RECENT ADVANCES in ACOUSTICS & MUSIC
Music as A Dramaturgical Component of The Opera Elektra by Richard Strauss
LOREDANA IAłE EN The Department of Musicology The University of Arts “George Enescu” Str. Horia 7 9, Iasi, 700126 ROMANIA [email protected]
Abstract: By briefly analysing the motifs, we noticed the importance of the process of variation and development undergone by all the sound entities by means of traditional devices consisting of motif expansion or narrowing, segmentation, sequence accumulation underlying the main plot elements and the particularities of the actual evolution of the characters’ dramatic art.
Key Words: Tragedy, revenge, Elektra, semantics, metamorphoses, description, illustration, development
Elektra is a tragedy created in the first half of the pages, which follow the extended chromatic 20th century a time when issues related to European moments, in which the vocal line comes close to symphonism dominated the thinking of opera Sprechgesang: “Agamemnon’s invocation creators and authors such as Paul Dukas (Arianne et (reference 35+12 m.), Chrysothemis’ dream of Barbe Bleue) or Alban Berg (Wozzeck, Lulu), whose freedom and fulfillment through love of a family genre works had gone beyond a mere sequence of (reference 75), Orestes’ recognition (reference freely developing sound episodes, which were 148a)” [2]. undoubtedly heading towards the clear cut The musical semantics of Elektra may be constructions of instrumental music. It may be analyzed considering 3 levels of subordination of the divided into two distinct parts, depending on the means of expression: sound symbolism Elektra tonal and dramaturgical clarifications, although both through the occurrence of motifs, phrases, themes, the modulation between the tonalities – D minor and designating characters, feelings; the descriptive C major –, and the characters evolving in their level, illustrating the plot; the developing level [3]. discourse together with their pertaining motifs, belong to both parts. A difference may be perceived in the dramatic stature of the main characters. The 1 The Symbolic Role of Motifs first part emphasizes the evolution of the heroes – Elektra, Chrysothemis, Klytemnestra – towards a In this musical work, the motifs are climax, when the protagonist reveals the bare and distinguished by their cyclic nature, their leitmotif painful truth to her mother: Klytemnestra will be function and symbolic role. We will proceed murdered to avenge her father’s death, which would hereafter to analyze the occurrence of motifs having bring peace to the whole palace. The second part a symbolic role and their original transformation into sees the disappearance of Klytemnestra from the close sound structures. discourse and the occurrence of Orestes, who The character of Elektra is symbolized by two participates in the progress of the plot together with typologies of motifs. We will refer here to the the other protagonists. occurrence of several similar rhythmic melodic At the general sound level, an expressive and entities (α, α1, α2), which suggest the psychological architectural equilibrium is required, based on the struggle related to “the image of avenging her alternation between several moments of dramatic father” [4]. tension, of build up, consisting of “tonally The first occurrence of the motif α is orchestral, suspended harmonic sequences up to sonorities played by the strings, characterized by their reaching the atonality limit” [1], and different anacrustic structure, 3/4 ternary rhythm and meter, moments of calm, of harmonic clarity, of cantability, and arpeggio melodic configuration. We note the reminding us of Wagner’s ariosos. We note the emphasis placed on the sound F2 (six beats), extremely expressive, consonant and richly melodic suggesting Elektra’s intention to avenge her father.
