski presents it as a

subject in stretto format, layering one statement at a time in a gradually thickening texture. The highly chromatic writing that follows contributes to the organic quality of the section. (See Ex.

33c)

Ex. 33c, Mile 64, mm. 1-6 of section D.

Rzewski offers an alternate textural presentation of the motive later in section D. The

chromatic tones of the motive are placed in cluster form. (See Ex. 33d)

Ex. 33d, Mile 64, mm. 31-34 of section D.

After an excursion, Rzewski returns to a sparser motivic presentation. (See Ex. 33e)

Ex. 33e, Mile 64, mm. 47-51 of section D.

In the passage that follows, the half step and turn figure quality of the motive is exploited

throughout all layers of a thick and contrapuntal texture. (See Ex. 33f)

69

Ex. 33f, Mile 64, mm. 55-58 of section D.

Rzewski introduces a new motive in the form of a fugal subject at the beginning of

section F. The relationship between this subject and the opening motive is clear; the first four

pitches of the subject form a turn figure comprised of two sets of half steps. The remaining three phrases of the subject form a broken and gradual stepwise expansion out in contrary motion.

(See Ex. 34a)

Ex. 34a, Mile 64, mm. 1-3 of section F.

A series of subject entries ensues, forming a substantial fugal exposition. All entries begin on

tonic in a different register. A countersubject appears with the second, third and fourth entries,

again all on the same pitch in differing registers. Highly economical is the use of a second

countersubject, which appears with the third entry and again with the fourth. This can all be seen

in the example below. (See Ex. 34b)

70

Ex. 34b, Mile 64, mm. 1-12 of section F.

Rzewski achieves a remarkable level of economy and literal reuse of material in this fugal exposition. The lack of subject and counter subject transposition would likely simplify the act of improvising or even composing a fugue of such economy. The remainder of the fugue maintains a high degree of chromaticism in all voices. Rzewski ends it with a complete subject statement in double sixths. (See Ex. 34c)

Ex. 34c, Mile 64, mm. 22-24 of section F.

71 The beginning of section G follows with a light contrast: Rzewski marks “chirping, like

a bird” under sporadic fragments of motivic material. The intervallic content, which often

features half steps that alternate with large intervals, resembles the motivic cells used thus far.

(See Ex. 35)

Ex. 35, Mile 64, mm. 1-3 of section G.

The next motivic idea appears at the beginning of section H. Once again, the similarity to

the work’s opening motive is apparent. The single note texture and resemblance to the previous

fugal subject suggests the commencement of another fugue. (See Ex. 36a)

Ex. 36a, Mile 64, mm. 1-4 of H.

Indeed what follows is fugal writing. After the subject, two fragments appear simultaneously. In

the right hand is the subject opening in inversion. The four notes of the left hand fragment are

clear references to the opening of the piece. (See Ex. 36b)

Ex. 36b, Mile 64, mm. 5-6 of section H.

72 Shortly thereafter, a second complete entry appears. Although it is not an inverted statement of the subject, it is centered on the same pitches as the inverted fragment. Using a different set of pitches, Rzewski overlaps the entry with a third full subject statement. (See Ex. 36c)

Ex. 36c, Mile 64, mm. 9-12 of section H.

At the close of this highly chromatic fugal section, Rzewski provides a pause for a cadenza.

Ensuing is an effectual miniature fugue, the subject of which is a diminution of the previous fugal subject. In one sense, the exposition here is more conventional than the previous fugal sections; the sequence of subject statements suggests an alternating dominant and tonic relationship. Here, Rzewski introduces subjects in a stretto presentation. (See Ex. 36d)

Ex. 36d, Mile 64, mm. 25-30 of section H.

The fugue gives way to a thicker and more vertical texture that contains four more fragments from the subject’s beginning. The work softens to a close; the lack of resolution and the steady stream of eighth notes to the very last beat leave the impression that the music was accidentally cut off. (See Ex. 36e)

73

Ex. 36e, Mile 64, m. 32 of section H.

