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Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]

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Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan Cam.Logan@Gmail.Com University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. The nonatonic collection, with its ability to bridge between tonal or modal pitch space and ii non-tonal or chromatic pitch space, seems to arise naturally from Vaughan Williams‟s need to answer the pressures both of symphonic tradition and nascent modernism. The employment of nonatonicism is not restricted to Vaughan Williams; it is shown to be at work also in the Second and Third Symphonies of Arnold Bax. Bax gained considerable attention as a symphonist during the time that Vaughan Williams was working out his Fourth Symphony. Specific musical connections between works by Vaughan Williams and Bax have received little attention, beyond an enigmatic link between Vaughan Williams‟s Piano Concerto and Bax‟s Third Symphony (the original version of Vaughan Williams‟s concerto contained a quotation of Bax‟s symphony, but this quotation was later removed). While this study does not definitively solve the riddle connecting these two works, it does establish a shared harmonic language between Vaughan Williams and Bax, reinforcing previous suggestions that the two composers may have exchanged ideas. iii Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan B.M., Texas Tech University, 2001 M.M., University of Hartford, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at the University of Connecticut 2014 iv v Acknowledgements Five years ago I first showed my initial work on the nonatonic collection to the scholars who would form my Dissertation Advisory Committee. At that time my ideas could fit onto a single sheet of manuscript paper (front and back!). Both Richard Bass and Peter Kaminsky immediately offered new insights and pointed out paths that I would eventually explore in this project. When I demonstrated to Alain Frogley that the nonatonic collection could be used in an analysis of the Fourth Symphony, he had already made the major contribution of revealing to me the great variety and depth to be found in music by Vaughan Williams. I am grateful to the organizations that selected my proposal to present a portion of this work at conferences in 2011. The questions and comments I received helped shape much of what became Chapters 3 and 4. I must also acknowledge a recent presentation by Ronald Squibbs on “Near Evenness, Complement Unions, and Analysis Using Large Pitch-Class Sets.” The clarity of his presentation impelled my own thoughts on near evenness in Chapter 6. I am blessed to know many extraordinary people, family and friends, who have supported me throughout my doctoral studies. My wife Charlotte gave unwavering encouragement. Her mother, Marsha, provided some editing and a quiet place to work. Josh Sussman made me to listen to a Bax Symphony for the first time. Ray and Kari watched over my daughter when I needed to focus on writing, and Ray provided a desperately needed sandwich. Lastly I extend my greatest appreciation to my parents, Sam and Wilma, who are just outstanding. vi Table of Contents List of Figures……………………………………………………………………………vii List of Tables…………………………………………………………………………….xiv Chapter 1: The Flowering of the Symphony in Britain 1.1 The Weight of Revolution…………………………………………………………..1 1.2 First Attempts: 1813 to c. 1850……………………………………………………11 1.3 First Flowering: c. 1850 to 1914…………………………………………………..16 1.4 Interlude: The Great War………………………………………………………….30 1.5 Second Flowering: Between the Wars…………………………………………….33 Chapter 2: The Challenge of the Bax/Vaughan Williams Intersection 2.1 Bax in Vaughan Williams‟s Piano Concerto………………………………………50 2.2 Personal Intersections between Vaughan Williams and Bax……………………...53 2.3 Musical Connections between Vaughan Williams and Bax……………………….61 Chapter 3: The Nonatonic Collection 3.1 Forms and Rotations of the Nonatonic Collection………………………………...74 3.2 Subsets of the Nonatonic Collection………………………………………………76 3.3 Triads within Nonatonic Pitch-Space and the three classes of Nonatonic Nodes…87 3.4 Seventh Chords within Nonatonic Pitch-Space………………………………….112 Chapter 4: An Analysis of Vaughan Williams‟s Fourth Symphony 4.1 Genesis and Immediate Reception………………………………………………163 4.2 First movement: Allegro…………………………………………………………169 4.3 Second movement: Andante moderato…………………………………………..189 vii 4.4 Third movement: Allegro molto………………………………………………….196 4.5 Fourth movement: Allegro molto (Finale con Epilogo Fugato)………………….203 Chapter 5: Nonatonicism in Works by Vaughan Williams and Bax 5.1 Introduction………………………………………………………………………218 5.2 Nonatonicism in works by Vaughan Williams premiered before the Fourth Symphony………………………………………………………………………218 Sancta Civitas…………………………………………………………..219 Flos Campi……………………………………………………………...231 Job………………………………………………………………………238 Piano Concerto…………………………………………………………243 5.3 Nonatonicism in symphonies by Vaughan Williams after the Fourth Symphony….251 Symphony No. 6 in E minor……………………………………………253 Sinfonia Antartica………………………………………………………261 5.4 Nonatonicism in symphonies by Bax before Vaughan Williams‟s Fourth Symphony No. 2 in E minor and C major……………………………...272 Symphony No. 3………………………………………………………..279 Chapter 6: Some Conclusions and Suggested Paths Forward 6.1 The Nonatonic Collection and its Nearly Even Cohort………………………….294 6.2 Suggestions for Widening the Network………………………………………….300 6.3 A Question of Interacting Disciplines……………………………………………304 Bibliography……………………………………………………………………………306 viii List of Figures 2.1 Quotation of Bax‟s Third Symphony in Vaughan Williams‟s Piano Concerto……..50 2.2 Bax, Symphony No. 3/III 241-248....………………………………………………..64 2.3 Vaughan Williams, Piano Concerto/II 65-86....……………………………………..65 2.4 Bax, Symphony No. 3/III 296-299......................................................................…....68 2.5 Basic Harmonic Reduction of Bax, Symphony No. 3/III 296-299…………………..68 2.6 Revised Harmonic Reduction of Bax, Symphony No. 3/III 296-299………………..69 2.7 Nonatonic Collection which contains the triads in Figure 2.6……………………….70 2.8 Vaughan Williams, Piano Concerto/III draft ending ca. mid-1933………………….71 2.9 Nonatonic Collection appearing at the end of the passage in Figure 2.8…………….72 2.10 Nonatonic Collection appearing at the start of the passage in Figure 2.8…………..72 2.11 Vaughan Williams, Piano Concerto/III draft ending with comments………………73 3.1 The four forms of the nonatonic collection…………………………………………..75 3.2 The three possible interval rotations to create NON-1………………………………76 3.3 Three forms of set-class 6-Z26 within each of the nonatonic collections…………...82 3.4 Vaughan Williams, Fourth Symphony/II 10-17……………………………………..84 3.5 Tcherepnin, Invention No. 4, 8-13…………………………………………………...85 3.6 Three forms of set-class 6-Z49 within each of the nonatonic collections…………...86 3.7 Triadic subsets within the four nonatonic collections………………………………..88 3.8 Identities of the three classes of nodes in each nonatonic collection………………...90 3.9 Illustrations of common Neo-Riemannian Operations (NROs)………………….......92 3.10 Illustration of Neo-Riemannian Operations (NROs) within NON-3……………….93 3.11 The two hexatonic systems found within NON-3…………………………………..93 ix 3.12 NON-3 nonatonic system…………………………………………………………...94 3.13 Six triads related to {D, F, A} via SSD……………………………………………97 3.14 Weitzmann graph with boxes to indicate the four nonatonic collections………......98 3.15 Nonatonic Tower…………………………………………………………………...99 3.16 Weitzmann cycle from NON-3……………………………………………………100 3.17 Liszt, Faust Symphony 305-10..........................................................................…...101 3.18 Schubert, Symphony No. 4 in C minor (“Tragic”)/I 89-108……………………...102 3.19 Harmonic Reduction of Schubert, Symphony
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