ISSN: 1790-5095 109 ISBN: 978-960-474-192-2 RECENT ADVANCES in ACOUSTICS & MUSIC
(m. 1 3) Fig. 4
Fig. 1
We may also note that the sound expression of
the x cell corresponds to Elektra’s memory of her The motif α relies on a harmonic ambiguity, on 1 father’s grandiose image as a king. “So kommst du which an ascending chromatic line is superimposed, wieder, setzest Fuß vor Fuß, die beiden Augen weit combining gradual progress and interval skips, 1 1 offen, und ein königlicher Reif von Purpur ist um which include major second (A flat B natural ) deine Stirn” (And thus you return, placing one foot and diminished third (B natural – D flat), in front of the other, with your two eyes wide open emphasizing the protagonist’s pain and tension. + 6 and a purple crown on your head …). (reference 1 ms.) This is the only rhythmic melodic entity
developed in soft dynamics (p) and it occurs in the Fig. 2 orchestra’s low pitch register, distinguishing itself through the repetition of the D natural sound in marcatto by means of the prevailing rhythmic formula (the fourth connected to four sixteenths), which confers special expressiveness. (reference 43–4 ms.) The motif α2 is different as concerns its timbre and expression, it occurs in the score of the Fig. 5 woodwinds and it is characterized by an ascending arpeggio progress and especially by a harmonic clarification – B flat major, suggesting Elektra’s heroism. (reference 17) The motifs related to the image of the other Fig. 3 characters are either remote variations of Elektra’s musical symbol (δ, Σ – Chrysothemis; y – Orestes) [6], or contrasting rhythmic melodic configurations with a secondary role. The first occurrence of the motif designating Chrysothemis is embodied by the oboe, progressing
in piano, supported by a melody whose gradual The second category of configuration unwinding is combined with the interval skip, in a contrasting motifs represents “the main character’s rhythmic triplet formula. The motif’s delicate sound off balance“[5] (β, γ, x). expressiveness reveals Chrysothemis fearing for The above mentioned rhythmic melodic entities Elektra, who risks imprisonment. (β, γ) are revealed during the introduction by the Elektra notices her anxiety and asks her: “Was hebst du die Hände?” (Why do you raise your orchestra, more precisely by the wind instruments. +2 The chromatic harmony, dotted rhythm associated hands?) (reference 66 ms.) with interval skip, extensive nuance (ff) correspond to the composer’s staging directions in the music Fig. 6 score (“Elektra springt zurück wie ein Tier in seinen Schlupfwinkel den einen Arm vor dem Gesicht”), pointing out the abnormal reactions – Just like an animal hiding in its den, Elektra leaps backward hiding her face in her arm. (reference 1+3 m. β, γ) Chrysothemis’ frailty and worry are also pointed out by the second occurrence of the motif (ε), which, on a sonorous level, is characterized by a richly
ISSN: 1790-5095 110 ISBN: 978-960-474-192-2 RECENT ADVANCES in ACOUSTICS & MUSIC
chromatic arpeggio melodic line within the Unlike the other motifs or themes we have unwinding of a single measure, the fixed rhythmic mentioned, we are surprised by the diatonic formula (two sixteenths followed by an eighth harmony and cantability of theme b, exposed at the anapest) and Elektra’s ironic comments of Aegisth’s level of the strings. Played in pp, at low pace, by deeds – “der tapfre Meuchel mörder” (the mighty combining the triplet with the dotted rhythm, this murderer). (reference 69) idea develops in a seven measure interval, under the form of an orchestral comment of soft words, Fig. 7 expressing the sadness of the characters’ solitude “Ich will dich sehn, laß mich heute nicht allein! Nur so wie gestern, wie ein Schatten dort im Maurwinkel zig dich deinem Kind!” (I want to see you, don’t leave me alone today! Like a shadow, show yourself While the occurrences designating Chrysothemis to your daughter, in a corner of the wall! (reference have an ornamental and chromatic melodic line, 45+8 ms.). reminding us of Elektra’s first appearances, the y cell symbolizing Orestes distinguishes itself through Fig. 10 a descending sound unwinding in the E flat minor tonality, the expressive timbre of the woodwinds and the ascending interval skip suggesting aspiration – common constituents of the leitmotif α, symbolizing revenge –, contribute to the creation of Orestes’ solemn image, a vision which is virtually the orchestra extension of the dramatic arioso uttered by Chrysothemis. (reference 23a 4 m)
Fig. 8 2 The Symphonic Role of the Motifs
We notice the metamorphosis, at a semantic and sonorous level, of the symbolic motifs in the evolution of the opera dramaturgy.
The melody of the opera comprises two cyclical 2.1 The transformations of the leitmotif α, themes, which represent sequences of motifs derived connected to the vision of avenging the father from within a phrase:
a. the image of Elektra seen by the servants The rhythmic, melodic and harmonic (C 5) b. the symbol of the children’s love for transformation of the initial motif (α 1) – occurs Agamemnon when the protagonist is in a state of imbalance, The change in the courtiers’ attitude towards imagining a possible dance of revenge around her Elektra, from reproof to compassion, is suggested at father’s tomb. (reference 58) the level of the relation between the melody
(sonority filled with chromatic elements), the Fig. 11 chromatic harmony and the text uttered by the maid:
“Sind sie dir nicht hart genug mit ihr?” (Don’t you find they’re too hard on her?) (reference 15 + 4 ms.)