Rzewski’s flexible and extensive use of motive in “Leaks and Plugs” makes for a very

organic close to The Road. He achieves this combination of unity and freedom by working with a variety of melodic or motivic ideas that are highly similar. In addition, Rzewski’s general use of chromaticism, itself a salient characteristic of the motives, furthers this effect in general.

Rzewski stated in an interview, “I’ve never understood how to write a fugue. What I finally decided is that fugues are easy to improvise and difficult to write. It’s actually an improvisatory form. It’s very easy to fake a fugue.” Rzewski added that he had never studied fugal composition.44

Conclusions

An exploration of the results of extemporized composing highlights only one facet of an

epic, multi-dimensional work such as The Road. Yet a detailed reading of the score illuminates

attributes that do result from an ever-onward approach to creativity. Serving as a structural

skeleton, general numerical structures allow Rzewski to unleash a flow of creative musical

thought throughout Part VIII and The Road in general. As exhibited in the examples in this

document, the extremely diverse terrain of textures, harmonic usage, and forms of pattern and

small structure in the allotted partitions of Part VIII exhibit a high degree of spontaneity.

44 Frederic Rzewski, interview by author, 10 June 2006, Cincinnati, minidisk recording.

74 Furthermore, in cases where poetry, literary adaptation, or other vocal statements are involved,

Rzewski’s improvisatory approach results in the variety of material needed for a complement to

the specifics of the text.

This study of “Miles” 57-64, through the examples from the score, reveals a series of

general and recurring attributes which support the idea of an improvisatory style of composition.

To begin, structures within each section are small and often patterned in a simple or numerical

way. Secondly, the content from one small section to another features great contrasts in terms of

texture, dynamics, and tempo. Sometimes material from one adjacent section to another even seems unrelated. Thirdly, unity is often created through a use of similar, rather than uniform, motives. Although passages may stray from these ideas completely, Rzewski eventually returns to them. Often times, general characteristics themselves, such as chromaticism, become an aurally unifying element. Rzewski’s approach to unification through the use of recall reveals an improvisatory conception as well. Unlike the recapitulation of a sonata form, wherein an entire section is reiterated with altered tonal direction, the passages or ideas that Rzewski recalls are very short; they are quick but clear references to preceding passages. Thus, Rzewski achieves a high degree of organicism and unity through improvisatory means rather than careful planning

and use of musical materials.

Rzewski’s very method of composing is a symbolic manifestation of the work’s concept.

Just as he invites the pianist to read The Road as a novel, he allows himself to write as if in

constant forward transit from one section to the next. He “turns the page” just as we would.

And like any story or life path, it is only possible to continue forward and partake in each event

as it comes.

75 In reference to Mile 32, Christian Wolff wrote, “The Road is here at about midpoint.

This last mile suggests the possibility of the world’s meaninglessness or final absurdity: is the road going nowhere?”45 The ending of Mile 64 certainly leaves us asking the same questions.

Rzewski himself writes in liner notes to his recording New Works by Frederic Rzewski, “When

you turn onto a road, it’s usually already there, and when you turn off it to go where you want to

go, it (the road) keeps on going somewhere else.”46 With the close to the end of Part VIII, itself

the end of this monumental work, Rzewski maintains a sense of the road’s inevitable

continuation.

45 Christian Wolff, “Frederic Rzewski and his Piano Music,” Liner notes to Rzewski plays Rzewski: Piano Works. 1975-1999, Nonesuch Records 79623, 2002, Compact disc.

46 Carl Bernard Cranmer, “Rzewski’s ‘Turns,” from The Road: A Musical Analysis of an Allegory,” (DMA thesis, NY: The Juilliard School, 2002), 18.

76 Bibliography

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Kosman, Joshua. “Improvising with a Pencil: The Piano Music of Frederic Rzewski,” Piano and Keyboard 161 (March/April 1993): 30-37.

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