Fig. 9 The joy of having found her two brothers is rendered, at the sonorous level, by means of the waltz inflections, revealing the heroine’s sudden transformation, from toughness to delicacy. 1 2 The rising scale shift (B flat – E flat ), αv from the melody is only a variation through segmentation and a reversal of the incipit specific to the initial
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2 1 motif α (D A ). Hence, the nuance of the (x1), in the C minor tonality, corresponds to an psychological experience related to the vision of extremely tragic moment. In her anxiety, avenging the father turns into the joy of finding the Klytemnestra asks Elektra: “Who should die in beloved brother whom the heroine calls: order to be able to sleep in peace?” In restlessness, “Orestes! Orestes!” (reference 148a) her daughter replies: “Was bluten muβ? Dein Another instance of the initial motif (α3) can be eigenes Genick ...” (Who should bleed? Your found in the vocal line of Aegisth who, feeling that throat...) (reference 230 4m.) his end is near, cries: “Helft! Mörder! Helft dem Herren!” (Help! They are killing me! Help your Fig. 13 master!) (reference 213a+2 m.) However, the emotional intensity of the acoustic moment is rendered by resorting to Elektra’s leitmotif, transformed from a rhythmical and melodic perspective (α4), representing the protagonist’s reply to Aegisth’s question: “Hört mich niemand? Agamemnon hört dich!”
(Does anybody hear me? Agamemnon hears you!). Meanwhile, Aegisth dies, but not before showing, for the last time, his face at the window: “Noch 2.3 Metamorphosis of the cell Y symbolizing einmal erscheint Aegisth Gesicht am Fenster“ Orestes (Aegisth shows its face at the window once more). +3 (reference 216a m.) The rhythmical and melodic entity Y will return In the general joy at the end, the orchestra in the orchestra, in an augmented instance (Yv), returns to segments of the transformed motif of where the chorale writing and the chromatic avenge – above them we hear Elektra’s meditation harmony suggest the character’s solemnity, enforced on love and death. We note the transformation of the by the words he utters: “Ich und noch einer, der mit motif α, from the symbol of revenge to the symbol mir ist, wir haben einen Auftrag an die Frau” (I and of love and death: “Ai! Liebe tötet! Aber keiner fährt the person accompanying me have a message for the dahin und hat die Liebe nicht gekannt!” (Ah! queen). (reference 126a 3 m.) Murdered love! And still, no one dies without having experienced love! ) Fig. 14
2.2 Metamorphosis of the rhythmical and melodic entities suggesting Elektra’s lack of balance
The motif β appears again in the part dedicated to Klytemnestra, this time subjected to rhythmical 2.4 Transformation of the cyclical theme a – and melodic variations (βv). We may notice that the Elektra as seen from the courtiers’ variation of the motif coincides with the characters’ perspective psychological transfer, so Elektra’s lack of balance can be found in her mother’s attitude: “Ein jäder We note the circular nature of this sonorous idea Dämon läßt von uns” (All demons should leave us in the unwinding of the music score, but with alone) (reference 199+2 m.) different symbols. We observe the shift that occurs from Elektra’s ambiguous image in the courtiers’ Fig. 12 eyes to the protagonist’s attempt to impose herself on Chrysothemis, forcing her to participate in the consummation of the avenge: “Nicht Schwester, nicht / Spricht nicht ein solches Wort in diesem Haus / Der führt kein Weg hinaus als der / Ich laß dich nicht...” (No, my sister, / Do not utter such a If, during Elektra’s monologue, the cell x was word in this house / There is no other choice for you rendered in piano, the ample dynamics (ff) and in the but this one / I will not let you ...) (reference 89a+4 molto vivace tempo, its return in a varied hypostasis m.)
ISSN: 1790-5095 112 ISBN: 978-960-474-192-2 RECENT ADVANCES in ACOUSTICS & MUSIC
Fig. 15
2.5 Metamorphoses of the cyclical idea b – symbol of the children’s love for Agamemnon
The rhythmical and melodic variation of theme b occurs in relation to the transformation at the poetic level (b1). The symbol of the children’s love for Agamemnon will turn into Chrysothemis’ dissatisfaction with Elektra’s ambition and anger: “Wärst nicht du, sie ließen uns hinaus, so ließen sie uns ja heraus aus diesem Kerker, Schwester” (If it had not been for you, they would have let us get out of this prison, sister! (reference 82+2 m.)
Fig. 16
At a structural level, we noticed, in relation to the progress of the moments, that each section and subsection brings about new rhythmical, melodic or motif related elements, as well as ingenious procedures for the variation and processing of the previous material. The second part reveals itself as an echo of the first, by resuming the motifs in a transformed state, without actually performing a reprise.
References:
[1] Vasiliu, Laura – Articularea i dramaturgia formei muzicale în epoca modernă (1900 1920) – [The Articulation and Dramaturgy of the Musical Form of the Modern Period] – Editura Artes, Iasi, 2002, p. 204 [2] Ibidem, p. 206 [3] Ibidem, p. 203 [4] Ibidem, p. 206 [5] Ibidem, p. 206 [6] Ibidem, p. 206
ISSN: 1790-5095 113 ISBN: 978-960-474-192-2